1 00:00:00,000 --> 00:00:11,200 Auto Light and its 98,000 dealers bring you Mr. Herbert Marshall. 2 00:00:11,200 --> 00:00:19,760 In tonight's presentation of Suspense. 3 00:00:19,760 --> 00:00:25,480 Tonight Auto Light presents a story based on fact and written by a master of suspense. 4 00:00:25,480 --> 00:00:31,360 An adaptation of the 19th century born murder case called The Dead Alive. 5 00:00:31,360 --> 00:00:40,880 The author Wilkie Collins, our star Mr. Herbert Marshall. 6 00:00:40,880 --> 00:00:42,880 Hey Wilcox, how you hitting them kiddo? 7 00:00:42,880 --> 00:00:47,960 Hello Stan, how's our bouncing, bantam and brainy baseball manager? 8 00:00:47,960 --> 00:00:51,840 Feeling like a home run hollow, purring along like a set of those auto light spark plugs 9 00:00:51,840 --> 00:00:52,840 of yours. 10 00:00:52,840 --> 00:00:57,000 I couldn't understand you better Stan, those ignition engineered auto light spark plugs 11 00:00:57,000 --> 00:01:01,040 are designed for the smoothest and most economical performance money can buy. 12 00:01:01,040 --> 00:01:03,880 Wouldn't use any other hollow, they're real major league. 13 00:01:03,880 --> 00:01:04,880 Thank you Stan. 14 00:01:04,880 --> 00:01:09,440 Friends, if your car isn't giving you the performance it should, why not have your spark 15 00:01:09,440 --> 00:01:12,840 plugs checked by your nearest auto light spark plug dealer. 16 00:01:12,840 --> 00:01:16,240 He's equipped to give you expert cleaning and adjustment. 17 00:01:16,240 --> 00:01:21,120 And if those spark plugs are worn or need replacing, he'll install a set of famous ignition 18 00:01:21,120 --> 00:01:25,560 engineered auto light spark plugs, either standard or resistor type. 19 00:01:25,560 --> 00:01:30,640 To quickly locate your auto light spark plug dealer, phone Western Union by number and 20 00:01:30,640 --> 00:01:33,560 ask for operator 25. 21 00:01:33,560 --> 00:01:39,080 Remember from bumper to tail light, you're always right with auto light. 22 00:01:39,080 --> 00:01:45,320 And now, auto light presents The Dead Alive, starring Mr. Herbert Marshall, hoping once 23 00:01:45,320 --> 00:01:55,320 again to keep you in suspense. 24 00:01:55,320 --> 00:01:58,840 How did the doctor put it to me back there in London? 25 00:01:58,840 --> 00:02:06,560 Your disease Mr. LeFranck is overworked, your cure is rest, your alternative is death. 26 00:02:06,560 --> 00:02:10,080 Nice choice of words there, but not to be ignored. 27 00:02:10,080 --> 00:02:15,200 Any excitement stirred sudden unbearable pains in my head. 28 00:02:15,200 --> 00:02:19,160 The trip was restful, though the prospect of visiting a country just five years beyond 29 00:02:19,160 --> 00:02:22,000 a civil war was a little disturbing. 30 00:02:22,000 --> 00:02:25,880 The long standing invitation of my mother's distant relative appeared to hold a promise 31 00:02:25,880 --> 00:02:28,600 of friendship and hospitality. 32 00:02:28,600 --> 00:02:33,080 The very thing for a nerve ridden English barrister. 33 00:02:33,080 --> 00:02:38,160 I boarded a railroad car at Boston, which deposited me at Morbic Station. 34 00:02:38,160 --> 00:02:42,720 The countryside viewed from the station was as flat, as monotonous as any that the earth 35 00:02:42,720 --> 00:02:44,920 can show. 36 00:02:44,920 --> 00:02:52,520 If to be cured, bent in my case to be dull, then I picked the very place for the purpose. 37 00:02:52,520 --> 00:02:53,520 Mr. Philip LeFranck. 38 00:02:53,520 --> 00:02:55,360 Oh, yes, of course. 39 00:02:55,360 --> 00:02:56,960 You must be cousin Silas. 40 00:02:56,960 --> 00:02:57,960 That's right. 41 00:02:57,960 --> 00:03:00,120 I didn't mean to startle you. 42 00:03:00,120 --> 00:03:05,760 I was fascinated by this very interesting countryside of yours. 43 00:03:05,760 --> 00:03:07,280 Let's start off on an honest footing. 44 00:03:07,280 --> 00:03:10,120 This view is uninspired, Philip. 45 00:03:10,120 --> 00:03:11,120 But it's good farmland. 46 00:03:11,120 --> 00:03:12,120 That's most important. 47 00:03:12,120 --> 00:03:13,120 Is this your luggage? 48 00:03:13,120 --> 00:03:14,120 No, just these bags. 49 00:03:14,120 --> 00:03:15,120 Here, I'll take the big one. 50 00:03:15,120 --> 00:03:16,120 That's all right. 51 00:03:16,120 --> 00:03:18,400 You carry the two small bags. 52 00:03:18,400 --> 00:03:21,840 Oh, but your hand, that bandage, it must be painful. 53 00:03:21,840 --> 00:03:23,520 It's just a scratch. 54 00:03:23,520 --> 00:03:26,920 He couldn't hurt me. 55 00:03:26,920 --> 00:03:32,480 The carriage is this way. 56 00:03:32,480 --> 00:03:36,480 Our ride to Middlecroft Farm passed for the most part in silence. 57 00:03:36,480 --> 00:03:42,040 In silence, seen most appropriate as we drove through a grove of stunted, twisted trees. 58 00:03:42,040 --> 00:03:46,600 On the road ahead, a short, wiry little man walked towards the house. 59 00:03:46,600 --> 00:03:50,000 He glanced over his shoulder, then casually angled to let us pass. 60 00:03:50,000 --> 00:03:53,080 But something went wrong with our horse, when he swerved towards the man. 61 00:03:53,080 --> 00:03:54,080 Watch out! 62 00:03:54,080 --> 00:03:55,080 Hey! 63 00:03:55,080 --> 00:03:57,040 You nearly killed that man. 64 00:03:57,040 --> 00:03:59,240 Next time he'll move out of the way faster. 65 00:03:59,240 --> 00:04:01,520 But you led the horse directly at him. 66 00:04:01,520 --> 00:04:02,520 No matter. 67 00:04:02,520 --> 00:04:05,840 That man was John Jay Gome, my overseer. 68 00:04:05,840 --> 00:04:09,200 Not a very nice man, Philip. 69 00:04:09,200 --> 00:04:10,200 Not nice at all. 70 00:04:10,200 --> 00:04:12,200 Then why do you keep him? 71 00:04:12,200 --> 00:04:17,200 Unfortunately, father left a controlling interest in this estate to my sister. 72 00:04:17,200 --> 00:04:21,200 And Letty feels that Jay Gome can run things better than I can. 73 00:04:21,200 --> 00:04:22,200 That's still no reason. 74 00:04:22,200 --> 00:04:23,200 You might have killed the man. 75 00:04:23,200 --> 00:04:27,880 In which case I would have given him the sort of burial I'd give my dog. 76 00:04:27,880 --> 00:04:31,640 Not my favorite dog, mind you. 77 00:04:31,640 --> 00:04:40,320 A gray house, like a huge toad, squatted massively at the end of the road. 78 00:04:40,320 --> 00:04:44,320 Three barking hounds chased our carriage up to the front porch. 79 00:04:44,320 --> 00:04:47,840 My cousin sent them scampering as we dismounted. 80 00:04:47,840 --> 00:04:53,320 A melancholy, middle-aged woman without visible attraction of any sort, waited for us in the 81 00:04:53,320 --> 00:04:54,320 hallway. 82 00:04:54,320 --> 00:04:59,720 Cousin Philip, I trust the Lord sent you an easy voyage. 83 00:04:59,720 --> 00:05:01,920 A delightful voyage, cousin Letty. 84 00:05:01,920 --> 00:05:04,240 It's very good of you to have me. 85 00:05:04,240 --> 00:05:06,720 Thank my father, rest his soul. 86 00:05:06,720 --> 00:05:11,720 We shall do our best to honor the invitation he extended to your branch of the family. 87 00:05:11,720 --> 00:05:16,240 Silas, did you pass Mr. Jay Gome on your way up? 88 00:05:16,240 --> 00:05:19,060 Yes, I passed him. 89 00:05:19,060 --> 00:05:22,200 You might have been good enough to offer him a lift. 90 00:05:22,200 --> 00:05:25,840 I did, after a fashion. 91 00:05:25,840 --> 00:05:26,840 This way, Philip. 92 00:05:26,840 --> 00:05:28,760 I'll show it to you to your room. 93 00:05:28,760 --> 00:05:30,760 Where is it, eight, Cousin Philip? 94 00:05:30,760 --> 00:05:37,600 We start exactly on the hour. 95 00:05:37,600 --> 00:05:41,040 Silas left me in a clean, almost sterile room. 96 00:05:41,040 --> 00:05:44,280 To pass the time, I made a game of searching for some dust. 97 00:05:44,280 --> 00:05:47,400 It was depressing not to finally. 98 00:05:47,400 --> 00:05:52,640 I paced, I worried, read, and generally tried to keep the gloom of the house from sinking 99 00:05:52,640 --> 00:05:53,640 into my bones. 100 00:05:53,640 --> 00:05:54,640 It was useless. 101 00:05:54,640 --> 00:06:00,000 By eight o'clock, I was morosely trying to decide whether to go down to dinner or to 102 00:06:00,000 --> 00:06:02,480 repack and leave. 103 00:06:02,480 --> 00:06:05,600 My stomach made the decision for me. 104 00:06:05,600 --> 00:06:10,280 I walked out of my room and into the loveliest creature I had ever seen. 105 00:06:10,280 --> 00:06:11,280 I'm sorry. 106 00:06:11,280 --> 00:06:13,400 Oh, no, my fault. 107 00:06:13,400 --> 00:06:14,880 I shouldn't run down hallways. 108 00:06:14,880 --> 00:06:16,760 Of course, you're Philip. 109 00:06:16,760 --> 00:06:19,360 Of course, but they told me nothing about you. 110 00:06:19,360 --> 00:06:22,320 Well, I don't think they're quite sure of how to classify me. 111 00:06:22,320 --> 00:06:23,800 I'm Naomi Colebrooke. 112 00:06:23,800 --> 00:06:25,640 We'd better go downstairs. 113 00:06:25,640 --> 00:06:27,440 We'll miss dinner. 114 00:06:27,440 --> 00:06:29,080 Are you visiting, too, Miss Colebrooke? 115 00:06:29,080 --> 00:06:31,440 Oh, no, I've been here over six months now. 116 00:06:31,440 --> 00:06:34,560 I'm a vague sort of relative. 117 00:06:34,560 --> 00:06:36,960 Lutti and Silas took me in after my parents passed away. 118 00:06:36,960 --> 00:06:38,760 Oh, that was very good of them. 119 00:06:38,760 --> 00:06:40,720 Yes, it was. 120 00:06:40,720 --> 00:06:44,960 But I am glad to have someone else here now. 121 00:06:44,960 --> 00:06:45,960 Is anything wrong? 122 00:06:45,960 --> 00:06:50,720 Well, there are tensions in this house. 123 00:06:50,720 --> 00:06:51,720 You may feel them. 124 00:06:51,720 --> 00:06:53,720 I already have. 125 00:06:53,720 --> 00:06:55,320 There's something most unpleasant about it all. 126 00:06:55,320 --> 00:06:57,640 Oh, please don't let it drive you away. 127 00:06:57,640 --> 00:06:59,840 I have to talk to somebody. 128 00:06:59,840 --> 00:07:00,840 You see, I... 129 00:07:00,840 --> 00:07:02,320 Naomi, where are you? 130 00:07:02,320 --> 00:07:04,320 We're coming, Silas. 131 00:07:04,320 --> 00:07:10,800 We'll talk later. 132 00:07:10,800 --> 00:07:12,760 Dinner started off as a quiet affair. 133 00:07:12,760 --> 00:07:15,640 Naomi, Silas, Lutti and myself were there. 134 00:07:15,640 --> 00:07:21,160 Of course, the fifth person was John Jago, the fellow we'd almost run down. 135 00:07:21,160 --> 00:07:25,240 He acknowledged the introduction to me, then lapsed into silence. 136 00:07:25,240 --> 00:07:30,280 The only time I saw any animation on his face was when he glanced at Naomi. 137 00:07:30,280 --> 00:07:31,680 Silas noticed it too. 138 00:07:31,680 --> 00:07:35,400 You find Miss Naomi's face interesting, Mr. Jago. 139 00:07:35,400 --> 00:07:36,400 I... 140 00:07:36,400 --> 00:07:37,400 I beg your pardon. 141 00:07:37,400 --> 00:07:39,160 Silas, please, don't start in again. 142 00:07:39,160 --> 00:07:42,080 It's offensive for the help to be staring at you like that. 143 00:07:42,080 --> 00:07:45,160 Your imagination is being overworked again, Silas. 144 00:07:45,160 --> 00:07:48,360 Dear Lutti, you're so fond of Mr. Jago. 145 00:07:48,360 --> 00:07:51,440 Is there one small pang of jealousy at his interest in Naomi? 146 00:07:51,440 --> 00:07:52,440 Silas. 147 00:07:52,440 --> 00:07:53,920 I'm sorry, Miss Lutti. 148 00:07:53,920 --> 00:07:58,400 When your brother is in one of these moods, it's best that I retire. 149 00:07:58,400 --> 00:08:00,200 Good night. 150 00:08:00,200 --> 00:08:02,200 Good riddance. 151 00:08:02,200 --> 00:08:04,200 There was no need for that, Silas. 152 00:08:04,200 --> 00:08:07,600 You're too even-tempered, Naomi. 153 00:08:07,600 --> 00:08:09,160 Let's put it to our guest here. 154 00:08:09,160 --> 00:08:12,640 Philip, what did you think of that surly fellow's behavior? 155 00:08:12,640 --> 00:08:13,640 Why, I... 156 00:08:13,640 --> 00:08:14,640 I don't know. 157 00:08:14,640 --> 00:08:20,600 As to looking at Miss Naomi's face, I... it constantly attracts my own gaze. 158 00:08:20,600 --> 00:08:21,600 Oh. 159 00:08:21,600 --> 00:08:22,600 Does it? 160 00:08:22,600 --> 00:08:23,600 Yes. 161 00:08:23,600 --> 00:08:27,160 Does that make it necessary for me to leave the table? 162 00:08:27,160 --> 00:08:28,920 Let's both go for a walk, Philip. 163 00:08:28,920 --> 00:08:30,760 I've had enough of this for one evening. 164 00:08:30,760 --> 00:08:31,760 But Naomi... 165 00:08:31,760 --> 00:08:32,760 Let her be. 166 00:08:32,760 --> 00:08:35,080 Go, Cousin Philip. 167 00:08:35,080 --> 00:08:43,120 I wish to talk to my brother alone. 168 00:08:43,120 --> 00:08:48,440 The danger signal in my head and those flashes of pain did not slacken until we, Naomi and 169 00:08:48,440 --> 00:08:52,360 I, were deep within the grove of trees that surrounded the house. 170 00:08:52,360 --> 00:08:58,000 The moon was full, its rays filtering through the dense overhead growth of twisted branches. 171 00:08:58,000 --> 00:09:03,520 We walked slowly towards a pale green glow that diffused the gray night ahead of us. 172 00:09:03,520 --> 00:09:05,080 What's wrong? 173 00:09:05,080 --> 00:09:07,440 Philip, your face is... 174 00:09:07,440 --> 00:09:08,440 It's party. 175 00:09:08,440 --> 00:09:09,440 It's pain. 176 00:09:09,440 --> 00:09:12,560 The doctor warned me to avoid excitement. 177 00:09:12,560 --> 00:09:15,760 Silas starts up with everyone. 178 00:09:15,760 --> 00:09:18,040 And he turns his anger upon poor Mr. Jago. 179 00:09:18,040 --> 00:09:20,720 Yes, they had a terrible fight the other day. 180 00:09:20,720 --> 00:09:24,080 Mr. Jago had to use a knife to defend himself. 181 00:09:24,080 --> 00:09:25,080 He won't bother me. 182 00:09:25,080 --> 00:09:27,080 I'm not too sure. 183 00:09:27,080 --> 00:09:28,420 He was furious with you at dinner. 184 00:09:28,420 --> 00:09:33,080 I refuse to allow anybody to interfere with the pleasure I take from your company. 185 00:09:33,080 --> 00:09:36,960 But what's causing that green mist ahead? 186 00:09:36,960 --> 00:09:39,440 Oh, that's a natural line kill. 187 00:09:39,440 --> 00:09:43,200 They say it's been burning for centuries. 188 00:09:43,200 --> 00:09:46,560 There's a hypnotic quality about this green pit. 189 00:09:46,560 --> 00:09:48,200 I can't take my eyes from it. 190 00:09:48,200 --> 00:09:49,520 It terrifies me. 191 00:09:49,520 --> 00:09:54,400 I keep imagining what would happen if someone were to fall in there. 192 00:09:54,400 --> 00:09:56,520 Oh, they should put a fence about it. 193 00:09:56,520 --> 00:09:57,520 Philip. 194 00:09:57,520 --> 00:09:58,520 What? 195 00:09:58,520 --> 00:09:59,520 There, by the trees. 196 00:09:59,520 --> 00:10:00,520 Someone's watching us. 197 00:10:00,520 --> 00:10:01,520 Huh? 198 00:10:01,520 --> 00:10:02,520 Who's that? 199 00:10:02,520 --> 00:10:03,520 I, uh, I hope I'm not intruding. 200 00:10:03,520 --> 00:10:04,520 What do you want, Mr. Jago? 201 00:10:04,520 --> 00:10:05,520 I'm not going to tell you. 202 00:10:05,520 --> 00:10:06,520 I'm not going to tell you. 203 00:10:06,520 --> 00:10:07,520 I'm not going to tell you. 204 00:10:07,520 --> 00:10:08,520 I'm not going to tell you. 205 00:10:08,520 --> 00:10:09,600 What do you want, Mr. Jago? 206 00:10:09,600 --> 00:10:12,200 I don't wish to disturb you, all of this gentleman. 207 00:10:12,200 --> 00:10:15,360 But I must speak to you, Miss Naomi, and private. 208 00:10:15,360 --> 00:10:16,960 This is hardly the manor to approach. 209 00:10:16,960 --> 00:10:18,800 Eve's dropping from behind a tree. 210 00:10:18,800 --> 00:10:20,100 Oh, no, sir. 211 00:10:20,100 --> 00:10:22,720 I've just been walking through this grove and came upon you. 212 00:10:22,720 --> 00:10:25,340 But I must talk to this lady. 213 00:10:25,340 --> 00:10:26,860 Who won't it hold until tomorrow? 214 00:10:26,860 --> 00:10:31,020 It would be a great kindness on your part, a very great kindness, if you let me speak 215 00:10:31,020 --> 00:10:32,600 before I rest tonight. 216 00:10:32,600 --> 00:10:33,940 Very well. 217 00:10:33,940 --> 00:10:35,680 We will go back to the house. 218 00:10:35,680 --> 00:10:36,840 Not the house, miss. 219 00:10:36,840 --> 00:10:37,840 Why not? 220 00:10:37,840 --> 00:10:43,680 There are eyes and ears in the house and footsteps so soft that no person can hear them. 221 00:10:44,680 --> 00:10:47,680 Then we'll speak here, where we can see all about us. 222 00:10:47,680 --> 00:10:49,440 Sir, if you don't mind. 223 00:10:49,440 --> 00:10:51,080 I don't want to leave you here near me. 224 00:10:51,080 --> 00:10:54,880 Oh, I'll be quite all right, Philip. Mr. J. Gill will see me back to the house. 225 00:10:54,880 --> 00:10:56,680 You know best. 226 00:10:56,680 --> 00:10:57,320 Good night. 227 00:10:57,320 --> 00:10:59,440 Good night. And thank you. 228 00:11:04,240 --> 00:11:07,440 I slept what little that night. I wanted to leave. 229 00:11:07,440 --> 00:11:09,680 Get away from that wretched house. 230 00:11:09,680 --> 00:11:13,520 But the idea of leaving near me there all alone was unthinkable. 231 00:11:13,520 --> 00:11:17,320 With the dawn, I dressed and went down to the front porch. 232 00:11:17,320 --> 00:11:20,520 An angry sight met my eyes. Silence. 233 00:11:20,520 --> 00:11:24,320 Holding his walking stick like a bludgeon and waving the jago. 234 00:11:24,320 --> 00:11:28,280 While the little overseer crouched before him like a snarling gamecock. 235 00:11:28,280 --> 00:11:30,440 The wicked blade of his knife flashing in the light. 236 00:11:30,440 --> 00:11:33,240 Ah, stay back, I warn you. 237 00:11:33,240 --> 00:11:36,480 You warn me. I told you to stay away from her. 238 00:11:36,480 --> 00:11:38,720 She's not my style, Mr. Silas. 239 00:11:38,720 --> 00:11:40,040 You impudent beggar. 240 00:11:40,040 --> 00:11:41,440 Get back. 241 00:11:41,440 --> 00:11:44,040 I've set my mark on you once. I may do it a second time. 242 00:11:44,040 --> 00:11:45,240 I'll crush your skull. 243 00:11:45,240 --> 00:11:49,240 Stop that. Here. Silas, give me that cane. 244 00:11:49,240 --> 00:11:50,640 Let me go. 245 00:11:50,640 --> 00:11:54,240 I said give it to me. 246 00:11:54,240 --> 00:11:59,080 You meddling fool. He's gotten away. 247 00:11:59,080 --> 00:12:02,840 Just as well. He handled that knife with some knowledge. 248 00:12:02,840 --> 00:12:04,640 You wouldn't have fared well in that fight. 249 00:12:04,640 --> 00:12:08,640 You think not, do you, cousin Philip? 250 00:12:08,640 --> 00:12:09,920 May I have my stick now? 251 00:12:09,920 --> 00:12:12,240 You must have it. Here. 252 00:12:12,240 --> 00:12:14,480 Thank you. 253 00:12:14,480 --> 00:12:18,720 And I'd like to walk through the grove unless you have some objection. 254 00:12:18,720 --> 00:12:20,720 So we will insist on following him. 255 00:12:20,720 --> 00:12:24,120 We will finish this now, Jago and I. 256 00:12:24,120 --> 00:12:27,440 And this is a warning to you, cousin Philip. 257 00:12:27,440 --> 00:12:36,240 Leave Naomi alone or you may have some of the same. 258 00:12:36,240 --> 00:12:39,840 Neither of them had returned to the house by late afternoon. 259 00:12:39,840 --> 00:12:41,440 Naomi stayed in her room all day. 260 00:12:41,440 --> 00:12:44,240 Cousin Letty sat in her rocking chair and knitted. 261 00:12:44,240 --> 00:12:49,120 Her eyes never leaving the front door as she waited fearfully. 262 00:12:49,120 --> 00:12:53,440 The ugly premonition of violent death hung about the rooms. 263 00:12:53,440 --> 00:12:56,720 Finally, approaching footsteps. 264 00:12:56,720 --> 00:13:05,120 And we watched to see who would enter. 265 00:13:05,120 --> 00:13:10,320 Silas, where is Mr. Jago? 266 00:13:10,320 --> 00:13:12,800 I believe we've seen the last of that one. 267 00:13:12,800 --> 00:13:15,840 Did you? You haven't brought your walking stick. 268 00:13:15,840 --> 00:13:21,120 No. Don't fear, cousin Philip. I have another. 269 00:13:21,120 --> 00:13:30,480 Should you want to take a stroll through the grove? 270 00:13:30,480 --> 00:13:35,760 Much later that night, I sat in my room fully dressed, trying to read. 271 00:13:35,760 --> 00:13:39,440 The wildest thoughts were skipping, fluttering through my mind. 272 00:13:39,440 --> 00:13:43,760 Was my cousin Silas a murderer? He had all but admitted it. 273 00:13:43,760 --> 00:13:48,800 And yet, someone was walking through the hall. 274 00:13:48,800 --> 00:13:52,320 A light on the stealthy footstep. 275 00:13:52,320 --> 00:13:59,360 I opened my door as a wide-robed, ghost-like figure descended the stairway. 276 00:13:59,360 --> 00:14:05,200 It was Letty, her body rigid, staring blindly before her. 277 00:14:05,200 --> 00:14:09,360 It is dangerous to row as a sleepwalker, so I followed. 278 00:14:09,360 --> 00:14:15,360 Out of the house, through the grove of trees, to the mouth of the lime kiln. 279 00:14:15,360 --> 00:14:17,920 She stood there, trembling in the green light. 280 00:14:17,920 --> 00:14:21,520 As she took one further step towards the kiln, I reached out and grabbed her shoulders. 281 00:14:21,520 --> 00:14:25,360 No! It's me! It's Philip! Letty, do you understand? 282 00:14:25,360 --> 00:14:34,560 Yes, Philip. Yes. He's there. Mr. Jago is there in the kiln. 283 00:14:34,560 --> 00:14:35,040 How do you know? 284 00:14:36,320 --> 00:14:41,520 He called to me. His voice. He came from there. 285 00:14:41,520 --> 00:14:44,400 That was a dream, Letty. You walked in your sleep. 286 00:14:44,400 --> 00:14:47,520 No dream. He's in there, I tell you. 287 00:14:47,520 --> 00:14:51,600 There's nothing we can do. Nobody could climb down into that pit to see. 288 00:14:51,600 --> 00:14:55,840 Over there, by the tree, a long pole with a mesh iron net. 289 00:14:56,800 --> 00:15:02,800 You'll see. Mr. Jago is in there. He told me so. 290 00:15:07,680 --> 00:15:13,120 And in the black of that night, I set about the macabre task of fishing the kiln. 291 00:15:13,120 --> 00:15:17,680 Within the hour, I had brought up a partially burned walking stick, 292 00:15:18,400 --> 00:15:23,440 Jago's knife, and a small heap of charred bones. 293 00:15:34,480 --> 00:15:39,920 Auto Light is bringing you Mr. Herbert Marshall in Wilkie Collins' The Dead Alive. 294 00:15:39,920 --> 00:15:45,680 Tonight's presentation in radio's outstanding theater of thrills, Suspense. 295 00:15:55,040 --> 00:15:57,200 Hey, Harlow, you know I signed a whole new team. 296 00:15:57,200 --> 00:15:59,040 Yeah? Stan, who are they? 297 00:15:59,040 --> 00:16:02,480 Why, a set of those Auto Light Resistor-type spark plugs, of course. 298 00:16:02,480 --> 00:16:05,840 Oh, then you're set for a winning season, Stan. 299 00:16:05,840 --> 00:16:09,280 Those Auto Light Resistor Spark Plugs are the greatest advantage. 300 00:16:09,280 --> 00:16:13,760 The greatest advance in spark plugs for automotive use in the past two and a half decades. 301 00:16:13,760 --> 00:16:16,800 Is that all? I thought they was the best in 25 years. 302 00:16:17,920 --> 00:16:23,280 You're right, Stan. And that built-in Auto Light Resistor makes possible such advantages 303 00:16:23,280 --> 00:16:27,280 as double spark plug life, smoother engine performance, and quick starts. 304 00:16:27,920 --> 00:16:32,800 And the Resistor Spark Plug is only one of a complete line of world-famous Auto Light Spark 305 00:16:32,800 --> 00:16:36,320 Plugs, ignition engineered for every automotive use. 306 00:16:36,320 --> 00:16:37,760 That's a straight pitch, folks. 307 00:16:37,760 --> 00:16:43,040 So see your nearest Auto Light Spark Plug dealer for a spark plug check soon. 308 00:16:43,040 --> 00:16:48,320 He services all makes of cars, and he has ignition engineered Auto Light Spark Plugs, 309 00:16:48,320 --> 00:16:50,720 either standard or resistor type. 310 00:16:50,720 --> 00:16:56,800 To quickly learn his location, phone Western Union by number and ask for operator 25. 311 00:16:56,800 --> 00:17:02,240 And remember, from bumper to tail light, you're always right with Auto Light. 312 00:17:02,240 --> 00:17:07,440 And now, Auto Light brings back to our Hollywood sound stage, Mr. Herbert Marshall. 313 00:17:07,440 --> 00:17:15,920 In Elliot Lewis's production of The Dead Alive, a tale well calculated to keep you in suspense. 314 00:17:25,600 --> 00:17:28,480 On the parlor table were lying the walking stick, the knife, 315 00:17:29,360 --> 00:17:31,200 and the charred bones of John Jago. 316 00:17:32,080 --> 00:17:36,880 I'd roused near me in silence, and now the four of us sat around the room, 317 00:17:36,880 --> 00:17:39,840 our eyes studiously avoiding the grisly pile before us. 318 00:17:40,960 --> 00:17:44,880 The light from the oil lamps failed to clear shadows from the dark corners of the parlor. 319 00:17:46,000 --> 00:17:50,320 And so we sat and waited for the silence to accuse. 320 00:17:51,040 --> 00:17:52,720 I didn't kill him. 321 00:17:52,720 --> 00:17:54,560 You have murder on your soul. 322 00:17:55,440 --> 00:17:57,760 Mr. Jago told me that too. 323 00:17:57,760 --> 00:18:00,160 Oh, in your dream, I suppose. 324 00:18:00,160 --> 00:18:01,760 He never cared for you, Lattie. 325 00:18:01,760 --> 00:18:03,760 Why do you carry on so about him? 326 00:18:03,760 --> 00:18:06,640 He was too shy to tell me. 327 00:18:07,600 --> 00:18:11,280 And now he never will, for you killed him. 328 00:18:12,160 --> 00:18:13,760 That is your stick, Silas. 329 00:18:13,760 --> 00:18:16,160 I stumbled near the kill. It fell in. 330 00:18:16,160 --> 00:18:18,320 And the knife and the bone, Silas? 331 00:18:18,320 --> 00:18:20,480 You killed him, Silas. 332 00:18:21,760 --> 00:18:23,600 And make the most of it. 333 00:18:24,320 --> 00:18:25,520 I'm going to bed. 334 00:18:27,040 --> 00:18:30,000 There's nothing more to be done tonight. We may as well all get some sleep. 335 00:18:30,000 --> 00:18:31,520 I don't think I'll ever sleep again. 336 00:18:31,520 --> 00:18:35,680 At least try, Naomi. Tomorrow we'll have to call in the magistrate. 337 00:18:37,520 --> 00:18:38,720 Aren't you coming, Lattie? 338 00:18:38,720 --> 00:18:42,160 Oh, I'll stay here with Mr. Jago. 339 00:18:42,720 --> 00:18:43,600 Lattie, please. 340 00:18:44,640 --> 00:18:45,140 No. 341 00:18:45,760 --> 00:18:46,800 Leave her, Naomi. Come. 342 00:18:49,440 --> 00:18:51,680 Oh, Philip, why did it happen? 343 00:18:51,680 --> 00:18:53,280 You probably know best of all. 344 00:18:54,320 --> 00:18:55,200 I know nothing. 345 00:18:55,200 --> 00:18:58,560 No? What did Jago say to you the other night in the garden? 346 00:18:58,560 --> 00:19:01,440 Nothing. The police will want to know. 347 00:19:03,680 --> 00:19:06,560 We'd been talking. I don't recall about what. 348 00:19:07,920 --> 00:19:10,160 Suddenly he seemed to go mad. 349 00:19:11,040 --> 00:19:12,080 Mad? In what way? 350 00:19:12,640 --> 00:19:16,000 He fell on his knees. He kissed my gar, my hand. 351 00:19:17,120 --> 00:19:19,440 He cried that he was in love with me. 352 00:19:20,000 --> 00:19:23,600 Poor fellow. I imagine you told him it was impossible. 353 00:19:23,600 --> 00:19:26,080 He wanted me to marry him. Of course it was impossible. 354 00:19:26,080 --> 00:19:28,320 Oh, Cyrus must have found it out. 355 00:19:29,440 --> 00:19:31,440 That could explain the why of this murder. 356 00:19:32,400 --> 00:19:34,000 Well, I can't stay here anymore. 357 00:19:34,000 --> 00:19:37,600 Nor can I. Tomorrow we'll move into town until the police clear us. 358 00:19:37,600 --> 00:19:38,480 And then... 359 00:19:38,480 --> 00:19:39,360 What then, Philip? 360 00:19:41,680 --> 00:19:42,480 Good Lord, what's that? 361 00:19:43,360 --> 00:19:44,560 Oh, don't leave me. 362 00:19:44,560 --> 00:19:46,800 Well, it's too late to catch whoever that was. 363 00:19:46,800 --> 00:19:47,760 Someone overheard us. 364 00:19:47,760 --> 00:19:51,120 Yes, someone. Here. Get into your room, 365 00:19:51,120 --> 00:19:54,240 bolt your door and don't open it for anyone. You hear? 366 00:19:54,240 --> 00:19:55,680 Oh, Philip, I'm so afraid. 367 00:19:55,680 --> 00:19:58,160 Truthfully, darling, so am I. 368 00:20:04,960 --> 00:20:07,440 If ever a house were ever cursed, this was it. 369 00:20:08,080 --> 00:20:11,120 With madness or worse, mocking from every crevice and corner. 370 00:20:12,160 --> 00:20:15,040 In my room, I locked the door and went to bed. 371 00:20:15,920 --> 00:20:18,560 Sleep did not come easily, but it came. 372 00:20:20,080 --> 00:20:24,320 I must have just dropped off when some innocence warned me of a presence in the room. 373 00:20:24,320 --> 00:20:26,960 Something was gliding quietly towards the bed. 374 00:20:28,160 --> 00:20:31,360 I half opened my eyes and caught the dark shadow of movement 375 00:20:31,920 --> 00:20:33,920 and the momentary flash of metal. 376 00:20:34,560 --> 00:20:38,160 I rolled out of bed as a knife snatched into the mattress where I'd been lying. 377 00:20:39,200 --> 00:20:44,160 My assailant followed me, slashing, hacking at the pillow, the chair that I held before me. 378 00:20:44,160 --> 00:20:47,120 I tried to get out of the door, but he still bolted. 379 00:20:47,760 --> 00:20:50,960 I slipped the bolt and the shadow rushed driving me back. 380 00:20:51,440 --> 00:20:52,960 In terror, I threw a lamp. 381 00:20:52,960 --> 00:20:55,360 In terror, I threw a lamp and hit someone. 382 00:20:57,760 --> 00:20:58,960 It was suddenly over. 383 00:21:00,000 --> 00:21:02,400 The knife wielder had gone. 384 00:21:10,240 --> 00:21:15,520 I fired a lamp, then stood, staring at the butcher knife that lay on the floor. 385 00:21:16,320 --> 00:21:18,560 My being revolted in fear and anger. 386 00:21:18,560 --> 00:21:25,680 I was sick, sick of this house, of my cousins, sick of waiting to be struck down in the dark. 387 00:21:26,560 --> 00:21:27,360 Get up, Silas. 388 00:21:28,560 --> 00:21:29,200 Who's there? 389 00:21:29,200 --> 00:21:30,720 Stop pretending you're asleep. 390 00:21:30,720 --> 00:21:33,200 Philip, the devil's the matter with you? 391 00:21:33,840 --> 00:21:35,920 Nay, I wouldn't have had you under any circumstances. 392 00:21:36,800 --> 00:21:38,640 What did you hope to gain by killing me? 393 00:21:38,640 --> 00:21:39,360 Killing you. 394 00:21:40,160 --> 00:21:44,640 If I wanted to kill you, cousin, I would face up to you like a man not strike in the dark. 395 00:21:44,640 --> 00:21:46,320 Who else in this house would do a thing like that? 396 00:21:46,320 --> 00:21:47,360 What of Letty? 397 00:21:47,360 --> 00:21:47,920 Letty. 398 00:21:49,920 --> 00:21:50,960 It couldn't have been a woman. 399 00:21:51,680 --> 00:21:54,480 Don't underestimate our New England women, Philip. 400 00:21:55,200 --> 00:21:56,400 They're strong as oxen. 401 00:21:57,520 --> 00:21:59,920 You'd better come along with me while I question her. 402 00:21:59,920 --> 00:22:01,200 You don't trust me? 403 00:22:01,200 --> 00:22:02,000 Exactly. 404 00:22:07,680 --> 00:22:13,200 Letty was still in the parlour, staring at the bones of her dead lover, sitting stoically in her chair. 405 00:22:13,200 --> 00:22:15,200 Something had changed her, though. 406 00:22:16,000 --> 00:22:18,000 There was an ecstatic look about her. 407 00:22:18,480 --> 00:22:20,480 And for the moment, her face was... 408 00:22:21,120 --> 00:22:22,320 almost pretty. 409 00:22:23,600 --> 00:22:24,400 Letty. 410 00:22:25,600 --> 00:22:27,120 Someone just tried to kill me. 411 00:22:27,840 --> 00:22:28,800 I know. 412 00:22:29,520 --> 00:22:30,800 How do you know? 413 00:22:31,440 --> 00:22:33,600 Mr. Jaco told me you were going to die. 414 00:22:33,600 --> 00:22:36,320 She won't grasp the fact that John is dead. 415 00:22:36,320 --> 00:22:38,000 Oh, yes, I know he's dead. 416 00:22:38,800 --> 00:22:40,800 But now he's closer to me than ever. 417 00:22:40,800 --> 00:22:44,800 He comes to see me and talk to me. 418 00:22:46,320 --> 00:22:50,320 Did you go upstairs, Letty, to my room with a knife? 419 00:22:50,320 --> 00:22:52,320 Mr. Jaco told me I was pretty. 420 00:22:53,520 --> 00:22:55,520 I asked him if I was. 421 00:22:56,800 --> 00:22:58,800 And he told me. 422 00:22:59,840 --> 00:23:01,840 He's dead now. 423 00:23:02,400 --> 00:23:04,400 But he's with me all the time. 424 00:23:05,600 --> 00:23:08,800 Well, Philip, are you still in the parlour? 425 00:23:08,800 --> 00:23:12,800 Well, Philip, are you still quite positive it was I? 426 00:23:12,800 --> 00:23:14,800 Naomi! 427 00:23:19,600 --> 00:23:22,400 I ran up the stairs, Silas at my heels. 428 00:23:22,400 --> 00:23:24,800 A nagging, insane thought kept tugging at my brain. 429 00:23:25,520 --> 00:23:28,560 Letty, Silas and myself had been together in the parlour. 430 00:23:28,560 --> 00:23:29,760 Then who was it? 431 00:23:29,760 --> 00:23:30,400 What was it? 432 00:23:31,040 --> 00:23:33,440 What horror was attacking Naomi in her room? 433 00:23:34,480 --> 00:23:37,520 Naomi! Open this door! It's me, Philip! 434 00:23:37,520 --> 00:23:38,960 Naomi, are you all right? 435 00:23:38,960 --> 00:23:40,960 Stand back! I'm going to break it open! 436 00:23:46,480 --> 00:23:47,680 She's not here. 437 00:23:47,680 --> 00:23:48,640 The window's been smashed. 438 00:23:50,000 --> 00:23:51,360 There's nobody in the yard. 439 00:23:51,360 --> 00:23:54,000 Look, over through the grove, the branches sway. 440 00:23:55,120 --> 00:23:56,480 Something moving through there. 441 00:23:56,480 --> 00:23:57,600 That one again! 442 00:23:57,600 --> 00:23:58,400 But who? 443 00:23:58,400 --> 00:23:58,960 Oh, what? 444 00:23:59,920 --> 00:24:02,480 Silas, can your dogs track? 445 00:24:02,480 --> 00:24:03,600 Of course, they're hunting dogs. 446 00:24:03,600 --> 00:24:05,040 And bring them around and put them on the scent. 447 00:24:05,760 --> 00:24:06,960 Whatever that thing is, 448 00:24:06,960 --> 00:24:07,760 it has Naomi. 449 00:24:14,000 --> 00:24:15,840 The dogs picked up the scent and ran, 450 00:24:15,840 --> 00:24:17,120 baying into the tree grove. 451 00:24:17,680 --> 00:24:21,120 Silas and I, lantern spraying yellow light through the darkness, 452 00:24:21,120 --> 00:24:21,600 followed. 453 00:24:22,240 --> 00:24:23,520 Somewhere ahead, there was something! 454 00:24:24,240 --> 00:24:25,360 Man or monster! 455 00:24:26,000 --> 00:24:26,800 Without a mind! 456 00:24:28,000 --> 00:24:31,040 Suddenly at the lime kiln, the dogs stopped howling. 457 00:24:31,680 --> 00:24:34,720 We saw Naomi lying by the edge of the pit. 458 00:24:34,720 --> 00:24:35,760 I knelt beside her, 459 00:24:35,760 --> 00:24:38,000 feeling the life beat feebly through her pulse. 460 00:24:39,360 --> 00:24:41,280 And then, another feeling. 461 00:24:42,080 --> 00:24:44,400 The air parting behind me, 462 00:24:45,040 --> 00:24:46,480 as something crept towards my back. 463 00:24:47,360 --> 00:24:49,280 Something poised to push me into the kiln. 464 00:24:50,240 --> 00:24:52,880 I turned sharply and a shadow flowed backwards, 465 00:24:53,600 --> 00:24:55,120 crossing to the opposite side of the pit. 466 00:24:55,840 --> 00:24:59,520 The green glow stippled around the form of a man. 467 00:24:59,920 --> 00:25:00,880 John Jago. 468 00:25:00,880 --> 00:25:01,680 Alive! 469 00:25:01,680 --> 00:25:03,280 Yes, very much so. 470 00:25:03,280 --> 00:25:07,280 Though it would have been nice to have Mr. Silas hang for my murder. 471 00:25:07,280 --> 00:25:09,360 Your plans for me were very much more direct. 472 00:25:09,360 --> 00:25:11,120 I would kill for Miss Naomi! 473 00:25:11,120 --> 00:25:13,360 Not just talk like Mr. Silas! 474 00:25:13,360 --> 00:25:15,120 You think she'd have our luck to you? 475 00:25:15,120 --> 00:25:18,240 Someday, Mr. Silas, with you and your cousin dead. 476 00:25:18,240 --> 00:25:19,440 Oh, my yes. 477 00:25:20,160 --> 00:25:22,640 I would return, aiding loss of memory. 478 00:25:22,640 --> 00:25:24,240 You can't work out now, John. 479 00:25:25,040 --> 00:25:26,240 You best come along with us. 480 00:25:26,240 --> 00:25:27,680 Oh, take me, sirs. 481 00:25:27,680 --> 00:25:28,720 Come over here. 482 00:25:28,720 --> 00:25:29,920 I'll be glad to. 483 00:25:29,920 --> 00:25:31,200 Wait, Silas, he's too close to the pit. 484 00:25:31,200 --> 00:25:33,360 A slip and we'd all be in. 485 00:25:33,360 --> 00:25:34,320 Try, please. 486 00:25:34,320 --> 00:25:35,760 I'm a match for you both. 487 00:25:35,760 --> 00:25:37,280 Mr. Jago, I hear you. 488 00:25:37,280 --> 00:25:38,560 I'm coming, Mr. Jago. 489 00:25:38,560 --> 00:25:40,080 No, no, no, stay back, Letty. 490 00:25:40,080 --> 00:25:41,760 I have no use for you anymore. 491 00:25:41,760 --> 00:25:43,760 You said I was pretty, Mr. Jago. 492 00:25:44,160 --> 00:25:45,440 You said that to me. 493 00:25:45,440 --> 00:25:46,800 Letty, don't go near him. 494 00:25:46,800 --> 00:25:49,280 Keep away, you stupid, ugly woman. 495 00:25:49,280 --> 00:25:50,160 No. 496 00:25:50,720 --> 00:25:53,280 You didn't say things like that in the lime kiln. 497 00:25:54,160 --> 00:25:55,040 In the kiln. 498 00:25:55,040 --> 00:25:55,760 Letty! 499 00:25:55,760 --> 00:25:56,560 Keep back. 500 00:25:56,560 --> 00:25:57,280 Keep back! 501 00:25:57,280 --> 00:25:58,320 Mr. Jago! 502 00:25:58,320 --> 00:25:59,120 No! 503 00:25:59,120 --> 00:26:01,360 No! 504 00:26:01,360 --> 00:26:02,960 Letty, Letty. 505 00:26:03,840 --> 00:26:05,040 They're both gone. 506 00:26:06,560 --> 00:26:07,760 Poor devils. 507 00:26:16,480 --> 00:26:18,640 It was the next day in the carriage, 508 00:26:19,120 --> 00:26:20,640 riding back to town, 509 00:26:21,120 --> 00:26:22,560 near me, beside me, 510 00:26:23,040 --> 00:26:24,480 the sight of her lovely face 511 00:26:24,480 --> 00:26:26,960 driving away ugly thoughts of the night before. 512 00:26:26,960 --> 00:26:29,040 Is it all behind us now, Philip? 513 00:26:29,040 --> 00:26:30,080 All that hatred? 514 00:26:30,080 --> 00:26:31,280 It's finished, my darling. 515 00:26:32,080 --> 00:26:34,320 There's just you and I 516 00:26:35,120 --> 00:26:36,560 and our future together. 517 00:26:36,560 --> 00:26:38,080 A peaceful future. 518 00:26:39,040 --> 00:26:40,640 We'll have to watch your nerves. 519 00:26:40,640 --> 00:26:41,680 Nerves? 520 00:26:42,160 --> 00:26:43,440 Oh, my lord. 521 00:26:44,480 --> 00:26:46,800 In the excitement, I forgot all about it. 522 00:26:46,800 --> 00:26:48,720 But the excitement might have killed you. 523 00:26:48,720 --> 00:26:49,840 Killed! 524 00:26:49,840 --> 00:26:51,040 It cured me. 525 00:26:51,920 --> 00:26:53,280 That doctor was wrong. 526 00:26:53,280 --> 00:26:55,120 My life was too dull. 527 00:26:55,120 --> 00:26:57,200 Then excitement is what you need. 528 00:26:57,200 --> 00:26:58,000 Yes. 529 00:26:59,680 --> 00:27:02,960 I've been thinking about our honeymoon. 530 00:27:04,160 --> 00:27:06,800 There's a wonderful old castle on the Rhine. 531 00:27:06,800 --> 00:27:23,280 They say it's haunted. 532 00:27:37,360 --> 00:27:40,240 This is Harlow Wilcox again speaking for Autolight, 533 00:27:40,240 --> 00:27:42,640 world's largest independent manufacturer 534 00:27:42,640 --> 00:27:44,800 of automotive electrical equipment. 535 00:27:44,800 --> 00:27:48,480 Autolight is proud to serve the greatest names in the industry. 536 00:27:48,480 --> 00:27:51,680 That's why during these early months of 1953, 537 00:27:51,680 --> 00:27:55,600 the Autolight family is again saluting the leading manufacturers 538 00:27:55,600 --> 00:27:58,640 who install Autolight products as original equipment. 539 00:27:59,280 --> 00:28:01,760 As a climax to this salute series, 540 00:28:01,760 --> 00:28:04,800 Autolight will present on both radio and television 541 00:28:04,800 --> 00:28:08,000 the Easter Parade of Stars Auto Show 542 00:28:08,000 --> 00:28:10,240 from New York's Waldorf Historia Hotel. 543 00:28:10,960 --> 00:28:12,320 Just four weeks from tonight, 544 00:28:12,320 --> 00:28:15,200 we will bring you the exciting dramatization 545 00:28:15,200 --> 00:28:18,720 of the only round-the-world automobile race ever run. 546 00:28:19,360 --> 00:28:21,600 The program will star Van Johnson 547 00:28:21,600 --> 00:28:24,800 and will originate from the grand ballroom of the Waldorf, 548 00:28:24,800 --> 00:28:27,040 where the auto show will be in progress. 549 00:28:27,040 --> 00:28:29,280 That's Monday, April 6th. 550 00:28:29,280 --> 00:28:31,760 And of course, you're invited to join us next week 551 00:28:31,760 --> 00:28:35,040 for our regular Suspense program. 552 00:28:40,000 --> 00:28:42,480 Next week, a story about heroism 553 00:28:42,480 --> 00:28:45,280 as we document the attempt of three brave men 554 00:28:45,280 --> 00:28:47,280 to conquer the mountain. 555 00:28:47,840 --> 00:28:49,840 Our star, Mr. John Hodiac. 556 00:28:50,400 --> 00:28:53,440 That's next week on Suspense. 557 00:28:55,760 --> 00:28:58,240 Suspense is produced and directed by Elliot Lewis 558 00:28:58,240 --> 00:29:00,400 with music composed by Lucian Morawick 559 00:29:00,400 --> 00:29:02,560 and conducted by Lud Gluskin. 560 00:29:02,560 --> 00:29:06,000 The Dead Alive was adapted for Suspense by Sam Rolfe 561 00:29:06,000 --> 00:29:08,160 from the story by Wilkie Collins. 562 00:29:08,160 --> 00:29:11,520 In tonight's story, Mary Jane Croft as Hurt as Naomi, 563 00:29:11,520 --> 00:29:12,880 Lamont Johnson as Silas, 564 00:29:12,880 --> 00:29:14,800 Jeanette Nolan as Letty, 565 00:29:14,800 --> 00:29:17,200 and Joseph Kearns as Mr. Jago. 566 00:29:17,200 --> 00:29:19,040 Herbert Marshall can currently be seen 567 00:29:19,040 --> 00:29:20,960 in the RKO production Angel Face. 568 00:29:20,960 --> 00:29:28,640 This is the CBS Radio Network.