WEBVTT 00:00.000 --> 00:11.200 Auto Light and its 98,000 dealers bring you Mr. Herbert Marshall. 00:11.200 --> 00:19.760 In tonight's presentation of Suspense. 00:19.760 --> 00:25.480 Tonight Auto Light presents a story based on fact and written by a master of suspense. 00:25.480 --> 00:31.360 An adaptation of the 19th century born murder case called The Dead Alive. 00:31.360 --> 00:40.880 The author Wilkie Collins, our star Mr. Herbert Marshall. 00:40.880 --> 00:42.880 Hey Wilcox, how you hitting them kiddo? 00:42.880 --> 00:47.960 Hello Stan, how's our bouncing, bantam and brainy baseball manager? 00:47.960 --> 00:51.840 Feeling like a home run hollow, purring along like a set of those auto light spark plugs 00:51.840 --> 00:52.840 of yours. 00:52.840 --> 00:57.000 I couldn't understand you better Stan, those ignition engineered auto light spark plugs 00:57.000 --> 01:01.040 are designed for the smoothest and most economical performance money can buy. 01:01.040 --> 01:03.880 Wouldn't use any other hollow, they're real major league. 01:03.880 --> 01:04.880 Thank you Stan. 01:04.880 --> 01:09.440 Friends, if your car isn't giving you the performance it should, why not have your spark 01:09.440 --> 01:12.840 plugs checked by your nearest auto light spark plug dealer. 01:12.840 --> 01:16.240 He's equipped to give you expert cleaning and adjustment. 01:16.240 --> 01:21.120 And if those spark plugs are worn or need replacing, he'll install a set of famous ignition 01:21.120 --> 01:25.560 engineered auto light spark plugs, either standard or resistor type. 01:25.560 --> 01:30.640 To quickly locate your auto light spark plug dealer, phone Western Union by number and 01:30.640 --> 01:33.560 ask for operator 25. 01:33.560 --> 01:39.080 Remember from bumper to tail light, you're always right with auto light. 01:39.080 --> 01:45.320 And now, auto light presents The Dead Alive, starring Mr. Herbert Marshall, hoping once 01:45.320 --> 01:55.320 again to keep you in suspense. 01:55.320 --> 01:58.840 How did the doctor put it to me back there in London? 01:58.840 --> 02:06.560 Your disease Mr. LeFranck is overworked, your cure is rest, your alternative is death. 02:06.560 --> 02:10.080 Nice choice of words there, but not to be ignored. 02:10.080 --> 02:15.200 Any excitement stirred sudden unbearable pains in my head. 02:15.200 --> 02:19.160 The trip was restful, though the prospect of visiting a country just five years beyond 02:19.160 --> 02:22.000 a civil war was a little disturbing. 02:22.000 --> 02:25.880 The long standing invitation of my mother's distant relative appeared to hold a promise 02:25.880 --> 02:28.600 of friendship and hospitality. 02:28.600 --> 02:33.080 The very thing for a nerve ridden English barrister. 02:33.080 --> 02:38.160 I boarded a railroad car at Boston, which deposited me at Morbic Station. 02:38.160 --> 02:42.720 The countryside viewed from the station was as flat, as monotonous as any that the earth 02:42.720 --> 02:44.920 can show. 02:44.920 --> 02:52.520 If to be cured, bent in my case to be dull, then I picked the very place for the purpose. 02:52.520 --> 02:53.520 Mr. Philip LeFranck. 02:53.520 --> 02:55.360 Oh, yes, of course. 02:55.360 --> 02:56.960 You must be cousin Silas. 02:56.960 --> 02:57.960 That's right. 02:57.960 --> 03:00.120 I didn't mean to startle you. 03:00.120 --> 03:05.760 I was fascinated by this very interesting countryside of yours. 03:05.760 --> 03:07.280 Let's start off on an honest footing. 03:07.280 --> 03:10.120 This view is uninspired, Philip. 03:10.120 --> 03:11.120 But it's good farmland. 03:11.120 --> 03:12.120 That's most important. 03:12.120 --> 03:13.120 Is this your luggage? 03:13.120 --> 03:14.120 No, just these bags. 03:14.120 --> 03:15.120 Here, I'll take the big one. 03:15.120 --> 03:16.120 That's all right. 03:16.120 --> 03:18.400 You carry the two small bags. 03:18.400 --> 03:21.840 Oh, but your hand, that bandage, it must be painful. 03:21.840 --> 03:23.520 It's just a scratch. 03:23.520 --> 03:26.920 He couldn't hurt me. 03:26.920 --> 03:32.480 The carriage is this way. 03:32.480 --> 03:36.480 Our ride to Middlecroft Farm passed for the most part in silence. 03:36.480 --> 03:42.040 In silence, seen most appropriate as we drove through a grove of stunted, twisted trees. 03:42.040 --> 03:46.600 On the road ahead, a short, wiry little man walked towards the house. 03:46.600 --> 03:50.000 He glanced over his shoulder, then casually angled to let us pass. 03:50.000 --> 03:53.080 But something went wrong with our horse, when he swerved towards the man. 03:53.080 --> 03:54.080 Watch out! 03:54.080 --> 03:55.080 Hey! 03:55.080 --> 03:57.040 You nearly killed that man. 03:57.040 --> 03:59.240 Next time he'll move out of the way faster. 03:59.240 --> 04:01.520 But you led the horse directly at him. 04:01.520 --> 04:02.520 No matter. 04:02.520 --> 04:05.840 That man was John Jay Gome, my overseer. 04:05.840 --> 04:09.200 Not a very nice man, Philip. 04:09.200 --> 04:10.200 Not nice at all. 04:10.200 --> 04:12.200 Then why do you keep him? 04:12.200 --> 04:17.200 Unfortunately, father left a controlling interest in this estate to my sister. 04:17.200 --> 04:21.200 And Letty feels that Jay Gome can run things better than I can. 04:21.200 --> 04:22.200 That's still no reason. 04:22.200 --> 04:23.200 You might have killed the man. 04:23.200 --> 04:27.880 In which case I would have given him the sort of burial I'd give my dog. 04:27.880 --> 04:31.640 Not my favorite dog, mind you. 04:31.640 --> 04:40.320 A gray house, like a huge toad, squatted massively at the end of the road. 04:40.320 --> 04:44.320 Three barking hounds chased our carriage up to the front porch. 04:44.320 --> 04:47.840 My cousin sent them scampering as we dismounted. 04:47.840 --> 04:53.320 A melancholy, middle-aged woman without visible attraction of any sort, waited for us in the 04:53.320 --> 04:54.320 hallway. 04:54.320 --> 04:59.720 Cousin Philip, I trust the Lord sent you an easy voyage. 04:59.720 --> 05:01.920 A delightful voyage, cousin Letty. 05:01.920 --> 05:04.240 It's very good of you to have me. 05:04.240 --> 05:06.720 Thank my father, rest his soul. 05:06.720 --> 05:11.720 We shall do our best to honor the invitation he extended to your branch of the family. 05:11.720 --> 05:16.240 Silas, did you pass Mr. Jay Gome on your way up? 05:16.240 --> 05:19.060 Yes, I passed him. 05:19.060 --> 05:22.200 You might have been good enough to offer him a lift. 05:22.200 --> 05:25.840 I did, after a fashion. 05:25.840 --> 05:26.840 This way, Philip. 05:26.840 --> 05:28.760 I'll show it to you to your room. 05:28.760 --> 05:30.760 Where is it, eight, Cousin Philip? 05:30.760 --> 05:37.600 We start exactly on the hour. 05:37.600 --> 05:41.040 Silas left me in a clean, almost sterile room. 05:41.040 --> 05:44.280 To pass the time, I made a game of searching for some dust. 05:44.280 --> 05:47.400 It was depressing not to finally. 05:47.400 --> 05:52.640 I paced, I worried, read, and generally tried to keep the gloom of the house from sinking 05:52.640 --> 05:53.640 into my bones. 05:53.640 --> 05:54.640 It was useless. 05:54.640 --> 06:00.000 By eight o'clock, I was morosely trying to decide whether to go down to dinner or to 06:00.000 --> 06:02.480 repack and leave. 06:02.480 --> 06:05.600 My stomach made the decision for me. 06:05.600 --> 06:10.280 I walked out of my room and into the loveliest creature I had ever seen. 06:10.280 --> 06:11.280 I'm sorry. 06:11.280 --> 06:13.400 Oh, no, my fault. 06:13.400 --> 06:14.880 I shouldn't run down hallways. 06:14.880 --> 06:16.760 Of course, you're Philip. 06:16.760 --> 06:19.360 Of course, but they told me nothing about you. 06:19.360 --> 06:22.320 Well, I don't think they're quite sure of how to classify me. 06:22.320 --> 06:23.800 I'm Naomi Colebrooke. 06:23.800 --> 06:25.640 We'd better go downstairs. 06:25.640 --> 06:27.440 We'll miss dinner. 06:27.440 --> 06:29.080 Are you visiting, too, Miss Colebrooke? 06:29.080 --> 06:31.440 Oh, no, I've been here over six months now. 06:31.440 --> 06:34.560 I'm a vague sort of relative. 06:34.560 --> 06:36.960 Lutti and Silas took me in after my parents passed away. 06:36.960 --> 06:38.760 Oh, that was very good of them. 06:38.760 --> 06:40.720 Yes, it was. 06:40.720 --> 06:44.960 But I am glad to have someone else here now. 06:44.960 --> 06:45.960 Is anything wrong? 06:45.960 --> 06:50.720 Well, there are tensions in this house. 06:50.720 --> 06:51.720 You may feel them. 06:51.720 --> 06:53.720 I already have. 06:53.720 --> 06:55.320 There's something most unpleasant about it all. 06:55.320 --> 06:57.640 Oh, please don't let it drive you away. 06:57.640 --> 06:59.840 I have to talk to somebody. 06:59.840 --> 07:00.840 You see, I... 07:00.840 --> 07:02.320 Naomi, where are you? 07:02.320 --> 07:04.320 We're coming, Silas. 07:04.320 --> 07:10.800 We'll talk later. 07:10.800 --> 07:12.760 Dinner started off as a quiet affair. 07:12.760 --> 07:15.640 Naomi, Silas, Lutti and myself were there. 07:15.640 --> 07:21.160 Of course, the fifth person was John Jago, the fellow we'd almost run down. 07:21.160 --> 07:25.240 He acknowledged the introduction to me, then lapsed into silence. 07:25.240 --> 07:30.280 The only time I saw any animation on his face was when he glanced at Naomi. 07:30.280 --> 07:31.680 Silas noticed it too. 07:31.680 --> 07:35.400 You find Miss Naomi's face interesting, Mr. Jago. 07:35.400 --> 07:36.400 I... 07:36.400 --> 07:37.400 I beg your pardon. 07:37.400 --> 07:39.160 Silas, please, don't start in again. 07:39.160 --> 07:42.080 It's offensive for the help to be staring at you like that. 07:42.080 --> 07:45.160 Your imagination is being overworked again, Silas. 07:45.160 --> 07:48.360 Dear Lutti, you're so fond of Mr. Jago. 07:48.360 --> 07:51.440 Is there one small pang of jealousy at his interest in Naomi? 07:51.440 --> 07:52.440 Silas. 07:52.440 --> 07:53.920 I'm sorry, Miss Lutti. 07:53.920 --> 07:58.400 When your brother is in one of these moods, it's best that I retire. 07:58.400 --> 08:00.200 Good night. 08:00.200 --> 08:02.200 Good riddance. 08:02.200 --> 08:04.200 There was no need for that, Silas. 08:04.200 --> 08:07.600 You're too even-tempered, Naomi. 08:07.600 --> 08:09.160 Let's put it to our guest here. 08:09.160 --> 08:12.640 Philip, what did you think of that surly fellow's behavior? 08:12.640 --> 08:13.640 Why, I... 08:13.640 --> 08:14.640 I don't know. 08:14.640 --> 08:20.600 As to looking at Miss Naomi's face, I... it constantly attracts my own gaze. 08:20.600 --> 08:21.600 Oh. 08:21.600 --> 08:22.600 Does it? 08:22.600 --> 08:23.600 Yes. 08:23.600 --> 08:27.160 Does that make it necessary for me to leave the table? 08:27.160 --> 08:28.920 Let's both go for a walk, Philip. 08:28.920 --> 08:30.760 I've had enough of this for one evening. 08:30.760 --> 08:31.760 But Naomi... 08:31.760 --> 08:32.760 Let her be. 08:32.760 --> 08:35.080 Go, Cousin Philip. 08:35.080 --> 08:43.120 I wish to talk to my brother alone. 08:43.120 --> 08:48.440 The danger signal in my head and those flashes of pain did not slacken until we, Naomi and 08:48.440 --> 08:52.360 I, were deep within the grove of trees that surrounded the house. 08:52.360 --> 08:58.000 The moon was full, its rays filtering through the dense overhead growth of twisted branches. 08:58.000 --> 09:03.520 We walked slowly towards a pale green glow that diffused the gray night ahead of us. 09:03.520 --> 09:05.080 What's wrong? 09:05.080 --> 09:07.440 Philip, your face is... 09:07.440 --> 09:08.440 It's party. 09:08.440 --> 09:09.440 It's pain. 09:09.440 --> 09:12.560 The doctor warned me to avoid excitement. 09:12.560 --> 09:15.760 Silas starts up with everyone. 09:15.760 --> 09:18.040 And he turns his anger upon poor Mr. Jago. 09:18.040 --> 09:20.720 Yes, they had a terrible fight the other day. 09:20.720 --> 09:24.080 Mr. Jago had to use a knife to defend himself. 09:24.080 --> 09:25.080 He won't bother me. 09:25.080 --> 09:27.080 I'm not too sure. 09:27.080 --> 09:28.420 He was furious with you at dinner. 09:28.420 --> 09:33.080 I refuse to allow anybody to interfere with the pleasure I take from your company. 09:33.080 --> 09:36.960 But what's causing that green mist ahead? 09:36.960 --> 09:39.440 Oh, that's a natural line kill. 09:39.440 --> 09:43.200 They say it's been burning for centuries. 09:43.200 --> 09:46.560 There's a hypnotic quality about this green pit. 09:46.560 --> 09:48.200 I can't take my eyes from it. 09:48.200 --> 09:49.520 It terrifies me. 09:49.520 --> 09:54.400 I keep imagining what would happen if someone were to fall in there. 09:54.400 --> 09:56.520 Oh, they should put a fence about it. 09:56.520 --> 09:57.520 Philip. 09:57.520 --> 09:58.520 What? 09:58.520 --> 09:59.520 There, by the trees. 09:59.520 --> 10:00.520 Someone's watching us. 10:00.520 --> 10:01.520 Huh? 10:01.520 --> 10:02.520 Who's that? 10:02.520 --> 10:03.520 I, uh, I hope I'm not intruding. 10:03.520 --> 10:04.520 What do you want, Mr. Jago? 10:04.520 --> 10:05.520 I'm not going to tell you. 10:05.520 --> 10:06.520 I'm not going to tell you. 10:06.520 --> 10:07.520 I'm not going to tell you. 10:07.520 --> 10:08.520 I'm not going to tell you. 10:08.520 --> 10:09.600 What do you want, Mr. Jago? 10:09.600 --> 10:12.200 I don't wish to disturb you, all of this gentleman. 10:12.200 --> 10:15.360 But I must speak to you, Miss Naomi, and private. 10:15.360 --> 10:16.960 This is hardly the manor to approach. 10:16.960 --> 10:18.800 Eve's dropping from behind a tree. 10:18.800 --> 10:20.100 Oh, no, sir. 10:20.100 --> 10:22.720 I've just been walking through this grove and came upon you. 10:22.720 --> 10:25.340 But I must talk to this lady. 10:25.340 --> 10:26.860 Who won't it hold until tomorrow? 10:26.860 --> 10:31.020 It would be a great kindness on your part, a very great kindness, if you let me speak 10:31.020 --> 10:32.600 before I rest tonight. 10:32.600 --> 10:33.940 Very well. 10:33.940 --> 10:35.680 We will go back to the house. 10:35.680 --> 10:36.840 Not the house, miss. 10:36.840 --> 10:37.840 Why not? 10:37.840 --> 10:43.680 There are eyes and ears in the house and footsteps so soft that no person can hear them. 10:44.680 --> 10:47.680 Then we'll speak here, where we can see all about us. 10:47.680 --> 10:49.440 Sir, if you don't mind. 10:49.440 --> 10:51.080 I don't want to leave you here near me. 10:51.080 --> 10:54.880 Oh, I'll be quite all right, Philip. Mr. J. Gill will see me back to the house. 10:54.880 --> 10:56.680 You know best. 10:56.680 --> 10:57.320 Good night. 10:57.320 --> 10:59.440 Good night. And thank you. 11:04.240 --> 11:07.440 I slept what little that night. I wanted to leave. 11:07.440 --> 11:09.680 Get away from that wretched house. 11:09.680 --> 11:13.520 But the idea of leaving near me there all alone was unthinkable. 11:13.520 --> 11:17.320 With the dawn, I dressed and went down to the front porch. 11:17.320 --> 11:20.520 An angry sight met my eyes. Silence. 11:20.520 --> 11:24.320 Holding his walking stick like a bludgeon and waving the jago. 11:24.320 --> 11:28.280 While the little overseer crouched before him like a snarling gamecock. 11:28.280 --> 11:30.440 The wicked blade of his knife flashing in the light. 11:30.440 --> 11:33.240 Ah, stay back, I warn you. 11:33.240 --> 11:36.480 You warn me. I told you to stay away from her. 11:36.480 --> 11:38.720 She's not my style, Mr. Silas. 11:38.720 --> 11:40.040 You impudent beggar. 11:40.040 --> 11:41.440 Get back. 11:41.440 --> 11:44.040 I've set my mark on you once. I may do it a second time. 11:44.040 --> 11:45.240 I'll crush your skull. 11:45.240 --> 11:49.240 Stop that. Here. Silas, give me that cane. 11:49.240 --> 11:50.640 Let me go. 11:50.640 --> 11:54.240 I said give it to me. 11:54.240 --> 11:59.080 You meddling fool. He's gotten away. 11:59.080 --> 12:02.840 Just as well. He handled that knife with some knowledge. 12:02.840 --> 12:04.640 You wouldn't have fared well in that fight. 12:04.640 --> 12:08.640 You think not, do you, cousin Philip? 12:08.640 --> 12:09.920 May I have my stick now? 12:09.920 --> 12:12.240 You must have it. Here. 12:12.240 --> 12:14.480 Thank you. 12:14.480 --> 12:18.720 And I'd like to walk through the grove unless you have some objection. 12:18.720 --> 12:20.720 So we will insist on following him. 12:20.720 --> 12:24.120 We will finish this now, Jago and I. 12:24.120 --> 12:27.440 And this is a warning to you, cousin Philip. 12:27.440 --> 12:36.240 Leave Naomi alone or you may have some of the same. 12:36.240 --> 12:39.840 Neither of them had returned to the house by late afternoon. 12:39.840 --> 12:41.440 Naomi stayed in her room all day. 12:41.440 --> 12:44.240 Cousin Letty sat in her rocking chair and knitted. 12:44.240 --> 12:49.120 Her eyes never leaving the front door as she waited fearfully. 12:49.120 --> 12:53.440 The ugly premonition of violent death hung about the rooms. 12:53.440 --> 12:56.720 Finally, approaching footsteps. 12:56.720 --> 13:05.120 And we watched to see who would enter. 13:05.120 --> 13:10.320 Silas, where is Mr. Jago? 13:10.320 --> 13:12.800 I believe we've seen the last of that one. 13:12.800 --> 13:15.840 Did you? You haven't brought your walking stick. 13:15.840 --> 13:21.120 No. Don't fear, cousin Philip. I have another. 13:21.120 --> 13:30.480 Should you want to take a stroll through the grove? 13:30.480 --> 13:35.760 Much later that night, I sat in my room fully dressed, trying to read. 13:35.760 --> 13:39.440 The wildest thoughts were skipping, fluttering through my mind. 13:39.440 --> 13:43.760 Was my cousin Silas a murderer? He had all but admitted it. 13:43.760 --> 13:48.800 And yet, someone was walking through the hall. 13:48.800 --> 13:52.320 A light on the stealthy footstep. 13:52.320 --> 13:59.360 I opened my door as a wide-robed, ghost-like figure descended the stairway. 13:59.360 --> 14:05.200 It was Letty, her body rigid, staring blindly before her. 14:05.200 --> 14:09.360 It is dangerous to row as a sleepwalker, so I followed. 14:09.360 --> 14:15.360 Out of the house, through the grove of trees, to the mouth of the lime kiln. 14:15.360 --> 14:17.920 She stood there, trembling in the green light. 14:17.920 --> 14:21.520 As she took one further step towards the kiln, I reached out and grabbed her shoulders. 14:21.520 --> 14:25.360 No! It's me! It's Philip! Letty, do you understand? 14:25.360 --> 14:34.560 Yes, Philip. Yes. He's there. Mr. Jago is there in the kiln. 14:34.560 --> 14:35.040 How do you know? 14:36.320 --> 14:41.520 He called to me. His voice. He came from there. 14:41.520 --> 14:44.400 That was a dream, Letty. You walked in your sleep. 14:44.400 --> 14:47.520 No dream. He's in there, I tell you. 14:47.520 --> 14:51.600 There's nothing we can do. Nobody could climb down into that pit to see. 14:51.600 --> 14:55.840 Over there, by the tree, a long pole with a mesh iron net. 14:56.800 --> 15:02.800 You'll see. Mr. Jago is in there. He told me so. 15:07.680 --> 15:13.120 And in the black of that night, I set about the macabre task of fishing the kiln. 15:13.120 --> 15:17.680 Within the hour, I had brought up a partially burned walking stick, 15:18.400 --> 15:23.440 Jago's knife, and a small heap of charred bones. 15:34.480 --> 15:39.920 Auto Light is bringing you Mr. Herbert Marshall in Wilkie Collins' The Dead Alive. 15:39.920 --> 15:45.680 Tonight's presentation in radio's outstanding theater of thrills, Suspense. 15:55.040 --> 15:57.200 Hey, Harlow, you know I signed a whole new team. 15:57.200 --> 15:59.040 Yeah? Stan, who are they? 15:59.040 --> 16:02.480 Why, a set of those Auto Light Resistor-type spark plugs, of course. 16:02.480 --> 16:05.840 Oh, then you're set for a winning season, Stan. 16:05.840 --> 16:09.280 Those Auto Light Resistor Spark Plugs are the greatest advantage. 16:09.280 --> 16:13.760 The greatest advance in spark plugs for automotive use in the past two and a half decades. 16:13.760 --> 16:16.800 Is that all? I thought they was the best in 25 years. 16:17.920 --> 16:23.280 You're right, Stan. And that built-in Auto Light Resistor makes possible such advantages 16:23.280 --> 16:27.280 as double spark plug life, smoother engine performance, and quick starts. 16:27.920 --> 16:32.800 And the Resistor Spark Plug is only one of a complete line of world-famous Auto Light Spark 16:32.800 --> 16:36.320 Plugs, ignition engineered for every automotive use. 16:36.320 --> 16:37.760 That's a straight pitch, folks. 16:37.760 --> 16:43.040 So see your nearest Auto Light Spark Plug dealer for a spark plug check soon. 16:43.040 --> 16:48.320 He services all makes of cars, and he has ignition engineered Auto Light Spark Plugs, 16:48.320 --> 16:50.720 either standard or resistor type. 16:50.720 --> 16:56.800 To quickly learn his location, phone Western Union by number and ask for operator 25. 16:56.800 --> 17:02.240 And remember, from bumper to tail light, you're always right with Auto Light. 17:02.240 --> 17:07.440 And now, Auto Light brings back to our Hollywood sound stage, Mr. Herbert Marshall. 17:07.440 --> 17:15.920 In Elliot Lewis's production of The Dead Alive, a tale well calculated to keep you in suspense. 17:25.600 --> 17:28.480 On the parlor table were lying the walking stick, the knife, 17:29.360 --> 17:31.200 and the charred bones of John Jago. 17:32.080 --> 17:36.880 I'd roused near me in silence, and now the four of us sat around the room, 17:36.880 --> 17:39.840 our eyes studiously avoiding the grisly pile before us. 17:40.960 --> 17:44.880 The light from the oil lamps failed to clear shadows from the dark corners of the parlor. 17:46.000 --> 17:50.320 And so we sat and waited for the silence to accuse. 17:51.040 --> 17:52.720 I didn't kill him. 17:52.720 --> 17:54.560 You have murder on your soul. 17:55.440 --> 17:57.760 Mr. Jago told me that too. 17:57.760 --> 18:00.160 Oh, in your dream, I suppose. 18:00.160 --> 18:01.760 He never cared for you, Lattie. 18:01.760 --> 18:03.760 Why do you carry on so about him? 18:03.760 --> 18:06.640 He was too shy to tell me. 18:07.600 --> 18:11.280 And now he never will, for you killed him. 18:12.160 --> 18:13.760 That is your stick, Silas. 18:13.760 --> 18:16.160 I stumbled near the kill. It fell in. 18:16.160 --> 18:18.320 And the knife and the bone, Silas? 18:18.320 --> 18:20.480 You killed him, Silas. 18:21.760 --> 18:23.600 And make the most of it. 18:24.320 --> 18:25.520 I'm going to bed. 18:27.040 --> 18:30.000 There's nothing more to be done tonight. We may as well all get some sleep. 18:30.000 --> 18:31.520 I don't think I'll ever sleep again. 18:31.520 --> 18:35.680 At least try, Naomi. Tomorrow we'll have to call in the magistrate. 18:37.520 --> 18:38.720 Aren't you coming, Lattie? 18:38.720 --> 18:42.160 Oh, I'll stay here with Mr. Jago. 18:42.720 --> 18:43.600 Lattie, please. 18:44.640 --> 18:45.140 No. 18:45.760 --> 18:46.800 Leave her, Naomi. Come. 18:49.440 --> 18:51.680 Oh, Philip, why did it happen? 18:51.680 --> 18:53.280 You probably know best of all. 18:54.320 --> 18:55.200 I know nothing. 18:55.200 --> 18:58.560 No? What did Jago say to you the other night in the garden? 18:58.560 --> 19:01.440 Nothing. The police will want to know. 19:03.680 --> 19:06.560 We'd been talking. I don't recall about what. 19:07.920 --> 19:10.160 Suddenly he seemed to go mad. 19:11.040 --> 19:12.080 Mad? In what way? 19:12.640 --> 19:16.000 He fell on his knees. He kissed my gar, my hand. 19:17.120 --> 19:19.440 He cried that he was in love with me. 19:20.000 --> 19:23.600 Poor fellow. I imagine you told him it was impossible. 19:23.600 --> 19:26.080 He wanted me to marry him. Of course it was impossible. 19:26.080 --> 19:28.320 Oh, Cyrus must have found it out. 19:29.440 --> 19:31.440 That could explain the why of this murder. 19:32.400 --> 19:34.000 Well, I can't stay here anymore. 19:34.000 --> 19:37.600 Nor can I. Tomorrow we'll move into town until the police clear us. 19:37.600 --> 19:38.480 And then... 19:38.480 --> 19:39.360 What then, Philip? 19:41.680 --> 19:42.480 Good Lord, what's that? 19:43.360 --> 19:44.560 Oh, don't leave me. 19:44.560 --> 19:46.800 Well, it's too late to catch whoever that was. 19:46.800 --> 19:47.760 Someone overheard us. 19:47.760 --> 19:51.120 Yes, someone. Here. Get into your room, 19:51.120 --> 19:54.240 bolt your door and don't open it for anyone. You hear? 19:54.240 --> 19:55.680 Oh, Philip, I'm so afraid. 19:55.680 --> 19:58.160 Truthfully, darling, so am I. 20:04.960 --> 20:07.440 If ever a house were ever cursed, this was it. 20:08.080 --> 20:11.120 With madness or worse, mocking from every crevice and corner. 20:12.160 --> 20:15.040 In my room, I locked the door and went to bed. 20:15.920 --> 20:18.560 Sleep did not come easily, but it came. 20:20.080 --> 20:24.320 I must have just dropped off when some innocence warned me of a presence in the room. 20:24.320 --> 20:26.960 Something was gliding quietly towards the bed. 20:28.160 --> 20:31.360 I half opened my eyes and caught the dark shadow of movement 20:31.920 --> 20:33.920 and the momentary flash of metal. 20:34.560 --> 20:38.160 I rolled out of bed as a knife snatched into the mattress where I'd been lying. 20:39.200 --> 20:44.160 My assailant followed me, slashing, hacking at the pillow, the chair that I held before me. 20:44.160 --> 20:47.120 I tried to get out of the door, but he still bolted. 20:47.760 --> 20:50.960 I slipped the bolt and the shadow rushed driving me back. 20:51.440 --> 20:52.960 In terror, I threw a lamp. 20:52.960 --> 20:55.360 In terror, I threw a lamp and hit someone. 20:57.760 --> 20:58.960 It was suddenly over. 21:00.000 --> 21:02.400 The knife wielder had gone. 21:10.240 --> 21:15.520 I fired a lamp, then stood, staring at the butcher knife that lay on the floor. 21:16.320 --> 21:18.560 My being revolted in fear and anger. 21:18.560 --> 21:25.680 I was sick, sick of this house, of my cousins, sick of waiting to be struck down in the dark. 21:26.560 --> 21:27.360 Get up, Silas. 21:28.560 --> 21:29.200 Who's there? 21:29.200 --> 21:30.720 Stop pretending you're asleep. 21:30.720 --> 21:33.200 Philip, the devil's the matter with you? 21:33.840 --> 21:35.920 Nay, I wouldn't have had you under any circumstances. 21:36.800 --> 21:38.640 What did you hope to gain by killing me? 21:38.640 --> 21:39.360 Killing you. 21:40.160 --> 21:44.640 If I wanted to kill you, cousin, I would face up to you like a man not strike in the dark. 21:44.640 --> 21:46.320 Who else in this house would do a thing like that? 21:46.320 --> 21:47.360 What of Letty? 21:47.360 --> 21:47.920 Letty. 21:49.920 --> 21:50.960 It couldn't have been a woman. 21:51.680 --> 21:54.480 Don't underestimate our New England women, Philip. 21:55.200 --> 21:56.400 They're strong as oxen. 21:57.520 --> 21:59.920 You'd better come along with me while I question her. 21:59.920 --> 22:01.200 You don't trust me? 22:01.200 --> 22:02.000 Exactly. 22:07.680 --> 22:13.200 Letty was still in the parlour, staring at the bones of her dead lover, sitting stoically in her chair. 22:13.200 --> 22:15.200 Something had changed her, though. 22:16.000 --> 22:18.000 There was an ecstatic look about her. 22:18.480 --> 22:20.480 And for the moment, her face was... 22:21.120 --> 22:22.320 almost pretty. 22:23.600 --> 22:24.400 Letty. 22:25.600 --> 22:27.120 Someone just tried to kill me. 22:27.840 --> 22:28.800 I know. 22:29.520 --> 22:30.800 How do you know? 22:31.440 --> 22:33.600 Mr. Jaco told me you were going to die. 22:33.600 --> 22:36.320 She won't grasp the fact that John is dead. 22:36.320 --> 22:38.000 Oh, yes, I know he's dead. 22:38.800 --> 22:40.800 But now he's closer to me than ever. 22:40.800 --> 22:44.800 He comes to see me and talk to me. 22:46.320 --> 22:50.320 Did you go upstairs, Letty, to my room with a knife? 22:50.320 --> 22:52.320 Mr. Jaco told me I was pretty. 22:53.520 --> 22:55.520 I asked him if I was. 22:56.800 --> 22:58.800 And he told me. 22:59.840 --> 23:01.840 He's dead now. 23:02.400 --> 23:04.400 But he's with me all the time. 23:05.600 --> 23:08.800 Well, Philip, are you still in the parlour? 23:08.800 --> 23:12.800 Well, Philip, are you still quite positive it was I? 23:12.800 --> 23:14.800 Naomi! 23:19.600 --> 23:22.400 I ran up the stairs, Silas at my heels. 23:22.400 --> 23:24.800 A nagging, insane thought kept tugging at my brain. 23:25.520 --> 23:28.560 Letty, Silas and myself had been together in the parlour. 23:28.560 --> 23:29.760 Then who was it? 23:29.760 --> 23:30.400 What was it? 23:31.040 --> 23:33.440 What horror was attacking Naomi in her room? 23:34.480 --> 23:37.520 Naomi! Open this door! It's me, Philip! 23:37.520 --> 23:38.960 Naomi, are you all right? 23:38.960 --> 23:40.960 Stand back! I'm going to break it open! 23:46.480 --> 23:47.680 She's not here. 23:47.680 --> 23:48.640 The window's been smashed. 23:50.000 --> 23:51.360 There's nobody in the yard. 23:51.360 --> 23:54.000 Look, over through the grove, the branches sway. 23:55.120 --> 23:56.480 Something moving through there. 23:56.480 --> 23:57.600 That one again! 23:57.600 --> 23:58.400 But who? 23:58.400 --> 23:58.960 Oh, what? 23:59.920 --> 24:02.480 Silas, can your dogs track? 24:02.480 --> 24:03.600 Of course, they're hunting dogs. 24:03.600 --> 24:05.040 And bring them around and put them on the scent. 24:05.760 --> 24:06.960 Whatever that thing is, 24:06.960 --> 24:07.760 it has Naomi. 24:14.000 --> 24:15.840 The dogs picked up the scent and ran, 24:15.840 --> 24:17.120 baying into the tree grove. 24:17.680 --> 24:21.120 Silas and I, lantern spraying yellow light through the darkness, 24:21.120 --> 24:21.600 followed. 24:22.240 --> 24:23.520 Somewhere ahead, there was something! 24:24.240 --> 24:25.360 Man or monster! 24:26.000 --> 24:26.800 Without a mind! 24:28.000 --> 24:31.040 Suddenly at the lime kiln, the dogs stopped howling. 24:31.680 --> 24:34.720 We saw Naomi lying by the edge of the pit. 24:34.720 --> 24:35.760 I knelt beside her, 24:35.760 --> 24:38.000 feeling the life beat feebly through her pulse. 24:39.360 --> 24:41.280 And then, another feeling. 24:42.080 --> 24:44.400 The air parting behind me, 24:45.040 --> 24:46.480 as something crept towards my back. 24:47.360 --> 24:49.280 Something poised to push me into the kiln. 24:50.240 --> 24:52.880 I turned sharply and a shadow flowed backwards, 24:53.600 --> 24:55.120 crossing to the opposite side of the pit. 24:55.840 --> 24:59.520 The green glow stippled around the form of a man. 24:59.920 --> 25:00.880 John Jago. 25:00.880 --> 25:01.680 Alive! 25:01.680 --> 25:03.280 Yes, very much so. 25:03.280 --> 25:07.280 Though it would have been nice to have Mr. Silas hang for my murder. 25:07.280 --> 25:09.360 Your plans for me were very much more direct. 25:09.360 --> 25:11.120 I would kill for Miss Naomi! 25:11.120 --> 25:13.360 Not just talk like Mr. Silas! 25:13.360 --> 25:15.120 You think she'd have our luck to you? 25:15.120 --> 25:18.240 Someday, Mr. Silas, with you and your cousin dead. 25:18.240 --> 25:19.440 Oh, my yes. 25:20.160 --> 25:22.640 I would return, aiding loss of memory. 25:22.640 --> 25:24.240 You can't work out now, John. 25:25.040 --> 25:26.240 You best come along with us. 25:26.240 --> 25:27.680 Oh, take me, sirs. 25:27.680 --> 25:28.720 Come over here. 25:28.720 --> 25:29.920 I'll be glad to. 25:29.920 --> 25:31.200 Wait, Silas, he's too close to the pit. 25:31.200 --> 25:33.360 A slip and we'd all be in. 25:33.360 --> 25:34.320 Try, please. 25:34.320 --> 25:35.760 I'm a match for you both. 25:35.760 --> 25:37.280 Mr. Jago, I hear you. 25:37.280 --> 25:38.560 I'm coming, Mr. Jago. 25:38.560 --> 25:40.080 No, no, no, stay back, Letty. 25:40.080 --> 25:41.760 I have no use for you anymore. 25:41.760 --> 25:43.760 You said I was pretty, Mr. Jago. 25:44.160 --> 25:45.440 You said that to me. 25:45.440 --> 25:46.800 Letty, don't go near him. 25:46.800 --> 25:49.280 Keep away, you stupid, ugly woman. 25:49.280 --> 25:50.160 No. 25:50.720 --> 25:53.280 You didn't say things like that in the lime kiln. 25:54.160 --> 25:55.040 In the kiln. 25:55.040 --> 25:55.760 Letty! 25:55.760 --> 25:56.560 Keep back. 25:56.560 --> 25:57.280 Keep back! 25:57.280 --> 25:58.320 Mr. Jago! 25:58.320 --> 25:59.120 No! 25:59.120 --> 26:01.360 No! 26:01.360 --> 26:02.960 Letty, Letty. 26:03.840 --> 26:05.040 They're both gone. 26:06.560 --> 26:07.760 Poor devils. 26:16.480 --> 26:18.640 It was the next day in the carriage, 26:19.120 --> 26:20.640 riding back to town, 26:21.120 --> 26:22.560 near me, beside me, 26:23.040 --> 26:24.480 the sight of her lovely face 26:24.480 --> 26:26.960 driving away ugly thoughts of the night before. 26:26.960 --> 26:29.040 Is it all behind us now, Philip? 26:29.040 --> 26:30.080 All that hatred? 26:30.080 --> 26:31.280 It's finished, my darling. 26:32.080 --> 26:34.320 There's just you and I 26:35.120 --> 26:36.560 and our future together. 26:36.560 --> 26:38.080 A peaceful future. 26:39.040 --> 26:40.640 We'll have to watch your nerves. 26:40.640 --> 26:41.680 Nerves? 26:42.160 --> 26:43.440 Oh, my lord. 26:44.480 --> 26:46.800 In the excitement, I forgot all about it. 26:46.800 --> 26:48.720 But the excitement might have killed you. 26:48.720 --> 26:49.840 Killed! 26:49.840 --> 26:51.040 It cured me. 26:51.920 --> 26:53.280 That doctor was wrong. 26:53.280 --> 26:55.120 My life was too dull. 26:55.120 --> 26:57.200 Then excitement is what you need. 26:57.200 --> 26:58.000 Yes. 26:59.680 --> 27:02.960 I've been thinking about our honeymoon. 27:04.160 --> 27:06.800 There's a wonderful old castle on the Rhine. 27:06.800 --> 27:23.280 They say it's haunted. 27:37.360 --> 27:40.240 This is Harlow Wilcox again speaking for Autolight, 27:40.240 --> 27:42.640 world's largest independent manufacturer 27:42.640 --> 27:44.800 of automotive electrical equipment. 27:44.800 --> 27:48.480 Autolight is proud to serve the greatest names in the industry. 27:48.480 --> 27:51.680 That's why during these early months of 1953, 27:51.680 --> 27:55.600 the Autolight family is again saluting the leading manufacturers 27:55.600 --> 27:58.640 who install Autolight products as original equipment. 27:59.280 --> 28:01.760 As a climax to this salute series, 28:01.760 --> 28:04.800 Autolight will present on both radio and television 28:04.800 --> 28:08.000 the Easter Parade of Stars Auto Show 28:08.000 --> 28:10.240 from New York's Waldorf Historia Hotel. 28:10.960 --> 28:12.320 Just four weeks from tonight, 28:12.320 --> 28:15.200 we will bring you the exciting dramatization 28:15.200 --> 28:18.720 of the only round-the-world automobile race ever run. 28:19.360 --> 28:21.600 The program will star Van Johnson 28:21.600 --> 28:24.800 and will originate from the grand ballroom of the Waldorf, 28:24.800 --> 28:27.040 where the auto show will be in progress. 28:27.040 --> 28:29.280 That's Monday, April 6th. 28:29.280 --> 28:31.760 And of course, you're invited to join us next week 28:31.760 --> 28:35.040 for our regular Suspense program. 28:40.000 --> 28:42.480 Next week, a story about heroism 28:42.480 --> 28:45.280 as we document the attempt of three brave men 28:45.280 --> 28:47.280 to conquer the mountain. 28:47.840 --> 28:49.840 Our star, Mr. John Hodiac. 28:50.400 --> 28:53.440 That's next week on Suspense. 28:55.760 --> 28:58.240 Suspense is produced and directed by Elliot Lewis 28:58.240 --> 29:00.400 with music composed by Lucian Morawick 29:00.400 --> 29:02.560 and conducted by Lud Gluskin. 29:02.560 --> 29:06.000 The Dead Alive was adapted for Suspense by Sam Rolfe 29:06.000 --> 29:08.160 from the story by Wilkie Collins. 29:08.160 --> 29:11.520 In tonight's story, Mary Jane Croft as Hurt as Naomi, 29:11.520 --> 29:12.880 Lamont Johnson as Silas, 29:12.880 --> 29:14.800 Jeanette Nolan as Letty, 29:14.800 --> 29:17.200 and Joseph Kearns as Mr. Jago. 29:17.200 --> 29:19.040 Herbert Marshall can currently be seen 29:19.040 --> 29:20.960 in the RKO production Angel Face. 29:20.960 --> 29:28.640 This is the CBS Radio Network.