WEBVTT 00:00.000 --> 00:10.720 Auto Light and its 98,000 dealers bring you Miss Agnes Moorhead in tonight's presentation 00:10.720 --> 00:15.720 of Suspense. 00:15.720 --> 00:24.560 Tonight, Auto Light presents a story in the classic tradition of suspense, a new version 00:24.560 --> 00:30.440 of Charles Dickens' terrifying short story, The Signal Man, our star, the first lady of 00:30.440 --> 00:40.840 suspense, Miss Agnes Moorhead. 00:40.840 --> 00:44.400 Why it's Oscar, the super smooth and scintillating sedan. 00:44.400 --> 00:46.200 Super smooth is right, Harlow. 00:46.200 --> 00:49.000 I'm equipped with an auto light electrical system. 00:49.000 --> 00:53.600 Ah, there's none better, Oscar, and it's because your auto light electrical system is designed 00:53.600 --> 00:59.320 to operate as a team with all units and component parts related by auto light engineering design 00:59.320 --> 01:03.960 and manufacturing skill to give you the smoothest performance money can buy. 01:03.960 --> 01:07.360 I know how important the electrical system is, Harlow. 01:07.360 --> 01:12.640 Sure you do, Oscar, and you know too how important it is to have only auto light original service 01:12.640 --> 01:17.840 parts used when replacements are needed, because only these parts are designed by auto light 01:17.840 --> 01:23.480 engineers who design complete electrical systems used as original equipment on many leading 01:23.480 --> 01:26.520 makes of our finest cars, trucks, and tractors. 01:26.520 --> 01:31.960 So friends, always insist on auto light original service parts for your auto light equipped 01:31.960 --> 01:32.960 car. 01:32.960 --> 01:33.960 It pays in performance. 01:33.960 --> 01:40.840 And remember, from bumper to tail light, you're always right with auto light. 01:40.840 --> 01:47.240 And now, Auto Light presents transcribed, The Signal Man, starring Miss Agnes Moorhead, 01:47.240 --> 01:54.240 hoping once again to keep you in suspense. 01:54.240 --> 02:21.560 Make the most of this moment to TOŠ“ fahrenheit in a few days, and make the most of the change 02:21.560 --> 02:35.120 It smashed by like a wounded monster screaming in pain and disappeared into the dark tunnel. 02:35.120 --> 02:41.480 In those brief seconds, I had relived the emotions of my childhood. 02:41.480 --> 02:45.280 I still trembled with the child's terror and fascination that had surged through me the 02:45.280 --> 02:49.120 many times I stood here 20 years before. 02:49.120 --> 02:53.920 Everything had changed. The steep, dripping wet walls of jagged stone that led down to 02:53.920 --> 02:59.680 the tracks. The gloomy mouth of the tunnel. The small signalman's shack huddled against 02:59.680 --> 03:05.480 the side of the cutting. Even the job was held by the same man, they told me, in the 03:05.480 --> 03:10.960 village. He stood there in the glow of an angry sunset, furling a signal flag around 03:10.960 --> 03:14.720 a short pole. I called to him. 03:14.720 --> 03:20.000 Hello, below. 03:20.000 --> 03:25.200 Instead of looking up at me, he turned tensely to stare toward a red signal light that glowed 03:25.200 --> 03:28.200 at the mouth of the tunnel. 03:28.200 --> 03:33.200 Hello, below there. 03:33.200 --> 03:38.800 He finally turned, slowly it seemed to me, even fearfully and looked up. He stared at 03:38.800 --> 03:46.800 me unanswering. I was afraid the suddenness of my call had unnerved him. I tried to compensate 03:46.800 --> 03:49.800 by being overly casual. 03:49.800 --> 03:59.200 Hello, I would like to speak to you. Is there a path I can use to come down? 03:59.200 --> 04:03.800 He stared silently a while longer, then finally pointed his flag to a spot in the cutting 04:03.800 --> 04:09.800 embankment. It was a zigzag path with small footholds cut through the clammy stone. The 04:09.800 --> 04:16.800 track seemed a mile below, but I was determined to get down. 04:16.800 --> 04:21.560 Midway I sensed a vague vibration of earth and air, like a sound that could be felt but 04:21.560 --> 04:27.440 not heard. I tried to fight down a fear that suddenly gripped me. The air was filled with 04:27.440 --> 04:33.360 a violent pulsation. It seemed to have a force that could draw me down. I threw my hands 04:33.360 --> 04:38.360 up to my eyes as though to shut out some terrible sight. I flattened myself against the jagged 04:38.360 --> 04:55.360 rock and clutched hard. 04:55.360 --> 05:00.640 Then I was angry with myself, ashamed of this uncontrolled childish reaction. I could see 05:00.640 --> 05:05.720 the signal man still staring at me. I climbed down the rest of the way quickly, carelessly, 05:05.720 --> 05:11.160 and I walked toward him with a casual smile. He watched me expectantly. 05:11.160 --> 05:19.520 Hello, I'm Amy Sayers. I used to live in the village. I was anxious to speak to you. 05:19.520 --> 05:24.120 I'm sorry I startled you when I called down. 05:24.120 --> 05:28.200 Why did you use those words? 05:28.200 --> 05:34.200 Those words? I hardly remember. I think I shouted, hello, below there, or something 05:34.200 --> 05:35.640 to that effect. 05:35.640 --> 05:41.600 Not to that effect, Miss. Those were the very words. I know them well. Admit those were 05:41.600 --> 05:42.600 the words. 05:42.600 --> 05:43.600 All right, I admit. 05:43.600 --> 05:45.040 Why did you use them? 05:45.040 --> 05:50.360 Well, you were below. I wanted to attract your attention, so I called hello, below there. 05:50.360 --> 05:52.080 It seems logical, doesn't it? 05:52.080 --> 05:55.320 Aye, Miss. If you had no other reason. 05:55.320 --> 05:57.480 What other reason could I possibly have? 05:57.480 --> 06:00.440 I thought you would tell me. 06:00.440 --> 06:04.440 I'm sorry. Maybe I shouldn't have come down. I think I frightened you. 06:04.440 --> 06:06.080 Why would you think that, Miss? 06:06.080 --> 06:10.160 Well, you stare at me as though you had a dread of me. 06:10.160 --> 06:15.560 Aye, Miss. I was doubtful whether I had seen you before. 06:15.560 --> 06:20.300 Well, if you have, it was when I was eight years old, standing on that bridge over the 06:20.300 --> 06:25.720 tunnel up there. I used to love watching the trains. Then my family moved to the city. 06:25.720 --> 06:30.880 This is my first visit back in twenty years. You don't believe me? 06:30.880 --> 06:32.480 I'm not certain. 06:32.480 --> 06:36.080 But where could you have seen me? 06:36.080 --> 06:37.080 Don't you know? 06:37.080 --> 06:39.600 Well, since I've been away for twenty years. 06:39.600 --> 06:43.480 Up there, by the red signal light at the mouth of the tunnel. 06:43.480 --> 06:47.640 Oh, that's why you turned and stared there when I first called. 06:47.640 --> 06:49.280 Aye, Miss. 06:49.280 --> 06:51.080 What would I be doing up at the signal light? 06:51.080 --> 06:58.080 I don't know. I wish I... It is a mistake, Miss. I haven't been well. 06:58.560 --> 07:00.600 What is it you wish to speak to me about? 07:00.600 --> 07:03.520 Well, I'm a writer. I wanted to interview you. 07:03.520 --> 07:05.600 Me? Why me, Miss? 07:05.600 --> 07:10.760 Well, my magazine does a weekly biographical piece on interesting people and unusual occupations. 07:10.760 --> 07:11.760 It's called Close Up. 07:11.760 --> 07:13.360 Aye, Miss. I've read it. 07:13.360 --> 07:14.360 You have? 07:14.360 --> 07:15.360 You seem surprised. 07:15.360 --> 07:18.200 Oh, pleased, perhaps. 07:18.200 --> 07:20.520 That one so unsophisticated as I... 07:20.520 --> 07:22.600 I really didn't mean it that way. 07:22.600 --> 07:27.600 There's a pit of a fire in my shack. It'd be more comfortable for you there. 07:27.600 --> 07:29.640 Yes, thank you. 07:29.640 --> 07:34.640 Aye, this is a lonely post. Visitors must be rare. 07:34.640 --> 07:40.280 Aye, Miss. The branch superintendent makes an annual inspection. 07:40.280 --> 07:43.280 That's all, except for... 07:43.280 --> 07:44.280 Yes? 07:44.280 --> 07:46.280 Come in, please. 07:46.280 --> 07:50.320 Oh, how snug and comfortable. 07:50.320 --> 07:54.000 Most of my waking life is spent here. I've tried to make it pleasant. 07:54.000 --> 07:59.200 And you've succeeded. You were speaking of visitors just as we came in. 07:59.200 --> 08:02.200 I'll put this chair nearer the fireplace. 08:02.200 --> 08:03.200 Thank you. 08:03.200 --> 08:05.200 One chills out there. 08:05.200 --> 08:08.200 I say you have a fine collection of books. 08:08.200 --> 08:11.760 They've given me much companionship in the long nights. 08:11.760 --> 08:14.760 Pretty weighty companions, given decline and fall. 08:14.760 --> 08:18.240 Burton's Anatomy of the Melancholy. Darwin... 08:18.240 --> 08:20.760 Do they surprise you again, Miss? 08:20.760 --> 08:25.160 May I be frank? I'll have to be if I'm to succeed with the article. 08:25.160 --> 08:27.560 My editor is only interested, you know, in the... 08:27.560 --> 08:28.560 Odd? 08:28.560 --> 08:29.560 The unusual. 08:29.560 --> 08:34.000 And the level of my reading seems above the level of my station. 08:34.000 --> 08:36.680 Not many people in any station these days... 08:36.680 --> 08:39.680 Come, Miss, to you called for frankness. 08:39.680 --> 08:41.680 Thank you, sir. 08:41.680 --> 08:45.360 Why would a man with a mind capable of absorbing these subjects 08:45.360 --> 08:47.360 stay on a desolate job like this? 08:47.360 --> 08:51.360 Good, Miss. And I take no offense. 08:51.360 --> 08:57.360 You see, I had when young been very interested in the natural philosophies. 08:57.360 --> 08:58.360 Oh? 08:58.360 --> 09:01.360 I set my course, I studied hard, planned the future. 09:01.360 --> 09:08.360 Then I ran wild, misused my opportunities, went down, I've never risen again. 09:08.360 --> 09:12.360 I've no complaint. I've made my bed. It's too late to make another. 09:12.360 --> 09:14.360 Maybe you gave up too soon. 09:14.360 --> 09:19.360 No, Miss, no. There are forces beyond us that shape us. 09:19.360 --> 09:22.360 One must know when not to resist. 09:22.360 --> 09:26.360 I might have bloodied myself a while longer, but I knew... 09:26.360 --> 09:29.360 I took this position 34 years ago. 09:29.360 --> 09:31.360 And you never regretted? 09:31.360 --> 09:34.360 No. Not until... 09:34.360 --> 09:36.360 Won't you please tell me? 09:36.360 --> 09:39.360 You first tell me what brought you here. 09:39.360 --> 09:40.360 But I have. 09:40.360 --> 09:44.360 You said nothing of what made you think of this place specifically. 09:44.360 --> 09:46.360 There are many places and people. 09:46.360 --> 09:49.360 Well, I told you I used to come here as a child. 09:49.360 --> 09:52.360 The trains frightened and fascinated me. 09:52.360 --> 09:54.360 I always remembered it vividly through the years. 09:54.360 --> 09:58.360 I promised myself that one day I would come back and do a story on it. 09:58.360 --> 10:00.360 Good subjects aren't easy to find, you know. 10:00.360 --> 10:03.360 Why did you choose just now to come? 10:03.360 --> 10:07.360 Oh, these ideas germinate in the writer's mind for a while, and then an impulse... 10:07.360 --> 10:11.360 And you were drawn here? 10:11.360 --> 10:15.360 You say that as though mystic forces were involved. 10:15.360 --> 10:17.360 It was much simpler, I assure you. 10:17.360 --> 10:21.360 I've been working hard. I decided that a few days in the country would do me good. 10:21.360 --> 10:25.360 I planned to use them profitably by doing a story on you. 10:25.360 --> 10:29.360 You might have come to that decision last month or last year. 10:29.360 --> 10:35.360 Well, that's true, but I can't see why you attach such special significance to the fact that I... 10:35.360 --> 10:37.360 Hey! 10:53.360 --> 10:56.360 Why do they frighten you so? 10:56.360 --> 11:01.360 Now, wouldn't you think I might outgrow that silly, childish... 11:01.360 --> 11:06.360 Well, if I was drawn here, as you say, I guess it was to see whether I had. 11:06.360 --> 11:11.360 The modern psychiatrist would say it was a desire to relive a childhood experience. 11:11.360 --> 11:14.360 Aye, Miss, there are many answers. 11:14.360 --> 11:17.360 Why are you staring at me so? 11:17.360 --> 11:19.360 Oh, was I staring at you? 11:19.360 --> 11:23.360 Please, please, you promised something is preying on your mind. 11:23.360 --> 11:25.360 Can't you tell me? 11:25.360 --> 11:29.360 It's... it's very difficult to impart, Miss. 11:29.360 --> 11:31.360 Very difficult to speak of. 11:31.360 --> 11:35.360 If you ever make another trip, I will try to tell you. 11:35.360 --> 11:41.360 Yes, yes, of course, and I will have to make several trips before the story takes shape. 11:41.360 --> 11:43.360 When may I come again? Tomorrow? 11:43.360 --> 11:45.360 Oh, aye, Miss, if you wish. 11:45.360 --> 11:47.360 I'll come at eleven. 11:47.360 --> 11:51.360 You, uh, won't have difficulty getting up? 11:51.360 --> 11:54.360 No, no, it was only that first trip down. 11:54.360 --> 11:56.360 I'll show my white light till you reach the top. 11:56.360 --> 11:57.360 Thank you. 11:57.360 --> 11:59.360 I'll say good night now, Miss. 11:59.360 --> 12:02.360 Good night, sir. I wish you a pleasant one. 12:02.360 --> 12:03.360 I regret I... 12:03.360 --> 12:05.360 Yes, I understand. 12:05.360 --> 12:08.360 Aye, Miss, I think you do. 12:08.360 --> 12:13.360 May I ask then, when you get to the top, don't call out to me. 12:13.360 --> 12:15.360 I beg you, don't call out. 12:15.360 --> 12:16.360 I won't. 12:16.360 --> 12:19.360 And when you come tomorrow night, please, don't call out. 12:19.360 --> 12:21.360 Of course not. Good night. 12:21.360 --> 12:24.360 And may I ask one parting question? 12:24.360 --> 12:26.360 Yes, certainly. 12:26.360 --> 12:31.360 When you came down the path earlier tonight, midway, 12:31.360 --> 12:34.360 you suddenly threw your hands up to your eyes like this, 12:34.360 --> 12:37.360 as though to shut out some dreadful sight. 12:37.360 --> 12:39.360 Why? 12:39.360 --> 12:42.360 It was that uncontrollable childish reaction. 12:42.360 --> 12:44.360 I felt as though the train would draw me down. 12:44.360 --> 12:47.360 I covered my eyes like a child not to see it. 12:47.360 --> 12:52.360 You had no feeling that the action was conveyed to you for some reason? 12:52.360 --> 12:55.360 No. Why should it seem otherwise? 12:55.360 --> 13:00.360 Because there has been someone at the red light at the mouth of the tunnel 13:00.360 --> 13:02.360 each night for a week now, 13:02.360 --> 13:05.360 holding its hands up to its eyes like that, 13:05.360 --> 13:08.360 as though to shut out some terrible sight. 13:08.360 --> 13:09.360 And you have actually seen it? 13:09.360 --> 13:11.360 Every night. 13:11.360 --> 13:13.360 Was it there tonight when you went to the door? 13:13.360 --> 13:16.360 Yes. I saw it quite clearly. 13:16.360 --> 13:19.360 Who was it? 13:19.360 --> 13:26.360 You. 13:43.360 --> 13:46.360 Auto Light is bringing you Miss Agnes Moorhead 13:46.360 --> 13:49.360 with Joseph Kearns in The Signal Man, 13:49.360 --> 13:55.360 tonight's presentation in radio's outstanding theater of thrills, Suspense. 14:05.360 --> 14:08.360 Hey, Oscar, sound your horn. 14:08.360 --> 14:12.360 Play your radio. 14:12.360 --> 14:17.360 Now start your engine. 14:17.360 --> 14:19.360 Hey, what's all that for, Harlow? 14:19.360 --> 14:22.360 Why, all those operations depend on the sure, smooth performance 14:22.360 --> 14:25.360 of your auto light electrical system, Oscar. 14:25.360 --> 14:28.360 And so do the lights, heater, and electric windshield wiper. 14:28.360 --> 14:31.360 They all depend on my auto light electrical system, Harlow. 14:31.360 --> 14:33.360 They sure do, Oscar. 14:33.360 --> 14:37.360 And what's more, your auto light electrical system works every second your engine runs. 14:37.360 --> 14:39.360 That's why auto light electrical systems, 14:39.360 --> 14:43.360 designed to give the smoothest performance money can buy, 14:43.360 --> 14:48.360 are used as original equipment on many leading makes of our finest cars, trucks, and tractors. 14:48.360 --> 14:50.360 They're the best, Harlow. 14:50.360 --> 14:51.360 Right, you are, Oscar. 14:51.360 --> 14:55.360 And friends, treat the electrical system of your car to a periodic check-up 14:55.360 --> 14:59.360 at your car dealer's or authorized auto light service station. 14:59.360 --> 15:03.360 To quickly locate him, look in the classified section of your phone book, 15:03.360 --> 15:07.360 or call Western Union by number and ask for operator 25. 15:07.360 --> 15:13.360 And remember, from bumper to tail light, you're always right with auto light. 15:13.360 --> 15:17.360 And now, auto light brings back to our Hollywood sound stage, 15:17.360 --> 15:23.360 Miss Agnes Moorhead, in Elliot Lewis's production of Charles Dickens' The Signal Man. 15:23.360 --> 15:28.360 A tale well calculated to keep you in suspense. 15:28.360 --> 15:42.360 I returned the next night as the distant clocks were striking 11. 15:42.360 --> 15:46.360 The signal man waited for me at the bottom of the cutting with his white light shining. 15:46.360 --> 15:51.360 We walked silently to his shack, entered it, and sat down by the fire. 15:51.360 --> 15:54.360 I didn't wish to press in, so I said nothing. 15:54.360 --> 15:56.360 He stared at the burning embers for a moment. 15:56.360 --> 15:58.360 Then he turned to me. 15:58.360 --> 16:03.360 I... I'm going to tell you, Miss, as best I can, what troubles me. 16:03.360 --> 16:05.360 I'm glad. 16:05.360 --> 16:08.360 I mistook you for someone else last night. 16:08.360 --> 16:10.360 That troubles me. 16:10.360 --> 16:11.360 The mistake? 16:11.360 --> 16:13.360 Of the someone else. 16:13.360 --> 16:15.360 Who is it then? 16:15.360 --> 16:17.360 I don't know. 16:17.360 --> 16:19.360 What does it do? 16:19.360 --> 16:22.360 This time it stands with its left arm across its face. 16:22.360 --> 16:26.360 The right arm is waved violently this way, as though to say, 16:26.360 --> 16:29.360 for God's sake, clear the way, clear the way. 16:29.360 --> 16:30.360 You've heard those words? 16:30.360 --> 16:33.360 Not certain, not about these specific words, but I... 16:33.360 --> 16:35.360 I've heard it call before. 16:35.360 --> 16:36.360 When? 16:36.360 --> 16:39.360 Oh, one moonlight night about a year ago. 16:39.360 --> 16:41.360 I was sitting here when I heard a voice cry, 16:41.360 --> 16:44.360 Hello, below there. 16:44.360 --> 16:47.360 Oh, that's why you were so startled when I used the same words. 16:47.360 --> 16:52.360 I, Miss, I ran to the door and looked out and saw this someone else 16:52.360 --> 16:55.360 standing up there by the red light near the tunnel, 16:55.360 --> 16:57.360 waving its arm, as I just showed you. 16:57.360 --> 17:00.360 The voice was hoarse, was shouting, and it cried, 17:00.360 --> 17:02.360 Hello, below there. Look out, look out. 17:02.360 --> 17:05.360 I caught up my lamp and ran toward the figure calling, 17:05.360 --> 17:08.360 What's wrong? What's happened? Where? 17:08.360 --> 17:11.360 And when I got to the light, it was gone. 17:11.360 --> 17:13.360 Did you see where? 17:13.360 --> 17:17.360 The tunnel was the only place it could go without passing me. 17:17.360 --> 17:20.360 I ran into the tunnel for 500 yards 17:20.360 --> 17:22.360 and searched around with my light. 17:22.360 --> 17:24.360 Then I ran back here and telegraphed both ways. 17:24.360 --> 17:27.360 An alarm has been given. Is anything wrong? 17:27.360 --> 17:30.360 And the answer came back both ways. 17:30.360 --> 17:32.360 All well. 17:32.360 --> 17:34.360 Yes, of course. 17:34.360 --> 17:38.360 Now, I'm going to take advantage of last night's permission to be frank. 17:38.360 --> 17:42.360 You've been here more than 30 years, haven't you? 17:42.360 --> 17:44.360 It isn't the most cheerful place in the world 17:44.360 --> 17:46.360 with that moaning wind through the tunnel 17:46.360 --> 17:49.360 and the wild harp it makes of the telegraph wires. 17:49.360 --> 17:52.360 It's understandable that you could have the illusion that you heard a call. 17:52.360 --> 17:55.360 And anyone staring at the dark long enough, as you did from the door, 17:55.360 --> 17:57.360 can imagine seeing something. 17:57.360 --> 18:15.360 You've let it prey on your mind so long it seems real. 18:15.360 --> 18:18.360 I was not finished, Miss. 18:18.360 --> 18:19.360 Oh, I'm sorry. 18:19.360 --> 18:22.360 Within six hours after it first appeared, 18:22.360 --> 18:26.360 the main line flyer crashed and derailed at the far end of the tunnel. 18:26.360 --> 18:30.360 Within 10 hours, the dead and the wounded were being brought through the tunnel 18:30.360 --> 18:32.360 over the spot where the figure stood. 18:32.360 --> 18:35.360 Coincidence. A tragic, remarkable coincidence. 18:35.360 --> 18:36.360 But I can't see... 18:36.360 --> 18:37.360 There is more, Miss. 18:37.360 --> 18:39.360 Oh, oh, please forgive me. 18:39.360 --> 18:41.360 Six or seven months passed. 18:41.360 --> 18:44.360 I had recovered from the surprise and shock when one morning, 18:44.360 --> 18:46.360 just as daylight was breaking, 18:46.360 --> 18:49.360 I looked toward the red light and saw it again. 18:49.360 --> 18:51.360 Did it cry out? 18:51.360 --> 18:53.360 No. It was silent. 18:53.360 --> 18:54.360 It didn't wave its arm? 18:54.360 --> 18:56.360 No, Miss. 18:56.360 --> 19:00.360 No, it leaned against the post with both hands covering the eyes like this, 19:00.360 --> 19:03.360 as though to blot out some terrible sight. 19:03.360 --> 19:06.360 And that's why you asked me why I had put my hands to my eyes? 19:06.360 --> 19:07.360 I, Miss. 19:07.360 --> 19:08.360 As I came down the path? 19:08.360 --> 19:11.360 You called out the words it used the first time, 19:11.360 --> 19:15.360 you covered your eyes as it did the next time. 19:15.360 --> 19:17.360 Go on, please. 19:17.360 --> 19:20.360 That very day, as a train came out of the tunnel, 19:20.360 --> 19:24.360 I noticed a confusion of hands and heads at one of the coach platforms 19:24.360 --> 19:26.360 and something waved. 19:26.360 --> 19:28.360 I saw it in time to flag down the engineer. 19:28.360 --> 19:32.360 He applied his brake, but the train drifted past here about a hundred yards. 19:32.360 --> 19:36.360 As I ran up to it, I heard terrible screams and cries. 19:36.360 --> 19:39.360 A beautiful young woman had fallen between the cars. 19:39.360 --> 19:42.360 She was brought in here. 19:42.360 --> 19:45.360 She died on this very spot between us. 19:45.360 --> 19:48.360 Oh, it's horrible. 19:48.360 --> 19:49.360 But I still don't see... 19:49.360 --> 19:54.360 One final word, Miss, and you will judge how my mind is troubled. 19:54.360 --> 19:57.360 It came back a week ago. 19:57.360 --> 20:00.360 Ever since, it has been here. 20:00.360 --> 20:01.360 At the light? 20:01.360 --> 20:02.360 Aye. 20:02.360 --> 20:05.360 It covers its eyes, it waves its arm, 20:05.360 --> 20:08.360 it shouts for God's sake, clear the way, clear the way. 20:08.360 --> 20:11.360 I have no rest or peace for it. 20:11.360 --> 20:14.360 It calls to me many minutes together in an agonized manner, 20:14.360 --> 20:16.360 below there, look out, look out. 20:16.360 --> 20:18.360 It stands waving at me. 20:18.360 --> 20:20.360 It sounds the telegraph ticker. 20:20.360 --> 20:22.360 Did it sound the ticker last night while I was here? 20:22.360 --> 20:23.360 Twice. 20:23.360 --> 20:25.360 Oh, I assure you it did not sound. 20:25.360 --> 20:26.360 It was your imagination. 20:26.360 --> 20:29.360 I have never made a mistake as to that, Miss. 20:29.360 --> 20:33.360 I don't wonder that you failed to hear it, but I heard it. 20:33.360 --> 20:36.360 Do you hear it now? 20:36.360 --> 20:38.360 Aye. 20:38.360 --> 20:40.360 What does it say? 20:40.360 --> 20:42.360 It isn't clear. 20:42.360 --> 20:44.360 It only warns. 20:44.360 --> 20:46.360 It doesn't say against what. 20:46.360 --> 20:49.360 It only, if I only knew what it meant. 20:49.360 --> 20:50.360 What is the danger? 20:50.360 --> 20:52.360 Where is the danger? 20:52.360 --> 20:55.360 There is danger overhanging somewhere on the line. 20:55.360 --> 20:57.360 Some terrible calamity will happen. 20:57.360 --> 20:59.360 You must let reason take you. 20:59.360 --> 21:02.360 If I telegraph danger on either side of me or on both, 21:02.360 --> 21:04.360 I can give no reason for it. 21:04.360 --> 21:06.360 I would get into trouble and do no good. 21:06.360 --> 21:08.360 They would think I was mad. 21:08.360 --> 21:09.360 This is the way it would work. 21:09.360 --> 21:11.360 Message, danger, take care, answer. 21:11.360 --> 21:12.360 What danger? Where? 21:12.360 --> 21:16.360 Message, don't know, but for God's sake, take care. 21:16.360 --> 21:19.360 They would, they would displace me. 21:19.360 --> 21:21.360 What else could they do? 21:21.360 --> 21:23.360 I can help you. 21:23.360 --> 21:26.360 But you must face realistically what I have to say. 21:26.360 --> 21:27.360 Now, will you try? 21:27.360 --> 21:30.360 Yes, yes, I'll try, Miss. 21:30.360 --> 21:32.360 These accidents have shaken you deeply. 21:32.360 --> 21:36.360 You feel guilt about them, even though there was nothing you could do. 21:36.360 --> 21:40.360 You've let it prey on your mind until you imagine someone tried to warn you. 21:40.360 --> 21:41.360 I unheard that someone. 21:41.360 --> 21:44.360 Even the senses can deceive when the mind is under stress. 21:44.360 --> 21:48.360 Men dying of thirst on a desert imagine lakes and hearing running streams. 21:48.360 --> 21:50.360 The bodies of the dead were real enough. 21:50.360 --> 21:53.360 I'm speaking of what you imagined after the accidents. 21:53.360 --> 21:58.360 If you let me, I'll prove to you step by step that the specter existed only in your fantasy. 21:58.360 --> 22:01.360 How can you prove that in the face of what I've told you? 22:01.360 --> 22:04.360 By appealing to the intelligent reasoning portion of your mind. 22:04.360 --> 22:09.360 Listen, you were positive when you first saw me that I was the specter. 22:09.360 --> 22:11.360 You saw up the light, now weren't you? 22:11.360 --> 22:13.360 You used the same words. 22:13.360 --> 22:14.360 Now listen carefully. 22:14.360 --> 22:17.360 I appeal to the intelligent, well-read, reasonable man. 22:17.360 --> 22:18.360 Three words. 22:18.360 --> 22:20.360 Hello below there. 22:20.360 --> 22:25.360 I was 500 yards away at the top of the embankment and you were here, below, with darkness falling. 22:25.360 --> 22:29.360 And three words made you positive you had seen me before. 22:29.360 --> 22:32.360 Can't you see you were trying to fit something to what you already believed? 22:32.360 --> 22:35.360 But then you put your hands to your eyes like... 22:35.360 --> 22:36.360 Further proof. 22:36.360 --> 22:40.360 You've allowed yourself to believe some disaster is about to befall. 22:40.360 --> 22:45.360 When I covered my eyes because of a childish fear, you fitted that to what you already believed. 22:45.360 --> 22:47.360 The telegraph ticker wasn't... 22:47.360 --> 22:48.360 You must hear me out. 22:48.360 --> 22:56.360 Would you at any other time or would anyone at any time believe that a telegraph ticker could sound in a room this small and be heard by one person and not another? 22:56.360 --> 22:57.360 I told you I... 22:57.360 --> 22:59.360 And now the most important proof. 22:59.360 --> 23:05.360 You said that when you went to the door last night, it was there by the red danger light. 23:05.360 --> 23:06.360 Aye, it was. 23:06.360 --> 23:09.360 Would you come to the door with me now and tell me if it is still there? 23:09.360 --> 23:10.360 Aye, Miss. 23:13.360 --> 23:14.360 Do you see it? 23:16.360 --> 23:17.360 No. 23:17.360 --> 23:19.360 No, Miss. 23:19.360 --> 23:20.360 It is not there. 23:20.360 --> 23:21.360 Agreed. 23:21.360 --> 23:25.360 And now I'm going to prove that it never was there. 23:25.360 --> 23:29.360 I studied the light from the top of the hill before I came down tonight. 23:29.360 --> 23:32.360 The post is at least seven feet high. 23:32.360 --> 23:34.360 The light is shielded with a hood. 23:34.360 --> 23:39.360 Even if a person stood directly under it or in front of it, they would be in complete shadow, in darkness. 23:39.360 --> 23:46.360 You couldn't see that person from this door and you couldn't see that person if you walked to within a foot of her or him or it. 23:46.360 --> 23:50.360 I'm going to walk up the incline to the light and prove that to you now. 23:52.360 --> 23:56.360 I walked up the inclining tracks toward the red light at the mouth of the tunnel. 23:56.360 --> 24:01.360 The chill, dank wind had an edge like a cold knife. 24:01.360 --> 24:04.360 When I got to the light post, I stood directly under it. 24:04.360 --> 24:06.360 No portion of the red glow reached me. 24:06.360 --> 24:09.360 I was lost completely in the dark. 24:09.360 --> 24:13.360 I saw the signal man silhouetted in the yellow light of the doorway. 24:14.360 --> 24:15.360 Hello! 24:15.360 --> 24:17.360 Can you see me? 24:18.360 --> 24:20.360 Hello! Below there! 24:20.360 --> 24:22.360 Can you see me? 24:22.360 --> 24:23.360 No. 24:23.360 --> 24:24.360 Good! 24:24.360 --> 24:31.360 Now start walking toward me and tell me when you can see me. 24:31.360 --> 24:39.360 He stepped between the rails of the northbound track on a line with the red signal light and walked toward me. 24:39.360 --> 24:43.360 Then the icy hand of my childhood dread gripped me. 24:43.360 --> 24:46.360 There was a vague vibration of the earth and air. 24:46.360 --> 24:52.360 Far behind him, coming up the grade fast, I could begin to see the glow of the locomotive's light. 24:52.360 --> 24:54.360 Look out! Look out! 24:54.360 --> 24:58.360 For God's sake, clear the way! Clear the way! 24:59.360 --> 25:01.360 He walked as though in a spell. 25:01.360 --> 25:04.360 He didn't hear me or wouldn't hear me. 25:04.360 --> 25:08.360 I threw my left arm up to my eyes and waved my right arm frantically. 25:08.360 --> 25:10.360 Below there! Look out! 25:10.360 --> 25:22.360 Look out! Clear the way! For God's sake, clear the way! 25:40.360 --> 25:52.360 Long after it was over, they found me, still standing there, both of my hands up to my eyes to shut out the terrible sight. 26:10.360 --> 26:32.360 Suspense. Presented by Auto Light. Tonight's star, Miss Agnes Moorhead. 26:32.360 --> 26:39.360 This is Harlow Wilcox again speaking for Auto Light, world's largest independent manufacturer of automotive electrical equipment. 26:39.360 --> 26:43.360 Auto Light is proud to serve the greatest names in the industry. 26:43.360 --> 26:53.360 That's why during these early months of 1953, the Auto Light family joins again in saluting the leading manufacturers who install Auto Light products as original equipment. 26:53.360 --> 27:04.360 Just two weeks from tonight as a climax to this year's Auto Light family salute program, we will present the exciting story of the first and only round the world auto race. 27:04.360 --> 27:16.360 Our star will be Van Johnson and the program will be broadcast direct from the Grand Ballroom of New York's Waldorf Astoria Hotel, where the great Easter Parade of Stars Auto Show will be in progress. 27:16.360 --> 27:21.360 That's Monday, April the 6th, for the auto race that stirred the world. 27:21.360 --> 27:35.360 And of course, be sure to join us next week for another story of suspense. 27:35.360 --> 27:46.360 Next week, an American legend as we recreate the cruel murder of Laura Foster by the bitter Tom Dooley, our star, Mr. Joseph Cotton. 27:46.360 --> 27:55.360 That's next week on Suspense. 27:55.360 --> 28:02.360 Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morawick and conducted by Lud Gluskin. 28:02.360 --> 28:04.360 Portions of the program were transcribed. 28:04.360 --> 28:10.360 The Signal Man was adapted for suspense by Irving Reese from the short story by Charles Dickens. 28:10.360 --> 28:14.360 In tonight's story, Joseph Kearns played the Signal Man. 28:14.360 --> 28:24.360 Agnes Moorhead has been on the road in Don Juan in Hell and can currently be seen in Metro-Goldwyn-Mayer's picture, the story of three loves. 28:24.360 --> 28:33.360 And remember next week, Mr. Joseph Cotton in Tom Dooley. 28:33.360 --> 28:45.360 This is the CBS Radio Network.