WEBVTT 00:00.000 --> 00:10.760 Auto Light and its 98,000 dealers bring you Mr. Victor Mature in tonight's presentation 00:10.760 --> 00:18.720 of Suspense. 00:18.720 --> 00:23.200 Tonight Auto Light presents the story of a cross-country train trip during which a police 00:23.200 --> 00:28.520 officer finds himself torn between his assignment and his personal feelings for the girl in 00:28.520 --> 00:37.680 car 32, our star Mr. Victor Mature. 00:37.680 --> 00:38.840 This is Harlow Wilcox. 00:38.840 --> 00:43.480 Would you like to be responsible for your local church or hospital getting a big share 00:43.480 --> 00:45.840 of $100,000 in cash? 00:45.840 --> 00:51.720 Well, that's the total which will go to the recognized charities chosen by the 25 persons 00:51.720 --> 00:55.080 selected in the Auto Light family, Charity Drawing. 00:55.080 --> 01:02.080 The top award is $50,000 with 24 others from $1,000 to $20,000 each. 01:02.080 --> 01:06.400 To enter is as simple as signing your name and address and that's all you do. 01:06.400 --> 01:11.280 Now it's our privilege to have you hear what the head of one of America's finest organizations 01:11.280 --> 01:13.640 says about this great event. 01:13.640 --> 01:18.760 Here is Mr. E. Roland Harriman, chairman of the American Red Cross. 01:18.760 --> 01:19.760 Thank you. 01:19.760 --> 01:24.840 The spirit of the Auto Light family charity plan is a fine example of the simple slogan 01:24.840 --> 01:28.240 of the Red Cross, people helping people. 01:28.240 --> 01:33.600 Just a slight effort to register may qualify you to be the benefactor of thousands who 01:33.600 --> 01:37.000 look to you for assistance through your Red Cross. 01:37.000 --> 01:42.080 Fill out a registration form at any of the following Auto Light family car dealers, DeSoto, 01:42.080 --> 01:47.400 Hudson, Plymouth, Studebaker, Dodge, Willis, Nash, Packard, Kaiser, or Chrysler. 01:47.400 --> 01:52.440 Remember, there's no obligation, but your favorite recognized charity may thank you 01:52.440 --> 01:55.840 for a large part of $100,000. 01:55.840 --> 01:58.280 Sign up tomorrow. 01:58.280 --> 02:04.640 And now Auto Light presents Transcribe, the girl in car 32, starring Mr. Victor Matur, 02:04.640 --> 02:10.840 hoping once again to keep you in suspense. 02:10.840 --> 02:13.840 Hey. 02:13.840 --> 02:16.840 Morning. 02:16.840 --> 02:22.840 Buker? 02:22.840 --> 02:27.840 They can see better from here. 02:27.840 --> 02:29.400 How do you feel, kiddo? 02:29.400 --> 02:30.400 OK, I guess. 02:30.400 --> 02:34.520 Flying out here from New York last night and taking a train back this morning isn't my 02:34.520 --> 02:35.520 idea of fun, though. 02:35.520 --> 02:38.640 Yeah, well, we'll show you LA next trip, baby. 02:38.640 --> 02:41.760 We got about two minutes. 02:41.760 --> 02:43.280 You better tell me what this is all about. 02:43.280 --> 02:47.640 We got a dame who's been living with Fritzie Hollister's sweetheart for the past couple 02:47.640 --> 02:48.640 of weeks. 02:48.640 --> 02:49.640 You know Fritzie. 02:49.640 --> 02:50.640 Yeah. 02:50.640 --> 02:51.640 He's got a trunk full of hot jewelry. 02:51.640 --> 02:52.960 I'd like to get my hands on. 02:52.960 --> 02:55.040 Well, this is your chance, Mahoney. 02:55.040 --> 02:59.640 Now, we figure Fritzie's ducked the old girlfriend and made a connection with a new one. 02:59.640 --> 03:02.760 And her name is Genevieve Josephine Johnson. 03:02.760 --> 03:04.960 Now, here's the angle. 03:04.960 --> 03:10.680 She's heading east on this streamliner today, probably to wherever Fritzie's hanging around. 03:10.680 --> 03:12.480 It's a sit-up train. 03:12.480 --> 03:15.240 And right across the aisle from her. 03:15.240 --> 03:17.080 So you work yourself in with her. 03:17.080 --> 03:22.680 And when you get a chance, check her luggage and find out where she's going to meet him. 03:22.680 --> 03:23.680 I know. 03:23.680 --> 03:25.560 Don't look so sad, kiddo. 03:25.560 --> 03:28.520 It's an easy job sitting on a train with a doll. 03:28.520 --> 03:30.160 Hey, hey. 03:30.160 --> 03:31.160 Hmm? 03:31.160 --> 03:32.880 Oh, that one? 03:32.880 --> 03:33.880 Yeah. 03:33.880 --> 03:35.880 Genevieve Josephine Johnson. 03:35.880 --> 03:36.880 Uh-huh. 03:36.880 --> 03:38.520 In the flesh. 03:38.520 --> 03:39.520 I don't know. 03:39.520 --> 03:41.560 And I don't mean to argue with you. 03:41.560 --> 03:44.400 To me, she just isn't the type for a Fritzie Hollister. 03:44.400 --> 03:46.240 Oh, stop your kidding. 03:46.240 --> 03:47.960 No job for one thing. 03:47.960 --> 03:50.000 No family or background we can check. 03:50.000 --> 03:53.720 An apartment in Hollywood that rented for $4.50 a month. 03:53.720 --> 03:55.800 Part of the act, huh? 03:55.800 --> 03:56.800 Everything else set? 03:56.800 --> 03:57.800 All set. 03:57.800 --> 03:58.800 Albert! 03:58.800 --> 04:01.800 Well, so long, kid. 04:01.800 --> 04:02.800 So long. 04:02.800 --> 04:03.800 Albert! 04:03.800 --> 04:04.800 Good! 04:04.800 --> 04:05.800 Have a nice trip. 04:05.800 --> 04:06.800 Bye, Charlie. 04:06.800 --> 04:07.800 Bye. 04:07.800 --> 04:08.800 Bye. 04:08.800 --> 04:09.800 Water. 04:09.800 --> 04:10.800 Yes, sir. 04:10.800 --> 04:11.800 Carry your bags, sir. 04:11.800 --> 04:12.800 The bag's okay. 04:12.800 --> 04:13.800 My ticket says 32. 04:13.800 --> 04:14.800 Car 32. 04:14.800 --> 04:15.800 Yes, sir. 04:15.800 --> 04:16.800 That'll be the next car down, sir. 04:16.800 --> 04:17.800 You can board right here. 04:17.800 --> 04:18.800 All reserved seats. 04:18.800 --> 04:19.800 Yes, sir. 04:19.800 --> 04:20.800 Thanks. 04:20.800 --> 04:21.800 Pardon me. 04:21.800 --> 04:22.800 Pardon me, please. 04:22.800 --> 04:23.800 Oh, excuse me. 04:23.800 --> 04:24.800 Oh, boy. 04:24.800 --> 04:25.800 Oh, boy. 04:25.800 --> 04:26.800 Oh, boy. 04:26.800 --> 04:27.800 Oh, boy. 04:27.800 --> 04:28.800 Oh, boy. 04:28.800 --> 04:29.800 Oh, boy. 04:29.800 --> 04:30.800 Oh, boy. 04:30.800 --> 04:31.800 Oh, boy. 04:31.800 --> 04:32.800 Oh, boy. 04:32.800 --> 04:33.800 Oh, boy. 04:33.800 --> 04:34.800 Oh, boy. 04:34.800 --> 04:35.800 Oh, boy. 04:35.800 --> 04:36.800 Oh, boy. 04:36.800 --> 04:37.800 Oh, boy. 04:37.800 --> 04:38.800 Oh, boy. 04:38.800 --> 04:39.800 Oh, boy. 04:39.800 --> 04:40.800 There. 04:40.800 --> 04:41.800 There. 04:41.800 --> 04:42.800 See? 04:42.800 --> 04:43.800 Somebody... 04:43.800 --> 04:44.800 Yes? 04:44.800 --> 04:45.800 Can you hold up your arm for me? 04:45.800 --> 04:46.800 I'll be right back. 04:46.800 --> 04:47.800 Please, cut off a little less than a foot. 04:47.800 --> 04:48.800 It's all right. 04:48.800 --> 04:49.800 We'll be fine. 04:49.800 --> 04:50.800 Hey. 04:50.800 --> 04:51.800 Oh. 04:51.800 --> 04:54.800 Oh, I'm sorry, Miss. 04:54.800 --> 04:57.040 It's all right. 04:57.040 --> 04:58.040 Oh. 04:58.040 --> 05:01.340 And careful now. 05:01.340 --> 05:08.320 Don't look at her sitting there in her little brown suit and white blouse. 05:08.320 --> 05:09.320 Just take off your hat. 05:09.320 --> 05:12.320 Lay it on the seat. Pick up your magazine. 05:13.320 --> 05:15.320 But don't look over there. 05:16.320 --> 05:19.320 No, no. Don't reach over and offer to light a cigarette. 05:20.320 --> 05:22.320 She can do it. She's okay. 05:23.320 --> 05:25.320 Don't lean across the aisle. I've got plenty of time. 05:26.320 --> 05:27.320 It'll happen sooner or later. 05:28.320 --> 05:30.320 So just relax and just let it happen. 05:30.320 --> 05:38.320 You know what you're doing, boy. That old Mahoney technique. 05:51.320 --> 05:54.320 It's sorry, isn't it? Yes, sorry. 05:55.320 --> 05:56.320 Hi, bud. 05:56.320 --> 05:57.320 Hi. 05:57.320 --> 06:00.320 Yes, sorry. Oh, how's it? 06:02.320 --> 06:04.320 Hello there, little lady. How are you? 06:06.320 --> 06:08.320 Hey, you'll mind if I take your seat for a minute? 06:09.320 --> 06:11.320 I'm on my way to the club, guys. It's a long walk. 06:15.320 --> 06:17.320 Well, that's one way to sit down. 06:21.320 --> 06:23.320 What's the matter? Ain't I even human? 06:23.320 --> 06:26.320 Ain't I even looked at, huh? 06:27.320 --> 06:29.320 Hey, how are you? 06:30.320 --> 06:32.320 Well, Miss Hihat, hey. 06:33.320 --> 06:35.320 Please go wherever you were going and leave me alone. 06:35.320 --> 06:38.320 Come on, little lady. Have a nice friendly drink with old Frank Tars. 06:38.320 --> 06:39.320 How about it? 06:39.320 --> 06:40.320 Pardon me, miss. 06:40.320 --> 06:41.320 Hey, you. 06:41.320 --> 06:42.320 Hey, we... 06:42.320 --> 06:43.320 Now, just what's the idea, buster? 06:44.320 --> 06:45.320 What are you doing in this car anyway? 06:45.320 --> 06:46.320 And what are you looking for? 06:46.320 --> 06:47.320 A good punch in the mouth, maybe? 06:47.320 --> 06:52.320 No, no. He's bothering me, yes, but I don't want any trouble about this. 06:52.320 --> 06:55.320 Oh, boy, it's a hassle about power. I can get off in a couple of minutes. 06:55.320 --> 06:58.320 It's the same for doing. I didn't mean to insult anybody. 06:58.320 --> 06:59.320 All I thought to do... 06:59.320 --> 07:00.320 Yeah, all you thought to do. 07:00.320 --> 07:02.320 Then who asked you to sit down with the young lady, huh? 07:03.320 --> 07:04.320 Who wanted you? Why I ought to... 07:04.320 --> 07:07.320 Please, please, it's all right. It's all... It's perfectly all right. 07:07.320 --> 07:09.320 Just... Just don't... Don't hit him, Morgan. 07:09.320 --> 07:10.320 Where's your car? 07:10.320 --> 07:11.320 It's back there. 07:11.320 --> 07:12.320 Come on, I'll take you. 07:13.320 --> 07:14.320 I said come on. 07:14.320 --> 07:16.320 Please, don't... Don't hurt him. 07:16.320 --> 07:17.320 Don't hurt him. 07:18.320 --> 07:20.320 It's all right, miss. Don't you worry. 07:20.320 --> 07:21.320 Come on, move on. 07:21.320 --> 07:23.320 Hey, now, wait just a minute. 07:23.320 --> 07:24.320 You know who I am? 07:24.320 --> 07:26.320 Yeah, I know who you are. 07:33.320 --> 07:36.320 Okay, you can let go now. 07:39.320 --> 07:40.320 So you're bright eyes, huh? 07:40.320 --> 07:42.320 You can leave off the bright eyes. 07:42.320 --> 07:43.320 Yeah, sure, sure. 07:43.320 --> 07:45.320 It's your day to be touchy, huh? 07:46.320 --> 07:48.320 You look pretty good back in there. 07:48.320 --> 07:51.320 You see her wring her hands and wink them big brown eyes? 07:51.320 --> 07:52.320 Who will you be? 07:52.320 --> 07:54.320 Compartment A next door whenever you need me. 07:55.320 --> 07:58.320 Well, she's waiting for you, Mr. Hero. 07:58.320 --> 08:01.320 You know, I wish I had poked you, Dane. 08:02.320 --> 08:04.320 You're a nice big New York copper, Mahoney. 08:04.320 --> 08:06.320 You got the jaw and you got the shoulders. 08:06.320 --> 08:07.320 I heard all about you. 08:08.320 --> 08:09.320 You look like you could do it. 08:10.320 --> 08:13.320 Well, I'm just a beefy blot working out of L.A.'s central division, 08:13.320 --> 08:15.320 but I could whip you, boy. 08:15.320 --> 08:16.320 So easy. 08:16.320 --> 08:17.320 So easy. 08:18.320 --> 08:19.320 I'd better get back. 08:19.320 --> 08:20.320 Yeah, sure. 08:21.320 --> 08:23.320 I envy you, bright eyes. 08:23.320 --> 08:25.320 You two make a nice couple. 08:32.320 --> 08:33.320 He won't bother you again, miss? 08:33.320 --> 08:38.320 Oh, you didn't hurt him or anything like that, did you? 08:38.320 --> 08:39.320 Oh, no, no, no. 08:39.320 --> 08:42.320 I just took him back to his car and asked him to stay away from you. 08:42.320 --> 08:44.320 Oh, it was embarrassing. 08:44.320 --> 08:47.320 This is the first time anything like this has happened to me. 08:48.320 --> 08:50.320 I'm glad you helped out. 08:50.320 --> 08:51.320 Thank you very much. 08:51.320 --> 08:52.320 There's no trouble at all. 08:53.320 --> 08:54.320 Oh, um... 08:54.320 --> 08:55.320 What? 08:55.320 --> 08:56.320 I'm out of matches. 08:56.320 --> 08:58.320 Oh, well, I can help you there. 08:58.320 --> 09:02.320 I have some in my purse, I think. 09:02.320 --> 09:04.320 Yes, here you are. 09:04.320 --> 09:05.320 Thanks. 09:05.320 --> 09:07.320 Would you, uh, have a cigarette? 09:08.320 --> 09:10.320 Well, thank you, yes. 09:10.320 --> 09:13.320 Why don't you sit down? 09:20.320 --> 09:21.320 Thank you. 09:22.320 --> 09:23.320 Thank you very much. 09:23.320 --> 09:24.320 Sure. 09:27.320 --> 09:28.320 What? 09:28.320 --> 09:31.320 My goodness, it was kind of funny, wasn't it? 09:31.320 --> 09:34.320 He was so typed. 09:35.320 --> 09:36.320 Yes. 09:36.320 --> 09:40.320 Yes, it was funny. 09:44.320 --> 09:46.320 They all razzmatazz. 09:46.320 --> 09:48.320 Don't ask, just answer. 09:48.320 --> 09:50.320 Don't laugh, but smile a lot. 09:50.320 --> 09:51.320 Better see your teeth. 09:51.320 --> 09:53.320 Don't move close. 09:53.320 --> 09:56.320 But let her know that you've got shoulders there, boy. 09:56.320 --> 09:57.320 And the other trick. 09:57.320 --> 10:00.320 Keep your hands open, spread out. 10:00.320 --> 10:01.320 Talk. 10:01.320 --> 10:02.320 Then stop. 10:02.320 --> 10:03.320 Look a while. 10:03.320 --> 10:06.320 Watch the orange groves go by. 10:06.320 --> 10:08.320 Watch the houses go by. 10:08.320 --> 10:09.320 Watch your life go by. 10:09.320 --> 10:10.320 What? 10:10.320 --> 10:12.320 Oh, my goodness. 10:12.320 --> 10:14.320 You must have money in the bank. 10:14.320 --> 10:16.320 You're talking to yourself. 10:16.320 --> 10:18.320 What's the trouble? 10:18.320 --> 10:20.320 I think I'll stop looking around out there. 10:20.320 --> 10:22.320 It's beginning to worry me. 10:22.320 --> 10:25.320 Too big or too empty or too something, I don't know. 10:25.320 --> 10:28.320 You, uh, like it, do you? 10:28.320 --> 10:30.320 Oh, it's lovely. 10:30.320 --> 10:33.320 The most beautiful country I've ever seen in my life. 10:33.320 --> 10:36.320 It's breathtaking. 10:36.320 --> 10:40.320 Oh, and, um, people call me Jenny. 10:40.320 --> 10:42.320 Jenny for Genevieve, huh? 10:42.320 --> 10:43.320 Yep. 10:43.320 --> 10:44.320 Jenny Johnson. 10:44.320 --> 10:46.320 Well, they call me Mahoney. 10:46.320 --> 10:49.320 And, um, some other things sometimes. 10:49.320 --> 10:51.320 My name's Harry. 10:51.320 --> 10:53.320 Oh, well, where are you heading anyway? 10:53.320 --> 10:55.320 All the way east? 10:55.320 --> 10:57.320 All the way and more. 10:57.320 --> 10:59.320 Bayside Hills, Pennsylvania. 10:59.320 --> 11:01.320 I work in a dentist's office there. 11:01.320 --> 11:03.320 Now, that's funny. 11:03.320 --> 11:05.320 Maybe the suntan threw me. 11:05.320 --> 11:08.320 You know, I kind of thought you lived in L.A. 11:08.320 --> 11:10.320 And mostly that you didn't work. 11:10.320 --> 11:12.320 Oh, dear. 11:12.320 --> 11:15.320 Well, I did live there for three weeks 11:15.320 --> 11:19.320 in a simply marvelous garden apartment in Hollywood. 11:19.320 --> 11:21.320 Right off Sunset Boulevard. 11:21.320 --> 11:23.320 They had a heated pool. 11:23.320 --> 11:25.320 Oh, it was wonderful. 11:25.320 --> 11:26.320 It sounds expensive. 11:26.320 --> 11:28.320 Oh, it was terribly. 11:28.320 --> 11:31.320 But I shared it with a couple of other girls off and on. 11:31.320 --> 11:33.320 Advertising the papers, you know. 11:33.320 --> 11:34.320 Only... 11:34.320 --> 11:36.320 Only? 11:36.320 --> 11:37.320 Well, go on. 11:37.320 --> 11:39.320 Something happened? 11:39.320 --> 11:42.320 Only maybe I'm funny in some ways. 11:42.320 --> 11:44.320 Maybe I'm old fashioned. 11:44.320 --> 11:47.320 But some things I just... 11:47.320 --> 11:50.320 Well, there's not much point of going into that part. 11:50.320 --> 11:51.320 I get it. 11:51.320 --> 11:53.320 You got stuck with a cute little blonde 11:53.320 --> 11:55.320 who always wore your clothes or something. 11:55.320 --> 11:57.320 Cute? 11:57.320 --> 11:59.320 Not for my money. Thank you. 11:59.320 --> 12:02.320 What happened anyway was that she got out last week 12:02.320 --> 12:05.320 after one of her parties when I said what I had to say. 12:05.320 --> 12:08.320 She got out pretty darn fast, believe you me. 12:08.320 --> 12:10.320 I... 12:10.320 --> 12:13.320 My goodness, did I say something? 12:13.320 --> 12:15.320 Why are you staring at me? 12:15.320 --> 12:17.320 Who? What? 12:17.320 --> 12:20.320 Oh, I was staring at you. 12:20.320 --> 12:23.320 Well, I'm sorry. I didn't mean to. 12:23.320 --> 12:25.320 Oh, now that's all right. 12:25.320 --> 12:27.320 My goodness. 12:27.320 --> 12:30.320 For some reason, it seemed like you were looking at me 12:30.320 --> 12:32.320 for the first time. 12:42.320 --> 12:45.320 Ah, I seen you go to dinner with her. 12:45.320 --> 12:47.320 You're doing okay, bright eyes. 12:47.320 --> 12:49.320 Yeah, but it doesn't add up. 12:49.320 --> 12:51.320 Too homespun for this trick. 12:51.320 --> 12:53.320 What's she done, throwing up a smoke screen? 12:53.320 --> 12:55.320 That homespun stuff's all part of the act. 12:55.320 --> 12:57.320 She's Fritzie's girlfriend, all right? 12:57.320 --> 13:00.320 Remember, you're the operator, boy, not her. 13:00.320 --> 13:02.320 She's going to a place in Pennsylvania. 13:02.320 --> 13:04.320 She tell you she's got a little old mother 13:04.320 --> 13:06.320 and a little old father waiting for her back home? 13:06.320 --> 13:07.320 Yeah. 13:07.320 --> 13:09.320 Well, it's a great act. 13:09.320 --> 13:11.320 She's just a better actor than you are. 13:11.320 --> 13:13.320 Now, there's nothing in her luggage on the baggage car, 13:13.320 --> 13:17.320 but Fritzie must have slipped her some little trick in her. 13:17.320 --> 13:21.320 Hey, it took a lot of fixing to set this up, 13:21.320 --> 13:23.320 getting you the space across from her and all, 13:23.320 --> 13:25.320 so keep your eyes on her, bright eyes. 13:25.320 --> 13:27.320 That's what you're here for. 13:27.320 --> 13:29.320 Keep on her. 13:33.320 --> 13:35.320 Hi. 13:35.320 --> 13:37.320 Did you get your glass of water? 13:37.320 --> 13:39.320 Yeah. 13:39.320 --> 13:44.320 Well, it seems to be getting pretty late, doesn't it? 13:44.320 --> 13:46.320 Hadn't we better call it a night? 13:46.320 --> 13:47.320 Oh, uh... 13:47.320 --> 13:48.320 What? 13:48.320 --> 13:49.320 Why? 13:49.320 --> 13:51.320 Well, couldn't we sit here another half hour 13:51.320 --> 13:53.320 and just talk about things? 13:53.320 --> 13:55.320 Why couldn't we? 13:55.320 --> 13:58.320 Oh, I suppose we could. 13:58.320 --> 14:01.320 That is, if you don't expect... 14:01.320 --> 14:03.320 Oh, I don't expect anything. 14:03.320 --> 14:08.320 Well, we'll talk about what? 14:08.320 --> 14:10.320 We'll talk about you. 14:10.320 --> 14:11.320 Oh, no, we won't. 14:11.320 --> 14:13.320 There's nothing to talk about. 14:13.320 --> 14:15.320 That isn't the way I heard it. 14:15.320 --> 14:18.320 Oh, you didn't hear anything about me. 14:18.320 --> 14:20.320 You'd be surprised, sister. 14:20.320 --> 14:21.320 What? 14:21.320 --> 14:24.320 Nothing. 14:24.320 --> 14:29.320 I don't think you want to talk very much, do you? 14:29.320 --> 14:32.320 No, I want to find out something. 14:32.320 --> 14:34.320 Harry, Harry, Harry, no. 14:34.320 --> 14:35.320 Anything to matter? 14:35.320 --> 14:37.320 No, no, please. 14:37.320 --> 14:39.320 I don't care for that sort of thing. 14:39.320 --> 14:41.320 You promised. You said, please. 14:41.320 --> 14:43.320 Oh, oh, oh, oh, oh, oh, oh. 14:43.320 --> 14:44.320 I'm sorry, I just... 14:44.320 --> 14:47.320 That's quite all right. 14:47.320 --> 14:50.320 The first minute it got dark, though, you had to try it. 14:50.320 --> 14:51.320 I told you, I'm sorry. 14:51.320 --> 14:52.320 Forget it. 14:52.320 --> 14:54.320 You know, I'd like to tell you something. 14:54.320 --> 14:56.320 I'm not that kind of a guy. I never was. 14:56.320 --> 14:58.320 I've had so much of that stupid messing around. 14:58.320 --> 15:01.320 Oh, so much of it? 15:01.320 --> 15:03.320 I see. 15:03.320 --> 15:04.320 Well, I haven't. 15:04.320 --> 15:07.320 And I don't think I'm sorry either. 15:07.320 --> 15:09.320 I want it to mean something with me, 15:09.320 --> 15:11.320 and it won't be stupid. 15:11.320 --> 15:13.320 That's silly, isn't it? 15:13.320 --> 15:16.320 No, it isn't. 15:16.320 --> 15:18.320 It's awfully late, really, it is. 15:18.320 --> 15:20.320 I'll see you tomorrow. 15:30.320 --> 15:35.320 Kansas City Star, get your Kansas City Star here. 15:35.320 --> 15:38.320 Star here. Kansas City Star. 15:40.320 --> 15:42.320 It's about time. 15:42.320 --> 15:43.320 Why didn't you come back last night? 15:43.320 --> 15:45.320 I didn't feel like it. 15:45.320 --> 15:47.320 Did you get anything else done? 15:47.320 --> 15:49.320 I went through her suitcase when she was asleep. 15:49.320 --> 15:51.320 Dresses and things, shoes, bathrobes, 15:51.320 --> 15:53.320 some stuff underneath, that's all. 15:53.320 --> 15:56.320 The dress costs maybe $15 at the outside. 15:56.320 --> 15:58.320 It was the most expensive item there. 15:58.320 --> 16:01.320 And that suit that she's wearing went for $40 at the sale. 16:01.320 --> 16:02.320 You know that. 16:02.320 --> 16:04.320 All right, so she's smart enough not only to act it, 16:04.320 --> 16:06.320 but to have the right props. 16:06.320 --> 16:08.320 This isn't Fritzie's girlfriend. 16:08.320 --> 16:09.320 He wouldn't know one like this, 16:09.320 --> 16:10.320 and she wouldn't have one like him. 16:10.320 --> 16:12.320 That's the second time you've said that. 16:12.320 --> 16:13.320 How do you know? 16:13.320 --> 16:15.320 I just know, I... well, I found out. 16:15.320 --> 16:19.320 You're getting older and you're getting dumber, bright eyes. 16:19.320 --> 16:20.320 You're getting fed up. 16:20.320 --> 16:23.320 She'd never have anything to do with somebody like Fritzie. 16:23.320 --> 16:25.320 I told you that once before, too. 16:25.320 --> 16:26.320 Hey, hey. 16:26.320 --> 16:27.320 What? 16:27.320 --> 16:28.320 Fritzie. 16:28.320 --> 16:29.320 What? 16:29.320 --> 16:31.320 Just walked by outside the window carrying a suitcase. 16:35.320 --> 16:39.320 Kansas Star here. Kansas City Star. 16:39.320 --> 16:41.320 Yeah, that's him, all right. 16:41.320 --> 16:42.320 Getting on this car. 16:42.320 --> 16:44.320 You see the little guy in the overcoat with the cigarette? 16:44.320 --> 16:45.320 You're right. 16:45.320 --> 16:46.320 It's Fritzie Hollister. 16:46.320 --> 16:48.320 Yeah, sure, I'm right. 16:48.320 --> 16:52.320 He just sat down beside Genevieve Josephine Johnson 16:52.320 --> 16:53.320 from Pennsylvania. 16:53.320 --> 16:55.320 Well, you know, it could be just a coincidence. 16:55.320 --> 16:57.320 So she's a nice kid, huh? 16:57.320 --> 17:00.320 Couldn't have anything to do with a bum like Fritzie, huh? 17:00.320 --> 17:01.320 Come on. 17:01.320 --> 17:03.320 Now stay where you are. 17:03.320 --> 17:09.320 We'll make our play when the time comes. 17:18.320 --> 17:20.320 Auto Light is bringing you Mr. Victor Matur 17:20.320 --> 17:23.320 as star of The Girl in Car 32, 17:23.320 --> 17:33.320 tonight's presentation in radio's outstanding theater of thrills, Suspense. 17:43.320 --> 17:44.320 Boy, that's the car for me, Harlow. 17:44.320 --> 17:46.320 You mean that new Packard that just passed, Jim? 17:46.320 --> 17:47.320 Yes, sir. 17:47.320 --> 17:49.320 That's the popular price Packard Clipper 17:49.320 --> 17:53.320 with the power and luxury that only Packard can put into a car. 17:53.320 --> 17:55.320 And have you seen the Packard Patrician? 17:55.320 --> 17:58.320 That's the finest car ever to bear that famous Packard name. 17:58.320 --> 18:01.320 A name we're privileged to salute tonight on Suspense. 18:01.320 --> 18:06.320 Packard, an outstanding member of our worldwide Auto Light family. 18:06.320 --> 18:08.320 Well, Packard is outstanding in every way. 18:08.320 --> 18:12.320 Its ruggedness and dependability have withstood the most tortuous tests 18:12.320 --> 18:14.320 that Packard engineers can devise. 18:14.320 --> 18:17.320 Packards have proved over and over 18:17.320 --> 18:21.320 that they have what it takes under every road and weather condition. 18:21.320 --> 18:25.320 Yes, sir, Harlow, when you get an Auto Light equipped Packard, 18:25.320 --> 18:26.320 you get real value. 18:26.320 --> 18:31.320 And you get a car with one of the most famous of all fine car names, Packard. 18:31.320 --> 18:35.320 Yes, and Auto Light is proud of its long association with Packard 18:35.320 --> 18:38.320 and with Packard dealers everywhere. 18:40.320 --> 18:43.320 And now, Auto Light brings back to our Hollywood sound stage 18:43.320 --> 18:49.320 Mr. Victor Mottor in Elliot Lewis's production of The Girl in Car 32. 18:49.320 --> 18:54.320 A tale well calculated to keep you in suspense. 19:02.320 --> 19:04.320 Now, use your head right eyes. 19:04.320 --> 19:07.320 It's no mistake, no crazy coincidence. 19:07.320 --> 19:11.320 Even if she sat there all day and hasn't talked to him once, 19:11.320 --> 19:14.320 the little bird in the blue overcoat is Fretzy Hollister. 19:14.320 --> 19:17.320 And you were trying to steal his girl. 19:17.320 --> 19:19.320 Use your head. 19:19.320 --> 19:22.320 She was fast enough and smart enough to spot you right off for what you were. 19:22.320 --> 19:25.320 And she handled you last night like a schoolboy. 19:25.320 --> 19:28.320 She couldn't warn him from the train, 19:28.320 --> 19:30.320 but she's given him a poke in the ribs or an elbow or something 19:30.320 --> 19:32.320 so he'll play it straight here. 19:32.320 --> 19:37.320 Sure, she's Fitsy's one chance. 19:37.320 --> 19:39.320 She'll work on you again bright eyes. 19:39.320 --> 19:41.320 And watch that. 19:41.320 --> 19:45.320 Because you don't want to let either one of them slip off the hook. 19:47.320 --> 19:49.320 Asleep? 19:49.320 --> 19:51.320 No. 19:51.320 --> 19:52.320 Cup of water? 19:52.320 --> 19:54.320 No. 19:54.320 --> 19:57.320 I'll drink it myself. 19:59.320 --> 20:01.320 I can't sleep. 20:01.320 --> 20:04.320 Not with that strange man over there. 20:04.320 --> 20:06.320 What's so strange about him? 20:06.320 --> 20:07.320 What? 20:07.320 --> 20:12.320 Do you feel like talking? 20:12.320 --> 20:14.320 Sure, let's talk. Why not sit down? 20:14.320 --> 20:16.320 Thank you. 20:16.320 --> 20:21.320 Well, I wonder what this stop is going to be. 20:21.320 --> 20:23.320 I'm glad you wanted to talk. 20:23.320 --> 20:26.320 But suppose you drop the rude girl routine, huh? 20:26.320 --> 20:28.320 My goodness. 20:28.320 --> 20:30.320 You're all right in the daytime, 20:30.320 --> 20:34.320 but at night you come out with the silliest things that... 20:34.320 --> 20:38.320 Say, what do you mean by that? 20:38.320 --> 20:40.320 Big laugh. 20:40.320 --> 20:42.320 Big laugh for you. 20:42.320 --> 20:43.320 What? 20:43.320 --> 20:46.320 For a couple of minutes last night I was stupid enough to believe you, sister. 20:46.320 --> 20:47.320 What? 20:47.320 --> 20:50.320 Not now, though, and don't you forget it. 20:50.320 --> 20:52.320 What on earth are you talking about? 20:52.320 --> 20:54.320 I said cut the act. 20:54.320 --> 20:57.320 Well, I don't have to have anyone to talk to me like that. 20:57.320 --> 21:00.320 I think you're crazy. You must be. 21:00.320 --> 21:03.320 You must have something all twisted up in your head 21:03.320 --> 21:05.320 that wouldn't say things like this. 21:05.320 --> 21:08.320 Oh, darn. 21:13.320 --> 21:17.320 I've been so thirsty all day. I think I'll get some water. 21:17.320 --> 21:19.320 Stay where you are. I'll get the water. 21:19.320 --> 21:20.320 Now, sit here. I... 21:20.320 --> 21:22.320 I'll get the water. 21:22.320 --> 21:25.320 You know where it is? 21:30.320 --> 21:31.320 Hi. Hi. 21:31.320 --> 21:34.320 What's the idea of leaving them together when we come in a station? 21:34.320 --> 21:36.320 I'm sick of it. It happens here or else. 21:36.320 --> 21:37.320 Now, look... 21:36.320 --> 21:37.320 Shut up. 21:37.320 --> 21:39.320 Hey, hey, Fritzy jumped over in your seat. 21:39.320 --> 21:40.320 Yeah. 21:40.320 --> 21:42.320 And he's talking to her. 21:42.320 --> 21:44.320 Yeah, yeah, too sooner or later. 21:44.320 --> 21:46.320 Right now she's telling him I'm a cop 21:46.320 --> 21:48.320 and they'd better scram out while the scramming's good. 21:48.320 --> 21:50.320 You hit it on the head, boy. There he goes, heading for the door. 21:50.320 --> 21:51.320 He won't make it. 21:51.320 --> 21:52.320 Hey. 21:52.320 --> 21:54.320 Come on. 21:54.320 --> 21:55.320 Hey, Fritzy. 21:55.320 --> 21:56.320 What? 21:56.320 --> 21:58.320 I've been waiting for you to try something like this. 21:58.320 --> 21:59.320 Your girlfriend's pretty smart. 21:59.320 --> 22:01.320 Look out, right? I see he's got a gun. 22:01.320 --> 22:03.320 No, you don't. Stay away from me. 22:03.320 --> 22:04.320 Stay away from me. 22:04.320 --> 22:06.320 No good, Fritzy. No good. 22:06.320 --> 22:08.320 Hey, you okay? 22:08.320 --> 22:10.320 Yeah. Here. Hold on to it. 22:10.320 --> 22:11.320 All right. 22:11.320 --> 22:13.320 Hey, where you going? 22:13.320 --> 22:15.320 To get his girlfriend. I want to attend to her personally. 22:15.320 --> 22:18.320 All right, stand back. Stand back. Get out of the way. 22:18.320 --> 22:20.320 Hey, what's all this? What's... 22:20.320 --> 22:22.320 Police officers. Keep these people back. 22:22.320 --> 22:25.320 Oh, yes, sir. Yes, sir. I'll do that, sir. 22:28.320 --> 22:30.320 What is this? What on earth is this? 22:30.320 --> 22:32.320 Stole that baby. This is a pinch. 22:32.320 --> 22:33.320 What? 22:33.320 --> 22:35.320 Come on. Come on. Come on. Up on your feet. 22:35.320 --> 22:37.320 We've got Fritzy in a huddle. 22:37.320 --> 22:39.320 You're hurting me. 22:39.320 --> 22:40.320 And you're killing me with those big brown eyes. 22:40.320 --> 22:42.320 Why, you just... 22:42.320 --> 22:44.320 Pretty smart you were, only you forgot one little thing. 22:44.320 --> 22:46.320 You forgot the first rule of Broadway. 22:46.320 --> 22:48.320 Never hustle a hustler. 22:48.320 --> 22:50.320 Just who do you think you had, anyway? 22:50.320 --> 22:53.320 Some clown on a train or bright-eyed Mahoney? 22:53.320 --> 22:55.320 Cut up the tears. Come on. 23:08.320 --> 23:11.320 Now then, what's it all about, Sergeant Mahoney? 23:11.320 --> 23:14.320 We can keep the man for carrying a gun. 23:14.320 --> 23:16.320 That'll do for a starter. 23:16.320 --> 23:18.320 We've got a million charges against him. 23:18.320 --> 23:20.320 He pulled the biggest jewelry heist in the country last year. 23:20.320 --> 23:22.320 You can get some papers out here to me? 23:22.320 --> 23:24.320 Sergeant Daines is phoning Los Angeles right now. 23:24.320 --> 23:27.320 All right. Now, what about the lady? 23:27.320 --> 23:30.320 Hold her, too, for disturbing the peace if you have to. 23:30.320 --> 23:32.320 She's Fritzy's girlfriend. She'll be named accomplice. 23:32.320 --> 23:34.320 Oh, I see. 23:34.320 --> 23:37.320 Well, she sure cries a lot. 23:37.320 --> 23:39.320 I'll hold them for you. 23:39.320 --> 23:41.320 Anything else you want from me? 23:41.320 --> 23:44.320 Bright-eyes. We got a mix-up. 23:44.320 --> 23:45.320 What do you mean? 23:45.320 --> 23:48.320 You're a little mixed up, boy. That's what I mean. 23:48.320 --> 23:51.320 I've been on the phone to L.A. straightening it out for you. 23:51.320 --> 23:55.320 Fritzy's old girlfriend and that other one had the apartment together in L.A., okay? 23:55.320 --> 23:59.320 But that's all. She's not tied up with Fritzy. She never was. 23:59.320 --> 24:00.320 Why'd you meet her on the train? 24:00.320 --> 24:04.320 Because Fritzy's girlfriend left an old trunk after her in the store room. 24:04.320 --> 24:08.320 How was this Johnson deemed to know that there was a couple of hundred thousand dollars 24:08.320 --> 24:10.320 worth of stolen jewelry in the fall's bottom? 24:10.320 --> 24:14.320 Naturally, Fritzy wanted it back, so he found out this tomato 24:14.320 --> 24:16.320 you were bright-eyeing with was coming east, 24:16.320 --> 24:19.320 so he just grabbed a plane so he could meet her in K.C. 24:19.320 --> 24:21.320 He wanted that trunk, boy. 24:21.320 --> 24:22.320 Yeah, you mentioned that. 24:22.320 --> 24:24.320 Well, sir, that's it. 24:24.320 --> 24:27.320 She's no more Fritzy's new girlfriend than I am. 24:27.320 --> 24:29.320 You know, it's funny how things work out. 24:29.320 --> 24:33.320 The trunk's been in a hawk shop in L.A. all the time. 24:33.320 --> 24:37.320 Little Miss Muffet got rid of it to clean up the place when she moved. 24:40.320 --> 24:43.320 What's the matter? You sick or something? 24:43.320 --> 24:46.320 I told you she wasn't Fritzy's girlfriend. I told you. 24:46.320 --> 24:50.320 Well, I got that all straightened out for you now, bright-eye, so you... 24:52.320 --> 24:55.320 Right out of release. Will you show her for Jenny Johnson? 24:55.320 --> 24:59.320 Sure. Sure, glad to. 24:59.320 --> 25:03.320 You know, I wanted to do just what you did 25:03.320 --> 25:06.320 ever since that fella started talking. 25:06.320 --> 25:13.320 He bothers me. 25:23.320 --> 25:25.320 The next one will be through tomorrow morning, Jenny. 25:25.320 --> 25:27.320 Thank you. 25:27.320 --> 25:30.320 It's a real nice train, a streamliner and all. 25:30.320 --> 25:33.320 They have a compartment for you. 25:33.320 --> 25:38.320 Jenny, can I say anything? Can I do anything? 25:38.320 --> 25:43.320 You know, when I remember what I was beginning to feel in my heart 25:43.320 --> 25:45.320 and what I've done to you, I just... 25:45.320 --> 25:48.320 In what? In your heart? 25:48.320 --> 25:51.320 Oh, you proved it, didn't you? 25:51.320 --> 25:52.320 Oh, Jenny, look, I'm sorry. 25:52.320 --> 25:54.320 Well, that's all right, bright-eyes. 25:54.320 --> 25:56.320 I heard them call you that. 25:56.320 --> 26:01.320 You're very clever with all women and I'm very stupid, I suppose. 26:01.320 --> 26:04.320 I didn't even know the first rule of Broadway, 26:04.320 --> 26:07.320 but I know what I want anyway. 26:07.320 --> 26:10.320 I want you to leave me alone. 26:10.320 --> 26:12.320 I don't ever want to see you again. 26:12.320 --> 26:15.320 Jenny, Jenny, I know what I want. 26:15.320 --> 26:18.320 I found out sitting in that seat beside you. 26:18.320 --> 26:20.320 Will you just get away from me, the things you said to me 26:20.320 --> 26:22.320 and the way you acted? 26:22.320 --> 26:25.320 Because... because what? 26:25.320 --> 26:28.320 Because you cared for me, I suppose. 26:28.320 --> 26:31.320 Because I cared for you, Jenny. 26:31.320 --> 26:33.320 You know something? 26:35.320 --> 26:38.320 I'm going to be on that train with you tomorrow morning. 26:38.320 --> 26:39.320 Yes, sir, Jenny. 26:39.320 --> 27:02.320 I'm going to be on that train with you. 27:02.320 --> 27:04.320 Suspense. 27:04.320 --> 27:05.320 Presented by Auto Light. 27:05.320 --> 27:08.320 Tonight's star, Mr. Victor Mature. 27:08.320 --> 27:10.320 This is Harlow Wilcox again. 27:10.320 --> 27:13.320 Remember, you now have a good chance to do your favorite 27:13.320 --> 27:16.320 local or national recognized charity, 27:16.320 --> 27:18.320 the favor of a lifetime. 27:18.320 --> 27:21.320 If you're one of the 25 persons selected in the huge 27:21.320 --> 27:23.320 Auto Light family charity drawing, 27:23.320 --> 27:26.320 you can name any recognized charity you wish 27:26.320 --> 27:31.320 to receive a big share of $100,000 in cash. 27:31.320 --> 27:34.320 Those charities can be schools, hospitals, churches, 27:34.320 --> 27:38.320 the American Red Cross, or any other recognized charity. 27:38.320 --> 27:40.320 So if you're 18 years or over, 27:40.320 --> 27:44.320 visit any of the following Auto Light family car showrooms. 27:44.320 --> 27:47.320 DeSoto, Hudson, Plymouth, Studebaker, Dodge, 27:47.320 --> 27:51.320 Willis, Nash, Packard, Kaiser, or Chrysler. 27:51.320 --> 27:54.320 Print your name and address on the drawing registration form 27:54.320 --> 27:56.320 and have the car dealer sign it. 27:56.320 --> 27:57.320 That's all. 27:57.320 --> 27:59.320 Nothing to buy, try, or solve. 27:59.320 --> 28:02.320 So give your favorite recognized charity 28:02.320 --> 28:05.320 a chance to share in this huge $100,000 28:05.320 --> 28:08.320 Auto Light family opportunity. 28:08.320 --> 28:11.320 Visit any Auto Light family car showroom 28:11.320 --> 28:13.320 and sign up tomorrow. 28:21.320 --> 28:24.320 Next week, the story of a man who found that 28:24.320 --> 28:26.320 everything was against him. 28:26.320 --> 28:28.320 His wife distrusted him, his best friend had to give him 28:28.320 --> 28:32.320 an alibi, all because of a girl, a dead girl. 28:32.320 --> 28:35.320 It's called The Guilty Always Run. 28:35.320 --> 28:37.320 Our star, Mr. Terrone Power. 28:37.320 --> 28:41.320 That's next week on Suspense. 28:46.320 --> 28:49.320 Suspense is transcribed and directed by Elliot Lewis, 28:49.320 --> 28:51.320 music composed by Lucian Morwick 28:51.320 --> 28:53.320 and conducted by Lud Gluskin. 28:53.320 --> 28:56.320 The girl in Car 32 was written for suspense by E. Jack Newman 28:56.320 --> 28:58.320 from the story by Thomas Walsh. 28:58.320 --> 29:01.320 In tonight's story, Kathy Lewis was heard as Jenny 29:01.320 --> 29:03.320 and William Conrad as Dane. 29:03.320 --> 29:05.320 Featured in the cast were Herb Butterfield, 29:05.320 --> 29:08.320 Joseph Kearns, Roy Glenn, and John Danaer. 29:08.320 --> 29:12.320 Victor Mature appeared by arrangement with 20th Century Fox, 29:12.320 --> 29:15.320 producers of Prince Valiant in Technicolor and Cinescope, 29:15.320 --> 29:19.320 starring James Mason, Janet Leigh, and Robert Wagner. 29:21.320 --> 29:24.320 And remember next week, Mr. Terrone Power 29:24.320 --> 29:27.320 in The Guilty Always Run. 29:27.320 --> 29:54.320 This is the CBS Radio Network.