WEBVTT 00:00.000 --> 00:13.360 And now, tonight's presentation from radio's outstanding theater of thrills, Suspense. 00:13.360 --> 00:22.000 Tonight, the story of a man with no imagination, who found it necessary to cause the violent 00:22.000 --> 00:23.300 end of a life. 00:23.300 --> 00:27.100 It was written by the winner of the Edgar Allan Poe Award, E. Jack Newman. 00:27.100 --> 00:37.680 The story is called, Sequel to Murder. 00:37.680 --> 00:40.160 I read, I don't write. 00:40.160 --> 00:42.400 I don't have the imagination, they tell me. 00:42.400 --> 00:43.680 They've told me. 00:43.680 --> 00:47.960 But I'm writing this down, and it doesn't take much imagination, so I guess I might 00:47.960 --> 00:50.680 do a fair job at that. 00:50.680 --> 00:52.920 Take a day in my office, for a starter. 00:52.920 --> 00:53.920 Oh, hi, Frank. 00:53.920 --> 00:54.920 Up to your neck? 00:54.920 --> 00:55.920 No, Mr. Walsh. 00:55.920 --> 00:56.920 Oh, good. 00:56.920 --> 00:57.920 I'm here. 00:57.920 --> 00:59.560 New writer, interesting title. 00:59.560 --> 01:01.520 Death on my Hands by Blaine Kittredge. 01:01.520 --> 01:02.520 Good title. 01:02.520 --> 01:03.520 New boy. 01:03.520 --> 01:06.520 I'd like to have you read it and see what you think for our Red Berrier series. 01:06.520 --> 01:09.840 Okay, I'll get at it as soon as I can, Mr. Walsh. 01:09.840 --> 01:10.840 What did you think? 01:10.840 --> 01:12.120 I only read the first ten pages, Frank. 01:12.120 --> 01:13.640 Looked fine, fine. 01:13.640 --> 01:15.640 But I'm going to leave the decision up to you. 01:15.640 --> 01:19.040 If you think this Kittredge has got anything, we'll put him in this month's listings. 01:19.040 --> 01:21.040 Oh, it's 11.35. 01:21.040 --> 01:22.040 Lunch? 01:22.040 --> 01:23.520 I'd better not, Mr. Walsh. 01:23.520 --> 01:27.160 Well, okay, Frank, I don't want to interfere with any business you've got to take care of. 01:27.160 --> 01:28.600 Ah, sorry, Mr. Walsh. 01:28.600 --> 01:29.600 It's okay, okay, Frank. 01:29.600 --> 01:30.600 I won't press you. 01:30.600 --> 01:31.600 Maybe tomorrow, huh? 01:31.600 --> 01:32.600 Yeah, fine, sir. 01:32.600 --> 01:46.440 It's just that I have so much work here. 01:46.440 --> 01:49.000 We certainly can't go on like this. 01:49.000 --> 01:51.080 I can't go on. 01:51.080 --> 01:52.080 You'd better work something out. 01:52.080 --> 01:53.080 I will. 01:53.080 --> 01:55.400 Now, there's no need for all this. 01:55.400 --> 01:57.680 You said the same thing a year ago, Frank. 01:57.680 --> 02:00.720 A whole year ago, you said exactly the same thing. 02:00.720 --> 02:03.360 And it's still the same as it was then. 02:03.360 --> 02:05.800 I still have all those empty nights when I can't see you. 02:05.800 --> 02:08.320 I just told you I'll do something, Bess. 02:08.320 --> 02:09.320 Why all this? 02:09.320 --> 02:12.560 I want you to understand how I feel, Frank. 02:12.560 --> 02:14.280 Exactly how I feel. 02:14.280 --> 02:15.640 Make no mistake about it. 02:15.640 --> 02:19.720 Either you do something now, today, when you see her. 02:19.720 --> 02:20.720 Something definite. 02:20.720 --> 02:22.720 Or that's the end. 02:22.720 --> 02:23.720 This way, it's awful. 02:23.720 --> 02:27.160 It's awful for me, too, you know. 02:27.160 --> 02:28.600 How do people get into things like this? 02:28.600 --> 02:29.600 Oh, now, now, Bess. 02:29.600 --> 02:30.920 I didn't want to love you. 02:30.920 --> 02:33.920 I knew you were married. 02:33.920 --> 02:34.920 I'm such a fool. 02:34.920 --> 02:35.920 Bess, please. 02:35.920 --> 02:36.920 Don't worry. 02:36.920 --> 02:39.920 Don't worry, Mr. Gault. 02:39.920 --> 02:41.920 I won't sit here and cry. 02:41.920 --> 02:44.640 I wouldn't think of upsetting Mr. Gault while he ate his lunch. 02:44.640 --> 02:45.760 Don't you worry a bit, Mr. Gault. 02:45.760 --> 02:48.280 I'm going to work it out. 02:48.280 --> 02:51.880 Bess, do you hear me? 02:51.880 --> 02:54.840 But you're thinking of some other things, too. 02:54.840 --> 02:57.440 Oh, I know what you're thinking of. 02:57.440 --> 02:58.440 How it'll hit you in the pocketbook. 02:58.440 --> 03:01.520 Things like this cost a lot of money, and you hate the thought of that. 03:01.520 --> 03:05.840 Well, if you want me, and you say you do, you'll have to make some sacrifices. 03:05.840 --> 03:07.320 You know that as well as I do. 03:07.320 --> 03:09.800 Oh, sure, look away from me. 03:09.800 --> 03:10.800 Look at the way to look anywhere. 03:10.800 --> 03:14.360 Well, I've made sacrifices already. 03:14.360 --> 03:17.200 I can't see my mother on weekends and tell her who I'm seeing. 03:17.200 --> 03:19.080 She always wants to know. 03:19.080 --> 03:21.080 I can't take you to meet my friends. 03:21.080 --> 03:24.280 I have to be satisfied with this. 03:24.280 --> 03:28.840 This meeting you at your restaurant and seeing you at your office. 03:28.840 --> 03:33.360 I don't have a life this way, Frank. 03:33.360 --> 03:37.400 You don't even have the imagination enough to arrange a romantic setting. 03:37.400 --> 03:38.600 Stop it, Bess. 03:38.600 --> 03:40.200 Get your book out of your purse, Bess. 03:40.200 --> 03:41.200 What? 03:41.200 --> 03:42.200 Lillian just walked in. 03:42.200 --> 03:43.200 Oh. 03:43.200 --> 03:47.040 And if these terms are satisfactory, please advise by wire or cable. 03:47.040 --> 03:48.040 Yours truly, Frank Gault. 03:48.040 --> 03:49.040 Frank! 03:49.040 --> 03:50.040 Oh, Lillian. 03:50.040 --> 03:51.040 Well. 03:51.040 --> 03:53.200 I took a chance you'd be here. 03:53.200 --> 03:54.480 I thought maybe you'd buy me lunch. 03:54.480 --> 03:55.480 Sure, dear, sure. 03:55.480 --> 03:57.320 I didn't know you were coming in this early. 03:57.320 --> 04:00.200 Oh, you remember Miss Lucas from our editorial department? 04:00.200 --> 04:01.200 Yes. 04:01.200 --> 04:02.200 How are you, Miss Lucas? 04:02.200 --> 04:03.200 Fine, Mrs. Gault. 04:03.200 --> 04:04.200 Nice to see you again. 04:04.200 --> 04:09.000 I'd better get this off in the mail right away, Mr. Gault. 04:09.000 --> 04:10.000 All right, Bessie. 04:10.000 --> 04:11.000 Fine. 04:11.000 --> 04:12.000 Better do that. 04:12.000 --> 04:13.000 Well, don't let me rush you off, Miss Lucas. 04:13.000 --> 04:15.000 Oh, we're finished, Mrs. Gault. 04:15.000 --> 04:17.600 Sometimes lunch is the only place I can pin him down. 04:17.600 --> 04:18.600 Really? 04:18.600 --> 04:19.600 Are you that busy, dear? 04:19.600 --> 04:20.600 Yes, I seem to be. 04:20.600 --> 04:21.600 Sit down, Lillian. 04:21.600 --> 04:22.600 Oh, thanks. 04:22.600 --> 04:25.600 Oh, don't forget your notebook, Miss Lucas. 04:25.600 --> 04:28.360 Oh, yes, of course. 04:28.360 --> 04:29.360 Mr. Gault. 04:29.360 --> 04:30.360 Hmm? 04:30.360 --> 04:32.600 I hope you won't let that other matter slip your mind. 04:32.600 --> 04:37.400 It's imperative that you do something about it immediately this afternoon. 04:37.400 --> 04:40.360 Oh, yes, of course, Miss Lucas. 04:40.360 --> 04:41.360 Fine. 04:41.360 --> 04:42.360 Excuse me, Mrs. Gault. 04:42.360 --> 04:43.360 Yes. 04:43.360 --> 04:44.360 See you in the office. 04:44.360 --> 04:45.360 Yes. 04:45.360 --> 04:47.280 Goodbye for now. 04:47.280 --> 04:48.280 Would you like a drink, Lillian? 04:48.280 --> 04:49.880 Oh, she's an interesting girl, Frank. 04:49.880 --> 04:50.880 Bess? 04:50.880 --> 04:51.880 Oh, sure, yes, very bright. 04:51.880 --> 04:54.280 Gonna be one of our best editors someday. 04:54.280 --> 04:55.280 She looks like she'll go far. 04:55.280 --> 04:58.040 But then I don't like the way she wears her hair. 04:58.040 --> 04:59.040 I'll take the drink. 04:59.040 --> 05:00.040 Lillian? 05:00.040 --> 05:02.400 On the phone, you said it was something important. 05:02.400 --> 05:03.400 Yes. 05:03.400 --> 05:05.400 Are you going to tell me? 05:05.400 --> 05:06.400 Yes, Lillian. 05:06.400 --> 05:07.400 I'll tell you what I'll do, Frank. 05:07.400 --> 05:09.000 I'll make it easier for you. 05:09.000 --> 05:11.960 You're always very bad at this sort of thing, and I'm always very good at it. 05:11.960 --> 05:13.080 At what sort of thing? 05:13.080 --> 05:15.000 You don't even know what I wanted to talk to you about. 05:15.000 --> 05:17.680 I can guess what you want to talk to me about. 05:17.680 --> 05:18.800 You can stop me if I'm wrong. 05:18.800 --> 05:22.280 I know all the symptoms, especially on you. 05:22.280 --> 05:23.400 I know you like a book. 05:23.400 --> 05:24.760 You hate to get down to cases. 05:24.760 --> 05:26.520 In your office, you're a real demon. 05:26.520 --> 05:30.760 Doesn't take any imagination to read what other people have thought out. 05:30.760 --> 05:32.480 But this is hard for you, isn't it? 05:32.480 --> 05:33.960 I'll say it right out, Lillian. 05:33.960 --> 05:34.960 I want a divorce. 05:34.960 --> 05:37.160 Well, you did get it out, didn't you? 05:37.160 --> 05:40.240 I want a divorce because we don't get along. 05:40.240 --> 05:42.840 We haven't gotten along for five years. 05:42.840 --> 05:47.600 I want a divorce because I think we've tried about everything to make it work, and it won't. 05:47.600 --> 05:51.040 Lillian, what do you think? 05:51.040 --> 05:52.040 What do you honestly think? 05:52.040 --> 05:54.680 Well, I think a divorce is a swell idea, Frank. 05:54.680 --> 05:55.680 Let's get one. 05:55.680 --> 05:56.680 Huh? 05:56.680 --> 05:57.680 Well, everything you've said is true. 05:57.680 --> 05:58.680 We're castinko. 05:58.680 --> 06:01.040 There's no denying it. 06:01.040 --> 06:02.880 We can't live together, can we? 06:02.880 --> 06:05.000 No, we can't. 06:05.000 --> 06:06.000 You surprise me. 06:06.000 --> 06:07.000 Do what? 06:07.000 --> 06:08.000 How? 06:08.000 --> 06:11.400 Well, this isn't exactly the most pleasant thing for two people to discuss or start to 06:11.400 --> 06:12.400 plan for. 06:12.400 --> 06:15.560 Matter of fact, it's a tragedy and a sin. 06:15.560 --> 06:18.920 Both of us had such high hopes when we started out. 06:18.920 --> 06:23.200 I think we both honestly tried to do everything we can to make it work. 06:23.200 --> 06:26.600 Now, coming to this, we're admitting we failed. 06:26.600 --> 06:29.080 Well, that's one way to look at it, Frank. 06:29.080 --> 06:30.520 Very, very humane. 06:30.520 --> 06:33.800 But we're only human beings, aren't we? 06:33.800 --> 06:35.520 We're two very nice people, aren't we? 06:35.520 --> 06:38.280 And it's too bad that these things happen in life, don't they? 06:38.280 --> 06:39.280 Yes, they do. 06:39.280 --> 06:40.280 I'm sorry. 06:40.280 --> 06:43.200 You wanted to say something like that to me, didn't you? 06:43.200 --> 06:44.200 Yes. 06:44.200 --> 06:45.680 You're a good boy, Frank. 06:45.680 --> 06:47.240 So, what do we do first? 06:47.240 --> 06:51.600 Well, I suppose we get in touch with Dutch and have him advise us on the legal procedures. 06:51.600 --> 06:53.960 No, I suppose we do. 06:53.960 --> 06:56.400 Way easier than you thought it would be, isn't it? 06:56.400 --> 06:59.840 I think you're being very understanding about the whole thing, Lillian. 06:59.840 --> 07:02.840 But then there's really no need for bitterness, is there? 07:02.840 --> 07:04.800 I'm glad you feel that way, Frank. 07:04.800 --> 07:05.800 Here. 07:05.800 --> 07:06.800 What's this? 07:06.800 --> 07:08.800 A few notes I made on how it'll be done. 07:08.800 --> 07:10.640 I've been thinking about it, too. 07:10.640 --> 07:14.480 I hope you won't find the financial strain too great. 07:14.480 --> 07:16.480 Lillian, this is absurd. 07:16.480 --> 07:22.160 $2,500 a month, the house, both cars, and 30% of the stocks they issue you annually. 07:22.160 --> 07:23.160 I think it's wonderful. 07:23.160 --> 07:25.960 That's why I agree with you about the divorce. 07:25.960 --> 07:29.820 This will make it easier for me to admit my defeat. 07:29.820 --> 07:32.440 You want to wreck me completely, don't you, Lillian? 07:32.440 --> 07:33.600 Oh, dear, not completely. 07:33.600 --> 07:35.720 Well, I can't stand still for this, then. 07:35.720 --> 07:37.640 Oh, Frank, dear. 07:37.640 --> 07:39.520 You didn't think you could have it for nothing, did you? 07:39.520 --> 07:42.400 Or do you have such a little amount of imagination? 07:42.400 --> 07:44.520 Who helped you work this out, some shyster? 07:44.520 --> 07:46.640 I did it all by myself, dear. 07:46.640 --> 07:48.320 All by myself. 07:48.320 --> 07:51.400 Just the way you managed to wreck us, all by yourself. 07:51.400 --> 07:52.400 I don't want that drink anyhow. 07:52.400 --> 07:55.520 I have some shopping to do, and I'm going to meet some people for dinner later on. 07:55.520 --> 07:59.040 I suppose you're going to Dutch and talk to him about this. 07:59.040 --> 08:00.480 Take that along. 08:00.480 --> 08:04.320 And tell him that it's the only way I'll consider divorcing you. 08:04.320 --> 08:05.320 Just that way. 08:05.320 --> 08:06.320 No other. 08:06.320 --> 08:07.600 Lillian, I'll be reasonable, but this thing... 08:07.600 --> 08:08.600 No other way, dear. 08:08.600 --> 08:09.600 Those are my terms. 08:09.600 --> 08:10.600 Bye-bye. 08:10.600 --> 08:11.600 Dear. 08:11.600 --> 08:16.600 Frank, you didn't talk to her, did you? 08:16.600 --> 08:19.600 Yes, I did. 08:19.600 --> 08:24.600 Well, what came of it? 08:24.600 --> 08:31.600 Why did you avoid me when you came back to the office? 08:31.600 --> 08:33.600 I've been trying to get hold of you all day and half the night. 08:33.600 --> 08:35.280 Up to my ears and work, Bess. 08:35.280 --> 08:36.280 Work? 08:36.280 --> 08:37.820 Yes, work, work, lots of it. 08:37.820 --> 08:38.820 I still have to work, you know. 08:38.820 --> 08:39.820 Well, don't get angry at me. 08:39.820 --> 08:40.820 Just tell me what happened. 08:40.820 --> 08:41.820 That's all you have to do. 08:41.820 --> 08:44.820 I'm lying in bed right now. 08:44.820 --> 08:45.820 I'm reading a manuscript. 08:45.820 --> 08:47.820 I have to make a decision on it tomorrow morning. 08:47.820 --> 08:48.820 Let's talk then. 08:48.820 --> 08:49.820 Now. 08:49.820 --> 08:51.820 Bess, I can't talk now. 08:51.820 --> 08:52.820 Lillian just walked in the next room. 08:52.820 --> 08:53.820 Yes or no, Frank. 08:53.820 --> 08:54.820 Yes or no. 08:54.820 --> 08:55.820 Say it. 08:55.820 --> 08:56.820 Say it now. 08:56.820 --> 08:57.820 Yes, we're going to be together. 08:57.820 --> 08:58.820 No, we aren't going to be together. 08:58.820 --> 08:59.820 Yes. 08:59.820 --> 09:00.820 Yes. 09:00.820 --> 09:01.820 She'll give you the divorce. 09:01.820 --> 09:02.820 Yes. 09:02.820 --> 09:03.820 Yes. 09:03.820 --> 09:04.820 Goodbye. 09:04.820 --> 09:05.820 Well? 09:05.820 --> 09:06.820 Hi. 09:06.820 --> 09:07.820 Are you a little tight, dear? 09:07.820 --> 09:08.820 I'm a little tight. 09:08.820 --> 09:09.820 Yes, why? 09:09.820 --> 09:10.820 Nothing. 09:10.820 --> 09:14.820 It's just that I have to read this manuscript tonight. 09:14.820 --> 09:17.820 I'd rather not discuss anything about anything right now. 09:17.820 --> 09:18.820 Oh, I see. 09:18.820 --> 09:21.820 Death on my hands by Blaine Kittredge. 09:21.820 --> 09:23.820 Fencing tile, dear. 09:23.820 --> 09:24.820 Yes. 09:24.820 --> 09:25.820 Who's Blaine Kittredge? 09:25.820 --> 09:26.820 I don't know. 09:26.820 --> 09:27.820 Some new writer. 09:27.820 --> 09:28.820 We've never published anything of his before. 09:28.820 --> 09:30.580 Are you going to publish this? 09:30.580 --> 09:31.580 I don't know. 09:31.580 --> 09:32.580 I haven't read it yet, Lillian. 09:32.580 --> 09:33.580 Oh, well, don't let me stop you. 09:33.580 --> 09:34.580 Good night, dear. 09:34.580 --> 09:35.580 Good night. 09:35.580 --> 09:36.580 Frank. 09:36.580 --> 09:37.580 Yes. 09:37.580 --> 09:41.580 I hate to disturb you, but did you talk to Dutch? 09:41.580 --> 09:42.580 No. 09:42.580 --> 09:43.580 Are you going to? 09:43.580 --> 09:44.580 No. 09:44.580 --> 09:47.260 Then you don't want a divorce? 09:47.260 --> 09:48.300 What do you want, Frank? 09:48.300 --> 09:51.580 I want you to leave me alone right now. 09:51.580 --> 09:52.580 Okay. 09:52.580 --> 09:54.580 Especially Lucas, isn't it? 09:54.580 --> 09:55.580 What? 09:55.580 --> 09:56.580 Oh, you're so bad, Frank. 09:56.580 --> 09:58.580 So bad an actor and so sheen. 09:58.580 --> 10:01.020 So little imagination. 10:01.020 --> 10:03.580 I could tell it today when I walked in on your little lunch. 10:03.580 --> 10:05.580 Nothing to say? 10:05.580 --> 10:06.580 No denials? 10:06.580 --> 10:07.580 No confirmation? 10:07.580 --> 10:12.580 Frank, you haven't made a decision yet. 10:12.580 --> 10:13.580 I have. 10:13.580 --> 10:14.580 What's that, Lillian? 10:14.580 --> 10:15.580 I'm going to divorce you. 10:15.580 --> 10:18.580 I'm going to get everything I told you about in the way of terms and on top of it, I'm 10:18.580 --> 10:19.580 going to name her. 10:19.580 --> 10:20.580 No, not me. 10:20.580 --> 10:21.580 You look pretty tawdry, dear. 10:21.580 --> 10:26.580 You're a pretty tawdry person anyway, aren't you, Frank? 10:26.580 --> 10:43.580 A real company man who has to do his little job regardless of what. 10:43.580 --> 10:46.580 Death on my hands by Blaine Kittredge. 10:46.580 --> 10:50.580 Murder is the swiftest, surest, most untraceable crime. 10:50.580 --> 10:54.580 I'm the one that holds the promise of absolute success above all others. 10:54.580 --> 11:02.580 It requires two participants, the killer and the victim. 11:02.580 --> 11:04.580 Frank? 11:04.580 --> 11:06.580 Yeah? 11:06.580 --> 11:11.580 What's the matter? 11:11.580 --> 11:16.580 What are you doing in my room? 11:16.580 --> 11:17.580 Thinking. 11:17.580 --> 11:19.580 At four in the morning? 11:19.580 --> 11:20.580 About what? 11:20.580 --> 11:25.580 The story I just read, it's about a man who gets away with murder, Lillian. 11:25.580 --> 11:28.580 There's no way for him to be caught, no way at all, Lillian. 11:28.580 --> 11:30.580 Will you publish it, dear, then I'll read it. 11:30.580 --> 11:34.580 The trick is he never planned to murder at all. 11:34.580 --> 11:37.580 He killed his wife and he got away with it. 11:37.580 --> 11:42.580 He half-smothered her with a pillow, set the room on fire, and she suffocated from the 11:42.580 --> 11:43.580 smoke. 11:43.580 --> 11:46.580 Is there a cigarette over there? 11:46.580 --> 11:47.580 You want a cigarette? 11:47.580 --> 11:51.580 As well, if you're going to keep this up. 11:51.580 --> 11:53.580 Here. 11:53.580 --> 11:58.580 Thanks. 11:58.580 --> 11:59.580 Now, where are we? 11:59.580 --> 12:00.580 I'm a story, Lillian. 12:00.580 --> 12:01.580 I'll tell you what you do, Frank. 12:01.580 --> 12:02.580 You publish it and I'll read it. 12:02.580 --> 12:03.580 I won't have to listen to it, huh? 12:03.580 --> 12:05.580 I'm going to turn it down. 12:05.580 --> 12:06.580 Fine, you turn it down. 12:06.580 --> 12:10.580 But I'm going to use it, in a way, on you, Lillian. 12:10.580 --> 12:11.580 What are you talking about? 12:11.580 --> 12:13.580 I can't let you wreck me, Lillian. 12:13.580 --> 12:16.580 Oh, Frank, go on back to bed and stop being dramatic. 12:16.580 --> 12:18.580 I have enough imagination to know what that would be like. 12:18.580 --> 12:20.580 It would cost me everything I ever worked for. 12:20.580 --> 12:21.580 What are you doing? 12:21.580 --> 12:22.580 Put that match out. 12:22.580 --> 12:24.580 You're going to set this house on fire. 12:24.580 --> 12:25.580 Just the bed, Lillian. 12:25.580 --> 12:26.580 Frank, go get some water. 12:26.580 --> 12:27.580 The whole house will catch fire. 12:27.580 --> 12:28.580 No, no, not the house. 12:28.580 --> 12:30.580 Just this room, your bed. 12:30.580 --> 12:35.580 They'll be able to save the rest of the house and I don't mind building this room over. 12:35.580 --> 12:38.580 You're utterly mad, Frank, utterly mad. 12:38.580 --> 12:42.580 Just Frank, just hold the pillow over your nose and mouth just long enough to make you 12:42.580 --> 12:43.580 unconscious. 12:43.580 --> 12:44.580 No marks, Lillian, no fuss. 12:44.580 --> 12:47.580 Just like the story. 12:47.580 --> 12:50.580 Smoke's really going to kill you, not me. 12:50.580 --> 12:54.580 It'll be the first thing you breathe, breathe in when I take the pillow away. 12:54.580 --> 12:58.580 It'll be in your lungs, Lillian, for the coroner. 12:58.580 --> 13:02.580 You went to sleep with a cigarette in your hand and you started the bed on fire and you 13:02.580 --> 13:05.580 suffocated before I could help you. 13:05.580 --> 13:13.580 Right in front of my eyes. 13:13.580 --> 13:17.580 All right, Lillian, you can breathe now. 13:17.580 --> 13:22.580 That's it, breathe, Lillian. 13:22.580 --> 13:25.580 Breathe! 13:25.580 --> 13:41.580 Glad to see you back on the job, Frank. 13:41.580 --> 13:43.580 Thank you, Mr. Walsh. 13:43.580 --> 13:46.580 Did you get any rest? 13:46.580 --> 13:49.580 Well, I guess you didn't after all that happened. 13:49.580 --> 13:52.580 We all feel pretty badly about Mrs. Gault's death. 13:52.580 --> 13:53.580 Yes, I know. 13:53.580 --> 13:55.580 Tragic, tragic thing. 13:55.580 --> 13:59.580 Those accidents just happened and there's nothing to be done about them. 13:59.580 --> 14:03.580 Well, I won't take up any more of your time saying awkward things, Frank. 14:03.580 --> 14:05.580 I know what you've been through, all of us do. 14:05.580 --> 14:08.580 But I have a suggestion. 14:08.580 --> 14:09.580 Yes? 14:09.580 --> 14:11.580 Pile in and work, work will help a lot, Frank. 14:11.580 --> 14:13.580 I intended to, Mr. Walsh. 14:13.580 --> 14:15.580 Good boy. 14:15.580 --> 14:16.580 Lunch? 14:16.580 --> 14:17.580 Fine. 14:17.580 --> 14:18.580 I'll see you about two, huh? 14:18.580 --> 14:20.580 Right. 14:20.580 --> 14:21.580 Excuse me, Mr. Walsh. 14:21.580 --> 14:22.580 Oh, hello, Miss Lucas. 14:22.580 --> 14:23.580 Did I interrupt anything? 14:23.580 --> 14:24.580 No, no, no, just leave it. 14:24.580 --> 14:33.580 Oh. 14:33.580 --> 14:34.580 Frank. 14:34.580 --> 14:35.580 Bess. 14:35.580 --> 14:36.580 Darling. 14:36.580 --> 14:37.580 Oh, Bess. 14:37.580 --> 14:41.580 I can't say I'm sorry she's gone, but I am sorry about the way it happened. 14:41.580 --> 14:44.580 I'm sorry I couldn't be with you. 14:44.580 --> 14:50.580 I know you loved her, weren't you? 14:50.580 --> 14:51.580 All over now, Bess. 14:51.580 --> 14:53.580 Oh, Frank. 14:53.580 --> 14:55.580 It was awful for you, wasn't it? 14:55.580 --> 14:57.580 Awful. 14:57.580 --> 15:00.580 But just as Mr. Walsh said, those things happened. 15:00.580 --> 15:02.580 Yes. 15:02.580 --> 15:06.580 Well, you want to talk about it, I guess we can do it another time. 15:06.580 --> 15:07.580 Yes. 15:07.580 --> 15:09.580 Anytime. 15:09.580 --> 15:10.580 That's right. 15:10.580 --> 15:12.580 Anytime. 15:12.580 --> 15:14.580 Do I sound cruel or thoughtless? 15:14.580 --> 15:15.580 Oh. 15:15.580 --> 15:16.580 I do. 15:16.580 --> 15:17.580 I'm sorry. 15:17.580 --> 15:19.580 I just know that I've wanted you for so long. 15:19.580 --> 15:21.580 Now I can have you, Frank. 15:21.580 --> 15:24.580 I'd better get back to my desk. 15:24.580 --> 15:35.580 Yeah. 15:35.580 --> 15:36.580 Hello? 15:36.580 --> 15:37.580 Mr. Galt? 15:37.580 --> 15:38.580 That's right. 15:38.580 --> 15:39.580 Lane Kittredge, Mr. Galt. 15:39.580 --> 15:41.580 I've been trying to get you for a week. 15:41.580 --> 15:42.580 Oh, I've been out of town. 15:42.580 --> 15:43.580 My wife. 15:43.580 --> 15:44.580 Yes, I read about it in the papers. 15:44.580 --> 15:45.580 My sympathy, Mr. Galt. 15:45.580 --> 15:46.580 Thank you. 15:46.580 --> 15:50.580 Mr. Kittredge, I'm sorry, but I don't seem to place you at the moment. 15:50.580 --> 15:51.580 Oh, we've never met. 15:51.580 --> 15:56.580 But just before you went away, I sent you a story called Death on My Hands. 15:56.580 --> 15:57.580 Huh? 15:57.580 --> 15:58.580 Mr. Galt? 15:58.580 --> 15:59.580 Yes. 15:59.580 --> 16:00.580 You remember now? 16:00.580 --> 16:01.580 You rejected that one, Mr. Galt, but I read it. 16:01.580 --> 16:05.580 Well, fine. 16:05.580 --> 16:06.580 Fine, Mr. Gittredge. 16:06.580 --> 16:07.580 Send it in. 16:07.580 --> 16:08.580 I'll be glad to read it. 16:08.580 --> 16:09.580 It's sort of a sequel to the other story, Mr. Galt. 16:09.580 --> 16:10.580 In the first one, I told you how a man got away with a murder. 16:10.580 --> 16:11.580 In this one, I tell you how he gets caught. 16:11.580 --> 16:12.580 Mr. Galt? 16:12.580 --> 16:13.580 Yes. 16:13.580 --> 16:14.580 I'll bring it in myself. 16:14.580 --> 16:15.580 Huh? 16:15.580 --> 16:45.380 You are listening to Mr. Whitfield Connor in E. Jack Newman's story, Sequel to Murder. 16:45.380 --> 17:02.540 Tonight's presentation in radio's outstanding theater of thrills, Suspense. 17:02.540 --> 17:06.940 For full understanding of our changing land, to know more about the opportunities all can 17:06.940 --> 17:12.340 enjoy as America continues to prosper, send for the free booklet titled, The Future of 17:12.340 --> 17:13.620 America. 17:13.620 --> 17:19.540 Head to Box 1776, Grand Central Station, New York 17, and your copy will be sent to you 17:19.540 --> 17:21.520 by early return mail. 17:21.520 --> 17:27.980 The address again is Box 1776, Grand Central Station, New York City 17. 17:27.980 --> 17:34.180 For confidence, for security in your great future, send for this booklet today. 17:34.180 --> 17:40.180 And now we bring back to our Hollywood soundstage, Mr. Whitfield Connor, in Elliot Lewis's production 17:40.180 --> 17:56.300 of Sequel to Murder, a tale well calculated to keep you in suspense. 17:56.300 --> 17:59.540 It isn't hard to write all this now. 17:59.540 --> 18:04.500 First because the details were all there, and next because someone else really did all 18:04.500 --> 18:06.540 the writing, I did the reading. 18:06.540 --> 18:10.860 But the reader and the writer had to meet. 18:10.860 --> 18:11.860 I'm Blaine Kittredge. 18:11.860 --> 18:12.860 Oh. 18:12.860 --> 18:16.620 I got here right after I phoned you, Mr. Galt, but they said you were out to lunch. 18:16.620 --> 18:17.980 I've been waiting ever since. 18:17.980 --> 18:19.740 Sorry, Mr. Kittredge. 18:19.740 --> 18:22.660 I suppose you needed that long lunch hour. 18:22.660 --> 18:23.960 It fits in, Mr. Galt. 18:23.960 --> 18:26.660 You had to think of something to say to me, didn't you? 18:26.660 --> 18:29.100 I don't know why particularly. 18:29.100 --> 18:32.540 Because I have a story for you, the sequel to my first story. 18:32.540 --> 18:34.260 Oh, well, where is it? 18:34.260 --> 18:36.420 I have it here, in my head. 18:36.420 --> 18:39.020 All I have to do is put it down on paper as the saying goes. 18:39.020 --> 18:41.820 Well, I'm afraid I can't read your mind. 18:41.820 --> 18:43.100 I'll help you. 18:43.100 --> 18:48.540 First, I suppose I should tell you I usually write my stories based on fact, more or less. 18:48.540 --> 18:51.540 I take all seven newspapers here every day, for instance. 18:51.540 --> 18:53.300 Read them from top to bottom. 18:53.300 --> 18:57.020 There are a great many things in newspapers that make valuable material for a writer, 18:57.020 --> 18:58.020 Mr. Galt. 18:58.020 --> 18:59.020 Yes. 18:59.020 --> 19:02.120 That's what I do most of the time, Mr. Galt. 19:02.120 --> 19:05.900 But when I wrote that story about the man who half-smothered his wife to death with a 19:05.900 --> 19:09.740 pillow, and then set the room on fire so she'd suffocate, I... 19:09.740 --> 19:11.940 You do remember the story, don't you? 19:11.940 --> 19:13.940 I don't know. 19:13.940 --> 19:16.060 Called Death on My Hands. 19:16.060 --> 19:17.380 You rejected it, Mr. Galt. 19:17.380 --> 19:19.060 You personally rejected it. 19:19.060 --> 19:20.060 Oh. 19:20.060 --> 19:22.020 Yes, well, go on. 19:22.020 --> 19:25.020 Well, that story was a little different, Mr. Galt. 19:25.020 --> 19:28.500 You might say I gave it a little more work than the others. 19:28.500 --> 19:31.860 You see, I didn't base that story on anything I'd read in the newspapers. 19:31.860 --> 19:32.860 You said you had a new story. 19:32.860 --> 19:35.740 I made that one up. 19:35.740 --> 19:37.540 I worked it out pretty well, didn't I? 19:37.540 --> 19:39.580 I suppose you did. 19:39.580 --> 19:44.100 Imagine how surprised I was after I'd written the story to read it in the papers about your 19:44.100 --> 19:46.140 wife, Mr. Galt, dying of suffocation. 19:46.140 --> 19:47.140 Let's not dwell on that, please. 19:47.140 --> 19:49.420 Oh, I don't want to make it painful at all, Mr. Galt. 19:49.420 --> 19:52.900 I'd just like to make sure you buy my new story. 19:52.900 --> 19:56.620 What, uh, what do you have in mind? 19:56.620 --> 19:58.820 A talk with the coroner's office, Mr. Galt. 19:58.820 --> 20:03.780 I'm sure that if I explain to them the details of my story and how you had the story, and 20:03.780 --> 20:07.460 of course they know the details of Mrs. Galt's death, they'd reverse their decision. 20:07.460 --> 20:10.960 We both know they'd reverse their decision about how she died. 20:10.960 --> 20:12.380 And they'd look into your life pretty well. 20:12.380 --> 20:15.060 They'd probably find a good reason for you wanting to get rid of her. 20:15.060 --> 20:17.060 Absurd story like that that wouldn't listen to you. 20:17.060 --> 20:19.600 They'd listen to me, Mr. Galt, because I'm a pretty good talker. 20:19.600 --> 20:23.020 In fact, I talk a lot better than I write, really. 20:23.020 --> 20:24.700 Look, you're listening to me. 20:24.700 --> 20:27.220 Everyone listens to me when I talk. 20:27.220 --> 20:28.220 See? 20:28.220 --> 20:31.060 Now, it really comes down to what do you want out of life. 20:31.060 --> 20:36.100 Now, I don't care about your personal troubles or how you solve them, but I do care about 20:36.100 --> 20:38.060 mine, Mr. Galt. 20:38.060 --> 20:41.960 I need $100,000 to make life interesting for me again. 20:41.960 --> 20:44.500 You have to get me $100,000 if you want to live. 20:44.500 --> 20:46.260 I haven't got that kind of money. 20:46.260 --> 20:48.340 No one has these days. 20:48.340 --> 20:53.420 I've seen your house and your cars, and I have some idea of the salary you make here 20:53.420 --> 20:56.320 and the dividends you get on stock. 20:56.320 --> 20:58.220 And that's how I arrived at my figure. 20:58.220 --> 21:04.020 You might have to liquidate a few things, but then you'll be alive, and after all, you'll 21:04.020 --> 21:07.540 be better off than Mrs. Galt. 21:07.540 --> 21:11.380 She's not alive because you killed her. 21:11.380 --> 21:13.460 You'll have to go to somebody with your story, Kittredge. 21:13.460 --> 21:17.460 I can't pay you that kind of money. 21:17.460 --> 21:19.740 Okay. 21:19.740 --> 21:20.740 I'll turn you in. 21:20.740 --> 21:21.740 Wait. 21:21.740 --> 21:30.860 I'll see what I can do. 21:30.860 --> 21:32.980 It takes time to raise that kind of money. 21:32.980 --> 21:36.540 A little down payment will do, say $10,000. 21:36.540 --> 21:38.980 How about midnight at the 45th Street station? 21:38.980 --> 21:39.980 All right. 21:39.980 --> 21:42.220 Don't, don't, don't, don't go to anybody. 21:42.220 --> 21:45.220 Of course not, Mr. Galt. 21:45.220 --> 21:55.180 Not until I've given you a chance. 21:55.180 --> 21:58.340 Frank? 21:58.340 --> 22:01.260 Frank? 22:01.260 --> 22:03.660 Huh? 22:03.660 --> 22:07.260 What is it, Frank? 22:07.260 --> 22:09.740 Been sitting there looking out the window almost ever since you got here. 22:09.740 --> 22:11.220 You haven't touched your drink. 22:11.220 --> 22:12.220 Oh, I'm sorry. 22:12.220 --> 22:13.220 Is there something wrong with it? 22:13.220 --> 22:14.220 No, no, no, no. 22:14.220 --> 22:15.220 It's fine. 22:15.220 --> 22:16.220 Frank? 22:16.220 --> 22:17.220 What? 22:17.220 --> 22:20.660 For heaven's sake, Frank, this is supposed to be some sort of happy occasion. 22:20.660 --> 22:22.300 Are you tired or sick or something? 22:22.300 --> 22:23.300 What is it? 22:23.300 --> 22:24.300 Bess, I... 22:24.300 --> 22:27.300 I guess I'm just tired. 22:27.300 --> 22:30.380 Frank, who's Blaine Kittredge? 22:30.380 --> 22:31.380 Blaine Kittredge? 22:31.380 --> 22:32.380 Yes. 22:32.380 --> 22:33.380 Uh, a writer. 22:33.380 --> 22:34.380 Why? 22:34.380 --> 22:37.740 Well, he came into the editorial department today, just meeting some of the editors. 22:37.740 --> 22:38.740 I noticed he met you too. 22:38.740 --> 22:40.740 He went to your office, didn't he? 22:40.740 --> 22:41.740 Yeah. 22:41.740 --> 22:42.740 I didn't like him, Frank. 22:42.740 --> 22:43.740 Is he a friend of yours? 22:43.740 --> 22:46.940 No, no, just someone I know. 22:46.940 --> 22:49.020 What is it? 22:49.020 --> 22:50.020 What, Frank? 22:50.020 --> 22:51.020 Tell me. 22:51.020 --> 22:53.140 Kittredge can ruin me, Bess. 22:53.140 --> 22:55.420 He... he... he can ruin us. 22:55.420 --> 22:56.420 What? 22:56.420 --> 22:57.420 Bessie, the whole... 22:57.420 --> 23:01.020 Well, he wrote a story that I rejected, a story about a murder. 23:01.020 --> 23:05.180 The circumstances in the story, the murder and all, well, they're pretty close to the 23:05.180 --> 23:06.660 circumstances of Lillian's death. 23:06.660 --> 23:07.660 What? 23:07.660 --> 23:08.660 Don't you see, Bess? 23:08.660 --> 23:11.020 He has a good weapon and he told me he means to use it today. 23:11.020 --> 23:13.020 Frank, Lillian's death was accidental. 23:13.020 --> 23:16.220 Of course it was accidental, Bess, but his story could make it look deliberate. 23:16.220 --> 23:17.220 What do you mean? 23:17.220 --> 23:20.620 It could make it look as though I had something to do with it. 23:20.620 --> 23:22.460 Why, that's ridiculous, Frank. 23:22.460 --> 23:25.180 Oh, Frank, why do you pay any attention to him at all? 23:25.180 --> 23:26.180 You're really upset, darling. 23:26.180 --> 23:27.180 He wants $100,000. 23:27.180 --> 23:30.180 Why, that's so absurd. 23:30.180 --> 23:33.780 Or is it? 23:33.780 --> 23:35.300 Frank. 23:35.300 --> 23:37.620 What? 23:37.620 --> 23:40.500 You're actually thinking of giving it to him, aren't you? 23:40.500 --> 23:41.660 Well, best the way he presented it. 23:41.660 --> 23:42.660 I haven't got a chance. 23:42.660 --> 23:45.260 He could make the worst kind of trouble for me. 23:45.260 --> 23:50.460 Frank, is it the way he presented it or the way it happened? 23:50.460 --> 23:55.900 Frank, Lillian died accidentally, didn't she? 23:55.900 --> 23:58.540 Frank? 23:58.540 --> 24:01.260 I did it for us, Bess, for us. 24:01.260 --> 24:03.080 It was the only way out. 24:03.080 --> 24:06.220 She wanted to ruin us completely so that nothing would have meant anything. 24:06.220 --> 24:07.220 Bess. 24:07.220 --> 24:09.220 I just wanted you. 24:09.220 --> 24:12.220 Look, Bess, look at me. 24:12.220 --> 24:15.100 You'll think of it differently in a while and you'll know it was all I could do. 24:15.100 --> 24:18.820 I didn't mean ever to tell you, but remember, it was for us. 24:18.820 --> 24:20.460 Don't touch me. 24:20.460 --> 24:21.460 Don't ever touch me again. 24:21.460 --> 24:22.460 Bess. 24:22.460 --> 24:43.620 Hi. 24:43.620 --> 24:47.220 Hello. 24:47.220 --> 24:48.780 Right on time, Mr. Galt. 24:48.780 --> 24:49.780 Yeah. 24:49.780 --> 24:52.940 Good time of the day to meet for this kind of thing, nobody around. 24:52.940 --> 24:53.940 Yeah? 24:53.940 --> 24:54.940 Well? 24:54.940 --> 24:56.540 I didn't bring you the money, Kittredge. 24:56.540 --> 24:58.580 I'm not going to give you any money. 24:58.580 --> 24:59.580 What is this? 24:59.580 --> 25:03.180 I don't need a book to tell me how to handle this. 25:03.180 --> 25:05.100 You're crazy if you try to use that thing here. 25:05.100 --> 25:07.500 You wouldn't get 10 feet without running into a policeman. 25:07.500 --> 25:09.660 Let's go over there. 25:09.660 --> 25:12.940 I haven't got much more to lose, Kittredge. 25:12.940 --> 25:15.780 All right. 25:15.780 --> 25:21.300 I learned a lot about homicide from you, but you can never really get away with it, Kittredge. 25:21.300 --> 25:27.420 Somewhere along the line you get caught, not by policemen, by yourself. 25:27.420 --> 25:29.300 Someone else made me realize that. 25:29.300 --> 25:31.700 A man has to go on living. 25:31.700 --> 25:34.580 Look, Mr. Galt, you aren't going to solve anything here. 25:34.580 --> 25:35.580 I'll kill you. 25:35.580 --> 25:38.540 I know how to do it because it has to be done. 25:38.540 --> 25:41.780 You will fall in front of the subway, Kittredge. 25:41.780 --> 25:43.420 Oh. 25:43.420 --> 25:45.900 These men coming don't move or try to shout at them. 25:45.900 --> 25:47.820 Just let them walk past. 25:47.820 --> 25:50.820 I mean that. 25:50.820 --> 25:54.420 Mr. Galt? 25:54.420 --> 25:57.180 Oh, yes? 25:57.180 --> 26:00.060 Better give us the gun, Mr. Galt. 26:00.060 --> 26:01.060 Police officers. 26:01.060 --> 26:04.060 Count of three. 26:04.060 --> 26:08.300 One, two, here. 26:08.300 --> 26:17.340 Oh. 26:17.340 --> 26:19.500 Boy am I glad you two showed up. 26:19.500 --> 26:21.460 He was just telling me how he was going to kill me. 26:21.460 --> 26:22.460 What's your name? 26:22.460 --> 26:23.460 Kittredge, Blaine Kittredge. 26:23.460 --> 26:24.460 I called earlier. 26:24.460 --> 26:29.500 Sorry, Mr. Galt, but I figured you'd try something like this. 26:29.500 --> 26:31.260 Lillian was right. 26:31.260 --> 26:32.580 What? 26:32.580 --> 26:34.620 I should have known. 26:34.620 --> 26:36.860 I don't have much imagination. 26:36.860 --> 26:38.820 All right. 26:38.820 --> 26:42.620 Let's go. 26:42.620 --> 26:50.540 No reprieve. 26:50.540 --> 26:53.820 I didn't think there'd be one anyhow. 26:53.820 --> 26:55.020 Don't care about that part of it. 26:55.020 --> 26:59.100 I do care that Bess never came to the trial. 26:59.100 --> 27:00.980 But I would have seen that. 27:00.980 --> 27:15.220 I would have known she'd take it that way if I'd had any imagination. 27:15.220 --> 27:16.220 All right, Father. 27:16.220 --> 27:17.220 I'm ready. 27:17.220 --> 27:46.940 Suspense, in which Whitfield Connor was starred in Sequel to Murder. 27:46.940 --> 27:50.540 Next week, the story of a man who lost his shoes. 27:50.540 --> 27:54.860 And when you're suspected of murder and you've got to run for your life and the temperature 27:54.860 --> 28:01.460 is in the 90s, why then you're correct in saying it's too hot to live. 28:01.460 --> 28:09.900 That's next week on Suspense. 28:09.900 --> 28:21.580 Suspense is produced and directed by Elliot Lewis with tonight's music composed by René 28:21.580 --> 28:24.860 Garagin and conducted by Wilbur Hatch. 28:24.860 --> 28:28.660 Sequel to Murder was written for Suspense by E. Jack Newman. 28:28.660 --> 28:33.580 In tonight's story, Whitfield Connor was heard as Galt, Charlotte Lawrence as Bess, Betty 28:33.580 --> 28:52.060 Lou Gerson as Lillian, Joe Kearns as Walsh, and Jack Crushen as Kitteridge. 28:52.060 --> 28:56.020 This is the network and tomorrow's the night when CBS Radio's Crime Photographer takes 28:56.020 --> 28:57.580 on his latest murder case. 28:57.580 --> 29:02.860 Yes, it's Casey on the case and things usually click from start to finish when crime photographers 29:02.860 --> 29:05.940 in action on most of these stations every Wednesday night. 29:05.940 --> 29:10.860 Be sure you're in your favorite radio side seat tomorrow night when Casey, crime photographer, 29:10.860 --> 29:19.660 cuts loose with his camera, his brains, and his instinct for adding up clues to a killing. 29:19.660 --> 29:36.620 Gay Time is a Gay Time with Arthur Godfrey Time on the CBS Radio Network.