WEBVTT

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And now, tonight's presentation of radio's outstanding theater of thrills, Suspense.

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Tonight, the story of a murder in which no gun was used, nor knife, nor blunt instrument,

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nor poison, nor suffocation, nor force of any kind.

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And yet, a man was murdered.

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So now, with Lawrence Dobkin as Joe Porter, here is tonight's Suspense play, Destruction.

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Okay, doctor.

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Okay.

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Okay, doctor.

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Okay.

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Call her.

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You're going to be all right, Mr. Porter.

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You're brought here to emergency by ambulance and you're going to be all right.

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Color?

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As good as new.

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Cyanotic at all?

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Don't worry about a thing, Mr. Porter.

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Inject intravenously, Lantoside C, being a digitalis derivative and highly recommended

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in cases of near death.

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You won't die, Mr. Porter.

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As, for example, when a man collapses in the streets, coronary seizure on the streets,

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blood plasma by intravenous drip, as, for example.

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So as to restore the blood volume.

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Doctor?

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Yes, doctor.

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Cyanotic doctor?

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His color is poor, doctor.

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The will to live is a remarkable thing.

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Every cell in the body musters its own peculiar chemistry, its own soul, if you wish.

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Joe.

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Why don't you come in and get your breakfast, Joe?

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As long as I've got to get up and get your food before the maid comes, you'll be in here

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when it's ready.

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Don't shatter me so early in the morning, girl.

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Don't shatter him so early in the morning.

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Who do you think you are?

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Well, who do you think you are?

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Oh, stop it.

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You ever stop and think of anybody else?

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You'd only do that once in a while.

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You'd ever wonder how it is for the people around you?

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The people around me?

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There's always...

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Just don't cry, that's all.

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Why not?

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Why shouldn't I cry?

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Can't you listen to a joke?

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No.

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Don't tell me it breaks your heart or something like that.

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It terrifies me.

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Why?

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When you cry, Vera.

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Well?

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It's another failure I've created, that's all.

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Well, listen to him.

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I walked into the kitchen this morning, my wife looked at me and she began to cry.

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Your coffee, you want juice or something, what do you want?

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Why did you cry, Vera?

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Oh.

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Please, tell me.

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Some juice.

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Please tell me why you...

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You want to know what happened to me this morning?

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Yes.

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All of a sudden you turned into a small man in an undershirt.

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Well, it's hot.

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You wouldn't understand if I told you.

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Yes, I would.

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Small man in an undershirt like somebody I'd never seen before, a stranger.

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And I know you're not a stranger, you're what my life is up to now.

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Oh, no.

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Oh, no it isn't.

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Oh, no it isn't.

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The fact that I loved you and this is what it's gotten me, little man, little failure in an undershirt.

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Did you hear what I said?

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I said, oh, no it isn't.

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What are you talking about?

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Don't you think I know?

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What are you talking about?

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Stupid or something.

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What are you talking about?

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The guy, the guy, the guy that comes around.

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Stupid or something.

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What do you think, I don't know or something?

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So?

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So.

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Yeah, so what?

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You don't care that I know?

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I said so what, didn't I?

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Yeah, yeah you did.

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You want to leave me?

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I don't know.

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I got to keep seeing him, Joe.

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I don't love you anymore, I don't care a thing for you.

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Nothing, huh?

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Joe, just not a thing.

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After ten years now I'm like dirt.

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I worked my head off.

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I worked my head off so you can have a mate I can't even get my socks darned.

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You sit around all day and I...

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You want to whip yourself with it, yeah, just like dirt, let's.

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Okay, okay.

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That's Joe, to let you know where you stand.

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You want me to tell you some things about yourself.

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You want me to...

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You're a very little man, Joe.

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I started to die then.

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I know it's been building up for a long time, but this morning I felt it for the first time.

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While I was talking to Billy.

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Something all at once slipped away and something in me tried to grab out after it, but it was gone.

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And I had a little pain then.

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Once, a long time ago, on a summer's night, on a moonlighted night,

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I stood on a lonely street corner and stretched my arms out for the world.

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And Vera stood close to me.

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I love you, Joe.

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You're not small, Joe.

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I love you.

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This morning there was a small pain and I started to die.

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Hey, Joe.

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Oh, hi, Herb.

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Hiya.

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How's tricks?

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Fine.

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Fine.

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Everything great, huh?

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Yeah.

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Excuse me.

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Everything great, huh?

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What's the matter with you?

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With me?

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With me?

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Yeah, something funny?

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I'll tell you.

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Don't worry.

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What's funny, huh?

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You are.

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You're a funny man.

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What do you mean?

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How can anybody be as miserable as you, huh?

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Now, look.

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Where's the five for the picnic, Joe?

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Everybody in the office but Joe Turner.

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Last year the picnic committee had to wait until September to park you from five bucks.

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Look, I don't have it.

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That's all.

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I have been delegated to tell you something, Joe.

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Now, wait a minute.

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Tonight is the poker game, yeah?

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What about it?

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Don't come.

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What?

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I have been delegated to tell you that the boys don't want you.

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The boys say you can't pay your just and honest debts.

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You can't afford to play poker.

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Herb.

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For your own protection, kid.

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Herb.

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What?

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Oh, Herb.

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What's the matter with you?

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I look forward so much to the...

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Hi.

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Hi, Herb.

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Joe.

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Good morrow, fair one.

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Would you drink from the bubbling brook of a watercool?

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I would.

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Well, then be my guest.

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You're carrying me.

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Drink.

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Drink you.

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Crazy, huh?

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Joe.

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Yeah?

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I heard something, Joe.

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What?

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Herb, you go away.

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This is between Joe and me.

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Now, come on.

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I mean it.

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Now, go away.

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This is between my little shortstop and me.

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Okay, but you'll tell me later.

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No, I won't either.

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Nostradu.

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Hello, Joe.

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What are you looking at me like that for?

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You're just lucky you don't have kids, that's all.

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What are you talking about?

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I've always wanted kids.

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What makes me so lucky I don't have any?

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Are you kidding?

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What's the new...

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I can't tell you my source.

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But my source says your wife's running around.

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My source...

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Shut up.

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Joey, my source never lies.

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Oh, Joe.

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I don't know who told you, but she's lying.

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It's not a she, it's a he.

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And Joey, there isn't a better source alive.

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I know because I've got a lady friend

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who knows this party we're discussing.

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And what she's told me, he's told her about.

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Ellis.

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Yeah?

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Don't say anything to anybody, not to anybody.

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Why should I say anything?

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Because it's something that my wife...

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My wife and I will straighten out.

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Just please don't tell anybody.

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Little shortstop.

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Little Joey.

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And died the small deaths.

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Phyllis' face wavered and lost focus and dissolved into the day

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of columns and posts and plus signs and minuses and ciphers

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and Herb coming over just before lunch.

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Hey, man.

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Tough about your wife.

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Heard she's running around.

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I had no good.

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It was strange.

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It was a kind of surrender bits of me seemed to be making.

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As if I were drowning.

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Submerging only so far and getting used to it

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and then sinking a little more.

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There was a time, a bright spring day when a girl laughed

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at a very wonderful thing I had said and touched my hand.

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There were days.

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Turner, see you.

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Oh, sure, Mr. Collins.

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Right away, my office.

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Sure, Mr. Collins.

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Thor.

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Yes, sir.

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Have a seat.

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Thank you.

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This is not a depression we're in, Turner.

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No, sir, far from it.

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Lovingly off, I'd call it.

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It's a good sign.

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Anybody who invests in a false economy, now mind you,

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I'm not saying at this stage we just pass it over

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with anything but healthy, but now you've got to do

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a little bit more retrenching here, you agree?

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Oh, yes, sir, yes, sir.

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You're fired, Turner.

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Economists all over the country agree that a strong inventory

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that's fluid is the soundest investment and that any company

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that carries too much of a load as far as personnel is concerned

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is foolish.

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Now I only appeal to your intelligence.

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You can see for yourself that we must cut down on our expenses.

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Please, please.

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Are you crying, Turner?

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Yes.

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Mr. Collins.

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We've got to level off.

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Now I have charge to show that there's no time like now

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to undertake minimum...

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Mr. Collins.

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Yes, what is it?

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I'll work for less money.

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Please, please don't fire me.

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Well...

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I'll take a cut.

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Figure out how much I'm worth to you.

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Why don't you do that?

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Figure out how much I'm worth to you.

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I'll take a cut.

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You're forcing me to say we don't need you.

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We don't want people like you in our organization.

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You're fired.

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You are listening to Destruction,

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tonight's presentation in radio's outstanding

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theater of thrills, Suspense.

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Later tonight on most of these stations,

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CBS radio continues Mr. Keen's latest serial thriller,

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The Ice Queen Murder Case.

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The old investigator finds himself skating on thin ice

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in his efforts to find clues.

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Tonight through Friday of this week,

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continue with Mr. Keen, Tracer of Lost Persons.

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Now we bring back to our Hollywood sound stage,

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Lawrence Dabkin, in tonight's production of Destruction,

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a tale well calculated to keep you in suspense.

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Dr. Landis.

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Yes?

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Mr. Turner's cyanotic, the bluish color

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indicating lack of oxygen.

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Yes.

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It seems to me only a thought,

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but it seems to me...

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You had a thought, doctor?

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Is it Mr. Turner had no will to live,

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or the want, or the desire?

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I don't know.

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I wouldn't.

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I'll prepare the syringe.

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What Mrs. Porter said for me to do,

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see that you got your dinner, serve it to you,

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and then you'll be home for the day.

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Where is Mrs. Porter?

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Out.

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Did she tell you where she was going?

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What?

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Did Mrs. Porter tell you where she was going?

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She said out.

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That's all she told me.

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She said out.

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Why, don't you know?

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Didn't she call you up at the office?

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This keeps you overtime, doesn't it, Thelma,

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staying on to serve my dinner?

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Mrs. Porter talked to somebody on the telephone.

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I thought sure it was you.

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The way I was ironing her things in the kitchen,

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I didn't hear the words.

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Just that kind of soft laugh Mrs. Porter has sometimes

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when she's talking on the phone.

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I didn't hear the words,

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but I sure thought it must be you she was talking to.

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It was.

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Then she went into the bedroom and called out to me

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to iron that silk blouse first.

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That frilly one cut low off the shoulder.

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Yes, yes.

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Oh, you sure got an attractive wife, Mr. Porter.

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And we two get along real fine.

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Thelma.

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It was around four she went out,

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smelling pretty and looking real nice.

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I said, you have a nice time now, Mrs. Porter.

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Didn't tell you where she was going,

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huh, and talked to you on the phone?

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Thelma.

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Well, I guess I'll be going.

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Nothing more.

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No, why don't you stay a little while?

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We'll talk.

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I hate to eat alone.

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I'll be through eating in just a few minutes.

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You could clear the table and maybe wash the dishes

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and by then Mrs. Porter will be home.

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Not me, Mr. Porter.

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She's already paid you the extra.

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Not me.

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Besides.

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Besides what?

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If I was you, I'd go to a movie or something.

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Mrs. Porter's not liable to get home until real late.

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That's what she said to me, she said.

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Tell him not to wait up.

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It was moving in on me.

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All the dying that had happened to me during the day

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moving in, adding up.

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Very close now.

14:57.440 --> 14:59.440
The emptiness, the stillness left behind

14:59.440 --> 15:03.440
when she walked out of the house.

15:03.440 --> 15:05.440
And the quick dark of nightfall speeding through the rooms

15:05.440 --> 15:07.440
and moving in on me.

15:07.440 --> 15:11.440
And the sigh of wind close to my ear.

15:11.440 --> 15:15.440
And farther away the silence somehow quivering,

15:15.440 --> 15:17.440
trembling somehow through the grass and on the leaves

15:17.440 --> 15:20.440
in the yard outside.

15:20.440 --> 15:23.440
And it was close to me as I went into another room

15:23.440 --> 15:26.440
to the closet that held Vera's clothes,

15:26.440 --> 15:29.440
that held the perfume she wore and the scent of seasons,

15:29.440 --> 15:34.440
long dead, season dying, even now.

15:34.440 --> 15:36.440
And back into the room.

15:36.440 --> 15:43.440
A room where a long time ago.

15:43.440 --> 15:46.440
Oh, Joey baby, look what you've done.

15:46.440 --> 15:54.440
You made me drop my mirror.

15:54.440 --> 15:56.440
Yeah, tricks, sonny.

15:56.440 --> 15:58.440
Tricks that just wouldn't work for me.

15:58.440 --> 16:00.440
But it's going to.

16:00.440 --> 16:03.440
Hey, bar, set me up another row of wine glasses.

16:03.440 --> 16:05.440
Got to show my friend here there's tricks.

16:05.440 --> 16:07.440
Who's twisting your arm?

16:07.440 --> 16:09.440
What did you say, friend?

16:09.440 --> 16:10.440
You said something?

16:10.440 --> 16:12.440
I said don't bother.

16:12.440 --> 16:14.440
You don't care if I ever do this trick?

16:14.440 --> 16:15.440
No.

16:15.440 --> 16:18.440
If not ever in my whole life I ever do this trick?

16:18.440 --> 16:19.440
Look, I don't.

16:19.440 --> 16:21.440
You're not a true friend.

16:21.440 --> 16:23.440
Why, any true buddy would forget it.

16:23.440 --> 16:25.440
You show somebody else, I'll move.

16:25.440 --> 16:27.440
Where are you going, Fred?

16:27.440 --> 16:28.440
Get your paws off of me.

16:28.440 --> 16:30.440
Get my.

16:30.440 --> 16:34.440
Oh, get my paw.

16:34.440 --> 16:36.440
I like you.

16:36.440 --> 16:38.440
You're my friend.

16:38.440 --> 16:40.440
I'm going to show you my trick.

16:40.440 --> 16:43.440
I told you, get your hands off of me.

16:43.440 --> 16:45.440
You didn't tell me a thing.

16:45.440 --> 16:48.440
Because you're going to sit right there where you were sitting.

16:48.440 --> 16:52.440
And you're going to be friendly and watch a trick.

16:52.440 --> 16:55.440
Or else I'm going to smash your face in, little one.

16:55.440 --> 16:59.440
Make you drink beer right off the bar room floor.

16:59.440 --> 17:02.440
Sit down, little one.

17:02.440 --> 17:04.440
I like you, little one.

17:04.440 --> 17:06.440
I like how you pay attention.

17:06.440 --> 17:07.440
I like the...

17:07.440 --> 17:08.440
What will these two, Mr. Stevens?

17:08.440 --> 17:10.440
These the kind of class?

17:10.440 --> 17:13.440
You're a lad, a fine upcoming lad you are.

17:13.440 --> 17:15.440
Hey, look, I'll...

17:15.440 --> 17:17.440
Don't worry about it, Mr. Stevens.

17:17.440 --> 17:19.440
Do all the tricks you want.

17:19.440 --> 17:21.440
An old customer like you, who's going to mind?

17:21.440 --> 17:23.440
You hear that, little one?

17:23.440 --> 17:24.440
This lad's a friend.

17:24.440 --> 17:26.440
He likes to see me do tricks.

17:26.440 --> 17:27.440
Sure.

17:27.440 --> 17:30.440
I'm a barrel of fun, Mr. Stevens.

17:30.440 --> 17:34.440
Now, this trick I'm going to show you...

17:34.440 --> 17:36.440
What's your name, little one?

17:36.440 --> 17:38.440
Come on, what's your name?

17:38.440 --> 17:39.440
Joe Porter.

17:39.440 --> 17:40.440
You don't look good, Joe.

17:40.440 --> 17:41.440
No?

17:41.440 --> 17:42.440
You look sick.

17:42.440 --> 17:43.440
Pale and sick.

17:43.440 --> 17:44.440
You sick?

17:44.440 --> 17:45.440
No.

17:45.440 --> 17:46.440
You're sick.

17:46.440 --> 17:47.440
Oh, look.

17:47.440 --> 17:48.440
Look, mister, please, just...

17:48.440 --> 17:50.440
You want to tell me something, Joe?

17:50.440 --> 17:51.440
Because I'm listening.

17:51.440 --> 17:53.440
It's like you said.

17:53.440 --> 17:55.440
I don't feel too great.

17:55.440 --> 17:58.440
All I want to do, mister, is sit here and have a quiet drink.

17:58.440 --> 18:00.440
What eats you, Joey?

18:01.440 --> 18:03.440
Nothing. It's not any...

18:03.440 --> 18:04.440
Girlfriend?

18:04.440 --> 18:05.440
No.

18:05.440 --> 18:06.440
Wife?

18:06.440 --> 18:07.440
You're the type who's got a wife, little one.

18:07.440 --> 18:08.440
If you've got a thing going...

18:08.440 --> 18:09.440
Leave me alone!

18:09.440 --> 18:10.440
Joey!

18:10.440 --> 18:11.440
Joey!

18:11.440 --> 18:13.440
I tell you what.

18:13.440 --> 18:16.440
I'm going to do this trick I do with a row of glasses.

18:16.440 --> 18:20.440
And it's going to take your mind off whatever it is that's eating away on you.

18:20.440 --> 18:22.440
A man like you, a little one like you,

18:22.440 --> 18:26.440
he's bound to have something going for him with his women, folks.

18:26.440 --> 18:30.440
Now, don't tell me nothing about that, because I know.

18:30.440 --> 18:33.440
And Stevie's got a trick with a row of wine glasses.

18:33.440 --> 18:34.440
No!

18:34.440 --> 18:35.440
Hey!

18:38.440 --> 18:42.440
Now, why did you go and do a thing like that, little one?

18:42.440 --> 18:45.440
Why you go and spoil my trick?

18:45.440 --> 18:47.440
Because I had enough of you.

18:47.440 --> 18:48.440
I had enough of your talking.

18:48.440 --> 18:49.440
Now, shut your mouth!

18:49.440 --> 18:52.440
You're a slob! You're a fat, overdrawn slob!

18:52.440 --> 18:54.440
I said to you to shut your mouth!

18:54.440 --> 18:55.440
That's what I said!

18:55.440 --> 18:56.440
Oh, you!

18:56.440 --> 18:58.440
You come on outside, I'll have you!

18:58.440 --> 18:59.440
What's wrong, Mr. Stevens?

18:59.440 --> 19:01.440
Come around the side of the bar, lad.

19:01.440 --> 19:03.440
We got ourselves a drunk here.

19:03.440 --> 19:05.440
That's what's wrong, lad.

19:05.440 --> 19:07.440
Smashed your nice glasses and everything.

19:07.440 --> 19:08.440
He kept at me. That's what.

19:08.440 --> 19:10.440
He kept bothering me. He kept digging at me.

19:10.440 --> 19:14.440
You got yourself a real drunk, lad. A lush.

19:14.440 --> 19:18.440
A man can hardly find peace in a little fun anymore.

19:18.440 --> 19:19.440
Get out, mister.

19:19.440 --> 19:21.440
We don't want any trouble.

19:21.440 --> 19:24.440
I wasn't making any trouble. It's him.

19:24.440 --> 19:25.440
It's this fat slob.

19:25.440 --> 19:28.440
Maybe he didn't understand you, lad!

19:32.440 --> 19:36.440
Only way to make a drunk understand is to kick their teeth.

19:38.440 --> 19:39.440
Throw him away, lad.

19:39.440 --> 19:41.440
Sure, Mr. Stevens.

19:41.440 --> 19:45.440
Come on. You can't walk, but I've got a way.

19:45.440 --> 19:46.440
Drag him along.

19:58.440 --> 20:02.440
He dragged me out. Threw me into the gutter.

20:02.440 --> 20:07.440
A man and a young woman walked by, arm in arm.

20:07.440 --> 20:11.440
A girl, really, with a nighttime soft on her face.

20:11.440 --> 20:14.440
She tugged at his sleeve and stopped him.

20:14.440 --> 20:16.440
And they looked at me.

20:16.440 --> 20:18.440
Look what I found, Dicky. A drunk.

20:18.440 --> 20:19.440
Yeah.

20:19.440 --> 20:21.440
A drunk in the gutter.

20:21.440 --> 20:24.440
That's where the wine leads. Straight to the gutter.

20:24.440 --> 20:25.440
Is that what he is? A wino?

20:25.440 --> 20:29.440
Boozer. A wino. Guy in the gutter.

20:29.440 --> 20:31.440
Well, Mr. Wino.

20:31.440 --> 20:34.440
Hello, down there. Mr. Boozer?

20:34.440 --> 20:37.440
Let's go, baby. There's sights in sight.

20:37.440 --> 20:39.440
I want to see sights in sight.

20:39.440 --> 20:42.440
Good night, Mr. Wino. Sleep tight, Mr. Boozer.

20:42.440 --> 20:44.440
Sleep tight. Wake up bright.

20:44.440 --> 20:46.440
Come on.

20:52.440 --> 20:54.440
And they walked on.

20:54.440 --> 20:57.440
And it had a kind of warmth to it, this dying.

20:57.440 --> 21:00.440
And the hurt with the man who'd hit me and the humiliation.

21:00.440 --> 21:02.440
Part of it.

21:02.440 --> 21:07.440
A manner of dying that had begun a long time ago, far off time ago.

21:07.440 --> 21:11.440
And became the man of the tricks and the girl with sights to see.

21:12.440 --> 21:16.440
And along the gutter the question ran how much longer now.

21:16.440 --> 21:19.440
How much further to die.

21:19.440 --> 21:21.440
Wonder and a warmth to it.

21:21.440 --> 21:25.440
Mister? You hurt, mister?

21:25.440 --> 21:30.440
Aw, you hurt your face, baby.

21:30.440 --> 21:33.440
Poor baby, poor baby.

21:33.440 --> 21:35.440
And a gentle touch on the hurt.

21:35.440 --> 21:38.440
You've been in a fight. You've been drinking and getting in a fight.

21:38.440 --> 21:41.440
You shouldn't, not a fellow like you.

21:41.440 --> 21:43.440
Nice looking fellow like you.

21:43.440 --> 21:47.440
Let me help you. I want to. Honestly, I want to.

21:47.440 --> 21:49.440
She helped me?

21:49.440 --> 21:52.440
Maybe you ought to wash up a little, dust yourself off.

21:52.440 --> 21:56.440
A fellow like you oughtn't to go home looking like a wall hit him.

21:56.440 --> 22:00.440
A man like you.

22:11.440 --> 22:15.440
There. There you're going to be new as pie.

22:15.440 --> 22:17.440
What's your name?

22:17.440 --> 22:20.440
Ellie. It's Ellen, but you say Ellie.

22:20.440 --> 22:24.440
I don't know why you should.

22:24.440 --> 22:27.440
Feels nice, huh? Ellie's doing nice, huh?

22:27.440 --> 22:30.440
Yes, but I don't...

22:30.440 --> 22:33.440
Now, you're new as pie.

22:33.440 --> 22:36.440
I'll get this stuff out of the way.

22:39.440 --> 22:41.440
What's yours?

22:41.440 --> 22:42.440
What?

22:42.440 --> 22:44.440
What's your name, foolish?

22:44.440 --> 22:45.440
Joe.

22:45.440 --> 22:46.440
Hi, Joe.

22:46.440 --> 22:49.440
Hi.

22:49.440 --> 22:52.440
Mind if I sit next to the patient?

22:52.440 --> 22:54.440
Why are you doing all this?

22:54.440 --> 22:55.440
What?

22:55.440 --> 22:57.440
Pick me out of the gutter.

22:57.440 --> 22:59.440
Bring me here. Take care of me.

22:59.440 --> 23:00.440
You mean that?

23:00.440 --> 23:01.440
Yes.

23:01.440 --> 23:04.440
The drunk in the gutter's face bashed him.

23:04.440 --> 23:05.440
Foolish.

23:05.440 --> 23:09.440
No, no, no, I'm not. I'm asking a simple question.

23:09.440 --> 23:13.440
Why one human being will do a thing like that, do something nice like that,

23:13.440 --> 23:14.440
and another one will do...

23:14.440 --> 23:16.440
You really are, aren't you?

23:16.440 --> 23:17.440
Or what?

23:17.440 --> 23:20.440
Foolish. You really are.

23:20.440 --> 23:22.440
Sit a couple of minutes if you want, Joe.

23:22.440 --> 23:23.440
Ellie.

23:23.440 --> 23:25.440
You sit. Just the way you are.

23:25.440 --> 23:26.440
What are you doing?

23:26.440 --> 23:28.440
Watch me. I do it well.

23:28.440 --> 23:30.440
You want to do that good?

23:30.440 --> 23:32.440
Every light in the room goes on just in this one switch.

23:32.440 --> 23:34.440
I had an electrician come up once and see...

23:34.440 --> 23:36.440
Why did you do that?

23:36.440 --> 23:38.440
Ask me again.

23:38.440 --> 23:42.440
Why? Why did you turn on all the lights?

23:42.440 --> 23:44.440
So I could get a good look at you, Joe.

23:44.440 --> 23:46.440
A real close look.

23:46.440 --> 23:51.440
Ellie, all I want...

23:51.440 --> 23:55.440
Get out of here, Joe.

23:55.440 --> 23:56.440
Why?

23:56.440 --> 24:00.440
Don't make me let out a yell about it. Just get out.

24:00.440 --> 24:02.440
Before you were nice to me, kind.

24:02.440 --> 24:03.440
No more.

24:03.440 --> 24:05.440
Why?

24:05.440 --> 24:07.440
It's not much to ask. Just why. Tell me.

24:07.440 --> 24:10.440
You got some place to go? Some place far from here?

24:10.440 --> 24:12.440
Yes, I have. I have a home.

24:12.440 --> 24:14.440
Wife?

24:14.440 --> 24:16.440
Where?

24:16.440 --> 24:18.440
I saw it once.

24:18.440 --> 24:20.440
I was a kid and I saw it once.

24:20.440 --> 24:21.440
Never forgot.

24:21.440 --> 24:22.440
What are you talking about?

24:22.440 --> 24:25.440
I saw it. I was a kid.

24:25.440 --> 24:27.440
This man fell flat on the street.

24:27.440 --> 24:30.440
I came up close and I saw his face.

24:30.440 --> 24:31.440
Close as I am to you.

24:31.440 --> 24:32.440
What's that got to do...

24:32.440 --> 24:36.440
Do it somewhere else.

24:36.440 --> 24:44.440
Die somewhere else.

25:06.440 --> 25:11.440
Landis, quickly.

25:11.440 --> 25:14.440
Nor a pinaforene should have.

25:14.440 --> 25:17.440
Normally it would have, but it didn't.

25:17.440 --> 25:19.440
No response to it.

25:19.440 --> 25:21.440
The blood volume.

25:21.440 --> 25:23.440
No longer a question of that.

25:23.440 --> 25:25.440
I'm sorry.

25:25.440 --> 25:27.440
I'm sorry.

25:27.440 --> 25:29.440
I'm sorry.

25:29.440 --> 25:31.440
I'm sorry.

25:31.440 --> 25:33.440
I'm sorry.

25:33.440 --> 25:36.440
The blood volume.

25:36.440 --> 25:38.440
No longer a question of that.

25:38.440 --> 25:40.440
Tell me.

25:40.440 --> 25:44.440
Landis had C, plasma, nor a pinaforene,

25:44.440 --> 25:47.440
and the one medication we cannot give,

25:47.440 --> 25:50.440
beyond our power to give.

25:50.440 --> 25:55.440
But his body seems to have lost the will to live.

25:55.440 --> 25:58.440
There's a chemistry that kills

25:58.440 --> 26:13.440
and we know nothing about.

26:13.440 --> 26:42.440
He's dead.

26:43.440 --> 26:45.440
Suspense.

26:45.440 --> 26:48.440
In which Lawrence Dobkin was starred in Morton Fine

26:48.440 --> 26:52.440
and David Friedkin's story, Destruction.

26:52.440 --> 26:54.440
This Thursday night on CBS radio,

26:54.440 --> 26:56.440
Kathy and Elliot Lewis will be on stage

26:56.440 --> 26:58.440
with an original thriller titled The Telegram.

26:58.440 --> 27:00.440
The Lewises paint a startling,

27:00.440 --> 27:02.440
believable picture of a young married couple

27:02.440 --> 27:05.440
spending a harrowing night with an unopened telegram.

27:05.440 --> 27:07.440
Listen for it. Thursday night.

27:07.440 --> 27:09.440
Next week, the story of a woman,

27:09.440 --> 27:11.440
a most attractive woman who learns to her discomfort

27:11.440 --> 27:15.440
that even the smallest of arguments could lead to her death.

27:15.440 --> 27:29.440
That's next week on Suspense.

27:29.440 --> 27:31.440
Suspense is directed by Norman MacDonald

27:31.440 --> 27:33.440
with music composed by Lucian Morrowick

27:33.440 --> 27:35.440
and conducted by Lud Bluskin.

27:35.440 --> 27:37.440
Destruction was written for Suspense

27:37.440 --> 27:39.440
by Morton Fine and David Friedkin.

27:39.440 --> 27:42.440
Featured in tonight's cast were John Dana,

27:42.440 --> 27:44.440
Michael Ann Barrett, Jack Crouchon,

27:44.440 --> 27:46.440
Charlotte Lawrence, Jerry Hausner,

27:46.440 --> 27:48.440
Virginia Gregg, Clayton Post,

27:48.440 --> 27:51.440
Frank Gerstel, Georgia Ellis, and Farley Bear.

27:51.440 --> 27:53.440
And remember, next week,

27:53.440 --> 27:55.440
Ben S. Hunter's Suspense Story.

27:55.440 --> 28:02.440
Good night, Mrs. Russell.

28:02.440 --> 28:03.440
Listen while you work.

28:03.440 --> 28:05.440
Enjoy Wendy Warren every Monday through Friday

28:05.440 --> 28:09.440
in the daytime on the CBS Radio Network.

