WEBVTT 00:00.000 --> 00:11.600 And now, transcribe for tonight's presentation of radio's outstanding theater of thrills, 00:11.600 --> 00:12.600 Suspense. 00:12.600 --> 00:21.920 Tonight, the story of a motion picture producer and a young actress who finds to her dismay 00:21.920 --> 00:26.240 that she has rather more dramatic talent than even she ever hoped for. 00:26.240 --> 00:33.040 So now, starring Virginia Christine with Joseph Kearns, here is tonight's Suspense play, Shooting 00:33.040 --> 00:46.800 Star. 00:46.800 --> 00:50.960 These contract players, Dave, Martin Richards, Drake, Cantil. 00:50.960 --> 00:53.360 Tab Richards? 00:53.360 --> 00:54.360 But I thought... 00:54.360 --> 00:56.880 Oh, I play gin with him and he goes with my daughter. 00:56.880 --> 00:58.880 I don't do business that way. 00:58.880 --> 01:00.080 Well, I just meant... 01:00.080 --> 01:02.040 I meant I thought the boy was pretty good. 01:02.040 --> 01:03.360 I can't use him. 01:03.360 --> 01:05.360 Well, that's all, Dave. 01:05.360 --> 01:06.360 Yes. 01:06.360 --> 01:07.360 All right. 01:07.360 --> 01:08.360 Yes? 01:08.360 --> 01:09.360 Goodbye, J.D. 01:09.360 --> 01:12.280 Well, offer what you have to, but get her. 01:12.280 --> 01:14.840 Oh, and bring the papers to my place at Palm Desert. 01:14.840 --> 01:15.840 I'll sign them there. 01:15.840 --> 01:16.840 All right, goodbye. 01:16.840 --> 01:17.840 Goodbye. 01:17.840 --> 01:18.840 Yes? 01:18.840 --> 01:23.840 Benjamin Conn to see you, Mr. Zimmer. 01:23.840 --> 01:24.840 Oh, all right, send him in. 01:24.840 --> 01:25.840 Oh, and Miss Davis. 01:25.840 --> 01:26.960 Yes, Mr. Zimmer? 01:26.960 --> 01:27.960 Have my car sent around. 01:27.960 --> 01:28.960 Yes, Mr. Zimmer. 01:28.960 --> 01:29.960 Let's see. 01:29.960 --> 01:30.960 Well, good afternoon, J.D. 01:30.960 --> 01:31.960 Oh, hello, Ben. 01:31.960 --> 01:32.960 How's your arthritis? 01:32.960 --> 01:33.960 Oh, so good. 01:33.960 --> 01:34.960 Oh, it's too bad. 01:34.960 --> 01:35.960 Going to the desert for the weekend. 01:35.960 --> 01:36.960 That's the place. 01:36.960 --> 01:37.960 Bake it out. 01:37.960 --> 01:38.960 Yeah. 01:38.960 --> 01:39.960 Say, J.D., I want to talk to you about Gay Lansing. 01:39.960 --> 01:40.960 You've thought about her for Dark Lady. 01:40.960 --> 01:41.960 Yeah. 01:41.960 --> 01:42.960 It would be novel casting and she wants to try something different. 01:42.960 --> 01:43.960 I'm sure she'll be able to do it. 01:43.960 --> 01:44.960 I'm sure she'll be able to do it. 01:44.960 --> 01:45.960 I'm sure she'll be able to do it. 01:45.960 --> 01:46.960 I'm sure she'll be able to do it. 01:46.960 --> 01:54.960 I'm sure she'll be able to do it. 01:54.960 --> 02:20.360 Now, the way I see it, after this musical is over, we could have something really big 02:20.360 --> 02:21.360 in Gay. 02:21.360 --> 02:22.360 Go for the Italian type. 02:22.360 --> 02:23.360 Cut. 02:23.360 --> 02:24.360 All right, wrap it up. 02:24.360 --> 02:32.400 And take my shoes off. 02:32.400 --> 02:35.680 I have never been so tired. 02:35.680 --> 02:37.880 It's harder every time, Benny. 02:37.880 --> 02:40.740 Thank heavens this dance marathon is nearly over. 02:40.740 --> 02:42.400 And thank heavens it's my last. 02:42.400 --> 02:43.760 I've just seen Zimmer. 02:43.760 --> 02:46.160 Benny, what did he say about Dark Lady? 02:46.160 --> 02:47.160 He said no, Gay. 02:47.160 --> 02:48.160 No? 02:48.160 --> 02:50.160 They're signing Laura Bevin. 02:50.160 --> 02:51.160 Laura Bevin? 02:51.160 --> 02:53.160 Look, did you tell him that... 02:53.160 --> 02:55.600 Sorry, Gay, that's the way it is. 02:55.600 --> 02:57.200 I see. 02:57.200 --> 03:01.040 Well, I took off my dancing shoes too soon. 03:01.040 --> 03:04.840 So it's to be another super multicolored musical mishmash. 03:04.840 --> 03:06.840 Gay, they're not renewing. 03:06.840 --> 03:10.040 They're not what? 03:10.040 --> 03:14.360 They're dropping your option. 03:14.360 --> 03:15.360 That can't be right. 03:15.360 --> 03:17.800 Well, J.D. thinks the musical cycle is over. 03:17.800 --> 03:18.800 He thinks that... 03:18.800 --> 03:20.120 He thinks my cycle is over, is that it? 03:20.120 --> 03:23.000 No, he didn't say that, Gay. 03:23.000 --> 03:24.000 Just like that. 03:24.000 --> 03:25.320 Now, Gay, listen. 03:25.320 --> 03:28.640 Just this morning I was talking with Harry out of Modern Pictures, and he... 03:28.640 --> 03:29.640 Give me my coat. 03:29.640 --> 03:30.640 Where are you going? 03:30.640 --> 03:31.640 Does it matter? 03:31.640 --> 03:33.000 Oh, now, Gay, take it easy. 03:33.000 --> 03:35.320 Look, you go change and I'll drive you home. 03:35.320 --> 03:36.320 You'll feel better. 03:36.320 --> 03:37.320 Feel? 03:37.320 --> 03:38.320 Funny how I feel. 03:38.320 --> 03:42.680 I'm all numb and far away like I'm someone else. 03:42.680 --> 03:44.320 Gay, I'll figure something. 03:44.320 --> 03:46.920 I'll call J.D. at Palm Desert over the weekend. 03:46.920 --> 03:47.920 Gay? 03:47.920 --> 03:49.920 All numb and far away. 03:49.920 --> 03:56.920 Just like I was someone else. 03:56.920 --> 03:59.920 Yes? 03:59.920 --> 04:09.920 Oh, hello, Iris. 04:09.920 --> 04:15.160 Yeah, I just got here. 04:15.160 --> 04:19.800 I'm in the patio now, enjoying the hot sun and a long, tall cold one. 04:19.800 --> 04:20.800 I'll let Haynes go back. 04:20.800 --> 04:23.720 No, no, no, no, no, I'll be all right. 04:23.720 --> 04:26.920 I'll have my meal sent in. 04:26.920 --> 04:29.760 Is the Klan still at the house? 04:29.760 --> 04:33.800 Well, you let me know when they go, huh? 04:33.800 --> 04:36.800 All right, goodbye. 04:36.800 --> 04:39.800 Hello, J.D. 04:39.800 --> 04:44.800 Why, Gay, I didn't hear you when... 04:44.800 --> 04:48.320 Well, here, sit down. 04:48.320 --> 04:50.800 I understand you're dropping my contract. 04:50.800 --> 04:55.000 Well, Benny told you already, huh? 04:55.000 --> 04:59.080 I'm sorry about that, Gay, but stockholders feel... 04:59.080 --> 05:00.560 I want a new contract, J.D. 05:00.560 --> 05:04.880 I want it for 2,500 a week, seven years, no options, and I want the lead in Dark Lady. 05:04.880 --> 05:06.280 Oh, now look... 05:06.280 --> 05:08.480 I want you to call the studio now and arrange it. 05:08.480 --> 05:10.480 You're being ridiculous. 05:10.480 --> 05:14.880 After all, in today's market, it's the exhibitors who... 05:14.880 --> 05:16.880 I mean what I say, J.D. 05:16.880 --> 05:18.880 Gay. 05:18.880 --> 05:20.880 It's almost like an ornament, isn't it? 05:20.880 --> 05:24.880 So small in the pearl handle, but it shoots real bullets. 05:24.880 --> 05:26.880 I advise you to respect it. 05:26.880 --> 05:28.880 Oh, no, no, you're... 05:28.880 --> 05:29.880 Well, you're not yourself, Gay. 05:29.880 --> 05:31.880 Perhaps you just don't know me very well. 05:31.880 --> 05:34.880 Get on that phone, J.D., and be careful. 05:34.880 --> 05:40.880 Very well. 05:40.880 --> 05:44.880 Operator, get me Hollywood 1429. 05:44.880 --> 05:46.880 You know how foolish you're being, Gay. 05:46.880 --> 05:49.880 Why, if I even hinted, the Screen Act is gilded. 05:49.880 --> 05:52.880 Legal department, Mr. Mitchell, please. 05:52.880 --> 05:56.880 If I tell Owen to go ahead with this, legal is going to have a mess on their hands with Laura Bevin. 05:56.880 --> 05:58.880 Oh, hello, Owen. 05:58.880 --> 06:00.880 This is J.D. 06:00.880 --> 06:03.880 I want you to draw up a new contract for Gay Lansing. 06:03.880 --> 06:05.880 For seven years. 06:05.880 --> 06:07.880 No, that's right, seven. 06:07.880 --> 06:09.880 2,500 a week, no options. 06:09.880 --> 06:11.880 Apart. Put it in the contract. 06:11.880 --> 06:15.880 She's the star in Dark Lady. Put that in the contract. 06:15.880 --> 06:17.880 That's right. 06:17.880 --> 06:20.880 Well, you work that out. Goodbye. 06:20.880 --> 06:22.880 How far do you think you can go with this, Gay? 06:22.880 --> 06:26.880 Monday morning I'll cancel that contract, and you'll be blackballed by every studio in town. 06:26.880 --> 06:28.880 No. Oh, no. 06:28.880 --> 06:32.880 Because now, J.D., I'm going to kill you. 06:32.880 --> 06:34.880 Give me that back. 06:34.880 --> 06:37.880 Oh, my God. 06:37.880 --> 06:39.880 You have yourself to thank for that, J.D. 06:39.880 --> 06:43.880 You had me taught judo by an expert, remember, for that whack musical? 06:43.880 --> 06:45.880 Get up. 06:45.880 --> 06:47.880 Oh, Gay. 06:47.880 --> 06:49.880 Look, why don't we sit down? 06:49.880 --> 06:50.880 Let's talk this over. 06:50.880 --> 06:52.880 You think I'm unbalanced. 06:52.880 --> 06:55.880 No, no, I think you're... I think you're tired. 06:55.880 --> 06:58.880 I'm quite sane, J.D. I want you to understand that. 06:58.880 --> 06:59.880 Gay. 06:59.880 --> 07:02.880 Last year you used a folding wheelchair when your knee was bad. Where is it? 07:02.880 --> 07:04.880 I don't know. 07:04.880 --> 07:06.880 Back hall, maybe. 07:06.880 --> 07:07.880 We'll have a look then. 07:07.880 --> 07:09.880 Go on, J.D. 07:09.880 --> 07:11.880 Walk. 07:13.880 --> 07:15.880 Open the door. 07:18.880 --> 07:21.880 What a remarkable memory, J.D. 07:21.880 --> 07:23.880 All right. Open it. 07:23.880 --> 07:25.880 Oh, this is crazy. 07:27.880 --> 07:29.880 There. 07:29.880 --> 07:31.880 Now sit down. 07:31.880 --> 07:32.880 Go ahead. 07:32.880 --> 07:33.880 Oh, now look. 07:33.880 --> 07:35.880 Sit. 07:35.880 --> 07:38.880 The belt off of this trench coat should do nicely. 07:39.880 --> 07:43.880 Now this should hold you, and if I need you in another room, I can wheel you there. 07:43.880 --> 07:46.880 I won't have to keep the gun pointed. That's rude, I know. 07:47.880 --> 07:48.880 There. 07:48.880 --> 07:49.880 Are you comfortable? 07:49.880 --> 07:51.880 You know, this is a very poor joke. 07:51.880 --> 07:54.880 I don't like to do this, J.D. I'm not a criminal. 07:54.880 --> 07:57.880 I made the phone call. Your contract is being drawn up. What more... 07:57.880 --> 08:00.880 Do you remember the first time you saw me? 08:00.880 --> 08:03.880 Yes, you were in the chorus of one of Daly's reviews. 08:03.880 --> 08:05.880 Not the chorus. I had a specialty. 08:05.880 --> 08:08.880 Even at the first, I had a specialty. $40 a week. 08:08.880 --> 08:11.880 And I thought I'd arrived. I was 16. 08:11.880 --> 08:14.880 Then Zimmer Productions signed you up at ten times that figure. 08:14.880 --> 08:16.880 And I made The Sunshine Girl. 08:16.880 --> 08:19.880 Do you remember how things were with ZSP in those days? 08:19.880 --> 08:22.880 The studio was bankrupt, but I saved you. 08:22.880 --> 08:25.880 They liked The Sunshine Girl, and little by little I climbed to success 08:25.880 --> 08:27.880 with Zimmer Star Productions on my shoulders. 08:27.880 --> 08:30.880 All right, but the favor worked both ways, Gay. 08:30.880 --> 08:34.880 How many even talented girls attend premieres of their own pictures 08:34.880 --> 08:36.880 before they're 17? 08:36.880 --> 08:40.880 And did you know how I worked for those lights and premieres in contract? 08:40.880 --> 08:43.880 I danced my heart out. I even risked my life for you. 08:43.880 --> 08:45.880 You were never asked to do that. 08:45.880 --> 08:48.880 But when you had the bright idea of a dance routine atop a 30-foot globe, 08:48.880 --> 08:49.880 I did it. 08:49.880 --> 08:51.880 I still have nightmares about that day. 08:51.880 --> 08:55.880 Lights in my eyes, I whirl, I smile, the music goes faster and faster. 08:55.880 --> 08:57.880 I look down... 08:57.880 --> 08:59.880 I fall. 08:59.880 --> 09:02.880 It was eight months before I ever danced again. 09:02.880 --> 09:05.880 I know, I know, but you've always been our most reliable star. 09:05.880 --> 09:06.880 I have, haven't I? 09:06.880 --> 09:08.880 No undue husbands or scandals or tempers. 09:08.880 --> 09:10.880 All right, then. Why break your record? 09:10.880 --> 09:14.880 You use me up and throw me out. You've done enough to me in my career. 09:14.880 --> 09:18.880 Tomorrow, you will be the headlines, J.D. 09:18.880 --> 09:20.880 An unfortunate accident. 09:20.880 --> 09:22.880 What are you talking about? 09:22.880 --> 09:24.880 You don't swim, do you, J.D.? 09:24.880 --> 09:28.880 A villa in Palm Desert with a pool, a cottage at Carmel with a private beach, 09:28.880 --> 09:33.880 a ranch in Oregon with a private lake, but you don't swim, do you, J.D.? 09:33.880 --> 09:36.880 You wouldn't do that. You couldn't. 09:36.880 --> 09:39.880 No. Not yet. 09:39.880 --> 09:43.880 Tonight I'm going to set the time, say, nine o'clock. 09:43.880 --> 09:46.880 That will give you three hours and 40-odd minutes to think about it. 09:46.880 --> 09:49.880 Okay, they'll arrest you. You'll go to jail. 09:49.880 --> 09:51.880 Who's that? 09:51.880 --> 09:52.880 I don't know. 09:52.880 --> 09:54.880 I thought you weren't expecting anyone. 09:54.880 --> 09:55.880 I'm not. 09:55.880 --> 09:57.880 Who is it, J.D.? Let's not play games. 09:57.880 --> 10:00.880 Maybe it's the delivery boy. I ordered some liquor. 10:00.880 --> 10:03.880 Oh. I'll handle him. 10:03.880 --> 10:05.880 How? 10:05.880 --> 10:09.880 Never mind. Now I'm going to put you in the den and gag you. 10:09.880 --> 10:13.880 If I were you, J.D., I'd be very, very cooperative. 10:13.880 --> 10:16.880 It wouldn't bother me in the least to kill the delivery boy 10:16.880 --> 10:22.880 and then make it look as though you did it. 10:22.880 --> 10:44.880 You are listening to Shooting Star, tonight's presentation in radio's outstanding theater of thrills, Suspense. 10:44.880 --> 10:49.880 Hello, this is Marvin Miller. 10:49.880 --> 10:54.880 We'll return to our program in a moment, but first, here's something to think about. 10:54.880 --> 10:57.880 You probably remember these words from your school days. 10:57.880 --> 11:02.880 We mutually pledge to each other our lives, our fortunes, and our sacred honor. 11:02.880 --> 11:06.880 They're the final words of our Declaration of Independence. 11:06.880 --> 11:11.880 Following them are the signatures of 56 men, men of many talents. 11:11.880 --> 11:15.880 But to each of them, one thing was important, freedom. 11:15.880 --> 11:18.880 With a passionate faith, they believed in it and worked to bring it about. 11:18.880 --> 11:22.880 The freedoms which they declared have been endangered many times, 11:22.880 --> 11:26.880 but there have always been those with steady hearts and willing hands 11:26.880 --> 11:30.880 to defend and support the principles that free men live by. 11:30.880 --> 11:33.880 The American citizen recognizes his two responsibilities. 11:33.880 --> 11:38.880 First, to know what his rights are, and second, to know what his rights are. 11:38.880 --> 11:42.880 And second, to defend those rights. 11:42.880 --> 11:47.880 And now, we bring back to our Hollywood soundstage, Virginia Christine with Joseph Kearns, 11:47.880 --> 11:51.880 starring in tonight's production of Shooting Star, 11:51.880 --> 11:56.880 a tale well calculated to keep you in suspense. 11:56.880 --> 12:11.880 Suspense. 12:11.880 --> 12:18.880 Coming. 12:18.880 --> 12:21.880 Well, hello. 12:21.880 --> 12:24.880 Delivery for Mr. Zimmer. Bring them in? 12:24.880 --> 12:29.880 Yes, yes, come in. 12:29.880 --> 12:31.880 Where do you want this stuff? 12:31.880 --> 12:35.880 Well, over here in the bar. Do you mind? 12:35.880 --> 12:37.880 No. 12:37.880 --> 12:41.880 Why, it's hot for this late in the afternoon. 12:41.880 --> 12:44.880 Could you use a drink? 12:44.880 --> 12:47.880 Well, sure, why not? 12:47.880 --> 12:50.880 I'll get the glasses. You open the bottle. 12:50.880 --> 12:52.880 Which one? 12:52.880 --> 12:54.880 Bourbon. 12:54.880 --> 12:56.880 Ancient age, okay? 12:56.880 --> 12:58.880 Fine. 12:58.880 --> 13:02.880 Go ahead, pour. 13:02.880 --> 13:07.880 Say, I thought Mr. Zimmer was here alone this time. 13:07.880 --> 13:11.880 Well, he is technically. I'm his secretary. 13:11.880 --> 13:13.880 You don't say. 13:13.880 --> 13:14.880 Mm-hmm. 13:14.880 --> 13:15.880 Here you are. 13:15.880 --> 13:17.880 Thanks. 13:17.880 --> 13:19.880 Well, bottoms up. 13:19.880 --> 13:22.880 Why not? 13:22.880 --> 13:26.880 You know, you're awful cute. 13:26.880 --> 13:29.880 I get around. 13:29.880 --> 13:32.880 I'll bet you do. 13:32.880 --> 13:39.880 Come here. 13:39.880 --> 13:43.880 You, um, you gonna be here alone? 13:43.880 --> 13:44.880 Well. 13:44.880 --> 13:46.880 What's that? 13:46.880 --> 13:48.880 Nothing, I'm defrosting the refrigerator. 13:48.880 --> 13:50.880 Maybe you'd better go now. 13:50.880 --> 13:51.880 Go now? 13:51.880 --> 13:52.880 You'd better. 13:52.880 --> 13:54.880 Well, that's a quick switch. 13:54.880 --> 13:58.880 Uh, well, uh, I'll see you again maybe? 13:58.880 --> 14:00.880 Yes, maybe. 14:00.880 --> 14:02.880 Yeah, well, uh, bye. 14:02.880 --> 14:12.880 And, uh, give my compliments to the old man. 14:12.880 --> 14:15.880 I should be very angry with you, JD, for knocking over that vase. 14:15.880 --> 14:17.880 I'll remember that at nine o'clock. 14:17.880 --> 14:19.880 Meanwhile, I guess we can take this out. 14:19.880 --> 14:22.880 You, you witch. 14:22.880 --> 14:24.880 That delivery boy. 14:24.880 --> 14:26.880 You not only want to kill me, but my reputation as well. 14:26.880 --> 14:28.880 Your reputation. 14:28.880 --> 14:30.880 Shall I tell you something about your reputation, JD? 14:30.880 --> 14:33.880 You're known as a heartless, grasping, slave-driving tyrant. 14:33.880 --> 14:35.880 That's a bunch of rubbish. 14:35.880 --> 14:37.880 I'm a hardworking man who got ahead by my own efforts. 14:37.880 --> 14:40.880 How about that brother of yours who lent you $400 to get started? 14:40.880 --> 14:43.880 The rather small time brother that you don't even talk about now. 14:43.880 --> 14:45.880 I've paid him back a hundred times. 14:45.880 --> 14:48.880 And then there was a time when you took your own partner's wife away from him. 14:48.880 --> 14:50.880 He was making her life miserable. 14:50.880 --> 14:51.880 And what are you making it? 14:51.880 --> 14:53.880 A desert. 14:53.880 --> 14:55.880 You left her alone on your honeymoon and she's hardly seen you since. 14:55.880 --> 14:57.880 That's not true. 14:57.880 --> 14:59.880 I'm a busy man, but I'm a family man and I won't have you... 14:59.880 --> 15:02.880 You won't be considered a family man after the publicity you're going to get. 15:02.880 --> 15:06.880 But then you always taught me any publicity is good publicity. 15:06.880 --> 15:09.880 Even when Eric Allen eloped with someone else on the eve of our wedding, 15:09.880 --> 15:12.880 you had the publicity make a front-page ball of it. 15:12.880 --> 15:15.880 You can't keep down a story like that. 15:15.880 --> 15:17.880 You could have tried. You could have tried. 15:17.880 --> 15:18.880 All right, Kay. All right. 15:18.880 --> 15:21.880 Look, let's say you win. Let's say I've made mistakes. 15:21.880 --> 15:23.880 But I can always do better. 15:23.880 --> 15:26.880 Right now I'm tired. I'm hungry. 15:26.880 --> 15:28.880 And if you'll just take off these confounded robes, 15:28.880 --> 15:31.880 I'll agree to forget all about tonight. 15:31.880 --> 15:33.880 Come on. Come on. Now what do you say? 15:33.880 --> 15:36.880 And have you swear out a complaint the moment you're flown? 15:36.880 --> 15:39.880 No, no, I won't. You have my word. Look, I'll even put it in writing. 15:39.880 --> 15:42.880 Hmm. I'll think it over. 15:42.880 --> 15:44.880 I'll let you know at nine o'clock. 15:44.880 --> 15:46.880 But you do have a point, J.D. 15:46.880 --> 15:47.880 Of course. 15:47.880 --> 15:49.880 About being hungry. I am too starved. 15:49.880 --> 15:51.880 All right. We'll have some dinner sent over from the hotel. 15:51.880 --> 15:52.880 No. No, that's not. 15:52.880 --> 15:55.880 They'd send a waiter and I hate crowds. Don't you, J.D.? 15:55.880 --> 15:59.880 Let's see if you don't have a well-stocked larder to match that well-stocked bar. 15:59.880 --> 16:10.880 Won't you join me? 16:10.880 --> 16:14.880 Hmm. Pompano, artichoke hearts and branded peaches. 16:14.880 --> 16:18.880 Quite a snack. And it's only $7.24. 16:18.880 --> 16:20.880 You have plenty of time to enjoy it. 16:20.880 --> 16:22.880 Shall I untie you so you can eat? 16:22.880 --> 16:24.880 I'm not hungry now. 16:24.880 --> 16:25.880 Oh, but you must eat something. 16:25.880 --> 16:27.880 You were going to consider my offer. 16:27.880 --> 16:31.880 Oh, yes. But I wouldn't count on it, J.D. 16:31.880 --> 16:33.880 I'm afraid it's too late for mercy. 16:33.880 --> 16:34.880 Coffee? 16:34.880 --> 16:35.880 No. 16:35.880 --> 16:39.880 Let me slice you some of this edam. I have a nice sharp... 16:39.880 --> 16:41.880 Huh? What is it? 16:41.880 --> 16:43.880 There's a car turning in. 16:43.880 --> 16:45.880 Who do you know who drives a pale blue Cad convertible? 16:45.880 --> 16:47.880 It's my wife. It's Iris. 16:47.880 --> 16:49.880 She must have driven down an Iris-nose-jougue. 16:49.880 --> 16:51.880 You might just as well give up this game right now. 16:51.880 --> 16:53.880 Not necessarily. 16:53.880 --> 16:56.880 It's twilight. It's dim in the front room. 16:56.880 --> 16:58.880 What are you going to do? 16:58.880 --> 17:01.880 First, gag you again. I regret the necessity, J.D. 17:01.880 --> 17:04.880 Don't you lay a finger on my wife. Don't you touch her. I swear, gay, I swear. 17:14.880 --> 17:15.880 Yeah? 17:15.880 --> 17:17.880 Oh. 17:18.880 --> 17:19.880 Who are you? 17:19.880 --> 17:23.880 I'm the maid here from the hotel. Mr. Zimmer. He wanted some cleaning up done. 17:23.880 --> 17:25.880 Oh, I see. 17:25.880 --> 17:27.880 Well, I'm... I'm Mrs. Zimmer. 17:27.880 --> 17:30.880 I'll come in if you don't mind. I forgot my key. 17:30.880 --> 17:31.880 Where's Mr. Zimmer? 17:31.880 --> 17:33.880 Oh, he's out. 17:33.880 --> 17:34.880 Out? 17:33.880 --> 17:35.880 Yeah, to dinner. 17:35.880 --> 17:37.880 Well, I thought... 17:37.880 --> 17:39.880 Where was he going, did he say? 17:39.880 --> 17:41.880 I don't know. Some... some club somewhere. 17:41.880 --> 17:44.880 The Palm Club? Tennis club? 17:44.880 --> 17:46.880 Yeah, yeah. That might be at the tennis club. 17:46.880 --> 17:49.880 Oh. Well, I'll drive over and join him. 17:49.880 --> 17:51.880 That drive through the desert is simply posh for me. 17:51.880 --> 17:53.880 I think I'll get a drink of water. 17:53.880 --> 17:55.880 Oh, I'll get it for you. 17:55.880 --> 17:57.880 No. No, don't bother. I'll just run out to the kitchen and... 17:57.880 --> 18:01.880 I was so... so worried about him. About his going out. 18:01.880 --> 18:05.880 I tell you, he had the mark of the dead on him. 18:05.880 --> 18:07.880 Mark? 18:09.880 --> 18:11.880 What are you talking about? 18:11.880 --> 18:13.880 Well, I tell you, he had shadows in his eyes. 18:13.880 --> 18:17.880 It was just about ten minutes after the pain was gone from his heart. 18:17.880 --> 18:20.880 I told him to go to bed and let me bring him something. 18:20.880 --> 18:22.880 But he wouldn't do it. 18:22.880 --> 18:24.880 A telephone call and off he goes. 18:26.880 --> 18:29.880 Are you trying to say my husband had a heart attack? 18:29.880 --> 18:32.880 Yeah, slight perhaps. 18:32.880 --> 18:34.880 When did this happen? 18:34.880 --> 18:36.880 Well, not ten minutes after I got here. 18:36.880 --> 18:38.880 Oh, I knew it this morning. 18:38.880 --> 18:40.880 The minute I opened my eyes, I said, 18:40.880 --> 18:42.880 there's going to be trouble today. 18:42.880 --> 18:44.880 I said, there's going to be trouble today. 18:44.880 --> 18:46.880 Oh, do be quiet. 18:46.880 --> 18:48.880 I better get over there. 18:48.880 --> 18:51.880 Just leave the latch off the door. We won't be late. 18:51.880 --> 18:53.880 I hope you're not too late. 18:53.880 --> 18:55.880 Yeah, goodbye. 19:00.880 --> 19:03.880 I'm back, J.D. You can talk again now. 19:03.880 --> 19:05.880 What have you done to my wife? 19:05.880 --> 19:07.880 She's gone. Where is she? 19:07.880 --> 19:09.880 I sent her off to Palm Springs to search for you. 19:09.880 --> 19:11.880 She thinks I'm the maid and she thinks I'm a little odd. 19:11.880 --> 19:13.880 The maid? 19:13.880 --> 19:15.880 With the napkin round my head and my lipstick wiped off. 19:15.880 --> 19:18.880 You know, lipstick makes a remarkable difference to a woman. 19:18.880 --> 19:20.880 She'll be back. When she can't find me, she'll be back. 19:20.880 --> 19:22.880 Not in your lifetime, J.D. 19:22.880 --> 19:24.880 Shall we go into the living room? 19:24.880 --> 19:26.880 Allow me. 19:26.880 --> 19:29.880 The kitchen clock must have been a little slow. 19:29.880 --> 19:31.880 It's 22 minutes till nine. 19:31.880 --> 19:33.880 22 minutes, J.D. 19:33.880 --> 19:35.880 You want anything special to pass the time? 19:35.880 --> 19:37.880 Kay, Kay, look, I... 19:40.880 --> 19:42.880 Oh, no, no, no. 19:42.880 --> 19:45.880 No? No little enthusiasms, J.D. 19:45.880 --> 19:47.880 Then how about the radio? 19:47.880 --> 19:50.880 Hmm? 19:50.880 --> 19:52.880 Then I'll sit down. 19:54.880 --> 19:59.880 We shall have 21 minutes to wait, and I'm really very tired. 19:59.880 --> 20:01.880 Hmm. 20:01.880 --> 20:21.880 Odd how much planning a murder takes out of one. 20:21.880 --> 20:26.880 One more knot. Just one. My hands. 20:26.880 --> 20:31.880 There. 20:31.880 --> 20:38.880 Operator, get me the police. The police, quickly. 20:38.880 --> 20:41.880 Too late. 20:41.880 --> 20:44.880 Put down that phone. 20:44.880 --> 20:46.880 You thought I was asleep, but I wasn't. 20:46.880 --> 20:49.880 You might say I was acting. 20:49.880 --> 20:51.880 It's nine o'clock, J.D. 20:51.880 --> 20:52.880 No. 20:52.880 --> 20:54.880 Get up and walk towards the pool, J.D. 20:54.880 --> 20:56.880 No, Gay. 20:56.880 --> 20:58.880 Don't make me shoot you here, J.D. Get out of that wheelchair. 20:58.880 --> 21:00.880 Kay, Kay, please, you can't do this. 21:00.880 --> 21:02.880 You wouldn't get away with it. 21:02.880 --> 21:04.880 Now listen to me, Gay. I've been wrong. 21:04.880 --> 21:06.880 I'll make it up to you. You can have anything you want. 21:06.880 --> 21:07.880 Money, parts, anything. 21:07.880 --> 21:09.880 No, Gay, don't. Not my life. 21:09.880 --> 21:12.880 Don't take my life. Please, I beg you. 21:12.880 --> 21:17.880 I... I... I beg you. 21:17.880 --> 21:21.880 All right, J.D. 21:21.880 --> 21:24.880 The audition's over. 21:24.880 --> 21:28.880 It was rather drastic, but it was the only way I knew. 21:28.880 --> 21:31.880 It was all an act, J.D. 21:31.880 --> 21:34.880 After all, I had to prove to you that I could be something 21:34.880 --> 21:38.880 more than a song and dance girl. 21:38.880 --> 21:44.880 I'll see who's at the door. 21:44.880 --> 21:46.880 Oh, Miles. Benny. 21:46.880 --> 21:47.880 Hello, Gay. 21:47.880 --> 21:49.880 Good evening, Gay. 21:49.880 --> 21:52.880 Say, what is all this about? 21:52.880 --> 21:54.880 I was all set with Laura Bevin for Dark Lady 21:54.880 --> 21:56.880 when I got word you were to do it. 21:56.880 --> 21:58.880 We came down to learn what goes. 21:58.880 --> 22:01.880 J.D.'s right in there. You can ask him. 22:01.880 --> 22:03.880 Well, good evening, J.D. 22:03.880 --> 22:06.880 Now, what's this about... 22:06.880 --> 22:09.880 What's the matter with him? 22:09.880 --> 22:11.880 He's unconscious. 22:11.880 --> 22:14.880 Unconscious? But he was all right a minute ago. 22:14.880 --> 22:16.880 Well, I'll get some brandy. 22:16.880 --> 22:18.880 Don't. 22:18.880 --> 22:20.880 Don't bother. 22:20.880 --> 22:23.880 He's dead. 22:23.880 --> 22:25.880 Dead? 22:25.880 --> 22:29.880 Well, he can't be. 22:29.880 --> 22:31.880 He can't. 22:31.880 --> 22:34.880 J.D.! 22:34.880 --> 22:37.880 Look at the expression on his face. 22:37.880 --> 22:40.880 Yes. 22:40.880 --> 22:46.880 He looks scared. 22:46.880 --> 22:49.880 Scared to death. 22:49.880 --> 23:09.880 Suspense. 23:09.880 --> 23:11.880 In which Virginia Christine starred as Gay 23:11.880 --> 23:14.880 with Joseph Kearns as J.D. 23:14.880 --> 23:17.880 Next week, the story of a duel, an incomplete duel, 23:17.880 --> 23:20.880 since one of its participants chooses to wait 23:20.880 --> 23:22.880 and owe his adversary. 23:22.880 --> 23:24.880 We call it The Shot. 23:24.880 --> 23:34.880 That's next week on Suspense. 23:34.880 --> 23:37.880 Suspense is produced and transcribed by Norman MacDonald 23:37.880 --> 23:39.880 with music composed by Lucian Morawick 23:39.880 --> 23:41.880 and conducted by Wilbur Hatch. 23:41.880 --> 23:43.880 Shooting Star was specially written for Suspense 23:43.880 --> 23:45.880 by Ruth Born. 23:45.880 --> 23:47.880 Featured in the cast were Sam Edwards, John Danaer, 23:47.880 --> 23:51.880 Michael Ann Barrett, Jill Jarman, and John Large. 23:51.880 --> 23:54.880 Suspense is another worldwide presentation 23:54.880 --> 23:57.880 of the United States Armed Forces Radio and Television Service. 23:57.880 --> 24:20.880 Music 24:20.880 --> 24:49.880 Music 24:49.880 --> 25:17.880 Music 25:17.880 --> 25:19.880 Music