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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 man who knows that he will be caught for a crime that he has

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not yet committed.

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We call it Sight Unseen.

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So now, starring Mr. Terrence Demarney, here is tonight's Suspense play, Sight Unseen.

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I don't agree with you, Wheeling.

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I simply don't agree at all.

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But such a crime as you describe would be premeditated.

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Trouble with you, Solicitor Chapsis, you're always looking for a way out.

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Oh, it's all very well for you.

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Your job is easy.

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You think so, eh?

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Well, it's open and closed.

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Scotland Yard, you bring the man in, the Crown takes over from there.

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It's either guilty or not guilty.

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As simple as that.

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I think so.

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Well, it isn't.

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Never has been.

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Oh, very well you know what I mean by comparison.

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Comparison to what?

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You say I bring a man in and you take over from there, either he's guilty or not, right?

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That's about it.

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Supposing the yard makes the initial mistake and the King's Solicitor carries it through

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from there.

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You mean an innocent man and judge guilty?

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I'm now wheeling.

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How often does that happen?

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I mean rarely.

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You put a good deal of stock in circumstantial evidence, I should imagine.

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Depending upon its implications, yes.

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Especially when there's not much else to go by.

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Don't you?

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Well, I can give you an interesting example of that, if you like.

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Oh, really?

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As it was about 29 years ago, 1926.

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I was a sergeant then.

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In this particular case, I was familiar with most of the facts and the rest were filled

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in by my friend.

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His name was Colin Ferrigot.

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He was a journalist on the Times.

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He wrote me a letter.

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Some of what was in that letter I already knew.

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The rest?

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Well, this was it.

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And so, Richard, it began the day before yesterday.

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That was Wednesday at about 5.30.

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I'd had a sandwich after leaving the office and decided that I'd sit in the park for an

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hour or so.

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Nurses, hurrying home with dirty-faced youngsters.

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You had the whole place almost to yourself.

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The sounds are pleasing, perhaps contented is the word.

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Somewhere along the path, I heard the walls ice cream man.

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Funny how insignificant details impressed themselves on you.

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I found a bench near the pond and sat down with the evening paper.

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A few minutes had gone by when I felt it.

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So very slight at first, the way you feel when someone's staring at you.

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To me, it's the greatest irritant I know.

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When I looked up, there was no one about.

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No one except two men a hundred yards away, sitting on the grass.

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They were taking no notice of me at all.

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They wore ordinary clothes and bowler hats.

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Very ordinary looking, but they weren't sitting on newspaper.

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It annoyed me and unaccountably I knew that the evening was spoiled.

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It was very foolish, I know.

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I was upset because two men in business suits, wearing bowler hats, were sitting on the grass

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without newspaper to protect them from the dampness.

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Angrily, I resumed the article I was reading.

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I read slowly, then I was at the bottom of the page and below that, on the pathway before

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me, were four black shoes.

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Mr. Ferragut.

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Yes, how do you know?

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I'm sorry, we can't answer any questions now.

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Please come with us.

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What?

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Who the devil are you?

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Don't make it difficult for us, Mr. Ferragut.

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Just come along, quietly.

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What do you mean by giving me orders?

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You were a fellow sitting over there on the grass, weren't you?

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I thought there was something funny.

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Come along, Mr. Ferragut.

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I will not.

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Oh, you must be two of Sergeant Ealing's men.

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Is this his idea of a joke?

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No, Mr. Ferragut, we're not Ealing's men.

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No more questions now.

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Will you come with us, please?

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You must be mad.

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You realize that all I have to do is to call for help.

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Yes, we know that.

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It'll be so much better if you don't.

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Who are you?

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What do you want?

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You'll find out later.

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Are you ready, Mr. Ferragut?

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I am not.

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This is ridiculous.

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No, Mr. Ferragut, it isn't.

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You'll come.

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Sooner or later, you'll come.

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Good evening.

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Who are you?

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Hey, here, just a moment.

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I didn't mind to...

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But the path twisted away from the pond and became lost in a tangle of shrubberies.

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When I looked, they were out of sight.

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Later that evening, Richard, you'll remember I met you.

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We had one or two pints in the bar near the yard before you went back on duty.

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I told you about it.

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Oh, very odd.

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I thought it was some of your doings, Richard.

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I was sure of it.

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No, it's not me, old boy.

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You weren't able to follow them, eh?

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No, as a matter of fact, I was convinced you'd put them up to it.

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It is rather odd.

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Could be one of the chaps having a bit of fun with you.

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I'll find out.

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You'd never seen them before?

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Never.

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I know most of the plainclothes men.

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Yes, well, if they turn up again, let me know, won't you?

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I shall.

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I left soon afterwards using some sort of flimsy excuse.

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I should have disapproved of her, Richard, but after all, a man's taste for women is

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his own affair, and Elin suited me comfortably.

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She was a pretty little thing, rather common, I suppose, one would say, but I liked her.

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When I finally arrived, she worked in a little restaurant in Notting Hill.

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Elin was quite annoyed.

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I'd kept her waiting ten minutes.

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Well, about time, I must say.

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I'm terribly sorry, Elin.

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I was held up at the office.

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Oh?

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Well, Mr. Iron Mighty, it might interest you to know that Mr. Wimper himself asked me for

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a date tonight, and I really don't know why I waited at all.

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You mean that little weasel chap asked you?

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Oh, Elin.

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Don't you talk that way about Mr. Wimper.

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He's very sweet to me.

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Besides, he pays my wages, which is more than you do.

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Now, Elin, I've said I'm sorry.

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Where would you like to go tonight?

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Well, all right, Colin, you're forgiven.

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Now, what about the palace?

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They've got a wonderful band there, and we could dance.

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The palace?

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Do you really want to?

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I thought perhaps...

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Oh, well, I must say, that's your attitude.

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Of course, Elin, the palace it is.

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We went to the palace, Richard.

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I don't have to tell you about the place.

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A five-piece band playing what I think is known as Dixieland music.

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An American importation.

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It was noisy, and I had a splitting headache.

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Oh, ain't this lovely?

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Oh, you're a good dancer, Colin.

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Where'd you learn?

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At Miss Fothering Gaze, I think it was.

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Oh, go on.

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You're pulling my leg.

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No, really.

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I was a good bit younger then, of course.

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Oh, aren't you glad we came now?

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Well, yes.

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A bit gaudy, though.

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Oh, come off it, Mr. Stick-in-the-mud.

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Cheer up.

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I really am.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I'm sorry.

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I really thought, Richard, that I might begin to enjoy myself even in this place, when Ellen

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saw somebody in the crowd.

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She pulled away from me.

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Oh, Mr. Wimper!

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Mr. Wimper!

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Over here!

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Wimper... a thoroughly nasty lot.

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I'd only met him once.

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I didn't like him at all.

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It's Mr. Wimper calling his neck funny.

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He was a typical Cockney sparrow, shifty eyes, talk too fast and too much.

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I have no patience for that kind, no patience at all.

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He came over, hauling a seedy-looking girl with him.

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I never did catch her name, not that it mattered.

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Ellen chattered away a little nervously, I think.

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How nice, and what a surprise.

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I never expected to see you here, Mr Winther.

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Oh, this is Mr Farragut.

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I told you about him.

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He's a journalist.

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Oh, now you must come over and sit at our table.

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We're having such a lovely time, aren't we, Colin?

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So that was her game.

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Now I understood why she wanted to come to the palace.

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Well, I'd have it out with her later.

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After all, Richard, no man likes to be made a fool.

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I wasn't terribly serious about it, but, well, you know.

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Well, the seedy girl excused herself and went off with a friend.

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Poor Mr Winther.

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It was really not nice at all, was it, Colin?

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I mean, leaving poor Mr Winther all alone.

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Perhaps Mr Farragut could allow me the pleasure of this dance with you, Ellen, seeing as I'm...

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Oh, Mr Winther, I don't know what to say after all that.

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Colin?

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Huh?

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Mr Winther wants to dance.

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Oh.

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Is that all you got to say?

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It's nice manners for a gentleman, I must say.

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I'm sorry, of course.

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Mr Winther?

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Thanks, Farragut.

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I'll do the such much for you one day.

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I could have smacked her nasty little face.

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Then I laughed at myself, Richard.

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I didn't really care, but a man's pride and all that.

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Actually, it was all horribly dull and I heartily wished myself a thousand miles from there.

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Away from Ellen, the flat stale beer, away from the palace.

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Suddenly I felt grimy and went to the washroom.

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It was next to the bar entrance and waiters scudded back and forth with trays of glasses, empty and full.

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The water on my face felt cool, clean.

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What am I going to do, Joe?

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I don't know.

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Have you got a couple of bottles?

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Yes, but...

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I'll pay you back tomorrow.

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How was I to know she could pack it away like that?

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Well, that's the trouble with you.

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You always pick the ones with the holler legs.

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I know it.

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Here, five bobs, that's all.

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You're a chum.

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Ain't she a smasher, though, eh?

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He's younger beer now.

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Five bobs won't last long, you know, not with her, eh?

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A couple of lads worrying about their calloused conquests.

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I felt better until, looking in the cracked mirror,

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I saw the face distorted and pale over my shoulder.

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Good evening, Mr. Farragut.

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You again.

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That's right, Mr. Farragut.

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We had a hard time finding you tonight.

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Will you come along now?

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I've had enough of this. Get out of my way.

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No use, Mr. Farragut.

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00:10:32,040 --> 00:10:34,040
There's another of us outside.

260
00:10:34,040 --> 00:10:36,040
Didn't you notice the waiter?

261
00:10:36,040 --> 00:10:37,040
No, yes, I...

262
00:10:37,040 --> 00:10:39,040
We have to be so careful with you.

263
00:10:39,040 --> 00:10:40,040
What's the game, eh? Come on, what?

264
00:10:40,040 --> 00:10:43,040
Now, now, Mr. Farragut, it'll be easier this way.

265
00:10:43,040 --> 00:10:45,040
No fuss, no excitement.

266
00:10:45,040 --> 00:10:46,040
You ready?

267
00:10:46,040 --> 00:10:47,040
I'm bloody well not.

268
00:10:47,040 --> 00:10:48,040
Get out of my way!

269
00:10:48,040 --> 00:10:50,040
No use, you know you can't. Get away.

270
00:10:50,040 --> 00:10:52,040
I can't. I just... you wait.

271
00:10:52,040 --> 00:10:53,040
Mr. Farragut, no!

272
00:10:53,040 --> 00:10:54,040
Don't go out there!

273
00:10:54,040 --> 00:10:56,040
Mr. Farragut, stop him!

274
00:10:56,040 --> 00:10:57,040
Here he goes!

275
00:10:57,040 --> 00:10:58,040
Here, you! Wait a minute!

276
00:10:58,040 --> 00:10:59,040
Now you come!

277
00:10:59,040 --> 00:11:00,040
Hold him down!

278
00:11:00,040 --> 00:11:01,040
I'm not getting away!

279
00:11:01,040 --> 00:11:02,040
Come on, let's meet.

280
00:11:02,040 --> 00:11:03,040
Where is he?

281
00:11:03,040 --> 00:11:04,040
What do you think you're doing?

282
00:11:04,040 --> 00:11:05,040
Help! Help!

283
00:11:05,040 --> 00:11:06,040
That's right.

284
00:11:06,040 --> 00:11:07,040
No, no, let me go!

285
00:11:07,040 --> 00:11:08,040
I've got you now!

286
00:11:08,040 --> 00:11:09,040
No!

287
00:11:23,040 --> 00:11:25,040
You are listening to Sight Unseen.

288
00:11:25,040 --> 00:11:39,040
Tonight's presentation in radio's outstanding theater of thrills, Suspense.

289
00:11:39,040 --> 00:11:41,040
How much is a human life worth?

290
00:11:41,040 --> 00:11:48,040
In the last year, the American Cancer Society could grant only two out of every three dollars requested by cancer research scientists.

291
00:11:48,040 --> 00:11:52,040
This year, let's make sure that cancer research has the funds it needs.

292
00:11:52,040 --> 00:11:56,040
Mail your contribution to Cancer Care of your local post office.

293
00:11:56,040 --> 00:12:04,040
And now, we bring back to our Hollywood soundstage, Mr. Terrence DiMarni, starring in tonight's production of Sight Unseen.

294
00:12:04,040 --> 00:12:22,040
A tale well calculated to keep you in suspense.

295
00:12:22,040 --> 00:12:27,040
When I came to, for a moment, I didn't remember what had happened.

296
00:12:27,040 --> 00:12:29,040
Then I saw a face hovering over me.

297
00:12:29,040 --> 00:12:31,040
It was you, Richard.

298
00:12:31,040 --> 00:12:33,040
Well, you gave us quite a turn.

299
00:12:33,040 --> 00:12:35,040
Did you catch him, Richard? Did you?

300
00:12:35,040 --> 00:12:38,040
No, no, no. Constable McInnes brought you in. The fellow who hit you had gone.

301
00:12:38,040 --> 00:12:39,040
Gone?

302
00:12:39,040 --> 00:12:42,040
Did you realize, my boy, that but for me you would have been charged?

303
00:12:42,040 --> 00:12:45,040
I? I would have been charged.

304
00:12:45,040 --> 00:12:46,040
Assault?

305
00:12:46,040 --> 00:12:53,040
But, oh, look here, Richard. That man who hit me, the waiter, they were the ones I told you about earlier.

306
00:12:53,040 --> 00:12:54,040
Are you sure?

307
00:12:54,040 --> 00:12:55,040
Of course I am.

308
00:12:55,040 --> 00:12:58,040
What about the waiter? Did McInnes speak to him?

309
00:12:58,040 --> 00:13:00,040
No, he'd gone too before anyone thought to ask for him.

310
00:13:00,040 --> 00:13:01,040
You see?

311
00:13:01,040 --> 00:13:04,040
Can you, can you give me a description of the two men?

312
00:13:04,040 --> 00:13:05,040
Of course.

313
00:13:05,040 --> 00:13:06,040
Good. We'll need it.

314
00:13:06,040 --> 00:13:10,040
The waiter had only started work at the palace tonight. He hopped it after you went down.

315
00:13:10,040 --> 00:13:13,040
We'll have the devil's time tracing him, but it's worth a try.

316
00:13:13,040 --> 00:13:21,040
I'll call McInnes in and we'll get the details.

317
00:13:21,040 --> 00:13:25,040
I gave you as good a description as I possibly could, Richard.

318
00:13:25,040 --> 00:13:30,040
It was not much because, as I told you, they were both so ordinary.

319
00:13:30,040 --> 00:13:35,040
You offered to have a car take me home, but I said I wanted to walk to clear my head.

320
00:13:35,040 --> 00:13:38,040
Outside it was drizzling a bit.

321
00:13:38,040 --> 00:13:42,040
The lamp at the corner looked pale and lonely on the dark wet street as I passed it.

322
00:13:42,040 --> 00:13:46,040
I started to walk home and I thought of Ellen.

323
00:13:46,040 --> 00:13:49,040
She may have seen what happened.

324
00:13:49,040 --> 00:13:53,040
She might be able to give me a better description of the two men.

325
00:13:53,040 --> 00:13:57,040
I had to find out, you understand. As a newspaper man, I was curious.

326
00:13:57,040 --> 00:14:13,040
As Colin Farragut, I was afraid.

327
00:14:13,040 --> 00:14:14,040
Who is it?

328
00:14:14,040 --> 00:14:16,040
Ellen, it's me, Colin. Let me in.

329
00:14:16,040 --> 00:14:19,040
Oh, I've nothing to say to you, Mr. Farragut.

330
00:14:19,040 --> 00:14:22,040
Please, Ellen, I must talk to you.

331
00:14:22,040 --> 00:14:25,040
Go away. It's late. I have to go to work tomorrow.

332
00:14:25,040 --> 00:14:29,040
Ellen, I'm terribly sorry about tonight, but I must speak to you. It's so important.

333
00:14:29,040 --> 00:14:34,040
Go away. You'll wake everyone. I'm a respectable girl.

334
00:14:34,040 --> 00:14:36,040
I'll break the door down.

335
00:14:36,040 --> 00:14:46,040
Oh, you. Wait a minute.

336
00:14:46,040 --> 00:14:52,040
Now, Mr. Farragut, what do you mean by calling it such an hour? You are a wicked man.

337
00:14:52,040 --> 00:14:54,040
Let me come in, Ellen, please.

338
00:14:54,040 --> 00:15:00,040
Well, I shouldn't, but, well, all right, but hurry.

339
00:15:00,040 --> 00:15:07,040
Oh, a nice thing I must say. Me and me negligee of receiving you at this hour.

340
00:15:07,040 --> 00:15:09,040
Whatever would Mrs. Brown think?

341
00:15:09,040 --> 00:15:13,040
And what was that all about at the palace, I should like to know.

342
00:15:13,040 --> 00:15:14,040
That's what I want to explain.

343
00:15:14,040 --> 00:15:20,040
Well, I should hope so. You'd think a gentleman would stay sober enough to escort his young lady home.

344
00:15:20,040 --> 00:15:22,040
I don't imagine that you had too much trouble.

345
00:15:22,040 --> 00:15:24,040
Oh, Mr. Wimper was most obliging.

346
00:15:24,040 --> 00:15:26,040
Oh, Ellen, don't quarrel.

347
00:15:26,040 --> 00:15:28,040
Well, I like that.

348
00:15:28,040 --> 00:15:33,040
It's my fault. What I want to ask you is, did you see everything that happened last night?

349
00:15:33,040 --> 00:15:36,040
No. As soon as it started, Mr. Wimper took me away.

350
00:15:36,040 --> 00:15:42,040
He said it wasn't safe, besides the police would come and a nice girl like me shouldn't get involved.

351
00:15:42,040 --> 00:15:44,040
Oh, Mr. Wimper seems to think of everything.

352
00:15:44,040 --> 00:15:48,040
He's very sweet, and I shall probably go out with him again.

353
00:15:48,040 --> 00:15:51,040
You might as well have done so tonight. You knew he was going to be there, didn't you?

354
00:15:51,040 --> 00:15:52,040
Well, if I did.

355
00:15:52,040 --> 00:15:53,040
I see.

356
00:15:53,040 --> 00:15:57,040
You're a nice chap, Colin, but you're too serious, and I like fun.

357
00:15:57,040 --> 00:15:58,040
And happened who he had fun?

358
00:15:58,040 --> 00:16:02,040
Yes, but, well, you know what I mean. You're so serious.

359
00:16:02,040 --> 00:16:05,040
Does that mean that you don't want to see me any more, Ellen?

360
00:16:05,040 --> 00:16:07,040
Oh, I don't mind, now and again.

361
00:16:07,040 --> 00:16:09,040
But Mr. Wimper can do more for you, is that it?

362
00:16:09,040 --> 00:16:11,040
Oh, so you're going to be nasty, eh?

363
00:16:11,040 --> 00:16:13,040
I used to think that I meant more to you than just a passing fancy.

364
00:16:13,040 --> 00:16:17,040
Oh, you did, did you? Well, a girl looks out for herself, Mr. Farragut.

365
00:16:17,040 --> 00:16:19,040
What do you think I am I should like to know?

366
00:16:19,040 --> 00:16:24,040
After tonight, my dear, I think that what you are has been quite definitely established.

367
00:16:24,040 --> 00:16:25,040
You!

368
00:16:25,040 --> 00:16:26,040
You!

369
00:16:27,040 --> 00:16:28,040
You hit me.

370
00:16:29,040 --> 00:16:30,040
You, you come here.

371
00:16:30,040 --> 00:16:34,040
Don't you lay a finger on me. I'll scream, so help me, I'll...

372
00:16:38,040 --> 00:16:39,040
Oh.

373
00:16:39,040 --> 00:16:40,040
There.

374
00:16:42,040 --> 00:16:43,040
There.

375
00:16:44,040 --> 00:16:46,040
Will Mr. Wimper kiss you like that?

376
00:16:47,040 --> 00:16:48,040
Will he?

377
00:16:48,040 --> 00:16:49,040
Will he?

378
00:16:49,040 --> 00:16:51,040
Oh, you're, you're hurting me.

379
00:16:51,040 --> 00:16:53,040
You need to be hurt.

380
00:17:01,040 --> 00:17:05,040
When I got home, Richard, I went right to sleep.

381
00:17:05,040 --> 00:17:09,040
And the next morning it was bright and sunny again.

382
00:17:09,040 --> 00:17:14,040
I called you at the yard from my office to see if you had any information, but you were out.

383
00:17:14,040 --> 00:17:18,040
And so, at luncheon, I went over to Wimper's restaurant.

384
00:17:18,040 --> 00:17:23,040
In a way, I suppose I wanted to gloat over the stupid little man.

385
00:17:24,040 --> 00:17:25,040
Good morning, sir.

386
00:17:26,040 --> 00:17:28,040
Oh, Mr. Farragut.

387
00:17:28,040 --> 00:17:32,040
Good morning, Mr. Wimper. I came to thank you for taking Ellen home last night.

388
00:17:32,040 --> 00:17:35,040
Oh, how did you know that I took Ellen home last night?

389
00:17:35,040 --> 00:17:38,040
Ellen, tell me. Last night.

390
00:17:38,040 --> 00:17:39,040
I see.

391
00:17:39,040 --> 00:17:44,040
By the way, Mr. Farragut, there were two blokes in here this morning looking for you.

392
00:17:44,040 --> 00:17:46,040
Two? Two?

393
00:17:46,040 --> 00:17:47,040
That's right.

394
00:17:48,040 --> 00:17:49,040
How...

395
00:17:50,040 --> 00:17:52,040
Did you notice how, how they were dressed?

396
00:17:52,040 --> 00:17:55,040
Oh, I don't know. Didn't leave any name.

397
00:17:55,040 --> 00:18:00,040
Quite ordinary, you might say. Dark suits, bowler hats.

398
00:18:00,040 --> 00:18:02,040
Dark suits?

399
00:18:02,040 --> 00:18:06,040
Well, they, they asked for me by name.

400
00:18:06,040 --> 00:18:10,040
Of course. Very polite, like Mr. Farragut been here?

401
00:18:10,040 --> 00:18:11,040
How long ago?

402
00:18:11,040 --> 00:18:12,040
About an hour or so.

403
00:18:13,040 --> 00:18:15,040
Thank you. Thank you, Mr. Wimper.

404
00:18:15,040 --> 00:18:17,040
Here. What about Ellen? What about her?

405
00:18:27,040 --> 00:18:30,040
Somehow, Richard, I got home.

406
00:18:30,040 --> 00:18:34,040
At every corner, I was terrified.

407
00:18:34,040 --> 00:18:38,040
I didn't dare to take a bus or taxi.

408
00:18:38,040 --> 00:18:42,040
At least on the street, I, I stood a chance.

409
00:18:43,040 --> 00:18:47,040
When my door closed behind me, I was tired.

410
00:18:47,040 --> 00:18:49,040
So tired.

411
00:18:49,040 --> 00:18:54,040
Inside my flat, nothing had been disturbed. They hadn't been there yet.

412
00:18:54,040 --> 00:18:58,040
But it was only a matter of time now.

413
00:18:58,040 --> 00:19:02,040
In case they did come, and I knew they would,

414
00:19:02,040 --> 00:19:07,040
I wanted you to know everything, at least as much as I did.

415
00:19:07,040 --> 00:19:11,040
I sat down at my desk and began to write.

416
00:19:19,040 --> 00:19:24,040
Now that I think of it, I was a fool not to telephone you from a booth.

417
00:19:24,040 --> 00:19:28,040
I'm, I'm afraid to go outside again.

418
00:19:28,040 --> 00:19:32,040
The tenant downstairs should be home soon, perhaps.

419
00:19:37,040 --> 00:19:39,040
Richard?

420
00:19:39,040 --> 00:19:42,040
Someone, someone is there.

421
00:19:42,040 --> 00:19:44,040
Outside.

422
00:19:47,040 --> 00:19:50,040
I, I looked out of the window.

423
00:19:50,040 --> 00:19:53,040
Two men, Richard.

424
00:19:53,040 --> 00:19:59,040
I, I can't see them very well, but, but they're wearing dark suits and bowler hats.

425
00:19:59,040 --> 00:20:03,040
Very ordinary, Richard, but I, I'm afraid of them.

426
00:20:03,040 --> 00:20:09,040
Afraid that when they say, come along, Mr. Ferregad,

427
00:20:09,040 --> 00:20:12,040
I'll go with them.

428
00:20:12,040 --> 00:20:15,040
I'm afraid.

429
00:20:15,040 --> 00:20:17,040
They've got in now.

430
00:20:17,040 --> 00:20:20,040
I can hear them.

431
00:20:20,040 --> 00:20:23,040
They're coming upstairs, Richard.

432
00:20:23,040 --> 00:20:26,040
Up the stairs.

433
00:20:27,040 --> 00:20:30,040
I can't hear now.

434
00:20:30,040 --> 00:20:33,040
The carpet on the landing.

435
00:20:33,040 --> 00:20:36,040
In a moment.

436
00:20:36,040 --> 00:20:38,040
In a moment.

437
00:20:46,040 --> 00:20:47,040
Well?

438
00:20:47,040 --> 00:20:50,040
Well, that's all there was in the letter.

439
00:20:50,040 --> 00:20:51,040
What happened, Ealing?

440
00:20:51,040 --> 00:20:53,040
When we got there, it was too late.

441
00:20:53,040 --> 00:20:55,040
There was no one there but Ferregad.

442
00:20:55,040 --> 00:20:57,040
He wouldn't let us in, so we broke down the door.

443
00:20:57,040 --> 00:20:58,040
I, I, I don't follow.

444
00:20:58,040 --> 00:21:01,040
And he tried to run. We, he fell down the staircase and broke his neck.

445
00:21:01,040 --> 00:21:03,040
He was dead before I could reach him.

446
00:21:03,040 --> 00:21:04,040
Well, those men.

447
00:21:04,040 --> 00:21:05,040
We were the men.

448
00:21:05,040 --> 00:21:07,040
Well, the others in the park, in the washroom.

449
00:21:07,040 --> 00:21:09,040
His imagination.

450
00:21:09,040 --> 00:21:11,040
Oh, look here now. What about the waiter at the palace?

451
00:21:11,040 --> 00:21:13,040
Oh, I was a waiter all right. We found him.

452
00:21:13,040 --> 00:21:16,040
He had a record, and when the police whistles began to blow, he ran.

453
00:21:16,040 --> 00:21:18,040
Matter of reflex action.

454
00:21:18,040 --> 00:21:20,040
Poor devil had just started to work.

455
00:21:20,040 --> 00:21:22,040
Told us about this chap coming out of the restroom,

456
00:21:22,040 --> 00:21:24,040
shouting like a madman and knocking into him.

457
00:21:24,040 --> 00:21:26,040
We never did find the chap who hit Ferregad.

458
00:21:26,040 --> 00:21:28,040
But you said Wimper had seen them at the restaurant.

459
00:21:28,040 --> 00:21:30,040
The two men and the bowler said they were looking for him.

460
00:21:30,040 --> 00:21:32,040
Wimper had seen me.

461
00:21:32,040 --> 00:21:34,040
McInnis was the other man with me.

462
00:21:34,040 --> 00:21:36,040
We were in plain clothes and happened to be wearing bowlers.

463
00:21:36,040 --> 00:21:38,040
But the girl, now surely she...

464
00:21:38,040 --> 00:21:40,040
There were a few omissions in Ferregad's letter.

465
00:21:40,040 --> 00:21:42,040
We pieced them together later.

466
00:21:42,040 --> 00:21:45,040
Obviously, those two men, he insisted, were following him

467
00:21:45,040 --> 00:21:48,040
were nothing but distortions due to his sick mind.

468
00:21:48,040 --> 00:21:51,040
Projections, the psychologists call them.

469
00:21:51,040 --> 00:21:55,040
They were his subconscious reacting against a crime he was bound to commit.

470
00:21:55,040 --> 00:21:56,040
What crime?

471
00:21:56,040 --> 00:22:00,040
Understand, I had been looking for Ferregad since early that morning.

472
00:22:00,040 --> 00:22:02,040
He was not very careful.

473
00:22:02,040 --> 00:22:04,040
You see, the night of the palace affair,

474
00:22:04,040 --> 00:22:09,040
after he left me, he went to the girl's house and cut her throat.

475
00:22:09,040 --> 00:22:11,040
What price circumstantial evidence.

476
00:22:11,040 --> 00:22:15,040
Are you with us?

477
00:22:29,040 --> 00:22:35,040
Suspense, in which Mr. Terrence DiMarni starred in tonight's presentation of Sight Unseen.

478
00:22:35,040 --> 00:22:38,040
Be sure to listen next week to...

479
00:22:38,040 --> 00:22:41,040
Suspense.

480
00:22:46,040 --> 00:22:50,040
Suspense is produced and directed by Anthony Alice, who wrote tonight's script.

481
00:22:50,040 --> 00:22:54,040
The music was composed by Lucian Morrowick and conducted by Wilbur Hatch.

482
00:22:54,040 --> 00:22:58,040
Featured in the cast were Betty Halford, John Doddsworth, Richard Peel,

483
00:22:58,040 --> 00:23:04,040
John Irving, Richard Ahern, Charlie Lung, Eric Snowden, and Ray Lawrence.

484
00:23:04,040 --> 00:23:10,040
Thursday nights, the Whistler brings mystery on the CBS Radio Network.

485
00:24:04,040 --> 00:24:06,040
The Whistler