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 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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There's another of us outside.

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Didn't you notice the waiter?

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No, yes, I...

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We have to be so careful with you.

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What's the game, eh? Come on, what?

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Now, now, Mr. Farragut, it'll be easier this way.

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No fuss, no excitement.

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You ready?

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I'm bloody well not.

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Get out of my way!

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No use, you know you can't. Get away.

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I can't. I just... you wait.

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Mr. Farragut, no!

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Don't go out there!

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Mr. Farragut, stop him!

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Here he goes!

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Here, you! Wait a minute!

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Now you come!

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Hold him down!

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I'm not getting away!

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Come on, let's meet.

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Where is he?

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What do you think you're doing?

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Help! Help!

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That's right.

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No, no, let me go!

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I've got you now!

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No!

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You are listening to Sight Unseen.

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Tonight's presentation in radio's outstanding theater of thrills, Suspense.

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How much is a human life worth?

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In the last year, the American Cancer Society could grant only two out of every three dollars requested by cancer research scientists.

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This year, let's make sure that cancer research has the funds it needs.

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Mail your contribution to Cancer Care of your local post office.

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And now, we bring back to our Hollywood soundstage, Mr. Terrence DiMarni, starring in tonight's production of Sight Unseen.

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A tale well calculated to keep you in suspense.

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When I came to, for a moment, I didn't remember what had happened.

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Then I saw a face hovering over me.

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It was you, Richard.

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Well, you gave us quite a turn.

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Did you catch him, Richard? Did you?

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No, no, no. Constable McInnes brought you in. The fellow who hit you had gone.

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Gone?

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Did you realize, my boy, that but for me you would have been charged?

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I? I would have been charged.

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Assault?

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But, oh, look here, Richard. That man who hit me, the waiter, they were the ones I told you about earlier.

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Are you sure?

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Of course I am.

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What about the waiter? Did McInnes speak to him?

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No, he'd gone too before anyone thought to ask for him.

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You see?

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Can you, can you give me a description of the two men?

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Of course.

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Good. We'll need it.

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The waiter had only started work at the palace tonight. He hopped it after you went down.

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We'll have the devil's time tracing him, but it's worth a try.

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I'll call McInnes in and we'll get the details.

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I gave you as good a description as I possibly could, Richard.

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It was not much because, as I told you, they were both so ordinary.

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You offered to have a car take me home, but I said I wanted to walk to clear my head.

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Outside it was drizzling a bit.

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The lamp at the corner looked pale and lonely on the dark wet street as I passed it.

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I started to walk home and I thought of Ellen.

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She may have seen what happened.

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She might be able to give me a better description of the two men.

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I had to find out, you understand. As a newspaper man, I was curious.

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As Colin Farragut, I was afraid.

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Who is it?

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Ellen, it's me, Colin. Let me in.

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Oh, I've nothing to say to you, Mr. Farragut.

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Please, Ellen, I must talk to you.

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Go away. It's late. I have to go to work tomorrow.

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Ellen, I'm terribly sorry about tonight, but I must speak to you. It's so important.

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Go away. You'll wake everyone. I'm a respectable girl.

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I'll break the door down.

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Oh, you. Wait a minute.

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Now, Mr. Farragut, what do you mean by calling it such an hour? You are a wicked man.

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Let me come in, Ellen, please.

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Well, I shouldn't, but, well, all right, but hurry.

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Oh, a nice thing I must say. Me and me negligee of receiving you at this hour.

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Whatever would Mrs. Brown think?

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And what was that all about at the palace, I should like to know.

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That's what I want to explain.

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Well, I should hope so. You'd think a gentleman would stay sober enough to escort his young lady home.

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I don't imagine that you had too much trouble.

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Oh, Mr. Wimper was most obliging.

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Oh, Ellen, don't quarrel.

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Well, I like that.

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It's my fault. What I want to ask you is, did you see everything that happened last night?

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No. As soon as it started, Mr. Wimper took me away.

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He said it wasn't safe, besides the police would come and a nice girl like me shouldn't get involved.

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Oh, Mr. Wimper seems to think of everything.

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He's very sweet, and I shall probably go out with him again.

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You might as well have done so tonight. You knew he was going to be there, didn't you?

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Well, if I did.

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I see.

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You're a nice chap, Colin, but you're too serious, and I like fun.

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And happened who he had fun?

15:58.040 --> 16:02.040
Yes, but, well, you know what I mean. You're so serious.

16:02.040 --> 16:05.040
Does that mean that you don't want to see me any more, Ellen?

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Oh, I don't mind, now and again.

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But Mr. Wimper can do more for you, is that it?

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Oh, so you're going to be nasty, eh?

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I used to think that I meant more to you than just a passing fancy.

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Oh, you did, did you? Well, a girl looks out for herself, Mr. Farragut.

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What do you think I am I should like to know?

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After tonight, my dear, I think that what you are has been quite definitely established.

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You!

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You!

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You hit me.

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You, you come here.

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Don't you lay a finger on me. I'll scream, so help me, I'll...

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Oh.

16:39.040 --> 16:40.040
There.

16:42.040 --> 16:43.040
There.

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Will Mr. Wimper kiss you like that?

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Will he?

16:48.040 --> 16:49.040
Will he?

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Oh, you're, you're hurting me.

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You need to be hurt.

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When I got home, Richard, I went right to sleep.

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And the next morning it was bright and sunny again.

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I called you at the yard from my office to see if you had any information, but you were out.

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And so, at luncheon, I went over to Wimper's restaurant.

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In a way, I suppose I wanted to gloat over the stupid little man.

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Good morning, sir.

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Oh, Mr. Farragut.

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Good morning, Mr. Wimper. I came to thank you for taking Ellen home last night.

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Oh, how did you know that I took Ellen home last night?

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Ellen, tell me. Last night.

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I see.

17:39.040 --> 17:44.040
By the way, Mr. Farragut, there were two blokes in here this morning looking for you.

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Two? Two?

17:46.040 --> 17:47.040
That's right.

17:48.040 --> 17:49.040
How...

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Did you notice how, how they were dressed?

17:52.040 --> 17:55.040
Oh, I don't know. Didn't leave any name.

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Quite ordinary, you might say. Dark suits, bowler hats.

18:00.040 --> 18:02.040
Dark suits?

18:02.040 --> 18:06.040
Well, they, they asked for me by name.

18:06.040 --> 18:10.040
Of course. Very polite, like Mr. Farragut been here?

18:10.040 --> 18:11.040
How long ago?

18:11.040 --> 18:12.040
About an hour or so.

18:13.040 --> 18:15.040
Thank you. Thank you, Mr. Wimper.

18:15.040 --> 18:17.040
Here. What about Ellen? What about her?

18:27.040 --> 18:30.040
Somehow, Richard, I got home.

18:30.040 --> 18:34.040
At every corner, I was terrified.

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I didn't dare to take a bus or taxi.

18:38.040 --> 18:42.040
At least on the street, I, I stood a chance.

18:43.040 --> 18:47.040
When my door closed behind me, I was tired.

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So tired.

18:49.040 --> 18:54.040
Inside my flat, nothing had been disturbed. They hadn't been there yet.

18:54.040 --> 18:58.040
But it was only a matter of time now.

18:58.040 --> 19:02.040
In case they did come, and I knew they would,

19:02.040 --> 19:07.040
I wanted you to know everything, at least as much as I did.

19:07.040 --> 19:11.040
I sat down at my desk and began to write.

19:19.040 --> 19:24.040
Now that I think of it, I was a fool not to telephone you from a booth.

19:24.040 --> 19:28.040
I'm, I'm afraid to go outside again.

19:28.040 --> 19:32.040
The tenant downstairs should be home soon, perhaps.

19:37.040 --> 19:39.040
Richard?

19:39.040 --> 19:42.040
Someone, someone is there.

19:42.040 --> 19:44.040
Outside.

19:47.040 --> 19:50.040
I, I looked out of the window.

19:50.040 --> 19:53.040
Two men, Richard.

19:53.040 --> 19:59.040
I, I can't see them very well, but, but they're wearing dark suits and bowler hats.

19:59.040 --> 20:03.040
Very ordinary, Richard, but I, I'm afraid of them.

20:03.040 --> 20:09.040
Afraid that when they say, come along, Mr. Ferregad,

20:09.040 --> 20:12.040
I'll go with them.

20:12.040 --> 20:15.040
I'm afraid.

20:15.040 --> 20:17.040
They've got in now.

20:17.040 --> 20:20.040
I can hear them.

20:20.040 --> 20:23.040
They're coming upstairs, Richard.

20:23.040 --> 20:26.040
Up the stairs.

20:27.040 --> 20:30.040
I can't hear now.

20:30.040 --> 20:33.040
The carpet on the landing.

20:33.040 --> 20:36.040
In a moment.

20:36.040 --> 20:38.040
In a moment.

20:46.040 --> 20:47.040
Well?

20:47.040 --> 20:50.040
Well, that's all there was in the letter.

20:50.040 --> 20:51.040
What happened, Ealing?

20:51.040 --> 20:53.040
When we got there, it was too late.

20:53.040 --> 20:55.040
There was no one there but Ferregad.

20:55.040 --> 20:57.040
He wouldn't let us in, so we broke down the door.

20:57.040 --> 20:58.040
I, I, I don't follow.

20:58.040 --> 21:01.040
And he tried to run. We, he fell down the staircase and broke his neck.

21:01.040 --> 21:03.040
He was dead before I could reach him.

21:03.040 --> 21:04.040
Well, those men.

21:04.040 --> 21:05.040
We were the men.

21:05.040 --> 21:07.040
Well, the others in the park, in the washroom.

21:07.040 --> 21:09.040
His imagination.

21:09.040 --> 21:11.040
Oh, look here now. What about the waiter at the palace?

21:11.040 --> 21:13.040
Oh, I was a waiter all right. We found him.

21:13.040 --> 21:16.040
He had a record, and when the police whistles began to blow, he ran.

21:16.040 --> 21:18.040
Matter of reflex action.

21:18.040 --> 21:20.040
Poor devil had just started to work.

21:20.040 --> 21:22.040
Told us about this chap coming out of the restroom,

21:22.040 --> 21:24.040
shouting like a madman and knocking into him.

21:24.040 --> 21:26.040
We never did find the chap who hit Ferregad.

21:26.040 --> 21:28.040
But you said Wimper had seen them at the restaurant.

21:28.040 --> 21:30.040
The two men and the bowler said they were looking for him.

21:30.040 --> 21:32.040
Wimper had seen me.

21:32.040 --> 21:34.040
McInnis was the other man with me.

21:34.040 --> 21:36.040
We were in plain clothes and happened to be wearing bowlers.

21:36.040 --> 21:38.040
But the girl, now surely she...

21:38.040 --> 21:40.040
There were a few omissions in Ferregad's letter.

21:40.040 --> 21:42.040
We pieced them together later.

21:42.040 --> 21:45.040
Obviously, those two men, he insisted, were following him

21:45.040 --> 21:48.040
were nothing but distortions due to his sick mind.

21:48.040 --> 21:51.040
Projections, the psychologists call them.

21:51.040 --> 21:55.040
They were his subconscious reacting against a crime he was bound to commit.

21:55.040 --> 21:56.040
What crime?

21:56.040 --> 22:00.040
Understand, I had been looking for Ferregad since early that morning.

22:00.040 --> 22:02.040
He was not very careful.

22:02.040 --> 22:04.040
You see, the night of the palace affair,

22:04.040 --> 22:09.040
after he left me, he went to the girl's house and cut her throat.

22:09.040 --> 22:11.040
What price circumstantial evidence.

22:11.040 --> 22:15.040
Are you with us?

22:29.040 --> 22:35.040
Suspense, in which Mr. Terrence DiMarni starred in tonight's presentation of Sight Unseen.

22:35.040 --> 22:38.040
Be sure to listen next week to...

22:38.040 --> 22:41.040
Suspense.

22:46.040 --> 22:50.040
Suspense is produced and directed by Anthony Alice, who wrote tonight's script.

22:50.040 --> 22:54.040
The music was composed by Lucian Morrowick and conducted by Wilbur Hatch.

22:54.040 --> 22:58.040
Featured in the cast were Betty Halford, John Doddsworth, Richard Peel,

22:58.040 --> 23:04.040
John Irving, Richard Ahern, Charlie Lung, Eric Snowden, and Ray Lawrence.

23:04.040 --> 23:10.040
Thursday nights, the Whistler brings mystery on the CBS Radio Network.

24:04.040 --> 24:06.040
The Whistler