WEBVTT

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

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Tonight, we bring you a story of a killer and the family which he held in a night of

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fear.

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We call it, Strange for a Killer.

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So now, starring Mr. John Danaer, here is tonight's Suspense play, Strange for a Killer.

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How's this, Henry?

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Oh, swell.

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Anywhere along here.

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Oh, thanks, Buck.

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So you're sure you don't want to stop in for a minute?

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You haven't seen the kid yet, have you?

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Gee, I'd like to, but I have to get home early myself tonight.

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The wife's got some kind of meeting and I'll have to take care of my own.

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Okay.

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See you tomorrow.

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Yeah.

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Night, Hank.

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All right.

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Hold it right there.

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Oh, I didn't see you, officer.

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What's wrong?

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You'll have to wait a while.

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You can't go down that street.

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But that's where I live.

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My wife's waiting for me.

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You'll be a little late.

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Well, now, wait a minute.

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Look, will you keep your voice down and stay back?

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You'll get hurt if you don't.

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Oh, are you after someone?

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Roy Gileska.

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Gileska?

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That's right.

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And he's been living in this neighborhood?

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Where?

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Right across the street, down three doors.

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There's a cop every 10 feet from here to the river.

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You better go back in that drug store and wait.

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Call your wife if you want.

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Yeah, I think I'd better.

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Where'd you say he was?

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Across and down three doors.

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Yeah.

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Well, we're in the apartment house right next to her.

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You don't think there'll be any shooting?

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Just tell her to stay inside and keep her door locked.

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She'll be all right.

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Oh.

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Thanks.

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Henry.

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Hi, Charlie.

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Hey, it's that Chaliski guy there after, you know.

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He's been living in the boarding house right next to you.

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Yeah, I know.

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How long has it been going on?

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They've been here almost half hour now.

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Half hour?

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What are they waiting for?

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Don't ask me.

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I got here about 5.30 when the police were just coming in.

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It only took about five minutes to cover the whole block.

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And a party of six or seven of them went in after him.

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And they haven't come out?

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No.

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No, I've been watching.

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Why, I wonder.

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You haven't heard any shooting, have you?

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No.

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We ought to hear something by now.

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Hey, that's seem funny, doesn't it?

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Unless he got out of his room.

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Ah, he couldn't get far.

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Oh.

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Well, I want to get Jessie on the phone.

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She'll be wondering why I'm late.

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Yeah, sure.

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How is it?

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Huh. Funny.

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Hello?

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What's the matter, honey? I thought you weren't going to answer.

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I was looking after Johnny.

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Are you okay? Just getting hungry.

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Well, go ahead with this supper. I'm going to be late.

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Jess, I don't want to scare you, but there's going to be a little trouble next door.

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Now, I don't want you to leave our apartment.

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Yes.

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The police are after someone who's been hiding out in the boarding house next to us.

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Now, the whole block is surrounded, and I won't be able to get home until it's over, and you're not to come out.

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Yes.

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There's nothing to be afraid of, Jesse.

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All right.

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Just stay inside. Keep the door locked.

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There's no need for that now. Goodbye, dear.

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What?

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Jesse? Hello? Hello?

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Hey, Charlie.

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Yeah?

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How high is that boarding house? Is it three stories?

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Yeah, that's right. Just like your place.

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And that alley between them, how wide is it?

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It's pretty narrow, I guess. But there's a cop on both ends.

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On the roof.

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Charlie, could anyone make the jump across? Is it too wide for that?

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I don't know. Why?

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She didn't sound right, Charlie.

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Like...

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Yeah?

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Like there was someone with her, Charlie.

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I tell you, I spoke to her on the phone about ten minutes ago,

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and I'm sure there's something wrong up there, Captain.

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What makes you sure?

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Well, she was afraid of something. I know she was.

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Something right there in the room with her.

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Where do you live? In the boarding house?

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No, the apartment house next door on the third floor.

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Reeder? Yes, sir?

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The Ferrell's got some men going into the apartment house

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next to the Jalesco stop-in. Yeah.

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He's in there with her, isn't he?

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He's in with my wife. I don't know, fella.

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He could be anywhere now. You didn't find him in his room?

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No, he's not in the boarding house. I knew it.

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He's with Jesse and my son. Take it easy, Hayden.

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We got across the roof, didn't we? Our apartment is on the top floor.

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He could get in easy enough. Maybe.

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Look, let me go up there, Captain.

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Please, let me go up there.

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No, I want to be with my wife and kid.

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I'm sorry, Hayden. If it's true he'll use them as hostages

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to make us hold our fire, it's better that they're only two.

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What difference does it make? Look, we're not even sure he's there.

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You haven't given us any real proof.

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It's the only way you can make sure.

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Now, look, if everything's all right,

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if he isn't there, I'll call the drug store and have them tell you so.

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If he is, I'll...

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Well, I'll let you know somehow.

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We can think of some kind of signal.

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You can't stop me anyway.

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It's my home, my wife that's in danger.

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I have a right to be there.

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I could stop you, mister. I should stop you.

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But you won't.

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I can go?

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All right, listen to me.

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You may be wrong about this...

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No, what do you want me to do?

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Go straight to your wife.

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Don't do any investigating on the way, no looking down the alley or around corners.

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Get in your apartment, lock the door behind you.

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He's trapped, Hayden, and he's scared now,

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and he'll kill you if he thinks you're on to him.

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I know it.

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If he's not in your place when you get there,

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call headquarters and ask for Grimes.

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I'll flash the message to my car.

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If he is there,

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well, there's nothing I can tell you.

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You'll be on your own, but don't try to signal.

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Now, if I don't get your call ten minutes after you go in, we'll know.

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Yes, sir.

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I can say this, Hayden.

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If he's there, don't try anything brave.

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You know what I mean?

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Yeah.

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Well, that's about all.

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Just be careful. We want this man, Hayden.

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We want him immediately, but we don't want anyone hurt getting him.

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You understand?

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I do. Thanks.

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Okay, Captain. Farrell's holding up his men, but he wants to know the score.

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Get over to my car, Reader.

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Have his men surround the apartment house, block every exit,

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put someone on the fire escape and on the first floor, but no mis...

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No noise.

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Do it quietly.

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Okay, Hayden.

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You can get going.

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If he's not there, get the call in right away.

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Yes, sir.

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I'll be sure.

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Jesse?

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Jesse?

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Jesse?

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Oh, honey. Honey, is everything okay? Is it?

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Come in, Henry.

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You sounded funny over the phone. I thought there was something wrong.

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It's okay, isn't it?

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Why don't you answer me, Jess?

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Henry. Henry.

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Where?

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Where...

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Where is it?

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Get your hands over your head.

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Get up against the wall.

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Don't make any noise or I'll kill you.

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You are listening to Strange for a Killer,

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

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The money you meant to save but never actually did

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will never see you through an emergency.

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Start immediately to put regular sums aside

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through your bank's bond-a-month plan

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or through weekly payroll savings deductions.

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United States savings bonds are safe to invest in

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because they're as sure as Uncle Sam.

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And when you need them, you've got them.

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And now we bring back to our Hollywood soundstage

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Mr. John Dana starring in tonight's production

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Strange for a Killer,

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a tale well calculated to keep you in suspense.

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I know what you're thinking, but don't you try it, mister.

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This is a.45.

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I'm not afraid of your gun.

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That's because you've never been hit.

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You're bigotting me and I know what you're thinking,

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but don't you try it. I'm warning you.

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You won't ever know what it means to wish you could die

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till you get a slug in your stomach.

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Henry...

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No, it's all right.

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I know what you mean.

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I didn't mean it.

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It won't do any good, you know.

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No matter what happens to us, no matter how long you stay here,

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they'll get you.

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Listen, it guys, just like me,

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those blue suits don't make them Superman.

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They make mistakes like everyone else.

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They've already made a big one.

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How?

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They shouldn't have sent you.

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My wife didn't sound right when I spoke to her over the phone.

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I came up to find out why.

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Yeah, she gave it away.

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She's sorry about that.

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Jesse...

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It's all right, Henry. Please, it's all right.

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Did he hurt you, Jess?

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Never mind that.

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She just got out of the hospital.

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Would you like to see her go back?

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I hope they kill you.

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They might.

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I thought about it.

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I guess maybe you better start thinking about it too,

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because it's gonna happen the next time you make a crack like that.

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Henry, don't, don't.

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I'm gonna ask you a couple of questions,

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and you're gonna give me the right answers, the right answers, mister.

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The first time you get hurt bad.

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What do you want to know?

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Where were you when you made that phone call?

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Drugstore, across the street.

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And your wife don't sound right.

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Do you think maybe something is wrong?

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Yes.

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You want to get up here, you want to find out why.

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Yes.

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What takes you so long?

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What?

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We don't hear you coming up the stairs till almost 15 minutes after she hangs up.

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What are you doing all that time, huh?

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Oh, no, no, no.

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At first I wasn't sure she did sound like there was something wrong.

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It was only after I hung up and got to thinking about it

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that I started to worry, and then I made up my mind to come up.

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But that was later.

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You don't stop to talk it over with the cops?

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Why should I?

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How could I know it was you in here?

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Cops all over the block looking for me, searching every building,

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streets probably closed off, and your wife sounds scared over the phone,

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but you won't say why.

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Sounds like someone's with her, she don't say who.

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But you don't think it might be me?

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Well, yes.

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Maybe I began to...

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Yeah, but you don't say nothing to the cops, though.

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No.

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Just come up all by yourself.

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Yes.

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You sure of that?

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Yes, I...

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Okay...

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No! Oh, please!

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Please don't! Leave him alone!

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Oh, Henry! Henry!

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It's all right.

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I'm all right, Jesse.

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All right. What's the big plan with you and the cops?

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I don't know.

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I don't know about their plan.

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I don't know what they're going to do.

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But they know you're in here.

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Don't stop, mister.

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I did go to the police when I thought it was you here with my wife.

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I don't think they believed me at first,

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but I talked the captain into letting me come anyway.

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If you weren't here, I was supposed to call him right away.

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And if I was?

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Nothing.

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Just wait, and if they didn't hear in ten minutes,

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it meant...

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It meant I couldn't call.

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You were in this room.

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You old lady.

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Go get the kid.

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No.

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Why do you want him?

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We'll do anything you say. You don't need to touch our kid.

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You look okay.

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You don't want to hurt the kid.

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Get him, lady.

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Henry!

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It's all right. I'm sure of it.

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You haven't got much time, Gileska.

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You know it.

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Killing our baby is something you wouldn't do.

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You can bring him in, Jessie.

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If you say so.

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You're so sure this is the end of the line for me?

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And those cops down there, they're so sure.

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Well, I'm telling you, I got lots of time,

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and you're going to help me take it.

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Yeah.

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I'll back up to the wall and peel off that jacket.

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What?

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Come on, take off the jacket. It's all on the floor.

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Sure.

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Why not?

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What are you going to do?

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I'm not going to do anything.

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You're going to take it for a while.

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What do you mean?

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You don't see it, huh?

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I'm kind of surprised.

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Well, I don't see any way out for you. That's what you mean.

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They know you're here.

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Yeah, yeah, they know I'm here.

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You made sure of that, didn't you?

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So they're covering every way out.

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Doors, windows, alleys.

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What do you suppose would happen if I tried one of them?

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I think they'd kill you.

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Yeah, yeah.

15:30.840 --> 15:32.840
I start out that window, and every cop down there

15:32.840 --> 15:35.840
comes to make sure I don't finish the trip.

15:35.840 --> 15:37.840
Maybe a couple come running up here.

15:37.840 --> 15:39.840
That leaves lots of cops down on the bottom of the fire escape

15:39.840 --> 15:41.840
and a couple of cops up here in the room.

15:41.840 --> 15:43.840
But not many anywhere else, huh?

15:43.840 --> 15:45.840
In the alley or in the streets or down near the river?

15:45.840 --> 15:49.840
They'll all be watching the guy in the fire escape, won't they?

15:49.840 --> 15:52.840
And the guy in the fire escape,

15:52.840 --> 15:54.840
he don't need to be me, does he?

15:54.840 --> 15:56.840
No, he won't work.

15:56.840 --> 15:58.840
You're crazy to think that'll work.

15:58.840 --> 16:01.840
I gotta take that chance now.

16:01.840 --> 16:03.840
You're going out on a window, mister,

16:03.840 --> 16:05.840
and you're gonna take your time doing it.

16:05.840 --> 16:07.840
They've seen me. They know what I look like.

16:07.840 --> 16:09.840
They saw a guy in a leather jacket right close up.

16:09.840 --> 16:11.840
Now you're a guy in a white shirt,

16:11.840 --> 16:13.840
three stories over the street, coming down a fire escape.

16:13.840 --> 16:16.840
That makes you a different guy.

16:16.840 --> 16:19.840
That makes you Roy Gileska.

16:19.840 --> 16:23.840
Ha-ha. A little guy, huh? Bring him in.

16:23.840 --> 16:26.840
He's asleep. You won't...

16:26.840 --> 16:28.840
He's asleep.

16:28.840 --> 16:29.840
What's his name?

16:29.840 --> 16:30.840
Johnny.

16:30.840 --> 16:32.840
Johnny?

16:32.840 --> 16:35.840
That's a nice original name.

16:35.840 --> 16:38.840
He's a cute little kid, too.

16:38.840 --> 16:44.840
I don't guess you're gonna put up any arguments, huh, mister?

16:44.840 --> 16:46.840
No.

16:46.840 --> 16:47.840
No arguments.

16:47.840 --> 16:50.840
Yeah. I'll be right here with the wife and the kid

16:50.840 --> 16:52.840
until I see our little scheme is working,

16:52.840 --> 16:54.840
so don't you try no tricks on the way down.

16:54.840 --> 16:55.840
No.

16:55.840 --> 16:57.840
What does he mean? Henry, what's gonna happen?

16:57.840 --> 16:59.840
You can read about it in the papers, lady.

16:59.840 --> 17:00.840
Now go turn out the light.

17:00.840 --> 17:01.840
The light?

17:01.840 --> 17:02.840
Turn it off.

17:02.840 --> 17:04.840
But don't you try nothing. Neither one of you.

17:04.840 --> 17:05.840
You got your kid in here now,

17:05.840 --> 17:08.840
and there's no telling who'd get hit if I had to shoot wild.

17:08.840 --> 17:09.840
Turn it out, Jesse.

17:09.840 --> 17:10.840
Henry, I...

17:10.840 --> 17:12.840
Come on.

17:12.840 --> 17:16.840
Now you. The window.

17:16.840 --> 17:17.840
Okay.

17:17.840 --> 17:19.840
They're all waiting.

17:19.840 --> 17:20.840
Get going.

17:20.840 --> 17:21.840
You can't let him go out there.

17:21.840 --> 17:25.840
Jesse, it's all right.

17:25.840 --> 17:29.840
Hold on to Johnny and wait for me.

17:29.840 --> 17:30.840
It'll be all right.

17:30.840 --> 17:31.840
Henry.

17:37.840 --> 17:39.840
I stepped out onto the street

17:39.840 --> 17:41.840
and saw a man standing there.

17:41.840 --> 17:43.840
I thought he was a man.

17:43.840 --> 17:47.840
I stepped out onto the iron platform.

17:47.840 --> 17:49.840
Below on the street,

17:49.840 --> 17:52.840
I could feel every eye on me.

17:52.840 --> 17:54.840
Hold up, Jalaska!

17:54.840 --> 17:56.840
We see you!

17:56.840 --> 17:58.840
Don't take another step!

17:58.840 --> 18:00.840
And then I knew there was a part of the plan

18:00.840 --> 18:01.840
he hadn't told me.

18:01.840 --> 18:03.840
I jumped back against the wall,

18:03.840 --> 18:04.840
but it was already too late.

18:04.840 --> 18:05.840
From the window behind me,

18:05.840 --> 18:07.840
Jalaska fired down into the police.

18:07.840 --> 18:08.840
Their guns flew up automatically,

18:08.840 --> 18:10.840
and everyone was aimed at me.

18:10.840 --> 18:15.840
There's pain.

18:15.840 --> 18:16.840
Pain.

18:16.840 --> 18:18.840
People everywhere.

18:18.840 --> 18:21.840
There are waves of pain.

18:21.840 --> 18:22.840
Voices.

18:22.840 --> 18:25.840
Voices I knew.

18:25.840 --> 18:26.840
Don't touch him.

18:26.840 --> 18:27.840
Don't touch him.

18:27.840 --> 18:28.840
Let him alone.

18:28.840 --> 18:29.840
He's losing blood.

18:29.840 --> 18:30.840
I've got to get a doctor.

18:30.840 --> 18:31.840
You'll get a doctor, lady.

18:31.840 --> 18:32.840
Why don't you go?

18:32.840 --> 18:33.840
What are you waiting for?

18:33.840 --> 18:35.840
Haven't you done enough?

18:35.840 --> 18:36.840
He's been shot.

18:36.840 --> 18:37.840
He's hurt.

18:37.840 --> 18:38.840
And you just stand there.

18:38.840 --> 18:40.840
I thought you wanted to get out.

18:40.840 --> 18:41.840
Well, get out! Get out!

18:41.840 --> 18:42.840
Get out.

18:42.840 --> 18:44.840
Henry, Henry, it'll be all right.

18:44.840 --> 18:45.840
Don't try to move, darling.

18:45.840 --> 18:46.840
You'll be all right.

18:46.840 --> 18:47.840
Is he gone?

18:47.840 --> 18:48.840
Please.

18:48.840 --> 18:51.840
No, mister, no, he ain't gone.

18:51.840 --> 18:52.840
A little scheme.

18:52.840 --> 18:56.840
It don't look like it's going to work.

18:56.840 --> 18:57.840
It should have.

18:57.840 --> 18:59.840
No reason it shouldn't.

18:59.840 --> 19:01.840
But they're moving up on the stairs right now.

19:01.840 --> 19:02.840
Don't move, Henry.

19:02.840 --> 19:03.840
We'll get a doctor.

19:03.840 --> 19:05.840
It'll all be over in a minute.

19:05.840 --> 19:08.840
Yeah, you're glad, huh?

19:08.840 --> 19:09.840
No.

19:09.840 --> 19:11.840
No, I'm not glad.

19:11.840 --> 19:13.840
It's ugly, all of this.

19:13.840 --> 19:15.840
I feel sorry for you.

19:15.840 --> 19:18.840
Don't, lady.

19:18.840 --> 19:21.840
I've been running for a long time.

19:21.840 --> 19:25.840
I think it's going to feel good to stop.

19:25.840 --> 19:27.840
It's a funny thing when they're after you,

19:27.840 --> 19:29.840
when you're running away.

19:29.840 --> 19:31.840
You look the same, you act the same as you always did,

19:31.840 --> 19:33.840
but it's different on the inside.

19:33.840 --> 19:36.840
You're tight and twisted.

19:36.840 --> 19:39.840
No matter what you're doing, you can't relax.

19:39.840 --> 19:43.840
You can't get a good deep breath.

19:43.840 --> 19:46.840
Yeah, I think I'm glad.

19:46.840 --> 19:48.840
Gillesca?

19:48.840 --> 19:49.840
Roy Gillesca?

19:49.840 --> 19:53.840
Those guys are going to do a lot of brag in the morrow.

19:53.840 --> 19:55.840
We know you're in there.

19:55.840 --> 19:59.840
Come out with your hands up, or we're coming after you.

19:59.840 --> 20:03.840
So, they finally get me.

20:03.840 --> 20:04.840
You killed a man?

20:04.840 --> 20:06.840
Yeah.

20:06.840 --> 20:09.840
Yeah, one day you're just a guy,

20:09.840 --> 20:12.840
and something happens, and you're a killer.

20:12.840 --> 20:14.840
Won't you go now, please?

20:14.840 --> 20:16.840
Sure, sure I'll go.

20:16.840 --> 20:18.840
Why not?

20:18.840 --> 20:22.840
Don't make much difference now.

20:22.840 --> 20:25.840
Buddy, listen to me.

20:25.840 --> 20:28.840
You know what I mean, don't you?

20:28.840 --> 20:30.840
You're just a guy.

20:30.840 --> 20:33.840
Yeah.

20:33.840 --> 20:36.840
Put your gun down.

20:36.840 --> 20:38.840
Maybe they'll give you a chance.

20:38.840 --> 20:40.840
What chance? I've been waiting for a chance all my life.

20:40.840 --> 20:42.840
Give her the gun.

20:42.840 --> 20:44.840
It'll be better.

20:44.840 --> 20:46.840
Look, forget it, will you? Get out of the way, lady.

20:46.840 --> 20:47.840
I'm going out.

20:47.840 --> 20:48.840
You wouldn't try.

20:48.840 --> 20:50.840
Oh, why don't you let me have your gun?

20:50.840 --> 20:52.840
Get back, get way back.

20:52.840 --> 20:53.840
Jesse?

20:53.840 --> 20:54.840
It's all right, Henry, it's all right.

20:54.840 --> 20:55.840
That's it.

20:55.840 --> 20:57.840
Stay there.

20:57.840 --> 20:59.840
I'm...

20:59.840 --> 21:02.840
You'll stay just like that.

21:07.840 --> 21:09.840
Oh, Henry.

21:09.840 --> 21:11.840
Okay, son, hold it right there.

21:11.840 --> 21:13.840
Don't come any farther.

21:13.840 --> 21:15.840
There are six guns on you, Jaliska.

21:15.840 --> 21:17.840
You haven't got a chance.

21:17.840 --> 21:28.840
Now drop that thing and come down with your hands over your head.

21:28.840 --> 21:30.840
Jesse.

21:30.840 --> 21:31.840
Yes?

21:31.840 --> 21:35.840
Why didn't it work?

21:35.840 --> 21:37.840
They shot at me.

21:37.840 --> 21:42.840
And then there was at least a half minute when he could have got out that door.

21:42.840 --> 21:44.840
Why didn't he?

21:44.840 --> 21:45.840
What made him wait?

21:45.840 --> 21:47.840
Oh, don't talk, darling, it's all over now.

21:47.840 --> 21:49.840
No, no, no, what happened? Tell me.

21:49.840 --> 21:53.840
When the police fired, he started for the door.

21:53.840 --> 21:55.840
But he came back, Henry.

21:55.840 --> 21:58.840
He went out into the fire escape and lifted you in the room.

21:58.840 --> 22:03.840
Then he started for the door again, but it was too late.

22:03.840 --> 22:04.840
Is he all right?

22:04.840 --> 22:05.840
I don't know, I think so.

22:05.840 --> 22:07.840
Will you get a doctor, please?

22:07.840 --> 22:09.840
The one's on his way.

22:09.840 --> 22:11.840
All right, take it easy, mister, you're going to be okay.

22:11.840 --> 22:12.840
Just lie easy.

22:12.840 --> 22:14.840
Yeah.

22:14.840 --> 22:18.840
Sure.

22:18.840 --> 22:19.840
It's funny.

22:19.840 --> 22:21.840
Huh?

22:21.840 --> 22:26.840
No, it's not funny.

22:26.840 --> 22:29.840
Strange.

22:29.840 --> 22:55.840
Strange for a killer.

22:55.840 --> 23:03.840
Suspense, in which Mr. John Dana starred in tonight's presentation of Strange for a Killer.

23:03.840 --> 23:23.840
Next week, tune in again for radio's outstanding theater of thrills, Suspense.

23:23.840 --> 23:28.840
Suspense is produced and directed by Anthony Ellis.

23:28.840 --> 23:31.840
Tonight's script was written by Robert Essam.

23:31.840 --> 23:35.840
The music was composed by René Guéregao and conducted by Wilbur Hatch.

23:35.840 --> 23:43.840
Featured in the cast were Tony Barrett, Eve McVeigh, Jack Crouchon, Leonard Weinrib, Charles Seale, and Tom McKee.

23:43.840 --> 23:49.840
Tomorrow night on CBS Radio, hear the scientific touch on the FBI in Peace and War.

23:49.840 --> 23:53.840
A new wrinkle in criminology and an exciting wrinkle in countermeasures.

23:53.840 --> 23:59.840
Remember on most of these stations every Wednesday night, the FBI in Peace and War.

23:59.840 --> 24:09.840
Stay tuned now for Douglas Edwards with the news, followed by Disc Derby.

24:09.840 --> 24:24.840
Thursday night, The Whistler brings mystery on the CBS Radio Network.

