Latest / Great Detectives of Old Time Radio Volume 2|Mystery Audio Dramas / Suspense: Deadline at Dawn (EP0800s)

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Suspense: Deadline at Dawn (EP0800s) · Great Detectives of Old Time Radio Volume 2|Mystery Audio Dramas

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Welcome to the Great Detectors of Old Time Radio from Boise, Idaho. This
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is your host, Adam Graham. If you have a comment, email it
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to me Box thirteen at Great Detectors dot net and you can follow us on
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Twitter at Radio Detectives. Well, this is our eight hundred episode special and
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we're going to bring you another one hour episode of suspense. And this is
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from a story originally written by Cornell Woolwich. It was was adapted as a
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movie and there was a Lucks Radio Theater version of the movie. But myself,
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I like this version much better. I think it's a very emotionally resident
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and a powerful story, A definitely a great mystery with lots of detection.
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We would probably put it today the way it was performed here on the radio,
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into the category of romantic suspense, but I think it's pretty exciting and
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challenging for anybody. So let's go ahead and take a lesson to this episode
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from May the fifteenth, nineteen forty eight. It was the very last of
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Suspense Is one hour episodes, So let's go ahead and enjoy Deadline at Dawn.
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Suspense Radio's outstanding theater of frills brings you an hour, a full sixty
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minutes of suspense to night. Our stars, Miss Helen Walker and mister John
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Beale. Our Story Deadline at Dawn by William Irish, a suspense play produced
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and directed by Anton M. Leader. If you've ever been alone in a
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strange, big city, you know the haunting loneliness of it, and you
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know how the sight of a familiar face, the sound of a familiar voice
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can lift your spirit high. Even a stranger who comes from your hometown becomes
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a long lost friend because he brings with him a breath of home, a
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flood of memories. That was the emotion that drew Brickie Coleman and Quinn Williams
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together. But their meeting wasn't the joyful, happy kind. It was the
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beginning of longing and fear and danger. And now, with the performances of
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Helen Walker as Brickie Coleman and John Beale as Quinn Williams, and with William
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Irish's great story Deadline at Dawn, we again hope to keep you in suspend.
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Until I met him, men were just pink dance tickets. To me.
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They were just two and a half cents worth of commission on the dime.
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Here's a feat that kept crowding mine. All over the map, all
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over the floor, all over the night. There were blank faces that could
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steer me anyway they wanted until they're five minutes were up. Because I was
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a New York taxi dancer until I met him, a girl from a small
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town, caught and held fast in the big city, with all her dreams
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forgotten and all her hopes gone, and not caring anymore, not caring at
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all until I met him. They always dimmed the lights for the last dance,
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just to make the customers feel sentimental about it all. At one in
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the morning, I was through again for the day. I put on my
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coat, go out the side door, walked past the sad sacks that thought
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they were wolves and loitered on the sidewalk, and then I begin the twenty
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blocks to home. Home was a filthy old brownstone down near the river,
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the long Smelace, an old army caught That was home. But at least
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it was a place where I could get out of my shoes and make some
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calls sleep to forget. I'd get home about one thirty. You left your
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door open, so I left my door open. It did you think that
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was an invitation to walk in. You better close it now. Hey,
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listen here, please, all right, you're a burglary. You won't find
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anything. The rats got here first. I am a burgley. Oh then
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you're a very smart one. What are you looking for? Coffee grounds?
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I wasn't looking for anything. Then, why don't you go? Please find
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a nice, rich old lady to rob. I need a place to stay
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for a while. I thought maybe you would let me. What stay here?
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I don't hand out favors. You're nothing to me, I know,
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just a hunch I head where you were looking at me. I thought I
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could come here for help. The way I was looking, I've never seen
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you before in my life. Well, you were looking straight at me at
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the dance hall about an hour ago. You mean you were at the Cinderella
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Ballroom tonight. Don't you remember me? No, that's funny, not funny
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at all. You all look the same to me, namely horrible. I
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guess it's my mistake. I was sure you seem so so nice, did
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I? Yeah, that's because I was thinking of home. I always do
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that on the job. Makes the night go faster. I guess I know
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what you mean. What'd you do? Follow me? No? The man
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at the door gave me your address for a dollar. Oh he did,
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did he? I wanted to get off the streets this time of night.
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The cops are curious. I thought I saw one of them following me,
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so I beat it down this hall to hide. That's when I found your
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door open, and take a good place for hiding. Nobody ever comes here
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but the landlady once a month. Please let me stay awhile? Please?
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What's your name? Quinn Williams? Quinn? Ye never heard that name before.
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It used to be my mother's before she got married. I see,
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what do you say? You want some coffee? Quinn? Thanks? Thanks?
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I get this straight. One cup of coffee and nothing more. No
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sugar goes with it. You give me one blink too many coffee? I
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understand a man can tell by looking at a girl whether she means one thing
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or another. Be surprised how many of them are to have an oppetition?
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I know. Give me a match for the oven. Here you are.
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I got the oven lit and reached down some cups and sauces and watched him.
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Not that I was worried. I wouldn't have closed the door if I
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hadn't thought I could handle him. It was only that he was so young
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and his face was so tight and strained. He'd been beat by the city.
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Must have been like taking candy away from a baby. And he trusted
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me because I'd smiled at him while I was dancing, and he thought that
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smile was for him. I wish it was all of a sudden because he
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was different. Coffee won't be long. I' sorry, I'm in no hurry.
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Pretty young for a burg Roger, doesn't take much training. Where'd you
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come from? And how did it happen? Oh? Come from a little
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town. It's nothing much, but I like him. I hick myself here
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from my place is Glenn Falls. I will what's yours? What's the matter?
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Nothing? Oh? I thought I said something wrong. Oh no,
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you said something right. It's crazy, a crazy coincidence. But I come
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from Glen Falls too, honest. That's that's amazing. You know it is?
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What street did you live on? And there's name Pine Street? The
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second house down between Pine and Oh when we're neighbors? What? I live
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just across the street from you? How is it we never met? I
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don't know. I came here five years ago. Oh, I've been here
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a year. You must have come to New York before we moved in.
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Sure, Wait a minute, Have you got a brother with a lot of
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freckles? Yeah, Journey, he's just a kid about eight. My sister
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has been writing to me about a new boyfriend, a boy named Williams.
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How perfect he is except for the freckles, And of course they're we are
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off. That's Journey. Ah, so you're the boy next door. Were
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we we'd probably have known each other very well. If you'd stayed home.
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I know I wish you had stay I do too. What's your name?
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Ruth Coleman. Everybody at home calls me Brickie. They started it because because
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of your hair, that's right. Do you have a feel that you want
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to go back every day? Zebus les New York every morning at six I
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know I've inquired. I've got the fair sewed up in my mattress. Have
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you go because my mother thinks I'm dancing in a Broadway show. Because I'd
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be too ashamed because it's so hard to go back. Yeah, would you
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want to go, Brickie? This morning? At six o'clock? You ought
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to go back? Hard? Going back alone? If someone could come with
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me. Would you come home to Quinny. You want to escape from the
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city, don't you just like me? You want to go back. We'll
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then come with me. If it's the fair you're worried about. I've got
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enough for both of us, including a good dinner in Chicago, anything for
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the boy next door, Quinn makes Brickie. It's too late. The police
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will be looking for me around eight o'clock this morning. Oh yeah, I
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forgot. How long have you been at very glad? About three hours?
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Three hours? And did it tonight for the first time, so you see
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breaking it's a little too late for me to go back. I've missed a
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bus three hours. Hop is ready, clean, good cream and sugar?
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No thanks, Black? Was it easy? Very easy? Why you do
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it? You'll do anything when you've gone for four days without eating. Oh
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but it's funny. After I'd done it, I went straight to the best
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restaurant in town. I looked at the menu and got ready to order everything
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on it. Two helpings of everything. Right. I couldn't eat it,
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so I got up and walked out. That's when I began to think cops
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were trailing me. I'm not used to being a robber. So you still
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got it all with you, twenty five hundred dollars in cash. Divide it
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up into small rolls in all my pockets. You want to see it,
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No neither do I. But it's there. I can feel it against my
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skin all over my body. Where did you get it? Quinn? I
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was working for an electrician about four months ago. One day I got a
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call to go to a big house on seventy first Street and put a fixture
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in the bathroom wall. I had to cut a big hole in the wall
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to do it. While I was doing that, I ran into woodin a
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wooden box in the wall. I did my work just beside it, and
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that box. That box was the back of a safe OH put into the
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wall of a study in the next room. The front of the safe was
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good, heavy steel. When they built it, nobody thought it could be
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broken into from the other side through the bathroom, and nobody ever would have
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either until an electrician ran into it one day by a mistake. But all
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this happened four months ago. You see, I'd brought more tools with me
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than I needed that day, and I left some of them in my bag
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downstairs on a little table near the front door. And when I got back
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to the shop, I found a key in the bag. I must have
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brushed it in while I was putting the tools back after finishing the job.
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It turned out to be a key to the front door. You didn't return
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it. I didn't. No, I meant to, but right then I
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forgot all about it. And when I did remember that I had the key,
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I was out of work, hungry and wanting money badly, so I
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went back there. It's an unbox. I opened that hole again, pulled
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the back of the safe out. I didn't bother with any of the papers
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or securities. I just took the cache. The house was empty. The
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man who lives there society fell up, by the name of Graves, was
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probably out on the town. So I just walked out the front door.
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Seems like ten years ago. It was only three hours. So this Graves
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man will see the hole in the morning when he goes in to take a
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shower. Then you'll call the police. It will be a quick trial.
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I'm a short one, but the sentence won't be so short. The boy
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next door, the boy you wave too when you come in or out of
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your gate. The grinning boy next door, friendly as a pun, Go
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back, Brickie. It's where you belong. It's the only kind of life
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for you. Come with me, Quinn. I've told you I can't.
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They've got a long arm. They'll find me, and I'd rather have him.
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I'm me here in the city. Have you still got the key,
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the key you went in with? Yeah? Why well if you can get
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back in before he comes home, just in and out long enough to put
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the money back. They won't come all the way to Iowa for you,
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just for chopping a hole in the wall if nothing's been taken. Don't you
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want to go home? At six o'clock this morning? If he's out on
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the town, he won't be home yet. At least that's what we'll pray
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for. We'll go together now. I'll wait outside for you, and then
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we'll go down of the term and buy our tickets and wait for the bus.
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We'll wait for dawn together, Quinn, you mean you do this for
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me? For the boy next door? Anytime anything. There was no time
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to lose. Graves might be coming home any minute. I ripped the money
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out of my mattress and we ran out of the cold, empty streets,
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just as a cab crows By. We piled into it and told him to
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take us to seventy first Street, and to take us fast. Everybody's always
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in a hurry. What's your hurry? The night's young, Yeah, have
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a mind the conversation, Joe drive. The customers always right. I just
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remember what. I can't pay for this cab unless I use some of our
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capital. I don't care what you use, Pal, just so it's money.
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Don't worry about it. You'll get paid. I'll pay him. We
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don't want to use any of our capital, not a single penny. It's
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all got to go back breaking when we get out of this, when we
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get back home, Oh, thank you. Then i'll find a way to
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thank you. Seventy free Street, any special number, No, Just let
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us out here on the corner. That's ninety cents, and I can break
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a fifty if I have to. Here's ninety cents, and here's a time
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have fun. Well, here we are. Where's the house across the street?
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Up a little you wait here, don't come any closer than this.
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I'll be back in no time. Don't be frightened, Brinkie, don't take
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any chances. Quinn. If you see any lights. If it looks as
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if he's gotten back already, don't go all the way in. Just drop
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the money inside the door, all right, Bricky, goodbye? Then goodbye,
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Quinn, hurry back. I waited for him there in the chilly night,
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on the dark empty street. Why I knew better. New Yorker taught
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me one thing, and that was never to be a sucker for a man.
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But then there was no man. This was the boy who lived across
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from the on Anderson Street in Glen Falls, Iowa. The boy had come
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here to do big things, to lick the town, and instead he'd been
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licked. Instead. He was hiding in the dog sneaking along the streets helpless,
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the boy next door. Then I suddenly crouched back into our doorway.
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A patrolman was coming on his tour of duty. He stopped near me,
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not ten yards away, but his back was to me, and his hand
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was opening a call box, Russian reporting in how's a rummy game? Gone?
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Another thing? Quiet at church? He finished his call, closed the
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box and went on down the street. Then he turned a corner and disappeared,
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and I breathed again. He'd been right, though it was quiet as
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a church and that was wrong because Quinn should have been back long ago.
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Ricky, what's the matter? Ricky? Tell me, Quinn? What is
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it? What is it? What are you frightened about? What happened in
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there? He's been killed, He's dead, he's lying in there, dead
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man who lives there? Yeah, mister great, why is it you?
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Quinn? Did you do it the first time you were in there? And
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I I swear I didn't, Ricky, I only took the money. He
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wasn't even there. He must have come back since I knew you didn't,
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Quinn. I knew even though I asked, go down to the terminal,
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get your ticket and climb on that bus and forget we ever met. Go
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on, Ricky, beat it before they find out, not without you.
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But don't you see now it's murder. They'll charge me with They'll find the
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bathroom, fix your tampered with the traces the electrician, then to me,
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and they'll they'll naturally think, don't you see it's too light, Breakie.
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It's never too late, don't you know that, Not until the last second
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of the last minute of the last star. What do you mean. We'll
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go back in there and see if we can figure it out. It's our
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only hope. We're fighting for our lives, Quinn, for our lives,
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and we have until six o'clock this morning to win our fight. All right,
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Champ, come on, And so very slowly we went together into the
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place where death was. The door closed on our backs, and we felt
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our way down a long and narrow hallway. He's upstairs. I don't want
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any lights on down here. You just hang on to my sleeve. I'll
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lead the way, all right. We went forward in a sort of swimming
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darkness that was almost liquid. It was so dense. I could feel the
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muscles in his arms shivering. But he was brave, not afraid. He
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was going into it, not running away from it. To the step.
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Here, a stair creaked under our weight. I wondered if there were anyone
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else in the house, anyone still alive, suppose someone had slept through the
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murder, would be awakened any moment by us. Okay, we were on
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the second floor. Now. I smell the aroma of leather and would work.
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I smell the last lingering trace of a cigar. I smelled powder,
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a harsh, deadly powder, and then I thought I saw, I thought,
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I smell something sweet, something very sweet. Here, Brickie. All
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right. They say you can't smell a recent death, but I could smell
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a stillness and a presence in it was more than just emptiness. Yet your
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eyes ready, Here go the light. The dead man lay in the middle
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of the study. His face was all out of focus. The lines that
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have been laugh lines were creases now. The mouth that had been either strong
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or weep was just a gap now, a place where the face was open.
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The eyes that had been either kindly or cruel were just glossy, lifeless
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insects. Now this was the dead man, and we'd come for his secret.
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This is it, Bricky, Yes, this is it? And now
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what do we do? Shouldn't we close? They seem to be watching.
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No, don't touch him. I don't know how to anyway. He's he's
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done a tuxedo. It couldn't have been home very long. Can you tell
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what it was done with? No, I'll have to done. Botanist,
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Jackie, all right, go ahead, there it is. Must have been
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a gun, Yeah, a bullet. It's round and frazzled. A knife
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would have made a slit. And we can be sure no one else was
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in the house, or they would have heard it go off, and the
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killer must have taken the gun away. There's no sign on one lying around,
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so he didn't do it himself. It can't be suicide. Right now,
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we'd better look in his pocket. Yes, I'll do it. You
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look the things over as I hand them to you, all right, Quinn.
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I'll start up here in the breast pocket. That's the highest pocket in
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anybody's suit. His handkerchief. Look, Quinn, the bullet went through this
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the way it folded, it just made one little hole. When you open
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it up, it makes three separate holes, like when you cut papers and
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make them into patterns. One on the left side's empty, the right hand
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pocket empty. Two Try inside the jacket, Ye, take out everything,
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no matter what it is. Right, cigarette case silver, Tiffany's three cigarettes
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in it, the wallet, two fives in a single. Two ticket stubs
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from tonight's show at the Blaskos see one hundred and twelve, one hundred and
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fourteen, So we know where he was from eight thirty to eleven. Anything
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else, business cards, Stafford Holmes, Inglesby, whoever they are. Oh
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on a snapshot girl in riding tags. Let's see that, yeah, it's
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the same ones in the silver frame over there on the desk to Stephen with
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love from Barbara. Then she didn't do it. If she had, she
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wouldn't be there on his desk anymore. Just the silver frame maybe, but
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not her anymore. That's common sense, all right, Let's go on.
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I had to lift him a little. Go ahead, left ray air in
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the trousers. Nothing right ray air, spare handkerchieon left side, nothing right
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side match folder, loose change, latch key. That's it. Not much
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help. Do we know what we're doing, Ricky? I don't know.
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Quinn a man who's a cigarette smoker, and we found that case in his
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pocket. Would he go in for cigars too? Maybe some people smoke boards,
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but but would he smoke two cigars alone by himself? Look, Quinn,
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two butts in this tray, yeah, and the trays between two chairs
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facing each other, one cigar and one not of the tray, the other
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one around on the other side from it. Two people, Quinn, two
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men, and they were having an argument. One of them was worked up
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about something. You see, this butt is smooth at the mouth end.
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And look at this one chow to ribbons, choot to a fringe. That
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tells it just which who was common, who was steamed up? And who
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was the other man with Graves? Oh, Quinn, wait a minute,
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here's something. What must have fallen out of his pocket? He was probably
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sitting on it. Fine, another book of matches and it just did another
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one. Graves had some on him. So this is the other man.
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And did he leave his name on it? No? But he was excited.
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Look how many matches he used up just on that one cigar. A
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folder could have been half used up before he began. Maybe take this What
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does it tell you? Tells me to cheo Dawson's gum? Not that cover
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inside? I don't know what are you driving here? Yeah? Take my
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matches. I'll tear one off. Let's strike it all right, okay,
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blow it out. You see what you did? No? You tore the
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match from the right hand side, didn't you. Yeah, that's what everybody
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does. They start on the outside on the right and work their way over
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to the left. But this fold was worked in reverse. Now do you
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see the man sitting in this chair facing Graves was left handed. I see
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we're making progress, are we, Quinn? Well, of course we are.
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We know this man was rattled about something that he whittled away fifteen matches
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to one cigar and then mangled it to ribbons between his teeth. That he
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was probably on bad terms with Graves, and that he's left handed. Fine,
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only you've missed something. Boy. The matches belonged to a woman.
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A woman. A woman chopped that cigar to pieces. Smell the folder.
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What do you get? Soft of the way matches? Always give that a
27:37
minute to clear away. That's the stronger of the two. Are tops the
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other? Now, okay, fume, isn't it. Yeah? It's been
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carried around all day in a handbag, a handbag that stinks up the fume.
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I noticed it in the dark when we were coming in. There's been
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a woman in this room tonight. Well, that gives us two of them,
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a man and a woman, and they weren't here together. There are
28:02
only two chairs, one for Graves and the other one for each of his
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business. Who was the last to go the man of the woman, I
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don't know, but we're started. Look where we've dug up in half an
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hour, two unidentified people in the biggest city in the world. You're right,
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it's no use. Oh even so, we can't give up. It's
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no use. And what's more, I'm yellow, Bricky. Let's give it
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up. You're not yellow, Quinn, or I wouldn't be up here in
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this room with you. I'd better tell you this well I can, Bricky
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what I love you. It's three o'clock, Quinn, and we have till
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six three hours. Bricky, save it, Quinn. Save it for the
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bus when we're on our way home. All right. I don't know what
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to do next to you? No, I don't. What's that? In
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tonight's full Hour of Suspense, Helen Walker and John Beale co star in Deadline
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at Dawn by William Irish, Tonight's study in suspense, Just a Moment,
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We will return with Act two of Suspense. This is CBS the Columbia Broadcasting
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System and now back to our Hollywood sound stage and Act two of Deadline at
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Dawn, co starring Miss Helen Walker as Brickie Coleman and mister John Beale as
29:49
Quinn Williams in radio's outstanding theater of thrills Suspense, All the emotions of a
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lifetime have been crowded into one night for a Brickie Coleman and Quinn Williams and
30:12
Dawn is a fast approaching deadline which they must meet. The bus which will
30:17
take them to home in safety, seems remote and unattainable as they stand now
30:22
over the body of a dead man in the quiet apartment, knowing that they
30:26
must find his murderer or stand incriminated for the crime themselves, And suddenly a
30:33
terrifying sound comes to them. What is it, Bricky? What is this?
30:38
Sounds like a burglar or the front door bill. Mammy, Wait a
30:41
minute, there's a box over there against the wall. Follow the cord.
30:45
It's in his desk, in the drawer. What shall we do, well,
30:52
answer, I'll be careful. You'll have the police here. You'll know
30:55
us. Not his voice. I'll talk lore, I'll pretend i'm him.
30:57
Say a prayer, Brickie, Hello, darling, this is Barbara. I
31:07
had to speak to you. We've never potted angry like this before. I
31:11
know. Maybe if we hadn't gone there to that Parricae place, it wouldn't
31:15
have happened. No, who was she, the tall red head and the
31:19
light green dress. I don't know you told me that before? Then?
31:26
Why did you slip a note into your hand? I saw a dot you
31:29
know? Did you? And then you couldn't wait to see me to my
31:32
door and get me off your hands? What happens, Steve? Did this
31:36
woman come by to see you afterwards? Is that why you wanted to get
31:40
rid of me? No, Barbara, Steve, you sounds so far away?
31:47
Is it the telephone or is it you? Poor connection? Sounds so
31:52
cagy is if someone were there? Now? Can't you talk louder? I'm
31:57
sorry? What's going on there? Isn't it? It's just catching on.
32:02
I'm take your hand away from the mouthpiece and turn it my way, Sugar.
32:07
Come on, I'm getting tired of waiting. How much long are you
32:10
going to stand there talking? I'm sorry, Stephen, forgive me. I
32:19
didn't know. You can hang up now. I feel like a heel.
32:27
We'll stop it. We don't have time, Paracay. That's a nightclub,
32:30
isn't it. Yes, I'm fifty four street. A woman slipped him a
32:34
note, quinn, Oh woman, could be Do you think he tore it
32:36
up? Or maybe not? Maybe he wanted to have a good look at
32:37
it when he got home alone. Let's look again. Well, I went
32:40
through those pockets pretty carefully. I'm sure it's not that you might have missed
32:44
something, Quinn, turning him over again. All right, nothing, nothing
32:55
at all. Shall we go through the desk. Wait a minute, boy,
33:00
run your eyes over him again. I don't see a thing. He's
33:06
very well dressed. And yet isn't that a hole in the heel of his
33:10
sock? They're just showing over the shoe. That's funny. Take his shoe
33:19
off, Quinn. Okay, the note. Of course, he didn't want
33:27
Baba to see it, so he hid it here until he could be alone
33:30
alone to go on, mister Graves, I'd like to speak to you in
33:38
private after you've taken the young lady home. And I don't mean some other
33:44
time, I mean tonight. I wouldn't want to be disappointed. And so
33:51
it isn't sign a woman of the matches. Sounds like a shakedown, I
33:55
mean blackmail. That's right. He'd have to pay attention to a note like
33:58
this. And we're going night clubbing, my boy. We'll visit the paraquet.
34:01
It'll be closing by now. She must have been seen there, a
34:04
tall redhead in a light green dress. We'll check with the people who work
34:07
there. They'll still be around waiters, checkroom girl, washroom attendant. We'll
34:09
find her. Oh, we will trace her. If I have to go
34:13
over the hair brushes in the dressing room one by one for stray red hair.
34:16
M kill the lights. I'll be right with you. Hey, don't
34:17
forget the switch, the one over the sink in the bathroom. Come on,
34:22
Quinn times running out in a minute? Is anything wrong? I don't
34:30
know. Look what I found, right? It's a check, yeah,
34:37
made out to Stephen Graves for twelve thousand dollars, signed by Arthur Holme.
34:43
And look I stamped returned, No fun? Who did you find it in
34:46
the dry bottom of the tub? How did ever get there? Just one
34:51
way? When I came here tonight the first time I did it. Why
34:55
don't you see when I pulled the cash box out and opened it, the
34:59
check must have slipped into the tub without my noticing it. And unless fellow
35:02
Holmes game, our jittery cigar smoker, maybe to ask Graves not to prosecute
35:07
on a bad check, to stall for time. Graves went to find the
35:13
check, and he couldn't because it was on the other side of the wall
35:16
in his bathtub, and Holmes thought he was trying to put something over on
35:20
him, and you think Holmes shot him, killed him for twelve thousand dollars.
35:27
It's been done before. And what about our redhead Brickie. It's the
35:30
man, it's got to be. I think it's the woman. We'll have
35:35
to split up. No, let's do it together the way we start.
35:37
It's too late. We can't follow them one at a time. Our deadlines
35:40
at don Quinn, and we've got less than three hours. Bus to glen
35:44
Falls, the last bus. Remember that it's the last bus for you and
35:51
for me too. Then we will be saying goodbye Bricky, Yes, Quinn,
35:58
goodbye till on. We went down into the empty streets without talking to
36:10
other, each of each other again, and I went one way and Quinn
36:14
went the other. In ten minutes we were blocks apart, maybe miles,
36:19
but it seemed to me that I was still at his side, still with
36:22
him. As he finally found an all night drug store and went back into
36:25
a booth. I knew he'd dial all the alpha holmes is in the book
36:30
and talked to a lot of angry, sleepy people, and then he'd find
36:35
the right one. The alpha homes we wanted. What would Quinn do then
36:40
what would he say? What would happen? Hello? Yeah, is this
36:55
mister Arthur Holmes? Welmas Holmes. You don't know me that wants to speak
37:01
to mister Holmes. The name isn't known to you, mister Holmes. But
37:06
what makes you think this is mister Holmes? And are you aware that it's
37:08
almost four o'clock in the morning. What do you want? I have a
37:13
check here that belongs to mister Holmes. Will you let me talk to him?
37:17
You're speaking to him. It's made out to Stephen Graves and I have
37:22
it right here in my hand. Where did you find it? I found
37:24
it on the seat of a taxi. It must have slipped out of someone's
37:27
wallet. Who was with you when you found it? No one? Just
37:30
me by myself. Whom did you show it to afterwards? No one?
37:36
Who's with you now? No one, I swear. And you called because
37:39
you thought I might want it back. That's right, I'm sorry he tied
37:45
it up. Nickel? Please shall I hang up? Mister Holmes? Put
37:50
in another nickel? Tell me what's your name? Quinn Williams? Tell me
37:58
something about yourself you do Are you a married man? No? I'm single.
38:04
I live by myself, not even a roommate, nobody, strictly lone
38:07
wolf. I'd like to see that check Quinn. Maybe I can do something
38:10
for you fair enough as a little bar called Owens down on fifty first.
38:15
You know it, I know where it is. Can you take me about
38:17
fifteen minutes to get dressed and get down there? He is? Fifteen minutes?
38:21
Good for you? Just fine, mister Holmes. I'll see you there.
38:25
You're a cagey boy, mister Holmes. But you swallowed yeah over here
38:43
in the boot. Good evening, mister Holmes, Good evening. Sit down,
38:49
watch you, yeah, I will. You're right on time? Sure,
38:55
so are you? As a drink for you? I had water?
38:59
Here is why i'd be allowed to stay in here. It's past closing time.
39:02
Thanks. What's the matter, son? Nothing, it'd just be funny.
39:10
That's all funny and kind of corny. If you'd slipped a little something
39:15
into this take mine then I haven't put it to my mouth yet. I
39:22
think I will bottoms up, bottoms up my cars around the corner. Would
39:34
you rather talk about it there? Yeah? I would. I think we
39:37
ought to be alone. It's easy, son, we can be alone.
39:54
That's enough. Driving pull up. I just thought we'd coast a bit.
39:59
If we can't say, talking at the curve at this hour, we'll have
40:00
a cop done on us, sticking his nose into the car. And what's
40:05
wrong with that? I don't know, do you? I was asking you,
40:10
however, if you want to pull up the East River, a mighty
40:22
mysterious place at this time of day. You're pretty close to the edge,
40:25
ain't you. The wheels are blocked. You're not nervous, are you?
40:31
No? I'm not now about that check. I didn't find that check in
40:37
a cab, mister Holmes. I found it in stephen graves house, where
40:44
he's lying right now on the floor dead. Stephen dead, and your cigar
40:50
is still in the room with him, chewed to a pop a corona like
40:53
the one you're smoking right now. You should have taken it with you,
40:57
mister Holmes, after you'd killed him. You seem to know a good deal
41:02
about this, a little, just enough to know who the killer is.
41:07
I feel a little sorry for you. I didn't know you were as young
41:14
as you are. Over the phone. What about what I got to do
41:21
with it? You're having a lot of trouble with your eyes aren't you.
41:24
Lights on the dashboard have got rings around them, haven't they like big soap
41:29
bubbles? What are you talking about? Say you talked too much. You've
41:35
talked yourself into the grave. I would have believed you about finding that check
41:39
in a taxi. You would have gone to sleep in the card. When
41:43
you woke up, you wouldn't have the check on you anymore, but you'd
41:46
have had a ten down a bill in your pocket. Too, sugarcoat the
41:50
experience head weighs too much? Doesn't it too heavy for your neck? My
41:55
head? You should have stuck to your own drink. Son, You were
42:00
suspicious, but not suspicious enough. You took the wrong glass. Me.
42:07
I'm a chess player. You know what chess is. It's figuring out your
42:13
opponent's moved before he makes it a funny thing. Wear my head. I
42:21
a solid rock. You're going to sleep here in the car, Then you're
42:27
going into the river without a mark on you. But I'll take the check
42:30
before I dump you. It's probably in your shoe. It's about where your
42:35
type of youngster would think was a clever hiding place for it. Just clear
42:39
my head, kicking trying to kick out the glass you haven't the strength of
42:51
a kick left in you. No, it's all over. That's water in
42:58
front of us, that even black line you see right over the hubcat.
43:05
I can't even move, can't you. That's right. Make a lazy pass
43:10
with your hand, like your brushing away flies. That's about all you're able
43:15
to do. In a minute. You won't even be able to do that.
43:22
There, go your eyes down, down. You won't get he won't
43:31
get away with this. Mister Ricky knows there are two of us, not
43:38
just one. And so I walked away from Quinn and I was alone again.
43:54
I'd met him only a few hours before, and with him, i'd
43:58
met my past, my home, and everything I loved and wanted. And
44:05
now I was alone again, somewhere in this sleeping city. Quinn was after
44:09
his man, and I was after my woman, my redhead, my long
44:16
stemmed American beauty. The nightclub Parriquet was dead, dead, but not quite
44:23
cold, just in the process of giving up the ghost. Every other minute,
44:30
a solitary figure would come out and walk away, someone who earned a
44:34
living inside. This was the five o'clock in the afternoon of the nightclub workers,
44:39
whose clock goes in the opposite direction to that of the rest of the
44:42
world. And what did I have to go on? A redhead blackmailer who
44:49
had quickly scribbled a note to a man. And that kind of woman doesn't
44:52
ordinarily carry around pencil and paper in her purse. She sends messages with her
44:58
eyes and her hips. If she wants a pencil, she's got to borrow
45:02
it from the help. Excuse me, huh, what's the matter? You
45:08
work here, don't you. I'm in a check room till something better turns
45:12
up. Why well, I wondered. Did my friend in a light green
45:15
dress, a redhead? Did she borrow a pencil from you? Tonight?
45:17
It works the other way around, Honey. The men take out their pencils
45:21
and give me names and addresses and telephone numbers. I got a fist,
45:23
didn't a woman. It's no dice, honey. I don't even see any
45:27
women in my scall. Oh, another long day. My feet swell up
45:36
all the time. You want to drying up some salts water as hot as
45:38
you can stand. Excuse me, Wow, my name's Jerry, but don't
45:44
let the name stand in your way. I'm looking for my friend. A
45:46
redhead in a light green dress. Did she borrow a pencil from you tonight,
45:51
not at my end of the bar, how about it, Frank ye
45:52
sure, Joan Bessett about midnight. She's always borrowing something and forgetting to give
45:59
it back. How that girl think it? That's the way Joanie is?
46:01
Do you do you know where I can find her? Try to concorde.
46:07
That was the last address, which she's probably moved by now, thanks fellas.
46:12
Oh, can't I do anything for you another time? Jerry? Okay,
46:15
that's a promise another time? What can I do for you? Be
46:30
friendly? Pops say hello? You know that's better? What do you want
46:34
a room? Pull up brows? My girlfriend got I want to r up
46:37
and tell us something, you know, Joanie Joan Bassett, Yeah, Joan
46:42
Bassett. Only we don't have to be so formal. She's didn't fur ownin
46:45
Wait a minute out train skip that she don't have to put on no airs
46:47
with me? Who's she kidding? I know she's two weeks behind no rant.
46:51
All right? If you know that? Well, going up? What
47:12
do you want you? I want to talk to you? Yeah, I'm
47:16
just stand out there a minute and tell me what about we got a friend
47:20
in common? You and I it's possible. Go on. This friend's name
47:24
is Stephen Graves. Suppose you come in a minute. I'll hear what's on
47:30
your mind. Sure, I thought that might do it. Do you have
47:37
to lock the door? Yeah? I think I do. Whatever you think
47:39
best, begin with your name. You can put me down as Caroline Miller.
47:45
All right, Carolin Miller. Now about Stephen Graves. What makes you
47:50
think I know him? Stop being polite? You know him? He mentioned
47:52
me to you. No, he wasn't doing any mentioning of anybody. He
47:58
wasn't doing anything. Been over to see him lately, very lately. I
48:04
just came from there. Now, how did you find him? I found
48:08
him dead. See that tap in the kitchen is loose again. Excuse me
48:17
a minute. While I t I'd known we weren't alone the moment I came
48:24
into that room, and I knew that faucet in the kitchen was a signal
48:28
for a quick conference. It was my chance. Maybe I had a minute,
48:31
maybe only thirty seconds. There was only time for one thing. The
48:35
open handbag on the dresser. Nothing there XTI powder, usual junk, and
48:42
then an unpaid hotel bill for seventeen dollars and eighty nine cents from this place
48:45
the conquered, no good, worthless, and my time was up. Yet
48:50
something screamed at me to hold on to it, to slip it inside my
48:52
stocking, high up, and to get back into my chair. Wow that's
49:00
done. Now. Where were we with Stephen Graves? Oh? Yeah,
49:06
you go up there alone? Or do you have somebody with you alone?
49:09
I don't take my grandmother with me when I'm visiting. I see somebody stopping
49:14
at the door and tell you that I found out. Cops and people hanging
49:16
around, lots of excite. No one knows it. I found him alone.
49:21
I had a key to the house that he'd given me. I went
49:23
up and there he was dead. What'd you do? Holler bloody murder and
49:28
bring everyone down the place. I got out of there fast and quiet.
49:30
I don't want to be mixed up in it, smart girl, And all
49:36
this happened just a little while ago. Yeah, nobody knows yet, but
49:38
you me and you did you come here alone? All alone? Everything I
49:45
do I do alone. I guess I've hit the jackpot. Yeah you're sure,
49:51
head baby, You've hit it hard. Make it tight grip so she
49:55
can't make any noise. Don't worry about that. Well, miss Carol and
50:00
Meller, you're in trouble now, you tell me so. Stephen Graves is
50:02
dead and you felt a little nosy about it. Huh. You're wanted the
50:06
details, all right? You can have him. You seemed to have known
50:09
him pretty well. Maybe he told you did he did? He tell you
50:13
about his kid brother who married a tavern hostess back in Boston. They tell
50:16
you what that did, the fine old family name. When this girl again
50:19
asking for money, when she came to New York and again asking Stephen for
50:22
money, he'd tell you that he paid and paid, and finally decided to
50:25
stop paying. So this girl and a friend had to pay him a little
50:29
visit tonight. I'd try to persuade him. Did you tell you that?
50:34
I tell you what happened when he couldn't be persuaded. Yeah, No,
50:39
he didn't tell you that because he wasn't talking by then. Then he was
50:45
dead. That's enough. You want to spend the night at it? All?
50:47
Right? Well, what's the plane now? Don't you figure we are
50:52
not here in the room that's begging for it. You don't understand, I
50:55
don't mean chop chop, that kind of stuff. I mean, four flank
50:59
step. I ought to be enough. Three of us get to drink in
51:01
a piece. She goes over to the window, trying to open it for
51:04
a little air and jams, so she's well, there's always a follow up.
51:08
It's a little messy. Let me take care. Yeah, like it
51:10
took care of the other. And I told you just to throw a scare
51:14
into him. Say come across a well, sound scarier through at him,
51:17
Griffin. Yeah, I scared him right out of his skin, right out
51:21
of his heart. I don't want you to be so impulsive this time.
51:22
Well, the less blow stuffer in the closet backs up against the dead wall,
51:27
so she'll never bear. It'll be days before they get around the bust
51:30
in the door down. Yeah, we'll be far away by there, Yeah,
51:32
far away. Okay, I can pack in ten minutes. Less,
51:35
I'll give you a hand. Wait a minute, I'm missing that hotel bill.
51:39
It must have fallen, so we're not don't worry about that. He
51:42
can make up a no one for you down at the desk. Shall we
51:45
get her out of the way fast? Yeah, Han, Carol and Miller
51:51
in the closet take a comfortable griff. Sure, we want to be extra
51:57
nice to her because there's a little fresh air. Yeah, I only be
52:00
a minute with it down. Put her down quick. I ought to have
52:05
my head examine. Mean you slept on something? Yeah, forgot, We
52:08
both clean forgot? What was it? Kept her off to me? She
52:12
didn't pull my name and address out of my hat. Yeah, gag off
52:15
her. You try to scream and I'll dent you. I won't scream,
52:21
no talk. How'd you know I knew him? How'd you know where to
52:24
find me? Left you heaven and I'm gonna keep letting you heaven to answer.
52:30
You dropped your hotel bill over there? I found it lying in the
52:35
room with him. I ought to slap you down to the sociothy you left
52:38
your calun contest, which you know she's lying. I swear I thought my
52:40
hand bag after I got bad? Did you take it out to shaw man?
52:44
Sw me? Did you sure while you were waiting downstairs? It was
52:47
part of the build up to shaw them? How bad? I needed money?
52:50
But I know I put it back again, thank you. Oh,
52:53
I'm almost positive it fell out. It was for seventeen dollars and eighty nine
52:59
cents. It had passed. You stamped on it in purple ink. It
53:04
even had your room number on it. How what did you do with it?
53:06
Did you bring it with you? I left it where it was.
53:09
I was afraid to touch anything. We'll have to go back and get it,
53:15
all right, we will, We'll take her with us. It looked
53:20
like she did it to him. What do you want to do in the
53:22
first place, Griff, We do it over there. If my double head
53:27
had a figure out, it's the only way robot this detour by finishing her
53:31
off where she started from. All right, come on, Carol and Miller,
53:37
they are going for a little ride. And so I went back into
53:51
stephen Graves House for the second time that night. They pushed me ahead of
53:55
them in the darkness, whispering to each other not to use any lights.
54:00
It just as Quinn and I had done a few hours before, or was
54:05
it a few years before. Then we were in the study and the lights
54:09
were snapped on, and the dead man was still on the floor, and
54:15
nobody stepped forward to say, Ricky, is that you No, he wasn't
54:22
there, Quinn wasn't there waiting to help me, to save me. And
54:29
let's do what we have to do and get out. First, No,
54:31
not yet, something else first? Well you where is it? Where's that
54:40
hotel bill? Where you say your thought? Over there by him? Is
54:45
where I said? And you believed me? And you did? You lied?
54:53
I lied? Where is it? Where you got it? That's that's
54:59
your a little problem. Let me have the gun here he's Griff, Get
55:05
away from him, move over, stand still, caroling, minute and want
55:09
to come real clothes. I want them to worry about whether it's so.
55:15
Sign yes, Griff, I'll stand still, good girl, Carol, good
55:24
girl. It didn't hurt. It didn't hurt at all. And I opened
55:34
my eyes to find out why. Griff stood in the middle of the room,
55:37
his face contorted, an arm squeezing hard around his neck, and behind
55:40
his face was another face, a face I knew Quinn's face, the boy
55:45
next door, fighting for me, fighting to save me. Then Quinn went
55:49
down, all lopsided, and Quinn was on top, punching at him again
55:52
and again, and John was racing across the room with an end I and
55:54
raising her hand. I never played football as a little girl, but on
55:58
this night I decided it was time to try. Ricky Ricky Darling Quinn Are
56:21
you all right? Somebody's bringing church bells in my head. Oh you knocked
56:27
yourself out with a flying tackle, Quinn, Quinn, what happened? I
56:30
think? Oh? Yeah, they're both asleep, Ricky, as sounds can
56:37
be. All right. See you've wrapped them up nicely. I had to
56:43
tear up a few good sheets to do it. But I don't think mister
56:45
Graves would have minded. I'd given up, Quinn. I thought i'd beat
56:50
you back here, and I'd given up, Ricky. I saw them coming
56:58
in with you outside on the street. I was watching from one of the
57:00
front windows, and something about the way you were walking between them sort of
57:04
stiff told me they had a gun on you. So I backed up into
57:07
the bathroom and laid low. Yeah, the ones, Queenn, they did
57:10
it, and we can go now. It's a quarter to six. We
57:15
can catch that bus for home. There's one more thing to be done,
57:17
Ricky. I'll only take a minute, and then you and I aren't going
57:24
to have any more to worry about. It. Is this a police I
57:31
want to report a murder Queen Stephen Graves in his home on East seventy first
57:37
Street. There are two people tied up in the same room with the body,
57:40
and they're the killers. You'll find a special delivery letter in the desk
57:44
from Graves's younger brother, and that'll tell you the reason for the killing.
57:49
What. No, this isn't any rib I wish you was me, just
57:57
a guy who happened to be passing by. We can take their car.
58:00
He left his keys in it. Come on, Quinn, hurry will make
58:17
it. Don't you worry, Brickie. I'm not worried. I know we
58:21
will. What happened to you tonight? Did you find Holmes? Yeah,
58:27
and he tried to kill me. Quinn. It was your name that saved
58:30
me, Brickie, and call out your name and told him you were in
58:35
on this with me, and he changed his mind in a hurry, and
58:38
we saved each other. That's right. What about the check? Cut at
58:44
it figure? Holmes was caught short when he wrote that check, and Graves
58:47
got sold and the bank returned it. They talked it over tonight and it
58:51
ended up with Graves giving him another day to raise the money. The reason
58:54
Holmes was legitty was that the check seemed to have disappeared. You didn't know
58:59
what Graves might be pulling, and of course, Graves wasn't pulling anything.
59:01
That Jack lying in the bottom of his bathtub. You told Holmes how it
59:06
got there. Yeah, and look what I've got two hundred dollars, Quinn.
59:15
Oh, I didn't steal it. After he decided he wouldn't kill me.
59:19
Holmes and I ain't got very chummy, he said. We both made
59:22
a mistake in the same night, knee breaking into a safe and him with
59:27
his bad check. He slipped me appeal earlier in the evening, and now
59:30
he was walking me around and sober me up. That's when he gave me
59:35
the money, a nest egg for me. He said I could send it
59:38
back to him a little at a time. Later on, we'll send it
59:42
back. Quinn. We've Bricky. We're in this together, aren't we.
59:47
Yes, Bricky, we are. Look, Quinn, we made it.
59:52
We're in time. The bus is still there. Come on, Bricky,
59:55
let's go on home. Thank you Helen Walker and John Beale for your truly
1:00:25
wonderful performances as Bricky and Quinn, And to Lillian Bayer, Frye Billsbury,
1:00:31
Edith Tackner, Buddy Gray and Bill Johnstone, thanks for your splendid support with
1:00:37
this performance, Suspense leaves the air for a short vacation period. We will
1:00:42
return on Thursday at nine pm Eastern Daylight Saving time starting Thursday July eighth with
1:00:47
an outstanding series of gripping suspense stories featuring the acting of your favorite stars of
1:00:52
the screen. Watch for the new suspense series starting Thursday July eighth. Miss
1:00:59
Helen Walker soon be seen in My Dear Secretary and mister John Beale will soon
1:01:02
be seen in Paramount's Abigail Dear Heart. Deadline of Dawn by William Irish was
1:01:07
adapted for radio by Irving Ravitch and was produced and directed by Anton M.
1:01:10
Leader Blood Gluskin is our musical director and conductor Lucian Marrowak composes the original scores.
1:01:16
Be sure to watch for the new half hour series of radio's outstanding theater
1:01:21
of thrills Suspends. This is CBS, the Columbia Broadcasting System. Welcome back
1:01:39
Well. I love the story the way it was acted. Certainly it was
1:01:46
the type of thing that with people moving to the cities, could spake too,
1:01:52
perhaps that longing for home, for the for the quiet peace of the
1:02:02
towns where people came from. So I think this would resonate with a lot
1:02:06
of audiences, and certainly if you're from a small town, I can't help
1:02:10
but think that this has some residence. I know it does for me because
1:02:15
I always have this sort of feeling when I hear of somebody being from or
1:02:21
in a Galluspell up in a northwest Montana. It's it's a special sort of
1:02:27
feeling of home, you know. And it captured that managed to keep a
1:02:31
good solid story going along with this sort of emotional romantic angle that was offered
1:02:42
here. As they've hinted at the end, it didn't come quite out and
1:02:46
say that they suspense would revert back to the one half hour format, which
1:02:52
it held for all but really half a season of its run. But these
1:02:57
I love these one hour stories that are incredibly involved, and I think we've
1:03:00
got more than a few left with some very interesting stars. This one,
1:03:07
in terms of its star power, is usually is a little less than the
1:03:12
one hour suspense. Usually they tried to go all out with the guest star,
1:03:15
but this was actually a couple of interesting actors. John Bill, who
1:03:22
they mentioned here, was a long time character actor whose last movie credit will
1:03:34
be in the nineteen ninety three film The firm had more than forty five years
1:03:38
of acting ahead of him. Helen Walker meanwhile a somewhat of a tragic story
1:03:44
as the top build actress. In this one, she had picked up three
1:03:49
soldiers, gotten into a car accident where one of the soldiers died and the
1:03:53
other two said she'd been drinking and speeding, and this led to actually a
1:03:58
manslaughter try for her. But with what had happened, it really soured the
1:04:03
public on her, and according to IMDb, although she was acquitted of criminal
1:04:10
charges, many fans turned against her. Major studios were hesitant to hire her.
1:04:15
She tried to adapt by portraying ruthless and manipulative women in dark murder mysteries,
1:04:20
in which she again showed great talent. She performed with great applaum and
1:04:24
nightmare Alley the gritty urban police drama called North Signe seven seven an impact,
1:04:30
an unconventional murder drama that featured a fatal automobile accident. Her character helped cause,
1:04:36
but she could not overcome the stigma of the veteran's death. I don't
1:04:44
know. It may have been that all of her roles reminded people of it.
1:04:46
That I think could have been a problem. But really she was very
1:04:54
talented and tragically her career cut short by the whole thing, and she up
1:05:00
dying much earlier in nineteen sixty eight than Bale, even though she was eleven
1:05:05
years younger than Bill, So you kind of had two careers headed in different
1:05:10
directions, all right. Well, though, that will actually do it for
1:05:16
today. I hope you enjoyed today's episode. We will be back on Monday
1:05:24
with the adventures of Frank Race in the meantimes. Andrew Commas to box thirteen
1:05:28
at Great Detectives dot net, follow us on Twitter at Radio Detectives, and
1:05:31
call us to a eight not nine one four seven eighth three from Boise,
1:05:35
Idaho. This is your host, Adam Grahamson and off