MUSIC:

"SUSPENSE" THEME UP, THEN UNDER

WILCOX:

Auto-Lite, and its ninety-eight thousand dealers, bring you Mr. Elliott Lewis, in tonight's presentation of..."SUSPENSE"!

VOICE:

Tonight, Auto-Lite presents a story of revenge. The desperate effort of a murderer to destroy the man who had committed him to prison. The story is called "Concerto for Killer and Eyewitnesses". Our star, the producer-director of "SUSPENSE", Mr. Elliott Lewis.

MUSIC:

ENDS ON DRAMATIC CHORD

HAP:

Hello, Harlow!

WILCOX:

Uh, goodbye, Hap.

HAP:

Goodbye?

WILCOX:

Why, sure, Hap. This is our last show til fall. The last chance to talk about that great Auto-Lite Sta-Ful, the battery that needs water only three times a year, in normal car use.

HAP:

It's a great battery, Harlow. And just the battery to make every summer trip happier than ever.

WILCOX:

Why, Hap, the Auto-Lite Sta-Ful is a natural for every season of the year. It has fibreglas retaining mats, protecting every positive plate, to reduce shedding and flaking. And it gets longer life, as proved by tests conducted according to accepted life cycle standards.

HAP:

The Auto-Lite Sta-Ful is the battery for me, Harlow.

WILCOX:

Well, friends, see your neighbourhood Auto-Lite battery dealer soon. He services all makes of batteries, and, when replacements are needed, he has an Auto-Lite Sta-Ful for your car. To quickly find his location, just call Western Union by number...

OPERATOR:

(FILTER) And ask for Operator Twenty-Five. That's me, and I'll gladly tell you the location of your nearest Auto-Lite battery dealer.

WILCOX:

Where you can get an Auto-Lite Sta-Ful, the battery that needs water only three times a year, in normal car use. And remember, from bumper to tail-light, you're always right with Auto-Lite!

MUSIC:

"SUSPENSE" THEME, UNDER

VOICE:

And now, with the performance of Mr. Elliott Lewis, Auto-Lite presents, transcribed, "Concerto for Killer and Eyewitnesses". Hoping once again to keep you in...SUSPENSE!

MUSIC:

DRAMATIC FANFARE, FADING UNDER

CRANDALL:

My name's Jesse Crandall, Detective Sergeant, Central Division, Chicago Police Department.

MUSIC:

UNDER

CRANDALL:

I was assigned to a special detail, along with Detective Sergeant Abe Delaney, on the first day of this week. Our duty was to escort prisoner Edward Sitko to the State Penetentiary at Joliet. There, he was to await execution. Our train left the main terminal at five in the afternoon.

SFX:

FOOTSTEPS & "TRAIN STATION" AMBIENCE, UNDER

CRANDALL:

We all took prescribed precautions. The prisoner was securely handcuffed to both of us. He was wearing County Jail-issue clothing, no hat.

EDDIE:

(TENSE) D'you guys have to walk me through the station?

DELANEY:

For a fellow who doesn't care who he kills, you're pretty touchy, Sitko.

EDDIE:

I had all the opinions I want from the judge, copper. You're just supposed to see I get there.

CRANDALL:

All right, that's enough, Sitko.

DELANEY:

We'll see that you get there, Eddie boy, all safe and sound, and ready for the chair.

EDDIE:

(TENSE, TO CRANDALL) Tell this punk to shut up! Tell him to shut up now!

DELANEY:

I'm the last copper you'll ever call a punk, Sitko. Now keep lookin' tough--

CRANDALL:

Lay off him, Delaney! Will ya?

DELANEY:

All right. Sure, Jesse, sure.

SFX:

THEY CONTINUE WALKING FOR A WHILE

DELANEY:

Sitko?

EDDIE:

(WEARY) Yeah?

DELANEY:

How come you're so stupid, Sitko? How come ya trusted Dallas Kenyon, when nobody else did?

EDDIE:

I never trusted anybody, ever.

DELANEY:

If ya didn't trust him, Sitko, how come he knew who you killed, where you killed, when ya did it?

CRANDALL:

(TO PORTER) Car sixty-four, compartment A?

PORTER:

This car, sir, second door to the right. Watch your step, sir.

CRANDALL:

Thank you. (TO EDDIE) Come on.

SFX:

THEY WALK ALONG TRAIN CORRIDOR

CRANDALL:

A. Ah, here it is. A-fourteen.

SFX:

OPENS COMPARTMENT DOOR ... THEY STEP INSIDE

DELANEY:

Uh-huh. (TO EDDIE) The taxpayers wanted to be sure ya got only the best. Did your boy Kenyon ever treat you to--

EDDIE:

(INTENSE) Shut up about Kenyon!

CRANDALL:

Look, Eddie, it's too late to be tough.

SFX:

TRAIN STARTS PULLING OUT, WITH BELL RINGING, UNDER

DELANEY:

Yeah, Eddie. You shoulda been tough with Dallas Kenyon, instead o' that two-bit hood he sent you out after. You killed the wrong guy, Eddie.

EDDIE:

I'm not dead yet. Maybe I'll still get the right one.

DELANEY:

Heh-heh. Gonna write him a poison pen letter? It's too late, Sitko. You killed a man. Now you're gonna pay for it.

SFX:

TRAIN SOUNDS UP LOUDER, THEN SEGUE INTO

MUSIC:

DRAMATIC, TENSE, UP, THEN FADES OUT INTO

SFX:

(INTERIOR) TRAIN SOUNDS, UNDER

SFX:

DING AT EACH [X]

PURSER:

(ON P.A. - FILTER) [X] Dinner now being served in the dining car. [X] Dinner now being served in the dining car. [X] First call for dinner. [X] First call for dinner.

DELANEY:

(YAWNS) Aw... I'll get a bite now. Jesse? Key.

CRANDALL:

Oh. Yeah. (GETS KEY FROM HIS POCKET) Here ya are.

SFX:

UNLOCKS & OPENS COMPARTMENT DOOR

DELANEY:

Thanks. Oh, uh, want me to bring ya back a newspaper, Sitko?

EDDIE:

Nothin' in 'em I wanna read.

DELANEY:

First guy I ever took up to the death cell who didn't wanna read his own publicity.

SFX:

WALKS OUT, CLOSES DOOR

MUSIC:

UP, THEN UNDER

CRANDALL:

Sergeant Delaney was in the Dining Car, as we pulled out into the outer yard. That's when the train lurched forward.

SFX:

SUDDEN LURCH

MUSIC:

LIKE A TRAIN HORN, THEN CONTINUES UNDER

CRANDALL:

I went off-balance for a moment; Sitko threw his weight on me, and we crashed to the floor.

SFX:

THUD OF BODIES ... SCUFFLE, UNDER

EDDIE:

This is where I get off, copper!

CRANDALL:

He brought his knee up into my face...

EDDIE:

(VICIOUS KNEEING) ONE for you!

CRANDALL:

I was momentarily stunned. He went through my pockets, found the keys, and unlocked the handcuffs. Sergeant Delaney returned at that moment.

EDDIE:

(YELL, FLINGS SELF AGAINST DOOR)

SFX:

THUD, DOOR SLAMS ... SCUFFLE, IN AGREEMENT WITH

CRANDALL:

Sitko slammed against the door, locking it. And then he struck me across the temple with the handcuffs.

EDDIE:

(VICIOUSLY SLUGGING HIM) And one for your FRIEND!

DELANEY:

(THROUGH DOOR) Open up! Open up, or I'll shoot!

SFX:

POUNDING ON DOOR, UNDER

CRANDALL:

Before I lost consciousness, I saw Eddie Sitko open the train window, and jump.

SFX:

TRAIN WINDOW OPENS ... LOUD SOUND OF TRAIN ON RAILS, UNDER

EDDIE:

(GRUNTS, AS HE JUMPS OUT)

SFX:

AFTER A FEW SECONDS, TRAIN SOUND FADES INTO DISTANCE, AS EDDIE RUNS ON GRAVEL

MUSIC:

DRAMATIC, UP, THEN FADES INTO SOFT MENACE, UNDER

OLD WOM:

I was in my room, prayin' for him. I hoped the little prayer would do for him what he'd never been able to do for himself. He was angry this time. Six o'clock when I heard him on the stairway outside my door.

SFX:

FOOTSTEPS ... KNOCKING ON DOOR ... NO ANSWER ... LOUDER KNOCKING ... FOOTSTEPS TO DOOR ... DOOR OPENS

OLD WOM:

Yeah?

EDDIE:

(TENSELY) Let me in.

SFX:

STEPS INSIDE ... DOOR CLOSES

OLD WOM:

What are you doing here?

EDDIE:

What'sa matter? Don't ya like to see me? First time in my life I been glad the trains run through this lousy, dirty neighbourhood.

OLD WOM:

I don't understand. I--

EDDIE:

Dallas Kenyon. He's waitin' for me. He don't know it, but he's waitin'. And I'm gonna be there. I need some clothes. Money. A gun.

OLD WOM:

Kenyon? Oh, Kenyon... You're gonna kill again...

EDDIE:

Where are my clothes?

OLD WOM:

Get outta here, Eddie.

EDDIE:

What?

OLD WOM:

Get out! I got nothin' o' yours! I gave all your things to the neighbours. To the boys in the block. I thought they'd need some warm clothes to wear. (BITTERLY) They fought over 'em. And they tore 'em to shreds. They wanted souvenirs. They're growin' up like you, cause they think you're a man. They think you're somebody. You, who cheated and robbed and mudered...

EDDIE:

Whattaya mean by that?

OLD WOM:

You ruin everything you touch.

EDDIE:

(GRABS HER) You shut up!

OLD WOM:

(GASPING, ALMOST CRYING)

EDDIE:

Come on! Gimme some money! Gimme some money!!!

OLD WOM:

I got nothin'! Nothin'! Go away! Leave me alone!

EDDIE:

Go away, heh? I walk out that door, and you yell, "Copper!", heh?

OLD WOM:

Why don't ya kill me then, Eddie?! Go on, kill me! (PAUSE) No? Because ya already killed me, Eddie. Fifteen years ago.

SFX:

HE STORMS TO DOOR, OPENS IT, LEAVES, AND SLAMS IT

OLD WOM:

(BREAKS DOWN IN TEARS)

MUSIC:

SAD, TENSE, THEN FADES UNDER

GEORGE:

Fifteen years, I've operated a... legitimate business. Fifteen years, and nothing like this has ever happened to me. It's very frightening that such a thing should occur in a large city like Chicago. Very frightening. I read the newspapers, and I know all about Eddie Sitko. I read about his threats against this man Dallas Kenyon and all that, but I never thought that I, George Bartlett, would ever... MEET the man.

MUSIC:

OUT

SFX:

"CITY STREET AMBIENCE" OUTSIDE SHOP, UNDER THE SCENE

SFX:

SHOP DOOR (WITH BELL) OPENS

GEORGE:

Wh--?

SFX:

EDDIE STEPS IN

EDDIE:

(TENSE) Back inside!

GEORGE:

Wh-- It's six-thirty. Time to close.

EDDIE:

I said, back inside! (SHOVES HIM IN)

SFX:

DOOR SLAMS

EDDIE:

I'm warnin' ya, don't yell; don't do anything!

GEORGE:

Yell? I-- I don't want to yell. What do I want to yell and get killed for?

EDDIE:

Where're your guns? (NO ANSWER) Where're your guns?

GEORGE:

G-- guns?

EDDIE:

Every hock shop has guns. Where are they?

GEORGE:

Uh, uh, guns? Wh-- what's a fella sticking up a store, uh, want with--

EDDIE:

Where're your guns???

GEORGE:

Wh-- uh-- (RECOGNIZES) Sitko! Eddie Sitko! I-- I-- I-- I saw your pictures in the paper!

EDDIE:

You shut up!

GEORGE:

Over-- o-- over there, in the case. Yeah, that case.

SFX:

FOOTSTEPS TO CASE ... EDDIE OPENS CASE ... DIGS THROUGH GUNS, UNDER

GEORGE:

All the guns you want. All of them. A-- anything here. I-- it's yours. Take all of it. But, uh, please leave me alone! Please! Let me alone!

EDDIE:

(TENSE) Cartridges?

GEORGE:

Er, er, on your right. On your right. Uh, second drawer.

SFX:

EDDIE OPENS DRAWER, GRABS BOXES OF BULLETS, UNDER

GEORGE:

I-- i-- it's all yours. But please, just let me alone.

EDDIE:

(PANTING, AS HE POCKETS BULLETS) There. I gotta change clothes.

SFX:

EDDIE STRIDES TO RACK, RIFLES THROUGH CLOTHES, UNDER

GEORGE:

Uh-- On the rack. There, on the rack, yes. You can see I'm trying to help you. Can't you see that?

EDDIE:

(TENSE, RUSHED) Yeah, this'll do.

GEORGE:

Yes. It'll fit nice. I-- i-- it's nice in the shoulders. I-- I know it'll fit.

SFX:

A COUPLE OF FOOTSTEPS

EDDIE:

Pull those shades!

GEORGE:

Er, yes, sir. Yes, sir.

SFX:

SHADES BEING PULLED DOWN.

EDDIE:

(CHANGING CLOTHES) Ya expecting anybody?

GEORGE:

A... friend of mine. Uh, Albert Hennessy. He runs the barber shop, two doors down. We-- w-- we have beer sometimes, after work. But if he comes, I-- I'll send him away! Uh-- I want to help you. Honest, I-- I-- I-- I hate to see anybody get a raw deal, and that man you talked about during your trial, that Dallas Kenyon, he gave you a bad deal! I-- I-- I-- I'm SURE he gave you a bad deal.

EDDIE:

(CHANGING CLOTHES) Yeah.

GEORGE:

Did you hear me? I-- I said I hate to see anybody get a raw deal, and that Dallas Kenyon, he--

SFX:

EDDIE WALKS AROUND, CHECKING FIT OF SUIT, UNDER

EDDIE:

Yeah, this suit'll do.

GEORGE:

It fits perfectly. Like it was made just for you. I-- I helped you, didn't I? I believe in giving a man a chance. I'm a... little man. I-- I can't hurt you. Kenyon, he-- he's the one you want.

SFX:

CASH REGISTER DRAWER OPENS ... EDDIE TAKES OUT ALL THE MONEY, UNDER

GEORGE:

That's right. Here. You need money. Here, take it! Take it, all of it! Anything. Please, just take it--

SFX:

CASH REGISTER DRAWER SHUTS ... EDDIE WALKS TO GEORGE, AND GRABS HIM BY THE SHIRT-FRONT AT [X]

GEORGE:

You might need it, if you have far to go, and I-- [X] (GASP) Why? Why? You can trust me! Please! Mr. Sitko! I--

EDDIE:

(VICIOUSLY) I don't TRUST.

GEORGE:

(STARTS TO CRY) No, no! No! I'm a grown man! Please, please don't beat me up! It's humiliating for a grown man to cry! (SOBBING) D-- don't beat me up! Please don't! Everybody oughtta... give a little man a... break!

EDDIE:

(COLDLY) I'll give ya a break, little man.

GEORGE:

No, please! Please! No! No! Not like that-- (GASP)

SFX:

THUD OF BODY, AS EDDIE FLINGS HIM AGAINST A SHOP DISPLAY

EDDIE:

(COLDLY) Ya just got your break.

MUSIC:

DRAMATIC, OMINOUS, UP, THEN QUIETLY HANGING, UNDER

KENNY:

Kenny Tate, licenced operator, City of Chicago. You'll see a front and side of me right by the meter. I never go under, and I never go over. And I never make wrong change. I never roll a drunk. It's a job. It helps ya to learn people. That's what I said. Learn people. You can tell a lot by the way a woman lights a cigarette, or a man reaches to pay his fare. I was just cruisin', when I saw Eddie Sitko. I didn't know it was him at first.

MUSIC:

OUT

SFX:

RUMBLE OF CAB MOTOR, UNDER

EDDIE:

(OFF MIKE, SHOUTING) Cab! Hey, cab!

SFX:

CAB STOPS ... DOOR OPENS ... EDDIE WALKS TO IT, GETS IN, SLAMS DOOR

EDDIE:

Straight ahead. I'll tell you when to turn.

KENNY:

Right.

SFX:

TURNS ON METER ... CAB PULLS AWAY ... "CAB INTERIOR" AMBIENCE, UNDER

KENNY:

(AFTER ABOUT 8 SECONDS, MAKES SMALL TALK) Swell night, isn't it? (NO ANSWER) Want the radio on?

EDDIE:

(QUICKLY) No. (PAUSE) Turn right, next corner.

KENNY:

Yeah, sure.

EDDIE:

(PAUSE) Come on, get this goin' faster!

KENNY:

(LITTLE LAUGH) Ehh, not tonight. I've never seen so many cops floatin' around.

EDDIE:

Never mind the tickets!

KENNY:

Never mind the ti--? Hey, who'll pay for 'em?

EDDIE:

I'LL pay! Let's get movin'!

KENNY:

Ehh, that's what they all say. Why, just last week, I got a--

EDDIE:

I said I'd pay for 'em! Move!

SFX:

CAB ACCELERATES, THEN CONTINUES UNDER

KENNY:

Ehh... Tryin' to make the fights?

EDDIE:

What?

KENNY:

I said, tryin' to make the fights?

EDDIE:

Fights? Yeah, I wanna make the fights.

KENNY:

Oh, well then... You'll just make it. Started eight-thirty.

EDDIE:

(SUDDENLY) Turn here!

KENNY:

Heh?

EDDIE:

Turn here!!!

KENNY:

I thought you wanted to go to the fights...(REALIZES WHO'S IN THE CAB, BUT STAYS CALM) All right. I'm sorry. I'll circle back on the next corner. It won't cost ya nothin'. I'll pull down the flag.

SFX:

STOPS METER ... KEEPS DRIVING

KENNY:

(PAUSE) Hey, would ya look at that. Second squad car in a block. Wonder what's up. Wonder if they're lookin' for somebody.

SFX:

CAB SUDDENLY SLAMS ON BRAKES, UNDER

EDDIE:

What--? What are ya stoppin' for???

KENNY:

Signal, mister. It's red. Can't make a right turn in the downtown district against a stop signal.

EDDIE:

(TENSE BREATHING) (PAUSE) It says GO! Start fast!!!

SFX:

CAB ACCELERATES

EDDIE:

What are ya doin'??? Don't turn left, mister!!!

SFX:

SCREECH OF BRAKES ... CAB DOOR OPENS FAST, KENNY LEAPS OUT, AND RUNS AWAY, UNDER

KENNY:

(SHOUTING, OFF MIKE) Police! Police! Eddie Sitko's in my cab!!!

EDDIE:

(ENRAGED) Why, you lousy--!

SFX:

CAR HORNS, POLICE WHISTLES, COPS RUNNING TO THE SCENE, UNDER

COP:

(OFF-MIKE) Hey, you! Come back here! Come back here! Stop, or I'll shoot! Stop!!!

SFX:

TWO GUNSHOTS ... THEN A THIRD ... CHAOS OF YELLS, CAR HORNS, FOOTSTEPS, UNDER

EDDIE:

(YELLS AS HE'S SHOT)

SFX:

HE FALLS AGAINST A TRASHCAN

EDDIE:

(GASPING IN PAIN, AS HE HURRIES AWAY)

SFX:

CHAOS OF HORNS, YELLS, ETC. FADING AWAY, AS EDDIE'S FOOTSTEPS HURRY ALONG

MUSIC:

DRAMATIC, URGENT, TO A CRESCENDO, THEN HANGING, UNDER

VOICE:

Auto-Lite is bringing you Mr. Elliott Lewis, in "Concerto for Killer and Eyewitnesses". Tonight's presentation in Radio's outstanding theatre of thrills..."SUSPENSE"!

MUSIC:

DRAMATIC, UP TO A CRESCENDO, THEN OUT

HAP:

Say, Harlow? Before we go on vacation, I've got a question.

WILCOX:

All right. Shoot, Hap.

HAP:

Does the Auto-Lite Sta-Ful Battery really have everything?

WILCOX:

You bet it does, Hap! Including fibreglas retaining mats to reduce shedding and flaking, and give the Auto-Lite Sta-Ful longer life--as proved by tests conducted according to accepted life cycle standards.

HAP:

But doesn't the Auto-Lite Sta-Ful need SOMETHING, Harlow?

WILCOX:

Well... yes, it does, Hap. It needs water only three times a year, in normal car use.

HAP:

Only three times a year, in normal car use, Harlow?

WILCOX:

Yes, Hap, only three times a year, in normal car use. So, friends, visit your nearest Auto-Lite Battery dealer. He services all makes of batteries, and has an Auto-Lite Sta-Ful for your car. To quickly learn his location, call Western Union by number...

OPERATOR:

(FILTER) And ask for me, Operator Twenty-Five. I'll quickly tell you the location of your nearest Auto-Lite Battery dealer.

WILCOX:

Where you can get an Auto-Lite Sta-Ful, the battery that needs water only three times a year, in normal car use. And remember, from bumper to tail-light, you're always right with Auto-Lite!

MUSIC:

"SUSPENSE" THEME, UNDER

VOICE:

And now, Auto-Lite brings back to our Hollywood sound stage, Mr. Elliott Lewis, in his production of... "Concerto for Killer and Eyewitnesses". A tale well-calculated to keep you in...

MUSIC:

KNIFE CHORD

VOICE:

SUSPENSE!

MUSIC:

DRAMATIC, DESPERATE, UP, THEN FADING OUT UNDER

SFX:

AUCTION IN PROGRESS, UNDER

(EVERY SO OFTEN, WE HEAR A PAINED COUGH FROM EDDIE, WITHIN THE CROWD NOISE.)

 

AUCT'EER:

(FILTER) And next, ladies and gentlemen, number eighteen in your catalogue. This beautiful Ming-type vase.

SFX:

FOOTSTEPS AND OCCASIONAL COUGHS, UNDER

AUCT'EER:

(FILTER, TO STAFF) Put it up under the light, boys. (PAUSE) Uh, turn it for the folks. (PAUSE) That's right. Now... Can we start the bidding at sixty dollars? Do I hear sixty dollars? (NO ANSWER) Fifty dollars? Do I hear fifty dollars? (NO ANSWER) All right, then, forty-five dollars. Do I hear forty-five dollars? (NO ANSWER) I tell ya, folks, it's worth your LIFE gettin' anything sold here tonight.

SFX:

DOOR OPENS

AUCT'EER:

(FILTER, UNDER) Now, look at this vase. Now, lady, this must be worth forty-five dollars. What do you think, sir? (CONTINUES AUCTIONING VASE, UNDER)

MANAGER:

Can I help you, Officer?

COP:

Anybody come in here in the last few minutes?

MANAGER:

Well... A lot of people. The auction's just starting.

COP:

A tall man. Heavy build. Maybe had a bullet wound. Limped maybe.

MANAGER:

Bullet wound? No, no, we haven't seen anyone like that.

COP:

It's Eddie Sitko. He's dangerous. If you see him, notify the police.

SFX:

DOOR CLOSES

AUCT'EER:

(FILTER)...I'm sorry, then, we'll have to pass it. (TO STAFF) Uh, take it away, boys.

SFX:

THEY CARRY VASE OFF THE AUCTION BLOCK, UNDER

AUCT'EER:

(FILTER) Handle it easy, now.

SFX:

AUCTION CONTINUES, UNDER

SFX:

FOOTSTEPS, SLIGHT SCUFFLING, UNDER

EDDIE:

(TENSE, BREATHING HARD AGAINST THE PAIN) Get out-- get outta my way! (FORCING HIS WAY PAST) Come on, out o' my way!

MAN:

What?

EDDIE:

(IN PAIN, DESPERATE, ALMOST CRYING) Get out of my way!

SFX:

SCUFFLING FOOTSTEPS, UNDER, AS HE RUNS FROM AUCTION HOUSE INTO AN ALLEYWAY

EDDIE:

(COUGHING PAINFULLY, BREATHING HARD, AS HE RUSHES ALONG)

SFX:

"CITY STREET" AMBIENCE ... EDDIE'S FOOTSTEPS HURRY OFF

MUSIC:

DRAMATIC, PLODDING, THEN FADES OUT

BELLBOY:

That Cugat's great, great! I seen him once when he was at the Roxy, and I-- Oh, yeah. Well, it was just a night like any other night. I'm the elevator boy. The regular clerk's across the street, dippin' his bill. So, I'm havin' myself a ball. I got a little routine that somebody's gonna pay money for, someday, and... that's what I was doin' when he walks in. (IN RHYTHM) Da-da-da-da-da-da, hey!

SFX:

DRUMS ON THE COUNTER, AS HE SINGS

BELLBOY:

"The window, she is broken, and the rain is comin' in..." (STOPS WHEN HE SEES EDDIE. FRIENDLY) Hiya!

EDDIE:

(LABOURED BREATHING, IN PAIN THROUGHOUT) Kitty Bonnell still live here?

BELLBOY:

Yeah, one-oh-eight. But she's not in. She's always out. I wish I could go out. These night jobs are lousy. You a friend o' hers?

EDDIE:

Yeah.

BELLBOY:

Boy, I wish I was a friend o' hers! (CLICKS TONGUE SUGGESTIVELY) Some dish! She a dancer?

EDDIE:

Singer. Night club. Hey, look, can--

BELLBOY:

Night clubs? I like night clubs. Not big spreads; jive joints. Most people don't like 'em any more. Me, I like 'em.

EDDIE:

Look. I wanna wait in her apartment.

BELLBOY:

Wait in her apartment? Aw, gee, I dunno.

EDDIE:

(QUICKLY) Now, she-- she knows me. I'm her agent.

BELLBOY:

Well, I'm not supposed to, buddy, and I haven't seen you around--

EDDIE:

(QUICKLY) Well, I-- I been outta town. I'm her agent. And I've-- I've been bookin' her.

BELLBOY:

(EARS PERKED UP) Agent? Yeah? You been bookin' her, huh? Hey... You handle any bands?

EDDIE:

Well, yes, sure, lotsa bands. Take me up, heh?

BELLBOY:

Ya know Stan Kenton?

EDDIE:

(IN PAIN) Yeah, yeah, know him well.

BELLBOY:

Yeah?! Introduce me, huh? I-- I got a little act I do, see, and it's--

EDDIE:

(LABOURED BREATH) Yeah. (UP) Yeah. Just ask Miss Bonnell.

BELLBOY:

Solid! You just made yourself a deal! It's on this floor. Come on.

SFX:

THEY WALK TOGETHER, UNDER

BELLBOY:

Only, it's MY neck, if ya tell anybody.

EDDIE:

Nobody, nobody.

BELLBOY:

All you show business guys are jumpy. Why is that? Everybody's jumpy. They read the papers, that's what's wrong with 'em. Read the papers, and get all looped up! Me, I only read "Downbeat". GOT no nerves! (AT KITTY'S DOOR) This is it.

SFX:

UNLOCKS AND OPENS DOOR ... EDDIE STEPS IN

SFX:

CITY STREET NOISE FROM OUTSIDE OPEN WINDOW, UNDER

BELLBOY:

Here ya are, and, uh, don't forget my knockdown to Kenton.

EDDIE:

(QUICKLY, TENSE) Tomorrow. Fix it up first thing tomorrow.

BELLBOY:

D'you want me to shut that window?

EDDIE:

No!

BELLBOY:

(SHRUGS) Well, okay. She said she'd be back in a few minutes. (POINTEDLY) She SAID.

SFX:

BOY WALKS TO DOOR, UNDER

BELLBOY:

(SINGS TO HIMSELF, WHILE WALKING) "Manyana, manyana, manyana is good enough for me..."

SFX:

CLOSES DOOR

EDDIE:

(GASP)

SFX:

LOCKS DOOR ... A FEW FOOTSTEPS, THEN

EDDIE:

(CRY OF PAIN, THEN FAINTS)

SFX:

THUD OF BODY

MUSIC:

DRAMATIC TRANSITION, THEN FADES INTO

SFX:

CITY STREET NOISE FROM OUTSIDE OPEN WINDOW, UNDER, THROUGHOUT

SFX:

CLOCK CHIMES THREE

SFX:

KITTY UNLOCKS DOOR, AND OPENS IT

EDDIE:

(REVIVES, WITH A LITTLE MOAN/CRY OF PAIN, AND SHALLOW BREATHS)

KITTY:

(OFF-MIKE) Who's that?

SFX:

SHE STEPS INSIDE, CLOSES DOOR, TURNS ON LIGHT

KITTY:

Eddie!

EDDIE:

(MOAN, SHALLOW BREATHS)

SFX:

RUSHES TO HIM, UNDER

KITTY:

Eddie! Oh, Eddie, I can't believe it's really you!

EDDIE:

Didn't he tell ya outside? Didn't he tell ya I was here?

KITTY:

Nobody told me anything! Eddie, how???

EDDIE:

Never mind that. You're gonna help me the rest o' the way. (GETTING UP WITH DIFFICULTY) That's why I came (GASP OF PAIN) here.

KITTY:

Eddie! You're bleeding!

EDDIE:

Take your hands off me!

SFX:

UNSTEADY FOOTSTEPS

KITTY:

Eddie, you're hurt bad. I know a doctor who can help ya! I'll call him!

EDDIE:

Stay away from the phone!

KITTY:

Eddie, I don't understand!

EDDIE:

(IN PAIN, BUT SEETHING) Never expected to see me again, did ya? Nobody expects to see Eddie Sitga again. He's all through. Isn't that it? Good old Eddie. Wrapped up in a murder rap. Isn't that it, Kitty?

KITTY:

No, Eddie, no! That isn't it at all! You're wrong!

EDDIE:

Well, I'm right about one thing. Kenyon set me up there-- (DOUBLES OVER IN PAIN)

KITTY:

Eddie, I've got to get you out of here! They'll be looking for you everywhere! They'll come here too!

EDDIE:

Kenyon sent me there. Kenyon told the cops. That's where we're goin'.

KITTY:

Goin'? WE'RE goin'? Going where, Eddie?

EDDIE:

To see Dallas Kenyon.

KITTY:

Well, that's where they'll be waiting for you! That's the first place they'll go!

EDDIE:

But they wouldn't stop YOU, Kitty. You could just drive right through the gate, an old friend, and I'm right behind ya, on the floor o' the car...

KITTY:

Look, Eddie, I-- I hate him as much as you do! I hate him for what he did to you, but... I haven't seen him or heard from him since the trial! I hate him, Eddie, but I c--

EDDIE:

Seems ya got lotsa reasons to help me, heh?

KITTY:

But don't ya see, it wouldn't work? They'd search the car, and they'd start shooting! Please!

EDDIE:

I had lotsa time to think, Kitty...

KITTY:

Please!

EDDIE:

While I was waitin' to be sent up... Funny what I remembered.

(EACH PAIR OF LINES OVERLAPS SLIGHTLY)

 

KITTY:

Well, we could get away.

EDDIE:

Somethin' my ma used to say...

KITTY:

You and me.

EDDIE:

Way back...

KITTY:

If you forgot Kenyan.

EDDIE:

When we used to sit around on the steps, talkin' all day...

KITTY:

My car's downstairs. If we started now, it would be--

EDDIE:

It's the only thing I DO remember, besides gang fights and reform school, and the way they did things...

KITTY:

They wouldn't look for me, don't you see? They wouldn't look for me if I were to disappear!

EDDIE:

It was a line from somethin'. It said... "There's a time to live, and a time to die..."

KITTY:

EDDIE, PLEASE LISTEN TO ME!

EDDIE:

Now, it's KENYON'S time, baby! MY time! He sits in his big house, and lets everybody else get dirty for him! He promises big payoffs... and then he pays like he paid ME off!

KITTY:

Eddie...

EDDIE:

Just to stand in front of him, and watch him be scared! Like I been scared. (SIMPLY) I wanna see him die. (INTENSE) It's HIS time!

KITTY:

Eddie, I love you! Things could be the way they once were, if you forget him. Killing him won't do you any good. (FERVENTLY) I love you. I love you. I love you. We could have each other again. I can get a doctor; he'll fix this. And then, we can get away together, you and me! It's a big world. They don't catch everybody they're after. (DESPERATELY) Hear what I'm saying, Eddie? Forget Dallas Kenyon. Forget about killing him! It's a miracle that you got away, but you ARE away! Don't let this destroy you, this hating him! There'd be nothing after that. We have TIME, darling! My darling, you and me, we have TIME!

EDDIE:

(QUIETLY) Baby, come here.

KITTY:

(BREATHILY) Oh, yes, darling.

EDDIE:

(INTENSE) You love me?

KITTY:

Wherever you want me to go, Eddie...

EDDIE:

You'll... You'll go anywhere with me?

KITTY:

Yes, darling, yes. Here. My car keys. Drive around the back, and I'll pack. (NO ANSWER) What's wrong?

EDDIE:

(SUSPICIOUS) You want me to leave you alone.

KITTY:

I... I don't understand.

EDDIE:

(ENRAGED) You want me to leave you alone! You don't love ME!

KITTY:

What???

EDDIE:

You still love HIM!

KITTY:

No, Eddie, no! I told you, I haven't seen him or heard from him since the trial! Not a word, I--

EDDIE:

YOU STILL LOVE HIM! YA ALWAYS LOVED HIM!!!

KITTY:

No, Eddie!

EDDIE:

RIGHT NOW, YA WANTED ME OUTTA HERE, SO YA COULD CALL AND TURN ME IN! SO YOU COULD SAVE HIM!

KITTY:

YOU'RE NOT GONNA HURT HIM! WE GOT RID OF YOU ONCE!

SFX:

HE LUNGES AT HER ... THEY SCUFFLE, UNDER

KITTY:

AND WE'LL GET RID OF YOU AGAIN!!!

EDDIE:

(BLIND RAGE, CRYING AND SCREAMING) YOU AND KENYON! YOU AND KENYON!! YOU AND KENYON!!!

KITTY:

(SCREAMS)

SFX:

TWO GUNSHOTS

KITTY:

(A CRY OF PAIN, A PAUSE, A GASP, THEN) Eddie!

SFX:

THUD OF BODY

EDDIE:

(LABOURED BREATHING)

SFX:

KNOCKING ON DOOR, THEN UNDER

BELLBOY:

(THROUGH DOOR) Hey! Hey, in there! Hey!

SFX:

DOOR OPENS ... BOY TAKES A FEW STEPS INSIDE

BELLBOY:

Hey, hey-- (QUIETLY HORRIFIED, WITH MOUNTING PANIC) Oh... Oh... Oh...! Oh...!

SFX:

BOY RUNS OFF, SLAMMING DOOR

BELLBOY:

Help! Help, Police!

MUSIC:

DRAMATIC, DESPERATE, UP, THEN BECOMES TENSE, UNDER

UNDERT:

I was in the Kenyon home that evening, in reply to an urgent call. I became alarmed when a police cordon was established, but I never dreamed that it would come to what it did. Of course, this man Sitko had no way of knowing that I was in the house. I don't know how he got in without being seen. I was standing on the top of the landing, in front of Mr. Kenyon's room, when I first heard him in the hall below. He'd entered, I imagine, through the basement. He looked about, to see if anyone would interfere with him. Then, he saw me. He was wounded in several places...

SFX:

SLOWLY & WITH DIFFICULTY, EDDIE CLIMBS THE WOODEN STAIRS, UNDER

UNDERT:

...The shoulder... chest, I believe... His face was extraordinary. A mask of pure hate. I stood and watched him as he came up.

MUSIC:

OUT

EDDIE:

(LABOURED BREATHING. IN AGONY, BUT DRIVEN) You. Where is he?

UNDERT:

Do you mean Mr. Kenyon?

EDDIE:

(TEETH CLENCHED IN PAIN) Which room is it? (HIS VOICE A HUSKY WHISPER) Come on, move!

SFX:

THEY SLOWLY WALK TO KENYON'S ROOM

UNDERT:

This is Mr. Kenyon's room.

SFX:

DOOR OPENS

EDDIE:

(ANTSY) Outta my way. Come on, get outta my way. (LABOURED SHALLOW BREATHING)

SFX:

UNLOCKS AND OPENS DOOR ... EDDIE SLOWLY ENTERS ROOM

EDDIE:

This sheet... What's the sheet covering him up for?

UNDERT:

I'm the undertaker. Mr. Kenyon died of a coronary attack, an hour ago.

EDDIE:

(A FEW QUICK BREATHS, THEN) No! (SCREAMING & CRYING) NO, NO!!!

MUSIC:

DRAMATIC STING, THEN UNDER

UNDERT:

He leapt across the room, and ripped back the sheet covering the face...

EDDIE:

(ANGUISHED SOB)

SFX:

EDDIE'S SLOW FOOTSTEPS, UNDER

UNDERT:

Then, he turned, and walked out of the room, the gun still in his hand. The police, meanwhile, had entered the home, and, seeing them, he again became enraged...

EDDIE:

(ENRAGED SOB)

UNDERT:

...and began firing!

SFX:

EDDIE FIRES TWO SHOTS ... POLICE FIRE A VOLLEY OF SHOTS AT HIM

EDDIE:

(YELLS IN PAIN AS EACH OF SEVERAL SHOTS HIT HIM)

SFX:

HE STAGGERS A FEW TIMES, UNDER

EDDIE:

(A CRY OF PAIN, A MOAN, THEN A DEATH GROAN)

SFX:

THUDS OF HIS BODY HITTING FLOOR, AND FALLING DOWN THE LONG STAIRCASE ... PAUSE

MUSIC:

DRAMATIC, UP TO A FINISH, THEN OUT

VOICE:

"SUSPENSE"!

MUSIC:

KNIFE CHORD, CONTINUING UNDER

VOICE:

Presented by Auto-Lite. Tonight's star, Mr. Elliott Lewis, will return in just a moment.

MUSIC:

OUT

VOICE:

Music for "Suspense" is composed by Lucien Moraweck, and conducted by Lud Gluskin. "Concerto for Killer and Eyewitnesses" was written for "Suspense" by Arthur Ross and E. Jack Neuman, and produced and transcribed by Elliott Lewis. In tonight's story, William Conrad was Jesse Crandall. Martha Wentworth was the Old Woman. Junius Matthews was the Pawnbroker. Sidney Miller was the Cab Driver. Gil Stratton Junior was the Bellhop. Charlotte Lawrence played Kitty Bonnell. And Jay Novello played the Undertaker. Others in the cast were Byron Kane and Jack Kruschen.

MUSIC:

UP BRIEFLY, TO A FINISH

WILCOX:

This is Harlow Wilcox, speaking for Auto-Lite. And here again, is the star of tonight's play, "Concerto for Killer and Eyewitnesses"... the producer-director of "Suspense", Elliott Lewis.

ELLIOTT:

Thank you very much, Harlow. Ladies and gentlemen, we of the Auto-Lite family hope you enjoyed our show this evening. This is our last program of the season, but we'll be back on CBS Radio, in September. We hope you'll join us. And in the meantime, we hope you'll give the Auto-Lite family an opportunity to be of service to you.

WILCOX:

Indeed we do, Elliott! And, friends, you'll find members of the Auto-Lite family from coast to coast, and throughout the world. Ninety-eight thousand distributors and dealers in the United States and Canada, proudly display the Auto-Lite sign.

ELLIOTT:

To them, and to the nearly thirty-thousand men and women in Auto-Lite plants throughout the country, I wish to extend my thanks for a wonderful season on "Suspense". Have a good summer, Harlow.

WILCOX:

Thanks, Elliott! Friends, "Suspense" will continue on television, throughout the summer. Until we return to CBS Radio, in September, here's wishing you a pleasant summer. And remember, you're always right with Auto-Lite!

MUSIC:

CLOSING THEME, ESTABLISH, THEN UNDER

WILCOX:

This is the CBS Radio Network.

MUSIC:

CONTINUES, THEN FADES OUT