Suspense.
Auto Light and its 96,000 dealers present Mr. Mickey Rooney in For Love or Murder, a
suspense play produced and edited by William Spear.
Wilcox, hello Wilcox. Right here, say aren't you Remming Chester shotgun the
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of Mickey Rooney Auto Light hopes once again to keep you in suspense.
Nothing could have stopped me. Nothing on earth could have stopped me. There were
drums beating in my head as I left the taxi and started down 55th Street. The
moon was high over Jersey staring. There was no one outside the building no one
there at all. I walked slowly toward the service entrance and into the cellar. I
knew where the back stairs were we'd rehearsed the whole thing on paper a
hundred times more than a hundred times. It wasn't something you blundered into
and it taught me that it wasn't something you did on the spur of the
moment. Murder had to be a calm organized thing. Murder had to be planned.
If anyone saw me going up the back stairs it might cause a little fuss but
if I were calm if I were organized if I moved slowly and acted as though nothing
was wrong they'd pass and ignore me. I was just an eccentric fellow who'd rather
walk upstairs than ride elevators. New York was full of such people but no one
saw me. All the way up to the fourth floor no one saw me. Then I stepped out
onto the landing. I waited an hour or ten seconds or ten years. Time meant nothing.
I wasn't aware of it passing. I slid the gun into my hand. It felt as hot and
heavy as death itself. Oh you're late. You're a few minutes late. I thought you weren't coming.
Where is he? In there. In there. Who is it Anne? Who is it? Do it quickly darling. Do it fast. Yeah yeah. Who is it Anne? Um. Who is it?
Who are you? What do you want?
That little man who was about to die looked at me at my face at my neck and
his eyes flooded down into the gun that hung there. He looked like a little fish. Like a helpless
harmless scared fish and the drums in my head beat louder and the wheels turned and the lights flashed and that little man melted toward me.
No I say. I say no. No. I said no. I said no. I said no. I said no.
No.
Wait. Wait Tom. Wait. No wait. He's dead. He must be dead after that.
Oh he don't know fought back or something. He just took it. No he's dead. He's dead.
Now dear. Me. You've got to hit me. I didn't think it'd be like this Anne. How'd you think it'd be? A tea party? So awful and dirty and. What's the matter with you Tommy?
I didn't think it'd be like this Anne. You can't weaken now Tommy. No. Take the gun. Yeah. And the rest. Do you remember the rest of it?
The other things you've got to do. Yes I remember. Hit me hard. You've got to hit me hard. Hit you hard. Got to be marks.
Mustn't look like I framed this. Now it must be hard. And then the jewelry and stuff. Jewelry and stuff. I put them up on the dresser. In his wallet. Here take it.
It must look good darling. It must look good. Yeah. And must up the room. Now you remember? Yeah I remember. I remember. Alright now quickly. Hit me. Hit me. I love you Anne.
I must love you very much. Hit me. She fell but she didn't just fall down. She fell into a graceful little ball. Even unconscious she seemed in perfect control of things.
The room had to be ripped up. Ripped up. The room had to be ripped.
I took the stuff she had piled up on the dresser. Bracelets, rings, pins. I stuffed his wallet into my pocket. Then I got out. I got out as fast as I could.
The way was clear all the way down. Just a cellar. That was all that was left. One fast.
Hey. Who's that? Who's that? Hey. Young Barrett. What are you doing down there this time?
Whoever it was came straight toward me. He saw me. There was no hiding. And he was between me and the street. He shoveled toward me. I lifted the gun.
Good. You're just the second young fellow. Let me get a look. I swung hard and spun back into the row of cans.
I waited a moment. And then.
The street was still empty when I came out. I felt like running along it. I almost ran along it. The night was cool. The air felt good.
I walked away. I walked away. And I thought about love. About me being in love.
What kind of love was this? What kind of love was it that made a guy behave like this? What kind of love was it that caused people to be hurt, people to be killed?
What kind of love was it? I walked. I walked. Finally I looked at my watch. It took ten minutes. The whole thing had taken just ten minutes.
What was the rest of it? Yeah, I had to get back to the club before it was time for me to go on again. Before it was time for me to seat myself at the piano in the lounge and soothe away the cares of tired, sophisticated New Yorkers.
I had to get back quickly.
No one saw me. The back way. I used the back way, the same one I'd left behind. Yeah. That was my life from now on, maybe. The back way. Sneak in, sneak out. It'd be hard to break myself of the habit after tonight.
But it was cheap. The cheap price to pay for in. Any price really was cheap to pay for in. That's all I had to ever remember.
I was in my little dressing room for two or three minutes. Had a chance even to wash my face.
Almost 12, 15, Tommy. You awake? Yeah. Yeah, I'll be with you in a minute. Okay, Tommy.
The wallets, the bracelets, the junk I'd forgotten to ditch them, get rid of them first thing Anna told me. And I'd forgotten. I didn't want them around. They might make trouble hanging around.
Hello, Tommy. How's the boy Rachmaninoff? Hiya, Jimmy. Have your nap? All set to go? Yeah, I slept a little. I'll be right back. Sure, kid. Sure.
Hello there, Mr. Lee. Hiya, Frank. I thought I'd get a little air. Yes, sir. Nothing like it. One thing about being a doorman, I don't make much money, but I get an awful lot of fresh air.
Fresh as you can get in New York anyway, huh? Right you are, Mr. Lee. I'm gonna take a little walk. Certainly, hit it right that time. Fresh as you can get in New York.
The moon was still high over Jersey. Staring. Sewer. That was the best spot. Just throw them in and let the East River take care of them. I had the wallet in my hand when I...
What's the matter, Tommy? You look like you're in love. Officer, I didn't see you. Officer, is it? You're getting awful formal. Kind of jumpy, ain't you?
No, no, no. No, Dan. Dan, it's just that you startled me that...
How startled you did I? I was just standing there and you walked within two inches of me and didn't see me. It's you're in love. I know the symptoms. You're in love.
I mean, maybe you're right, Dan. That's a great feeling, lad. Dangerous. If you need someone to help you find your way back to the club, just tell me. In your condition, no telling where you'll walk.
Yeah. I'll wait until his footsteps died out and then... In the sewer. In the sewer fast. And to get...
Well, back so soon, Miss Philly? Gotta go to work. Gotta...
What's that? Now, this, boys, was something on her mind. Yeah. Gone down fifty-fifty, looks like from here. Somebody's in for it.
I gotta be... The customers are screaming for you. Come on. Come on.
I wasn't afraid. I wasn't nervous. The cops would be talking to Ann now. If she made a slip, the two of us would be dead, as dead as you could get.
But I knew she wouldn't make any slips. She'd be too smart for them. We'd plan too well for them. It was all so simple. They couldn't make anything out of it.
A crook slipped into her apartment, killed her husband. Her rich, fat, tired, helpless husband slugged her. That was all there was to it.
Happens in New York. Happens a lot in New York. Could she help it if the whole thing made her a rich woman?
Could she help it if the housebreaker freed her from her husband so she could marry someone else? Could she help that?
Set up was so perfect. What could go wrong? So I sat and played Chopin, Strauss, Gershwin, Berlin. I sat and played the music of kind and great and gentleman.
And I tried to keep that thing on the floor out of my mind. I tried to keep that out of my mind.
Thank you. Thank you.
Hey, Tommy. You know that dame that used to come in here, that Anne Thomas?
I don't think I...
Oh, you remember the one. The brunette. The cute one. Used to have a crush on you. Lives on 55th Street. Anne Thomas?
Yeah. I remember. But...
Fussed down her house tonight. Somebody broke in and messed things up. Killed her husband. Banged her around. Dan Ryan was telling me.
It's too bad.
Yeah. You're never safe in these big towns, are you? Never safe anywhere.
You were safe if you were smart. You were safe if you had someone like Anne to think things out for you. You were safe if you had her to look forward to. To depend on.
I was safe. That was all that mattered, really. I was safe. It was childish to worry about guys like Anne's husband. It was silly to get squeamish over a little blood.
People died every minute in New York. They were useless and they were in the way and they died.
But it didn't matter whether it was murder or something else. People died.
Sure. Sure. That's what Anne would have said. That's what Anne would have told me. And that was the right way to look at it. That was the right way.
Auto Light is bringing you Mr. Mickey Rooney in For Love or Murder, tonight's production in radio's outstanding theater of thrills, Suspense.
Yes, Will Corkside bagged baboons from Bogota, trapped tigers in Tasmania, snared sparrows in Schenectady. Got them all stuffed and mounted, too.
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And now, Auto Light brings back to our Hollywood Soundstage, our star Mickey Rooney with Lorraine Tuddle in For Love or Murder, a tale well calculated to keep you in suspense.
The night went fast. People came, people went, stood in front of the piano, they smiled and frowned.
Once in a while someone requested a number, once in a while someone applauded. It was a night like any other night.
Hey, you gonna play till Christmas, Tommy?
Uh, what time is it?
Almost three.
Oh.
You sure can't tickle those keys, Tommy. You must have a beautiful soul.
Well, what's the matter?
Shut up.
What?
I said shut up!
I didn't mean to say anything wrong, Tommy. What did I say?
Shut up! Shut up!
Talk to yourself all night, build yourself up, tell yourself things were alright and you were a great guy, smart guy.
And one stupid remark mixed you all up again. One stupid remark made you see blood again, made you feel like garbage.
One, one stupid remark. Beautiful soul? My soul? So what?
The apartment was like a big, bare, ugly cave. I tried to sleep.
I got up and tried to read. Words danced in front of me like they'd been hung on rubber bands. Nerves, nerves, nerves. It's just nerves. Anne could have talked me out of them in a minute. All I had to do was get some sleep or talk to Anne.
Yeah, yeah. All night, not a word. That's why I was jumpy. Suppose she was in trouble. Suppose something had gone wrong. Suppose somewhere we'd slipped. Operator, give me...
No. If the wires were tapped, no, I wouldn't do it a call. But if I went to the apartment the way I went last night, no one would see me.
The police wouldn't expect that. That's the last thing they'd expect. I had to touch her. I needed her strength. I needed her to tell me things were all right. I had to see her. I had to see her.
If I could get in and out again, no one would be the wiser. Four in the morning, the street was empty. The cellar was colder than it had been. The stairs were lighted. A thin red bulb at each landing. I didn't remember that, finally.
Who's there?
It's me. It's Tom.
Oh, no, Tom. No.
Let me in.
We shouldn't have come. Suppose they're watching.
You think they're watching?
I don't know. You know what I told you.
Yeah, but I...
You know what we planned. You weren't to get in touch with me for days. For days.
I know, but I had to see you, baby. Please, let me...
No, no, no, stop it. You shouldn't have come.
Just a moment. I love you so, honey. I had to be with you. Please.
No, no.
I had to be with you, baby.
You're really a sweet boy, Tom.
You're not angry with me, honey.
Did anyone see you?
No, no. I'm sure of it. I was careful. Let me kiss you.
I feel strong again. I feel strong.
I could do anything now. I was kind of mixed up tonight, but I'm all right now. I feel good now.
Sweet boy.
You worried?
Why? Didn't we plan?
Didn't we plan good enough to fool anybody?
Why were you worried?
I don't know. I don't know.
The police believed me. I knew they would.
You sure they did?
Of course I'm sure. They were sympathetic and kind. They were nice.
But suppose they were only pretending sometimes, you know. They pretend.
When men are acting with me, I know it.
Oh, baby, come here.
There's no reason in the world to think this is any different than a thousand other robberies.
I told you that. I told you that from the beginning.
We'll be happy now, huh? Won't we? Won't we be happy together?
Now tell me that, baby. We'll be happy, won't we?
Yeah, we'll be happy now.
You're a wild boy.
I love you, baby. I love you.
Aren't you a little sorry about the janitor?
Janitor?
What about the janitor?
Oh.
What about the janitor? Is he the man I met in the cellar? What about him?
He's dead.
What?
You fractured his skull.
No, no.
I said you were a wild boy.
I never meant that. I didn't know I hit him so hard.
I like you because you're a wild boy.
He turned wild.
I didn't mean to kill a man.
I'm sorry I told you.
You're going to worry about him all night?
I didn't mean to kill him.
Well, I'll be careful next time when I tell you.
I wish I had a piano so you could play for me.
I like to hear you play, Tommy.
Be careful, baby.
What? It's only the phone?
Careful, honey.
Yes? What?
What?
You've got the wrong number. Wrong number.
What do you want, honey?
I don't know. It's the wrong number.
You want a drink, Tommy?
No, no.
Do you mind if I make one for myself?
Go ahead, honey.
You know, you hit me awful hard last night.
Look at the lump there. Look at it.
I didn't want to hit you that hard.
You made it look good. You made it look awful good.
Oh, for pity's sake.
Careful, baby.
Yes? Oh, it's you again.
You've got the wrong number. The wrong number.
The way people annoy you.
Annie.
Yeah, Tommy?
Annie, that janitor.
Who? Who was he?
I don't know. Just a janitor, that's all.
Did he have any kids?
Two or three. Yeah, I think so. Why?
You want to get some ice?
I don't know why I wanted to know.
I'll get it. I'll get it.
I'll take it. I'll tell the guy.
No, Tommy. I'll get it. No, Annie.
That's you, Anne?
Okay, this is the last time.
I love that wrong number routine.
Who you got up there?
The young chick who rubbed your husband out for you?
You're a lulu, honey.
Get rid of him as soon as you can.
And I don't want him hanging around after we're married, you know.
That you, Anne? Why don't you say something?
Why don't you...
Tommy.
I sat down in the bed and I felt very calm and very organized.
And I heard the drums start thumping in my brain.
What delicate and far off.
This time they had a sad lost beat.
Was it, Tommy? Was it that same silly guy?
The janitor has three kids, huh?
Who's gonna feed them?
Annie, who's gonna love them?
What's the matter with you, Tom?
Oh, Tom, come here. Let's...
What have you got on me, anyway? What is there about you?
Tom.
You're bad for me, Anne. Awful bad for me.
You could make all kinds of a sucker out of me.
You could turn my stomach in 50 different directions a minute.
And I'd still go on loving you.
Why?
I don't like it when you talk like that. I don't like it.
Why would I love you?
Aw, you're tired.
Come on, sit down here by me.
Don't touch me!
Tom, what... what is it, that phone call?
That's a gag. That's someone playing a joke.
I was a patsy, huh?
All that horror and all that fright.
And I got black with two good men's blood helping you and that guy on the phone.
Tom! Tom, put that gun away.
Now, listen, I'll explain, Tom. Let me talk.
You think I like to do those things, Anne?
Tom, now listen.
I killed two men to get you, Anne.
But I haven't got you. No.
He's got you. The guy on the phone's got you.
No, Tom, no, he hasn't.
And by Anne, I did. I bought you. That's not fair.
By rights, you should be mine.
You're not mine, are you?
No, Tom. No, it was all with you.
You're a hand.
I gave him up. I was only kidding him.
I wasted the whole night in there. I wasted all that blood on him.
No, Tom, please.
Wasted two guys and three kids.
No.
It's got to end, Anne.
Tom, don't.
It's got to end.
No.
It can't be love, can it?
It couldn't have ever been love.
Love doesn't hurt like this.
Does it, Anne?
Does it?
What's going on in there?
Wasn't neat, now.
Just fell in a silly little lump and lay quiet.
Hey in there!
Hey, open up!
What's going on in there?
What's going on?
I shall walk down the corridor the night of December 10th.
And I shall die.
It's not important.
They've let me play the piano here.
I've even composed some stuff, short pieces.
I always wanted to compose, but I never had the time for it.
Maybe someday somebody important will play my stuff.
Maybe someday you'll hear some of it.
Funnier things have happened.
There are even people who get away with murder.
Hey, tell me.
I think a lot about Anne.
For Anne.
She should have picked someone older than me.
Someone solid and stable and wise.
Someone with a stronger stomach.
And not a musician.
And not a musician.
Suspense presented by Auto Light.
Tonight's star Mickey Rooney with Lorraine Tuttle.
I like your trophies, Harro.
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Next Thursday for Suspense, Lana Turner will be our star.
The play is called The Flame Blue Glove, and it is, as we say,
A tale well calculated to keep you in suspense.
Tonight's Suspense play was produced and edited by William Spear and directed by Norman MacDonald.
Music for Suspense is composed by Lucian Morrowak and conducted by Ludd Bluskin.
The second prelude by George Gershwin was used as thematic material.
For Love or Murder is an original radio play by John Shaw.
Mickey Rooney appeared by arrangement with Metro-Goldwyn-Mayer, producers of Battlegrounds, starring Van Johnson, John Hodiac, Ricardo Montalban, and George Murphy.
In the coming weeks, you will hear such stars as Eddie Cantor, Ida Lupino, and Daddy K.
Don't forget, next Thursday, same time, Auto Light will present Suspense, starring Lana Turner.
You can buy Auto Light staple batteries, Auto Light resistor, or regular spark plugs,
Auto Light electrical parts at your neighborhood Auto Light dealers.
Switch to Auto Light. Good night.
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