And now, tonight's presentation of radio's outstanding theater of thrill, Suspense.
Tonight, the story of a man who killed and a woman who helped him try to get away with
it.
It's called Run Sheep Run.
Our stars, Kathy and Elliot Lewis.
Is that you, Joe?
Hello, Hazel.
I just wanted...
I'm gonna kill you.
Now, Hazel, why do you always say that?
I am.
One of these days I'm...
Hazel, honey, it's the fog.
I'm in a gas station now just below Redondo.
The fog's been so sick...
You're doing it again, fabricating.
Honey...
Making up stories.
Fog.
Why don't you say hail or some other terrible storm of nature?
Typhoon and be done with it.
Fog.
And here it's as clear as crystal.
Honey, Hazel...
Who you got there with you?
How many girls?
Now, Hazel, you know...
Better get home, that's all.
All right, the fog's lifting a little.
I'll try to chance it now.
But it's been so heavy, honest, I thought I'd better pull up by the side of...
Honey, Hazel, honey, Hazel.
Oh, Hazel.
Hazel.
She's a fine girl, a good wife, a good cook, runs a neat clean home for me, but she's got
one fault, a nagger.
Another thing, always telling me I make up stories.
A guy works eight hours a day on the steel lathe in an aircraft factory in El Segundo.
How much energy has he got left to make up stories to his wife?
Like about the fog, for instance.
What's there to make up?
Fog hits the coast of Southern California regularly like clockwork this time of the year.
Like right now, it's got a kind of gray-white color and it curls in real slow from the ocean
and it stops up the traffic.
And from far away, over the honking of the automobiles, you can hear the fog horns out
the sea and the ships, the freighters and the steamers.
A very musical sound, far away sound.
And it reminds a guy of things, like your ship hits a port of call and you lean over
the rail and look out and in the fog there's a face waiting for you, just for you.
Warm, beautiful and shanty.
Another thing, I'm a singer.
I drive in my car, I like to sing.
Her face was very beautiful.
My headlights hit it just right, no mistake.
Like the fog, not the mood, a very stunning face and the smile sweet.
And she was standing a little way in the street, holding up her thumb for a ride.
Hi.
Ride?
Ride with me?
Sure, hop in.
Thank you.
Thank you ever so much.
Don't mention it.
What?
I like this.
I like the fog and the feeling of being lost in it.
You do?
Oh yeah.
If I were a thousand miles away from anything and anyone, nice feeling, exciting, secret
and exciting.
How come a girl like you, how come you have to, I mean.
You mean why I was hitching a ride?
A girl like you?
My car stalled about a half mile back and I was alone and I don't know anything about
cars.
I just left it there and started to walk.
Then I remembered my thumb, I just held it up.
But somebody like you, what I mean is it could be dangerous getting a lift from just anybody,
get in some stranger's car and not know what kind of.
You'd worry about it.
Well yes, yes I would.
Delight.
Oh it's just.
Delight.
And it's gentle.
Oh it's just gentle.
Well it's just if I knew anyone like you, I'd worry.
I like you.
You headed for Long Beach?
Uh huh.
You get to that stop sign up ahead, turn left.
Why?
Coast Highway will take us right into it.
Maybe it won't be as crowded as the Coast Highway, maybe not so foggy.
Maybe it is a little out of the way.
Maybe it'll take longer but.
Left, just up ahead?
Yeah.
I live in Long Beach, work in El Segundo, make the drive every morning and night.
I live in Long Beach.
Where do you.
What's your name?
Joe, Joe Haywood.
My name's Roberta.
Roberta.
Roberta what?
Just Roberta.
Call me Bobby if you want.
No, I like Roberta.
I like I can be driving through the fog and see a lovely, and see her and stop so as I
can help out a girl whose name is Roberta.
In shining armor, through banners of mist in shining armor.
My wife's name's Hazel.
Joe and Hazel.
Joe and Roberta.
Joe and Roberta.
It's bumpy, rough.
Yeah, I told you maybe it'd take us longer.
Fog's just as heavy, heavier.
Nice.
Nudity?
Nudity?
Nudity?
Nudity?
Rosalind?
Bubba?
Watch out.
Joe!
Joe!
What?
What's the matter?
You hit someone.
You hit him and ran over him.
What are you talking about?
I just.
You didn't see it Joe, the fog and you were looking at me.
You mean it?
Yeah.
You didn't see it Joe, the fog and you were looking at me.
You mean it?
Yeah.
You didn't see it?
Yeah.
You didn't see it Joe, the fog and you were looking at me.
You mean it?
You mean I hit someone?
No.
You better get out of the car.
Take a look.
Yeah, maybe I better.
Oh.
Joe?
Like you said, I hit a man.
I ran over him.
Oh, Joe.
He's dead.
I'm surprised.
Joe?
Like you said, I hit a man.
I ran over him.
Oh, Joe.
He's dead.
You sure, Joe?
You know, sometimes a quick look like that, you can't...
You sure?
I'm sure.
I killed him.
Joe?
What?
What's going to happen to you?
What happens now?
I don't know.
Just keep quiet a minute, huh?
Sure.
Roberta...
A nice person like you, a really wonderful person.
To get mixed up in a thing like this.
And police...
Well, you tell them how you were riding along singing.
And looking at me and...
And manslaughter.
That's what they'll do to you.
Oh, Joe.
Roberta.
Roberta, doctor.
You worried?
You worried about me?
Yeah.
Yeah, Joe.
Listen.
Listen, Roberta.
Just listen to me.
It's trouble.
It's terrible trouble.
Yeah, trouble.
And I don't know what to do.
A thing like this never happens.
Never.
I'm all mixed up.
Let's get away from here.
And let's just...
I killed a man.
Let's get away from here.
You hear me?
It's never happened.
Please let us get away from here.
I just killed a man.
I won't tell.
Honest, I won't tell.
I'd never tell Joe.
Joe, we can't just sit here, please.
Please.
Please.
Please.
All right.
All right.
I don't know too much about things like this, so I can't explain not exactly what it feels
like to kill a man.
And I can't explain not exactly what it felt like to hear her sobbing, the girl whose name
was just Roberta, and the way she leaned her head against my shoulder and sat close and
shivered and then was quiet, real quiet, and not moving away from me, just staring straight
into the fog.
I kept driving, as all I know, like it was some mechanical reflex.
I got back on the coast highway and kept driving past where I lived, past Long Beach, past
Seal Beach, past Balboa, south, just outside Laguna.
The fog started to lift.
Joe.
It's okay.
We're a long way from...
You okay?
Yeah.
And you?
I'm okay.
Where are we?
Just outside of Laguna.
Keep your eye on the rear view mirror, will you, Roberta?
What?
The car just behind picked me up outside Balboa.
I think he's been following me.
Maybe.
I don't know any way to tell for sure.
I know a way.
There's a place just up ahead, cocktail bar, parking lot.
I'll turn in there.
I guess I'm just jumping and scared.
Very scared, I don't mind saying.
So, as long as we're here, could we have...
Yeah, as long as we're here, a drink would help relax me.
Let me think instead of being all knotted up inside.
You want to?
Yeah, yeah.
It was a place Hazel and I used to go to a lot before we were married.
That kind of place.
Jetting out over the ocean and a glass wall to look through at whatever horizon you had
in mind that evening.
Candles and wrought iron on every table and piano music.
And the sound of the ocean washing against the beach and the place swaying with the tides
rolling in from the South Pacific.
About a place like that, I can talk like that.
We found a table close to the glass wall and I asked Roberta to order for me and I asked
her to excuse me for just a minute as I had a phone call to make.
Operator?
I want Terminal 21476 in Long Beach, Operator.
One moment please.
That'll be 1510 please.
Yes ma'am.
I'll ring your number.
Hello?
It's Joe, honey.
You better be calling from the hospital is what I've got to say to you.
Something happened.
A broken leg?
Two broken legs?
What?
What happened to you Joe?
Will you just listen to me?
Or maybe you got mixed up with some gambling, Carlin.
You don't dare show your face back home because it'll cost every penny you ever had.
The house, the car.
Honey, it's nothing like that.
It's a le...
Gambler.
Oh.
Oh.
Hello.
I'm sorry sir.
I thought I recognized you young lady.
I was wrong.
That's right.
He thought he recognized me.
Oh.
Yeah.
Yeah.
Be a good chap.
Take my word for it.
Her word too.
I'm very sorry.
Good night lady.
Good night sir.
Hey.
Now you just wait a...
Look what happened, Joe.
He thought he knew me.
I was setting him right when you...
Come on.
Come on.
Sit down.
I've been waiting.
I waited to drink with you.
Joe and Roberta.
Joe and Roberta.
We drank our drink and I ordered another one and we drank that.
Not a whole lot of talk.
Sat and looked at the ocean.
And in a while the clouds over the water moved away to some other country, some other ocean.
And there was left the moon.
People often remark how nice I talk about pretty things.
But there was no talk that night.
Anyway hardly any talk at all.
Just the music from the piano and another drink.
And not think what happened way back there outside of Redondo.
Not say it.
I guess I must have looked at Roberta in some ways that...
We better go.
Not yet.
We better.
Come on, Joe.
Please.
Yeah, I bet.
So I called over the waiter and paid him and gave him a very nice large tip.
And we went outside.
And in the parking lot I saw something.
What could matter?
Why you stop?
There.
That car parked there.
What about it?
It's just like the car I thought was following me.
Exactly the same car.
I swear.
You better let me drive, Joe.
Maybe you got too relaxed in those drinks.
Maybe it'd be better if I drove.
Give me the keys, huh, Joe?
Come on.
Yeah, it'll be better.
You drive.
Here are my keys.
Roberta, Roberta.
I'll help you in, Joe.
Roberta, Roberta.
All right.
Roberta, Roberta.
I'm sorry.
I'm sorry for what I got you into and for being kind of low to the way I am.
Oh, now you just put your head on my shoulder and don't think of anything.
Oh.
Traffic accidents throughout the Southwest.
California State Highway Patrol reports that a short while ago a man was found dead on
Vernon Avenue outside Redondo.
As yet he is unidentified.
But he is a victim of a hit and run driver.
The Highway Patrol has asked that this announcement be made so that any person or persons who
may have seen the accident will immediately...
Roberta, they mean me.
Maybe.
What am I going to do?
What?
But you heard it, Phil.
For sure.
What...
Sleep.
That's what you're going to do.
Sleep.
Close your eyes and nestle close and sleep.
Sleep, Joe.
Yeah, maybe.
So am I hell queer.
Sleep.
That's it.
Close your eyes.
You are listening to Kathy and Elliot Lewis in Morton Fine and David Friedkin's story,
Run Sheep Run.
A presentation in radio's outstanding theater of thrills, Suspense.
Tomorrow night, CBS radio's 21st Precinct thriller begins in the early morning hours
when a woman approaches a cop on his beat and announces, I just shot my husband.
It's another poignant story of Captain Cannelli's 21st Precinct titled The Shotgun.
One that will touch your heartstrings.
Hear it on most of these same stations tomorrow night for another revealing insight on the human element in police work.
And now we bring back to our Hollywood soundstage Kathy and Elliot Lewis in Mr. Lewis's production of
Run Sheep Run.
A tale well calculated to keep you in suspense.
Hi.
Hi, sleepyhead.
Hello, you old sleepyhead.
Don't think about it.
Where are we?
Just south of San Diego.
We'll be a national city in a little while.
You know what I did?
I don't want you to think about it.
I killed a man.
For my sake, don't.
And I'm running away. Look.
What?
Over there, the sun's coming up, see?
It's the start of my first day as a fugitive.
It's...
Honey.
Honey?
Of course it's honey.
What we've been through together, what we...
For just a minute.
Everything seems different.
It's a new day and my mind's refreshed.
I don't know what you're talking about.
A new perspective.
Everything's terrible.
Honey, everything was terrible last night.
But in the light of a new day, listen, I've killed a man and I'm running away from him.
That's right.
Joe Haywood murderer.
Joe Haywood murderer.
I don't think about it.
In Mexico.
In Mexico?
Have you ever dreamed of Mexico, Joe?
Very often.
In an hour.
Mexico.
With me.
Last night.
I don't know what happened to me.
I think I saw a poor man lying there.
I guess he was shot.
What made me do...
Joe, Mexico.
With me, Joe.
I'm out of my mind.
First there was a girl out of the fog.
Me, Joe, and I'm beside you now.
What are you shaking your head for?
Am I not pretty anymore in the morning?
You're beautiful.
Then what?
Stop the car.
What?
Quick, stop the car.
Now what?
I'm going to make a telephone call.
That phone booth in the filling station.
Who are you going to call?
Hazel.
You know I'm going to call Hazel.
She's my wife.
I just got to call her.
I'm going to tell her everything.
How I killed a man...
Operator, your number, please.
On the terminal 21476 in Long Beach, operating.
That will be 45 cents for the first three minutes.
Yes, ma'am.
And a quarter.
Thank you.
Just a moment.
Joe?
Joe, where are you?
I'm coming in, Hazel.
I'm going to give myself up.
Joe, are you all right?
I'm going to face the music, Hazel.
Face what music?
What are you talking about?
It's a long story, Hazel, what's happened to me
and the strangeness of events leading up to...
You drunken bum.
Hazel, listen to me.
What's that music playing?
And who are those girls I hear laughing at?
There's no music.
The chorus girl, I'll bet you.
And wine and whiskey.
Joe?
Can you hear me, Joe?
Hazel, please.
Don't come home.
Don't ever come home.
Now don't say that, baby doll.
Hazel?
Hazel?
Hazel?
Well, look at me, Joe.
And you come on and look at me.
That's better.
You certainly are a changed person in the morning.
You know that?
Anybody ever tell you that?
You know something?
I don't understand you at all.
I'm glad, Joe.
A little mystery in a woman.
Roberta, my wife is really worried about me.
Roberta, we're going back.
What?
We're going back.
And you'll testify...
Oh, no, I'm not.
It's the only way.
Not me, Jack.
Jack?
What did you call me?
Jack.
It's a phrase.
You want to know what?
You don't look pretty anymore.
Trouble?
He wants to go back.
What is this?
He wants me to go back with him to testify.
I know you.
I know him, Roberta.
He's the fellow who was talking to you at the bar when I came back from...
I know you.
Oh.
What's going on here?
What do you mean, what's going on here?
What does this chap mean when he says, what's going on here, buddy?
Bobby?
He calls me that.
You didn't want to, but he does.
All the time.
You please get out of my car.
Out.
Don't struggle with me, fella, because...
Bobby, make him like all the steering wheel.
Okay.
Ow!
Come on out here.
Ow!
Something's funny, very, very funny.
The whole thing, the back road and Roberta...
Now, that was the first time in my whole life I'd ever been knocked unconscious by another fella.
I didn't see him hit me.
Whether or not that would have made a difference, I don't know.
I've been called agile.
I might have ducked or something.
And I don't remember anything when I was out.
Spinning wheels of color and voices and rockets bursting and sounds.
Nothing.
I opened my eyes.
I was flat on my back.
Up.
I got up.
Into the car.
Behind the wheel.
I got into the car and behind the wheel.
Roberta was sitting beside me.
This is a gun, Joe.
That's a gun, Joe.
She'll tell you where to drive.
You drive it, are you here?
Else she'll shoot you.
I will, Joe.
Straight down the road.
And I'll be following along in my car.
Bye.
Hi.
You were a liar from the word go, weren't you?
I don't.
With a gun.
Take your eyes off it.
Watch the road.
With a gun.
Uh-huh.
Where are we going?
US Route 101, Joe.
Just follow the highway.
Look at you.
Pretty girl like you.
Sitting there with a pistol.
Straight down the road.
To Mexico.
I promised you Mexico, didn't I?
You think I'm stupid, don't you?
No, I don't.
I'd rather what's going to happen wouldn't happen to you, Joe.
Still, you'd shoot me.
Yes, I would.
I don't pity you, Roberta.
I guess I should, but I just don't.
What's going to happen?
You killed a man, remember?
I'm not so sure.
What's the matter?
Not so sure, he says.
It's a light flash.
What's going to happen?
Well, I'll tell you.
We're going to drive straight through to Tijuana.
You like Tijuana?
It's all right.
Well, we're going to drive straight through.
Then I think, Mark...
Is he going to kill me?
Honey, honey.
I don't think he's going to kill me.
He's going to use me for a patsy.
Patsy?
What are you doing with that word?
I read, I read twenty.
And you are so right.
You're going to be a patsy.
Dump you in the car below Mexico where the police can find you.
By the time they do, they'll have word you're the guy running away from a hit-and-run outside Redondo.
Patsy.
That's the word.
Joe.
I didn't kill that man at all.
Joe.
You did.
I didn't.
Yes, you did.
Up ahead, Joe, is the border.
Behave.
Take your eye off the road for a second.
Look at this gun.
Now back on the road.
Just behave, that's all.
I got a story all fixed just in case the border guard...
Just behave.
Good morning and welcome to Mexico.
We hope you enjoy your stay.
Where were you born?
Me?
If you please.
Ohio.
And you, senor, where were you born?
Ah, your father's Cucaracha.
Pardon me?
Your father's Cucaracha.
Jack.
I do not understand this belligerent senor.
I wish only to hear which state you were born in.
Also, it's Cumpra Cita.
I can deny you permission to make a go.
God.
It will avail you nothing, madam.
This man has insulted me.
I suggest...
Get him suggesting.
You want a suggestion, Jack?
The guy in that car driving up.
Talk to him.
Guard, my friend here is upset this time, you know.
The guy driving up, he's the boss of an international smuggling ring.
Smuggling?
Ring.
We'll turn back, guard.
Right there, guard.
He's packing 200 grand in his suitcase.
That fellow there in the gray sedan.
Suitcase full of money.
Very big smuggler.
In the gray sedan?
The one I'm pointing to, the gray sedan.
The fellow's turning around.
Oh, yes, I see.
Senor!
That's the fella.
Senor!
Wait, I wish to...
Don't get him!
Don't get him!
Will you accept the charges?
He's in Mexico, Tijuana.
Put him on.
Go ahead, sir.
Hello, Hazel.
I've been told you're in Mexico, Joe.
Yes, Hazel, I am.
Please tell me why.
Will you listen?
Of course I'll listen.
I thought I had murdered somebody.
Murdered somebody.
Hit and run, it's the same thing.
It is.
But Roberta and Mark really did it.
Beat up a friend for the money he had that he'd won in Vegas, and I was kidnapped, Hazel.
He tried to get away, but the border guards grabbed him, and they found nearly $10,000 in his suitcase.
Boy, was I surprised.
They got Roberta when she tried...
Hazel, are you there?
Who kidnapped you, Joe?
Roberta and Mark, but it's all right.
I tricked them at the border.
Roberta had a gun on me, but I...
Hazel?
Hazel?
Oh.
In which Kathy and Elliot Lewis were starred in Run Sheep Run.
What's your definition of the criminal type?
Have you ever looked at a man or woman and decided, inwardly, we hope, that person is the criminal type?
If so, you'll be fascinated by what befalls Casey, crime photographer, tomorrow night, when he gets involved in a case he blithely labeled the criminal type.
Surprise follows surprise, thrill follows thrill, when CBS Radio's crime photographer takes his latest case.
Tomorrow night, on most of these same stations.
Next week, the story of a man no one believed, even when he confessed to a murder.
Anthony Ellis will be starred in his own adaptation of Elizabeth Bowen's Telling.
That's next week on Suspense.
Suspense is produced and directed by Elliot Lewis, with music composed by Lucian Morrowick and conducted by Lud Bloskin.
Run Sheep Run was written for Suspense by Morton Fine and David Friedkin, featured in tonight's cast were Irene Tedrow, Mary Lansing, Tony Barrett, and Jack Crouchon.
And remember, next week, Anthony Ellis's adaptation of Elizabeth Bowen's story, Telling.
You can join the FBI in peace and war, Wednesday, on the CBS Radio Network.
Please subscribe to me for more watching Štěk and Čandž Like, comment strike, and check it out!
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