Suspense. And the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson.
It is relatively easy to tell a tale of terror and suspense against an exotic faraway background.
India, say, with its decoits and fakirs. Or China, with its death of a thousand exquisite tortures.
Or Paris, with its apache sleeping under the bridges. Since few of us have ever been there, the author, who probably hasn't been there either, can speak freely.
But it is an infinitely more difficult task to take the everyday environment with which we are all familiar and tell against it a tale of terror that could happen to any one of us.
Such a task has been brilliantly accomplished by Arthur Zagouris in the story of Suspense you are about to hear.
Listen then as Skip Holmeier stars in Subway Stop, which begins in exactly one minute.
What are some of the symbols for heroism? One outstanding example is a cross of bronze with the design of a four-bladed propeller superimposed.
In the background is a chased square. This is the distinguished flying cross, authorized by Act of Congress in July 1926.
And the only identical medal awarded under similar conditions by both the Army and Navy departments.
This coveted decoration is suspended from a plain straight link attached to a blue ribbon with vertical white stripes on each side.
And a narrow center stripe of red bordered with white. It is awarded for heroism or extraordinary achievement while participating in aerial flight.
Among the famous men receiving this outstanding symbol have been Captain Charles A. Lindbergh and Admiral Richard E. Byrd.
The distinguished flying cross is a proud award, bestowed by a grateful nation on those dedicated men and women who serve gallantly and with extra measure.
It is a goal worth attaining and a prize worth cherishing.
And now, Subway Stop, starring Skip Homier. A tale well calculated to keep you in suspense.
The party, if you can call it that, was strictly stag. Just a bunch of guys I'd gone to college with.
Everybody in old clothes wearing a weekend stubble. Sort of a bull session with booze.
And even though we all had to go to work the next morning, it was past three o'clock when we broke up.
Mike and John walked me down the empty street to the subway station.
The city's strange in the middle of the night. Strange and unreal. It seemed to belong to the tipsy three of us.
Its streets empty save for a couple of characters standing at the corner. The stoplights blinking in automated precision controlling the traffic that wasn't there.
Hold it. Hold it, you guys.
What's the matter?
Hey, what's happened to the elevator? It's missing. Somebody's stolen it.
Yeah?
Yeah.
All right, who stole the L? Come on, hold up. Who stole it?
Hey, since you guys are here, the L's gone underground.
What are they ashamed of it?
Yeah, I guess so.
Oh, poor old L. Oh.
Hey, how do I get my train?
You dig a hole.
You do?
Yeah.
Where?
Right here. Next to this lamppost. Move aside, sonny.
Hey, watch who you're pushing, fatso.
Sorry, I didn't mean to push you, pimples.
Wise guy, huh?
Tell him, goobah.
I'll tell him, din.
You better get on your way, sonny, before I turn your end.
Has the curfew against you teenagers been out this late?
You boys better go on home.
Who asked you, pops?
Yeah.
You punks better blow.
Will you keep out of this banana nose?
Who are you calling?
Oh.
Get up. Get up. I can drop you again.
Take it easy, Don. See the little boys are tired of playing with the big boys?
You're gonna take that, goobah?
Shut up, din. Let's go.
Kids.
They like to act tough, but they're not really.
You know, I was the same way.
Well, it makes you think you've changed.
You're right. I guess I haven't changed.
I'm just an older teenager, that's all.
Uh-oh. Hey, look what's heading right for us.
Oh, tonight ain't our night.
Say, any of you fellas care to help a guy out?
You hit the wrong guy.
Yeah, we're flat, too. We were gonna ask you for a dime.
Please.
Go on, beat it.
Please.
You heard my father scram.
Anything would help, a nickel, a dime.
How much wine can you buy for a dime?
I ain't gonna spend it on wine, honest.
Come off it. Take off.
Now, stop picking on him, Mike.
Here, maybe I got some change.
See, I got 62 cents left after that last poker hand.
I need 15 cents for the subway and 15 for the bus.
That leaves 32 cents.
Oh, 32 cents help you?
Thanks, Mr. Thanks.
And God bless you.
One of those winos hits you every second in this neighborhood.
The neighborhood's changed and it's gone downhill.
Is this where I catch my train?
Yep. Downstairs.
Okay, I better take off.
You'll come over my place on Tuesday, right?
Sure, Johnny.
Oh, listen, thanks for the party. I had a great time.
Okay, we'll see you, too.
Yeah, we'll see.
Almost to a little land.
And right down...
Hey, you stairs keep still.
Oh, the subway's coming. I better hurry.
Let me have a token.
How many?
One.
Oh, just a second. I can't find my money.
How many?
I told you.
There, please.
Here you are.
Hey, hold it!
Hey, hold it!
Oh, nuts.
Hey, lady, thanks a lot.
You're welcome.
Maybe it was the stale smell of the subway
or the excitement of the near fight.
Maybe it was all I'd had to drink.
The men's room was located at the dimly lit far end of the platform.
I ran to it.
Afterwards, I felt better.
I was washing the bad taste out of my mouth when the door opened.
I turned, and there were the two teenagers.
Hold it, Pops.
Hey, get away from the door.
Just step back, Pops.
You ain't going nowhere.
What do you want?
Are you listening to the little man, Din?
I'm listening.
Don't sound so tough, does he?
He ain't got the big boys around.
And he needs the big boys.
Don't you, Pops?
He needs them.
Because he's a small one, ain't you, little Pops?
Yeah, little Pops.
He's a small one.
Real small.
Like as not I could break him up myself.
Easy.
Like as not you could too, huh, Din?
Easy.
Look, I'm not asking for trouble, but if you guys want it...
You're going to give me a hard time, Pops?
Get him, Goop.
I'll get him.
I've been choked, huh, Pops?
You see this, Pops?
Right here, under your eyeball.
That's right.
That's a knife.
Use it, Goop.
Cut him up a little.
Look at him, Din.
Oh, Pops, he's sweating and sweating.
Go, man, go.
Yeah, man, yeah.
Look out, Goop.
Oh, you hit me, will you?
Get his arm, Din.
For Christ's sake, get his arm.
There, there, there.
Now, now.
Once upon a time, Pops, there was this little boy...
And he didn't like him.
Didn't like his Pops.
Because his Pops spoke bad light.
And old Goop didn't like that.
Come on, Din, come on, get in.
No, no, no, man, don't use your feet.
That ain't kosher.
Use your knee.
Ah!
Ah!
In a moment, we continue with the second act of...
Suspense.
Another visit with Joe and Daphne Forsyte.
Hey, honey, I'm home.
Daphne.
Drop dead.
Uh-oh, what's the matter, honey?
Don't you speak to me, you... you don Juan.
Don Juan?
Daphne, I'm no don Juan.
I'm a don Juan.
Daphne, I'm no don Juan.
No habal espanol.
Very funny, ha, ha, ha.
Well, it was no prize winner, but...
Neither are you, you... you lethario.
I've often wondered, what's a lethario?
I don't know, but that's what the wives on TV always call their husbands.
I guess it applies.
Do you want me to go out and come in again?
As far as I'm concerned, you can go for a long walk.
Preferably on a short pier.
Well, oh, come on, Daphne, what's wrong?
Your good friend Harry called, and he spilled the beans.
Which beans?
He said, quote,
Tell Joe he was right about those blondes.
They're great, unquote.
Blondes?
That's what he said.
Oh, ho, ho.
Well?
He didn't say blondes.
He said bonds, savings bonds.
What?
Sure, I buy them on the payroll savings plan.
And I told Harry he ought to do it, too.
Savings bonds have a guaranteed interest that pays back $4 for every three,
which is a pretty good investment.
That's a pretty good story, too.
It's true, so help me.
That's why Harry's so happy.
Savings bonds are great.
Well, maybe you're right.
You wouldn't really fool around with blondes, would you?
You're too faithful and sweet and kind and...
And you're just talking.
And now, starring Skip Holmeyer, act two of Subway Stop.
It was quiet for a long time.
I knew I was lying on the floor of the men's room in the subway.
I couldn't remember why or how I got there.
Far off, as if in a well I heard a voice.
Look what we got here.
What's the matter, son?
Help.
What's wrong?
Too much?
It's too bad.
Let's just look for your wallet.
We'll find out where you live, son.
No money.
That's not so good, son.
Here, let's just turn you over.
No!
Let's see.
Nothing in that pocket.
Cigarette lighter.
Cigarettes.
You smoke too much, son.
I'll just keep these.
Let's see what's in the other pocket.
No!
What's the matter, son?
I ain't going to hurt you.
Let's see.
15 cents.
I'm kind of disappointed in you, boy.
But that watch might make up for it.
Let's see it.
Do you mind if I take it off?
Good.
Thank you.
Oh, here comes my train, son.
Before I leave, a piece of advice for you.
Don't drink.
It ain't good for you, son.
Help.
Help!
The End
It was a long time before I came to.
I was awakened by the stench of the room, cold, stabbled to floor.
I had to get up.
I had to get out of that room.
Somehow I pulled myself up and staggered to the door.
I opened it.
As I did, I could feel sharp, shooting pain cut across my abdomen.
I couldn't breathe.
Each breath was like a jab, a cutting jab in the ribs.
I realized I was badly hurt.
I should keep still.
I knew if I stayed in that room, I'd die.
The platform was empty, completely empty.
I leaned against the wall, waiting for someone to help me.
I heard the subway train coming.
People would be getting off.
They'd help.
Slowly pulled myself toward the center of the platform.
Help.
Mister, help me.
Mister, please.
I ain't got any money. Go on, beat it.
Mister.
Go on, beat it before I call a cop.
No, no.
What do you mean no?
No, don't grab me.
I'm hurt.
Yeah, well, you better take care of yourself.
Look, I gotta go. Sorry, buddy. I gotta get home.
I supported myself against the cold, tiled wall.
I made my way to the cashier's cage.
She couldn't see me because the windows were dusty and clouded with grime.
I tried to shout, but I couldn't.
I tapped on the window.
I tapped for a long time before she noticed me.
Huh? What do you want?
Help.
I can't hear a word you're saying. Come over here by the train stiles.
Help, please.
Oh, it's you again. What are you bothering me for?
Please.
Ah, pick up your mumbling.
Too drunk to answer, huh? Look, mister, if you don't want nothing, don't block the way.
Did you hear me? Get out of the way.
Yes, ma'am. How many?
Two, please.
Oh, please, help me.
Hey, what's the matter with him?
Drunk.
Looks funny hanging over the turnstile like that.
I ought to call a cop, I guess.
Say, look at the blood that is left.
Yeah, he fell down, probably.
You sure? He looks hurt.
I wouldn't go near him.
I'm used to his kind. You should see the place I work in.
I'll bet.
Mister, hey, you hurt?
Hey, you don't sound good. Maybe you should call a cop.
I don't want no trouble.
As long as he don't make trouble for me, I won't make no trouble for him.
Yeah, but don't you understand? This guy's hurt bad.
Nothing ever happens to those kind of guys.
Oh, here comes my train. Maybe you should call a doctor, lady.
What, for that bum? Don't be silly.
Can't find any wallet, no identification.
I told you, just a bum.
Well, sure, you might call a doctor or something.
Watch it, buddy.
Oh, look, I gotta go. Watch yourself, mister.
Help.
Block from the exit, brother.
I need help.
We all do, brother. We all do.
No, no, you don't understand.
Step aside, brother.
I'm hurt, dying.
Wages of sin is death, brother.
The wages of sin is death.
Remember that, brother.
Hey, mister, you better be.
You can't hang around here all night, you hear me?
Give me two tokens. Go right through, honey.
Yeah.
We just missed it, Jim.
We are always just missing trains.
There'll be another one along in a minute.
Well, what's he staring at?
Who?
Him, that bum.
Hey, what are you staring at?
Oh, he's just a drunk, honey.
Well, I don't like him staring.
Okay, buddy. You heard the lady.
Hey, what's the matter?
Oh, he sure carrying the mail.
Yeah, he's looking at us, but he don't see us.
Hey, watch. Watch it, buddy.
Watch it. You're slipping.
Let me help you.
Hey.
You're hurt, aren't you?
Honey, I'd better go get some help.
Come on, Jimmy. We don't want any trouble.
But honey, this guy's hurt.
He's hurt bad.
I know that.
I just can't leave him here.
Look, Jimmy, he's probably a crook or something.
Him? Oh, come on. Be sensible.
I am. And I want you to be sensible.
You bother with him, you're going to have to bother with cops,
carts maybe, and the newspapers.
Newspapers? You think so?
Sure.
Supposing that guy dies, it's sure to get him a paper that you found him, you and me.
I don't want my name in the paper, do you?
Oh, but honey, he's hurt.
Do you want your name in the paper?
Well, no. I...
Darling, it wouldn't look too good, would it?
Supposing your wife read about it, huh?
Now look, Jimmy, he's a bum. You going to throw everything away for a bum?
Oh, I don't know.
Our train's coming. He'll be all right.
But this guy...
Come on.
Look, buddy, I'm sorry.
Oh, he can't hear you? Come on.
Oh, I hate to leave him like this.
What's the matter with you? Was he your brother?
Something you don't even know the guy. Don't buy trouble, Jim.
Maybe you're right.
Come on, darling.
You understand, Mac, don't you?
Help.
Help.
In a moment, we continue with the third act of...
Suspense.
We have, together, ample capacity in freedom to defend freedom.
This is NATO, the North Atlantic Treaty Organization.
The strategic land area covered by the North Atlantic Treaty is vast
and is divided into three major commands in accord with geography and political factors.
European, Atlantic Ocean, and Channel Commands.
Combined, these cover a land and water mass stretching virtually from the North Pole to the Tropic of Cancer,
from the coastal waters of North America to those of Europe and Africa.
The United States of America is a part of NATO.
You should be aware of and alert to the programs and objectives of the North Atlantic Treaty Organization.
And now, starring Skip Holmeyer, Act 3 of Subway Stop.
I pushed through the gate, made it to the stairs.
I held onto the railing and pulled myself up.
One step.
Two.
Three.
Four steps.
I couldn't go any further, the pain was too great.
I sat down.
I looked up at the street.
It was morning now and the sun was streaming into the subway.
The day was awakening, people would be going to work.
The sun was warm, very warm.
I sat there looking at the clouds, sky, sun.
After a while I closed my eyes.
I could hear people coming down the steps.
Oh brother, he's got a beaut.
Where do they find the money?
Look at him.
Boy, he's sleeping peaceful like a baby.
Oh, for the life of a bum.
Look at his mouth.
It's wide open.
The people of the city going to work, laughing, ignoring me, leaving me to die.
I didn't mind any longer.
I should have cursed them, shouted out, but I didn't.
I couldn't.
I felt sorry for them.
And then I heard a slow shuffle of feet coming down the steps, coming toward me.
I could smell the stench of old wine and beer.
I felt rough, calloused hands rub across my cheek.
Finally I heard a voice.
Remember me, mister?
You gave me money last night.
You was the only one who did.
What's the matter, mister?
You hurt?
Yes.
You stay there.
I'm going to call an ambulance.
You stay right there.
I heard him move away.
And then after a few minutes he came back and sat beside me.
He lifted my head and cradled it in his arms.
I knew that it was going to be all right.
I wanted to thank him.
Don't try and talk, mister.
You don't have to say anything.
Thanks.
You don't got to thank me.
I got to thank you.
You gave me the money.
I used your dime for the phone call.
Hey, you two, get out of the way.
You bums are always cluttering up the steps.
Mister, my friend and me ain't bums.
He's sick and I'm helping him.
I ought to call a cop.
Mister, you're the bum.
Suspense, in which Mr. Skip Homier starred in
William N. Robeson's production of Subway Stop
by Arthur Zagoras.
Supporting Mr. Homier in Subway Stop were Shirley Mitchell,
Virginia Gregg, Barney Phillips, Bill Quinn,
Joe DeSantis, Tommy Cook, Jackie Kelk, and Norm Alden.
Listen.
Listen again next week when we return with Zero Hour,
Ray Bradbury's fearful tale of the day the children and
Martians took over the earth, starring the amazing
child star Evelyn Rudy.
Another tale well calculated to keep you in...
suspense.
This is the United States Armed Forces Radio and
Television Service.
The Put togetherptic Economies.