 Suspense is the man in black, here to introduce Columbia's program, Suspense. In Hollywood this evening, our star is the young American actor who, within a single year, has become one of the most provocative of Hollywood's leading men, Mr. Gene Kelly. Mr. Kelly appears tonight as a gentleman named Art Kramer, a gentleman of most uncertain scruples, engaged with other gentlemen of similar disrespectability in distinctively unlawful practices. Our suspense play by Robert L. Richards is called Thieves Fall Out. And in it, in support of our star, you will hear Hans Conreed, as a racetrack devotee by name Cannelly, and William John Stone as Sam Groves. And so with Thieves Fall Out and with the performance of Gene Kelly as Art Kramer, we again hope to keep you in suspense. ABC Enterprises? No, he's not in. No, I don't know where you can locate him. Yes, I'll tell him you're called. ABC Enterprises. ABC Enterprises. What does he give all these guys his phone number if he wants to keep this business so quiet? You know, he wants to do favors for people he meets in bars, brags, how he can get things for them, you know. Sure, I know. The next day I have to get in the brush on. He's going to brag to the ruined guys someday. Hi, Artie. Hello. Hello, Arthur. Hiya, babe. Well, you've been the last couple of days. Ducking all the guys I owe money to. What time is Sam getting the boys together? In about a half an hour. Down at the warehouse. You better start down there pretty soon. What's the difference? I won't get enough out of it to buy a roundtrip to Coney Island. Any calls? Yeah, Cannelly called a little while ago. That punk. Another guy I once know I haven't got. Just stall him. I tried, but he said he was coming up anyway. Well, why'd you let him do that for you? No, I don't want to see that guy. I couldn't help it. He knows the way here. Okay, okay. Anything else? No. Arthur, if you're not going down right away, can I talk to you for a minute? What about? Oh, something. Joe, watch the switchboard for me. Will you while I talk to Arthur in the next room? What's he got that I haven't got? No cracks out of you. Please, Arthur. All right, but make it snappy. Now what? Arthur, what's the matter lately? You know what's been the matter, everything. Me too? Oh, don't start that again. Read, it's no use. Look, you're a good kid, but it's no use. You didn't use to say that. All right. So now I owe nearly 10 grand around this town. And there's plenty of tough monkeys. If I don't get it up pretty soon, it's going to be too bad. On top of that, I had a loaded truck and a trailer hijacked last week, and there goes my take for the month and more. And you want to know what's the matter. Arthur, honey, why don't you quit? Why don't you get out while you still can? Why don't I quit? What are you talking about? You used to have a decent business, Arthur. Sure, sure, and I didn't eat. What about now? It's making a wreck of you. It's dangerous. You know what's going to happen? This whole black market thing's going to crack pretty soon. And when it does, you... Yeah, don't be silly. Yeah? Can Ellie's outside to see Addy? That punk. All right, let him come in. What's one more? Okay. Better let me talk to him alone, baby. All right. Think about what I said, will you? Sure. Thought I might catch you. Yeah, I'll bet. Close the door. Sure. Hey, listen, I need that dough. Well, I haven't got it. I told you that. No, no, no, look, I don't want there to be no trouble. There's not going to be any trouble. Take it easy. How do you mean that? But I took them bets from you on my own, and now my boss is after me. If I don't get that dough by Monday, I'm going to be in trouble. Well, I haven't got it, and I won't have it for another month. Can't you get it from Sam? No, I'm into him as far as I can be now. What do you mean? Sam must have plenty sold it down in some safe deposit vault by now. It is an inner vault. It's up at his place in Connecticut. Anyway, it won't give me any more. Connecticut, huh? I didn't know he had a place in Connecticut. Yeah, near Riverside. It's a hideout, way away from everything. Oh. McPhail has one, too, about five miles away. When's he go there? He's hardly ever there. Nobody's there. What do you care? You're thinking of the days when you used to climb through second-story windows? Oh, you should know how to say that, aren't you? I don't even know where the joint is. No, I was kidding. Anyway, listen, I'm sorry about the dough, but you'll have to wait. You don't know the spot, I mean... You'll get it from me when I've got it. I'm leaving. Art, the listener. You coming? Where you going? Out of the warehouse to watch my share of last month's taker down the drain. Where is it? Marty. Okay. You're late. Yeah, I stopped in at the office. Hi, McPhail. Hi, Mo. You weren't waiting just for me to hand out the chips, were you? Yeah, right. We weren't. I just wanted you to know how it worked out. It was a good month out, except for you. I know, I know. Come on, Sam, come on. Pass around the sugar. Let's get it over with. Here it is. Cash. Total take was 53 grand. 17 goes to you, McPhail. Get the figures all here if you want to see. I know you wouldn't double-cross me, Sam. I wouldn't double-cross anybody. Don't forget it. Here's your dough. Oh, yours is six. You understand you didn't bring in as much business as McPhail. I ain't complaining. I get 21. Part of that is paying expenses. The rest is my percentage. Don't I get anything? What? Your cut would have been nine grand. But there was that truck and trailer. Those things cost dough, you know. To say nothing of a whole load of prime meat. You have to take it all out now. I already have. I'll give you 500 to keep going on. Oh, that's fine. 500. Listen, Sam, I need dough. You always need dough and never have none. Listen, you... Yes, right, Art. You got to get yourself straightened out. If I give you any more, it'll just go to the bookies and gambling joints like the rest of us. Listen, Sam, I tell you, I got to have it. There's guys after me. I think he's yellow, Sam. You keep your big mouth out of this. I was a respectable businessman when you were running a lousy clip joint on Sam's. Yeah, yeah, and you're starving. And you're still starving, because you haven't the guts to keep a couple of mugs from hijacking your stuff. Why, you... Cut it out. No, cut it out. There's not going to be any trouble in this organization. There's plenty for everybody. Now, listen, Art. Yeah? Why don't you go up to my place in Connecticut for a few days? Think it easy. And let me talk to these guys who are looking for you. I know who they are. They don't want any more talk. Anyway, I go nuts up there in the country. Go on. Pick up my car at the station. No, thanks. Well, I'm going. I'm going out to the country and tan them a victory garden. Your victory garden? Yeah. I see you about Tuesday. Okay. Hey, Mac. Yeah? Wait a minute. So long, Art. So long. Say, uh, Mac, I'm sorry I made any cracks. Yeah, forget it. Uh, Mac, you going up to the country? Yeah, bet your life. Going down and get on the 520 right now. Say, uh, you know, I think I'll take Mac up, uh, Mac, I, uh, I kind of need a rest. Yeah, yeah, you'll need something. Do you mind if I ride up on the train with you? Why not? Why not? It's a public train. Oh, you know, uh, Mac, I was sorry about that. Say, Artie, Artie. Yeah? Don't mind me. I talk a lot. And I don't mean it. Oh, forget it, Mac. I know. Say, you want to see him in Victory Garden? Are you kidding? No, no, I got a garden. It's a view, too. Want to see it? Sure, sure I would. I, I always like gardens. Well, well, in that case, you'll have to stop over at my place on here on your way to Sam's, huh? It'll be a pleasure. Come on in, Artie. I want to put this door in the safe, and then I'll, then I'll show you around. Sure. Ah, when the war is over, and I'm legitimate, I'm going to build onto it. Have a lot of lawn, gardener, real country gentlemen. What's this, your office? I do a little business here once in a while. Keep my door in the safe, until I bank it. Know anything about safes? No. That's good. That's good. Not that I don't trust you, Artie. Yeah. There she is. Put him up, Mac. What? You'll hurt me. I'm not a movie. Now, stick up, huh? Why, you yellow little rat? You don't think you can pull this on me and live, do you? It's not a stick up, Mac. I just want you to do me a little favor, and I want to be sure you do it. Yeah? I don't think you can pull this on me and live, do you? I just want you to do me a little favor, and I want to be sure you do it. Yeah? Yeah. Get on that phone. This should better be a gag. It won't be, unless you do exactly what I tell you. What? Call Reed in town. Ask her what Sam has lined up for Tuesday. Say you called me over at Sam's house just now and talked to me, but I didn't know. Come on, get going. Edward of three, five, five, six, two. Listen, Art, I'm no guy to kid around with, and I don't like this. Talk. Rita. This is Mac. What Sam did line up for Tuesday? I just talked to Artie over at Sam's place. Yeah. Yeah, up here in the country. He said he didn't know to call you. Oh, I see. I'll let you know. No, no, no, never mind. Okay. All right. Now what's the gag? You never were very smart, were you, Mac? Eh? That's my alibi. Just told Rita you talked to me at Sam's place. You get it? Why, you duck. Neatly done, Art Cramer. Virtually a perfect alibi. And $17,000 in cold cash. There was someone else who thought he had a perfect setup, too. Cannelly, the little bookie, whose former occupations were even less savory. It wasn't hard for Cannelly to find where Sam's place was in Connecticut, in New York's underground of petty crime, and find out anything. And it wasn't hard to jimmy a window. Come that often enough. And then to find the money. There was a wad of money here at Sam's place somewhere. Art Cramer had said so, probably in a safe. That wouldn't be any trouble either. Not in the living room, of course. Yes, maybe this room. An office, a desk and phone. And the safe, there in the wall. And just as he thought, old-fashioned, easy to crack. He'd drill a little hole, then the soup. It'd be a quick, neat little explosion, and the safe would fall apart in his hands. But wait. What's that? A car driving up. Stopping. Who? Art Cramer had said nobody ever came up here. But it was leaving now, driving away. Probably just a mistake. No, no. Steps outside. Somebody coming in. Escape cutoff. Hide. Here in the office, behind the door. Hide the bag of tools. Quick. He's coming in here. Operator. Now, what New York City? At water 35562. Yeah, that's right. Hello, Rita? Sam? Listen, Rita, get a hold of everybody. Artie, Mack, Mo, everybody you can. I've got a tip-off. There's going to be a raid. Yeah, cops. Tell the boys to duck. Lay low until they hear from me. Find out where they're going to be and call me right back as soon as you contact everybody. Got it? Yeah? Okay, I'll get hold of Mack myself as long as he's up here. Artie too? Well, I'm calling from my place now. I don't see him anywhere. Well, he must have changed his mind. Well, I didn't look in the garage. He came by cab. He's probably around someplace, yeah. Well, I'll wait for your call then. Okay, Rita, make a snappy now. Come early. What are you doing? Sam, I just... They're safe. Why are you... Hit them too hard. Murder. That's a lot different from housebreaking. Murder. A phone. Somebody calling Sam. Fear, blind, unreasoning fear. Smash it. Rip it out of the wall. So whoever was on the other end could actually hear, actually see what was in this room. Murder and a murderer. There. Foolish. Just nerves. Have to get hold of yourself. Think, think, think what now? The money. Yes, have to have the money now. Make a getaway. Mexico, South America. No again if you have to, but wait, wait. He's not following. I wonder who it is. Just have a look. Do the crack of the door. I'm going to stay. But wait, why not? Art wouldn't know anything. Couldn't with the office door locked. Give him a plausible story. Stay overnight. And get the money when he's asleep. A chance, but have to take it. Have to have the money now. Why not tell Art he'd come looking for Sam to borrow? Then looking through the house for him? Call him. Yes, make it look natural. He can't answer now. Call him. Sam. Sam. Hello, anybody here? Hello. Who is it? Who is it yourself? I'm looking for Mr. Gross. Sam Gross. What are you doing here? Hello, Arthur. I was looking for Sam. I thought you didn't know where this place was. Oh, I found Arthur. What made you think Sam was going to be up here? Why? I heard a tip in town there might be some trouble. I figured he might come up here to duck out. What kind of trouble? Cops. Yeah? I didn't hear anything. I don't know, but I'll do something. You know, I need dough the worst way. I figured Sam might let me have a lily. Paid off today, didn't he? That's right. Art, did you get any? Me? Well, if you did, I don't like to keep asking you, but I'm needed, Arthur. Why, uh... Why, uh... Look, Cannelly, you know, I meant to get in touch with you about that. I wanted to talk to you this afternoon. You mean you got something? Come on inside. I'll tell you. Oh, sure. Sure. I got an idea. An idea. It came like a flash to Art Cramer. Framed Cannelly for the murder of McPhail. Planned some of McPhail's money on him as evidence. And who would ever believe Cannelly's word a man with a criminal record against Art's? Why, Rita would swear that McPhail himself had said Art was at Sam's place. Simply denied that he'd ever seen Cannelly. And Cannelly would be McPhail's murderer and Art Cramer would be safe forever. Now, uh, about that money... Yeah. As a matter of fact, I did get some. Not much on this story. Even a little at help. How much do I owe you all together? Nearly four thousand, huh? Well, uh, suppose I gave you two. I shouldn't give you that much the way I'm fixed. Well, it ain't what I need, but it would help. Okay, here's two grand on account then. You know, it doesn't leave me with much. I appreciate it all, really. Say, uh, you were really on a spot, huh? Yeah. How much more do you need? Not a four, five, anyway. Oh, well, uh... You know, I just thought I'd know where you can get it if you work it right. You do? Yeah. You, uh, know McPhail? Oh, I know him. Not well. Well, I do. He took in plenty this month. How good does that do me? I tell you, I know the guy. He's the softest touch in the world. He'd give the shirt off his back to anybody if they told him the right story. Yeah. How come you don't put the bite on him? Uh, I just ask you? Sure. You get anything you want. I'm not kidding. If you asked for 10, even 20, you'd get it if he had it. Sure. He's up here in the country now, too. Right up the same back road, four and a half miles. Hey, uh, how do I recognize the place? It's a big place on the right. The only house for a mile. You can't miss it. Say, I'd run up there if I were you. Maybe I will, huh? Maybe I will. A break. The kind of break Cannelly had prayed for. Get the money from McPhail. Yes, quicker and safer than trying to get back in that room with a dead body on the floor. Get it from McPhail and have a good head start. Art won't find Sam's body in there for at least a day or two. The door's locked and Cannelly has the key. He can be on a plane with McPhail's money and be out of the country by tomorrow. A break, the perfect break. Well, thanks for the tip, Art. You sure McPhail's up there, huh? Sure. He's always there. Every weekend. He's got a garden. A victory garden. That's a lot. Well, I guess I better get going, huh? Yeah. Look around the grounds for him face. If he is outside, just walk right in. The door's always open. He's a simple guy. Trust anybody. Okay. Thanks, Art. Yeah, but maybe someday you can do the same for me. Yeah. Yeah, maybe someday I can. Well, so long. So long. And now Art has a job to finish. Phone the cops. From here? No, better not. They might trace it. The gas station at the crossroad, plenty of time. Cannelly will be there five or ten minutes before he finds what he'll find as the cops find him. How easy he fell for it. But never mind that now. The gas station. The phone. Hello. I want the police. Hurry it, please. Hello. Riverside police? Listen. I was just driving down 9-mile road. I was going by the old McPhail place. You know the place I mean? Yeah. Yeah, that's the one. I was going slow and I heard something. It sounded like someone was being killed. Yeah. Yes, a murder. There were shots and somebody screaming and more shots. A man's voice or it was terrible. You better get up there right away. Oh, never mind who I am. I don't want to get in any trouble. No, but get up there. Yes, murder. Get your call all right, sir? Yeah, thanks. ABC Enterprises. Yes, did you locate him yet? We'll keep trying and call me back. Joe, I'm worried. Don't worry about him. If you can't find Moe, neither can the cops. I'm not thinking about him. I'm worried about Sam and North. Maybe they went out. Sam said he'd wait for my call. It isn't that. The phone's dead. I've got to get in touch with him somehow. Can't it wait? You know it can't, not with the cops raiding the warehouse and arresting everyone in sight. How about a telegram? Too slow. I hate to send anyone around to the house, but Sam will understand this time. What are you going to do? Get the telephone company to help. Hello? Can I have your first-side Connecticut traffic operator, please? Yes. You know, it's funny about that phone. It rang two or three times, and then suddenly it went dead on. Hello, traffic operator? Have you a phone listed under the name of Gross? Samuel Gross. Well, there's something wrong with it, and it's very important that I get in touch with Mr. Gross right away. I'm a secretary. Will you send a man up right away? Thanks. And would you tell Mr. Gross that I've been trying to reach him? Thank you. See? When Sam finds out there's something wrong with his phone, he can phone me from outside. You're a pretty smart girl sometimes, Rita. Yeah. Don't you believe me? I just wish I was smart enough to get some sense across to that guy, Art Kramer, once in a while. You kind of like him, don't you? Cut it out. Don't worry about Artie. He'll be all right. Sure. I suppose. I suppose he'll be all right. Mr. Gross, I'm from the telephone company. Mr. Gross isn't here. Oh, well, we just got word from New York that his secretary's been trying to reach him, but his phone is out of order. I was sent up to look at it. Sure, go right ahead. I'm a friend of Mr. Gross. I know he'd want you to fix it. Okay. Where is it? First door to your right. Looks like we've got more visitors. Yeah, cops. Well, I better get after this phone here. I'm sorry to trouble you. I wonder if we could use your phone. It's out of order, I'm afraid. There's a man here fixing it now. What's the matter, officer? Trouble? Yeah. A little killin' up the road. He didn't want to handle the phone in there. Might be fingerprints on it. Uh, murder? That's right. But the old McPhail place. Not the guy red-handed. Murder and robbery. We even found the dough on him. Yeah? Who did it? Says his name is Cannelly, from New York. I wouldn't tell you all this except it's an open-shut case. Couldn't explain what he was doing there or how he got the money or anything. Well, you'll read about it in papers tomorrow. You, uh, have him outside now? Yep. Well, we better be going. Master, what door you got? It's locked. You got a key? Why, no. What's the matter? You lost a key someplace? Hold on. I must have the room with the phone in it. Oh, maybe I can help you out. I got a little gimmick here that might open it. Thanks. We gotta have things like that in this land of business, you know. This the door? Yeah, that's it. There you are. Thanks. You don't need me in there for anything, do you? No, sir. Good night. Good night. Hey, sir, officer. Yeah? You better come in here a minute. Wait a second, will you, Jim? Oh, sure. What's the matter? Master, you've been here all day? That's right. Why? No, sir. Oh, what's this? You find something wrong in there? You said it, master. Put up your hands. Hey, what's the idea? You don't know, huh? Jim, take a look at what we got here. Yeah. There you are. Oh, thanks. You don't need me in there for anything, do you? No, sir. Well, good night. Good night. Hey, sir, officer. Yeah? You better come in here a minute. Wait a second, will you, Jim? Oh, sure. What's the matter? You've been here all day? That's right. Why? No, sir. What's this? You find something wrong in there? You said it, master. Put up your hands. Hey, what's the idea? You don't know, huh? Jim, take a look at what we got here. Yeah. Well, well... Cover him, Jim. Okay. Well, what is... Hey, let me see that. Sure. Sam. No. Robbery, too. Been through his wallet and started on the safe. Just like the other guy. Let's risk him. No, no, I didn't do this. I didn't do what I tell you. Here's the dough, all right. I rolled big enough to choke a horse. Look, you guys, I tell you I didn't do this. Yeah, kind of interrupted you, didn't we? Come on. Look, I didn't do this, I tell you. And the story ends with a newspaper clipping. I'll read it to you. Bridgeport, Connecticut. Arthur Cramer and George Cannelly were executed here today within 10 minutes of each other to bring to a fitting conclusion one of the strangest series of coincidences in the criminal records of this state. Both men committed the same crime, murder and robbery, within a few miles of each other, and at almost the same time. Both victims were operators in the New York black market. Cramer was convicted of the murder of Samuel Gross. Cannelly killed Edward McPhail. Both killers were caught on the scene of the crime, were arrested by the same officers taken together in the same police car to the same jail. Both proclaimed their innocence, yet pleaded guilty in the face of the overwhelming evidence against them. A curious factor in the case was that though both men denied knowing the other, they tried repeatedly to attack each other in the prison yard until guards were forced to keep them out of sight of each other at all times. Police have always believed there was some connection between the two crimes, but have never been able to find out what it was. And so closes, thieves fall out, starring Gene Kelly, tonight's tale of suspense, appearing with Gene Kelly, who is to be seen currently in Metro Golden Mayor's Technicolor Musical, Thousand's Cheer, or Hans Conreed as Cannelly, and William Johnstone as Sam Gross. This is the man in black who conveys to you Columbia's invitation to spend this half hour in suspense with us again next week, same time, when our star will be Mr. Vincent Price. Mr. Price will be heard in a suspense play by E. Jack Newman, dealing with the Gestapo in the death of Charles Umberstein, the producer and director of suspense is William Spear, who with Lud Glusken and Lucian Morrowick, conductor and composer, and Robert L. Richards, the author, collaborated on tonight's suspense. Don't miss suspense when this series moves to a new day in time, the day Thursdays beginning December the 2nd, the time 8 p.m. Eastern wartime, and 7 p.m. Central wartime. In the mountain and Pacific time zones, listeners will hear suspense on Mondays beginning December the 6th at 9 p.m. Pacific wartime. This is CBS, the Columbia Broadcasting System.