 Auto-Light and its 96,000 dealers present, stars spends. Tonight, Auto-Light brings you the story of an accidental death and an attempted escape. Death on my hands, starring Phil Harris and Alice Faye. Well, flood my carburetor if it isn't Oscar the orating Otto. What's up? It's been nearly 5,000 miles since my last spark plug check. And you're set for a session with your Auto-Light spark plug dealer, eh Oscar? His exclusive new plug check indicator will quickly show the condition of your spark plugs and whether they're right for your style of driving. I'm not up to par, Harlow. I've lost my usual pep on the heels and I'm using too much gasoline. Well, if the plug check indicator shows your spark plugs need cleaning or adjustments, your Auto-Light spark plug dealer has all the equipment to do the job right. And if my plugs are worn out, Harlow? Then he'll replace the worn out spark plugs with ignition engineered Auto-Light, resistor type or standard type spark plugs to give you smoother performance, quick starts and gas savings. So friends, have your spark plugs checked regularly and when you do, see your neighborhood Auto-Light spark plug dealer. And remember, you're always right with Auto-Light. And now with death on my hands and the performances of Alice Faye and Phil Harris, Auto-Light hopes once again to keep you in suspense. I won't mention the name of the town. It won't help any. I don't think I'll even tell you what part of the country it's in. It's just a place in a long valley with 100-year-old alms and hills you can't stop looking at. And the people? Well, maybe they're not much different than anybody else. $2,500. The kids went to schools with big lawns and long walks and the men walked up Oak Street from the mills right after the five o'clock whistle. Some stopped for a beer at Mike's or the Green Rooster or Eddie's Tavern and some went right on home. Sounds wonderfully ordinary, doesn't it? That's what I thought, until they tried to hang me. Dixie? Oh, Dixie. I can't believe it. It's me all right. I saw you from across the street. Well, what in the world are you doing in this little town, Julia? Oh, just getting a little rest. Don't give me that. Your idea of rest was always to sit in a narrow-condition cocktail lounge. Gee, you look good. Well, what about you? I wish you'd have stayed with a band, Julia. I just felt like drifting, Dixie. Where did you drift? All over. I ended up with a carnival. A carnival? I saw the posters about you and the band playing for the high school dance tonight. I couldn't believe it. Well, you don't get young doing one-nighters, but you see a lot of country and some swell people. You, for example. Well, how are all the boys? Well, I'm the only one of the original bunch left. No. Yeah. Figure Thompson went with Kenton, Bill Candoli joined to circus in Cleveland, married to Snake Charmer. Oh, no. Yeah, and then Squeak Hanley lost himself up with the law in Virginia. You know how it goes. I got all new Sidemen now. Just kids. Yeah. Things change, don't they? Yeah, they do. Hey, look, Julia, why don't you drop in at the dance? They think I was an old science teacher. Nah, you'll knock them dead. No. No, look, Dixie, I want to talk to you. I'm at the embassy, across from the railroad station, the only hotel in town. I'll see you after the dance, outside. And we'll have a sandwich and a drink and a talk, huh? Okay. That's the way you want it. Look, it's the high school auditorium, you know? Uh-huh. Well, I'll see you. Dixie. Yeah. Who's singing in my place now? Me. We walked opposite directions and caught each other looking back a couple of times. She looked good. Then she always had. There had never been anything wrong with how Julia looked. That night at the high school dance, I played like I hadn't played for weeks. Man, that band caught fire. You should have seen the faces of those kids dancing by the bandstand. They looked at me as if I invented music. Me, a third-rate clarinet player. Trouble was as far from my mind as Carnegie Hall is from Bop City. It was backstage after the dance that the bubble blew up in my face. Here's the loot, boss. Look at it. Big course notes. Yeah, what does it come to, Teddy? Well, a cashier says 1,200 rounds simoleons. But I'd count it myself. That's not bad for this town. Listen, it's a lot better than standing on Vine Street waiting for a recording date. I'll take this kind of loot any day in a week. Yeah, I better put this in my bag. Ain't it? Bag must be loaded by now. There's a week's take in there. But I'll drop it in the bank when we get to Kansas City. Are you still carrying that gun for protection? Yeah, Ted. Right here. I wouldn't know how to use it, though. Loaded? Every chamber. See? Those things give me the creeps. Hey, what else you got in that bank? Just some publicity pictures of me. I'm going to get some new ones, though. Get them while you're young. When they start camouflaging those age lines in your face, the cost goes up by leaps and bounds. Uh, Teddy, tell the boys I'll be at the next stop tomorrow. Oh? Who'd you tie up with? Julia. Is she here? Well, I'll be done. Small world, huh? What's she doing now? I'll tell you tomorrow. We got about six years talking to do in eight hours. Now get on out of here. Yeah, right, boss. Come in. Come in. I'll be in with you in a minute, Julia. I just want... My name isn't Julia. It's Emily. Oh? Oh, Emily. Oh, what can I do for you? Well, they all dared me to come in and tell you how much we liked your music. Well, bless you. So you liked it, huh? Never had such a good band at our dance before. It was like having Benny Goodman. Well, now, aren't you sweet? I'll tell Benny when I see him. Do you have a picture I could have? Well, I don't have any real Goodman's... Hey, I'll tell you what. You give me your name and address, and I'll send you one autographed. With love to Emily, my prettiest fan. I can see some in that suitcase. No, those aren't any good. They're kind of old. I mean, uh... I just got to get one. They dared me. All right, but don't pull that suitcase, kid. Look out! Oh! Kid. Kid. What did you do? She fell to the floor and her head suddenly spurred red. For a moment I was so shocked I didn't know what to do. Then I bent over and I picked her up, and I ran to find the nearest doctor. I ran almost four blocks with people staring at me like I was crazy. I couldn't even feel myself. I was just a thought. Get to a doctor. Get to a doctor. And I finally did. She died instantly. No doctor in the world could help her. And then on it was the nightmare. There was only four policemen in town, and they were all handling highway traffic 30 miles away because of a big mill fire. I told the doctor and the people who crowed around me that I'd stay in town and face a police inquest the next morning. There were some grumbles and some nasty words, but nobody stopped me from checking in at the Embassy Hotel. But I was there only an hour when I realized I wasn't going to get off that easily. A group of men formed outside the hotel and stood looking up at my window. Then all of a sudden I realized they wanted to lynch me. Listen down there. I know you're there. You don't need no rocks through no windows. You don't need any lousy notes. I know why you're there. There's a rope on me never. Do you understand? Never. What do you want? Who are you doing all the shouting at? Them. Those people down there. If you can call them people, they threw a note through the window on a rock. They want me for killing that girl. Maybe I can help you. What can you do? Don't kick a friendship in the face, Dixie. You never know when it'll come in handy. Yeah. Tell me all about it. Look at them down there. Watching the window like hound dogs with a trade possum. Oh, Dixie, why don't you think of something to do instead of just burning off steam? Think. In the past hour, I've thought more than a Greek philosopher did in a lifetime. But it all boils down to me ending up with a tag on my toe. Oh, I wish I could help you. Look, what are you hanging around me for? They might try to do something to you if they find out you've been nice to me. I'll take my chances. I've got nothing else to do. Oh, thanks. Don't waste your time. I don't think it's going to pay off. You know what? They make me feel like a criminal. They found my car. They did? Yeah. Somebody told the manager what's his name? Abdo. Car's three miles north of here in an empty riverbed. Burned to a crisp. The only thing in the world I own. Oh, Dixie, don't let it get you. But how much do they want? Julie, an accident is an accident. That means it wasn't done on purpose. She grabbed the bag and the gun went off. And she would, she would just a little kid. Oh, Dixie, Dixie, stop it. You're not doing yourself any good this way. It could happen to anyone, to me, or the people next door, or even to one of them down there. Oh, come on, sweetheart, and sit down here with me. Wait a minute. What is it, Dixie? More of them. And they got guns now. Not just clubs and ropes, guns. Get away from that window. Maybe I don't want to. Maybe I could get them to shoot me from here and then it, well, it'd be over with, like that. Get back from that window. Come on. Let go of me. They wouldn't shoot. They want their fun later. Do what I say. You got to think, Dixie. You got to think of some way to get out of here. I'm sorry that girl got killed. Sorry is an honest man can be, but there's no point in dying to prove it. Thank God I understand, Dixie. It's just another rock. No, it isn't. Look what the... Never mind, Dixie. It's what you said. Wait a minute. Not something else. What is it? Don't hide it from me. Give it to me. Oh, shoot. One of her shoes. What are they going to throw up next to her body? Dixie, let me take it. Let them keep it. You dirty... Dixie, Dixie. There was only something we could do. There isn't. When people get like that, they're just as... I'm not going to let this happen. I'm not going to... Julie, listen. They're breaking the door down. They're coming in. We've got to get out of here somehow. Get out. There's no way to get out now. Now go back to your room, Julie. I won't. I said go on. It's too late, Dixie. They're coming down the hall. Auto-light is bringing you Phil Harris and Alice Faye in Death on My Hands. Tonight's production in Radio's Outstanding Theatre of Thrills Suspends. Yippee! Why the loud levity, my loquacious limousine? I just visited my neighborhood auto-light spark plug dealer, Harlow. Did he check your spark plugs with the nimble nemesis of nefarious spark plugs, the auto-light plug check indicator? Yes, sir, Harlow. And it showed that my plugs were not functioning properly. So he replaced those worn-out spark plugs with the matchless magic manifested by the multiple magnificence of ignition-engineered auto-light spark plugs, eh, Oscar? Right. And now I'm giving smoother performance, quick starts, and gas savings. Well, it pays to see your neighborhood auto-light spark plug dealer. He carries ignition-engineered auto-light spark plugs, the world-famous spark plugs that are designed by the same engineers who design complete ignition system for many leading makes of our finest car. And I'm off for a spring fling so long. So, friends, see your neighborhood auto-light spark plug dealer soon and have him replace worn-out spark plugs with ignition-engineered auto-light resistor type or standard type spark plugs. Remember, you're always right with auto-light. And now auto-light brings back to our Hollywood soundstage Alice Fay and Phil Harris in Elliot Lewis' production of Death on My Hands, a tale well-calculated to keep you in suspense. It only sounds like one person. One person can carry a gun. It couldn't be them, Dixie. They wouldn't knock. Who is it? All right. What's on your mind? They broke in the door downstairs, but I stopped them in the lobby. They had ropes and guns. Thank you, Abdul. Don't thank me. I told them that they couldn't come in after you, but that you would go out. You don't mean that. I told them within 15 minutes. Abdul, let me stay a little longer in the name of humanity till I can dope this out. I got enough money. I don't worry about money. Well, what have you got to lose? Listen, I give you a break. They could have come in here and got you and torn you up into little pieces. But I said no. One little word. Now, long after you are gone, I have to live in this town. You've got your troubles. I've got mine. That's the way things work. What's the matter with this town? Why does it act the way it does? After what you did, you expect them to treat you with brotherly love. You've got to be born here before they think you're human. There's a lot of world outside this flea-bitten town, and most of it's better. They should be happy that someone brings a little of it in with them once in a while. What you brought in was tragedy. But it was an accident, a statistic. The kind of thing insurance companies make a fortune predicting. Oh, blame me. Blame that big wheel of chance. Dixie. I just didn't get the right number on this spin, that's all. Well, you've got now 13 minutes to think of another one. What can I do for you, Dixie? Tell me something. Just let me alone. Well, I'm going to do something anyway. Did you turn on the radio? I turned on the radio. Turn it off. I'm not going to... Turn it off! I'm not going to! What do you want music for? Because I want to dance. Are you crazy? Oh, come on, Dixie, dance with me. Come on. It used to take your mind off things. Oh, I know, but I... Oh, come on, come on, that's it. Oh, pull me closely, Dixie. Oh, I wish this hadn't happened. So I could enjoy you, Julia. Let's just pretend this is the future. And we're dancing somewhere in love and... How can I think like that? And all I can see are those guys down there loading buckshot and guns just to... Dixie, Dixie, just dance. But I can still think. Oh, honey, this is wonderful. You know, I've played for a lot of dances. I never realized until now what it does to you inside. What does it do to you, Dixie? Makes me wish I'd have gone to high school. I never got there. That was early autumn done by the Woody Herman aggregate, the band that plays the blues. Not that you're blue right now. And this is Charlie Schaper, your early evening platter party host on KNOK. And I want to remind you that if you have any request whatsoever, just dial KNOK. The switchboards are waiting. Now, how about a little bit of Glenn Miller in the mood? I like that. I can request any tune in the world. But I can't save my life. What a great place to live. Let's dance some more. Yeah, yeah. What should I request? Don't break the news to Mother, or maybe I'm in the mood for life, huh? Dixie, don't talk like that. Dixie? Give me the railroad station. Um, freight division. Dixie, what are you doing? Stop talking. Hello? Hello? Um, what time does the next freight train leave? Yeah. I-I-I have some valuable freight I want to put on board. Oh. An hour, huh? Are you sure the time? Exactly one hour? Well, I-I guess there wouldn't be time tonight. Thanks anyway. Dixie, you just couldn't get to that train. It's my only chance, but I need an hour. An hour of safety to get to it. I'll be right back. Where are you going? To find a policeman, or to talk to those men, or to do something. The police are all over in another town. They couldn't get here in time. You just wait here. I'll be right back. Emily, if-if anybody caught me on my knees like this talking to you, I suppose they'd think I was crazy. But I'm not. Emily, you know it was an accident. Pure and simple. It wasn't my fault. Only nobody really believes it. They're waiting for me outside. Your people. And they want me in exchange for you. Only it isn't an exchange. It's just blood revenge. A knife for a knife. And it doesn't make sense. I know that staying all this will never do you any good. But Emily, I just wanted you to hear how sorry I am, how deeply and tragically sorry I am. Emily, have a good long rest. Maybe someday I'll meet you in person again. We'll talk about it. And that someday might be the day. What are you doing down in the lobby, young lady? Where are you going? Mr. Abdo, we've just got to do something. Get some police, or get rid of those men out there. I have long ago sent somebody for the police. But I don't expect them to get here. Why don't you let him stay here longer? Because I can only hold these men a while. After that they come in. I don't want to see it. Why do these men want him? I don't want to talk anymore. Well, I'm going to find out. Where are you going, lady? I want to ask you why you want Dixie. That ought to be plain. He didn't kill that girl. It wasn't his fault. You must have a better reason. Whose little girl was it? Yours? Or yours? Is that why you wanted him? Because it was one of your children? Lady, you'd better go on about your business and leave ours to us. We got our own reasons for getting that skunk. What did you find out, Julia? What happened? Abdo's been trying to get the police. They won't come. Don't worry. How many of their neighbors do you think they'll shoot down to save them? I don't know, Dixie. I don't know. That's all. Five minutes to walk out of here. And I need an hour. I'm sure the ringleader of that gang would... I talked with him. I'm sure he's the father. Oh, let's do this. I give up. But you can't, Dixie. You can't. What do you expect me to do? Perform a miracle? It's Abdo. Let me in. Are you... Are you ready to go, son? No, I'm not ready to go. I still got five minutes. You must have made a mistake with the time. Your time is up. It is like... Look at this watch. Look at it. Still better than four minutes. I'm sorry. But now is the time. Before they come in the hotel after you, I don't get it. I don't get this whole setup. Why did you bother to stop them once if you send me out to them now? I did what I felt I must do. For me, that was enough. Well, I'm not going. Do you understand? I'm not going. They'll have to work together. Haven't you done enough to me already? To you? The little girl you... who was killed... was my little girl. Oh, Mr. Abdo, I'm... I'm really sorry. I'll go. You won't have any more trouble from me. I'm going with you, Dixie. Yeah. I had to turn off the lights in the lobby. That's my job. Shall we take the elevator? No, I need the stairs. I want to make it last as long as I can. Dixie. Not sure I want to cry. Why? But it wouldn't help. I haven't trouble enough seeing now. I'll go out with you and fight. Let me, Dixie. You're going to stay right here in this lobby. You said you'd do anything for me, and that's what I want you to do. How are you going to do it? I'm going out. Turn right alongside the building, and then I'm going to run. Run, you hear me? Then maybe somewhere, somehow, I can find help. So long, Julia. Dixie, I love you. Good. Take it easy. Hold it and stay right where you are. Why should I? Shut up! If you know what's good for you, walk over to that car and make it fast. Take that gun out of my face. I said stay where you are. I'll put a bullet through the face of the first man who moves. Are you going to let a guy get away with it? The next one will go through somebody's head. I want you to notice this badge on my coat. You people pay me to protect you and everybody against lawlessness in this town. And I'm going to earn my money whether you want me to or not. Some law police will be here in two minutes and anybody standing around will be arrested. Now go on home. Break this up. All the fun is over. Thank you, officer. I said can you drive? Yes, but I don't know now. My knees... Well, try. I've got to be ready for anything. Where do I go? To jail. That's all right, mister. You'll be safe there. Hello, Julia. Would you care to go and get that sandwich we talked about a thousand years ago? Oh, I'd love to, Dixie. What did they say? The coroner acquitted me ten minutes ago. Accidental homicide. Oh, that's wonderful. Well, what are you going to do now, Dixie? Well, just catch up with the band and drift, I guess. Dixie, I don't suppose I could... Go back with the band? Well, just singing. That's all. You could do a bigger job than that if you want to. You mean it? Sure. Look, here's your wedding ring. You know, I never threw it away. Suspense. Presented by Autolite. Tonight stars Phil Harris and Alice Faye. Friends, this is Harlow Wilcox again to remind you that Autolite is the world's largest independent manufacturer of automotive electrical equipment. Autolite makes over 400 products for cars, trucks, tractors, planes, and boats in 28 plants from coast to coast. These products include world famous ignition engineered Autolite spark plugs which are carried by your neighborhood Autolite spark plug dealer. See him soon and have worn out spark plugs replaced with ignition engineered Autolite resistor type or standard type spark plugs for smoother performance, quick starts, and gas savings. And remember, you're always right with Autolite. Next week on Suspense, our star will be Mr. Charles Boyer in Another Man's Poison. And in weeks to come, you will hear such famous stars as Jeff Chandler and Dick Powell on Suspense. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Moraweck and conducted by Lud Bluskin. Death on My Hands was written for Suspense by John Michael Hayes and E. Jack Newman. Included in tonight's cast were Joseph Kearns, Herb Butterfield, Barbara Whiting, Byron Kane, Franklin Parker, and Gil Stratton Jr. Alice Faye and Phil Harris may be heard on their own radio program every Sunday over another network. And remember, next week on Suspense, Mr. Charles Boyer in a tale we call Another Man's Poison. You can buy world famous Autolite resistor or standard type spark plugs, Autolite staple batteries, Autolite electrical parts at your neighborhood Autolite dealers, switch to Autolite. Good night. We want to thank the National Safety Council for choosing Autolite for the Council's Public Interest Award of 1950. This award is presented in recognition of exceptional service to safety. Autolite is proud to have been chosen as one of the leaders in this important field and pledges continued efforts toward accident prevention on the highway. This is CBS, the Columbia Broadcasting System.