 Lux presents Hollywood. The Lux Radio Theatre brings you Laura starring Dana Amdruz, Jean Tierney, Vincent Price and Otto Krueger. Ladies and gentlemen, your guest producer, Mr. Lionel Barrymore. Good evening ladies and gentlemen. Now if there is one form of entertainment we Americans are singularly partial to, it's the mystery or detective story, popularly known as the who done it. One out of every four new works of fiction published in this country is a mystery or detective story. Some 300 new books of this sort appear each year. Needless to say, you couldn't read all of them if you tried. But tonight we're bringing you one of the most intriguing mysteries of recent years. The current 20th Century Fox hit Laura. Our stars are Jean Tierney who is just completing a bell for Adano at 20th Century Fox, Dana Amdruz and Vincent Price. All three in their original screen roles. Also the ever versatile Otto Krueger. Now I think one of the reasons mystery stories are so popular, especially in troubled times like these, is that they satisfy our sense of order. They take a troublesome and seemingly hopeless situation and they put everything to rights. Simply by the use of human intelligence and sensible methods. Of course you could say the same about lots of things. Lux Flakes for instance. They take those troublesome problems of how to wash fine fabric safely so they'll wear longer and look better and they give a quick and very satisfactory solution. Especially in these difficult times when it's important to take care of what we have. It's little wonder Lux Flakes are so popular. Well now it's curtain time and here's act one of Laura starring Dana Amdruz as Mark McPherson. Jean Tierney as Laura, Vincent Price as Shelby Carpenter and Otto Krueger as Paul Leidecker. Now most people who read the newspaper or listen to the radio know the name Paul Leidecker. Mr. Leidecker is a legendary oracle of barbed wire and forget me not, whose enchanted pen and acid tongue have brought fame to hundreds and oblivion to just as many. His New York apartment is a combination art gallery and Roman bath. And now immersed in one of his marble pools, Mr. Leidecker has a visitor. Detective Lieutenant Mark McPherson of the Harmesside Bureau. That stuff is priceless. Oh, Mr. Leidecker? Quite an art collection in there. Those pieces you are pawing over are irreplaceable. Nice little place you have. It's lavish. I call it home. You'll hear about the murder of Laura Hunt. I made my statement yesterday to Sergeant Detective Crane. I know. Told him what I know. Now suppose you tell me what you know. Why not? Hand me that washcloth, Mr. McPherson. How good a detective are you? I've picked up a few facts. Laura Hunt was killed the night before last. A bell rang. She opened the door and someone pulled the trigger of a shotgun. It wasn't nice. The ring was closed. Have you found the shotgun? No. What else? I thought comes to me, Mr. Leidecker. Who's questioning who? May I remind you that you're a guest in my home? Yeah, that's right. What else, huh? Well, Miss Hunt was a very good-looking girl. Probably. About 25, lived in a swell apartment, had a maid named Bessie. And where did she get the wherewithal to support such a manage? Well, it's company. Advertising agency. She had a good job, art director or something. Not or something. She had a lady cousin in town and a couple of boyfriends. One named Shelby Carpenter and the other is Paul Leidecker. Today is Sunday. Why haven't you tried to see me? Because it's a peculiar case and I wanted to think. If you wait, I'll go with you when you leave. Why? Murder is my favorite crime. My radio audience loves it. I know you'll visit all your suspects and I'd like to study their reaction. You're on the list yourself, you know. Be insulted if I weren't. Were you in love with Laura Hunt, Mr. Leidecker? Was she in love with you? Laura considered me the wisest, the wittiest, the most interesting man she'd ever met. I was in complete accord with her on that point. Now, if you'll excuse me, I'll get dressed. Oh, where shall we be stopping first, Lieutenant? I'd like to see Laura Hunt's cousin. Mrs. Anne Treadwell, yes. Of course. A few questions, Mrs. Treadwell. I'll do anything I can to help. Oh, good morning, Paul. Good morning, Anne. You are fond of your cousin, Mrs. Treadwell. I adore Laura. Paul can tell you. I can tell you considerable. Did you approve of Miss Hunt's coming marriage to Mr. Carpenter? Why, shouldn't I approve? I don't know. Just what does Shelby Carpenter mean to you, Mrs. Treadwell? To me. Well, he comes here regularly. Are you a friend, acquaintance, or are you in love with him? Well, this is beginning to assume fabulous aspect. What are you driving at? The truth. Are you in love with him? For I know. I'm very fond of Shelby Carpenter. Everybody in. I despise him. You've been withdrawing a lot of cash from your bank, Mrs. Treadwell. 1500 at a clip. 1700. I needed that money. The day you took out 1500, Carpenter deposited 1350. When you withdrew 17, he deposited 15. You're shooting crap, Sam. Oh, must I be insulted like this. Shelby needed some money. I lent it to him. I suppose I could do with it as I plead. Sure, sure. Now, on Friday night, you were home alone. Why didn't you go to the concert with Mr. Carpenter? Concert? Lie. I didn't go because he didn't ask me. Well, hello. Oh, just talking about you, Carpenter. What a coincidence to find you here. This is Lieutenant McPherson. Yes, we've met. I didn't know you were here, Mr. Carpenter. I've been lying down. My hotel room is so hot and then all the reporters and the telephone. You know how it is, Lieutenant. I've hardly slept a wink since it happened. Is that a sign of guilt or innocence, McPherson? I'm as eager to find the murderer as you are, Lieutenant. Laura and I were going to be married this week, you know? No, he doesn't know. And neither do I, nor you, nor anyone else. Oh. Well, Laura had not definitely made up a mind to marry him. She told me to herself. She was going to the country to think it over. Laura was extremely kind, but she'd never have thrown her life away on a male beauty and distress. I suppose you've heard losers whine before, eh, Lieutenant? Yesterday, you said you went to that concert Friday night. Mr. Carpenter, what did they play? Oh, some Brahms and Beethoven's night. Mm-hmm. Oh, this place, Miss, hadn't had in the country. Have you got a key to it? No, but I think there's one in her apartment. Well, I'll have a look. And perhaps I could help you? Okay, come along. Goodbye, Mr. Carpenter. You can start looking for that key now, Mr. Carpenter. Oh, yes, yes. I'll try the dead. Excuse me. That's the dame's portrait on the wall, isn't it? Will you stop calling Laura a dame? Look at the furnishings. Would you call this the home of a dame? Look at the portrait. I am. Not bad. It was painted by Joseph Carter. He was in love with her then. Have you ever been in love, Nick Ferson? A darling Washington Heights once got a fox fur out of me. Have you ever known a woman who wasn't a doll or a dame? Yeah, one, but she kept walking me past furniture stores. Where are you going? Phonograph is a record on here. Selection from Fittest, Pui. One of Laura's favorites. Not exactly classical, but very nice. You know a lot about music? I don't know a lot about anything, but I know a little about practically everything. Then why did you say they played bronze and Beethoven at that concert? They played nothing but Sibelius. Did they? Well, to be perfectly honest, I fell asleep and I didn't hear a note. I know it sounds phony, but I'm just a natural born suspect. You see, I'm not the conventional type. Don't worry. I fall asleep at concerts myself. Find that key? No. Maybe it's in here. A desk. Yes. Yes, it is. I knew there must be one around somewhere. It's funny. The police looked in that desk drawer yesterday and the drawer was empty. You had the key right along, didn't you, Carpenter? Yes. I didn't want to give it to you while Lidecker was present. I have private reasons that don't concern him. You have private reasons no doubt to lie about that key. Paul, I'm warning you to stop him playing. I had anything to do with Laura's death. Very well. I'll stop him playing. I'll make a direct statement. You asked for this. Cut it out. The two of you. Okay, we came here to find the key and I've got the key. Now let's get out. There's nothing more you want from me. No, not now. I'll run along. You having lunch, Lieutenant? Yes, sir. There's a rather superior restaurant nearby. Okay, let's go. That little place is Lidecker. Yeah. What's the matter? You wouldn't call me a sentimental person, would you, Lieutenant? Well, I... Dozens of times we sat here at this very table, Laura and I. How long did you know? Nearly five years. I was just thinking, we're here, we're eating lunch and it was at lunch that I first met Laura. Elgonquin Hotel. I was alone. I looked up and I found her standing in front of me. You had a lay out in her hand. How do you do? I'm Laura Hunt. Well? I'd like to talk something over with you if I may. I am eating my lunch. Yes, but it's practically impossible to get to see you and I'm... Either you're from some incredibly remote community where good manners are unknown or you suffer from a common delusion that being a female exempts you from all the rules of civilized conduct. Possibly, but I wanted to show this to you. It's an ad for the Wallis flow right pen. You're such a famous writer and commentator, it would be tremendously helpful if you'd endorse what we say about the flow right pen. I don't use a pen. I write with a goose quill dipped in poison. You may tell your employer... Oh, they don't know anything about this. It was all my idea. They'd give anything to get your endorsement. And if I were the person getting it... You disregard completely something far more important to me than your career. Oh? My food. You mean that, don't you? Well, of course I am. I never heard of anything so selfish. In my case, self-absorption is completely justified. I have never discovered any subject quite so worthy of my attention. What in your column? On the radio. The things you say. You're filled with such understanding. Such sentiment. Miss Hunt, you are beginning to bore me. You're a poor man, Mr. Lidecker. I feel very sorry for you. You heard about two hours later. Kept after you, did you? No, I went to her because I couldn't stop thinking about her. I was more than slightly annoyed, but she had something that girl. Something far deeper than good looks. I went to bulletin company, proceeded to do something I have carefully avoided since the age of two. I apologized. A lot of looked at me and smiled. You're a poor man, Mr. Lidecker. I was very nice of you to go to all this trouble. Goodbye. In a moment, Miss Hunt. For reasons which are too embarrassing to mention, I'd like to endorse the Wallace Flowwright pen. Have you an ad? You're a very strange man. Now I'm sure you're sorry for the way you acted. Let's not get psychiatric, but in a word, yes. And you are a very kind person. No, I'm vicious. The real secret of all my charm. But if you think me kind, I'll call for you here at six. What? We'll have dinner together. I can't make it any later. Will you be ready? Yes, I'll be ready. Thank you. I started then to help Laura. I did everything in the world for her. I am a man reputedly of overwhelming ego, but this I admit without reserve. It was Laura's own talent, her own incredible charm that enabled her to rise to the top of her profession. Through me, Laura met everyone famous and the infamous. And deferring always to my taste and judgment, she captivated them all. She became as well known as my walking stick in white carnation. Like them, she was always with me. When does Carpenter enter the picture? Well, men couldn't keep away from Laura, but she never regarded them seriously, but me. Her own discrimination ruled them out, and I never had to intercede. She met Carpenter one night at a party at Aunt Treadwell. She became attracted to him instantly. I was shocked. The fellow completely without talent with as much depth of character as a saucer of stale gin. Shortly before I took Laura home, I overheard her talking with Carpenter on the terrace. So I spent my time doing what I've always done, nothing. Then tell me, what does it feel like living on the income from an estate? Oh, I once knew what it felt like, but the sheriff interfered with that over 10 years ago. Then why don't you work for a living? Oh, I did ask a friend for a job once. All he did was laugh. He thought I was joking. Weren't you? No. When he saw I was sincere, he just got embarrassed. He said he'd phoned me. That was months ago. Do you really want a job? Yes, I do. Then you've got one. What? Now you think I'm joking? Well, I'm not. You just be at Bulletin Company tomorrow morning. You're going to work, Mr. Carpenter. So in time, they got engaged, huh? They became attached to each other very quickly. I concealed my annoyance with masterly self-control, but here was a situation, however ridiculous, that required my attention. As you will see, it was for Laura's own good. Well, I followed them one night to this very restaurant. They had been working late on some advertising, ma'am. True, Laura, will it really make people brush their teeth more often? The idea is wonderful, Shelfish. And so are the layouts. By the way, who's the model you use? You don't remember? Well, you hired her yourself. Diana Redford. Of course. Laura, you look wonderful. Well, that's a quick switch of subject. Oh, I like this one much better than toothpaste. It could. Could you have dinner with me tomorrow night, just like this? Maybe. And what about the night after that? It shall be, I can't just... What about three weeks from tonight and all the nights in between? Don't you think I have any other engagement? What about two months from now and the month after that? And what about next year? Then it's all settled. What about breakfast? What about lunch? Beautiful lunches, day after day... And what about beautiful words, day after day? Well, Miss Hunt, the way you talk, you think I was in love with you. Dialogue wasn't as lieutenantly person. If they'd known you were listening, they might have snapped that up a bit. Laura knew that I had overheard them because I told her so the following evening. By then, I had some other information to tell her also. I don't care what you found out about Shelby. It's the snooping about Paul. It's degrading. Of course, but I thought you'd want to know. That sterling character almost went to jail last year for passing Robert Chex. And after that in Virginia, he was suspected of stealing his hostess's jewelry. Those are only insinuation. I know his fault. But a man can change, can't he? No, Laura, for heaven's sake, open your eyes. So, Captain, there has changed. Yes, he's changed from you to do Diana Redfern, running around with her now, a model from your own office. Paul, how can you be so despicable? You know what you mean to me. How can you try so deliberately to hurt me? Hurt you? Paul, Shelby and I are going to be married next week. Ah. You gave him a cigarette case on his birthday, didn't you? A valuable case? Where did you get it? From the pawn shop where Diana Redfern took it after he gave it to her. I don't believe it. He probably needed money and was too proud to borrow. Perhaps that's why this pawn ticket is in her name. I won't let this go any further. I'm going to telephone him. You won't find him at his hotel. Tonight, Carpenter's deserted both you and Ms. Redfern. He's dining with a young and wealthy widow, someone you know, your cousin. He's been treating her rather badly these days. I'll call Anne at once. Really, my dear, you don't think that Anne would give him away to you? Oh, it's nasty. I know it, but I must make you realize. Now, suppose we visit cousin Anne, hmm? Don't be there. I know he won't. Good evening, Mr. Lydekker. Hello, Margaret. Oh, I'm terribly sorry, but Mrs. Redwell isn't at home. Satisfied, Paul? Well, suppose we just wait for her. Oh, please, Mr. Lydekker. Come in, Laura. And Paul, we were just having din. Yes, I know. Laura, I didn't expect to see you tonight. There you are, Laura, in a moment of supreme disaster, he's trite. I was just telling Anne about our getting married. Well, sit down, you two. Oh, no. No, thanks. I just stopped by to give you this. A cigarette case. You must have misplaced it somewhere. Laura, Laura, wait a minute. Good night, Anne. Good night, Shelby. This is the episode of the cigarette case, Mr. Lydekker. Last Wednesday night, on Friday, Laura had lunch with a Redfern girl. I wish I had been there. And as I said in my statement, Laura and I would have had dinner that night. At 7 o'clock, my phone rang. I had a sudden sensation of depression, a foreboding of disaster. Hello? Paul, I'm frightfully sorry, but I just can't meet you. Well, there's nothing wrong, Laura. I mean, you're not ill. No, no. I've just decided to go to the country for a few days. What, in this storm? Well, it's pouring. Give me a glass, Paul. It will do me a lot of good to be alone. Oh, you're thinking about Carpenter, huh? I simply must have time to think this out for myself. When will you be back, dear? I don't know. I'll call before I leave. Maybe you could meet me. Well, of course I will. Thank you, Paul. Goodbye, my dear. That was the last time I ever heard her voice. This Redfern girl. How does she live? She's in the phone book. I will never forgive myself for allowing Laura to become involved with Carpenter. That was my fault. I should have stopped it long ago, somehow. She's dead now. It's too late even to think about it. Well, so long. Yeah, too late even to think about it. Oh, uh, goodbye, Lieutenant. Our stars will return with act two of Laura in a moment. Now, here's what a young girl said to me the other day. Mr. Kennedy, why do you always talk as if only housewives wash dishes? Now, I work in an office from 9 to 5.30, but I'm the KP at home. Wash dishes every night for five of us. Oh, Mother cooks the dinner, but I clean up afterwards so she has a chance to talk with Dad and catch up on mending for the kids. And I know a lot of other business girls who do dishes, too. So I asked her if she knew what dishpan hands were. You bet I do. For a while, Mother brought home any old kinds of soap. Strong chips, granules, bars. Well, sometimes my hands were so red I wanted to wear mits when I took dictation. So that's why the dishpan tests you talk about interested me. Now, you say changing to lux takes dishpan hands away, and you're right. One day, Mother brought some lux flakes home, and in just a few days my hands looked nicer. Soon they were soft and smooth as you please. Then I said, maybe you're too young to worry about being thrifty, but that's another advantage with lux. It goes a long way. Ounce per ounce does up to twice as many dishes we've found as other leading soaps tested. Then she said... Well, I can believe that, too. Some of the soaps I used to use didn't dissolve completely and made little gooey lumps in the dishpan. But with lux, I get such quick and abundant suds. It dissolves so quickly. So I've told Mother to keep on getting lux if she wants me to keep on washing dishes. And now, Mr. Barrymore returns to the microphone. Actual Laura, starring Jean Tierney as Laura, Dana Andrews as Mark McPherson, Vincent Price as Shelby Carpenter, and Otto Kruger as Leidegger. It's an hour later. In front of Laura Hunt's apartment, Lieutenant Detective Mark McPherson picks up Sergeant Crane. Together they make another thorough search of the girl's rules. Two things interest McPherson. A pile of Laura's letters and a bottle of Scotch whiskey. If you're thirsty, Lieutenant, I think you can do better than that there. I'm not thirsty. When did you say that maid was due here? Any minute now. Say, where's McCavity? In the basement. I've had the telephone tapped. He's sitting on it. But who's going to use the phone besides us? Nobody I know of. Still a good idea. I'm making a call now myself. Put down on the basement and relieve Mac. I'll wait here for the maid. Carpenter's coming, too. Okay. Hello. Miss Coney's? This is Lieutenant McPherson, homicide bureau. Laura Hunt's been buying liquor from you, hasn't she? Yeah. Did she ever buy a brand of Scotch called Black Pony? You sure of that? Okay. Thanks. Oh, come on in, Miss Clary. Never mind that, Miss Clary stuff. My name's Fessy. Have a chair. It seems to me you... Those letters. Those letters belong to her. Yeah. You've been reading their private letters. I said sit down. Cops. I was brought up to spit whenever I saw one. Okay, go ahead and spit it. That'll make you feel any better. What do you want to find out? Who killed Laura Hunt? How would I know? You think I'd done it? Ask anyone. Anyone who ever came here. Well, I'd have worked for her, scrubbed for her, done anything she would have wanted of me. Pay her no pay. You're loyal, Betty. Wasn't only on account of the wonderful thing she'd done for me. It was because she was so wonderful herself. This hunt was a real lady. Something cops wouldn't know about. How'd this bottle get into her cabinet? I put it there. It's cheap scotch, Fessy. Laura Hunt wouldn't buy cheap scotch. I found it on a kitchen shelf Saturday morning. You know what that means. It means that somebody brought it here Friday night. And that somebody was here with her Friday night. Now, who was it? I don't know. But I didn't want anybody to get any wrong idea about her. God rest her soul. That's why I put the bottle in the liquor cabinet. I done more than that. There were two glasses. I washed them out and cleaned off the bottle, too. Destroying evidence, Fessy? I don't care. I'll do anything to keep her name from being dragged through the mud. Relax. Fessy, I'd like some ice in the setup. You mind? I'll get it. A couple of highball glasses. I'm expecting somebody. More cops? No, Shelby Carpenter. Let him in and then get the glasses. The door's open, Lieutenant. Come in. I didn't expect you, Mrs. Fetlow. Oh, are you either, Mr. Leideker? Shelby's dropping you the hairdresser later. I only sent for you, Carpenter. I know. So I thought I might as well come along. Yes, my excuse is equally feeble. I just dropped in to inquire as the state of your health, Lieutenant. Incipit, I trust. It's about to have a drink. Oh, Bessie, two more glasses. Yes, sir. Hello, Bessie. What are you doing here? I'm paid up for the week and I'm working regardless. Scott, Sleideker? Excellent. Will this do? It's black pony. I'm a guest here. It'll have to do. You can skip mine, Lieutenant. I'm not much of a daytime drinker. Oh. Well, that'll be all, Bessie. You can go home now. But I... Yes, sir. I'll go. Thank you. I remember when Laura bought these glasses. She loved them. She loved all her things, so. What are you going to do? Sell them? I suppose so, if I'm a pointed administrator. I'll probably call in Corey. Corey, the art dealer? Yes. He can dispose of everything. It'll be less... less gruesome that way. Not quite everything, Anne. There are two or three things that belong to me. That vase, for instance, the antique fire screen, and, of course, the clock. That's quite a hunk of clock. You've got one just like it, haven't you? I noticed it in your apartment. They were made 200 years ago by Corbe Fies. Two clocks exactly the same, created at the order of the Prince of Wales. I lent one to Laura. Oh, really, Paul? Yes, really. But the vase is the gem of my collection and I intend to have it back. I can take it with me now. Nothing's leaving here, Sleideker. Only you. Is that your quaint way of indicating dismissal? Well, we're all leaving. I've got to get back to headquarters. But I don't understand, Lieutenant. I thought you sent for me. I did. Well, don't you want to ask me any questions? Nothing pressing. Oh, I see. Well, I bid you good-bye. The vase, Mr. Sleideker. Put it down. Oh, go, Corey. Just a slight touch of leptomania. Crane? Yeah? I'm back upstairs in the apartment. How are you doing in the basement? Any calls come in this afternoon? Not a thing. I've just been looking the place over. I've only done it 40 times. Anything interesting? Everything's interesting, especially that portrait. A really beautiful doll, Lieutenant. Yeah, I've read her letters, smelled her perfume, drank her scotch, gone through her wardrobe. Wait a minute. Yeah? Someone in the hall. Look, at seven o'clock, Alfred will be allowed to relieve you. Make sure Alfred keeps his ear on that phone. Right. Where is it? Yes. Coming, Sleideker. You just happened to be passing by. And I noticed the light song. By the way, have you sublet this apartment, McPherson? You're here often enough to pay rent. Any objections? Yes. Especially to your prying into Laura's letters. That bundle in your pocket, for instance. No, these. They're yours. The best of the bunch. That's the trouble with getting murdered, Sleideker. It ruins your privacy. And have detectives who buy portraits of murdered victims acclaimed to privacy? Lancaster Corey tells me you already put in a bid for Laura's portrait. That's none of your business. McPherson, did it ever strike you that you're acting very strangely? I wonder that you don't come here with roses in the box of drugstore candy. Have you been dreaming of Laura as your wife? By your side at the policeman's ball or in the bleachers? Or listening to the heroic saga of how you acquired a silver shin bone battle with a gangster? Yeah, I see you have. Why don't you go home? I'm busy. Well, perhaps we can come to terms now, huh? You want her portrait? Perfectly understandable. I want my possessions, my vase, my clock, my fire screen. Now, if you would... Get going. Better watch out, Lieutenant. You will end up in the psychiatric ward. I don't think they've ever had a patient who fell in love with a beautiful girl who died before he met her. Or did you meet her? Well, good night, McPherson. You better watch out, Lieutenant. You'll wind up in the psychiatric ward. What's the matter with me? Maybe you can tell me. You, the girl in that portrait there. You're beautiful. The most beautiful thing I've ever seen. Somebody killed you. Why? Why? I could sit here and look at you all night. All night long, I could sit here. Who's in there? What are you doing there? We're alive. If you don't get out, once I'll call the police. You're Laura, aren't you? Aren't you? I'm going to call the police. Well, I am the police, you see. My badge, credentials. Mark McPherson. What's all this about? You don't know? Don't you know what's happened? No. Haven't you seen a paper? Where have you been? In the country. I... I don't get a newspaper. You got a radio? It was broken. What? Here. Look at these headlines. Sit down, Miss Hunt. I'm very glad to see you. On Friday night, somebody was murdered in this room. Until you opened that door just now, we thought it was you. Now, do you have any idea who it could have been? You don't know. A girl died from shotgun wounds, close range. No, apparently we don't know. Who had a key to this apartment? Nobody except my maid. When did you say it happened? Friday night. You better take over. The coat is dripping wet. When did it start raining? Just a few minutes ago. It's teeming outside. It was raining Friday night too. When that girl... Wait a minute. Raining. Come with me, Miss Hunt. Here. Into your room. I want you to please look in your closet. I simply don't. The closet, Miss Hunt. Here. Open it up. Do all these dresses belong to you? Certainly they belong to me. All of them? Everyone? Are you out of your mind? Of course they... What's this one? I don't know. You tell me. This dress is mine. It's hers. Diana Redfern's. She had it on when she came for lunch on Friday. Well... But this dress wasn't in here when I left. It wasn't. This Redfern girl. Is she a girl about your size? Yes, she's a model. She works for us. Yes, and she lives in Newark. But she hasn't been home. Her landlady said she'd gone to Philadelphia. That's right. We have a branch office in Philadelphia. She had an assignment there. But she didn't go. It was postponed. She got relatives in the city? An aunt and uncle. Same name. They live in the village. Thanks. Where are you going? Just to the telephone, Miss Hunt. I think Miss Redfern's aunt and uncle had better go to the morgue right away. To make an identification. Identification... It's a long, Inspector. Well, that's that, Miss Hunt. They've located the Redfern. Yes, we ought to know soon. Now, Miss Hunt, when you went to the country Friday, did you see anyone you knew on the train? No. Then what? I got off at Norwalk. I keep a car in a private garage near the station. I drove to my house. It's about 18 miles. What did you do in the country? Worked in my garden. Didn't leave your place in all that time? I keep everything I need in the house. I went there expressly to be alone. You were going to marry Shelby Carpenter this week? Yes. But she went away for a long weekend to be alone. If you know Shelby Carpenter had the key to this apartment, why didn't you tell me? Because I know nothing of the sort. He hasn't. How else did the Redfern girl get into the apartment? You knew she was in love with Carpenter? I knew she was in love with him. He told me so herself. But I also know that she meant nothing to Shelby. I understand him better than you do. She was found, and I'm convinced now it was Miss Redfern. She was found in your dressing gown. What of it? You yourself told me it was raining Friday night. You yourself just saw her dress. It's full of wrinkles and rain spots. How did she get in here? Why? Who brought her here? I haven't the slightest I'd be. Now look, Miss Hunt, do you love this Carpenter fellow so much you'd risk your own safety to protect him? He must have brought her here. You suspect me. You think I killed somebody in jealousy? I'm trying to get at the truth. I'm sorry. It's strictly routine. I'll see you in the morning, Miss Hunt. Meanwhile, don't leave this apartment and don't use the telephone. But I've got to use it. I've got to let my friends know I'm alive. I'm sorry, but I must insist. If anything should happen to you now, I wouldn't like it. There's one more thing. I know that you went away to make up your mind whether you'd marry Shelby Carpenter or not. What did you decide? I decided not to marry him. Well, I'll be seeing you in the morning, Miss Hunt. Good night. Alfred? Is that you, Mark? Yeah. Watch your step. It's pretty dark down here. Anything come through those earphones? Yeah. The mob just called. The red friend girl, all right. Kind of balls things up, doesn't it? Yeah. Say, you seem pretty. Hey, wait a minute. She's dialing a number up there. Give me those earphones. Yeah. I just... Call the phone. Meet me right away in front of the office. Can you... Was that... Yeah. The things are always pulling a switch on you. You stay here, Alfred. The cavity out front. Yeah. Get headquartered. Tell them to send another man down. You're right away. The cavity is going to tail the girl. What about you? I think I'll stick by Mr. Carpenter. I'll see you. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In just a moment, our stars will be back with Act 3 of Laura. Now, here's our Libby with her head in the turban. Looking like a fortune teller. I see the future of your stocking. Well, here's a lady who would like to know how long her stockings will last. Suppose you tell her. How long have you had them now? They're new. I've worn them twice. You will wear these stockings for three weeks more until Monday, February 26. Why, how wonderful! How can you tell? It's simple. According to a washing expert, 23 days is the average wearing cycle of rayon stockings. So, if you've worn these two days already, you've still got 21 days or three weeks to go. But my stockings never last that long. I must be way under average. Oh, that's too bad. Perhaps I can help you. I see you in the evening washing stockings. I see cake soap and rubbing. That's right. In this weather, stockings get all splattered up the back, and I have to rub to get the spots off. Well, I think that's your trouble then. You see, stockings are delicate. They just can't take harsh treatment like that. They need gentle care, lukewarm water and gentle luck, and no rubbing. If they are spotted, just take a few luke flakes in your moistened fingers and work them in gently. Then squeeze the suds through the stockings, rinse well, and dry rayons for at least 24 hours. With proper care, I'm sure your new stockings will last much longer. Yes, stream tests show that luke stockings do last longer. Actually, twice as long as those washed with strong soap or rubbed with cake soap. Twice the wear from every pair with luke's care. That's worthwhile, isn't it? Stick to luke's for stockings. Now, Mr. Barrymore returns to the microphone. Now, after the play, you're invited to join us for a brief chat with our stars. Now, here's Act 3 of Laura starring Dana Andrews-Mark, Jean Tierney as Laura, Vincent Price as Shelby Carpenter, and Otto Kruger as Leidecker. For three hours, Detective Lieutenant McPherson's been following Shelby Carpenter. Now, in the black hours of night, he stops his car near a lonely house 18 miles from Norwalk and makes his way carefully toward the front door. It's not quite shut. He peers through the crack for a moment and then walks in. What are you doing with that shotgun, Carpenter? I must admit, this is somewhat embarrassing, Lieutenant. Let me see that gun. It's been fired recently. Yes, I killed some rabbits with it. Oh, well, back. I don't know exactly. I gave the gun to Laura for protection. You haven't borrowed it lately. You didn't just bring it back. Sure you ought to know you've been following me. I realize I've brought you in. You brought Diana Redford to Laura's apartment. You knew all along it was she who was murdered. Didn't you know Laura would come back any day and spill the whole thing? Or did you plan to kill her, too? Oh, you're being fantastic, McPherson. You took a bottle of black pony to her house Friday night. I took it there over a week ago. Bessie says Friday night. I can't help what Bessie says. Where's the key to Laura's apartment? I haven't got one. I never had one. Okay, you didn't bring the Scots there Friday night. You never had a key. How did you get in? Well, I... Come on, talk. Talk? All right. You see, Laura kept an extra key in her office. I had asked Diana to meet me in a restaurant. I wanted to have it out with her once and for all. You know, she thought... Well, she thought she was in love with me. She started to get hysterical we had to leave. Well, I couldn't very well take her to a room in the style of my hotel room. So we started to walk. It began to rain suddenly and we got drenched. I thought of the key and I stopped by the office to get it. We couldn't find a taxi, and so we walked back to Laura's apartment. Yeah. Diana went to Laura's bedroom. Then she came out, she had on a dressing gown. Well, we talked, argued maybe, for a couple of hours, and then the doorbell rang. Why didn't you go to the door? Well, suppose one of Laura's friends had found me there. I told her to say that Laura had lent her the apartment. Anybody who knew Laura would have believed that. Don't stop. Well, I heard Diana open the door, and then there was an awful explosion. By the time I reached it, the door was shut again. Diana just lay there on the floor. Didn't you got to see who did it? I was too confused, too horrified to do anything. The hallway was dark. I don't remember what I did. I knew I had to keep out of it and keep Laura out of it too. The only thing on my mind was the safety of a person whose life was dearer to me than my own. Don't you understand that? Did you think Laura had killed her? Did you? I don't remember what I thought. Do you think so now? No. On Saturday, when Detective Crane went to see you, you seemed sincerely shocked. I was. I hadn't expected the police to mistake Diana's body for Laura's. But your alibi was already a concert. You knew the minute Laura got back to town, it wouldn't stick. I couldn't think that far ahead. I was groping for some way to keep Laura's name out of it. I was heartbroken about Diana and panic-stricken about Laura. Okay. And tonight you met Laura in front of her office. What did you talk about? About what I just told you. What are you turning down the radio for? To see if it works. Why don't you tell all the truth? She sends you here to get rid of that gun. She doesn't even know I came here. It was my own idea. The radio works fine, doesn't it? Well, I wouldn't. I hoped it wouldn't. All right. We're driving back to New York. Well, am I under arrest? I don't know. Just don't leave town. It would be a very foolish thing to do. Good morning, Lieutenant. Good morning. You know, I have a terrific yen to call you Laura. Why don't you forget that Lieutenant business and just call me Mark? Especially since I brought you all these groceries. Breakfast. You didn't buy any food when you went out last night. So you know. Yeah. I can fix bacon and eggs. Can you make coffee? Oh, I spoke to Bessie. She'll be a little late. When I told her you were alive, she'd done her past out. Yeah, she phoned. She might have been a little more delicate about it. I suppose you set the table, but we'll have to wait a little while for the courses. I've asked Paul Lydegard to stop by. Did you tell him about me that I'm alive? No. Why not? It's brutal. I'm not doing it for laughs. Why did you break your promise last night? Not to go out? Because I'll never be bound to do anything unless it's of my own free will. The Red Fern girl was in love with Carpenter. You admitted that. I also told you he wasn't in love with her. Paul? I don't know. Just sit still in here. Hello, Lucari. Laura? Oh, good morning, darling. Hello, dear. Well, excuse me, Lieutenant. I'd like to kiss my fiancee good morning. Oh, so it's on again? Do I have to get a police permit? For now who? Come in, Lydegard. The door's on lights. Lydegard, huh? Right on my heels. Well, me first thing, have you thought over the daylight, suggested? What about the portrait and the... Why? What? Paul! Laura. Laura. I'll be all right in a moment. Laura, what? Not now, dear. Don't try to talk now. Come on. I'll take him into the bedroom. Just be quiet, Paul. Yeah. He's lying down. This is going just a little too far, McPherson. Your methods are vicious. Must have been a terrible shock to him, seeing me. Poor darling. Don't tell me you're in love with Lydegard, too. Stop talking that way to Miss Hunt. Laura, why do you cover up for a guy like Carpenter? What story did he tell you when you met him last night? Don't answer him, darling. Shut up. There's enough on you, Carpenter, to arrest you right now. Quick, McPherson. The handcuffs. Trundle him off to the who's cow. Paul. I hope you'll forget my weak touch of angina, my dear. It's an old family custom. Did I interrupt a pinch, McPherson? I've changed my mind for the moment. In that case, better order some food and liquor, Laura. People are coming to celebrate your return this afternoon. A cocktail party. Who asked him? I did. In the quiet of your boudoir just now. I called my man and he's calling all our dear friends. Why did you do that? Well, perhaps our friends can weave all the loose ends into a noose. Am I, McPherson? You shouldn't have gone to all that trouble, Mr. Lydegard. I'd already called him. Well, I'll run along now, Laura. I'm sorry about the breakfast. Some other time, maybe. Shelby. Shelby, come here. What's the matter, darling? Your party's a huge success. Shelby, tell me. I must know. Why did you go to the country last night? Laura. Well? You know, I was afraid you wouldn't think of hiding that shotgun. What shotgun? The one I gave you. Oh, darling, you don't have to lie to me. Well, what's going on here? Oh, nothing at all, Anne. In case you don't know it, that McPherson man hasn't taken his eyes off you. I know. Maybe it would be better if I, well, mingled with our death. Laura, McPherson suspects him. Shelby. He suspects me, too. Oh, don't be absurd. You could never have done a thing like that. Darling. Are you as interested in Lieutenant McPherson as he is in you? Anne, I only met him last night. Sometimes that's more than long enough. Anyway, he's better for you than Shelby. Anybody is. Shelby's better for me. Why? Because I can afford him. He's no good, but he's what I... Wait a minute. He's coming. Mark. Oh-ho. Mark is. I'm sorry to break up your party, Laura. But you haven't. You've been a model guest so far. I'm not joking. Get on your things. I'm taking you to headquarters. I was going to get a cell and a denim dress. Is this your office? Before they trot out that denim dress, I want to know what you've... why you've been holding out on me. Have I been? You told me the radio at your country place was broken. It was. Not last night. I stopped in the village on my way back. I asked the local handyman to fix it. And how did he get in? With a key. The key I always leave under the flower pot on the porch. All right. I'll accept that. Why? Because you're too intelligent to make up a story, I could check so easily. The main thing I want to know is why you pulled that switch about Shelby Carpenter. You told me last night you decided not to marry him. But today it was on again. Why? I changed my mind. What went on between you and Carpenter when you met him last night? Or should I guess? He convinced you that if you broke your engagement now, people would think you believed that he killed Diana Redford. Yes. But now I know the real reason why you wanted to stay engaged. He thinks I did it. So do you. Are you in love with him? No. I don't know how I ever could have been. Come on, Laura. You're going home. But I thought I was under... That's what I wanted you to think. You and a few other people. I didn't even book you. And all this was just some sort of a game. I was 99% certain about you, but I just had to make sure that 1% doubt. Wasn't there an easier way to make sure? You're smiling. You're not sore. No, Mark. I'm not sore. Go back to your party if there's anything left of it. And you? I'm going to Lydeck's apartment. I'll drop by later on. It's been a long time since we've been together. Well, darling, what's the matter? Nothing, Paul. You're worried? Yes, MacPherson. He's using you for something? I don't think so. I don't deny he's infatuated with you in some warped fashion, but he's incapable of any normal human relationship. He's been dealing too long with criminals. When you were attainable, unattainable, and he thought you were dead, that's when he wanted you most, fell in love with your portrait. He was glad when I came back, as if you were waiting for me. What he calls women? Dames. A dame in Washington Heights once got a fox for a coat out of him. That's his very word. That doesn't mean anything, Paul. He isn't like that. Laura, my dear, you have one glaring weakness. With you, a lean, strong body is always the measure of a man. And you always get hurt. No man is ever going to hurt me again. No, not even you. I hurt you. Laura, look at me. You were a long time finding out about Shelby. But that's all over now. We'll be together again. Wait, the door just opened. Don't get up, it's only me. Oh, haven't you heard of science's latest triumph? The doorbell? I'm glad you're here, Laideke. I've just been to your apartment. Do you mind if I search your pockets? I found a shotgun. Oh. But I wasted my time. It wasn't a gun that killed Diana Redfern. First he tells you he thinks you're innocent, and then he proceeds to check up on you. I never said you're innocent. Me, I'm talking about Laura. My dear, this entire maneuver could be a trick to throw you off guard. It could be. But it isn't. I know, I believe you, Mark. See, I'm beginning to get annoyed. Laura, it's the same obvious pattern. If McPherson weren't full of muscles and good looks, in a cheap sort of way, you'd see through him in a second. Pa, I mean to be as kind about this as I know how. But you're the one following the same obvious pattern. First with that painter you thought was in love with me. Then with Shelby, and now I suppose... Laura, what are you saying? I don't think we should see each other again. Darling, you're not yourself. Yes, I am. For the first time in ages, I know what I'm doing. Very well. I hope you'll never regret what promises to be a disgustingly earthy relationship. Oh, listen to my broadcast in ten minutes. I'm discussing the other great loves of history. That was the most difficult thing I've had to do in my whole life. But I still haven't found it. I haven't found it. What? The gun that killed Diana Redman. What are you doing? Taking a look at your clock. He's got one just like it, hasn't he? Yes, but... I wasn't alone just now in Leidecker's apartment. A guy named Sergeant Crane came with me. Crane's old man is a clockmaker. And while I wore myself out looking for a shotgun, all the sergeant did was drool about Leidecker's clock. He said probably there's not another one like it in the world. Obviously he was wrong. Yeah, and he showed me something about that clock. A little feature with all clocks made by Kobe Feast. Underneath here, near the floor, is a little spring. You push the spring and the whole bottom compartment opens up. See? Like this. But I never knew. In the old days, I guess people used the compartment for a kind of safe. Today they use it for hiding other things. Shotguns, for instance. Well, this is it, Laura. I'm sure of it. And it was put here by the only man who knew about this clock, Paul Leidecker. Oh, no. When the red front girl opened the door, this hallway was dark. Leidecker saw a girl, assumed it was you. And he fired. He figured if he couldn't have you for himself, he was going to make sure no one else did. He heard Carpenter, so he hid behind this stairway outside in the corridor. Carpenter was scared to death, and he got out as fast as he could. Then Leidecker slipped back in and tucked the gun away in the grandfather clock. I've doubted ever since I came back. I'm the one to blame. Not for anything I did, but for what I didn't do. I should have stopped seeing Paul long ago. But I couldn't. I owed too much to him. I can understand all that. But I can't understand why you tried so hard to protect Carpenter. I was fanting you to arrest him. I knew he wasn't guilty. But I knew Paul would do everything he could to incriminate him. It was his way of getting rid of Shelby, just as he got rid of every other man who might have meant something to me. For a charming, intelligent girl, you've certainly surrounded yourself with a remarkable collection of dopes. Now, look. Don't touch anything. I'm leaving the gun in the clock. I'll have it picked up in the morning. You're going? Yeah, I'm picking up Leidecker. Mark. I've got to. You know that. Try and get some sleep, will you? Sleep? Well, maybe I can. I'll read a book, listen to the radio. Will you call me later? Sure. Try and forget all this. It's just a bad dream. Good night, Laura. Good night, Mark. Good night. And be careful, please. For this evening, Mr. Paul Leidecker. As history has proved, love is eternal. The strongest motivation for men's actions throughout centuries. Love is stronger than life. It reaches beyond the dark shadows of death. May I remind you of some favorite lines of mine from Dawson's poem? They are not long. The weeping and the laughter and love and desire and hate. I think they have no portion in us after we've passed the gate. They're not long to dream. Our path emerges for a while, then closes within a dream. That's the way it is, isn't it, Laura? You heard the voice of Paul Leidecker by electrical transcription. This is the... There is a final irony to all of this, Laura. You know how I despise melodrama and yet here I am, a gun in my hand about to kill you. Paul, you've taken my life. It's not enough. The best part of myself, that's what you are, Laura. Do you think I'm going to leave you to the vulgar poings of a second-rate policeman who thinks you're a dame? He'll find you, Paul. You know who he is. We'll leave. Don't you overestimate the man who thought I left a few moments ago. All I did was wait in the hall, Laura. And then I let myself in again with the key I've always had. I'm not going to lose you, Laura. Open the door. Don't move, Laura. She didn't leave. She's somewhere in this building. Laura, are you all right? He'll find us together, darling, as always we should have been, as always we will be. No, I won't. No! Turn your face, darling. Please, turn your face. I... Go! Go! Sorry, Miss Santora. I had to do it. I better let the boss in before he busts down your door. Laura. Laura. It's all right, Mark. Get him through the window, Lieutenant, from the fire escape. I'll call headquarters. Fine detective. Fine detective, I am. Laura. Goodbye. Goodbye. My love. It's all right. The bad dream is over. We'll be back with our curtain calls in a moment. The war is far from over. Now is no time to relax. The president says army needs 18,000 nurses. Congress discusses drafting women 18 to 50. This is the crucial year of the war. And every woman, like every man, must do her part. If you want to bring your son, your husband, the boy down the street, the woman, the woman, the woman, the woman, the woman, the woman, the woman, the woman, the woman, the woman, the woman, the boy down the street, home sooner, do every single thing you can to help now. Even if you can't take a war job or be a nurse, you can still help by saving every drop of used fat. Your used kitchen fats make the medicines our nurses need for our wounded men, and the raw materials for synthetic rubber life wraps and airplane tires. The American Fat Salivate Committee says fat salvage can no longer be regarded as a volunteer service. It is a serious war time obligation that must not be neglected until every jazz band has driven back to Tokyo. And the South Pacific Islands again become exporters of commercial fats and oils. Yes, now, the kitchens of America must help supply the fats we used to get from lands the jazz still hold. Save the fat from your broiler and frying pans. Skim it off the tops of soups and stews and gravies. Melt down table scraps and sew it. Your butcher will give you four cents and two red ration tokens for every pound you turn in. Save every drop, every drop every day until J-Day, the day the Japs are licked. Now, back to Mr. Barrymore and our stars. For now that we've solved tonight's baffling crime with the help of Gene Tenney, Dana Andrews, Vincent Price and Otto Kruger, we invite our stars to the footlights for their curtain calls. And I might add that for Dana this is the first appearance on our stage. First for me too, Mr. Barrymore. For you too, Gene. Well, with Van Johnson here and our 10th anniversary show, the Lux Radio Theater's had a pretty good season for new stars. I hear you're making a picture with Van Johnson, Mr. Barrymore. That's right, Vincent, between two women. Bleh. That metro golden man. Well, I'll tell you a secret about Dana. He's going romantic on us in his next picture. Sure. What picture is that, Dana? It's a Technic color, Vincent, for 20th Century Fox. State Fair. Who's in it with you? Well, the largest group in the cast is 54 Prize Hampshire Hogs. Hogs. Hogs. Let me get this straight, Dana. You're playing a romantic role. Uh-huh. And you know one of those pigs weighs 880 pounds. Undoubtedly the biggest ham in the picture. Oh. I can see now why there's a bacon shortage. All the hogs Well, Dana, you said those hogs are good example in acting and we look forward to producing State Fair in this theater someday. What are you going to have on Lux for next week, Mr. Barrymore? For next Monday night, we have from Paramount Studios a play and stars that hundreds of our listeners have requested. For whom the bell tolls. With Katina Paxinu, Akeem Tamirov, Mikhail Razumi and Gary Cooper and Ingrid Bergman. I can guess by the reaction in our studio audience that it's a play you've all been looking forward to. And I don't wonder. Based on the novel by Ernest Hemingway, it's one of the great motion pictures of our time with five great stars in their original screen roles. Sounds like a wonderful evening, Mr. Barrymore. Good night. Good night. Good night. Good night. Good night. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Ingrid Bergman, Gary Cooper, Katina Paxinu, Akeem Tamirov and Mikhail Razumi and for whom the bell tolls. It was presented through the courtesy of 20th Century Fox, producers of the tree grows in Brooklyn. Mr. Barrymore can be heard on his own program, in downtown, every Saturday night over the same network. Vincent Price is currently working on the 20th Century Fox production, Dragon Wick. Otto Kruger will soon be seen in Samuel Goldwyn's Technicolor picture, Wonder Man. Heard in tonight's play were Lois Corbett, Leo Cleary, Noreen Gamil, Dwayne Thompson, Charles Seal and Howard McNeer. Our music was directed by Lois Silvers. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our Lux Radio Theatre production of Laura, starring Dana Andrews, Jean Tierney, Vincent Price and Otto Kruger has come to you with the good wishes of the makers of Lux Flakes, the tissue-thin soap used by smart housewives everywhere. This is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear for whom the bell tolls with Gary Cooper and Ingrid Bergman, Katina Paxenou, Akeem Tamirov and Mikhail Razumi. There's less work in my cooking, no guesswork in my cooking. Best work is my cooking, since I have switched to spry. Let new easy-bake spry and spry's amazing shortcut recipes help you serve more delicious meals with far less work. For lighter, better-tasting cakes, tender, flaky pastry, crispy, digestible fried foods, get SPRY spry. And be sure to listen in next Monday night to the Lux Radio Theatre presentation of For Whom the Bell Tolls with Gary Cooper, Ingrid Bergman, Katina Paxenou, Akeem Tamirov and Mikhail Razumi. This is CBS The Columbia Broadcasting System.