 Suspense and the producer of radios outstanding theater of thrills, the master of mystery and adventure, William M. Robson. In the most banal cliche, in the most tiresome platitude, there is a hard core of truth. The sickening saccharine cult of momism is built upon the solid eternal fact that there is no substitute for a mother. Fathers just aren't capable of coping with the problems which mothers daily face and solve. Our story concerns one such a father, and a problem much, much too big for him. Listen, listen then, as Mr. John McIntyre stars in John Barbie and Son, which begins in just a moment. We have together ample capacity in freedom to defend freedom. This is NATO, the North Atlantic Treaty Organization. NATO nations trust each other, proof? Well, since the advent of NATO, the amount of information which member governments exchange concerning their armed forces and their economic and financial positions is greater and more detailed than any which allies have ever before exchanged whether in time of war or peace. The United States of America is a part of NATO. You should be aware of and alert to the objectives and programs of the North Atlantic Treaty Organization. And now, John Barbie and Son, starring Mr. John McIntyre, a tale well calculated to keep you in suspense. I'm afraid, Mary. For the first time since you've been gone, I'm afraid. I'm going to have to break my promise. I've tried, I've kept him out of sight like you told me to. I did just like you used to do when you were here, Mary. But it was the kitten that wandered onto the place today. Carl didn't mean no harm. What he did, he didn't mean to do. It was just that he'd never held one in his arms before. And now they're coming for him tonight from the home. If I could somehow just put him off for one more night. Oh, Mary, it would be easier if you were here. Carl, I told you to stay in your room. You hear that? They've come for you. Now go back to your room and hide yourself. One moment. You're to stay in your room and not make a sound. You ought to be very quiet. Do you understand? Now if you do as I say, I might be able to keep you here one more night. Coming. Yes? Mr. Barbie? Yes. I'm Mr. Wilt from the home. I've come for your son. Well, I know, but the boy's ill. Oh, well, you'll take good care of him far better than you can hear. But I'm afraid it's something contagious. He's broke out in a rash. Well, are you sure? Yes, he's got some sort of red spots all over him. Well, I wouldn't want to run the risk of infection. I mean for the others at the home, of course. Of course. Well, that's what I mean, Mr. Wilt. Yeah, well, perhaps I better have a look at it. Oh, please, Mr. Wilt, the boy's asleep. Well, we'll have to wake him then. No, you don't understand, Mr. Wilkie. He's miserable, since he knows he has to go. Don't wake him. Well, you have my sympathy, Mr. Barbie, but I have my orders. Well, you could bring a doctor the first thing in the morning. Then you'd be sure of no one catching anything from him. Well, I suppose I could do that. What about the neighbors? Well, they won't know. They'd never even seen him before today. And it hadn't been for the kitten. Well, I can't go into that with you now, Mr. Barbie. The animal is dead. However, under the circumstances, it might be better if I brought the doctor back with me in the morning. Yes, thank you, Mr. Wilkie. But the boy is not to leave the house. You understand? Yes, yes. All right, we'll be here at nine sharp in the morning. Good night. Good night. Carl. It's all right, Carl. You could stay one more night. I promised your mother that I'd never let them take you away. That I'd do anything before I let them do that. I know what happens to him at that home. I've seen him after they've been there a while. They'd be better off. I know what we'll do, Carl. We'll go away tonight. Just you and me. We'll go so far away they'll never find us. Here comes a truck, Carl. Listen carefully. You have to hide in the bushes by the side of the road here. I'm going to flag him. Now, if he stops to pick me up, you're at a time in the back of the truck without him seeing you. You're not to make a sound. You're not to try to say anything and stay there until I call to you to get out, do you understand? Now, get in the bushes. Hello, senor. You have some trouble? Could you give me a ride to San Diego? Sure. Come on, get in. Thank you. Oh, just a moment. Does it matter if something is wrong? My glasses. I seem to have lost my glasses. Had them a minute ago. I'll just look around back here. You need a flashlight? No, not ever mind. Now, get in the back of the truck, Carl. That's a good boy. Well, I found him. The television unit. You know, I am not allowed to pick up anybody, but he's so late and you're a little, well... A little older than most you see on the highways? Oh, no. I don't mean that. But what's the matter? You have a car trouble? I don't have a car. You hear that noise? What was that? Oh, that's my kitten. Kitten? See, I picked him up in San Pedro. He's a cute little kitten. I got a box all fixed up for him in the back of the truck. A kitten? What's the matter? Well, my billfold, I seem to have lost it. You lose it? When did that happen? Well, I don't know. I guess back where I dropped my glasses. I had it then. If you just let me out here, I'll catch another ride back. Sure, sure. I'm sorry, sir. If I was on my own time, I would take you back. Well, no, no, thank you very much. It'll be all right. Well, good luck. I hope you find it. Well, just a moment. The back end of your truck's open. Oh, hey, better fix it. No, no, don't get out. I'll close it for you. Oh, gracias, señor. Carl, run back down the road. Well, it's all right now. You can drive on. How's the kitten? He's all right. You can drive on now. Muchas gracias. Hasta la vista, señor. Carl? Carl, you don't have to hide anymore. He's gone now. You're a good boy, Carl. You did just like I told you to. And you didn't touch the kitten at all, did you? In a moment, we continue with the second act of suspense. In the democracy in which we live, the concept of the Medal of Honor is something which goes beyond the medal itself, something which goes beyond the deeds of valor. The concept is not a material thing. It is an idea, an ideal, which springs from the deepest roots of all that is best in humanity. It stands for the democratic tradition of freedom, of liberty, of the code of conduct in which the citizens of the United States of America believe. These ideals do not belong to any one race, creed, or religion of Americans, but to all. Private First Class Sadao S. Munimore of the 100th Infantry Battalion of the United States Army proved the validity of these ideals on April 5, 1945. Pin down by enemy fire from artillery and machine guns in the hilly Cerevesa section of the Apennine Mountains, P. F. C. Munimore found himself in charge of his squad after the corporal had been killed. During a lull in the shelling, the men advanced, but were forced to take cover from machine gun fire. Grabbing some hand grenades, P. F. C. Munimore rushed forward and demolished the enemy machine gun nest. Again, the men advanced, but another machine gun forced them to take cover. Munimore continued his assault with grenades and destroyed another machine gun. The enemy opened up with grenades. Munimore crawled back from Mora ammunition to a shell crater that shielded two of his men. As he reached the edge, an enemy grenade bounced off his helmet and into the crater. He immediately dove into the crater and smothered the deadly grenade blast. For saving two lives at the cost of his own, Private First Class Sadao Munimore was awarded the Medal of Honor. Devotion to his men and to his duty exemplified the highest ideals of the Code of Conduct. And now, starring Mr. John McIntyre, back to of John Barbie and Son. We made San Diego after all, didn't we, car? Now we'll get a room and get some rest. Eh, this looks like a nice place. But I better go in alone. It wouldn't be good for anybody to cease together. Don't wait here on this bench. But you're not to talk to anyone, I understand. No one. Ah, good evening. I'd like to have a room, please. You're lucky I've got just one single left. You haven't a double? Oh, sorry I haven't. Aren't you alone? Well, I am, but I prefer a double bed. I'm afraid you're going to have trouble finding any kind of a room in San Diego tonight. There's a big convention in town. We're lucky to have this one. All right, I'll take it. I'll have to. Have a sign here, please. It's not really a small bed. It's three-quarter size. Here's your key. Oh, that's fine. Thank you. Oh, could you tell me, is it on the ground floor? No, it isn't. Had you wanted it on the ground floor? Yes, you see, I'm a little nervous about fire. Oh, well, there's a fire escape just down the hall probably. Well, then, it'll be all right then. I've got to get... I mean, I'm going out for a minute. I'll be right back. Thank you. I'm right behind you, Carl. And nothing to be afraid of. You've never been on a fire escape before, have you? Fun, isn't it? There's only a little ways now. Here, take my arm. Ah, here we are. Now, you stay back until I look in the window first. See if anyone's in the hallway. It's all right. Come on, I'll help you through. Someone's coming. Stay out there. No, Carl, stay out there on the fire escape. Don't make a sound. Oh, Mr. Wilson. Hello. Well, aren't you in the wrong end of the hallway? Well, yes, I'm... Can't you find your room? Well, yes, but I was just looking around. Oh, the fire escape. I see. You wanted to try it out, huh? Well, I am a little nervous. Yes, well, I understand. Would you like me to show you how to get out on your own? No, no, thank you. I've been out there already. You have? Well, you feel better about it. Yes, yes, thank you. Well, is there anything else I can do for you? No, I'll be getting to my room now. I guess we better close this window. That fog's getting pretty thick. I'll close it. Well, good night, Mr. Wilson. I hope you sleep well. Good night. All right, come on, Carl. Careful now. Follow me quickly. You hungry, Carl? I'll get us something to eat. Then we'll get a good night's rest. Office. This is Mr. Wilson in 314. Yes, Mr. Wilson. Could you send up some food? Oh, I'm sorry, Mr. Wilson, but room service is closed. You? You're welcome. Can you imagine that, Harry? Mr. Wilson must think he's in the Waldorf. Room service at 10 o'clock at night. Yeah, he's a strange one. I found him upstairs in the hallway trying out the fire escape. When? A couple of minutes ago. How'd he get up the stairs? He didn't come through the lobby. He didn't? No, I'd have seen him. Well, then he must have gone up by the fire escape. Do you suppose he's got someone up there with him? Well, it's happened before, but not if I know anything about it. I'm going to go... Oh, Mr. Wilson, you going out again? Yes, to get something to eat. Oh, well, have a nice dinner. Thank you. Miss White, have the boy take the board unless you and I go upstairs. We'll have a look around while he's gone. Frank! Yes, ma'am? You saw the old man that just went out the door? Yes, ma'am. Well, we're going up to his room. If he comes back before we return, ring twice to warn us. Yes, ma'am. Why are you knocking? I have a feeling someone's in there. They're not coming to the door, not if he sneaked them into the hotel. I suppose you're right. I guess I'd better unlock it. Nothing unusual here. Look at this bundle. And this boy's cap. Well, it might be his. He wasn't wearing a cap when he came in and he wasn't carrying a bundle. No, he wasn't. Oh, look in the closet. That's Frank. The old boy couldn't have eaten that fast. All right, we'll get out of here. He says he's carrying a package. He probably brought something back to eat here in the room. Come on, Miss White, we'd better get out of here. I'd better go down the stairs. He'll probably be coming up in the elevator. Miss White! What's the matter? You've walked off with the cap. Oh, goodness, I have. I didn't realize. What do we do? Shall I go back? No, I don't think you'd better. He'll be up there any minute. Maybe he won't miss it. We can put it back if he goes out again. Carl? Carl? Where are you? What are you doing in the closet, Carl? Was somebody here? Somebody has been here. Where's your cap that was on the bed? Who was here? Would you like to see the manager, please? Oh, well, he's not in. I'm in charge. Could I help you? Yes, I'm Detective Bowen. Here's my identification. We're checking hotels in the vicinity of the barbie. Have you anyone registered by that name? No, I don't believe I have. What kind of a looking man is he? He's an older man, about his fifties. He's... Well, there's an old guy checked in about an hour ago, but he's registered under the name of Wilson. Here it is, John Wilson. He might be the one you're looking for. Have a hunch he is. Is he in his room now? Yes, he went up a short time ago. I'd like to go up. What's the room number, please? 314. Is it something serious? Yes. Murder. In a moment, we continue with the third act of... Suspense. Another visit with Joe and Daphne Forsythe. Joe. Joe. Joe. Joseph. Yeah, yeah, I'm up. I'm up. I'll be right in. Relax, it's three in the morning. I said relax, it's three in the morning. I was relaxed. Daphne, why did you wake me up? Well, I was just wondering what happened to our savings bonds. You were what? I had a dream. I dream you lost all of your money, and all we had left were our savings bonds. I see. So I just wanted to make sure they were all right. They're all right. They're with the other important papers. You're sure? Well, I just don't want anything to happen to them. Savings bonds are the most secure form of investment. Why the whole faith and credit of the United States stand behind those bonds of ours. Uh-huh. So they're even better than dollars in your pocket because the government stands behind them and protects them. Uh-huh. And they protect us too, Joe. Every bond is an investment in our country, in our security and freedoms. Joe. Joe. Joe. Well, how about that? He feels so secure he went back to sleep. Hmm. Good night, darling. And now, starring Mr. John McIntyre, back three of John Barbie and Son. Mr. Wilson. Mr. Wilson, I have another room I think you'd be interested in seeing. I don't think anyone's in there. Yeah. All right, open the door. It's all right. I have a gun. I stand back out of sight. There's no one here. I look back at that door. No, I hear maybe the closet. Oh, nobody here. Say, he must have had somebody with him after all. Oh, what do you mean? Well, he registered alone, but the way he was acting, I suspect that there was someone with him. Look on the dresser there. Two bottles of milk, two sandwiches. Yeah, there is a matter of fact. I found him looking it over right after he moved in. Come on, let's have a look at it. The window's open. It must have gone out that way. Let's have a look outside. There's no one down below. You must have just missed him. Look, Mr. Bowman, somebody up there above. Someone's climbing onto the roof from the fire escape. All right, that's him. Come on. Nice, isn't it, Carl? Up here in the fog. Quiet and soft like. Like it'll be for us forever. Carl, you understand if they catch up with us, it means you'll have to go back to the home, don't you? We promised your mother we wouldn't let that happen, and we're not going to. It isn't going to hurt much, Carl. It'll be quick. Mr. Barbie! Mr. Barbie, don't! Say where you are. This is my affair. Mr. Barbie, that isn't going to do anybody any good. Now just listen to me one minute. If you come a step closer. I won't. Now listen to me. What do you want? Mr. Barbie, don't jump. Come back with me. They'll go easy on you. You'll not take him to the home. I know what happens to them there. Mr. Barbie, you're real. You don't know what you're doing. I tell you not to come any closer. All right. All right, I won't. But listen. I not listen to anything. I know what's best for my boy. I promised his mother. Didn't I, son? What? Who are you talking to there, Mr. Barbie? Don't pay any attention to them, Carl. Mr. Barbie, there's nobody there with you. What? What did you say? I say there's nobody there with you. No. What kind of a trick is this? You're just imagining things. Is nobody here with me? No, sir. Your son is dead. And what you're going to do now won't help anything. My son is here by my side. No, Mr. Barbie. No one by your side. You're trying to confuse me to keep me busy talking so that fella can sneak up behind me. Is that it? No, Mr. Barbie. Mr. Barbie, we're just trying to save your life. Come back away from that ledge. Let us talk to you. No, no. I've had enough of your tricks. Carl, are you ready? It won't hurt much. Take my hand, son. Take my hand. Mr. Barbie, no! Poor guy. You said he was wanted for murder? Yeah. He killed his son this evening. The authorities are going to take the boy away to a home. I... I guess his mind just snapped. Well, it's probably better this way. Because he thought the boy was with him. Right to the end. Suspense. In which John McIntyre starred in William M. Robeson's production of John Barbie and Son, written by Mel Dinelli. Supporting John McIntyre and John Barbie and Son were Ellen Morgan, Carl Swenson, Sam Pierce, and Jack Krushen. Listen. Listen again next week when we return with another tale well calculated to keep you in suspense. This is the United States Armed Forces Radio and Television Service.