 And now, tonight's presentation of Radio's Outstanding Theatre of Thrill's Suspense. Tonight, we bring you a story of a manhunt that ends in a church. We call it, The Lady in the Red Hat. So now, starring Mr. Vic Perrin, here is tonight's suspense play, The Lady in the Red Hat. Thanks. What's the trouble? Order is to stop those articles you're writing. Why? Well, it's not so much the 13th apostle as the way you keep harping on those theories you've got about him. Well, I think I'm right. I know, so does the chief. But you've got every woman in the city scared to death. That's why I want you to lay off. Look, five women have been murdered by the 13th apostle in three months. And they were all wearing red in their clothes. I say that means something. And they want me to lay off. This isn't me. We hired you to do the feature column in the Sunday supplement because you've got a big following. Psychology of murder. It's a great idea. Excuse me. Yeah. Mr. Banning, is Mr. Mitchell in there? Yeah? Will you tell him his housekeeper's on the phone? He says it's urgent. All right. Switch the call in here. Yes, sir. Use this phone, Mitch, huh? Thanks. Hello? Oh, yes, Mrs. White. Oh? Will you repeat the message, please? Thank you. No, don't worry. It's all right. Yes, I won't be home until after midnight, then. Yes. Goodbye. Anything wrong? I don't know. I'll find out, though. An anonymous note slipped under my door. Somebody wants me to meet the Avenger at midnight. Good evening. Oh, hi, Mitch. I thought you were going to wait downstairs. I was, but Banning wanted to see me. Naylor called him. And the police department wants me to stop my articles. Why? Oh, I'll tell you while we're eating. Did they say anything about my stuff? No, yours is straight reporting. It's theorizing the objective. Maybe I'm getting too close. Have you written anything on last night's murder? I'd like to read it. I won't be writing it now. But if I did, I know what I'd say. Have you got something new, Mitch? Something new? Maybe? I don't know yet. Meet the Avenger at 12 o'clock. And the Avenger could be anyone. We waited for the elevator. I watched. Tired faces drifting into boxes, lowering them to the street. And then outside, into darkness, growing cold with snow and night's wind. And she was there with me, a smile on her lips. We went to a place for dinner. You know, Mitch, I love this place. My favorite hangout after work. Well, that's why I brought you here. Now, I was beginning to wonder why you've been so quiet. Subdued lights and warmth. Is that it? In a way. You know, something else too. Mitch, tell me now. What do you think about it? It? The Avenger. You've read my articles. That's what I think. No, I don't mean what you write. I do that too. I mean you. What do you think? Well, I have to write about him. Must I talk about him too? Mm-hmm. All right. I think he's fantastic. Consider the name he or she has chosen for himself. The 13th Apostle. Probably wants to purge the world because of its sins. That's what you said in your article. Well, that's what I think. And all that stuff about the color red? It means something. Perhaps a sinful color. The obsession of red is a symbol. There's a tie-up. Listen, I want to tell you something. Something big. A story? Can I have another drink? Oh, I'm sorry. Mario? Coming, sir. I got an anonymous note this morning. A note? Well, that's odd. What do you mean? Because... Oh, uh, the same? Yes, please. Nothing, thanks. By the way, when a Lieutenant Dowell comes in, will you show him to this table, please? Of course, yes. Bill Dowell? He's on the Avenger case. Are you holding out on me, Mitch? You were speaking of a note, anonymous. Did it say anything about the Avenger? Yes. Yes, it did. If I wanted important information about the Avenger, I was to go at midnight to the community chapel on 7th. Have you got the note with you? No, I left it at home. Oh? Did it tell you to sit in the first pew and wait? You got one, too? This afternoon, under my door at home, the housekeeper called. The same thing. This square, isn't it? I've wondered. What? This isn't an ordinary tip, don't you see? I've been working on the story for the standard. You've been doing your series. Supposing... The 13th Apostle sent the notes. Well? Uh, Bill Dowell called me earlier. He wanted to see me. Oh? I said I was taking you out for dinner. I told him to meet us here. Why? The lieutenant claims he received a note like ours, too. Could she be the one? Or Dowell? Millions of people in a city and the person next to you, a killer. You just couldn't believe it was someone you knew. Was that, then, the ultimate stimulation? To kill a stranger was not enough. Now, seek out the danger, the extreme risk. Because there was emotion here. Emotion of friendship. That was different. And who might it be? The girl on the newspaper? Or the policeman? Are you being stubborn because you're a policeman or because you're just pig-headed, lieutenant? Jeanne, you're a reporter. Too much imagination. I still think it's a crackpot gag. Then why did you come? Well, because Mitch and I have been working together on this because we're all friends. I'm not taking any chances. There have been five murders already. She makes sense, though, Bill. Three of us, all vitally interested in the case. It would be very flattering to him if we turned up at the chapel at midnight. I'll be there. I can tell you that. I don't like it. He might be after one of us. Maybe you, Jeanne. Maybe he doesn't like some of the stuff you've been writing about him. Maybe me. Maybe. Or me. Or me. I'm the cop who's chasing me. Yes, I don't imagine he's particularly fond of you, Bill. Well, why not surround the chapel? No. Mind you, I still think it's a crank note, but if it isn't, this baby's too smart. If he sees anything wrong, you'll get away. If you use police cordons before to get a killer, there must be enough buildings around. I'm still not taking any chances. I think Billy wants all the credit for a dramatic capture. I have to share it with Mitch anyway. And me. Uh-uh, you're going home. Oh, that's what you think. Come on that list. I want to be there when something happens. Do you know where the chapel is, Bill? Yeah, it's the one on 7th, just around the corner there. It's funny. I must have passed it a hundred times. I never noticed it. Most people think it's vacant. It's not. In fact, it's open all night. How do you know, Ginny? I don't know. I guess I heard about it. You know, I always used to like the snow. I look forward to it. I don't like it tonight. I never like it. It's something smothering about the stuff. I was in a blizzard once. What happened? I was lost in the woods up north. I nearly froze to death. The snow kept coming down. It got in my mouth and my nose and my eyes. And after a while, things didn't look quite anymore. They were blurred and red. What frightens you more? Fear of being lost or fear of dying? I don't know. Why? Just wondered. Anybody got the time? It's 11 o'clock. Let's go in. Funny. What is? If one of us were killed here. I'm going to have a look around. Check any side doors. All right. You stay here. Yeah. The music's nice. There's the organist up there, you see? Have you ever noticed how, even in an empty place like this, one speaks softly? Yes. I wonder why it's always so quiet. I wonder. Why are you looking at me like that? Was I? Yes. Why? Perhaps I was thinking how strange it would be if one of us were the 13th apostle. Listening to the Lady in the Red Hat, tonight's presentation in Radio's Outstanding Theater of Thrills. Suspense. Every Saturday night, over most of these same stations, CBS Radio picks up the threads of a startling story of people who call the police, and often of people who call on police and the other way around, working out of 21st Precinct. There's fast-moving drama and an intimate glimpse into the human side of police work. Saturday nights on CBS Radio. When you're invited to hear the 21st Precinct. And now we bring back to our Hollywood soundstage Mr. Vic Perrin, starring in tonight's production, The Lady in the Red Hat. A tale well calculated to keep you in suspense. The Avenger? Or Midge? Well, it has to be someone. I believe you're serious. I am. We've all been on the case since the first death. Perhaps one of us enjoys the publicity, the thrill of killing. Are you trying to frighten me? No. I don't like this place. Better go home, then. For a jettestine? What did you find, Bill? One side exit. That's all. We can see it in front of you. What's the time? About a quarter past 11. Oh, I'm cold. I wonder if we could get some coffee. There's a place in the corner. I'll get it. You two stay here. I mean, I like yours. Just black. The same. Right. I'll be back in five minutes. Take it easy, Jeannie. It's not 12 yet. You want to sit down? Up in the front? No, not yet. All right, here, then. Midge. You weren't serious, were you? Yes. Midge. Well, you've read my articles. I've theorized about the apostle. The analysis could fit any one of us. Me? Well, why not? You're fairly strong. You could have done it. You like excitement, danger. You've often said you don't get along with women. You never have. Well, that doesn't mean I'd... It could be you. Or you, or Bill. Yes. Now, I've thought about him. It wouldn't be difficult for him to kill and get away with it. Easier than most people because he's a policeman. And you? Perhaps I'm in love. In love with a girl I can never have. And because of that, I hate all women. It's funny. I never thought of you in love. Why not? Because you're so alone, so... We sat alone with the music. It was everywhere in the chapel, solemn, accusing. The thoughts had been spoken. Fear was creating suspicion. And the girl with the red scarf tied about her head, sitting with folded hands beside me, looked in front of her, and her eyes were on the front pew. Sorry I was so long. It seems that half the cab drivers in there were getting confident. Did anything happen? No. Ginny. Thanks. No, it seems wrong. Drinking coffee in the chapel. Sinful, Ginny? Oh, stop it. It's not what I meant. Thank you. Thanks. What's the time, Bill? 11.30. Is that all? I see our friend at the organ is still there. It's a funny hour to practice. Mitch. Hmm? I, uh... I heard what you said to Ginny before. I mean about one of us being the Avenger. Are we kidding? No. It's crazy. Well, why it's got to be somebody? Why not one of us? Well, we've got brilliant reasons asking. We all feel it. It's not a joke anymore, Mitch. I know. The trouble with you, Bill, is you think you have to look for some poor devil frothing at the mouth, hands covered with blood. But... Must a murderer always look like a comic book conception of a murderer? Cut it out, you're not funny. I'm not trying to be. I think it more than probable that one of us could be the 13th apostle. We're normal, moderately attractive people, but one of us thinks differently. Which one? We drank our coffee. There was an animal awareness now, each of us watching the other, cautious, wondering. We spoke of Christmas of sailing, of next year's Dodgers. We spoke of everything but the 13th apostle, end of 12 o'clock. Look, there's been a lot of crazy talk tonight. Mitch, you started it. Now let's get things out of here. All right, Bill. I still think those notes we got were from a crackpot. But it's my job to investigate. I've gone along with the gag, Mitch, but this is serious. This talk about Jeannie or me or you... If you think it's a gag, why bother about it? What's the matter with you, Mitch? Why don't you stop? I'm sorry. Let's forget it. We'll leave Bill to sit it out and I'll take you home. I wish you would. No, I'm staying. What? I can figure it on that. Oh. The lights. There's only one up there now. The darkness must have turned the others out. It'd be hard to see anyone coming in from the front view. Well... I'm going to take a look. I'll see you when I find a chance. No, no. You're not afraid to be alone with me, are you? Don't be an idiot. If anyone comes in, stay in the shadows. It's nearly 12. You might as well get in your places. I'll be right back. I guess we'd better. The front view? Yeah. Yeah, those were the instructions. It's quiet without the music. It's too quiet. It was nice. There's so many shadows. Shadows in the chapel? They shouldn't be frightening. You'll be able to see us when he comes back? I think so. Do you think it's him? Do you? What's the time? About three minutes, too. I hope he finds the lights. I don't mind it. Strange. What? When I was very young, I was in a place like this, very much like this. Oh? I was taken every week. And every week there was a woman who sat across the aisle. She was beautiful. I was in love with her. Nobody ever talked to her. My mother hated her, but not my father. Do you know what I found out? No. It was after my father left us. He'd been in love with that woman all that time. They ran away together. How terrible. Yes, I thought so at the time. What tiny things one remembers. She always wore a red hat. She was beautiful, but she must have been very wicked. A red hat? Where I lived, they used to say it was the shock of his leaving that killed my mother. Poor Jeanne. I'm frightening you. Give me your hand, Jeanne. Oh, no. You're cold. Don't. Please don't. You're like her. You know, you look like her. You even wear red because it's your favorite color. Mitch. Mitch. I'm in love with you, and it's so wrong. I've been in love with you ever since I met you, but it's wrong. You're bad. You're like her. Don't scream. Don't. Mitch, it's all right. I understand. I'm sorry. The music stopped. We've got to have music. There was always the organ playing at home. You come along, Jeanne. Where are we going? We're going upstairs to the organ lot. No. Don't scream, please. Merge. Jeanne. You're front. Don't you say anything? I won't. I won't. Mitch, you're not well. I'm glad you told me. Mitch. I love you, too. Jeanne. You must believe me. I love you, Mitch. Please. She was clever, trying to win me over with talk of love. I wasn't going to take any chances with her. We went up the narrow stairs to where the organ was. I closed the door behind us. I didn't need my knife anymore. I could smash her with my hands. I could pound the evil flat, stamp it out on the floor. The other five were bad. They had sinned, but she was like the woman at home, the woman in the red hat. And I knew what had to be done with her. I'd known it from the day I'd met her. With long legs, fresh face, masking wickedness. And that's... Mitch, Jeanne, where are you? Stay down there, Bill. Don't come up. I've got her. You stay there. I found her out. I've known all the time. She's got to die. You know that, Bill? I'm coming up, Mitch. It's okay. We'll take her in together. That's why I sent those notes, Bill. I had a trapper. You understand? Sure. I'm right. I'm right, aren't I? That's right, Mitch. Open the door. We'll take her in together. No, you stay there, Bill. I don't need your help. I can do it. How do you turn this thing on? Now, there must be a switch. Don't you go near that door, Jeanne. Open the door, Mitch. Here's one. Mitch... In a minute. Don't worry. She won't hurt me. Not anymore. Mitch, please. Whatever I've done to you, I'm sorry. You're the woman. You're always the woman in red. Now play. There was music at home at my mother's funeral. Now you play. I can't. Play it. I don't know how to. Play. You play louder. Louder. Louder. Bill. Suspense. In which Mr. Vic Perrin starred in tonight's presentation of a lady in the red hat. Next week, the story of a killer and the family which he held in a night of fear. We call it Strange for a Killer. That's next week on Suspense. Suspense is produced and directed by Anthony Ellis. Tonight's script was written by Clark Daly. The music was composed by Rene Garagin and conducted by Wilbur Hatch. Featured in the cast were Virginia Gregg, Larry Thor, Barney Phillips, Jack Carroll, and Jenny Stevens. In this second half of the 20th century, war could happen in a hurry. To help guard America enlist in the ground observer corps. Sign up for the silver wings that mean you're doing your share to man our vital aircraft spotter observation posts. Write or telephone your nearest civil defense center and volunteer. Stay tuned now for Douglas Edwards with the news followed by Disc Derby over the CBS Radio Network.