 And now, tonight's presentation of Radio's outstanding theater of thrills. Suspense. Tonight, we bring you a story of a ghost town and a practical joke that wasn't. We call it Hollywood Hostages. So now, starring Eve McVeigh and Tom Brown, here is tonight's suspense play, Hollywood Hostages. Oh, that sounds really strong. Yeah, murder. No director in Hollywood except the boy genius would have sent us out here. There must be a ghost town closer to Hollywood. There is. Beverly Hills after midnight. I don't get it. Get what? Why he has to come to the middle of the desert to shoot this stuff. I can design sets that look a lot more like deserts than this. Oh, realism, my dad. Well, Murphy does make good pictures. The peasants know the difference of pictures of pictures. I'd settle right now for the picture of a drink. Well, look out at the sand. For what? Maybe you'll see a mirage with a drive-in. How come everything on this road is closed? Same reason, Potterville closed. Ghost town used to be a tourist trap. And the new freeway bypassed it. No tourists. No trap, just this lousy road. I wonder how Murphy found out about this place. From another zombie. What's your knock on Murphy? I hate practical jokers. It's your first crack at a Murphy picture? Mm-hmm. You got a million lives coming if you live through. He can't be that bad. Oh, you don't know how far that guy goes. I know him good. Too good. You know what he did the day I got married? He had his lawyer file suit for divorce in my name. That's not very funny. And last year, I go to Florida to find an alligator farm. Murphy calls a pal who puts my picture in every post office. Post office? Sure, saying I'm wanted by the cops in Detroit. Oh, yeah, yeah. Hilarious when I got picked up, too. The cops down there wired Detroit. Detroit wired they were sending a detective to bring me back. I was in Cannes a week before Murphy had him let me out. I told that boy, Gene, is this morning though. One more of his jokes this trip and he gets himself a new location scout. I don't need him. I can always go back to being an unemployed comic. Tommy? Yeah. Is that the ghost town out there? Mm-hmm. Yeah, it could be. A part of it was 180 miles from Hollywood. The speedometer says 170. Oh, dandy. Ten more miles and we'll be no place. Inside you, you can lay down. Look at them cobwebs. You can nobody open that door for a spell. In we go, partner. Fred, yes, you lay down here. On the floor. Oh, I know, Fred. Them bullets hurt real bad. I need a doc. Fred, you're seen for yourself. Ain't no doctor here. Ain't a living soul in this town except in us. But, Texas, I'll die. Yeah? I guess you will bet. Too bad, but no sense in me waiting. Oh, but Texas, you can't just walk out. Staying and dying with you ain't gonna be much help, is it? It's up to the others. Well, I guess they'd be bussed up splitting the bank money two ways instead of four. Must've already got to my place. I can't keep waiting. No, Texas, don't leave me. Well, there ain't much else I can do, Fred. You just got a real bad piece of luck. That cop don't nick our gas tank. We'd have been at the cabin. So long, Fred. Texas, no, please. Grab your gun. Grab your gun and drag yourself to this window. A car's coming. Cops? It's too far to tell. It must be. This road don't go nowhere else. How'd they know we were here? That cop who shot the gas tank, maybe I didn't get him. I don't see no car. It's hidden now by one of them dunes. There. Now, be ready. They are cops. We both better be shooting. Welcome to Powderville. Well, at least you've got no trouble parking. That's your camera? Mm-hmm. Creeping looking, China. Yeah. Hold it, Tommy. I want to get a shot of this board sidewalk. Oh, yeah. You can't hardly get them, no more. Sit back a little. You like those Polaroid cameras? Great. You get your picture in a minute. If it comes up wrong, you shoot another one. Now, we pull the film through till it clicks and the picture develops by itself. Now, come on. Let's case the joint while that shot's cooking, huh? I'm going to get a shot of that Wells Fargo office. Okay. Sure. Leave Wells Fargo out of the West and you can't get a seal of approval. Tommy, you hear anything? Sure. Boards in the sidewalk. They squeak like three dollars each. No. Your voice. Oh, yeah, sure. Well, that's from inside that place, the hotel. It's Conrad Hilton buying the joint. No, I heard a man's voice. I'm stronger than it looks. I mean it. Sure, sure. Okay, you did hear a man's voice. Now, come on, let's make with the snapshots and curl up with a good bartender, huh? What are you going to take? I'm just about finished. Get one of that blacksmith's shop. Not yet. Let's go around the corner first so I can get... Hey, kid, drop the other shoe. Tommy, that car, those holes in the windshields. Air conditioning. They're... they're bullet holes. I now pronounce you J. Edgar Hoover. What are you supposed... That car's a prop. It wouldn't be a kosher ghost town without a bullet-riddle car. Oh? Sure, you're jumpy. Too much fresh air will do that. Well, I'll get this shot at the hotel. Another one at the hotel? I need this angle. Well, go ahead. I'll go look around. Hang on a minute. What is it? A man. A what? No, I saw a man. Oh, come on. No, honest. I got him. You what? In the picture. What did he pose as? He stuck his head out of the door just as I was taking the picture. Yeah? Well, then what happened? I looked up. And he was gone? Yes. Oh, honey. The way you dramatize... There he is. Hey. He's running to our car. And I left the keys in it. Come on. Little. No good. Can I... No, not that guy in the car, but don't you get it? He was planted. Planted? Yeah, to grab our car and stratus in the middle of the desert. Oh, I can hear that Murphy laughing now. Murphy. Match. This isn't funny. No, it is to him. We've got no fall. No water, no food, and it's 23 miles to the nearest main highway. Tommy. Yeah? Got another cigarette. Oh, can I have one? Well, as soon as Murphy sends the car back, they're in the glove compartment. Thanks, Lobs. Oh, I told you. Murphy's a million laughs. Those clouds are coming this way. That's all we need now. Rain. How long do you think we'll be here? Till Murphy stops laughing. It's almost four o'clock now. Oh, Tommy, I... I felt a drop of rain. Yeah, me too. Come on. Where? Every roof is full of holes. Well, a hotel's two stories. Maybe the water's not coming all the way down. That's where Murphy's friend came from. Come on, let's run. And if you get no more, your Murphy laughs all the time you're in the hospital. It's a tie-up with Blue Cross. Let's go inside. Go ahead. Thanks. Cheery little spot. Charles Adams does the decoration. Well, at least it's dry in here. Now what? By the window. Blood on his shirt. He's alive. Natch. Don't you get it? Any blood, it's ketchup. He's another Murphy stooge from Central Casting. You sure? Look, kid, I'm a veteran. Six pictures with Murphy. Now, come on. Come on, back to the porch. All right, all right. Keep groaning, kid. You win an Academy Award. Tommy, I'm cold. Let's go inside. We'll listen to that bum-play Russian comedy. We've got to do something. You'd like to play a chucker polo? How about walking to the highway? Oh, not in that water. Not giving Murphy that satisfaction. His conscience has to bother him sometimes. He's got a cast iron heart. Tommy. What? A car. That is a car, isn't it? Mm-hmm. People were on the main highway. We couldn't see it, could we? No. No, I said it here, all right. Oh, he finally took pity. All right. He's human. Actually, now that it's over, it wasn't a bad joke. Oh, he may not be through yet. What else can he do once we get the car back? Wait till he opens the door on this side. I'd hate to wait this long and then drown on the sidewalk. Well, I hope you call Murphy and he got a real big laugh. Oh, no, no. You don't have to come up here for us. Tommy. Just open the car door. He's got a gun. Oh, brother, that Murphy keeps that joke going longer than he... Get back. Look, the joke is over. Let's go. You ain't a go in no place. Oh, yes, we are. Now, I've had enough of this. I ain't never shot a lady yet. But, man, there's always a first time. Now, both of you, get back inside. You are listening to Hollywood Hostages, tonight's presentation in Radio's Outstanding Theatre of Thrills, Suspense. In the long run, the security of a free country rests in the hands of its civilian soldiers. Professionals have their indispensable place, but the efficiency, strength, readiness, and the morale of our reserve components are vital. These are the words of President Eisenhower. This week, the nation is concentrating on National Defense Week as a tribute to our highly trained civilian reservists. More than a thousand chapters of reserve officers, clubs around the country, are observing National Defense Week with parades, meetings, and dinners. The rest of us join them in saluting the fine job the reservists do every week of every year. And now, we bring back to our Hollywood soundstage, Tom Brown and Eve McVeigh, starring in tonight's production, Hollywood Hostages, a tale well calculated to keep you in... Suspense. Mr. Yeah, ma'am? You bring any food? I'm sorry, ma'am. They all want to play Gary Cooper. How long do we have to stay here? You can't rightly say. Look, we've got some place to go. Me too. Mine important for me to get through that road block by the freeway, but... What do you care about the road block? Whole flock of cops up there. So? They're looking for four of us. Tell them to bank this morning over in Desert City. You? Fred there and by the window. He's one. I'm another. All right. I'll give you the straight line. Who are the other two? Groucho and Harple? No, sir. Sit down. Tommy, this might not be a joke. Okay, you want to stay in chat? Go ahead. I'm leaving. Now, look, pal, I know Murphy can keep a gag running longer than Oklahoma, but never... I missed you that time because I wanted to. Next time might be different. Can't you even tell us one thing? What's that, man? Look, I've got a date tonight. How long did Murphy hire you for? Murphy? Honey, he can't let on until the Marines rescue us in the nick of time. And then that bum on the floor gets out. You had no to be talking like that about Fred. He was a nice fellow. If I were you, I'd cut out them wisecracks. Oh, you should have caught me when I played the palace. I used to make a thousand people at a time wish I'd cut out them wisecracks. Oh, come on, pal. You got your laugh, so let's blow the joint, huh? We ain't leaving. Why not? Well, I told you, ma'am. There's a roadblock. Okay. Well, this Murphy don't take us so sorry. I don't care how long we stay. But I'm hungry. Oh, he won't stop us. That bad here. Hey, I got me an idea. Maybe we don't have to stay here. Oh, no, you're cooking. Then cops, they ain't a looking for you. If you was to sit in front, mean back, hmm, yeah, that's real smart of me. Come on. Say, pal. Yeah? How about itty-bitty buddy on the floor? How's he getting back? My camel? We could take Fred. Well, there's plenty of room in the back. Fred! Well, that's nice of you, ma'am, but we better be going without him. Wait here with him, Grace. I'll open the car door. Come on. Getting under the blanket back here. Do we have to keep playing? Lady, just you and him don't say nothing wrong when we get to that there road park. Yeah, yeah, I know, I know. Because you'll have that there shooting eye and a point in my head. That's right. Yeah, I know that whole bit. Mr. I don't rightly know why, but I like you. Guess maybe it's because you don't scare me. Oh, I've been working for Murphy too long. But no more. I've had enough. A minute we hit Hollywood, I'm through. Lucky's right up ahead of peace. I reckon so, partner. Mr. I told you once, I don't like folks making fun of me. Tommy, please. Now, I'm getting under this here blanket again. Sweet dreams. You better slow down. Now, don't you start giving me orders. Shouldn't we get in that line? Huh? I guess so. What a night. Murphy's probably having a party at Forest Lawn. There's a police car. Well, how do you think they blocked the road with meatballs? Remember what I said. Oh, I'll never forget that. Four score in seven years. The police are waiting to slash life. Now the window's stuck. Good evening. No comment. We're looking for two men. One about five feet seven inches tall, black hair around 30 years of age. You might be wounded. The other man's about six feet one inch tall, about 35 years old. Blonde hair and he's wearing blue jeans and cowboy boots. Yes, officer. We haven't seen them. Okay. Thank you. Tommy. Lady. You almost just got killed. Tommy, what's wrong with you? Why didn't you tell the officer? Can you let Murphy tell everybody at the derby he scared me so much I copped a plea? No, ma'am. But the policeman, he described this one and the man on the floor back in Powderville. Sure. I told you how far Murphy goes. He's even got the cops in on this one. At least it stopped raining. Bully, that makes my whole day. Slow up, mister. What for? Turn off this here road just over the hill. But that's not the way back to Hollywood. We ain't a-going back to Hollywood, ma'am. Where are we a-going? Meet them other two fellas. They got the money. They threw it in their car when we run out of the bank. Tommy, it's true. Look, look, suppose I believe you. Now, mind you, I'm not saying... it's a miracle you seem to matter. What happens after we get to the cabin? We cross that bridge when we come to it, ma'am. Here, mister, turn off here. Okay. That's fine. Now, just keep it driving up into them hills. Pretty little hovel. Drive around to the side. Oh, you only use the front way and form a closer. Turn off the motor. Now, give me the keys. Oh, now, come on, pal. How far do you want an idiot to- Please. Here. Thank you, ma'am. Now, what happens? I'm a-going in the side here. You two go knock on the front door. Why? I just like to be sure my friends ain't a plan of no surprise for me. You mean- Just do like I say. Open the door. Go knock on the front door. Look, why should we- Okay, I've seen more guns today than Gene Autry. Come on, Grace. Can we run for it? Where? Anyplace. Oh, too dark, too far to the highway. Tommy! Oh, now I'm sure this is a Murphy gag. Are you crazy? Somebody inside's been shot. Honey, in a minute, that door will open. An old text will say, I guess you folks can come in now. But- But those were gunshots. Sure. And inside, we'll see two more guys playing dead. It's him. Bitch. Yes, you folks can come in now. Good evening, coyotes. Tommy. What? How can you? Oh, stiff upper, old girl. Tommy, I'm scared. What's he doing in that room? Probably calling Murphy and giving him a blow-by-blow. But those two men on the floor, and the money. That was real money. Murphy always goes for good props. Now, honey, use your head. Look, if those two guys were gonna double-cross him, would they wait here until he got back? No, they just walk out with the loot. Maybe it's like he said. They needed some place to hide, but they didn't need him to take a share. I can tell a Murphy story when I hear one. Oh, I'll get the gas chamber for killing Murphy, but it'll be worth it. Come on. You too, ma'am. We're really going home? Just part way. As far as the cliff. Oh. Oh, that does it. If Murphy thinks he's throwing in a hokey bit like pushing the car off the cliff- Shut up. Tommy, he isn't fallen. You're right, lady. Now, both of you turn and walk out that door. When we get to the car, we'll- Don't move! Don't move! I'll take that gun. This time, Parker, we've got stronger cups. All right, hold them out. One of you on this camera? Me? Where did you find it, officer? One of our men found it in the hotel at the old ghost town. Looked inside, saw the last picture you took. The last picture? Mm-hmm. Oh, the one where he stuck his head out of the door. That's right. We've recognized him, got a tip on this cabin and made it here as quick as we could. Oh, did I tell you? Tell me what? In the nick of time in Pop the Marines. Mister, I gotta add it to you. You took this pretty calm. Okay. Okay, now let's cut the cloning, huh? Well, didn't you know? He's Tex Parker, wanted for three murders and on the looks of it, he's two more over there. Those guys dead. Who are you kidding? I'm not kidding, buddy. Okay. Okay, so the gang's finished now, huh? All right. Okay, boys. Okay, boys, wake up. Wake up. Time for wakey. Don't call us. We'll call you. Tommy, don't. Come on. Come on. Hey. Hey, that's not ketchup. Hey, I'm dead. Okay, lady. We'll go as soon as we can bring him to. Suspense. In which Eve McVeigh and Tom Brown start in tonight's presentation of Hollywood hostages. Next week, we bring you the true story of five polar explorers and their race against death. We call it The Diary of Captain Scott. That's next week on Suspense. Suspense is produced and directed in Hollywood by Anthony Ellis. Tonight's script was written by Jerry Lewis The music was composed by Lucian Morrowek and conducted by Wilbur Hatch. Teacher in the cast were Don Diamond, Frank Gerstle, and John Larch. A hot money racket proves to be a shortcut to the cooler once the FBI in peace and war goes into action tomorrow night. Harnessed by personal death, the cashier at the $50 window at a large racetrack falls for a big-time racketeer's scheme for passing stolen money through the betting window. But before he can solve it, the FBI in peace and war gets on his trail, and not long after that, another welcome mat appears right outside the gate to the penitentiary. For a thriller-minute drama, don't miss the FBI in peace and war at this same time tomorrow night. Stay tuned for five minutes of CBS News to be followed on most of these stations by The Jack Carson Show. The radio workshop presents the new and unusual Friday nights on the CBS Radio Network.