Summary5 min read

Old Time Radio Stories – Suspense: “House By The River”

Podcast: Old Time Radio Stories
Host: Old Time Retro Radio
Episode: Suspense - House By The River
Broadcast Date: Unknown (Podcast release: June 14, 2026)
Notable Cast: John McIntyre as Stephen Burns, Dan O’Herlihy as John Burns

Episode Overview

This “Suspense” installment delivers a moody, psychological thriller set in the genteel but brooding world along the Thames. The play centers on Stephen Burns, a celebrated young poet, and his involvement—alongside his reserved brother John—in the accidental death and cover-up of a housemaid, Emily Gaunt. The episode explores guilt, conscience, and brotherly loyalty through sharp dialogue, atmospheric tension, and ethical ambiguity, culminating in a confessional unraveling of secrets by the river.

Key Discussion Points & Plot Breakdown

I. Introduction: The Nature of the Poet (00:55–03:27)

The narrator challenges stereotypes about poets, noting they can traverse life’s dark paths.
- “Poetry can be violent and hard and dark, with tales of terror and horror.” (Narrator, 00:55)
Introduces Stephen Burns: acclaimed poet, successful, lives with his wife Marjorie and brother John by the river.

II. The Fatal Evening – Emily Gaunt’s Death (03:44–08:39)

Stephen is unsettled by river refuse, foreshadowing the underlying menace.
Interaction with Emily, new maid: Stephen’s inappropriate advance leads to panic and her accidental death.
- “She got frightened. She thought I meant it. And then she bumped her head. I had to keep her quiet…” (Stephen, 07:08)
John arrives, finding Stephen in distress; the brothers decide to dispose of Emily’s body in the river to avoid scandal.

III. Cover-Up and Psychological Fallout (08:39–15:27)

The next morning, the missing maid is noted by other staff, but Stephen feigns ignorance.
Investigators and neighbors become quietly suspicious, while the brothers struggle to compose themselves.
- John is uneasy: “Every time someone speaks to me, every time someone looks at me, I see the same thing in their eyes.” (John, 12:50)
Marjorie, sensing tension, tries to connect with John, hinting at her dissatisfaction with Stephen.

IV. The Evidence Surfaces (17:42–22:03)

A sack with Stephen’s address, used to dispose of Emily, resurfaces and draws police attention.
The Inspector begins questioning Stephen and John; both deflect suspicion.
- “If you don’t mind, sir, I’d like to keep [the sack] a while longer. A little matter we’re clearing up.” (Inspector, 21:58)

V. Inquest & The Slow Unraveling (22:38–29:14)

Neighbors and both brothers testify, each trying to shift suspicion or feign ignorance.
The inquest fails to identify the murderer, but suspicions deepen.
- “I must ask you not to mind what I mean, Mr. Burns. Would you say two weeks ago?” (Coroner to Stephen, 25:52)
The coroner remains unconvinced: “This case is far from being closed…I want justice done, no matter who may be involved.” (Coroner, 28:44)

VI. Guilt, Loyalty, and Psychological Games (30:12–41:25)

Stephen’s guilt manifests as manipulations and poetic invention; he begins writing a poem fictionalizing the murder.
- “That’s why I’m going to put it all into a poem. A story of two men, the Black Knight and the White…” (Stephen, 38:04)
Tension mounts between the brothers, as John accuses Stephen of subtly framing him.
- “Suppose a policeman were to come up to us here…You’d point to me.” (John, 39:46)
The Inspector privately reveals he’s followed John for weeks, adding atmosphere of constant surveillance.

VII. The Confession & Marjorie’s Act (42:49–49:56)

Stephen completes his poem/confession, “Death in the Woods,” which details the crime.
Marjorie, discovering the manuscript, claims to have sent it to the publisher—she retitles it “Emily Gaunt: A Confession of Murder.”
- “I took the liberty of making a change in your manuscript… I called it Emily Gaunt: A Confession of Murder.” (Marjorie, 49:54)

VIII. Stephen’s Despair & (Attempted) Suicide (50:53–55:26)

Stephen writes a suicide note admitting his crime and sets out to drown himself.
John, out of loyalty and love (also complicated by affection for Marjorie), desperately tries to rescue him.
- “I went over the side, John. I did. I went in. But I couldn’t do it. Take me home, John. I want some dry clothes and some brandy…” (Stephen, 54:39)

IX. Denouement: Resolution and Moral Cost (56:06–57:14)

Stephen is lost in the river; only his confession remains.
John presents the note to the Inspector, who accepts it as closure.
- “This is to certify that I, Stephen Byrne, strangled Emily Gaunt on 15 June...The case of emmeigaunt is closed and I won’t be bothering you again.” (Inspector, 56:40)
Marjorie admits her love for John, closing the turbulent chapter.

Notable Quotes & Memorable Moments

On a Poet’s Duality:
“Poetry can be violent and hard and dark, with tales of terror and horror.”
(Narrator, 00:55)
On Guilt and Suspicion:
“Every time someone speaks to me… I see the same thing in their eyes. Where’s Emily Gaunt? What happened to the girl?”
(John, 12:50)
Stephen’s Rationalization:
“No matter how terrible a thing a man carries in his head… If he’s a writer, he can somehow get rid of it. He can write it out of his system.”
(Stephen, 39:11)
Betrayal and Truth:
“I took the liberty of making a change in your manuscript… I called it Emily Gaunt: A Confession of Murder.”
(Marjorie, 49:54)
Resolution and Tragedy:
“This is to certify that I, Stephen Byrne, strangled Emily Gaunt on 15 June… I am going to drown myself.”
(Stephen, dictated note, 50:53 / Inspector, 56:40)

Timestamps for Key Segments

Narrator sets tone, poet’s duality: 00:55–03:27
Emily’s death & the cover-up: 03:44–08:39
The sack resurfaces, Inspector arrives: 17:42–22:03
Coroner’s inquest & familial tension: 22:38–29:14
Stephen writes confession-as-poem: 38:04–39:34
Marjorie’s betrayal—manuscript sent: 49:54
Stephen’s suicide note & attempt: 50:53–54:52
Inspector’s closure, John and Marjorie’s final scene: 56:06–57:14

Tone & Atmosphere

The drama is steeped in anxiety, poetic introspection, and slow-burning dread. Dialogue is clipped, British, and suffused with undercurrents of repression, guilt, and fatalism. The soundscape of river, thunder, and echoing footsteps amplifies the sense of a world haunted as much by conscience as by crime.

Summary Takeaway

House By The River weaves a compelling tale of creative brilliance laced with moral darkness. Through the unraveling of a murder, the episode explores psychological descent and the sometimes ambiguous boundary between genius and ruin, as loyalty, art, and confession intertwine along the river’s shadowy banks.

Loading summary

Transcript671 lines

[00:01]
Stephen Burns
You are listening to Old Time Retro Radio. For full access to our archive, visit patreon.com Old Time RetroRadio,
[00:27]
Narrator/Announcer
Suspense. Radio's outstanding theater of thrills, brings you an hour, a full 60 minutes of suspense tonight starring Mr. John McIntyre in a play entitled the House by the river by A.P. herbert, directed by Anton M. Leader and produced by Robert Montgomery.
[00:56]
Narrator/Commentator
Mr. Montgomery, true wit is nature to advantage, dressed what oft was thought, but ne' er so well expressed. Alexander Pope was speaking about poetry when he said that. And most of us, when we think about poetry, think of it in much the same way as beauty caught and held captive in a skein of words, as something soft and lovely and without violence. But that's not always true. Poetry can be violent and hard and dark, with tales of terror and horror. The popular idea that a poet is always a soft and fragile fellow is also untrue. Poetry grows from the stuff of life, and the poet is heir to all the ills of other men. He is a frequent walker upon the dark paths of life as well as in the sunlit fields. And finally, it's not true either that a poet worth that name must live in a lonely garret in obscure poverty, sleeping on the stacks of his unread rhymes. Some poets find fame and fortune early and live richly in comfort and adulation. In fact, that's the kind of a poet we have in our story tonight. Stephen Burns, who at 35 was already being compared with Keats and Shelley, who had in a few slender volumes made himself the voice and the conscience of all England. His home, standing on the bank of the Thames, was known to a million Englishmen as the house by the river. Here he lived in peace and contentment with his wife Marjorie, and his brother John, a civil servant in London. Here on the breast of the great sluggish river, he lived and studied and worked until. The evening of June 15th last summer. Marjorie was out of the house visiting her people in Cornwall. John was not yet home from work. It was cook's night out. Stephen stood at dusk in his garden watching the water beneath him turn black as night came on with a rush. His neighbor, Mrs. Ambrose, was watering her tulips in the garden next to his. The scene was set for a strange adventure. Tonight, Mr. John McIntyre returns to our cast following his sensational performance three weeks ago in Donovan's Brain. With him is a new young star from the Abbey players in Dublin, Mr. Dan O'.
[03:27]
John Burns
Herlihy.
[03:28]
Narrator/Commentator
And so with the performances of John McIntyre as Stephen Burns and Dan O' Herlihy as John Burns in AP Herbert's the House by the river we again hope to keep you in suspense.
[03:45]
Stephen Burns
Anything wrong, Mrs. Ambrose?
[03:46]
Mrs. Ambrose
Look at that, Stephen.
[03:49]
Stephen Burns
Why, it's a cat. A dead cat.
[03:53]
Mrs. Ambrose
Much as I love living on the river, Stephen, this is what it casts upon our property. This and worse.
[04:00]
Stephen Burns
Yes, I know. I've seen it passing up and down the river for weeks. Yes. What's happened to the world, Mrs. Ambrose? And it can become so indifferent, so menacing and cruelty. Yellow kitten, I'm sure.
[04:13]
Mrs. Ambrose
I don't know about the world, but
[04:15]
Marjorie Burns
I do think a letter to the authorities would help.
[04:17]
Stephen Burns
Yes, it might. It's there.
[04:19]
Marjorie Burns
Oh, is that Marjorie up there in the house? I thought she was away for the evening.
[04:23]
Stephen Burns
She is. No, that must be the new maid.
[04:26]
Marjorie Burns
Oh, Emily Gaunt. Seems like a very nice girl.
[04:30]
Stephen Burns
Well, she's a nice, clean girl at any rate. She's probably in the bath right now.
[04:35]
Marjorie Burns
Well, I'll have to get someone to
[04:37]
Mrs. Ambrose
take that cat away.
[04:39]
Stephen Burns
Good night, Mrs. Ambrose.
[04:40]
Marjorie Burns
Good night.
[04:42]
Stephen Burns
Yes. Cruel, menacing, indifferent world. Even to a tiny, yellow, innocent little kitten.
[04:53]
Marjorie Burns
Good evening, Mr. Burns.
[04:55]
Stephen Burns
Good evening, Emily. Have a nice bath?
[04:58]
Marjorie Burns
Yes, thank you, sir. Very nice.
[05:01]
Stephen Burns
Are you looking for something else?
[05:03]
Marjorie Burns
I just thought I'd put my head up tonight.
[05:07]
Stephen Burns
You have very pretty hair, Emily. I don't wonder. You tend it so carefully.
[05:11]
Marjorie Burns
It's a bother more than anything else. It is, sir. Men are so lucky when it comes to things like that.
[05:17]
Stephen Burns
As a matter of fact, Emily, you're a very pretty girl.
[05:22]
Marjorie Burns
Thank you, sir.
[05:24]
Stephen Burns
Pretty enough to kiss? Oh, sir, would you mind if I kissed you?
[05:28]
John Burns
Emily?
[05:28]
Marjorie Burns
You must be joking, sir.
[05:30]
Stephen Burns
No, Emily, I'm not joking.
[05:31]
Mrs. Ambrose
Please, sir. What would Mrs. Burns say?
[05:33]
Stephen Burns
Never mind. Mrs. Burns. Emily. Never mind. Come here.
[05:36]
Mrs. Ambrose
No, please.
[05:37]
Stephen Burns
Why at you little fool. I'm not going to hurt you. Hasn't a man ever kissed you before? Will you be quiet?
[05:45]
Mrs. Ambrose
Oh, no, you're that.
[05:47]
Stephen Burns
Listen to me. You're perfectly safe. Emily. I'm sorry. I was a fool. I didn't mean to hurt you. All right, then, I'm going to let you go. But I want you to be quiet.
[05:55]
Mrs. Ambrose
Help.
[05:55]
Stephen Burns
Will you be quiet, you fool. You wake everyone. You have everyone here. My wife, my neighbors. Stop it. Stop it. Do you hear? Stop it. There, that's better. Emily. Emily. Emily.
[06:19]
John Burns
Anybody home?
[06:20]
Stephen Burns
Open up.
[06:21]
John Burns
It's John.
[06:24]
Stephen Burns
John.
[06:25]
John Burns
It's about time.
[06:25]
Coroner
What kept you so long?
[06:27]
John Burns
You know, I've got to stop forgetting
[06:28]
Stephen Burns
my key like this. Come in. Come in, quick.
[06:31]
John Burns
Is anything wrong?
[06:32]
Stephen Burns
I, I, I need your help. I, I'm in a hole all right.
[06:35]
John Burns
What's the trou. It's our maid. It's Emily gone.
[06:42]
Stephen Burns
I'm afraid she's dead.
[06:46]
John Burns
Why haven't you picked her up? Why haven't you called a doctor?
[06:50]
Stephen Burns
Listen to me, John. I say she's dead.
[06:54]
John Burns
Emily deadest. You ought to throw something over her.
[07:01]
Stephen Burns
What? All right. I didn't think. All right.
[07:06]
John Burns
How did it happen?
[07:09]
Stephen Burns
I hardly know. I was playing the fool. I was pretending. I was going to kiss her.
[07:13]
John Burns
Go on.
[07:13]
Stephen Burns
Well, she got frightened. She thought I meant it. And then she bumped her head. I had to keep her quiet at the scandal. She didn't seem to understand. Lost her nerve. I kept trying to quiet her. And then she bumped her head. I. I said that, didn't I?
[07:24]
John Burns
Shall we call the police?
[07:26]
Stephen Burns
You don't understand, John. It's. It's murder. Yes, it is. What am I going to do?
[07:34]
John Burns
I don't know. I don't know.
[07:37]
Stephen Burns
I. I was thinking. The river. Slip out in a rowboat and do it now. It'll be easy that way. Take only a few minutes.
[07:44]
John Burns
Emily Gaunt in the river.
[07:46]
Stephen Burns
We've got to get her out of here. Marjorie will be home. Anyone could walk in. I want you to help me, John. If you don't, I'm finished.
[07:51]
John Burns
Couldn't you throw it over the wall into the water? No, no, no.
[07:55]
Stephen Burns
The tide would throw it up again in the morning. It's got to go out, John. It's got to be sunk.
[08:01]
John Burns
All right, let's get it over with.
[08:03]
Stephen Burns
Knew you'd help.
[08:04]
John Burns
Let's get it over with.
[08:05]
Stephen Burns
Yes, you're right. I'll just run down to the basement for a moment. We have a large sa. This is far enough.
[08:33]
John Burns
What are you doing now?
[08:34]
Stephen Burns
It's got the sink. Don't you understand? The anchor will do it.
[08:38]
John Burns
Hurry up, Stephen.
[08:39]
Henry Dimple
Hurry up.
[08:42]
Stephen Burns
Believe me. You're ready. I'm ready. All right. Now together. It's a quarter after 10. Emily's been dead an hour. Johnny, what have I done to you?
[09:08]
John Burns
Nothing. I'll be all right.
[09:11]
Stephen Burns
Are you sorry? Of course I'm sorry.
[09:13]
John Burns
What you take me for?
[09:15]
Stephen Burns
But it.
[09:16]
John Burns
It couldn't be helped.
[09:17]
Stephen Burns
Thanks.
[09:18]
John Burns
Don't talk about it anymore.
[09:20]
Stephen Burns
The sack is missed.
[09:21]
John Burns
I'll take the responsibility.
[09:23]
Stephen Burns
I'll say I love you. No.
[09:23]
Mrs. Ambrose
No.
[09:24]
Stephen Burns
I won't have you involved anymore. Besides, it won't be necessary.
[09:27]
John Burns
Let's go home.
[09:33]
Stephen Burns
Stop it again.
[09:35]
John Burns
What is it now?
[09:36]
Stephen Burns
I just remembered. My name and address are stenciled on that sack.
[09:53]
Mrs. Ambrose
Good morning, Mr. Burns.
[09:55]
Stephen Burns
Morning, Mrs. Beech.
[09:56]
Mrs. Ambrose
If you please, sir.
[09:58]
Stephen Burns
Yes, what is it?
[09:59]
Mrs. Ambrose
It's Emily, sir.
[10:01]
Stephen Burns
Anything wrong with her?
[10:02]
Mrs. Ambrose
I don't know, sir. She's not in the house. It was my night out yesterday and when I came in this morning, I noticed as how her bed wasn't slept in. I think she's been gone all night. Really Gone without her Mackintosh too. I wondered as how maybe you'd seen her, Sarah? Or sent her on a heron, like.
[10:20]
Stephen Burns
No, no, there was no errand.
[10:22]
Mrs. Ambrose
Oh, youth will have its fling, they say. I hope you won't be too hard on her, Mr. Burns. Emily's really a good girl.
[10:30]
Stephen Burns
Yes. Nonetheless, it's a naughty thing for her to have done.
[10:33]
Mrs. Ambrose
I'll speak to her when she comes in. Thank you, sir.
[10:37]
Stephen Burns
Yes. Well, it's begun.
[10:55]
Marjorie Burns
Care for some toast, John?
[10:57]
John Burns
No, thanks, Stephen.
[10:59]
Stephen Burns
No, darling.
[10:59]
Marjorie Burns
I'll ring for some fresh.
[11:00]
Coroner
Don't bother.
[11:01]
John Burns
I'm not very hungry.
[11:02]
Marjorie Burns
What's come over you two the last few days? Anything wrong with your egg, Steven? Stephen?
[11:08]
Stephen Burns
Oh, no, no, dear. No. I'm thinking, that's all. Poets are like hens. They brood before they produce. I haven't written in days.
[11:22]
Marjorie Burns
It's always darkest before the sun at the well. I know it wasn't a very good joke, but you might smile.
[11:31]
Mrs. Ambrose
Oh, it's no use, Mum. It's doing the work of two that's made me so mumpish. And that detective fellow poking around in my kitchen under my feet all day.
[11:39]
John Burns
What detective?
[11:40]
Mrs. Ambrose
Oh, the one who's been nosing round the back door asking after Emily. Wicked girl. She's probably off with some toff, she is.
[11:48]
John Burns
What did you tell him?
[11:49]
Mrs. Ambrose
Nothing at all. But Mr. Burns here, he joshed him, he did. Told him Emily's like to be off to Venice with a gentleman friend.
[11:57]
John Burns
We don't know that.
[11:58]
Stephen Burns
I don't know anything, really. But she was a flighty little thing.
[12:01]
Narrator/Commentator
That's a lie.
[12:02]
Marjorie Burns
She'll turn up again. But until she does, it can't help to talk about it.
[12:06]
Stephen Burns
Nobody's maligning Emily just because the girl ran off with somebody.
[12:09]
John Burns
You didn't see her do it, did you?
[12:11]
Stephen Burns
Don't be a fool, John. Certainly not.
[12:14]
John Burns
Then leave her in peace.
[12:17]
Marjorie Burns
That's all, Cook. Thank you.
[12:21]
Mrs. Ambrose
Oh, not at all, Mum.
[12:23]
Stephen Burns
Pass the coffee, would you, darling? You know, John, one would almost think you were sweet on the girl. You weren't.
[12:32]
John Burns
Will you shut up, Stephen?
[12:34]
Marjorie Burns
You're both too grumpy for me. I think I'll go and cut some flowers.
[12:40]
John Burns
Don't go too far.
[12:41]
Stephen Burns
It's just a joke. Forget It. Forget it. How can I? Every time someone speaks to me, every time someone looks at me, I see the same thing in their eyes.
[12:51]
John Burns
Where's Emily Gaunt? What's happened to the girl? Why did you do it? Forget it. I believe you almost have.
[12:59]
Stephen Burns
I wish I could. I wish I could. Dust it.
[13:15]
Marjorie Burns
What's that, darling?
[13:16]
Stephen Burns
I said, blast it.
[13:18]
Marjorie Burns
Finished writing?
[13:20]
Stephen Burns
I can't start.
[13:21]
Marjorie Burns
Oh, I'm sorry.
[13:23]
Stephen Burns
I wish it were a tap and I could turn it off and on, but I can't. I've carried an idea in my head for a month now. It's been growing, swelling and clamoring to be born, but I.
[13:36]
Marjorie Burns
You'll get it, Stephen.
[13:38]
Stephen Burns
Not in this room. I'm going out in the river.
[13:40]
Marjorie Burns
Does that help?
[13:43]
Stephen Burns
I need the river. It seems to flow through my life just as it does through the heart of London. Anyway, it's good exercise, darling.
[13:54]
Marjorie Burns
I'll come with you.
[13:55]
Stephen Burns
I'd rather go alone. Oh, if you don't mind.
[13:58]
Marjorie Burns
No, I don't mind.
[14:01]
Stephen Burns
Well, then.
[14:02]
Marjorie Burns
Stephen.
[14:03]
Stephen Burns
What?
[14:05]
Marjorie Burns
Nothing. Stephen. Nothing.
[14:08]
Stephen Burns
And the battery.
[14:26]
Marjorie Burns
Office of Transport, Mr. John Burns, please. Hello, John. This is Marjorie.
[14:36]
John Burns
Oh. Is anything wrong, Marjorie?
[14:37]
Marjorie Burns
No, I don't think so, But I've just had a brainstorm. Would you like to take a pretty girl to lunch?
[14:43]
John Burns
Sounds wonderful, but I don't know any pretty girls.
[14:46]
Marjorie Burns
Yes, you do. Me? I'll come in by the tube. Be there in an hour. It's lovely here. Who would think there was such a beautiful spot right in the middle of the city?
[15:06]
John Burns
I think they designed this park for lovers, primarily. Sometimes when I walk here, I feel
[15:10]
Marjorie Burns
like an intruder, but you're acting the part quite nicely. Luncheon at Pym's. Corsage of violets.
[15:17]
John Burns
You're getting the grand treatment. After all, this is our first date.
[15:21]
Marjorie Burns
I've kept you a terribly long time. Won't they mind?
[15:24]
John Burns
I don't care if they do.
[15:25]
Marjorie Burns
John, you're very nice.
[15:28]
Stephen Burns
Yes.
[15:28]
John Burns
Like mint tea when you have a cold.
[15:30]
Marjorie Burns
No. Like a friend.
[15:33]
John Burns
Be careful, Marjorie. I'll hold you to that.
[15:35]
Marjorie Burns
I want you to.
[15:36]
John Burns
What's the trouble?
[15:37]
Marjorie Burns
Trouble?
[15:39]
John Burns
You didn't come all the way into the city just to have lunch with me.
[15:42]
Marjorie Burns
I suppose. I wanted to talk, but somehow, now it doesn't seem so important.
[15:48]
John Burns
Is it something about Stephen?
[15:50]
Marjorie Burns
I. Yes. You must have noticed that our marriage hasn't been exactly perfect.
[15:58]
John Burns
Oh, you. You mustn't let Stephen's moods upset you.
[16:01]
Marjorie Burns
It's more than that. No woman has a chance with Stephen. His only real love is his work. I sometimes wonder why he ever married me at all.
[16:11]
John Burns
Perhaps because he needed you.
[16:14]
Marjorie Burns
Perhaps. And you, John, don't you need anyone?
[16:19]
John Burns
Me? That's the other way around. It seems nobody needs me except Mr. Forsyth at the office. Come on, I'll take you to the tube station.
[16:36]
Marjorie Burns
Hello there.
[16:39]
John Burns
Hello.
[16:40]
Marjorie Burns
You're Stephen Burns, the poet, aren't you? My name's Muriel.
[16:45]
Stephen Burns
That's nice. Where did you spring from?
[16:48]
Marjorie Burns
Just the next garden over. I'm Mr. Dimple's niece, down for the summer.
[16:53]
Stephen Burns
You like it here?
[16:55]
Marjorie Burns
I know who you are. I've read all your poetry.
[16:59]
Stephen Burns
Have you?
[17:00]
Marjorie Burns
I'm an artist myself. I've been sketching the view from up here. I bet it's ever so much finer out on the river.
[17:07]
Stephen Burns
Yes, it is.
[17:09]
Marjorie Burns
I see. You're going out there.
[17:12]
Stephen Burns
That's right.
[17:13]
Marjorie Burns
Take me with you.
[17:16]
Stephen Burns
I think not.
[17:17]
Marjorie Burns
Do take me with you.
[17:20]
Stephen Burns
Don't worry, Muriel. One day I'll let you catch up with me.
[17:24]
Henry Dimple
Hello, Steve. I see you two have met.
[17:28]
Stephen Burns
Just this minute. I didn't know you had a niece, Dimpled.
[17:31]
Henry Dimple
I hardly knew it myself until she was there with her baggage on my doorstep.
[17:35]
Marjorie Burns
I'm neglecting my painting, but I'll keep you to your promise, Mr. Bird.
[17:41]
Stephen Burns
Yes, do that.
[17:43]
Marjorie Burns
See you later, Uncle.
[17:46]
Henry Dimple
Fine.
[17:46]
John Burns
Go.
[17:51]
Henry Dimple
Boating.
[17:53]
Stephen Burns
Yes, it'll be cool out there in the water.
[17:56]
Henry Dimple
If only there wasn't so much refuse always floating about.
[18:00]
Stephen Burns
Garbage, Mr. Dimple. Garbage from everybody's lives.
[18:05]
Henry Dimple
Yes. So disgorging, if you'll excuse the expression, onto our gardens. Not at all right for an English river.
[18:14]
Stephen Burns
Go out and make friends with it. Then you won't mind.
[18:18]
Henry Dimple
As you've done, you mean? Well, I can't.
[18:21]
John Burns
Seasick.
[18:21]
Henry Dimple
You know how many secrets are out there?
[18:27]
Stephen Burns
Why, yes, it is. A secret river like the Nile. Mystery hidden deep within it. And passion. Especially at night. Don't you think that makes it beautiful, Dimple? And exciting?
[18:44]
Henry Dimple
I suppose so. I like to sit by my window and watch it.
[18:51]
Stephen Burns
Watch it. Do you do a lot of watching, Dimple?
[18:56]
Henry Dimple
Yes, Dimple, a great deal.
[19:11]
John Burns
Hello?
[19:11]
Stephen Burns
John, is that you?
[19:14]
John Burns
Yes. Who the. Who the devil is this?
[19:16]
Stephen Burns
It's Stephen. What is it, Stephen? John, listen to me carefully.
[19:20]
John Burns
All right, I am.
[19:21]
Stephen Burns
I was talking to Dimple this afternoon. Down. Down on our pier and looking out on the river. Suddenly, as I was looking out.
[19:27]
John Burns
I can't hear you very well. It's a bad connection.
[19:29]
Stephen Burns
Speak up, John. I'm trying to tell you. It's come up. Do you understand? John, are you there? Yes. It's come up. Do you hear me?
[19:43]
John Burns
I Hear you. I'm coming. All right. Tell me, Stephen. Tell me quickly.
[20:01]
Stephen Burns
No luck. I couldn't find it. How could you lose it?
[20:04]
Henry Dimple
How?
[20:04]
Stephen Burns
I tasted six miles, but the tide was running too fast.
[20:07]
John Burns
How could it get loose from the anchor?
[20:08]
Stephen Burns
I don't know. Maybe the knot wasn't very. I. I don't know.
[20:11]
John Burns
What happens now? Now?
[20:14]
Stephen Burns
Now it'll be passing up and down the river until it's found. Up and down the river? In plain view of 50,000 Londoners. Sucked at by liners and churned up by tugs.
[20:23]
John Burns
If it would only escape out to sea.
[20:25]
Stephen Burns
Not much chance.
[20:27]
John Burns
This might go on for weeks.
[20:29]
Stephen Burns
Don't think about it.
[20:30]
John Burns
Well, it might.
[20:31]
Stephen Burns
And if it does? Can you hold out, John? Can you? I'm not sure you can.
[20:38]
John Burns
As long as you can.
[20:39]
Stephen Burns
I'll be out on the river from now on. I'm going to watch for it. I'm going to watch for Emily. Were you looking for me?
[21:01]
Inspector
Sorry to trouble you, sir. It'll just be a few minutes. I'm a police officer.
[21:06]
Stephen Burns
Quite all right, Inspector. Won't you sit down?
[21:08]
John Burns
I don't think so. Thank you.
[21:10]
Inspector
Can you tell me anything about this sack?
[21:13]
Stephen Burns
Can't say sacks are very much alike. We had one in our basement once, but.
[21:18]
Inspector
And what happened to it?
[21:20]
Stephen Burns
Why, I don't know. Perhaps my brother John could. Hello. Mind if I look at it a moment?
[21:28]
Inspector
Not at all,
[21:30]
Narrator/Commentator
Stephen.
[21:31]
Stephen Burns
Burns House, by the River W6. Why, that. It's mine.
[21:35]
Inspector
Very curious, sir. Any idea what might have happened to it?
[21:39]
Stephen Burns
Why, not in the world.
[21:41]
Inspector
Did anyone in the house ever use it?
[21:44]
Stephen Burns
I believe we use it for gathering kindling wood. That's not in my department.
[21:49]
Inspector
I see. Whose department would it be, sir?
[21:52]
Stephen Burns
My brother John usually takes care of that. Well, I'm much obliged to you, Inspector, for bringing it back. Where did you find it?
[21:59]
Inspector
If you don't mind, sir, I'd like to keep it a while longer. A little matter we are clearing up.
[22:03]
Coroner
Certainly.
[22:04]
Stephen Burns
As long as you like. I must remember to tell John it's been found.
[22:07]
Inspector
Does he happen to be home now?
[22:09]
Stephen Burns
John? Oh, no. He's. He's at his office in the city.
[22:12]
Inspector
Well, then, I won't be bothering you anymore, sir.
[22:14]
Stephen Burns
Not at all.
[22:15]
Inspector
However, it seems I must speak to your brother John.
[22:18]
Stephen Burns
Suit yourself, Inspector. Good day. My brother John, Inspector. My brother John.
[22:38]
Coroner
You see, Mrs. Beach, when you're Emily Gaunt disappeared. He was not to go off of the young man. Rather, it was to go straight into the river.
[22:47]
Mrs. Ambrose
Yes, Mr. Coroner.
[22:49]
Coroner
And you have nothing further to tell? This inquest concerning that disappearance.
[22:53]
Mrs. Ambrose
I've told it all, sir.
[22:54]
Coroner
Thank you. Step down, please.
[22:58]
Narrator/Announcer
Mr. Henry Dimple.
[23:04]
Coroner
How long have you lived on the river, Mr. Dimple?
[23:07]
Henry Dimple
On the river? 18 years this fall.
[23:11]
Coroner
You've known the two Burns brothers all that time?
[23:14]
Henry Dimple
Ever since they were boys.
[23:16]
Coroner
What has been your impression of them?
[23:18]
Henry Dimple
Impression? If you'll pardon me, one gathers more than an impression. In 18 years I have known them to be excellent men. In addition to which, I may need not add that Mr. Stephen Burns is England's foremost young poet.
[23:32]
Coroner
Yes, you're being very helpful, Mr. Dimple. Suppose we go on.
[23:35]
Henry Dimple
I all mean, sir.
[23:37]
Coroner
We've already proven that this sack belongs to Stephen Burns. Can you tell us if you've ever seen it before?
[23:45]
Henry Dimple
Yes, I have. After a party last Christmas, I. I borrowed his sack to. Well, to dispose of a rather large number of empty bottles. I don't drink myself, but there were so many young people down for the holidays.
[24:03]
Coroner
Yes. Yes. And then did you return the sack immediately?
[24:07]
Henry Dimple
I do.
[24:09]
Coroner
The river is a rather small community, and a person living on it might be expected to know a great deal about what goes on. Do you think that's true?
[24:17]
Henry Dimple
Oh, yes, indeed it is.
[24:19]
Coroner
You yourself, Mr. Dimple, might be in a position to observe a great deal.
[24:24]
Henry Dimple
I think I know everything that happens on the river.
[24:28]
Coroner
Then what do you know of this tragedy?
[24:31]
Stephen Burns
Nothing. Are you quite sure, Mr. Dimple?
[24:35]
Henry Dimple
Quite sure?
[24:37]
Stephen Burns
Nothing at all.
[24:38]
John Burns
All right.
[24:39]
Coroner
Step down, please.
[24:42]
Stephen Burns
Call the next witness, Mr. Stephen Burns.
[24:50]
Coroner
Mr. Burns, you recognize this sack? Of course.
[24:55]
Stephen Burns
I bought it at Selby's three years ago.
[24:58]
Coroner
And it has hung in your basement ever since?
[25:00]
Stephen Burns
Well, except for brief loans, yes.
[25:04]
Coroner
Now, according to the testimony, this sack was used for the collection of kindling wood. As I understand it, you people living on the river simply go out in your boat. The wood is part of the general refuse that floats on the water. You select what you like. There's always enough. And you generally use a large sack for the purpose?
[25:24]
Stephen Burns
That's right.
[25:25]
Coroner
Now, in your household, that job, the collection of firewood, has usually been your brother's task?
[25:33]
Stephen Burns
Yes. John collects the wood.
[25:36]
Coroner
Therefore, in your house, it was your brother who used the sack. Well, tell me, Mr. Burns, when was the last time your brother went out for wood?
[25:46]
Stephen Burns
Some weeks ago? It's hard to say.
[25:48]
Coroner
Would you say two weeks ago?
[25:50]
Stephen Burns
What you mean is about the time Emily Gaunt disappeared?
[25:53]
Coroner
I must ask you not to mind what I mean, Mr. Burns. Would you say two weeks ago?
[25:59]
Stephen Burns
I couldn't be. I couldn't be sure.
[26:02]
Coroner
Thank you, Mr. Burns. That'll be all.
[26:04]
Marjorie Burns
Oh, I think he does.
[26:05]
Narrator/Announcer
Something about Mr. John Burns.
[26:13]
Coroner
Mr. Burns, you're a bachelor living in the house by the river with your brother and sister in law.
[26:18]
John Burns
That's right.
[26:20]
Coroner
What day did you last collect kindly wood, Mr. Burns? And how close was that day to the disappearance from your household of Emily Gant?
[26:28]
John Burns
I don't remember. The collection of firewood, unlike a marriage or a birthday, is not a festive moment in my life. I do not fix those days in my brain.
[26:35]
Coroner
Yes, just so. And yet it strikes me as a rather unique activity for the middle of the summer.
[26:41]
John Burns
It may strike you as it likes. Evenings on the river are cool. Summer and winter, I like a fire in my room.
[26:46]
Coroner
Let us come to the sack, Mr. Burns. You said that you lost it. How does one lose a sack?
[26:53]
Henry Dimple
How?
[26:54]
John Burns
By. By having it one moment and not the next. By losing it.
[26:59]
Coroner
I'm aware it seems a little thing, but I promise you it isn't. Could you be more specific?
[27:04]
John Burns
Well, it must have slipped off the boat.
[27:08]
Coroner
Yes, of course. And then perhaps it was found by someone else who used it to contain the body of the poor innocent girl who was once Emily gone. But I'd like to leave that day for a moment. Ordinarily, after you'd picked the wood out of the water, would you stuff it into the sack then and there in your boat?
[27:26]
John Burns
No, I'd just throw it into the bottom of the boat.
[27:29]
Coroner
I see. When would you put the wood in the sack?
[27:32]
John Burns
In the garden? Just before I took it indoors.
[27:35]
Coroner
Mr. Burns. Ordinarily, you carried the wood out of the boat and in the garden you put it into the sack. Then, Mr. Burns, would you be kind enough to tell me why it was that the last time you went for wood, you found it necessary to take the sack out on the river? Talk.
[27:56]
John Burns
It seems I just forgot.
[28:10]
Stephen Burns
And we, the jury, find that the
[28:12]
Narrator/Commentator
death of Emily Graunt is willful murder
[28:15]
Stephen Burns
by person or persons unknown.
[28:20]
Coroner
This inquest is a joke. Mr. Burns. Mr. Stephen Burns, please.
[28:26]
Stephen Burns
Yes, Marjorie, dear. You and John go. I'll be along presently.
[28:30]
Marjorie Burns
Yes, Stephen, of course we will.
[28:33]
Stephen Burns
Yes, Coroner. What is it?
[28:35]
Coroner
I just want to tell you that this case is far from being closed. Are you sure you have nothing more
[28:42]
Inspector
you'd like to say to us?
[28:43]
Stephen Burns
Nothing.
[28:45]
Coroner
I can understand your feelings, Mr. Burns.
[28:47]
Stephen Burns
After all, the.
[28:48]
Coroner
The man is your brother.
[28:50]
Stephen Burns
My brother? If there's any further light you could throw on this particular. There's nothing now. But if I should find anything, I'll get in touch with you immediately. You see, Coroner, I want justice done, no matter who may be involved.
[29:14]
Narrator/Announcer
In tonight's full hour of suspense, Mr. John McIntyre appears as Stephen Burns and Mr. Dan O' Herlihy as John Burns in the House by the river, tonight's study in suspense. In just a moment, we will return
[29:35]
Stephen Burns
with act two of suspense.
[29:38]
Radio Announcer
This is cbs, the Columbia Broadcast system.
[29:48]
Narrator/Announcer
And now back to our Hollywood Sound stage and to our producer, Mr. Robert Montgomery, for Act 2 of the House by the river, starring John McIntyre. In a narrative well calculated to keep you in suspense,
[30:13]
Narrator/Commentator
Stephen Burns walked home slowly after the inquest, down the main
[30:17]
Stephen Burns
street of the little suburb, past the
[30:19]
Narrator/Commentator
greengrocers, past the lending library, past the tube station with its roar of express trains racing down from London, down the little street toward his house by the river. John and Marjorie had gone on ahead of him, and he was alone, listening to his heels clicking on the pavement, listening to his thoughts whispering in his head. The police felt John was guilty, that was evident. Hadn't Stephen been hoping for this secretly in his heart? Hadn't he nudged suspicion gently toward John by a raised eyebrow one time and deliberate inflection of his voice another time?
[30:56]
Stephen Burns
Those were his thoughts as he walked
[30:58]
Narrator/Commentator
home now and then, looking up to the sky that had suddenly turned so black and glowering, forecasting a heavy summer rain. Then, almost at his elbow, someone was calling his name.
[31:10]
Marjorie Burns
Stephen. Stephen Burns.
[31:12]
Stephen Burns
Oh, hello, Muriel.
[31:15]
Marjorie Burns
Why don't you stop a while? Your wife and brother just went by.
[31:21]
Stephen Burns
Did they?
[31:22]
Marjorie Burns
I hope you're in no hurry.
[31:24]
Stephen Burns
No, I'm not.
[31:26]
Marjorie Burns
It's awfully hot, isn't it?
[31:28]
Stephen Burns
I like it this way.
[31:30]
Marjorie Burns
I don't. I'm stifling.
[31:32]
Stephen Burns
You don't look it. In fact, you look very cool and fresh.
[31:37]
Marjorie Burns
Thank you, Stephen. What I need is a cold drink.
[31:41]
Stephen Burns
Make one for me.
[31:43]
Marjorie Burns
All right. Come on in. Won't you sit down? I'll only be a minute.
[31:52]
Stephen Burns
All right.
[31:53]
Marjorie Burns
You might look at that scrapbook. It's got all kinds of interesting things.
[31:56]
Stephen Burns
Clipping, mystery. In Stephen Burns House. She went out into the world, innocent and fresh, to help her family in the battle of life with a few poor shillings she could earn by menial labor in a strange house. And for this she was brutally, horribly murdered by an unknown man whose vicious government.
[32:22]
Marjorie Burns
Isn't it rotting? There wasn't any ice. It'll be a few minutes.
[32:28]
Stephen Burns
I. Are you keeping this scrapbook there?
[32:32]
Marjorie Burns
Well, it's uncle's.
[32:35]
Stephen Burns
Why should Mr. Dimple be so interested in the Emily Gaunt case to the extent of cutting clippings from the newspapers and Making a special little book. Do you know why, Miriam?
[32:45]
Marjorie Burns
Oh, I think he's a little morbid. But let's not talk about him.
[32:52]
Stephen Burns
What would you like to talk about?
[32:54]
Marjorie Burns
I don't want to talk at all. It's so hot.
[33:00]
Stephen Burns
Yes.
[33:01]
Marjorie Burns
Hard enough just trying to breathe.
[33:06]
Stephen Burns
Do you like it here, Muriel?
[33:08]
Marjorie Burns
Here with you?
[33:10]
Stephen Burns
No, here on the river. Are you enjoying your vacation?
[33:15]
Marjorie Burns
There's nothing much to do here, is there?
[33:18]
Stephen Burns
Not much for anyone as young as you.
[33:21]
Marjorie Burns
Oh, you're young too. You can't be writing your poetry all day and all night. How do you manage?
[33:28]
Stephen Burns
I suppose I don't.
[33:30]
Marjorie Burns
Oh, that's a shame. You know what, Stephen?
[33:36]
Stephen Burns
What?
[33:37]
Marjorie Burns
I think I've caught up with you at last.
[33:42]
Stephen Burns
What was that?
[33:43]
Marjorie Burns
It's only thunder.
[33:47]
Stephen Burns
Yes. You see how we spend our days, Our time on earth. Going around under a blue English sky, safe and blunted, half alive. And all the time the storm is there, waiting to explode. Waiting to rip and bend down and twist.
[34:07]
Marjorie Burns
But there's new stone in here, isn't there? What can be keeping Stephen?
[34:40]
John Burns
I beg your pardon?
[34:41]
Marjorie Burns
Nothing. It wasn't important.
[34:44]
John Burns
Did you notice after the inquest today, our people were looking at me?
[34:50]
Marjorie Burns
Don't you know why?
[34:52]
John Burns
No. No, I don't.
[34:55]
Marjorie Burns
They think you killed Emily Gaunt.
[34:59]
John Burns
How can they believe that?
[35:00]
Marjorie Burns
They don't have to believe it. I know. You think because they're neighbors and you've lived among them for years that they like you. Well, it's not true. They like their nasty little backstairs secrets better.
[35:11]
John Burns
I should have moved out long ago. There must be one empty flat in London. I have to see an agent tomorrow.
[35:17]
Marjorie Burns
Don't run away from them.
[35:19]
John Burns
I'm not running from them.
[35:20]
Marjorie Burns
What then? Are you thinking of us, Stephen? And I don't care what they say.
[35:24]
John Burns
I care what they say. I don't want any scandal linked with his name or yours, John. When we were boys, Stephen used to
[35:35]
Stephen Burns
read his poems to me.
[35:37]
John Burns
I remember sitting on the bank by the river, watching him. Have you ever seen one child ape another?
[35:45]
Stephen Burns
I did that.
[35:46]
John Burns
I used to shape the words with my mouth and pretend they were mine.
[35:50]
Marjorie Burns
It hasn't been easy for you, has it, John?
[35:54]
John Burns
Doesn't matter. It's not only that he's my brother. It's also that I admire him.
[35:58]
Marjorie Burns
And so you'll spare him the pain of having you around.
[36:00]
John Burns
That was a lie. I suppose. If I told the truth, I really hate him. Yes. I've got to go. I know what this place means to you, Marjorie. It'll be spoiled for you if I stay. I don't want that.
[36:14]
Marjorie Burns
But don't you see? Your going would only make it worse.
[36:18]
John Burns
Marjorie.
[36:19]
Marjorie Burns
Stay, John. I want you to.
[36:22]
John Burns
Why?
[36:23]
Marjorie Burns
Can't you see, John? Don't you know?
[36:26]
John Burns
I want to hear you say it.
[36:32]
Stephen Burns
Hello, you two. Did you wait up for me? I waited for the rain to stop.
[36:36]
Marjorie Burns
I was just going to bed. Good night.
[36:40]
Stephen Burns
Well, what's the matter with Marjorie?
[36:44]
John Burns
I need some air.
[36:46]
Stephen Burns
And what's the matter with you?
[36:47]
John Burns
Nothing at all.
[36:48]
Stephen Burns
Where are you going?
[36:49]
John Burns
Just for a walk.
[36:51]
Stephen Burns
I think I'll come with you.
[36:52]
John Burns
You've just been.
[36:52]
Stephen Burns
Well, that's all right. There's a young lady I want to discuss with you. A Miss Emily Gaunt.
[36:59]
John Burns
Come along, then.
[37:10]
Stephen Burns
It's starting to rain again. We'll be soaked through in a minute.
[37:12]
John Burns
Let's go back.
[37:13]
Stephen Burns
Here's the tube. Let's duck down into the station.
[37:15]
John Burns
Hold on.
[37:16]
Henry Dimple
This way.
[37:31]
John Burns
Well, we're alone. What have you got to say, John?
[37:36]
Stephen Burns
Do you feel it?
[37:37]
John Burns
Fear. Of what?
[37:39]
Stephen Burns
The difference in us. Since all this happened.
[37:41]
John Burns
Did you expect to stay the same? Did you think you could go on living as if nothing had happened?
[37:45]
Stephen Burns
Poor John. I think you've suffered. Of course I have.
[37:49]
John Burns
Every minute, every day.
[37:51]
Stephen Burns
But don't you feel anything else? Yes.
[37:55]
John Burns
I'm scared sick.
[37:56]
Stephen Burns
That isn't what I mean. With me it's as though I can see better. And smell and feel. Everything is so much sharper than it was.
[38:04]
John Burns
It took a murder to do that.
[38:05]
Stephen Burns
Yes, a murder. That's the amazing thing. That's why I'm going to put it all into a poem Here. What? That's rhyming. A story of two men, the Black Knight and the White. To be called Death in the Woods.
[38:23]
John Burns
What happens?
[38:24]
Stephen Burns
The Black Knight meets a girl in the forest. During the encounter, by mistake, he kills her. He's torn with grief. Now, the White Knight is his best friend. He comes upon the scene after the tragedy and he helps the Black Knight hide the girl's white, mutilated body. They carry her to a dark, mysterious lake in the heart of the forest. Just within the boundaries of the Black Knight's castle. And here, in the lake, they put her car.
[38:55]
John Burns
You must be out of your head.
[38:57]
Stephen Burns
You must be insane.
[39:00]
Inspector
You think you're being clever? It's travel transparent.
[39:03]
John Burns
10 million English readers would look at the first page and know who killed Emily Gonne.
[39:07]
Stephen Burns
No one would. I'm not going to have it published. I just write it.
[39:11]
John Burns
Why?
[39:11]
Stephen Burns
Because I have to. No matter how terrible a thing is he carries in his head. If A man is a writer. He can somehow get rid of it. He can write it out of his system and be rid of its nagging forever. Whether it's a love affair or a disease or a.
[39:26]
John Burns
Or a murder.
[39:27]
Stephen Burns
He could be rid of it.
[39:28]
John Burns
It's not that easy.
[39:29]
Stephen Burns
Tis for me.
[39:30]
John Burns
Don't do it, Stephen. You know how you are. You'll show it to someone.
[39:33]
Stephen Burns
After a while.
[39:34]
Coroner
You'll want to.
[39:35]
Stephen Burns
Don't worry about me. Shouldn't I?
[39:38]
John Burns
How did it feel, Stephen, when you were lying about me?
[39:43]
Stephen Burns
About you? But you're imagining things.
[39:47]
John Burns
Suppose a policeman were to come up to us here, right now? Suppose he were to ask which of us two gentlemen killed Emily Gaunt? Do you know what had happened?
[39:55]
Stephen Burns
Tell me.
[39:56]
John Burns
You'd point to me.
[40:00]
Stephen Burns
John. John, let me ask you. Which of us two would the world miss the most? The world? Blast the world. I care about me.
[40:11]
John Burns
Me, John Burns, who's never written a poem in his life and looks like anybody else in the street. What are you going to do about it?
[40:17]
Stephen Burns
Nothing. I'm not going to do a thing. But you can do as you like.
[40:24]
John Burns
No, I won't do anything either.
[40:28]
Stephen Burns
You're not afraid, are you?
[40:29]
John Burns
I'm in love with your wife.
[40:32]
Stephen Burns
So that's it. Very convenient, isn't it? Is it? And does she love you?
[40:38]
John Burns
I don't know.
[40:39]
Coroner
Doesn't matter.
[40:41]
Stephen Burns
You could have had her, you know. I might have been on the gallows by now and you could have had her. Instead, you come down into the pit with me and help me. Why?
[40:52]
John Burns
We've been through all that. Because you're my brother. We've been here long enough. Are you coming with me?
[41:00]
Stephen Burns
All right.
[41:00]
John Burns
I'll go alone.
[41:07]
Stephen Burns
You tried to push me off the
[41:08]
John Burns
platform in front of the train.
[41:12]
Stephen Burns
You tried to kill me. You're mistaken, John. You slipped. I was trying to catch your arm. I see.
[41:18]
John Burns
Then you were trying to save me.
[41:20]
Inspector
That's right.
[41:22]
John Burns
I must thank you for that.
[41:23]
Inspector
Not at all, John.
[41:25]
Stephen Burns
Not at all.
[41:52]
John Burns
How much longer do we play this game? I beg your pardon? You've been following me since I got off the train.
[41:56]
Stephen Burns
That's right.
[41:58]
John Burns
You're a police officer.
[41:59]
Stephen Burns
Yes.
[42:00]
John Burns
How long have you been following me?
[42:02]
Inspector
Since the day after Emily Gaunt disappeared.
[42:05]
John Burns
You mean you've been with me since then? All these weeks. Every day, every minute.
[42:11]
Inspector
You're an active young man, Mr. Burns. You've got a long stride.
[42:15]
John Burns
But me? Why me?
[42:19]
Inspector
I take my assignments from Scotland Yard. They don't always tell me the reasons.
[42:23]
John Burns
I tell you, there is no reason this time.
[42:25]
Inspector
As you say, Mr. Burns.
[42:26]
John Burns
Now you leave me alone.
[42:28]
Stephen Burns
No.
[42:28]
John Burns
Mr. Burns.
[42:49]
Stephen Burns
Is that you, John?
[42:50]
John Burns
Yes.
[42:51]
Stephen Burns
Come to study.
[42:54]
John Burns
You're up late. What are you doing?
[42:56]
Stephen Burns
Working.
[42:57]
John Burns
Let me see. Death in the Woods, a romance by Stephen Burns. You're really writing it?
[43:07]
Stephen Burns
I'm really writing it.
[43:09]
John Burns
I'm done in. What did you want?
[43:11]
Stephen Burns
I just wondered why you'd been so late.
[43:13]
John Burns
Did you?
[43:14]
Stephen Burns
Yes, it worried me. Did it?
[43:16]
John Burns
Did you think I'd finally cracked and gone to the police?
[43:19]
Stephen Burns
I'd just like to know where you are.
[43:21]
John Burns
Don't bother about me. Did you know the house is being watched day and night?
[43:26]
Stephen Burns
Yes. I can see them from my window here.
[43:29]
John Burns
I just wanted to be sure you knew. Good night, Stephen.
[43:33]
Stephen Burns
Good night, John. While moonlight glinted on her body there. While waves washed the gently or her body fair.
[44:04]
Marjorie Burns
Do you like the roast, Stephen?
[44:06]
Stephen Burns
I'm not very hungry, I'm afraid.
[44:08]
Marjorie Burns
You look exhausted. Is the poem finished?
[44:10]
Stephen Burns
Yes, all finished.
[44:12]
Marjorie Burns
You don't look very happy about it.
[44:14]
Stephen Burns
It's good.
[44:15]
Marjorie Burns
When can I see it?
[44:17]
Stephen Burns
I'm not going to show it to anyone.
[44:19]
Marjorie Burns
I see. We used to share things.
[44:23]
Stephen Burns
This is different. I'll probably destroy it anyway.
[44:26]
Marjorie Burns
Stephen.
[44:27]
Stephen Burns
Yes?
[44:29]
Marjorie Burns
What about us?
[44:31]
Stephen Burns
What about us?
[44:33]
Marjorie Burns
We don't seem to have very much of a marriage. You must have noticed that.
[44:37]
Stephen Burns
Yes, I suppose I have.
[44:39]
Marjorie Burns
I've discovered something important about you. You live your life on paper. The things you feel and know, even the people you love. They're all raw material. And when you get them into a poem, you're finished with them. When we were first married, you composed a lovely sonnet sequence. Songs for Marjorie. And when you'd done it, you didn't need me anymore. Stephen, aren't you listening?
[45:09]
Stephen Burns
It's about time he came down to dinner. What's he sulking about?
[45:11]
Marjorie Burns
Do you mean John? He went out some time ago.
[45:14]
Stephen Burns
Where did he go?
[45:15]
Marjorie Burns
He didn't say. Anyway, we were talking about us. Stephen, where are you going?
[45:22]
Stephen Burns
Bring him back.
[45:35]
Marjorie Burns
Death in the woods by Stephen Burns, Part 1 the murder.
[45:58]
Stephen Burns
Well, I couldn't find him.
[46:00]
Marjorie Burns
Why should you? Want to?
[46:02]
Stephen Burns
Care for a drink, Marjorie?
[46:04]
Marjorie Burns
No, not at the moment.
[46:11]
Stephen Burns
That's better. We were talking about us before I made that sudden exit.
[46:16]
Marjorie Burns
Yes.
[46:17]
Stephen Burns
As a matter of fact, you ought to know about it. There's another woman. Her name's Muriel. A rather silly little thing.
[46:25]
Marjorie Burns
Is that so?
[46:27]
Stephen Burns
Not even a little bit jealous?
[46:29]
Marjorie Burns
No, Stephen. You're never jealous of someone you don't love.
[46:35]
Stephen Burns
You make it sound very final.
[46:37]
Marjorie Burns
It is.
[46:38]
Stephen Burns
Just like that. Should I say I'm sorry?
[46:42]
Marjorie Burns
There's no need. I know it doesn't matter to you.
[46:45]
Stephen Burns
You're in some kind of a mood tonight. I can sense it. Why are you so strange? Marjorie?
[46:51]
Marjorie Burns
While you were out looking for John, I read some poetry.
[46:55]
Stephen Burns
Was it mine?
[46:56]
Marjorie Burns
It was signed by you. I went into the study. It was lying on the desk. I read it.
[47:02]
Stephen Burns
Did you like it?
[47:03]
Marjorie Burns
Did I like it?
[47:04]
Mrs. Ambrose
How can you ask that?
[47:06]
Stephen Burns
Why not? You can appreciate a thing aesthetically quite apart from what it says.
[47:09]
Marjorie Burns
No, you can't.
[47:10]
Mrs. Ambrose
Not when it says.
[47:11]
Stephen Burns
Not when it says that you're a murderer. Yes, it's true. I thought I might have disguised it a bit. But you read between the lines, didn't you?
[47:23]
Marjorie Burns
And you dragged John into it, too.
[47:26]
Stephen Burns
John's been wonderful. He's kept a secret very well.
[47:28]
Mrs. Ambrose
Why? Why should he?
[47:30]
Stephen Burns
He's very old fashioned, really. He believes in chivalry. And you see, he loves you.
[47:38]
Marjorie Burns
I never.
[47:40]
Stephen Burns
Then we all know. Splendid. Comes to have another. You remember in the poem I made John the white knight? There was a nice touch. The man who locked the secret fast in his heart. But you, Marjorie, would you keep the secret? After all, you're not in love with me. It would be unfair. I couldn't expect you to, could I?
[48:03]
Marjorie Burns
Yes, dear Stephen, you could. You could.
[48:06]
Stephen Burns
I'd have to take your word. Is your word good, Marjorie?
[48:09]
Marjorie Burns
Do you want to tell me about it? Would that help?
[48:12]
Stephen Burns
Yes, that's an excellent idea. Come here.
[48:17]
Marjorie Burns
Yes, Stephen.
[48:18]
Stephen Burns
Now turn around. That's right. You face the steps. That's where it happened, Stephen. She was coming down from her bath and we met at the foot of the stairs. She looked rather pretty, and I wanted to kiss her. And so I did. It frightened her, I think, because she screamed. I kissed her again and she screamed even louder. I had to stop that. I put my hands on her throat to shake her out of it. She tried to break away, still screaming, and I had to hold tight. It was ridiculous. You'd be home any minute and the neighbors would hear. Let me see. Just exactly where was she standing? All right. About where you are now, Marjorie. That's right. Exactly the same spot. Then I put my hands around her throat with my thumbs on her windpipe. Like this, Stephen. Just like this. And I began to press harder.
[49:12]
Mrs. Ambrose
Stephen, no.
[49:15]
Stephen Burns
Well, no. What do you mean?
[49:19]
Marjorie Burns
I mean you. Your poem.
[49:22]
Stephen Burns
The manuscript.
[49:23]
John Burns
Where is it?
[49:24]
Stephen Burns
What have you done? What is it?
[49:26]
Marjorie Burns
At the publishers by now. I called a messenger and let it send around.
[49:30]
Stephen Burns
You did that to me?
[49:32]
Marjorie Burns
Yes, while you were gone.
[49:35]
Stephen Burns
All right, let them publish it. Let the Whole world read it. What could those fools ever know? Two nights. Kill a girl by accident in a wood. They lay her body in the lake at the foot of a castle. What's. What can. What can they make of that? A fairy tale called Death in the Woods.
[49:50]
Marjorie Burns
I took the liberty of making a change in your manuscript.
[49:55]
Stephen Burns
You did?
[49:56]
Marjorie Burns
I wrote a new title.
[49:59]
Stephen Burns
What did you call it, Marjorie?
[50:01]
Marjorie Burns
I called it Emily Gaunt A Confession of Murder.
[50:12]
Stephen Burns
Go to your room now, Stephen.
[50:16]
Marjorie Burns
I'm sorry you frightened me so, Stephen.
[50:21]
Stephen Burns
Go to your room. Marjorie.
[50:24]
Marjorie Burns
Yes, Stephen.
[50:53]
Stephen Burns
This is to certify that I, Stephen Burns, strangled Emily Gaunt on 15 June. John Burns had nothing to do with him. I am going to drown myself. Who's that?
[51:22]
Henry Dimple
It's Dimple.
[51:23]
Stephen Burns
Over here at the window. What do you want, Dimple?
[51:29]
Henry Dimple
It's Tuesday night, dear boy. Didn't you know?
[51:32]
Stephen Burns
What? I don't understand.
[51:35]
Henry Dimple
Chess, Stephen. Tuesday night chess. Have you forgotten?
[51:41]
Stephen Burns
You like your little games, don't you? Of course I'm free of you, Dimple. You've been holding the secret in for a long time. But you can tell them now. Go on, tell them what you saw. You played your last game with me.
[51:54]
Henry Dimple
I work.
[51:56]
Stephen Burns
Your friend coming?
[51:57]
John Burns
No.
[51:59]
Henry Dimple
No, evidently not. I don't know what's come over Stephen lately. He acts exactly as if I. I
[52:08]
Stephen Burns
don't know, as if I'd done him some harm. Erratic chaps, poets.
[52:13]
Henry Dimple
I suppose so.
[52:14]
Stephen Burns
Too bad. I did want to meet him. The famous Stephen Burns.
[52:19]
Henry Dimple
Well, I'll arrange it again sometime when he's in a better mood. Oh, we'd better be getting to that game.
[52:26]
Stephen Burns
By the way, how are all those scrapbooks of yours coming?
[52:30]
Henry Dimple
Oh, first rate. I've been collecting these murder cases since I was a boy.
[52:35]
Stephen Burns
It's an odd hobby you've got there.
[52:37]
Henry Dimple
All hobbies are a bit odd, I suppose. At any rate, I've got 40 of them now with this Emily Gaunt affair. I dare say I am the only
[52:46]
Stephen Burns
one on the river in interested in that sort of thing.
[53:02]
Marjorie Burns
John? John, is that you?
[53:04]
John Burns
Yes, it's John.
[53:05]
Marjorie Burns
Thank heavens you've come here quickly. What's happened, John?
[53:10]
Mrs. Ambrose
I know.
[53:11]
Marjorie Burns
I know everything. Yeah, never mind now. It's Stephen. Look, I just found this note. I was in my room and I heard him go out 10 minutes ago.
[53:23]
John Burns
I am going to drown myself.
[53:25]
Marjorie Burns
I read the poem and I don't know why, but I hid it in my closet. When he saw it was gone, I had to lie to him to save my life. I told him I'd sent it to the Publishers. He thinks he'll be found out. That's why he's gone.
[53:38]
John Burns
I want you to destroy this note. Marjorie.
[53:41]
Marjorie Burns
Yes, John.
[53:42]
John Burns
I'll try to stop him if it's not too late.
[53:45]
Marjorie Burns
Wait. Let him go. It would be better than the police.
[53:48]
John Burns
No.
[53:50]
Stephen Burns
I love you.
[53:51]
John Burns
And because I do, I've got to do everything I can to save him.
[53:57]
Marjorie Burns
All right. Go ahead. I'll wait here.
[54:06]
Narrator/Commentator
Out on the river, John steered the tiny motorboat around in a wide circle and then slowly narrowed it, watching for the small rowboat, scanning the angry black water for the sign of a bobbing head. And then, suddenly, just ahead of him. Was the boat empty?
[54:23]
Henry Dimple
No.
[54:26]
Narrator/Commentator
Stephen lay huddled in the bow of the boat like a trapped animal, his eyes gleaming in the darkness. His hair was plastered to his face, his clothes heavy and sodden with water. He raised himself on an elbow and then lurched forward to his knees.
[54:39]
Stephen Burns
I went over the side, John. I did. I went in. But I couldn't do it. I couldn't. Take me home, John. I want some dry clothes and some brandy. Take me home.
[54:53]
Narrator/Commentator
John frantically shoved and pushed to move his boat back. Then he stood abruptly and dived into the water after Stephen. He went under for a long moment, battling the current with all his strength. And then he came up again. Stephen is wet. In another moment, his arms were flailing out, searching, rattling, looking for his brother. It may have been only moments, perhaps it was hours. But as he looked round, desperately scanning the black expanse about him for the sight of a single struggling head, it was nothing but jet black water flowing swift.
[55:27]
Narrator/Announcer
Stephen.
[55:31]
Stephen Burns
Stephen. Marjorie.
[56:07]
Inspector
And where is John now, Mrs. Burns?
[56:10]
Marjorie Burns
Out on the river, helping them to look for the body.
[56:14]
Stephen Burns
I see.
[56:15]
Marjorie Burns
Surely. Surely you don't still suspect him?
[56:19]
Inspector
I have a few questions I want to ask him. He was out there with Mr. Burns on the river at the time, wasn't he?
[56:25]
Marjorie Burns
He went out to try to stop him.
[56:27]
Inspector
Stop him?
[56:29]
Marjorie Burns
John.
[56:30]
John Burns
Hello, Marjorie.
[56:31]
Marjorie Burns
Have they.
[56:32]
Stephen Burns
Not yet, Mr. Burns.
[56:34]
Marjorie Burns
Can I, Inspector? I want you to see this, Marjorie.
[56:37]
Stephen Burns
No.
[56:37]
Marjorie Burns
I have to, John. Don't you see? I have to.
[56:40]
Inspector
This is to certify that I, Stephen Byrne, strangled Emily Gaunt on 15 June. John Burns had nothing to do with it. I am going to drown myself. Signed, Stephen Burns. I see. Well, that's plain enough. The case of emmeigaunt is closed and I won't be bothering you again.
[57:07]
Stephen Burns
Good night, Mrs. Burns. Mr. Burns.
[57:10]
Marjorie Burns
Good night,
[57:13]
John Burns
Marjorie.
[57:14]
Marjorie Burns
I had no choice, John. It was Stephen's reputation or you. And I love you.
[57:42]
Coroner
Foreign.
[57:47]
Narrator/Commentator
This is Robert Montgomery. Our congratulations and thanks go to John McIntyre and Dan O' Herlihy for their excellent performances in the House by the river and to all the other players for their fine support. Next week for suspense, we have selected the latest story by Dorothy B. Hughes, who wrote the Fallen Sparrow and Ride the Pink Horse. This one is a chilling mixture of many suspenseful ingredients. A charming young man as ordinary as the smiling gas station attendant around the corner. A young lady who understood him too well, another who loved him too blindly, a detective with a hunch he dreaded to follow up. And a series of headline crashing murders that terrorized a whole city. With these ingredients, Dorothy B. Hughes in a Lonely Place adds up to a gripping hour of suspense. So be back with us next week, will you? Good night.
[58:44]
Radio Announcer
Mr. Montgomery may currently be seen in the Universal International production Ride the pink horse. John McIntyre may currently be seen in the 20th Century Fox production called north side 777. The House by the river by A.P. herbert was adapted for radio by Irving Ravage and was directed by Anton M. Leader. Blood Gluskin is our musical director and conductor, and Lucian Morowek composes the original scores. Next week, here in a Lonely Place on radio's Outstanding Theater of Thrills, one hour of suspense.
[59:26]
Stephen Burns
Foreign.
[59:37]
Radio Announcer
This is cbs, the Columbia Broadcasting System.