Studio One (1948) s03e37 Episode Script
No Tears for Hilda
PAUL BRENSON (VOICEOVER): Whether it's a product for home or business, farm or factory, you can be sure if it's Westinghouse.
[MUSIC PLAYING.]
[ORCHESTRA MUSIC PLAYING.]
[WHISTLING.]
[KNOCKING.]
-Come in.
Oh, just a minute.
One of those snap locks.
Oh.
George.
George, you old son.
How are you? It's good to see you.
-It's good to see you, Peter.
Hey, you should have given me some warning.
-Wanted to surprise you.
Well come on in.
Sit down.
I'll get us up a couple of drinks.
What'll you have? -I don't know.
I don't drink very much anymore, but this is sort of an occasion.
An old-fashioned, I guess.
-Hello.
Room service, please.
-Say, this is pretty impressive.
What'll I do, salute? You've really gone up in the world.
PETER BROOK: Ah, just means I wasn't as smart as you.
Should have gotten out while the getting's good.
-I don't know.
Maybe you were smarter than you think.
PETER BROOK: Hello? Hello, room service.
Would you send up two old fashioneds and two Ryan sodas? Thanks.
-Two? -That's just the starter, boy.
Now come on, sit down.
I want to hear all about everything.
-Oh, there isn't much to tell.
Things go along pretty much as usual.
-How about that cute little wife of yours? -Hilda? She's fine.
-Kids? -Only one, Julie.
She's not really mine, you know.
Hilda was married before.
-Oh, yes.
Of course.
I forgot.
-Did you really just get in? -Two hours ago.
You're the first person I called.
-Really? I hadn't expected you to do that.
-Why not? Told you I would, didn't I? -Well yes, you told me.
But that was a long time ago.
-What difference does that make? -Oh, I don't know.
Lots of times people mean things and when the time comes, other things seem more important.
-Hey, George.
Why so humble? -Oh, it's just like the OSS.
I always wanted the other assignment.
I used to go to old Compstock every week.
He told me I was more valuable where I was.
Then you'd bail out over Yugoslavia or something and I'd go right on sorting statistics.
I've been at it so long, I've got the bookkeeper's edge.
I want to rob a bank.
-Oh.
You're-- you're a dope but of course you always were.
When are you going to ask me out to see the family? -You'd like to come? -Why of course.
You know I would.
I've got to see the most beautiful girl in the world.
-Hilda, of course.
We'd be glad to have you.
When could you make it? -Well, let's see.
I've got to get down to Washington to file a report tomorrow afternoon.
I should be back Saturday sometime after lunch.
-Would you come out to the house for dinner? -You know I would.
-Oh, I know Hilda would like that.
Why don't I call her now? -Go right ahead.
[KNOCKING.]
Oh, I'll get the door.
-Pelham, 20604.
-Put them right there on the desk.
We may want another round.
I'll call you if we do.
-Hello, Hilda.
George.
Hello, darling.
I'm with Peter Brook at the moment.
That's right.
That's right.
Well he just came in today.
He's going to Washington tomorrow but he'll be back on Saturday.
Not doing anything Saturday, are we? Oh, that's fine.
I'll be a little late, dear, so don't wait up for me.
All right, darling.
All right, dear.
Love you.
Well, it's a date, I guess.
-It's a date.
-She seemed pretty excited about meeting you at last.
-Well I'm pretty eager to meet her, too.
Well? -Well.
[MUSIC PLAYING.]
PAPERBOY (SHOUTING): Paper.
[MUSIC PLAYING.]
[KNOCKING.]
-Yes? -Hello.
Is this the Lambert house? -Yes.
Who did you wish to see? -Why, of course.
You're Hilda.
-No, I'm-- are you a friend of the family's? -Yes.
They expect me, I think.
I'm the man who came to dinner.
-Oh, I see.
Perhaps you'd better come in.
-Thanks.
-He from the hospital? -Yes.
-Well, OK.
But don't let anybody else in without asking me first.
-I won't.
Will you come in, please.
-Hospital? What hospital? -I thought it would cause less trouble if I said yes.
I'll try to explain.
-Are you quite sure that this is George Lambert's house? -Quite.
-Are you a friend of theirs? -No.
I'm-- I'd like to put this to you as gently as possible.
But I'm afraid there's no other way.
Mrs.
Lambert was killed last night.
-Killed? How? -Carbon monoxide.
Mr.
Lambert found in the garage about 9 o'clock.
The car was still running.
She had been dead nearly three hours when the police arrived.
-Oh.
God, that's cruel.
Poor George.
-Are you an old friend of Mr.
Lambert's? -Yes.
We were in the OSS for three years together.
-Did you know Mrs.
Lambert? -Only from what he told me.
She was everything in the world to him.
-Yes.
And to many others.
As a friend of Mr.
Lambert's, I think you should know this, however.
The police are not convinced that Mrs.
Lambert's death was accidental.
They're holding Mr.
Lambert as a material witness.
-Holding George? Why, that's ridiculous.
He was out of his mind about her.
Forgive me.
But may I ask who you are.
-Yes, of course.
My name is Stephanie Gireaux.
I'm with the Pomeroy Clinic in Terrytown.
I've come here to pick up the Lambert's child Julie.
She's going to spend a while with us.
-I see.
Uh-- -She's upstairs now.
She ought to be down any minute.
-Has she no family? I mean, why should she have to go to a clinic? -Julie's been at the clinic twice before, Major Brook.
She's a very sick child, I'm afraid.
-Sick-- you mean, you're a psychologist, Miss Gireaux.
-Yes.
There's no family here.
Mrs.
Lambert was a Canadian.
Mr.
Lambert's mother and father died when he was a child.
-Yes.
Yes, I remember that.
Can you tell me where George is now? -Yes.
The police are holding him.
I would suggest that if you want any further information, you get in touch with a Lieutenant Haines.
He's in charge of this case.
-Thank you.
Oh, incidentally, my name is Brook.
Peter Brook.
And I'm most grateful to you for telling me what you have.
-It was very little for me to do.
I-- here's the child now.
Hello, Julie.
Are we all ready? -Yes, I'm ready.
Who's he? -He's an old friend of your father's, Julie.
-Which father? -Hello, Julie.
I'm Peter Brook.
-Were you a friend of Mother's? -No.
I never met your mother.
-I don't believe you.
I think you're a liar.
A dirty, filthy liar.
PETER BROOK: Oh, come on, now.
-Don't touch me.
-No, Julie.
No.
-I've had enough fathers.
I hate you.
I hate you all.
-It's all right, Julie.
It's all right.
-Car's ready, miss.
-We're coming right out.
It's all right, darling.
Mrs.
Framish, will you take Julie to the car.
I'll be right out.
I think I owe you an apology.
I-- I should've warned you.
-Has the child been this way for long? -Yes, for years.
-I wonder why George never spoke about it.
-Mr.
Lambert is a very gentle man.
There are many things he never mentions.
Good afternoon, Major Brook.
-So you're not from the clinic? -Sergeant, can you tell me where I can find a Lieutenant Haines? -Yes, the station house on Oak Street.
-Thanks.
-Just a moment.
I want to know what you're doing here.
-I'll tell that to Lieutenant Haines.
[MUSIC PLAYING.]
-It's an open and shut case, Major Brook.
Lambert's wife was in Delore's hairdressing shop from 1:30 to 4.
She had a haircut, a permanent, the works.
"Some occasion," she told the girls.
She had a car with her and drove home.
Lambert was on the 5:30 that got into Pelham at 5:27.
He admitted that himself.
Two taxi drivers hailed him, but he said he wanted to walk.
So he walked.
He walk and kept on walking.
He could have got home by six at the latest.
But he claims he did not go home.
He walked up out to the Point.
Nobody saw him.
He arrived home about-- about nine.
Or at least at 9 o'clock, he said.
He heard the engine and the car running.
He opened the garage door, found his wife lying on the floor beside the car.
Now why would a man come home on the 5:27 and not get back to his house until nine? Besides there wasn't a fingerprint anywhere but his on the handle of the garage door, on the wheel of the car, on the key.
But most important of all, Mrs.
Lambert was not dead when she was put in the garage.
There were five bruises on her body in addition to a bad gash on the back of her head.
Does that sounds like an accident? -I don't know.
I've got to talk to him, Lieutenant.
Is that possible? -If you think it will do you any good.
[BUZZ.]
Oh, Haggardy.
Major Brook would like to talk to Lambert.
Show him down there.
-Thank you.
-Yeah.
[DRAMATIC MUSIC PLAYING.]
-Someone hear to see you, Mr.
Lambert.
-Hello.
-Peter.
-Hello, George.
-Five minutes, Major.
-Well this isn't quite the celebration we expected, is it? -No.
What happened, George? -I don't know.
-Did you have anything to do with it? -How could I? You know how I felt about Hilda.
There wasn't anybody else like her.
-Yeah, but George, what did happen? What did do you from 5:27 to nine? -Just what I said.
I walked down to the Point.
-Didn't you think of dinner? -No.
It sounds silly now.
I was worried about Hilda.
I knew this was no sort of a life for her.
She had no friends here, nothing.
She wanted to move to New York.
I couldn't afford it unless I got another job.
That's quite a risk to take at my age.
I walked down to the Point to try to get over being scared.
Almost made it by the time I got home.
Then I heard the car running in the garage.
-I see.
George, why didn't Hilda have any friends? -Her looks.
Other women were envious.
There was no reason for them to be, but they were.
-She worried about Julie? -Yes.
She never showed it, but I think that was behind the whole thing.
-You think it was suicide, then? -Yes.
But they don't think so.
-I know.
-I haven't got anybody else to turn to except you, Peter.
I-- I don't know what can be done but try to make them believe you.
-Time's up, Major.
-You think they could look at me and know I couldn't have done it.
You know.
Don't you? -Yes.
I know.
-Well it's all right, then.
You always did find a way.
-I'll do what I can.
[MUSIC PLAYING.]
-Well? -George Lambert's not guilty, Lieutenant.
I'm convinced of that.
-Oh? Who is, then? -I don't know.
-Well until someone guiltier comes along, perhaps we'd better hold on to what we've gotten.
-I can hardly expect you to do anything else.
But I'm firmly convinced that it was humanly impossible for him to have done it.
-Psychology, eh? I've had those long hairs try and teach me my business before.
-Lieutenant, you don't mind if I poke around a bit, do you? -OSS.
You're all a bunch of Dick Tracies to me.
Go ahead, Major.
You try it your way.
I'll try it mine.
That cloak and dagger stuff doesn't bother me at all.
-You're pretty broad minded.
-Yeah.
Goodbye, Major.
Now that's a break for us, Tom.
-How so? -Well, we haven't got as good a case as I'd like.
You know, ten to one, the Major will plug the holes faster than we can do it ourselves.
Give him his head.
He won't bother us a bit.
Not a bit.
[DRAMATIC MUSIC PLAYING.]
-How's it coming, Leslie? -He wouldn't bite anybody.
-Who wouldn't bite anybody? -The dog.
-Leslie, why don't we try painting on the paper? It's much more fun.
-The dog was brown and he bites hard.
He barks and he bites.
He barks and he bites.
[KNOCKING.]
Barks and he bites.
-Excuse me, Miss Gireaux.
There's a Major Brook here to see you.
-I don't want to disturb Leslie if I can help it.
-Big dog.
It's too big for this paper.
-Well Leslie, why don't we get a bigger piece of paper? If you go in the other room, Mrs.
Framish will give you one.
-This big.
-As big as you like.
Will you send him in, please? NURSE: Major Brook.
PETER BROOK: Thank you.
Hello.
Hope you don't mind my dropping in on you this way.
-Not at all.
Won't you sit down? -Thanks.
You know, this is a much larger clinic than I expected.
Tell me, are all the children here psychos? -These children are not actually deranged, Major Brook.
They're merely maladjusted, mostly as a result of bad environments.
-I see.
And what's your position, Miss Gireaux? -I'm in charge of this wing, under the supervision of Doctor Pomeroy, of course.
-Why, you're rather young for such a responsible position, aren't you? -This work is very new, Major Brook.
Most of us in it are very young.
But you didn't come here to discuss me.
Did George Lambert send you? -No.
Not directly, no.
He's worried about Julie, naturally.
-You saw what seeing you did to her the other day.
You feel justified in questioning a child in a condition like that? -Well how would you go about it, Miss Gireaux, if you knew a man's life was at stake? -A child's mind is at stake.
That's my primary responsibility.
-Now, I ask you again.
How would you go about it? Without upsetting the child, if possible.
-I'd observe quietly.
It might take months.
But in the end, you can always find what you want to know about a child by watching her play.
-She's been here twice before.
What have you noticed about her? -Nothing that would help you in any way, Major Brook.
Or George Lambert.
I would say-- [PHONE RINGING.]
Excuse me.
Hello? Hello, Alec.
Oh, I'm afraid I'll be late again, darling.
You go ahead with your dinner.
I'll be in later.
Right.
Yes? -Oh, forgive me, Miss Gireaux, but we're having a little trouble with Bobby.
-I'll be right in.
I'm sorry, Major Brook.
I'll be right back.
What happened? NURSE: Oh, I don't know.
He suddenly-- [KNOCKING.]
-Oh, hello.
-Where's Stephanie? -She'll be back in a moment.
You want to come in? -I don't know.
What are you doing here? -I'm waiting for her.
-Well we won't bother anyone.
There.
And don't you dare get up, you bad child.
Or I'll whip you til your legs bleed.
You stay in bed.
Hear? -She been behaving badly? -Julie's very bad all the time.
She won't stay in bed.
She keeps getting up and spying on me.
She wants to know who the people are that call on me.
-And who are they? -Men.
-Well I don't blame them.
You're a very beautiful little girl.
-But I don't want people spying on me.
Are you one of them? What do you want with my mother? There are enough men here.
We don't want you.
Get out.
Get out.
MRS.
FRAMISH: Julie, darling.
What are you doing in here, child? You should always ask before leaving the room.
-I just came in to see Stephanie.
-Very well, then.
Try to be quiet.
-You be quite, do you hear? Or do you want me to do what I had to do last night? That scares you, doesn't it? I'd like to see you scared.
-Are you waiting to see Miss Gireaux? -Yes.
The child just wandered in.
What's her trouble? -I'm sorry, sir.
We're not allowed to discuss the children's condition with strangers.
-Of course, you have no way of knowing, matron.
But I'm on official business for the army.
-Oh, I see.
Well it's a very usual case.
A bad mother daughter relationship.
The child's strain disintegrates now and then and she assumes her mother's adult processes.
Well you heard her just now.
She disciplines that doll the way her mother dominated her.
-And who are these men she keeps referring to? -Well her mother was, uh, well, shall we say, indiscreet.
The poor child was told that each new man was her father.
-I see.
-You're spying on me again.
I feel you looking at me.
Don't lie to me.
(SHOUTING) I hate you.
I hate you.
I hate you.
I hate you.
-Why, Julie.
Mrs.
Framish, I left no instruction that [INAUDIBLE.]
.
-Oh, but Major Brook said-- -It's all right, darling.
It's all right.
Quiet, quiet.
Mrs.
Framish, will you take Julie back? -Very well.
-Major Brook, I'll have to ask you to leave.
And I would rather that you never came back here again.
-I can't agree to that, Miss Gireaux.
-I'm in charge of this clinic.
No one may come here without my permission.
-In that case, I may have to appeal to the police.
-It would be very unwise of you to do that.
A testimony of a child in that condition would not be admissible in any court.
-Miss Gireaux, my purpose is to save a man that I believe is innocent from being sent to the chair.
This child has just given me a new picture of the Lambert home.
She's presented Hilda Lambert in a totally new light.
Now Hilda Lambert was not the woman that George pretended she was, was she? -She was loathsome and disgusting.
She-- -Go on.
-No, not here.
And you'll get no more from torturing that child ever.
-All right.
Then-- then you fill in the gaps for me.
I'll meet you wherever and whenever you say.
-I live on Chestnut Hill Lane.
It's a small house not 500 yards from this front gate.
I'll be there after 8 o'clock.
-Fine.
I'll see you then.
Uh, will we be alone? -Naturally.
-Thank you.
[INAUDIBLE.]
, Miss Gireaux.
You're French, aren't you? -French Canadian.
-Thank you.
Give me the front gate.
A Major Brook is just leaving.
I don't want him ever allowed in the clinic again without my permission.
Is that understood? Right.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): Now that you've seen part one of "No Tears for Hilda," let's turn to our Westinghouse program with Betty Furness.
How much is it work? Well, how much is an old television set worth, Betty? -Well let's put it this way.
If you trade it in right now on a new Westinghouse big screen television set, you'll be surprised how much it's worth.
Because right now your Westinghouse dealer is ready to give you a bigger than ever trade-in allowance on your old small screens set, your old radio, or even-- and listen to this-- even your old phonograph.
Now this is a wonderful opportunity for you to trade in it any of these on a new Westinghouse big screen television set.
So why don't you go to your Westinghouse dealer and have him tell you just how much he'll allow you on any of these? And when he tells you, you'll be amazed.
And I'll bet that you're going to have a hard time deciding which of the beautiful new Westinghouse television sets that you want to buy.
For instance, here's one you might choose.
It's the lovely Stratton in its handsome cabinet.
Now as you can see, that cabinet is designed to blend with any style of furniture.
And just look what's behind the doors of this handsome cabinet.
A huge, 20 inch screen.
A screen that gives you brighter, clearer pictures.
And it's so much easier to tune in.
To get your channel, you just turn the Westinghouse single dial control and it brings sound and picture in together locked in tune.
And they stay locked in tune.
And there's no wavering of the picture and there's no distortion of the sound.
Something else I want to tell you is that people who own Westinghouse sets are simply crazy about them.
As a matter of fact, a recent survey has shown that seven out of 10 Westinghouse sets sold in the last several months have been told because someone who already owned a Westinghouse set raved about it to a friend or a neighbor.
I think that's pretty impressive, don't you? I think it goes to show that Westinghouse sets are better all around.
So if you'll take advantage of this big trade in offer at your Westinghouse dealer's now, you'll be surprised at how very little your set will cost.
And, of course, you can buy it on easy terms.
Let me remind you once more that to get your big Westinghouse big screen set, you can trade in your old small screen set, your own radio, or even your old phonograph.
They're worth really big money to you now.
So why don't you go to your Westinghouse dealer just as soon as you can and treat yourself to the very finest in television.
A Westinghouse big screen set.
And remember too, that you can be sure if it's Westinghouse.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): Now let's return to Westinghouse Studio One, and "No Tears for Hilda.
" [DRAMATIC MUSIC PLAYING.]
-Steph? Steph? [MUSIC PLAYING.]
-Hello, darling.
-Steph.
-I'm later than I expected.
Did you get your dinner all right? -After a fashion.
Tired? -Yeah.
A little.
I need a cigarette.
-Here.
I just stole a pack from you.
-And you stole a drink too, I see.
-That's right.
I was feeling low.
-Why? -I worked all day again to no good.
-That puts two of us in the same boat.
Oh, so good to sit down.
I hope he give me a couple of minutes to un-spin.
-Who? -Friend of George's.
He was at the clinic all day.
Had to kick him out, but I agreed to see him tonight.
-What's he after? -Wants to help George, I guess.
He tried to talk to Julie.
Squashed that in a hurry.
-Did my name come into it? -I don't think so.
-Well don't let it, Steph.
I couldn't take a lot of questions now.
All I want is to forget her.
I've got to forget her.
-I'll do my best, darling.
-I know you will, Steph.
You always have.
-Alec, in the middle of everything today, I-- I got thinking about us.
What would you think about going to Canada? We could take Julie with us and just disappear.
-That's funny.
I was thinking the same thing all afternoon.
-Only one thing that worries me.
-Julie? -No.
I think if we told her the truth, her tension about you would be over with.
But it's you, Alec.
Your show's only three months off.
And you haven't done anything for weeks and weeks.
-Yes, I know.
Can't seem to get started on anything.
-Why? -Hilda.
I can't get her out of my mind.
Every time I start to work on a new head, her face is there in front of me.
I can't think of anything else.
I made a dozen sketches this afternoon.
Every one was Hilda.
-We've got to get you away.
You must get rid of her.
-If I only felt sure I could.
-I'll ask Dr.
Pomeroy tomorrow.
I know he'll give me a month.
-When do you think we could start? -We'll try for Saturday.
[KNOCKING.]
There he is now.
Leave us as soon as you can.
Good evening, Major Brook.
-Good evening.
-Mr.
Alec Gordon, Major Brook.
-How do you do? -Mr.
Gordon has a studio right across the court.
He just dropped in for a pack of cigarettes.
-You a painter, Mr.
Gordon? -No, sculptor.
Well, thanks a lot, Steph.
I'll see you tomorrow.
-Right, Alec.
Good night.
-Night.
Glad to have met you, Major Brook.
-Night.
-Would you like a drink? -Well if it's not too much trouble, yes.
-Will rye do? -Fine.
-Hey, this is very good.
Mr.
Gordon do this? -Yes.
It's one of his early heads.
-I'm pretty ignorant about sculpture.
Is he well known? -No, he's not.
He'll have his first one-man show in the fall.
-Pretty difficult getting recognized, I imagine, isn't it? -Yes it is.
It's desperately hard and discouraging.
-Known him long? -Oh, yes.
We're old friends.
I've watched him struggle for years.
Some of his things were shown last fall and they had good reaction from the critics.
So I think if he gets started now, it'll make all the difference.
-Is he having much trouble working? -Yes.
But you didn't come here to talk about Alec.
You want to talk about Julie.
-And you.
-I'm an outsider in this case, Major Brook.
Provided we keep the conversation impersonal, I'll answer what I can.
Otherwise I'd prefer to break it off.
-Are you completely an outsider, Miss Gireaux? -Yes, of course.
Why? -Well, it's only a curious similarity in names, but after I left you this afternoon, I drove up to Pelham.
I found this certificate on record down at the office.
It's dated March 11, 1947.
It appears that up to that point, Julie's name was not officially Lambert.
It was Julie Gireaux.
Would you care to see this? -No.
Very well.
I'm Julie's aunt.
My brother was Julie's father.
What else would you like to know? -Where's your brother now? -He's dead thanks to Hilda Lambert.
I watched what she did to him.
When any man got near her, it was like stepping into a pit of warm mud.
-You believe that George had a reasonable motive in killing her, then? -Any man would have been justified.
The moment she put her arms around him, it was his life or hers.
Don't misunderstand me.
There was never any ugliness on the outside.
There was always a certain attraction.
T many, it was much more.
Alec used to call it intoxicating.
-Alec? -Yes.
The man you met just now.
He drove me out to Pelham once to pick up Julie.
He met Hilda just for a few minutes, but even in that short time, he as an artist could sense what she was.
He made me promise never to let him near that woman again.
I don't think he's ever called her anything but "that woman" since.
Wouldn't you like another drink? -No.
No thank you.
I must get going.
-No.
Don't go, Major Brook.
-Why? -Because I'd rather answer all of your questions now.
When you leave here, I'd prefer there was no reason for you ever to come back.
-Well.
I have nothing more to ask tonight, Miss Gireaux.
But I can't promise not to come back.
We'll have to see.
Good night.
[MUSIC PLAYING.]
-Make this fast as you can, will you, Major? -I will.
-Glad to see you, Peter.
Sit down.
Tell me what's happened.
Something has happened, hasn't it? -George, you're not making it easy for me to help you.
-Why? -You haven't told me the truth.
-About what? -Hilda.
She wasn't your cute little wife, was she? -No, she wasn't, Peter.
-But George, why didn't you tell me that? -Habit, I guess.
Never told anybody.
I was afraid of it's getting around.
I was most of all afraid of what it would do t Julie.
The child had enough at home.
Have you seen her? How is she? -She's fine.
She's being taken good care of.
-Oh, she had to live through so much.
I never knew.
All the time I was away, I never knew until I came home.
There was one terrible evening.
Hilda and I screamed at each other.
I even hit her, I think.
After that, things were better for a year or so.
Then one day, she met an artist in town and it all started up again.
-An artist? What was his name? -Alec Gordon.
He was a sculptor.
She always felt that was the world that she belonged to.
She did everything for him.
She even paid a gallery to give him a one man show.
She used to go to his studio day after day.
She even took Julie with her to make it look respectable.
About a month ago, I came home one night and she told me it was all over.
She was never going to see him again.
But it preyed on her mind, I guess.
She couldn't sleep.
She began losing weight.
Most of all, she couldn't stand Julie looking at her.
She couldn't stand what she saw in the child's eyes.
-George, have you got a picture of Hilda? -Yes.
The same one I had overseas.
You must have seen it a dozen times.
Old now.
-Time, Major.
-Thanks.
-She was lovely, wasn't she? -Yes.
Goodbye, George.
I'll see you soon.
-Bye.
-Lieutenant Haines would like to speak to you for a minute, Major.
-All right.
[MUSIC PLAYING.]
-Oh, come in, Major.
I just wanted to thank you before you left for what you've done for us.
-For what I've done? -Yes.
You know, you certainly work fast.
Giving us that tip off on Mrs.
Haines' character was a crucial bit of evidence.
I've got to hand it to you.
-Well, Lieutenant.
I only gave it to you because I thought I'd try to impress on you that there might be other things in this case worth examining.
-Perhaps.
But this was the real clincher.
I calked the DA while you were in with Lambert and told him what you told me.
He was tickled to death.
The biggest hole in our case was lack of motive.
Now you've given us just what we need.
Thanks.
-Pretty funny, isn't it? -So long.
What did I tell you, Tom? Give this guy his head and he'll put Lambert right in the chair.
Oh, friendship's a wonderful thing, Tom.
A wonderful thing.
[MUSIC PLAYING.]
-And you expect to be gone a whole month? -That's our plan at the moment.
I'm not even leaving an address.
I don't want to get there for three days and have a frantic call from here.
[KNOCKING.]
That must be Julie now.
-Oh, hello, Julie.
-You wanted to see me, Stephanie? -Yes, darling.
I'll bring Julie back in a little while, Mrs.
Framish.
How are you, dear? -All right.
You're not going to punish me, are you Stephanie? -No, Julie.
Why should I punish you? I just have some wonderful news.
-What? -We're going to take a trip.
We're going to Canada.
-Canada? Oh Stephanie, truly? -Yes, truly.
All the way to the lakes.
And we're going to stay there a whole month.
-Stephanie.
Oh, that's the best news ever.
Oh, I want to go.
I want to.
I hate it here.
-So do I.
-It's always so still in the woods.
And at sunset, you can just stand by the lack and listen.
And you can hear a little sound, like a branch breaking miles and miles away.
It's true, isn't it? Why didn't you tell me before? -Because I wanted everything to be ready.
And now we are.
We're even all packed.
-We? Who's we? I thought it was just you and I.
-Uncle Alec, darling.
He's going with us.
-Alec? Why? That spoils everything.
-No, Julie.
You love Uncle Alec.
You always have.
-I hate him.
He's just another man.
Just another father.
I hate him.
I hate him.
I hate him.
-No, Julie.
No.
Julie.
-I-- I'm sorry, Stephanie.
I didn't mean to make you cry.
Oh, please Stephanie.
Don't cry.
Please don't cry.
[KNOCKING.]
-Come in.
-Mr.
Gordon? -Yes? -I hope I'm not interrupting you.
I was calling on Miss Gireaux and she wasn't in.
I wondered whether you knew when she'd be back.
-I have no idea.
-Well I can come back, I suppose-- ah, since I'm here, I would like to see some of your things, though.
I saw that head in Miss Gireaux's room.
I thought it was particularly good.
-It was done very early.
-I know.
She told me.
I also saw some pictures of some of the things you showed last fall.
That wild horse I liked tremendously.
-Yes.
I-- I always liked that, too.
I always thought it was one of the best things I'd ever done.
-This a new head you're working on? -Yes.
-Not at all like any of the other things I've seen.
-No, it's quite different.
A few months ago, I began seeing things differently, feeling them differently.
Then it left me.
I couldn't get a hold of it again.
Now it's beginning to come back.
-What else have you got? -Oh, not much here.
I store most of my things in the big barn.
I only keep sketches here and a few small figures.
You know, if you're going to wait for Steph, the least I can do is offer you a drink.
I haven't anything here, but Steph has some right across the way.
-I'd like that very much, thanks.
-Well fine.
I won't be a minute.
PETER BROOK (VOICEOVER): Hilda.
Hilda.
Hilda.
Hi-- ALEC GORDON: Here we are.
-Oh, thanks.
You know, you've got some wonderful things here.
-Why thanks.
-I particularly noticed a couple of very good sketches you did of Hilda Lambert.
I didn't realize you'd known her.
Quite a remarkable face.
-Yes.
PETER BROOK: I only saw one picture of her, that George had overseas.
Never quite forgot her, though.
Never saw her alive, of course.
-What has George told you? -George? Nothing in particular.
-Lie.
-Why do you say that? Was there something he should have told me? -Get out.
-Why, Mr.
Gordon.
What have I said? -I know nothing about Hilda Lambert's death.
Nothing.
And I won't be questioned.
Do you hear? I won't.
-Considering the fact that she spent a sizable amount on a one man show for you, I should think you'd be more interested than most in finding out what really happened to her.
ALEC GORDON (SHOUTING): Get out.
Don't say anything more.
Get out.
-Alec.
I asked you never to come here again, Major Brook.
-I was just leaving.
I think I got what I came for.
Alec, what did-- what happened? -He knows.
He must have been through her papers.
He knows everything.
-Alec, look at me.
He knows what? -About Hilda and me.
He'll dig it up.
Give it to the police.
-Alec.
Tell me.
Did you have anything to do with Hilda's death? -No, Stephanie.
No, no, no.
But don't you see? If they go through everything, find our marriage license, find those papers about Julie, they'll never believe me.
Never.
-Where are they? Where did she keep them? -I don't know.
-We'll just have to find them.
You wait here.
I'll be back as soon as I can.
-You do believe me, Steph? -Yes, Alec.
I believe you.
I must believe you.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): And now, let's pause for a moment and turn to our Westinghouse program with Betty Furness.
Emergency exits.
Say, she certainly looks as if she's in a hurry.
BETTY FURNESS: She is.
It just started to rain and she wants to get her wash off the line before it really pours.
[THUNDER.]
Uh oh.
The storm beat her to it.
Isn't that a shame? It's too bad she doesn't have this wonderfully convenient clothes dryer in her house.
Because then, let it thunder-- [THUNDER.]
Let it rain like mad.
If you have a Westinghouse clothes dryer, you have the sunshine built right in.
Because it tumbles your clothes in clean, warm air as gentle as a breeze on a lovely day in June.
By the way, did you ever get a back ache from lugging a heavy basket of clothes out into the yard and bending and stretching to hang them up on the line? Well this Westinghouse electric clothes dryer is the very best cure for that backache that I've ever found, because look how easy it is to use.
You just drop your already washed clothes into the dryer, then set this dial, start it, and that's all.
For clothes that want ironing, you set the dial at just the degree of dampness that you prefer.
Or you set the dial at dry and your laundry comes out completely dry, all ready for storage.
Fluffy, soft, and sweet smelling.
Just look at this cotton rug.
Now the nap on that is just as good as new.
Bob, could we have a close up here so they can really see it? There.
That's better.
And your Westinghouse clothes dryer turns out everything just like that.
Many women who own a Westinghouse electric dryer do all of their washing on rainy days.
And then when it's sunny, they can, instead of going outside ad hanging up clothes, they can go outside and really enjoy the weather.
And this Westinghouse electric clothes dryers is the very finest made according to the American Society of Industrial Engineers.
That's why it's the only dryer to which they awarded this coveted merit award which you see here.
Further proof that you can be sure if it's Westinghouse.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): We return now to Westinghouse Studio One, and "No Tears for Hilda.
" -Did you think for a moment that the police had not been all through that desk? Furthermore, Miss Gireaux, this was a very foolhardy in move.
There are two policeman watching this house.
If I hadn't spoken to them, they would have stopped you before you came through the door.
Now suppose you try to explain to me just what it is you're looking for.
-I can't.
-You don't believe that George Lambert murdered his wife anymore than I do.
-I don't know.
-I think you do.
I also think you know who did it.
I'm not at all sure you didn't try to help him.
You certainly have helped him since.
-None of that is true.
-Miss Gireaux, the first day I came to your office, I heard you speak to a man named Alec on the telephone.
There's a photograph on your desk inscribed "With love, Alec.
" Now, I don't know where or how Hilda Lambert came into the picture, but I do know that both you and Alec Gordan had every reason to kill her.
For a time, I thought you'd done it.
I now think that he did it.
But you were both in on it, weren't you? What are you laughing at? What are you laughing at? -It's all so terribly logical.
And so wrong.
Alec and I aren't lovers.
We're brother and sister.
-Your brother? But you told me your brother was dead.
-I did that to protect Julie.
For years Hilda filled her full of lies about her father.
It was kinder to Julie to let her think her father was dead.
-But that doesn't remove the motive for your brother's wanting to see Hilda Lambert dead, nor the opportunity for killing her.
-That's a very wild accusation, Major Brook.
I was at the clinic all that afternoon working.
I got home about seven.
Alec was there, waiting for me.
-Oh? Where was he between five and six? -In his studio working.
-It's possible.
But wherever he was, Hilda Lambert was with him.
I suspect that he didn't meet her in the studio.
I suspect that he met right here in this house.
-What right have you to suspect at all? It's true he'd been seeing Hilda, but not for weeks before her death.
He'd broken with her completely.
-Not completely, Miss Gireaux.
Tell me.
I've heard a great deal about Hilda Lambert's curious beauty.
What's-- what did you find most striking about her? -Her eyes.
-And? -Her hair, I guess.
-Oh? -What was it like? -Reddish blond, very soft and silky.
-Short or long? -Long.
It hung almost to her waist.
-She never cut it, then? -You don't know how Hilda felt about that hair.
She used to comb it by the hour.
-Ah, but she did cut it, Miss Gireaux.
The afternoon she died.
-I find that very hard to believe.
-You can find it on record down at police headquarters.
She left the hairdresser's at 4:30.
She arrived home at 5 and at 6, she was dead.
If you're still doubtful, I have here a picture of Hilda Lambert with short hair that I found among some of your brother's sketches this afternoon.
-I don't understand.
-It seems to me, Miss Gireaux, that your brother was among the last people to see Hilda Lambert alive.
I believe he was the last.
-No, no-- -You've defended him long enough.
Even knowing that you'd send an innocent man to the chair, you'd still defend-- -I know he didn't kill her.
I asked him this afternoon.
He's never lied to me in his life.
I don't know what happened that afternoon.
I don't know when he last saw Hilda.
But I do know he didn't kill her.
-And I know that George Lambert didn't do it.
He couldn't have done it.
And it's one or the other.
And in the face of this evidence, I'm prepare to turn Alec Gordon over to the police and let them question him.
-No.
Don't do that.
If he's guilty, you have no other choice.
If he confesses, I won't stand in your way.
But I won't believe it until I hear him say it.
You could go with me and stand right outside.
Please let me ask him alone.
-All right.
-Thanks.
[DRAMATIC MUSIC PLAYING.]
-Hello, Alec.
-Steph.
I kept waiting for you to get back.
Did you get the license? -What? Oh, no.
The police got there ahead of me.
-Oh, god.
-Alec, is it so important? What if they do call you in to question you? You have a perfect alibi.
You were here all afternoon working.
-But I wasn't, Steph.
That's the trouble.
I wasn't.
-No? Where were you? -With Hilda.
-Alec.
Alec.
-She had destroyed everything in me.
I couldn't work.
She disgusted me, but I'd go back again and again.
Nothing I could tell myself made any difference.
That day, I-- I went to end it once and for all.
When I got there, she was out.
I started to leave her a note and she came in.
She'd spent the afternoon making herself over into something she thought I couldn't resist.
And suddenly for the first time, she was completely repulsive to me.
Most of all, it was her hair.
She'd had it cut off for me.
I pretended to find her more exciting than ever.
Grabbed a pencil and told her to stand in the light.
It revealed every line and wrinkle.
The skin below the make up.
I drew her just as she was.
She tried to see what I'd done, but I wouldn't let her.
First she was angry, then she started to plead.
She came close to me.
.
Put her arms around me.
Suddenly I flew into a blind rage.
I grabbed her by the hair and threw her toward the stair.
She screamed and turned on me like an animal.
I hit her.
Again and again and again.
I saw her eyes go dim.
Her knees buckled and she fell.
You-- you did this.
You did this to trap me.
Get out.
Get out.
You won't get me this way.
You won't.
-(SCREAMING) No, Alec.
Alec.
Are you [INAUDIBLE.]
? -Yeah.
It's just my shoulder.
-Can I do anything? -No, it's all right.
I'll live.
-[INAUDIBLE.]
call the police.
-Yes.
-Well, that's that.
-You want to see him before he leaves? -Yeah.
-Mike, bring George Lambert here, will you? -OK.
-Well it only goes to show, Tom, you never can be too sure.
The way I figured it, we were handing Lambert to the DA on a silver platter.
-Yeah.
Looked good all right.
-If anybody else had done this to me but one of those OSS babies, I wouldn't have minded.
I was enjoying pinning his ears back.
It's bad enough to be shown up.
It's even worse when you've got to take it from an amateur.
-Maybe he wasn't.
-That's just what I don't like to admit.
Oh, come in, Lambert.
-Thank you.
-I suppose you know what's happened.
-Yes, sir.
I'm very grateful.
-Well, you can't thank me.
It's your friend.
-Yes, I know.
-Oh, he called a while ago.
He'll be at the house when you get there.
-Does that mean that I'm free to leave now? -Yes.
Haggardy will drive you home.
Oh, uh, I'm sorry about all this, Lambert.
-You couldn't do anything else, could you? -Well-- good luck, Lambert.
-Thank you.
[MUSIC PLAYING.]
-Here are the glasses.
-Oh, thanks.
Where's Julie? -She's upstairs.
She wanted to surprise him.
-Oh, I wonder.
You think we did the right thing in bringing her here? -I don't know.
I hope so.
-How about you? -I'm all right.
It's the least I could do.
-No, it isn't.
No, you-- you-- you-- you could have hated both George and me.
No one could have blamed you if you had.
-Perhaps.
When I heard that the police had picked Alec up last night, it was though I'd read it in the newspaper.
I suppose tomorrow when I see him again, the pain will start.
But right now I feel nothing.
Just nothing.
Let's not talk about it.
Do you mind? -No.
Just wanted to say that I think you're rather a special person.
-Thanks.
How's your arm? I hope it doesn't hurt too badly.
-Oh, no, no.
It's fine.
-I hear the car.
I guess that's them.
You'd better answer the door.
-Peter.
-Welcome home.
-Thanks, Haggardy.
-You sure you're all right now? -Fine.
-OK.
-Well, this is nice.
Gee, I owe you a lot.
What's this? -Nothing.
Just bumped into a hammer.
Come on in here.
-Hello, Stephanie.
-Hello, George.
-I hadn't expected-- -I brought Julie.
-Julie? Where is she? -She's upstairs.
-Well I think we could all use a little wine.
-I'll get Julie.
Julie.
-Daddy.
Daddy.
GEORGE LAMBERT: Julie.
How is my best girl? Let me look at you.
-Oh, Daddy.
It's so good to see you.
-Oh, you look fine.
-I am.
-Look, you put on my favorite dress.
You look fine.
-I kept it for now, Daddy.
-Good for you.
-Now there'll be no other fathers but you ever.
-Oh, Julie.
-Oh, Daddy.
Daddy, I shouldn't say this, but that day when I looked out the window and saw you come out the front door with her in your arms, I was glad.
I stood there and watched you.
When I saw you open the door of the garage and take her in, I wanted to yell, good, good, good.
She's dead.
Now Daddy and I can be alone.
-Julie.
Why don't you go upstairs, darling? Your daddy's very tired.
He'll call you.
-Are you, Daddy? -Yes, dear.
I'm tired.
You do as she says.
-All right.
But you will call? -Yes, I will.
-Good.
-No, Peter.
She wasn't dead in my arms.
I came in and I found her lying at the foot of the stairs.
I'd wanted her dead for a long time, just as Julie had wanted.
It's funny, I remember thinking, they gave all the good assignments to somebody else.
They put me back of a desk.
This is my assignment.
I carried her out to the garage, started the car, closed the door.
Seemed so simple.
Maybe it's for the best.
I don't know that I could have let Alec take it, anyway.
Funniest part of it is, I don't think that they had enough to convict me until I asked you to step in and help, Peter.
There's some deep philosophic principal in that, but don't ask me what it is.
You better call Haines quickly, Peter.
He'll be so pleased.
-Get me the police, please.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): Before we look at next week's Westinghouse program, here's something well worth remembering.
[WESTINGHOUSE THEME SONG.]
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They're today's big buy in light bulbs.
[WESTINGHOUSE THEME SONG.]
PAUL BRENSON (VOICEOVER): And you can be sure if it's Westinghouse.
[DRAMATIC MUSIC PLAYING.]
NARRATOR: This is Paul Brenson saying good night for Westinghouse, makers of more than 40 million products for the American home.
We hope you'll be with us again next week.
Meanwhile, if you want a television set that will last, get a Westinghouse.
While you're at your Westinghouse dealer's, be sure to see the Westinghouse clothes dryer.
It dries your clothes perfectly in any weather.
And now until next week, good night.
Miss Sinclair's gowns by Pembrook Squires for Masket Brothers.
[MUSIC PLAYING.]
[ORCHESTRA MUSIC PLAYING.]
[WHISTLING.]
[KNOCKING.]
-Come in.
Oh, just a minute.
One of those snap locks.
Oh.
George.
George, you old son.
How are you? It's good to see you.
-It's good to see you, Peter.
Hey, you should have given me some warning.
-Wanted to surprise you.
Well come on in.
Sit down.
I'll get us up a couple of drinks.
What'll you have? -I don't know.
I don't drink very much anymore, but this is sort of an occasion.
An old-fashioned, I guess.
-Hello.
Room service, please.
-Say, this is pretty impressive.
What'll I do, salute? You've really gone up in the world.
PETER BROOK: Ah, just means I wasn't as smart as you.
Should have gotten out while the getting's good.
-I don't know.
Maybe you were smarter than you think.
PETER BROOK: Hello? Hello, room service.
Would you send up two old fashioneds and two Ryan sodas? Thanks.
-Two? -That's just the starter, boy.
Now come on, sit down.
I want to hear all about everything.
-Oh, there isn't much to tell.
Things go along pretty much as usual.
-How about that cute little wife of yours? -Hilda? She's fine.
-Kids? -Only one, Julie.
She's not really mine, you know.
Hilda was married before.
-Oh, yes.
Of course.
I forgot.
-Did you really just get in? -Two hours ago.
You're the first person I called.
-Really? I hadn't expected you to do that.
-Why not? Told you I would, didn't I? -Well yes, you told me.
But that was a long time ago.
-What difference does that make? -Oh, I don't know.
Lots of times people mean things and when the time comes, other things seem more important.
-Hey, George.
Why so humble? -Oh, it's just like the OSS.
I always wanted the other assignment.
I used to go to old Compstock every week.
He told me I was more valuable where I was.
Then you'd bail out over Yugoslavia or something and I'd go right on sorting statistics.
I've been at it so long, I've got the bookkeeper's edge.
I want to rob a bank.
-Oh.
You're-- you're a dope but of course you always were.
When are you going to ask me out to see the family? -You'd like to come? -Why of course.
You know I would.
I've got to see the most beautiful girl in the world.
-Hilda, of course.
We'd be glad to have you.
When could you make it? -Well, let's see.
I've got to get down to Washington to file a report tomorrow afternoon.
I should be back Saturday sometime after lunch.
-Would you come out to the house for dinner? -You know I would.
-Oh, I know Hilda would like that.
Why don't I call her now? -Go right ahead.
[KNOCKING.]
Oh, I'll get the door.
-Pelham, 20604.
-Put them right there on the desk.
We may want another round.
I'll call you if we do.
-Hello, Hilda.
George.
Hello, darling.
I'm with Peter Brook at the moment.
That's right.
That's right.
Well he just came in today.
He's going to Washington tomorrow but he'll be back on Saturday.
Not doing anything Saturday, are we? Oh, that's fine.
I'll be a little late, dear, so don't wait up for me.
All right, darling.
All right, dear.
Love you.
Well, it's a date, I guess.
-It's a date.
-She seemed pretty excited about meeting you at last.
-Well I'm pretty eager to meet her, too.
Well? -Well.
[MUSIC PLAYING.]
PAPERBOY (SHOUTING): Paper.
[MUSIC PLAYING.]
[KNOCKING.]
-Yes? -Hello.
Is this the Lambert house? -Yes.
Who did you wish to see? -Why, of course.
You're Hilda.
-No, I'm-- are you a friend of the family's? -Yes.
They expect me, I think.
I'm the man who came to dinner.
-Oh, I see.
Perhaps you'd better come in.
-Thanks.
-He from the hospital? -Yes.
-Well, OK.
But don't let anybody else in without asking me first.
-I won't.
Will you come in, please.
-Hospital? What hospital? -I thought it would cause less trouble if I said yes.
I'll try to explain.
-Are you quite sure that this is George Lambert's house? -Quite.
-Are you a friend of theirs? -No.
I'm-- I'd like to put this to you as gently as possible.
But I'm afraid there's no other way.
Mrs.
Lambert was killed last night.
-Killed? How? -Carbon monoxide.
Mr.
Lambert found in the garage about 9 o'clock.
The car was still running.
She had been dead nearly three hours when the police arrived.
-Oh.
God, that's cruel.
Poor George.
-Are you an old friend of Mr.
Lambert's? -Yes.
We were in the OSS for three years together.
-Did you know Mrs.
Lambert? -Only from what he told me.
She was everything in the world to him.
-Yes.
And to many others.
As a friend of Mr.
Lambert's, I think you should know this, however.
The police are not convinced that Mrs.
Lambert's death was accidental.
They're holding Mr.
Lambert as a material witness.
-Holding George? Why, that's ridiculous.
He was out of his mind about her.
Forgive me.
But may I ask who you are.
-Yes, of course.
My name is Stephanie Gireaux.
I'm with the Pomeroy Clinic in Terrytown.
I've come here to pick up the Lambert's child Julie.
She's going to spend a while with us.
-I see.
Uh-- -She's upstairs now.
She ought to be down any minute.
-Has she no family? I mean, why should she have to go to a clinic? -Julie's been at the clinic twice before, Major Brook.
She's a very sick child, I'm afraid.
-Sick-- you mean, you're a psychologist, Miss Gireaux.
-Yes.
There's no family here.
Mrs.
Lambert was a Canadian.
Mr.
Lambert's mother and father died when he was a child.
-Yes.
Yes, I remember that.
Can you tell me where George is now? -Yes.
The police are holding him.
I would suggest that if you want any further information, you get in touch with a Lieutenant Haines.
He's in charge of this case.
-Thank you.
Oh, incidentally, my name is Brook.
Peter Brook.
And I'm most grateful to you for telling me what you have.
-It was very little for me to do.
I-- here's the child now.
Hello, Julie.
Are we all ready? -Yes, I'm ready.
Who's he? -He's an old friend of your father's, Julie.
-Which father? -Hello, Julie.
I'm Peter Brook.
-Were you a friend of Mother's? -No.
I never met your mother.
-I don't believe you.
I think you're a liar.
A dirty, filthy liar.
PETER BROOK: Oh, come on, now.
-Don't touch me.
-No, Julie.
No.
-I've had enough fathers.
I hate you.
I hate you all.
-It's all right, Julie.
It's all right.
-Car's ready, miss.
-We're coming right out.
It's all right, darling.
Mrs.
Framish, will you take Julie to the car.
I'll be right out.
I think I owe you an apology.
I-- I should've warned you.
-Has the child been this way for long? -Yes, for years.
-I wonder why George never spoke about it.
-Mr.
Lambert is a very gentle man.
There are many things he never mentions.
Good afternoon, Major Brook.
-So you're not from the clinic? -Sergeant, can you tell me where I can find a Lieutenant Haines? -Yes, the station house on Oak Street.
-Thanks.
-Just a moment.
I want to know what you're doing here.
-I'll tell that to Lieutenant Haines.
[MUSIC PLAYING.]
-It's an open and shut case, Major Brook.
Lambert's wife was in Delore's hairdressing shop from 1:30 to 4.
She had a haircut, a permanent, the works.
"Some occasion," she told the girls.
She had a car with her and drove home.
Lambert was on the 5:30 that got into Pelham at 5:27.
He admitted that himself.
Two taxi drivers hailed him, but he said he wanted to walk.
So he walked.
He walk and kept on walking.
He could have got home by six at the latest.
But he claims he did not go home.
He walked up out to the Point.
Nobody saw him.
He arrived home about-- about nine.
Or at least at 9 o'clock, he said.
He heard the engine and the car running.
He opened the garage door, found his wife lying on the floor beside the car.
Now why would a man come home on the 5:27 and not get back to his house until nine? Besides there wasn't a fingerprint anywhere but his on the handle of the garage door, on the wheel of the car, on the key.
But most important of all, Mrs.
Lambert was not dead when she was put in the garage.
There were five bruises on her body in addition to a bad gash on the back of her head.
Does that sounds like an accident? -I don't know.
I've got to talk to him, Lieutenant.
Is that possible? -If you think it will do you any good.
[BUZZ.]
Oh, Haggardy.
Major Brook would like to talk to Lambert.
Show him down there.
-Thank you.
-Yeah.
[DRAMATIC MUSIC PLAYING.]
-Someone hear to see you, Mr.
Lambert.
-Hello.
-Peter.
-Hello, George.
-Five minutes, Major.
-Well this isn't quite the celebration we expected, is it? -No.
What happened, George? -I don't know.
-Did you have anything to do with it? -How could I? You know how I felt about Hilda.
There wasn't anybody else like her.
-Yeah, but George, what did happen? What did do you from 5:27 to nine? -Just what I said.
I walked down to the Point.
-Didn't you think of dinner? -No.
It sounds silly now.
I was worried about Hilda.
I knew this was no sort of a life for her.
She had no friends here, nothing.
She wanted to move to New York.
I couldn't afford it unless I got another job.
That's quite a risk to take at my age.
I walked down to the Point to try to get over being scared.
Almost made it by the time I got home.
Then I heard the car running in the garage.
-I see.
George, why didn't Hilda have any friends? -Her looks.
Other women were envious.
There was no reason for them to be, but they were.
-She worried about Julie? -Yes.
She never showed it, but I think that was behind the whole thing.
-You think it was suicide, then? -Yes.
But they don't think so.
-I know.
-I haven't got anybody else to turn to except you, Peter.
I-- I don't know what can be done but try to make them believe you.
-Time's up, Major.
-You think they could look at me and know I couldn't have done it.
You know.
Don't you? -Yes.
I know.
-Well it's all right, then.
You always did find a way.
-I'll do what I can.
[MUSIC PLAYING.]
-Well? -George Lambert's not guilty, Lieutenant.
I'm convinced of that.
-Oh? Who is, then? -I don't know.
-Well until someone guiltier comes along, perhaps we'd better hold on to what we've gotten.
-I can hardly expect you to do anything else.
But I'm firmly convinced that it was humanly impossible for him to have done it.
-Psychology, eh? I've had those long hairs try and teach me my business before.
-Lieutenant, you don't mind if I poke around a bit, do you? -OSS.
You're all a bunch of Dick Tracies to me.
Go ahead, Major.
You try it your way.
I'll try it mine.
That cloak and dagger stuff doesn't bother me at all.
-You're pretty broad minded.
-Yeah.
Goodbye, Major.
Now that's a break for us, Tom.
-How so? -Well, we haven't got as good a case as I'd like.
You know, ten to one, the Major will plug the holes faster than we can do it ourselves.
Give him his head.
He won't bother us a bit.
Not a bit.
[DRAMATIC MUSIC PLAYING.]
-How's it coming, Leslie? -He wouldn't bite anybody.
-Who wouldn't bite anybody? -The dog.
-Leslie, why don't we try painting on the paper? It's much more fun.
-The dog was brown and he bites hard.
He barks and he bites.
He barks and he bites.
[KNOCKING.]
Barks and he bites.
-Excuse me, Miss Gireaux.
There's a Major Brook here to see you.
-I don't want to disturb Leslie if I can help it.
-Big dog.
It's too big for this paper.
-Well Leslie, why don't we get a bigger piece of paper? If you go in the other room, Mrs.
Framish will give you one.
-This big.
-As big as you like.
Will you send him in, please? NURSE: Major Brook.
PETER BROOK: Thank you.
Hello.
Hope you don't mind my dropping in on you this way.
-Not at all.
Won't you sit down? -Thanks.
You know, this is a much larger clinic than I expected.
Tell me, are all the children here psychos? -These children are not actually deranged, Major Brook.
They're merely maladjusted, mostly as a result of bad environments.
-I see.
And what's your position, Miss Gireaux? -I'm in charge of this wing, under the supervision of Doctor Pomeroy, of course.
-Why, you're rather young for such a responsible position, aren't you? -This work is very new, Major Brook.
Most of us in it are very young.
But you didn't come here to discuss me.
Did George Lambert send you? -No.
Not directly, no.
He's worried about Julie, naturally.
-You saw what seeing you did to her the other day.
You feel justified in questioning a child in a condition like that? -Well how would you go about it, Miss Gireaux, if you knew a man's life was at stake? -A child's mind is at stake.
That's my primary responsibility.
-Now, I ask you again.
How would you go about it? Without upsetting the child, if possible.
-I'd observe quietly.
It might take months.
But in the end, you can always find what you want to know about a child by watching her play.
-She's been here twice before.
What have you noticed about her? -Nothing that would help you in any way, Major Brook.
Or George Lambert.
I would say-- [PHONE RINGING.]
Excuse me.
Hello? Hello, Alec.
Oh, I'm afraid I'll be late again, darling.
You go ahead with your dinner.
I'll be in later.
Right.
Yes? -Oh, forgive me, Miss Gireaux, but we're having a little trouble with Bobby.
-I'll be right in.
I'm sorry, Major Brook.
I'll be right back.
What happened? NURSE: Oh, I don't know.
He suddenly-- [KNOCKING.]
-Oh, hello.
-Where's Stephanie? -She'll be back in a moment.
You want to come in? -I don't know.
What are you doing here? -I'm waiting for her.
-Well we won't bother anyone.
There.
And don't you dare get up, you bad child.
Or I'll whip you til your legs bleed.
You stay in bed.
Hear? -She been behaving badly? -Julie's very bad all the time.
She won't stay in bed.
She keeps getting up and spying on me.
She wants to know who the people are that call on me.
-And who are they? -Men.
-Well I don't blame them.
You're a very beautiful little girl.
-But I don't want people spying on me.
Are you one of them? What do you want with my mother? There are enough men here.
We don't want you.
Get out.
Get out.
MRS.
FRAMISH: Julie, darling.
What are you doing in here, child? You should always ask before leaving the room.
-I just came in to see Stephanie.
-Very well, then.
Try to be quiet.
-You be quite, do you hear? Or do you want me to do what I had to do last night? That scares you, doesn't it? I'd like to see you scared.
-Are you waiting to see Miss Gireaux? -Yes.
The child just wandered in.
What's her trouble? -I'm sorry, sir.
We're not allowed to discuss the children's condition with strangers.
-Of course, you have no way of knowing, matron.
But I'm on official business for the army.
-Oh, I see.
Well it's a very usual case.
A bad mother daughter relationship.
The child's strain disintegrates now and then and she assumes her mother's adult processes.
Well you heard her just now.
She disciplines that doll the way her mother dominated her.
-And who are these men she keeps referring to? -Well her mother was, uh, well, shall we say, indiscreet.
The poor child was told that each new man was her father.
-I see.
-You're spying on me again.
I feel you looking at me.
Don't lie to me.
(SHOUTING) I hate you.
I hate you.
I hate you.
I hate you.
-Why, Julie.
Mrs.
Framish, I left no instruction that [INAUDIBLE.]
.
-Oh, but Major Brook said-- -It's all right, darling.
It's all right.
Quiet, quiet.
Mrs.
Framish, will you take Julie back? -Very well.
-Major Brook, I'll have to ask you to leave.
And I would rather that you never came back here again.
-I can't agree to that, Miss Gireaux.
-I'm in charge of this clinic.
No one may come here without my permission.
-In that case, I may have to appeal to the police.
-It would be very unwise of you to do that.
A testimony of a child in that condition would not be admissible in any court.
-Miss Gireaux, my purpose is to save a man that I believe is innocent from being sent to the chair.
This child has just given me a new picture of the Lambert home.
She's presented Hilda Lambert in a totally new light.
Now Hilda Lambert was not the woman that George pretended she was, was she? -She was loathsome and disgusting.
She-- -Go on.
-No, not here.
And you'll get no more from torturing that child ever.
-All right.
Then-- then you fill in the gaps for me.
I'll meet you wherever and whenever you say.
-I live on Chestnut Hill Lane.
It's a small house not 500 yards from this front gate.
I'll be there after 8 o'clock.
-Fine.
I'll see you then.
Uh, will we be alone? -Naturally.
-Thank you.
[INAUDIBLE.]
, Miss Gireaux.
You're French, aren't you? -French Canadian.
-Thank you.
Give me the front gate.
A Major Brook is just leaving.
I don't want him ever allowed in the clinic again without my permission.
Is that understood? Right.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): Now that you've seen part one of "No Tears for Hilda," let's turn to our Westinghouse program with Betty Furness.
How much is it work? Well, how much is an old television set worth, Betty? -Well let's put it this way.
If you trade it in right now on a new Westinghouse big screen television set, you'll be surprised how much it's worth.
Because right now your Westinghouse dealer is ready to give you a bigger than ever trade-in allowance on your old small screens set, your old radio, or even-- and listen to this-- even your old phonograph.
Now this is a wonderful opportunity for you to trade in it any of these on a new Westinghouse big screen television set.
So why don't you go to your Westinghouse dealer and have him tell you just how much he'll allow you on any of these? And when he tells you, you'll be amazed.
And I'll bet that you're going to have a hard time deciding which of the beautiful new Westinghouse television sets that you want to buy.
For instance, here's one you might choose.
It's the lovely Stratton in its handsome cabinet.
Now as you can see, that cabinet is designed to blend with any style of furniture.
And just look what's behind the doors of this handsome cabinet.
A huge, 20 inch screen.
A screen that gives you brighter, clearer pictures.
And it's so much easier to tune in.
To get your channel, you just turn the Westinghouse single dial control and it brings sound and picture in together locked in tune.
And they stay locked in tune.
And there's no wavering of the picture and there's no distortion of the sound.
Something else I want to tell you is that people who own Westinghouse sets are simply crazy about them.
As a matter of fact, a recent survey has shown that seven out of 10 Westinghouse sets sold in the last several months have been told because someone who already owned a Westinghouse set raved about it to a friend or a neighbor.
I think that's pretty impressive, don't you? I think it goes to show that Westinghouse sets are better all around.
So if you'll take advantage of this big trade in offer at your Westinghouse dealer's now, you'll be surprised at how very little your set will cost.
And, of course, you can buy it on easy terms.
Let me remind you once more that to get your big Westinghouse big screen set, you can trade in your old small screen set, your own radio, or even your old phonograph.
They're worth really big money to you now.
So why don't you go to your Westinghouse dealer just as soon as you can and treat yourself to the very finest in television.
A Westinghouse big screen set.
And remember too, that you can be sure if it's Westinghouse.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): Now let's return to Westinghouse Studio One, and "No Tears for Hilda.
" [DRAMATIC MUSIC PLAYING.]
-Steph? Steph? [MUSIC PLAYING.]
-Hello, darling.
-Steph.
-I'm later than I expected.
Did you get your dinner all right? -After a fashion.
Tired? -Yeah.
A little.
I need a cigarette.
-Here.
I just stole a pack from you.
-And you stole a drink too, I see.
-That's right.
I was feeling low.
-Why? -I worked all day again to no good.
-That puts two of us in the same boat.
Oh, so good to sit down.
I hope he give me a couple of minutes to un-spin.
-Who? -Friend of George's.
He was at the clinic all day.
Had to kick him out, but I agreed to see him tonight.
-What's he after? -Wants to help George, I guess.
He tried to talk to Julie.
Squashed that in a hurry.
-Did my name come into it? -I don't think so.
-Well don't let it, Steph.
I couldn't take a lot of questions now.
All I want is to forget her.
I've got to forget her.
-I'll do my best, darling.
-I know you will, Steph.
You always have.
-Alec, in the middle of everything today, I-- I got thinking about us.
What would you think about going to Canada? We could take Julie with us and just disappear.
-That's funny.
I was thinking the same thing all afternoon.
-Only one thing that worries me.
-Julie? -No.
I think if we told her the truth, her tension about you would be over with.
But it's you, Alec.
Your show's only three months off.
And you haven't done anything for weeks and weeks.
-Yes, I know.
Can't seem to get started on anything.
-Why? -Hilda.
I can't get her out of my mind.
Every time I start to work on a new head, her face is there in front of me.
I can't think of anything else.
I made a dozen sketches this afternoon.
Every one was Hilda.
-We've got to get you away.
You must get rid of her.
-If I only felt sure I could.
-I'll ask Dr.
Pomeroy tomorrow.
I know he'll give me a month.
-When do you think we could start? -We'll try for Saturday.
[KNOCKING.]
There he is now.
Leave us as soon as you can.
Good evening, Major Brook.
-Good evening.
-Mr.
Alec Gordon, Major Brook.
-How do you do? -Mr.
Gordon has a studio right across the court.
He just dropped in for a pack of cigarettes.
-You a painter, Mr.
Gordon? -No, sculptor.
Well, thanks a lot, Steph.
I'll see you tomorrow.
-Right, Alec.
Good night.
-Night.
Glad to have met you, Major Brook.
-Night.
-Would you like a drink? -Well if it's not too much trouble, yes.
-Will rye do? -Fine.
-Hey, this is very good.
Mr.
Gordon do this? -Yes.
It's one of his early heads.
-I'm pretty ignorant about sculpture.
Is he well known? -No, he's not.
He'll have his first one-man show in the fall.
-Pretty difficult getting recognized, I imagine, isn't it? -Yes it is.
It's desperately hard and discouraging.
-Known him long? -Oh, yes.
We're old friends.
I've watched him struggle for years.
Some of his things were shown last fall and they had good reaction from the critics.
So I think if he gets started now, it'll make all the difference.
-Is he having much trouble working? -Yes.
But you didn't come here to talk about Alec.
You want to talk about Julie.
-And you.
-I'm an outsider in this case, Major Brook.
Provided we keep the conversation impersonal, I'll answer what I can.
Otherwise I'd prefer to break it off.
-Are you completely an outsider, Miss Gireaux? -Yes, of course.
Why? -Well, it's only a curious similarity in names, but after I left you this afternoon, I drove up to Pelham.
I found this certificate on record down at the office.
It's dated March 11, 1947.
It appears that up to that point, Julie's name was not officially Lambert.
It was Julie Gireaux.
Would you care to see this? -No.
Very well.
I'm Julie's aunt.
My brother was Julie's father.
What else would you like to know? -Where's your brother now? -He's dead thanks to Hilda Lambert.
I watched what she did to him.
When any man got near her, it was like stepping into a pit of warm mud.
-You believe that George had a reasonable motive in killing her, then? -Any man would have been justified.
The moment she put her arms around him, it was his life or hers.
Don't misunderstand me.
There was never any ugliness on the outside.
There was always a certain attraction.
T many, it was much more.
Alec used to call it intoxicating.
-Alec? -Yes.
The man you met just now.
He drove me out to Pelham once to pick up Julie.
He met Hilda just for a few minutes, but even in that short time, he as an artist could sense what she was.
He made me promise never to let him near that woman again.
I don't think he's ever called her anything but "that woman" since.
Wouldn't you like another drink? -No.
No thank you.
I must get going.
-No.
Don't go, Major Brook.
-Why? -Because I'd rather answer all of your questions now.
When you leave here, I'd prefer there was no reason for you ever to come back.
-Well.
I have nothing more to ask tonight, Miss Gireaux.
But I can't promise not to come back.
We'll have to see.
Good night.
[MUSIC PLAYING.]
-Make this fast as you can, will you, Major? -I will.
-Glad to see you, Peter.
Sit down.
Tell me what's happened.
Something has happened, hasn't it? -George, you're not making it easy for me to help you.
-Why? -You haven't told me the truth.
-About what? -Hilda.
She wasn't your cute little wife, was she? -No, she wasn't, Peter.
-But George, why didn't you tell me that? -Habit, I guess.
Never told anybody.
I was afraid of it's getting around.
I was most of all afraid of what it would do t Julie.
The child had enough at home.
Have you seen her? How is she? -She's fine.
She's being taken good care of.
-Oh, she had to live through so much.
I never knew.
All the time I was away, I never knew until I came home.
There was one terrible evening.
Hilda and I screamed at each other.
I even hit her, I think.
After that, things were better for a year or so.
Then one day, she met an artist in town and it all started up again.
-An artist? What was his name? -Alec Gordon.
He was a sculptor.
She always felt that was the world that she belonged to.
She did everything for him.
She even paid a gallery to give him a one man show.
She used to go to his studio day after day.
She even took Julie with her to make it look respectable.
About a month ago, I came home one night and she told me it was all over.
She was never going to see him again.
But it preyed on her mind, I guess.
She couldn't sleep.
She began losing weight.
Most of all, she couldn't stand Julie looking at her.
She couldn't stand what she saw in the child's eyes.
-George, have you got a picture of Hilda? -Yes.
The same one I had overseas.
You must have seen it a dozen times.
Old now.
-Time, Major.
-Thanks.
-She was lovely, wasn't she? -Yes.
Goodbye, George.
I'll see you soon.
-Bye.
-Lieutenant Haines would like to speak to you for a minute, Major.
-All right.
[MUSIC PLAYING.]
-Oh, come in, Major.
I just wanted to thank you before you left for what you've done for us.
-For what I've done? -Yes.
You know, you certainly work fast.
Giving us that tip off on Mrs.
Haines' character was a crucial bit of evidence.
I've got to hand it to you.
-Well, Lieutenant.
I only gave it to you because I thought I'd try to impress on you that there might be other things in this case worth examining.
-Perhaps.
But this was the real clincher.
I calked the DA while you were in with Lambert and told him what you told me.
He was tickled to death.
The biggest hole in our case was lack of motive.
Now you've given us just what we need.
Thanks.
-Pretty funny, isn't it? -So long.
What did I tell you, Tom? Give this guy his head and he'll put Lambert right in the chair.
Oh, friendship's a wonderful thing, Tom.
A wonderful thing.
[MUSIC PLAYING.]
-And you expect to be gone a whole month? -That's our plan at the moment.
I'm not even leaving an address.
I don't want to get there for three days and have a frantic call from here.
[KNOCKING.]
That must be Julie now.
-Oh, hello, Julie.
-You wanted to see me, Stephanie? -Yes, darling.
I'll bring Julie back in a little while, Mrs.
Framish.
How are you, dear? -All right.
You're not going to punish me, are you Stephanie? -No, Julie.
Why should I punish you? I just have some wonderful news.
-What? -We're going to take a trip.
We're going to Canada.
-Canada? Oh Stephanie, truly? -Yes, truly.
All the way to the lakes.
And we're going to stay there a whole month.
-Stephanie.
Oh, that's the best news ever.
Oh, I want to go.
I want to.
I hate it here.
-So do I.
-It's always so still in the woods.
And at sunset, you can just stand by the lack and listen.
And you can hear a little sound, like a branch breaking miles and miles away.
It's true, isn't it? Why didn't you tell me before? -Because I wanted everything to be ready.
And now we are.
We're even all packed.
-We? Who's we? I thought it was just you and I.
-Uncle Alec, darling.
He's going with us.
-Alec? Why? That spoils everything.
-No, Julie.
You love Uncle Alec.
You always have.
-I hate him.
He's just another man.
Just another father.
I hate him.
I hate him.
I hate him.
-No, Julie.
No.
Julie.
-I-- I'm sorry, Stephanie.
I didn't mean to make you cry.
Oh, please Stephanie.
Don't cry.
Please don't cry.
[KNOCKING.]
-Come in.
-Mr.
Gordon? -Yes? -I hope I'm not interrupting you.
I was calling on Miss Gireaux and she wasn't in.
I wondered whether you knew when she'd be back.
-I have no idea.
-Well I can come back, I suppose-- ah, since I'm here, I would like to see some of your things, though.
I saw that head in Miss Gireaux's room.
I thought it was particularly good.
-It was done very early.
-I know.
She told me.
I also saw some pictures of some of the things you showed last fall.
That wild horse I liked tremendously.
-Yes.
I-- I always liked that, too.
I always thought it was one of the best things I'd ever done.
-This a new head you're working on? -Yes.
-Not at all like any of the other things I've seen.
-No, it's quite different.
A few months ago, I began seeing things differently, feeling them differently.
Then it left me.
I couldn't get a hold of it again.
Now it's beginning to come back.
-What else have you got? -Oh, not much here.
I store most of my things in the big barn.
I only keep sketches here and a few small figures.
You know, if you're going to wait for Steph, the least I can do is offer you a drink.
I haven't anything here, but Steph has some right across the way.
-I'd like that very much, thanks.
-Well fine.
I won't be a minute.
PETER BROOK (VOICEOVER): Hilda.
Hilda.
Hilda.
Hi-- ALEC GORDON: Here we are.
-Oh, thanks.
You know, you've got some wonderful things here.
-Why thanks.
-I particularly noticed a couple of very good sketches you did of Hilda Lambert.
I didn't realize you'd known her.
Quite a remarkable face.
-Yes.
PETER BROOK: I only saw one picture of her, that George had overseas.
Never quite forgot her, though.
Never saw her alive, of course.
-What has George told you? -George? Nothing in particular.
-Lie.
-Why do you say that? Was there something he should have told me? -Get out.
-Why, Mr.
Gordon.
What have I said? -I know nothing about Hilda Lambert's death.
Nothing.
And I won't be questioned.
Do you hear? I won't.
-Considering the fact that she spent a sizable amount on a one man show for you, I should think you'd be more interested than most in finding out what really happened to her.
ALEC GORDON (SHOUTING): Get out.
Don't say anything more.
Get out.
-Alec.
I asked you never to come here again, Major Brook.
-I was just leaving.
I think I got what I came for.
Alec, what did-- what happened? -He knows.
He must have been through her papers.
He knows everything.
-Alec, look at me.
He knows what? -About Hilda and me.
He'll dig it up.
Give it to the police.
-Alec.
Tell me.
Did you have anything to do with Hilda's death? -No, Stephanie.
No, no, no.
But don't you see? If they go through everything, find our marriage license, find those papers about Julie, they'll never believe me.
Never.
-Where are they? Where did she keep them? -I don't know.
-We'll just have to find them.
You wait here.
I'll be back as soon as I can.
-You do believe me, Steph? -Yes, Alec.
I believe you.
I must believe you.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): And now, let's pause for a moment and turn to our Westinghouse program with Betty Furness.
Emergency exits.
Say, she certainly looks as if she's in a hurry.
BETTY FURNESS: She is.
It just started to rain and she wants to get her wash off the line before it really pours.
[THUNDER.]
Uh oh.
The storm beat her to it.
Isn't that a shame? It's too bad she doesn't have this wonderfully convenient clothes dryer in her house.
Because then, let it thunder-- [THUNDER.]
Let it rain like mad.
If you have a Westinghouse clothes dryer, you have the sunshine built right in.
Because it tumbles your clothes in clean, warm air as gentle as a breeze on a lovely day in June.
By the way, did you ever get a back ache from lugging a heavy basket of clothes out into the yard and bending and stretching to hang them up on the line? Well this Westinghouse electric clothes dryer is the very best cure for that backache that I've ever found, because look how easy it is to use.
You just drop your already washed clothes into the dryer, then set this dial, start it, and that's all.
For clothes that want ironing, you set the dial at just the degree of dampness that you prefer.
Or you set the dial at dry and your laundry comes out completely dry, all ready for storage.
Fluffy, soft, and sweet smelling.
Just look at this cotton rug.
Now the nap on that is just as good as new.
Bob, could we have a close up here so they can really see it? There.
That's better.
And your Westinghouse clothes dryer turns out everything just like that.
Many women who own a Westinghouse electric dryer do all of their washing on rainy days.
And then when it's sunny, they can, instead of going outside ad hanging up clothes, they can go outside and really enjoy the weather.
And this Westinghouse electric clothes dryers is the very finest made according to the American Society of Industrial Engineers.
That's why it's the only dryer to which they awarded this coveted merit award which you see here.
Further proof that you can be sure if it's Westinghouse.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): We return now to Westinghouse Studio One, and "No Tears for Hilda.
" -Did you think for a moment that the police had not been all through that desk? Furthermore, Miss Gireaux, this was a very foolhardy in move.
There are two policeman watching this house.
If I hadn't spoken to them, they would have stopped you before you came through the door.
Now suppose you try to explain to me just what it is you're looking for.
-I can't.
-You don't believe that George Lambert murdered his wife anymore than I do.
-I don't know.
-I think you do.
I also think you know who did it.
I'm not at all sure you didn't try to help him.
You certainly have helped him since.
-None of that is true.
-Miss Gireaux, the first day I came to your office, I heard you speak to a man named Alec on the telephone.
There's a photograph on your desk inscribed "With love, Alec.
" Now, I don't know where or how Hilda Lambert came into the picture, but I do know that both you and Alec Gordan had every reason to kill her.
For a time, I thought you'd done it.
I now think that he did it.
But you were both in on it, weren't you? What are you laughing at? What are you laughing at? -It's all so terribly logical.
And so wrong.
Alec and I aren't lovers.
We're brother and sister.
-Your brother? But you told me your brother was dead.
-I did that to protect Julie.
For years Hilda filled her full of lies about her father.
It was kinder to Julie to let her think her father was dead.
-But that doesn't remove the motive for your brother's wanting to see Hilda Lambert dead, nor the opportunity for killing her.
-That's a very wild accusation, Major Brook.
I was at the clinic all that afternoon working.
I got home about seven.
Alec was there, waiting for me.
-Oh? Where was he between five and six? -In his studio working.
-It's possible.
But wherever he was, Hilda Lambert was with him.
I suspect that he didn't meet her in the studio.
I suspect that he met right here in this house.
-What right have you to suspect at all? It's true he'd been seeing Hilda, but not for weeks before her death.
He'd broken with her completely.
-Not completely, Miss Gireaux.
Tell me.
I've heard a great deal about Hilda Lambert's curious beauty.
What's-- what did you find most striking about her? -Her eyes.
-And? -Her hair, I guess.
-Oh? -What was it like? -Reddish blond, very soft and silky.
-Short or long? -Long.
It hung almost to her waist.
-She never cut it, then? -You don't know how Hilda felt about that hair.
She used to comb it by the hour.
-Ah, but she did cut it, Miss Gireaux.
The afternoon she died.
-I find that very hard to believe.
-You can find it on record down at police headquarters.
She left the hairdresser's at 4:30.
She arrived home at 5 and at 6, she was dead.
If you're still doubtful, I have here a picture of Hilda Lambert with short hair that I found among some of your brother's sketches this afternoon.
-I don't understand.
-It seems to me, Miss Gireaux, that your brother was among the last people to see Hilda Lambert alive.
I believe he was the last.
-No, no-- -You've defended him long enough.
Even knowing that you'd send an innocent man to the chair, you'd still defend-- -I know he didn't kill her.
I asked him this afternoon.
He's never lied to me in his life.
I don't know what happened that afternoon.
I don't know when he last saw Hilda.
But I do know he didn't kill her.
-And I know that George Lambert didn't do it.
He couldn't have done it.
And it's one or the other.
And in the face of this evidence, I'm prepare to turn Alec Gordon over to the police and let them question him.
-No.
Don't do that.
If he's guilty, you have no other choice.
If he confesses, I won't stand in your way.
But I won't believe it until I hear him say it.
You could go with me and stand right outside.
Please let me ask him alone.
-All right.
-Thanks.
[DRAMATIC MUSIC PLAYING.]
-Hello, Alec.
-Steph.
I kept waiting for you to get back.
Did you get the license? -What? Oh, no.
The police got there ahead of me.
-Oh, god.
-Alec, is it so important? What if they do call you in to question you? You have a perfect alibi.
You were here all afternoon working.
-But I wasn't, Steph.
That's the trouble.
I wasn't.
-No? Where were you? -With Hilda.
-Alec.
Alec.
-She had destroyed everything in me.
I couldn't work.
She disgusted me, but I'd go back again and again.
Nothing I could tell myself made any difference.
That day, I-- I went to end it once and for all.
When I got there, she was out.
I started to leave her a note and she came in.
She'd spent the afternoon making herself over into something she thought I couldn't resist.
And suddenly for the first time, she was completely repulsive to me.
Most of all, it was her hair.
She'd had it cut off for me.
I pretended to find her more exciting than ever.
Grabbed a pencil and told her to stand in the light.
It revealed every line and wrinkle.
The skin below the make up.
I drew her just as she was.
She tried to see what I'd done, but I wouldn't let her.
First she was angry, then she started to plead.
She came close to me.
.
Put her arms around me.
Suddenly I flew into a blind rage.
I grabbed her by the hair and threw her toward the stair.
She screamed and turned on me like an animal.
I hit her.
Again and again and again.
I saw her eyes go dim.
Her knees buckled and she fell.
You-- you did this.
You did this to trap me.
Get out.
Get out.
You won't get me this way.
You won't.
-(SCREAMING) No, Alec.
Alec.
Are you [INAUDIBLE.]
? -Yeah.
It's just my shoulder.
-Can I do anything? -No, it's all right.
I'll live.
-[INAUDIBLE.]
call the police.
-Yes.
-Well, that's that.
-You want to see him before he leaves? -Yeah.
-Mike, bring George Lambert here, will you? -OK.
-Well it only goes to show, Tom, you never can be too sure.
The way I figured it, we were handing Lambert to the DA on a silver platter.
-Yeah.
Looked good all right.
-If anybody else had done this to me but one of those OSS babies, I wouldn't have minded.
I was enjoying pinning his ears back.
It's bad enough to be shown up.
It's even worse when you've got to take it from an amateur.
-Maybe he wasn't.
-That's just what I don't like to admit.
Oh, come in, Lambert.
-Thank you.
-I suppose you know what's happened.
-Yes, sir.
I'm very grateful.
-Well, you can't thank me.
It's your friend.
-Yes, I know.
-Oh, he called a while ago.
He'll be at the house when you get there.
-Does that mean that I'm free to leave now? -Yes.
Haggardy will drive you home.
Oh, uh, I'm sorry about all this, Lambert.
-You couldn't do anything else, could you? -Well-- good luck, Lambert.
-Thank you.
[MUSIC PLAYING.]
-Here are the glasses.
-Oh, thanks.
Where's Julie? -She's upstairs.
She wanted to surprise him.
-Oh, I wonder.
You think we did the right thing in bringing her here? -I don't know.
I hope so.
-How about you? -I'm all right.
It's the least I could do.
-No, it isn't.
No, you-- you-- you-- you could have hated both George and me.
No one could have blamed you if you had.
-Perhaps.
When I heard that the police had picked Alec up last night, it was though I'd read it in the newspaper.
I suppose tomorrow when I see him again, the pain will start.
But right now I feel nothing.
Just nothing.
Let's not talk about it.
Do you mind? -No.
Just wanted to say that I think you're rather a special person.
-Thanks.
How's your arm? I hope it doesn't hurt too badly.
-Oh, no, no.
It's fine.
-I hear the car.
I guess that's them.
You'd better answer the door.
-Peter.
-Welcome home.
-Thanks, Haggardy.
-You sure you're all right now? -Fine.
-OK.
-Well, this is nice.
Gee, I owe you a lot.
What's this? -Nothing.
Just bumped into a hammer.
Come on in here.
-Hello, Stephanie.
-Hello, George.
-I hadn't expected-- -I brought Julie.
-Julie? Where is she? -She's upstairs.
-Well I think we could all use a little wine.
-I'll get Julie.
Julie.
-Daddy.
Daddy.
GEORGE LAMBERT: Julie.
How is my best girl? Let me look at you.
-Oh, Daddy.
It's so good to see you.
-Oh, you look fine.
-I am.
-Look, you put on my favorite dress.
You look fine.
-I kept it for now, Daddy.
-Good for you.
-Now there'll be no other fathers but you ever.
-Oh, Julie.
-Oh, Daddy.
Daddy, I shouldn't say this, but that day when I looked out the window and saw you come out the front door with her in your arms, I was glad.
I stood there and watched you.
When I saw you open the door of the garage and take her in, I wanted to yell, good, good, good.
She's dead.
Now Daddy and I can be alone.
-Julie.
Why don't you go upstairs, darling? Your daddy's very tired.
He'll call you.
-Are you, Daddy? -Yes, dear.
I'm tired.
You do as she says.
-All right.
But you will call? -Yes, I will.
-Good.
-No, Peter.
She wasn't dead in my arms.
I came in and I found her lying at the foot of the stairs.
I'd wanted her dead for a long time, just as Julie had wanted.
It's funny, I remember thinking, they gave all the good assignments to somebody else.
They put me back of a desk.
This is my assignment.
I carried her out to the garage, started the car, closed the door.
Seemed so simple.
Maybe it's for the best.
I don't know that I could have let Alec take it, anyway.
Funniest part of it is, I don't think that they had enough to convict me until I asked you to step in and help, Peter.
There's some deep philosophic principal in that, but don't ask me what it is.
You better call Haines quickly, Peter.
He'll be so pleased.
-Get me the police, please.
[DRAMATIC MUSIC PLAYING.]
PAUL BRENSON (VOICEOVER): Before we look at next week's Westinghouse program, here's something well worth remembering.
[WESTINGHOUSE THEME SONG.]
PAUL BRENSON (VOICEOVER): Here's one of the biggest bargains available today.
Three 100 watt Westinghouse light bulbs in this handy protective carton for just $0.
54, including federal excise tax.
There's a Westinghouse bulb for every lighting purpose.
A complete line of photographic lamps.
The all glass sealed beam headlights for your car.
They never grow dim.
And the Westinghouse bug-away bulb with its distinctive yellow color that will give you relief from insects this summer.
Get Westinghouse bulbs for every lighting purpose.
They're today's big buy in light bulbs.
[WESTINGHOUSE THEME SONG.]
PAUL BRENSON (VOICEOVER): And you can be sure if it's Westinghouse.
[DRAMATIC MUSIC PLAYING.]
NARRATOR: This is Paul Brenson saying good night for Westinghouse, makers of more than 40 million products for the American home.
We hope you'll be with us again next week.
Meanwhile, if you want a television set that will last, get a Westinghouse.
While you're at your Westinghouse dealer's, be sure to see the Westinghouse clothes dryer.
It dries your clothes perfectly in any weather.
And now until next week, good night.
Miss Sinclair's gowns by Pembrook Squires for Masket Brothers.