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The Cross-Eyed Bear

Suspense

The Cross-Eyed Bear

Sep 16 1943



CAST:

NARRATOR

LIZANNE STEFFASSON, our heroine

CONDUCTOR, New York accent (1 line)

LYDIA VINTON, suspicious secretary

BILL FOLKER, smooth and charming gentleman

HUGH KING, Bill's sleazy bodyguard

WAITER

LANS, hardboiled

INSPECTOR TOBIN

MANAGER (3 lines)

UNION (1 line)

OFFICER (1 line)

CLERK (1 line)

PIANIST, heavy Harlem accent

HEADWAITER, Harlem accent

MATRON, at the women's jail

and night club PATRONS




MUSIC: THEME ... KNIFE CHORD ... THEN IN BG--


NARRATOR: "Suspense."


MUSIC: THEME ... FILLS A PAUSE ... THEN BEHIND NARRATOR--


NARRATOR: This is the Man in Black, here again to introduce Columbia's program, "Suspense." Tonight our stars from Hollywood are Miss Virginia Bruce and Mr. John Loder. Miss Bruce appears as a beautiful and adventurous young lady who went in search of "the bright face of danger" and risked her life while finding it. Mr. Loder's role is that of the smooth and charming gentleman who granted her employment in a perilous enterprise. The story, called "The Cross-Eyed Bear" by Dorothy B. Hughes, is tonight's tale of suspense. 


If you've been with us before, you will know that "Suspense" is compounded of mystery and suspicion and dangerous adventure. In this series are tales calculated to intrigue you, to stir your nerves, to offer you a precarious situation and then withhold the solution until the last possible moment. And so it is, with the performances of Virginia Bruce as Lizanne Steffasson and John Loder as Bill Folker, we again hope to keep you in-- 


MUSIC: KNIFE CHORD


NARRATOR: --suspense!


MUSIC: UP AND OUT


NARRATOR: "The Cross-Eyed Bear."


MUSIC: INTRODUCTION ... THEN IN BG


SOUND: TRAIN RUMBLES DOWN TRACK


NARRATOR: Subway train, midtown New York; a tall blonde girl reading an item in a newspaper. Reading it over and over. An advertisement. A personal advertisement.


LIZANNE: (READS) "Wanted: A beautiful girl. No special training required, but must not be afraid to look upon the bright face of danger. Full wardrobe and liberal expenses. Good salary. Apply in person, Room One Thousand, the Lorenzo Hotel, East Fifty-First Street."


CONDUCTOR: (NOO YAWK ACCENT) Fifty-First! Fifty-First Street!


MUSIC: UP AND OUT


SOUND: DOOR BUZZER ... ROOM DOOR OPENS


LYDIA: How do you do?


LIZANNE: (NERVOUS) I, uh, came to answer an ad.


LYDIA: (UNCHARITABLE) Oh.


LIZANNE: Is this the place?


LYDIA: Yes, this is the place, I should think.


LIZANNE: (SURPRISED) Well, am I the only one?


LYDIA: Not quite. But, er, just now, you're the only one.


LIZANNE: I see. I thought--


LYDIA: (INTERRUPTS) Listen, miss, uh, whatever your name is--


LIZANNE: Lizanne. Lizanne Steffasson.


LYDIA: Take my advice, Lizanne, before it's too--


SOUND: INNER DOOR OPENS, OFF


BILL: Ah, Lydia, about that-- (SEES LIZANNE) Oh. Someone to see me?


LYDIA: Uh, this young lady came in answer to the ad, Mr. Folker. Miss Lizanne Steffasson.


BILL: I see. (FRIENDLY) Well, won't you come in, Miss Steffasson?


LIZANNE: (RELIEVED) Thank you.


BILL: In here, please; my office.


SOUND: INNER DOOR CLOSES


BILL: Please sit down, won't you?


LIZANNE: Thank you.


HUGH: (APPRAISING HER) Mmmm. Uh huh. Not bad. Not bad!


BILL: Oh, excuse me, Miss Steffasson. This is my associate, Mr. Hugh King.


HUGH: (CORRECTS HIM) Bodyguard. She might as well know these little things, Bill.


BILL: Hugh's not really rude, Miss Steffasson. It's just a mannerism.


HUGH: (SUGGESTIVELY, TO LIZANNE) Well, Bill did advertise for a beautiful girl. I've always considered myself sort of an authority on that subject.


LIZANNE: (MILDLY OFFENDED) I see. Perhaps, Mr. Folker, you'd be good enough to explain why--


BILL: Perhaps I might tell you something about the job, eh?


LIZANNE: Well--


BILL: Why did you apply for this position, Miss Steffasson?


LIZANNE: I, uh-- I needed the work.


BILL: And you're quite sure you're not afraid of danger?


LIZANNE: As a matter of fact, I suppose I am, but - I told you I need the work.


HUGH: Well, that makes two of us.


BILL: Miss Steffasson, have you ever heard of the Cross-Eyed Bear?


LIZANNE: (BEAT) Yes.


BILL: Where?


LIZANNE: Why, uh, in the papers. Wasn't that what they called Knut Viljaas, the Swedish nickel king?


BILL: Did you know he was dead?


LIZANNE: Yes, that's how I happened to hear about him -- when they had it all in the papers about a year ago.


BILL: And did you know he had three sons?


LIZANNE: No, I - I didn't read much beyond the headlines.


BILL: He did. One of them's dead. His name was Dene, the youngest. The oldest, Stefan, is still in Sweden. The third, Lans Viljaas, is where your job comes in.


LIZANNE: (BEMUSED) I see.


HUGH: Which she obviously doesn't.


BILL: I want you to meet Lans Viljaas, to get acquainted with him, win his confidence. Do you understand?


LIZANNE: I think so.


BILL: We know where he is; who he is. But he won't admit it. He pretends he's a piano player named Lans Vaught at Jim and Jack's night club. We're pretty sure that Lans Vaught is actually Lans Viljaas, the second son of the Cross-Eyed Bear.


LIZANNE: Am I supposed to know why you want this done?


HUGH: You might as well tell her, Bill. She's in for it now anyway.


LIZANNE: (WORRIED) In for it?


BILL: (AMUSED) Oh, Hugh means it seems you're hired. You are.


LIZANNE: (SURPRISED) Oh. Thank you.


BILL: You accept?


LIZANNE: (GRATEFUL) Yes. Oh, yes, I accept.


BILL: Well, then, the background, Miss Steffasson, is this. When the Cross-Eyed Bear -- that is, old Knut Viljaas -- died, he left a will. The will was consciously designed to bring about the murder of at least two people. 


LIZANNE: Murder?


BILL: Yes. He left his estate, which included several important mines, divided equally among his three sons. He left a check for three million dollars. One check torn in three pieces. One piece for each of his sons. And all three pieces must be presented together before the check is valid.


LIZANNE: A check torn in three pieces?


HUGH: Oh, sure, it's an old gag, but it's effective if you want a house divided.


BILL: You see, the old bear knew that one son would eventually kill the others for their shares. And he knew which one.


HUGH: Stefan.


LIZANNE: The one in Sweden?


BILL: Yes.


LIZANNE: But why do such a thing if he knew--?


HUGH: Survival of the fittest, chum. The fittest to run his empire. The old boy's what is known as a "rugged individualist."


BILL: And because he hated all of his sons, and wanted them to hate each other, they weren't even brought up together. Why, they've never even seen each other.


LIZANNE: But it seems so-- Can't someone bring them together? Isn't there some way--?


HUGH: Sure! Stefan's way. First, he kills Dene and then--


BILL: Of course there's no proof. It happened somewhere in Vermont.


LIZANNE: I thought you said Stefan was in Sweden.


BILL: We think he is. But there are ways of doing these things.


HUGH: Now he's on the trail of Lans, the second brother. And that's where you come in. We want to get to him before Stefan does.


LIZANNE: But if you think you know where he is, and who he is, why don't one of you talk to him?


HUGH: Because he's scared. He doesn't trust anyone. He won't talk to anyone. Now, maybe he'll trust you.


LIZANNE: But, Mr. King, may I ask just why you--?


HUGH: (INTERRUPTS) Well, Sweden, you see, is neutral and so they're scared to do anything about it officially. Now, Bill here is like one of those spies in the movies. If he gets caught, his own government is the one to throw the first stone.


BILL: Besides that, my government is afraid that if Stefan gets control of the mines, he'll turn them over completely to the Germans.


HUGH: Yes. Stefan's pro-Nazi, among his other virtues.


BILL: Well, Miss Steffasson, will you be ready to go to work tonight?


LIZANNE: (DECISIVE) Yes. I'll be ready.


BILL: I'll reserve a table at Jim and Jack's -- two, in fact -- for, say, uh, ten o'clock. We'll meet you around the corner from the bar; I don't want Lans to see us together.


LIZANNE: I'll be there.


BILL: Very well then, Miss Steffasson.


SOUND: THEIR FOOTSTEPS TO INNER DOOR, WHICH OPENS


BILL: Oh, by the way -- here's a little cash. You may want to buy yourself an evening dress or two.


LIZANNE: (STUNNED) Thank you, but--


BILL: Oh, not at all. Part of the bargain. Goodbye. See you later.


SOUND: INNER DOOR CLOSES


LIZANNE: (TO HERSELF) Heavens! It's a thousand dollars!


LYDIA: (APPROACHES, UNHAPPY) Well, so you got the job.


LIZANNE: Yes. You were trying to warn me about something before I went in, weren't you?


LYDIA: It's no use now. I only hope you have better luck with it than I had.


LIZANNE: Were you--? Oh, I'm so sorry.


LYDIA: Don't be. (SUSPICIOUS) Look, Lizanne, I don't know who you are, but you must be somebody. You must be mixed up in this thing somehow.


LIZANNE: (CONFUSED) I must be somebody?


LYDIA: If you're not, get out of it while you can. You are, of course -- but get out of it anyway.


LIZANNE: Why?


LYDIA: Didn't it ever occur to you that the ad you answered may have been in the papers for weeks? And that there are thousands of beautiful girls in New York? And that hundreds of them must have come up here and been turned away?


LIZANNE: I - I wondered, yes.


LYDIA: And why do you think, out of all those, you were chosen?


LIZANNE: That's it. I don't know.


MUSIC: UNEASY TRANSITION ... THEN 


LIZANNE: (NARRATES) Diary, October twelfth. Yes, why was I chosen? Who are they really? And, more important, what do they know about me? There's no answer except to work with them and wait. At least I know that at last I've found the trail of the Cross-Eyed Bear. It's true, then, about the torn check divided among the three sons. And one is already dead, Dene. The second, the man I'm supposed to meet tonight; to trap. I'm sure now that I was right to come to New York and I'm sure I was right to answer the strange ad. As for danger, I always knew it would be there.


MUSIC: CHANGES TO NIGHT CLUB ORCHESTRA ... DANCE ARRANGEMENT OF "MOONLIGHT BECOMES YOU" ... THEN IN BG


SOUND: NIGHT CLUB BACKGROUND


BILL: You're sure Lans hasn't come in yet, Miss Steffasson?


LIZANNE: Positive. I've asked the headwaiter twice. I don't think it would be wise to ask again.


BILL: Perhaps not.


HUGH: Does he do this often? Stay away like this?


LIZANNE: No, that's the funny part. They say he's been at that piano every night for a year. This is the first time--


HUGH: Now, look, Lizanne-- Do you mind if I call you Lizanne?


LIZANNE: No.


HUGH: You didn't, by any chance, tip our friend off that people were looking for him, did you?


LIZANNE: I? Why should I, when I'm working for you?


HUGH: Oh, I'm sorry. Skip it. Just a habit. Nobody trusts anybody in this thing any more.


LIZANNE: But if you don't trust me--


BILL: (DIPLOMATIC) Of course we trust you, Lizanne. Hugh's a little nervous, that's all.


HUGH: Me? Heh. I'm not nervous. I like sitting around night clubs with beautiful girls.


BILL: You do look very charming tonight, Lizanne.


LIZANNE: Well, it would be hard not to on a thousand dollars.


HUGH: Hey, don't look around now, but our boy's just come in.


BILL: Did he see us?


HUGH: No. I just happened to be looking around the corner and saw his back. He's heading for the orchestra.


BILL: All right, Lizanne. Here you go. Don't be nervous. Just talk with him, chat along, you know.


LIZANNE: Well, what should I not say?


BILL: Be as frank as you like. There's nothing to conceal.


LIZANNE: All right. (CALLS) Oh, waiter? (TO BILL AND HUGH) See you later. (TO WAITER) Waiter? I have a table reserved for tonight. My escort will be along shortly.


WAITER: Oh, yes, madame. What is the name, please?


LIZANNE: Steffasson. It's Table Number Twenty-Four, I think; over by the orchestra.


WAITER: Oh. Well, this way please, madame. Ah.


MUSIC: ORCHESTRA FINISHES


SOUND: POLITE APPLAUSE FROM PATRONS ... THEN SUBDUED NIGHT CLUB BACKGROUND


WAITER: And here we are, madame. Ah, do you wish to order now or later?


LIZANNE: I'll wait, thank you.


WAITER: (MOVING OFF) Oh, thank you, madame.


LIZANNE: (BEAT) Excuse me?


LANS: Yes?


LIZANNE: May I ask you a question?


LANS: Why not?


LIZANNE: Won't you sit down for a minute?


LANS: All right.


SOUND: CHAIR SCRAPES AS LANS SITS


LANS: Well?


LIZANNE: I, er-- I wanted to ask your name.


LANS: (TENSE, HOSTILE) My name is Vaught. V-A-U-G-H-T, Vaught.


LIZANNE: And your first name?


LANS: Lans. Why?


LIZANNE: It's only because you look like someone I-- Someone whose picture I saw in the paper once.


LANS: Yeah?


LIZANNE: Don't you believe me?


LANS: Why should I? You're just another one of these people who've been going around here lately with a bad case of mistaken identity. Well, you're wrong, too.


LIZANNE: You know about it, then?


LANS: About the Cross-Eyed Bear? Of course I do. It's been following me long enough. They think I'm Lans Viljaas; that I'm heir to a lot of Swedish dough. Well, I'm not.


LIZANNE: You still look like the picture I saw in the paper.


LANS: Who are you working for? Stefan?


LIZANNE: No. No, that's just it, don't you see? Your life's in danger.


LANS: Not as long as I keep my face shut it isn't.


LIZANNE: Look, you must trust me. I can help you.


LANS: I don't need any help.


LIZANNE: Are you sure you don't?


LANS: Say, who are you working for? (NO ANSWER) I notice you ducked that one.


LIZANNE: No, I didn't. I don't have to lie.


LANS: Well? Who is it?


LIZANNE: His name is Bill Folker.


LANS: I never heard of him.


LIZANNE: He's working for the Swedish government. He wants to help you, too.


LANS: Heh. A lot of people seem to want to help me.


LIZANNE: Won't you talk to him?


LANS: I might.


LIZANNE: Tonight? They're here, at another table.


LANS: They?


LIZANNE: Bill and his bodyguard, Hugh King.


LANS: Oh. Since when do representatives of neutral governments need bodyguards?


LIZANNE: Apparently when they become involved with the Cross-Eyed Bear. Please come.


LANS: All right. For a couple of minutes.


SOUND: THEY RISE AND START TOWARD BILL AND HUGH


LANS: I'll admit I'm, er-- I'm rather curious.


LIZANNE: Over here. Oh, I didn't tell you my name, did I? It's Lizanne. Lizanne Steffasson.


LANS: (LIKES THE SOUND OF IT) Ah, nice.


LIZANNE: (CHEERFUL) Here we are! Mr. Folker, Mr. King -- this is Mr. Lans Vaught.


BILL: How do you do, sir?


HUGH: Hiya, Mr. Vaught.


BILL: Won't you sit down, Mr. Vaught? Please.


LANS: Thanks.


SOUND: LANS AND LIZANNE SIT


LANS: (TO BILL, SUSPICIOUS) Uh huh. I thought perhaps I'd recognize you.


BILL: Oh, yes. I've been in here several times.


LANS: Pleasure or - business?


BILL: A little of both. Look, Mr. Vaught, I'll speak frankly with you--


LANS: You can save it. Your Miss Steffasson has told me all about it. (INSISTENT) My name is Vaught. You're barking up the wrong tree.


HUGH: Got a birth certificate?


LANS: (SHARPLY) Why should I show it to you?


HUGH: It might, er-- (LOW, TO BILL) Uh-oh. Here comes something.


TOBIN: (APPROACHES) Well, hello, Hugh.


HUGH: Hi, Toby.


TOBIN: Oh, don't let me disturb you. But, er, you'd better make some introductions, Hugh.


HUGH: (AWKWARD) Well, this is Inspector Tobin of the homicide squad. Miss Steffasson, Mr. Vaught, Dr. Folker.


BIZ: EXCHANGES OF "HOW DO YOU DO?"


HUGH: What's up, Toby?


TOBIN: Oh, I just thought I'd like to ask a few questions.


LANS: Well, I - I'm sure you don't want me. I've got to get back.


TOBIN: You'd better stick around, son.


LANS: Oh. I see.


TOBIN: I don't suppose any of you can give a satisfactory account of your movements between, say, eight and ten this evening -- with witnesses? (NO RESPONSE) Heh. I thought so. How 'bout you, Miss Steffasson? You're a new one; I thought you might, at least.


LIZANNE: Well, it - it took me quite a long time to dress.


TOBIN: Yes, it looks as though it might have. Well, it's better to have too many suspects than none, I guess.


HUGH: Come on, Toby -- give.


TOBIN: There's been a murder.


LIZANNE: A murder?


TOBIN: That's right. A certain Lydia Vinton -- your secretary, Mr. Folker.


LIZANNE: (GASPS) Oh--


BILL: Lydia?


TOBIN: Er, surprised?


BILL: Why, of course.


LANS: Where do I come in on this?


TOBIN: Well, now, Mr. Vaught, the New York police know a lot more about what's going on in the world than you think. All sorts of things. Like the Cross-Eyed Bear, for instance.


LANS: I've got nothing to do with the Cross-Eyed Bear!


TOBIN: Maybe you have, maybe you haven't. But there are a lot of people who think you have -- including me.


BILL: But Lydia-- Poor Lydia. She was only my secretary. She had nothing to do with it.


TOBIN: Had nothing to do with the Cross-Eyed Bear? Whether you knew it or not, Mr. Folker, Lydia Vinton was in the Cross-Eyed Bear thing up to her neck. She knew the Viljaas setup, she knew the Viljaas family. In fact, she was one of the heirs to the Viljaas fortune.


BILL: Lydia was?


TOBIN: Lydia, Mr. Folker, was the wife of Stefan Viljaas. And that's why she was killed.


MUSIC: TRANSITION ... THEN IN BG


LIZANNE: (NARRATES SOBERLY) October fourteenth. Lydia-- Poor Lydia, who tried to warn me. No wonder. Lydia was an heir to the Cross-Eyed Bear's estate. And she is dead. Dene was the youngest son and heir, and he is dead. And the next? Lans. Of course he is Lans Viljaas. His disappearing is as good as signing a confession that he is Lans Viljaas. He disappeared not because he was a murderer -- of Lydia or anyone else -- but he is afraid of being murdered, because he is the second son of the Cross-Eyed Bear. And that means I've got to find him -- before they do.


MUSIC: CHANGES TO JAZZ ... THEN IN BG


MANAGER: Vaught? Lans Vaught? No, I don't know anybody by that name.


LIZANNE: Well, he might be using some other name, but he's a piano player.


MANAGER: That isn't him over there, is it?


LIZANNE: No. You don't have any other piano player -- one who's just recently come with you?


MANAGER: Mmm, no, ma'am.


MUSIC: ACCENT ... THEN IN BG


UNION: (FILTER) Sure, he belonged to the Musicians' Union. They all do, but he hasn't worked for over a week and-- Well, if he didn't leave any forwarding address at his hotel-- I'm sorry. Some of these piano players are funny guys.


MUSIC: ACCENT ... THEN IN BG


OFFICER: Well, if that fella's wanted, you don't think you're gonna find him before us cops do, do ya? (LAUGHS)


MUSIC: ACCENT ... THEN IN BG


CLERK: No, ma'am, I'm sorry. Nobody answering that description ever registered here.


MUSIC: ACCENT ... THEN CHANGES TO SOLO PIANO, IN BG


PIANIST: I know you feel mighty bad about not findin' that man, I can see that. Uh, do you want a little advice?


LIZANNE: Yes. Yes, I do.


PIANIST: You ever hear of the Forty-Eight Club up in Harlem?


LIZANNE: No.


PIANIST: Well, you go up there. Now, I'll tell you how to get there. And you just hang around. He'll show up there one of these nights.


LIZANNE: But why?


PIANIST: Because nobody that's a real musician -- and I know that boy is a real musician -- nobody could stay away from there that long. They got a piano team up there. Mmmm-whooo! You just got to hear 'em every so often. Now, you just go on up there like I tell ya--


MUSIC: ACCENT ... THEN CHANGES TO HARLEM PIANO DUO AS THEY FINISH A NUMBER


SOUND: ENTHUSIASTIC APPLAUSE FROM PATRONS


LIZANNE: (DISAPPOINTED) Are you sure?


HEADWAITER: I think I know who you mean. I've been keepin' my eye out ever since you told me.


LIZANNE: I see. Well, thank you.


HEADWAITER: Uh, the man you want wouldn't have a beard, would he?


LIZANNE: Beard? Why, I don't know. He--


HEADWAITER: There's a gentleman right over there--


LIZANNE: Where? (SEES LANS AND RECOGNIZES HIM) Oh!


HEADWAITER: That him?


LIZANNE: I - I'm not sure, but-- I think I'll take a table for a while anyway.


SOUND: LIZANNE'S HURRIED STEPS TO LANS


LIZANNE: Lans?! Lans!


LANS: (LOW, INTENSE) Quiet, you little fool. Come here. Sit down.


LIZANNE: Oh, Lans, I'm so glad I found you. I don't know whether to laugh or cry. And the beard--


LANS: Well, I had to do something.


LIZANNE: Not very good; I recognized you.


LANS: All right. What are you here for? Put the finger on me?


LIZANNE: Oh, Lans -- you know that isn't true.


LANS: Why not?


LIZANNE: 'Cause you - you trust me, don't you?


LANS: Well-- Yes. For some reason.


LIZANNE: I know why. 'Cause I trust you and you know it.


LANS: You trust me?


LIZANNE: Oh, don't you see? We're all in this together. We're all in danger.


LANS: How does that apply to you?


LIZANNE: Well, I'll tell you. But first, listen. Don't you see what you've done? By running away, you've all but made an open confession that you are Lans Viljaas. The police may think you ran away because you killed Lydia. But whoever did kill her knows why you ran away, don't you see?


LANS: Yeah, I know. I thought of that after a couple of days, but it was too late then.


LIZANNE: You are Lans Viljaas, aren't you?


LANS: (TENSE, WARY) Why should I tell you?


LIZANNE: Because we can help each other. Because if we don't, we're both helpless.


LANS: How do I know you're not with them?


LIZANNE: I'm not with anybody. I'm trying to find out just as much as you are.


LANS: Look, sister. I don't know if you are or not. But I'm gambling with my life.


LIZANNE: Listen, if you're Lans Viljaas, you have a torn piece of a check made out by your father -- Knut Viljaas, the Cross-Eyed Bear -- for one-third of his estate. There are two others, exactly alike. And all three must be presented together before any are valid. If I show you another of those pieces of that check, then will you believe me?


LANS: (BEAT) Yes.


LIZANNE: I will. But first, we've got to find a place for you to hide.


LANS: Where did you get part of that check?


LIZANNE: Never mind that now. Where have you been staying?


LANS: Oh, here and there. One broken-down hotel after another.


LIZANNE: I know! My place. It's got two rooms, and you can have one of them.


LANS: Isn't that risky?


LIZANNE: No, don't you see? It's like the story of the man who left the valuable letter in plain sight on his desk. The simplest place to find you is the last place they'll look. Come on!


MUSIC: SNEAKS IN DURING ABOVE ... THEN UP, FOR TRANSITION


SOUND: APARTMENT DOOR UNLOCKS AND OPENS ... THEN CLOSES BEHIND--


LIZANNE: Here we are. How do you like it?


LANS: Well, it's a lot better than I've been used to lately.


LIZANNE: And there are bolts on the doors. I had that done the second day I got mixed up in this thing.


LANS: Well, which room do you want me to take?


LIZANNE: Oh, you might as well have this one, I guess. Phone's in the next room. You won't want to be answering that anyway.


LANS: This is all right.


LIZANNE: We can work and plan here. It'll be our headquarters, We can--


SOUND: PHONE RINGS IN NEXT ROOM ... CONTINUES IN BG


LIZANNE: Well, there's the phone now.


SOUND: LIZANNE'S STEPS INTO NEXT ROOM


LIZANNE: (CALLS, FROM OFF, TO LANS) Make yourself comfortable! Why don't you try the piano?!


LANS: Okay.


MUSIC: LANS PLAYS THE PIANO ... THEN IN BG


SOUND: RECEIVER UP IN NEXT ROOM


LIZANNE: (INTO PHONE) Hello? -- Hello? -- Hello, who is it? -- Hello, hello?


SOUND: RECEIVER DOWN IN NEXT ROOM


LIZANNE: (OFF) Well, that's funny. There was no--


MUSIC: PIANO OUT WITH--


SOUND: THREE GUNSHOTS!


LANS: (DEATH GROAN)


LIZANNE: (HORRIFIED) Lans!


MUSIC: DISCORD! AS LANS SLUMPS AGAINST PIANO


LIZANNE: Lans! (BEAT, SEES BILL) Bill, how'd you get here? What happened?


BILL: (CALM) You can see for yourself.


LIZANNE: You've killed him!


SOUND: APARTMENT DOOR OPENS AS HUGH ENTERS ... DOOR SHUTS BEHIND--


HUGH: (URGENT) Bill?! Tobin followed me. He's right behind me.


BILL: I can't help that.


SOUND: KNOCKING ON DOOR


TOBIN: (BEHIND DOOR) Come on, open up!


BILL: (IMPATIENT) Come in, come in. The door's open.


SOUND: APARTMENT DOOR OPENS AS TOBIN ENTERS 


TOBIN: Well! What happened here?


BILL: I don't know. I walked in and found them like that. Lovers' quarrel, I guess.


LIZANNE: (SHOCKED) Bill, what are you saying?!


TOBIN: So this is where he's been hiding out.


LIZANNE: No, no!


BILL: You'd better take her in, Inspector.


TOBIN: Come along, Miss Steffasson.


MUSIC: BIG ACCENT / TRANSITION .. THEN IN BG


SOUND: LIZANNE AND MATRON'S FOOTSTEPS TO CELL


MATRON: Here we are, miss. 


SOUND: CELL DOOR OPENS


MATRON: Don't fret now; it's no use. Try to get a good night's sleep.


LIZANNE: (DISTRAUGHT) Well, can I call a lawyer or something?


MATRON: Sure, you can. You want me to get in touch with someone for you? Who do you want me to call?


LIZANNE: I - I don't know. (TEARFUL) I don't know who to call or-- Or who to turn to!


SOUND: CELL DOOR SLAMS SHUT


MUSIC: TRANSITION ... THEN IN BG


LIZANNE: (NARRATES) October twenty-eighth. At least they will let me write. But what? I've been such a fool. They are Stefan's agents -- Bill Folker and Hugh King -- and I walked into the trap. They must have followed me; seen me locate Lans. Perhaps even heard what we said. Now Lans is dead, the police believe I killed him, and they will swear to it with all the power of money, even foreign government, behind them. But worst of all, they must know who I am. They must know where the third piece of the Cross-Eyed Bear's check is. That is why I am to be next -- Dene, Lydia, Lans -- and now Lizanne.


MUSIC: UP, FOR TRANSITION 


SOUND: CELL DOOR UNLOCKS


MATRON: Here she is, Mr. Folker.


SOUND: CELL DOOR OPENS


LIZANNE: (SURPRISED) Bill!


BILL: Lizanne, I'm so sorry. I couldn't come to you sooner. It was a matter of your life, and mine, too.


LIZANNE: Your life?


BILL: Didn't you see through it? Oh, you poor child, I've been so blind. But it's all right now; we're safe!


LIZANNE: (SKEPTICAL) Are we?


BILL: Come along and I'll tell you about it on the way. Everything's in order, isn't it, matron?


MATRON: Certainly, Mr. Folker.


SOUND: THEIR FOOTSTEPS TO OUTER DOOR ... IN BG


BILL: You didn't really think I'd done such a thing to you, did you? Didn't you see him standing there?


LIZANNE: Who?


BILL: King! Hugh King. Don't you see it now?


LIZANNE: Did he--?


BILL: Of course. He's been Stefan's man all the time. Watching me, protecting me, waiting for me -- for us -- to lead him to the answer, and then striking.


SOUND: OUTER DOOR OPENS


MATRON: This way, please, and then you can get out, right through the courtyard.


BILL: Thank you.


SOUND: MATRON'S STEPS AWAY ... CITY TRAFFIC BACKGROUND FADES IN DURING FOLLOWING--


BILL: You see now why I had to do it? I didn't actually see him kill Lans. I got there a second later. If I'd accused him, he'd have denied it. They wouldn't have arrested him for a few hours at least, and in those few hours, with the power of Stefan behind him, it would have been you and I next, Lizanne.


LIZANNE: But why did you let me be sent to jail?


BILL: To make him think I believed him. But chiefly because I knew you'd be safe here. And only if I knew you were safe could I do - what I had to do.


LIZANNE: What?


BILL: (BEAT) He won't trouble us again, Lizanne. It's finished, at last.


LIZANNE: (RELIEVED) Oh, I can still hardly believe that Hugh King-- (TEARFUL) Oh, it's been so horrible. (SOBS A LITTLE BEHIND--)


BILL: (COMFORTING) I know, my poor child. Come along, I'm going to take you home. (CALLS) Taxi?! (BEAT) Lizanne, you should have told me who you were.


MUSIC: TRANSITION


SOUND: ROOM DOOR OPENS ... THEN CLOSES AND LOCKS BEHIND--


BILL: Go on in. Just relax for a while. Like a drink?


LIZANNE: (WEARILY) No, thanks.


BILL: You don't mind if I do?


LIZANNE: Of course not.


BILL: (MOVING OFF) As a matter of fact, there are still a few things I haven't told you about this little business of the Cross-Eyed Bear.


LIZANNE: (CHUCKLES WEAKLY) There must be quite a lot of things.


BILL: (OFF) For instance, you never knew I had a wall safe behind this bar, did you?


SOUND: WALL SAFE COVER SLIDES OPEN


LIZANNE: (SURPRISED) No.


SOUND: WALL SAFE OPENS


BILL: (OFF) And of course you didn't know what I kept in it. (APPROACHES) Perhaps you'd be interested to see.


LIZANNE: (BEAT) The Cross-Eyed Bear's check -- all three pieces.


BILL: Yes. Lans's -- who had his part in his pocket, the fool; yours; and my own.


LIZANNE: (STUNNED) You -- are Stefan?


BILL: You know, I rather marvel that my poor brother Dene managed to marry such a naïve girl. You've believed in me all the way, haven't you, Lizanne? Even this afternoon. 


LIZANNE: When did you know?


BILL: Really, my dear, you don't think you were that beautiful, do you? I knew my younger brother had a wife somewhere and I knew she'd turn up eventually -- if I used the right bait.


LIZANNE: The ad!


BILL: The ad. But you weren't quite as innocent about that ad as you pretended, were you? The beautiful girl who went looking for danger. You were trying to find the man who killed Dene, weren't you?


LIZANNE: Yes.


BILL: Didn't you realize that he'd only married you for protection? So there'd be one more heir to the Viljaas fortune, so they couldn't all be killed -- or so he thought?


LIZANNE: Yes, I - I realized that after I'd married him.


BILL: Lizanne, I have a private plane waiting for me and I have the check. By the way, I got your part out of your safe deposit vault; copies of your keys.


LIZANNE: Ohhh.


BILL: So there's no use prolonging the agony. You understand.


LIZANNE: (BEAT) You're going to kill me.


BILL: I'm afraid I must. Dene; Lans; my poor silly wife Lydia who became a little too panic-stricken; and now, since as Dene's wife you're the last heir to the Viljaas fortune--


LIZANNE: You can't! You'll never get away with it!


BILL: I will. Oh, it'll look like suicide, naturally. I've even forged a little note in which you confess to the other murders; remorse. Er, do I make myself clear?


LIZANNE: No!


BILL: Oh, my poor child, you mustn't think you can deceive me by that ancient trick of staring over my shoulder at a nonexistent intruder.


HUGH: (OFF) Drop it, Bill.


BILL: (STARTLED) Hugh?!


HUGH: (OFF) I said, drop it.


SOUND: AN EXCHANGE OF FOUR GUNSHOTS!


LIZANNE: Hugh! Hugh, are you all right?


HUGH: Sure, I'm all right. It was a close one for you, though, baby. I told Tobin to keep you there till I got back.


LIZANNE: I'll call a doctor.


HUGH: Aw, that can wait. (BEAT, HUNGRILY) But this can't. (KISSES HER)


LIZANNE: (LOVINGLY) Oh, Hugh!


MUSIC: TRANSITION ... THEN IN BG


LIZANNE: (NARRATES) November seventeenth. This is the end of you, diary. I'm a married woman now. And the most appropriate end I can think of is this clipping from today's Times pasted on the last page: (READS, CRISPLY) "Steffasson-King. Viljaas heiress weds FBI agent Hugh King who shadowed notorious Stefan Viljaas for six months to break international murder mystery. By special dispensation of Justice and War Departments, couple will honeymoon in Sweden."


MUSIC: UP, FOR CURTAIN


NARRATOR: And so closes "The Cross-Eyed Bear," starring Virginia Bruce and John Loder, tonight's tale of--


MUSIC: KNIFE CHORD ... THEN THEME IN BG, UNTIL END


NARRATOR: --suspense. This is your narrator, the Man in Black, who conveys to you Columbia's invitation to spend this half hour with us again next week, when Orson Welles will begin a four-week engagement as our very welcome guest on "Suspense." During the next weeks, Mr. Welles will star in three unusual and spectacular suspense plays: "The Most Dangerous Game" by Richard Connell, "The Lost Special" by Sir Arthur Conan Doyle, and "Donovan's Brain" by Curt Siodmak, the last of which will be done in two parts on successive weeks. The producer of these broadcasts is William Spier, who with Ted Bliss, the director; Bernard Herrmann and Lucien Moraweck, conductor and composer; and Robert L. Richards, the radio author, collaborated on tonight's "Suspense."


CBS ANNCR: This is CBS, the Columbia Broadcasting System.


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