The Detectives with Robert Taylor, 1950s-1960s
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| (suspenseful orchestral music) | 0:00 | |
| - | Get me another pulse com. | 0:08 |
| (Carter mumbles) | 0:11 | |
| - | Doctor. | 0:17 |
| I'm Lieutenant Russo, this is Lieutenant Lindstrom. | 0:21 | |
| - | Dr. Alex. | 0:23 |
| - | How's it look? | 0:23 |
| - | His car turned over twice. | 0:25 |
| They used a blow torch to cut him out. | 0:26 | |
| All busted up inside. | 0:30 | |
| I couldn't tell you how he lasted this long. | 0:31 | |
| - | All right to ask him some questions? | 0:33 |
| - | Try. | 0:35 |
| If you don't now, you probably never will. | 0:35 | |
| - | Carter. | 0:41 |
| Carter. | 0:42 | |
| We're from the police. | 0:45 | |
| Now, what about Tom Stacey? | 0:47 | |
| (Carter groans) | 0:49 | |
| We heard you been saying something | 0:52 | |
| about his being innocent. | 0:53 | |
| Stacey, Tom Stacey, do you hear me? | 0:55 | |
| - | The blue sky and tall crystal for mother. | 1:00 |
| (soft orchestral music) | 1:06 | |
| - | When you talked to him, did he make more sense? | 1:13 |
| - | He kept repeating, "Stacey is innocent, | 1:15 |
| "Stacey is innocent," that's all. | 1:17 | |
| - | That's all, you're sure? | 1:20 |
| - | You hear that, and it gives you a jolt. | 1:22 |
| I mean, after just reading Stacey's appeal was turned down, | 1:24 | |
| the gas chamber in two days. | 1:27 | |
| Could he be right? | 1:29 | |
| - | No chance, I worked out that case myself. | 1:31 |
| The jury was out less than 20 minutes. | 1:33 | |
| - | Well, I thought the police oughta know. | 1:35 |
| - | Sure, and we appreciate it, Doctor. | 1:38 |
| - | Stacey. | 1:40 |
| (dramatic orchestral music) | 1:41 | |
| Stacey. | 1:42 | |
| Why don't you listen? | 1:46 | |
| Not him. | 1:48 | |
| Norden guilty, | 1:51 | |
| Phillip Norden guilty. | 1:54 | |
| (dramatic orchestral music) | 1:56 | |
| (soft orchestral music) | 2:10 | |
| - | Look, I sweated out that Stacey case. | 2:13 |
| Nobody knows it any better than I do. | 2:15 | |
| - | What about the man who just died, John Carter? | 2:17 |
| - | So Carter worked at the plant Stacey robbed. | 2:20 |
| Does that give him a crystal ball? | 2:21 | |
| There were three bullets in our night watchman, | 2:25 | |
| and Stacey's prints on the gun that fired them. | 2:27 | |
| Look, I established beyond any reasonable doubt that- | 2:30 | |
| - | Johnny, look, nobody's arguing | 2:32 |
| you did a great job on the case. | 2:33 | |
| As a result, Stacey will pay with his life | 2:34 | |
| within 48 hours. | 2:36 | |
| Suppose, somewhere, you missed a point, | 2:39 | |
| and what you got at the hospital is correct. | 2:41 | |
| - | Now, what we got at the hospital | 2:43 |
| is pretty jumbled up, Matt. | 2:44 | |
| - | A man out of his head mumbled some name. | 2:46 |
| - | Phillip Norden, 705 Beech Street, | 2:48 |
| age 41, married, one daughter, no criminal record, | 2:50 | |
| chief auditor with the Acme Accounting Company | 2:54 | |
| at 1240 9th Avenue, Room 214, | 2:56 | |
| member of three paternal orders and a church auxiliary. | 2:59 | |
| - | Sure, case history of a killer, | 3:02 |
| kisses his wife goodbye, | 3:04 | |
| stops off for a meeting at church, | 3:05 | |
| audits a couple of books. | 3:07 | |
| In his spare time, blows a safe and kills a night watchman. | 3:08 | |
| I'm sorry, Matt, I just had to get it off my chest. | 3:12 | |
| - | Norden's firm audits the books | 3:17 |
| of the Grayling Company, | 3:19 | |
| where Carter worked, and where somebody, | 3:20 | |
| in his spare time, killed a night watchman. | 3:22 | |
| - | Okay, Norden. | 3:25 |
| - | Chris, dig around, see what you can turn up on Carter. | 3:27 |
| Why name Norden? | 3:29 | |
| Is there any reason why he'd wanna clear Stacey? | 3:31 | |
| - | Right. | 3:34 |
| - | Otto, you go talk to Stacey. | 3:35 |
| Maybe he'll open up something on Norden. | 3:36 | |
| Don't let him throw you any curves. | 3:38 | |
| - | Right, Matt. | 3:40 |
| - | Well, that leaves Norden for me. | 3:42 |
| If I made a mistake and Norden's the killer, | 3:45 | |
| there's not much time left, | 3:47 | |
| and talking to him figures to waste most of it. | 3:49 | |
| - | Well, don't talk to him, | 3:51 |
| just tail him out in the open where he can see you. | 3:54 | |
| - | Yeah, like that Leslie case, huh? | 3:58 |
| Wear nerves. | 3:59 | |
| - | About it. | 4:01 |
| Figures to be the best way | 4:02 | |
| to open Norden up in the short time we have left. | 4:03 | |
| - | Yeah, okay, Matt, I'll get on it | 4:06 |
| first thing in the morning. | 4:09 | |
| (dramatic orchestral music) | 4:11 | |
| (door opens) | 4:13 | |
| (car whirs) | 4:17 | |
| (Russo whistles) | 4:20 | |
| (footsteps thump) | 4:36 | |
| (door closes) | 4:50 | |
| (door opens) | 5:06 | |
| (door closes) | 5:09 | |
| (car door closes) | 5:27 | |
| (car engine starts) | 5:28 | |
| (car rumbles) | 5:30 | |
| (car whirs) | 5:41 | |
| (car door closes) | 5:45 | |
| (car engine starts) | 5:46 | |
| (car engine revs) | 5:48 | |
| (suspenseful orchestral music) | 5:54 | |
| (horn honks) | 5:57 | |
| (car door closes) | 6:09 | |
| (horn honks) | 6:10 | |
| (dramatic orchestral music) | 6:17 | |
| (suspenseful orchestral music) | 6:33 | |
| - | Stacey's girlfriend, Carol Janowitz, | 6:47 |
| works across the street in the bar and grill. | 6:49 | |
| Thought I'd talk with her. | 6:51 | |
| - | Yeah, I checked her out pretty good during the trial. | 6:52 |
| - | Yeah, I know, | 6:55 |
| but that was before we heard about Norden. | 6:56 | |
| Now, we find that she works | 6:57 | |
| across the street from his office. | 6:58 | |
| - | Yeah, it's a point. | 7:00 |
| (horn honks) | 7:09 | |
| - | Ms. Janowitz? | 7:28 |
| I'm Sergeant Ballard, police department. | 7:32 | |
| Can I talk with you? | 7:35 | |
| - | Tom, it's about him, isn't it? | 7:37 |
| Well, the newspaper said that the governor wouldn't... | 7:40 | |
| I mean, that was his last hope, wasn't it? | 7:44 | |
| - | Unless new evidence turns up. | 7:46 |
| Now, you testified he was with you | 7:48 | |
| the night of the crime until 11:00. | 7:52 | |
| - | Yes. | 7:54 |
| - | No chance it was 11:30? | 7:55 |
| - | Don't you think I'd have said so? | 7:57 |
| I told the truth, and now, he'll die for it. | 8:00 | |
| - | How well do you know Phillip Norden? | 8:04 |
| - | Who? | 8:06 |
| - | Phillip Norden. | 8:07 |
| - | Oh, Mr. Norden comes in here for lunch. | 8:09 |
| - | Ever see him away from here? | 8:11 |
| - | Drove me home once, why? | 8:13 |
| - | Just another customer, | 8:15 |
| no dates, no meetings, right? | 8:16 | |
| - | No, I don't understand. | 8:17 |
| - | All right, thank you, Ms. Janowitz. | 8:20 |
| (dramatic orchestral music) | 8:22 | |
| (suspenseful orchestral music) | 8:32 | |
| (horns honk) | 8:35 | |
| (door closes) | 8:54 | |
| Nothing. | 8:56 | |
| I'll be across the street. | 8:58 | |
| (people chatter) | 9:08 | |
| - | I'll have a beer, please. | 9:10 |
| - | The usual, Mr. Norden? | 9:16 |
| Can I take your order, Mr. Norden? | 9:25 | |
| - | Never mind, I'm not hungry. | 9:28 |
| Why are you following me? | 9:38 | |
| - | Any reason I should be following you, mister? | 9:39 |
| - | I know who you are. | 9:42 |
| Russo | So? | 9:43 |
| - | I'm a respectable citizen, I pay my taxes. | 9:44 |
| - | Who doesn't? | 9:46 |
| - | Stop following me, you hear? | 9:49 |
| I'm warning you, leave me alone. | 9:52 | |
| (dramatic orchestral music) | 9:54 | |
| - | Seems to me you started this. | 9:56 |
| Something worrying you? | 9:58 | |
| - | Lay off, that's all. | 10:00 |
| No more of this tailing, I'm warning you. | 10:01 | |
| Break it off. | 10:04 | |
| (phone dial clicks) | 10:20 | |
| - | My airtight case, looks like the only place | 10:24 |
| there was a leak was in my head. | 10:26 | |
| Johnny Russo, always sure he's right. | 10:28 | |
| - | What is it, Johnny? | 10:31 |
| - | Norden's starting to crack. | 10:32 |
| Didn't take long. | 10:34 | |
| - | You ready to pick him up? | 10:35 |
| - | Yeah, but I figure a little more softening won't hurt. | 10:36 |
| If he's cracking now, | 10:39 | |
| he should be climbing the walls before the day's over. | 10:40 | |
| - | All right, Johnny, I'll go along with you, | 10:42 |
| but only until tonight. | 10:43 | |
| That leaves us less than 24 hours | 10:45 | |
| before Stacey is due to be executed. | 10:47 | |
| (dramatic orchestral music) | 10:49 | |
| - | Yeah. | 10:50 |
| (phone clicks) | 10:52 | |
| (dramatic orchestral music) | 10:57 | |
| (door opens) | 11:00 | |
| (suspenseful orchestral music) | 11:01 | |
| (door closes) | 11:13 | |
| - | Phil, whatever do you keep looking at? | 11:20 |
| - | Nothing. | 11:23 |
| Can't a man look out the window? | 11:24 | |
| - | Well, something's wrong. | 11:26 |
| You've been jumpy as a cat | 11:27 | |
| ever since you came home. | 11:28 | |
| - | Nothing is wrong. | 11:29 |
| Well, I'm worried about a business deal. | 11:32 | |
| - | Phil, I know you too well. | 11:36 |
| Won't you tell me what it is? | 11:39 | |
| - | Will you stop nagging? | 11:40 |
| Nothing to tell. | 11:42 | |
| Aw, I'm sorry, Ruth. | 11:48 | |
| Just can't talk about it. | 11:50 | |
| - | Mom, Dad, guess what, | 11:55 |
| the senior members of the girls' glee club | 11:57 | |
| are gonna have their picture | 11:59 | |
| in the newspaper on graduation day. | 12:01 | |
| - | Picture in the paper? | 12:02 |
| Ruth | That's wonderful. | 12:04 |
| - | Oh, that practically makes up | 12:05 |
| for having to wear pink. | 12:06 | |
| Golly, I've never had my picture in the paper before. | 12:07 | |
| (door opens) | 12:10 | |
| (door slams) | 12:12 | |
| What's the matter with him? | 12:13 | |
| - | Well, I think your dad is just upset about business. | 12:14 |
| - | Golly, you'd think... | 12:18 |
| I mean, really, when a person's daughter's | 12:19 | |
| gonna have her picture in the paper, | 12:21 | |
| the least a person can do is forget about business. | 12:22 | |
| Isn't he even excited? | 12:25 | |
| - | Why, of course. | 12:28 |
| - | Well, he certainly didn't show it. | 12:29 |
| Why, you'd think it was an everyday... | 12:31 | |
| (doorbell rings) | 12:32 | |
| I'll get it. | 12:34 | |
| - | Hello, is your father home? | 12:37 |
| - | I'll get him. | 12:38 |
| Come in, please. | 12:39 | |
| - | Thank you. | 12:40 |
| - | Hello, I'm Mrs. Norden. | 12:42 |
| Can I help you? | 12:43 | |
| - | Lieutenant Russo, police. | 12:47 |
| - | Phil? | 12:49 |
| Why? What happened? | 12:50 | |
| - | I'd just like to talk to him. | 12:52 |
| - | Is something wrong? | 12:55 |
| - | Sorry, Mrs. Norden, I can't say just now. | 12:57 |
| - | I don't understand. | 12:59 |
| Can't you tell me what it is? | 13:01 | |
| (door closes) | 13:02 | |
| - | Mom, Dad's not in his room, | 13:03 |
| and I even looked in the kitchen. | 13:05 | |
| - | That's perfectly silly. | 13:07 |
| He was here a minute ago. | 13:08 | |
| (dramatic orchestral music) | 13:10 | |
| (car engine starts) | 13:11 | |
| (car revs) | 13:15 | |
| (tires squeal) | 13:17 | |
| - | Give me Captain Holbrook. | 13:28 |
| Matt, Johnny. | 13:31 | |
| Just wanted to pick up Norden and- | 13:32 | |
| - | Yeah, Johnny, I know. | 13:33 |
| Otto just called in, he's tailing him, | 13:34 | |
| heading toward Clayton Street. | 13:36 | |
| Stay with me, and I'll lead you as Otto reports. | 13:37 | |
| - | Right, Matt. | 13:40 |
| (dramatic orchestral music) | 13:41 | |
| (car engine starts) | ||
| (car rumbles) | 13:49 | |
| (car door closes) | 13:55 | |
| (suspenseful orchestral music) | 14:08 | |
| - | He's in there. | 14:14 |
| (door opens) | 14:45 | |
| - | Police officers, Norden. | 14:47 |
| - | I know. | 14:50 |
| - | What were you gonna do with this gun? | 14:52 |
| - | I was gonna... | 14:56 |
| I was gonna. | 14:59 | |
| - | Come on, Mr. Norden, let's go. | 15:02 |
| (dramatic orchestral music) | 15:04 | |
| - | You wanna tell us about it, Mr. Norden? | 15:12 |
| I don't think it's necessary for me to tell you | 15:16 | |
| why you were being followed. | 15:18 | |
| - | Please, just leave me alone. | 15:21 |
| - | Leave you alone? | 15:23 |
| You think we brought you in here to leave you alone? | 15:25 | |
| - | Please. | 15:28 |
| - | All right, Mr. Norden, you take your time. | 15:32 |
| When you're ready to talk, we're ready to listen. | 15:34 | |
| - | My name is Phillip Norden. | 15:44 |
| I live at 705 Beech Street. | 15:46 | |
| Could show you my driver's license. | 15:48 | |
| Please, I'd like to go home. | 15:53 | |
| (phone rings) | 15:55 | |
| - | Holbrook. | 15:59 |
| (dramatic orchestral music) | 16:00 | |
| (door opens) | 16:03 | |
| (door closes) | 16:07 | |
| - | Thank you. | 16:22 |
| - | Ms. Janowitz. | 16:24 |
| - | Oh, yes. | 16:26 |
| We met during the investigation of the Stacey case. | 16:27 | |
| - | I came here to tell you, | 16:30 |
| I've been thinking back on what happened, | 16:31 | |
| and I made a terrible mistake. | 16:33 | |
| I remember now, Tom didn't leave my apartment until 11:30. | 16:35 | |
| - | Oh? Why do you remember so clearly now? | 16:40 |
| - | Well, I just do. | 16:43 |
| You see, when he left the apartment, | 16:45 | |
| I turned on the TV set, | 16:47 | |
| and the 11:30 news was just starting. | 16:48 | |
| - | When I talked with you this afternoon, Ms. Janowitz, | 16:51 |
| you were sure it was 11:00. | 16:53 | |
| - | Well, maybe I just didn't wanna tell you. | 16:55 |
| Anyway, I am sure now. | 16:58 | |
| I want you to call the governor. | 17:00 | |
| - | Do you know the penalty for perjury? | 17:02 |
| - | Yes. | 17:05 |
| Well, I mean, it doesn't make any difference | 17:07 | |
| because I'm telling the truth. | 17:09 | |
| I want to sign something. | 17:11 | |
| I swear he was with me. | 17:12 | |
| - | Well, let's hold off a little while. | 17:15 |
| Do you mind waiting here? | 17:17 | |
| - | I won't change my mind. | 17:20 |
| - | No, you probably won't change the governor's either, | 17:22 |
| but you may save yourself a lot of trouble. | 17:24 | |
| (soft orchestral music) | 17:27 | |
| (door closes) | 17:32 | |
| - | Is he worth it? | 17:33 |
| - | I don't know what you're talking about. | 17:36 |
| - | Lying's a lousy way to prove you're in love, | 17:38 |
| even to yourself. | 17:40 | |
| (dramatic orchestral music) | 17:47 | |
| - | Mr. Norden, I have here a detailed report | 17:55 |
| from Lieutenant Russo on your actions today, | 17:57 | |
| starting at 8:10 a.m. when he first saw you | 17:59 | |
| pick up your morning paper. | 18:01 | |
| I'd like to read it to you. | 18:02 | |
| "At 8:10 a.m., he seemed to notice my presence | 18:05 | |
| "when he picked up his morning paper. | 18:07 | |
| "Suspect left his house, appearing nervous | 18:10 | |
| "at knowledge he was being watched. | 18:12 | |
| "Suspect's attitude during morning | 18:14 | |
| "showed increased nervous tension | 18:16 | |
| "due to awareness of being under my surveillance. | 18:17 | |
| "At 12:10, in Hank's Bar and Grill, | 18:20 | |
| "suspect lost temper and threatened me, | 18:22 | |
| "although I had not spoken to him up to this time." | 18:25 | |
| The report continues with your activities | 18:29 | |
| during the afternoon as your tension continued to mount, | 18:30 | |
| and concludes with your suddenly leaving your house | 18:34 | |
| in the evening and being followed to your office, | 18:36 | |
| where you were found with a gun in your hand, | 18:39 | |
| and every indication of having contemplated suicide. | 18:41 | |
| Lieutenant Russo will summarize the report as follows. | 18:45 | |
| "Suspect showed classic patterns typical | 18:48 | |
| "of a behavior motivated by great feelings of guilt." | 18:51 | |
| Well, Mr. Norden? | 18:56 | |
| (dramatic orchestral music) | 18:58 | |
| - | No. | 19:00 |
| I knew I'd never get away with it. | 19:03 | |
| Why does a man do things like that? | 19:06 | |
| Nice home, a wife, and my daughter. | 19:10 | |
| God, what have I done to them? | 19:19 | |
| - | Go ahead. | 19:24 |
| - | She's graduating from high school, | 19:28 |
| third highest in her class. | 19:30 | |
| My picture in the paper, the headlines. | 19:34 | |
| How's she gonna go back to school | 19:37 | |
| and face her friends? | 19:38 | |
| And my wife. | 19:42 | |
| I should've killed myself when I had the chance. | 19:45 | |
| - | That's no way out. | 19:48 |
| - | I ordered the books at the Grayling Company. | 19:52 |
| I knew their cash position. | 19:54 | |
| I didn't mean to do it. | 19:57 | |
| You won't believe that, but I didn't. | 19:58 | |
| Seemed so simple. | 20:00 | |
| Well, I needed the money immediately to make a payment. | 20:04 | |
| $187. | 20:08 | |
| I was broke at the time, in debt, | 20:12 | |
| there was no place I could borrow it. | 20:15 | |
| So, during the audit, I juggled the books, | 20:20 | |
| and took the money. | 20:25 | |
| (dramatic orchestral music) | 20:27 | |
| - | You took the money? | 20:31 |
| That's all you did? | 20:33 | |
| - | I told myself I was just borrowing it, | 20:34 |
| and I put the money back a week later, | 20:37 | |
| but, in my heart, I knew I was stealing it. | 20:41 | |
| - | The night the Grayling Company was held up, | 20:45 |
| and the watchman shot. | 20:46 | |
| - | Oh, it was terrible. | 20:48 |
| I remember reading about it when I was in Chicago. | 20:50 | |
| - | Chicago? | 20:55 |
| - | I was there at the Lodge convention. | 20:57 |
| - | Check it, Otto. | 21:03 |
| I already know the answer. | 21:04 | |
| Mr. Norden, you were thinking of killing yourself | 21:08 | |
| because of some money you took from the Grayling Company | 21:10 | |
| and returned a week later, that's all? | 21:12 | |
| - | That's all? | 21:15 |
| I already told you, I've ruined my family, | 21:17 | |
| I've destroyed my life. | 21:18 | |
| There's nothing left. | 21:20 | |
| - | Mr. Norden, had you planned to take the money | 21:23 |
| when you went in that morning? | 21:25 | |
| - | No, no, no, I had no idea what I was gonna do. | 21:26 |
| - | Well, it's under 200, so it's not a felony. | 21:30 |
| No weapon used, so it's a simple misdemeanor. | 21:33 | |
| There'll be no prosecution unless a complaint is filed. | 21:36 | |
| - | What do you mean? | 21:40 |
| You're not gonna lock me up? | 21:42 | |
| - | You'll be released on your own recognizance. | 21:44 |
| Naturally, the Grayling Company will have to be notified, | 21:46 | |
| but tomorrow's soon enough for that. | 21:48 | |
| I've known cases where no complaint was filed | 21:51 | |
| when the money has been repaid. | 21:54 | |
| I imagine you'll wanna notify your family. | 21:57 | |
| - | I'll be sure to phone. | 22:00 |
| - | Thank you, Captain, thank you very much. | 22:02 |
| - | Oh, um, Mr. Norden, one other thing. | 22:09 |
| Do you know a man by the name of Carter | 22:12 | |
| who worked for the Grayling Company? | 22:14 | |
| - | Yes, he was killed | 22:15 |
| in an auto accident the other day. | 22:17 | |
| - | That's right. | 22:19 |
| Was there any reason he might've hated you, | 22:20 | |
| enough to want revenge? | 22:23 | |
| - | Well, he was engaged to Ruth before I met her. | 22:26 |
| She married me. | 22:30 | |
| He always said he would get even some day, | 22:31 | |
| but you know how people say things. | 22:33 | |
| - | Yes, they do. | 22:37 |
| Okay, Johnny. | 22:40 | |
| (dramatic orchestral music) | 22:53 | |
| (Matt sighs) | 22:54 | |
| Ms. Janowitz, I can't stop you | 22:55 | |
| from swearing to an alibi for Tom Stacey. | 22:57 | |
| However, I can tell you it won't do him any good. | 22:59 | |
| - | Well, it will, it's got to. | 23:02 |
| - | All you'll do is bring perjury charges against yourself. | 23:04 |
| There's no question about his being guilty. | 23:07 | |
| - | Couldn't you be wrong? | 23:10 |
| - | No. | 23:11 |
| There was a chance that we were wrong | 23:13 | |
| until a few minutes ago. | 23:15 | |
| No chance anymore. | 23:17 | |
| Count yourself lucky. | 23:19 | |
| Murder doesn't fit very well into romantic daydreams. | 23:21 | |
| (dramatic orchestral music) | 23:25 | |
| - | My guess is that, all along, | 23:28 |
| you knew he wasn't right for you, | 23:29 | |
| but you just wouldn't admit it to yourself. | 23:31 | |
| - | I don't know. | 23:34 |
| - | You will, in time. | 23:35 |
| Chris, see that she gets home, huh? | 23:40 | |
| - | Yeah, hope you don't mind sports cars. | 23:41 |
| - | Well, if you've got an excuse to hang around here, | 23:47 |
| it's all right with me, | 23:49 | |
| but I'm heading home. | 23:51 | |
| - | Home? | 23:53 |
| Hey, I got one of those. | 23:54 | |
| (uplifting orchestral music) | 23:55 | |
| I think I'll try it. | 23:56 | |
| (dramatic orchestral music) | 24:06 | |
| Announcer | Be sure to see "The Rebel," | 24:52 |
| with Nick Adams starring as the Rebel | 24:53 | |
| every Sunday over most of these same stations. | 24:55 | |
| (dramatic orchestral music) | 24:58 | |
| Announcer | This has been a Four Star production. | 25:02 |
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The preservation of the Duke University Libraries Digital Collections and the Duke Digital Repository programs are supported in part by the Lowell and Eileen Aptman Digital Preservation Fund