1 00:00:00,000 --> 00:00:05,000 Now, the Roma Wine Company of Fresno, California presents... 2 00:00:12,000 --> 00:00:14,000 Suspense! 3 00:00:19,000 --> 00:00:24,000 Tonight, Roma Wines bring you Mr. Lee Bowman as star of I Won't Take a Minute, 4 00:00:24,000 --> 00:00:30,000 a Suspense play produced, edited and directed for Roma Wines by William Spear. 5 00:00:34,000 --> 00:00:41,000 Suspense! Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. 6 00:00:41,000 --> 00:00:44,000 That's R-O-M-A, Roma Wines. 7 00:00:44,000 --> 00:00:49,000 Those excellent California wines that can add so much pleasantness to the way you live, 8 00:00:49,000 --> 00:00:54,000 to your happiness and entertaining guests, to your enjoyment of everyday meals. 9 00:00:54,000 --> 00:01:00,000 Yes, right now a glass full would be very pleasant as Roma Wines bring you Mr. Lee Bowman 10 00:01:00,000 --> 00:01:02,000 in a remarkable tale of... 11 00:01:02,000 --> 00:01:04,000 Suspense! 12 00:01:08,000 --> 00:01:13,000 She was very good to look at, which is why I waited till I was 25 and met her. 13 00:01:13,000 --> 00:01:15,000 Here's how she went. 14 00:01:15,000 --> 00:01:19,000 First, a lot of gold all beaten up into a froth and poured over her head 15 00:01:19,000 --> 00:01:22,000 and allowed to set there in crinkly little curls. 16 00:01:22,000 --> 00:01:25,000 Blue eyes and a mouth with real lines. 17 00:01:25,000 --> 00:01:30,000 And in addition, well, she had everything just about right. 18 00:01:30,000 --> 00:01:32,000 And believe me, I was going to throw away the sales slip 19 00:01:32,000 --> 00:01:35,000 and not return the merchandise once it got to my house. 20 00:01:35,000 --> 00:01:40,000 That's why I nearly went nuts every evening waiting for her to come out of the building where she worked. 21 00:01:40,000 --> 00:01:44,000 She was always the last one out and this particular evening she was later than usual. 22 00:01:44,000 --> 00:01:48,000 It got dark, the streetlights came on, 23 00:01:48,000 --> 00:01:51,000 and the rush hour was over before she put in an appearance. 24 00:01:51,000 --> 00:01:54,000 Kenny? Oh, oh gee, Kenny, I'm sorry. 25 00:01:54,000 --> 00:01:55,000 You've been waiting long? 26 00:01:55,000 --> 00:01:59,000 Oh, no, no, I just nearly got run in for picketing the place, that's all. 27 00:01:59,000 --> 00:02:02,000 I hurried all I could. Please don't be mad at me, Kenny. 28 00:02:02,000 --> 00:02:05,000 I'm not mad at you, but slave driver you work for. 29 00:02:05,000 --> 00:02:07,000 Why do you always have to be the last one out? 30 00:02:07,000 --> 00:02:09,000 Oh, it's only for another week. 31 00:02:09,000 --> 00:02:12,000 Yeah. Come on, let's go. 32 00:02:12,000 --> 00:02:15,000 I got to deliver this package on the way home for his nibs. 33 00:02:15,000 --> 00:02:19,000 But you're not going home. We're going to Philharmonic. Thursday, remember? 34 00:02:19,000 --> 00:02:22,000 Oh, it won't take any time at all, honey. It's just around the corner. 35 00:02:22,000 --> 00:02:24,000 415 Martin Street. 36 00:02:24,000 --> 00:02:28,000 Okay. That guy nerves me up, making you play messenger girl after hours. 37 00:02:28,000 --> 00:02:31,000 Oh, let's don't talk about Mr. Heston. Let's talk about us. 38 00:02:31,000 --> 00:02:33,000 Been counting the days? 39 00:02:33,000 --> 00:02:35,000 All day. Thirteen left. 40 00:02:35,000 --> 00:02:38,000 And a half. Don't forget the half if it's to be a noon wedding. 41 00:02:38,000 --> 00:02:40,000 Why all the fuss about the half? 42 00:02:40,000 --> 00:02:42,000 Oh, I don't like thirteen by itself. 43 00:02:42,000 --> 00:02:46,000 I'll be glad when it's tomorrow and only twelve days left. 44 00:02:46,000 --> 00:02:50,000 See, you're cute. The more I know you, the cuter you get. 45 00:02:50,000 --> 00:02:54,000 I bet you won't say that a year from now. You'll be calling me your old lady then. 46 00:02:54,000 --> 00:02:57,000 You'll always be Steffy to me. Just Steffy. 47 00:02:57,000 --> 00:02:58,000 Not even Stephanie? 48 00:02:58,000 --> 00:03:01,000 No, too sophisticated, too foreign sounding. 49 00:03:01,000 --> 00:03:04,000 Steffy, that's you. Hey, what number are you supposed to deliver that package to? 50 00:03:04,000 --> 00:03:07,000 415. That must be it. 51 00:03:07,000 --> 00:03:11,000 What a dump. Your boss have many customers in dumps like this? 52 00:03:11,000 --> 00:03:14,000 I don't know. Hold a mask on me. What are you counting? 53 00:03:14,000 --> 00:03:16,000 I can't see the name. 54 00:03:16,000 --> 00:03:17,000 There, that's better. 55 00:03:17,000 --> 00:03:19,000 Yeah, uh-huh. But I still don't see it. 56 00:03:19,000 --> 00:03:20,000 What was the name? 57 00:03:20,000 --> 00:03:22,000 Muller, apartment 4B. 58 00:03:22,000 --> 00:03:37,000 Oh, here it is. Name cards fall now that it's split and gotten lost. No wonder I couldn't find it. 59 00:03:37,000 --> 00:03:39,000 Maybe they're not home. 60 00:03:39,000 --> 00:03:41,000 I'll ring it again. 61 00:03:41,000 --> 00:03:43,000 Ah, there it is. 62 00:03:43,000 --> 00:03:46,000 I don't like those automatic door latches. You never know who's up there. 63 00:03:46,000 --> 00:03:55,000 Ah, don't be silly. Wait here, honey. I won't take a minute. 64 00:03:55,000 --> 00:04:00,000 I never timed a cigarette. I suppose they take around five minutes. 65 00:04:00,000 --> 00:04:04,000 This one seemed to take longer, but then, uh, look who I was waiting for. 66 00:04:04,000 --> 00:04:10,000 I punched it out with my foot and lit another. I thought, won't take a minute. Yeah, I might have known it. 67 00:04:10,000 --> 00:04:16,000 I thought, what's she doing, saying a T up there? I counted my change just to give myself something to do. 68 00:04:16,000 --> 00:04:19,000 I took off my hat and looked it over like I'd never seen it before. 69 00:04:19,000 --> 00:04:28,000 Five cigarettes later, she still hadn't come back. 70 00:04:28,000 --> 00:04:32,000 Things happened. Nothing much. Little things that were to last so long. 71 00:04:32,000 --> 00:04:38,000 A stout lady in a ratty-looking fur coat came in holding some candy in one hand and a little boy by the other. 72 00:04:38,000 --> 00:04:41,000 I want a Hershey bar. I want a Hershey bar. 73 00:04:41,000 --> 00:04:43,000 Oh, you shut up or I'll smack you good. 74 00:04:43,000 --> 00:04:45,000 I'll clove your head and put it in the garbage can. 75 00:04:45,000 --> 00:04:50,000 Now, drudgy, I don't want to hear another word if you don't hush up her. 76 00:04:50,000 --> 00:04:55,000 After they'd gone, more waiting started in. I commenced tracing patterns with my feet. 77 00:04:55,000 --> 00:05:00,000 Circles, diagonals, Maltese crosses. Finally, I got fed up. 78 00:05:00,000 --> 00:05:06,000 I stepped over to the bell panel, picked out 4B, and nearly sent the button through to the other side of the wall. 79 00:05:06,000 --> 00:05:12,000 I could hear it ringing away off somewhere. A quiet house. Too quiet. 80 00:05:12,000 --> 00:05:17,000 I leaned on a bell till my thumb joint got all white down to my wrist, and something did happen. 81 00:05:17,000 --> 00:05:20,000 I heard the door of the automatic elevator open. 82 00:05:20,000 --> 00:05:27,000 I waited, nonchalant, like filing my fingernails. I thought I'd play a little heard when she arrived. 83 00:05:27,000 --> 00:05:30,000 I could see it was her, all right, walking toward me. 84 00:05:30,000 --> 00:05:35,000 She opened the door and then walked past me like she never saw me before. 85 00:05:35,000 --> 00:05:39,000 I let her go on. Figured she'd turn around by the time she got to the door. 86 00:05:39,000 --> 00:05:41,000 But no. 87 00:05:41,000 --> 00:05:44,000 Steffi. Hey, Steffi, wait. 88 00:05:44,000 --> 00:05:48,000 Steffi. Hey, Steffi, what's the big idea? 89 00:05:48,000 --> 00:05:50,000 I beg your pardon. 90 00:05:50,000 --> 00:05:55,000 Oh, I thought you were... I mean, you're dressed just like... 91 00:05:55,000 --> 00:06:00,000 I would advise you to be sure to whom you are talking before you go to grab a strange girl by the coat. 92 00:06:00,000 --> 00:06:06,000 Oh, no kidding. You look a lot like her, even the clothes. That little tan and the red shoes. 93 00:06:06,000 --> 00:06:08,000 Really, I don't find this amusing. 94 00:06:08,000 --> 00:06:10,000 Okay, sister, pardon me for living. 95 00:06:10,000 --> 00:06:14,000 Next time, make sure it's one of the girls that live here. 96 00:06:16,000 --> 00:06:20,000 It was a shock. I didn't like the looks of the place from the beginning. 97 00:06:20,000 --> 00:06:23,000 Up to then, I was just sore. Now I began to get scared. 98 00:06:23,000 --> 00:06:26,000 Maybe there's some guy up there trying to get funny with her, I thought. 99 00:06:26,000 --> 00:06:29,000 I better get up there fast and find out what this is. 100 00:06:29,000 --> 00:06:33,000 So I laid my hand flat over all the bells in the place so somebody would open up. 101 00:06:38,000 --> 00:06:42,000 Open up in there. Open up or I'll bust the door down, do you hear me? 102 00:06:42,000 --> 00:06:46,000 Steffi, are you in there, honey? Baby, why don't you say something? 103 00:06:46,000 --> 00:06:49,000 Yeah, what's this, what's this, what's this? 104 00:06:49,000 --> 00:06:51,000 Oh, that's what I want to know. Who are you? 105 00:06:51,000 --> 00:06:53,000 Building superintendent. 106 00:06:53,000 --> 00:06:54,000 You got a passkey to this flat? 107 00:06:54,000 --> 00:06:56,000 I have. What do you want in there? 108 00:06:56,000 --> 00:07:00,000 My girl. She took a package up. I've been waiting for her downstairs. 109 00:07:00,000 --> 00:07:03,000 I don't know how long. She never came down again. Now they won't answer the bell. 110 00:07:03,000 --> 00:07:06,000 Oh, wait a minute, young fella. She couldn't be in this flat. 111 00:07:06,000 --> 00:07:08,000 Don't try to tell me. 112 00:07:08,000 --> 00:07:11,000 Hey, don't you try to tell me. I say she couldn't be. 113 00:07:11,000 --> 00:07:12,000 Why? 114 00:07:12,000 --> 00:07:14,000 I'll show you why. 115 00:07:17,000 --> 00:07:18,000 Hey. 116 00:07:18,000 --> 00:07:19,000 Now, you see why? 117 00:07:19,000 --> 00:07:20,000 It's empty. 118 00:07:20,000 --> 00:07:21,000 Empty. 119 00:07:21,000 --> 00:07:24,000 Nobody lives here. But there was someone here a while ago. 120 00:07:24,000 --> 00:07:26,000 She rang the bell and they let her in. 121 00:07:26,000 --> 00:07:29,000 Mister, this place ain't been rented for six months. 122 00:07:29,000 --> 00:07:31,000 Listen, she came in here, I tell you. 123 00:07:31,000 --> 00:07:34,000 Yeah, yeah, yeah. Maybe you and the little girl had a quarrel. 124 00:07:34,000 --> 00:07:36,000 Maybe she figured to play a little joke on you. 125 00:07:36,000 --> 00:07:37,000 Give you the slip. 126 00:07:37,000 --> 00:07:39,000 We never had any quarrel. We're getting married. 127 00:07:39,000 --> 00:07:42,000 Yeah, yeah, yeah. Why don't you go to her place? 128 00:07:42,000 --> 00:07:44,000 You'll probably find her there. 129 00:07:44,000 --> 00:07:47,000 She didn't come out again, I tell you. I was there at the door the whole time. 130 00:07:47,000 --> 00:07:49,000 What about the back way? Is there a back way out? 131 00:07:49,000 --> 00:07:52,000 Not a back way. There's a delivery entrance. 132 00:07:52,000 --> 00:07:55,000 But that goes right past my quarters. Nobody went out that way. 133 00:07:55,000 --> 00:07:58,000 Muller. The name was Muller. 134 00:07:58,000 --> 00:08:00,000 If he doesn't live in 4B, where does he live? 135 00:08:00,000 --> 00:08:01,000 Muller. 136 00:08:01,000 --> 00:08:06,000 We never had anyone with that name in the whole 12 years I've been working here. 137 00:08:06,000 --> 00:08:11,000 For suspense, Roma Wines are bringing you a star, Mr. Lee Bowman, in I Won't Take a Minute, 138 00:08:11,000 --> 00:08:38,000 Roma Wines presentation tonight in radio's outstanding theater of thrills, Suspense. 139 00:08:38,000 --> 00:08:43,000 Between the acts of suspense, this is Truman Bradley for Roma Wines. 140 00:08:43,000 --> 00:08:47,000 In the hurried, hectic shopping weeks between now and Christmas, 141 00:08:47,000 --> 00:08:52,000 there'll be many a night when you'll be glad to relax in the warmth and comfort of your own home. 142 00:08:52,000 --> 00:08:56,000 And what more delightful way to enjoy a quiet, restful evening 143 00:08:56,000 --> 00:09:01,000 than with a glass full of Roma California Muscatel and nuts or cake. 144 00:09:01,000 --> 00:09:04,000 You'll thoroughly enjoy this magnificent Roma Wine, 145 00:09:04,000 --> 00:09:08,000 so tempting with the distinctive fragrance of the world-famous Muscat Grape. 146 00:09:08,000 --> 00:09:13,000 With its rich, mellow sweetness, its glowing golden fire, 147 00:09:13,000 --> 00:09:17,000 Roma Muscatel is delightful with desserts, too. 148 00:09:17,000 --> 00:09:19,000 Famed hostess Elsa Maxwell says, 149 00:09:19,000 --> 00:09:26,000 Roma Muscatel is a sure-to-please, easy-to-serve entertainment wine when guests drop in. 150 00:09:26,000 --> 00:09:33,000 Like all Roma wines, Roma Muscatel is a true wine, crushed from selected grapes. 151 00:09:33,000 --> 00:09:38,000 Unhurriedly guided to taste perfection by age-old winemaking skills, 152 00:09:38,000 --> 00:09:42,000 and Roma's new low prices save you as much as one-fourth. 153 00:09:42,000 --> 00:09:44,000 Get Roma Muscatel tomorrow. 154 00:09:44,000 --> 00:09:51,000 Insist on Roma, R-O-M-A, for uniformly fine wine quality at low cost. 155 00:09:51,000 --> 00:09:56,000 That's why more Americans enjoy Roma than any other wine. 156 00:09:56,000 --> 00:10:00,000 And now Roma Wines bring back to our Hollywood Sound stage 157 00:10:00,000 --> 00:10:05,000 Lee Bowman as Kenny in Cornell Woolrich's story of a vanishing lady, 158 00:10:05,000 --> 00:10:11,000 I Won't Take a Minute, a play well calculated to keep you in suspense. 159 00:10:18,000 --> 00:10:20,000 The cop on the beat was a nice guy. 160 00:10:20,000 --> 00:10:23,000 He rang every bell in every flat of the building and questioned the occupants. 161 00:10:23,000 --> 00:10:26,000 No one had heard anything. No one had seen her. 162 00:10:26,000 --> 00:10:30,000 Finally, a single plainclothes man was dropped off at the door. 163 00:10:30,000 --> 00:10:33,000 Lieutenant Gilman. He kept calling me Bud. 164 00:10:33,000 --> 00:10:36,000 He looked around the empty flat, and then he looked at me. 165 00:10:36,000 --> 00:10:39,000 Bud, there's nothing to show that this girl or anyone else came in here. 166 00:10:39,000 --> 00:10:43,000 I tell you, she rang the bell at this flat, and someone released the door catch for her from up here. 167 00:10:43,000 --> 00:10:45,000 All right, all right. Assuming she got in here, how'd she get out? 168 00:10:45,000 --> 00:10:48,000 I don't know. I don't know. Maybe the fire is good. 169 00:10:48,000 --> 00:10:50,000 Look at those windows. Look at the dust on these frames. 170 00:10:50,000 --> 00:10:52,000 A person can't move in a place like this without it showing. 171 00:10:52,000 --> 00:10:54,000 Listen, don't do this to me, will you? 172 00:10:54,000 --> 00:10:56,000 I'm telling you, she didn't come here with me at all. 173 00:10:56,000 --> 00:10:58,000 That's what it does sound like, Bud. 174 00:10:58,000 --> 00:11:02,000 Look, I was taking her to the concert tonight. We go every Thursday. 175 00:11:02,000 --> 00:11:03,000 Here's our ticket. 176 00:11:03,000 --> 00:11:05,000 I think we better build this thing from the ground up and see what we've got. 177 00:11:05,000 --> 00:11:07,000 Now, what's this girl's name? 178 00:11:07,000 --> 00:11:09,000 Stephanie. Stephanie Rizka. 179 00:11:09,000 --> 00:11:10,000 Address? 180 00:11:10,000 --> 00:11:11,000 120 Farragut. 181 00:11:11,000 --> 00:11:13,000 Uh-huh. What's she look like? 182 00:11:13,000 --> 00:11:18,000 Well, she... she comes up to about here next to me. 183 00:11:18,000 --> 00:11:23,000 Blonde, little curls close to her head, blue eyes. 184 00:11:23,000 --> 00:11:25,000 I'm no good at descriptions. 185 00:11:25,000 --> 00:11:27,000 Don't let it get you, Bud. 186 00:11:27,000 --> 00:11:31,000 I'm not scared because she's gone. I'm scared because she's gone in such a crazy way. 187 00:11:31,000 --> 00:11:33,000 I can't get a grip on it. 188 00:11:33,000 --> 00:11:37,000 Now, you say you met her at 615 outside the Bailey Goodwin building with a package to be delivered here. 189 00:11:37,000 --> 00:11:39,000 Who'd she work for? 190 00:11:39,000 --> 00:11:43,000 A press clipping service. The Green Star, it's called. It's operated by a guy named Hessen. 191 00:11:43,000 --> 00:11:44,000 Big outfit? 192 00:11:44,000 --> 00:11:49,000 Just him and a secretary and an office boy. She was getting 22 a week. 193 00:11:49,000 --> 00:11:53,000 All right, Bud. You've given me something indefinite. We'll do some checking. 194 00:11:53,000 --> 00:11:56,000 But first of all, we go back to the place she worked. 195 00:12:06,000 --> 00:12:08,000 Oh, what a telephone booth. 196 00:12:08,000 --> 00:12:12,000 She told me the place was small, but I never figured on this. Not even a window. 197 00:12:12,000 --> 00:12:14,000 All right, all right. Let's have a look. 198 00:12:14,000 --> 00:12:18,000 Desk, filing cabinet. 199 00:12:20,000 --> 00:12:22,000 Yeah, clippings. 200 00:12:22,000 --> 00:12:24,000 Well, so far, your story checks. 201 00:12:24,000 --> 00:12:26,000 Except for one thing. 202 00:12:26,000 --> 00:12:27,000 What's that? 203 00:12:27,000 --> 00:12:30,000 There's no file for anyone named Muller. 204 00:12:30,000 --> 00:12:33,000 Oh, this must be her desk. 205 00:12:33,000 --> 00:12:35,000 Yeah. 206 00:12:35,000 --> 00:12:39,000 Shears, glue, clips. 207 00:12:39,000 --> 00:12:43,000 Not much of a personal touch here, not even a hairpin. 208 00:12:43,000 --> 00:12:45,000 Uh-oh. Find something? 209 00:12:45,000 --> 00:12:47,000 Nothing special. 210 00:12:47,000 --> 00:12:50,000 You found something here. I saw you drop it in an envelope and stick it in your pocket. 211 00:12:50,000 --> 00:12:52,000 Listen, Bud, who's running this investigation? You or me? 212 00:12:52,000 --> 00:12:54,000 Sorry. 213 00:12:54,000 --> 00:12:55,000 You, I guess. 214 00:12:55,000 --> 00:12:57,000 Okay, let's keep it that way. 215 00:13:04,000 --> 00:13:08,000 Our next stop was one of those bungalow-type places in the outskirts. 216 00:13:08,000 --> 00:13:11,000 That was where Hessen lived, the guy she worked for. 217 00:13:13,000 --> 00:13:14,000 Oh, good evening. 218 00:13:14,000 --> 00:13:15,000 Good evening. You Mr. Hessen? 219 00:13:15,000 --> 00:13:16,000 That's right. 220 00:13:16,000 --> 00:13:18,000 I'm from police headquarters. May I come in? 221 00:13:18,000 --> 00:13:20,000 Oh, why, certainly. 222 00:13:20,000 --> 00:13:22,000 Won't you sit down, gentlemen? 223 00:13:22,000 --> 00:13:24,000 We won't take up much of your time, sir. 224 00:13:24,000 --> 00:13:28,000 First of all, do you know anyone named Muller at 415 Martin Street? 225 00:13:28,000 --> 00:13:32,000 No, I don't know anyone by that name. I think we have a Miller. 226 00:13:32,000 --> 00:13:36,000 Mrs. Elsie Miller on our list, who divorces and marries quite frequently. 227 00:13:36,000 --> 00:13:39,000 Will that do? She owes us $29. 228 00:13:39,000 --> 00:13:45,000 You didn't send a package over to Muller, Apartment 4B, 415 Martin Street at 615 this evening? 229 00:13:45,000 --> 00:13:49,000 No, I'm sure I didn't. But wait a minute. It's easy enough to confirm that. 230 00:13:49,000 --> 00:13:51,000 Oh, Stephanie. 231 00:13:51,000 --> 00:13:53,000 Stephanie? 232 00:13:55,000 --> 00:13:56,000 Did you call me, Mr. Hessen? 233 00:13:56,000 --> 00:14:01,000 Yes, my dear. Oh, this is my assistant, gentlemen, Miss Stephanie Riscov. 234 00:14:02,000 --> 00:14:05,000 That isn't Stephanie. She's calling somebody else by her name. 235 00:14:05,000 --> 00:14:06,000 My dear young man. 236 00:14:06,000 --> 00:14:08,000 She came out of that building while I was waiting. I spoke to her. 237 00:14:08,000 --> 00:14:10,000 We'll discuss that later. 238 00:14:10,000 --> 00:14:13,000 Now then, Miss, how long have you been working for Mr. Hessen? 239 00:14:13,000 --> 00:14:16,000 Since October of last year. About eight months now. 240 00:14:16,000 --> 00:14:17,000 And your name is Stephanie Riscov? 241 00:14:17,000 --> 00:14:19,000 Why, yes, of course. 242 00:14:19,000 --> 00:14:21,000 Have you any identification on you? 243 00:14:21,000 --> 00:14:25,000 I don't know. Maybe there is something here in my handbag. 244 00:14:25,000 --> 00:14:26,000 Do you mind if I look? 245 00:14:26,000 --> 00:14:29,000 It's all right, my dear. He's from the police. 246 00:14:29,000 --> 00:14:31,000 Oh. Oh, well, in that case. 247 00:14:31,000 --> 00:14:32,000 Thank you. 248 00:14:32,000 --> 00:14:35,000 I don't know what these two are trying to pull, but she's not Stephanie. 249 00:14:35,000 --> 00:14:38,000 You've got to believe me. She came out of that building dressed like Stephanie. 250 00:14:38,000 --> 00:14:40,000 The way Stephanie was dressed when she went in. 251 00:14:40,000 --> 00:14:41,000 Stop that, will you? 252 00:14:41,000 --> 00:14:44,000 Thank you, Miss Riscov. I'm sorry for the inconvenience. 253 00:14:44,000 --> 00:14:45,000 It's quite all right. 254 00:14:45,000 --> 00:14:49,000 I noticed you have quite a supply of chewing gum there. 255 00:14:49,000 --> 00:14:51,000 That's hard to get these days. 256 00:14:51,000 --> 00:14:53,000 I make a hobby of it. Have some? 257 00:14:53,000 --> 00:14:56,000 Oh, thanks. My mouth's kind of dry. 258 00:14:56,000 --> 00:14:58,000 Well, Mr. Hester... 259 00:14:58,000 --> 00:14:59,000 It's quite all right. 260 00:14:59,000 --> 00:15:03,000 I don't know what this young man has got himself mixed up in, but if we were able to help... 261 00:15:03,000 --> 00:15:05,000 Oh, you did help a lot, sir. 262 00:15:05,000 --> 00:15:09,000 Come along, bud. I've got some more checking to do. 263 00:15:09,000 --> 00:15:12,000 This time it's on you. 264 00:15:17,000 --> 00:15:20,000 Okay, bud, now stop talking. Spill it. What's your pitch? 265 00:15:20,000 --> 00:15:23,000 I told you the truth. That girl wasn't Stephanie. I never saw her before. 266 00:15:23,000 --> 00:15:25,000 Was the man Hesson? 267 00:15:25,000 --> 00:15:27,000 He looked just like him. 268 00:15:27,000 --> 00:15:31,000 This girl of yours, what kind of gum did she chew? 269 00:15:31,000 --> 00:15:33,000 She didn't chew gum. She hated it. 270 00:15:33,000 --> 00:15:37,000 You ask me what it was I picked up back there in the office. 271 00:15:37,000 --> 00:15:39,000 Well, here's what it was. 272 00:15:39,000 --> 00:15:41,000 A wad of gum stuck under the edge of the desk. 273 00:15:41,000 --> 00:15:44,000 That girl back there at Hesson's place belongs in that office, bud. 274 00:15:44,000 --> 00:15:47,000 She had a letter addressed to herself in that handbag and her initials on the outside of it. 275 00:15:47,000 --> 00:15:50,000 It wasn't a new one and it wasn't fake. 276 00:15:50,000 --> 00:15:52,000 What's your racket, bud? 277 00:15:52,000 --> 00:15:55,000 Are you a pushover for mental observation? 278 00:15:55,000 --> 00:15:59,000 Or did you do something to some little blonde blue-eyed number? 279 00:15:59,000 --> 00:16:02,000 And are you trying to pass the buck before we even found out about it? 280 00:16:02,000 --> 00:16:05,000 I don't know. I don't know. Maybe I am nuts. 281 00:16:05,000 --> 00:16:09,000 Things like this... things like this just don't happen. They can't. 282 00:16:09,000 --> 00:16:11,000 One minute she walks into a building... 283 00:16:11,000 --> 00:16:14,000 You haven't produced a single person, even in the long, that actually laid eyes on this girl of yours. 284 00:16:14,000 --> 00:16:16,000 Where's her folks? Where'd she come from? 285 00:16:16,000 --> 00:16:18,000 Wisconsin, I think. Her folks are all dead. 286 00:16:18,000 --> 00:16:21,000 Ha ha. I thought so. 287 00:16:21,000 --> 00:16:24,000 Well, I'll give you one more spin for your money, bud. 288 00:16:24,000 --> 00:16:27,000 You stand or fall by the place you say she lived. 289 00:16:27,000 --> 00:16:29,000 Have you been there? 290 00:16:29,000 --> 00:16:30,000 Yes. 291 00:16:30,000 --> 00:16:33,000 Could you describe it? 292 00:16:33,000 --> 00:16:35,000 Okay. 293 00:16:35,000 --> 00:16:39,000 Sticking in the mirror of the dresser, she's got a list of the Holy Mother. 294 00:16:39,000 --> 00:16:44,000 On the radiator, she's got a rag doll that I won for at Coney Island. 295 00:16:44,000 --> 00:16:49,000 On a little shelf against the wall, she's got a gas ring with a tube running up to the jet. 296 00:16:49,000 --> 00:16:52,000 From the light fixture to the jet, there's a string attached. 297 00:16:52,000 --> 00:16:55,000 And she'll have stockings hanging here to dry. Are you listening? 298 00:16:55,000 --> 00:16:57,000 Yeah, yeah. Go on, go on. 299 00:16:57,000 --> 00:16:58,000 Will you remember those things? 300 00:16:58,000 --> 00:17:01,000 Yeah, bud. We'll see. 301 00:17:07,000 --> 00:17:09,000 Now listen, bud. Get this straight. 302 00:17:09,000 --> 00:17:12,000 I don't want one word out of you the whole time we're here. You hear? 303 00:17:12,000 --> 00:17:15,000 I won't say a word. So help me. 304 00:17:15,000 --> 00:17:16,000 Yes? 305 00:17:16,000 --> 00:17:19,000 You got a girl named Stephanie risk living here? 306 00:17:19,000 --> 00:17:21,000 Second floor front. She ain't home now. 307 00:17:21,000 --> 00:17:23,000 I'm from the police. I think you'd better let us in. 308 00:17:23,000 --> 00:17:25,000 Oh, well, certainly. 309 00:17:25,000 --> 00:17:26,000 Let's see her room, please. 310 00:17:26,000 --> 00:17:28,000 Yeah, follow me. 311 00:17:28,000 --> 00:17:32,000 She's a nice clean roomer. I'd hate to lose her. I hope she's not in any trouble. 312 00:17:32,000 --> 00:17:34,000 No trouble. 313 00:17:37,000 --> 00:17:40,000 Now, Gilman, right over there. 314 00:17:40,000 --> 00:17:43,000 Hey, it's changed. They've changed it all around. 315 00:17:43,000 --> 00:17:45,000 Shut up. 316 00:17:45,000 --> 00:17:47,000 Has she always had it fixed this way, ma'am? 317 00:17:47,000 --> 00:17:51,000 Well, since the first day she's here, only one thing I got to complain about. 318 00:17:51,000 --> 00:17:54,000 There it is again, chewing gum. She leaves it all over. 319 00:17:54,000 --> 00:17:57,000 Let's see that. 320 00:17:57,000 --> 00:18:00,000 Ah, I thought so. Exhibit C, bud. 321 00:18:00,000 --> 00:18:03,000 Same as the other two. She belongs in that office and she belongs in this room. 322 00:18:03,000 --> 00:18:05,000 Look out. You'd better hold your frame. 323 00:18:05,000 --> 00:18:08,000 Let him hold. This isn't anything to the falls. 324 00:18:08,000 --> 00:18:11,000 He's going to be taking five or ten minutes from now. 325 00:18:11,000 --> 00:18:12,000 What'd he do? Murder her? 326 00:18:12,000 --> 00:18:15,000 Not her, but I've got a good hunch she murdered someone 327 00:18:15,000 --> 00:18:19,000 and picked the wrong number and name out of a hat. 328 00:18:19,000 --> 00:18:22,000 I didn't hear any more of what they said while we were going down the stairs. 329 00:18:22,000 --> 00:18:28,000 The light bulbs in the place were doing funny things, turning red, spinning around in spirals. 330 00:18:28,000 --> 00:18:31,000 I was still on my feet, but not so as you'd notice it. 331 00:18:31,000 --> 00:18:34,000 The spinning didn't stop till we got to the foot of the stairs. 332 00:18:34,000 --> 00:18:37,000 The thing that stopped it was an umbrella stand beside the front door. 333 00:18:37,000 --> 00:18:40,000 It had a knotty walking stick jutting up out of it. 334 00:18:40,000 --> 00:18:43,000 I grabbed it in my free hand as he walked me past it. 335 00:18:43,000 --> 00:18:45,000 Watch out, Newtellen. He's going to... 336 00:18:45,000 --> 00:18:47,000 Hey, you! 337 00:18:54,000 --> 00:18:56,000 I didn't stop to investigate whether I'd kill him or only knock him out. 338 00:18:56,000 --> 00:18:59,000 I was a block down the street before the landlady could open her mouth to scream. 339 00:18:59,000 --> 00:19:02,000 I made for the Martin Street flat. That was instinctive. 340 00:19:02,000 --> 00:19:05,000 The place I'd last seen her, calling me back. 341 00:19:05,000 --> 00:19:09,000 When I got there, I ganged up on the janitor's bell and waited a thousand years. 342 00:19:09,000 --> 00:19:12,000 Oh, it's you again. What is it? Didn't you find her yet? 343 00:19:12,000 --> 00:19:15,000 What happened to that detective fellow that was with you? 344 00:19:15,000 --> 00:19:17,000 He sent me back to take another look. 345 00:19:17,000 --> 00:19:20,000 You don't have to come up. Just give me the passkey. 346 00:19:20,000 --> 00:19:22,000 All right, son. Come on in. 347 00:19:28,000 --> 00:19:32,000 My head was still spinning when I let myself into the door of apartment 4B. 348 00:19:32,000 --> 00:19:35,000 I don't know what I was looking for. Some clue. 349 00:19:35,000 --> 00:19:39,000 Some magic clue that would pop up and give her back to me. 350 00:19:39,000 --> 00:19:41,000 I tested the walls for secret panels. 351 00:19:41,000 --> 00:19:44,000 Alas, and a 50 buck a month flat. 352 00:19:44,000 --> 00:19:48,000 I dug out plaster with my bare nails, cased the cracks between the floorboards. 353 00:19:48,000 --> 00:19:52,000 I'd been there about ten minutes when I heard steps coming up the hall. 354 00:19:52,000 --> 00:19:54,000 I held my breath. 355 00:19:54,000 --> 00:19:58,000 All right, sonny. Come out of there with your hands up, or I'll come in to... 356 00:19:58,000 --> 00:20:01,000 Give me a minute, please. One minute. Maybe I'll find it. 357 00:20:01,000 --> 00:20:03,000 Find what? 358 00:20:03,000 --> 00:20:05,000 Please, one minute. 359 00:20:05,000 --> 00:20:08,000 If you aren't out of there by the time I count ten, I commit you. Can you hear me? 360 00:20:08,000 --> 00:20:10,000 Yeah. Yeah, I hear you. 361 00:20:10,000 --> 00:20:13,000 One, two, three. 362 00:20:13,000 --> 00:20:16,000 I didn't stop the thing. I crossed the room and threw up in the window. 363 00:20:16,000 --> 00:20:18,000 The one that opened on the floor escaped. 364 00:20:18,000 --> 00:20:21,000 Down looked too far, so I started climbing. 365 00:20:21,000 --> 00:20:23,000 Hey! Hey! I'm not out of here, you! 366 00:20:23,000 --> 00:20:26,000 I'll break every bone in your body. You won't live to get into headquarters. 367 00:20:26,000 --> 00:20:28,000 I didn't yell back at him. I was saving my breath. 368 00:20:28,000 --> 00:20:30,000 Come on, after him. Keep that light on him. 369 00:20:30,000 --> 00:20:33,000 On the roof, I took a quick look both directions. 370 00:20:33,000 --> 00:20:36,000 There was about a yard-high partition wall dividing it from the next roof over. 371 00:20:36,000 --> 00:20:38,000 But before I could get... 372 00:20:38,000 --> 00:20:41,000 Hold it, pal. Hold it. He won't make it. 373 00:20:41,000 --> 00:20:43,000 Oh. 374 00:20:43,000 --> 00:20:46,000 Get that light focused on his eyes. He may be faking it. 375 00:20:46,000 --> 00:20:48,000 I think I busted my leg. 376 00:20:48,000 --> 00:20:51,000 Eh? Well, let's see. 377 00:20:51,000 --> 00:20:54,000 Now, just bark your shin a little. 378 00:20:54,000 --> 00:20:57,000 Oh, wait till I finish with you, wise guy. 379 00:20:57,000 --> 00:21:00,000 Oh, what are you waiting for? 380 00:21:00,000 --> 00:21:03,000 Go ahead. You promised me a beating. 381 00:21:03,000 --> 00:21:05,000 Go ahead. Don't you worry... 382 00:21:05,000 --> 00:21:07,000 Hey, where did that come from? 383 00:21:07,000 --> 00:21:09,000 What? That package there beside you. 384 00:21:09,000 --> 00:21:12,000 Package? Package. 385 00:21:12,000 --> 00:21:14,000 That's it. The package you took inside with it. 386 00:21:14,000 --> 00:21:16,000 Hold that light steady. 387 00:21:16,000 --> 00:21:18,000 What's in it? What is it? 388 00:21:18,000 --> 00:21:21,000 Newspapers. Newspapers? That's a dummy. 389 00:21:21,000 --> 00:21:24,000 Look, those papers. They've had stuff clipped out of them. 390 00:21:24,000 --> 00:21:27,000 That proves they came from Hessman's clipping agency. 391 00:21:27,000 --> 00:21:29,000 Well, doesn't it? 392 00:21:29,000 --> 00:21:31,000 Someone did bring a package here tonight. 393 00:21:31,000 --> 00:21:33,000 Oh, what a sap I've been. I kept thinking about that womb. 394 00:21:33,000 --> 00:21:36,000 She was never in that womb. I was right about that. 395 00:21:36,000 --> 00:21:39,000 They must have grabbed her in the hall and taken her straight up here to the roof through the skylight. 396 00:21:39,000 --> 00:21:41,000 But why? I don't know. 397 00:21:41,000 --> 00:21:45,000 Maybe that steel-plated landlady knows, and if she does, she's gonna talk and talk fast. 398 00:21:45,000 --> 00:21:47,000 All right, Grandma, come on, spill it. 399 00:21:47,000 --> 00:21:50,000 You can't scare me. I've got bigger men than you on my side. 400 00:21:50,000 --> 00:21:52,000 What do you mean, your side? 401 00:21:52,000 --> 00:21:55,000 You should like to know. All I have to do is make one telephone call. 402 00:21:55,000 --> 00:21:57,000 I have the number right here. 403 00:21:57,000 --> 00:21:58,000 Let's see that number. 404 00:21:58,000 --> 00:21:59,000 Take it. Call it yourself. 405 00:21:59,000 --> 00:22:00,000 Who gave you that number? 406 00:22:00,000 --> 00:22:02,000 Ask me no questions. I'll tell you no lies. 407 00:22:02,000 --> 00:22:03,000 Who gave you this number? 408 00:22:03,000 --> 00:22:05,000 The FBI man who was here. 409 00:22:05,000 --> 00:22:08,000 Now you know who I'm working for. Go ahead. 410 00:22:08,000 --> 00:22:10,000 I'm not a spy. I'm a spy. 411 00:22:10,000 --> 00:22:12,000 I'm not a spy. I'm a spy. 412 00:22:12,000 --> 00:22:16,000 Now you know who I'm working for. Go ahead. Call the number. 413 00:22:16,000 --> 00:22:17,000 Oh, I get it. 414 00:22:17,000 --> 00:22:22,000 Tell me, Grandma, what did this FBI man look like? 415 00:22:22,000 --> 00:22:25,000 All right, I'll tell you. All you have to do is say yes and no. 416 00:22:25,000 --> 00:22:29,000 The guy's about my height, bald, wears pinched glasses, right? 417 00:22:29,000 --> 00:22:30,000 Maybe. 418 00:22:30,000 --> 00:22:35,000 He got you to work with him so this woman he described as one of his agents could step into the identity of this Stephanie Riska, right? 419 00:22:35,000 --> 00:22:36,000 You seem to know all about him. 420 00:22:36,000 --> 00:22:37,000 I know more than that. 421 00:22:37,000 --> 00:22:40,000 He wasn't an FBI man, and the girl who took Stephanie Riska's place was not a federal agent. 422 00:22:40,000 --> 00:22:41,000 Then who was he? 423 00:22:41,000 --> 00:22:43,000 I'm not sure, Grandma, but I've got a hunch. Calhoun! 424 00:22:43,000 --> 00:22:44,000 Joe! 425 00:22:44,000 --> 00:22:45,000 Calhoun, get out there. 426 00:22:45,000 --> 00:22:47,000 We have to spread the lab a little faster. Keep it fun until we get there. 427 00:22:47,000 --> 00:22:49,000 Gilman! Gilman! You think she's already... 428 00:22:49,000 --> 00:22:52,000 I don't know. Keep your fingers crossed, bud, and pray. 429 00:23:00,000 --> 00:23:03,000 Where are they? I told them to keep this house covered. 430 00:23:05,000 --> 00:23:06,000 Gone. Nobody here. 431 00:23:06,000 --> 00:23:07,000 Yeah, yeah. 432 00:23:07,000 --> 00:23:09,000 Hey, now, sir. Now, sir. 433 00:23:09,000 --> 00:23:11,000 Stand back against the wall. Somebody's coming. 434 00:23:13,000 --> 00:23:15,000 Gilman, you in here? 435 00:23:15,000 --> 00:23:18,000 Calhoun, what's the big idea? I told you to keep this place spotted. Now they're gone. 436 00:23:18,000 --> 00:23:21,000 I tailed them. They piled into a car, locked up the house and left. 437 00:23:21,000 --> 00:23:22,000 Where to? 438 00:23:22,000 --> 00:23:26,000 Pier 7, North River. They got in some kind of a fuzzy tramp steamer and it shoved off in less than a quarter of an hour. 439 00:23:26,000 --> 00:23:27,000 I tried to reach... 440 00:23:27,000 --> 00:23:28,000 Was the other girl with them? 441 00:23:28,000 --> 00:23:31,000 No. Two men in a stringy blond. They call Algar. That's all. 442 00:23:31,000 --> 00:23:32,000 Too late. We're too late. 443 00:23:32,000 --> 00:23:36,000 We could pull them off at quarantine. I'll make them talk. Come on, let's get out of here and get some fresh air. 444 00:23:36,000 --> 00:23:37,000 Thanks, Dona. 445 00:23:37,000 --> 00:23:39,000 Yeah. Smells like they'd had their place fumigated or something. 446 00:23:40,000 --> 00:23:41,000 Hey. 447 00:23:41,000 --> 00:23:42,000 What's the matter? 448 00:23:42,000 --> 00:23:44,000 That smell. That's gasoline. 449 00:23:44,000 --> 00:23:45,000 Gasoline? 450 00:23:45,000 --> 00:23:46,000 I hear something. A clock. 451 00:23:46,000 --> 00:23:47,000 It's the basement. Come on. 452 00:23:51,000 --> 00:23:54,000 Yeah, she's down here, all right. Go back upstairs, but I'll bring her up. 453 00:23:54,000 --> 00:23:55,000 Tell me. Tell me now. Don't wait till you get her... 454 00:23:55,000 --> 00:23:58,000 Yeah, she's alive. Come on. Get her out of here. Don't you hear that ticking? 455 00:23:58,000 --> 00:23:59,000 I'd better what that bomb... 456 00:23:59,000 --> 00:24:14,000 Thank you, Calhoun. You'll never make it that far. 457 00:24:14,000 --> 00:24:16,000 Yeah, she'll be around in a second or two. 458 00:24:16,000 --> 00:24:17,000 How's Calhoun? 459 00:24:17,000 --> 00:24:19,000 Burned pretty bad. It was an incendiary. 460 00:24:19,000 --> 00:24:21,000 Oh, can he? 461 00:24:21,000 --> 00:24:22,000 Oh, baby, it's okay. 462 00:24:22,000 --> 00:24:25,000 Yeah, sure. Everything's okay now, Stepy. 463 00:24:25,000 --> 00:24:26,000 Who are you? 464 00:24:26,000 --> 00:24:29,000 This is Lieutenant Gilman. We owe a lot to him, Stepy. 465 00:24:29,000 --> 00:24:31,000 Thanks, Lieutenant Gilman. 466 00:24:31,000 --> 00:24:37,000 Ah, I'm just a dumb flatfoot, Stepy, and I had to be conked over the head before I got wise to what was going on. 467 00:24:37,000 --> 00:24:42,000 Even then, I didn't figure it right. I figured Heston and his pals were a bunch of spies or something. 468 00:24:42,000 --> 00:24:43,000 Well, weren't they? 469 00:24:43,000 --> 00:24:47,000 Well, Heston became an American citizen in 1929. Up to now, his record's absolutely clean. 470 00:24:47,000 --> 00:24:50,000 Oh, I'm glad of that. I'd hate to be working for a spy. 471 00:24:50,000 --> 00:24:53,000 But I don't get it. Why did they want Stepy out of the way? 472 00:24:53,000 --> 00:24:56,000 That was all they're doing. The girl who was impersonating you, Stepy. 473 00:24:56,000 --> 00:24:58,000 You see, she's Heston's sister. 474 00:24:58,000 --> 00:25:05,000 She's fugitive from a couple of war crimes and figured the least her brother could do for her was to finish her with a nice, clean nationality. 475 00:25:05,000 --> 00:25:10,000 Their original plan was to bump Stepy off in that empty flat and leave her there without anything to identify her. 476 00:25:10,000 --> 00:25:13,000 Only, only they figured on her coming there alone. 477 00:25:13,000 --> 00:25:18,000 There was no time to work out a plan on the spot, so they scrammed over the roof, taking Stepy with them. 478 00:25:18,000 --> 00:25:20,000 Hey, Gilman, we're doing headquarters. You coming? 479 00:25:20,000 --> 00:25:21,000 Yeah, yeah, yeah. Right away, right away. 480 00:25:21,000 --> 00:25:22,000 Come on. 481 00:25:22,000 --> 00:25:24,000 Well, I gotta go, kid. 482 00:25:24,000 --> 00:25:26,000 Thanks, Gilman. Thanks for everything. 483 00:25:26,000 --> 00:25:28,000 Ah, I'm glad to help you out. 484 00:25:28,000 --> 00:25:31,000 Hey, another thing, bud, you weren't lying about. 485 00:25:31,000 --> 00:25:33,000 She is pretty. 486 00:25:33,000 --> 00:25:36,000 No hard feelings? I mean, about me hitting you over the head? 487 00:25:36,000 --> 00:25:41,000 Oh, oh, say, I almost forgot. Something I meant to give you before we say goodnight. 488 00:25:41,000 --> 00:25:42,000 Oh, you've done enough. 489 00:25:42,000 --> 00:25:52,000 Ha ha, that's what you think. 490 00:25:52,000 --> 00:25:55,000 It was a while before I knew what hit me. 491 00:25:55,000 --> 00:25:57,000 It felt like a cement mixer. 492 00:25:57,000 --> 00:26:02,000 When my head cleared, Stepy, I had changed roles. She was the one bending over me. 493 00:26:02,000 --> 00:26:10,000 And he said to tell you no hard feelings, but when anyone socks Dick Gilman with a walking stick, they get socked back, even if they're the best of friends. 494 00:26:10,000 --> 00:26:12,000 He said that, did he? 495 00:26:12,000 --> 00:26:13,000 Does it still hurt? 496 00:26:13,000 --> 00:26:15,000 I'm still seeing stars. 497 00:26:15,000 --> 00:26:17,000 Oh, gee, Kenny, I'm sorry. 498 00:26:17,000 --> 00:26:20,000 Ah, I don't care. I'm seeing you, too. 499 00:26:20,000 --> 00:26:23,000 Listen, listen, it's midnight. 500 00:26:23,000 --> 00:26:39,000 Yeah, only 12 days to the wedding now, baby. We've licked the 13th. 501 00:26:39,000 --> 00:26:43,000 Roma wines have brought you Lee Bowman as star of I Won't Take A Minute. 502 00:26:43,000 --> 00:26:48,000 Tonight's study in suspense. 503 00:26:48,000 --> 00:26:53,000 This is Truman Bradley for Roma Wines, the sponsor of suspense. 504 00:26:53,000 --> 00:26:58,000 This year, you're probably having difficulty finding the Christmas gift you want. 505 00:26:58,000 --> 00:27:01,000 Why not solve your gift problems with famous Roma wines? 506 00:27:01,000 --> 00:27:05,000 You flatter your friends, save both time and money shopping. 507 00:27:05,000 --> 00:27:14,000 Roma offers you a full selection of choice California wines for entertaining Roma sherry, port, muscatel or tokay. 508 00:27:14,000 --> 00:27:21,000 For added mealtime enjoyment, red robust Roma burgundy or delicate pale gold saturn. 509 00:27:21,000 --> 00:27:27,000 For happy occasions that demand the best, sparkling, unforgettable Roma champagne. 510 00:27:27,000 --> 00:27:30,000 Each of these fine Roma wines is a true wine. 511 00:27:30,000 --> 00:27:35,000 Each a superb, unhurriedly perfected masterpiece of the Vintner's ancient art. 512 00:27:35,000 --> 00:27:39,000 Delight your friends this Christmas with gifts of Roma wines. 513 00:27:39,000 --> 00:27:43,000 Give one bottle, several or a case. 514 00:27:43,000 --> 00:27:47,000 Remember, more Americans enjoy Roma than any other wine. 515 00:27:47,000 --> 00:27:53,000 And Roma wines now offer you the same uniformly fine quality at the lowest prices in years. 516 00:27:53,000 --> 00:28:02,000 Insist on Roma, R-O-M-A, fine Roma wines for good living, good giving this Christmas. 517 00:28:02,000 --> 00:28:10,000 Lee Bowman appeared through the courtesy of Columbia Pictures and will soon be seen co-starring with Russell and Russell in their production, She Wouldn't Say Yes. 518 00:28:10,000 --> 00:28:21,000 Next Thursday, same time, Roma Wines will bring you Mr. Robert Taylor as star of Suspense, radio's outstanding theater of thrill. 519 00:28:21,000 --> 00:28:44,000 Presented by Roma Wines, R-O-M-A, made in California for enjoyment throughout the world. 520 00:28:44,000 --> 00:28:47,000 This is CBS, the Columbia Broadcasting System. 521 00:28:47,000 --> 00:28:53,000 The Skippy Hollywood Theater, KQW, San Jose, follows in just a moment.