1 00:00:00,000 --> 00:00:08,400 Yes, Roma wines taste better because only Roma selects from the world's greatest wine reserves for your pleasure. 2 00:00:08,400 --> 00:00:15,000 And now, Roma wines, R-O-M-A, Roma wines present... 3 00:00:15,000 --> 00:00:17,000 Suspense! 4 00:00:21,000 --> 00:00:26,000 Tonight, Roma wines bring you Miss Anne Baxter in Always Room at the Top, 5 00:00:26,000 --> 00:00:31,000 a Suspense play produced, edited, and directed for Roma Wines by William Spear. 6 00:00:35,000 --> 00:00:41,000 Suspense! Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. 7 00:00:41,000 --> 00:00:50,000 That's R-O-M-A, Roma Wines, those better tasting California wines enjoyed by more Americans than any other wine, 8 00:00:50,000 --> 00:00:54,000 for friendly entertaining, for delightful dining. 9 00:00:54,000 --> 00:01:01,000 Yes, right now, a glass full would be very pleasant, as Roma wines bring you Anne Baxter in a remarkable tale of... 10 00:01:01,000 --> 00:01:03,000 Suspense! 11 00:01:08,000 --> 00:01:13,000 Reception. Yes, she is, Miss Thornton. Very well, Miss Thornton, I'll have her come in. 12 00:01:13,000 --> 00:01:14,000 Miss Brands? 13 00:01:14,000 --> 00:01:15,000 Yes? 14 00:01:15,000 --> 00:01:17,000 Miss Thornton will see you now, large corner office at the end of the hall. 15 00:01:17,000 --> 00:01:18,000 Thank you. 16 00:01:18,000 --> 00:01:26,000 Jean Thornton was a tall, square-shouldered blonde with high cheekbones and a good figure, and nervous as a cat. 17 00:01:26,000 --> 00:01:31,000 More than that, I hadn't been in her office five minutes before I knew that she was afraid of something. 18 00:01:31,000 --> 00:01:35,000 Her boss, the responsibilities of her job, something. 19 00:01:35,000 --> 00:01:42,000 I couldn't understand it. She was art director of William J. Farrell & Company, one of the best advertising agencies in town. 20 00:01:42,000 --> 00:01:46,000 She had everything I wanted, professionally and a couple of other ways. 21 00:01:46,000 --> 00:01:51,000 And yet she was afraid. I couldn't understand it. Then? 22 00:01:51,000 --> 00:01:54,000 Yes, yes, he's quite good. Quite good, Miss... 23 00:01:54,000 --> 00:01:56,000 Brandt. Helen Brandt. 24 00:01:56,000 --> 00:01:59,000 Yes, Miss Brandt. Quite good. But, um, cigarette. 25 00:01:59,000 --> 00:02:00,000 Thanks. 26 00:02:01,000 --> 00:02:03,000 Oh, how cute. 27 00:02:03,000 --> 00:02:06,000 Silly thing. Mr. Farrell sent it to me from Mexico. 28 00:02:06,000 --> 00:02:11,000 Where else in the world would anybody have the patience to sit down and put together a musical cigarette case? 29 00:02:11,000 --> 00:02:13,000 But, as I was saying... 30 00:02:13,000 --> 00:02:14,000 What was I saying? 31 00:02:14,000 --> 00:02:19,000 Oh, oh, yes. Oh, yes, these are really very good layouts, Miss Brandt. I like them. 32 00:02:19,000 --> 00:02:21,000 But I don't quite see how we can use you just now. 33 00:02:21,000 --> 00:02:23,000 You said that before, Miss Thornton. 34 00:02:23,000 --> 00:02:24,000 Yes, so I did well. 35 00:02:24,000 --> 00:02:27,000 Look, Miss Thornton, I don't need the job. 36 00:02:27,000 --> 00:02:30,000 I'm not one of those desperate people that's coming to cry on your shoulder. 37 00:02:30,000 --> 00:02:35,000 I have a job at Maxfield & Ellis, but they're stupid there. I'm not getting any place. 38 00:02:35,000 --> 00:02:41,000 In a firm like this, where people have imagination, you have a chance. That's all I want, a chance. 39 00:02:41,000 --> 00:02:42,000 So do a lot of other people, Miss Brandt. 40 00:02:42,000 --> 00:02:49,000 Well, I'm not a lot of other people. I think I've got ability, and you know it. Commercial ability. I think I could be professional. 41 00:02:49,000 --> 00:02:51,000 Yes, yes. Well, if there's an opening, you'll get in touch with me. 42 00:02:51,000 --> 00:02:55,000 You'll get in touch. I know what that means. I've been given the brush off by X-ray. 43 00:02:55,000 --> 00:02:56,000 That will be all, Miss Brandt. 44 00:02:56,000 --> 00:03:01,000 But I'm sick of being brushed off. I've got ability. As much as you have and maybe more, and I'll show you. 45 00:03:01,000 --> 00:03:05,000 Miss Brandt, will you leave my office, or shall I have you thrown out? 46 00:03:05,000 --> 00:03:10,000 All right, Miss Brandt. Good day. 47 00:03:17,000 --> 00:03:22,000 Of course, that would be the last time I'd ever lay eyes on Gene Thornton. That's what I thought. 48 00:03:22,000 --> 00:03:29,000 I went back to my office and worked most of the night catching up on my own stuff, doing a little extra that I was peddling around town. 49 00:03:29,000 --> 00:03:38,000 I was standing on the sidewalk, kidding with a night elevator man, while I waited for a cab, and looking up at the tower against the early morning sky. 50 00:03:38,000 --> 00:03:49,000 That dark tower, 36 floors above the street, and three blocks up the avenue where the William J. Farrell Agency had their offices, and where I'd have given my right arm to be working. 51 00:03:49,000 --> 00:03:53,000 You'll miss all your beauty sleep working this late, Miss Brandt. 52 00:03:53,000 --> 00:03:56,000 Now, Charlie, who says I need beauty sleep? 53 00:03:56,000 --> 00:03:57,000 Oh, you don't. 54 00:03:57,000 --> 00:04:03,000 I like to work at night. It's quiet. Think of all the sunrises I see. Look at that sky. 55 00:04:03,000 --> 00:04:07,000 Yeah, it's gonna be a nice day I get. Look! 56 00:04:08,000 --> 00:04:14,000 I saw the bodies falling and the scream came to us at the same moment. We stood there frozen, horrified, fascinated. 57 00:04:19,000 --> 00:04:21,000 Oh, Lord, I wish I hadn't seen that. 58 00:04:21,000 --> 00:04:23,000 Charlie, that was someone from the Farrell Agency. 59 00:04:23,000 --> 00:04:24,000 Whoever it was, poor devil. 60 00:04:24,000 --> 00:04:25,000 A woman. 61 00:04:25,000 --> 00:04:28,000 Oh, wait, Miss Brandt. I wouldn't go up there. Miss Brandt! 62 00:04:33,000 --> 00:04:38,000 Even by the time I got there, a patrol car appeared out of nowhere, the way they will in this town. 63 00:04:38,000 --> 00:04:44,000 An unusual crowd of early birds and night owls standing around gawking. They were trying to cover it up with a blanket. 64 00:04:44,000 --> 00:04:46,000 All right, stand back. Stand back. 65 00:04:46,000 --> 00:04:47,000 Who is it? 66 00:04:47,000 --> 00:04:48,000 Oh, you couldn't tell anyway. 67 00:04:48,000 --> 00:04:50,000 A woman. 68 00:04:50,000 --> 00:04:58,000 I wanted to look, but I couldn't. A cop was picking up stuff that had rolled out of a handbag into the street, going through it methodically, opening things up. 69 00:04:58,000 --> 00:05:04,000 And then I heard it, and I didn't have to look. I knew. 70 00:05:12,000 --> 00:05:16,000 No, please! I tell you, I don't know when Mr. Farrell's coming in. I don't know. 71 00:05:16,000 --> 00:05:18,000 You wouldn't try to kid the press, would you, sister? 72 00:05:18,000 --> 00:05:20,000 You might as well tell us, because we'll just sit here anyway. 73 00:05:20,000 --> 00:05:21,000 Hey, there he is! 74 00:05:21,000 --> 00:05:24,000 Mr. Farrell, Mr. Farrell, I'm from the news. I'd like to know if I could get a... 75 00:05:24,000 --> 00:05:26,000 Please, please, boys, please. I can't tell you anything now. 76 00:05:26,000 --> 00:05:27,000 Mr. Farrell, I'm Helen Brandt. 77 00:05:27,000 --> 00:05:29,000 Mr. Farrell, my people would like to know if Ms. Thornton had been a respondent. 78 00:05:29,000 --> 00:05:32,000 Get your foot out of that door now, please. Please, get out of here already. Get out! 79 00:05:34,000 --> 00:05:36,000 I told you I can't talk to any reporters. Now give me a few minutes. 80 00:05:36,000 --> 00:05:42,000 I'm not a reporter, Mr. Farrell. I'm Helen Brandt. I'm art director of a small advertising agency, but I've got some samples here and... 81 00:05:42,000 --> 00:05:43,000 What? 82 00:05:43,000 --> 00:05:48,000 Mr. Farrell, please, just look at these. You're going to have to have a new art director. 83 00:05:48,000 --> 00:05:49,000 What did you say? 84 00:05:49,000 --> 00:05:55,000 Sure, you're shocked. But it can't hurt her. And I've been trying to see you for months, and now you're on a spot, and if you just make... 85 00:05:55,000 --> 00:05:57,000 Take those things out of my face and get out of here. 86 00:05:57,000 --> 00:05:59,000 Just look at them, sir. That's all I ask. 87 00:05:59,000 --> 00:06:01,000 All I ask is that you... 88 00:06:01,000 --> 00:06:03,000 Well... 89 00:06:03,000 --> 00:06:10,000 And this one, for Parker's Shoes. I've followed Ms. Thornton's general ideas, but I've added... well, that. 90 00:06:10,000 --> 00:06:11,000 Mm-hmm. 91 00:06:11,000 --> 00:06:14,000 They're good enough, Mr. Farrell. And if you say they aren't... 92 00:06:14,000 --> 00:06:21,000 All right. All right, they're good. They're very good. But if you think I'd hire a woman who hasn't any more decency than to barge in here at a time like this and try to push... 93 00:06:21,000 --> 00:06:27,000 Decency? What decency got to do with it? Do you need an art director or a Sunday school teacher? 94 00:06:27,000 --> 00:06:32,000 Look, Mr. Farrell, now if you don't mind, my people want to know what Ms. Thornton was doing in her office at 5 o'clock this morning. 95 00:06:32,000 --> 00:06:37,000 She must have been working all night on the new Parker layouts. They have to be out by... 96 00:06:37,000 --> 00:06:39,000 They have to be out by 3 this afternoon. 97 00:06:39,000 --> 00:06:44,000 Working all night, maybe went in the window for fresh air, tired, got dizzy, and... 98 00:06:44,000 --> 00:06:46,000 Look, Ms. um... 99 00:06:46,000 --> 00:06:47,000 Brant. Helen Brant. 100 00:06:47,000 --> 00:06:53,000 Uh, Ms. Brant. Ms. Brant, I think you're one of the most despicable women I've ever had the misfortune to meet. 101 00:06:53,000 --> 00:06:58,000 But I've got a very big job to get out this afternoon. My assistant art director's home sick, and by the time I interview these... 102 00:06:58,000 --> 00:06:59,000 Thanks, Mr. Farrell. 103 00:06:59,000 --> 00:07:07,000 You can arrange the details with my secretary in there. And frankly, the less I have to do with you myself, the better I'll like it. 104 00:07:07,000 --> 00:07:09,000 I think you'll change your mind about that, Mr. Farrell. 105 00:07:09,000 --> 00:07:14,000 No, Mr. Farrell, if you don't mind, we know things are tough and you don't want to tell us, but... 106 00:07:14,000 --> 00:07:15,000 Yes? 107 00:07:15,000 --> 00:07:16,000 Are you, uh... 108 00:07:16,000 --> 00:07:17,000 Mr. Farrell's secretary, yes. 109 00:07:17,000 --> 00:07:19,000 Oh. Well, I'm Helen Brant. 110 00:07:19,000 --> 00:07:20,000 Marie Harris. How do you do? 111 00:07:20,000 --> 00:07:24,000 How do you do? I'm taking Ms. Thornton's place. 112 00:07:24,000 --> 00:07:26,000 Taking Ms. Thornton's place, I see. 113 00:07:26,000 --> 00:07:28,000 Yes. Temporarily. 114 00:07:28,000 --> 00:07:32,000 Well, you're not one to let the grass grow under your feet, are you, my dear? 115 00:07:32,000 --> 00:07:35,000 Mr. Farrell said I could arrange the details with you. 116 00:07:35,000 --> 00:07:38,000 To be sure. I expect you'd better make out one of our regular employment forms. 117 00:07:38,000 --> 00:07:39,000 Oh, thank you. 118 00:07:39,000 --> 00:07:40,000 Temporarily, you said. 119 00:07:40,000 --> 00:07:41,000 Yes. 120 00:07:41,000 --> 00:07:47,000 Still, doesn't it feel a bit odd to be filling a dead woman's shoes that are hardly cold, so to speak? 121 00:07:47,000 --> 00:07:49,000 I don't see anything so odd about it, Ms. Harris. 122 00:07:49,000 --> 00:07:50,000 Somebody would have to. 123 00:07:50,000 --> 00:07:52,000 No, of course you wouldn't. 124 00:07:52,000 --> 00:07:55,000 By previous experience, does it mean just in the advertising business? 125 00:07:55,000 --> 00:07:57,000 Any experience that might be applicable. 126 00:07:57,000 --> 00:08:05,000 It has occurred to you, I suppose, Ms. Brant, that when someone like Ms. Thornton is cut off in mid-career, so to speak, there's usually a reason for it. 127 00:08:05,000 --> 00:08:07,000 They say it was an accident. 128 00:08:07,000 --> 00:08:08,000 An accident, do they? 129 00:08:08,000 --> 00:08:10,000 Oh, will this be all right, Ms. Harris? 130 00:08:10,000 --> 00:08:12,000 Yes. Yes, that will do. 131 00:08:12,000 --> 00:08:16,000 Of course, there's always the possibility of suicide. I suppose you've thought of that. 132 00:08:16,000 --> 00:08:18,000 I suppose it might have been. 133 00:08:18,000 --> 00:08:20,000 Will you show me my office, please? 134 00:08:20,000 --> 00:08:21,000 Certainly, this way. 135 00:08:21,000 --> 00:08:27,000 You might as well have the dead woman's, that is, Ms. Thornton's office. 136 00:08:27,000 --> 00:08:32,000 And of course, there is another possibility, isn't there? 137 00:08:32,000 --> 00:08:34,000 What other possibility? 138 00:08:34,000 --> 00:08:36,000 The possibility of murder. 139 00:08:36,000 --> 00:08:37,000 Murder? 140 00:08:37,000 --> 00:08:40,000 Why, yes. 141 00:08:40,000 --> 00:08:43,000 Here's your office, Ms. Brant. If you need anything, just call me. 142 00:08:43,000 --> 00:08:57,000 I want to make you as comfortable as possible under the circumstances. 143 00:08:57,000 --> 00:09:03,000 For Suspense, Roma Wines are bringing you Ann Baxter in, always Rome at the top. 144 00:09:03,000 --> 00:09:16,000 Roma Wines presentation tonight in radio's outstanding theater of thrills, Suspense. 145 00:09:16,000 --> 00:09:21,000 Between the acts of Suspense, this is Ken Niles for Roma Wines. 146 00:09:21,000 --> 00:09:27,000 Next time you buy wine, remember, more Americans enjoy Roma than any other wine. 147 00:09:27,000 --> 00:09:33,000 Yes, Roma wine is America's first choice because there's an important difference in Roma wine. 148 00:09:33,000 --> 00:09:37,000 A difference in fuller bouquet, richer body, better taste. 149 00:09:37,000 --> 00:09:42,000 A difference that means more enjoyment, more pleasure for you and your guests. 150 00:09:42,000 --> 00:09:48,000 To bring you wines that are superior, that taste better, Roma starts with California's Choices Grapes. 151 00:09:48,000 --> 00:09:53,000 Then Roma master vintners, with America's finest winemaking resources, 152 00:09:53,000 --> 00:09:59,000 guide this choice grape treasure unhurriedly to tempting taste perfection. 153 00:09:59,000 --> 00:10:09,000 Later, along with Roma wines of years before, these cuvées await selection from the world's greatest reserves of fine wines for your pleasure. 154 00:10:09,000 --> 00:10:17,000 That's what makes the difference in Roma wines. That's why Roma wines taste better every time. 155 00:10:17,000 --> 00:10:27,000 So for your best buy in good taste, insist on Roma Wine, R-O-M-A. Roma, the greatest name in wine. 156 00:10:27,000 --> 00:10:33,000 And now, Roma wines bring back to our Hollywood sound stage, Anne Baxter as Helen Brant, 157 00:10:33,000 --> 00:10:39,000 with Kathy Lewis as Marie, and Wally Mayer as Bill Farrell, in Always Room at the Top. 158 00:10:39,000 --> 00:10:54,000 A tale well calculated to keep you in suspense. 159 00:10:54,000 --> 00:10:59,000 I'd met Marie Harris's type before, jealous of her authority as the boss's secretary, 160 00:10:59,000 --> 00:11:03,000 resentful of every newcomer and determined to make them uncomfortable. 161 00:11:03,000 --> 00:11:09,000 So it was only natural for her to resent someone like myself, a total stranger who walked into the job of art director 162 00:11:09,000 --> 00:11:14,000 for one of the best advertising outfits in town, the William J. Farrell Agency. 163 00:11:14,000 --> 00:11:19,000 And even though Mr. Farrell had said, temporary, I knew that I had the job. 164 00:11:19,000 --> 00:11:23,000 I knew it before the first campaign was over. I was in. 165 00:11:23,000 --> 00:11:28,000 And then, one night, the first of those funny little things began to happen. 166 00:11:28,000 --> 00:11:33,000 I was just taking off my hat and coat when I saw it there on my desk. 167 00:11:33,000 --> 00:11:38,000 A picture, a big framed picture of a dead girl, Jean Thornton. 168 00:11:38,000 --> 00:11:41,000 And written across the face of it, it said, 169 00:11:41,000 --> 00:11:49,000 Bill, darling, to the swellest guy and the swellest boss any girl ever had. 170 00:11:49,000 --> 00:11:51,000 Admiring your predecessor, Miss Brant? 171 00:11:51,000 --> 00:11:52,000 Where did that come from? 172 00:11:52,000 --> 00:11:54,000 I'm sure I haven't fainted, I do. 173 00:11:54,000 --> 00:11:56,000 It wasn't there when I left last night. Somebody put it there. 174 00:11:56,000 --> 00:12:00,000 Possibly some well-wisher, Miss Brant, some sincere well-wisher. 175 00:12:00,000 --> 00:12:02,000 It's a sort of warning. 176 00:12:02,000 --> 00:12:04,000 A warning of what? What are you driving at? 177 00:12:04,000 --> 00:12:08,000 Miss Thornton and Mr. Farrell were quite close. At one time, they... 178 00:12:08,000 --> 00:12:10,000 And what's that got to do with me? 179 00:12:10,000 --> 00:12:13,000 You know what happened, Miss Brant, to Miss Thornton. 180 00:12:13,000 --> 00:12:17,000 Look, Marie, are you hinting that female art directors in this office 181 00:12:17,000 --> 00:12:20,000 have a habit of falling for the boss and then falling out the window? 182 00:12:20,000 --> 00:12:22,000 I'm not hinting anything, Miss Brant. 183 00:12:22,000 --> 00:12:24,000 You asked me for an explanation of how the picture got there. 184 00:12:24,000 --> 00:12:26,000 I've given you one. 185 00:12:26,000 --> 00:12:28,000 Doubtless it is far-fetched. Certainly it must seem so to you. 186 00:12:28,000 --> 00:12:29,000 It's crazy. 187 00:12:29,000 --> 00:12:31,000 Of course. Will that be all, Miss Brant? 188 00:12:31,000 --> 00:12:36,000 Listen, Marie, let's you and I cut out the formality and let down our hair. 189 00:12:36,000 --> 00:12:41,000 Is there anything around here that I... well, ought to know? 190 00:12:41,000 --> 00:12:43,000 I'm sure I don't know what you mean, Miss Brant. 191 00:12:43,000 --> 00:12:47,000 All right. The girl who used to have my job is dead. 192 00:12:47,000 --> 00:12:49,000 You've been hitting around enough about it. 193 00:12:49,000 --> 00:12:52,000 Is there anything that you know that I don't? 194 00:12:52,000 --> 00:12:54,000 Now, is that plain enough? 195 00:12:54,000 --> 00:12:57,000 Quite. I can only say that I have not hinted at anything. 196 00:12:57,000 --> 00:13:00,000 I have perhaps engaged in certain idle speculations on matters 197 00:13:00,000 --> 00:13:04,000 which were better left as they are. That's all. 198 00:13:04,000 --> 00:13:06,000 Okay, Marie, but the way things look now, 199 00:13:06,000 --> 00:13:09,000 I'm liable to be around here for quite a while. 200 00:13:09,000 --> 00:13:11,000 Oh, I should think it likely. 201 00:13:11,000 --> 00:13:13,000 And you and I ought to learn to get along. 202 00:13:13,000 --> 00:13:16,000 You'll have no trouble getting along with me, Miss Brant. 203 00:13:16,000 --> 00:13:19,000 But you mean I may with... him? 204 00:13:19,000 --> 00:13:22,000 I can only say, Miss Brant, as your sincere friend... 205 00:13:22,000 --> 00:13:23,000 And well-wisher? 206 00:13:23,000 --> 00:13:25,000 Yes. That you're working for a man 207 00:13:25,000 --> 00:13:28,000 who's subject to singularly strong enthusiasms. 208 00:13:28,000 --> 00:13:32,000 Sometimes these enthusiasms are apt to be carried to extremes. 209 00:13:32,000 --> 00:13:35,000 It is essential to appreciate this in dealing with Mr. Farrell. 210 00:13:35,000 --> 00:13:40,000 I don't suppose this picture gag would be one of Mr. Farrell's little enthusiasms. 211 00:13:40,000 --> 00:13:43,000 Under the circumstances, I should think it most unlikely. 212 00:13:43,000 --> 00:13:46,000 And it wouldn't be one of yours, my little well-wisher. 213 00:13:46,000 --> 00:13:49,000 No, Miss Brant, it would not. 214 00:13:53,000 --> 00:13:56,000 You couldn't help but believe her. She was so prim and proper. 215 00:13:56,000 --> 00:13:59,000 But I was determined to have a showdown anyway on the whole thing. 216 00:13:59,000 --> 00:14:01,000 My job and everything. 217 00:14:01,000 --> 00:14:04,000 I stalked into Bill Farrell's office with a picture in my hand 218 00:14:04,000 --> 00:14:06,000 and without benefit of knocking. 219 00:14:06,000 --> 00:14:08,000 Oh, hello, Helen. Come in. 220 00:14:08,000 --> 00:14:12,000 Something that appears to be from your desk seems to have popped up on mine. 221 00:14:12,000 --> 00:14:14,000 Here. 222 00:14:14,000 --> 00:14:16,000 Where did you get that? 223 00:14:16,000 --> 00:14:18,000 I just told you. On my desk. 224 00:14:18,000 --> 00:14:24,000 Your ever tactful Marie has suggested that some well-wisher left it as a warning. 225 00:14:24,000 --> 00:14:28,000 Poor Jean. She gave me that when... 226 00:14:28,000 --> 00:14:32,000 That explanation still seems to leave several questions unanswered. 227 00:14:32,000 --> 00:14:36,000 Look, Helen, you'll hear a lot of funny things in this office, like any other office. 228 00:14:36,000 --> 00:14:38,000 But take my word for it, they don't mean a thing. 229 00:14:38,000 --> 00:14:42,000 Just do your job the way you've been doing it and you'll be all right. 230 00:14:42,000 --> 00:14:43,000 How right is that? 231 00:14:43,000 --> 00:14:45,000 You like the job, don't you? 232 00:14:45,000 --> 00:14:47,000 I like the work. I haven't got the job. 233 00:14:47,000 --> 00:14:48,000 Do you want it? 234 00:14:48,000 --> 00:14:49,000 What do you think? 235 00:14:49,000 --> 00:14:51,000 Well, you've certainly earned it, Helen. 236 00:14:51,000 --> 00:14:53,000 Will you stop beating around the bush? 237 00:14:53,000 --> 00:14:57,000 Am I the new art director of the William J. Farrell Agency or not? 238 00:14:57,000 --> 00:14:59,000 All right, you are. 239 00:14:59,000 --> 00:15:03,000 You are hereby officially the new art director of the William J. Farrell Agency. 240 00:15:03,000 --> 00:15:07,000 From this day forward until... 241 00:15:07,000 --> 00:15:10,000 Until what? 242 00:15:10,000 --> 00:15:15,000 As long as you want the job, Helen. 243 00:15:15,000 --> 00:15:20,000 Until death do us part is what he'd started to say. 244 00:15:25,000 --> 00:15:29,000 I forgot it, Bill. I forgot it almost the moment he said it. 245 00:15:29,000 --> 00:15:32,000 For the next 24 hours I was walking on air. 246 00:15:32,000 --> 00:15:35,000 It wasn't just the job. It was something even better. 247 00:15:35,000 --> 00:15:38,000 I knew Bill Farrell was falling in love with me. 248 00:15:38,000 --> 00:15:42,000 I knew that was just a matter of time, too. 249 00:15:46,000 --> 00:15:48,000 Morning, Marie. Is Mr. Farrell in? 250 00:15:48,000 --> 00:15:49,000 Not yet, Miss Brandt. 251 00:15:49,000 --> 00:15:51,000 I wish you wouldn't be so formal with me, Marie. 252 00:15:51,000 --> 00:15:55,000 Everybody calls everybody else by their first names around here except you. 253 00:15:55,000 --> 00:15:58,000 I am used to more conventional methods in most things, Miss Brandt. 254 00:15:58,000 --> 00:16:02,000 Okay, okay. Let me know when he comes in, though, will you? I want to see him. 255 00:16:02,000 --> 00:16:08,000 Miss Brandt. 256 00:16:14,000 --> 00:16:17,000 Hello, Bill, darling. You here? 257 00:16:17,000 --> 00:16:20,000 Yes, it is the thing you sent me from Mexico. 258 00:16:20,000 --> 00:16:22,000 I got it just this morning, Ellie. 259 00:16:22,000 --> 00:16:25,000 And so I wanted to tell you how sweet it was. 260 00:16:25,000 --> 00:16:26,000 And thank you this way. 261 00:16:26,000 --> 00:16:29,000 Marie! Marie! Marie! 262 00:16:29,000 --> 00:16:31,000 Yes, Miss Brandt. 263 00:16:31,000 --> 00:16:33,000 Marie, I just heard her voice. 264 00:16:33,000 --> 00:16:35,000 Whose voice, Miss Brandt? 265 00:16:35,000 --> 00:16:37,000 Hers. Jean's. Miss Thornton's. 266 00:16:37,000 --> 00:16:39,000 Why don't you lie down on the couch for a moment, Miss Brandt? 267 00:16:39,000 --> 00:16:41,000 You've been working too hard lately, and I'll get you some water. 268 00:16:41,000 --> 00:16:43,000 No, I tell you, I heard it right in this room. 269 00:16:43,000 --> 00:16:44,000 In this room? 270 00:16:44,000 --> 00:16:49,000 Yes, I know. It was because there was that music box, too. That cigarette case of hers. 271 00:16:49,000 --> 00:16:50,000 Oh, yes, yes. I remember. 272 00:16:50,000 --> 00:16:55,000 So do I. Because the last time I heard it was down there when they were picking up the things. 273 00:16:55,000 --> 00:16:58,000 There's no one here now, Miss Brandt. No one but you and me. 274 00:16:58,000 --> 00:16:59,000 I know, but I heard it. 275 00:16:59,000 --> 00:17:02,000 Was she...was it speaking to you, this voice? 276 00:17:02,000 --> 00:17:06,000 No, the bill for Mr. Fowl. Something personal. 277 00:17:06,000 --> 00:17:08,000 Oh, I dare say. 278 00:17:08,000 --> 00:17:10,000 Have you ever looked in this closet by the door, Miss Brandt? 279 00:17:10,000 --> 00:17:12,000 Well, not especially, no. 280 00:17:12,000 --> 00:17:16,000 I think there's probably a perfectly logical explanation of what you heard, Miss Brandt. 281 00:17:16,000 --> 00:17:18,000 Yes, yes, you see? 282 00:17:18,000 --> 00:17:19,000 Oh. 283 00:17:19,000 --> 00:17:22,000 A dictograph. It used to be Miss Thornton's. 284 00:17:22,000 --> 00:17:24,000 They use dictographs for everything in this office. 285 00:17:24,000 --> 00:17:27,000 They say it saves them $40,000 a year in stenographic help. 286 00:17:27,000 --> 00:17:28,000 I see. 287 00:17:28,000 --> 00:17:30,000 Something must have turned it on. 288 00:17:30,000 --> 00:17:34,000 Yes, there, you see? This box of pencils that had fallen off the shelf. It must have been that. 289 00:17:34,000 --> 00:17:36,000 What turned it off, Marie? 290 00:17:36,000 --> 00:17:38,000 I'm sure I don't know. It's quite simple, isn't it? 291 00:17:38,000 --> 00:17:40,000 Here's the switch. 292 00:17:40,000 --> 00:17:42,000 Hello, Bill, darling. 293 00:17:42,000 --> 00:17:44,000 Stop it. Stop it. 294 00:17:44,000 --> 00:17:45,000 Yes, Miss Brandt. 295 00:17:45,000 --> 00:17:46,000 And now get it out of here. 296 00:17:46,000 --> 00:17:48,000 Certainly, Miss Brandt. Is there any particular... 297 00:17:48,000 --> 00:17:51,000 I don't care what you do with it. Do anything you like. Throw it out the window. 298 00:17:53,000 --> 00:17:55,000 What was that, Miss Brandt? 299 00:17:55,000 --> 00:17:57,000 Just get it out of here. 300 00:17:57,000 --> 00:17:59,000 And leave me alone. 301 00:18:05,000 --> 00:18:07,000 It's silly I know that. 302 00:18:07,000 --> 00:18:09,000 It could have happened that way. It must have. 303 00:18:09,000 --> 00:18:11,000 Just as Marie said. 304 00:18:11,000 --> 00:18:14,000 But all the time in the back of my mind was a lurking horror. 305 00:18:14,000 --> 00:18:17,000 A nameless thing that I felt hanging over that office. 306 00:18:17,000 --> 00:18:19,000 And over me. 307 00:18:19,000 --> 00:18:21,000 Something about a girl who was dead. 308 00:18:21,000 --> 00:18:26,000 A girl who had plunged to her death from that same dark tower that was now my dark tower. 309 00:18:26,000 --> 00:18:30,000 Plunged screaming to her death only a few short weeks ago. 310 00:18:30,000 --> 00:18:33,000 The next night, I had to work late again to make up. 311 00:18:33,000 --> 00:18:35,000 I'd been out to supper alone. 312 00:18:35,000 --> 00:18:39,000 I was conscious of the light still burning in Bill's office when I got back. 313 00:18:39,000 --> 00:18:42,000 I wasn't particularly anxious to see him just then. 314 00:18:42,000 --> 00:18:45,000 The truthful I was avoiding him, I suppose. 315 00:18:45,000 --> 00:18:48,000 I'd been in my office about an hour and a half. 316 00:18:48,000 --> 00:18:51,000 When the phone rang, I thought it was strange. 317 00:18:51,000 --> 00:18:54,000 Because I was certain that I'd asked to have my night line disconnected. 318 00:18:54,000 --> 00:18:57,000 Out of habit, I picked it up to answer. 319 00:18:57,000 --> 00:18:59,000 Hello, Bill? 320 00:18:59,000 --> 00:19:01,000 Bill, is that you? 321 00:19:01,000 --> 00:19:03,000 Bill! 322 00:19:05,000 --> 00:19:07,000 Bill! Bill! 323 00:19:07,000 --> 00:19:08,000 What, Helen? What is it? 324 00:19:08,000 --> 00:19:09,000 Oh, Bill! 325 00:19:09,000 --> 00:19:11,000 Helen, darling. Tell me. 326 00:19:11,000 --> 00:19:13,000 Baby, baby, what is it? What's happened? 327 00:19:13,000 --> 00:19:15,000 I heard her. Again. 328 00:19:15,000 --> 00:19:16,000 Heard who, dear? 329 00:19:16,000 --> 00:19:18,000 Jean. Jean Thornton. 330 00:19:18,000 --> 00:19:19,000 Jean? 331 00:19:19,000 --> 00:19:22,000 Yes. On the telephone. I know it was. I swear it. 332 00:19:22,000 --> 00:19:24,000 But, darling, it couldn't have been. 333 00:19:24,000 --> 00:19:25,000 Oh, Bill, I think I'm going mad. 334 00:19:25,000 --> 00:19:27,000 Oh, Helen, darling, listen to me. 335 00:19:27,000 --> 00:19:29,000 Picture, the dictograph. All right. But this... 336 00:19:29,000 --> 00:19:31,000 Helen, Helen, look at me. 337 00:19:31,000 --> 00:19:32,000 Yes, Bill. 338 00:19:32,000 --> 00:19:34,000 I love you, Helen. You know that, don't you? 339 00:19:34,000 --> 00:19:37,000 Yes. Oh, yes, darling, I do. 340 00:19:37,000 --> 00:19:38,000 I'm afraid. 341 00:19:38,000 --> 00:19:39,000 But there's nothing to be afraid of, darling. 342 00:19:39,000 --> 00:19:41,000 No, not that. 343 00:19:41,000 --> 00:19:44,000 I'm afraid because now I know that you're afraid. 344 00:19:44,000 --> 00:19:45,000 I am? 345 00:19:45,000 --> 00:19:47,000 Yes. You are, aren't you? 346 00:19:47,000 --> 00:19:48,000 Helen, I... 347 00:19:48,000 --> 00:19:51,000 Bill, please. You've got to tell me now. 348 00:19:51,000 --> 00:19:54,000 Look, darling, I'm in a jam. A bad jam, an awful bad jam. 349 00:19:54,000 --> 00:19:55,000 Yes, it must be. 350 00:19:55,000 --> 00:19:56,000 But it's nothing that you have to worry about. 351 00:19:56,000 --> 00:19:58,000 It's nothing that isn't going to straighten itself out. 352 00:19:58,000 --> 00:20:01,000 It's nothing that I'm going to let affect us ever. 353 00:20:01,000 --> 00:20:04,000 Bill, if it affects you, it does affect us. 354 00:20:04,000 --> 00:20:07,000 Darling, darling, you've got to trust me just a little longer. 355 00:20:07,000 --> 00:20:11,000 Bill, I do. I will. But it's about Jean, isn't it? 356 00:20:11,000 --> 00:20:14,000 Yes. Yes, it's about Jean. 357 00:20:14,000 --> 00:20:18,000 And it was. She didn't just fall. 358 00:20:18,000 --> 00:20:19,000 It was a terrible thing, Helen. Terrible. 359 00:20:19,000 --> 00:20:22,000 About as terrible as it could be. But Helen, just remember this, darling. 360 00:20:22,000 --> 00:20:26,000 There's nothing to be afraid of. It'll all be over soon. Very soon. 361 00:20:26,000 --> 00:20:28,000 Is that all? All you can tell me? 362 00:20:28,000 --> 00:20:30,000 It's all I can tell you now. 363 00:20:30,000 --> 00:20:32,000 Oh, darling, I know what this is like for you. 364 00:20:32,000 --> 00:20:34,000 But please, please go home now and forget all about it. 365 00:20:34,000 --> 00:20:35,000 How can I forget about it? 366 00:20:35,000 --> 00:20:37,000 Well, try. Try anyway. 367 00:20:37,000 --> 00:20:39,000 I've got some things to finish up here, and then I'll call for you, 368 00:20:39,000 --> 00:20:41,000 and we'll start making our plans. 369 00:20:41,000 --> 00:20:43,000 Oh, you will marry me, won't you, Helen? 370 00:20:43,000 --> 00:20:45,000 Oh, Bill, yes. 371 00:20:45,000 --> 00:20:47,000 Then everything's all right. 372 00:20:47,000 --> 00:20:49,000 Go on now, go on. 373 00:20:49,000 --> 00:20:50,000 All right. 374 00:20:50,000 --> 00:20:53,000 Good night for now, my dearest. 375 00:20:53,000 --> 00:20:55,000 Good night. 376 00:21:03,000 --> 00:21:07,000 I went out. I didn't go home. I couldn't. 377 00:21:07,000 --> 00:21:11,000 I walked, walked for miles trying to think. 378 00:21:11,000 --> 00:21:15,000 But nothing made any sense, except that I was in love 379 00:21:15,000 --> 00:21:19,000 and in an agony of fear for what might happen to Spoiler. 380 00:21:19,000 --> 00:21:21,000 And suddenly I realized that I had to know everything, 381 00:21:21,000 --> 00:21:24,000 now, tonight, whatever it was. 382 00:21:24,000 --> 00:21:26,000 So I went back to the office. 383 00:21:26,000 --> 00:21:29,000 Bill's light was still on, and I was just at the door when I stopped. 384 00:21:29,000 --> 00:21:31,000 You're insane, you're insane crazy. 385 00:21:31,000 --> 00:21:33,000 Suppose somebody saw you and recognized you. 386 00:21:33,000 --> 00:21:34,000 You sent me a message. You sent me a message. 387 00:21:34,000 --> 00:21:36,000 I did not. I gave no message to no one. 388 00:21:36,000 --> 00:21:37,000 Why did you lie to me like that? 389 00:21:37,000 --> 00:21:38,000 I'm not lying to you. 390 00:21:38,000 --> 00:21:40,000 Bill, I heard it. 391 00:21:40,000 --> 00:21:43,000 I threw open the door, and she was standing there. 392 00:21:43,000 --> 00:21:47,000 Gene, Gene Thornton, a woman who was dead. 393 00:21:54,000 --> 00:21:58,000 My ten-two was lying on the couch in Bill's office. 394 00:21:58,000 --> 00:22:00,000 At first it seemed perfectly natural, 395 00:22:00,000 --> 00:22:02,000 lying there and Bill sitting beside me, 396 00:22:02,000 --> 00:22:05,000 holding my hand, and her there, Gene, 397 00:22:05,000 --> 00:22:08,000 standing over by the desk talking to him. 398 00:22:08,000 --> 00:22:10,000 Well, what are you going to do about her? 399 00:22:10,000 --> 00:22:11,000 Do? What do you mean do? 400 00:22:11,000 --> 00:22:13,000 Well, you're going to have to do something she knows, doesn't you, 401 00:22:13,000 --> 00:22:14,000 or she will when she snaps out of it. 402 00:22:14,000 --> 00:22:16,000 I'm not going to do anything. 403 00:22:16,000 --> 00:22:17,000 I suppose you're in love with her. 404 00:22:17,000 --> 00:22:18,000 What if I am? 405 00:22:18,000 --> 00:22:20,000 Because it makes a difference, my sweet, to me. 406 00:22:20,000 --> 00:22:21,000 Bill? 407 00:22:21,000 --> 00:22:24,000 Oh, darling, darling, it's all right. 408 00:22:24,000 --> 00:22:27,000 Is she, is she really? 409 00:22:27,000 --> 00:22:29,000 Yes, yes, it's Gene. 410 00:22:29,000 --> 00:22:32,000 But I saw her that morning. I saw her lying. 411 00:22:32,000 --> 00:22:34,000 That's what you were supposed to think. 412 00:22:34,000 --> 00:22:35,000 Then who? 413 00:22:35,000 --> 00:22:36,000 Just a girl. 414 00:22:36,000 --> 00:22:37,000 Well, you might as well tell her. 415 00:22:37,000 --> 00:22:39,000 At least then she'll be in it as deep as the rest of us. 416 00:22:39,000 --> 00:22:40,000 Gene, please. 417 00:22:40,000 --> 00:22:42,000 Your boyfriend there had been dipping into the till 418 00:22:42,000 --> 00:22:45,000 about a quarter of a million dollars' worth of the client's money. 419 00:22:45,000 --> 00:22:47,000 My insurance and what the company had me insured for 420 00:22:47,000 --> 00:22:49,000 were just about enough to cover it. 421 00:22:49,000 --> 00:22:51,000 Like a fool, I agreed to it. 422 00:22:51,000 --> 00:22:52,000 You suggested it. 423 00:22:52,000 --> 00:22:54,000 I thought he was in love with me then. 424 00:22:54,000 --> 00:22:55,000 But there was a girl. 425 00:22:55,000 --> 00:22:57,000 A girl who worked in the office. 426 00:22:57,000 --> 00:22:58,000 No friends, no family. 427 00:22:58,000 --> 00:23:02,000 I fired her the day before, then got her to come up here that night. 428 00:23:02,000 --> 00:23:03,000 Another chance. 429 00:23:03,000 --> 00:23:05,000 Modeling, I said, was my clothes. 430 00:23:05,000 --> 00:23:06,000 Cigarette case. 431 00:23:06,000 --> 00:23:07,000 I dug up another one. 432 00:23:07,000 --> 00:23:09,000 I knew people would remember that. 433 00:23:09,000 --> 00:23:10,000 Bill. 434 00:23:10,000 --> 00:23:11,000 I told you it was bad. 435 00:23:11,000 --> 00:23:13,000 Oh, darling, I don't care. 436 00:23:13,000 --> 00:23:14,000 I don't care what it was. 437 00:23:14,000 --> 00:23:15,000 As long as... 438 00:23:15,000 --> 00:23:18,000 I think you'd better let me take charge of things now, Mr. Ferrell. 439 00:23:18,000 --> 00:23:19,000 Marie. 440 00:23:19,000 --> 00:23:20,000 Please don't move. 441 00:23:20,000 --> 00:23:21,000 I'm quite prepared to shoot if I have to. 442 00:23:21,000 --> 00:23:22,000 Marie, this is insane. 443 00:23:22,000 --> 00:23:23,000 Is it? 444 00:23:23,000 --> 00:23:24,000 The shakedown. 445 00:23:24,000 --> 00:23:26,000 What do you want, Marie? 446 00:23:26,000 --> 00:23:29,000 Quite a lot, I'm afraid, Mr. Ferrell. 447 00:23:29,000 --> 00:23:30,000 How do you expect to get it? 448 00:23:30,000 --> 00:23:32,000 It's your word against ours, three of us. 449 00:23:32,000 --> 00:23:35,000 You forget, Miss Thornton, that you are legally dead. 450 00:23:35,000 --> 00:23:38,000 As for the rest, do you remember, Miss Brant, 451 00:23:38,000 --> 00:23:41,000 that I said we used dictographs for practically everything in this office? 452 00:23:41,000 --> 00:23:42,000 It was you that... 453 00:23:42,000 --> 00:23:44,000 I tried my best to warn you, Miss Brant. 454 00:23:44,000 --> 00:23:45,000 I'm truly sorry for you. 455 00:23:45,000 --> 00:23:46,000 Listen. 456 00:23:46,000 --> 00:23:47,000 You might as well tell her. 457 00:23:47,000 --> 00:23:49,000 At least then she'll be in as deep as the rest of it. 458 00:23:49,000 --> 00:23:50,000 Jean, please. 459 00:23:50,000 --> 00:23:52,000 Your boyfriend there has been dipping into the till. 460 00:23:52,000 --> 00:23:55,000 About a quarter of a million dollars' worth of the client's money. 461 00:23:55,000 --> 00:23:56,000 My insurance. 462 00:23:56,000 --> 00:23:58,000 There is more, of course, but I'm sure that will suffice. 463 00:23:58,000 --> 00:24:02,000 Now, Miss Thornton, I think you and I had better have a little talk alone. 464 00:24:02,000 --> 00:24:03,000 What do you want us to do, Marie? 465 00:24:03,000 --> 00:24:04,000 I'll come to you later, Mr. Ferrell. 466 00:24:04,000 --> 00:24:07,000 For the moment, I must ask you to step into the conference room behind you. 467 00:24:07,000 --> 00:24:08,000 You too, Miss Brant. 468 00:24:08,000 --> 00:24:09,000 Marie. 469 00:24:09,000 --> 00:24:10,000 Please, Mr. Ferrell, not now. 470 00:24:10,000 --> 00:24:14,000 I shall have to lock you in, but it will not be for long, I think. 471 00:24:14,000 --> 00:24:17,000 You know, of course, that there's no other way out... 472 00:24:17,000 --> 00:24:19,000 except down. 473 00:24:24,000 --> 00:24:26,000 We stood there huddled together by the locked door, 474 00:24:26,000 --> 00:24:27,000 but we could hear nothing. 475 00:24:27,000 --> 00:24:30,000 Till there was a sound like a window being opened, and then... 476 00:24:30,000 --> 00:24:31,000 Oh, please! 477 00:24:31,000 --> 00:24:33,000 Ah! 478 00:24:35,000 --> 00:24:36,000 Marie! 479 00:24:36,000 --> 00:24:37,000 Marie! 480 00:24:37,000 --> 00:24:38,000 Marie! 481 00:24:38,000 --> 00:24:39,000 Marie! 482 00:24:41,000 --> 00:24:42,000 Take them out now. 483 00:24:42,000 --> 00:24:43,000 What have you done to her? 484 00:24:43,000 --> 00:24:47,000 Miss Thornton has, shall we say, taken the easy way out. 485 00:24:47,000 --> 00:24:48,000 You mean you forced her? 486 00:24:48,000 --> 00:24:49,000 Very well, if you prefer. 487 00:24:49,000 --> 00:24:52,000 I'm sure it can make little difference now. 488 00:24:52,000 --> 00:24:54,000 You, Miss Brant, I take it, are in love with Mr. Ferrell, 489 00:24:54,000 --> 00:24:56,000 in spite of my warnings. 490 00:24:56,000 --> 00:24:57,000 Yes. 491 00:24:57,000 --> 00:24:58,000 And I'm sure I can count on your silence, 492 00:24:58,000 --> 00:25:01,000 knowing the results to Mr. Ferrell, if you were to break it. 493 00:25:01,000 --> 00:25:02,000 Yes, yes, anything. 494 00:25:02,000 --> 00:25:06,000 But I'm afraid your marital plans will have to wait. 495 00:25:06,000 --> 00:25:07,000 What do you mean? 496 00:25:07,000 --> 00:25:10,000 I think it's best this way, for my own protection. 497 00:25:10,000 --> 00:25:13,000 Of course, if anything were to happen to Mr. Ferrell, 498 00:25:13,000 --> 00:25:15,000 this way, everything would come to me. 499 00:25:15,000 --> 00:25:16,000 What would? How? 500 00:25:16,000 --> 00:25:18,000 The firm and the money. 501 00:25:18,000 --> 00:25:23,000 You see, Miss Brant, Mr. Ferrell is going to marry me. 502 00:25:23,000 --> 00:25:28,000 I looked at Bill. 503 00:25:28,000 --> 00:25:30,000 I knew he'd do as she said. 504 00:25:30,000 --> 00:25:31,000 What else? 505 00:25:31,000 --> 00:25:33,000 I turned and left the room without speaking. 506 00:25:33,000 --> 00:25:35,000 In my own office, I found a little automatic, 507 00:25:35,000 --> 00:25:37,000 where lately I'd always kept it. 508 00:25:37,000 --> 00:25:39,000 When I came back, Bill was staring out the window, 509 00:25:39,000 --> 00:25:42,000 and Marie was making up her face from a little compact. 510 00:25:42,000 --> 00:25:45,000 They didn't even glance in my direction. 511 00:25:45,000 --> 00:25:50,000 Ah! 512 00:26:00,000 --> 00:26:02,000 I'm waiting for the police. 513 00:26:02,000 --> 00:26:05,000 I've been looking over the new layout. 514 00:26:05,000 --> 00:26:08,000 The Dosset Soap campaign is particularly good. 515 00:26:08,000 --> 00:26:10,000 We did it together, Bill and I. 516 00:26:10,000 --> 00:26:12,000 I'm sorry, Miss Brant. 517 00:26:12,000 --> 00:26:16,000 The theme was a bride and groom. 518 00:26:28,000 --> 00:26:30,000 Suspense. 519 00:26:30,000 --> 00:26:36,000 Presented by Roma Wine, R-O-M-A, Roma, America's favorite wine. 520 00:26:36,000 --> 00:26:39,000 This is Ken Niles, the owner of the Roma Wine Company. 521 00:26:39,000 --> 00:26:42,000 The Roma's favorite wine. 522 00:26:42,000 --> 00:26:44,000 This is Ken Niles bringing back to our Suspense audience 523 00:26:44,000 --> 00:26:48,000 the lovely, talented star of tonight's play, Anne Baxter. 524 00:26:48,000 --> 00:26:50,000 Anne, you did a marvelous job. 525 00:26:50,000 --> 00:26:52,000 We're sorry you weren't cast as the sweet young thing tonight, 526 00:26:52,000 --> 00:26:55,000 but then most of our Suspense characters are pretty rugged, you know. 527 00:26:55,000 --> 00:26:58,000 Well, I can't be the sweet young thing all the time, Mr. Niles. 528 00:26:58,000 --> 00:27:01,000 Well, bad or good, to show you how we feel about you, Anne, 529 00:27:01,000 --> 00:27:03,000 here's a gift basket of Roma wines 530 00:27:03,000 --> 00:27:06,000 with the compliments of your host tonight, Roma Wine. 531 00:27:06,000 --> 00:27:08,000 Thank you, Ken, and Roma too. 532 00:27:08,000 --> 00:27:10,000 Let's see, is there a Roma wine in my basket 533 00:27:10,000 --> 00:27:13,000 that goes with baked beans? It's a Saturday night favorite. 534 00:27:13,000 --> 00:27:16,000 Oh, positively, Anne. For a combination fit for a king, 535 00:27:16,000 --> 00:27:21,000 try this delicious Roma California burgundy with old-fashioned baked beans. 536 00:27:21,000 --> 00:27:23,000 Mmm, it's a tempting treat. 537 00:27:23,000 --> 00:27:28,000 And whatever the dish, robust Roma burgundy adds zest to everyday meals. 538 00:27:28,000 --> 00:27:31,000 Ken, I could use you at home to help sell my cooking. 539 00:27:31,000 --> 00:27:34,000 No need of that, Anne, when you serve Roma burgundy. 540 00:27:34,000 --> 00:27:38,000 You'll find Roma burgundy works wonders for the simplest dishes, 541 00:27:38,000 --> 00:27:42,000 brings out the natural flavor goodness of any hearty food. 542 00:27:42,000 --> 00:27:45,000 And remember, with Roma wines, you enjoy an important difference, 543 00:27:45,000 --> 00:27:51,000 an extra goodness in fuller bouquet, richer body, and better taste. 544 00:27:51,000 --> 00:27:55,000 Yes, that difference in Roma wines, that better taste, 545 00:27:55,000 --> 00:28:00,000 is the reason more Americans enjoy Roma than any other wine. 546 00:28:00,000 --> 00:28:03,000 It certainly makes sense, Ken. Thank you and good night. 547 00:28:03,000 --> 00:28:06,000 Ann Baxter is currently being seen in the 20th Century Fox 548 00:28:06,000 --> 00:28:10,000 Darrell F. Zanuck production, The Razor's Edge. 549 00:28:10,000 --> 00:28:14,000 Tonight's suspense play was written by Eleanor Beeson. 550 00:28:14,000 --> 00:28:18,000 Next Thursday, same time, you will hear William Bendix 551 00:28:18,000 --> 00:28:21,000 as star of Suspense. 552 00:28:23,000 --> 00:28:25,000 Produced and directed by William Spearer 553 00:28:25,000 --> 00:28:33,000 for the Roma Wine Company of Fresno, California. 554 00:28:45,000 --> 00:28:48,000 Until next week, enjoy more Suspense thrills 555 00:28:48,000 --> 00:28:55,000 as compiled in Suspense Magazine. 556 00:28:55,000 --> 00:28:58,000 In the coming weeks, Suspense will present such stars 557 00:28:58,000 --> 00:29:02,000 as James Stewart, Eddie Bracken, Howard De Silva, and others. 558 00:29:02,000 --> 00:29:06,000 Make it a point to listen each Thursday to Suspense, 559 00:29:06,000 --> 00:29:32,000 radio's outstanding theater thrill. 560 00:29:32,000 --> 00:29:37,000 Stay tuned for the thrilling adventures of the FBI in Peace and War 561 00:29:37,000 --> 00:29:41,000 following immediately over most of these stations. 562 00:29:41,000 --> 00:30:03,000 This is CBS, the Columbia Broadcasting System.