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Suspense!

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Tonight, suspense brings you Miss June Havoc as star.

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But first, may we remind you that...

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In America's smartest homes and clubs, where fine wines are truly appreciated and enjoyed regularly,

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the choice is C-R-E-S-T-A?

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B-L-A-N-C-A.

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Cresta Blanca.

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Cresta Blanca.

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From the finest of the vines come Cresta Blanca California wines,

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patiently created to please the knowing tongue.

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Let the proudest name in wine, Cresta Blanca, enrich your daily living.

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Add luster to your hospitality.

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Pour Cresta Blanca souvenir sherry or port, or any Cresta Blanca wine.

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There's one for every occasion, for every taste.

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Schenley's Cresta Blanca wine company, Livermore, California.

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And now, Schenley brings you Radio's outstanding theater of thrills, Suspense!

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Presented by Roma Wines. That's R-O-M-A.

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Roma Wines of Fresno, California.

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And starring June Havoc in Subway.

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A suspense play produced, edited, and directed for Schenley by William Spear.

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The Subway always gets me.

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I have to stand back from the edge of the platform on a train coming in because...

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heights don't bother me, or closed-in places,

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or any of those other things that give some people the willies.

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No, no, with me it's the subway.

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The shining tracks and the train roaring in out of the black.

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I always make myself stand way back when I'm waiting.

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That's how it started that night.

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I instinctively drew back when I saw the gleaming white headlight appear in the tunnel.

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Rushing toward me out of the dark.

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I made myself draw back.

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But what I really wanted to do was to throw myself in front of that train.

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The lights on the shining rails hypnotized me like the gleaming eyes of a snake.

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I stepped backwards in a panic, but that mob, that five o'clock mob poured in behind me

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and shoved and pulled me with it.

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I'd been pushed around all day and I had this awful cold and...

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I hated everybody.

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That's a terrible thing to say, I guess, but...

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that's the way I felt like committing murder.

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I was so tired, so worn out my feet felt glued to my shoes.

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And of all the people in the world I didn't want to see.

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And I'd just have to be the night I was shoved right next to Ruth Carney.

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Paula Stevens!

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Where have you been keeping yourself? I haven't seen you since the Academy.

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Hello, Ruth.

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My favorite actress. What are you doing these days?

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Oh, nothing. I worked in a drug store for a while and I...

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Drug store? You have a deserted bestseller to have here.

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I'm afraid I have.

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You with all your talent.

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Ruth, I can't seem to find anything.

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But you, of all of us. You can't give up.

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I was so intense about it. Did you try Summer Star?

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Try? I've tried to get on all right, but...

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Yes, I know. I had to pay for the privilege of appearing in a summer theater.

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I did the Westport season. Prentice, you know. Oh, it was wonderful fun.

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And it's well worth it to me to be able to say I'd had professional experience.

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Well, it's fine if you can afford it.

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Oh, it's awful the way you have to have money for everything these days.

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Yes, it is. Oh, don't get too close to me, Ruth. I have the most awful sore throat.

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And if you don't have money, you have to have poor old on too.

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Oh, and speaking of poor, have you heard about me?

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No, I haven't. And General Understudy for Nightlaster.

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The producer. John C. Wittner?

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Yes. Yes, he was no friend of Dad's.

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He used to come over to dinner when I was little.

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I'd hear them talk about the theater and I thought there'd be nothing in the world like being an actor.

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Such fun. All that glamour and all the sensational parties and everybody's engaged.

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Such fun.

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Not the acting. Not the thrill of working at something you've wanted to do so much that not doing it makes you not want to live.

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No. Oh, no. It's such fun.

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And parties. Wearing expensive suits like the ones she had on.

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Ruth chattered on and I looked at her.

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The subway stopped. More people got on. Still more and more.

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It seemed as though they'd never stopped getting on.

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Someone would grab the doors and hold them open and they kept trying to close them.

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A fat man chewing a horrible cold cigar stub pushed me still closer to Ruth and then I jumped as something sharp stuck into my side.

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I was puzzled for a moment and then I remembered the scissors Mother had asked me to get for her.

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They were very sharp and they'd ruined my purse.

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But it didn't make any difference. It was old. Like everything else I had.

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I closed my hand over the scissors and I held them tightly so they wouldn't do any more damage and then I don't know why I found myself staring at Ruth's hat.

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It was so smart. So expensive. So everything that mine wasn't.

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I found myself hating Ruth's hat.

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Well, as I was saying, after Dad died Mr. Ritner stopped coming over so often.

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So when I got bored with the Academy I hopped right down to his office and I said,

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Mr. Ritner, do you remember Henry Carney? Well, I'm his daughter, Ruth. I want to be an actress.

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Of course I don't expect big parts right away. But maybe if I could get a walk on or something.

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Imagine my nerve, Paula.

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Saying that to a big producer like John C. Ritner.

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But anyway, that's what I did. And do you know what he said to me?

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No. No, what did he say to you?

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He said, Ruth, I admire your spunk. And if you're half as good an actress as your father was a set designer, you'll be all right.

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And he hired me. Just like that.

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And your general understudy.

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That's me. But no one's ever been sick. Confidentially I'm glad.

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You're glad?

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Oh, yes. You see, I've never gotten up in any of the parts like I'm supposed to.

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If I ever had to go on, actually go on. Oh, I tell you, I get away with murder.

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Murder. I couldn't look at her face.

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I didn't even want to look at any of the passenger spaces.

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And when I raised my eyes, I saw still more faces simpering down at me from advertisements overhead.

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I hated everybody and everything.

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I turned and looked outside the windows. The wet, slimy darkness was roaring past like black death.

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One faulty switch, one obstruction on the tracks could bring it crashing in on all of us.

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And who'd be the losers? Not Ruth with her silly chatter. Not these other passengers with their tired, blank faces.

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And not me. Oh, certainly not me.

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My own tired, blank face was reflected in the window pane gray and thin.

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And I didn't see him out of place shimmering in that air of black death just outside.

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Mr. Ritz is a wonderful man, really, Paula. You should meet him.

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Matter of fact, well, I had meant to tell you this. I didn't want to build your hopes up, but I've told him about you.

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About me?

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Yes. You know, I always did think you had loads of talent.

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So I told him one day, I told him, Mr. Ritner, if anything ever happens to me, I mean, should you decide to give me a real part in your new show,

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I don't worry about who General understudy night laughter. I know just the girl, Paula Stevens.

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Ruth, you told him that?

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Yes. And if the time ever comes and I have to leave, well, he knows your name and everything.

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But don't build up your hopes, honey. He hasn't a part for me in the new show.

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Oh. And as far as anything happening to make me quit, well, there isn't a slightest chance.

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End me in hatred, weld up so in me that my throat burned like fire.

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And the fat man with that cigar was leaning against me and I lashed out like a drowning person.

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Hey, watch it, lady. Watch it.

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I took it out on him. Who I really wanted to knock out of my way was Ruth.

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Ruth standing between me and the break I dreamed of.

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Understudy and a hit show. But she had said, well, don't build up your hopes, honey. There isn't the slightest chance.

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But wasn't there the slightest chance? I thought the slightest chance of something happening to her.

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The train started up again. It jolted me so that I was thrown sickeningly against Ruth.

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My fingers were testing the points of the scissors in my bag.

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No one could see me. We were packed in too suddenly. Scissors were sharp and cold and long.

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Yes, they seemed long enough.

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I kept my eyes on the dim lights and the dirty concrete and tiles of the station we sped through as the train throbbed along uptown.

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I was holding the scissors as though they were a weapon.

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I was suddenly sure that at some time or another, scissors had been used as a weapon.

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The scissors in my bag seemed to grow bigger with an idea. Idea and scissors. Scissors and idea.

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They were increasing in size. The ache in my throat had gone up into my ears too. Throbbing.

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Keeping time with the throbbing of the subway.

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I looked away from the blackness outside and stared up at the white light of the ceiling.

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The electric fan overhead was suspended like a spider. Suspended like a spider.

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Like the spider that was spinning. No, not spinning as a spider should spin, but whirling.

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Yes, that was it. Quirling. Like my brain was whirling.

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Oh, come on in.

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Ruth. Yes?

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You play on Sundays, don't you? Oh, yeah.

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No show tonight then. Ruth, why don't you come home and eat with me? There's just Mother and me. We'll be all alone.

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Oh, I'd love to, Paula. Frankly, I didn't have anything to look forward to but a boring evening.

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I'm glad now I couldn't find a taxi.

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Well, Mother will be very glad to see you.

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Oh, it's very sweet of you to ask me. I have not a home-cooked meal in a long time.

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A casual invitation after a casual meeting. No one knew that Ruth was coming to my house for dinner.

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Ruth didn't even know where I lived.

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Get her off the subway a few stations early. Many empty lots up this way.

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Then one thrust of these sharp scissors, ordinary scissors, brand new scissors, and a body in an empty lot.

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And after a few days, after the funeral, a humble application to Mr. John C. Ritner for my girlfriend's job.

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He'd remember I'd been recommended by Ruth herself. Oh, and I'll show them.

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They'll know every line perfectly. And one night the star will not go on. No, I'll go on. That will be it.

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The noise outside didn't seem like the roar of the subway anymore. It was like tremendous applause.

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For me.

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For Suspense, Roma Wines are bringing you June Havoc in Subway.

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Roma Wines presentation tonight in radio's outstanding theater of thrills, Suspense.

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Suspense, radio's outstanding theater of thrills, is presented by Roma Wines.

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That's R-O-M-A, Better Tasting Roma Wines, from the world's greatest reserves of fine wines.

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Tomorrow night is Halloween, and that will be the time for gay parties and friendly get-togethers.

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Now, here's a wonderful yet inexpensive way to make these occasions truly delightful.

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Simply set out some fruit, cheese, and nuts, and serve delicious Roma California wine.

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In less time than it takes to tell, you're enjoying a delightful party.

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Yes, any occasion takes on a gala note when Better Tasting Roma Wines are served.

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So brighten your party with tempting nut-like Roma sherry, fruity full-bodied Roma port,

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or smooth mellow Roma muscatel or tokay.

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As you savor the mellow perfection of these fine Roma wines,

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you'll understand why more Americans enjoy Roma than any other wines.

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So for smart, low-cost hospitality, or for an everyday family treat, serve Better Tasting Roma Wines.

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That's R-O-M-A, Roma Wines, America's largest selling wines.

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And now, Roma Wines bring back to our Hollywood soundstage, June Havoc,

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starring as Paula Stevens with Lurine Tuttle as Ruth in Subway,

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a play well calculated to keep you in suspense.

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We passed Sun Station, 116th Street, I guess, boss.

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I remember I studied Ruth with new, cold interest.

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I was certainly stronger than she. She wouldn't be expecting anything.

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Besides, she wouldn't know how to struggle. Things would always come easily to her.

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She was so wrapped up in her own affairs, she just chattered away.

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Oh, it's been the most fun getting those checks every week

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and never having to lift a finger to earn them.

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If they ever catch up with me, I'll...

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The breaks go to girls like Ruth,

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who think that being an actress is great fun.

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And others, others who really, truly love the film.

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They never get a chance.

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There's no way for them to make their own breaks, not very often anyway.

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But I had a way in my purse that night.

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I could get Ruth's job.

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Belong to an actress, not her.

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It belonged to me. To me.

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Where do we change, Paula?

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Oh, we got the look here. We're coming in now.

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We pushed an elbow and jostled our way out of the car.

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We were the last ones out.

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So we had to turn around and face the tracks with a solid mob at our back.

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I hated to stand so near the edge.

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But there was no way to get to the middle of the platform

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without bullying my way through.

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And I didn't want to have to explain to Ruth how I felt.

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But I managed to get my feet placed an inch or so in back of her

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as we stood wedged in the crowd.

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That made me feel a little better.

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Ruth, between me and the tracks,

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was the only one who could have done that.

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Ruth, between me and the tracks,

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Ruth, between me and my destiny.

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Ruth, always in the way.

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Just a little push, I thought.

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Maybe it would be easier.

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A little push just before a train came in and...

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Paula! Look at that man over there.

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Doesn't he remind you of Bill?

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Well, oh, yes. Yes, he does.

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Oh. How is Bill, by the way?

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Oh, Bill's fine.

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You're still going with him?

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Uh-huh, yes.

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Oh, he's a wonderful guy, that Bill.

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I remember one time...

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I remembered, too.

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I remembered how Ruth had tried to take Bill away from me once.

223
00:17:06,000 --> 00:17:09,000
She'd done everything in her power.

224
00:17:09,000 --> 00:17:12,000
And therefore, for a while, I thought she was going to succeed, too.

225
00:17:12,000 --> 00:17:14,000
But she hadn't.

226
00:17:14,000 --> 00:17:16,000
He was too nice.

227
00:17:16,000 --> 00:17:19,000
He wasn't the type to care if a girl couldn't dress in the latest styles.

228
00:17:19,000 --> 00:17:22,000
And if she didn't have the smartest hats...

229
00:17:22,000 --> 00:17:23,000
I knew him first, you know.

230
00:17:23,000 --> 00:17:24,000
Yes, I know you did.

231
00:17:24,000 --> 00:17:26,000
He used to date me before he knew you.

232
00:17:26,000 --> 00:17:30,000
He was just a kid, of course, and I got interested in another boy.

233
00:17:30,000 --> 00:17:32,000
But believe me, when I ran into Bill about a year ago,

234
00:17:32,000 --> 00:17:36,000
I couldn't help thinking that maybe I'd made a mistake in giving him up so easily.

235
00:17:36,000 --> 00:17:38,000
You didn't give him up too easily.

236
00:17:38,000 --> 00:17:40,000
Oh, yes, I did.

237
00:17:40,000 --> 00:17:44,000
Much easier than I would now if I had to do it all over again.

238
00:17:44,000 --> 00:17:47,000
You're very serious about him, aren't you?

239
00:17:47,000 --> 00:17:49,000
Yes, very.

240
00:17:49,000 --> 00:17:53,000
You take everything pretty seriously, don't you, Paula?

241
00:17:53,000 --> 00:17:56,000
Ruth was standing on the edge.

242
00:17:56,000 --> 00:17:59,000
And she wasn't laughing anymore.

243
00:17:59,000 --> 00:18:03,000
She was staring at me in a very peculiar way.

244
00:18:03,000 --> 00:18:06,000
She moved around in back of me.

245
00:18:06,000 --> 00:18:09,000
And now I was on the edge.

246
00:18:09,000 --> 00:18:12,000
In spite of myself, I looked down at the gleaming rails.

247
00:18:12,000 --> 00:18:18,000
Two long silver ribbons pointing toward the black hole where the platform broke off and the walls closed in.

248
00:18:18,000 --> 00:18:20,000
And the train was approaching.

249
00:18:20,000 --> 00:18:22,000
I watched the tracks fascinated.

250
00:18:22,000 --> 00:18:27,000
I waited for the hypnotic gleam of the headlights to make the rails sparkle and shine and beckon to me.

251
00:18:27,000 --> 00:18:31,000
And then the headlights beamed at me out of the void, at me, at me.

252
00:18:31,000 --> 00:18:33,000
It was a great warm spotlight.

253
00:18:33,000 --> 00:18:35,000
And I swayed over the edge to meet it.

254
00:18:35,000 --> 00:18:37,000
And I couldn't stop myself.

255
00:18:37,000 --> 00:18:42,000
Paula! Paula!

256
00:18:51,000 --> 00:18:53,000
Oh, the train was in a huff.

257
00:18:53,000 --> 00:18:55,000
I was shaking.

258
00:18:55,000 --> 00:18:57,000
Ruth's arms were around me holding me tight.

259
00:18:57,000 --> 00:18:59,000
She pulled me back just before I might have...

260
00:18:59,000 --> 00:19:01,000
What if... I should have jumped?

261
00:19:01,000 --> 00:19:03,000
What's the matter, Paula?

262
00:19:03,000 --> 00:19:05,000
You nearly fell right in front of that train.

263
00:19:05,000 --> 00:19:07,000
Are you ill, Norm?

264
00:19:07,000 --> 00:19:10,000
No. No. I'm just dizzy, I guess.

265
00:19:10,000 --> 00:19:12,000
I'm all right now.

266
00:19:12,000 --> 00:19:14,000
Thanks for holding me, Ruth.

267
00:19:14,000 --> 00:19:17,000
I don't think I really would have fallen, though.

268
00:19:18,000 --> 00:19:20,000
Come on, let's get in the car.

269
00:19:20,000 --> 00:19:22,000
You look like you were weak or something.

270
00:19:22,000 --> 00:19:25,000
You could do with some food. I'll bet you didn't have lunch.

271
00:19:25,000 --> 00:19:27,000
No, I didn't. I forgot.

272
00:19:27,000 --> 00:19:29,000
But we'll be home soon.

273
00:19:29,000 --> 00:19:30,000
I'm starved myself.

274
00:19:30,000 --> 00:19:32,000
I'll certainly be glad to get to your place.

275
00:19:32,000 --> 00:19:35,000
Oh, I hated her worse than ever.

276
00:19:35,000 --> 00:19:38,000
What right did she have to pull me back if I wanted to jump?

277
00:19:38,000 --> 00:19:41,000
What business is it for hers, I felt?

278
00:19:50,000 --> 00:19:52,000
I fell for the scissors in my purse.

279
00:19:52,000 --> 00:19:54,000
I wrapped my handkerchief around the handle.

280
00:19:54,000 --> 00:19:57,000
No fingerprints, no clues, no motive.

281
00:19:57,000 --> 00:19:59,000
Nothing that would be connected with me.

282
00:19:59,000 --> 00:20:02,000
A friend that hadn't seen her in ages.

283
00:20:02,000 --> 00:20:04,000
And what motive could I have?

284
00:20:04,000 --> 00:20:06,000
All I wanted was her job, and nobody would ever think

285
00:20:06,000 --> 00:20:09,000
that I had committed murder to get a job.

286
00:20:09,000 --> 00:20:12,000
People just didn't do things like that.

287
00:20:12,000 --> 00:20:16,000
Not unless they were desperate and bitter with nothing to lose.

288
00:20:16,000 --> 00:20:18,000
I think we can grab a couple of seats in a minute.

289
00:20:18,000 --> 00:20:20,000
Those two men are getting off.

290
00:20:20,000 --> 00:20:22,000
Wouldn't you think they'd have offered them to us in the first place?

291
00:20:22,000 --> 00:20:24,000
Really, men in New York!

292
00:20:24,000 --> 00:20:28,000
I followed her lead. We got the seats.

293
00:20:28,000 --> 00:20:31,000
And I sat down there with care.

294
00:20:31,000 --> 00:20:34,000
Huffed like an old woman.

295
00:20:34,000 --> 00:20:37,000
I hadn't sat down all day.

296
00:20:37,000 --> 00:20:40,000
Just walked from one office to another.

297
00:20:40,000 --> 00:20:44,000
Ooh, the muscles in my back and legs ached.

298
00:20:44,000 --> 00:20:47,000
I had to sit in an upright position.

299
00:20:47,000 --> 00:20:51,000
My warm blood came rushing upward as I lifted first one foot

300
00:20:51,000 --> 00:20:54,000
and then the other gingerly off the floor.

301
00:20:54,000 --> 00:20:56,000
The arches ached with relief.

302
00:20:56,000 --> 00:20:58,000
And my head swam.

303
00:20:58,000 --> 00:21:02,000
I was so grateful just to be able to sit.

304
00:21:02,000 --> 00:21:05,000
Oh, grateful.

305
00:21:05,000 --> 00:21:10,000
To think that the simple act of sitting down could mean so much to me.

306
00:21:10,000 --> 00:21:16,000
Paula Stevens, the most promising actress at the Academy a few years ago.

307
00:21:16,000 --> 00:21:19,000
Now nobody would even give me a walk on it.

308
00:21:19,000 --> 00:21:22,000
I turned and I stared at Ruth.

309
00:21:22,000 --> 00:21:25,000
I thought, maybe.

310
00:21:25,000 --> 00:21:27,000
I won't wait for the empty lot.

311
00:21:27,000 --> 00:21:30,000
Paula! What's the matter with you?

312
00:21:30,000 --> 00:21:34,000
Here we are sitting down and comfortable and you're frowning like a bear with a sore tooth.

313
00:21:34,000 --> 00:21:36,000
What are you frowning about?

314
00:21:36,000 --> 00:21:39,000
I looked around desperately for something I could be frowning at.

315
00:21:39,000 --> 00:21:42,000
A man across the aisle was reading a newspaper and I saw a headline.

316
00:21:42,000 --> 00:21:44,000
That could be making me frown. I indicated it.

317
00:21:44,000 --> 00:21:46,000
Oh, you mean the headline?

318
00:21:46,000 --> 00:21:47,000
Yes.

319
00:21:47,000 --> 00:21:50,000
Hit and run driver kills child.

320
00:21:50,000 --> 00:21:53,000
Oh, that is nasty. Makes me sick to see things like that.

321
00:21:53,000 --> 00:21:56,000
I'll have a read them. Does it affect you that way?

322
00:21:56,000 --> 00:21:59,000
Yes, in the lowest form of humanity.

323
00:22:08,000 --> 00:22:11,000
And suddenly the train shot out of the underground under the pretzel.

324
00:22:11,000 --> 00:22:14,000
Out of darkness into the twilight of a tenement street.

325
00:22:14,000 --> 00:22:20,000
In a moment before, nothing could be seen through the dirty car windows but the reflection of your own drawn face.

326
00:22:20,000 --> 00:22:24,000
But then the ramshackle apartment buildings flashed by outside.

327
00:22:24,000 --> 00:22:29,000
Showing intimate glimpses of bare kitchens and dim bedrooms.

328
00:22:29,000 --> 00:22:32,000
Gray wash and cheap living rooms.

329
00:22:32,000 --> 00:22:35,000
Families going through the functions of living.

330
00:22:35,000 --> 00:22:38,000
Poor families. Tragic living.

331
00:22:38,000 --> 00:22:41,000
From the blackness of the tunnel to the twilight of poverty.

332
00:22:41,000 --> 00:22:46,000
From death to life. First death, then life.

333
00:22:46,000 --> 00:22:51,000
Tepes of the subway. Not life, then death, but death to life.

334
00:22:51,000 --> 00:22:54,000
Death brings another kind of life.

335
00:22:54,000 --> 00:22:57,000
Not necessarily sordid life like this, but new life.

336
00:22:57,000 --> 00:23:00,000
Death makes room for somebody else to live.

337
00:23:00,000 --> 00:23:02,000
One death for another life.

338
00:23:02,000 --> 00:23:05,000
Bruce's death for my new life.

339
00:23:08,000 --> 00:23:12,000
You know, I've been thinking about that headline too.

340
00:23:12,000 --> 00:23:15,000
I mean the one about the hit and run driver.

341
00:23:15,000 --> 00:23:17,000
I suppose I do get panicky.

342
00:23:17,000 --> 00:23:20,000
Well, there's still the lowest form of humanity.

343
00:23:20,000 --> 00:23:23,000
Still in all I think I can understand how it could happen to anybody.

344
00:23:23,000 --> 00:23:26,000
You're driving along, maybe thinking of something else.

345
00:23:26,000 --> 00:23:29,000
Maybe going a little too fast. You know what I mean.

346
00:23:29,000 --> 00:23:33,000
You're just anxious to get someplace in a hurry and you aren't watching what's ahead.

347
00:23:33,000 --> 00:23:37,000
And all of a sudden, bingo, you hit something.

348
00:23:37,000 --> 00:23:40,000
Does that mean you shouldn't stop it?

349
00:23:40,000 --> 00:23:43,000
Well, you don't know what you hit.

350
00:23:43,000 --> 00:23:46,000
Maybe it's just an old crate or a pile of junk.

351
00:23:46,000 --> 00:23:49,000
It isn't necessarily a kid or a dog even.

352
00:23:49,000 --> 00:23:51,000
You just don't know.

353
00:23:51,000 --> 00:23:54,000
And if you stop and look, you may find her a murderer.

354
00:23:54,000 --> 00:24:00,000
Yes, but if you keep on, you can tell yourself it was just an old piece of junk and go on your way.

355
00:24:00,000 --> 00:24:04,000
Now, I can understand a hit and run driver. Yes, I can.

356
00:24:04,000 --> 00:24:07,000
Oh, well, why was she braiding about a hit and run driver?

357
00:24:07,000 --> 00:24:09,000
She wore the subject ragged.

358
00:24:09,000 --> 00:24:12,000
Well, I thought anyway it won't be much longer now.

359
00:24:12,000 --> 00:24:15,000
I won't have to listen to her much longer anyway.

360
00:24:15,000 --> 00:24:18,000
One more station and we get out.

361
00:24:18,000 --> 00:24:20,000
She wouldn't know it wasn't my station yet.

362
00:24:20,000 --> 00:24:24,000
And then we walk over by the lot, cut across it in the dark.

363
00:24:24,000 --> 00:24:30,000
The scissors. One hard plunge.

364
00:24:30,000 --> 00:24:34,000
And back to the subway for the rest of my ride. Alone.

365
00:24:34,000 --> 00:24:40,000
Why, I wouldn't even be late for supper.

366
00:24:40,000 --> 00:24:42,000
Subway emptied a meal.

367
00:24:42,000 --> 00:24:48,000
Seemed to be flying through the night carrying me on dark wings toward my first chance at being something.

368
00:24:48,000 --> 00:24:50,000
We were going awfully fast.

369
00:24:50,000 --> 00:24:51,000
Too fast.

370
00:24:51,000 --> 00:24:52,000
You know what I mean?

371
00:24:52,000 --> 00:24:56,000
You're anxious to get someplace and bingo, you something.

372
00:24:56,000 --> 00:24:59,000
A pile of junk. It has to be junk.

373
00:24:59,000 --> 00:25:04,000
An obstruction to be cleared away for something more important passing by.

374
00:25:04,000 --> 00:25:07,000
But if I should stop and look,

375
00:25:07,000 --> 00:25:11,000
it's a girl like me.

376
00:25:11,000 --> 00:25:16,000
But it's a girl dead in an empty lot.

377
00:25:19,000 --> 00:25:21,000
This was our station. This was it.

378
00:25:21,000 --> 00:25:22,000
Do we get out here, Paula?

379
00:25:22,000 --> 00:25:24,000
I was looking at her roof.

380
00:25:24,000 --> 00:25:26,000
An obstruction in my path.

381
00:25:26,000 --> 00:25:29,000
I had stopped and I had looked at her.

382
00:25:29,000 --> 00:25:32,000
What's the matter, Paula? I thought this was it.

383
00:25:32,000 --> 00:25:33,000
Don't we get out here?

384
00:25:33,000 --> 00:25:38,000
I had stopped to look and I had seen that she was a girl.

385
00:25:38,000 --> 00:25:40,000
A human being.

386
00:25:40,000 --> 00:25:41,000
Paula?

387
00:25:41,000 --> 00:25:43,000
You said we were supposed to get off here.

388
00:25:43,000 --> 00:25:46,000
Yes. Yes, Ruth. Yes.

389
00:25:52,000 --> 00:25:54,000
A train started away without us.

390
00:25:54,000 --> 00:25:57,000
Somehow it seemed to run more smoothly.

391
00:25:57,000 --> 00:26:00,000
As though its wings were light instead of dark.

392
00:26:00,000 --> 00:26:03,000
And I was strangely rested.

393
00:26:03,000 --> 00:26:08,000
My mind was blank and I rolled the blankness around and I tasted it.

394
00:26:08,000 --> 00:26:14,000
I swallowed and my mouth and my throat, they felt better.

395
00:26:14,000 --> 00:26:18,000
Balls of yesterday's newspapers scurried off the platform

396
00:26:18,000 --> 00:26:20,000
and flattened themselves in the corners and...

397
00:26:20,000 --> 00:26:22,000
I'll be glad to get there.

398
00:26:22,000 --> 00:26:23,000
Oh, yes.

399
00:26:23,000 --> 00:26:25,000
I'm starved.

400
00:26:25,000 --> 00:26:27,000
Ruth was a girl.

401
00:26:27,000 --> 00:26:30,000
She was a human being.

402
00:26:30,000 --> 00:26:34,000
Everybody on that subway was an individual human being.

403
00:26:34,000 --> 00:26:36,000
And I had to drive according to the rules.

404
00:26:36,000 --> 00:26:38,000
I couldn't hit and run.

405
00:26:38,000 --> 00:26:41,000
How could I have ever thought that I could?

406
00:26:41,000 --> 00:26:46,000
If I had to get there the hard way, well, I could take it.

407
00:26:46,000 --> 00:26:47,000
This way, Paula?

408
00:26:47,000 --> 00:26:50,000
Yes. Yes, this way, Ruth.

409
00:26:50,000 --> 00:26:52,000
Into the light.

410
00:26:52,000 --> 00:26:57,000
I climbed the ramp to the street exit with a new bounce in my feet.

411
00:26:57,000 --> 00:27:03,000
I fell in my purse only to wrap my handkerchief carefully around the scissor points,

412
00:27:03,000 --> 00:27:05,000
not the handles.

413
00:27:05,000 --> 00:27:09,000
I couldn't afford to completely ruin my already damaged bag.

414
00:27:09,000 --> 00:27:13,000
And Ruth was chattering again.

415
00:27:13,000 --> 00:27:15,000
Soon we'd be home.

416
00:27:15,000 --> 00:27:17,000
And as she chattered, I thought,

417
00:27:17,000 --> 00:27:19,000
Ruth's older than I.

418
00:27:19,000 --> 00:27:23,000
But she seems like a child.

419
00:27:23,000 --> 00:27:26,000
She'll probably never grow up.

420
00:27:26,000 --> 00:27:28,000
But I did.

421
00:27:28,000 --> 00:27:36,000
That night, arm in arm with Ruth, we walked past an empty lot.

422
00:27:36,000 --> 00:28:03,000
And I never even thought of looking back.

423
00:28:03,000 --> 00:28:05,000
Suspense.

424
00:28:05,000 --> 00:28:09,000
Subway, starring June Havoc, presented by Roma Wines.

425
00:28:09,000 --> 00:28:13,000
That's R-O-M-A, Roma Wines, those better tasting wines,

426
00:28:13,000 --> 00:28:17,000
enjoyed by more Americans than any other wines.

427
00:28:17,000 --> 00:28:22,000
This is Truman Bradley reminding you that when you enjoy Roma California wines,

428
00:28:22,000 --> 00:28:28,000
you enjoy the goodness of natural juices pressed from choice, full ripe California grapes.

429
00:28:28,000 --> 00:28:32,000
Then with ancient skills and the world's greatest wine making resources,

430
00:28:32,000 --> 00:28:39,000
Roma master ventners guide this grape treasure unhurriedly to tempting taste perfection.

431
00:28:39,000 --> 00:28:43,000
These better tasting Roma wines are placed with other mellow Roma wines.

432
00:28:43,000 --> 00:28:47,000
And from these reserves, the world's greatest reserves of fine wines,

433
00:28:47,000 --> 00:28:51,000
Roma later selects for your enjoyment.

434
00:28:51,000 --> 00:28:54,000
With another weekend of football and fun coming up,

435
00:28:54,000 --> 00:28:58,000
it's a good idea to lay in an assortment of better tasting Roma wines,

436
00:28:58,000 --> 00:29:05,000
such as Golden Amber Roma Sherry, Ruby Red Roma Port, or Flame Bright Roma Muscatel.

437
00:29:05,000 --> 00:29:10,000
Then you'll be sure of pleasing friends and neighbors who drop in, as well as your family.

438
00:29:10,000 --> 00:29:17,000
Because these delicious Roma wines, that's R-O-M-A, Roma Wines, are America's favorite wines.

439
00:29:17,000 --> 00:29:22,000
Tonight's suspense play was by Eileen Douglas Walzer and Mel Dennelly.

440
00:29:22,000 --> 00:29:26,000
Next Thursday, same time, you will hear radio's inimitable Henry Morgan

441
00:29:26,000 --> 00:29:32,000
as star of Suspense, produced and directed by William Spear

442
00:29:32,000 --> 00:29:36,000
for the Roma Wine Company of Fresno, California.

443
00:29:36,000 --> 00:29:45,000
Music

444
00:29:45,000 --> 00:29:49,000
Listen again next week at the same time for Suspense.

445
00:29:49,000 --> 00:29:52,000
Tonight's suspense came to you transcribed.

446
00:29:52,000 --> 00:29:56,000
This is CBS, the Columbia Broadcasting System.