ANNOUNCER (CBS announcer) KEN:

And now, ROMA WINES--R-O-M-A, made in California for enjoyment throughout the world--ROMA WINES presents...

MUSIC:

"SUSPENSE" THEME, UNDER

KEARNS:

"SUSPENSE"! Tonight, ROMA WINES bring you Miss Judy Garland, as star of "Drive In". A "SUSPENSE" play produced, edited, and directed for ROMA WINES, by William Spier.

MUSIC:

DRAMATIC STING, THEN OUT

KEN:

"SUSPENSE"! Radio's outstanding theatre of thrills, is presented for your enjoyment, by ROMA WINES. That's R-O-M-A. ROMA WINES. Those excellent California wines that can add so much pleasantness to the way you live. To your happiness in entertaining guests, to your enjoyment of everyday meals. Yes, right now, a glassful would be very pleasant, as ROMA WINES bring you Judy Garland in a remarkable tale of...

MUSIC:

DRAMATIC STING, UNDER

KEARNS:

"SUSPENSE"!

MUSIC:

OMINOUS, LONELY, UNDER

SFX:

POURING RAIN, UNDER, FOR ENTIRE PLAY

MILLIE:

I wish I hadn't let Ruth talk me into serving that last car that came into the drive-n, that rainy night. It was late, and I was tired.

SFX:

DRIVE-IN AMBIENCE, UNDER

MILLIE:

I'd been on my feet all day, carrying heavy trays, hopping to it with impatient people glaring their headlights on and off in my eyes. And heaven knows, there are a lot of impatient people in Hollywood. We carhops don't have an easy time of it. Talk about your mail-carriers. Well, we're the same. Raining or blowing or boiling hot, we've got to get through with that tray, or know the reason why. Tired, hungry people, who sit back in their car, and expect a million dollars' worth of service for a ten-cent tip. Why do we do it? Sure, there are other ways of making a living in Hollywood, but not many that hold that glittering promise that maybe someday, somehow, maybe someone will say...

OLD MAN:

Why, that girl looks like Lana Turner!

WOMAN:

Yes, at least her hair's done up that way.

OLD MAN:

I think I could use her, Renee! The musical version of the "Forsythe Saga"! Oh, she'd be great in colour! I think I'll ask her to come out to the studio.

WOMAN:

Yes, I know.

MUSIC:

WEARY, UNDER, THEN OUT

MILLIE:

Maybe it doesn't happen often. But there's always the chance. And-- and there's always that hope. That's what keeps us going, I guess. But there are other things that can happen in a drive-in, that aren't on the menu. Like that rainy night I was telling you about when I let Ruth talk me into serving that last car that came in.

SFX:

IMPATIENT HONKING OF CAR HORN

RUTH:

Millie? Millie, Millie, listen. Please take his order, willya? I got three cars, and I'm--

MILLIE:

Oh, look at the clock, willya? It's nearly midnight! I'm off duty.

RUTH:

Aw, please Miller, just this once more, wouldya? My date's waitin'. I'll do the same for you someday.

MILLIE:

Aw, but Ruth!

SFX:

IMPATIENT HONKING OF CAR HORN

MILLIE:

Say, what's the matter with him? Can't he read? "PLEASE DO NOT HONK YOUR HORN". It looks square enough to me.

RUTH:

It's a doctor's car. Ya see, he's probably in a rush. Anyway, ya got nobody waitin' for you.

MILLIE:

Oh, all right.

RUTH:

Oh, gee, thanks, Mil!

SFX:

RUTH RUSHES OFF

MILLIE:

It was true. I-- I had no one waiting for me. Only the bus that was gonna take me to Glendale, where I lived alone in an apartment. So, I buttoned up my raincoat, and took a menu over to the car.

SFX:

WALKS TO CAR

MILLIE:

Good evening.

MUSIC:

DRAMATIC, UNEASY, UNDER

MAN:

Never mind the menu. Just some black coffee, a pot of it. And a ham sandwich. Please hurry it.

MILLIE:

When I took his order over to the car, the window was rolled up a little too far, and it interfered with the tray. So, I reached in to wind it down.

SFX:

ROLLS DOWN CAR WINDOW

MILLIE:

When I touched the handle, it felt wet, and kinda sticky too, but I didn't think anything about it. I got the tray firmly set, and then I looked at my hand. It was as red as... blood! I looked up quickly at him.

MAN:

Oh. I-- I'm sorry. I'm Doctor Morgan. I just had an emergency in the car.

MILLIE:

Oh. An accident?

MAN:

Yes. Sunset and Vine. Quite a crash. I just happened by, and I took one of them to the hospital.

MILLIE:

Oh, gee, that's a shame.

MAN:

Yes. It's too bad.

MUSIC:

OMINOUS, UNDER

SFX:

SHE WALKS AWAY

MILLIE:

I walked back, trying to wipe the blood from my hand with a paper napkin. It gave me a creepy feeling to have somebody's blood on my hand. Then I went in to wash. I was trying to keep close track of the timing. I was a little worried for fear the big drive-in clock wasn't right. It sometimes ran slow. So, I took a coin from my apron pocket. I figured it was worth a nickel not to miss that last bus to Glendale. I walked over to the payphone, and I was about to drop the nickel in, when--

SFX:

ANNOYED HONKING OF CAR HORN, UNDER

MILLIE:

I looked out, and he was leaning on the horn, and beckoning to me at the same time. I put the nickel back in my pocket, and hurried off to him.

SFX:

HURRIES TO CAR

MAN:

I'm sorry, but I'm in a hurry. I haven't time for this coffee to cool off. I'll take the sandwich with me. How much do I owe you?

MILLIE:

Well, uh... That'll be forty-two cents.

MAN:

Oh, here you are.

SFX:

DROPS COINS ONTO TRAY

MILLIE:

Thank you.

MAN:

I hope I didn't interrupt your phone call. It wasn't important, was it?

MILLIE:

Hm? No, I was just checking on the time. I don't wanna miss my bus.

MAN:

There was a clock right over your head.

MILLIE:

Well, that's usually wrong.

MAN:

I have the time. It's about four minutes to twelve.

MILLIE:

Oh! I'm gonna miss my bus!

MAN:

What time's it leave?

MILLIE:

At midnight, from Hollywood and La Brea!

MAN:

Well, hop in. I'll take you. I'm going right past there.

MILLIE:

Oh, would you? I'll take the tray, and I'll be right back. I might still be able to make it.

MAN:

Okay.

MILLIE:

In my hurry to unhook the tray from the window, I gave it a jerk, and it fell crashing to ground.

SFX:

CRASH OF TRAY, CUTLERY, PLATE, CUP, ETC. CRASHING TO PAVEMENT

MILLIE:

Oh, dear! (CALLS) Ruth!

RUTH:

(OFF MIKE, CALLS) Yeah?

MILLIE:

Look, look, help me with these things, willya? I'm gonna miss my bus!

RUTH:

Oh, go ahead, go ahead, Mil. I'll get it, I'll get it.

MUSIC:

OMINOUS, UNDER

MILLIE:

We picked the things up quickly, and Ruth went off with the tray. I started to run around the other side of the car, when I noticed something shiny on the ground. It was one of the shakers that had fallen from the tray. I picked it up, and started toward the driveway.

MAN:

(CALLS) Uh, why don't you just put that in your pocket? You can return it tomorrow. Come on, you're gonna miss your bus.

MILLIE:

I put the shaker in my apron pocket, and I rushed over to the other side of the car. He opened the door for me, and I was just about to get in, when I... hesitated. I wasn't used to doing this kind of thing. The other girls sometimes let their customers drive them home, but I never did. Still, he looked so decent, and I--

MAN:

(SMILING) Come on! You'll miss it.

MILLIE:

Then he reached out, as if to help me in, and I thought that he was really concerned about my missing the bus. Cause he seemed to pull me into the car. The first thing I knew, I was sitting beside him.

SFX:

MOTOR STARTS

MILLIE:

Then the door slammed.

SFX:

CAR DOOR SLAM

SFX:

CAR DRIVES OFF, UNDER

MILLIE:

And we were driving off.

MUSIC:

URGENT, SIREN-LIKE, UNDER, THEN OUT

SFX:

CAR INTERIOR AMBIENCE, UNDER

MILLIE:

I was a little uneasy, but... Well now, I thought, it's-- it's only a few blocks. I won't be in the car long.

MAN:

I suppose you're in a hurry, because someone's waiting for you.

MILLIE:

No. I-- I live alone. But I'd hate to walk back to Glendale in this rain.

MAN:

You won't have to walk.

MILLIE:

Well, this is very nice of you. I appreciate it.

MAN:

Not at all. (PAUSE) Uh... would you mind rolling up that window on your side? There's a draft.

MILLIE:

Oh, of course.

SFX:

CAR WINDOW ROLLING UP

MILLIE:

Uh, you can, uh, let me off at that corner over there.

MAN:

All right.

MILLIE:

Anywhere along here'll be all right. This is fine. Right over there, by the stop sign.

SFX:

CAR ACCELERATES

MILLIE:

Wait a minute! You're going through the stop signal!

MAN:

Am I?

MILLIE:

Yes, but-- I'll-- I'll get off over there, by the other one.

SFX:

BUS DRIVES UP, AND STOPS, BUT CAR KEEPS GOING

MILLIE:

My bus! You're turning the wrong way!

MAN:

Am I?

MILLIE:

Yes! This-- this goes up to Laurel Canyon!

MAN:

Does it?

SFX:

CAR ACCELERATES, UNDER

MILLIE:

Hey! Let me outta here!

MAN:

You thought you were pretty smart, didn't you?

MILLIE:

I don't know what you mean! Please! Let me outta this car!

MAN:

You went right to the phone. You thought I wouldn't see you.

MILLIE:

The phone? But I was calling about the time, honest I was!

MAN:

The time. With that clock over your head.

MILLIE:

Oh, but that clock's wrong sometimes! Besides, who would I call? Why should I call anyone about you?

MAN:

You were calling the police.

MILLIE:

No, honest I wasn't! Lemme out of this car!

MAN:

You were gonna catch a bus. You were going straight to the police, that's where you were going.

MILLIE:

But why? Why should I go to the police?

MAN:

You know why!

MILLIE:

No, really! I don't!

MAN:

Because you saw it. You saw his blood.

SFX:

SHE REACHES FOR WINDOW, BUT HE GRABS HER.

MAN:

No you don't!

SFX:

THEY STRUGGLE, AND HE BREAKS OFF THE HANDLE

MILLIE:

(CRYING, UNDER)

MAN:

There. You won't need to try to open that door again. Now, we'll be getting along.

MUSIC:

OMINOUS, THEN SWARMING, UNDER

SFX:

CAR ACCELERATES

MUSIC:

FADES

MILLIE:

After I made that last try to get out, he broke the handle of the door. All the strength seemed to go out of my body. I just sat there, as we drove on. He passed a few people in some cars in the next blocks, and I thought of calling out, but-- Then I knew why he'd asked me to roll up the window when I'd first gotten into the car. Then we were at the mouth of the Canyon. And I could see the road, dark and lonely, up ahead.

SFX:

SCREECH OF TIRES, CAR DRIVES ON

MILLIE:

The car twisted and swerved! My arm ached from his strong fingers that had dug into it when I tried to jump out.

SFX:

SCREECH OF TIRES, CAR DRIVES ON

MILLIE:

I looked at him from the corner of my eye. He hadn't seemed like a criminal back at the drive-in. And he didn't seem like one now. His jaw was rough and needed a shave, though his face, well, it wasn't like a criminal's at all. It... It was so tired.

MAN:

Quit staring at me.

MILLIE:

Oh, look, I-- I didn't know anything about you. Honest, I didn't. Please let me go.

MAN:

You know something about me now.

MILLIE:

Well, I won't tell anybody, whatever it is. I promise I won't.

MAN:

A woman's promises. Remind me to... tell ya a story about a woman who promised.

MILLIE:

Oh, let me out! Please let me out right here!

MAN:

It's a long way back to Glendale.

MILLIE:

That's all the better. It'll take me hours to get back, and you'll be miles away by then.

MAN:

I'm not taking any chances with you, kid.

MILLIE:

Oh! Please let me out! I've gotta get back! (SOBS)

MAN:

You said no one was waiting for you. You live alone, don't you? No one will miss you.

SFX:

APPROACHING SIREN, UNDER

MUSIC:

OMINOUS, UNDER

MILLIE:

We both heard the siren then. He looked quickly in the rear-vision mirror. Then he took a gun from his pocket, and he turned to me.

MAN:

If that's for us, and we're stopped, remember just this: I've used... this gun before, tonight, and I can use it again if I have to.

MILLIE:

(GASP) No!

MAN:

If... I'm taken, you'll go first. Now, listen!

SFX:

SIREN GETTING MUCH CLOSER

MAN:

I'm a doctor, and you're a nurse. We're headed for an emergency! (GRABS HER) Go on now, and don't try to pull anything!

SFX:

CAR & MOTORCYCLE BRAKE, PULL OVER. SIREN OUT. BOTH ENGINES TURNED OFF

SFX:

COP APPROACHES CAR

COP:

Goin' awful fast for a wet night, aren't ya? Followed you up from Hollywood.

MAN:

Uh... I'm Doctor Morgan, Officer. This is Nurse Johnson. Emergency call.

COP:

Let's see your identification. (WHISTLING TO PASS THE TIME)

MILLIE:

He fumbled through his pockets with one hand, holding the gun in my ribs with the other. The motorcycle cop looked over at me. I thought for a moment, I could signal him with my eyes. That's when I knew he wasn't looking at my face. He was looking down at my white starched blouse which he could see under my raincoat. He thought it was a nurse's uniform!

MAN:

Ah! Here you are.

COP:

Okay, Doc. Sorry I stopped you.

SFX:

WALKS TO MOTORCYCLE

SFX:

CAR ENGINE STARTS

COP:

(CALLS) Hey, just a minute!

MILLIE:

(FEARFUL GASPS, THEN CONTROLS SELF)

SFX:

WALKS BACK TO CAR

MAN:

(NONCHALANT) What's the matter?

COP:

Just wanted to tell you... Rain's started a slide up there a ways. Take it easy.

SFX:

WALKS BACK TO MOTORCYCLE, STARTS IT

MILLIE:

(RELIEVED BREATH)

MAN:

Thanks, I will.

SFX:

MOTORCYCLE ROARS OFF

MILLIE:

You're not Doctor Morgan, are you?

MAN:

What do you think?

SFX:

CAR DRIVES OFF, UNDER

MUSIC:

TENSE, UNDER

SFX:

SCREECH OF TIRES, CAR KEEPS GOING

MILLIE:

Then we came on the landslide. It wasn't a big one, but it-- it had made a terrible mess of the road. He didn't slow down, and the car swerved crazily!

SFX:

SCREECH OF SKIDDING CAR, UNDER

MILLIE:

It slipped from one side of the highway to the other! Suddenly, I froze. Oh, the whole rear end had slipped out.

SFX:

GUNNING ENGINE, SPINNING TIRES, UNDER

MILLIE:

I looked over at him. He was tense. His look was so wild, as he clutched the wheel, and he shoved the car into reverse. Oh, I hoped it'd NEVER move! It couldn't. We were stuck, hopelessly stuck!

MAN:

(ALMOST CRYING) Of all the luck!

MILLIE:

Suddenly, the car was filled with light. A car had come around the curve behind us. This might be my chance!

SFX:

OTHER CAR SLOWS DOWN

MAN:

Remember, I still have this gun! Don't try anything! (CALLS) Say! We're stuck here. Could you give us a push?

SFX:

CAR DRIVES OFF, FAST

MAN:

Well, have some California hospitality, will ya? (SOBS, THEN RECOVERS) I'll have to get out. I'll have to put something under the wheel. You stay here. Now, stay there!

SFX:

OPENS CAR DOOR. WALKS AROUND, LOOKING FOR SOMETHING

MAN:

(OFF MIKE, MUTTERS TO HIMSELF)

MUSIC:

TENSE, QUIET, UNDER

MILLIE:

There were some bushes by the side of the road. If I could reach them, I could perhaps run up the side of the hill and hide. And then, in the morning, make my way back down the Canyon. I carefully turned the handle of the door. I could see him in the mirror. He was at the back of the car. I eased the door gently open, put one foot out. I was just sliding out when I heard him.

MAN:

You're not going any place. Come here. Gimme that raincoat.

MILLIE:

Why?

MAN:

I need something dry to stuff under this wheel.

MILLIE:

But I--

MAN:

(ROUGHLY TAKING IT OFF HER) You won't be needing it. Come on!

MILLIE:

He practically ripped it off my back. He wound it into a ball, and bending down, he stuffed it under the wheel.

SFX:

BREATHING HARD, HE STUFFS IT UNDER WHEEL

MUSIC:

TENSE, GLIMMERING HOPE, UNDER

MILLIE:

The gun! It stuck out of his back pocket! If I could get it, if I could lay my hands on it--! I held my breath, and reached out. It seemed so far, but I finally touched it. And then I snatched it from his pocket, swiftly!

MAN:

(YELL OF SURPRISE, THEN) Gimme that gun!

MILLIE:

I'm going. You can't stop me now!

MAN:

Can't I?

MILLIE:

No! You-- you stay right where you are! I won't hurt you. All I wanna do is get home. I'm going. But if you follow me out--

MAN:

(MOCKING) You'll what?

MILLIE:

(NOT TOO CONVINCINGLY) I'll kill you.

MAN:

I don't think you will.

MILLIE:

Yes, I will. You think I'm afraid.

MAN:

Aren't you?

MILLIE:

No. I-- I don't care what happens to you. You're a murderer! You killed somebody!

MAN:

(FURIOUS) I thought you... didn't know anything about me!

MILLIE:

I didn't! But I do now, and I'm gonna tell the police. You stay where you are!

SFX:

HE STARTS WALKING SLOWLY TOWARDS HER, UNDER

MILLIE:

No, don't! I'm not afraid!! I'll shoot!!!

SFX:

EMPTY GUN CLICKS SEVERAL TIMES, AS SHE TRIES TO FIRE IT

MAN:

Hm. Too bad I used up all of those tonight. You could have filled me full o' holes.

MILLIE:

(STARTS TO CRY)

MAN:

(GRABS HER, DRAGS HER TO CAR) Now, gimme that gun, and get in the car!

SFX:

HE SHOVES HER INTO DRIVER'S SIDE, GETS IN AFTER HER, SLAMS DOOR

MAN:

There!

SFX:

STARTS MOTOR, DRIVES OFF

SFX:

DRIVING CAR (INTERIOR), UNDER

MILLIE:

Are you... gonna kill me?

MAN:

What do YOU think?

SFX:

TENSE, RESIGNED MUSIC, LIKE TIME RUNNING OUT, UNDER

SFX:

LIGHT RAIN, UNDER

MILLIE:

We were nearing the top of the Canyon now. The road was very steep. The rain had let up. It was just drizzling now. Even though he hadn't answered my question, I knew the answer. He was gonna kill me. I wouldn't get back home tonight. Not tonight, or any other night. It was funny. I sometimes used to hate that little apartment of mine, where nothing ever happened. But tonight... And then, for some strange reason, I thought about Ruth. What would she say tomorrow, when I didn't show up at work?

MUSIC:

OUT

MILLIE:

And I-- I wondered... where they'd find my body.

MAN:

Well, here we are. Lookout Mountain. Top o' the world!

MUSIC:

OTHERWORLDLY, CELESTIAL, UNDER

MILLIE:

Suddenly, we came over the crest of the hill, and way down below, the city stretched out for miles. Millions of lights, glittering in the rain. For a moment, I forgot everything. It was the most beautiful sight I'd ever seen!

SFX:

CAR SLOWS DOWN, AND STOPS

MAN:

Ever been up here before?

MILLIE:

No.

MAN:

(SMILING) Nice, isn't it?

MILLIE:

Yes.

SFX:

TURNS OFF MOTOR

MAN:

(WISTFUL) I used to come up here with a girl once. We used to sit and talk for hours.

SFX:

OPENS CAR DOOR

SFX:

FROGS & CRICKETS CHIRPING, UNDER

MAN:

Come on. We'll get a better view if we get out.

MILLIE:

I knew it was foolish to argue with him, so I followed him. But as he walked over towards the edge, I became frightened. It was such a steep drop!

SFX:

HE WALKS TOWARDS EDGE

MAN:

Well? Come on.

MILLIE:

I'm-- I'm afraid to get so close to the edge.

MAN:

You won't fall.

SFX:

SHE WALKS TO HIM

MAN:

Look. That's Los Angeles over there. That bright line of lights is Western Avenue. I went to school somewhere along in there. I used to get in all sorts of trouble at school. But I got by. I managed. Everyone said I'd grow out of it... (LONG PAUSE, THEN QUIETLY) But... (CONTINUES) Over that way, towards the ocean, that's Westwood. That's where she lived, this girl I was telling you about. (PAUSE) That was the best part of my life, I guess. (PAUSE) That's when they said marriage and a wife would straighten me out. Marriage and a wife would straighten me out in Westwood, they said. (PAUSE. BITTER LITTLE LAUGH)

MILLIE:

(GENTLY) Does your wife still live there?

MAN:

No. (PAUSE) She's dead.

MILLIE:

Oh, I'm sorry.

MAN:

You needn't be. (PAUSE) I killed her.

MILLIE:

(SOFTLY) Why?

MAN:

(CHOKED UP) Because she couldn't keep her promises.

MILLIE:

(SOFTLY) Did-- did you... kill her tonight?

MAN:

No. (PAUSE) A long time ago. (PAUSE) The jury said I was insane. But I think it was the sanest thing I ever did. They put me in an asylum. (PAUSE) But you know what it's like being locked up, year after year, when you know there's nothing wrong with you?

MILLIE:

(SOFTLY) No. No, I don't.

MAN:

(CHILDLIKE) It isn't good. (PAUSE) You'd do anything to get out. Anything. (CRYING SOFTLY) Anything at all.

MILLIE:

I knew, I knew if I could keep him talking, maybe a car would come along. Maybe something would happen. It was my only chance!

MAN:

(CHILDLIKE) What are you thinking about?

MILLIE:

You. You killed someone else tonight, didn't you?

MAN:

Yes.

MILLIE:

Doctor Morgan?

MAN:

Yes. He was one of the men who thought I was insane.

MILLIE:

Why did you do it?

MAN:

I wanted his car to get away in. (CHILDLIKE) I... didn't wanna be locked up any more.

MILLIE:

Oh. But they'll catch you.

MAN:

No. They won't find the doctor for several days. I saw to that.

MILLIE:

How can you be so sure?

MAN:

I do things thoroughly.

MILLIE:

What're you gonna do now?

MAN:

First, I'm going to... (PAUSE) And then, I guess I'll go south.

MUSIC:

WISTFUL, SAD, TENSE, UNDER

MILLIE:

I knew what he meant by that pause. I started to back away, slowly. I'd made a mistake by reminding him in the present. My hands went instinctively to my apron pocket for something to defend myself with. I knew there was a pencil there. It was sharp. Maybe I could scratch him or hurt him in some way with it, but when I reached for it, I felt something else instead. Something cold and hard. I was puzzled for a moment, and then I remembered. It was the shaker I'd picked up at the drive-in.

MAN:

(SLIGHTLY OFF MIKE) Stand still!

MILLIE:

And then he started moving toward me.

SFX:

HE SLOWLY WALKS TOWARDS HER, UNDER

MILLIE:

Me, with only a pencil and a shaker to defend myself with!

MAN:

It's too bad I came into that drive-in tonight.

MILLIE:

Well, why did you?

MAN:

Because I was hungry. Because I hadn't eaten for a long time.

MILLIE:

Weren't-- weren't you afraid someone would see you?

MAN:

No alarm had gone out.

MILLIE:

How'd you know?

MAN:

I knew. If only you hadn't... rolled that window down.

MILLIE:

Well, if you're sorry, why don't you let me go?

MAN:

It's too late to.

SFX:

CAR APPROACHING, UNDER

MAN:

What's that?

MUSIC:

WISTFUL VIOLIN, UNDER

MILLIE:

With a sudden movement, his arms were around me in a tight embrace! I started to scream, but suddenly, his lips closed over mine. Pushing my head back roughly, he kissed me. I could scarcely breathe, and I-- I felt the car's headlights on us like a spotlight.

OLD MAN:

Ah, just look at this view, willya? (LITTLE CHUCKLE) I'll have to do this in a picture sometime.

WOMAN:

Can't you see you're interrupting something? Come on! Drive on, will you?

OLD MAN:

Okay, okay. And in all this rain. You'd think people would have some more sense.

SFX:

CAR DRIVES OFF, FADING OUT

MILLIE:

He held me a moment longer. And when the car had gone, he released me. My pencil had fallen to the ground. I was left with only the shaker in my hand. I fingered it nervously, and then I felt the top coming off. I felt the contents spilling in my hand.

MAN:

What have you got in your hand?

MILLIE:

Nothing!

MAN:

Give it to me.

MILLIE:

No!

MAN:

(GRABS HER WRIST) Give it to me!!!

SFX:

THEY STRUGGLE, UNDER

MILLIE:

He grabbed my wrist, and pulled me toward him! We were moving to the edge of the cliff, but my other hand was free, and I threw the contents of the shaker into his face!

MAN:

(BIG GASP, YELPS IN PAIN)

SFX:

HE STAGGERS, UNDER

MUSIC:

DRAMATIC, UNDER

MAN:

(GASPS & SOBS OF PAIN, UNDER)

MILLIE:

His hands flew to his face, in an effort to clear his eyes, but I knew it was too late! The pepper had blinded him! He lunged out for me, but I stepped aside quickly, and he slipped in the mud!

MILLIE:

His hands went out to steady himself! He clawed frantically at thin air! And then I saw him falling over backwards, over the edge!

MAN:

(BLOODCURDLING SCREAM, FADING)

MUSIC:

DRAMATIC STING, THEN UNEASY CALM

MILLIE:

Then my strength gave way, and I... felt myself sinking down to the ground.

MUSIC:

DRAMATIC CLIMAX, THEN QUIET, WISTFUL, UNDER

SFX:

RAIN, UNDER

MILLIE:

I don't know how long I must have been there. But when I came to, it was raining again. I was soaked to the skin, and there was mud caked in my hair. There was no one in sight. The lights of Los Angeles stretched out in a pattern, peacefully below. And I knew that somewhere, at the foot of those hills, was Glendale. And my apartment. I rose slowly to my feet, and I started back toward the road.

SFX:

SHE WALKS SLOWLY AND UNSTEADILY

MILLIE:

Somehow, everything that had happened seemed unreal. Like a dream. Everything but the way he... kissed me. To keep me from crying out.

MUSIC:

HOPEFUL, RESOLVED, CLIMAXING IN A FINAL CHORD, THEN OUT

KEARNS:

"SUSPENSE"!

MUSIC:

"SUSPENSE" CHORD, FADING UNDER

KEN:

Presented by ROMA WINES. R-O-M-A. Selected for your pleasure from the world's greatest reserves of fine wines.

And now, it's curtain call time for tonight's "SUSPENSE" star, Judy Garland. Judy, you were grand! We hope you enjoyed your part tonight as much as we did, your performance.

JUDY:

(CATCHING HER BREATH) Thank you, Ken. As a matter of fact, playing the part of a waitress tonight was a treat. I just pictured myself knee-deep in juicy steaks.

(THEY LAUGH)

 

KEN:

That reminds me, Judy... As a waitress, you deserve at tip. And here's the best tip I know: To make Thanksgiving dinner really outstanding, serve Grand Estate California Burgundy or Sauterne. For, Grand Estate wines--presented by ROMA, America's greatest vintner--are the ultimate in wine excellence. Yes, the brilliant clarity, full fragrance, and mellow taste of Grand Estate wines please the most discriminating guests.

JUDY:

Well, I know that my guests would agree with you.

KEN:

And, Judy, there's a reason Grand Estate Burgundy and Sauterne are distinctively better. Because, for Grand Estate wines, ROMA selects only the choicest grapes. Then, the priceless skill of ROMA master vintners, necessary time, and America's finest wine-making resources guide this choice grape treasure to rich taste luxury. So, remember, when you serve Grand Estate wines, you serve the finest. The crowning achievement of vintner's skill.

JUDY:

Well, that's a real tip, Ken.

KEN:

And, so you can follow it, Judy, here, with ROMA's compliments, is your gift basket of Grand Estate wines.

JUDY:

Oh, thank you! And, while I'm giving out thanks, let me give a great big portion, with love and kisses, to my great and good friend, Bill Spier, for his magical direction, and to Elliott Lewis for playing the man so wonderfully.

KEN:

Well, thanks to you, Judy. And to Metro Goldwyn Mayer, producers of "The Yearling", for their co-operation in making you available to us tonight.

Next week, we'll have Chester Morris as star of "SUSPENSE".

JUDY:

Oh, he's one of my favourite actors! I won't miss it! Goodnight!

KEARNS:

Tonight's "SUSPENSE" play was written by Mel Dinelli and Muriel Roy Bolton. Next Thursday, same time, you will hear Chester Morris as star of...

MUSIC:

"SUSPENSE" STING, UNDER, THEN OUT

KEARNS:

"SUSPENSE"!

KEN:

Presented by the ROMA Wine Company, of Fresno, California.

MUSIC:

"SUSPENSE" THEME UP, THEN CONTINUES, UNDER

KEARNS:

Ladies and gentlemen, in the coming weeks, "SUSPENSE" will present such stars as Cary Grant, Olivia de Havilland, Alfred Hitchcock, Joseph Cotton, Roddy MacDowell, and many others. Make it a point to listen, each Thursday, to "SUSPENSE": Radio's outstanding theatre of thrills!

ANNCR:

"SUSPENSE" is broadcast from coast to coast, and to our men and women overseas, by shortwave, and through the worldwide facilities of the Armed Forces Radio Service. This is CBS, the Columbia Broadcasting System.

MUSIC:

OUT