MUSIC:

"SUSPENSE" THEME UP, THEN UNDER

VOICE:

SUSPENSE! Auto-Lite and its ninety-six thousand dealers present Miss Ida Lupino in "The Bullet", a SUSPENSE play, produced and edited by William Spier.

MUSIC:

DRAMATIC FINISH, THEN OUT

WILCOX:

Hey, Sonny! What are you doing out so late? And, holy smoke! with nothing on but a ribbon!

HAPPY:

I'm not late; I'm early!

WILCOX:

Hold it. Let's see that ribbon. Well! "1950"!

HAPPY:

Just call me "Happy"!

WILCOX:

I see; "Happy New Year", eh?

HAPPY:

That's me! By the way, what do YOU do?

WILCOX:

Oh, I sell Auto-Lite Resistor Spark Plugs.

HAPPY:

Auto-Lite Resistor Spark Plugs?

WILCOX:

You mean, you haven't heard of Auto-Lite Resistor Spark Plugs? Those perfectly perky, persistent performers that let your engine idle smoother, run better on leaner gas mixtures, save gas?

HAPPY:

Where I come from, we ride around on STARS, not CARS.

WILCOX:

Oh. Well, anyway... Auto-Lite Resistor Spark Plugs, with that exclusive built-in ten-thousand ohm Auto-Lite Resistor, have two-hundred percent greater electrode life, cut down spark plug interference with radio and television. And say, young fella, now that you've come down to Earth, you'll be using a car! So take a tip: See your friendly Auto-Lite Spark Plug dealer. And get a set of Auto-Lite Resistor Spark Plugs, long-recognized for their dependability! You're always right with Auto-Lite!

MUSIC:

"SUSPENSE" THEME UNDER

VOICE:

And now, with "The Bullet", and the performance of our star, Miss Ida Lupino as Ruth Martin, with Elliott Lewis as her husband Harry, Auto-Lite hopes once again to keep you in...

MUSIC:

KNIFE CHORD

VOICE:

SUSPENSE!

MUSIC:

TENSE HARP, TURNING INTO MENACING UNDERCURRENT, UNDER

HARRY:

(CALMLY CONTROLLING) Ruth. Turn around, Ruth.

RUTH:

(TENSE) No.

HARRY:

Turn around, Ruth. I've got the gun in my hand.

RUTH:

Please, Harry. Please!

HARRY:

I'm pressing the trigger. Will it be this time?

RUTH:

Harry, don't! Don't do this to me!

HARRY:

Will it be this time, Ruth?

RUTH:

(TENSE BREATH)

HARRY:

Will it be this time?

MUSIC:

DRAMATIC STING, THEN TENSE HARP AND MENACING, UNDER

SFX:

CROWDED "TRAIN STATION" AMBIENCE IN BG, AT [X], TURNING INTO "CITY STREET" AMBIENCE AT [XX]

RUTH:

(NARRATING) Yes, Harry. Yes, this time. This time, I'd die, and it was like drowning. Going down for the last time. Everything flooding through my mind. How, step by step, we'd come to this point. Neither one of us wanting to. From the day Harry came back from prison, meeting me in the station, pale, haggard, [X] in a suit two sizes too big, nothing left but his stupid pride. And me. Well, I suppose I was quite a shock to Harry. [XX] He looked at me so strangely all the way, as we walked back to the parking lot for the car.

SFX:

FOOTSTEPS UNDER

HARRY:

What'd you do to yourself? You're so changed.

RUTH:

For the better, I hope.

HARRY:

Just changed.

RUTH:

Now, is that being gallant?

HARRY:

Gallant?

RUTH:

When I came out of the kitchen to take over the business, Harry, while you were away, I had to change from my apron.

HARRY:

Had to dye your hair too. Had to become a real glamour-girl, huh? And that dress... Is that one of ours? How's the business going? You hardly mentioned it in your letters. Holding its own?

RUTH:

Better than that. Just about tripled our volume since you went away! Well, here we are.

HARRY:

What?

RUTH:

The car. There's the car.

HARRY:

This chromium wonder?

SFX:

AT [X], JANGLE OF KEYCHAIN, UNLOCKING CAR DOOR & OPENING IT

RUTH:

(SMILING PROUDLY) Sure! It's yours. Here's the key. [X] Go on. We can afford it!

HARRY:

Little lady really took over.

SFX:

SLAM OF CAR DOOR

HARRY:

Where's the starter?

RUTH:

Right there.

HARRY:

Oh.

SFX:

STARTS CAR, THEN STARTS DRIVING, UNDER

RUTH:

(LITTLE LAUGH) Oh, Harry, somebody had to take over when you went away. After all, dress styles are changing all the time. Don't have a chip on your shoulder.

HARRY:

Another thing... What's this "when you went away" routine, like maybe I went to China? I took a chance on my business, and I lost. So they dumped me into the hoosegow for three years. I'm not ashamed of it, so don't you--

RUTH:

Uh, you're going the wrong way, Harry.

HARRY:

Well, I guess I know the way to my own house.

RUTH:

But we live in a new house. Something really special.

SFX:

CAR STOPS

HARRY:

What goes on here?

RUTH:

What's wrong with you? I did the best I could to keep things going. There's nothing to be jealous of!

HARRY:

Jealous?

RUTH:

Oh, Harry, why are we fighting?

HARRY:

Oh, yeah. That's right.

SFX:

CAR STARTS DRIVING AGAIN, UNDER

HARRY:

(HAPPY TO GO BACK TO HIS OLD LIFE) We got nothing to fight about. I'm back in the business, and you can go back to taking care of the house and cooking...

RUTH:

No, I--

HARRY:

Keeping things looking nice...

RUTH:

No, Harry, I--

HARRY:

Letting your hair get back to the colour it used to be.

RUTH:

I can't do it.

HARRY:

Well, we'll see, baby.

RUTH:

Look, I don't want to be the boss...

HARRY:

Thanks.

RUTH:

But I can be of help to you.

HARRY:

Sure. Have a nice hot dinner waiting for me when I come home from work.

RUTH:

We can afford a cook for that now.

HARRY:

Cook? You're all the cook we need.

RUTH:

Harry... I'm not the same any more. I just can't sit home and wait for you to come and tell me what the world's all about.

HARRY:

(FIRMLY) Then you're gonna have to learn, baby. You're just going to have to learn.

MUSIC:

DRAMATIC TRANSITION, INTO TENSE & WISTFUL, UNDER. FADING OUT AT [X]

RUTH:

(NARRATING) But nothing worked out the way Harry planned it. When he found he couldn't keep me home, he put me in a corner in the office. Set out to prove he didn't need me at all. Only, three years is a long time to be away from anything. We'd new buyers. [X] New buyers didn't know him. They knew me.

BUYER:

No, this is not what I wanted, Mr. Martin.

HARRY:

Well, I'll show you something else. Got plenty o' time!

BUYER:

Can't really say that I have. Uh, didn't I see Mrs. Martin in your office when I came in today?

HARRY:

(SMILING) Oh, she's just getting things in order before she retires back to the kitchen.

BUYER:

She always knows exactly what I want. Could you send for her, please?

HARRY:

But I'm sure I can show you--

BUYER:

Would you mind?

HARRY:

No. No, I wouldn't mind.

MUSIC:

DRAMATIC, THEN TENSE UNDER. FADING OUT AT [X]

SFX:

FOOTSTEPS, UNDER AT [X], FADING INTO "GARMENT FACTORY" AMBIENCE

RUTH:

(NARRATING) One blow after another at his stupid pride! Most of the workers had never known Harry. They were used to taking their orders from me. [X] But he had to show them he was still the big shot.

SFX:

FABRIC-CUTTING MACHINE, UNDER

HARRY:

Stop that machine!

WORKER:

Huh? Oh. Yes, sir.

SFX:

OUT

HARRY:

I want these coats cut with the flare three inches longer.

WORKER:

Oh, but Mrs. Martin worked out the lot--

HARRY:

Don't tell me what MRS. Martin worked out. That sign out on the front window says "HARRY Martin".

WORKER:

Oh, yes sir, but the--

HARRY:

BUT nothing. Cut it the way I told you.

WORKER:

But these new machines Mrs. Martin installed, they-- they don't operate like that.

HARRY:

What?

WORKER:

That's-- that's why we changed over.

HARRY:

(PAUSE) I see.

WORKER:

So... Shall I do it like MRS. Martin said, sir?

HARRY:

(SEETHING) Yeah. Just like MRS. Martin said.

MUSIC:

DRAMATIC TRANSITION, TURNS WISTFUL, UNDER

RUTH:

(NARRATING) It got so we were like two strangers. Harry wouldn't even look at me any more. I think he actually began to hate me.

MUSIC:

DRAMATIC STING, UNDER, FADING OUT AT [X]

RUTH:

(NARRATING) And then, the final thing... He began finding out about George. [X] Oh, listen, I'm no angel, but...three years. I-- I'm not trying to defend myself. It's just that it's terrible to be lonely. And George came along and treated me like... like I was somebody to respect, somebody with dignity.

MUSIC:

SAD, TENSE, UNDER

RUTH:

(NARRATING) Well... then I began to realize that, when I took the car someplace, Harry's car would bob up behind me, follow for a few blocks, then disappear. I'd be shopping in a store... Suddenly, Harry's face would begin to weave in and out of the crowd, then disappear. Or, coming into the office one day, and finding Harry had put an extension on my phone. I was being stifled! I couldn't breathe any more! I didn't dare see George any more. I hardly dared phone him. So, it's like Prohibition of any kind. He began to be important. George had never really meant very much to me. But now, I started thinking he was the only thing I had to hang onto. And Harry... always playing little jokes, setting his little traps. Like the morning he left for the office early. Some business to take care of...

SFX:

CAR BACKING OUT, AT SLIGHT DISTANCE, THEN DRIVING OFF, UNDER

SFX:

LIFTS PHONE RECEIVER AT [X], THEN DIALLING

RUTH:

(NARRATING) And hearing his car back out of the garage, move down the street, thinking I was free for a few minutes. [X] Free to call George after all these days!

SFX:

PHONE RINGING, FROM CALLER'S PERSPECTIVE ... CALL ANSWERED FROM CALLER'S PERSPECTIVE

GEORGE:

(FILTER) Hello?

RUTH:

(NERVOUS) George?

GEORGE:

(FILTER) Why-- Ruth, darling, where have you been? Why haven't I heard from you?

RUTH:

Oh, George, I wanted to call--

SFX:

FRONT DOOR SUDDENLY OPENS

HARRY:

(QUICKLY, ACCUSING) George WHO?

SFX:

PHONE PUT DOWN QUICKLY

RUTH:

(LITTLE BREATH)

HARRY:

George WHO?

SFX:

FRONT DOOR CLOSES ... FOOTSTEPS, UNDER

HARRY:

What's the full name, baby?

RUTH:

I heard you leave.

HARRY:

I had the gardener take the car to the gas station. Dial George again, baby. Finish the conversation.

RUTH:

Listen! You're driving me crazy with these tricks! What's wrong with you?

HARRY:

Here's the phone.

SFX:

MOVES PHONE CLOSER TO HER

HARRY:

Dial him again!

RUTH:

Dial WHO?

HARRY:

Who were you talking to?

RUTH:

The Beaver Knitting Mill. George Baker. He's one of their salesmen!

HARRY:

Why did you hang up so quick?

RUTH:

You startled me.

SFX:

HARRY LIFTS RECEIVER, AND DIALS, UNDER

RUTH:

What are you doing?

HARRY:

Of course, three years IS a long time.

SFX:

PHONE RINGING, FROM CALLER'S PERSPECTIVE, UNDER

HARRY:

But three years ago, the Beaver Knitting Mill never opened before nine.

RUTH:

Harry...

HARRY:

You must have dialled wrong, baby. There's no answer.

SFX:

HANGS UP PHONE

RUTH:

Sneaking around behind my back! Spying on me! Checking on my phone calls! Harry, I'm not going on this way! I'm not gonna let you drive me crazy!

HARRY:

What do you think you're gonna do about it?

RUTH:

(PAUSE) I want a divorce.

HARRY:

(PAUSE. CRUSHED) You mean that?

RUTH:

Yes.

HARRY:

He-- he must be quite a guy.

RUTH:

Listen to me--

HARRY:

No. (PAUSE) You listen, lady. Okay. It's a deal. You'll get your divorce, but on MY terms, lady. All the way down the line.

RUTH:

What kind of terms?

HARRY:

I know all about the laws in this State. Fifty-fifty on everything. But it's not gonna be that way with us. You give me a release, giving me the whole business, and... And you're free as the air!

RUTH:

Give you the business? But I built the business. There was nothing left when you went to prison.

HARRY:

That's my deal, kiddo.

RUTH:

My whole life is tied up with that business. I worked--

HARRY:

(FIRM) That's the deal.

RUTH:

Why are you doing it, Harry?

HARRY:

Because whoever this bum is--

RUTH:

There's no one!

HARRY:

WHOEVER he is. (PAUSE) I got a hunch, when he hears you're not bringing half the business as a dowry, his great love is...just gonna shrivel up and die.

RUTH:

That's what you believe, is it?

HARRY:

Exactly.

RUTH:

All right, Harry. You draw up the papers.

MUSIC:

DRAMATIC, OMINOUS, THEN FADES OUT

GEORGE:

Ruth, I-- I just don't know what to say.

RUTH:

But-- but to be FREE. Free to be with you, darling!

GEORGE:

Oh, what kind of freedom is it when you have to grub for a buck? That kind of freedom, you can feed to the pigeons!

RUTH:

George, don't talk like that!

GEORGE:

We're not a couple of nineteen-year-old kids, running off on a motorcycle. If you give up your business, how are we supposed to live?

RUTH:

That's the only way he'll let me go.

GEORGE:

Then, don't go.

RUTH:

(BITTER LITTLE LAUGH) He was right. What he said about you was right.

GEORGE:

If he said I didn't care for you... very, very much... then he was wrong. But if he said I like it nice, with enough money coming in to make it comfy, AND HOW he was right.

RUTH:

SHUT UP!

SFX:

SHE SLAPS HIM ... SHE STARTS STORMING AWAY, THEN STOPS WHEN HE SPEAKS

GEORGE:

What was that for? Because I'm honest with you?

SFX:

SHE STORMS OUT, AND OPENS DOOR

GEORGE:

(OFF-MIKE, CALMLY) Aren't you even going to say goodbye?

SFX:

SHE PAUSES, THEN CLOSES DOOR. FOOTSTEPS SLOWLY RETURN, UNDER

RUTH:

You know I can't say goodbye. Not now. I can't be alone. I've gotta have SOMEBODY.

GEORGE:

Well, it isn't me, baby. It never was.

RUTH:

(DEEP BREATHS)

GEORGE:

(EMBRACING HER) Aw, baby...

RUTH:

Will I see you tonight?

GEORGE:

(PAINED) No, I--

RUTH:

Will you call me? I-- I feel, I dunno, lost. I-- I'll be at the office tonight. I'll be there alone, waiting for your call. George? Will you call me?

GEORGE:

All right, Ruth. Be there at ten. I'll call you.

MUSIC:

DRAMATIC, SWEEPING, TENSE, THEN FADES INTO WISTFUL VIOLIN, UNDER

RUTH:

(NARRATING) He wasn't that important to me. I wanted affection and love, from SOMEBODY... so much. George would be calling at the office at ten o'clock. It seemed that's all there was for me. I walked. I sat in the park. I waited. A telephone call from George. When I got to the building, I looked up at our windows, dark. Not a light on the whole floor.

MUSIC:

FADES OUT

SFX:

FOOTSTEPS, UNDER, STOPPING AT [X]

RUTH:

When I got to the outer door of the office, I stopped [X] and listened. Not a sound.

SFX:

DOOR UNLOCKED, AND OPENS, UNDER ... CLICK OF LIGHTSWITCH AT [X] ... DOOR CLOSES AT [XX]

RUTH:

I went inside. [X] Found the lightswitch.

HARRY:

Ah, I've been [XX] waiting for you, Ruth. (YAWNING) Where have you been?

SFX:

SHE WALKS IN

RUTH:

Harry. Why were you waiting here in the dark?

HARRY:

(STRETCHING) Oh, I tried to take a snooze. Just stretched out here for a minute. (A BIT WISTFUL) I haven't been sleeping much lately.

RUTH:

Yes, I know.

HARRY:

You neither, I bet, huh?

RUTH:

No. Not much.

SFX:

HE STANDS UP, WALKS TO HER DESK, PICKS UP DOCUMENT, UNDER

HARRY:

(FADING OFF-MIKE) Uh, I, uh, had the paper. I left it here on your desk.

RUTH:

Paper?

SFX:

HE WALKS BACK TO HER WITH THE DOCUMENT, UNDER

HARRY:

Yeah, it's all very legal. You relinquish all claims to the business, then... I bow outta your life.

RUTH:

No.

SFX:

RUSTLE OF DOCUMENT

HARRY:

These lawyers, they can find w-- word-- (A DESPERATE HOPE) What'd you say?

RUTH:

I've changed my mind. I'm not gonna sign it.

HARRY:

It's the only way I'll give you a divorce.

RUTH:

Then we'll just have to forget about the divorce.

HARRY:

(FIRMLY) I want you to sign this paper, Ruth.

RUTH:

I won't, Harry. And I don't want to argue about it.

SFX:

SHE STARTS WALKING QUICKLY TO DOOR, BUT STOPS AT

HARRY:

Wait.

RUTH:

Yes?

HARRY:

I know who he is, baby.

RUTH:

What are you talking about?

HARRY:

I'm talking about George Groves.

RUTH:

Groves? George Groves?

HARRY:

You've been giving him money.

RUTH:

That's a lie.

SFX:

HE PEELS OFF DEPOSIT SLIP, PUTS IT ON DESK IN FRONT OF HER

HARRY:

I found this deposit slip, weeks ago. In YOUR writing, made out to his bank account, three-hundred dollars!

RUTH:

Lies!

SFX:

AT EACH [X], HE PEELS OFF ANOTHER DEPOSIT SLIP, PUTS IT ON DESK IN FRONT OF HER

HARRY:

And THIS [X] deposit slip, two-hundred dollars! And THIS ONE [X], two-hundred and fifty dollars! Who is he?! You're not getting outta here until you tell me who he is!

RUTH:

Harry, I... I wanted to tell you, but I-- I just couldn't.

HARRY:

Who is he?!

RUTH:

He's... He's a gambler.

HARRY:

Gambler? (PAUSE) Who are you kidding?

RUTH:

You asked me. So, I told you. Now, I'm going.

SFX:

SHE STARTS FOR THE DOOR, THEN STOPS AT

HARRY:

W-- wait. That doesn't make sense. (GENUINELY CONCERNED FOR HER) You-- you never gambled.

RUTH:

Well, I-- I was like a lost dog. Nothing to do, no one to turn to. I lost that money, and quite a bit more.

HARRY:

(TENDERLY) Ruth, if that were true...

RUTH:

It IS true.

SFX:

DISTANT STEEPLE CLOCK STARTS CHIMING TEN O'CLOCK, UNDER

HARRY:

There isn't any other man?

RUTH:

There never was. (TO HERSELF) Ten o'clock, I...

HARRY:

George Groves, a gambler... Wh-- (GIVES HER THE DEPOSIT SLIPS. SMILING, LOVINGLY) Here, you shouldn't keep these things lyin' around, baby.

RUTH:

I-- I've got to go, Harry.

SFX:

CHIMES STOP AT [X]

HARRY:

Here, Ruth... Since I got off that train a month ago, I been acting like... like I dunno what. [X] D'you think we've got any chance to start all over again? Right from the beginning, baby?

RUTH:

I don't know, Harry. I... I can't think straight.
L-- let's go someplace. L-- let's not talk about it here.

HARRY:

Nah, you're right. Here's where all the trouble started. Let's get out in the air.

RUTH:

Yes, come on.

SFX:

THEY START WALKING TO DOOR, UNDER

HARRY:

(SMILING) A gambler... I bet he really took you to the cleaners. Well, do ya know somethin'? I'm not sore at him.

SFX:

HE OPENS DOOR

HARRY:

Not a bit. Uh, wait. Lemme turn out the light.

RUTH:

Well, hurry.

SFX:

CLICK OF LIGHTSWITCH ... A COUPLE OF STEPS

HARRY:

Okay. Now, let's g--

SFX:

PHONE RINGING, SLIGHTLY OFF, UNDER

HARRY:

Now, your phone.

RUTH:

I-- I don't understand.

HARRY:

(NOT AT ALL SUSPICIOUS) Who'd be calling at THIS hour?

RUTH:

Nobody. It must be a wrong number. Come on!

HARRY:

Well, whaddaya mean, "come on"? At least answer it. Oh, never mind; I'll take it.

SFX:

HE RUSHES TO ANSWER PHONE, STOPPING AT

RUTH:

No, I--

HARRY:

What?

RUTH:

Well, it's on MY line.

HARRY:

(GRIM) Then, YOU answer it.

RUTH:

Why are you going to your extension?

HARRY:

Answer the phone, Ruth!

RUTH:

You're starting it all over again!

HARRY:

I said, answer the phone. (NO RESPONSE. TENSE) Answer the phone. (NO RESPONSE. MORE TENSE) Ruth, answer the phone.

SFX:

PHONE STOPS RINGING

RUTH:

(DEEP BREATHS)

SFX:

SHE WALKS TO HIM, UNDER

HARRY:

You almost had me believing your fairy tale. You almost made it.

RUTH:

Harry, listen to me--

HARRY:

All I want you to do is sign this release, and clear out!

RUTH:

No!

HARRY:

You heard what I said, Ruth!

RUTH:

I'll never sign it.

HARRY:

Okay.

SFX:

HE WALKS QUICKLY TO HIS DESK, OPENS A DRAWER

HARRY:

Just one last trick, baby.

SFX:

TAKES GUN OUT OF DRAWER, CLOSES DRAWER

HARRY:

Look what I got in this drawer.

RUTH:

(DEEP BREATHS) Wh--

HARRY:

(TENSE) I asked ya to look!

RUTH:

Harry... Put away that gun.

SFX:

HE SLOWLY WALKS TOWARDS HER

HARRY:

I want you to get a good look at it. It's called a war souvenir. Only, if you don't sign this release, you know what, baby?

RUTH:

(BARELY AUDIBLE) No.

HARRY:

Someday, I'm gonna kill you with this gun.

RUTH:

(GASP) No! No!!!

HARRY:

Someday, I'm gonna say to you, Ruthie... I'll give you three seconds to sign this release. One...

RUTH:

Harry!

HARRY:

Two...

RUTH:

Don't, Harry!

HARRY:

Three...

RUTH:

NO!!! (SOBBING)

SFX:

CLICK OF EMPTY GUN

HARRY:

(CALMLY) What's the matter, Ruth?

RUTH:

(SOBBING) You tried to kill me!

HARRY:

Don't be silly. I told you it was a trick. The gun's harmless.

SFX:

CLICK OF GUN CHAMBER BEING OPENED

HARRY:

It's unloaded. See?

RUTH:

Why did you do that to me? Why?

SFX:

CLICK OF GUN CHAMBER BEING CLOSED

HARRY:

(SATISFIED MUTTER) Yeah.

RUTH:

Put it away! (SOBS)

HARRY:

Isn't that strange. You know it's not loaded, and you're still afraid.

RUTH:

(SOBBING) PUT IT AWAY!

HARRY:

That's the beauty of the trick, Ruth. That's why, someday, you're gonna break down and sign that release.

RUTH:

(CRIES SOFTLY, UNDER)

MUSIC:

SOFT, OMINOUS, TENSE, UNDER

HARRY:

(CLOSE) You see, you'll never know just when it will be loaded. (PAUSE) You'll never know, Ruth.

MUSIC:

DRAMATIC, TO A HANGING STING, THEN SOFTLY UNDER

VOICE:

Auto-Lite is bringing you "The Bullet", starring Ida Lupino, with Elliott Lewis, in Radio's outstanding theatre of thrills...SUSPENSE!

MUSIC:

DRAMATIC STING, THEN OUT

WILCOX:

Hey, Happy! Happy New Year!

HAPPY:

Yes, sir?

WILCOX:

How about showing me what's in store for 1950? Sort of a sneak preview?

HAPPY:

Uh-uh. Wouldn't be fair.

WILCOX:

Aw, look, I only want to see how Auto-Lite Resistor Spark Plugs'll make out. You know, millions and millions have been sold, to date.

HAPPY:

Well... I guess I can go that far. Now, let's see. My crystal ball says you'll do okay with Auto-Lite Resistor Spark Plugs. You'll sell millions more!

WILCOX:

Wonderful, wonderful! Why, the roads will be rippling with motorists made merry by the bountiful benefits of these mighty marvels! The smoother engine idle, the better performance on leaner gas mixtures, the gas-savings. Then, too, they'll get two-hundred percent longer electrode life from Auto-Lite Resistor Spark Plugs, and reduced spark plug interference with radio and television reception, built right in to every Auto-Lite Resistor Spark Plug.

But, say, young fella! Tell me about Auto-Lite Bullseye Head Lights! Will they be finding the way for more and more cars, next year?

HAPPY:

Hey... You REALLY want a happy and prosperous New Year, don'tcha?

WILCOX:

You bet! And it will be a year of happier driving for motorists who make it an Auto-Lite year! Because you're always right with Auto-Lite!

MUSIC:

"SUSPENSE" THEME, UNDER

VOICE:

And now, Auto-Lite brings back to our Hollywood sound stage, our star Ida Lupino, with Elliott Lewis, in "The Bullet". A tale well-calculated to keep you in...

MUSIC:

KNIFE CHORD, UNDER

VOICE:

SUSPENSE!

MUSIC:

TENSE HARP, TURNING OMINOUS, UNDER. FADES OUT AT [X]

RUTH:

(NARRATING) That night, I made up my bed on the couch in the den. Just hearing him walk, and knowing he was in the house, kept me awake. I locked the door, and I lay there. Then I must have dozed off, in spite of myself, cause I came awake with a sudden violence. Fresh air was fanning my face. [X] That couldn't be. The window had been shut. But now, the window was open.

(GASP) Harry!

HARRY:

(CLOSE, COLD, CALM) If you don't sign the release, someday, I'm gonna give you three seconds. One...

RUTH:

Harry!

HARRY:

Two...

RUTH:

Don't shoot me, Harry! (GASPING)

HARRY:

(ALMOST PLEASANT) Shoot you? You must have had a bad dream.

RUTH:

(GASPS, SOBS)

HARRY:

I don't even have the gun.

SFX:

HE SLOWLY WALKS AWAY, UNDER

RUTH:

(SOBBING) Oh, no...

SFX:

DOOR CLOSES

MUSIC:

DRAMATIC, THEN FADES OUT UNDER NEXT LINE

GEORGE:

(FILTER, ON PHONE) Threatening to kill you?

RUTH:

Yes, he has a gun. George, I'm coming to you. You've got to--

GEORGE:

(FIRMLY) No!

RUTH:

But I--

GEORGE:

If he follows you here, and kills the both of us, doesn't that make everything just dandy? Look, Ruth, do me a favour, will you? Kinda forget this address from now on.

RUTH:

But, George! Don't say that!

GEORGE:

I'm sorry!

RUTH:

But you've GOT to help me! What can I do?

GEORGE:

You can go to the police.

RUTH:

Police?

GEORGE:

You know, threatening somebody's life is slightly illegal.

RUTH:

(PAUSE) Yes. Yes, the police...

MUSIC:

OMINOUS, YET SLIGHTLY HOPEFUL, UNDER

RUTH:

Yes, of course! They'll help me! Oh, yes, George, that's very smart of you. They'll help me!

MUSIC:

DRAMATIC, THEN TURNS WEARY, UNDER

SFX:

FOOTSTEPS UNDER, STARTING AT [X]

RUTH:

(NARRATING) I went to the police. Told them what Harry was trying to do. They instructed one of their men to go with me and investigate. When we reached the lobby of the office building, [X] I couldn't go on. I was afraid to face Harry when the policeman would find the gun.

SFX:

FOOTSTEPS OUT

COP:

What'sa matter, Mrs. Martin?

RUTH:

Well, I... I think I'd better wait down here.

COP:

Ah, you don't need to be afraid. Come on.

RUTH:

Please. It's on the third floor, Officer. You'll... see the name on the reception door, the minute you get off the elevator. Please, do you mind?

COP:

Oh, you're really scared, aren't you? All right, all right. I'll be down soon enough.

SFX:

COP WALKS AWAY

MUSIC:

TENSE, THEN FADES INTO SLIGHTLY RELIEVED, THEN WISTFUL UNDER, FADING OUT AT END

RUTH:

(NARRATING) I began to feel a sense of relief. Harry wouldn't terrorize me any longer. Soon, the officer would bring him down. They'd be off to Police Headquarters, and then I'd swear out a complaint. By the time he got out of jail, I would have started proceedings of my own to divorce him. (PAUSE) And then I... started to cry at that. I don't know why, just standing there and waiting. And then, I began to wonder what they were doing up there so long. More than a half-hour had gone by.

SFX:

ELEVATOR DOOR OPENS ... PAUSE ... CLOSES AT [X]

MUSIC:

OMINOUS, UNDER

RUTH:

(NARRATING) When the elevator door opened, I [X] expected to see Harry being pushed along, handcuffed.

SFX:

FOOTSTEPS, UNDER

MUSIC:

FADES OUT

RUTH:

(NARRATING) But the officer was all by himself. And he was smiling.

SFX:

FOOTSTEPS OUT

COP:

Well, now, I just had a nice chat with your husband. You've been worrying for nothing, Mrs. Martin.

RUTH:

But the gun--!

COP:

Oh, sure, I saw the gun. It's just a war souvenir. It's not even loaded. He doesn't have ammunition for it.

RUTH:

But someday, it WILL be loaded! Someday, he's going to kill me! He said that!

COP:

Kill you? Why, he's in love with you, crazy about you. Now, he feels pretty bad about this. He did it just as a... you know, just as a funny little jo--

RUTH:

No, no, I tell you! He--

COP:

He says if you're gonna go and get scared, he'll never do it again.

RUTH:

But, listen to me--!

COP:

Now, look. Why don't you go on upstairs? He wants to apologize for scaring you like this. He's a very nice guy.

RUTH:

I tell you, he's going to kill me! I'm not--!

COP:

You're just upset. Like he said, you been working too hard. You oughtta rest up.

RUTH:

I don't care WHAT you think! I want him arrested. For threatening me with a deadly weapon!

COP:

An empty gun. That's not a deadly weapon.

RUTH:

Now, listen to me--!

COP:

(FIRMLY) No, you listen to me. Even if I wanted to, there's nothing I could do. As long as that gun is empty, it's not a deadly weapon, and we can't touch him. In this State, that's the law, Mrs. Martin. Go ask a lawyer about it. (FADING OUT) Anybody who knows the law knows that.

LAWYER:

(FADING IN) It's not a deadly weapon; that's that, I'm afraid. If we can actually PROVE, Mrs. Martin, that your husband wanted to kill you, then you could... put him away for years.

RUTH:

For years!

LAWYER:

That's right. But he can't hurt you with an empty gun. And as long as that gun IS empty, well... we-- we can't touch him. In this State, that's the law.

MUSIC:

DRAMATIC, BUILDING, THEN TENSE & SOFT, UNDER ... FADES OUT AT [X]

RUTH:

(NARRATING) So there was nothing I could do. Nothing. Until there was a bullet in the gun, I could do nothing to him. But then, the answer came to me. [X] It was so simple! So obvious all the time! (PAUSE) What would happen if I put the bullet in the gun?

MUSIC:

OMINOUS, UNDER

SFX:

FOOTSTEPS, UNDER, STARTING AT [X], THEN OUT ... DESK DRAWER OPENED AT [XX], AND GUN REMOVED

RUTH:

(NARRATING) It was late, Saturday afternoon. The offices were closed. [X] I went to the desk where he kept the gun. [XX] I found the calibre marked alongside the barrel. Thirty-one point-six.

SFX:

GUN RETURNED TO DRAWER, AND DRAWER CLOSED, UNDER

RUTH:

(NARRATING) I put the gun back, and closed the drawer. My heart was pounding. I kept saying it all the way to the gun shop. Thirty-one point-six. (FADING OUT) Thirty-one point-six. Thirty-one point-six.

CLERK:

(FADING IN) Thirty-one point-six? That must be a foreign make. Don't have any bullets of that calibre.

RUTH:

Well... Do you know any place that DOES carry them?

CLERK:

No... Not unless you wrote to maybe one of the big outfits back east.

RUTH:

But that would take so long!

CLERK:

Of course, a thirty-two shell would work just as well. If you weren't so fussy.

RUTH:

No. That would be fine. I'm not at all fussy.

MUSIC:

DRAMATIC, THEN TURNS QUIET, UNDER

RUTH:

(NARRATING) I went back to the office. I took out his gun, broke it open.

SFX:

CLICK OF GUN CHAMBER BEING OPENED

RUTH:

(NARRATING) And I opened my purse, took the bullets out. Years in prison, that's what the lawyer said. Well, it would serve him right, after what he'd made me go through.

SFX:

GUN BEING LOADED, UNDER

RUTH:

I forced the bullets inside the gun, then closed it.

SFX:

CLICK OF GUN CHAMBER BEING CLOSED

RUTH:

Now, it was a deadly weapon. I put the gun back in the drawer.

SFX:

PUTS GUN BACK INTO DRAWER, AND CLOSES DRAWER

RUTH:

I went to my desk to call the police.

SFX:

PICKS UP PHONE RECEIVER, AND DIALS, UNDER ... PHONE RINGING, FROM CALLER'S PERSPECTIVE, AT [X]

RUTH:

Now, they'd see the gun for themselves. Now, they'd see Harry planned to kill me. Years in prison. [X] Yes, that's what I wanted him to get!

SFX:

CALL ANSWERED, FROM CALLER'S PERSPECIVE

DESK:

(FILTER) Police Headquarters.

RUTH:

This is Mrs. Martin. My husband has just threatened me with a loaded gun, and I--

DESK:

(FILTER) Uh, just a moment, Mrs. Martin.

SFX:

DOOR OPENS

DESK:

(FILTER) I'll connect you with Sergeant Lewis.

RUTH:

Harry...!

SFX:

HANGS UP PHONE

MUSIC:

SUDDEN DRAMATIC STING

HARRY:

(OFF-MIKE, OMINOUSLY CALM) Calling George, Ruth?

SFX:

SLOW FOOTSTEPS APPROACHING, UNDER

RUTH:

(GASP. TRYING TO BE TOUGH) You think you're so clever, don't you?

HARRY:

(APPROACHING) No, I'm not very clever. (PAUSE) Thought I'd take a ride in the country. Thought it would relax me. (TIRED) Nothing seems to relax me any more. (PAUSE, STILL SLOWLY WALKING) Everything going to pot around here.

SFX:

OPENS DESK DRAWER, AND QUIETLY TAKES OUT GUN

RUTH:

I'll be going.

HARRY:

Still not interested in this release, huh?

RUTH:

I've told you a million times--

HARRY:

(TIRED) Yeah, yeah.

RUTH:

Well, I'll... see you later.

SFX:

SHE STARTS TO WALK AWAY, THEN STOPS AT

HARRY:

(CALMLY. IT'S A GAME TO HIM) What's your rush? If you're not interested in the release, then maybe you might be interested in this souvenir.

RUTH:

Harry...

HARRY:

Turn around and look at it, Ruth. It's part o' the little trick, you know.

RUTH:

No...

HARRY:

I said, turn around.

RUTH:

Oh! (GASPING)

HARRY:

Isn't it remarkable? Even after all this time, it still fills you with terror.

RUTH:

Put the gun down, Harry!

HARRY:

Someday, it's going to be like I always said.

RUTH:

Don't start that again!

HARRY:

Someday, I'm gonna say, Ruth...

RUTH:

(GASPING, CRYING)

HARRY:

I'll give you three seconds to sign that release. One...

RUTH:

(SOBBING) No!

HARRY:

Two...

RUTH:

No!

HARRY:

Three.

RUTH:

NO, DON'T SHOOT! I'LL SIGN IT, I'LL SIGN IT! (SOBBING)

HARRY:

All right, go on.

RUTH:

But put the gun down on the desk!

HARRY:

First sign it, Ruth. Here's the pen. Sign it.

SFX:

TOSSES PEN ON DESK

RUTH:

(SOBBING) All right, all right!

SFX:

SCRIBBLE OF PEN ON PAPER

RUTH:

There.

SFX:

HANDS HIM PAPER AND PEN

RUTH:

There. Now, please put down the gun.

HARRY:

Yeah, all right.

SFX:

PUTS GUN ON DESK

HARRY:

So. I finally wore ya down.

SFX:

RUTH GRABS GUN FROM DESK

RUTH:

Now... I've got the gun!

HARRY:

(LAUGHING) Whatta you think you're gonna do with it?

RUTH:

(FAST) There's something you don't know, Harry. That should interest you very much. This gun isn't empty any more.

HARRY:

(VERY QUIET, HORRIFIED) Good lord!

RUTH:

Now, it's loaded!

HARRY:

So that's what you were doing in the sporting goods shop.

RUTH:

You've followed me everywhere, haven't you?

HARRY:

Yeah. (SIMPLY) I was in love.

RUTH:

The gun is loaded, Harry. So give me back the paper.

HARRY:

(CALMLY) Sorry, Ruth. Not this.

RUTH:

Harry... If you don't give me back the release, I'm gonna count three. Just like you, remember? And then I'm gonna pull the trigger. Only, this time, it won't just click! So, give me back the paper! (NO RESPONSE) All right. One...

SFX:

HE STARTS WALKING SLOWLY TOWARDS HER, UNDER

RUTH:

I tell you, there are bullets in this gun!

HARRY:

(TRYING TO BE CALM) Let me have it, Ruth.

RUTH:

Give me the paper!

HARRY:

Give me the gun, Ruth.

RUTH:

(STARTING TO CRY) I mean it, Harry! I'll kill you!

HARRY:

Ruth... (WITH A TREMBLE IN HIS VOICE) Ruth...

RUTH:

(SOBS) I can't. I can't hurt you any more. I can't!

SFX:

DROPS GUN ON FLOOR

RUTH:

(SOBBING)

HARRY:

(EMBRACING HER. CLOSE & TENDER) Here, here, stop the crying.

RUTH:

(SOBBING)

HARRY:

(TENDER & PASSIONATE) Ruthie, baby. If you want the guy, you can have him. And your share o' the business too. The whole works if you want it.

RUTH:

I never wanted anyone but you, Harry. (CRIES, UNDER)

HARRY:

I musta been crazy, the things I been doing-- Like a crazy dream, like it wasn't really me. Could ya ever understand what went on inside me? Could ya TRY to understand? (DEEPLY TENDER) Do ya think ya could, Ruth?

RUTH:

Yes, I could try.

HARRY:

(TRYING TO COAX A LITTLE SMILE FROM HER) Baby, baby. Hey, hey, didja hear what I said? Don't cry.

RUTH:

(SHE CRIES HARDER)

HARRY:

Please, don't cry.

RUTH:

(SOBBING) Aw, let me, Harry. Please let me. (SOBS, FADING UNDER MUSIC)

MUSIC:

UP, TO A FINISH

VOICE:

"SUSPENSE"! Presented by Auto-Lite. Tonight's star: Ida Lupino, with Elliott Lewis.

HAPPY:

So long, Mr. Wilcox! See ya in two days! Officially.

WILCOX:

Bye, young fella! And, Happy-- Oh. No point in my wishing HIM Happy New Year. But to you folks listening, let me and Auto-Lite's ninety-six thousand dealers extend hearty wishes for a very prosperous 1950. From Auto-Lite, makers of Auto-Lite Resistor Spark Plugs, and over four-hundred other products. For cars, trucks, planes, and boats, in twenty-eight plants, coast to coast. These include complete electrical systems, used as original equipment on many makes of America's cars. Batteries, spark plugs, generators, coils, distributors, starting motors, and bullseye sealed beam headlights. All engineered to fit together perfectly, work together perfectly, because they're a perfect team. So, don't accept electrical parts "supposed to be as good". Ask for, and insist on, Auto-Lite Original Factory Parts, at your neighbourhood service station, car dealer, garage, or repair shop. Remember, you're always right with Auto-Lite!

MUSIC:

MAJESTIC TAG

WILCOX:

Next Thursday, for "SUSPENSE", Danny Kaye will be our star. The play is called "I Never Met the Dead Man". And it is, as we say...

VOICE:

A tale well-calculated to keep you in...

MUSIC:

KNIFE CHORD

VOICE:

SUSPENSE!

MUSIC:

"SUSPENSE" THEME, UNDER

WILCOX:

Tonight's "SUSPENSE" play was produced and edited by William Spier, and directed by Norman MacDonnell. Music for "Suspense" is composed by Lucien Moraweck, and conducted by Lud Gluskin. "The Bullet" is an original radio play by Larry Marcus. Ida Lupino appeared through the courtesy of Filmmakers Incorporated, producers of "Never Fear", soon to be released.

In the coming weeks, you will hear such stars as Robert Taylor, William Powell, and Ozzie and Harriet Nelson. And don't forget, next Thursday, same time, Auto-Lite will present "SUSPENSE", starring Danny Kaye.

MUSIC:

FADES OUT

SFX:

PHONE RINGS, AND IS ANSWERED

OPERATOR:

(FILTER) You can buy Auto-Lite Resistor or regular Spark Plugs, Auto-Lite Sta-Ful Batteries, Auto-Lite electrical parts, at your neighbourhood Auto-Lite dealers. Switch to Auto-Lite. Goodnight!

MUSIC:

"SUSPENSE" THEME UP, UNDER

CBS:

This is CBS, the Columbia Broadcasting System.

MUSIC:

CONTINUES, THEN FADES OUT