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Last Night

Suspense

Last Night

June 15 1943



CAST:

NARRATOR

ANNOUNCER (1 line)


JACKIE BLAINE

GIL BLAINE

LEONA

KARMEN

MISS ROBLES

MARSH

MRS. BURROUGHS

WARD

OFFICER




MUSIC: THEME ... KNIFE CHORD ... THEN IN BG--


NARRATOR: "Suspense."


MUSIC: THEME ... FILLS A PAUSE ... THEN BEHIND NARRATOR--


NARRATOR: This is "The Man in Black," here again to introduce Columbia's program, "Suspense." Heading our Hollywood cast is a young lady known simply as Margo, whose talent for the art of suspense has been heard before on this series. Tonight, Margo, using the name of Jacqueline Blaine, tells of strange happenings on a dude ranch, including the hurried and unexplained departure of an important guest. Appearing with Margo is Mr. Kent Smith, a newcomer to our microphone, as Gil Blaine, a young man forced by unrelenting circumstances into many odd and mysterious actions. Margo will soon be seen in "Behind the Rising Sun" and Kent Smith is currently appearing in "This Land Is Mine," both RKO Radio productions. The story by Cornell Woolrich called "Last Night" is tonight's tale of suspense.


If you have been with us on these Tuesday nights, you will know that "Suspense" is compounded of mystery, and suspicion, and dangerous adventure. In this series are tales calculated to intrigue you, stir your nerves; to offer you a precarious situation, and then withhold the solution until the last possible moment. And so it is -- with "Last Night," and the performances of Margo and Kent Smith -- we again hope to keep you in--


MUSIC: KNIFE CHORD 


NARRATOR: --suspense.


MUSIC: FOR AN INTRODUCTION ... THEN IN BG--


LEONA: (CALLS) Miz Blaine? Miz Blaine? It's late! Ain't you figgerin' on gittin' up at all?!


JACKIE: (WAKES) Huh? Oh. Oh, yes. Ohhh. (CALLS) I'll be down in a minute, Leona! (EXHALES; QUIETLY) Go 'way now.


MUSIC: UP, TO FILL A SLIGHT PAUSE ... THEN IN BG--


JACKIE: (NARRATES) I lay there, looking up at the ceiling. Strange, I - I hadn't slept well last night. All night I had tossed and turned. Worry -- that's what it was. Worry. (EXHALES) The weekend was over and Gil and I hadn't raised the twenty-five hundred dollars. We were right back where we started from: stuck here in the Hudson Valley with our dude ranch that wasn't paying expenses, and the debts piling up like new snow.


SOUND: HISS! OF SHOWER, FROM OFF


JACKIE: (NARRATES) That was Gil in the shower. I lay still and listened to the hiss of the water. Poor Gil. It had been a tough weekend for him: trying to be nice to Mr. Burroughs; neglecting the other guests to play up to him, flattering him, agreeing with everything he said. What was the use? I knew he'd never lend us the money. I knew it from the first. I never even wanted to invite him and his secretary up, but Gil had pinned his hopes on it. He'd worked so hard. Heh! "Worked." Funny word to apply to it. Maybe if Gil had done some real work, now and then, instead--


MUSIC: OUT WITH--


SOUND: BATHROOM DOOR OPENS


GIL: Morning, Jackie.


JACKIE: Morning. Well-- (EXHALES) How did you make out? How did you make out with Mr. Burroughs? (NO ANSWER) Gil, I'm talking to you. Is he still here?


GIL: Who?


JACKIE: Mr. Burroughs.


GIL: Oh, no; he left.


JACKIE: Well, I'm glad I didn't have to say goodbye to him. I got pretty tired of being nice to him. Didn't you?


GIL: Yeah.


JACKIE: Took the eight o'clock train?


GIL: Eight o'clock? He took the milk train.


JACKIE: The milk train--? How do you know?


GIL: Well, I drove him to the station; that's how I know.


JACKIE: Well, what were you doing up at that hour?


GIL: Oh, I - I hadn't come to bed yet, that's all.


JACKIE: But what got into him? The milk train. Why, that hits here about four-thirty in the morning, doesn't it?


GIL: About.


JACKIE: Well, I can't get it into my head why they should bolt off like that.


GIL: They? He went alone. His secretary's still here.


JACKIE: You mean he - he left without Marsh?


GIL: Yeah. Marsh was up in his room sleeping at the time. I guess Burroughs didn't want to wait for him.


JACKIE: He went off and left his secretary behind? Well, now - that's the strangest thing I ever heard of. Why did he bring him in the first place? (REALIZES) You - you had a row with him, Gil. He turned you down and you - you let it get the best of you.


GIL: I did not!


JACKIE: That's why he suddenly decided to leave like that.


GIL: I did not, I tell you! Why should I say I didn't if I did?


JACKIE: (SIGHS) I don't know. (EXHALES) Everything is so mixed up. (CHANGES SUBJECT) Gil dear? Want to toss me my dressing gown? It's on the chair there.


GIL: Oh, here you are, honey.


JACKIE: (YAWNS)


GIL: Jackie?


JACKIE: Yes?


GIL: Jackie, I got it out of him.


MUSIC: UNEASY ACCENT ... THEN IN BG


JACKIE: What?


GIL: I got the twenty-five hundred.


MUSIC: BIG ACCENT ... THEN OUT


JACKIE: (DISBELIEF) Gil--?!


GIL: He, uh-- He finally gave in when I was driving him to the station.


JACKIE: You got all of it?!


GIL: The works.


JACKIE: (EXHALES) I didn't think he would. I mean, the way he was acting.


GIL: Yes, I know, I know, but, er-- He began to soften up after you'd gone to bed. When I asked him, he came through.


JACKIE: But, Gil, you mean--? You mean he carries that much cash around with him--?


GIL: Well, there it is, isn't it?


JACKIE: That's funny. You know, he came to me only yesterday and asked me where he could cash a twenty-five dollar check.


GIL: Ohhhh, yes; I know about that. I cashed it for him.


JACKIE: But - the twenty-five hundred?


GIL: Well, he - he had that all ready for deposit when he got back to town Monday. He couldn't get it to the bank on time on Friday.


JACKIE: Oh.


GIL: He - he didn't want to touch it, but when I told him I'd rather have cash than a check-- Well, he just went the whole way and accommodated me.


JACKIE: Well, uh, if there wasn't any friction, why did he leave at such an unearthly hour?


GIL: I don't know.


JACKIE: But, Gil--?


GIL: And I don't care! Oh, look, baby, we got the money. Let's just be thankful--


JACKIE: Well, of course I'm thankful. It's just that--


SOUND: KNOCK ON BEDROOM DOOR


LEONA: (CALLS) Miz Blaine? Miz Blaine? 


JACKIE: Yes, Leona?


SOUND: BEDROOM DOOR OPENS ... LEONA'S STEPS IN


LEONA: Well! Just about to give you two up. Miss Robles and Mr. Karmen's almost finished with their breakfast. Ain't you two comin'?


JACKIE: Yes, in a minute, Leona. (TO GIL) Come on, Gil. Let's hurry. It's hard enough to get paying guests without neglecting the ones we have.


LEONA: Oh, I done fixed up Mr. Burroughs' room while I'se waitin' for ye.


GIL: Mr. Burroughs' room? But--


JACKIE: You didn't have to bother. He won't be using it any more.


LEONA: He won't?!


GIL: No, he left.


LEONA: He done left?!


JACKIE: Why, yes. (BEAT) Leona, what's the matter?


LEONA: Then what about all them suits and things he left hangin' up in the closet?


MUSIC: BIG ACCENT ... THEN UNEASY IN BG--


JACKIE: His clothes? Left in the closet? What about that, Gil?


GIL: Well, he - he left in an awful hurry, that's all. (SHARPLY) Oh, leave me alone. Don't let's talk about it.


JACKIE: (BEAT) All right. But somehow I feel that something very strange happened last night.


MUSIC: UP, FOR TRANSITION ... THEN OUT


SOUND: GIL AND JACKIE'S FOOTSTEPS APPROACH BEHIND--


KARMEN: (LOW, TO MISS ROBLES) That's what happened, Miss Robles. I told him I wouldn't take any more stuff from him. Next time he tries it, it'll be too bad. For him.


MISS ROBLES: Ssh! Here comes Gil and Jackie.


KARMEN: Oh.


JACKIE: Have some more eggs, Karmen?


KARMEN: Oh, well, I, uh--


SOUND: CHAIRS SCRAPE DURING FOLLOWING--


MISS ROBLES: Oh, hello, Gil; Jackie.


KARMEN: Why, hello, Gil.


GIL: Morning.


JACKIE: (CHEERFUL) What are you two so chummy about?


KARMEN: Why, we were just talking, er, of Mr. Burroughs.


GIL: Mr. Burroughs? 


KARMEN: Why, yes.


MISS ROBLES: Mr. Karmen had an appointment to play golf with him today.


JACKIE: Golf? Today?


KARMEN: Yes. Fine player, fine player. Oh, uh, by the way, where is he? I haven't seen him all morning.


GIL: He's, uh-- He's not here.


KARMEN: Not here? Well, what do you mean?


GIL: He's left.


KARMEN: He left?


GIL: (MILDLY ANNOYED) Yes. Can't a guy leave if he wants to?


KARMEN: Sure. Sure, I--


MISS ROBLES: Well, for one, I'm glad. He was an old goat.


KARMEN: (AMUSED, TO GIL & JACKIE) Heh! She's mad 'cause he made a pass at her.


JACKIE: (LAUGHS)


GIL: (CHUCKLES)


MISS ROBLES: Well, you didn't like him too well, either, Karmen. (TO GIL & JACKIE) You see, Karmen had a run-in with him back in the days of bootleg gin.


JACKIE: Oh! (CHUCKLES)


GIL: (CHUCKLES) Well, let's not talk about it.


JACKIE: Gil's right. Mr. Burroughs is gone. Let's forget it.


MARSH: (APPROACHES, SURPRISED) What's this?


JACKIE: Oh, Mr. Marsh.


MARSH: What did you say about Mr. Burroughs leaving?


GIL: (ANNOYED) Do we have to go through this again?


JACKIE: Gil, please. (TO MARSH) Er, Mr. Burroughs left on an early train.


MARSH: Oh, you're joking.


JACKIE: No. No, I'm not.


MARSH: But I don't understand.


GIL: Well, you're his secretary. You ought to know what he's going to do.


MARSH: That's right, Gil. I should know. That's why it's so strange. He told me we definitely were going to stay until this afternoon.


MUSIC: ACCENT


GIL: Well, he, uh-- He changed his mind.


SOUND: PHONE RINGS ONCE AS THE FIVE OF THEM MURMUR ... MURMUR CONTINUES IN BG


LEONA: (OFF, INTO PHONE) Blaine's Ranch. -- Oh, yes'm. She's here. Just a minute. (CALLS) Miz Blaine? Miz Blaine, telephone!


JACKIE: (CALLS) Coming! (TO OTHERS) Excuse me, please.


KARMEN: Why, certainly.


SOUND: JACKIE'S STEPS THROUGH DOOR WHICH CLOSES, CUTTING OFF THE MURMUR ... THEN JACKIE'S STEPS TO PHONE


JACKIE: (INTO PHONE) Hello? 


MRS. BURROUGHS: (FILTER) Mrs. Blaine?


JACKIE: Yes?


MRS. BURROUGHS: (FILTER) This is Mrs. Burroughs.


JACKIE: Oh, how do you do? Uh, we were awfully sorry you couldn't come up with Mr. Burroughs for the weekend. I'm sure you'd have enjoyed it.


MRS. BURROUGHS: (FILTER, INDIGNANT) I think it was most inconsiderate of Homer not to let me know he was staying over an additional day -- and you can tell him so for me! I think the least he could have done was phone me or send a wire.


JACKIE: But, Mrs. Burroughs--


MRS. BURROUGHS: (FILTER) I don't doubt he finds it attractive up there--


JACKIE: Mrs. Burroughs, wait a minute. He - he isn't here any more. He did leave early this morning.


MRS. BURROUGHS: (FILTER) Early this morning? What do you mean?


JACKIE: Well, he took an early train. Uh, he should have been in at, uh-- Well, now let me see. At eight-thirty this morning.


MRS. BURROUGHS: (FILTER) Eight-thirty?! Eight--? Wha--? Well, then, where is he? Why hasn't he come?


JACKIE: Well, maybe he went directly to his office.


MRS. BURROUGHS: (FILTER) Oh, no. I called his office. They haven't heard from him. You see, that's why I'm calling you. Oh, I don't understand all this. It - it does seem that Marsh would at least get in touch with me.


JACKIE: Marsh? Well, uh-- Marsh is still here, Mrs. Burroughs.


MRS. BURROUGHS: (FILTER, INCREDULOUS) Marsh is still there?


JACKIE: Yes.


MRS. BURROUGHS: (FILTER) He went off without Marsh? (DISTRESSED) Oh. Oh, now I know there's something wrong! Why, he's never done that before.


JACKIE: Please, please, Mrs. Burroughs. I - I'm sure there's nothing wrong. He's just-- Well, uh, I - I'd better let you talk to Marsh.


MRS. BURROUGHS: (FILTER) Well, yes. Yes, please - please get him.


SOUND: PHONE RECEIVER SET DOWN ON TABLE ... JACKIE'S HURRIED STEPS TO DOOR WHICH OPENS ... GUESTS MURMUR, IN BG


JACKIE: Mr. Marsh? Mr. Marsh, Mrs. Burroughs is on the phone. She wants to talk to you. Better take the extension in the front room.


MARSH: All right.


JACKIE: She's very upset. We have to calm her.


SOUND: JACKIE'S STEPS THROUGH DOOR WHICH CLOSES ... MURMUR OUT ... HER STEPS TO PHONE


JACKIE: (INTO PHONE) Hello, Mrs. Burroughs. Marsh is coming.


MRS. BURROUGHS: (FILTER) Oh, something's wrong; I know it.


MARSH: (ON EXTENSION, FILTER) Hello? Hello, Mrs. Burroughs.


MRS. BURROUGHS: (FILTER) Oh, Marsh, is that you?


MARSH: (FILTER) Yes.


MRS. BURROUGHS: (FILTER) Marsh, did you know Mr. Burroughs was going to leave?


MARSH: (FILTER) No, he didn't say anything to me.


MRS. BURROUGHS: (FILTER) Well, Mrs. Blaine says he's left; should have been here, and he isn't!


MARSH: (FILTER) Well, I don't--


JACKIE: He - he probably was just delayed.


MRS. BURROUGHS: (FILTER) Oh, no, no. Something's happened. (ANXIOUS, TO MARSH) Charles, uh-- (CHOOSES HER WORDS CAREFULLY) Er, Marsh, he had that, um - that "important package" in his inside pocket.


MARSH: (FILTER) He did?!


MRS. BURROUGHS: (FILTER) Yes! Oh, I don't know what to do. Shall I call the police?


JACKIE: The police? Why, that's not necessary.


MARSH: (FILTER) Mrs. Blaine's right. Let me take care of it. I'll wait a few hours and if he hasn't shown up by then--


MRS. BURROUGHS: (FILTER) Oh, all right. Do what you think best.


SOUND: PHONE DISCONNECTS 


MARSH: (FILTER) Hello? Hello? (TO JACKIE) She hung up, Mrs. Blaine.


SOUND: RECEIVER DOWN


JACKIE: (WORRIED, TO HERSELF) Important package. (REALIZES) The twenty-five hundred dollars. The twenty-five hundred Gil got. Oh, Gil!


MUSIC: TRANSITION


SOUND: DOOR OPENS ON MURMURING GUESTS ... THEY FALL SILENT DURING FOLLOWING--


JACKIE: That was Mrs. Burroughs; she was awfully upset.


MARSH: Burroughs didn't show up. She wants me to call the police.


MISS ROBLES: The police?


GIL: Oh, now, wait a minute. You don't have to call the police.


MARSH: Why shouldn't I call the police? After all, Mr. Burroughs is missing.


MISS ROBLES: Oh, he may show up yet.


KARMEN: Certainly he may show up yet.


GIL: Karmen's right. You don't have to call the police now.


MARSH: And why don't you want the police?


GIL: Well-- Why--


MARSH: There's something strange here, all right. Why didn't Mr. Burroughs say a word to me about leaving?


JACKIE: Well, you were asleep. I - I guess he didn't want to waken you.


MARSH: (SCOFFS) Oh, I've never known him to be considerate in my life.


GIL: I suppose he knew what he was doing.


MARSH: I'm not so sure.


JACKIE: What do you mean?


MARSH: Well, if he knew what he was doing, why did he leave his return ticket on the dresser?


MUSIC: UNEASY ACCENT ... THEN BEHIND JACKIE--


JACKIE: (NARRATES) A strange silence fell over the entire group. Marsh was suspicious. Soon he would call the police. And I had a strong feeling that Gil knew more about this than he let on. After breakfast, the group broke up and I stayed to help Leona clear the table, and I saw Gil and Karmen walk out on the porch together. 


SOUND: OUTDOORSY BACKGROUND (BIRDS, ET CETERA)


KARMEN: Cigarette, Gil?


GIL: Yeah. Thanks.


KARMEN: Here. (INHALES AND EXHALES) Ah, fine morning.


GIL: Listen, you didn't ask me out here to speak about the weather.


KARMEN: No. No, I didn't. I want the money you owe me.


GIL: Yeah, that's what I thought.


KARMEN: It was due long ago. With the interest, it adds up to twenty-five hundred.


MUSIC: ACCENT 


GIL: I can't pay ya now.


KARMEN: Why not? You said you'd pay it today.


GIL: Well, it's not that I haven't got it; it's--


KARMEN: It's what?


GIL: Well-- It's-- Well, everything's so mixed up now. You know.


KARMEN: You mean Burroughs' disappearance?


GIL: Look, give me another twenty-four hours.


KARMEN: I'd like to, Gil, but--


SOUND: DOOR CLOSES, OFF ... JACKIE'S STEPS APPROACH BEHIND--


JACKIE: (OFF) Gil? Gil?


GIL: (LOW, TO KARMEN) Ssh! Here comes Jackie.


KARMEN: (LOW) All right, twenty-four hours and no more.


JACKIE: I'm sorry if I'm interrupting something important.


KARMEN: Oh, no, no. We were just talking about the weather.


JACKIE: It is lovely, isn't it?


GIL: (SULLEN) Yeah.


KARMEN: Well, I better get up to the golf course. Oh, say, Gil -- could you lend me the car to drive up? It's pretty far and I'll do plenty of walking when I get there.


GIL: Well, as a matter of fact, Karmen, I'm going to use it myself.


KARMEN: (DISAPPOINTED) Oh. (MOVING OFF) Well, in that case, I'd better start walking. So long!


JACKIE: Goodbye.


SOUND: KARMEN'S STEPS AWAY


JACKIE: (AFTER KARMEN DEPARTS) He was after the money, wasn't he?


GIL: Yeah. But I didn't give it to him.


JACKIE: Why not? Mr. Burroughs gave it to you and - we do owe it to Karmen.


GIL: (TENSE) Can't you leave me alone for a minute?


MISS ROBLES: (APPROACHES, LIGHTLY) Say, you two, why the frowns?


JACKIE: Hello, Miss Robles.


MISS ROBLES: I don't want to interrupt a private fight, so I'll state my business quickly. How 'bout lending me the car, Gil? I want to drive in--


GIL: (INTERRUPTS) I'm sorry, Miss Robles, but I need it. I'm driving into town. (MOVING OFF) And right now!


MUSIC: TRANSITION ... THEN BEHIND JACKIE--


JACKIE: (NARRATES) Gil drove off. The rest of the day went by in a haze. Gil didn't come back. He stayed away all day without even phoning me. He had never done that before. It almost seemed as though he avoided me intentionally. Toward evening, as I was putting the finishing touches on dinner, Leona came up to me.


LEONA: There's a man here to see ya, Miz Blaine.


JACKIE: Where is he?


LEONA: In the front room.


JACKIE: Well, uh-- Who is it?


LEONA: Somebody I ain't never seen before.


JACKIE: All right, I'll talk to him. Uh, you look after things here, Leona.


LEONA: Yes'm, I will.


SOUND: JACKIE'S STEPS THROUGH DOOR TO FRONT ROOM


JACKIE: Good evening.


WARD: My name's Ward.


JACKIE: I'm Mrs. Blaine. You wanted to see me?


WARD: I wanted to have a few words with Mr. Blaine.


JACKIE: Oh, I see. What was it about?


WARD: You know what it's about. It's about Burroughs. His office sent me down.


JACKIE: Mr. Burroughs? Why, what about him?


WARD: He was a guest here, wasn't he?


JACKIE: Yes.


WARD: When did he leave?


JACKIE: Last night. My husband drove him to the station.


WARD: Really? How interesting.


JACKIE: What do you mean?


WARD: We happen to know that he never got on that train.


JACKIE: (UNHAPPY) Ohh--


WARD: I thought maybe your husband could tell me a few things I'd like to know.


JACKIE: I'll see if he's here.


WARD: Just a moment. I'd also like to see some of the other guests.


JACKIE: Well, I'm sorry, but nobody's here just now. Miss Robles is out walking and Mr. Karmen hasn't come--


WARD: (INTERRUPTS) Karmen? (BEAT) Karmen? A short fat Italian?


JACKIE: Why, yes. How did you know?


WARD: Mr. Burroughs' office ran into him before. Now I'd like to see your husband.


JACKIE: Please sit down, I'll - see if I can find him.


WARD: Thank you.


SOUND: JACKIE'S STEPS THROUGH DOOR TO KITCHEN


JACKIE: Leona? Leona?


LEONA: Yes, Miz Blaine?


JACKIE: Mr. Gil come back yet?


LEONA: No, ma'am. I ain't seen him since he drove off this morning.


JACKIE: I see. Well, uh, tell the gentleman to wait. I'm going out on the veranda.


MUSIC: TRANSITION ... THEN IN BG--


SOUND: JACKIE'S STEPS ONTO VERANDA ... THEN PACING TO AND FRO BEHIND--


JACKIE: (NARRATES) I went out on the veranda. Up and down the length of the porch and back again I walked, my eyes glued to the dark highway that ran past the house, hoping against hope that Gil would show up before the detective came looking for me. Gil had the twenty-five hundred on him. Burroughs' cash. That "important package" Mrs. Burroughs spoke of to Marsh. I had to see Gil first and--


SOUND: AUTO ENGINE APPROACHES


JACKIE: (NARRATES) Suddenly I saw a car speeding down the road. Gil's car! I could tell by the one dim headlight. It tore through the dark at top speed--


SOUND: AUTO SWERVES INTO GARAGE AND HALTS, BRAKES SQUEALING


JACKIE: (NARRATES) --then swerved through our gates and into the garage. I was about to run down the steps when -- another pair of headlights split the gloom of the highway. As the car came on, I recognized the taxi from town.


SOUND: SECOND AUTO SWERVES TO A HALT, BRAKES SQUEALING ... CAR DOOR OPENS


JACKIE: (NARRATES) A figure climbed out quickly. 


MUSIC: OUT


JACKIE: (EXCITED, TO GIL) Gil!


GIL: (URGENT) Jackie! Did you see the car?


JACKIE: Our car? Yes, Gil. It - it - it went toward the garage.


GIL: Who was driving it?


JACKIE: Well, I - I couldn't see. What is it, Gil? Are you in--?


GIL: (INTERRUPTS) No time to talk! (MOVING OFF) No time to talk!


JACKIE: Where are you going?!


GIL: (OFF) The garage!


JACKIE: I'm coming with you!


SOUND: THEIR HURRIED STEPS TO GARAGE ... NOCTURNAL BACKGROUND (CRICKETS, ET CETERA)


GIL: (PUZZLED) The doors are closed.


SOUND: THEIR HURRIED STEPS TO GARAGE DOOR, WHICH SLIDES OPEN


GIL: Eh, there. (BEAT, MYSTIFIED) Nobody here.


JACKIE: Anyone in the car?


GIL: No. Whoever it was beat it. Oh, I'd like to know who it was.


JACKIE: Gil, I don't understand what this is all about.


GIL: Well, frankly, I don't either. I-- Well, that is-- I was parked in front of the store in town. I came out and saw somebody hop in my car and drive off like mad.


JACKIE: Why, that's odd.


GIL: I don't know what he was after, but I don't think he got it. I chased the car all the way here in the taxi.


JACKIE: I saw it coming down the road; I thought it was you.


GIL: Well, let's go back to the house.


JACKIE: (EXHALES WEARILY)


SOUND: THEIR SLOW STEPS TOWARD HOUSE ... THEN IN BG


JACKIE: Gil? 


GIL: Yes?


JACKIE: Gil, there's somebody here to see you; a man named Ward.


GIL: Ward? Who's he? What does he want?


JACKIE: He wants to talk to you about Burroughs. He's a detective.


GIL: (UNHAPPY REALIZATION) Ohhh.


JACKIE: And, uh, you better let me have the wallet with the money. Just to be on the safe side.


GIL: Now, look, I don't want you mixed up in anything.


JACKIE: Oh, I'll be all right. Please, give it to me.


GIL: Well-- Okay.


JACKIE: Now you'll have to go in and talk to him.


GIL: Yeah, I suppose so.


MUSIC: IN AND IN BG--


JACKIE: (NARRATES) I went up to my room and lay there in the dark, trying to distinguish the murmur of voices from below, but all I could hear was a blur of sounds.


MUSIC: UP, THEN IN BG, FOR A FAST FLASHBACK MONTAGE OF FILTERED VOICES--


GIL: I got the twenty-five thousand!


MRS. BURROUGHS: (DISTRESSED) Something's happened!


KARMEN: (OMINOUS) The next time, it'll be too bad for him!


MISS ROBLES: (INDIGNANT) He made a pass at me!


GIL: (ANNOYED) He left in a hurry. Let me alone!


MARSH: (SUSPICIOUS, INCREASINGLY INTENSE) Why don't you want the police? Why don't you want the police?! Why don't you want the police?!


MUSIC: UP, FOR A BIG ACCENT ... THEN OUT


SOUND: BEDROOM DOOR OPENS ... GIL'S STEPS IN


GIL: Jackie? You awake?


JACKIE: Yes. Here, sit down, Gil. You look tired.


GIL: Yeah, I am. Very.


JACKIE: What did Ward say?


GIL: Not much. But I know he's suspicious. He's going to stay tonight.


JACKIE: (UNHAPPY) Oh.


GIL: Well, let's get to bed. I'm tired. (BIG YAWN) Oh, by the way, did--? Did you see the key to the rumble seat?


JACKIE: The key to the rumble seat? Why, no.


GIL: (ANOTHER BIG YAWN) Must have lost it. (SIGHS) Good night.


JACKIE: (PAUSE, SLOWLY) Gil? You've never told me. You've never told me one way or the other. Gil, you've got to tell me.


GIL: (SIGHS) All right. All right, Jackie. I will. Burroughs never gave me the twenty-five hundred. He refused me. We quarreled and - I was mad. I suppose he was afraid of me. Afraid of what I might do to him. Anyway, that's why he left so suddenly. Made me drive him to the station.


JACKIE: Did you see him get on the train?


GIL: No. I left him at the station. Left my car there and walked down the street. I was sore. I had to think. I heard the train come and go. And when I went back, Burroughs was gone. I got in the car and drove home.


JACKIE: And the twenty-five hundred?


GIL: Well, I lied when I said he had that cash.


JACKIE: Then where did you get it?


GIL: Remember the twenty-five dollar check I cashed for him?


JACKIE: Yes?


GIL: I added two zeroes after the twenty-five.


JACKIE: (DISTRESSED) Oh, Gil!


GIL: I wrote in the word "hundred." There was a space for it, made to order. Then I cashed it. 


JACKIE: (WITH PITY) Gil, Gil--


GIL: Oh, I know I'm low, Jackie, but I didn't kill him. I didn't.


JACKIE: Then what became of him? Where is he?


GIL: I don't know. I wish I did.


MUSIC: BRIEF ACCENT


SOUND: RATTLE! OF SOMEBODY TRYING VAINLY TO OPEN THE LOCKED GARAGE DOOR


JACKIE: What's that?


GIL: Somebody's out there! Whoever it is, is trying to open the garage door.


JACKIE: I - I can't see who it is! It's not a woman -- not Miss Robles -- I can see that much.


GIL: It could be Karmen.


SOUND: GIL'S QUICK STEPS TO DESK DRAWER, WHICH SLIDES OPEN


JACKIE: What are you doing in that drawer?


GIL: Just getting this gun. Now, quiet--


JACKIE: No, Gil! Give me that gun! You can't shoot anybody in the dark like that.


GIL: Please, Jackie--


JACKIE: I'm going to turn on the light.


GIL: Don't, Jackie!


JACKIE: Yes, Gil!


SOUND: CLICK! OF LIGHT SWITCH


GIL: (DISAPPOINTED) Now he's running away. Gone.


JACKIE: Who was it?


GIL: I couldn't see. Could you?


JACKIE: No, Gil.


GIL: Well, now it just means waiting until the next time. (HELPLESSLY) Oh, Jackie, what am I going to do?


JACKIE: I don't know, dear, but we'll get out of it somehow.


GIL: How? I'm - I'm all mixed up.


JACKIE: There's one clear thing. Somebody is awfully interested in that car.


MUSIC: ACCENT ... THEN IN BG--


JACKIE: (NARRATES) I lay awake until the sun was up. Then a shallow feverish sleep came. And when I awoke it was almost evening. Gil's bed was empty. There were the indistinct sounds of life in the house below. I rose and, as my mind cleared, my words of the night before broke through the edges of my consciousness: (BEAT, ON FILTER) There's one clear thing. Somebody is awfully interested in that car.


MUSIC: UP, FOR AN ACCENT ... THEN IN BG--


JACKIE: (NARRATES) I dressed slowly. A tantalizing thought hovered just beyond my grasp. The car! What was there about the car?


SOUND: BEDROOM DOOR OPENS ... JACKIE'S SLOW STEPS THROUGH HOUSE BEHIND--


JACKIE: (NARRATES) I slowly walked down the hallway, my eyes half-closed, thinking. I had to talk to Gil.


MUSIC: OUT


JACKIE: (CALLS) Leona? Leona?! 


LEONA: Yes'm?


JACKIE: Uh, where's Mr. Gil?


LEONA: Oh, he done went to town with Mr. Ward.


JACKIE: He went with Ward?


LEONA: Yes'm, right after breakfast. Mr. Karmen give 'em a lift down and--


JACKIE: Karmen?


LEONA: Yes'm, but Mr. Gil, he done left you this note.


JACKIE: Oh, let me see it.


SOUND: A PIECE OF PAPER UNFOLDED


JACKIE: (READS) "Jackie, I've gone downtown with Ward. I'm going to tell him--" (BREAKS OFF, THEN RESUMES READING, UNHAPPILY) "Tell him about the check. And whatever happens will - have to happen." (UPSET, TO HERSELF) No, Gil. No, Gil! No!


LEONA: (WORRIED) Miz Jacqueline!


JACKIE: Leona, I've got to stop him! I'm going to drive to town!


MUSIC: TRANSITION


SOUND: AUTO ENGINE STARTS UP ... IDLES IN BG


JACKIE: (TO HERSELF) I've got to get there before Gil.


MARSH: Oh, Mrs. Blaine? Mrs. Blaine? Er, where are you going?


JACKIE: I'm going to town, Mr. Marsh.


MARSH: May I come along?


JACKIE: Well, I, uh-- Oh, I suppose so. Hurry up and get in.


SOUND: CAR DOOR SLAMS ... AUTO PUT IN GEAR ... AUTO ROARS DOWN ROAD ... SPEEDING AUTO FILLS LENGTHY PAUSE FOR TRANSITION ... CONTINUES IN BG


MARSH: Hm, getting dark.


JACKIE: Yes. I hope you don't mind me driving so fast. I'm in a terrible hurry.


MARSH: No. Pull down the next side road.


JACKIE: What?


MARSH: (OMINOUS) I said, pull down the next side road.


JACKIE: (DISBELIEF) A gun?


MARSH: Yes, a gun. Now do as I say. There's something in this car I want.


JACKIE: (QUIETLY DEFIANT) I won't. I must get to Gil. (UNEASY) Let go of that wheel. (INSISTENT) Let go of that wheel!


MARSH: I said there's something here I want!


JACKIE: There's a car coming! Let go! Look out! (BLOODCURDLING SCREAM OF HORROR)


SOUND: MASSIVE TWO-CAR CRASH!


MUSIC: ACCENT ... THEN BEHIND JACKIE--


JACKIE: (NARRATES) I tried to move. Miraculously, we were alive. The other car had careened beyond us up the road. I saw that the side was smashed in. Then I heard Marsh's voice.


MARSH: (LOW, THREATENING) I ought to kill you for this. That was a police car. Keep your mouth shut. Here he comes now. Now remember -- there's a gun pointing at your back.


SOUND: OFFICER'S STEPS APPROACH


OFFICER: (ANNOYED) Hey, you maniacs! What's the idea? Ya tryin' to kill somebody?


MARSH: (DIPLOMATIC) Oh, sorry, officer. We had a little trouble with the steering wheel.


OFFICER: Well, you won't have any more trouble with it. That's the end of your license.


MARSH: Oh, see here, officer, I'm in a terrible hurry. If you let me drive to the station--


OFFICER: Now, wait a minute, buddy. Let's have your names. What's yours? Come on.


MARSH: Er, Marsh. Charles Marsh.


OFFICER: (WRITES IT) Charles Marsh, huh? (TO JACKIE) What's yours, lady?


JACKIE: (QUIETLY) Mrs. Gilbert Blaine.


OFFICER: (WRITES IT) Yeah. (TO SOMEONE ELSE) And - and yours? (NO ANSWER, IRRITATED) Well, come on, what's yours? What's your name?


JACKIE: (CONFUSED) Who're you talking to?


OFFICER: That guy in the rumble seat.


MARSH: (STARTLED) The rumble seat?


JACKIE: (SHOCKED) Mr. Burroughs!


MUSIC: ACCENT ... THEN IN BG


OFFICER: Oh, it's Burroughs, is it? Well, why don't you say so? (NO ANSWER) Hey, what are you, a wise guy, sittin' there like a mummy? Come on, answer me, will ya? I-- (REALIZES) Hey, wait a minute. This guy's dead!


MUSIC: ACCENT ... THEN IN BG


MARSH: (TO JACKIE, FURIOUS) You did this! The rumble seat flew open when we crashed!


JACKIE: (QUICKLY) Officer, he's got a gun! He murdered that man!


MARSH: I'm warning you! Keep back or I'll--!


SOUND: TWO QUICK GUNSHOTS!


MARSH: (DEATH GROAN)


OFFICER: That takes care o' him. You're all right now, sister.


JACKIE: (SHAKEN, WEARY) Yes. I'm all right now.


MUSIC: TRANSITION


WARD: Well, that job's finished. Nothing to do but go back to town.


GIL: So it was Marsh after all?


WARD: Yeah.


JACKIE: I don't understand why--


WARD: He was contemplating a change from secretary to husband. Naturally, with Mr. Burroughs dead, Mrs. Burroughs would inherit all the money.


JACKIE: I see.


WARD: Marsh followed Gil and Mr. Burroughs that night to the station. When Gil was gone, he killed Burroughs, stuffing him into the rumble seat; locked it, and kept the key.


GIL: Well, the thing I don't understand is why Marsh kept fiddling with the car. What was it that he wanted? Seems to me he was in the clear if he left well enough alone.


WARD: Uh huh. That's what tripped him up. Remember when he talked to Mrs. Burroughs on the phone? They said something about an "important package."


JACKIE: Well, yes. I assumed it to be the twenty-five hundred Gil told me about.


WARD: But of course it wasn't. It was a package of letters that Mr. Burroughs had gotten hold of--


GIL: I get it! Those letters were written by Marsh to Mrs. Burroughs.


WARD: Right.


JACKIE: And they would incriminate him. He found out about them after the murder.


WARD: Right again.


JACKIE: Oh.


WARD: He had to get them to make it perfect. Well, I guess I'll shove off. So long and, uh, thanks. (MOVES OFF, THEN TURNS BACK, FRIENDLY) Oh, by the way. You may want to deposit, oh, say, twenty-five hundred dollars to Mr. Burroughs' account.


GIL: (SHEEPISH) Yeah, I, uh, see what you mean. Thanks.


JACKIE: (WARM) Goodbye.


WARD: (OFF) Bye.


SOUND: FRONT DOOR CLOSES


GIL: Jackie?


JACKIE: Yes?


GIL: Our debts. There's still twenty-five hundred dollars that have to come from somewhere.


JACKIE: (AGREES) Mm hm.


GIL: We went a long way around to get right back where we started from. We come through all that trouble and end up broke.


JACKIE: (COULDN'T CARE LESS) Yes, darling. That's the way it ends.


MUSIC: WARMLY ROMANTIC CURTAIN

 

NARRATOR: And so closes the story called "Last Night," starring Margo and Kent Smith -- tonight's tale of--


MUSIC: KNIFE CHORD ... THEN THEME, IN BG ... UNTIL END


NARRATOR: --"Suspense." This is your narrator, "The Man in Black," who conveys to you Columbia's invitation to spend this half hour in suspense with us again next Tuesday when John Sutton and George Zucco will star in a "Suspense" play by John Dickson Carr called "The Man Without a Body." The producer of these broadcasts is William Spier, who with Ted Bliss, the director; Lud Gluskin and Lucien Moraweck, conductor and composer; and Cornell Woolrich, the author, collaborated on tonight's "Suspense."


ANNOUNCER: This is CBS, the Columbia Broadcasting System.


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