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Stand-In for Murder

Suspense

Stand-In for Murder

Jun 03 1962






CAST:


The Suspense Team:

ANNOUNCER

2ND ANNCR, for Alpine Cigarettes

SINGERS, for Alpine Cigarettes

GARRY MOORE

DURWARD KIRBY



Dramatis Personae:

KAY

JIM 

ANNOUNCER, for soap opera

LAURA, a soap opera actress

RALPH, an actor who plays "Phil" on the soap

MAN, deep, ominous voice; the criminal type

WOMAN, at the cleaners

BRADY, the Irish doorman

STREET MAN

STREET WOMAN (1 line)

LIEUTENANT KELLY, of Homicide

CAPTAIN

plus a New York City street CROWD




ANNOUNCER: And now -- a tale well-calculated to keep you in--


MUSIC: CHORD


ANNOUNCER: --SUSPENSE! Tonight, a well-honed accounting of a lethal impersonation. In just a moment, "Stand-In for Murder," written especially for SUSPENSE by Gladys Gallant. SUSPENSE is brought to you by Alpine Cigarettes.


MUSIC: MELLOW ... FOR A COMMERCIAL ... THEN BEHIND ANNOUNCER AND SINGERS--


2ND ANNCR: What's it like to smoke an Alpine? Well, it's like many fresh, little things you enjoy. It's like the sight of water from a garden sprinkler sparkling in the sun. Like the breeze through a hammock in the shade of the trees. Like walking out of a stuffy house into the cool of the evening. That's what it's like to smoke an Alpine. Alpine is completely different from the sort of smoking you may be used to. Alpine has a kind of morning dew-freshness to it -- a clear, open, completely unmistakable kind of taste, pack after pack. If this sounds good to you, try Alpine filter cigarettes.


SINGERS: There's something more to smoking with an Alpine Cigarette.


MUSIC: COMMERCIAL OUT ... THEN AN INTRODUCTION ... THEN OUT FOR--


SOUND: PHONE RINGS


JIM: Answer it. (NO RESPONSE) Kay, answer it!


KAY: Jim, I can't. I'm afraid! My voice; it isn't her voice.


JIM: Will you answer it?! Please, Kay, you've got to prove that Laura Morgan is still alive!


SOUND: PHONE STOPS RINGING


KAY: (EXHALES IN RELIEF) Oh, it stopped. Oh, thank God. 


JIM: (EXHALES IN FRUSTRATION) 


KAY: Jim, this is agony. When that phone rings, I freeze! I can't talk!


JIM: Kay-- Kay, listen to me. Laura's friends have to think she's leaving for Europe, and they have to hear it from her.


KAY: Her voice; I can't remember how it's supposed to sound. Don't you under--? 


JIM: (EXHALES WEARILY)


KAY: Play the tape again. That last show she did.


JIM: Okay. We'll play the tape again. 


SOUND: CLICK! AND WHIR! OF TAPE MACHINE ... WE HEAR A RECORDING OF A RADIO PROGRAM ON THE TAPE ... (IT'S A CHEESY SOAP OPERA WITH ARCHLY DELIVERED DIALOGUE, AND WE'LL HEAR THE SAME EXACT RECORDING LATER) ... JIM AND KAY'S DIALOGUE OVERLAPS WITH THE RECORDING


MUSIC: ALSO ON THE TAPE, WE HEAR THE PROGRAM'S MUSIC


JIM: We've gone over it and over it and over it. Now pay attention, will ya please?


ANNOUNCER: (FILTER, OVERLAPS WITH ABOVE) "After Tomorrow," starring Ralph Forman as Phil and Laura Morgan as Ruth.


JIM: Pay particular attention to how she talks.


KAY: Will you please be quiet so I can listen?!


JIM: All right, all right.


ANNOUNCER: (FILTER, OVERLAPS WITH ABOVE) As we [left off yesterday,] Phil was shattered, Ruth dismayed -- but determined. These were the fateful words they exchanged.


JIM: Listen--


KAY: Gonna talk over it?


JIM: All right, all right.


LAURA: (FILTER) It was a lovely party, Phil.


RALPH: (FILTER) Ruth, will I see you again?


LAURA: (FILTER) What about Marian?


JIM: (TO KAY) Ya think ya got that?


RALPH: (FILTER) What about her?


LAURA: (FILTER) The party's over.


JIM: Listen to the inflection there?


KAY: Mmm. [?]


RALPH: (FILTER, OVERLAPS WITH ABOVE) Well, I thought it was just beginning.


LAURA: (FILTER) It's ending, Phil. I have to leave.


RALPH: (FILTER) Of course--


SOUND: CLICK! AS TAPE MACHINE SWITCHED OFF 


KAY: (SIGHS)


JIM: All right. Well, let's try it. Now say, "I have to leave."


KAY: (AS LAURA) I have to leave.


JIM: Uh uh. No, no, no. Pitch your voice higher.


KAY: (AS LAURA) I have to-- (GIVES UP) Jim, it's no use! I can't do it!


JIM: Kay, you've got to! It's our only chance! Do you understand? Our only chance!


MUSIC: BRIDGE ... THEN BEHIND KAY--


KAY: (NARRATES) I remember thinking this must be a kind of dream, a terrible nightmare, and when I awoke everything would be just as it was, before Jim asked me for a divorce. I would never agree. I knew there was somebody else, but I just kept hoping that someday he would come back to me. And one night--


SOUND: DOORBELL RINGS ... KAY'S STEPS TO DOOR, WHICH OPENS


KAY: (SURPRISED) Jim?


JIM: (GRIM) I've got to talk to you, Kay.


SOUND: JIM'S STEPS IN ... DOOR CLOSES


KAY: The answer is still no.


JIM: It's not about the divorce.


KAY: Oh, really? (CHUCKLES, MOCK GAIETY) I suppose you just dropped in for a drink, is that it? 


JIM: Oh, Kay--


KAY: Well, that's very nice. It's like old times.


JIM: Look. Never mind about all that now--


KAY: No, please. Really, I insist. 


SOUND: KAY'S STEPS TO BAR, FIXES A DRINK DURING FOLLOWING--


KAY: Oh, is it still on the rocks?


JIM: Kay, please!


KAY: Just like us, Jim, huh? On the rocks!


JIM: I said, never mind.


KAY: Uh, her name's Laura Morgan, isn't that right? 


JIM: (SIGHS)


KAY: You know, I heard we look so much alike. Oh, yes, I could give you a detailed description. You know people are talkin', all that jazz.


JIM: Kay, let up, will ya? 


SOUND: KAY'S STEPS TO JIM


KAY: (ARCHLY) Laura Morgan, tall, blonde, sometime actress, but-- (EXHALES, SADLY) Full time girlfriend. (BEAT, DRY) What's this? Your night out?


JIM: (SAVAGELY) Kay, stop it! 


SOUND: JIM SMASHES GLASS


KAY: (SHOCKED) Jim!


JIM: I said, stop it.


KAY: I only meant--


JIM: I know just what you meant! (EXHALES, VERY SLOWLY) Kay, she, uh-- She's dead. Laura is dead.


KAY: (ASTONISHED, QUIETLY) Jim!


JIM: (SLOWLY) It was an accident. You see, last night, we, uh-- We had a terrible argument. I didn't want to marry her, Kay. I wanted to come back to you! Well, she became hysterical. She pulled out a gun. I grabbed it from her. It - it went off. She's dead.


KAY: (OVERWHELMED) Oh, Jimmy. (STAMMERS) What are you going to do? Did you--? Did you call the police?


JIM: Call the police? Kay, if I call the police, I wouldn't have a chance!


KAY: Jimmy, they will find her. They'll know it was you.


JIM: No, no, no. They'll never find her. You see, I - I got her out of the apartment, down the stairs, and into the car. No one saw me. And then, near the bridge--


KAY: No, stop, please, for God's sake, I don't want to know any more.


JIM: Sorry. I'm sorry, Kay. Sorry for this mess. Sorry I left you. Sorry for everything. Kay, I still love you!


KAY: Oh, Jimmy, Jimmy, Jimmy -- what chance have we got now?


JIM: (BEAT) There is one chance. But it all depends on you, Kay.


KAY: On me?


JIM: Yes. Kay, would you help me set up an alibi?


KAY: An alibi? 


JIM: Mm hm.


KAY: Of course, Jim. But how?


JIM: (BEAT, SLOWLY) By becoming Laura Morgan.


MUSIC: BRIDGE ... THEN BEHIND KAY, OUT AT [X]


KAY: (NARRATES) Twelve hours later, in a two-room apartment on a quiet street in the West Sixties, I became Laura Morgan. As Jim planned it, it would be for only a few days, just long enough to establish her existence. But those few days were a lifetime of terror. There was the constant ringing of the phone right from the start, and the trouble I had imitating her voice. [X] Acting wasn't my line at all. And Jim playing that tape recorder so I could hear Laura's voice again and again--


ANNOUNCER: (FILTER, OVERLAPS WITH ABOVE) "After Tomorrow," starring Ralph Forman as Bill and Laura Morgan as Ruth. (CONTINUES INDECIPHERABLY IN BG)


JIM: Kay, you're just not getting it. Now, please, pay attention, huh?


KAY: I'm trying!


JIM: All right. Now, we've got to get it right.


KAY: Will you be quiet?!


JIM: All right, all right. Just listen.


ANNOUNCER: (FILTER) These were the fateful words they exchanged. 


KAY: (COUGHS)


LAURA: (FILTER) It's was a lovely party, Phil.


JIM: You hear it?


KAY: It goes up and down.


JIM: All right, all right. Just pay attention.


RALPH: (FILTER) Ruth, will I see you again?


LAURA: (FILTER) What about Marian?


RALPH: (FILTER) What about her?


LAURA: (FILTER) The party's over.


KAY: (AS LAURA) "The party--" (DISCOURAGED) Aw, it doesn't sound right.


RALPH: (FILTER) Well, I thought it was just beginning.


LAURA: (FILTER) It's ending, Phil. 


JIM: You hear that?


KAY: (EXHALES HOPELESSLY)


SOUND: PHONE RINGS ... CONTINUES IN BG


LAURA: (FILTER) I have to leave.


RALPH: (FILTER) Of course--


SOUND: TAPE MACHINE SWITCHED OFF


KAY: That phone is driving me crazy!


JIM: All right, answer it. I'll take the tape off.


KAY: No, no! Let it ring.


JIM: Don't be a fool, Kay. Answer it!


SOUND: KAY'S STEPS TO PHONE ... RECEIVER UP


KAY: (BEAT, AS LAURA) Hello?


MAN: (FILTER) Are you the lady in Apartment Four-A?


KAY: Yes. What is it?


MAN: (FILTER) I'm a reporter from the Daily Globe, miss. We'd like to ask you a few questions about the murder Wednesday night.


SOUND: RECEIVER DOWN


KAY: (HORRIFIED) My God, Jim!


JIM: Who was it? What'd they want?


KAY: A reporter from The Globe. He wanted to ask me - about the murder Wednesday night.


JIM: Murder? Wednesday night?


SOUND: PHONE RINGS ... CONTINUES IN BG


KAY: Jim, please!


JIM: Let it ring, let it ring. No, no. No, wait. Pick it up.


KAY: Jim, I can't!


JIM: Go on, pick it up! Now, say you're Laura Morgan and let him do the talking.


SOUND: RECEIVER UP


KAY: Hello?


MAN: (FILTER) This is the reporter from The Globe again. Are you the lady I was just talkin' to?


KAY: Yes, this is Laura Morgan. We were disconnected.


MAN: (FILTER) Now, about that murder, Miss Morgan. We understand you saw the killer's face as he passed you in the lobby.


KAY: Why, I - I didn't see anything. Who was killed?


MAN: (FILTER, BEAT, SLOWLY) Well, if you don't know, miss, then I guess you didn't see anything. Sorry to bother you. We were just checkin' all the tenants. Thank you. 


SOUND: PHONE DISCONNECTS (CALLER'S PERSPECTIVE) ... RECEIVER DOWN


KAY: (RELIEVED SIGH, TO JIM) Somebody was killed, but he doesn't know about Laura Morgan.


MUSIC: BRIDGE ... THEN BEHIND KAY--


KAY: (NARRATES) Somehow I'd carried it off. Somehow I went on to establish the fact that Laura Morgan was still alive. Next day--


SOUND: PHONE RINGS ... RECEIVER UP


WOMAN: (FILTER) This is the Jiffy Cleaning Service, Miss Morgan.


KAY: Uh, yes. What can I do for you?


WOMAN: (FILTER) About that powder blue wool suit you sent back to us. Our very best men worked on it to get that spot out that you complained about, Miss Morgan.


KAY: Oh, the spot, yes. Did you get it out?


WOMAN: (FILTER, APOLOGETIC) Miss Morgan, if you go out of your way to look for it, there's still the faintest remains. Frankly, any more solvents and you'd wind up with a hole instead of a stain. But if you don't know it's there, it isn't; you know what I mean? It's the best we can do.


KAY: I'm sure it'll be good enough, Miss, uh--?


WOMAN: (FILTER, MILDLY SURPRISED) You mean it'll be okay? The other day you nearly took my head off that it didn't come out right. Even when I explained there's just some things that you just don't--


KAY: Yes. Well, just send it right back today, please.


WOMAN: (FILTER) Oh, yeah. Sure. Right away -- within the hour.


MUSIC: BRIDGE ... THEN IN BG--


KAY: (NARRATES) That afternoon, wearing Laura's powder blue suit, I left the apartment. My heart skipped a beat when I saw the doorman looking my way. I hurried past him, my face turned away.


BRADY: Afternoon, Miss Morgan. And a lovely day it is!


KAY: That's nice.


MUSIC: FILLS A PAUSE ... THEN OUT BEHIND--


SOUND: NEW YORK CITY TRAFFIC BACKGROUND AND KAY'S FOOTSTEPS SNEAK IN BEHIND--


KAY: (NARRATES) Jim's plan seemed to be working. To kill time, I went to a movie and then decided to walk home. It was a relief to be caught up in the anonymity of New York with its crush of people at six o'clock. I was just turning west on Sixty-Fourth Street when--


STREET MAN: (SHOUTS) Look out, lady!


SOUND: CROWD REACTS IN HORROR ... THEN MURMURS IN BG


KAY: (SCREAMS)


SOUND: LOUD CRASH! OF CONCRETE SMASHING INTO THE SIDEWALK


STREET MAN: Hey, you all right, lady?


KAY: What - what happened? What was that?


STREET MAN: Block of concrete -- a cornice or somethin' -- fell right from the top of that brownstone there.


STREET WOMAN: It missed you by an inch! You better call a policeman!


KAY: No! No, er, please, I'm fine, really.


STREET MAN: You ought to file a complaint, lady. You coulda been killed.


KAY: No, I - I have to hurry. I'm very late. I have an appointment.


SOUND: KAY'S HURRIED FOOTSTEPS AWAY


STREET MAN: (CALLS AFTER HER) Hey, lady! (AMUSED, TO CROWD) Well, you never can figure a dame. Here, she's almost killed and she has to hurry because she's late for her hair appointment. 


SOUND: CROWD CHUCKLES AND LAUGHS


MUSIC: BRIDGE 


SOUND: KAY'S FOOTSTEPS TO APARTMENT DOOR ... KEYS JANGLE ... DOOR UNLOCKED AND OPENED JUST AS PHONE RINGS ... DOOR CLOSES AS KAY WALKS TO PHONE ... RECEIVER UP


KAY: (STARTS TO SAY "HELLO") He-- (ASSUMES LAURA'S VOICE) Hello?


MAN: (FILTER) Laura Morgan?


KAY: (BEAT) Yes, this is Laura Morgan. Who is it?


MAN: (FILTER) That concrete block that dropped a few minutes ago?


KAY: Concrete block? (BEAT) What about it?


MAN: (FILTER) I just want to to tell ya. That was no accident.


KAY: No accident?


MAN: (FILTER) No accident. Just a little warning, Miss Morgan.


KAY: Who is this? What do you want? Who are you?


MAN: (FILTER) Next time, we won't miss. If you say one word about the murder, you're dead. 


SOUND: PHONE DISCONNECTS (CALLER'S PERSPECTIVE)


KAY: (DISTRESSED EXCLAMATION)


MUSIC: BRIDGE ... THEN BEHIND KAY--


KAY: (NARRATES) I stood there trembling in the darkness of the room -- the crash of concrete on the pavement, the ominous threatening voice on the telephone still ringing in my ears. Oh, I wanted to scream out, "Laura Morgan is dead!" But I had to protect Jim's alibi. 


I tried not to panic. I asked myself, if I were Laura Morgan, what would I do?  I would call the police and tell them someone was threatening to kill me. Why not? Jim would still be safe. He needed a live alibi, not a dead one. I reached for the phone.


SOUND: RECEIVER UP ... KAY DIALS OPERATOR ... PHONE RINGS AND CONNECTS (CALLER'S PERSPECTIVE)


KAY: (INTO PHONE) Operator, get me the police department, and hurry, please! 


SOUND: PHONE RINGS (CALLER'S PERSPECTIVE) ... SIMULTANEOUSLY, THE APARTMENT DOOR CREAKS OPEN AND MAN'S FOOTSTEPS ENTER AND APPROACH KAY ... PHONE CONNECTS (CALLER'S PERSPECTIVE)


KAY: (INTO PHONE) Police department? This is Laura Morgan, I'd like--


MAN: Hang up the phone, lady.


KAY: (STARTLED EXCLAMATION)


SOUND: RECEIVER DOWN


MAN: Ya hear what I said on the phone, Miss Morgan? One word about the murder, you're dead.


KAY: Who are you? What do you want? (DESPERATELY) Look, I - I'm not Laura Morgan. You're making a very big mistake! She's dead! I tell you, she's dead!


MAN: What are you tryin' to pull? You're Laura Morgan, all right. You just told it to the police.


SOUND: SCUFFLE BEGINS AS MAN GRABS KAY AND DRAGS HER TO THE WINDOW


KAY: No, don't! Let me alone! Please, I'm not Laura Morgan! Laura Morgan is dead! (CONTINUES TO STRUGGLE AND PROTEST BEHIND--)


MAN: (WITH EFFORT) Well, she's gonna be. You talk too much! 


SOUND: WINDOW SLIDES UP


MAN: (WITH EFFORT) It's out the window for you! It's a case of suicide.


KAY: (SCREAMS)


SOUND: KNOCK ON DOOR


KELLY: Open up! Police! Police! 


SOUND: DOOR BURSTS OPEN


KELLY: Which way'd they go, Miss Morgan?


KAY: Bedroom window -- the fire escape!


KELLY: Well, they won't get far; we have a squad car downstairs.


KAY: (WEEPS HYSTERICALLY) He nearly-- He tried to push me out the window! (CONTINUES TO WEEP BEHIND--)


KELLY: (URGENTLY SOOTHING) All right, all right. Take it easy. Take it easy, Miss Morgan, take it easy. Come on, take it easy.  That's it, all right, all right, all right. Look, I'm, uh-- I'm from Homicide -- Lieutenant Kelly. We've been watching this building all day. 


KAY: Why me?


KELLY: You witnessed a gang killing of Clint Toback Wednesday night.


KAY: The - the racketeer?


KELLY: Yeah, your late neighbor. He was shot right in this lobby. Doorman said you were coming in when it happened. (BEAT) Well, were ya?


KAY: (STAMMERS, SLOWLY) Well, uh, that must have been just before it happened.


KELLY: Now, tell me, did you get a good look at the killer's face?


KAY: Sorry, I really can't remember. There were several people past me in the lobby, I-- You know what? I really didn't notice.


KELLY: He noticed you, all right. Where did you disappear to Wednesday night? We've been looking for you for two days, Miss Morgan.


KAY: Yes, I know. It seems a lot of people were looking for me. Police, the newspapers. Now a killer. Well, I'm getting out of here!


KELLY: Nah, it's safer to stay put -- until we apprehend that killer, Miss Morgan.


KAY: Stay here and take another chance on my life? Oh, no.


KELLY: Don't leave this apartment, Miss Morgan. If you do, you'll wind up as dead as your late hood neighbor, Clint Toback.


MUSIC: BRIDGE


SOUND: KNOCK ON DOOR


KAY: (NERVOUS) Who - who is it?


JIM: (BEHIND DOOR) It's me, Jim.


SOUND: DOOR OPENS


KAY: (RELIEVED) Oh, Jim! 


JIM: I came as soon as I could. 


SOUND: DOOR CLOSES


JIM: What happened, Kay? I couldn't make out what you were saying on the phone. 


KAY: (SOBS)


JIM: My God, you look awful.


KAY: Someone - someone tried to kill me! 


JIM: What?


KAY: I was almost killed.


JIM: All right, all right. Now, who? I don't understand.


KAY: Laura Morgan witnessed a murder right here in this lobby Wednesday night. Did she say anything to you about it?


JIM: Well, we, uh-- We had other things to talk about.


KAY: The killer is after her. Even if she didn't see his face, if he thinks she can identify him-- Even if she didn't know--


JIM: All right, all right. Now, look. You've got to get out of here, Kay. Now, you start packing. I'll try to get you on a plane tomorrow night.


KAY: No, no. Now, wait a minute, the police said I can't go anywhere until they catch the killer.


JIM: (STUNNED) Police?


KAY: They said I'd - I'd be safer here. They're - they're watching this building.


JIM: Police? Kay, are you out of your mind?! And you get me over here?!


KAY: Jim, I had to! Don't you see? You've got to tell them the truth! Now you've got to tell them Laura Morgan is dead.


JIM: Tell them? And ruin my life? Our life, Kay?


KAY: Jim, what is the matter with you? You didn't commit murder. It was an accident. The police will understand that.


JIM: (IRONIC) Oh, sure, sure. I'm sure they'll be very understanding.


KAY: Jim, don't you see? If you tell the police, it will be in the papers, on the news broadcasts. Don't you understand? Then nobody will try to kill Laura Morgan if she's already dead.


JIM: I see one thing. I've got to get out of here. And fast.


SOUND: KNOCK ON DOOR


KELLY: (BEHIND DOOR) Police, Miss Morgan.


JIM: (LOW, TO KAY) Just remember, you're Laura Morgan. As long as they believe that, we can get away.


SOUND: KAY'S FOOTSTEPS TO DOOR WHICH OPENS


KELLY: I had a report a man was seen coming up here.


KAY: Oh, yes, yes. That was just a friend, Lieutenant. Oh, please, won't you come in?


KELLY: Yeah, thanks. 


SOUND: KELLY'S FOOTSTEPS IN


KAY: This is Mr. Benson, Lieutenant.


KELLY: Benson?


JIM: Uh, Jim Benson. Uh, Miss Morgan tells me she's been having some trouble, Lieutenant.


KELLY: Yeah, quite a bit of trouble, Mr. Benson. Miss Morgan, uh, I'm afraid I have to tell ya there's more trouble.


KAY: Well, what do you mean?


KELLY: Well, there seems to be, uh-- Well, seems to be some question about your identity.


KAY: (FORCED LAUGH) Did you say my - identity?


KELLY: Yeah, the doorman of this building seems-- Well-- (CALLS) Come in, Brady. We can settle this right now. 


SOUND: BRADY'S FOOTSTEPS APPROACH DURING FOLLOWING--


JIM: Well, this is ridiculous, Lieutenant. This is an invasion of privacy.


KELLY: At the moment, Miss Morgan's life is hardly private.


SOUND: FOOTSTEPS ENTER AND STOP


KELLY: (SLOWLY) All right, what do you say, Brady? Is this Laura Morgan?


BRADY: (BEAT, VERY DEFINITE) No. No, that's not Laura Morgan. No, sir.


KELLY: Are you positive?


KAY: (EXHALES)


BRADY: When you put me back on the door today, sir, I knew she wasn't Miss Morgan. She wore the same suit, and she even looks like her. But that walk, and the way she kept her face turned away, they made me think, sir. No, sir. This lady here isn't Laura Morgan.


KAY: What do you mean I'm not Laura Morgan? 


JIM: Laura, be quiet please!


KELLY: [That'll be all, Brady.]


BRADY: [Any time at all, Lieutenant. Good night.]


SOUND: BRADY'S STEPS EXIT


KAY: (EXHALES) I've never heard of such a thing.


KELLY: Okay, okay. (BEAT) All right, who are ya, miss? Why are you impersonating Laura Morgan?


JIM: Don't say a thing, Laura. I'm calling my attorney.


KELLY: And who are you, Mr. Benson? Did you set this woman up as a decoy so you could kill the real Laura Morgan? We haven't found her yet, but the police are dragging the river.


KAY: (NERVOUS) Jim!


SOUND: PHONE RINGS


KELLY: All right, just stay where you are, all of ya. I'll answer it. 


SOUND: KELLY'S FOOTSTEPS TO PHONE ... RECEIVER UP


KELLY: Hello?


CAPTAIN: (FILTER) Lieutenant Kelly?


KELLY: Speaking.


CAPTAIN: (FILTER) This is Blaine.


KELLY: Yes, captain?


CAPTAIN: (FILTER) Don't let that woman get away, Kelly. We'll be right over. Laura Morgan has been found -- and identified.


MUSIC: BRIDGE


SOUND: KNOCK ON DOOR ... DOOR OPENS


KELLY: Ah, come on in, captain.


SOUND: CAPTAIN'S STEPS IN


CAPTAIN: This the woman, Kelly?


KELLY: Well, this is the lady who says she's Laura Morgan, captain.


CAPTAIN: That's very interesting. And the man?


JIM: I'm Jim Benson. I-- May I ask what you're doing here before I call my attorney?


CAPTAIN: Certainly, Mr. Benson. I just came around to introduce Laura Morgan -- to Laura Morgan.


KAY: (BEAT, CONFUSED) What?


CAPTAIN: (CALLS) Okay, Mac, bring her in. 


SOUND: FOOTSTEPS AS OFFICER ESCORTS LAURA INTO ROOM


CAPTAIN: Miss Morgan, meet the real Laura Morgan.


KAY: (SHOCKED) I, uh-- I don't understand. Jim, you - you said she was dead.


JIM: (TO LAURA, SOLICITOUS) Laura--? Are you all right, Laura?


LAURA: Yes, darling. But, Jim, my timing was off as usual. I guess I was at the wrong place at the wrong hour. I did just what you said Wednesday night, but they managed to find me.


KAY: (REALIZES, INCREASINGLY ANGRY) Jim, you knew she was alive! You knew somebody wanted to kill her and you made me take her place!


LAURA: And you botched it! Just as you botched your marriage, Kay Benson!


KAY: Jim, you said you killed her! You said you wanted me! You said--!


JIM: Never mind what I said, Kay!


CAPTAIN: Not so fast. We want to know exactly what you said, Mr. Benson.


KAY: Good God, you wanted me to be killed! (TEARFUL) You wanted me to be killed so you could marry her!


JIM: I begged you. I pleaded with you for a divorce, Kay!


CAPTAIN: And when she wouldn't give it to ya, you set your wife up as a target for Laura Morgan's killer.


KAY: (SOBS) Oh, Jim, Jim -- how could you do this? (WEEPS, IN BG)


CAPTAIN: Take 'em to headquarters, Kelly. (DISBELIEVING CHUCKLE) This is really one for the books. A stand-in for murder.


MUSIC: CURTAIN


ANNOUNCER: SUSPENSE!


MUSIC: CHORD


ANNOUNCER: You have been listening to "Stand-In for Murder," starring Teri Keane and Larry Haines, and written especially for SUSPENSE by Gladys F. Gallant. In a moment, a word about next week's story of SUSPENSE. First, let's listen to Garry Moore and Durward Kirby.


KIRBY: Wait a minute now. It's a Net A-what?


MOORE: Net Alert. It was developed by CBS laboratories to alert each CBS Radio Network affiliated station by means of inaudible impulses from New York. These impulses, in turn, activate certain electronic equipment in the affiliate studios and tell them that CBS Radio is about to break in with an important message. When CBS News scoops all other media on a story, as often happens -- pardon the bragging, but it's true -- a technician in New York dials a number on something that looks like your telephone dial. This sends out a practically inaudible sound over the lines to the local station.


KIRBY: But how often will this system be used?


MOORE: Any time a news story of importance breaks.


KIRBY: So that no matter where I go, night or day, if I stay tuned to CBS Radio, I'll never miss the important news.


MOORE: Right!


MUSIC: SUSPENSE THEME ... THEN BEHIND ANNOUNCER--


ANNOUNCER: SUSPENSE is produced and directed by Fred Hendrickson. Music supervision by Ethel Huber. Heard in tonight's story were Claire Niesen, Ivor Francis, Bob Readick, Toni Darnay, Bill Lipton, Jack Grimes, and Joseph Julian. Listen again next week when we return with "Formula for Death," written by Jonathan Bundy, another tale well-calculated to keep you in--


MUSIC: CHORD


ANNOUNCER: SUSPENSE!


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