 Yes, Roma Wines taste better because only Roma selects from the world's greatest wine reserves for your pleasure. And now, Roma Wines, R-O-M-A, Roma Wines, present. Suspense. Tonight, Roma Wines bring you Mr. Joseph Cotton in the Thing in the Window, a suspense play produced, edited and directed for Roma Wines by William Spear. Suspense. Radio's Outstanding Theatre of Thrills is presented for your enjoyment by Roma Wines. That's R-O-M-A, Roma Wines, those better tasting California wines enjoyed by more Americans than any other wine, for friendly entertaining, for delightful dining. Tonight in our Suspense Theatre, we bring you the premiere of the newest suspense play written by Lucille Fletcher, the author of such distinguished radio dramas as Sorry, Wrong Number and Others. But before we ring up the curtain on tonight's play and on the performance of our star, Joseph Cotton, let me make a suggestion. Why battle last-minute Christmas crowds downtown when the perfect gift is as close as your nearest wine merchant? Give magnificent Grand Estate Wines favored by discriminating wine users everywhere. From a single assorted case of Grand Estate Wines, you can make several distinctive gifts and provide Grand Estate Wines for your own holiday dining and entertaining, too. To give or serve, America offers no finer wines than Grand Estate. For Grand Estate Wines presented by Roma, America's greatest vendor, are limited bottlings born of choicest grapes, then slowly guided to rich taste luxury by ancient Roma skill and America's finest winemaking resources. This Christmas, for good giving, for good living, offer all five Grand Estate California wines, when entertaining serve medium sherry, ruby port or golden muscatel, for gracious dining, burgundy or sautern. Say your Merry Christmas smartly with Grand Estate Wines, the crowning achievement of Vintner skill. Yes, right now a glass full would be very pleasant, as Roma wines bring you... Mr. Joseph Carton, as Martin aims, in the thing in the window. A tale well calculated to keep you in suspense. Turn that vacuum cleaner off for a minute, will you? And come over here, I want to show you something. Right here, out this window. Now look across the street, no, directly across the opposite apartment. Can you see that window? About three windows in from the laughter with a kind of blue draperies? There's someone sitting there in a chair. He hasn't moved all night. I think he must be dead. Dead? Lord and mercy, Mr. Ames. Take a good look at him and tell me what you think, Mary. Okay, but I don't favor looking at a corpse, Mr. Ames. It's unlucky. Now, which window did you say? Third one over. I wish I had my glasses with me. Oh, there, right there. Where are my fingers pointing? I'm afraid I don't see it yet, Mr. Ames. Oh, look. The winner with the blue draperies. He's wearing a sort of a grey suit. The arm. Can't you see the arm hanging down over the side of the chair? No, sir. But you've got good eyes, Mr. Ames. If you see it, I am not arguing with you. What are you going to do about it? I don't know. I just began to notice it last night. I guess I first have to be sure the man is really dead. That's right, Mr. Ames. You don't want to get yourself into any trouble. Maybe he's only sleeping, or maybe he's incapacitated. Maybe the poor souls are stricken in for it, huh? Maybe. Mott and Ames. Are you the superintendent of this apartment house? That's what it says on the door. I've come to inquire about one of your tenants. Yeah, what is it? Do you want to know? I live across the street, and, uh, well, I'll be frank with you, sir. I've been looking out of my window across to this building now for two and a half days, and there seems to be someone dead in one of the windows. Eh? Which window? It's the tenth floor. I've counted up from the street, and it's ten stories up. There's a window with blue draperies, about three windows in from the left. Facing toward me, that is, and there's a man sitting there, slumped down in a chair. Ah, just a minute. I'll get out my chart. The tenth floor up from the street, eh? Well, it's really the ninth floor. The lobby counts one. We've got two apartments along the front of the house. It's in the front, yeah? That's right. Now, three windows in from the left, that would be 9B, a four-room. Oh, that couldn't be right. 9B is two ladies. You say this is a man? Yes, the face isn't clearly visible. The head slumped forward. But he's wearing a gray suit, and he's sitting in a high, winged-back chair. I don't place him. Maybe he doesn't belong in the house. Maybe he was visiting somebody. As I say, this is all conjecture, of course. He may not be dead, but I've watched him a good deal. I'm home a lot in the daytime. My profession, the stage, doesn't take up too much of my time, and it looks mighty suspicious. Okay, I'll check on it. Mind if I stick around? Oh, no, no. Sit down. I'll give 9B a ring first on the house phone. Oh? Oh, Miss Landis? Yes. This is Miss Landis. Who is this? Oh, this is Mr. Anson, the super. Everything all right up there, Miss Landis? Okay, Miss Landis. Thanks very much. That's that. No soap on 9B. 9A is in the country. Well, anyway, if I got the window straight, like you said, it ought to be 9B. The two single ladies? Yeah, only it couldn't be them. They're real old maids. They've been living in the house for years. Real old-fashioned type, you know. Say, if they knew you thought there was a man in that apartment, oh, the two of them would just about jump out of their skins home. Well, I don't know what to say. You're sure it must be that apartment? Oh, yeah, yeah. That's a place, all right, but you probably just made a little mistake. You know how your eyes can play tricks on you? After all, it is a pretty wide street. I don't think I made any mistake. Anson speaking. Oh, uh, hello, Mr. Anson. This is Mr. Ames. Again? It's not there. But, Mr. Anson... I checked up on the two apartments this morning. 9A is back from the country. Everybody's okay. And 9B is out walking the dog. No dead bodies in the whole place. But I can see it. It's still there. Okay, just where? Will you just tell me where? In the same window. The one you said was 9B. Have you gone inside 9B? Oh, no, but I asked them if anybody was sick or dead, and they said no. You asked them? Well, why don't you search that apartment? What do you mean? Break in while they're out? No, search it while they're there. Ring the bell, walk in, and do it. Yeah, not without a search warrant from the police. These apartments, you know, don't belong to me. I just take care of the building for the company. Then let's call the police. Well, not me, Mr. I didn't see no dead body up there. But I will. After all, somebody's got to do something. I still maintain, officer. These two sisters are as refined ladies as you could find anywhere. High class, nice church-going ladies. They used to teach school up here at PS33. Yeah, that don't mean a thing. As it happens, there's a play on Broadway right now in which two nice old ladies commit murder after murder. They got a dog in there. Now, will you tell me one dog that would stay for almost a week in a flat with a dead person? I'm not telling you anything. All I know, this gentleman Mr. Ames here reported a stiff over here. And if he says there is one, there is. Until it's proved different. Right, Mr. Ames? Well, I keep seeing the thing day in and day out. I'm not working at the moment and being home so much. None of the other neighbors have complained. Dead bodies ain't exactly... It's, uh, right this way, please. I hope they're home. They ain't home. You got a pass key, haven't you? Well, yeah, we're not supposed to use it, though, unless for an emergency. This isn't an emergency. A dog bite sometimes. I'm awfully sorry, Miss Landis, but there's been some kind of mix-up. These two gentlemen want to look over your apartment. But why? It's not for rent. Well, I know. It's just, uh... Well, they want to search around and check up on... Come on, come on. Cut out the pull-over. Hey, look, lady. A dead body's been reported sitting in one of your windows. What? Yeah, yeah. This guy lives across the street and he's been seeing it over here for a week. Now, come on. Now, open up. A dead body? But that's impossible. My sister and I live here all alone. Yeah, yeah, yeah. We know all about it. It won't do no good. They get a chain on the door from the inside. Open up in the name of the law. How do you do? I am Vivian Landis. May I ask what this is all about, please? Certainly, lady. I've got a search warrant here made out by this gentleman to search your place. He says you've got a dead body in there. A dead body? Well, that's perfectly ridiculous. Yeah, isn't it? But it's been reported. And kindly take that door off the chain and let us through. Of course. First, may I ask how did this peeping Tom see into our apartment? I thought, Mr. Anson, that we were quite private. Well, you see... Look, he lives across the street on the same level. I just happened to be... Oh! Well, then we shall have to keep our shades down in the future. Although one would think a grown man would have something better to do. But you do come right in, gentlemen. Make yourselves right at home. Thanks. Is he coming in here too, Mr. Busybody? No, he doesn't have to if you don't want him. Well, I most definitely don't. Okay, Mr. Reims, you better stay outside. Officer, I will... Oh, he does want to poke around in our private rooms. Is that it? Maybe he had some ulterior motive in worming his way in. Maybe he's come to get the lay of the land so he can break in someday to rob us. Okay, okay, he's not coming in. Now, let's take a look at your window. Yes, officer. Now, what's the big idea? You didn't find it? No. That's very strange. Yeah? The only thing strange about it's your eyesight. You want to get your glasses changed. It wasn't anything in 9B. Oh. I don't understand it. How could I have seen it so distinctly and it's not there? Perhaps it isn't in the window now. Perhaps they hid it while we were waiting outside the door. Hid it? Now, where do you hide a dead body in a four-room flat? I looked in all the clothes closets under the sofas in the chest. Perhaps they got it out of the back into the service elevator. Single-handed? With all the garbage cans and laundry going up and down? Perhaps they had accomplices, Brad. Oh. You probably think... Oh, it's so terrible to keep seeing it and seeing it and feeling it. Slowly decaying there in secret. Why, the thing could be there for weeks. It's so high above the streets. Perhaps it'll never be found. Perhaps it's already being destroyed. Well, then, if it's gone, what do you got to worry about? You don't have to sit and look at it no more. No, I hope it is. I tell you it's really getting me down. I haven't slept for nights keeping vigil. I'm in a nervous state. I haven't been this nervous in years. Yeah, I can see that. Well, look, why don't you try forgetting for a while? Try not to look over into that window. Or go away for a change. You've done what you could, Mr. Reigns. If there is a stuff over there, well, that's my business, ain't it? And if there isn't... You mean, you think I'm... I may be... I'm not saying nothing, Mr. Reigns. But if I was you, I'd try catching up on my night's sleep. I did stirb you at this time of night, but I really... I'm desperate. I haven't anywhere else to turn. What? This is Mr. Ames. Martin Ames, your neighbor. The one across the street. I was in your apartment yesterday morning with the police. Or, rather, I was almost in your apartment. Your sister wouldn't let me in. Oh. Please don't think me a pest, Miss Landis. I don't mean to annoy you. It was only because I was so desperate that I initiated that search. It's quite all right. Goodbye. No, no, no. Please don't hang up because it's worse now. But it ever was, Miss Landis. I've been sitting here opposite your apartment, staring into your windows, and I... I... I'm only asking you to help me, Miss Landis. Help me just a little. It's still there, Miss Landis. The dead body in your window. Oh, please! I know, I know. I know now it hasn't anything to do with you. But would you do me just one favor, Miss Landis? Would you go into your living room and just check once more? Perhaps I am, Miss Landis. That's what I'm trying to find out. Then perhaps your sister Vivian would help me. She's not at home. Oh, Lord. Morning. I know. They're all down still. I can't. At least not the actual body. It's just the silhouette. I'm not beligning you or your sister, Miss Landis. If there's someone dead in there, it's not you who are doing it. But think of me. If you could just be here and look over there and see the shadow of those quiet fingers and that shoulder and that head. Oh, please! Tell me just one thing, Miss Landis. There is a chair by that window, though, isn't there? A chair? A high-backed wing chair. And have you anything on it? Anything piled up? I mean like curtains or cushions or dressmakers, dummy. Of course not. Or do you have a plant in the window in front of it? Some kind of odd table? Anything that would cast a shadow like a man's head slumped forward or an arm hanging limp. No. Then would you do me just one more favor, Miss Landis? Please, please. And as an experiment, would you just go into the living room and move that chair from the window, please? Yes. Will you let us alone forever? Yes, yes, if it works. I can't tell Miss Landis until you move the chair. I see. Well, thanks very much, Miss Landis. I know what I have to do now. You mean? Yes, Miss Landis. It's still there. Landis. Where is it? I want to see it at once. Oh, yes, Miss Landis. Come here now. I hope you'll excuse my appearance. I've just passed another sleepless night. So has my sister. And so have I. What do you mean by all this business, Miss Reims? You have frightened my poor sister nearly to death. Why? Seeing things that aren't there when you, you know that they're not. I know they're not. Oh. Oh, I wish there was. I wish to have, and I'd never looked out that window. I wish those walls were solid stone and your walls. Oh. You are a sick man, Mr. Angel. Oh, am I. I wish I were, but I'm, I'm perfectly sane and well. I went to the psychiatrist yesterday, and guess what he told me? That there's nothing wrong with me, nothing. I can't believe that. Look, you, I suppose it's a form of madness to persist and persist in seeing this hideous image. But not me, Miss Landis. No. I finally come to an entirely different conclusion. And what is that? The supernatural. The supernatural? A ghost? But nonsense, Mr. Reims. Yes, I suppose it is nonsense to you. You've been a schoolteacher. Yes. You believe in logic, common sense, the things that give a pretence of solidity, but it's prey a little life of ours. But I'm an artist. I've always had a feeling for the thing beyond, the intangible, the shadowy. We're children, Miss Landis. Children playing along the edge of the ocean. We laugh and toy with the waves and mock fright. But sometimes, sometimes one of us slips down into the darkness. Sometimes the depths rise and we glimpse the yawning fangs of the eternal. You put things rather oddly, Mr. Reims. Just exactly what do you mean? Simply this. I checked on that building with the real estate agents yesterday afternoon. Half had left my psychiatrist. And there was a murder. In our apartment? All the reporters didn't say. You know how they kind of hushed those things up. It was a man, a young man. The lover of one of the tenants, a Miss Sweetser. Sweetser? That's the name of the people who lived there before us. They were an elderly couple, Mr. and Mrs. Sweetser. I never saw any Miss Sweetser. She died. She was the daughter. She killed herself afterwards by jumping out one of the windows. Perfectly awful. Rather a ghastly coincidence, isn't it? Was it out of our window? You know, she must have been a very neurotic person, though, this Miss Sweetser. Half crazed, almost with love or jealousy. I checked on the details in an old newspaper. She cut his throat. Nearly decapitated him. It's sad that when they lifted his body out of the chair later, his head almost rolled. Excuse me. Mr. Ames, I'd rather not hear. I still can't believe it. If there is something, if there could possibly be something, why haven't we seen it, too? Why should you be... Haven't you seen it, Miss Landis? No! You're sure? Never? Perhaps in the middle of the night, getting up and passing that room, seeing that chair outlined against the window, just in passing, perhaps? You've never had a glimpse? No, no. I really must be going. No, no, no. Please stay and look at it. I want you to see it out on my window. No. My sister Elaine, she's very nervous. I can't leave her so long alone. Then how will I know? How? Miss Landis, I thought you came here especially. It'll only take a minute. It's right in here in the bedroom. I just have to let up the Venetian lie. Oh, Miss Landis! Don't go! Miss Landis? Oh, hello, Sergeant. This is Ames, Martin Ames. I just called to let you know. I think you're right about that good night's sleep. Yes, I'm going away tomorrow for a long rest, shutting up my apartment. Yes, I'm all kind of in knots. I don't know what to think. Oh, they did. Yes, I saw the moving van in front of the house, but I didn't know it was those sisters. Couldn't take it, huh? Well, I can't take it much longer myself. Martin, bravo, bravissimo, boy. Not so loud. Why, all the mystery in Superintended, I don't like it. I should think you wouldn't like you grabbing the beautiful apartment right from under his nose. He probably had a promise to a friend. You've got it now, Ronald, just as I said. Oh, so I have, oh, boy, so I have. And it's beautiful. You know how crazy about it. Martin, you've done it. I'll take nothing of it, Ronald. I'm glad to do it for such a distinguished colleague. Well, it certainly was nice. And I wish I could do something in return. I really do. Perhaps that play I'm doing next season. You know, there's a party, and it's rather small. Small party, very necessary. Thanks, just the same. But I'm doing pretty well just now, Ronald. In his housing shortage. You know, why even the superintendent is nervous for rent? When your call came to my manager, I left rehearsal. I wouldn't prostrate to anyone but myself. I left the whole cast just standing there when I came over. And when I asked his gloomy character, and he said he'd heard nothing about it. I insisted, of course. I don't know who I was. Finally it called up. Sure enough, it seems these two sisters who lived here just decided to move on. I hope you didn't mention my name, though. If I had tipped you off. No, no, no. You asked me not to. Anyway, I think my own name is enough. Seriously, Marty, how did you know? Were there friends of yours? Oh, no, no. It's a rather long story. Here, let it sit down, shall we? In the living room, though. Oh, no, no, no. You take the chair. I guess they must have left that when they moved out. No, thank you. Well, to be frank, Ronald, I got this apartment by a ruse. A ruse, man. What kind of ruse? Oh, I'm pretty nasty, aren't I? I frightened the last tenants away. I told them I saw a dead man sitting here in this window. No, no, no, not really. Oh, clever of you. Of course there was one. Oh, no. You see, I live across the street, directly across, in that apartment there, with a striped curtain. One night, just sitting there late, I got an amusing thought. There was a kind of shadow across this chair, the one they had just sitting in. Reminded me a little bit of a corpse. And it came to me that it might be fun to create a great part, a character, a corpse that wasn't there. I don't fully find... Some actors need a play, Ronald, to create a role. Others, the great ones, work out their own drama. I proceeded to invent a part for myself. I witnessed the innocent bystander across the street, who saw a corpse in here. And I kept seeing it, and kept seeing it. And finally, by the power of suggestion, it became real enough to frighten them away. Very clever. Wasn't it rather drastic? I always hoped we'd be neighbors, Ronald. As a matter of fact, the whole idea for this thing came to me that day in October, when you turned me down for that part, outside of Saudis, remember? You said you were looking for a place then. Oh, yes. It was then I thought how nice it would be to see you, right across the street, sitting in this window, a simply had to bring it about. No, no, no, no, Ronald, don't get up yet. I'm not through. Really, oh boy, I'm afraid the gang at the theater, you know? They don't even know that I'm here. They'll wait. People always wait for you, don't they, Ronald? I could call them for you, of course, but the phone's been disconnected. Well, I'm afraid that I'm... which way's the door, oh boy? Now, really, Marty, it's been very tired of you. What's the matter? Don't you like the apartment, Ronald? Aren't you going to take it up for all my work? Oh, yes. I like it very much. The door's locked. Yes, Ronald. I'm afraid you'll have to find your way out alone. Yeah, that'll keep you quiet. Silence always became you better than all that ranting and glimpses and charm, Ronald. And now I've got the part for you. A part to end all parts. You play it entirely in a chair. There isn't much action, not a line to say. You just sit, Ronald. You sit in this chair by the window. It'll be the greatest performance of your career. You like to hog all the fattest roles for yourself, didn't you? Well, this is a part that's been talked about up and down the street for weeks. You'll play the part of a ghost. A corpse that never was. A hallucination in my brain. And who'll be your audience? I will. I, the insignificant outmoded ham who wouldn't, wasn't fit to appear in your precious play. But good enough to put you here, Ronald. Who's the better actor now, Ronald? Goodbye, Ronald. See you across the street. Centered by Roma Wines, R-O-M-A. Roma, America's favorite wine. And now this is Ken Niles with a curtain call for the star of tonight's play, that perennial suspense favorite, Joe's of Cotton. Joe, tonight marks your seventh appearance on Suspense in less than three years, making you our all-time champion guest. No cotton shortage on Suspense, again. And no shortage of suspense when cotton's on hand either. In appreciation of those seven stellar performances, here's a Christmas present for you, Joe. Please accept this gift basket of grand estate wines. From your host, Roma, America's greatest member. Thank you, Ken. And you're an outstanding host this Christmas when you serve these magnificent grand estate wines. For grand estate wines reflect the host's desire to offer only the finest. Grand estate wines delight the most discriminating guests, whatever the occasion. I'll remember that, Ken. And don't forget grand estate wines make ideal gifts, friendly, thoughtful gifts in perfect taste. Yes, for gift or guest, America offers no finer wines than distinguished grand estate wines. For the holidays, keep on hand all five grand estate California wines. When entertaining, serve medium sherry, ruby port or golden muscatel. For gracious dining, burgundy or sauterte. Each limited bottling of grand estate wine, carefully selected by Roma, is a wine outstanding in rare taste pleasure. So this Christmas, give or serve the finest. Grand estate wines, the crowning achievement of Vintner's skill. Well put, Ken, but I must know one more thing. What about next Thursday's show? Well, it's a double-threat show with the honors going to two distinguished ladies. It's called Philomel Connick. The author is England's number one feminine mistress of the art of suspense, Agatha Christie. And our star will be the most provocative European leading lady to visit our shores in many a moon, Miss Lily Palmer. Well, I've never missed a suspense show yet and certainly next week sounds even more intriguing than usual. Good night. Good night, Joe. We're all looking forward to seeing you and David Ocel's next production, Duel in the Sun. Next Thursday, same time, you will hear Miss Lily Palmer, a star of suspense. Produced and directed by William Spear for the Roma Wine Company of Fresno, California. Stay tuned for the thrilling adventures of the FBI in peace and war, following immediately over most of these stations. This is CBS, the Columbia Broadcasting System.