 Hello? Hello? Hello? Yes, I had a call on this wire. I'm sorry, but your party seems to have disconnected. Did you call them? No, forget it. What was it, George? I don't know. However it was, as soon as I answered, they hung up. Let's get out of here and hurry. That man, he was outside the phone booth. He's following us. He's got a camera. Get in the car, quick. Mr. Javery. What are you... Hey! Thanks, mister. I just love to take pictures. Javery's thoughts were racing with the hum of the motor. What did it mean? What did it all portend? The telephone call, the man with the camera. Who would want his picture and why? There was no answer. Only the fact of danger. Of that alone, he was sure. The car sped on. Then came Chicago. Here, at least, was a big city with its millions of people. It was a city George knew. It gave him a sense of assurance. It was the girl's idea that they seek relaxation in entertainment at night. Thank you. Now, ladies and gentlemen, we present direct from a ten weeks run in New York, the world-famous sharpshooter, Professor Glidden. This is going to be all right, George. He's good. I saw his act in Hollywood. He's quite a comedian. That's fine. A little comedy would come in handy now. Oh, George, you promised me. Come on, now relax. Okay. He shoots at the light bulbs. Whether he hits them or not, they always break. Ladies and gentlemen, who line-polled it? Well, you didn't even aim at it. Sure, that's the point. Later, he's going to shoot straight up and above and back of him. He'll break. His shoulder. The left shoulder. No, no, the right. That's harder yet. George, your glass. It's shallow. Come on, Eileen. Let's go. Please, ladies and gentlemen, please. The performance will continue. Please, our apologies. The most regrettable accident. I don't think you were leaving. That was no accident. That bullet didn't come from the stage. No. The bullet hadn't come from the stage. It couldn't have. But where did it come from? George Javeret's tortured thoughts kept pace with the motor's roar as they sped on east through the darkness with the girl asleep at his side. Chicago lay miles behind. The following day, still shaken and haunted by the fear pursuit, the sound of a roadside calliope came as welcome bombs with his burdened brain. Almost without thinking, he turned from the road and sought to lose himself in the crowd of people in the amusement park. Cash, I haven't been in one of these parks for years. What kind of a watch? Get them while they're hot. Get your ice cream cones. What'll be, mister? Chocolate for me. Oh, yeah, me too. Make it two chocolates, please. There you are, mister. That's 20 cents. Okay. There you are. This is good. George. What's the matter? That fat man. Fat man where? Over at the far side of the railing. Eating an ice cream cone. Oh, yeah. Funny looking duck, isn't he? He's been watching us right along. He keeps looking at that card. Card? Well, he just put it back in his pocket. He's coming over this way. Let's get going. The funny looking duck. That's what George called the little fat man eating an ice cream cone. There was nothing funny about the card he kept looking at. The photograph of a startled young man named George Jaybury. There was nothing funny about the automatic revolver that this funny looking man was carrying in his inside pocket as he moved closer and closer. I don't see him, do you? No. I get you. George, he's still there behind us. What are you going to do? I'll tell you what. Let's go up in the ferris wheel. We can look around. Okay. Let's go. Step up, please. Two more. Step up, please. Right in here. All right, folks. Now for some funny rump for everybody. Everybody right. Step up, please. Step up, please. This way, lady. Right in, Mr. Allset. Take it away. Now, this is better. You bet. Give us a chance to see the whole park. Look who's in the car below. I thought we'd lost him. Well, this way we can keep an eye on him. He's in front of us. But not for long, for the wheel was moving. Slowly moving, notch by notch. And when George Javerie's camp was halfway up, it swung out and behind the fat man's camp. But another notch, they would get to the top and the fat man would be behind them. Keep an eye on him, Eileen. I look around and see. There's another one, George. What do we do? Keep looking, Eileen. Can you see him? What's he doing? I don't know, George. He's got something in his hand. I think it's a gun. It was indeed a gun, a peculiar looking gun. Or to it he had attached a silencer, this methodical fat little man who didn't like any noise. They could see him clearly now as he leaned forward in his seat. The wheel moved on, the cab swung out. He was behind them now, and directly ahead the little fat man saw his target. Eileen, come on. Come on, let's get out of this crowd. Oh, you scared me half to death. It's the only thing you do. I figured that if I hung on that way, they'd bring me down on a hurry and stop the wheel. While he was stuck up there, we could get away. Oh, Lucky, it worked out the way you thought. Oh, why didn't you let me know instead of airing? Yeah, I thought you fell out. Well, if I told you, you might have screamed so beautifully. Got that crowd together in such a hurry. This is it. As the cars... Oh, this is the Bancroft Hotel. Well, it's the only one I've ever had in my life. Our race town and the town's whizzed by on this last lap of his journey east. George Javery had no choice but to face the peril that awaited him. On the evening of the following day, they arrived in New York. Here we are. It's the only home I ever had in New York. Boy, take these bags. Now, sir, if you leave the key, I'll have your car garage for you. Yeah, sure. Here you are. Thank you. George, I could go home, you know. What? Travel out to Connecticut this time of night? Well, it isn't that far. Come on. You get a good night's rest right here. Then you can catch an early train in the morning. Oh, all right. Well, here we are. Clerk. Yes, sir? Do you wish a room, sir? Two rooms, please. Yes, sir. Will you sign here, please? Thank you, Mr. J... Oh, Mr. George Javery? What about it? Nothing, sir. A thing only we have your reservations. Reservation, but I... Oh, yes, sir. Yes, of course. Excuse me, certainly. Please, George. Yes, I think you're right. You better go on. No, you're coming with me. Sorry, Eileen. This is journey's end. I'm going to see it through. Well, then, so am I. I don't think you will... Oh, please, George. Don't argue. Okay. Don't say I didn't work. Well, there he is. Who? Our friend, sitting over there by that post. Isn't that one arm? Yeah, my friend, Jones. We ought to have a full cast soon. Oh, Clerk. Yes, sir? What room do I have? 706, sir. Fine, and the lady? Yes, sir. Room 614 for her. Oh, boy. Yes, sir? Room 706 for the gentleman and 614 for the lady. Yes, sir. This way, please. Line up. You will be careful, won't you? You just go to sleep. I'll be okay. Six out. Good night, darling. Good night. Seven. It's right this way, sir, to the left. Here we are, sir. Just, uh, put the bags over there, son. Will that be all, sir? Yeah. There you are. Thank you, sir. Hello, George Javery. It took you longer than I expected. Joe, what are you doing here? Waiting. Mr. Brown. Joe, and the name isn't Brown. It's Javery. Javery? Yes. George Javery. Javery, I thank you enough for what you've done for me. What I've done for you? Sure, you've been a great help. So what's this all about? Look, Javery, you have come to the end of the road. But I think you are entitled to know why. You don't know me, do you? I'm Bill Malone. Scarface Malone. Yeah, only I don't have scars anymore. That's the point. It took me two years and a lot of pain to get a new face. And I didn't get it just to look good in a coffin. You know what I mean? No, I'm afraid I don't. After a guy in my business has been away for a year or two, he's not always welcome home, see? And he generally finds it out by a bullet in the back. That's why you struck me as a good idea. What do you mean? I don't believe in taking chances. The boys think I'm coming east under the name of George Javery. I see. You really don't take any chances. Yeah. And once they got your picture, they were sure they knew that I looked like it. So they thought. But the one armed fellow, he was right in the same hotel where we... Oh, you mean Pepper? Oh, he's with me. I set him to tell you so I have a line on just where you were. That way we could keep the boys in the know, the boys that were out to get me. Only they didn't know all the while it was you. No chances, see? Yeah. Only I can't exactly say I'm glad to have been of service. So if you drop that gun, I'll go. Not yet, Javery. There's just one thing more you can do. Stand over by that window. What for? Stand over there and drop your hands. The boys wouldn't quite understand. The boys? Yeah. The ones I've been telling you about, they're going to take a pot shot at me through that window. When they do, they'll get me, only it'll be you and they'll never know the difference. Now over to that window. Unless I miss my guest, they know you're here already, so move, come on. You don't mind if I sort of stroll through after all, this is a surprise. Come on, over to that window. And if I don't... I'll plug you. And if I do, you'll see Malone, that's the trouble with your system, no incentive. Don't make a move. Get over in the corner. Don't hurt her, Malone. Not if she's smart, I won't, but I'm not taking any chances. I'm letting her in myself. I'm all right, Eileen. Oh, darling. You made only one mistake, going to the door. Was right in line with the window. Lucky for us, he made it. He was right about every detail but the last. The man who left nothing to chance. And so closes, death went along for the ride, starring Ralph Bellamy. Tonight's story of suspense. Henry Denker and Ralph Berkley with the authors. 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 our star will be Baylor Legosi. William Spear, the producer. John Deets, the director. And Bernard Herman, the composer-conductor. Our collaborators on... Suspense. This is the Columbia Broadcasting System.