Suspense. And the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. One of the criteria of a good story is that the character is changed for better or worse during its telling. We submit the following as an example, with a pious hope that its moral may reach the heart of any who needs it. Listen, listen then, as Miss Kathy Lewis stars in The Bridge, which begins in just a minute. Another visit with Joe and Daphne Forsythe. Joe, honey. Hi Daphne, where you been? Out. Do you love me? Sure, I love you a lot. A whole lot? All right, what did you buy? Well. Come on, you'll never start a conversation like that unless it involves money. I bought a hat. Oh, how much did it cost? It was a real bargain. How much? Seven dollars. Well, that's not too much, it could have been worse. Sweetheart. Oh no, what else? Well, when I bought the hat I needed shoes and a handbag to go with it, didn't I? And I found just the right one. How much? Twenty one fifty. And that's for both of them. Twenty one fifty, and seven dollars more for a hat? That's some bargain, that hat. I'm sorry. Well, we're lucky we got the payroll savings plan. A bond every payday is one way to make sure we save something. Gee, honey, you're smart to invest in them. They pay you four dollars for every three. And it's a good thing for us they do. Can you ever forgive me? Well, I guess. Oh, you're so sweet. Why are you so sweet to me? I'm no fool. Come here, you. Oh, Joe. And now. The Bridge, starring Miss Kathy Lewis, a tale well calculated to keep you in suspense. Saturday nights in Westchester. The party is at George and Laura's tonight. But it's the same party as it was last Saturday at the Kincaid and the Saturday before the Fort Milley and John. The same people doing the same thing. The husbands haven't seen each other since they came up from New York last night on the 505. And they may not have another reunion until the 849 picks them up at Chappaqua on Monday morning. The wives have been adjourned since yesterday's PTA meeting and will not reconvene until the community theater luncheon at the Country Club day after tomorrow. The kids are presumably asleep in a score of homes watched over by a TV watching babysitter with or without dates. Saturday nights in Westchester. Togetherness in Westchester. Hey, Liz. What are you doing over here in the corner all by your little self? Thank you. Never heard of such a thing. How about a fresh drink? No, thanks. Come on, Liz. Live a little. I'm fine. Dance? Mm-mm. What would all a host can offer with a guest's husband in the room? I doubt if he'd notice. Huh? Who is she, George? She? Who? That girl dancing with my husband. Oh, aren't you being pretty possessive about old Max? She makes me feel possessive. Who is she? You met her when you got here. Don't be obtuse, George. Now answer my question. Well, her name is Edith Elwood. Works for the competition, Marlin Advertising. Been there about three months. Funny? Max has never mentioned her. Why should he? Must be a hundred others like her on Madison Avenue. That pretty? Mm-mm. Is she married? Gave it up. That's why she's working. Oh. George, have you ever seen them together? Huh? You know, bunch, cocktails? What is this, a third degree? He calls her Edie. I heard him. Well, you know how it is. We're always taking people to lunch. It's part of the business. I see. Thanks for telling me, George. Well, for heaven's sake, Liz, I haven't said anything. You said enough. Now look, Liz, don't you go getting any crazy ideas. Where are you going? Out. I need some fresh air. But it's raining cats and dogs out there. What difference does it make? I seem to be all wet anyway. Oh, it's raining, Max. Stand close to me under this awning. You won't get wet. Like this, Max? Mm-hmm. Like this. Oh, I adore the rain. So, so rainy. Was raining the day we met. Remember, Edie? Yeah. Since on the 485, you stepped off a curb practically up to your knees. That's because I was looking at you instead of where I was going. Oh, you poor boy. You caught an awful cold. Now, isn't that just like a woman? I forgot all about it. Hey, somebody else out here. Where? Speak up, friend or foe. It's me, Max. Oh, Liz, what the devil are you doing out here by yourself? Would it be all right if I were out here with someone else? Perhaps I'd better go back inside. Edie, wait a minute. Is your wife getting in your way, Max? Now what kind of a remark is that? I couldn't help overhearing. Oh, that, that was just party talk. Was it? I remember that cold. I remember it very well. It almost turned into the moon. I'd forgotten. I haven't. What's the matter with you tonight? You've barely been civil to people all evening, and now you're out here moping by yourself. I'm sorry, Max. I've been thinking. Thinking what? The times you've called recently to say you had to work late. How long it's been since you've asked me to have lunch with you in town. You know I've got two new accounts to worry about, in addition to all... She's beautiful. What? Who's beautiful? Edie, or as you call her, Edie. Liz, I'm not going to stand out here in the rain and defend myself against such ridiculous... Don't, Max. Now look, Liz. George drove Edith over here this evening. I didn't. But you sure would like to drive her back, wouldn't you? Well as a matter of fact, she lives only a couple of miles from us, and I, I did offer to give her a lift. Oh, Max. Max. All right, Liz. I'll tell George he'll have to take her home. Anything to keep peace in the family. It's up to you, Max. I don't know what I'd have done if you hadn't given me a lift, Max, with this rain and all. Oh, no trouble at all, Edie. Aunt Edith. Max tells me you don't live very far from us, Miss Elwood. Yes, that's right. I was very fortunate to find a house right on the river. I should think an apartment in town would be more convenient to your work. Yes, but I just love to be outdoors. And if I do say so myself, I have a green thumb with roses. Max is good with roses, too. I get stuck myself. Sorry. Please slow down a little. I'm only doing 35. Oh, it's too fast for this narrow, twisty road in the rain. There's that bridge at the bottom of the hill. Liz, will you pipe down and let me do the driving? Or maybe you'd rather walk. Maybe I would. I think you're a wonderful driver, Max. I didn't say he wasn't. But you don't know this road like I do. And neither of you know it as well as I do. I could drive down this hill with my eyes closed. Max! Max, look out! I can't make it! In a moment, we continue with the second act of suspense. How can heroism be acknowledged and symbolized? Recognition of outstanding heroism takes the form of America's supreme military decoration, the Medal of Honor. It is awarded to those members of the United States Armed Forces who distinguish themselves conspicuously by gallantry and intrepidity at the risk of life above and beyond the call of duty in action involving actual conflict with an enemy. For recipients in the Army and Air Force, the medal is a gold-finished bronze star with the head of the ancient goddess Minerva in the center. A laurel wreath and green enamel surrounds the five-pointed star, which is suspended by two links from a bar bearing the inscription, VALOR, and surmounted by an eagle with wings outstretched. The ribbon pad directly above is light blue with thirteen white stars arranged in the form of a triple chevron. The President of the United States is the only government official authorized to present the Medal of Honor. The award is made by the Commander-in-Chief in the name of Congress, thus accounting for why this highly esteemed decoration is sometimes incorrectly referred to as the Congressional Medal of Honor. Only a very small number of the many millions of U.S. Armed Forces personnel, past and present, have been presented this great symbol of courage to which free men can aspire, the Medal of Honor. And now, starring Miss Kathy Lewis, Act Two of The Bridge. We're alive. We're still alive. Look! Look! The river must be forty feet down there. And we're hanging right over it. We're gonna fall! Any second we're gonna fall! I'm sorry you called my fault, Liz. If I hadn't been driving like an idiot. We're alive. That's all that matters. Max, look at that. The headlights. They're dimming. Short, probably. There they go. Oh, darling. I'm gonna have to get out of here. Even, stop it. Keep your hands off that door. There's nothing under you but water. There's a car coming across the bridge. They'll see us. Oh, they've got to see us. We're down here! We're down here! They can't see us, Eden. We're hanging at least ten feet below the floor of the bridge. Come back! Come back! They couldn't have seen us even if our lights had been working. There'll be another one come along. We're falling. We're falling. No, we're not. We slipped a little, but whatever we're caught on is still holding. There's a flashlight in the glove compartment. You're closest to it, Eden. I don't know where to look. Here, I'll get it. Let me have it, Liz. I'll see if I can tell what's holding it. There's nothing to hang on to out here. Oh! It's a minute of buttment. Absolutely smooth. Let's try the other side. Edith, you're closest to the window. What's that? Oh, my hand. Looks like blood. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Oh, my God. Look, it's white and what color it's been, but it says no part. It looks like blood. Your nose is bleeding. No, I'm hurt. It's broken. I'm sure it's broken. I'll be disfigured. It's just a nose ache. I... I dropped the flashlight. I couldn't help it. I'm hurt. I'm in shock. I... You just have a nosebleed. I don't want to die. I don't want to die. Edith, hysterics aren't going to get us out of here. Whatever's holding us must be under the back wheels. We'd better climb into the back seat and reduce the strain. I'll go first. I'm the happiest. Oh. All right, you're next, Edith. I can't. No, I can't. You pull. I'll push. No! Come on. No. Come on. Now give me your hand, Edith. Up. Up you come. It held. Thank God it held. Max, think of some way to... Do you smell something? Yes, I was hoping you wouldn't notice it. Gasoline? Yes, with a car tip at this angle the tank's leaking. Gasoline? We'll catch fire. We'll burn up. Not if we're careful. I'm getting out. I've got to get out. Stop it, Edith. Sit down. Let me go! Sit down or I'll slug you. Max. See what you've started, Edith. Hold. Please hold. Caught again. For how long? It'll slip again and then we'll all be drunk. Shut up, Edith. Shut up! In a moment, we continue with the third act of... Suspense. Another visit with Joe and Daphne Forsythe. Joe. Joe. Joe. Yeah, yeah, yeah. I'm up. I'm up. Now forget breakfast. I'll shave at work. Joe, it's not time to go to work. Then why'd you wake me up? You were snoring. How about that? You were snoring loud. Oh, really? I just wanted to quiet you. I thought I was quiet. You sounded like a buzz saw going through a pine nut. Pretty good, pretty good. I wish I could be with you at 2.30 in the morning. You can go back to sleep now. Oh, gee, thanks. You can get a good night's sleep, too. Our savings bonds will protect us. Huh? The money we invest is used to protect our country and its freedoms. Why, all around us, we can see the safeguards that our bonds have paid for. How about that? So, you see, when you buy that savings bond with every paycheck, you're really investing in a secure night's sleep. Not in this house, I'm not. What? Good night, Daphne. Good night, Joe. And now... Starring Miss Kathy Lewis, act three of The Bridge. How long have you been here, Max? I don't know. An hour? Two, maybe. What are we gonna do? What are we gonna do? Sit. Wait. Wait for what? To be drowned? Listen. Here comes another car. When it's right above us, let's try yelling all together as loud as we can. I'll get ready. Help! Help! Help me! Help! Help me! Please help me! Hold your breath, Edith. They didn't hear us. They've got to hear us! No, they didn't. We just have to wait for the next one. Wait for the next one? I'm too scared to wait for the next one. So am I, Edith. I've never been so scared in my life. Well, why don't you show it then? What good would that do? We've got to face it. What, darling? Those cars up there will never be able to hear us over the sound of their motors. We've got to wait for one that's coming from the same direction we were. What do you mean? Every car that's passed has been coming from the opposite direction. They can't see the hole in the guardrail where we went through. But a car coming down that hill the same way we were would pick it up in their headlights. Somebody's got to come along sooner or later. Let's hope it's sooner. It'll be too late. Max, I have an idea. Couldn't we break open the back window and then we could climb out over the trunk? Break it with what? Here, my shoe. That safety glass, Edith. It'll take a ball-peen hammer to crack it. Oh. Max, how is the window put in? Got a metal strip all around it, held with screws. Would the strip come out if you removed the screws? Probably, but they take a special screwdriver. And we haven't any screwdriver. I have a nail file in my purse. A nail file? It might work on a Phillips screw. Here, here you are. Is it working? I could tell better if I had a flashlight. Sorry, Max, I said I was sorry. I've got an idea. My cigarette lighter. Are you out of your mind? You smell like gasoline. I forgot. Well, remember. I was just trying to help. The best way you can help is to stop having ideas. Don't, Max. She can't help it. You can help it. I don't hear you going into hysterics. No. No, it won't work, Liz. The file's too soft. It just bends. At least it'll be light soon. Then someone's sure to find us. If it's not too late. What do you mean? For girls, there's no use kidding them. Every time a car goes over the bridge, whatever's holding us gives a little. Maybe you didn't notice it. The last time was the worst. But it will hold. It's got to. I wouldn't bank on it. Now, you kids lean back as far in the car as you can to balance my weight. What are you going to do? I'm going to roll up the front windows. Why? In case we go into the drink. Oh, Max, no, no, no. Now, now these rear windows. You get the one on your side, Liz. Now listen to me carefully. I don't know how deep the water is underneath us. But with these windows closed, we'll have a couple of minutes after we hit to get our breath and our bearings. If the water's shallow, we may be above the surface and we'll have no problem. If we're completely submerged, we'll have to roll down the windows, let the car fill up, and then swim out. No, no, no, no, I can't. I can't. You can't what? I can't swim. I can't swim. Listen, listen. Listen, I hear a car. Yeah. This may be the one that shakes us loose. Sit tight now. I don't feel the bridge shaking. Maybe he's coming down the hill the way we did. He's stopping. He's seeing us. Maybe. Hey, stay down there. It's George. Roll down the window. Liz, Mike, are you down there? Yes, we're here. He does too. Anybody hurt? I'm hurt, George. You've got to get me out. Sit tight till I break out of the road. You better hurry, pal. This car may let go any minute. That a girl. No, just a couple more feet, Edith. I can't, George. I can't. Yes, you can. Here, give me your hand. There we go. How are you coming, Liz? Fine. Need a hand? No, I can make it. You OK, honey? Safe and sound. That was a close one. How in the world did you ever come looking for us, George? Oh, your babysitter got worried when you didn't get home. She phoned me. Bless her. Are you all right? Yeah, Liz and I are fine. But you'd better get Edith to a hospital. She's had a nosebleed. Come on, George, please take me away from this awful place. Watch out for this truck. Yeah, he's pounding to make the hill. They always do coming across the bridge. George, flash a light down there. Max, look. There, but for the gray soup. Look, darling, it sunk out of sight. Yeah, deeper than I thought. Well, pal, looks like you just lost yourself an automobile. I almost lost a lot more than that tonight. Huh? I almost lost a lot more than that tonight. I almost lost a lot more than that tonight. Huh? George, will you please take me home? Come on, George. You mustn't keep your date waiting. My date? Well, you brought her to the party, didn't you? It's only polite to see her home. Only do you mind dropping Liz and me first? We're tired. We want to get to bed. Don't we, Vinnie? Suspense, in which Kathy Lewis starred in William N. Robeson's production of The Bridge, written by Alan Botzer and Mr. Robeson. Supporting Kathy Lewis and The Bridge were Virginia Gregg, Jerry Hausner, and Bill Quinn. Listen. Listen again next week when we return with another tale well calculated to keep you in... Suspense.
