Don't Cheat Uncle Sam 39-03-12 03 Needlework

Summary

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Harold's Old Time Radio

Episode: "Don't Cheat Uncle Sam 39-03-12 03 Needlework"
Date: August 27, 2025
Host: Harold's Old Time Radio

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Main Theme & Purpose

This episode features "Needlework," a Golden Age radio drama from the "Don't Cheat Uncle Sam" series. The play serves as a dramatic exposé on the dangers of narcotics addiction and the insidious role of illegal dope dealers, emphasizing the necessity of supporting federal law and public health as a patriotic duty. At its heart is the personal downfall and redemption of Marion Carmichael, an unwitting victim of drug addiction, and the impact her struggles have on her family—particularly as her husband is nominated for governor.

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Key Discussion Points and Storyline Breakdown

Setting the Stage: The Carmichael Family

• The story opens with James Carmichael, editor and gubernatorial candidate, receiving congratulations and discussing his nomination with his loyal secretary, Ms. Winston.
• Carmichael is preoccupied with both his potential political future and concern for his ailing wife, Marion, through a worried conversation with his daughter Judy. (00:16–03:44)

The Threat of Scandal

• James Carmichael is warned by Mr. Hadley that his nomination is being threatened by rumors involving his family, specifically his wife's association with a mysterious woman named Magda—owner of a local dress shop. (04:14–06:15)
• Carmichael insists on his family's decency but is urged to investigate Magda's connection.

Discovery of Addiction

• Judy and her fiancé, Dr. Alan Carter, reveal to Carmichael that Marion’s frequent purchases from Magda coincide with her physical and emotional downturns.
• Dr. Carter suspects Marion is addicted to narcotics, citing symptoms and emotional instability:

  "The abnormal brightness of the eyes and the dilation of the pupils. And also the emotional excitement that is apparent in Mrs. Carmichael's conversation." – Alan Carter (08:28)

• Carter explains the challenges of breaking addiction and the need for both emotional support and legal investigation. (08:21–09:48)

Marion’s Confession

• Marion, distressed and frail, enters. In a tense and emotional sequence, she is confronted about her health and relationship with Magda.

  "She wouldn't give it to me today. She's a mean woman, she said." – Marion (10:35)

• Dr. Carter begins medical intervention, carefully administering a reduced dose to manage withdrawal:

  "Every nerve in her body is screaming for this... that's the beginning of the cure." – Dr. Carter (11:09–11:10)

• Marion reveals her shame and isolation; Carmichael blames himself for neglecting his wife's needs. (11:29–12:17)

Tracing the Source: How the Addiction Began

• In a narrated flashback, Marion explains how, seeking relief from headaches, she received morphine injections from Dr. Olney, unaware of the substance’s true nature.
• After Olney disappeared under suspicion, Marion is drawn into an underworld of dope peddlers, using coded requests to acquire narcotics, eventually leading her to Magda. (13:17–17:55)
• Magda’s dress shop becomes a front for narcotics trafficking, with the drugs hidden in dress hems or pockets.

The Sting: Setting the Trap

• The family and authorities organize a sting operation to catch Magda in the act:

  "Mr. Carmichael, call the local office of the Federal Bureau of Narcotics... Mrs. Carmichael must call Magda. Tell her she's changed her mind." – Dr. Carter (20:09)

• Marion, drawing on her talent as an actress, feigns desperation to manipulate Magda into incriminating herself. Mirroring a stage play, authorities hide in adjoining rooms, listening in as the trap unfolds. (21:22–22:07)

The Confrontation & Climax

• Marion pleads with Magda for the drug, agreeing to sign a statement to prevent her husband's gubernatorial run.
• Magda is unrepentant and menacing:

  "I play for higher stakes than that. And I think you know what they are." – Magda (22:28) "You're crazy for it, aren't you? Well, you're not going to get it, Hophead." – Magda (22:40)

• Authorities intervene as Magda attempts extortion, gathering all evidence needed for her arrest. (24:51)

Resolution

• Magda is apprehended and exposed as a core figure in the local narcotics racket. The family rallies around Marion, and her path to recovery begins.
• In a hopeful note, Carmichael’s nomination is now secure, and Marion herself is lauded for bravery:

  "You were wonderful, Marion." – James Carmichael (25:39) "You're going to make me well with your help. They got her." – Marion (25:44)

Final Message & Call to Action

• The narrator closes with a statement from H.J. Anslinger, Commissioner of the Federal Bureau of Narcotics, underscoring the ongoing national fight against drug traffickers and appealing for civic responsibility. (27:34)

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Notable Quotes & Memorable Moments

• "Americans, most of us, find this admonition unnecessary... providing them with hospitals and free clinics available to everyone." – Narrator (00:16)
• "It's because of the fearless attitude you've always taken in your editorials that the people want you." – Ms. Winston to Carmichael (02:14)
• "Judy, all you know about this woman, this Magda person." – Carmichael, investigating after suspecting foul play (06:56)
• "You haven't given her yourself." – Judy, confronting her father on emotional neglect (07:43)
• "You're brutally frank, my boy, to say the least." – Carmichael, to Dr. Carter about Marion's diagnosis (09:00)
• "Her boy delivered the dress that night. In the hem was what I'd been looking for." – Marion (17:17)
• "None of us are [in this business for our health]... that put the great newspaper man who wanted to be governor right in our hands, didn't it?" – Magda, revealing her blackmail strategy (22:52)
• "You're a Fed, aren't you?" – Magda, realizing the sting (25:05)
• "You were wonderful, Marion." – Carmichael’s acknowledgment of Marion’s courage (25:39)
• "May we have the assistance of every good citizen in attempting to eradicate this evil." – Quoting H.J. Anslinger, closing narrator (27:34)

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Timestamps for Key Segments

• [00:16–01:33] – Opening narration, introduction of theme
• [03:44–06:15] – Suspicion and revelation of nomination threat
• [08:21–09:48] – Dr. Carter’s medical intervention and suspicions
• [11:05–12:17] – Marion’s confrontation and confession begins
• [13:17–17:55] – Marion’s backstory: how addiction began
• [20:09–21:22] – Setting up the sting operation
• [22:07–25:05] – The confrontation with Magda, climax, and Magda’s arrest
• [25:39–26:13] – Family resolution, Marion’s hope for recovery
• [27:34] – Final message and national call to action

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Tone & Style

The episode is earnest, dramatic, and didactic, consistent with public health and civic morality plays of the late 1930s. The dialogue is heightened and direct, with clear didactic intent but also moments of genuine emotion, family tenderness, and tension-laden confrontation.

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Summary for New Listeners

"Needlework" dramatizes the personal and political stakes of narcotics addiction in 1930s America, blending family melodrama with a crime procedural. It highlights not just the individual dangers and social havoc of drug abuse but the critical importance of vigilance, compassion, and civic engagement. Both a cautionary tale and a thriller, it's a window into radio's role in shaping public opinion and morals—a showcase of the era's blend of entertainment and instruction.

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Transcript

[A]

Don't Cheat, Uncle Sam. Americans, most of us, find this admonition unnecessary. We are grateful to a government that takes an interest in the individual health and happiness of its people, providing them with hospitals and free clinics available to everyone. And yet, there are men and women calling themselves Americans who attack this foundation of health that Uncle Sam has built. These cheaters live by preying on the ill health of the unfortunate weak. And the weak, succumbing to the temptations offered them, become cheaters of their country, too. The Harrison Anti Narcotic laws states that the sale of narcotics by anyone except a licensed dealer to a reputable physician is illegal. And so is their purchase. Our play tonight, Needlework, is the third in a series built around the theme Don't Cheat, Uncle Sam. It's the story of a woman, Marion Carmichael, who unwittingly became the victim of unscrupulous dope dealers. When the scene opens, her husband, James Carmichael, editor of a large newspaper, is seated at his desk in his office in the Herald building. His secretary, Ms. Winston, has finished taking dictation and is preparing to leave.

[B]

When you finish those letters, Ms. Winston, just sign them. I won't have time to look over them this morning.

[C]

Yes, Mr. Carmichael.

[B]

And, Ms. Winston, I'm not to be interrupted while Mr. Hadley is here.

[C]

Very well, Mr. Carmichael. If you'll pardon my being personal, may.

[D]

I tell you how proud all of.

[C]

Us at the Herald are over your nomination?

[B]

Well, never count two chickens before they're hatched, Ms. Winston. I'm not in the Governor's mansion yet. Even the nomination isn't official, you know.

[C]

But with Mr. Hadley coming today, and with you as candidate, Mr. Carmichael, a nomination is the same as an election.

[B]

Well, do you think so? Well, it's not often a newspaper man is asked to run for public office. People are apt to think he's too opinionated.

[C]

But it's because of your opinions, Mr. Carmichael. It's because of the fearless attitude you've always taken in your editorials that the people want you.

[B]

Really?

[C]

You've worked night and day for the interest of the. Sometimes I've been afraid you might break under the strain.

[D]

Shall I answer?

[B]

No. No, I will. You get on with your letters, please, and I'll be sure to let Mr. Hadley know. Carmichael speaking.

[E]

Daddy, it's Judy. Have you time to speak to me?

[B]

Well, don't make it long. Judy, what is it?

[E]

It's Mother, Daddy. I'm worried about her.

[B]

Well, why don't you get a doctor for her?

[E]

Daddy, you're away from home so Much you just don't realize. I told her I'd call Alan, but she won't let me.

[B]

Well, I can't say as I blame her. I wouldn't want my future son in law knowing too much about me either.

[E]

But Alan's a wonderful doctor.

[B]

Well, it's natural you'd think so. But I can't see why you call me Judy. Your mother's been ailing a good many years now, but she seems to get along all right.

[E]

Oh, please try to understand, Daddy. That woman's been here again.

[B]

What woman?

[E]

The one I told you about. The one that has a dress shop.

[B]

Judy, how many times do I have to tell you that if it gives Marian any pleasure to buy new dresses, even if she never wears them, that I'm only too glad to pay the bills?

[E]

But, Daddy, Alan's discovered that it's only when Mother's having one of her attacks that she orders a new dress from Magda.

[B]

Magda? Who's that?

[E]

The woman who owns a dress shop, Daddy. I tell you, she was here today. Mother usually perks up after she comes, but today she's awfully sick.

[C]

Pardon me, Mr. Carmichael. Mr. Hadley's here now. You told me to tell you.

[B]

Yes, yes. Can't talk anymore, Judy. Sorry. Sorry. Goodbye. Tell Mr. Hadley to come in, Ms. Winston. But I don't understand. Hadley, you say for personal reasons, you mean there's something about me personally that makes the committee hesitate to nominate me?

[F]

This is a difficult position you're putting me in, Carmichael. When I say personal, I don't mean.

[B]

I know. I know. It's the newspaper. Yes. I've always realized that my position here might. Prejudice is my choice now. But naturally, I'd immediately sell my interest in the Herald.

[F]

It isn't newspaper, Carmichael. When we first considered you, that question did arise, of course. No, the public is favorably impressed by your editorial.

[B]

Well, what's wrong then?

[F]

Jim, the committee has been approached by a group who opposes your nomination. Ordinarily, they're the sort we'd fight, but they've gone so far as to tell us that if you are nominated, they will expose something very unpleasant about your family.

[B]

My family? There's nothing anyone could say against my family. My son Paul's a scholarship student at Harvard. Write the authorities there for his record.

[F]

We have, Jim. It's all that you say.

[B]

And Judy, my daughter? Why, Judy's one of the finest girls that ever lived. Why, she's engaged to young Allan Carter. He's resident physician at St. Luke's oh, there's nothing wrong with Carter, is there?

[F]

Fine young fellow, brilliant career ahead of him.

[B]

Well, then, what are you driving at?

[F]

I've never met your wife, Jim. I've never met Mrs. Carmichael.

[B]

Well, Marion's a semi invalid. Yes, has been so for years. Say, you're not accusing Marion of anything, I hope.

[F]

I told you I'd never met your wife, Jim.

[B]

I see. Yes. Yes. Well, of course, Marion can't assume full duties as hostess in the governor's mansion, but my daughter will take on that responsibility whenever necessary. My wife's ill health hasn't kept me from being a good newspaper man, and I can't see why it would keep me from being a good governor.

[F]

Jim, did you ever hear your wife mention a woman? A woman named Magda?

[B]

Magda. Magda. Let me see. Where did I hear that name? Magda?

[F]

That group I told you about, that group who opposes your nomination told us to look into this woman's intimacy with your wife, but we can't seem to get anything on her. The woman runs a dress shop, and as far as we can see.

[B]

Oh, dress shop, Magda. Yes, Yes, I remember now. It was Judy. I see through the whole thing.

[E]

Daddy, what are you doing home early in the afternoon like this? Do you feel all right?

[B]

Oh, I'm all right, Judy. Where's your mother?

[E]

Up in her room, but I wouldn't disturb her, Daddy. She's been awfully upset.

[B]

Come into my study with me, Judy. Close the door, please.

[E]

Yes, Daddy. Now, what is it, Daddy? Are you going to be governor?

[B]

Judy, tell me all you know about this woman, this Magda person.

[E]

Oh, is that what you came home for? I'm glad you did, Daddy. I've been awfully worried. You see, she was here today. She had a dress box on her arm, and she walked right past me and went up to Mother's room.

[B]

What for?

[E]

Oh, Mother always has her come up. Try on the clothes, Daddy. Today it sounded as if they were arguing and Mother was crying. After Mag had gone, taking the box with her, Mother locked the door into her room. She wouldn't let me in, but I could hear her moaning. That's why I called you.

[B]

I see. Well, Judy, for the past year or so, your mother has been spending hundreds of dollars every month for her clothes.

[E]

Hundreds of dollars?

[B]

When we were poor, your mother never complained. So I thought that now the least I could do is to give her anything she wanted.

[E]

But you haven't done that, Daddy. You haven't given her yourself. Well, there's Alan. I called him this morning and he said he'd try to come by. Hello, Alan.

[A]

Hello, sweet.

[B]

Well, how are you, Alan?

[G]

How are you, Mr. Carmack?

[B]

Fine. Alan, I want to talk to you alone. Please wait outside for a little while, Judy.

[E]

For Daddy.

[G]

Better give the dog a romp around the block.

[E]

Jude, is this what being a doctor's wife is like?

[G]

Afraid so. Sweet. Are you willing?

[E]

What else can I be? I close the door.

[B]

But what proof have you that your diagnosis is correct? Alan, do you realize that's a pretty drastic surmise you're making?

[G]

I do, sir. And of course, I have no actual proof. But I have observed, as any doctor would, the abnormal brightness of the eyes and the dilation of the pupils. And also the emotional excitement that is apparent in Mrs. Carmichael's conversation.

[B]

Well, Marion always had a lot of pep. I remember when she used to do dramatics at the little theater.

[G]

But that isn't what you'd call Pep, Mr. Mr. Carmichael, I know that Mrs. Carmichael makes a supreme effort to appear natural when you come home.

[B]

Well, I. I didn't realize that.

[G]

Of course not. Mr. Carmichael, don't you think it's about time that you begin to take an interest in the welfare of your family?

[B]

Well, you're brutally frank, my boy, to say the least.

[G]

I have to be. This is a very serious situation you have to face, Mr. Carmichael.

[B]

I'm beginning to see that. What am I supposed to do?

[G]

Two things, Mr. Carmichael. Work with me to get Mrs. Carmichael well. And work with every means available to find out who is responsible for the illegal sale of narcotics in this community.

[B]

But I thought we already knew. I thought that this woman this.

[G]

Summise again, Mr. Carmichael, the law requires proof. To be convicted, the person accused must be found in possession of morphine that has no government stamp on it. Or else an actual sale of this stuff must be witnessed by qualified parties.

[B]

Well, that sounds simple enough.

[G]

But isn't it? You see, Mr. Carmichael, all addicts are very suspicious. And few of them are willing to tell their source of surprise. I feel that our first step is to gain Mrs. Carmichael's confidence.

[B]

I see. Well, now, what do you want me to do about Marian? Oh, Marian. Marion. I didn't see you come in. I didn't hear you open the door.

[D]

You don't see or hear much anymore. To you, Jim Carmichael, but your own face and your own voice.

[B]

Marion, you're ill. You look so dishevelled with your hair hanging down. Let me take you upstairs to bed.

[D]

I won't. He'll talk about me. He'll talk about me behind my back. That's what you were doing, talking about me. Won't you?

[G]

Here, Mrs. Carmichael. Sit down, won't you?

[D]

Who are you?

[G]

I'm Alan Carter.

[D]

Oh, you're that doctor. Go away.

[G]

But I'm. I'm almost your son too, Mrs. Carmichael.

[H]

Paul's my son.

[D]

He's gone away. You're not my son.

[G]

But I want to be, Mrs. Carmichael. I want to help you.

[D]

Help me? Help me. She wouldn't give it to me today. She's a mean woman, she said.

[B]

Are you talking about Magda?

[D]

Marion, Magda's a mean woman. I hate her. She said she'd get you, Jim. She said she wouldn't.

[G]

She give you any medicine today, Mrs. Carmichael?

[D]

No. And my head hurts. My head hurts.

[B]

Oh. What are you doing, Alan? What are you getting out of the bag?

[G]

My syringe. It should be boiled again, but I'll use this alcohol.

[A]

No, no, no.

[B]

I won't allow you to do that.

[G]

But, Mrs. Carmichaelson. Torture, sir. Every nerve in her body is screaming for this. The doctors agree that the sudden and absolute stopping of narcotics is too much of a shock. Instead, we taper off the doses, decrease them gradually. The patient is kept under constant surveillance. That's the beginning of the cure. Now, Mrs. Carmack, will you please pull up your sleeve? Let me swab this place with cotton.

[D]

I don't want to pull up my sleeve. I don't want Jim to see.

[G]

Come now. I'll help you.

[B]

Oh, look at her armor. Why, there's not a place on it that hasn't been stuck.

[G]

Now, Mrs. Carmichael, just relax.

[B]

Marion and I have had separate rooms for a good many years. I see why she wanted it that way.

[D]

Now Jim hates me. He hates me.

[B]

No, I think it's myself I hate. Marian.

[G]

There, Mrs. Carmichael. That was easy, wasn't it? No bruises. Sometimes you bruise yourself, don't you?

[E]

Yes.

[D]

When I have to hurry. When I'm not extreme. Expecting Jim and he comes home. God, why, what are you doing to Mother, Alan?

[G]

I'm beginning to get her well, Judy. Tell her you love her.

[E]

Mother dear. Of course I love you. And so does Daddy. Don't you, Daddy?

[B]

Of course, Marian.

[D]

Oh, you're a nice young man too, Alan Carter.

[G]

Thank you. How's your head feeling?

[D]

Much better. Who helped? Me?

[G]

And I'm going to keep right on helping you.

[B]

All of us are.

[G]

But you'll have to help us too, Mrs. Carmichael.

[D]

Help you? Please? But how?

[G]

By telling us everything.

[B]

Yes, Marian, tell us about this woman, Magda.

[D]

No. No, I won't. She said she'd Kept Jim if I told.

[G]

You've already threatened her with telling?

[D]

Yes, this morning, when she wouldn't give it.

[G]

Why wouldn't she give it to you, Mrs. Carmichael?

[D]

Because I wouldn't promise to keep Jim from being governor.

[B]

What? What. What's that?

[G]

Please try not to excite her. We've got to play this thing carefully. You want to get well, don't you, Mrs. Carmichael?

[D]

Oh, yes. That's why I first started. Why I.

[G]

Tell us about it.

[B]

But. But Magda. We have to know about her.

[G]

We lead up to that, Mr. Carmichael. Perhaps we can learn more this way. Now tell us, Mrs. Carmichael, how did this first happen? When did you first hear?

[D]

About five years ago. I had such terrible headaches, and Jim needed me and children. Judy was 17 and Paul. Paul had just started high school.

[B]

Five years ago? Yes. That's when I became editor of the Herald.

[D]

You were so busy. You worked so hard. I didn't want to bother you. We had just moved here and I didn't know anybody. And I didn't know any doctors. But I remembered seeing a doctor's name on a window of a house around the corner. I went there one day. My head was splitting. I said, is the doctor in? Yes, the doctor.

[E]

Almay's busy now. Won't you have a seat?

[D]

It was a brusque young woman, this nurse, Ms. Halstead. Finally, the doctor was ready for me.

[I]

What's the matter with you, little lady?

[D]

My head, doctor. I often have frightful headaches. I have one now.

[I]

Well, I have just the prescription for you, little lady.

[E]

You can't.

[J]

We all know that feeling. You finally manage to get away on vacation and the worrying starts. Will that bogus Beware of dogs sign Keep your home safe? What about that fake camera you set up? And will someone finally find your old hide and key rock? That's where ADT comes in, all that stuff. It's safe ish. It seems fine when you don't really think about it. But you know, it truly doesn't work. Instead, ADT provides security solutions that keep you actually safe, giving you real peace of mind. Because vacation is supposed to be, you know, relaxing. Don't settle for safe ish. Visit ADT.com today to learn more.

[I]

Take it by mouth. But it's more effective. Works more rapidly. If I give it to you by.

[D]

Injection, I let the doctor use the needle. In a little while, my headache left like a miracle. Every time after that, when I'd feel the pain commencing, I'd go to Dr. Alney for an injection.

[G]

And you didn't know what that injection was, Mrs. Carmichael.

[D]

I did ask Dr. Courtney Allen, but he told me it was a special prescription of his. And then one day, about a year later, I guess I went to his office and Ms. Halstead said the doctor's not in. When will he be back?

[E]

He won't be back. I'm packing up his things. You can get someone else to give you that dope, Ms. Carmichael.

[D]

Dope? What are you talking about?

[E]

Don't try to kid me. Say, you don't mean you weren't wise to those shots Olney was giving you? Well, they were morphine, honey. Just morphine.

[D]

Morphine?

[E]

Sure, the Medical association started to smell a raft. That's why he beat it out of town. But she's still here.

[D]

Who?

[E]

His wife. She's really the brains. Anyway, tell you what, dearie. When the craving gets too bad, call me up. I'm not in on it, you see, but I might be able to contact someone who is.

[D]

I won't need to call you, Ms. Halstead.

[E]

Says you. Well, I'll put my phone number here in your purse. Anyway.

[D]

I was sure when I'd left I'd never use that telephone number. I suffered through four or five attacks. Had to go to bed with them. And then the day before Paul was to graduate from high school, I couldn't stand it. I called Ms. Halstead. She answered the phone. Hello, Ms. Howellstead? It's Mrs. Carmichael.

[E]

Mrs. Carmichael.

[D]

Gee, I'm sorry you can't do anything for me, Ms. Halstead.

[E]

It isn't that. When I didn't hear from you before, I kind of hoped, but I might have known she has your name. Anyway. Have you heard from her?

[D]

From whom?

[E]

From Magda. Say, haven't you been getting any advertisements from her dress shop?

[D]

I don't know what you're talking about. Ms. Halstead.

[E]

Well, forget it. She's a dirty, double crossing old so and so. Anyway, she thinks she has a monopoly on the racket. She's clever, all right, but there's some of us who are clever too.

[D]

She gave me explicit directions where to go and whom to approach. It was a secondhand store down on Market Street. I was to ask the man, have you a C string for a violin? Mine is broken.

[B]

A C string? Who sent you? Holstead?

[D]

Yes.

[B]

Oh, I guess you're okay. For a minute I thought maybe you were still bridging.

[D]

You mean Magda?

[E]

Shh.

[B]

Haven't you got any sense? Don't you know she'd get me if she found out I Was chiseling in on a racket.

[D]

She did get him. Police. I went there one day and the shop was closed. Someone on the street told me he'd been shot. Killed. I couldn't get hold of Ms. Halstead after that. The telephone number she'd given me had been disconnected.

[B]

So you went to Magda?

[D]

Yes, Jim.

[G]

Tell us about it, Mrs. Carmichael. There's nothing for you to be afraid of.

[D]

I'm not afraid now. But her shop's in a nice part of town and there were other customers there when I went in. Smart looking sales girl came up to.

[C]

Me and asked what would madam like to see?

[D]

I want to see Magda.

[E]

Madam.

[C]

Magda's busy. Did anyone send you here?

[D]

Oh, no, no. I was just passing and saw the shop and came in.

[C]

Perhaps you'd care to see some of our dresses.

[D]

Yes.

[E]

Why, yes.

[C]

This blue number, for instance.

[D]

It's your type.

[C]

Will you try it on?

[D]

I followed her to a small dressing room at the rear of the shop. But she didn't attempt to fit me. Instead, she left me sitting there. My head was beginning to pain again. I put my hands to my temples and closed my eyes. I didn't hear anybody coming. But suddenly I knew somebody was there looking at me. I opened my eyes and saw Magda. Yes, Judy. Magda, she said.

[H]

So you've come at last, Ms. Carmichael. I've been expecting you.

[B]

She knew your name. Marian.

[D]

Yes, Jim. From her husband, Dr. Alleny. She didn't say anything else except.

[H]

I'll send this blue dress to your home this evening. The hem may need fixing, but you can do that yourself.

[D]

Her boy delivered the dress that night. In the hem was what I'd been looking for.

[G]

The morphine.

[D]

Yes, Alan, the morphine. After that, I seldom went to a shop. I'd call her and tell her I wanted another dress. Sometimes she sent it by messenger and sometimes she came herself.

[B]

Like today?

[D]

Yes. Only today. Today she wouldn't leave the dress. She said she'd heard you were running for governor, Jim. And that I must do something to stop you.

[B]

What did she suggest you do?

[D]

She didn't say. Just something. And that if I didn't that she would.

[B]

I see.

[G]

Mrs. Carmichael. Did she tell you that if you decided to change your mind, that you could call her and she'd bring you another dress?

[D]

That's what she said. Oh, but of course I won't. I won't do anything to hurt Jim.

[B]

But don't you see?

[G]

You're helping your husband. And you're the only one who can we have to catch this woman red handed and quickly. Mr. Carmichael, call the local office of the Federal Bureau of Narcotics. Tell him to send out an agent and a stenographer immediately. And when that's arranged, Mrs. Carmichael must call Magda. Tell her she's changed her mind. Get her to come out here and.

[D]

I can't. I can't.

[B]

Oh, yeah, but do it. Do it for me. Won't you marry me? Come do it for me. Everything depends on it.

[D]

Marian, I'm afraid of Magda.

[G]

But we're all right here with you, Mrs. Carmichael.

[B]

You used to be a good actress, Marian. Back in the old days at the little theater. Can't you put on an act for us now, my dear?

[D]

I was a good actress. You thought I was a good actress, didn't you, Jim?

[B]

Why, the best. We'll. We'll set the stage in your bedroom. It has a bathroom and a sitting room adjoining. The federal agent will be concealed in there with his stenographer. Alan and I will be there too.

[E]

What about me, Daddy? Can I be there with you?

[G]

Listen, Jude, you've got your part to do, too. Let her in the way you did this morning. Let everything seem as usual.

[D]

It's just like a play, isn't it?

[G]

Yes, Mrs. Carmichael. And you have the leading part. We're counting on you to do it. Well.

[B]

Everything'S all set now, Mr. Abbott. Can you and your stenographer hear me in there when I speak in a low voice?

[A]

Perfectly.

[I]

Ms. Smith has her pencil and shorthand book ready. And I have a feeling she's going to take down something pretty important today.

[B]

I have too.

[G]

Are you all right, Mrs. Carmichael? Remember, act as if you're wild for the stuff. Beg her to give it to you. Promise anything. And then tonight I'm going to take you to a nice quiet place where you're going to get well.

[B]

There she is now. Answer the doorbell, Judy. Start acting, Marian.

[D]

Oh, my head. My head.

[E]

Oh, but my mother's sick. You can't go up to her room. She's too sick to try on a dress now.

[H]

It was your mother's orders that I go straight to her room. Ms. Carmichael.

[D]

Oh, it's you, Magda.

[H]

I have the dress you ordered.

[D]

I thought you'd never come. Give it to me. Give it to me.

[H]

So you've changed your mind, have you? A fine governor's wife you'd make, you weak, sniveling creature.

[D]

Give it to me, Magda. Give it to me. I'll promise anything. I'll do anything.

[H]

Not so fast, what do you think I am? A bindle shovel who's content with a few pennies worth of profit every day? I play for higher stakes than that. And I think you know what they are.

[D]

Oh, no.

[H]

You want what I have, don't you? You're crazy for it, aren't you? Well, you're not going to get it, Hophead. So what do you think of that?

[D]

Oh, Magda, have pity. Magda.

[H]

I'm not in this business for my health, you know. None of us are. And we're not going to have our livelihood taken away from us by the great and virtuous James Carmichael or any other hot shot politician. See, it was a lucky break for us when you wandered into Arnley's office that day. That put the great newspaper man who wanted to be governor right in our hands, didn't it? Pretty story it makes too rocket Buster's wife is dope addict. Oh, that will get him to the capitol.

[D]

But you wouldn't do that, Magda. You couldn't do that. Don't you say you'd give yourself away if you did.

[H]

Gettin pretty foxy, aren't you? Say, I believe you've had a shot of the stove.

[D]

No, no, I'm crazy. For what, Magda? I'll do anything you say if you'll just let me have it. Give me that box, please.

[H]

Not until you sign this, sister.

[E]

Here.

[H]

Here's my pen. Put your John Hancock on this.

[D]

What does it say, Magda?

[H]

It says you give your oath that you will keep James Carmichael running for governor of the state.

[D]

But how can I prevent him from doing it? How can I?

[H]

That's up to you, dearie. And you'll do it or else.

[D]

Or else what?

[H]

I think you remember the man on Market street who sold violin strings, don't you?

[D]

No.

[H]

Come on, sign this.

[D]

Oh, but my hand's shaking so I can't. Let me have a shot first, Magda. You know I won't shake so. Then, please, I'll let you have a.

[H]

Look at it anyway. Maybe that will stop your shakes. Here, I'll open the box. Pretty little dress, isn't it? It will be so becoming too. Say, stop mussing it up. It isn't in the hem this time. It's here in the pocket. Nice, isn't it? Harmless looking, but it's got more power than dynamite. Stop grabbing for it, will you? You won't get it till you sign.

[A]

But you will.

[I]

Maggolly.

[D]

Let go of me.

[I]

No you don't.

[G]

Get away.

[I]

Get the doctor in front of that door, Mr. Carmichael. I think that's about all the evidence we need. Got your notes complete, Ms. Smith? Seems to me we have this lady on a good many counts.

[H]

You're a Fed, aren't you?

[I]

In more polite language, an agent for the Federal Bureau of Narcotics. We've been quite interested in your activities for some time, Mrs. Olney. We'll be delighted with a little further information from you as to the whereabouts of your husband and the source of supply of this dope. Come on with me now, or we can discuss the matter at greater length. But before we go, let me thank you, Mrs. Carmichael, for a beautiful performance.

[H]

She's a dirty, double crossing swine. And so are you, Jim Carmichael.

[I]

You can open the door now, Doctor. And thank you all so much.

[B]

You were wonderful, Marion.

[G]

Lie down here, Mrs. Carmichael. Try to rest.

[F]

We're all very proud of you.

[D]

And you're going to make me well with your help. They got her.

[E]

They got her, didn't they?

[D]

Oh, Mother.

[E]

How are you?

[G]

Your mother did a grand piece of work today, Judy. And now we're going to take her where she can rest. Pack a bag, sweet. And you and I are going to drive her to a lovely quiet place not far from here that I know about.

[D]

I'm very tired.

[B]

Of course you are, dear. Most great actresses are after giving a grand performance.

[D]

You sound like you used to, Jim.

[B]

I am. And you're going to be too. Bye, Brian. Goodbye. I'll be out to see you soon. Goodbye, everyone. Goodbye. Let me speak to Mr. Hadley. Yes, tell him it's Jim Carmichael wishing to speak to him. It's important. Oh, Hadley, it's Jim. I think we'd better reconsider that nomination business. Yes, I don't believe you're going to have any active opposition to my choice now. Yes, and there's plenty of work I can do for the State. And Hadley. Mrs. Carmichael will be able to help me too. She already has.

[A]

And now plain needlework ends. Although Jim Carmichael's fight against the narcotic racket is just beginning. In conclusion, let me quote from a recently published statement of Harrod J. Anslinger, Commissioner of the Federal Bureau of Narcotics. Unscrupulous men and women seek constantly to entangle more and more of our people in the deadly net of addiction. The forces of the Treasury Department, of which the Bureau of narcotics with its 300 men as a branch, work unceasingly against this invasion which seeks to make wreckage of human hopes, happiness and existence itself. May we have the assistance of every good citizen in attempting to eradicate this evil. Signed, H.J. anslinger, Commissioner of Narcotics. Americans, let us be good citizens. Next Sunday at 5:30 in the afternoon will be heard Carnage, the next play in this series of dramas dealing with federal law, invasion and bringing you the admonition, don't cheat Uncle Sam. Needlework was especially written for radio by Ellen Lee Brashear. The cast included Marjorie Lyons, Jane Butticker, Joanna Lee, Grace Smith, Edwin McClure, Richard Broach, torch Grimstad, Edward Murphy. Your announcer, Fred Scott. This is ktbs, a Shreveport time station. Shreveport, Louisiana.