Suspense 1944-10-25 A Shroud For Sara

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Suspense 1944-10-25 – "A Shroud For Sara"

Host: Harold's Old Time Radio
Starring: Lucille Ball as Sarah Martell
Date: December 8, 2025 (original broadcast: October 25, 1944)

Overview

This episode features a classic "Suspense" radio play, "A Shroud for Sara," starring Lucille Ball as the enigmatic and ruthless Sarah Martell. The episode transports listeners to the golden age of radio, presenting a noir tale of crime, betrayal, and ambition, set amid an election for governor. It is a twisting psychological drama where love, greed, and murder intersect. The story explores how each character becomes entangled in Sarah's web, leading to deadly consequences and a shocking conclusion.

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Key Discussion Points and Plot Breakdown

1. Return and Robbery

[02:07–06:39]

• Sarah reunites with George Monk, her estranged criminal husband, after ten years.
• George pulls off a dangerous heist, stealing $17,000 from the Vanda Finance Company and admitting to having killed a man during the robbery.
• A romantic yet tense exchange reveals Sarah had never divorced George, and she manipulates him while plotting their escape.
• Memorable Quote:
  • George: "There's a bald-headed man lying dead over there at the finance company. He's finished. We're just beginning." [05:28]
• Sarah, displaying ruthlessness, secretly calls the police to tip them off about George's whereabouts, ensuring he will be apprehended.
  • Sarah (to police): "If you go to the LaSalle Station, you'll catch the murderer at the Sunset Limited train gate. His name is Monk. George Monk." [06:39]

2. Political Intrigue and Sarah’s Double Life

[10:01–13:44]

• Sarah is revealed to be married to Peter Martell, a gubernatorial candidate with a physical disability (crutch).
• Tension and mutual distrust simmer between Sarah and Peter, centering around the mysterious black valise (the stolen $17,000) and their failed ambitions.
• Sarah’s ambition is exposed—she’s willing to do anything to become "the governor’s lady," including hiding crimes and leveraging her relationships.
  • Peter: "Look at all the terrible things you've done to satisfy your ambition. Even murder now, and it's all been a waste of time." [13:22]
• Peter and Sarah confront each other over past secrets, including a suspicious bullet wound Peter received previously.

3. Bribery, Blackmail, and Murder

[14:06–18:14]

• Dr. Varney, who once treated Peter’s gunshot wound, is blackmailed by Sarah for his silence.
• Sarah proposes buying off Stephen Archer (Peter's electoral rival), offering to have Peter withdraw from the race for $100,000.
• Instead, she makes a separate deal with Archer: she'll file for divorce, killing Peter's campaign chances, if paid half now and the rest after. Archer agrees but insists on noting serial numbers of the bills he gives her.

4. A Death and Deeper Schemes

[19:16–21:20]

• Sarah pays Dr. Varney $50,000 to intentionally overdose Stephen Archer during his regular sedation.
• The next morning, news breaks that Archer has died from the overdose, and a large sum of money is missing—the serial numbers mean the money can’t be used.
• Peter reveals he ran a newspaper ad designed to lure George (the original thief) to town, setting another deadly game in motion.
  • Peter: “Isn't it cleverly worded, my dear?...if that little black valise did not contain $17,000, you have nothing to fear. But if it did, well, then I may be spared the chore of killing you. I'll let George do it.” [22:48]

5. The Violent Climax

[23:15–27:55]

• Dr. Varney discovers the payoff from Sarah was stolen Archer money, now unusable, and accuses her.
• Sarah is murdered in her room. The police are baffled by the violence: she was choked, stabbed, and bludgeoned.
  • Inspector: “Can you imagine a sane man first choking her to death with his hands, then stabbing her with some keen instrument, then bashing her head in with a blunt instrument?” [25:12]
• Peter, Dr. Varney, and George Monk gather and realize each entered the room intending to murder Sarah. The definitive killer is unknown, as each could have delivered the fatal act.
  • Peter: “The cumulative effect of our individual deeds has convinced the inspector that a maniac murdered my wife. But we three know better. However, there is one of us who knows more than the other two. One of us killed her first. I say first because the other two were not one whit less murderers for the fact that she was already dead.” [26:58]
• They agree to keep the truth unknown, each as guilty as the others.

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Notable Quotes and Memorable Exchanges

• Sarah (to George): "You're going to stick with me, aren't you?" [04:28]
• Sarah (on killing): "Only the obvious. It's murder then. I changed my plans." [04:21]
• Peter (to Sarah): "A very fortunate accident, wasn't it, Sarah? Just when I was ready to accept a commission in the army. … Your ambition ran higher than that." [13:22]
• Sarah (to Archer): "I want to leave him. I want to be rid of him forever. Where could I go without money? What could I do? He's so disgustingly honest that we're always broke." [17:00]
• Varney (to Sarah): "How clever you are, Sarah Martell. How clever and how dangerous. Yes, too dangerous to—" [23:43]
• Inspector (on Sarah’s murder): “Who but a maniac would have stayed in there to torment that poor dead body?” [25:12]
• Peter (to George and Varney): “One of us killed her first. I say first because the other two were not one whit less murderers…” [26:58]
• Final exchange:
  • Varney: "You hated her very much, didn't you?"
  • Peter: "No more than you did, Mr. Martell." [25:48]

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Timestamps for Important Segments

• [02:07] - Sarah and George’s reunion and confession of murder
• [06:39] - Sarah betrays George by tipping off the police
• [10:01] - Sarah’s domestic confrontation with Peter Martell
• [13:22] - Peter accuses Sarah of ambition-driven crimes
• [14:54–15:06] - Sarah bribes Dr. Varney
• [16:03] - The bribe proposal to Archer; plotting to fix the governor’s race
• [19:16] - Sarah’s proposal for murder to Dr. Varney
• [20:59] - News of Archer's death broadcast; the stolen money revealed as tainted
• [22:14] - Peter’s newspaper ad luring George
• [23:45] - Dr. Varney’s call; the murder implementation
• [25:12] - Inspector describes the brutal murder
• [26:56] - The three men’s pact to keep the truth of who killed Sarah unknown

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Analysis & Tone

• The episode is structured as a tight, relentless noir thriller, with darkly witty exchanges and a mounting sense of doom.
• Lucille Ball’s Sarah is cunning, manipulative, and ambitious—a femme fatale archetype.
• The layered betrayals and moral ambiguity drive the suspense, culminating in an ending where guilt is distributed among all, and justice is ultimately subverted.
• The tone is one of cynicism and fatalism, characterizing both the violence and the sophisticated plotting among the characters.

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For Listeners

This episode is a must for fans of the golden age of radio, classic suspense, and clever, character-driven mysteries. It showcases Lucille Ball’s dramatic talents and features a tightly-woven plot that unfolds with twists until the final, unresolved question is left lingering: Who really killed Sarah? And does it even matter, given the shared guilt of all involved?

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Transcript

[A]

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[B]

The Roma Wine Company of Fresno, California presents.

[C]

Suspense.

[D]

Tonight, Roma Wines bring you a Shroud for Sarah. Starring miss Lucille Ball. Soon to be seen in Metro Golden Mayor's Technicolor musical Zigbel Polly.

[B]

Suspense Radio's outstanding theater of thrills. Presented for your enjoyment by Roma Wines. That's R O M a Roma Wines, those excellent California wines that can add so much pleasantness to the way you live, to your happiness and entertaining guests, to your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant. As Roma Wines bring you miss Lucille Ball. In a remarkable tale of suspense.

[C]

Was.

[E]

Sarah. Sarah?

[F]

Come in. George. How did it go, darling? George, you're trembling. Something went wrong?

[C]

No, nothing went wrong.

[F]

You got it then?

[E]

Yeah, I got it. Stuffed in all my pockets.

[C]

Here.

[E]

I'll dump it on the bed.

Here you are, Sarah. 17 grand.

[F]

17,000. It's more than we expected.

[G]

Yeah.

[F]

George, you're acting queerly. Did everything work out all right?

[E]

Sure. Sure it did. It was dark soap. Just like old times, Sarah. Remember how every job clicked sure fire when we used to plant them together?

[F]

George?

[H]

Yeah.

[F]

You're lying, aren't you?

[E]

Sari, you really love me, don't you?

[F]

You have to ask. Would I have come back otherwise?

[E]

10 years is a long time. I thought you'd be changed. I never thought you'd come back like this. Out of nowhere. I don't even know what you've been doing. Where you've been living. What Name you're using. Haven't told me a thing about yourself.

[F]

I will, George. I will. As soon as we get out of this apartment. As soon as we're really together, darling.

[E]

That's the way you want it, isn't it, Sarah?

[F]

Of course. Why do you think I never got a divorce? I didn't. You know. I didn't even consider it.

[C]

No, no, you didn't.

[E]

And you could have. You certainly had a right with me. Up for five years on a felony. I'm glad you waited, Sarah. You won't regret it.

[F]

I'm sure I won't, George. But let's not talk about that now. We have a train to make.

[E]

You know, Sarah, you're as good to look at as you were 10 years ago.

[F]

Oh, you're just making talk, George. And you haven't answered my question. I want to know what went wrong.

[E]

I've given up hope, Sarah. I didn't expect to see you again.

[F]

But I came back.

[E]

I've done two stretches, Sarah. Nine years in jail out of 10. I wouldn't have pulled another job if.

[H]

You hadn't shown up.

[E]

You won't go away again, will you?

[F]

Only with you, George.

[E]

Sarah. The scent of your hair. I used to dream of it, those long nights in jail. Now it's real. Holding you like this. With your hair in my face.

[F]

George, you're hurting me. Your arms.

[E]

I'm sorry, Justin. I'm so afraid it isn't true.

[H]

Having you again.

[E]

I want to hold you tight forever.

[F]

George, what happened? What went wrong.

[E]

Sarah? I had to kill a man.

Well, have you got anything to say?

[F]

Only the obvious. It's murder then. I changed my plans.

[E]

Your plans?

[F]

My plans for us.

[E]

You're going to stick with me, aren't you?

[F]

Of course. I didn't come back after 10 years only to run right out again. We must think this out carefully. Are you sure you left no clue?

[B]

Only the gun.

[E]

I wiped it off clean and left it there. It's a gun I picked up years ago. No way to tack it on me.

[F]

Fingerprints?

[E]

Gloves.

[F]

Then there's nothing to worry about.

[E]

Only if they happen to pick me up on suspicion.

[F]

I see. Are they after you now, George?

[E]

Of course not. Nobody heard the shot? There was nobody in the building but that bald headed bookkeeper. He hadn't gone home. Must have stayed to get his books in shape for the morning.

[C]

My luck.

[F]

And you weren't followed or chased?

[E]

You don't think I'd have come here if they were after me?

[F]

I'm sorry. Sorry, George. I know you wouldn't.

[E]

You're not sorry Me? Then we can go ahead. Just as we plan. Our train leaves in an hour. We'll pick up the tickets at the station. Sarah, it's hard to believe. In an hour we'll be on the way to Florida. You and I?

[F]

Yes, George.

[E]

Just the two of us in the warm sun. It's a dream I've had for 10 years. In and out of jail. Figured it would always be a dream.

You know, it's funny.

[F]

What's funny?

[E]

There's a bald headed man lying dead over there at the finance company. He's finished. We're just beginning.

I never killed a man, Sarah. Never before.

[F]

You'll do all right from now on, George. You'll forget about that thing. I'll help you forget it. Yeah, but we've got to hurry. Now put your hat on. Now go over and pick up the tickets.

[E]

I thought we'd go to the station together, silly.

[F]

I got to dress.

[E]

Yeah, well, the Sunset limited leaves at 8 o'.

[G]

Clock.

[E]

There's only an hour.

[F]

I know, I know. I'll dress and pack and meet you in 30 minutes at the train gate. Have you any money? Here, take some of this. I'll put the rest in the valise and bring it in a cab so it won't be found on you if anything happens.

[E]

Why didn't you come back before, Sarah? I didn't realize it till this minute. I've been like an orphan for 10 years.

Kiss me.

[F]

Now, that's all. George. You've got to hurry now.

[C]

Yeah.

[E]

Remember the Sunset Limited at the gate.

[F]

I'll remember.

[E]

And don't forget to clean out the desk.

[F]

I'll take care of everything, George. Now hurry.

Hello, police headquarters? A man was killed a few minutes ago at the Vanda Finance Company on Dexter Avenue. Please don't interrupt. If you go to the LaSalle station, you'll catch the murderer at the Sunset Limited train gate. His name is Monk. George Monk.

[D]

For suspense. Roma Wines are bringing you as star Miss Lucille Ball in a Shroud for Sarah by Emil C. Tepperman. Roma Wines presentation tonight in radio's outstanding theater of thrills.

[B]

Suspense.

Between the acts of suspense. This is Truman Bradley for Roma Wines. Saturday is Navy Day. On this day, all America gives honor to the returning veterans of the fleet. To these men, all America lifts its voice to say, well done. This weekend too, millions of Americans will be entertaining family and friends. To them, here's a hospitality word from famed hostess Elsa Maxwell. My guests compliment me when I make delicious Roma California sherry. First call for dinner. It's the perfect appetizer before the meal served.

[G]

Cool.

[B]

Yes, Ms. Maxwell. Roma Sherry is most delightful later in the evening, too, when friends drop in. Especially when served with tasty snacks for glorious gold and amber. Roma Sherry is a happy, mellow wine with natural fragrance and cream. Rich nut like taste.

[G]

So good.

[B]

Because Roma Sherry, like all Roma wines, is born of luscious grapes gathered at peak of flavor in California's choicest vineyards. Gently pressed, then unhurriedly guided to delicious perfection by Roma's ancient winemaking skill. Bottled at Roma's own famed wineries. That's why all Roma wines are true wines, unvaryingly good. Always remember, because of uniformly fine quality at reasonable cost, more Americans enjoy Roma than any other wine. Insist on Roma R O M A Roma wines.

[D]

And now, Roma wines bring back to our Hollywood sound stage Lucille Ball as Sarah Martell in A Shroud for Sarah, a play well calculated to keep you in suspense.

[H]

Coming?

[C]

I'm coming.

[I]

De Pepinillo y conesos feos calcetines Vera mi retorsido motivo asique siqueres provarlo Kel grinch preparo bea McDonald's. Iberaz loquetramo. A nouveau grinch meal.

[C]

Ja.

[I]

In McDonald's. In McDonald's. Participantes aza gutar existencias para Papa.

[B]

Papa.

[C]

Oh, I knew it was you, Sarah. Only you would ring so insistently when you know I'm handicapped by this infernal crutch.

[F]

Good evening, Peter. How's our next governor? Aren't you going to kiss me? I've been away three days.

[C]

Is it necessary, my dear?

[F]

Peter, are you going to let the neighbor see me standing out here with this valise? Kiss me, you idiot. You can stand it if I can.

[C]

Very well.

Satisfied, my dear? Now that we've performed for the neighbors, shall we go in?

[J]

The city's underworld, it appears, has broken out again with a new wave of violence, robbery and potential.

[F]

I see you've moved the radio again.

[C]

I moved it nearer the easy chair. This crutch makes it hard for me to get around. I hope you don't mind, my dear. I mean, it's being more convenient for me.

[F]

Is that the news? I want to hear it.

[J]

Are seeking George Monk, an ex convict who shot and killed a finance company bookkeeper and escaped with $17,000 in cash.

[C]

Why do you want to turn that up?

[F]

Shut up.

[J]

Shot without warning. But there's a mystery angle here which sets this case apart from the ordinary holdup. Police are seeking an unidentified woman who tipped them off a few minutes after the murder, naming George Monk and telling them just where he could be picked up. Unfortunately, one of the officers sent to apprehend the murder was recognized by Monk, who made his escape in the crowded railroad station.

[C]

What's the matter, my dear? Why did you turn the radio off? You look as if you'd seen a ghost.

[F]

Leave me alone, Peter.

[D]

Well, well.

[C]

What sort of villainy were you up to in Chicago?

[J]

Sarah, come back here.

[B]

Where are you going?

[F]

I'm going up to my room. I want to unpack. Good night, Peter.

[E]

Burglary in Chicago.

[C]

Mysterious woman who tipped off the police. Just a moment, Sarah.

[F]

I said Good night, Peter.

[C]

$17,000.

[D]

Sarah.

[J]

I want to know what's in that valise.

[C]

Why are you hanging onto it like that?

[F]

Stay where you are, Peter. Don't come up these stairs.

[D]

What's wrong?

[B]

Are you afraid to let me see what's in that valise?

[F]

No, no, I'm not afraid. Just don't come up any closer.

[C]

Well, well, that same little pistol of yours. Would you shoot me with it again?

[F]

My dear, if you come a step further.

[C]

Drop the gun. You're not going to shoot me now. Just before election. You want to be the governor's lady, don't you?

[F]

Stand still, Peter.

[B]

I'm sorry, Sarah.

[C]

I've got to know what's in there.

[F]

Take another step, I'll shoot.

[C]

You're a fool, Sarah.

[B]

Clever and ruthless, yes, but nevertheless a fool.

[C]

Look at all the terrible things you've done to satisfy your ambition. Even murder now, and it's all been a waste of time.

[F]

What do you mean?

[B]

Did you know that the results of.

[C]

The popular poll were published today? Well, it gives Stephen Archer A 15% edge over me. And not only that, but the incumbent governor, the man we're both trying to beat, ran ahead of the two of us in the poll.

[F]

You're not lying about that?

[C]

Of course not, my dear. How did you expect to beat Stephen Archer and his money? We are broken.

[F]

No, Peter, we're not broke.

[C]

Oh, you mean you have $17,000 in that bag?

[F]

I'm going to be the governor's wife, I tell you. There's nothing that could stop me. Nothing.

[C]

I believe you, Sarah. Why, I believe you would even murder Archer if you had to. Let me have that police.

[F]

You can't seem to understand, Peter. You're not going to open it.

[C]

Then shoot me. My dear, you do it so well. It comes so natural to you. Maybe you can shoot me in the other leg this time.

[F]

Oh, will you never Stop throwing it up to me. That was an accident.

[C]

A very fortunate accident, wasn't it, Sarah? Just when I was ready to accept a commission in the army. You didn't want to be the wife of an army captain. Your ambition ran higher than that. You wanted to be the governor's lady. Now, Sarah, I'm going to see what you have there. And you're not going to do anything about it.

[F]

Get away from me, Peter.

[D]

No, Sarah.

[C]

You're going to give them to me. There's the gun. And now that black.

[B]

Sarah.

[E]

Sarah, don't stand still.

Sarah.

[D]

Oh, sarah.

[F]

Please. Go straight into the bedroom. Doctor, Peter fell again and hurt his leg in the same place.

[D]

Now, look here, Mrs. Martell. What's the use of keeping up this deception between ourselves? You know and I know that your husband didn't fall the last time. That was a bullet wound in his leg.

[F]

Dr. Varney, you promised never to mention that bullet wound.

[D]

And you promised to pay me, remember?

[B]

$10,000.

[D]

Where's the money?

[F]

Don't worry. I have it.

[G]

Well, that's.

[D]

That's different.

[B]

Where is it?

[D]

I'll take it now.

[F]

Later. Please go in now and take care of Peter.

[D]

Did you you shoot him again?

[F]

Of course not. That was an accident. The last time I was examining the pistol and it went off.

[D]

Yes, of course. That's the story, Mrs. Martell. And for $10,000, I'll gladly subscribe to it. But I must have that money. I need it. I won't touch that leg till I get the money.

[F]

All right. I have it here.

There. That's $10,000. Now hurry in there and take care of Peter. Afterwards, I'll want to see you in here. There may be another matter that I want you to handle for me.

[G]

It's 10,000.

[C]

Another matter?

[F]

You are also the physician for Stephen Archer, aren't you?

[B]

Yes.

[F]

You've been attending him every day during the campaign. I understand his heart needs attention.

[D]

Look here, Mrs. Martell. Stephen Archer is running against your husband for governor. I wonder, when you originally called me in, did you know I was Archer's physician?

[F]

Could be, huh.

[D]

Well, I'm sorry, I can't discuss Archer.

[F]

With the ethics of your profession. Please, Dr. Vani, if your fellow practitioners knew what I know about you, you wouldn't have any profession.

[D]

I won't listen to any more from you. I'll take care of that leg of your husbands. But more than that, no.

[F]

But I'm sure you'll change your mind.

[D]

Doctor, whatever your proposition is, the answer is no.

[F]

Even if I were to offer 50,000.

[C]

50,000.

[F]

There now. I knew you'd be interested. Now run inside like a nice fellow and tend to Peter. I walk for a few minutes, but please wait for me. There's an appointment I must keep. I won't be long.

[G]

Martel park is rather a dark place to meet, isn't it?

[F]

Thought it would be best. This great deal of money.

[G]

Just what is your proposition?

[F]

You're a wealthy man. Would $100,000 be too much to pay for the governorship?

[G]

100,000? I've spent several times that much on the campaign already. But I don't see how you could deliver the election.

[F]

Listen to me closely, Mr. Archer. I learned that in yesterday's poll figures you ran 15% ahead of my husband.

[G]

That's quite true.

[F]

And neither you or Peter will win. You're both taking strength from each other. And the governor will be re elected.

[G]

So your solution is for Peter Martell to withdraw at the price of $100,000?

[F]

Exactly. If one of you withdraws, the other will surely win.

[G]

That's absolutely true. But I happen to know that Peter Martell would never make such a deal.

[F]

No, he wouldn't, the fool. But for $100,000, I will put him out of the race.

[G]

You?

[F]

Would you believe it if I told you I hated that man's very shadow?

[G]

I have heard rumors here and there.

[F]

I want to leave him. I want to be rid of him forever. Where could I go without money? What could I do? He's so disgustingly honest that we're always broke. He couldn't even pay me enough alimony. I've got to think for myself.

[G]

I begin to see now.

[F]

Suppose that tomorrow, two days before the election, I were to file suit for divorce. I could leave for Reno tonight. It would be in every newspaper tomorrow.

[G]

It would certainly eliminate your husband.

[F]

You'd pick up all the votes. Peter would lose enough to swing the election.

[G]

And Your price is $100,000.

[F]

You agree?

[G]

I'd be a fool not to. Of course I agree. The moment you file your divorce papers in reno, I'll have $100,000 credited to your account wherever you specify.

[F]

No, I must have it in advance.

[G]

No, my dear Mrs. Martin, in advance. That's out of the question. How do I know you'll go through with it after I pay you?

[F]

And how do I know you'll pay me after I go through with it?

[G]

Don't you trust me?

[F]

Do I have to answer that?

[G]

It looks like a deathlodge.

[F]

I tell you what I'll do. I'll Take half now and the other half in Reno after I've filed the papers.

[G]

50,000 tonight, eh?

[F]

It must be tonight. I'll leave in the midnight plane. Surely you have the cash available in a campaign like this?

[G]

Yes, of course I have the cash. That seems to be the only solution. It's a deal, Mrs. Martell.

[F]

You'll get the money. Now?

[G]

At once. Wait here. My home is just across the park. I'll be back in five minutes. But just as a precaution, I'm going to note down the serial numbers of the bills I give you.

[B]

If you aren't in Reno tomorrow morning.

[G]

I shall report the money stolen.

[F]

Don't worry, Mr. Archer. I promise you, after tonight, there won't be anything to worry about.

Still waiting for Me, I see, Dr. Varney.

[D]

Well, it took a long time. I was just deciding to leave.

[F]

You took care of Peter all right?

[D]

Yes, the wound opened up again. It was painful, but not as bad as it looked. He'll be up again by tomorrow.

[F]

Thank you, Doctor.

[D]

Oh, you said you wanted to talk to me.

[F]

Yes. I have a little proposition for you.

[G]

You.

[D]

You mentioned $50,000.

[F]

Yes, yes, I have the money in my handbag.

[G]

Here.

[F]

One. Take it. Now count it.

Yes, yes.

[C]

What do you want me to do, Doctor?

[F]

Have you ever murdered anyone?

[C]

What?

[F]

I said, have you ever murdered anyone?

[E]

You're joking.

[F]

You'd hardly call murder a joke.

[E]

What are you suggesting?

[F]

You are Stephen Archer's physician. You stop at his home every night and check his heart. And you give him a sedative.

[J]

No.

[D]

I'm going out of this house, Mrs. Martell, and I'm never coming back.

[F]

Before you go, Doctor, I'll take that money back.

[J]

Why?

[F]

$50,000, doctor. It's a lot of money. Yes, I know just how deep you are in the red. 50,000 will put you on your feet again.

[B]

Well, I.

[G]

It's.

[F]

And you'll have the friendship of the wife of the next governor.

[G]

You.

[D]

You want me to give Archer an.

[E]

Overdose of sedative, huh?

[F]

I knew you'd be reasonable, Bar.

[C]

Good morning, my dear.

[B]

I see you're at the radio already.

[C]

Aren't you up early today? I thought all the Borges slept late.

[F]

I wanted to hear the news.

[C]

Indeed. Could it be a person by the name of George Monk that you're so anxious to hear about?

[F]

What do you mean? Why do you mention that name?

[C]

The black valise, my dear.

[B]

Remember?

[C]

I'm still anxious to know if it contains $17,000.

Have you taken the newspaper in yet? No. I'll get it There'll be something in this morning's paper that I'd like you to see, my dear.

[J]

Stephen Archer, candidate in the three cornered race for governor, was found dead in his bed, apparently from an overdose of sedative. All indications point to accidental death, except for the fact that a large sum of money was missing from the safe. However, if the money was stolen, it'll do the thief no good. For the serial numbers were carefully noted down on the desk pad. On Mr. Archer's desk.

[C]

What was that? Archer dead?

[F]

Yes.

[C]

Sarah. I read the signs of your fine Italian hand.

[J]

Did you have a hand in it, Peter?

[C]

So now Archer's votes will drop in my lap, huh?

[F]

You'll be governor, Peter.

[E]

Sarah, I think I'm going to kill you.

[F]

Put that crutch down.

[C]

No, no, my dear. You needn't run away. I was just rehearsing. I'm not ready to kill you yet. Perhaps someone else will do it first. I'm going to wait for the result of my experiment.

[F]

Experiment? What do you mean?

[C]

See here.

[F]

What? What is it, Peter?

[C]

Just an ad in the personal column. I had it inserted in every newspaper between here and Chicago.

[F]

Let me see that.

[C]

It's the first ad in the column with a display space around it. I wanted to make sure it was seen by the right person. Read it, Sarah. Read it.

[F]

All right, if it makes you happy, I will read it.

George. Was her name Sarah, or did she use another name? I mean the one who left with the little black valise and all the money in it. If you have at least 17,000 reasons to find her. And if the traveling isn't too difficult under the circumstances, I suggest you come to Capital City. The address is. Peter, you didn't.

[C]

Isn't it cleverly worded, my dear? I had to phrase it so that only George Monk and no one else would catch its meaning.

[F]

You. You put this ad in all the papers?

[B]

Exactly.

[C]

You see, my dear, if that little black valise did not contain $17,000, you have nothing to fear. But if it did, well, then I may be spared the chore of killing you.

I'll let George do it.

[F]

Hello, Mrs. Martell?

[C]

Who.

[F]

Who is this?

[D]

Dr. Varney.

[C]

Oh, did you think it was I?

[F]

I thought. Never mind. What do you want, Varney?

[D]

Don't you know I think you're pretty clever, don't you?

[F]

What do you mean?

[D]

That was Archer's own money you gave me last night.

[F]

That 50,000 Barney. Are you insane? Don't you realize you're talking over an open phone?

[D]

I only realize I murdered Archer for you.

[C]

For nothing.

[D]

That 50,000 I can't use. The serial numbers have been broadcast.

[F]

My dear Varney, I haven't the faintest notion what you're talking about.

[D]

How clever you are, Sarah Martell. How clever and how dangerous. Yes, too dangerous to.

[C]

The medical examiner's all through with the body, Inspector.

[H]

All right, o'. Connor. All right. Then I guess we're finished, too. Tell Mike to be careful with the body. And put down in your report, dead on arrival. Murdered by person or persons unknown. I'll sign it when I get downtown.

She was a beautiful woman, o'.

[C]

Connor.

[H]

It's a tough way to die.

[C]

A tough way Indeed, Inspector.

[H]

How's Mr. Martell taking it?

[C]

Like a trooper, sir. Here he comes now with his doctor. All right, o'.

[G]

Connor.

[H]

I'll see you downtown.

[G]

Yes, sir.

[C]

Goodbye, Inspector. Are you pretty near through, Inspector?

[H]

Yes, Mr. Martell. The boys are taking the body away now. May I say, Mr. Martell, that you have my deepest sympathy in this bereavement of yours.

[C]

Thank you, Inspector. By the way, do you know Dr. Varney? Oh, yeah. How do you do that? How do you do?

[D]

A ghastly business, Inspector.

[H]

Yes, indeed. And we'll do everything in our power to lay that murderer by the heels.

[E]

Inspector.

[H]

Yes, Dr. Varney?

[D]

Have you any clues? Anything definite to go on?

[H]

Well, if you don't mind my talking about it now, Mr. Martell.

[C]

Oh, it's all right, Inspector. I'm afraid I'm going to have to listen to a good deal of talking about it. Might as well get used to it.

[H]

A very wise and courageous way to look at it, Mr. Martel. Well, as I was saying, I believe it was a maniac. That's my firm conviction.

[C]

A maniac.

[H]

Right. Who but a maniac would have stayed in there to torment that poor dead body? Can you imagine a sane man first choking her to death with his hands, then stabbing her with some keen instrument, then bashing her head in with a blunt instrument?

[B]

Well, Varney, that was quite an ordeal.

[C]

It was terrible. Um.

[G]

Vani.

[C]

Yes, you hated her very much, didn't you?

[D]

No more than you did, Mr. Martell.

[C]

I won't deny it.

[E]

It's true.

[D]

You haven't been using your crutch this morning?

[G]

No.

[C]

What made you think of the crutch?

[D]

Oh, nothing, nothing.

[C]

A blunt instrument, huh? It's all right, Barney. I don't mind your asking. I was thinking along the same lines myself. Only it was the keen instrument I had in mind.

[D]

Say, a scalpel. Now, look here.

[C]

Skip it, Barney. I Just making conversation.

[H]

Oh.

[D]

You know, there's something I. I don't understand.

[C]

Yes, Barney, I.

[G]

Yes?

[D]

Well, nothing.

[J]

Nothing at all.

[C]

I know what you want to ask. You want to know who was the third man.

[B]

Well, I. I'll show you.

[C]

Vonnie, where are my keys?

Here.

What have you got in that closet? A guest, Barney. Shall I say an invited guest? Guest?

You can come out now, George. The coast is clear.

[E]

Dodg to bury me alive in there. Tell.

[C]

Who's this man? Dr. Varney. George Monk. Shake hands, gentlemen. No. Very well. I. I thought it would be right for all three of us to be together for a moment.

[D]

You're talking about Martel.

[C]

Listen carefully, Van. And you, George. Each one of us was in her room last night. The cumulative effect of our individual deeds has convinced the inspector that a maniac murdered my wife. But we three know better. However, there is one of us who knows more than the other two. One of us killed her first. I say first because the other two were not one whit less murderers for the fact that she was already dead.

[E]

The three of us, we all did it.

[C]

Yes, George and I suppose that by checking each other and comparing notes, we could determine to the satisfaction of all of us, just who took precedence. For instance, when I heard you move about in the closet this morning and turn the key on you, I had no way of telling how long you'd been in the house. And I don't want to know.

[D]

Then two of us will always be in doubt.

[B]

Exactly.

[G]

Barney, do you agree to it?

[C]

Yes. And you, George? Yes. Then goodbye.

[G]

Gentlemen.

[D]

Roma Wines have brought you Lucille Ball, a star of A Shroud for Sarah, tonight's study in suspense.

[B]

This is Truman Bradley for Roma Wines, the sponsor of Suspense. When unexpected guests make a mealtime call, well, anything can happen. Famed hostess Elsa Maxwell makes this timely suggestion. Invite them to stay for potluck and make the dinner exciting by serving Roma California Burgundy. For no matter what the dish, the fruity fragrance and piquant taste of robust red Roma Burgundy makes the food so much more enjoyable. Adds friendliness to the table talk.

[C]

That's right.

[B]

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[D]

Next Thursday, you will hear Ronald Coleman in Suspense Radio's outstanding theater Thrill.

Presented.

[B]

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[C]

Sam.