Episode 415 - Favorites from 1944

Summary

Stars on Suspense (Old Time Radio) – Episode 415: Favorites from 1944

Release Date: June 5, 2025

Introduction

In Episode 415 of Stars on Suspense, hosted by Leonard Snell of Mean Streets Podcasts, listeners are treated to a curated selection of his favorite episodes from the suspenseful year of 1944. This compilation showcases legendary Hollywood stars such as Lucille Ball, Charles Ruggles, Orson Welles, Vincent Price, and Gene Kelly, each delivering riveting performances in some of radio’s most memorable thrillers. Below is a detailed summary of each featured episode, capturing key plot points, standout performances, and notable quotes with timestamps.

---

1. Dime a Dance

Star: Lucille Ball as Ginger Allen

Plot Summary:
Adapted from Cornell Woolrich's story, Dime a Dance introduces Ginger Allen, a taxi dancer at the Joyland Palace on New York's Broadway. Her evening takes a dark turn when her friend Julie is murdered, leading the police to suspect a serial killer targeting dancers. As Ginger becomes the next target, suspicion falls on her boyfriend, Marino, played impeccably by Lucille Ball. The tension escalates as Ginger grapples with fear and the need to uncover the murderer before it's too late.

Notable Quotes:

• Leonard Snell (00:58):
  "Lucy plays Ginger, a taxi dancer at a New York dance hall... a particularly effective use of the song 'Poor Butterfly' and a hair-raising climax."

• Ginger Allen (08:10):
  "I know, I know, Marino. I put you in a spot."

• Narrator (10:20):
  "Tonight in our suspense theater, death is a dancing thing."

• Ginger Allen (14:14):
  "A dime a dance. Whether you're alive or dead."

• Police Officer (24:05):
  "This brain has been dead and slowly decaying for at least three months."

• Ginger Allen (28:20):
  "You just must die."

Insights:
Lucille Ball's portrayal of Ginger adds a layer of vulnerability and resilience, making her fight against the lurking killer both personal and intense. The use of music, particularly "Poor Butterfly," serves as a haunting motif that intertwines with the suspenseful narrative, enhancing the overall tension and atmosphere.

---

2. Suspicion

Star: Charles Ruggles as Mr. Hubert Mummery

Plot Summary:
Based on Dorothy L. Sayers' story, Suspicion features Mr. Hubert Mummery, a respected businessman who becomes paranoid after experiencing mysterious stomach pains. He begins to suspect his new cook and housekeeper might be a notorious poisoner. As his fears escalate, it’s revealed that Agnes Moorehead’s character harbors a dark secret, returning to witness twisted reenactments of past murders, ultimately exposing her as the true culprit.

Notable Quotes:

• Mr. Mummery (38:14):
  "What do you mean by that?"

• Narrator (42:07):
  "I have to keep my eye on you all night while you work."

• Mrs. Digby (53:01):
  "He wasn't supposed to be up and about, are you?"

• Mr. Evans (60:24):
  "He's dead."

• Agnes Moorehead's Character (61:14):
  "You've got to stop the brain."

Insights:
Charles Ruggles delivers a nuanced performance as Mr. Mummery, effectively portraying his descent into paranoia. Agnes Moorehead's return in multiple roles adds a recurring eerie presence, reinforcing themes of trust and deception. The plot expertly builds suspense through Mummery's increasing distrust, culminating in a dramatic revelation that keeps listeners on edge.

---

3. Donovan's Brain, Part One & Two

Star: Orson Welles as Dr. Patrick Corey

Plot Summary:
Adapted from Kurt Siodmak's novel, Donovan's Brain spans two parts. Dr. Patrick Corey conducts an unethical experiment to keep a deceased brain of William Donovan alive outside the body. As Donovan's consciousness begins to manifest, Corey's grip on reality falters, leading to a chilling struggle between man and brain. In Part Two, the brain gains control, manipulating Patrick to commit heinous acts, ultimately resulting in a harrowing conclusion where Patrick becomes both the master and victim of Donovan's insatiable desire for power.

Notable Quotes:

• Dr. Corey (65:47):
  "I know that these are the last words I shall ever write upon this earth."

• Donovan's Brain (80:56):
  "I think of it as my partner in execution."

• Dr. Corey (85:08):
  "The brain must die."

• Final Entry (75:57):
  "I shook my head. I got my money and fled."

Insights:
Orson Welles' portrayal of Dr. Corey is both commanding and tormented, capturing the scientist's obsession and gradual loss of sanity. The storyline delves into themes of unchecked scientific ambition and the ethical boundaries of experimentation. The interaction between Corey and Donovan's Brain serves as a compelling exploration of control and autonomy, making it a standout in the suspense genre.

---

4. Fugue in C Minor

Stars: Ida Lupino as Amanda Peabody and Vincent Price as Theodore Evans

Plot Summary:
Set in the late Victorian era, Fugue in C Minor revolves around Amanda Peabody and Vincent Price’s character, Theodore Evans, who host a grand dinner party. The evening takes a sinister turn as family secrets unravel, revealing Amanda’s involvement in dark acts. The narrative weaves through themes of guilt, revenge, and the haunting presence of past tragedies, all underscored by Beethoven’s Fugue in C Minor as a recurring musical motif.

Notable Quotes:

• Celia (126:17):
  "I'm going to play a little music like old times."

• Mrs. Digby (130:05):
  "It was something I don't like to think about very often. Poor, beautiful Margaret."

• Celia (145:24):
  "Are you saying that I am?"

• Mrs. Digby (150:52):
  "She was dead, all right. The key was on that little chain around her neck."

Insights:
Ida Lupino and Vincent Price deliver captivating performances, with their chemistry adding depth to the unfolding mystery. The use of classical music, particularly the Fugue in C Minor, not only enhances the atmospheric tension but also serves as a narrative device that mirrors the characters' internal conflicts and the story's escalating suspense. The plot masterfully intertwines personal vendettas with broader themes of power and control.

---

5. The Man Who Knew How

Star: Gene Kelly as Leonard Snell

Plot Summary:
The Man Who Knew How tells the story of Leonard Snell, a man burdened by debts and desperation. Snell devises a meticulous plan to commit the perfect murder using a specialized poison, Sulfate of Thanatol. His plan unfolds seamlessly until unforeseen circumstances and his increasing paranoia lead to his downfall. The narrative explores the thin line between genius and madness, and how luck and meticulous planning can still succumb to human flaws.

Notable Quotes:

• Leonard Snell (82:20):
  "I think I have a way to kill the brain. It's simple."

• Officer (85:00):
  "Do you realize what you may have done?"

• Leonard Snell (90:00):
  "You're mad. You don't know what you're doing."

• Final Confrontation (104:19):
  "I'm trying to stop this experiment."

Insights:
Gene Kelly's transition from his well-known musical roles to the dark, intense character of Leonard Snell showcases his versatile acting prowess. The story delves into themes of desperation, morality, and the consequences of playing god. The intricate planning and eventual unraveling of Snell's scheme serve as a poignant reminder of the inherent unpredictability of human endeavors, no matter how flawless they seem.

---

Conclusion

Episode 415 of Stars on Suspense masterfully brings together a collection of some of 1944's most gripping radio thrillers, each featuring stellar performances from iconic Hollywood figures. From Lucille Ball's portrayal of a dancing heroine entangled in murder to Orson Welles’ chilling depiction of a scientist losing his sanity to a living brain, the episode offers a diverse array of suspenseful narratives that captivate and engage. Leonard Snell’s insightful commentary ties these stories together, highlighting the timeless appeal of suspense and the enduring legacy of old-time radio dramas.

Notable Overall Quotes:

• Leonard Snell (00:58):
  "This year saw... Certain scripts also made encore appearances."

• Leonard Snell (31:59):
  "And it was a great pleasure to appear on Suspense this evening."

• Leonard Snell (213:17):
  "Thanks so much for joining me. I'll be back next week with my favorites from 1945."

Stars on Suspense continues to honor the rich tradition of radio suspense, making classic stories accessible and thrilling for new generations of listeners.

Transcript

[Narrator]

Now, let's see. Suspect, suspect, suspend.

[Celia]

Ah, here we are.

[Narrator]

Suspense, the condition of mental uncertainty, usually accompanied by apprehension or anxiety. Fear of something which is about to.

[Celia]

Occur as do not keep me any longer in suspense.

[Leonard Snell]

Hello and welcome to Stars on Suspense with more Hollywood legends and radio's outstanding theater of thrills. Our trip through the years of suspense continues today with my favorite episodes from 1944, the first full year of sponsorship by Roma Wines and a year that saw even more stars making their debuts on the program. This year saw Alan Ladd, Lucille Ball, Her Marshall and Joseph Cotton in their first appearances, along with return visits from the likes of Orson Welles, Peter Laurie, Agnes Moorehead and Vincent Price. Certain scripts also made encore appearances. Agnes Moorehead was back for the third production of Sorry, Wrong Number and she also returned in a second performance of the Diary of Sophronia Winters, another chiller from author Lucille Fletcher. So now here are my favorite, not necessarily the best episodes of suspense from the year beginning with Lucille Ball. In Diamond Dance, adapted from a story by Cornell Woolrich and originally aired On CBS on January 13, Lucy plays Ginger, a taxi dancer at a New York dance hall. She arrives for her evening shift and discovers one of her friends and fellow dancers has been murdered and the police suspect the killer may be targeting other dancers, including Ginger herself. It's a tense thriller with great performances, a particularly effective use of the song Poor Butterfly and a hair raising climax. Then we jump to February 10th and Charles Ruggles in Suspicion, adapted from a story by Dorothy L. Sayers. Mr. Ruggles has the distinction of being the very first first star on suspense. He appeared in the show's very first episode, an adaptation of John Dickson Carr's the Burning Court. He's back here as a man whose stomach troubles lead him to suspect that his new cook and housekeeper is actually a notorious poisoner wanted by the police. Ruggles is great in an everyman role and the story finishes with a great twist ending. Up Next is one of my all time favorites from the entire run of the series. It's unique for a few reasons. It's a rare two part episode and it's a sojourn into the world of science fiction, a genre that at least in its early years, suspense really didn't dabble in. It's Donovan's Brain, a two part adaptation of Kurt Siodmack's novel starring Orson Welles, and it Originally aired on May 18 and May 25. Welles plays a scientist whose desire to unlock the power of the brain leads him into an unethical experiment. The results of which could have devastating effects on the entire world. Then it's a two hander with Vincent Price and Idolapino in Fugue in C minor. We'll hear a recording of the rehearsal for the episode that aired on June 1. It's another tale from the pen of Lucille Fletcher and it's one of her best. A gothic horror story about a woman who falls for a charming widower, but who's disturbed by his strange children and their eerie belief that their mother's ghost lives in the pipe organ built into the walls of their home. Dorothy Elsayers provides a second story today as Charles Laughton stars in the man who knew how. From August 10th.

[Narrator]

10Th.

[Leonard Snell]

Mr. Lawton meets an unusual character played by the great Hans Conreid. A man who claims to have discovered a strange chemical that can kill without a trace and is the perfect murder weapon. And finally, Gene Kelly shows off a very different side as the man who couldn't lose. From September 28th. He starts his day by murdering his wife. But a strange streak of luck finds him escaping detection and and even coming into a financial windfall. But even the best of luck has to run out sooner or later. Now let's head back to 1944 with my favorite episodes from the year in suspense.

[Officer]

Roma Wines presents Suspense Roma Wines made in California for enjoyment throughout the world.

[Narrator]

Salut your health, senor.

[Officer]

Roma Wines toast the world. The wine for your table is Roma wine made in California for enjoyment throughout the world.

[Narrator]

This is the man in black here for the Roman Roma Wine Company of Fresno, California to introduce this weekly half hour of suspense. Tonight in Hollywood, Roma Wines bring you The MGM star, Ms. Lucille Ball. The suspense play which stars Ms. Ball, which is produced and directed by William Speer, is called Dime A Dance. It deals, as you will presently know, with Broadway life and sudden death, both set to music. And so with Dimer dance and with the performance of Lucille Ball as a red haired young lady named Ginger Allen, Roma Wines again hope to keep you in suspense.

[Frankie]

Have you ever danced with a murder? Doesn't cost any more for the extra thrill. It's only a dime. How could I do it? You say I had to to save my own life. I'm a taxi dancer from the Joyland Palace. One of the place just off Broadway in the 40s. You know the kind of place second rate dance bands like Frankie Frohman's 15 Frolickers. I was late to work that night. I ran down Broadway, scrambling through the crowd to the entrance of the Joyland.

[Mrs. Digby]

Empty.

[Narrator]

Beautiful girls upstairs. Boys, you made A count of yourself. No admission. Ten cents to dance. Come in. We're just getting started. The music is the very.

[Frankie]

Hello, Max.

[Narrator]

Hey, Ginger. Better step on him. Marina's looking for you. You're late. He's burning, I know it.

[Frankie]

Has Julie come in yet?

[Narrator]

Not yet. 50 beautiful girls waiting to dance with you. Step nine in. Good evening. So you finally decided to come, did you?

[Frankie]

Hi, I'm Marino. Sorry I'm late.

[Narrator]

You ought to be, and so did Julie. All the cash customers are waiting. I send out the girls before all of yous are here and you say I'm playing favorites.

[Frankie]

Well, blame it on Julie. She gave me a stand up tonight.

[Narrator]

All right, so I'll blame it on Julie. Where is she?

[Frankie]

Isn't she here?

[Narrator]

No, she ain't home neither. Because I phoned her there 15 minutes ago. Thought she was with you.

[Frankie]

And I thought she was here.

[Narrator]

Hey, if this is no gag, what happened to her?

[Frankie]

Well, that's what I'm beginning to wonder.

[Narrator]

Go on in and get your stuff on. Julie be all right?

[Frankie]

Yeah. Maybe she slipped in while you were busy counting tickets or something. See you right away. Marino. Thanks for being late and being teacher's pet. We've been entertained by mom here while waiting for. All right, lay off, Mom. Throw me that foot powder. Looks like a heavy night out there. My feet still hurt from last night.

[Mrs. Digby]

Here you are, dearie.

[Frankie]

That's the way I am, girlies.

[Mrs. Digby]

What I like every once in a.

[Frankie]

While is a good, juicy murder.

[Mrs. Digby]

Nice kid. Know not to be murdered herself.

[Frankie]

Throw me that dress, would you? Madame Defarge. The green one. Is Julie here? Not unless she's hiding in the closet, honey. Do any of you know where she is? You asking us? Ain't she your buddy? Maybe they had a fight. Well, did any of you hear from her? Why not ask Marino?

[Narrator]

He's been hanging around her.

[Frankie]

Now, that Southern girl, Sally, she used.

[Mrs. Digby]

To work in a joint like this one further uptown.

[Frankie]

There was a murder for you.

[Narrator]

Come on, hurry it up, baby. Have the blood step on it.

[Frankie]

She just never showed up to work one night.

[Mrs. Digby]

Who didn't? That Southern girl, Sally.

[Frankie]

Then they found her.

[Mrs. Digby]

That was about three years ago. Oh, what a sight she was when.

[Frankie]

The police discovered the body. Oh, cut it out, Mom.

[Mrs. Digby]

Then there was the Robinson gal out in Brooklyn.

[Frankie]

After death, they found a phonograph and.

[Mrs. Digby]

Records by her body. Didn't even belong to her. The murderer brought his own music. He was a dancehall pony, too. Maybe some guy has it in for you, girl. Pleasant character.

[Frankie]

Well, maybe one Fella kills the both of them. Maybe there's a dancehall killer still at.

[Mrs. Digby]

Large, getting ready for his next victim.

[Narrator]

Now, what do you think I pay you girls for anyway?

[Frankie]

I often wonder, you know. Think we're giving a free show in here?

[Narrator]

Ah, you couldn't interest anybody in that chassis of yours, even with a set of dishes thrown in. All right, all of you. Filad, I got something to tell Ginger. Come on, get out. Ginger. What? I wanted to see you.

[Frankie]

I know, I know, Marino. I put you in a spot. I'll be dressed in a minute. And if you'll ward off those garlic eaters tonight, I'll work twice as hard and make it up to Yanis.

[Narrator]

I'm in no spot, Ginger. But you are.

[Frankie]

Marino. What's the matter? What's happened?

[Narrator]

The police want to see you, Ginger.

[Frankie]

Police?

[Narrator]

What for?

[Frankie]

I didn't do anything.

[Narrator]

I'm sorry, Ginger, but something's happened to Julie. That's what. The police want to see you by. Julie's dead.

[Frankie]

Dead?

[Narrator]

Murdered. Tonight in our suspense theater, death is a dancing thing. Roma Wines is bringing you Lucille Ball as star of suspense in the Cornell Woolrich story Dime a Dance. You have heard the prologue for tonight's tale of suspense.

[Officer]

Before we return to the scene of our drama, let me say just this. Few spots on the globe boast the unique and perfect combination of nature's gifts which makes possible truly good wine, wine which the whole world can enjoy. But wine experts will tell you that among those fortunate spots, none can surpass the vineyards of our own California. From these renowned California vineyards come Roma wines, wines so perfect in flavor, so delightful, that they are enjoyed in many countries of the world. To us in America, Roma wines are an everyday treat, for we may buy them at an astonishingly low price since we pay no import duties or expensive shipping costs. Do you enjoy a delicious, tangy sherry? Tomorrow, treat yourself to a glass of Roma California sherry. We're sure you will agree you've never tasted finer. With your first sip, you'll understand why Roma wines are America's largest selling wines. Tomorrow, ask your dealer for your favorite type of Roma wine. Made in California for enjoyment throughout the world.

[Narrator]

And now it is with pleasure that Roma wines bring back to our soundstage Miss Lucille Ball in Dime A Dance, a tale well calculated to keep you in suspense.

[Frankie]

All the way over in that police car with those two flappy. I could see Marino's face when he said murdered. Poor Marino. We got out and walked up to the third floor of the building to Julie's room. Marino never said a word.

[Narrator]

All right, Sister. In here.

[Frankie]

Is.

[Mrs. Digby]

Is she.

[Frankie]

Is she still in there?

[Narrator]

No. You won't have to look at her. Oh.

[Frankie]

How'd it happen?

[Narrator]

Strangled.

[Frankie]

Why didn't she yell out? There were plenty of people around.

[Narrator]

Look, Ginger, we're asking the questions. Yeah, but since you raise it, we figured the person who could get close enough to kill her was someone she felt safe with. She was murdered by someone she trusted. By a friend.

[Frankie]

Well, I was the only friend she had.

[Narrator]

Yeah, so they tell us. Unless she had a boyfriend. And who was her boyfriend? Yeah. If she was strangled, where did all the blood come from?

[Frankie]

Flatfoot didn't answer Marino. He shut up all at once, as if he didn't have the heart to tell us the rest of it.

[Narrator]

Mary.

[Frankie]

His eyes gave him away, though. I got the whole score just following his gaze around the room. First he looked at the little phonograph. By using bamboo needles, she could play it late at night, soft, you know, so no one could hear it. The needle was worn down halfway. All. All shredded, as though it had been played over and over. Then his eyes wandered to a flat piece of paper that had eight or ten shiny new dimes on it. Some had little brown flecks on them. Then his eyes went down to the rug. It was all pleated up in places, especially along the edges. As though something heavy, something lifeless, had been dragged back and forth over it. You mean he danced with her after he killed her? Gave her a dime a dance, even then.

[Narrator]

Now, will you tell us who was her boyfriend? Leonard Racket. Maybe she'll remember. Some guy they both knew who was kept on. The piece was the only one he played. You just must die for Father. Turn it off.

[Mrs. Digby]

Stop it.

[Narrator]

Stop that music.

[Frankie]

That wasn't hers. She never had that record. Poor Butterfly, she hated it. She couldn't stand it. Someone brought that record here with him.

[Narrator]

Sure someone did. Maybe her boyfriend, sort of.

[Frankie]

It was no boyfriend. It was someone who waited for her in that room in the dark and killed her before she could scream. It was the same madman who killed those two other dancehall girls. He pays a dime a dance. A dime a dance. Whether you're alive or dead. Back at the grind, the flat feet. Let me go. Nobody told me anything. Sometime when you have nothing better to do, you try dancing with a couple of hundred guys a night. Asking yourself each time one of them wraps his arms around you. Is this the killer? Has he a knife in his hand? Behind my back.

[Narrator]

Say, can I see you a minute?

[Frankie]

Got a ticket?

[Narrator]

Yeah. But I don't want to dance, Ginger. I want to talk.

[Frankie]

That's your dime. Say, how do you know my name?

[Narrator]

Just happened to.

[Frankie]

Who are you anyway?

[Narrator]

Recognize those two guys leaning against the wall?

[Frankie]

The two flat feet.

[Narrator]

And I'm the third. Nix the name.

[Frankie]

What about Mercury? About her boyfriend?

[Narrator]

Relax. We have proof it wasn't her boyfriend and wasn't you.

[Frankie]

Oh, then you expect him to show up again after what he's done already, huh?

[Narrator]

We just got the report on those other two girls. They were killed by a maniac who played poor butterfly. Also, the fingerprints in all three cases match. He'll keep it up until we get him.

[Frankie]

How do you know what he looks like?

[Narrator]

We don't. We only know he isn't through yet. That's why I was assigned to protect you.

[Frankie]

Protect me?

[Narrator]

Yep. Keep my eye on you all night while you work, and then take you home. Right to your door. Marina knows about the other two dicks, but no one knows about me. Fact is, headquarters told me not to tell. Even you.

[Frankie]

Then why did you?

[Narrator]

I just saw how touchy you are. I don't want you to misunderstand my attentions.

[Frankie]

Well, what if someone asks me who you are?

[Narrator]

Say I'm your new boyfriend.

[Frankie]

Oh, I don't get smart. I never had a boyfriend.

[Narrator]

Good. Now you've got one. Oh.

[Frankie]

35 girls on this musical Chain gang. Why do you pick on me?

[Narrator]

Because we found out one more thing about the killer's habits. The two girls that were murdered before Julie both had red hair.

[Frankie]

Julie had red hair?

[Narrator]

Yeah, and so have you, baby.

[Frankie]

So I was set up as victims number four. Nice thought, but every night, like the milkman, just when the girls filed out to feast the arms and eyes of the wolves, there was Nick. Now that was some comfort. Nothing personal, you understand. It was also a comfort to see those other two flat feet on the job night after night.

[Narrator]

How's Ginger?

[Frankie]

Fine. How's nick? Hey, you're four minutes late.

[Narrator]

Ms. Me?

[Frankie]

Oh, I'm just a taxpayer that wants to see a public servant earn his money.

[Narrator]

If the city got broke, I'd do this job for nothing. Uh. Oh, you're a straw, boss. Marino is giving you the high sign.

[Frankie]

I'll go see what he wants. You wait here. What's on your mind, Marino?

[Narrator]

Hey, who is that monkey hanging around you every night?

[Frankie]

Well, he pays for his tickets, doesn't he?

[Narrator]

Yeah, but he never uses them. Who is he?

[Frankie]

My boyfriend.

[Narrator]

Oh, you known him long?

[Frankie]

Long enough.

[Narrator]

Take care of yourself, Ginger.

[Frankie]

Don't worry, Marino. I Know my way around, but thanks.

[Narrator]

Besides, we're not running any matrimonial bureau around here. You gotta spread yourself around a little more. Share the wealth. There's other customers here.

[Frankie]

All right, all right.

[Narrator]

Now watch that, would you?

[Frankie]

All right.

[Narrator]

What did. What did he want?

[Frankie]

Oh, nothing. Nick, is there any news? You know, it's a month since Julie.

[Narrator]

Oh, no, no, no. Calm down. Redhead.

[Frankie]

That's just it. That red hair. Look, why won't you let me dye it?

[Narrator]

Well, I've got my reasons.

[Frankie]

Yeah, yeah, yeah. You great, big, silent, strong cop.

[Narrator]

That's right, those.

[Frankie]

And then came that night. That horrible night. I was late as usual. Got to the dressing room planning to dress in no seconds flat so I could get out on the floor and be with Nick. Somehow I felt that I was gonna need him that night. Some instinct told me it was a matter of life or death. It's been a whole month since the last one.

[Mrs. Digby]

What I like every once in a while is a good, juicy motor.

[Narrator]

Come on, snap it up. What do you think I pay you girls for anyway?

[Frankie]

Who you looking out the door for?

[Mrs. Digby]

Ting? Now, you take that kill in the zoom. There was a real juicy kid. Oh, shut up, Mom.

[Frankie]

Will you cut it off?

[Mrs. Digby]

Oh, I'm sorry. Dearly. I keep forgetting you when she was so cruel.

[Frankie]

That's all right. I'm jittery. Laverne, have you seen my boyfriend? Not tonight.

[Mrs. Digby]

Maybe he got bored.

[Frankie]

Billy, have you seen Nick? You know, the tall, handsome. Not tonight, redhead. I guess he's giving you the air.

[Narrator]

Come on. Come on up. What am I paying you for? Come on. What's the matter? Keep look like you seen a ghost. What are you looking for out there? What's so fascinating about the clock?

[Frankie]

Marino? They're not there. Where are those two flat feet?

[Narrator]

Why don't you know about that?

[Frankie]

Never mind that now. Where are they?

[Narrator]

Called off.

[Frankie]

Called off?

[Narrator]

That sounds screwy to me. But police headquarters figures they frightened off whoever they was looking for.

[Frankie]

But that's crazy. I'm gonna fall.

[Narrator]

Ah, it won't do no good. I told them that anybody had wait till it cooled off before trying again. Now is when we should have protection. Well, come on. Get out on the floor. Come on, Ollie, out on the floor.

[Frankie]

All right. I'll be out in a second. Really, I will. Marino. Laverne.

[Mrs. Digby]

Yes, honey?

[Frankie]

As soon as Nick comes in, tell him to come right here. Tell him to tap on the door.

[Mrs. Digby]

Up, sugar.

[Frankie]

Hey, what are you looking at me like that for?

[Mrs. Digby]

Ginger?

[Frankie]

Look, Mom, I gotta talk to you. I can't go out there on the floor. I'm scared. But what are you staring holes in me for? Mom, you and I were here in this room the last night Julie was alive. The night she must have been killed. Remember?

[Mrs. Digby]

You poor kid.

[Frankie]

Oh, we look like we gotta remember. We've just got to. There was someone dancing with Julie that night. Some rum dummy. Julie said something about him. I can't remember what it was she said. Oh, you mean the one that hurt her hand. That's it, that's it. Hurt her hand. Bend her wrist back when they were dancing.

[Mrs. Digby]

Yes, that's the guy. She said it was almost like as if he got a kick out of hugging her.

[Frankie]

She and the squirrel. Yeah. Now what else? What else?

[Mrs. Digby]

Well, Julie called him a cement mixer.

[Frankie]

Oh, now we're getting somewhere. Mom's hard. Oh, he had Julie crazy dancing like a slap happy pug. I remember her describing it. He'd take three little steps to the.

[Mrs. Digby]

Right as if he was getting ready for a stand and broad jump.

[Frankie]

That was it. Remember how Julie said she felt like screaming? For Pete's sake. If you're gonna jump, jump three steps to the right. And if you're gonna jump, jump. Hey, what are you doing, Ginger?

[Mrs. Digby]

I'm Detective Wake, getting some clues.

[Frankie]

You know who we're talking about, Mom?

[Mrs. Digby]

The killer. Yeah.

[Frankie]

Oh, if he enjoyed hurting her like that when she was still alive, he'd enjoyed dancing with her after she was dead.

[Mrs. Digby]

Oh, he's wife sham face. Why that.

[Frankie]

There's someone I gotta tell this to right away. Oh, where the.

[Narrator]

Nick.

[Frankie]

See you later, Mom.

[Narrator]

Hey, that was Ginger.

[Mrs. Digby]

Nick.

[Frankie]

How's Nick?

[Narrator]

You're trembling. Sure it's me. Why not?

[Frankie]

I thought you were called off the case.

[Narrator]

We were.

[Frankie]

Then what are you doing here?

[Narrator]

Habits. Do you mind?

[Frankie]

No, you dumb ape. I don't mind. Boy, how I don't mind.

[Narrator]

And as long as it isn't duty anymore. Do you mind if I do something to you that I've wanted to do for days?

[Frankie]

Well, depends.

[Narrator]

I want to take you in my arms.

[Frankie]

All right, take me in your arms and dance anyway. For the time being.

[Narrator]

I'm a rotten dancer.

[Frankie]

You're telling me. Nick. Nick, we gotta talk. I just found out something about the killer that you ought to know later.

[Narrator]

I paid Marina for all the dances to the end. We can leave whenever you want after.

[Frankie]

This song they play Dinah. And then comes the break. We can leave then.

[Narrator]

What makes it so sure?

[Frankie]

Well, the band always plays a song in the same order. Then they can sleep while they Work I tell time by Em slimehouse blues means it's 10:45. Lady with a tramp means 11:15. Dinah means 11:30. Never changes. Except when there's a request number.

[Narrator]

You know, I like everything about you.

[Frankie]

I like everything about you. But your dancing let up on my hand. Was it? You're bending it upside down. It hurts my wrist.

[Narrator]

I told you I was a rotten dancer.

[Frankie]

Well, for Pete's sake, don't dance like you were priming for a standing broad jump. If you're gonna jump, jump. That's not Dinah.

[Narrator]

No. Certainly isn't a request number.

[Frankie]

Who requested it?

[Narrator]

I did. A meta Baby. I look sick.

[Frankie]

I, I, I, I, I feel just awful. I, I, I do feel sick.

[Narrator]

My dancing that bad?

[Frankie]

No, no, I just. I. Nick, I'll have to stop at Sierra. I guess I'll go in and get a drink of water. Yeah. Drink of water in the ladies room.

[Narrator]

Oh, I'm sorry. I'll wait here for.

[Frankie]

Oh, just be a minute.

[Mrs. Digby]

Operator.

[Frankie]

Operator. Operator. Give me the police department. Homicide squad.

[Mrs. Digby]

Police department.

[Narrator]

Homicide.

[Mrs. Digby]

Right away.

[Narrator]

Homicide.

[Frankie]

Hello, Homicide? This is Ginger Allen at Joyland. The third man you assigned to our place is.

[Mr. Evans]

Third man?

[Narrator]

What third man?

[Frankie]

Nick Ballister. The one you assigned to protect me.

[Narrator]

We have no Nick Ballister. And there was no man assigned by us to protect you.

[Frankie]

It's the killer. He's taking me out with him. I don't know where to look. I'll leave a trail of ticket stubs. Please come quick.

[Narrator]

Ginger.

[Frankie]

Goodbye, Katie. Sorry you couldn't work tonight. I'll fix it with Marino.

[Narrator]

How you feeling?

[Frankie]

You shouldn't have come in here, Nick. Didn't you see the sign?

[Narrator]

All that men keep out violators subject to arrest. Didn't say positively. Besides, they wouldn't arrest a cop.

[Frankie]

Why couldn't you leave me in here alone?

[Narrator]

You were going so long, I thought something had happened.

[Frankie]

Nothing's happened yet. Don't ask me how, but I kept up a patter while we walked. All my brains were in my right hand to clutch those ticket stubs in my coat pocket. I kept dropping those stubs, making sure he didn't see. I tried to stay on the bright streets, but he led me to the lonely one. The one we were on now was like a graveyard. No lights, no people. Suddenly I felt my blood run cold. My fingers in that right hand pocket fished around like a drowning man, clutching for straws. The last ticket stub was gone.

[Narrator]

Ginger.

[Frankie]

Yes, Nick?

[Charles Lawton]

I'm.

[Narrator]

I'm hungry. Would you like some chop suey?

[Frankie]

Like It? Oh, I'd love it. He ate that chop suey with an appetite. Like a guy who had work to do. Work he was going to enjoy. I side sneaked a glance at the jukebox without turning my head. You know, just my eyes. What a relief. All kinds of songs, but no poor butterfly. Nick was beginning to act nervous. He'd guzzle a cup of tea, pour another and keep looking over his shoulder like he was worried somebody might be following us. Then he'd grin like he used to and reach over for my hand. He pressed my fingers till they hurt. Hurt hard, like he never pressed him before. I guess. I guess he couldn't wait. Suddenly he stood up.

[Narrator]

Ask the waiter of the check. Ginger. I'm just going to wash my hands. Then it's time we left.

[Frankie]

Waiter. Waiter. Quick. Yes.

[Narrator]

What will he be?

[Frankie]

I'm leaving. When my boyfriend comes out, tell him you think I went back to the the powder room. A gag. You know he's a deadbeat. I want to shake him. Maybe don't understand. Marino. How did you get here?

[Narrator]

Mom told me. Then I followed your ticket stops.

[William Bartley]

He almost saw me.

[Celia]

Come on, quick.

[Frankie]

Marino. Thank heaven you got here. Marino, I. I can't run anymore. I'm. I won't last the block.

[Narrator]

You won't have to. There is a vacant horse in the middle of the block. Here. Inside. Fair. I think I see him coming.

[Frankie]

It's all dark in here.

[Narrator]

No one lives here. That's why. Here.

[William Bartley]

I like this searchlight.

[Narrator]

There's a stairway leading upstairs. Go ahead. Now, watch it. Now, don't trip.

[Mrs. Digby]

Downstairs.

[Officer]

It's broken.

[Narrator]

Now, through this door. Here's a candle and a match. Now we can see each other. Wait.

[Frankie]

Do you think we're safe?

[Narrator]

We'll know in a few minutes.

[Frankie]

Oh, Marino. Oh, it's him.

[Narrator]

Put out that cans.

[Mrs. Digby]

Now.

[Narrator]

Hide back there. I'll take care of him. Ginger.

[Frankie]

Tim.

[Narrator]

All right.

[William Bartley]

You act for it.

[Narrator]

We'll see about that.

[Frankie]

Who is it? Answer me. Answer me, please.

[Narrator]

Oh, my God.

[Mrs. Digby]

Oh, go on, kill me. Get it over with.

[Frankie]

Oh, why did you stop the music?

[Mr. Evans]

We danced from the beginning of the record.

[Mrs. Digby]

Marino.

[Narrator]

Yeah, yeah. Muriel.

[William Bartley]

You think you could hide from me.

[Narrator]

With different names and different faces?

[Frankie]

Marino. Why do you call me Muriel? What are you doing? I'm Ginger. Don't you remember? I'm Ginger. Alan.

[Narrator]

Each time you tell me a different name. Uriel. That. You can't get away by changing names.

[Frankie]

Marino.

[Narrator]

The first time you change your name was when you married me. Before I left for Europe with that Operetta Company. You remember you Orchestra plays Poor Butterfly. When you promise to love me forever.

[Frankie]

Help me, somebody help me.

[Narrator]

Yeah, well, the next time you changed your name was when you thought I was dead. Lived on my insurance and married another man. No matter how many times you change your name, Yuri, you'll all find you.

[Frankie]

No, not me. You killed her. You killed her, Marino, again and again. You only killed her last month, Marino.

[Narrator]

Next time I think I have. She rises again. This time I'm gonna kill you and your lover. This is the last time. And now we dance. Now we dance. Dance. Tell me. And then you.

[Mrs. Digby]

You just must die.

[Narrator]

How's Gentry?

[Frankie]

Nick. Oh, Nick. I thought he killed you.

[Narrator]

I got an awfully hard head. Police will be here in just a minute.

[Frankie]

Oh, Nick.

[Mrs. Digby]

How do you fit into this?

[Frankie]

Headquarters never heard of you.

[Narrator]

They were instructed to say that in case you called.

[Frankie]

What was the idea, scaring me to death?

[Narrator]

Well, I figured Marina would follow Ginger and her boyfriend once he thought the police were off the case. And when he did, I had to have you thinking I was the killer so you'd run off with him willingly.

[Frankie]

Why you no good.

[Narrator]

It was the only way to find his hideout. And the evidence we need the phonograph, the record. And the attempted murder at my expense.

[Frankie]

You big piece of. Another thing. How'd you know about dancing like a broad jumper and turning up my wrist?

[Narrator]

Oh, I listened outside the door to you and mom talking about that in the dressing room tonight. Gave me a couple of neat pointers. I put them together with poor Butterfly so I could scare the daylights out of you.

[Frankie]

Oh, you did too. I ought to ring your.

[Narrator]

Calm down. No wife of mine is going to have a redheaded temper.

[Frankie]

Wife of yours? You'll do anything to learn how to dance, won't you?

[Narrator]

Yeah, it looks that way.

[Frankie]

No wonder you didn't want me to dye my hair. You wanted that nice premature gray color.

[Narrator]

And so closes. Dime A Dance, presented by Roma Wines and starring Lucille Ball. Tonight's tale of suspense.

[Officer]

In just a moment, we'll hear again from Ms. Ball. First, though, let's visit a glamorous casino somewhere on the sunny Caribbean. Smartly dressed people stroll about the gardens. The strains of a Cuban song float out. Two men watch from a table on the terrace. One is a Cuban, the other a North American. One is about to propose a toast.

[Narrator]

To your beautiful country, Jose. I drink to that. Now I propose a toast to this wine in which we drink our toast. It comes from North America. From California. Its name is Roma.

[Officer]

Only A few places in the world produce wine so fine that many countries enjoy them. And among these enjoyable wines are Roma wines. For they come from vineyard districts that are among the finest in the world, our own sunny California. What better testimonial to the quality of Roma wines, could you ask than the fact that Roma wines are made in California for the enjoyment of the world? There is a fine Roma wine for you, whether your taste calls for a sherry, a Burgundy or Sauterne. And no matter what type of Roma wine you buy, you know you're receiving a truly fine wine at a price made possible because Roma wines are the overwhelming favorite of Americans, America's largest selling wine. Ask your dealer to show you his assortment of Roma wines tomorrow and choose your favorite. Roma. R O M A Roma wine made in California for enjoyment throughout the world. Remember, this is the year of decision. And that means that this year, more than ever before, we should all buy more and even more war bonds and stamps.

[Frankie]

This is Lucille Ball. It's been a great pleasure to appear on Suspense this evening next week. I know you want to be listening, as I certainly will, to a very wonderful actor, Mr. Paul Lucas, who will appear in a suspense play called A World of darkness.

[Narrator]

Thank you, Ms. Ball. Lucille Ball appeared tonight through the courtesy of Metro Goldwyn Mayer producers of Madame Curie. Don't forget. Then next Thursday, same time for Paul Lucas in Suspense presented by Roma Wine.

[Officer]

R O M A made in California for enjoyment throughout the world. This is the Columbia Broadcasting System. Roma Wines presents Suspense. Roma wine made in California for enjoyment throughout the world.

[Narrator]

Salute your health, senor.

[Officer]

Roma Wines host the world. The wine for your table is Roma wine made in California for enjoyment throughout the world.

[Narrator]

This is the man in Black, here to introduce this weekly half hour of Suspense. Tonight from Hollywood, we bring you in a dramatic role and in a character different from those you are accustomed to seeing him portray, Mr. Charles Ruggles. But before we raise the curtain on this evening's suspense play, here is a message from your host, the Roma Wine Company of Fresno, California.

[Officer]

Distance lends enchantment, says the old proverb. And it seems borne out in this little episode that we might see taking place at the smart and handsome Pan American Club, Havana, Cuba. An American visitor is amazed that his Cuban host can picture the marvelous climate and rich, fruitful soil of California without ever having been there. But the Cuban responds, one sip alone of wonderful Roma wine tells me all that only true perfection of climate and soil could produce the perfection of your splendid California wine. Roma wine. That's so. And as Roma wines become available to wine connoisseurs of more and more lands, the chorus of praise grows for the truly superb quality of these good Roma wines. No wonder then, these wine experts of other lands are so eager to import Roma wines no matter what the distance is from our own California. And no wonder too, that these taste delighting Roma wines, with no import duty to pay and without expensive shipping charges added to their cost, here are America's largest selling wines. With such richly rewarding enjoyment within your reach, why not get acquainted with your favorites among Roma wines? Many different delightful wine types Remember the name R O M a Roma wine made in California for enjoyment throughout the world.

[Narrator]

And now with Dorothy L. Sayers story Suspicion. And with the performance of Charles Ruggles as Mr. Hubert Mummery, Roma wines again. Hope to keep you in suspense. Mr. Mummery took the morning train down to business as he always did. He opened the door of his office, much as he always opened it, and saw his partner Brooks sitting at his desk as he always sat. And the world seemed perfectly orderly and dependable and sane. And then it began. Very simply, out of a few chance remarks, the terror took shape and grew until it was a black mountain of fear and suspicion. Morning, mamay. Pleasant morning, huh? Yeah. Oh, quite, quite. I've been looking through some background accounts.

[Mr. Evans]

I have an idea they're trying to put us off into Hubert Mummery.

[Narrator]

What's the matter with you? With me?

[Mr. Evans]

You gave me a start. Why, man, you're as white as a she.

[Narrator]

Oh, am I? Well, I. I'm not feeling quite myself this morning. Breakfast didn't agree with me. Didn't agree with me at all. Well, you'd better look after yourself. We're none of us as young as we once were. You know, you always had a beastly stomach. Always. I can't remember you having an attack like this.

[Mr. Evans]

And you, that new missus of yours giving you proper food. Good, mild, digestible things.

[Narrator]

No, I'm afraid Ethel knows nothing at all about a kitchen.

[Mr. Evans]

Well, that's what you get from marrying a girl without showing it. Their friend doing it in such a rush.

[Narrator]

10 day courtship and it's your age, mumber. Well, you'll see why when you meet her. Besides, it doesn't matter in the least. After all, I was a bachelor up until a few weeks ago and rather used to taking care of myself, you know.

[Mr. Evans]

My dear man, you're not telling me.

[Narrator]

That you manage my.

[Mr. Evans]

The household?

[Narrator]

Oh, hardly. No need for that. We've engaged a housekeeper who's a gem really capable, motherly soul named Sutton. Ethel's delighted with her and so am I. Exceptional cook and all that. Well, that's excellent. We can all do with that sort.

[Mr. Evans]

Of thing, you know.

[Narrator]

I say, you better take it easy.

[Mr. Evans]

And keep off your feet today. Man's health comes first, you know.

[Narrator]

Thanks. Thanks. I'll be all right. I took one of my tablets on the train. Well. Well, if you need anything, you let me know, huh? Yes.

[Mr. Evans]

Oh, by the way, Mama, I suppose your wife doesn't know another of those cooking gems, does she?

[Narrator]

Well, I don't know. They aren't so easy to find nowadays. Don't tell me your cook is leaving you. Oh, good Lord. Lord, no, no, no. Perish for thought.

[Mr. Evans]

It's for the Philipsons. Their girl is getting married.

[Narrator]

Yeah, well, all we said. Marriage is the graveyard of good cooks.

[Mr. Evans]

Positively, positively. You know, I think it should be a criminal offense for cooks to feel the mating urge. Leaves the family high and dry, you know, I said to Philipson, you mind what you're doing. I said, you get somebody you know something about or you may find yourself landed with this poisoning woman.

[Narrator]

What's her name?

[Mr. Evans]

Mrs. Andrews. Carolyn Andrews. I don't want to be sending wreaths to your funeral yet a while, I said.

[Narrator]

Wasn't that a dreadful thing, though, that Andrews case? Ethel read some of it to me out of the newspapers. My, my. Gave me the cold horrors.

[Mr. Evans]

Oh, it's a disgrace, I call it. Three people dead of poisoning. Falling ill one by one, gradually getting worse and worse and suddenly dying off like flies after a month or so of her cooking. And all the police say is they think she's hanging around the neighborhood and may seek employment as a cook.

[Narrator]

As a cook?

[Mr. Evans]

Now, I ask you. Puts us all in the shadow of.

[Narrator]

The grave, doesn't it? Well, rather. It's only to be hoped that they'll.

[Mr. Evans]

Catch this charming Mrs. Andrews before she tries her arsenic seasoning on somebody else. That's why I told Philipson to be careful about hiring a strange woman.

[Narrator]

Well, quite right, too. One can't be too careful about a thing like that. I'll ask Sutton if she knows of another cook as good as she is. You won't need worry about anyone she recommends. Oh, excellent.

[Mr. Evans]

I suppose she's worked for the right sort of people, Mama.

[Narrator]

Right sort? Well, I imagine so. I don't know.

[Mr. Evans]

Well, didn't she bring references?

[Narrator]

Why, yes. Yes, she did. A great pile of them. Glowing ones, too. But I don't know. Ethel and I were so glad to get someone that we haven't bothered to look them up really. It's 10:30. I must get back to work.

[Mr. Evans]

Would you mind dictating a few letters, Mamay? Some dunners I do it, but I've some bills to get out in the next room.

[Narrator]

All right, I'm glad to.

[Mr. Evans]

Well, I'll have Penny take them down, miss. Penny, will you step in here a moment, please?

[Mrs. Digby]

Coming, Mr. Brooks.

[Narrator]

Don't exert yourself, old man. Oh, Penny. Mr. Mamay will give you some letters for our forgetful customer.

[Mrs. Digby]

Yes, sir.

[Mr. Evans]

And I'll be in the next office if I'm needed, Mamay. And do ask that sterling cook of yours to find. Find someone for poor Philipson, eh?

[Narrator]

I'll speak to Sutton as soon as I get home.

[Mrs. Digby]

You're looking a bit pale this morning, Mr. Mamre.

[Narrator]

Yes, yes, I know. Let's get down to the letters, Penny, shall we?

[Mrs. Digby]

Yes, sir.

[Narrator]

Dear sirs, unless payment on your account is immediately forthcoming, we must institute proceedings. Which. Which? Which?

[Mrs. Digby]

Yes, sir. Which, sir?

[Narrator]

Oh, I was thinking. Wonderfully clever how that Mrs. Andrews manages to get positions with respectable families.

[Mrs. Digby]

Wasn't nothing so clever about the last one, sir. No, no, she brought plenty of references. Glowing ones too, the paper said.

[Narrator]

Where in the world would such a woman come by honest references?

[Mrs. Digby]

Oh, there wasn't no question of their honesty, Mr. Mummery.

[Narrator]

What do you mean by that?

[Mrs. Digby]

Oh, the poor deceased family was so glad to get someone that they never even bothered to look them up. Why, whatever is the matter, sir? Have I said something that I should.

[Narrator]

No, no, no, no, no, no, no. I'm. I'm going to go home. Miss Penny. I. I don't feel well. Not at all well. On the homeward bound train, Mr. Mummery's mind kept up a continual flow of discomforting thoughts. Those references of Sutton. How did he know after all? Yes, Brooks was quite right. One can't be too careful. Be sure you get someone you know something about or you may find yourself landed with this poisoning woman, this Mrs. Andrew. The pain in Mr. Mummery's stomach gave a sudden twinge. He gripped the edge of his seat. He had eaten too quickly. His breakfast had been too heavy. He must speak to Ethel about Sutton. Sutton. As he walked up the quiet street of the remote little country town, the well known familiar landmarks looked somehow strange and menacing. Reached the house, walked up the path. And then something drew him round toward the back. Somehow, despite him, he found himself opening the screen door of Sutton's kitchen. Miss Sutton.

[Mrs. Digby]

Oh Lord, you did give me a turn Mr. Mummery. Well, I. I was so tight enough waiting for the potatoes to boil that I. I didn't hear the front door go at all.

[Narrator]

Well, I use my key. Sutton. Where is Mrs. Mummery?

[Mrs. Digby]

The poor dear was feeling a bit sickish after breakfast this morning and I. I might have lied down for a bit. She was looking so poorly.

[Narrator]

Ethel? Sick? Ethel's never sick. I don't understand.

[Mrs. Digby]

Oh, it was working about too much that done it, if you ask me. I. I told her to go light with it, but she's depressed, so she can't abide to be doing nothing.

[Narrator]

Where is she?

[Mrs. Digby]

Now, let's. Young Mr. Welbeck called by to get some flowers. She'd promised his mother and he cheered her up a bit. She needed cheering too, by the look of her poor lamb.

[Narrator]

Where are they, Sutton?

[Mrs. Digby]

They're having their tea in the garden. She's a deal better than she was. A deal better.

[Narrator]

Well, I'm glad of that. I'll step out and have a word with her.

[Mrs. Digby]

Oh, Mr. Mumley.

[Narrator]

Yes?

[Mrs. Digby]

Before you go, I'd like to show you what I got for your dinner.

[Narrator]

But I, I.

[Mrs. Digby]

Just a moment, Mr. Mumrester.

[Narrator]

There.

[Mrs. Digby]

Have a look at that.

[Narrator]

That. That steak and kidney pie, isn't it?

[Mrs. Digby]

You'll find it beautiful and light, sir. If it's made with butter, it is. So you'll have no trouble at all digesting it?

[Narrator]

No. Well, very good.

[Mrs. Digby]

And it's season something wonderful.

[Narrator]

Yes, I'm sure it's excellent. Well, I'll. I'll wander out and see Mrs. Mummery now, if you don't mind.

[Mrs. Digby]

Oh, by all means. And try to get up a good appetite for your dinner, won't you, Mr. Mumro?

[Narrator]

Yeah, I'll do my best. Thank you. Certainly. Ethel. Oh, Ethel.

[Mrs. Digby]

Who's that?

[Narrator]

It's I. Tiddlywinks.

[Officer]

Hubert.

[Mrs. Digby]

Oh, I wasn't expecting you so early.

[Narrator]

Well, I quit before time. I didn't startle you, did I, pet?

[Mrs. Digby]

Yes, you did.

[Narrator]

I'm sorry.

[Mrs. Digby]

I. I thought something was wrong. I don't like to be startled.

[Narrator]

Hello, Mummery. Well, hello, Welbeck. I didn't see you. How are you? I'm all right, thanks. I'm afraid I found Ethel feeling rather badly. Yes, Sutton told me. Are you better now, dearest?

[Mrs. Digby]

I'm feeling dreadfully upset. Unsteady, I suppose. I'll be all right by morning. Do sit down and have your tea, Cupid.

[Narrator]

Well, thank you. I need it. Biscuits. Are they good? Melt in your mouth? I'd devour the lot if I didn't have to be getting home to dinner. Oh, you're leaving? I must. Mother's waiting.

[Mrs. Digby]

I'll have the gardener wrap her flowers. Give them some.

[Narrator]

Oh, no, no, don't bother.

[Mrs. Digby]

No bother at all. Heaven knows he's paid enough for pottering about. Thomas. Thomas.

[Narrator]

Come in, ma' am.

[Mrs. Digby]

Is the tea still warm, dear?

[Narrator]

Just right, thanks. You was calling me, Mrs. Mamery.

[Mrs. Digby]

Oh, Thomas, will you please wrap these flowers for me and bring them into the house?

[Narrator]

Right, old man.

[Mrs. Digby]

I'll take Mr. Welbeck to the door. Oh, no, don't bother to get up, dear. Just tell Mr. Welbeck goodbye and finish your tea. Life a good boy.

[Narrator]

Yes, indeed. Keep your seat. Well, do come and see us soon again, won't you, Welbeck? Love to, but I can't leave Mother alone very often. She's extremely nervous lately. Terribly so. Oh, that's too bad. She's not really been herself since. But since that Andrew spirit poisoning business started in the newspapers. Lamed them more than you believe. Yes, well, it's rather unnerved everyone, if you ask me. I do hope they catch her soon. They may.

[Mrs. Digby]

What do you mean?

[Narrator]

There were a couple of blokes from Scotland Yard in the village this morning. Rumor is they've got a new line on Mrs. Andrews. It's time they had. Think of it. That fiend has been on the loose for. Well, let's see now. Exactly. 1, 2, 3, 3, 4. Yes, almost four weeks to the day.

[Mrs. Digby]

I'd rather not think about it if no one minds.

[Narrator]

Quite right, my dear. Let's not.

[Mrs. Digby]

Let's not. I have too many other things on my mind. Oh, by the way, Hubert, I forgot to tell you to bring some cash home from the city with you today.

[Narrator]

I know you did diddly wings. But I remembered it all by myself.

[Mrs. Digby]

Oh, a good thing, too. The greengrocer had a rather glum look on his face this morning.

[Narrator]

Well, we'll be able to stare him in the eye tomorrow.

[Mrs. Digby]

And then there's Sutton's salary.

[Narrator]

Well, I'm not sure I brought enough for that.

[Mrs. Digby]

Oh, that's too bad. I do so want to be prompt with her.

[Narrator]

Prompt?

[Mrs. Digby]

Yes, dear. Sutton's been with us exactly one month tonight.

[Narrator]

I must drop along now. See you soon again, Mummery. I. I say. Thanks for the tea.

[Mrs. Digby]

Hubert. What's the matter? Mr. Welbeck said thanks for tea. Didn't you hear?

[Narrator]

Oh. Oh, yes. Oh, I'm sorry.

[Mrs. Digby]

You seem so far away, dear.

[Narrator]

No, not at all. Not at all. I was a bit tired, I suppose. Let the old gent rest his weary bones.

[Mrs. Digby]

He's worked much too hard lately. Come along, Mr. Welbeck. I'll do the honors for the family coming.

[Narrator]

Four weeks. Exactly one month. Oh, certain. The Mrs. Weinson zinnias for the bouquet. I just found a little patch in the back bed. I thought they. Thomas. Thomas, do we have any old newspapers about? Old newspapers? Why, yes, sir. There's a stack of them in the greenhouse. I was just going down to get some to wrap up this bouquet. What would you be needing them for, sir? I want to look up some photographs, Thomas. Photographs? Of who, sir? Of Mrs. Andrews. Here they be, sir. They go back about 20 days. These do. I always take them out of the kitchen when the cook is finished with them. I see. Now let's have them, Thomas. Now then, June 15th. June 15th. Yes, that was just about the time. Should be an article about Mrs. Carolyn Andrews. And this one, of course. She'll have managed to change her appearance, but there should be a resemblance. Now, let's see. Ought to be about on. Thomas. Yes, sir? Where did you say you got these papers? Out of the kitchen, sir. Why, what is it, Mr. Mamoury? Somebody's been through them with the scissors, Thomas. Every line about the Andrews case has been clipped out. Every line. Mr. Mamoury, sir. Do now look for yourself. There, there, there, there. But I don't understand it. Do you, sir? I'm afraid to try. Thomas, are there any more papers about? There's a few more under this shelf where I keep. Botheration. Look at that. Meddlers, that's what they are. Meddling with my things. Don't waste time with that now, Thomas. But look at it, sir. All spilled and wasted. It costs good money. Well, all right. We'll buy more of whatever it is. Only a bit left and it ain't so easy to get. I'll tell you, it's just about the best weed killer there is. Them weeds just fold up and die the minute it touches them. If somebody hadn't tampered with the Spirit stopper, there wouldn't have been a drop lost. Thomas. Yes, sir. Let me see that can. Yes, sir. Arsenical weed killer. Contains arsenic. Deadly poison. Stopper was loose. Somebody had it out. I never leaves like that. Nothing like that, Thomas. Yes, sir. Yes.

[Mr. Evans]

Good Lord.

[Narrator]

Mr. Mam. What is it? Sir, I. I don't think I should have had that tea, Thomas. I'll call the Mrs. No, no, no, no, no. You mustn't alarm her. Whatever you do don't alarm her. She's not to be excited. But get to the phone and call Dr. Maby. I. I'm ill, Thomas. Tell him I'm terribly ill.

[Mrs. Digby]

How is he doing, Dr. Mainsby? How is he now?

[Narrator]

Now then, Mrs. Mummery, he's not so bad as all that. He's really far better than he was last night. Decidedly. Yes, the patient is somewhat improved, aren't you, Mumray? Well, I'm feeling quite all right, Ethel. I shouldn't be surprised if I lived after all.

[Mrs. Digby]

My poor darling, you gave me such.

[Narrator]

A frightened little wonder. Symptoms were all alarming.

[Mrs. Digby]

Whatever on earth could it have been? Dr. Mainsby? He was suffering so dreadfully last night. Of course, those powders you gave him quieted him, but he did seem to be in such agony.

[Narrator]

Well, I really can't say precisely what it was. I could pretend to know, but Frankly I don't. Mrs. Mummery. I haven't the proper equipment here for a real diagnosis, but I'd venture an old fashioned, non scientific guess that it was a touch of common garden domain. Yes, yes, that's what it was, Ethel. I'm sure of it. Tomorrow or next day when he's quite well, mind you, I'd like to have you have him come down to the office in Barrett's for a thorough examination.

[Mrs. Digby]

Do you hear that, dear? You must make him promise to come, Doctor. He's so very careless about himself.

[Narrator]

He'll come. This episode gave him a bit of a start, I think. Nothing like a touch of Ptolemaine to make a man health conscious, eh, Mama? Ren. You're right, Doctor. You'll see me very soon, I promise. Excellent. Excellent. And until then, you just continue the powders I gave you. One every hour. Yes, Doctor. And no solid foods. Have that cook of yours make you a nice strong broth of some kind, huh? What? And above all, stay in bed for the next 24 hours.

[Mrs. Digby]

I'll see to that, Dr. Mayston.

[Narrator]

I'm depending on you, Mrs. Mumray. And now, if you'll tell me where you put my hat, I'll get it for you. Oh, you needn't trouble. You just tell me.

[Mrs. Digby]

No trouble at all. It's out on the standpoint.

[Narrator]

So, Mama Rain, do try to take better care of yourself from now on, huh? We'll need to make Ethel a widow before her time. Well, I'll do my best not to, Doctor. Maisie, what's that memory? Listen to me. I haven't time to explain now. What are you talking about? Keep your Voice down, man. I don't want to frighten Ethel, but there's something very strange going on in this house. You are delirious. I may need your help soon. I'll phone you sometime today, as soon as I can do it without alarming Ethel. Oh, she wouldn't be able to sleep for weeks if she had any inkling of what's going on. You aren't imagining things, are yours? No, no, listen. May speak. Last night before I took sick, I found.

[Mrs. Digby]

I beg pardon.

[Narrator]

Well, well. Sutton. Yes, Sutton, what is it?

[Mrs. Digby]

Mrs. Mumro sent me to tell you that your chauffeur's brought the car around, sir.

[Narrator]

Oh, yes, yes, you're good. I'll be getting along now, I think.

[Mrs. Digby]

Oh, sir, if I'm not being too inquisitive, sir, how is the patient this morning?

[Narrator]

Why, he's much better, Sutton, but he had rather grim session of it just the same.

[Mrs. Digby]

Oh, that's dreadful, ain't it, sir? We'll have to take better care of him, won't we, sir? Much better care.

[Narrator]

I'm tempering around my greenhouse. Will they now upsetting my things? Oh, will they now? Not much they won't. I'll put a lock on this door to the Thomas. Who's that? Why, Mr. Mamish, you ain't supposed to be up and about, are you? You're supposed to be in your bed, ain't you, sir? I want to get those papers we were looking at yesterday. Thomas. Does the missus know you're walking around out here, sir? I'll be buying the Mrs. Thomas. We'll keep this a secret from the Mrs. Thomas. You'll get your death, Mr. Mummery. If I lie upstairs in bed all day, the whole Mummery family will get its death. Now, where are those papers? Well, they're just inside the door there where you left them, sir. Just inside the door. Now, let's see now, where was it right about this? No, it wasn't in. A little further now to your left. All right. There they are, sir. Well, if they are, I've been struck blind. There's nothing here but the stone floor and a box of tulip bulbs. You must be wrong, sir. All right. Well, come and look and see here. Yes, sir. Well, they're gone. What do you know? I'm not at all sure what I know, but I'm going to find out. You come with me, Thomas. You ought to be in your bed. All right. I ought to be in my bed, sir. Come along, will you? Yes, sir. Where is Sutton? I Don't know, sir. Oh, yes, on second thought, I do know. I saw her going down to the greengrocers to pay the bill. When she passed me, I heard her muttering something about not wanting anybody to come prying about her kitchen. The missus is particular. Yeah. Doesn't want us in the kitchen, huh? No, I guess not. Well, that's where we're going right now. I don't think she'd like it. No, I'm sure she wouldn't, Thomas. Come along in. All right, sir. If you say to, sir. Now. Now, let's see. Where could they be? You ain't expecting to find them papers in here, are you, sir? I was, Thomas. Is it possible that I'm mistaken? No, I'm not. Now, where could. The stove. That's where they'd be. That's just where the. Just as I thought. Have a look inside, Thomas. There they are. Or what's left of them. Somebody kindled quite a little blaze with your old newspapers, wouldn't you say? No, sir. You should have been a detective. Yes, I always rather thought so myself. Well, the papers are done for. By Jove, she's a clever one, all right. Doesn't miss a trick. We're dealing with a very cautious, very thorough woman, Thomas, And I shouldn't be a bit surprised if. Well, are you listening to me, Thomas? What are you staring at? Mr. Mamory, what's that on the windowsill? On the wind. The weed killer. The arsenical weed killer. It's found its way into the kitchen. The stopper's off again, ain't it, sir? Right. The stopper's off and it's nearly empty. Thomas, what's in that pot on the stove? I don't know, sir. Well, look and see. Yes, sir. It's chicken broth, sir. Real strong chicken broth. Good. Here, here, here. Now, take this empty medicine bottle and get as much broth into it as it'll hold.

[Mrs. Digby]

What for, sir?

[Narrator]

Just do it, Thomas, please. Yes, sir. That's fine. Now then, get the car out of the garage. Where are we going, sir? We're going to be, Mr. Mummery. The doctor. We're going to see the doctor, Thomas, before we're all beyond his help. Sorry to kept you waiting so long, memory, but it's quite a lengthy. I don't mind the waiting, Doctor. It isn't that, but Ethel's there alone in the house with her, and I want to know. I can tell you now. You finished? I've analyzed every drop of the contents. Used Marsh's Test for arsenic. I'm able to tell you a very definite answer, my boy. What? What is it? May be yes. You mean there is arsenic in that broth and some. I mean that broth is chock full of arsenic. Mrs. Andrews is taking no chances this time. There's enough poison there to kill your entire House. Oh, Mr. Mamory, look. You're hitting 70, you are. It ain't safe at all. I've got to get home. I've got to get home. Lord knows what's happening there. Oh, Mr. Mamory. Shut up. Effortless poison. Dying dead. Effortless poison. Dying dead. I patch the front right tire myself, sir. And it's fearful week it is. Sutton. Mrs. Andrews. Sutton. Mrs. Andrews. Sutton. Mrs. Andrews.

[Mrs. Digby]

Sutton.

[Narrator]

Mr. Andrews. Oh, thank the Lord. There's the ass. What's that car doing in front of it? What's it doing there? No, sir, it's happened already. The doctor's there. It's happened already. The doctor's there. It's happened already. The doctor's there standing out under the house.

[Mrs. Digby]

Mr. Man.

[Mr. Evans]

Oh.

[Narrator]

Oh, it's my fault. I did it. It's my fault. I left her here. I did it. I killed her. Oh, Mr. Mamary, sir.

[Mr. Evans]

Oh.

[Narrator]

Ethel. Ethel. Ethel.

[Mrs. Digby]

Ethel.

[Narrator]

Where is she? Welbeck. What are you doing here? I'm Scotland Yard, Mummery. Easy now. Take it easy. Well, where is she? Tell me. I have a right to know. Who is he? Inspector? I'm Hubert Mummery. Where's my wife? Now, try to be calm, Mummery, won't you? That's a good fellow. What do you mean? Why are you sitting down here? Is she. Is she beyond help? I'm afraid she is, sir. Oh, Lord. Oh. Can I see her? I'm afraid not, Mum. Ray. It'd only be painful. Oh, lord. But that Mrs. Andrews, though. You got her, she didn't get away.

[Charles Lawton]

No.

[Narrator]

We've got Mrs. Andrews right enough. Oh, Ethel. You see, officer, we've only been married 10 weeks. 10 weeks yesterday I. Sutton. Sutton.

[Mrs. Digby]

Yes, Mr. Mumro. I'm very sorry about things. Sorry for you, sir.

[Narrator]

Sorry for me? That's good. Well, it's too late now. Well, take her away. Take her away.

[Mrs. Digby]

Oh, Mr. Mumroy, I'm so sorry.

[Narrator]

Take her away. You'd better go, Sutton.

[Celia]

Go ahead.

[Narrator]

He's upset, of course. Wants to be alone. Oh. You see, Mrs. Mummery and I were in desperate need of a cook. But it's just as I said to Brooks. One can't be too careful about taking a strange person into the house? Why, I didn't even suspect her until yesterday. I had no idea there were go. Are you letting her go? Well, you can't let her go. That's Mrs. Andrews.

[Frankie]

Don't.

[Narrator]

Oh, please. This broth is chocked full of arseny.

[Mrs. Digby]

I didn't have no hand in that broth, sir. It was mine while I was at the green groves.

[Narrator]

You can't let her go. Why did she.

[Mrs. Digby]

And I didn't like your tea yesterday. Nor your breakfast yesterday morning. So help me, Mr. Mummer and sir. I didn't. I didn't.

[Frankie]

Hubert.

[Narrator]

Ethel. Oh, Ethel, my darling. I thought you were. Oh. Are you all right? Ethel, I. Ethel, dear, what is it?

[Mrs. Digby]

I overheard what you said. You told Brooks about taking a strange person into your house. You were right, you know, Hubert.

[Narrator]

Well, I don't understand. Ready?

[Mrs. Digby]

Quite.

[Narrator]

Come along then. Ethel. Well, not Ethel really, sir. Caroline would be more like you.

[Mrs. Digby]

Yes. And by the way, you're forgetting a rather important little formality, aren't you?

[Narrator]

Oh, yes. Sorry, mamay. Carolyn Andrews, I arrest you for murder in the name of the King. And so closes Suspicion. Presented by Roma Wines and starring Charles Ruggles. Tonight's tale of suspense. In just a moment we will hear again from Mr. Ruggles. First, a message from the sponsor of Suspense.

[Officer]

Why is the making of good wine like a proverb? Because both are based on long experience. For you to enjoy the many different taste delighting Roma California wines. First, there had to be long years of painstaking cultivation of some of the world's finest vineyards. Plus, year upon year of development of the art and skill that go into the making of these fine Roma wines. Your first sip of any of the good tasting Roma wines will confirm the presence of these needed years of preparation will tell you why Roma wines are America's largest selling wines. Your taste will thrill to the superb quality and the downright satisfaction when you try, say, the tangy, delicious Roma sherry. Or the rich, hearty Roma Burgundy. Or the sweeter, heavier Roma port. You'll be thrilled too when you learn such great enjoyment cost so little. Mere pennies a glass. You'll want to add your voice to the international praise of Roma wines now rising in many lands. In these words, Roma wines are truly magnificent. Let me repeat the name. R O M A Roma wines made in California for enjoyment throughout the world.

[Narrator]

And now here is Charles Ruggles. Thank you. Thank you. Well, it was a great pleasure for me to appear on Suspense's evening. And I'll be listening next week, as I hope you will. When Faye Bainter and a distinguished Hollywood cast will be starred. And one more word. As the enemy's desperate resistance grows greater. Make sure that our fighting men suffer no lack in their need for more of the weapons of war. Buy more war bonds. Suspense is produced and directed by William Speer. Don't forget. Then next Thursday, same time, Faye Bainter and other stars in suspense presented by.

[Officer]

Roma wine made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. Roma Wines presents Suspense. Roma wines made in California for enjoyment throughout the world.

[Narrator]

Salud. Your health, senor.

[Officer]

Roma wines toast the world. The wine for your table is Roma wine made in California for enjoyment throughout the world.

[Narrator]

This is the man in Black, here to introduce this weekly half hour of suspense. Tonight from Hollywood, we bring you as star, Mr. Orson Welles. This will be the first of two consecutive performances by Mr. Welles. In which he will appear as the protagonist of Kurt Siodmack's novel, Donovan's Brain. The producer of Suspense and its sponsors, the Roma Wine Company of Fresno, California, feel that this story is so unusual. That it merits more than our usual time. So, in somewhat of a departure from establishment radio formulas. We will bring you the story of Donovan's Brain in two parts. Part One you will hear tonight. And Part two next Monday night at this same time.

[Officer]

Before we take you to the scene of our drama. Let's take a little journey of a different kind. We'll let a bottle of Roma wine serve as Aladdin's lamp. I touch the label and presto. We are all transported to that capital of gaiety, Havana, Cuba. And now we find ourselves in the charming Pan American club. At a table nearby, an American has just voiced his delight at the uncommon beauty of the scene. Then his Cuban companion responds. You in America also have much that is uncommon to boast of. Such as this marvelous tasting wine we are enjoying this minute. To enjoy uncommon fine quality. Cuba imports this wine from your own distant California. It is your superb Roma wine. Now just realize what it means when other countries import Roma wines from such great distances. Such international esteem must mean that Roma wines are truly magnificent in quality. And then consider this. You here in America need pay no high import duty. No expensive shipping charges for these fine Roma wines come from Roma's own wineries in the heart of the rich California wine grape districts. Because so many Americans do realize this good fortune. Roma wines are America's largest selling wines. So why deny yourself this taste delight? Try an inexpensive bottle of tangy, appetizing Roma sherry. Or the hearty Roma Burgundy. Or any of the marvelously enjoyable Roma wines. But remember, these days your favorite dealer may be temporarily out of the type you prefer. Then please try again. Ask for R O M a Roma wines made in California for enjoyment throughout the world.

[Narrator]

And now, with part one of Donovan's brain, and with the performance of Orson Welles as Dr. Patrick Corey, we again hope to keep you in suspense.

[Charles Lawton]

As I sit now outside my laboratory door, writing under the heading Experiment 87, this final entry in my case book. I know that these are the last words I shall ever write upon this earth. I neither ask nor expect forgiveness now or hereafter. But for those who seek some explanation, I refer them simply to this casebook. Let them read it carefully from its first entry on that ill starred day of July 13th. July 13th. Today I bought a small capuchin monkey from an organ grinder. The animal trembled with fear when I took it into my laboratory. And when I tried to pet it, it bit me, trying to make it trust me completely. Fear causes an excess secretion of adrenaline, resulting in an abnormal condition of the bloodstream which would throw off my obstacle. So I fed it. And finally the creature voluntarily crept up into my arms, uttering little whimpers of content. When it laid its head against my shoulder, I stabbed it. The surgical lancet. It died instantly. Well, David, what do you think of it?

[Narrator]

Well, it's pretty amazing.

[Officer]

All right.

[Charles Lawton]

See what I've done, don't you?

[Narrator]

I. I think so.

[Charles Lawton]

You think so? Good lord, don't you know?

[Narrator]

Well, after all that I'm only a second year medical student.

[Mr. Evans]

You know?

[Narrator]

What?

[Charles Lawton]

I'm a second year student. Who is it?

[Frankie]

It's me, Janice.

[Charles Lawton]

Come in, darling.

[Mrs. Digby]

Patrick, Dr. Schrott is here to see you.

[Charles Lawton]

Oh, come on in, doctor.

[Mrs. Digby]

You know our son, David, of course.

[Narrator]

Yes, of course. How are you, my boy? Fine, thanks, doctor. Well, Patrick? Hard at it as usual, I see.

[Mrs. Digby]

Patrick, you didn't eat the lunch I sent in to you.

[Narrator]

What is it this time, Patrick?

[Charles Lawton]

A brain.

[Narrator]

What?

[Charles Lawton]

A brain. A brain. A monkey's brain.

[Narrator]

Oh. What about the brain, Patrick?

[Charles Lawton]

I've been trying to see how long I can keep the tissue alive.

[Narrator]

Is that it in that jar?

[Charles Lawton]

There's considerably more to it than just a jar, though. Want to see how it works?

[Mrs. Digby]

Is it still alive?

[Charles Lawton]

In a way, yes. It's a fairly simple device actually, doctor. Variation. Corells mechanical heart. The brain lies in a bath of blood serum. These rubber arteries affixed to the vertebral and internal carotid arteries of the brain. The blood substance is forced through the cycle of Willis, feed the tissue over here. I've installed a small road for that. Forces the blood circulation, you see.

[Mrs. Digby]

But how do you know it's alive?

[Charles Lawton]

It's very easy to determine. The brain, when functioning, gives off infinitesimal electrical impulses. They can be measured. As a matter of fact, I've hooked the encephalograph up to a small amplifying system. The brain impulses can actually be heard. Here. I'll turn it on. See? Quite effective, isn't it?

[Narrator]

Yes, it's effective and it's. It's wrong, Patrick. Terribly wrong.

[Mrs. Digby]

I've tried to tell him. Dr. Schratt.

[Charles Lawton]

In heaven's name, what's wrong with this?

[Narrator]

Oh, Patrick. You and your mechanistic philosophy. Trying to reduce life to a mere matter of chemicals and test tubes. The origin of life is from a higher domain than that, Patrick. And you're profaning nonsense.

[Charles Lawton]

You can't stop the progress of science. Every discovery of whatever kind, is a step forward. If I can prove that the brain can perform certain functions outside the body, who knows where we may be able to go from there?

[Narrator]

Oh, Patrick, how do you know that thing in there doesn't feel pain? How do you know it isn't writhing in agony?

[Charles Lawton]

Brain tissue itself is insensitive. You know that. Just a feeling. Look, I'll switch on encephalograph. See?

[Celia]

There.

[Charles Lawton]

Notice the faintness of the amplified alpha rays. Notice the comparative slow rate of pulsation. Now notice what happens when I tap on the glass jar. See?

[Narrator]

It feels. It thinks.

[Charles Lawton]

I wouldn't go so far as to say that. But it certainly shows marked reaction to an external stimulus.

[Narrator]

I wouldn't have believed it possible.

[Charles Lawton]

The trouble with you, Shroud, is that you don't have really believe in science.

[Narrator]

Have it your own way, Patrick. That's when you can manufacture love and sympathy and kindness in a test tube. I'll be back.

[Charles Lawton]

You needing, old boy? Yes.

[Narrator]

Patrick. Do me a favor, Patrick. Shut off the pump and let that poor thing in there die.

[Charles Lawton]

Let it die. It were within my power to grant that little brain would live forever. July 18th. I'm utterly exhausted from lack of sleep at the events. The past five days have been of such tremendous importance that I must set them down while every last detail is still fresh in my mind. I've had no time to make an entry in this record since that day last week. It seems a month ago now, and I had my first partial success with the brain of the capuchin monkey. That time, however, it seemed that I was doomed to disappointment. In spite of all my efforts, the brain of the monkey ceased to live. At 12:14 that night, tired and disheartened, I lay down to sleep on the cart in my laboratory. But at that very moment, fate was contriving an occurrence which now seems destined to have the most profound effect. Not only of. Upon my own existence, perhaps upon that of all mankind.

[Mr. Evans]

Huh?

[Charles Lawton]

Hello. Hello. What is it, dad? Oh, David, Come in. Come in. What's the matter?

[Narrator]

It's Dr. Schrott. There's been an accident or something. He's pretty upset.

[Charles Lawton]

All right, I'll come. Patrick.

[Narrator]

Thank heavens. My boy.

[Charles Lawton]

What's the matter, boy? There's.

[Narrator]

There's been a plane crash on the mountain. Only one of them was left alive, and I. I've brought him this far.

[Mr. Evans]

But he needs an immediate operation.

[Charles Lawton]

Sorry. That's your job. Your county physician.

[Narrator]

Patrick, it's. It's multiple fractures of both legs. The arteries are severed. The legs will have to be amputated.

[Charles Lawton]

You're not in any shape to do the job.

[Narrator]

Well, I.

[Charles Lawton]

Well, that's not my fault. Take him to Phoenix Hospital. I'm not going to take responsibility. It's too frightful.

[Narrator]

We'd never get there in time.

[Mr. Evans]

Patrick, please.

[Narrator]

It made me the man's life.

[Charles Lawton]

And your job as county physician.

[Narrator]

No, no, I'm not thinking of that.

[Mrs. Digby]

But it's.

[Narrator]

It's an important man. William H. Donovan.

[Charles Lawton]

Donovan? The Wall Street Donovan?

[Mr. Evans]

Yes.

[Charles Lawton]

You've got to help me, Patrick Donovan. What his chances about even if we hurry. Well, bring him in.

[Narrator]

Oh, thank you, Patrick. Thank you.

[Charles Lawton]

You'd better get some things on, David. You may have to help. Yes, and we use the laboratory table. Before you go, put the instruments. The sterilizer. And don't forget the GD Saw.

[Narrator]

Right. Oh, but.

[Charles Lawton]

But what?

[Narrator]

I thought the G saw was only.

[Charles Lawton]

Used for brain surgery. Not always. Hurry. They're bringing me now from the car.

[Narrator]

Okay.

[Charles Lawton]

In here. That's right. Easy around the table, please.

[Narrator]

Yes, Doctor. Easy.

[Charles Lawton]

Better get yourself a gown and gloves, Doctor. Right over there. You won't have time to scrub.

[Narrator]

Yes. Thanks, Doctor.

[Charles Lawton]

Bad, isn't he? Pulse rapid, heart very faint.

[Narrator]

I wasn't sure. David.

[Charles Lawton]

CC of adrenaline, David. One to 1000 to Venus.

[Narrator]

Right.

[Charles Lawton]

You men can go now.

[Mr. Evans]

Is there anything else?

[Charles Lawton]

No, thank you.

[Narrator]

Patrick, don't you think rather we were alone?

[Charles Lawton]

If you don't mind, gentlemen.

[Narrator]

Good night then, Dr. Shrad. Good night.

[Charles Lawton]

Now, David. David, if you remove the blanket from his legs. That's it.

[Narrator]

You see, fortunately, a forest ranger got to him right after the crash. Had sense enough to put a tourniquet on each leg. Even so. Sure, sure, sure, sure, sure, sure. We'll get it. Sure, sure, sure. So you're saying something like, sure, sure, sure. He said it over and over, huh?

[Charles Lawton]

Hadn't realized he was deformed.

[Narrator]

It doesn't show as much in his pictures. Patrick, don't you think we ought to begin?

[Charles Lawton]

Ah, there's no use amputating those legs.

[Narrator]

No use.

[Charles Lawton]

He'll be dead anyway by morning. Well, won't he?

[Narrator]

Well, I suppose you're right, Patrick.

[Charles Lawton]

You know I'm right.

[Narrator]

But still, we ought to try. We can't refuse to.

[Charles Lawton]

We are going to operate. Syringe, please, David. The large one.

[Narrator]

Here you are, dad.

[Charles Lawton]

Spinal anesthetic. You give it, Dr. Shrug.

[Narrator]

Right.

[Charles Lawton]

Scalpel, please, David. Scalpel. And the jeeliesaur.

[Narrator]

Jeeliesaur. Patrick. Well, no, no, no, Patrick, I won't let you.

[Charles Lawton]

After your performance tonight.

[Narrator]

Well, I. But, Patrick, he's still alive.

[Charles Lawton]

Precisely. My mistake with the monkey was that he was dead. I don't intend to make that mistake again. Come on, David. The scalpel.

[Narrator]

Are you out of the. Your mind? You're. You're.

[Mr. Evans]

You're taking a man's life.

[Charles Lawton]

I'm giving him life. Donovan would die anyway. But for a while, at least, Donovan's brain will live.

[Narrator]

We better hurry. They'll be coming from the body pretty soon.

[Charles Lawton]

You can go now, David.

[Narrator]

I think I will.

[Charles Lawton]

Then you understand?

[Narrator]

Of course I understand.

[Charles Lawton]

Not a word. Not a word to your mother or to anyone.

[Narrator]

I understand. Did you put something in the skull cavity so the eyes won't fall?

[Charles Lawton]

I filled it with cotton. Bandaged the whole cranium. It looked like any head injury.

[Narrator]

I hope nobody gets any ideas about an autopsy.

[Charles Lawton]

You're the coroner. You can stop that. Look, sh. This is a chance that comes once in a lifetime. William Donovan had one of the greatest minds. Has one of the greatest brains in the world today.

[Narrator]

And now you have it.

[Charles Lawton]

It's turn on the encephalograph. Simple armor waves, of course.

[Narrator]

So different from the monkeys. Is you can't take a human brain out of its body and expect it to function.

[Charles Lawton]

I suppose not. But tr. Did it ever occur to you that the brain might simply be asleep?

[Narrator]

Asleep?

[Charles Lawton]

Certainly. An operation like that is a severe shock. Tap on the glass.

[Narrator]

Good Lord, Patrick.

[Charles Lawton]

Delta waves. It was asleep. You woke it up.

[Narrator]

It. It's actually conscious. You see?

[Charles Lawton]

You see, the three of us. Three of us conducting this experiment now. You, me, and William Horace Donovan. July 25. I moved my Bed into the laboratory. But I've scarcely slept in six days. There'll be no longer any doubt that the brain responds like a sensitive seismograph to vibrations near it, including the sound of my voice. Yet I found no method of communication with it. I've devised a simplified Morse code consisting of taps on the glass container together with voice vibrations. Perhaps. Perhaps I can teach the brain. July 30th. Schrott has come to stay with me. Half out of a feeling that he shares with me, a common guilt, half out of scientific curiosity. I've scarcely seen him, and both David and Janice have been avoiding me. Not that I really care. He's been tapping out my code on the side of the brain's container endlessly, day and night, over and over a thousand times, so that a baby could learn it. If the brain can learn. I sleep only when the brain itself falls into exhausted slumber. When it wakes again, I resume my tapping.

[Narrator]

Shot. Shot. Wake up.

[Charles Lawton]

Come on.

[Mr. Evans]

Get up.

[Charles Lawton]

Hurry. Come on. I want to show you something. Yes, old boy. I want to show you something.

[Narrator]

Patrick. You look like a ghost. Where are we going?

[Charles Lawton]

Back to the laboratory. I can't believe it myself. I. I may have been dreaming, delirious.

[Narrator]

What's happened?

[Charles Lawton]

Come on. You hear that? Delta waves.

[Narrator]

Seems disturbed.

[Charles Lawton]

You've got to check my observations for me. If my reasoning is wrong, tell me. I can't be sure the of anything anymore. Now listen carefully. You know that I've been trying to communicate with the brain in code. Now, if I were able to cause a distinctive pattern of the brain's delta waves by a specific command in code, if the brain responded with the same pattern of sound each time I issued a command, it would prove that I had succeeded in communicating with the brain, wouldn't it?

[Narrator]

Yes, Frederick. I think it would.

[Charles Lawton]

Now listen, Donovan. Donovan. If you understand, think three times of the word talk.

[Narrator]

Three times. Talk.

[Mrs. Digby]

Talk.

[Charles Lawton]

Talk.

[Narrator]

It answers. It spoke.

[Charles Lawton]

Then I'm right.

[Narrator]

It's true. This thing has learned to talk. To talk.

[Charles Lawton]

July 31st. Charlotte's writing. Romanticizing, of course. The delta pattern is so infinitely complex that it would be utterly impossible ever to break it down into specific words. Yet that it understands me, that it's trying to communicate with me, is certain. Schrat suggests mental telepathy. That I try to make my mind a blank, as the mediums call it, while at the same time increasing the energy content of the plasma that feeds the brain in the hope of stepping up the brain's electrical potential as one would step up the power of the radio station. Naturally. Telepathy is nonsense, but the feeding theory intrigues me. I shall try it. August 12th. Notice today, for the first time, two distinct nodules of new brain cells on the frontal lobex. Electrical potential is increased to 510 microvolts. I've begun smoking cigars, although I've always hated cigars.

[Mr. Evans]

Before.

[Charles Lawton]

Nerves, I expect. August 22nd. Nodules still growing. Electrical potential 1450. But no observable results. Lately, felt a compelling urge to know more of Donovan's life. Have collected every available scrap of information about him. A strange man he was. Strange. Ruthless, actually. Evil in many ways. Nonetheless, an extraordinarily brilliant mind.

[Narrator]

Sure, sure, sure, sure, sure, sure, sure. It will be the test. You agree? Of course. Sure, sure, sure, sure, sure, sure.

[Mr. Evans]

Patrick.

[Narrator]

Wa. What is it? What happened here?

[Mrs. Digby]

I thought I ought to wake you up. Patrick. You were moaning in your sleep. Talking.

[Narrator]

Talking.

[Charles Lawton]

What did I say?

[Mrs. Digby]

I'm not sure. But your voice was so strange that.

[Narrator]

Janice. Janice, what's the matter?

[Charles Lawton]

It's nothing. Nothing. I was dreaming, that's all. Janice woke me up.

[Narrator]

Patrick, let me see your hand. My hand?

[Charles Lawton]

What else?

[Narrator]

No, the other one. What about it? You're not left handed, are you?

[Charles Lawton]

No.

[Narrator]

Then why have you got ink on the fingers of your left hand?

[Charles Lawton]

Well, I don't know.

[Narrator]

Were you writing anything tonight? No.

[Mrs. Digby]

You must have been. Patrick. Here it is. Right here on your desk.

[Charles Lawton]

Nonsense. Wait, let me see it.

[Narrator]

You've been writing his name. William H. Donovan.

[Charles Lawton]

H. Donovan Schrot. That's not my handwriting.

[Narrator]

It's What?

[Charles Lawton]

Don't you see what it means? The brain has communicated with me.

[Narrator]

Patrick, you don't.

[Charles Lawton]

Look here. Look at this magazine article. Here's a reproduction of his signature. And he was left handed too. It says so here.

[Narrator]

Why, it is. It is exactly the same.

[Charles Lawton]

What a fool I've been. Look at this picture. Smoking a cigar with his left hand. I wondered why it suddenly started smoking cigars. The same brand too. Janice, try to remember what you heard me saying just before you woke me up. Come on, Janice.

[Narrator]

Think.

[Mrs. Digby]

Patrick. I can't believe.

[Charles Lawton]

Think, Janice.

[Mrs. Digby]

All I heard was something like sure.

[Charles Lawton]

Sure, sure, sure, sure. Of course. Don't you remember, Schratt? He said it that night. It was the only thing we ever heard him say. It was an expression of his. It tells about that in one of the articles too. Yes, there it is.

[Mrs. Digby]

It wasn't your voice.

[Charles Lawton]

My voice? You see, the brain has grown. And it's strong enough to influence not only the higher functions. The frontal lobe, but the Speech centers. The motor centers of another brain.

[Narrator]

Patrick, if this is true, then your experiment has been successful. It's ended. Ended?

[Charles Lawton]

It's only begun. Patrick, don't you see what this means?

[Mrs. Digby]

Patrick, listen to me.

[Charles Lawton]

Oh, what, Janice, What?

[Mrs. Digby]

You've got to stop.

[Celia]

Stop.

[Mrs. Digby]

I can't stand it any longer. Can't you see where it's led you? When you cut yourself off from your family, when you neglected your health, began having fits of temper and were like. Like someone I hardly recognize as the man I married. All that I tried to understand. But don't you see what you've done? You are a murderer, Patrick.

[Narrator]

A murderer. Janice, he told me the whole thing.

[Mrs. Digby]

That poor boy is half insane himself from worry.

[Charles Lawton]

What do you mean by that?

[Mrs. Digby]

What I say you killed Donovan. Maybe he wouldn't have lived anyway, but you killed him. And now this. This thing has gained such power over your mind that it can make you do things you don't even know about. For all you know, it could make you do anything. Anything. You've got to choose, Patrick.

[Charles Lawton]

Oh, Janice, please. I suppose you're right, but I'm utterly exhausted. I can't even think anymore.

[Mrs. Digby]

You've got to think.

[Charles Lawton]

Give me until tomorrow. Let me sleep. Then tomorrow I'll do something, I promise you.

[Mrs. Digby]

All right, Patrick.

[Charles Lawton]

Tomorrow.

[Mrs. Digby]

But if you don't do something, if you don't destroy that thing, I will. The brain.

[Narrator]

It's almost as though it hurt you and were raging. Raging at you.

[Mrs. Digby]

This way, please, doctor.

[Charles Lawton]

Come on, darling.

[Mrs. Digby]

But, Patrick, why are we going in here? A psychiatric clinic?

[Charles Lawton]

I told you I'd do something. Janice, I. I've got an idea.

[Mrs. Digby]

You mean your. You're having yourself psychoanalyzed? Well, something like that.

[Charles Lawton]

Something like that. I'll tell you about it later. First, I want. I want you to talk to this man alone.

[Mrs. Digby]

Dr. Zanger, this is Dr. Corey.

[Narrator]

Oh, how do you do, Dr. Corey? How do you.

[Mr. Evans]

Heard something about your work.

[Charles Lawton]

Oh, yes.

[Mr. Evans]

And this is Mrs. Cory, of course.

[Charles Lawton]

Excuse me.

[Mr. Evans]

I'm happy to meet you, Mrs. Corey.

[Mrs. Digby]

Thank you, Doctor.

[Narrator]

Won't you come in tomorrow?

[Charles Lawton]

I will, certainly. Janice, would you mind Danny waiting in the reception room and be out in just a moment? Thank you.

[Mrs. Digby]

Why, certainly. Do you.

[Mr. Evans]

In here, please, Doctor. Well, Doctor, she seems quite normal. I'd expected from what you told me on the telephone.

[Charles Lawton]

I. I know, I. I know. I. I can assure you.

[Narrator]

I. I hate to tell you this, but, Doctor.

[Charles Lawton]

She'S quite insane.

[Narrator]

I see.

[Celia]

Yes.

[Narrator]

Paranoia.

[Charles Lawton]

She's always been, you know, jealous of my work and, well, Last little while she started. She's got a delusion that she thinks I've made some kind of a monster in my laboratory that controls my mind and controls my actions.

[Narrator]

So I'm putting her completely in your hands. Well, it's, of course, a little unusual.

[Mr. Evans]

But since you are yourself a medical man.

[Charles Lawton]

That's right.

[Mr. Evans]

You definitely wish to commit her, then?

[Narrator]

Yes. Yes. You have the papers? Oh, yes. Here you are.

[Mr. Evans]

Just your signature will be enough, Doctor.

[Narrator]

There you are. You let me know about everything, won't you? Oh, naturally, Doctor. We keep you informed. Thank you.

[Mr. Evans]

Well, goodbye then, Dr. Corey.

[Narrator]

We will do what we can.

[Mrs. Digby]

Patrick.

[Mr. Evans]

Mrs. Corey is staying with us, Ms. Wilcox.

[Frankie]

Yes, Dr. Zanga.

[Mrs. Digby]

Patrick, come back.

[Narrator]

Patrick.

[Mr. Evans]

Oh, it's all right, Mrs. Corey. Just come with me, please.

[Narrator]

Patrick. No.

[Mrs. Digby]

Where are you going?

[Narrator]

Let me go.

[Mrs. Digby]

Let me go. Dr. Corey.

[Charles Lawton]

Yes?

[Mrs. Digby]

About the bill. How do you wish it to be handled?

[Charles Lawton]

The bill? The.

[Narrator]

The bill. Sure, sure, sure. I'll take care of it. By the week, the checks will be signed William h. Donovan. Sure.

[Charles Lawton]

August 20th. It's nearly three weeks now since Janice went away. I can't understand how she could have left me just when I needed her most. When I try to question Shroud or David about it, they only look at me strangely and change the subject. Clearly, they too now are on the conspiracy. Sometimes it seems the only. The only person I can trust is Donovan. The brain communicates with me more freely now each day. I know it has some great plan in mind for me. For both of us. I'm waiting. Patiently waiting. Donovan. Donovan. I'm listening, Donovan. Don't be angry, Donovan. I'm trying to understand. I'm listening, Donovan. I'm listening.

[Mrs. Digby]

I.

[Narrator]

I'm sure, sure, sure. And so closes Donovan's Brain. Part one. The first of two half hour presentations of Kurtz Yodmak's story. Presenting Orson Welles, a star of suspense. Suspense is produced and directed by William Speer.

[Officer]

We sincerely hope you enjoyed the performance of Orson Welles and that of the whole cast of tonight in our Roma suspense play. And that you'll make a note to be sure not to miss the completion of this story next week. The Roma Wine Company would like to express its thanks for the many letters of appreciation from listeners which we are constantly receiving, saying how much you enjoy these broadcasts. And here's a thought. To discover the enjoyment these suspense programs offer, you first had to sample one. And so you must first sample one of the many delicious Roma wines to discover for yourself their wonderful taste and quality. The excellence that makes Roma America's largest selling wines. You'll discover, as have other millions before you, that Roma wines are super quality, are super tasting and are super easy on your pocketbook too. Costing only pennies a glass. Be sure you get R O M A Roma wines made in California for enjoyment throughout the world.

[Narrator]

The greatest and most profitable investment you can make in your country's future is to buy war bonds. Don't forget then next Monday you will hear part two of Donovan's Brain starring Orson Welles in the completion of this.

[Officer]

Remarkable tale of suspense presented by Roma Wines. R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. Roma Wines presents suspense. Roma wines made in California for enjoyment throughout the world.

[Narrator]

Salud. Your health, senor.

[Officer]

Roma wines toast the world. The wine for your table is Roma wine made in California for enjoyment throughout the world.

[Narrator]

This is the man in black, here to introduce this weekly half hour of suspense. Tonight from Hollywood, we again bring you Mr. Orson Welles in the second of two consecutive performances, starring Mr. Wells as the protagonist of Kuts Yodmac's novel, Donovan's Brain. The producer of suspense and its sponsors, the Roma Wine Company of Fresno, California, felt this story so unusual that it merited more than our usual time. So, in somewhat of a departure from established radio formulas, we are bringing you the story of Donovan's Brain in two parts. Part one, you heard last Thursday. And tonight you will hear part two, the completion of Donovan's Brain.

[Officer]

But before we raise the curtain on our suspense play, let's for a moment wish ourselves away to Havana, Cuba. Seated at a table in the fashionable Hotel de Nacional de Cuba, near us, a a group of Cubans are entertaining an American visitor. Our American has just remarked that in point of great enjoyment, the Cuban Roomba is one of America's most delightful imported dances. And then, raising his wine glass, the Cuban host responds. Then we have perhaps discharged some part of our debt to you Americans for this wonderful tasting wine that gives us such great enjoyment. It is wine that Cuba imports from your far away California.

[Narrator]

California.

[Officer]

It is Roma wine. Americans didn't have to wait for wine connoisseurs of other lands to discover the greatness of California's wine districts. The superb quality of Roma California wines. So many millions made this discovery for themselves that Roma wines have long been America's largest selling wines. But these millions discovered something more in Roma wines. They discovered an easy and expensive way to increase the delights of daily living. Yes, millions have discovered that Roma wines, as a beverage on the table and when used in entertaining Add a charm of a special and wholesome kind. I told you, Roma wines cost little. That's because here in America you pay no high import duty, no expensive shipping charges. Two Roma wines come from Roma's own wineries in the heart of choice California vineyard district. So cost to you is only pennies a glass for R O M a Roma wine made in California for enjoyment throughout the world.

[Narrator]

And now, with part two of Donovan's brain, and with the performance of Orson Welles as Dr. Patrick Corey, we again hope to keep you in suspense.

[Charles Lawton]

As I sit now outside my laboratory door, writing under the heading Experiment 87, this final entry in my casebook, I know that these are the last words I shall ever write upon this earth. For those who seek some explanation, I refer them simply to this case book. Let them read it carefully. Perhaps they may then in some measure understand and if not, condone the awful circumstances under which I have been driven to the most appalling crime against God and nature that it has ever been the fate of mortal man to perpetrate. August 24th. It's now six weeks, exactly 42 days since the I began the experiment. For six weeks, by artificial means alone, I have kept alive a human brain completely detached from the body, floating in a bath of serum, nourished by a synthetic blood plasma, fed through its arteries by an electric pump, it has remained alive. Not only alive, but I have succeeded in communicating with it. For I've even induced new growth of brain cells and so tremendously increased its mental faculties that by sheer brain power alone, it has actually been able to communicate its thoughts to me. And each day my communion with that living, pulsing mass of gray matter that was the brain of William Donovan becomes stronger and stronger. Even now I sense it striving to reveal some plan to me, something so truly world shaking in its implications that only such an organism, developed to a point thousands of years ahead of its time, could ever have conceived so far. I sense this only, but soon I shall know, indeed I shall be partner in its execution. Not a fool I was ever to have considered for a moment my wife's demand that I end the experiment. It's because I refused, of course, that Janice left me a week ago without so much as a word of explanation or farewell. Even my son David and my assistant Schrot are privy to this conspiracy to thwart me. For when I ask about Janice, they prochander no, nothing. They seek to avoid my questions. But the brain will live. Yes, I can hear it now, its delta waves quite audible over the amplifying system. I've arranged for it. Almost as though it were calling to me, trying to speak to me. The brain will live. Donovan, what is it? What are you trying to tell me? Go on, Donovan. I'm listening. Go on, Go on. Who is it?

[Narrator]

It's me, Patrick and David.

[Charles Lawton]

What do you want?

[Narrator]

I want to talk to you, David.

[Charles Lawton]

I have no time to talk. I'm busy. I'm sorry. Go away. I tell you, I'm busy.

[Narrator]

Please, dad. Can't you two leave me alone? All right, all right. What is it?

[Charles Lawton]

What is it?

[Narrator]

Patrick? Won't you come into the study with us for a few minutes?

[Charles Lawton]

What have you got to say? And say right here. You know I can't leave the laboratory, dad.

[Narrator]

It's only that. Well, we wanted to talk to you in private.

[Charles Lawton]

Don't tell me that you're afraid of this poor, massive brain cells.

[Narrator]

Yeah, it's not that, dad, but we. Never mind. David, at least turn that thing off then, will you?

[Charles Lawton]

Patrick, what difference would it make? Could still hear, couldn't it? Well, what is it then?

[William Bartley]

Well, it's.

[Narrator]

It's about Mother.

[Charles Lawton]

So she put you up to this, did she? I thought the truth would come out sometime.

[Narrator]

Dad, listen.

[Charles Lawton]

She's trying to stop this experiment. From the beginning, she thought she could blackmail me into quitting by leaving me, and she still, still does. Now she's using you as a go between.

[Narrator]

Listen a minute, won't you? We haven't heard a word from Janice. We don't even know where she is. That's what. We've come to talk to you.

[Charles Lawton]

Oh, have you? How could I know where she is?

[Narrator]

Well, because you were the last person seen with her, Dad.

[Mr. Evans]

I was?

[Narrator]

Don't you remember, Patrick? You took her into town with you. You. You wouldn't tell any of us.

[Charles Lawton]

Why, yes, of course. The moon.

[Narrator]

I've forgotten.

[Charles Lawton]

But what of it?

[Narrator]

Well, don't you remember what happened?

[Charles Lawton]

Of course I remember. She left me, that's all.

[Narrator]

Where, dad? Where did she leave you? What were you doing?

[Charles Lawton]

Don't know. We were in some big public building, City hall, courthouse, taxis or something. Next thing I knew, she'd simply disappeared.

[Narrator]

Is that all? Didn't she say anything? Didn't she at least tell you why she was going?

[Charles Lawton]

I remember what she said. It's been a week or more. I've hardly slept. You know, I've been working night and day.

[Narrator]

Yes, that's just it. What do you mean by that? Patrick, you saved this. The brain communicates with you, tells you things about his past. Life suggests thoughts. Yes. Well, if the brain can make you think of things, mightn't it also be able to make you forget things?

[Charles Lawton]

You're out of your mind.

[Narrator]

Dad, are you sure? Are you sure you don't know what's happened to Mother?

[Charles Lawton]

No, I tell you, no. I don't know.

[Narrator]

Patrick, don't you see what you might have done? Heaven's name, stop now while there's still time. Get out of here while there's still time to help Janice, if there is. While there's still time to help yourself. Shut off the current. Let the brain die. Kill it, Patrick. Kill it.

[Charles Lawton]

Get out, both of you.

[Mr. Evans]

Get out.

[William Bartley]

Get out.

[Charles Lawton]

August 26th. The brain continues to communicate thought fragments more and more easily. But nothing further. Further on what I've come to think of as the plan. I'm now sleeping a great deal. But my dreams are becoming increasingly troublesome, although I'm at a loss to analyze them. Most frequent is a sort of vast cosmic ballet presided over by the colossal figure of a young man whom I seem to recognize. Yet I never, never see his face. It's as though the entire population of the earth were moving past him in review at his command.

[Narrator]

Sure.

[Officer]

Now.

[Narrator]

Do it now. Now.

[Charles Lawton]

Sure, sure. Now.

[Narrator]

Help me. Someone.

[Mrs. Digby]

Help.

[Narrator]

Shroud. Shroud.

[Celia]

Dad.

[Narrator]

Let go. Dad. David. Head to David.

[Charles Lawton]

Never mind now. Here, help me with shroud. He's fainted.

[Narrator]

No, no, David, don't let him. It's all right now.

[Charles Lawton]

Here's a glass of water. It's the matter. You're trembling all over. You looking at me that way. For you look frightened after death.

[Narrator]

Dad. You.

[Charles Lawton]

What happened here anyway? I came and found you on the floor with your hands around your own throat. Damn in for me. Why is your luggage all packed?

[Narrator]

I was going to leave. Leave?

[Charles Lawton]

In the middle of the night?

[Narrator]

Why?

[Charles Lawton]

Because the fuse box has been opened. It was you, Shrot. You were going to shut off the current. You are going to kill the brain.

[Mr. Evans]

Patrick.

[Narrator]

You tried to strangle me.

[Mr. Evans]

What?

[Narrator]

That's true, dad. That's why I had to slap you.

[Charles Lawton]

That's absurd. I came in here and found Shroud with his hands around his own throat. He was strangling himself.

[Narrator]

Dad, please think a minute. Nobody can strangle himself. Look at these marks on my throat. You think I could have done that?

[Charles Lawton]

It's not possible.

[Narrator]

And yet it's true, Patrick, that I tried to shut off the current. I was afraid for you. But as I opened the fuse box, I heard the delta waves in the laboratory suddenly become stronger and louder than they'd ever been before. And then.

[Charles Lawton]

And I.

[Narrator]

Yes. And the brain knew you even spoken Donovan's voice, Patrick. That recurring phrase of his. Sure, sure, sure. In his very tones, his very accent. Sure. You've created a monster, Patrick.

[Charles Lawton]

It has the power to make me commit murder. The brain. The brain must die.

[Narrator]

Pull the switch in the fuse box, Patrick. It will only be a matter of seconds, and then.

[Charles Lawton]

Yes, I.

[Narrator]

But I.

[Mr. Evans]

But I.

[Narrator]

You've got to. Patrick.

[Charles Lawton]

Schrat. David, help me. I can't move. Come in. Pull the switch, honey.

[Narrator]

Shrap.

[Charles Lawton]

David.

[Narrator]

Go on. You.

[Mrs. Digby]

You too.

[Narrator]

It's paralyzed, Dispatch. The brain won't let itself be killed. Then.

[Charles Lawton]

Then it has the power to live on anon. To command us as long as we live. To make us do anything it wants to Kill.

[Narrator]

Murder. Dead. What are we going to do?

[Charles Lawton]

This brain, it's. It's laughing. Laughing. September 7th. Schrotters left. He had to, of course, for his own protection, if nothing else. Before he left, he swore to eternal secrecy. Going to try to find Janice. The very thought that any harm might come to her through me is enough to drive me almost mad. As for David, although he's strong enough to prevent any untoward accidents, I don't know. He's volunteered to stay with me. He'll sleep at night behind locked doors. We must devote every faculty we possess, together and independently, to finding a way of destroying the brain, perhaps while it sleeps. It seems to have developed tremendous powers. The subconscious, which operate even in sleep. The recurring dream, the now oppressive sense of some further task to be performed, continues. If Janice were only here. Even her presence, I know, would help immeasurably to combat this fearful thing. Terrible thought crosses my mind. Could Trot have left if the brain had not, for some reasons of its own, actually wanted him to leave. September 10th. My thoughts are less and less my own. A dream of the young giant bestriding the earth. The figure without a face pursues me now even in my waking hours. Increasingly, I seem to live in a world of evil fantasy peopled and controlled by the mind of William Donovan.

[Narrator]

Sure, sure, sure, sure, sure.

[Charles Lawton]

It's not much time, but time enough.

[Narrator]

Time enough. Sure, sure, sure. Time enough. Sure. Hello?

[Charles Lawton]

Who is it?

[Mrs. Digby]

Patrick?

[Leonard Snell]

Janice.

[Charles Lawton]

Janice, my darling.

[Mrs. Digby]

Patrick, sweetheart. How are you, Patrick?

[Narrator]

I'm well enough.

[Charles Lawton]

I'm well enough. But, Janice, where have you been? Janice, why did you leave me that day? Why didn't you at least tell me? Where did you go? Down here.

[Mrs. Digby]

I was with friends.

[Charles Lawton]

Well, did Schrad tell you anything?

[Mrs. Digby]

No, nothing. Special.

[Charles Lawton]

Janice, I know I haven't been a very good husband these last months. I haven't been very kind, very considerate, or even civilized. I. I haven't been myself. Janice.

[Mrs. Digby]

I know.

[Mr. Evans]

Patrick.

[Mrs. Digby]

My poor darling.

[Charles Lawton]

If you'd only known how I missed you after you left. How I needed you. I need your help, Jeff.

[Mrs. Digby]

I know, Patrick.

[Charles Lawton]

Terrible.

[Mrs. Digby]

I. I came back to help you, but.

[Narrator]

But what?

[Mrs. Digby]

Where's David?

[Charles Lawton]

He's asleep in the next room. Ever since that is late, he's tried to make it a point to sleep. Only when I didn't try to keep an eye on things.

[Mrs. Digby]

Patrick, I'm going to help you. You all I can, any way I can. But first I want to take David away.

[Mr. Evans]

David?

[Charles Lawton]

Why?

[Mrs. Digby]

Because I don't think it's good for him to be here. No, I don't think that you. Patrick, I don't want to torment you. It's only that perhaps we can find a way if we know all the facts.

[Charles Lawton]

What Jenn is side.

[Mrs. Digby]

Don't you know really where I was?

[Charles Lawton]

No. How could I?

[Mrs. Digby]

Don't you remember where you took me?

[Charles Lawton]

Where I took you?

[Narrator]

I.

[Mrs. Digby]

You took me to a psychiatric clinic.

[Narrator]

Clinic?

[Mrs. Digby]

You had me committed to a madhouse.

[Narrator]

Madhouse.

[Mrs. Digby]

Janice, no, not you. Donovan.

[Charles Lawton]

Donovan.

[Mrs. Digby]

It was because I tried to make you stop the experiment.

[Charles Lawton]

Yes.

[Mrs. Digby]

Kill the brain. As you left me there. You even spoke in Donovan's voice. Sure, sure, sure. You said sure, sure. I thought they were the last words I would ever hear you speak.

[Charles Lawton]

Oh, Janice, forgive me. Forgive me.

[Mrs. Digby]

I couldn't persuade anyone I was sane.

[Charles Lawton]

How sweet.

[Mrs. Digby]

After what you told him. Everything I said only made them think I was mad. I'm not mad, am I, Petri? I'm not mad, am I?

[Charles Lawton]

Janice will be gone for some three hours. I've sent her into town for Dr. Zanger, the psychiatrist. Maybe he can help. But now suddenly I'm. I'm. I'm overcome with the thought of the humiliation I shall have to suffer when other medical men become aware of the position I'm in. It'll be the end of my career and my reputation. Or my hopes. Folly. To think that Zanga'd keep it to himself. Indeed, he'd have no right to. I can bear it if I must. But another way of possibility occurs to me and I've been thinking it over. There's no harm in trying it. In any event, I must try.

[Narrator]

I have three hours. David.

[Charles Lawton]

David.

[Narrator]

Yes, dad?

[Charles Lawton]

David, what's your blood type? Do you know your blood type?

[Narrator]

As a matter of fact, I. I don't think I do. Why?

[Charles Lawton]

No matter. We can easily find out. David, I. I think. At last I know a way to kill a brain. It's simple. It's perfectly natural. Yet nine chances out of 10 is something Donovan had never known about. I'll do it myself. Unfortunately, my blood type and his are. They're the same. Transfusion. Of course. I have to replenish the blood substance periodically. Anyway, it's about time to do it again. I've always used my own because it was the same type as his. But if yours is a different type. The right type, David.

[Narrator]

You mean the wrong type. Yes.

[Charles Lawton]

You've given the wrong.

[Narrator]

The brain.

[Charles Lawton]

The brain will die, given the wrong type. Yeah, I'm sure of that. I know it.

[Narrator]

But suppose the brain knows. It knows other things.

[Charles Lawton]

I've thought of that. It's a chance we'll have to take. If you're willing, David, my boy.

[Narrator]

Of course I am.

[Charles Lawton]

Then we'll take the bloodstream sample now. Come into the laboratory.

[Narrator]

I only have the right blood type.

[Charles Lawton]

Sure.

[Narrator]

Rather. The wrong type. Yeah.

[Charles Lawton]

If you haven't, we'll find someone who has. Maybe. Maybe shot. Now lie down there on the table, David. We want a tourniquet on your arm.

[Narrator]

Here.

[Charles Lawton]

Syringe will do it.

[Narrator]

Go ahead. I'm ready. David. Don't watch me. It'll be easier if you.

[Charles Lawton]

Easier if you don't. For me.

[Narrator]

It's a funny one coming from. From you.

[Charles Lawton]

Well, doctors are never quite as steady with members of their own family, you know.

[Narrator]

Ready? Sure.

[Charles Lawton]

Ready.

[Narrator]

Here we are.

[Charles Lawton]

You. You all right?

[Narrator]

Yeah. Yeah.

[Charles Lawton]

You be throwing. Just a second.

[Narrator]

You.

[Celia]

You getting it all right?

[Narrator]

Yes.

[Charles Lawton]

Sure?

[Narrator]

Sure.

[Charles Lawton]

Just a second. Now.

[Narrator]

Did it?

[Charles Lawton]

I'm sleepy.

[Narrator]

You'll be over it in a minute. But what's the matter? Why am I so sleepy? You'll be all right.

[Charles Lawton]

Sleepy.

[Narrator]

So sleep.

[Charles Lawton]

Sure. Sure. Sure.

[Narrator]

Sure.

[Celia]

Sure.

[Narrator]

Sure.

[Charles Lawton]

That's what an anesthetic is for.

[Narrator]

Make you sleep.

[Charles Lawton]

I was somewhat surprised to find the instrument sterilized, already laid out. But I worked more rapidly and skillfully than ever before in my life, I think. I made an incision just below the hairline, laying back the scalp as far as the base of the skull. I trepanned the cranium at 2 centimeter intervals, working back and downwards to the upper edge of the occipital bone. With the Geely saw, I cut through the connecting bone structure and removed the entire top of the cranium, placing it in saline solution to preserve it. I made a semicircular incision in the dura material, laying it to one side, exposing the brain. As I dissected out the facial, auditory and pneumogastic nerves to free the medulla gata, I became conscious of an insistent clamoring, something like a mounting hysteria in the distant reaches of my mind, almost as strong as the irresistible compulsion that drove me on. But my hand did not falter. With a sure stroke, I severed the spinal cord just below the first cervical nerve. As I make this last entry with that awful guilt upon my soul, even now I cannot fully comprehend how it has been possible for any man, by mortal or immortal means, to be driven to such a crime. Even the divinity himself did not demand of Abraham that final sacrifice of expiation when he with his only begotten son ascended the Mount of Olives. Perhaps Schrot is right. Perhaps there is indeed in man some spark of the divine that will elude our test tubes and our laboratories until the end of time. Perhaps that is the one thing that even Donovan did not foresee. I only know that at the instant my son died under my own hand, I was set free. At that instant, I saw and understood for the first time that monstrous plan born in the brain of William Donovan, of which I was to be the instrument. It was the plan I had glimpsed but never grasped in the recurring dream. Donovan did aspire to the domination of the world. And with those tremendous mental faculties that I myself had given him, it was little, literally, within his power to become the absolute ruler of all mankind. Only one thing was lacking.

[Mr. Evans]

A body.

[Charles Lawton]

A body. A young, strong body into which those ever growing brain cells could graft and affix themselves to live on and on, perhaps for centuries. He chose the body of my son. And now, my son, at last, too late. I am free to destroy this foul thing of my creation. I know it as surely as I know that my own life must be forfeit. And the brain also knows. I can hear the disturbed erratic oscillations of the delta waves coming through the laboratory door. But there's no room left in me now for fear. I shall take the six steps from the desert where I'm writing this across to the laboratory door. How often I've taken them in happier times. I shall open the door, close it behind me for the last time and write finis to the mortal life of Patrick Arthur Corey and the brain of William Horace Donovan. Me. Others learn from the record. I leave here the lessons I have learned so bitterly and profit by them. And for the things that I have done, may God have Mercy on my soul.

[Narrator]

R.A. phoenix, Arizona, September 15th. The bodies of Dr. Patrick Arthur Corey.

[Mr. Evans]

And his son David were found in.

[Narrator]

Dr. Corey's own laboratory early today. Young Corey had apparently died on the operating table as a result of a delicate brain operation performed by his father. In the case of Dr. Corey, medical authorities gave us their opinion that he might have died of shock as a result of the unsuccessful successful operation on his son. A curious feature of the case was the fact that numerous pieces of tissue identified as being from a human brain were found scattered about the laboratory floor.

[Mr. Evans]

While a larger section of brain was found in the midst of an elaborate.

[Narrator]

Apparatus, evidently part of a scientific experiment. Medical authorities stated, however, that they were.

[Mr. Evans]

Unable to explain the nature of the.

[Narrator]

Apparatus and that the brain itself was.

[Mr. Evans]

In such a state of decomposition as.

[Narrator]

To indicate that it had been dead and slowly decaying for at least three months.

[Mr. Evans]

Dr. Corey is survived by his wife Janice. She was committed to the county asylum for the insane. Late this afternoon, burial of Dr. Corey will be at the Mount of Olives Cemetery.

[Narrator]

And so closes Donovan's brain. Part 2 the completion of two half hour presentations of Kurtz Yodmak's story. Presenting Orson Welles, a star of suspense. Suspense is produced and directed by William Speer.

[Officer]

Did you know that these Roma wine suspense dramas are setting a record for the millions of delighted listeners they are attracting? We want you to feel that by tuning in the suspense program every week, you can count on real radio enjoyment. Well, in even more dramatic style, the popularity of Roma wines is also record breaking. Because Roma wines are by far America's largest selling wines. Millions make sure of great wine enjoyment simply by asking for Roma wines. Here's something else these millions have discovered. You don't need fancy glassware or a special occasion to enjoy these zestful taste delighting Roma California wines. Roma wines possess lip smacking flavor and zest because they come from Roma wines own wineries right in the heart of the magnificent California wine grape districts. And you can enjoy them as a daily delight because the cost is only pennies a glass. Ask for R O M a Roma wines made in California for enjoyment throughout the world.

[Celia]

This is Orson Wellesley.

[Charles Lawton]

Next week Mr. William Speer tells me and he'd like me to pass the information on to you that Suspense will bring two exceptionally fine artists, Ms. Ida Lupino and Mr. Vincent Price in a play by one of radio's outstanding authors, Lucille Fletcher. I want to hear that and I know you will too.

[Narrator]

Money invested in war bonds now helps ensure a healthy prosperous post war America the kind of America we will want for our children as well as ourselves. Don't forget, then next Thursday you will hear Ida Lupino and Vincent Price in.

[Officer]

Suspense, presented by Roma Wines. R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. Roma Wines presents.

[Narrator]

Suspense.

[Officer]

Roma Wines made in California for enjoyment throughout the world.

[Narrator]

Salud. Your health, senor.

[Officer]

Roma Wines toast the world. The wine for your table is Roma wine made in California for enjoyment throughout the world.

[Narrator]

The Roma Wine Company of the Fresno, California, welcomes you again to this weekly half hour of suspense. Tonight from Hollywood, Roma Wines bring you as stars Ms. Ida Lupino, currently being seen in Warner Brothers in our time. And Mr. Vincent Price of 20th Century Fox, soon to be seen in the Daryl F. Zanak production. Wilson. For the appearance of these two distinguished screen personalities, Lucille Fletcher has written a suspense play that deals with brooding anxiety and sharpening suspicion, played against the severe and forbidding background of the late Victorian era. And so, with Fugue in C minor and with the performances of Ida Lapino and Vincent Price, we again hope to keep you in suspense.

[Mrs. Digby]

April 1, 1900. Dear Bessie, this is just to let you know that I arrived in Pilotsville. Lizzie met me at the station. She's heartbroken about Papa's bankruptcy and for some reason feels that it's up to me to remedy the family situation. I told her I'd been offered a job, but she swept away that idea in horror. A girl with your looks. Amanda Peabody doesn't have to get a job. There are too many rich husbands floating around for that. Furthermore, she says she has rich husband already picked out for me right here in Pilotsville. Don't you remember? I told you about him at Christmas time. He's a Mr. Evans. Richest Croesus. Charming, cultured. A lonely widower with two dear little children. And besides that, he's just your type. A real intellectual. You should hear him play the pipe organ. And you know, Bessie, I've met so few interesting men lately. And all you'd have to do is lift your little finger. Mr. Evans.

[Celia]

Oh, good evening, Mrs. Chumley. How delightful to see you here.

[Mrs. Digby]

I'd like you to meet my sister, Mr. Evans. My sister, Amanda Peabody.

[Narrator]

Delighted.

[Mrs. Digby]

I'm sure it's a lovely party, Mr. Evans.

[Celia]

Thank you, Ms. Peabody. Have you just come to Pilotsville?

[Mrs. Digby]

Yes, she's down from New York visiting me after the whirl of the hectic social season.

[Celia]

Oh, indeed? Well, I'm afraid our Pilotsville society must seem a bit dull to you, Ms. Peabody?

[Mrs. Digby]

Oh, no, not at all. It's charming. I've enjoyed everything so much tonight. Your beautiful house, the music. I hear you're going to play for us, Mr. Evans.

[Celia]

Oh, a bit. Do you care for organ music, Ms. Peabody?

[Mrs. Digby]

Very much. I never miss a church recital. But what a luxury it must be to have your own pipe organ right here in the house.

[Celia]

I'm afraid I couldn't do without it. It's my hobby, you know. Bach, Buxter, Huda, Cesar, Frank. Don't you adore their work?

[Mrs. Digby]

Oh, Amanda's very musical. You should hear her render the burning of Rome.

[Celia]

Yes, and the delightful thing, of course, about having a pipe organ in the house is that it's everywhere. To sit at a keyboard and hear the walls, the ceilings, the floors vibrate. You see, Ms. Peabody, I had the pipes installed all over the house. Under this floor, for example, are all the choir stops. Up in the bedroom walls are the stops for the swell manual in the great 32 foot pedal stops. The giant diapasons are underneath the staircase. My children sleep next door to the echo chamber. So you see, we live like angels here in a paradise of music.

[Mrs. Digby]

How thrilling.

[Celia]

Ladies, come upstairs to the second floor landing, won't you? And I'll show you the console. It was made for me in Vienna.

[Mrs. Digby]

April 7, 1900. And Bessie dear, to tell you the truth, I really find him fascinating. I wish you could hear him play. It sweeps you off your feet. There is such wildness to it and at the same time such dignity. And to hear the sound all through that marvelous house. Rolling through those gorgeous rooms with their beautiful tapestries and potted palms. I could sit and listen to him all night.

[Celia]

You have the Most amazing eyes, Ms. Peabody. What are you thinking about?

[Mrs. Digby]

The music. Oh, please don't stop. It's so beautiful.

[Celia]

Well, you seem to be as mad about music as I am. Your sister. As you play too?

[Mrs. Digby]

Oh, no, only a little. My appreciation of it is all inside.

[Narrator]

I'm afraid that's plenty.

[Celia]

If one can't play, it's better just to enjoy the music of others. I can't bear this sentimental drumming, can you?

[Mrs. Digby]

I shouldn't think you would enjoy it.

[Celia]

The idiotic tunes people play nowadays give me the old Stern classics.

[Narrator]

They have strength and power.

[Celia]

Give me something with life to it.

[Mr. Evans]

Something that will flood the whole house with sound.

[Mrs. Digby]

Oh, that's marvelous.

[Celia]

You're a very unusual girl, Ms. Peabody. Quite unlike the run of girls here down here at Pilotsville.

[Mrs. Digby]

Yes? In what way?

[Celia]

Oh, it's rather hard to Explain. Some more tea, Amanda?

[Mrs. Digby]

No, thank you.

[Celia]

A muffin?

[Mrs. Digby]

No, thank you. You have an Excellent cook, Mr. Evans.

[Celia]

Please, please, call me Theodore. You know, you promised.

[Mrs. Digby]

Theodore.

[Celia]

Amanda.

[Mrs. Digby]

And your house is beautifully run, too. You must have an excellent housekeeper. Everything always looks so charming and quiet. I haven't even heard a peep out of your children.

[Celia]

My children? Oh, yes. The children have been away at school.

[Mrs. Digby]

You have two, haven't you?

[Celia]

Yes. Daphne and David.

[Mrs. Digby]

What sweet names.

[Celia]

Nearly. I don't approve of schools for young children. But, you see, they were rather overwrought after Mrs. Evans passed on.

[Mrs. Digby]

I can well understand.

[Celia]

They were almost morbidly devoted to their mother. And then, of course, the unfortunate circumstances of her death. But I suppose your sister, Mrs. Cholmondeley, has told you all about that.

[Mrs. Digby]

No, not very much. Except your wife was killed in a street accident.

[Celia]

Yes, in Philadelphia. A brewery wagon and four horses ran her down.

[Mrs. Digby]

Oh, how terrible.

[Celia]

It's something I don't like to think about very often. Poor, beautiful Margaret. Well, it's like a nightmare. Amanda and I still can't feel reconciled. But what I was driving at was the children. They were in school when she died. And by some malicious stroke of fate, there was an epidemic of scarlet fever raging up there. The authorities wouldn't lift the quarantine and let them out for her funeral.

[Mrs. Digby]

Oh, poor little things.

[Celia]

Yes, it upset them dreadfully. In fact, I sometimes fear it's left a mark on them which may endure all their lives.

[Mrs. Digby]

Why? What do you mean?

[Celia]

They suffer from delusions. Delusions?

[Narrator]

About her.

[Celia]

They think that in some way she is linked. Her soul is imprisoned in the organ pipes.

[Mrs. Digby]

How horrible.

[Celia]

I wish I could do something about it. It's a frightful notion. But they won't. They don't let me play when they're at home. That echo chamber in particular. Next door to their bedroom.

[Mrs. Digby]

Yes.

[Celia]

You know, it's nothing but an empty, sealed room with a few wires. Of course, it's all because they never saw her dead. But they have a notion that she's, well, somehow hidden there.

[Mrs. Digby]

Oh, ghastly. They really think that, do they? Children can think up such very strange things in their little minds, can't they?

[Narrator]

Tonight, for suspense, Roma Wines are bringing you as stars Ms. Ida Lapino and Mr. Vincent Price, whom you have heard in the prologue to Fugue in C Minor. Tonight's tale of suspense.

[Officer]

Let us look in on another scene for a moment. A smart dinner party at the internationally famous Hotel de Nacional de Cuba in Havana. One of the guests, a world traveled American, sets down his wine glass and remarks that a truly fine wine always carries the unmistakable flavor of the particular vineyards from which it comes. A pin last, his Cuban host. You must be homesick for California right now. For the wine you are enjoying so much is from America. From California. It is Roma wine. Yes, it's true. Our own wonderful vineyard country in California produces in Roma wines that discriminating people in other lands esteem as an imported delicacy. Yet you here at home can enjoy these distinguished Roma wines for mere pennies a glass full. You pay none of the expensive overseas shipping charges and duties daily with your meals or when entertaining or anytime you can delight yourself with the wonderful flavor that comes from age old winemaking traditions perfected by modern quality controls and tests. Yes, only pennies a glass full for a treat you are certain to enjoy. For remember, Roma wines are America's largest selling wines. Roma made in California for enjoyment throughout the world.

[Narrator]

And now it is with pleasure that we bring back to our sound stage Ida Pino as Amanda Peabody and Vincent Price as Theodore Evans in Fug in C minor. A tale well calculated. To keep you in suspense.

[Mrs. Digby]

April 18. I met the children today, Bessie, for the first time. It was a shock. They're strange little creatures, utterly unlike their father. The girl is about 11 and the boy 8. They were both dressed in deep morning. Their large gray eyes seemed strained with terror. They listened and trembled at every sound.

[Celia]

This is Ms. Peabody, children. She's a very good friend of mine. Now, I want you both to shake hands with her. Oh, come now, Daphne. You can at least tell Ms. Peabody how old you are.

[Mrs. Digby]

Oh, no, please don't press her. I know when I was a little girl, I hated people to talk about my age. I'd much rather hear about. Well, about school. We're not going back there, no matter what anybody says.

[Celia]

David.

[Mrs. Digby]

That's all right. Then you didn't like school? No, and Mommy didn't like it either. She cried when we went away. Oh, but your mama wanted you to be educated, didn't she? She wanted you to grow up and be intelligent people, didn't she? Well, didn't she, Daphne? Who are you? You may call me Aunt Amanda. I'm a friend of your papa's.

[Frankie]

Do you know where my mama is?

[Mrs. Digby]

Your mama? Well, your mama's in heaven, dear. No, she's not. Then where is she?

[Narrator]

David, Please.

[Celia]

Please don't start them off, Amanda. It's too upsetting. Come along, children. Now we're going to have a little music like old times. You remember when your mother Was alive. We all used to play together, David. You with your cornet and Daphne at the violin and Mama at the piano. Well, Ms. Peabody plays the piano too. She's promised to play Narcissus, Mama's favorite piece.

[Mrs. Digby]

Well, perhaps some other time, Theodore, when they don't feel so strange.

[Celia]

I tell you, I've humored them to death. Now, come, David. There's your cornet on the mantelpiece. And, Daphne. No, I insist. Look, now, I'll start the melody on the organ. David, you come in with your cornet obligato in the third measure. Daphne, you can follow me.

[Mrs. Digby]

What's that?

[Celia]

Come along, children.

[Mrs. Digby]

What's that note? That note making that funny noise.

[Celia]

What note? Oh, you mean that, though. That's just cipher. A wire must have stuck somewhere. One of the pipe valves.

[Mrs. Digby]

It's Mama. That's where Mama is. She's calling for it.

[Celia]

Don't be silly. I'll just hit the key a few times and it'll stop. You've heard these ciphers before, haven't you, Ms. Peabody?

[Mrs. Digby]

Well, I don't know much about pipe.

[Celia]

All the common technical occurrence, but Very annoying, of course.

[Mrs. Digby]

What is she doing in there? Why doesn't it stop? That's where she is. She's in the pipe, and she can't get out.

[Celia]

Daphne, stop that nonsense.

[Mrs. Digby]

Oh, hush, dear. Your papa will fix.

[Narrator]

No, he will.

[Mrs. Digby]

He can't. She won't let him because he killed her.

[Celia]

Daphne. Daphne. What did you say?

[Mrs. Digby]

She didn't mean it, I'm sure. The poor little thing's hysterical. We should never have tried to persuade them.

[Celia]

Oh, man. Just because they never looked upon her face. Because they never saw her lying there in the coffin. My own children believe that I am a murderer.

[Mrs. Digby]

Theodore, you're making them both sick.

[Celia]

So I. I, who loved their mother so much, who was so devoted for 12 years. Do I look like a murderer, Amanda? Do I?

[Mrs. Digby]

No. There it is again. It's Mama. It's Mama, dear. I'll take them upstairs for you, Theodore, while you try and fix it. April 24th. Oh, Bessie. Those poor little children. We took them out to the cemetery today to show them her grave. A marble angel guarded it. It was planted with pure white tulips. How final it was. And peaceful. And yet they began to tremble again the moment we set foot inside the house. Poor Theodore. The man is nearly out of his mind. What can he do? I keep asking myself that question. She died in Philadelphia, you say?

[Celia]

Yes, on May 15, just a little less than a year ago.

[Mrs. Digby]

You weren't with her?

[Celia]

No. She went there to take a piano lesson. There was a new teacher she'd heard about. She was always so self conscious about her technique. But she never reached his studio. They notified me at midnight from the city morgue.

[Mrs. Digby]

And no one in Philadelphia saw her?

[Celia]

No one except the attendants at the morgue, of course. And the people who picked her up after the collision. It was such a brutal accident.

[Mrs. Digby]

There be no one from among them who could speak to the children, explain to them?

[Celia]

Oh, no. Oh, it's so horrible. So sordid.

[Mrs. Digby]

I know, my dear. I hate to make you suffer, but if we could find some way. If they could just believe. When you brought her back here to Pilotsville, there was a funeral?

[Celia]

Yes.

[Mrs. Digby]

And was there anybody then who saw her?

[Celia]

Oh, no. I couldn't bear it. I didn't think at the time. She'd been so beautiful. Her lovely, sweet, gentle face. And her eyes. The horses had completely trembled. Oh, even if the children had been able to come home, I wouldn't have let them look. The coffin was sealed. When I left Philadelphia, I didn't want to see her again myself.

[Mrs. Digby]

There was a funeral. People came. There were flowers and undertaker. Yes, well, if they could believe that. If there was one witness. Perhaps my own sister Lizzie.

[Narrator]

Funeral?

[Mrs. Digby]

Amanda. Of course there was a funeral. The finest funeral in town. A snow White hearse and 25 coaches. Everybody sent flowers. The casket wasn't open. But I've been to lots of funerals where they don't open the casket. And from what I understand, she was pretty badly mangled. But it was a beautiful funeral. Mr. Evans played the organ himself. The finest selections. All the sweet old pieces his wife liked. There was Narcissus and mighty life arose and goodbye forever. That's the way it was. So you see, David, my sister, Mrs. Cholmondeley, was there. Yes, but how did she know it was Mama? Oh, David. She didn't see Mama, did she? Well, nobody saw your poor mama, dear. She wouldn't have wanted anyone to see her. Mama wasn't there. She talks to us every night. She tells us to look for her. Where, dear? In the pipes. But, David, your mama's dead. She's been dead for nearly a year. You saw her grave out in the cemetery. She's happy and at rest. Why doesn't Papas give us a. If he'd only let us have it, we could look for. What key, dear? The keys to the pipes. There's a little door just underneath the stairs. That's where they. That's where the big Pipes are. And inside it's all dark.

[Frankie]

But where are the.

[Mrs. Digby]

But there. There are tunnels.

[Frankie]

There's a little room.

[Mrs. Digby]

Valencia. That's where she's hiding. That's where Mommy is. That's where Mommy is. Oh, David, darling. Now, look. Come here. No. I hate you. But why do you hate me? Why don't you let me help you? Because. Because what? Because you. You like him. Him? Papa. You're going to marry him, aren't you? Yes, you are.

[Frankie]

The Phoenix says you are.

[Mrs. Digby]

You're going to marry him. Then he'll send us back to school. There'll be no one left to help Mama. Poor Mama will never be left out. Oh, I hate you. I hate you.

[Narrator]

David.

[Celia]

What are you doing here? David. Did you strike Ms. Peabody?

[Mrs. Digby]

He's sick, Theodore. I'm sure he's very sick.

[Celia]

Now go to your room at once. Oh, those dreadful children. I tell you, Amanda, they'll ruin whatever happiness we might have.

[Mrs. Digby]

Theodore, I love you very much, but I couldn't marry you. Not with that child's cry ringing in my head. We've got to help them. Give them that key. Let them go and look in the room where the pipes are. Then they'll see for themselves that there's no ghost key.

[Celia]

Who told you about a key to that room?

[Mrs. Digby]

The children.

[Celia]

The children? Amanda, I'm going to tell you something. Something I've never told to a living thing. It may frighten you.

[Mrs. Digby]

Yes.

[Celia]

Margaret was going mad when she died.

[Mrs. Digby]

Oh.

[Celia]

No one knew it but me. It ran in her family. I discovered it long after we were married, after the children were born. Otherwise, I'd never.

[Mrs. Digby]

Now you think the children.

[Celia]

I'm afraid so. It was peopling of sound. She had, just like them, a fear of the dead's returning. She used to play. What's that? Sounds like the organ, but the motor isn't on. The console was locked when I left.

[Mrs. Digby]

Someone's trying to play.

[Celia]

No one but me can touch that instrument. It's forbidden in this house. And the servants are out unless those children come upstairs. Amanda.

[Mrs. Digby]

Theodore. Why, there's no one here. No one at the keyboard. The organ's playing itself.

[Narrator]

That's impossible.

[Celia]

The motor's the moat. Yes. It sets the bellows going. There's no air in the pipes unless it's on. No air to make the pipes speak. It's impossible, I tell you.

[Mrs. Digby]

The children find the key and got in.

[Narrator]

Key?

[Celia]

No, no, no. The key's here in my pocket.

[Mrs. Digby]

There's no other way.

[Narrator]

No.

[Mrs. Digby]

Theodore, open that door. Go in There and see what's happening.

[Narrator]

Please. No, Theodore.

[Celia]

I won't give in. I. I won't be a prey to it. Do you hear? I. I won't.

[Narrator]

I. I won't.

[Celia]

I won't.

[Mr. Evans]

Here.

[Celia]

It stopped now. Yes, it was probably nothing but the wind.

[Mrs. Digby]

Theodore, give me the key. I'm not afraid.

[Celia]

Are you saying that I am?

[Mrs. Digby]

I don't know. But I'll be fair with you, Theodore. I couldn't marry you and live here with that any more than your children can.

[Celia]

What do you mean?

[Mrs. Digby]

Rip out those pipes. Rip out the whole pipe organ. Give it to a church, but don't keep it here.

[Celia]

Rid of the pipe organ. Yes, but I couldn't. The whole house was built around it. It's been the very soul and spirit of this home.

[Mrs. Digby]

It's been the curse, you mean. Theodore. I know I'd go mad too, if I had to listen to it night and day. It's so hollow. Think of those pipes, so huge down there in the darkness. I'd begin to hear things too.

[Narrator]

Quiet.

[Celia]

Be quiet. Come outside. We'll take a walk.

[Mrs. Digby]

No. No. Give me the key. Give me the key.

[Celia]

You're hysterical, Amanda. I'm sorry. I've overburdened you.

[Mrs. Digby]

Why don't you want to go in there? Is it because you know something? You did something.

[Celia]

What do you mean?

[Mrs. Digby]

Did you kill her?

[Celia]

Amanda. Very well, Amanda. Here's the key. If that's the way you trust me, we'll go down and look around together. Come now, Amanda.

[Mrs. Digby]

I'm sorry, Theodore. It slipped out. It was a dreadful thing to say.

[Celia]

All right, I understand. Yet it hurts a little. I've trusted you so completely, Amanda.

[Mrs. Digby]

Theodore.

[Celia]

Yes, Amanda?

[Mrs. Digby]

Let's not go in there. I do trust you, darling. I believe everything you've told me.

[Celia]

No. This little key. To think it should mean so much.

[Mrs. Digby]

Black. It is.

[Narrator]

Yes. Pitch black and cold.

[Mrs. Digby]

Where are the pipes? I can't see them.

[Celia]

Come in further, Amanda. You'll see them as soon as your eyes grow accustomed to the darkness. The biggest pipes pack this well under the great staircase like giants.

[Mrs. Digby]

Oh, yes. I'm beginning to see them now. Shouldn't we go and get a candle?

[Celia]

No, no. Go in a little further. Be careful. The floor is a maze of wires. Now, stand there for a second.

[Mrs. Digby]

Theodore, don't leave me.

[Celia]

I won't be long. I thought you said you weren't afraid.

[Mrs. Digby]

No, I'm not. Only. Where are you going?

[Celia]

Just upstairs to play for you. Theodore, I'd like you to hear how the music sounds in the darkness. It's quite an experience being so close to the pipes, you know. Narrow, suffocating. Especially when I pay. The great passecolia and fugue of Bach.

[Mrs. Digby]

Oh, see, I do have. Please, I don't want to stay here.

[Celia]

One of the Reinberger symphonies. Or the great chorales of Cesar Frank. Margaret, of course, preferred Narcissus.

[Narrator]

Margaret.

[Celia]

You're very gullible, Amanda.

[Mrs. Digby]

And you did kill her. You killed her in this room. And you're going to kill me.

[Celia]

Yes. Simple, isn't it?

[Mrs. Digby]

But why?

[Charles Lawton]

I don't know.

[Celia]

One gets tired every now and then of mere music. Sometimes the classics demand competition. A scream, for example. There's something so exciting about pulling out all the stops. And drowning out all human sound. Have you ever tried to match your voice, Ms. Peabody, against the thunderous voice of Bach? It's most effective. And then when the struggle gets weaker. When the air is almost gone. And you choke and gasp for breath to bring the music down softer. Softer.

[Mrs. Digby]

Theodore. You're mad. You're mad.

[Celia]

I'm Amanda. Would you. You deny me that pleasure?

[Narrator]

No.

[Celia]

I promise you the concert won't be too long. It takes about eight hours before the air gives out. But, you know, I could play for days. And don't worry about the children. I think you've convinced them about the ghost. What's that?

[Mrs. Digby]

Theodore?

[Celia]

Someone shut the door.

[Narrator]

It's locked in.

[Mr. Evans]

The keys.

[Charles Lawton]

Outside.

[Celia]

Who's there?

[Charles Lawton]

Let me out.

[Narrator]

Let me out.

[Mrs. Digby]

Theodore.

[Charles Lawton]

Get away from me.

[Celia]

Let me out to you.

[Narrator]

Here.

[William Bartley]

Let me out.

[Narrator]

You let me out. I can't breathe. I'm suffocating.

[Celia]

It's so dark.

[Mrs. Digby]

I can't breathe.

[Narrator]

Let me out. Please.

[Leonard Snell]

Please.

[Mr. Evans]

I can't breathe.

[Narrator]

I can't. No.

[Mr. Evans]

No.

[Narrator]

Dude.

[Mrs. Digby]

I can't.

[Mr. Evans]

I can't.

[Mrs. Digby]

Let.

[Narrator]

Let me out. I can't Bre.

[Mrs. Digby]

Theodore. Theodore. Let me out. Let me out. He's dead. He's dead.

[Narrator]

Daddy.

[Mrs. Digby]

David, where are you? Open the door. Help me.

[Narrator]

Help me.

[Mrs. Digby]

Oh, no.

[Narrator]

No.

[Mrs. Digby]

Help.

[Narrator]

Help me.

[Mrs. Digby]

May 1, 1900. I shall be coming home in a few days, Betty. I still can't sleep at night. I still hear that laughter. Still hear that cornet playing its unearthly music. And Theodore Evans once more lies dead at my feet. It was his heart, Bessie. He. He died of fright. In those few moments, he anticipated the hideous fate he had meted out to so many. And I might have died there if he had not gone so quickly. But the children hated me. They wanted to kill us both. Those terrible, pathetic children. What horrors they must have sensed in that charnel house. There were other women beside his wife. The police found them all buried and stuffed away into unused parts of the pipe organ. Desi was in that pipe room. Alone with him for four hours before that door creaked open. There they stood. And I shall never forget their faces or the things they said. All right, Misty body, you can come out now if you're really sorry. I'm sorry. Are you sure he's quite dead? Yes, he's dead. We were right all the time, weren't we, Ms. Peabody? Yes, you were right. Now, will you come and help us find Mama?

[Narrator]

And so. Closes Fugue in C Minor starring Ms. Ida Lupino and Vincent Price. Tonight's tale of suspense. Suspense is produced and directed by William Speer.

[Officer]

Of all the rich treasures man gets from the earth and Mother Nature. None has been more highly esteemed than wine. Good, delicious wine. And if you are one who does not yet know how much and how delightfully Roma Wines add to your meals. Well, let me urge you not to miss out any longer on such a treat as this. There's nothing complicated about it. Just get and serve Roma wine with any meal or any time in any kind of glass you wish. Serve it chilled. Try the many different kinds of Roma wine. Until you find those you like. Best of all. Try Roma California Sherry. With its wonderful nut like flavor as an appetizer. Or Ruby red Roma Burgundy. Or the deliciously delicate flavored Roma Sauternes. These superb wines cost you only pennies a glassful. Yet they make even the simplest meal taste like a million dollars. Get some today and if your dealer is temporarily out of Roma, please try again soon. You owe it to yourself to have and regularly enjoy R O M A Roma Wines. America's largest selling wines. Made in California for enjoyment throughout the world.

[Mrs. Digby]

This is Ida Lupino. Mr. Spear has just been telling me a little about next week's suspense show. The star will be Thomas Mitchell. In the story about a man who had headaches. Tried everything to cure them. Finally went to a psychiatrist and found out that he was a murderer. That certainly sounds like a broadcast we listeners won't want to miss. One more word. Don't forget to buy that war bond this week.

[Narrator]

Next Thursday, same time, you will hear Thomas Mitchell and Donald Crisp in suspense.

[Officer]

Presented by Roma Wines. R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System.

[Narrator]

Now Roma Wines present Suspense Tonight, the Man who Knew how, starring Charles Lawton. Suspense is 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 in entertaining guests. To your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant as Roma wines bring you suspense. This is the man in black here for the Roma Wine Company of Fresno, California to introduce this weekly half hour of suspense. Tonight from Hollywood, Roma wines bring you a star, Mr. Charles Lawton. And so with Dorothy Elsayers intriguing story of the man who knew how. And with the performance performance of Charles Lawton as Mr. Pender, a law abiding citizen of suburban London, we again hope to keep you in suspense.

[Mr. Evans]

And love. Is a seat taken? Oh, no, you're perfectly welcome, I'm sure.

[Officer]

Thank you.

[Mr. Evans]

I'm glad to see someone come in. As a matter of fact, night journeys are always a bit tedious, don't you think? Well, I suppose it depends upon one's destination. Oh, yes. Would you like a book to read? I have a copy of Hangman's Holiday here. I found it extremely. Thank you very much. I never read detective stories. They're so inadequate. Don't you think so? Well, most of them are rather lacking in characterization and human interest. But on a railway journey one really has to. Well, I wasn't speaking of the characters so much. I meant the crimes bungled, you know. Oh, but I don't agree with you. All those penny dreadful murderers are so incompetent. They bore me. Oh, I say, I think you're quite wrong. The criminals in books are usually a good deal more imaginative and ingenious than murderers in real life. Than the murderers who are found out in real life. Yes, well, even some of those did pretty well before they got pinched. Crippen, for instance. Don't you remember Dr. Crippen? Oh, yes, of course. You know Crippen. He'd never have been caught if he hadn't lost his head and run off to America. Well, that's the point, you see. He did lose his head. Very good. He bungled the whole business. It could be so simple. Now, just for argument. If you were going to commit a murder, what weapon or means would you choose? Me? Well, oh, let's see. I've never really given it much thought to actually. I know, yes. I should use a sandbag. A sandbag? Yes, it's worked very successfully in two stories I've read recently. Oh, sad. Oh, yes. Pardon me, I didn't mean to be rude. Oh, the clumsiness of it all. The elaboration, the lies, the paraphernalia the alibis absolutely unnecessary.

[Narrator]

Oh, no.

[Mr. Evans]

Come, come, come. You can't expect committing a murder and getting away with it to be as simple as shelling peas. Oh, you think that, do you? Well, your mistaken sight can be quite simple. Oh, well, if it's so easy, how would you set about committing a murder? I. Oh, well, that's different. I shouldn't have to think twice about it. You see, I know how. You haven't tried, have you? Oh, my dear fellow, it isn't a case of trying. There's nothing tentative about my method.

[Officer]

What.

[Mr. Evans]

What is the. This wonderful method? Oh, you don't expect me to tell you, do you? I. I'd never think of murdering anybody. Oh, yes, you would, if you really believed. We'll say it. We've all of us got a nice little murder locked up inside, just waiting for a chance to come out. Why are all these tremendous artificial barriers built up around murder by the church and by the law? Just because it's anybody's crime, that's why. It's as natural as breathing. That's ridiculous. Yes, that's what most people would say. But I wouldn't trust them. Not with sulphate of thanitol to be bought for tuppence at any chemist's. Sulfate of what? You think I'm giving something away? Well, I'm not. It's a mixture of that and one or two other things, you see, all equally ordinary and cheap. For ninepence, you could make up enough to poison the entire cabin. Generally, of course, it wouldn't do to polish off so many at one time. Might look queer if they all died simultaneously in their baths. In their. Why in their baths? Well, that's the way it would take them. It's not the mixture alone that does the trick, you see, it needs hot water to make the stuff take effect. Just a hot bath, anytime from a few hours to a few days after administration. It's quite a simple chemical reaction. It couldn't possibly be detected by analysis. It would just look like heart failure. I've never heard of such a thing. You know, it's very odd how often one seems to read of people being found dead in the bathtub. Have you noticed?

[Charles Lawton]

I.

[Mr. Evans]

No, no, no. But look here. If nobody is fit to be trusted with this potent formula, I'm not to be trusted either. Exactly. Well, that's true, but it's past praying for now. I know the thing, and I can't unknow it. Unfortunate, perhaps, but there it is. Are we slowing down?

[Leonard Snell]

Yes.

[Mr. Evans]

This is. Is rugby. Rugby Already? Dear me, I must get out here. I have a little business to do. Rugby. I'm most indebted to you, sir. I've been quite entertained with your secret formula.

[Charles Lawton]

Thank you.

[Mr. Evans]

Just a moment. What did you say was the name of that stuff? Sulfate of. If I were you, my dear sir, I just put it out of my head and forget it. Oh, there's a good fella. Forget it. Yes, yes, yes, that would be better. I, I, I will try to forget it.

[Narrator]

Tonight. For suspense, Roma wines bring you a star, Mr. Charles Lawton, whom you have heard in the prologue to tonight's study. Far to the south of us is our good neighbor country, Ecuador. Let's imagine ourselves there now, dining on the roof terrace cafe of the exclusive Hotel Metropolitano in Guayaquil, Ecuador. Near us, an American has just complimented his hosts on the magnificent dinner. To which his host quickly responds, ah, yes, it is true that our foods are famous, but from your land comes a rare delicacy also. It is this superb wine, so excellent that we in Ecuador import it from your United States. My friend, I drink to you in your own delicious Roma wine. Our Ecuadorian friend is right. For Roma wine's superb quality has won such favor in many far places that they import it, enjoy it as a rare luxury. But not so here in America. Here, millions know and enjoy Roma wines as an inexpensive everyday delight, at meal times and when entertaining. So many, in fact, that Roma is America's largest selling wine. With no high import duties to pay nor expensive shipping costs. You enjoy these distinguished wines for only pennies a glass. Ask for Roma wines which bring you old world winemaking skill plus Roma's own modern controls and testing. That's R O M a Roma Wines, America's largest selling wine. Made in California or enjoyment throughout the world. And now it is with pleasure that we bring back to our soundstage Charles Lawton in the man who Knew How. A tale well calculated to keep you in suspense. Good morning, sir.

[Mr. Evans]

Morning, Charles.

[Narrator]

I have an ache for your breakfast, sir.

[Mr. Evans]

Oh, thank you.

[Narrator]

They're quite scarce now, you know.

[Mr. Evans]

Yes, I know.

[Narrator]

Will you have your tea now, sir?

[Mr. Evans]

Yes, please. Anything in the post, Charles?

[Narrator]

Only a note from your tailor, sir. He'd be pleased to have you come in for a fitting at 1 on Tuesday next.

[Mr. Evans]

Oh, very well, Charles. What's the backstairs gossip in the neighborhood, Charles?

[Narrator]

Oh, Nothing much, sir. Mr. Skimmings, the old gentleman in number 11, had a falling out with his nephew and has drawn up a new will, they say.

[Mr. Evans]

Oh, really?

[Narrator]

He's left Everything to his housekeeper, Mrs. Digby.

[Mr. Evans]

Well, well, well. She's been with him nearly 20 years. That reminds me, Charles, I. I should draw up my will, you know, one of these days. And, Charles, I shan't forget you. You've been more than loyal to me, Charles.

[Narrator]

Oh, well, thank you, Sir.

[Mr. Evans]

Charles.

[Narrator]

Yes?

[Mr. Evans]

Sir Charles, has it ever occurred to you that an unusually large number of people. People die in bathtubs?

[Narrator]

In bathtubs, sir? Yes.

[Mr. Evans]

Yes. You know, they seem to have a heart attack while in their bath and they never come out of it.

[Narrator]

It's a common occurrence, I dare say, sir. There was one in the paper like that this morning. There was? Yes, sir. Right on the front page, it was. That's how I happened to notice. Here, it's this account, sir. Oh.

[Mr. Evans]

Wealthy manufacturer dies in Bath.

[Narrator]

Mr. Brittleseed was, sir, of the Brittle Seas Engineering works at Rugby.

[Celia]

Rugby.

[Narrator]

Did you know him, sir?

[Mr. Evans]

No. No, I didn't know him.

[Narrator]

I believe the paper says his wife found the poor man heart failure.

[Mr. Evans]

That's a very peculiar coincidence.

[Narrator]

What, sir?

[Mr. Evans]

I was just thinking, Charles. I met a man on the train down from Carlisle last night. He got offered Rugby. He said he had a bit of business there. I wonder what his business was. Oh, Charles.

[Celia]

Charles.

[Mr. Evans]

Charles. Charles. Is someone at the door? Oh, I mean, the bell must be out. Hold up, Charles.

[Charles Lawton]

Where is that slipper?

[Narrator]

Demby.

[Mr. Evans]

Charles. All right, all right. Just a moment. Just a moment.

[Narrator]

Is anybody there?

[Mr. Evans]

I'm coming. I'm coming. Oh, Mrs. Digby.

[Mrs. Digby]

Oh, I didn't mean to rouse you, sir, but Mr. Skimmings never kept the phone in the house, sir, and. Oh, sir, perhaps you could tell me who to call.

[Mr. Evans]

Step inside, Mrs. Digby. Now, what precisely seems to be the trouble?

[Mrs. Digby]

Well, I thought he was a long time in the bath, sir, but I never dreamed.

[Mr. Evans]

Oh, dear me. Has Mr. Skimmings been taken ill? Is that what the matter?

[Mrs. Digby]

Worst of ill, sir.

[Charles Lawton]

All blue, he is.

[Mr. Evans]

Dear me, if only I'd looked in sooner, sir.

[Mrs. Digby]

But you know a gentleman in his bath. How it is, sir?

[Mr. Evans]

Oh, yes, of course. I must say I've always been afraid.

[Mrs. Digby]

Something of this sort might happen. The old gentleman would take his bath. So very art.

[Mr. Evans]

Probably had a slight stroke, Mrs. Digby. I dare say the doctor will be able to bring him round.

[Mrs. Digby]

Not likely, sir. From the look of him, he's been dead for some time, sir.

[Narrator]

Stand back. Stand back. Relatives won't be admitted until the coroner's complete examination of body.

[Charles Lawton]

Hello.

[Mr. Evans]

Would you have a look at this card, please, Officer?

[Narrator]

Who did you Want to see in there, sir.

[Mr. Evans]

Mrs. Digby.

[Narrator]

You'll find her in the library. Give him testimony, most likely.

[Mr. Evans]

Oh, yes. They've discovered the will, I imagine.

[Narrator]

I don't know nothing about that, sir.

[Mr. Evans]

Well, I just run in, have a look around, sir.

[Narrator]

Officer. Yes, sir.

[Mr. Evans]

Who was that man who just went into Mr. Skimming's house?

[Narrator]

Search me.

[Mr. Evans]

Why did you let him in?

[Narrator]

He persuaded me, like.

[Mr. Evans]

Do you realize, Officer, what you may have done? Of course, officer, I have no right to say it, but that man may have gone in there to destroy evidence.

[Narrator]

What evidence? Oh, I get it. You're one of them there sensation seekers barking at the wrong team. My lord, there ain't no murder case here. The old bloke died of heart failure.

[Mr. Evans]

Yes, I know. While taking a hot bath.

[Narrator]

Well, it happens every day. Five or six or six cases right round this neighborhood in the past month alone.

[Mr. Evans]

I've been keeping track of them. Officer. Did you know that in every single one of these cases, the persons who died left quite a lot of money?

[Narrator]

I wouldn't be surprised, sir. This is a wealthy neighborhood. All right, then.

[Mr. Evans]

That's my number. Mrs. Digby, keep me informed of any unusual development, huh?

[Mrs. Digby]

I will. That, sir.

[Mr. Evans]

There he is, officer. There he is. That's the man, all right.

[Narrator]

What man's that, sir? Well, well, well.

[Mr. Evans]

Hello. We meet again. Yes, I rather imagined we would. Did you know the old gentleman, Mr. Skimmings? Only to speak to on the street. Well, then, you live near here? Oh, yes, fourth house down. I'm just going back. Mind if I walk along? Oh, no, no, of course not. Odd are meeting again like this, isn't it? Most peculiar. Do you live in these parts, too?

[Celia]

I.

[Mr. Evans]

Owner. I was only here on a little matter of business. Yes, last time we met, you had a business at Rugby. Yes, I had. Well, my business takes me all over the country. I never know where I may be wanted next. It was. It was while you were at Rugby that silly old Prittlesey was found dead in his bath, wasn't it?

[Narrator]

Why, yeah.

[Mr. Evans]

There's a funny thing. Coincidence. He left all his money to his wife. I believe she's a rich woman now. Good looking girl, Lot younger than he was. This is my gate. Oh, already?

[Narrator]

Will you.

[Mr. Evans]

Will you come in and have a drink? Why, yes, thanks. I should like to very much. I trust your wife won't object this intrusion. I. I have no wife.

[Narrator]

Oh.

[Mr. Evans]

Bachelor's quarter. Yes, I do myself quite well under the circumstances.

[Narrator]

Oh, you're right.

[Mr. Evans]

This is capital. Would you give me your hat? Oh, thank you. I think my man has gone off to bed, but I dare say we can manage. It's this way, please. Oh, that fire looks good. Would you take soda? Yes, please. It is remarkable how many people have been found dead in their baths lately, isn't it? You think it's remarkable? Well, I suppose. I don't know. Perhaps it is. I suppose I've been taking more notice on account of that conversation we had on the train. You know, it is a curious thing how when once your attention is attracted to any particular set of circumstances that that set of circumstances seems to haunt you.

[Narrator]

True.

[Mr. Evans]

Let us say for instance, that you get appendicitis. Now, immediately the newspapers are filled with paragraphs about people who have died of or recovered from appendicitis. You see it mentioned in all the magazines. You discover that many of your friends and acquaintances have had appendicitis. The thing seems rather to pursue. Yes, yes, that's exactly how it is. And all these bathtub deaths, the sequence of events is the same in each case. The hot bath, the discovery of the body, the inquest and the medical opinion. Always the same. Death due to heart failure following immersion in hot water. It just makes me wonder, you know, how one does foolishly, whether anybody else had happened to hit on that drug you mentioned. What was the name of it? Oh, I shouldn't think so. I fancy I'm the only person who knows about that. Are you a chemist? Oh, I'm a bit of everything. Sort of a general utility man. I do a good bit of studying on my own too, you see. Well, I see you have some very interesting books here. Yes, I collect. Modern first edition. May I see that green volume there? Oh, of course, certainly. I'll fetch it down. Henry James. It's quite a bargain, really. Here we are. Charming book. Yes, yes, indeed. It's a very interesting hobby. E. Pender. Is that your name?

[Narrator]

Pender?

[Mr. Evans]

Yes, it's Everett Pender. You have the advantage of me now, sir. Oh? I'm one of the great Smith clan and work for my bread. Here's your drink. You're retired, I suppose? Thank you. Yes, only recently I was in a bank until I came into this bit of money. Well, you're one of the lucky ones. Not married comfortably fixed. I dare say you won't be needing any sulfate of that. I didn't quite. Any useful drugs in the near future? No, I shan't be coming to you for assistance yet a while. Besides, how should I find you if I wanted you? Oh, you wouldn't need to Find me. I should find you never any difficulty about that. Well, I best be getting on. No, no, don't get up. I'll find my hat. Thank you for your hospitality. I don't expect we should meet again. But we may. Of course, things work out so queerly sometimes, don't they? Yes, don't they? Good night, Mr. Smith. Good night.

[Narrator]

I beg pardon, sir.

[Mr. Evans]

Oh, hello, Charles. I thought you'd gone to bed.

[William Bartley]

I heard voices and thought you might be wanting something.

[Mr. Evans]

Oh, it was just an acquaintance. Charles stopped in for a drink. He's gone.

[Narrator]

Shall I take the glasses?

[Mr. Evans]

Yes, thank you, Charles.

[Narrator]

Do you wish to finish yours, sir? Mr. Pender.

[Mr. Evans]

What?

[Narrator]

Your drink, sir. Do you wish to finish?

[Mr. Evans]

Oh, yes, course. I thought I had.

[Celia]

There you are.

[Narrator]

I'll draw your bath when you're ready for it, sir.

[Mr. Evans]

Oh, there's no hurry. Tell me, Charles, did you ever notice a tall, dark chap with very thick spectacles and curly hair calling on Mrs. Digby?

[Narrator]

Why, yes, come to think of it, I have, sir. But then he always seems to be about whenever there's a death in the neighbourhood. Lately, that is.

[Mr. Evans]

Did you ever talk with him, Charles?

[Narrator]

Why?

[William Bartley]

Why, if I not to mention it.

[Mr. Evans]

Sir, you did talk to him, Charles. Why are you so upset, Charles?

[Narrator]

Well, sir, it was about Mr. Skimming's changing his will in favor of Mrs. Digby. The grey haired gentleman, a Smith I believe his name is, asked whether you hadn't changed your willie.

[Mr. Evans]

Did you tell him I'd left everything to you?

[Narrator]

Well, not in so many words, but.

[Mr. Evans]

You gave it away.

[Charles Lawton]

Ah.

[Narrator]

Ah. So that's his game. Oh, good Lord in heaven. What is it?

[Mr. Evans]

That drink. He poured it while I was getting a book down from the case. What is it, sir? Charles. Charles. Under no circumstances am I to have a hot bath for at least two weeks. Do you understand, Charles?

[Narrator]

No hot baths. Very well, sir.

[Mr. Evans]

Oh, Charles. In the paper has. Has anyone else died in his bath?

[Narrator]

Why, as it happened. Yes, sir. Here it is, sir. The inquest will be held tomorrow at three.

[Mr. Evans]

The inquest? Yes, the inquest, Charles. I know what my duty is. I shall be at the inquest tomorrow.

[Narrator]

Good afternoon, sir.

[Mr. Evans]

Hello, Charles.

[Narrator]

I was not expecting you home for a bit. You didn't stay long at the inquest.

[Mr. Evans]

I wasn't interested in the inquest, Charles. I went to the inquest only to see if a certain man would be there. And he was there, Charles. He was there, as I expected.

[Narrator]

Yes, sir. The afternoon papers come. There is still another of those Bath deaths.

[Mr. Evans]

Another? Oh, yes, yes, they Will go on and on unless somebody stops them. Charles. Where was this one?

[Narrator]

In Launceston Place, sir. A young woman this time. It's the most.

[Mr. Evans]

No, no, no, no, Charles. No. I, I, I'm going out again, Charles. I, I, I have some business to attend to over in lan place, as a matter of fact.

[Narrator]

Yes, sir. And what can I do for you, sir?

[Mr. Evans]

Do you have one of those old fashioned sandbags?

[Narrator]

Sandbags, sir?

[Mr. Evans]

The kind one uses to keep draughts from coming in under a door.

[Narrator]

Oh, yes. Matter of fact, I think we may have one left. Oh, yes. Here we are, sir. Not much demand for these nowadays.

[Mr. Evans]

No, I suppose not.

[Narrator]

Careful if you use it on a stair landing, sir. One of these fell and hit a woman on the head. In case. I know. Knocked her out cold.

[Mr. Evans]

You don't say.

[Celia]

Really?

[Mr. Evans]

But I'll be very careful. Yes, very careful. Hello, Bobby. Have you got light there?

[Narrator]

Right, sir. Here you are. Thank you.

[Mr. Evans]

Would you like a cigar to smoke later on?

[Narrator]

Thank you, sir. By the way, sir, there's a bloke follower in here. I don't know whether you notice.

[Mr. Evans]

Yes, I noticed. Let him alone, Bobby. I'm going to have some sport with him.

[Narrator]

Right, Chelsea.

[Celia]

Good night.

[Mr. Evans]

Good night.

[Narrator]

Hello, panda.

[Mr. Evans]

Come on out from behind that post. I know you're following me. I've known it ever since I left Launched and Plays. You should have told that Bobby to arrest me. Why should I? Because I'm going to kill you. Why ever do you want to do a thing like that? To put an end to one of the most fiendish careers in the annals of crime. You've committed your last murder, Mr. Smith.

[Narrator]

Oh, come, come.

[Mr. Evans]

Look here, old boy. My name's not Smith at all. I'm William Bartley.

[Narrator]

And you.

[Mr. Evans]

I didn't imagine it really was. Do you actually believe that I'm responsible for all these bathtub deaths? Do you deny that you are? Why should I? You told me yourself you're the only man who knows the formula for the poison sulfate of thanatol. Oh, yes, indeed. You have me there. And you stood to profit by every one of those deaths, didn't you, Mr. Buckley? You have me there too. Look here, Pender, you're a great reader of crime stories. Haven't you ever wished someone would commit the perfect crime and get away with it just once? Yes, I have, God help me. But I don't anymore. I saw old skimmings dead in his bath, blue and horrible. The man who committed that outrage must die. You, Buckley, you must die.

[Narrator]

You're mad. You don't know what you're doing, Pender.

[Mrs. Digby]

Well, Mr. Bender, what will you have, sir?

[Mr. Evans]

Double brandy, if you please, miss.

[Mrs. Digby]

Warding off a cold, eh?

[Mr. Evans]

Yes, yes.

[Mrs. Digby]

You don't look at all well, if I may say so, sir. Ought to be home in bed, you.

[Mr. Evans]

Ask, I dare say.

[Narrator]

Nice coin for the phone, Givens.

[Mrs. Digby]

Right away, sir.

[Narrator]

Say, what's up, Tom? You promise not to beat me to the phone and I'll tell you. Oh, if it's interesting, like murder, my paper wouldn't print it anyway. What is it? Bill Buckley of all people. No. Gone to an inquest. Some woman died in a bath. Buckley must have been on his way to interview the husband at his laboratory. It was a rough district, close to the river. Somebody crept up on him and gave him such a blow it broke his neck. Don't say. Please say. It must have been a sandbag. Well, who did it? Do they know? The Vegas notion got clean away in the fog. Oh, that's too bad. Bill Buckley was a great crime reporter. He was a decent sort, too. I worked with him for a the time. Great sport. No end of a leg puller, I know. Did you ever hear about that sulfate of thanitol stunt he used to work? No, what was that? He'd look at you sober as a judge, he would. And then tell you about this sulfate of thanitol sulfate which mixed a few other things he said would cause death if you swallowed it and then took a hard bath. Nobody believed him, did they? Oh, no. Yes. Used to work all that wheeze on boobs and right away carriages to see how they take. Rarely would you believe it, one chap actually accused a. What's happening? Hello. Why, that bloke has fainted. How's the old boy feeling now, child? Much better, sir. He caught a bit of a chill out in the fog, I think. I put him to soak in a hot bath. That ought to do the trick. Well, if there's nothing more we can do. Mr. Pender wants me to thank you for bringing him home. Gentlemen, there's nothing really.

[Mr. Evans]

Good night.

[Narrator]

Good night, gentlemen. Is your bath hot enough, sir? Mr. Pender.

[Celia]

Mr. Pender, I. I found out the.

[Mr. Evans]

Name of that drug. Charles Zofe. It was Zolved Zofate. Damn it, owl.

[Narrator]

Oh, sir. Mr. Pender. Mr. Pender, you're. He's dead. And so closes the man who Knew how starring Charles Lawton. Appearing with Mr. Lawton was Hans Conrad as Buckley in tonight's tale of suspense. Suspense is produced and directed by William Speer. Have you had the thrilling experience of enjoying a meal with delightful Roma wines? Well, tomorrow evening we suggest that when serving your dinner, whether it be fish, meat or poultry, just place a well chilled bottle of your favorite Roma wine, Sauterne, Burgundy or Claret on the table. With the meal, you'll be in for a new experience in just how good even the simplest everyday foods can be when served with superbly flavored Roma wines. Don't put off discovering how much these delicious and inexpensive Roma wines can add to the pleasure of everyday living. Remember, thousands make Roma Wines their daily standby. For greater enjoyment at a cost of only pennies a glass, ask for R O M A Roma Wines, America's largest selling wine made in California for enjoyment throughout the world. Next Monday, same time, you will hear Ms. Agnes Moorhead and Mr. Ray Collins as stars. They will be heard in the Diary of Sophronia Winters by the distinguished radio playwright Lucille Fletcher. Don't forget to listen next Monday to suspense presented by Roma Wines, R O M A made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System. Now Roma Wines presents Suspense. Tonight, A Man who Couldn't Lose, starring Gene Kelly. Suspense is presented for your enjoyment by Roma Wines. That's R O M A Roma Wine, 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 suspense. This is the man in Black. Tonight, from Hollywood, we bring you a star, Mr. Gene Kelly. In a suspense play by Emil C. Tepperman called the man who Couldn't Lose. It is a tale of dawn till midnight in a man's life. A tale of murder and money and luck. Such luck has pursues a man once in a hundred years. But first, here is a message from your host, the Roma Wine Company of Fresno, California. Roma wines made in California are of such uniformly superb quality that they are imported by many foreign countries as the choice of true connoisseurs of fine wines. Millions of Americans also enjoy the excellence of Roma wines daily, with meals and when entertaining. In fact, more Americans enjoy Roma than any other wines. They know that Roma wines are truly inexpensive. For wines of such distinguished character. They know Roma wines are of unvarying superb taste and quality. The result of age old winemaking skill combined with modern knowledge. All this for only pennies a glass, though for maximum mealtime enjoyment or when entertaining, serve Roma wines a cool glass of appetizing Roma California Sherry. Before dinner, a Cool bottle of rich Roma California Burgundy on the table. With the meal, you'll appreciate the enthusiastic comments of the family and guests. You'll be pleasantly surprised at how much added zest Roma wine brings to your table tomorrow. Ask your dealer for R O M A Roma Wines if he is temporarily out of Roma. Please try again soon. Remember, more Americans enjoy Roma than any other wine. And now, with the men who Couldn't lose and with the performance of Gene Kelly as Leonard Snell, the lucky New Yorker, we again hope to keep you in suspense.

[Mrs. Digby]

You feeling all right now?

[Narrator]

Sure. Sure.

[William Bartley]

I feel swell.

[Mrs. Digby]

You better not talk anymore, though.

[William Bartley]

Why not? I got nothing to worry about. That's what I'm telling you. Something's happened to me. I'm not scared. Just like old man Mosley said, it doesn't happen often, but when it does, well, it's happened to me. Something's happened to me that doesn't happen once in a hundred years. And it all happened in one day. Yeah. It began this morning.

[Mrs. Digby]

Leonard. Leonard. Don't try to kid me. You're not asleep.

[Narrator]

Get up. Sure, sure, sure.

[William Bartley]

Okay.

[Mrs. Digby]

I cook your breakfast. I come home and cook your dinner. In between, I work behind that counter all day until I'm so tired I can't hardly stand up. The least you can do is get up and drive me to work.

[William Bartley]

Sure I will.

[Frankie]

And what do you do?

[Mrs. Digby]

Nothing.

[William Bartley]

Now, listen.

[Mrs. Digby]

You don't call what you do work, I hope. When did you last sell an insurance policy?

[Narrator]

When?

[Mrs. Digby]

I bet you can't even remember.

[Frankie]

I'm sure I can.

[William Bartley]

All right, all right.

[Mrs. Digby]

And when you do get up enough energy to sell one once in a while. I never see the money.

[Frankie]

Horses, sweepstakes, tickets and numbers.

[Mrs. Digby]

Anything, just so long as you can gamble it away. But do you ever bring a dollar home? Not that I ever hear anything.

[William Bartley]

Ah, shut up.

[Mrs. Digby]

Don't you tell me to shut up, Leonard Snell. I pay the rent when it gets paid. I pay the grocery bill.

[Frankie]

I pay for everything.

[Mrs. Digby]

You'd think at least I'd get a.

[Frankie]

Little appreciation once in a while.

[William Bartley]

I appreciate it. I hear about it enough.

[Mrs. Digby]

Well, why don't you do something about it then?

[William Bartley]

Listen, Celia, I don't feel so good today.

[Mrs. Digby]

Sure, that's what you said yesterday and the day before. That's what you always say, every time anybody talks about work. Well, I'm sick and tired of it.

[Frankie]

You promised you were gonna get a.

[Mrs. Digby]

Job this week, and you're gonna do it.

[William Bartley]

Cecilia, there's something I gotta tell you.

[Mrs. Digby]

I suppose you Want to wheedle some money out of me again? Well, if you can't even keep a little lunch money in your pocket.

[William Bartley]

No, Celia, listen. It's more than that.

[Frankie]

Oh, it is, is it?

[Mrs. Digby]

I suppose you got another hot tip on the races. Well, if you think I'm gonna.

[William Bartley]

Will you shut up? Well, listen, Celia, I've sold quite a few insurance policies in the last six months.

[Mrs. Digby]

Oh, you have? Had you.

[Frankie]

Well, where's the money?

[Mrs. Digby]

Oh, don't pull that on me. You're going to get a job.

[William Bartley]

All right, I. I spent the money on the races. Yeah, Only it wasn't all my money.

[Mrs. Digby]

What do you mean?

[William Bartley]

I mean I'm $1,800 short, and this is the last day to settle up my accounts with the company.

[Mrs. Digby]

You. You stole it?

[William Bartley]

No, I. I thought I was going to get it back and make a killing. I had some tips that were supposed to be sure things.

[Frankie]

Oh, I get it.

[Mrs. Digby]

Eighteen hundred dollars.

[Frankie]

Quite a coincidence, isn't it?

[William Bartley]

Well, seventeen hundred and fifty, what's the difference?

[Mrs. Digby]

And it just so happens that I have $1,800 in a safe deposit box that Aunt May left me this spring. Quite a coincidence, Celia.

[William Bartley]

I gotta get that money back to them today.

[Mrs. Digby]

Well, I don't believe a word of it. And you're not gonna get that money.

[William Bartley]

If I don't, they can send me to jail.

[Mrs. Digby]

And if I did believe it, you wouldn't get it. Maybe a few months in jail would teach you a little consideration. You know, I gotta have an operation sometime this fall. You think I want to go into a charity ward, Celia?

[William Bartley]

They can give me five years.

[Mrs. Digby]

You've had your eye on that money ever since you heard I got it. But you're not gonna get it.

[Frankie]

Why do you think I wear the.

[Mrs. Digby]

Key to that safe deposit box around my neck, Celia? Suppose you think I haven't noticed.

[Narrator]

Celia. William.

[Mrs. Digby]

I suppose you think I don't know all those times you tried to get that chain off my neck when you thought I was asleep.

[Narrator]

Celia. William.

[Mrs. Digby]

I wasn't quite asleep as you thought, mister.

[William Bartley]

All right, Celia.

[Mrs. Digby]

And don't think you can wheel it out of me.

[Narrator]

All right, Celia.

[Mrs. Digby]

Lynn.

[Narrator]

Lyn.

[Mrs. Digby]

Get away from me.

[Narrator]

Lynn. Lynn.

[Mrs. Digby]

Take your hand.

[William Bartley]

I knew I'd have to do that to you someday. I bent over. She was dead, all right. The key was on that little chain around her neck, just like it had always been. I yanked on the chain and it snapped and the key came away in my hand. I shaved and got dressed, and then I went through a purse. It was $9 and some change and the usual junk. And that Irish sweepstake ticket made out in the name of I'm a winner. I put the money in my pocket and the ticket in my wallet. I was all set to go now, except for writing the letters. All of a sudden, I realized that what I was doing didn't seem strange to me at all. It was like one of those dreams where you think it's all happened before. Sometime. I wrote to the police, I have killed my wife in a fit of anger. I can't go on living anymore after doing a thing like that. Cecilia. I'm short in my accounts, too, so there's only one thing for me to do. Don't bother looking for me. By the time you get this letter, you can find me in the city morgue. Yours truly, Leonard Snell.

[Charles Lawton]

Leonard.

[Narrator]

Oh, Leonard.

[William Bartley]

Oh. Oh, good morning, Mr. Mossley.

[Narrator]

I just had some great news. I knew you'd want to hear about it right away.

[William Bartley]

Well, I'm in sort of a hurry this morning.

[Narrator]

All right, all right. Well, you hear this. You know that picric acid dye formula I've been working on? The government's just bought an option on it. They're going to try it out under factory conditions. When they do, my boy, it'll be worth a million dollars.

[William Bartley]

Well, what do you know? That's really great.

[Narrator]

Well, I guess I have decided to take out that annuity you've been trying to sell me. Got an application with you?

[William Bartley]

Oh, yeah, sure.

[Narrator]

Come on inside.

[Mrs. Digby]

Oh, hello there, Leonard.

[William Bartley]

Good morning. Why, my land?

[Mrs. Digby]

You look as though you've just seen a ghost or something.

[Narrator]

Just sold a policy. You don't sell them like that every day, do you, my boy? What's that first premium? About $3,400, isn't it? Yeah, well, there's a nice commission in that Eleonard. About eighteen hundred dollars, isn't it?

[William Bartley]

Yeah, yeah, eighteen.

[Mrs. Digby]

Well, Leonard certainly deserves it. He works very hard. I see him coming home every evening with that briefcase and all those papers under his arm.

[Narrator]

Most of those papers are the racing forms, aren't they, Lennon? Well, sit down, my boy. Watch out for those bottles. Picric acid. You know, I've been watching you, Leonard. You've had a hard time, but you're a gambler. You believe a lot in luck. Well, now, I've got a theory about luck. Yeah.

[William Bartley]

Now, when were you born?

[Narrator]

Oh, March 1, 1878. Yes, sir. Luck is something that can come in big doses sometimes. Almost as though fate had planted out ahead of time.

[William Bartley]

Who's the beneficiary.

[Narrator]

Oh, my wife. Of course. There's a perfectly good mathematical explanation for it. Of course. A number of unrelated events converge and they all add up to the good fortune of a single man. Happens once in a century, perhaps, but it does happen.

[William Bartley]

You can make a check out?

[Narrator]

Oh, of course. Why don't I make it out to you personally? Then I can collect that three months rent you owe me. Huh?

[William Bartley]

Why, sure, sure. That'll be $3,255.

[Narrator]

Oh, fine, fine. I'll make it right up.

[Mrs. Digby]

You know, Leonard, I was saying to Sam just this morning, I'm almost as glad for your sake as for ours. My, won't Celia be surprised? I said, won't senior be surprised?

[William Bartley]

Oh. Oh, yeah, yeah.

[Mrs. Digby]

Say, where is Celia? She usually leaves for work long before this. I always hear her.

[Narrator]

Well, she's.

[Mrs. Digby]

Oh, Leonard, don't tell me there's anything wrong. I know she hasn't been feeling well lately.

[Narrator]

Oh.

[William Bartley]

Oh, no, no. She's got a little headache, you know.

[Mrs. Digby]

Oh, poor thing. Why didn't you tell me? I'll go right upstairs.

[William Bartley]

Oh, no, no, you better not. She told me she wanted to sleep. She's asleep now.

[Mrs. Digby]

Oh, well, then I won't bother her.

[Narrator]

Well, my boy, here's your check.

[William Bartley]

Thanks.

[Narrator]

Now, don't play that on the races. Don't worry. But you keep playing your luck just the same. Luck is a funny thing. You've had a lucky start today. Maybe your luck has changed.

[William Bartley]

Yeah. Yeah, maybe it has. Why couldn't he assign it yesterday? That's all I could think of for a couple of minutes. Why couldn't he sign it yesterday? That was done now. Oh, I got in the car and drove downtown. First I went to see this bank and got that 1800 out of the deposit box. Nobody said a word. Then I went to Mosley's bank and cashed his check. I had over five grand. Now, I drove over towards the park. A clock in the jewelry store said 10, 15. That was plenty of time Park. I stopped and gave them once over to the bum. Sitting around on the benches in the sun. There's always a bunch of them there. Pretty soon I see a guy that looks about right.

[Narrator]

Hey. Hey, you. Me? Yeah.

[William Bartley]

You want to make five bucks?

[Narrator]

You mean a job?

[William Bartley]

You won't have to strain yourself. I just hurt my wrist. I can't drive. I gotta go up town to meet a guy. Want to drive me? Oh, okay. You got a license?

[Narrator]

Yeah, yeah, I got a license. Let's see it.

[William Bartley]

Okay.

[Narrator]

Here.

[William Bartley]

Floyd Eustace. Omaha, Nebraska. You're kind of a long ways from home, aren't you? Yeah, but it's okay to drive with in this state if you got a.

[Narrator]

Licensed driver with you.

[William Bartley]

Okay, Floyd Eustace, you'll do. We get in the car and head uptown. My luck is holding, all right. This guy couldn't have been better if I'd looked a week. I see another clock, and it's only a little past 10:30. Now, I still got lots of time, so I decide to clean up the details.

[Narrator]

Now, how am I doing?

[William Bartley]

Okay, but turn right at the next block. Floyd, I want to go by the 43rd Street Post Office and mail a letter.

[Narrator]

Sure.

[William Bartley]

You could mail it at a letter box, though. Yeah, but. Well, I don't want to mail it a letterbox. Oh, okay. I go into the post office and get a stamp and mail a letter. The letter I tell about killing Celia is just addressed to the police commissioner. 21 Center Street. Somehow, I. I just don't trust the letter box. Because if the police don't get that letter right on time and start looking, it's not so good. I go out and get in the car and tell Floyd Eustace where to go. We head uptown, and after a while, we get to Fort Tryon park, right up above Riverside Drive looking over the river. There's hardly ever anybody up there at this time of year, so I feel pretty safe. Sure enough, there wasn't. I got the monkey wrench out, and I had it in my hand. This right? Yeah. Just pull over there, up against the rail.

[Narrator]

Gee, I never been up here. Must be quite a drop down there.

[William Bartley]

A couple of hundred feet, huh? Huh?

[Narrator]

This way.

[William Bartley]

You're supposed to meet the guy. Yeah, right here. I dragged him into the back seat and took off all his clothes and then all mine. I changed clothes with them, right down to the underwear and socks. I put all my papers in his pockets. My license, old man Moxley's application, my wallet. The woods. Then I dragged him up front again behind a wheel. Then there was something else I had to do that I didn't like much either, but I couldn't take any chances. I held his head back against the seat and raised the monkey wrench again. I hit him in the face. I hit him a lot.

[Narrator]

Stand back, now. Stand back. I tell you, Officer, it didn't land more than three feet from me. Not more than three feet.

[William Bartley]

What happened?

[Narrator]

This car just rolled off the Palisades up there somehow and landed smack in the middle of the street. Gee, look at his face. He must have gone right through the windshield, poor fella. Guy named Snell. Leonard Snell.

[William Bartley]

I was free. I was free of Celia and all her belly aching. I was free to do anything I wanted. I had five grand in my pocket and the cops had lettered Snell's body down in the morgue, just like I told him they would in a letter. Oh, my luck was holding, but good. I went over. The 181st street bus station was a bus we for Boston in 20 minutes. I bought a ticket. Then I got a paper in the corner and went into the cafeteria there and sat down at the counter. I was pretty hungry.

[Mrs. Digby]

What's yours?

[William Bartley]

Scrambled eggs with bacon, French fries, orange juice and coffee. And I gotta catch a bus here. It won't take long, will it?

[Mrs. Digby]

No longer than it takes an egg to scramble.

[William Bartley]

Excuse me.

[Narrator]

Well, that's all right, Mac. I. I like to read a newspaper while I eat myself. Kind of aids the digestion, I find.

[William Bartley]

Yeah.

[Frankie]

Here's your orange juice.

[William Bartley]

Thanks.

[Narrator]

Some guys have all the luck, don't they? I said some guys have all the luck. I was just noticing in your paper there about those Irish sweepstake winners.

[William Bartley]

Oh. Oh, yeah.

[Narrator]

Yeah. Some.

[William Bartley]

What's the matter?

[Narrator]

You feel bad? Have all of luck?

[William Bartley]

When I came to, somebody was swabbing my head with water. I paid my check and got out of there somehow and looked at the paper again. That's what it said.

[Celia]

All right.

[William Bartley]

I'm a winner. Draws favorite in Irish sweeps. My ticket. And I went on to say how it was worth at least 40,000 and maybe 150,000. The horse won. And all of a sudden I was standing there cursing and swearing at Celia. Cried out loud just as though she was alive. I saw people were staring at me and I stopped. It hadn't have been for her, I'd have $40,000. $40,000.

[Narrator]

Now.

[William Bartley]

Now that $40,000 was just a one way ticket to the hot seat because that 40,000 belonged to Leonard Snell. And that Irish sweep ticket was in Leonard Snell's wallet. And Leonard Snell's wallet was in the pocket of that bum that was supposed to be me. By now the cops would have it, along with the rest of Leonard smell stuff down at the headquarters after they put the body in the morgue. Well, I still had my five grand and a bus ticket to Boston. You can't get all the breaks all the time was what I figured then. So I got in the bus.

[Narrator]

Plenty of seats in the rear.

[William Bartley]

This seat taken?

[Narrator]

No, not at all. Sit Right down.

[William Bartley]

Thanks.

[Narrator]

Well, well. Somebody must be feeling pretty good this afternoon. The car is such a.

[William Bartley]

That there, I'm a winner. That ticket on the sweep, I see it says there they pay him $40,000.

[Narrator]

For it right now. $40,000?

[William Bartley]

Yeah.

[Narrator]

I'd sure like to be in his shoes, wouldn't you? Yeah. And I see it says.

[William Bartley]

Kid, you want to read it?

[Narrator]

Well, you don't need to get sore.

[William Bartley]

Skip it. I. Holy.

[Narrator]

What?

[Celia]

Oh, boy.

[Narrator]

Hey, let me out. I got to get out of here. Will you make up your mind?

[William Bartley]

I don't have to make up my mind, brother. I don't have to make up my mind. Right then that I got the idea what was happening. It was just like old man Mosley said. It may only happen once in a hundred years. But it was happening to me. My luck was riding high. And when your luck is like that, you just can't. Because there it was, right in the paper again, on page three. Freak explosion in Brooklyn kills three. And it was my house. And the people killed were Mossley and his wife and Celia. They thought it was caused by old Mosley's chemical or something.

[Mrs. Digby]

I didn't know.

[William Bartley]

I didn't care. All I knew was they thought Celia had been killed by the explosion in the fire. And I was in the clear. I could walk into the police station, get my sweepstakes, collect that 40,000, be set for life. Oh, I knew just what I was going to tell him. It was a lead type situation. I was walking on air all the way to the police station. I was going up the steps. Then I stopped because I just remembered something terrible.

[Narrator]

Enough.

[William Bartley]

I remembered it 10 seconds later, I'd have walked right into the electric chair. I remembered the letter.

[Narrator]

I was late.

[William Bartley]

I'm warning the cops that have that letter telling how I killed Celia. That letter that I'd taken all the trouble to mail at the 43rd street post office. Who ought to be sure to get off all right. Felt even worse this time than I had before. Because it seemed like I'd almost had that money right in my hands. I was pretty shaky. I went into a bar to get a drink.

[Narrator]

Yes, sir. What'll it be?

[William Bartley]

Double rye.

[Narrator]

All right, sir. Like a little chaser on the side, huh? No, that'll be.

[William Bartley]

Just leave the bottle.

[Narrator]

Oh, yes, sir. Now we bring you five minutes of the latest news. Yeah, sure. New York City. In one of the most daring hold ups in the annals of New York crime, a gang of armed men this noon robbed the United States mail truck just as it was leaving the 43rd street post office, removing eight sacks of mail. The entire morning collection of the post office. Apparently, the gunmen were after a shipment of currency destined for the Federal Reserve Bank. But according to officials, the joke is on the gangsters. All they got was the regular mail. Here, wait a minute. You got change coming. Keep it. Keep the change.

[William Bartley]

I knew it had happened now. I couldn't lose. I simply couldn't lose because those mugs had stuck up. That mail truck had got my leather. Nothing in the world could stop me now. Officer. Officer, I. I've just been held up.

[Narrator]

Held up, huh?

[William Bartley]

Yeah.

[Narrator]

Well, what happened?

[William Bartley]

Well, I. I picked up a guy who asked me for a lift about 225th street and Broadway. I was driving along by Van Cortlandt Park. One suddenly grabbed me. He hit me with something. And that's all I remember until I woke up lying in the park. My car was gone. And then I found how to take my wallet, my money, well, everything.

[Narrator]

I see. What's your name?

[William Bartley]

Leonard Snell.

[Narrator]

Leonard Snell?

[William Bartley]

Yeah, that's right.

[Narrator]

Say, Lieutenant, this gentleman is Mr. Leonard Snell. He was held up this morning and his car was stolen. Oh, just step in here, will you, Mr. Snell? Why, sure. Can I?

[William Bartley]

Thanks.

[Narrator]

I got some news for you, Mr. Snell.

[William Bartley]

Did you find my car?

[Narrator]

Yes, but. Well, you haven't seen the papers today.

[William Bartley]

Not since this morning.

[Narrator]

I got some good news and some bad news for you, Mr. Snell. Maybe I better tell you the bad news first. Pretty bad. Go ahead. Your wife was killed this morning, Mr.

[Officer]

Snell, in a fire at your home.

[William Bartley]

My wife Killed?

[Narrator]

And this probably won't interest you much under the circumstances. This is Mr. Snell. But you've drawn a ticket worth $40,000 in the Irish sweepstakes. Win the Irish sweepstakes and then lose your wife the same day. Some people sure have all the hard luck in the world. Luck?

[William Bartley]

Luck. Within about 15 minutes, more things were happening to me that can happen to most guys in a dozen lifetimes. And then comes a jackpot I've been waiting for.

[Narrator]

Hold it, Mr. Snell.

[Charles Lawton]

Hold that.

[Narrator]

Please.

[William Bartley]

If you care to make a statement, Mr. Snell, would you mind telling the public how you feel?

[Narrator]

I know it's pretty tough, but if you could just make a statement. Please, fellas, please. Please give us a break, will you? Excuse me.

[Mrs. Digby]

I. I hate to problem you at.

[Narrator]

This time, Mr. Snell, but the. The banking syndicate I represent is prepared to offer you $40,000 in cash for your sweepstakes ticket. I have the money Right here. All right.

[William Bartley]

But I. I don't care much about the money.

[Narrator]

Now.

[William Bartley]

That was at 4:30 by 6. I have $45,000 in my pocket.

[Narrator]

Cash.

[William Bartley]

And I'm registered at the wall door.

[Narrator]

Sitting down to dinner?

[William Bartley]

I'll take the plank steak, please.

[Celia]

Medium.

[Mrs. Digby]

Yes, sir. I'll have you order very shortly, sir.

[Narrator]

Hello, pal. Mind if I sit down?

[William Bartley]

Oh. Oh. You a reporter?

[Narrator]

Not exactly. I'm sort of a collector. You owe me 40 grand, pal, and I come to collect now.

[William Bartley]

40?

[Mr. Evans]

Why?

[William Bartley]

I don't know.

[Narrator]

Yes, you do, pal. Remember that little letter you wrote to the police commissioner this morning that you mailed at the 43rd street post office? Remember that? Some friends of mine found it. They figure it's worth Just about 40 grand.

[William Bartley]

You're one of the guys that suck.

[Narrator]

At the nail truck. You want to make something of it? There's a big reward. There's a cop right outside the hotel. Kind of figured you'd play ball.

[William Bartley]

Where's the letter?

[Narrator]

My friend's got it right outside my car. They still got that dough in your cash like the paper said? Yeah. Come on. All right. You're a pretty lucky guy at that, pal. Told somebody else who got that letter. Don't worry. I'll just see what is safe with me. Here. Here's the car. Is that the guy, Frankie? Yeah, and he's acting real reasonable, too. Get up the cash, pal. You recognize the letter, don't you?

[William Bartley]

Yeah. Here's your money.

[Narrator]

And here's your letter. Only don't try anything funny because we still know what that letter says. And the cops could always dig up the body and find out how. Well, how your old lady really kicked off, couldn't he? I think he gets the idea. Go along, pal. Officer.

[Mrs. Digby]

Officer, those are the gangsters they have right there.

[Narrator]

Officer.

[Mrs. Digby]

Somebody better help that poor man. He's been shut up.

[Narrator]

Poor fella. Looks like he's paralyzed or something. You. Yeah. You go call an ambulance. I'll stand by the man here. Okay. What's up, Jerry? Just had a little shoot match with those mail robbers. The other boys got him down the street, but this poor man was shot when they fired back. Dang. It's this letter here in the street addressed to the police commissioner. The shot. Had it in his hand before he fell. You better open it. It might be evident.

[William Bartley]

No, no, no.

[Narrator]

Leonard Snell again. Better put a guard on Snell at the hospital, Jerry. The looks of this letter, he's going to stand trial for murder.

[Mrs. Digby]

You better not talk anymore, Mr. Snell.

[William Bartley]

What's the difference? What's the difference how much I talk? That's what I wanted to tell them once they did get the letter. I'll never go to trial.

[Mrs. Digby]

Cause I got luck.

[William Bartley]

Don't you see? It comes once in a hundred years, and I got it. I got that kind of luck. And when you got that kind of.

[Mrs. Digby]

Luck, you can't lose.

[William Bartley]

You can't lose.

[Narrator]

Ah.

[William Bartley]

You can't.

[Mrs. Digby]

Oh, hello. You still here?

[Narrator]

Yeah. I gotta guard that fellow snow as long as he's here in the hospital.

[William Bartley]

But did you ever see the like of it?

[Narrator]

I don't suppose one man ever had so much luck in one day in the whole wide world. Ah, well, I guess his luck has played out now. All right.

[William Bartley]

Though it's funny.

[Mrs. Digby]

He said you can't lose.

[Narrator]

Well, he's wrong there, because that ladder's gonna fly just as sure as my name is Jerry Malone.

[Mrs. Digby]

No, you're wrong, Jerry. His luck is still good.

[Narrator]

What?

[Mrs. Digby]

He's dead.

[Narrator]

And so closes the man who Couldn't Lose. Starring Gene Kelly. Tonight's study in suspense. Suspense is produced and directed by William Speer. Have you discovered, as so many thousands of Americans have, how much Roma wines add to the enjoyment of your meals? How their superb taste makes special occasion feasts out of everyday meals. Find out for yourself what a marvel worker Roma wine can be in giving any meal new compliment, rousing zest. Start off the meal with an appetizer, Roma California Sherry. Then place on the table a cool bottle of Roma California Burgundy. You'll be amazed at the tremendous difference Roma wine makes in the enjoyment of your foods. Don't overlook this easy way to add extra enjoyment to everyday living at a cost of only pennies a glass. Take a tip from the millions who enjoy Roma wines at meals. When entertaining, ask for R O M A Roma wines. Remember, more Americans enjoy Roma than any other wine. Gene Kelly appeared through the courtesy of Metro Goldwyn Mayer, producers of the Technicolor production Kismet. Next Thursday, same time, you will hear Mr. John Hodiak as star of Suspense presented by Roma Wines. R O M A Made in California for enjoyment throughout the world. This is cbs, the Columbia Broadcasting System.

[Leonard Snell]

We just heard Diamond Dance, Suspicion, Donovan's Brain Fugue in C minor, the man who Knew how and the man who Couldn't Lose. My favorite episodes from suspense in 1944. That will do it for this week's show. Thanks so much for joining me. I'll be back next week with my favorites from 1945. In the meantime, you can check out down these Mean Street Streets, my old Time Radio Detective Podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meansts OTR. Now good night until next week when I'll be back with my favorite favorite shows from 1945. Each of them a tale well calculated to keep you in.

[Narrator]

Suspense. Ladies and gentlemen, the chief hope of our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.