Episode 445 - Stars of "All the King's Men"

Summary

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Podcast: Stars on Suspense (Old Time Radio)

Hosted by Mean Streets Podcasts

Episode 445 – Stars of "All the King's Men"
Date: March 26, 2026

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Overview

This episode of Stars on Suspense spotlights Hollywood legends Broderick Crawford and Mercedes McCambridge, stars of the Best Picture-winning classic All the King's Men (1949). The host presents two Suspense radio dramas featuring these acclaimed actors—Crawford as the notorious gangster Dutch Schultz and McCambridge in "America's Boyfriend"—and concludes with a rare radio adaptation of All the King's Men from the NBC University Theater. The episode explores the darker sides of power, fame, morality, and ambition, all through the lens of radio's "outstanding theater of thrills."

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Key Discussion Points & Episode Structure

1. Introduction and Context (00:50–03:14)

• The host sets the stage with background on All the King’s Men, highlighting:
  • Its roots in Robert Penn Warren's Pulitzer Prize-winning novel, inspired by Huey Long.
  • The film’s themes of political ambition, corruption, and the phrase “absolute power corrupts absolutely.”
  • The Oscar-winning performances by Broderick Crawford (Willie Stark) and Mercedes McCambridge (Sadie Burke).
  • Reference to contemporaneous works like Kazan’s A Face in the Crowd.

Notable Quote

“It’s a powerful story about how absolute power corrupts absolutely, and it pairs well with Ilia Kazan's A Face in the Crowd for a double feature of prescient political fables.” — Host (01:35)

2. “Dutch Schultz” starring Broderick Crawford (Suspense, Oct 26, 1953) (06:49–34:53)

Plot Summary

• Broderick Crawford plays Dutch Schultz, a volatile New York gangster.
• The narrative dramatizes Schultz’s struggle to maintain power amid inter-gang rivalries, mob politics, and law enforcement scrutiny.

Key Scenes & Insights

• Opening: Schultz’s exclusion from a criminal syndicate meeting and his brash reentry (09:00–11:14).
• Schultz’s methods: Ruthless violence, intimidation—even towards his own men.
  • Memorable “lesson” where Schultz breaks a subordinate’s thumb to enforce loyalty (16:23–16:33).
• Discussion of a plan to assassinate an incorruptible District Attorney.
• Mob leaders ultimately reject direct violence, preferring a subtler approach—mirroring the shift from brute force to “business” methods in organized crime (22:32–24:37).
• Schultz, frustrated, begins searching for hitmen against the syndicate’s orders—sealing his fate.
• Tension culminates with Schultz’s assassination in a Newark chop house (29:10–31:50).

Memorable Moments & Quotes

• Dutch Schultz (Crawford):

  “And you know why? Because I use my brains. When I ain’t got them, I buy them.” (15:01)

• Syndicate Leader:

  “We don't operate with those tactics anymore. This is big business. We gotta operate with a modicum of intelligence.” (12:20)

Timestamps

• Schultz confronts the syndicate: (09:00–11:14)
• Schultz’s violence toward his own men: (16:23–16:33)
• Mob debates the DA hit: (19:48–24:37)
• Schultz seeks out hitmen: (25:20–26:16)
• Schultz's death: (29:10–31:50)

3. “America’s Boyfriend” starring Mercedes McCambridge (Suspense, July 21, 1957) (36:55–61:38)

Plot Summary

• Story of Dickie Keith, a washed-up former child star (America's Boyfriend), seen through his wife Jean's (McCambridge) eyes.
• Family is in financial straits; Dickie is desperate for a comeback.
• Tension surrounds the child Lumpy’s repeated phrase “go see pretty lady,” hinting at Dickie’s secret meetings.
• The studio head is murdered. Dickie becomes a suspect after a drunken, violent outburst.
• Jean embarks on a suspenseful quest, following her toddler’s clues (“pretty lady”) through playgrounds and city streets to uncover the truth.
• The solution: The "pretty lady" is revealed to be a portrait of Jean herself, and Dickie’s innocence is established.

Themes & Insights

• The destructive effects of fame, lost dreams, and suspicion within a marriage.
• Children’s perspective as both innocent and pivotal ("out of the mouths of babes…").
• The contrast between public image and private reality.

Memorable Moments & Quotes

• Jean (McCambridge):

  “The police are looking for a murderer’s face that doesn’t exist.” (36:55)
  “Go see pretty lady. It burned in my mind all day long. But it burned deeper that night..." (40:35)

• Detective:

  “After 20 years’ experience, Mrs. Keith, I know what kind of people commit murders… Murderers.” (49:31)

• Revelation:

  “That portrait on the wall, it was gonna be a surprise... Me? The pretty lady I was looking for?” (61:28–61:39)

Timestamps

• Family breakfast tension: (38:05–39:09)
• Lumpy's first sentence and “pretty lady” mystery: (40:03–40:35)
• Murder discovery: (46:15–46:41)
• Climax: True identity of the “pretty lady” revealed: (61:24–61:39)

4. Radio Play: All the King’s Men (NBC University Theater, Jan 16, 1949) (61:40–115:56)

Adaptation Overview

• A full-hour dramatization of Robert Penn Warren’s All the King’s Men, focusing on the rise and fall of Willie Stark (a Huey Long figure), as narrated by Jack Burden.
• Power, politics, corruption, and the interplay of personal and public morality are central themes.

Key Segments & Insights

• Opening confrontation:
  Stark faces Judge Irwin regarding impeachment—exemplifies the theme of principled conscience vs. political power (66:10–67:50).
• Willie’s origin story:
  Back story of how a schoolhouse tragedy launches his career (70:00–74:48).
• Barbecue revelation:
  Willie learns he’s being “used” and, during a campaign speech, dramatically turns the tables—seizing the populist mantle (74:53–76:25).
  • Willie Stark:

    “What a hick wants, he gotta do for himself... I’m coming back for blood. The truth is going to be told and fired. Thunder.” (75:58)

• Political transformations:
  Stark consolidates power through both idealism and ruthless pragmatism.
  • His affair with Anne Stanton and Sadie Burke’s resentment explored (77:21–79:03).
• Hospital subplot:
  The construction of a state hospital becomes both genuine reform and political leverage (94:16–96:58).
• Personal and political tragedy:
  • Tom Stark’s catastrophic injury and the boss’s devastation (105:09–107:36).
  • Betrayals, blackmail, and murder lead to a violent climax: Adam Stanton assassinating Willie and being killed himself (110:34–110:34).
• Aftermath:
  • Jack Burden navigates the ruins of those involved, including Sadie’s confession of conspiracy.
  • Lucy adopts Tom’s child, naming him “Willie Stark,” suggesting the cyclical nature of power and legacy (114:11–115:04).
  • Endnote: Despite all, Lucy clings to the belief in Willie’s greatness—a powerful meditation on public achievement, private sin, and memory.

Notable Quotes

• Willie Stark:

  “The law is like three people in bed on a cold night with one blanket. Somebody’s gotta get pneumonia. Ain’t ever been enough law to go around, Judge.” (67:36)

• Lucy Stark:

  “You’ve ruined him, Willie. He thinks the world exists for him. That’s what you’ve taught him." (69:07)

• Sadie Burke:

  “I made him governor. I’ll show her... No matter who he runs after, he’ll come back to me. He’s got to.” (78:40–79:03)

• Jack Burden:

  “There’s always the truth. And we history students, we love the truth.” (88:03)

Timestamps

• Willie confronts Judge Irwin: (66:10–67:50)
• Schoolhouse scandal backstory: (70:00–74:48)
• Barbecue speech/campaign turning point: (74:53–76:25)
• Affair/fallout with Sadie, Anne: (77:21–79:03; 82:59–83:40)
• Hospital contract/Adam forced to take job: (94:16–96:58)
• Tom’s injury and aftermath: (105:09–107:36)
• Climactic shootings: (110:34–110:34)
• Lucy and Jack discuss the meaning of Willie Stark's legacy: (114:11–115:04)

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Notable Quotes & Memorable Moments

• Dutch Schultz demonstrates his brutality, enforcing obedience by violence:

  “Now, every week that passes without you doing what I tell you... I'm gonna break another finger for you.” — Dutch Schultz (16:33)

• Jean, on the ‘pretty lady’ clue:

  “His first sentence. Go see pretty lady. It burned in my mind all day long.” — Jean (40:35)

• Willie Stark, on law and justice:

  "The law is like three people in bed on a cold night with one blanket. Somebody's gotta get pneumonia. Ain't ever been enough law to go around, Judge.” (67:36)

• Lucy’s sadness about her son:

  “He was my baby boy, Willie. And these things don’t ever matter. Don’t you see?” — Lucy Stark (106:49)

• Final meditation on legacy:

  “I named him for Willie because… well, because Willie was a great man. He made mistakes, Jack. Maybe he did do bad things, like they say. But inside… inside he was a great man. A great man. You see, Jack, I just have to believe.” — Lucy (115:04)

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Episode Structure with Timestamps

| Segment | Timestamps | |-------------------------------------------------|---------------| | Introduction & Film Background | 00:50–03:14 | | “Dutch Schultz” (feat. Broderick Crawford) | 06:49–34:53 | | “America's Boyfriend” (Mercedes McCambridge) | 36:55–61:38 | | “All the King's Men” (NBC University Theater) | 61:40–115:56 | | Host Outro | 118:53–119:44 |

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Final Thoughts

The episode is a multifaceted exploration of fame, corruption, and moral complexity, anchored by the powerful radio performances of Broderick Crawford and Mercedes McCambridge. The poignant dramatizations illuminate the timeless themes at the heart of All the King’s Men—all while maintaining the signature chills, tension, and rich character work that defines classic Suspense radio.

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Transcript

[Narrator/Announcer]

Would you hand me that, please? Thank you. Now, let's see. Survey. Survive. Susanna. Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know. Suspense.

[Show Host]

Hello and welcome to Stars on Suspense. With more Hollywood legends and radio's outstanding theater of thrills. Our month long series of best picture winners comes to an end with all the King's Men, the adaptation of Robert Penn Warren's best selling novel inspired by the life and career of Huey Long. The movie tells the story of Willy Stark, a Southern governor who runs an anti corruption campaign only to succumb to the forces he battled. Broderick Crawford starred as Stark and he won the best actor Oscar for his performance. And Mercedes McCambridge won for best supporting Actress in her debut film role. She played a political operative on Stark's campaign, one who's working on both sides of the aisle. It's a powerful story about how absolute power corrupts absolutely, and it pairs well with Ilia Kazan's affair. Face in the Crowd for a double feature of prescient political fables. You can buy or rent all the King's Men digitally through your preferred retailers. There's also a 2006 remake, so keep an eye on which box you click. You can also get the movie on 4K in volume 5 of the Columbia Classics collection, a box set that also includes 4K versions of on the Waterfront and and A Man for All Seasons. Today we'll hear the Oscar winning stars of the film and stories from suspense. First up is Broderick Crawford as the notorious gangster Dutch Schultz in an episode from October 26, 1953. Then Mercedes McCambridge stars in America's Boyfriend from July 21, 1957. Now, unfortunately, we do don't have a radio recreation of the film with its stars, but we do have a radio adaptation of the story courtesy of the NBC University Theater in a broadcast from January 16, 1949, almost a year before the movie's premiere. But first, it's Broderick Crawford and Mercedes McCambridge in suspense. And we'll get underway with right after these messages.

[Narrator/Announcer]

Constipation can be a problem for anyone, even doctors. When constipation occurs, it's interesting to see just what doctors consider important about a laxative they might use or recommend. Well, a majority of the doctors we heard from had this to say a laxative should be effective Gentle, close to natural acting. A medicine that can be used with complete confidence. Now, Ex Lax has been popular with many doctors and millions of people over the years. Because chocolate and Ex Lax is effective overnight. It helps you toward your normal regularity. Ex Lax is so gentle, so close to natural acting, there's no upset. That's why many doctors and millions of people use Ex Lax with complete confidence. Ex Lax, the laxative that helps you toward your normal regularity. Gently, overnight. Here's a poor chap who could be anyone you know, including you, Francis.

[Female Character (possibly Sadie or Lucy)]

What are you doing stretched out on the couch? You better get ready if you're going to that meeting.

[Narrator/Announcer]

I'll have to miss it tonight. Too much supper. My stomach's got me down.

[Female Character (possibly Sadie or Lucy)]

Well, don't blame supper. You stuffed yourself like a glutton.

[Narrator/Announcer]

I'm not just stuffed, I feel awful.

[Female Character (possibly Sadie or Lucy)]

I can imagine. You've got a good old fashioned upset style stomach. And I've got just the thing for it. Pepto Bismol.

[Narrator/Announcer]

Oh, I don't want to take anything. I can't afford to stay home tomorrow.

[Female Character (possibly Sadie or Lucy)]

You won't have to. Pepto Bismol's not like that. It won't add to your upset, but will help to soothe and calm it very quickly.

[Narrator/Announcer]

Oh, nothing could be that good.

[Female Character (possibly Sadie or Lucy)]

No, just try it here. Take a good swallow of Pepto Bismol and you'll begin to feel better in no time. Why, you might even get to that meeting tonight after all.

[Narrator/Announcer]

Pepto Bismol is a gentler, better way to help an upset stomach. In fact, it's better in many ways. Pepto Bismol helps bring relief almost from the first moment. It begins to calm and quiet the upset right away. Then, because the Pepto Bismol formula is gentle and soothing, it doesn't interfere with normal digestion and doesn't add to the upset. Yes, Pepto Bismol is the dependable, speedy, pleasant tasting way to care for common stomach disturbances. Remember this. When your stomach's upset, don't add to the upset. Take Pepto Bismol to soothe it, calm it and feel good again. Make your bath a real pleasure and a beauty bath at the same time. With white floating Swan soap you can. Because Swan's exclusive super creamed blend gives you a wonderful new kind of beauty lather for your bath. Rich, creamy lather that cleanses gently, then rinses away so completely your skin is left fresh, smooth, lovely as ever. Yes, it's the perfect bath soap. Super creamed Swan soap. And now a tale well calculated to keep you in suspense. Autolite and its 98,000 dealers bring you Mr. Broderick Crawford. In tonight's presentation of suspense. Tonight, Auto Light invites you to return to the 30s as we chronicle the true account of those turbulent years with a report called Dutch Schultz. Our star, Mr. Broderick Crawford. Say, Harlow, October's great, isn't it? Yes, sir, Hap. Great for football, long drives and for

[Female Character (possibly Sadie or Lucy)]

checking spark plugs, too.

[Narrator/Announcer]

That's right, Johnny Plug check. Now's the time to get that car winterized. And along with that antifreeze change of oil and grease, don't forget the spark plugs. How could anyone forget, Harlow? Spark plugs are the very heart of the car's ignition system. They sure are, Hap. And when they're right, you will start quicker and surer every time. Even in the coldest winter weather. So don't delay, friends. Visit your Autolite spark plug dealer. Now. He's a specialist in spark plug cleaning and adjustment. If replacements are needed, he'll recommend a set of ignition engineered auto light spark plugs. Like the Amazing Double Life Resistor Spark Plug. To quickly locate your nearest Autolite spark plug dealer, phone Western Union by number and ask for operator 25. And remember, from bumper to tail light, you're always right with Autolight. And now, Autolight presents Dutch Schultz. Starring Mr. Broderick Crawford. Hoping once again to keep you in suspense, Read all about it. Will rogers dies in plane crash x treat. Catch a new york daily mirror. Give me a pack of cigarettes, sir. Yes, sir. That'll be 11 cents, sir. 11 cents? Yesterday there was 10. Sorry, mister. As of midnight, all major brands went up to 11 cents. This is 1935, you know, not 1932. Yeah, yeah, things are looking up and going up, that's what I say. You say that, huh? Ginch. Why? Outside. I got something. Okey dokey. So, certain parties is meeting tonight up at the hotel. Are you kidding? Hey, Flat, you kidding me? Oh, Ginch, I wouldn't kid you. You know that. What parties? The big brokers. You know, Harry and Lepke and Lucky and Albert.

[Dutch Schultz]

He's gonna be there.

[Narrator/Announcer]

And Gurra and the boys from Chicago. Milwaukee. Nobody said nothing to my boss. They just thought you ought to know. The Dutchman ain't gonna like this. Flat, he still got you running numbers? Yeah. Why don't you quit him? I can't. Why not? Mo Weinberg quit that. Schultz stuck an ice pick in his ear. Yeah, I heard about that. He's kind of a screwball, huh? Screw. Oh, wait till he hears you holding another meeting without him.

[Dutch Schultz]

But he'll be banging all over the place.

[Narrator/Announcer]

Maybe you better not go back to Newark today. And Holy be bangin me. So take a rest. Tell you what, Ginch, I blow you to a show. What's playing? Shirley Temple. I already seen it, but I'll see it again. Shirley Temple, huh? Yeah. She's the cutest little thing, just like a doll. I tell you, Ginch, boy, I cried. I honestly did. Are you Harry? Lucky, boys. All right, gentlemen, I think we are all assembled. Somebody turn that radio off. Hey, you're looking just fine. Hey, Harry, how was the vacation? It was very charming, very charming. The missus. Enjoy yourself? Her back came her a few, what do you call it? Twinges. But taken, by and large, it was a charming vacation. That's nice, but enough of this pleasantries to business, gentlemen. The question we have met to deliberate about is this new fella in the DA's office. That bum has got to be banged in the head. Please, a little consideration. Hey, girl, don't be interrupting. Harry. Sorry. Apologies accepted. Now then, this new fellow has been investigating some matter which might prove embarrassing to we fellas if all the facts should become known. I am referring in particular to the stuff he is investigating about the numbers business. Now, since we decided to get smart and form the syndicate.

[Dutch Schultz]

What do you mean I don't go in? How are you, boys?

[Narrator/Announcer]

Dutch Schultz?

[Dutch Schultz]

Yes, Albert, it's the Dutchman. How come all of my good friends here, the people I've been doing business with for years, how come they're holding councils without the Dutchman, huh?

[Narrator/Announcer]

Please, act like a civilized being, will you? Act like you didn't grow up in a barn or somewhere.

[Dutch Schultz]

And you, Harry, you're my pal. What is this?

[Narrator/Announcer]

This is a matter concerning New York City, Mr. Schultz, not New Jersey or Newark, which is why you weren't invited.

[Dutch Schultz]

Well, the way I heard it was he was going to discuss the new guy in the DA's office, which is correct.

[Narrator/Announcer]

But please, no name.

[Dutch Schultz]

That DA. He done a lot of bad things to me. I think I ought to be in on a discussion.

[Narrator/Announcer]

Frankly, I didn't think you'd be interested. But since you see fit to come busting in here, you can stay.

[Dutch Schultz]

Yeah, that's more like it, Harry. Thanks.

[Narrator/Announcer]

One thing, though.

[Dutch Schultz]

Why, what's that?

[Narrator/Announcer]

You're not on the board of the syndicate, Mr. Schultz, so you don't get to vote.

[Dutch Schultz]

Wait a minute. What is this? A bunch of lead pipoons and you're trying to make like big businessmen, big operators.

[Narrator/Announcer]

We are Businessmen. Dutch, you can sit down and shut up or get out of here. All right, let's more like it. Now then, Harry, you were saying? Ever since that runaway grand jury took out Mr. Dodge, we have had great difficulties keeping the DA's office in line. We got plenty grease, but nobody will pay it to this new fella. He's incorrect. So the question is, what are we gonna do about him?

[Dutch Schultz]

Just give him a treatment he wouldn't forget, that's all.

[Narrator/Announcer]

That's what I say. The bum has got to be banged in the head. Now, please, gentlemen, a little consideration. Thank you. You see, Mr. Schultz, times are changing. We don't operate with those tactics anymore. This is big business. We gotta operate with a modicum of intelligence.

[Dutch Schultz]

Modicum? What gives with that there modicum?

[Narrator/Announcer]

It means a itty bit.

[Dutch Schultz]

Why don't he say so? Itty bit. Intelligence, that I can understand, but modicum?

[Narrator/Announcer]

Please, Mr. Schultz, let me remind you, you're here as an observer only.

[Dutch Schultz]

Oh, please proceed. I was carried away. A modicum,

[Narrator/Announcer]

yes. Operate with intelligence. It seems to me that there is a definite possibility that we may have to resort to drastic measures in dealing with this fella.

[Dutch Schultz]

Yeah.

[Narrator/Announcer]

And so I am deputizing Albert here to investigate the situation. This is no ordinary contract, Albert. I. I want you to figure out how it can be done so nobody gets fingered and nobody gets hurt. Except for that fellow, I mean. Will do the perfect contract.

[Dutch Schultz]

Yeah, and I'll help you. I got a lot of ideas and experience in that line. No, Harry, listen. You don't know how much I hate that new da.

[Narrator/Announcer]

And. Oh, no, this calls for finesse. And please, no names, Albert. I'm counting on you gentlemen. We'll meet here in one week for Albert's report. And in the meantime, don't worry about the future. You know the old saying, Keep smiling. 5, 34, 23, 7850, 23, 46, 891 and 415.67. Annette, my good friend, winds it up for the night. Really a very nice little take, gench, if I do say so myself. Yeah, well, just don't you plan on taking any of it for yourself. Abba Dabba. Who can be so stupid? You needn't speak to me like that, ginch. I know Mr. Schultz. Yeah, but you don't know him like I know him. Yeah. What's the food on the table for? Mr. Schultz? He's back from the meeting. I was hoping he'd stay in New York, see a show or something. Hi, boss. Hello, Mr. Schultz. Hi, boys.

[Dutch Schultz]

Okay, Berman, what's the tally?

[Narrator/Announcer]

Oh, very good, Mr. Schultz. $13,561.13 for the day.

[Dutch Schultz]

That's because of you, Abu Dhaba.

[Narrator/Announcer]

It was nothing. Yeah.

[Dutch Schultz]

So they think I'm slipping, do they? You get. What do you think?

[Narrator/Announcer]

Well, I think you're on top of the world, Dutch. Yeah.

[Dutch Schultz]

And you know why? Because I use my brains. When I ain't got them, I buy them. Those knuckleheads in New York, those big businessmen, they got a numbers racket. Me, I got a numbers racket. Mine pays off the players, but hardly ever theirs. It's paying off all the time. And why? Because mine is superior, that's why. Because I use my head. I went out and bought me Abba Dabba here.

[Narrator/Announcer]

Oh, but I was glad to get the job. I like the money. Shut up.

[Dutch Schultz]

I think, why isn't the numbers paying me more money? Because it's too honest, that's why.

[Narrator/Announcer]

It's like a bad slot.

[Dutch Schultz]

When the slots bad and paying off too much, what do you do? You fix it. So I went over to that college there, and I bought me a student, a mathematical genius. I said to him, kid, you fix this and I'll take care of you.

[Narrator/Announcer]

You were very generous and was really a fascinating problem.

[Dutch Schultz]

Gensh, what's the matter with South Bayonne School kids?

[Narrator/Announcer]

We're losing their business. One of their principals is working against our runners.

[Dutch Schultz]

Oh, principal, huh? I hate principals. I had a principal once. He's. His name was Jesse Condon. Did you ever hear of him?

[Narrator/Announcer]

By the Lindbergh case?

[Dutch Schultz]

Yeah, yeah, that's the one. He used to beat my ears off. And I was a defenseless kid, too. Look, I'll tell you what, Ginch. You give this principal a workout.

[Narrator/Announcer]

Oh, Dutch, he's an old man.

[Dutch Schultz]

I don't think you heard me good, Ginch.

[Narrator/Announcer]

I heard you're Dutch. You're only working guys over. Well, you got plenty of guys who do that sort of stuff.

[Dutch Schultz]

But I want you to do this one. Ginch, let me show you a trick. Kinch, come here. Put your hand on the table.

[Narrator/Announcer]

What?

[Dutch Schultz]

Dutch, put it on the table there.

[Narrator/Announcer]

All right,

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Dutch, you broke it. You.

[Female Character (possibly Sadie or Lucy)]

You broke my thumb.

[Dutch Schultz]

That was pretty neat, wasn't it? I know a lot of those kind of tricks, kids. So I tell you what. Now, every week that passes without you doing what I tell you, like when I tell you to give the principal a workout, I'm gonna break another finger for you. What are you staring at?

[Narrator/Announcer]

Nothing, sir.

[Dutch Schultz]

All right, that's good. I don't like people to stare at me. How about it, Gench? How do you feel?

[Narrator/Announcer]

I. I. Shouldn't he get that fixed, Mr. Schultz?

[Dutch Schultz]

Yeah, he should. Now, Gentch, here's 50. Go down to the drugstore and get that fixed up. Gench, do me a favor. Get me a present from my mother. Something nice. A big bottle of two Jewel or more. You know what I mean? Yeah.

[Narrator/Announcer]

For your mother. Sure. Dutch, do you want us to get her some perfume or toilet water?

[Dutch Schultz]

I'll kill you for saying that. Where does he take.

[Narrator/Announcer]

He is.

[Dutch Schultz]

Where does he get off talking like that?

[Narrator/Announcer]

Stop that.

[Dutch Schultz]

Everything's going crazy around here. My own boys are talking out against me and those businessmen. Just a simple contract hit the DA on the head and they're gonna meet with the board of directors like, oh, that's a big deal. Keep smiling, he says. Keep smiling.

[Narrator/Announcer]

Auto Light is bringing you Mr. Broderick Crawford in Dutch Schultz. Tonight's presentation in radio's Outstanding Theater of Thrills, suspense. Say, Hap, have you had your car winterized yet? Well, no, Harlow, I haven't.

[Female Character (possibly Sadie or Lucy)]

Winter weather doesn't wait. Get on the ball, man. Agitate.

[Narrator/Announcer]

Johnny Plug Check's right, Hap. There's no time like now to get that car into your Autolite spark plug dealer for a change of oil and grease, antifreeze.

[Female Character (possibly Sadie or Lucy)]

And check those important, important spark plugs too.

[Narrator/Announcer]

Right, Johnny Plug Check. Because they're the very heart of your car's ignition system. And when the spark plugs are right, you'll always start quicker and surer, even in coldest weather. If replacements are needed, your Autolite spark plug dealer will recommend a set of world famous Autolite spark plugs like the resistor spark plug, which gives a double life of smoother engine performance and quick starts. And the resistor spark plug is only one of a complete line of Auto Light spark plugs ignition engineered for every use. So decide now to have your car winterized this week.

[Female Character (possibly Sadie or Lucy)]

And check those important spark plugs too

[Narrator/Announcer]

at your neighborhood Auto Light spark plug dealers. Because from bumper to tail light, you're always right with Autolite. And now Auto Light brings back to our Hollywood soundstage. Mr. Broderick Crawford in Elliot Lewis's production of Dutch Schultz A true Story. Well calculated to keep you in suspense. All right, gentlemen. All right. All right, Albert, let's hear it.

[Dutch Schultz]

And Albert, don't give us none of that keep smiling stuff, huh?

[Narrator/Announcer]

Look, Schultz, I don't want no trouble with you.

[Dutch Schultz]

Okay, Mr. Businessman. Okay, let's hear the report, huh?

[Narrator/Announcer]

All Right. I want quiet. I don't want to have to tell this twice. Here it is. The subject under discussion is no DA. This guy has guarded 24 hours around 2 plain clothesmen all the time. They watch his building, they escort him everywhere. There's no way to get at him. I mean, no ordinary way.

[Dutch Schultz]

It was a truck. You get a big garbage truck, see it come speeding down the street.

[Narrator/Announcer]

Mr. Schultz, do we have to have you ejected?

[Dutch Schultz]

All right, all right.

[Narrator/Announcer]

Go on. My cousin, he's got a little kid, five years old. So what I did, I borrowed this kid, bought him a tricycle. See? Every morning when this fella comes walking out with his bodyguards, there I am, Joe Citizen, typical square. Taking my morning physical with my little boy right there by the door. Very nice. Yeah, yeah. He comes walking out, he smiles at the kid, sort of tips his hat to me. I swear, that guy's gonna be a politician someday. And then he walks down to the corner drugstore. Drugstore? Yeah, yeah. And the way I figured, everybody in City hall is trying to tap his phone. So he uses a drugstore's public pay station. He goes inside, the two bodyguards keep out in the street. He stays in an average of three minutes alone, see? Then he comes out, gets in a city limousine and goes downtown. Very nice information, Alfred. Now, how do you work it? He's very precise. This fella goes into the drugstore at 8:05 precisely every morning. The fellows who are handling the contract get there early, bang the druggist with silencers, wait. He comes in, guards are outside. He goes into the booth, they bang him, stroll out. You got two, two and a half minutes to get away. The guns get left in the drugstore.

[Dutch Schultz]

That's good. Let's do it.

[Narrator/Announcer]

Listen, Albert, I think it's a very compact and neat way to handle a contract. And I only wish I still had you working for me in this, in your old capacity. Yeah, yeah. Incidentally, the guns. I already arranged for a pair of brand new untraceable government. 45s. We lifted them out of a crate down at the federal warehouse. Yeah, it's perfect. Nice work, Albert. But I've been giving this entire matter a lot of thought during the past. Really, I. I tell you, honestly, I. I haven't slept. Now, please, gentlemen, I. I beg of you a little consideration. All right, all right. Burn for what I care. You wouldn't listen. That's better. Now, you know me. I got only your best interests at heart. And I have come to the conclusion that it is in all our best interests that this fella from the DA's office stays alive.

[Dutch Schultz]

Harry, what are you, buggy or something? This guy's gotta go.

[Narrator/Announcer]

All right, all right, boys. You can just quiet down and listen to me. Yeah, Lucky, what do you say? I say Harry's right. The guy lives. You know, we gotta look at this with the. The long view. We gotta think of the syndicate.

[Dutch Schultz]

Ah, you and the syndicate can drop dead. Alva's got the perfect plan. Let's use it.

[Narrator/Announcer]

Listen, Schultz, I want you to shut up. And now Harry's right, and here's why. What can this DA investigate? Manhattan. Nothing else. All right, so we're gonna let him. We got a nationwide business to take care of. We ain't gonna sacrifice that just to search a couple of times Square. Number runner can stare at a can. The syndicate will come first. Yeah, but that fella he's investigating pretty high up. He could even get some of we fellas in this room. No, Gura, no. Any lawyer will tell you they can't get an indictment unless they got a solid case. And they can't get a solid case unless they got two witnesses. And that is where we pass out the contracts. You mean instead of taking this one fellow, we're gonna have to take 10, maybe 20? Yeah, yeah, and here's why. Take this fellow and he becomes a federal kid. It gets out of Manhattan, it gets out of hand. And you boys from Chicago and Milwaukee, in case he know what I mean. And you too, Dodge. You don't want this investigation spreading all over in New Jersey. I'm sure Mr. Schultz is beginning to see the light. Now, let's take a vote. Anybody against the notion that we let the little fella go ahead with his investigation? It seems a long way around the bun to have to kill all those witnesses instead of just one fella. We can get them before they start to be news. It's no problem in there. All right, I'm with you. Well, I'm not leaving us, Mr. Schultz.

[Dutch Schultz]

Yeah, yeah, I'm going back to Jersey where the air don't stink from chicken.

[Narrator/Announcer]

I take it you don't like the way we operate.

[Dutch Schultz]

Look, Albert here comes up with a perfect contract and you fancy pants are too chicken to carry it out. Well, listen, Lucky, Albert, Henry, Ola, Harry, all the rest of you, maybe there's somebody in this world who ain't too chicken. That's just a little thought, gentlemen. Just a little thought.

[Narrator/Announcer]

Heart straight, baby. Bank to braver hop and goes to death house. Get your New York Daily Mirror here. Pay me wrong with that Dutch. Nice fellas.

[Dutch Schultz]

What you want, Sketch? Stand up by the shoe store there.

[Narrator/Announcer]

Yeah. Are you gonna want me any more today, Dutch?

[Dutch Schultz]

No, go back to Newark. Sure, Dutch.

[Narrator/Announcer]

Hello, Mr. Schultz.

[Dutch Schultz]

You're the fella.

[Narrator/Announcer]

Yeah. Toy's the name of the. This is my partner, Murray.

[Dutch Schultz]

You fellas want to make a little

[Narrator/Announcer]

depends on the contract.

[Dutch Schultz]

That's an easy contract. I got it all figured out, so it'll be no problem.

[Narrator/Announcer]

Who's the mark?

[Dutch Schultz]

Just a fella.

[Narrator/Announcer]

I gotta know who.

[Dutch Schultz]

What's the matter? What's it to you?

[Narrator/Announcer]

Who?

[Dutch Schultz]

It's just a job, that's all. It's no problem. Toy, look. What is this? What's with you? A couple of sissies or something? You're scared of a little job I asked Ginch to get me. Some fellow could handle a little contract. Look, you want to know who the fella is? All I'll tell you. I got nothing to hide. It's the new DA in New York.

[Narrator/Announcer]

Come on, Murray.

[Dutch Schultz]

Wait a minute. Where you going?

[Narrator/Announcer]

You got the wrong parties, Mr. Schultz. Haven't you heard? The DA lives. That's the word from the syndicate. Hey, Ginch. Ah, hello. Flat. What happened to your arm? What's with the sling, Dutch? Oh, first the thumb, then arrest. Something he thought I said about his mother. He's an animal, that's what. Another year with Dutch, I'm gonna be in very bad condition. And you can't quit. That's right.

[Dutch Schultz]

You will let me go. Bo quit.

[Narrator/Announcer]

Dutch stuck an ice pick in his ear. Ginch, I don't know. Maybe I'm crazy. But I tell you something. Would you tell Dutch? I wouldn't tell him if his hat was on fire. Certain parties is having a meeting tonight, six o'. Clock. Oh, that's one he really don't know about. Gentlemen, the situation is fraught with danger to us all. I don't know. If it was anybody else, I would say forget about being the Dutchman. He's just screwy enough to follow through. My boys never lied to me. They say he's out shopping for a man to take the contract right now. Been talking about it for almost a week. There's only one thing to do. We got to take Dutch before he takes that fellow from the DA's office. Albert, you got any ideas? Dutchman is kind of screwy, but he ain't crazy. You know what I mean? He's not the kind of a fellow you just walk up to and do it. He's covered all the time. I know where he's Hanging out this week. Where's that, Lucky? The Palace Chop house over in Newark. I know that place. It's got a little private dining room in the back there. The fellow would have to be screwy to try it in there. I got just a man. Fog. Mandy. In here. Got a job for you, Bug. Contract. Yeah? Who? Dutch. Okay. It's gotta be fast.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Sure, fast.

[Narrator/Announcer]

I mean tonight. Okay, tonight. Mandy, you drive. Come on. Walk it down to the car. And probable business. Yeah. Well, gentlemen, we got nothing more to talk about tonight, so I would suggest we get out and get seen. If you follow me.

[Dutch Schultz]

483, 11, 68, 51, 17, 39. 550 even. 137.45. Doc, stop that creepy whistle and will you. I'll fix your whistle so it'll never blow again. All right, now. 775, 15. That does it. What I'm gonna do to that Ginch when he gets back? I told him to go back to Newark. Where is he?

[Narrator/Announcer]

Maybe he missed the train or something.

[Dutch Schultz]

Lookit, Berman, I need you around here to handle my books and keep my numbers business functioning. I don't like it. You should be talking all the time and whistling like a boy. Like a. Like a schoolboy.

[Narrator/Announcer]

Sorry, Mr. Schultz.

[Dutch Schultz]

I'm gonna be in business for a long time, Berman. Remember that. You want to get rich, stick with me.

[Narrator/Announcer]

Yes, sir. I'm with you, Mr. Schultz.

[Dutch Schultz]

But keep your mouth shut, see? Tight shut. I get those tallies added up, I'm gonna wash my hands.

[Narrator/Announcer]

Yeah, okay. Hey, kid. You with the glasses. Hmm? Whom are you addressing, may I ask? Where's Dutch? He went to the bathroom. But you. You haven't answered my question. Kid, you bother me.

[Dutch Schultz]

I'm sorry. It's busy.

[Narrator/Announcer]

So am I.

[Female Character (possibly Sadie or Lucy)]

Busy. Busy as a bee.

[Narrator/Announcer]

So what do you say? Get your boy. Get your boy. Was it a hot seat? Tatsu was a hotsy.

[Dutch Schultz]

Oh, it was a hot seat, all right.

[Narrator/Announcer]

Flat old boy. Oy, boy, I. I shouldn't let you talk. Man, staying in New York, Dutch, is really gonna be stormy now. Ah, forget it. Come on, come on. We'll go up to Lindy's, have a couple of drinks. You standing around. Listen, I can't. I'm in so much trouble now. What's that? Listening. Ganglin Murder. Dutch Shoes. Gunned to death by mystery figure. Pay me. I actually got the New York Journal. Marriage. Did you hear that? Come on, let's buy a paper. Let's buy all the papers. Yeah, Even the Times.

[Dutch Schultz]

Yeah, we'll take them up to Lindy's

[Narrator/Announcer]

and have a drink and have a body, a boy and a newsboy. Suspense presented by AutoLight Tonight star, Mr. Broderick Crawford. This is Harlow Wilcox again. Tomorrow, members of the American Trucking association attending the annual convention in Los Angeles will see a new 3 cent stamp being issued by the Post Office Department. This stamp commemorates the 50th anniversary of the trucking industry. In the years since they first proved themselves as winning competitors over horse drawn vehicles. Trucks have become the backbone of our transportation system. Their versatility and dependability in war and peace and their economy of operation have made trucks the finest carrying vehicles any civilization has ever known. Today, over 9 million of these modern beasts of burden serve us in countless ways and give work to some 6 million Americans who make, drive and service them. Autolite has been associated with this industry for 42 years and is privileged to salute the American Trucking association on this important occasion. Next week, another true story as we dramatize the diary of a man whose unfortunate task it was to set down a report on the death of his friends. Ordeal in Donner pass our star, Mr. Edmund O'. Brien. That's next week on suspense. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morowic and conducted by Lud Gluskin. Dutch Schultz was adapted for suspense by James Poe. Featured in tonight's cast were Jay Novello, Herb Butterfield, High Averback, Paul Freeze, Sydney Miller, Jack Moyles, Benny Rubin and Anthony Barrett. Roderick Crawford will soon be seen in night people, a 20th Century Fox picture. And remember next week, Mr. Edmund O' Brien in Ordeal In Donner,

[Female Character (possibly Sadie or Lucy)]

You can

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

buy Autolite resistor or standard type spark

[Female Character (possibly Sadie or Lucy)]

plugs, Auto light, electrical parts and Autolite. Stay full batteries at your neighborhood auto light dealers. Switch to Autolite. Good night.

[Narrator/Announcer]

This is the cbs radio network. Suspense and the producer of radio's outstanding theater of thrills, the master of mystery and adventure, William N. Robeson. Out of the mouths of babes and sucklings. What is the rest of it? Well, no matter. Childish prattle can be dangerous in its pristine innocence. So if you are about to do something you shouldn't, we advise you not to do it around your moppets. They can be such blabbermouths, as the upcoming story demonstrates. Listen. Listen then, as Ms. Mercedes McCambridge stars in America's Boyfriend, which begins in exactly one minute. Folklore isn't always something out of the past. Each day a new legend, anecdote, joke or colorful character is added to our collection of Americana. Like the story about the man who was nailing shingles on his house. Somebody noticed that he was throwing half the nails away and asked him why. Because, he said, the heads are on the wrong ends. On those. Well, you dope, said the other man. Those are for the other side of the house. Folklore belongs to every nation's legendary past. And I guess we Americans have our share of some tall ones like the one about Ha ha. But we'll have to save that one for the next time we travel your way. See you then. And now, Ms. Mercedes McCambridge, America's boyfriend. A tale well calculated. To keep you in suspense,

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

they used to call him America's Boyfriend. His face was known everywhere from South Dakota to Saudi Arabia. Those mischievous eyes, that lovable teenage grin. The lock of blonde hair over his forehead. Remember First Love, his most popular movie. His freckled face was on billboards everywhere in four colors. Dickie Keith, that bad boy who steals your heart. That bouncing, laughing, wise, cracking, all American boy. It's funny. Every picture of Dickie that could be found was like that one. The police are looking for a murderer's face that doesn't exist. When he came into the kitchen that morning, I didn't know whether to laugh or feel sorry for him. I was too busy to do eating. I had to fix breakfast, get the kids washed and dressed and fed and be at work by 9. Between putting the coffee onto Perk and getting the bobby pins out of my hair, I kept glancing at his calypso pants and monogram T shirt and the tennis racket under his arm. Maybe I said the wrong things. I guess I've been saying the wrong things for a long time.

[Narrator/Announcer]

Coffee ready yet?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

What are you dressed up as? Juvenile delinquent.

[Narrator/Announcer]

I got a call from the studio yesterday. I told you Harry Lannan wants to see me.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

What's he got, amnesia? Did he forget the last picture you made was so bad it smelled up the theaters before it was taken out of the can.

[Narrator/Announcer]

Just black for me.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

You know, maybe if you grow up, you might get a job again.

[Narrator/Announcer]

Oh, well, I see Harry today. He just bought the Sidewalk to Nowhere. Terrific book about a teenage murderer. I'll convince him I'm not too old for the lead. How old does he think I am, anyway?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, please, Dickie. He's got your Social Security card.

[Narrator/Announcer]

All right, all right. So I'm 31, 33. Time certainly flies, doesn't it?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Married to me four years already. Parents of a bright two year old boy. And if you'd like any more vital statistics, you've Been out of work for more than three years.

[Narrator/Announcer]

This coffee tastes like formaldehyde.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, it's the best we can for it. What time's your appointment?

[Narrator/Announcer]

Don't worry. I'll leave lumpy with Mrs. Vogel for a few hours.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Be sure you wait for the laundry man first.

[Narrator/Announcer]

Okay? Okay. You support me, you pay the bills. If you like, I'll do the laundry myself.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I'm sorry, Dicky. I. I'm all tied up in knots. That last check that I gave the supermarket bounced. Our credit is down the drain.

[Narrator/Announcer]

Is that all?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

No. And Lumpy. I know he's a lot of trouble for you to take care of.

[Narrator/Announcer]

No trouble now the park's peppered with kids his age.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

What do you do there? Just sit around the sand pile?

[Narrator/Announcer]

Yeah, with the other doting mothers.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Are you learning anything about child psychology? Why, just that Lumpy's almost two years old. You noticed he's learning to talk? No.

[Narrator/Announcer]

He's been talking since he was 11 months, that one.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, those were just sounds, just separate words. I mean, he's just put together his

[Narrator/Announcer]

first sentence and high time.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

His first real sentence. Funny the way he keeps repeating it.

[Narrator/Announcer]

Well, maybe you're right at that. Maybe I ought to wear something more dignified. Get Lumpy ready while I change.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Come on, Lumpy. You can't dawdle over your breakfast this morning. Now, if you want to go with Daddy.

[Female Character (possibly Sadie or Lucy)]

Daddy, Go see pretty lady. Go see pretty lady.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Who is she? Lumpy?

[Female Character (possibly Sadie or Lucy)]

Go see pretty lady.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

The first time he said it was a week ago. It hit me. Right between the eyes. His first sentence. Something to cherish, to put in his scrapbook. With his first tooth and a curl from his first haircut. His first sentence. Go see pretty lady. It burned in my mind all day long. But it burned deeper that night when Mrs. Vogel delivered Lumpy herself. Dickie hadn't picked him up as he was supposed to. After I got Lumpy to bed, I canvassed the neighborhood, bars by phone. Nothing. Then I just sat and waited, My insides gnawed by fear and anxiety and plain old fashioned jealousy. Then, about 10 o', clock, the front door opened and there he was. He swayed in the doorway. There was blood drying on his face. His eyes looked stupid and beaten. The only reason he was able to stay on his feet was the hand steadying him from behind. The big, powerful hand of Harry Landman. Dickie took one step inside and then he pitched forward. The table crashed to the floor with him.

[Narrator/Announcer]

I'm sorry, Gene.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, Harry. What happened?

[Narrator/Announcer]

Came to my house a couple Hours ago. Lucky I wasn't alone. Should have heard of the things he called me. I wouldn't let my own mother in law talk to me that way.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, but he didn't mean it, Harry. He must have been drinking.

[Narrator/Announcer]

That's what I thought. Till he grabbed the poker from the

[Dutch Schultz]

fireplace and tried to kill me.

[Narrator/Announcer]

Me. He feels like a father to the boy.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

He tried to kill you.

[Narrator/Announcer]

Me and my houseman had to beat him right down into his shoes before he quit trying.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, he must have been drunk.

[Narrator/Announcer]

Oh, he's out of his head. I could put him away for 10 years for this.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Harry, what did you tell him at the studio this morning?

[Narrator/Announcer]

The truth, once and for all. That he's washed up. Now, if you're smart, you'll get him out of this town. Take him back east where he can be himself.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Himself?

[Narrator/Announcer]

Where he can grow up. Where he could get a job without his pride getting all mixed up in it. Here in Hollywood. He can't stop being America's boyfriend. He. He's turning into a full fledged schizophrenic, a homicidal maniac.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

You're afraid of him, Of Dickie?

[Dutch Schultz]

I'm telling you, he's dangerous.

[Narrator/Announcer]

He tried to kill me.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

That's really funny. You're afraid of this thing you created. This lovable tap dancing monster. This horrible spirit of you.

[Narrator/Announcer]

You're blaming me?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

For years you kept him a teenager. You didn't let him grow up. You made this stunted thing out of him because there was money in it.

[Dutch Schultz]

He made plenty of money himself and

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

he spent it faster than he made it. Oh, he lived apart, all right. It was cute how irresponsible he was.

[Narrator/Announcer]

Look, Gene, I'm not arguing with you. I'm telling you. Get him out of my hair. Take him back east, anywhere, but do it inside of 24 hours. Or what?

[Dutch Schultz]

Well, I'll bring charges against him for

[Narrator/Announcer]

assault with intent to kill.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

You're forgetting something, Harry. I'm only his wife. I don't have much influence with him.

[Narrator/Announcer]

24 hours.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

He's got other attachments in Hollywood besides his family.

[Narrator/Announcer]

Another woman.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Yeah?

[Narrator/Announcer]

Who?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I don't know. I heard about her from somebody. Somebody who won't talk.

[Narrator/Announcer]

Well, that's a problem I can't help you with, Gene. That's strictly your problem. Just remember, 24 hours or I'll charge him with attempted murder.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I tried to help Dickie up, but he pushed me off. He made his way to the bedroom like a bulldozer, knocking over a lamp, a chair, anything in his Way he sprawled face down on the bed. And for a long time I could hear his heavy breathing. I don't know what time it was when I fell asleep on the sofa. But in the morning, a little before seven, I looked in. He was gone. I left lumpy with Mrs. Vogel, but I didn't go to work. I tried a dozen bars, three Turkish baths, every alleged friend he had. By noon there was still no trace of him. So I went back to Charlie's and sat down at the end of the bar. Charlie shuffled toward me, his eyes refusing to meet mine.

[Narrator/Announcer]

Mrs. Keith, I'm sorry. You're wasting your time here.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Listen, I've got to find Dickie.

[Narrator/Announcer]

He.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

It's terribly important. Charlie. He couldn't just disappear into thin air.

[Narrator/Announcer]

The air in this town ain't as thin as you think.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, if you try, maybe you can remember something. Somebody he's been in here with. Charlie, please tell me. Tell me who that woman is.

[Narrator/Announcer]

You mean that dame he was with last night?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Last night? He came back here last night?

[Narrator/Announcer]

Yeah, around two in the morning. It was just sitting together right here. That's all I know.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

What did she look like, Charlie? Could you describe her to me?

[Narrator/Announcer]

Mrs. Keith, the dames are coming here. They all look as much alike as a row of bar stools.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Was she tall or short?

[Narrator/Announcer]

Kind of in between.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, was she a blonde or redhead or brunette? What?

[Narrator/Announcer]

I don't remember.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, she had hair, didn't she?

[Narrator/Announcer]

Oh, yeah. Yeah, she had dark hair.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Thanks, Charlie. That's something anyhow. At least I know she has hair. She isn't a midget. At 5 o' clock, I gave up. There was only one thing to do. See Harry Landman and explain that Dickie disappeared and that there was really nothing to worry about. Harry lived up above the Strip. I climbed a steep incline, made a sharp turn that almost broke my steering gear, and there it was. A low, pink house sitting back against the hillside. There was an ugly iron dog beside the front door. I went to the door and I pushed the bell. And somehow I knew that the man who answered the door didn't belong in that house.

[Narrator/Announcer]

Yes?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I'm Mrs. Keith. I must see Mr. Lanwin right away.

[Narrator/Announcer]

You want to see me?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I didn't wait. I brushed right past him into a dim hall. And I stopped dead. Whatever it was that had been holding me together all day snapped. I closed my eyes to shut myself in darkness, but the thing I saw was still there, as if painted on the inside of my eyelids. It was Harry Landman, face down on the floor with a knife sticking out of his back.

[Narrator/Announcer]

In just a moment. We continue with suspense. Do you know the Social Security benefits to which you will be entitled when you separate from the service and take a civilian job? Here's a tip from Social Security. 1940. An important year in the security of American families. It was in 1940 that the first Social Security checks began to find their way into the mailboxes of the nation. That was the year that retired people and their families and the families of working people who had died began to get payments from the government insurance program to partly take the place of earnings that were no longer coming into their homes. Social Security has done much through the years to relieve the grinding worry of old people, to keep widows and their children together living as families beneath the family roof. Just recently, within the last five years, Social Security has helped to relieve the financial plight of the disabled. Find out about Social Security, what you can expect from it for your security and the security of your loved ones. Write to Social Security Department, 15 Hollywood 28, California and ask how it will work in your case. They'll be glad to give you the information and to send you a free booklet. A booklet that tells the Social Security story. And now we continue with the second act of America's Boyfriend, starring Ms. Mercedes McCambridge. A tale well calculated. To keep you in suspense.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

It was a beautiful knife. It had a carved pearl handle about 4 inches long. It seemed to grow bigger as I stared at it. Until it crowded everything else out of my mind. Until it floated there, huge in my nightmare. Then a small gray haired man touched my elbow and the knife got smaller like a punctured balloon. And I knew it wasn't a nightmare. It was a knife sticking out of Harry Lanman's back. I'd never seen a corpse before, not even a dead grandmother. I thought I was going to be sick. I was helped gently into a chair. The room was hot and stuffy with cigarette smoke. Three other men were busy there working as calmly and thoroughly over details as bookkeepers in an office.

[Narrator/Announcer]

We've been looking for you, Mrs. Keith.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

For me?

[Narrator/Announcer]

My name is Carlson, Homicide. Actually, we're looking for your husband. Thought you might be able to tell us something.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, he didn't do it.

[Narrator/Announcer]

Any idea where he is?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, he couldn't commit murder. He couldn't. He's not the kind who could do

[Narrator/Announcer]

a terrible thing like that after 20 years experience. Mrs. Keith, I know what kind of people commit murders.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

What kind?

[Narrator/Announcer]

Murderers.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

But you're wrong about Dickie. You don't Know Dickie Keith the way I do.

[Narrator/Announcer]

I know quite a few things already. I know that he threatened to kill Mr. Landman. I know he even attempted to.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

But he didn't mean it.

[Narrator/Announcer]

It looks like he did.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, you don't understand. He was out of work. He was trying to cope with all the responsibilities of a family. He was always trying to cover up for a feeling of insecurity.

[Narrator/Announcer]

If you don't mind, let's leave Freud out of this, huh? I'm no psychiatrist. I'm a cop. My job is to put together the facts.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

There's more than facts. There's the truth.

[Narrator/Announcer]

The truth is he's disappeared. Now, why? Well, maybe.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Maybe to look for a job.

[Narrator/Announcer]

He wasn't looking for a job early this morning. Early this morning when Harry Landman was killed.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, there's. There is somebody who knows where Dickie was.

[Narrator/Announcer]

Then who's that?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

It's a woman, and you've got to find her.

[Narrator/Announcer]

What's her name?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I don't know.

[Narrator/Announcer]

Can you give us any information about her description?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

She has dark hair and she's medium height.

[Narrator/Announcer]

Well, go on.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

That's all I know.

[Narrator/Announcer]

Mrs. Keith, that description fits about half the women in this town.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Yes, but there must be some way that you could trace her.

[Narrator/Announcer]

Don't count on it, Mrs. Keith. That knife's been identified by Mr. Lanman's secretary. Well, you recognize it, don't you? Lamon brought it back from Hawaii a few years ago. Gave it to your husband for his birthday.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Listen, I know how she can be traced. I know how she can be traced. That woman who can prove that Dickie's innocence. No. There's somebody who has seen her, who knows her. And if Lumpy sees her again, he'll recognize her.

[Narrator/Announcer]

Okay, okay. Just tell me who Lumpy is and I'll go have a talk with him.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

No, you can't.

[Narrator/Announcer]

Why not?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Because he can't talk. I mean, he's a two year old. It's my child.

[Narrator/Announcer]

Oh, now look, Mrs. Keith.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

No, no, you've got to listen to me. Since I got a job, Dickie's been taking care of him. Well, don't you see? He. He was meeting her somewhere, but he had Lumpy along and she made quite an impression. The pretty lady. That's what Lumpy calls her. His first sentence. He's just learning to talk. And that's the first time he put a kind of sentence together. Go see pretty lady. That's what he says whenever he knows that Dickie's taking him out. Well, if he Sees the pretty lady again, he can identify her. Don't you see? We could take Lumpy to the park where Dickie took him every single morning. And we could start from there. It's a chance. Maybe one in a thousand, but it's worth trying.

[Narrator/Announcer]

Mrs. Keith, this beats anything I ever heard in 20 years on homicide. Every case we get crazy information. We get tips from psychopaths, confessions from cranks. But this beats the whole.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

All right, I'll find her myself. I will. I'll find her myself. Know where we're going, Lumpy? To see the pretty lady, Daddy. No, no, no. Just us.

[Female Character (possibly Sadie or Lucy)]

Go see pretty lady

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

now. Which way, Lumpy? Which way do we go?

[Female Character (possibly Sadie or Lucy)]

Go see pretty lady.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

For a moment, feeling the warm early morning sun and hearing the same normal voices of children in the park, I decided I was out of my mind. It was crazy to think I could find her that way. Dragging Lumpy into it. Using a two year old to track her down. And he seemed to forget all about it, attracted by the more immediate joys of the sand pile. A couple of hours went by and then Lumpy came trotting over to me with his one sentence.

[Female Character (possibly Sadie or Lucy)]

Go see pretty lady.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

That was it. The pretty lady didn't come to the park. Lumpy and his father visited her. But where? Maybe in the neighborhood. It was worth a try. Anything was worth a try. Dickie might be a crazy, mixed up kid in a faithless husband, but one thing I knew for sure, he was not a murderer. How about this street, Lumpy? Go see pretty lady on this street, Lumpy. This the street where pretty lady lives? I turned up cross streets. I circled blocks. I drove on until Lumpy began to get restless and lose interest. How about this street, Lumpy, darling? When we get to the pretty lady, do you know what we're gonna have? Chocolate ice cream and marshmallow cookies and toys.

[Narrator/Announcer]

Hey, lady.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I slammed my foot down on the brake. The way Lumpy bounced off the seat, the way his eyes got wide with expectation. I knew that I was in luck. He pulled me like a puppy on a leash. He pointed to a house across the street. An old house. The downstairs was used as an interior. Interior decorator. Studio.

[Female Character (possibly Sadie or Lucy)]

Hey, lady.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

We were just getting out of the car when I swung Lumpy around and slammed the door. The woman coming out of the house was a pretty lady, all right. A very pretty lady of medium height with dark hair. As soon as I left lumpy with Mrs. Vogel, I hurried back. The sign downstairs read Maurice Byrne Fine Interiors. I would a tall man with a Blunt nose came toward me. The deep, regular waves in his yellow hair must have taken plenty of time and attention. And he had an off balance smile, like a man with something stuck in his teeth.

[Narrator/Announcer]

Good afternoon.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I'm looking for the woman who lives upstairs. I don't remember her name.

[Narrator/Announcer]

Upstairs?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Yes.

[Narrator/Announcer]

There are three apartments upstairs.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Three?

[Narrator/Announcer]

One is occupied by Joe Courtney, an electrician. He threw his wife out a few months ago. I don't think she's back yet.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Well, what about the other two?

[Narrator/Announcer]

Well, there's Farley MacLean and his wife.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Is she an attractive woman?

[Narrator/Announcer]

The last time I saw Mrs. McLean, she had an ugly gash running the length of her throat and up one side of her face, as if someone had slashed her with an axe.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

With an axe?

[Narrator/Announcer]

There are a couple of old hams who get an occasional bit part in pictures. They're always practicing makeup and don't go near them at night.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

No, no, the woman I'm looking for, she has dark hair.

[Narrator/Announcer]

Oh, a beautiful woman with an expensive look.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

You know her?

[Narrator/Announcer]

Not yet. She's new here. She still ignores me, which should give you an idea of how discriminating she is.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I wonder if you could tell me her name and where I could get in touch with her. Right now?

[Narrator/Announcer]

I'm afraid not. How do I know you're not serving the summons or maybe a bill collector?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, no, no, no. It's nothing like that. This is something very personal, but it's terribly important. Really. I must find her for her own good as well as for somebody else, as somebody that she can help. And if I don't find her, the police will.

[Narrator/Announcer]

Her name is Alice Evans. She's a model at Maison Chic, the exclusive dressmaker.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

The sales were were a little startled when I walked past them toward the dressing room. The way my hair was blown, I looked like a neglected sheepdog. She glanced up at me from a long mirrored table where she was putting the finishing touches on her street makeup. Yes? I'm. I'm Dickie's wife. Congratulations. Who is he? Please, please. I know everything. And you're the only person who can save him. Save him from what? I know you don't want to get mixed up in this, but Dickie's facing a murder charge, and you've got to tell the police that he was with you when Harry Lanman was killed. What is this, a gag? You've got me mixed up with a couple of other women. Please, I'm only thinking of Dickie. I don't know your husband. I never laid eyes on him. If you care anything about him.

[Female Character (possibly Sadie or Lucy)]

Me? Why did you pick on me?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Of all the women in this town, why me? If you don't go to the police, I will. And I'll tell them everything. I tell you I don't know your husband.

[Female Character (possibly Sadie or Lucy)]

I never saw him.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I never spoke a word to him. I understand how you feel. You do? Then be a good girl and go away. Listen, if you don't want to get involved, your name might be kept out of it. I'm sure that the police would cooperate. Just tell me, where were you and Vicki that night? You're raving mad. If I could find somebody else who saw him there. You won't be dragged into this at all.

[Female Character (possibly Sadie or Lucy)]

I'm getting out of here. No.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Not till you tell me what happened. Oh, dear. My head dropped. I remembered the lovely crystal bottle in her hand. And then a couple of sales women were helping me to my feet. I was reeking of cologne and spattered with broken glass. And Alice Evans was gone. She was obviously panic struck and I had to press this advantage. So I hurried back to her house. The hall was dark and I struck a match to look at the names on the mailboxes. And then I felt the gun in my back. Why don't you leave me alone? You were with Dickie that night and you can't help him.

[Female Character (possibly Sadie or Lucy)]

I don't know your husband. But you know plenty about me, don't you?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

You know enough to come looking for me here. Where else would I look? You live here. I live in a pink house in the hills with an iron dog at the front door. But that's. That's Harry Lanwin's.

[Female Character (possibly Sadie or Lucy)]

You.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

The door seemed closer, as if it moved the door from the hall to Maurice Byrne. It was crazy and desperate and clumsy the way I knocked the gun aside and got through the door.

[Female Character (possibly Sadie or Lucy)]

Hurry. Oh, hurry.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Get the police.

[Female Character (possibly Sadie or Lucy)]

She killed him.

[Narrator/Announcer]

Don't be silly, Mrs. Keith. She's the first one the police checked and double checked. They know she was in Las Vegas that night. Lock the door, Alice.

[Female Character (possibly Sadie or Lucy)]

You said there was nothing to worry about.

[Narrator/Announcer]

There isn't.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Why did she come here looking for me?

[Narrator/Announcer]

I'm not sure. I can't figure out what she knows.

[Female Character (possibly Sadie or Lucy)]

You said there wouldn't be any suspicion. You had a made to order fall guy.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

A perfect dupe. Fall guy, Dickie.

[Narrator/Announcer]

You're a clever woman, Mrs. Keith. I don't know how you managed to trace Alice here, but it was clever in a suicidal way.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

You. I've seen you somewhere long ago, of course.

[Narrator/Announcer]

In one of Dickie's early pictures. He came walking by here with Lumpy a few months ago. First time I saw him in years.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

And I know why he kept coming back.

[Narrator/Announcer]

He was lonely. He needed somebody sympathetic to talk to about how he hated Landman. How Landman had given him a dirty deal. And one day he brought in that beautiful pearl handled knife here. Wanted to know if it was worth $50, if I could use it in some decorating scheme.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Then you killed Landman. It was you.

[Narrator/Announcer]

$50. Such ingratitude. A knife that Harry Lanman gave him as a birthday present. Do you know how much that knife was worth to Alice and me? 200 grand. Left by her late, unlamented husband.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

And who would believe Dickie?

[Narrator/Announcer]

Of course, it wasn't as decorative as, say, this silver candlestick. Oh, no, I'm sorry. You traced her here?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

No.

[Narrator/Announcer]

Sometimes the less people know, the smarter they are.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I saw the blood trickle down his hand and onto the candlestick, and the next thing I knew, the police were looking down at me over the edge of a dark, deep well. Only it wasn't a well. It was an elegant sofa at Maurice Byrne Fine Interiors.

[Narrator/Announcer]

Now, take it easy, Mrs. Keith. When you feel better, I guess you and your husband can go home together.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Dickie.

[Narrator/Announcer]

Everything's okay, Gene. I even picked up Lumpy on the way here.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

How did you. I mean, where?

[Narrator/Announcer]

I was running away from everything. When I heard the police were looking for me, I came back. You know, funny thing. We had a man following you, Mrs. Keith, since you left Lammon's house. Thought you might lead us to your husband instead.

[Female Character (possibly Sadie or Lucy)]

Sick pretty lady.

[Narrator/Announcer]

Where?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Where, Lumpy?

[Female Character (possibly Sadie or Lucy)]

Pretty lady?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Where? Oh, no. No, it can't be.

[Narrator/Announcer]

That's the only pretty lady Lumpy ever saw around here. Jean.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

That portrait on the wall, it was

[Narrator/Announcer]

gonna be a surprise. A painter, Burn Nose did it from a photograph of you. Me? It was gonna be your birthday present.

[Female Character (possibly Sadie or Lucy)]

Me?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

The pretty lady I was looking for?

[Narrator/Announcer]

Yeah. It set me back 50 bucks. I sold that pearl handled knife to Bern to get the $50 to pay for it. Suspense in which Ms. Mercedes McCambridge starred in America Boyfriend, written by Sidney Renthal. Listen. Listen again next week when we return with the twist is Murder, starring Raymond Burr. Another tale well calculated to keep you in suspense. Supporting Ms. McCambridge and America's Boyfriend were Norma Jean Nielsen, Joan Banks, Dick Krena, Jack Craig Crucian, Byron Kane and Alan Reed. Suspense. Sam. Suspense has been brought to you through the worldwide facilities of the United States Armed Forces Radio and Television Service. This is the NBC University Theater bringing you a full hour dramatization of Robert Penn Warren's Pulitzer Prize novel, All the King's Men, starring Wayne Morris in the role of Jack Burton. In all the King's Men, Robert Penn Warren has written a novel which many critics feel is one of the finest fictional works of recent years. A book that may well become an American epic. A story of the conflict between the old and the new and of the men and forces that motivate it. Because of its great power and scope, it is impossible to convey the full story in a single hour. And in presenting this radio play based on the novel, we do so in the sincere hope that it will introduce this outstanding work to many of our listeners and encourage them to an actual reading of the book. Now all the King's Men by Robert Penn. War. I'm Jack Burden. Here along the row where the best people had lived. This was my territory. In one of these houses I had grown up. In one had lived my father's friend, Governor Stanton, and his children. My friends Anne and Adam. Adam, who was now a famous surgeon. And Anne, who had been a big eyed little girl. And after that a big girl. And then my girl, who was now almost an old maid. And then the house where Judge Irwin lived, who'd been like a second father to me. He taught me how to shoot ducks and to love history. And now, after all the years, I was back here at midnight with Willie Stark, Governor Stark, who had nothing to do with the Bay Road and Burden's Landing. I was knocking on Judge Montague Irwin's door. Don't mind if we come in, do you, Judge? Jack is always welcome in my house. Well, fine, fine. Come on in, Jack. Happen to have an evening paper, Judge? I haven't had a chance to see one. I have a paper. It publishes my endorsement of the impeachment proceedings against you. If that's what interests you. Just wanted to hear you say it, Judge. You sure you took this to the Lord in prayer? I can only act according to my conscience, yes. You've been in politics a long time, Judge. So is your conscience. I beg your pardon? You've been a judge a long time, too. How'd you like not being a judge anymore? No man has ever been able to intimidate me. Why, Judge, I ain't even gonna try. Jack told me you wouldn't scare. After his long association with your methods, I'm surprised he still remembers there are men who don't scare. Now look here, Judge Irwin. Take it easy, Jack. Judge is just a little upset so you don't like my methods, huh, Judge? I think I've made that clear. And you want him to impeach me. You. You'd rather see McMurphy's gang running the state? I think they are more responsible men. Sure. Responsible to you like my boys are to me. See? There's no difference, Judge. Have you finished? No, not by a long shot. I'm gonna do what I have to do in this state and nobody's gonna stop me. The law. Don't tell me about the law. I'm a lawyer too, and I know what the law is. The law is like three people in bed on a cold night with one blanket. Somebody's gotta get pneumonia. Ain't ever been enough law to go around, Judge. Laws don't get roads built or schools or stop the poor people from being cheated on taxes. Those are things I done, and I'm gonna keep on doing em. And surrounding yourself with corruption. That's all you see, ain't it? That scum I got in the legislature, don't you know they're just something to use? Yeah, sure. You like the things I done. When I get my little patties black doing em, you start yelling corruption. You and your whole aristocratic gang, you're all alike. Oh, thank you, sir. To get out of this house, sure we're getting. And you go ahead and try and impeach me. You can chew on your conscience till you choke on it. And I'll keep on running this state. We drove the miles back to the capital without talking. I could see the boss was cooking a few things in his mind. And like always, I just let him cook. But they got interrupted quick enough. When we got back to the governor's mansion, Lucy Stark, the boss's wife, was waiting up.

[Female Character (possibly Sadie or Lucy)]

Willie.

[Narrator/Announcer]

Huh?

[Female Character (possibly Sadie or Lucy)]

Willie, you've got to do something about Tom.

[Narrator/Announcer]

Tom? What about Tom?

[Female Character (possibly Sadie or Lucy)]

He was in an automobile accident tonight.

[Narrator/Announcer]

Accident? My boy. Where is he?

[Female Character (possibly Sadie or Lucy)]

He's all right. He's upstairs asleep. A patrol car brought him home. He was drunk, Willie.

[Narrator/Announcer]

Well, if he's all right, then what are you, Willie?

[Female Character (possibly Sadie or Lucy)]

He's not all right. He won't be unless you make him.

[Narrator/Announcer]

Listen, if you're gonna start that talk about making Tom quit football again, you can drop it. My son's the greatest quarterback in this country. He'll be all American.

[Female Character (possibly Sadie or Lucy)]

You've ruined him, Willie. He's arrogant and selfish and spoiled and idle.

[Narrator/Announcer]

Oh, Lucy, let him alone. Let him be a man. Let him have fun. Goodness knows I never had any fun in my son.

[Female Character (possibly Sadie or Lucy)]

He thinks the world exists for him. That's what you've taught him. But they've caught up with you. And they'll catch up with him too, Willie.

[Narrator/Announcer]

So you're against me too.

[Female Character (possibly Sadie or Lucy)]

Oh, Willie, that isn't what I meant.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

But you.

[Female Character (possibly Sadie or Lucy)]

All this dishonesty they're talking about, this impeachment. The things they're saying about you.

[Narrator/Announcer]

Oh, Lucy, why can't anybody understand? I do what's got to be done, and I don't care how.

[Female Character (possibly Sadie or Lucy)]

But I care, Willie, and I can't stand much more. But I'll tell you that. I'm going up to see if Tom's still resting. Good night.

[Narrator/Announcer]

Looks like everybody's trying to run your business for you. They don't know a thing about it. They don't know how it is. And you can't tell them. Not Judge Irwin. Listen, you go to work on him tomorrow. You get something on him. On Judge Irwin? Sure. Well, you got something on him already. You've known him all your life. Sure, I've known him all my life. And I can tell you, you won't find anything on him. No, I won't. You find it. Suppose I don't get it before the impeachment comes up? Oh, forget the impeachment. I can bust it wide open. I just want something on him, just to know it's there. Now, you find it and make it stick. I had my orders. I had them from Willie Stark, Governor Stark, the boss. And how Willie Stark got to be Governor Stark and the boss. Well, that goes back. Back in 1922. They were building a schoolhouse in Mason City. There was a hookup between the the Board of County Commissioners and a contract with a brickyard that made lousy bricks. He built the schoolhouse. Two years later, the kids piled out onto the fire escape for a fire drill and the wall gave way and the fire escape spilled the kids three floors to the ground. Quite a few got killed. But it was some break for the man who'd fought against that crooked contract the county treasurer, Willie Stark. He had the county in the palm of his hand. And the city politicians kept that in mind. When they ran Willie for governor. I covered the campaign, if you. If you want to call it a campaign. It was awful. Willie was being framed, but he never tumbled. Not until the night before the Big Boy Barbecue at Upton. That night I was in my hotel room. It was about 10:30. Come in. Hiya, Willie. Where you been? All over Tiny Duffy. Big politician stuff, huh? Shake hands with all the leading citizens. Yeah. Well, what's the matter? Don't they talk nice to you? Sure. Sure, they talk all right. Then what's eating Jack? A man don't have to be governor. Huh? Men don't have to be governor. I wanted it, Jack. I won't lie to you. I'd have made a good governor if only they'd have listened. What do you want me to do, hold your hand? No. No, I don't. I ain't asking for sympathy. Not from you or nobody ever. Come in. The door opened and it was Sadie, Sadie Burke, who'd been sent along by the city boys to keep an eye on Willie and on their own boy Duffy. Sadie was a baggy tweed suit and a pockmarked face and a mop of black hair like it had been cut off with a meat cleaver. And Sadie'd come up from the mud flats where she was born by knowing what she wanted and playing it to win. Now Sadie stood in the middle of the room and stopped, her hand on its way to the bottle. She took a look at Willie and she knew something was wrong.

[Female Character (possibly Sadie or Lucy)]

What's up?

[Narrator/Announcer]

Nothing. Willie here was just saying how he's not going to be good governor.

[Female Character (possibly Sadie or Lucy)]

Yeah, so you told him. About time.

[Narrator/Announcer]

I never told him. Tell me what?

[Female Character (possibly Sadie or Lucy)]

Why, that you're not going to be governor.

[Narrator/Announcer]

Tell me what, you SAP. What was it?

[Female Character (possibly Sadie or Lucy)]

All right. All right, you SAP. You've been framed.

[Narrator/Announcer]

Framed.

[Female Character (possibly Sadie or Lucy)]

And how. You, You. You wooden headed decoy. You let him. You thought you were the little white

[Narrator/Announcer]

lamb and you let him take it easy, save.

[Female Character (possibly Sadie or Lucy)]

You thought you were the little white lamb. You know what you are? You're the goat.

[Narrator/Announcer]

But. But why? Why they do that to me? Why?

[Female Character (possibly Sadie or Lucy)]

Listen, the Harrison boys put you in to split the McMurphy Votema sticks. Now do you know, Jack?

[Narrator/Announcer]

Is it true? That's what they tell me. Give me a drink. Take it easy, Willie. You're not used to that stuff.

[Female Character (possibly Sadie or Lucy)]

He's not used to a lot of things, but he'll get used to it. And he'll get used to being a triple plated, spoon fed, one gallon SAP.

[Narrator/Announcer]

Next afternoon I poured Willie out to the barbecue and I propped him up on the platform. And then I got ready to lean back on my spine and pair my fingernails like I always did during one of Willie's spirit speeches. But my fingernails didn't get any attention that day because something had happened to Willie. Folks, folks, I. I ain't gonna make a speech today. I'm gonna tell you a story.

[Female Character (possibly Sadie or Lucy)]

It's about a hick. About a redneck like you all a

[Narrator/Announcer]

hick who thought he could maybe change things for himself. And folks like it. Well, one day the men in the city, they rode up to his pappy's place in a big car and they said how they wanted him to run for governor. And, oh, he swallowed it. He was a country boy who believed, like any one of you, that the plainest, poorest citizen can be governor if his fellow citizens think he's got the stone up for the job. And, oh, brother, how they took him in. They said they want him to try. He told him the whole thing. And Sadie Burke listened with her eyes narrowing. And Tiny Duffy tried to stop him and couldn't. And I saw something I was going to see a lot of times. And it was always going to get me the same way. I saw Willie Stark in action, hair down in his forehead, arms swinging, eyes be bulging and glittering like something was cutting loose inside of them. Something was that day.

[Female Character (possibly Sadie or Lucy)]

That's what they think we're for, to be fooled.

[Narrator/Announcer]

But, oh, we're gonna fool them instead. And what I learned this day, I'm never gonna forget. That what a hick wants, he gotta do for himself. So when I come back to run for governor again, I'm coming on my own and I'm coming for blood. The truth is going to be told and fired. Thunder.

[Female Character (possibly Sadie or Lucy)]

I'm going to tell it.

[Narrator/Announcer]

Four years later, there wasn't any campaign. There was a massacre. And the guy with the meat axe was Willie Stark. He went to work and he didn't care what he worked with or who. There was a lot of squawking, but the boss was in the saddle and he was riding. I was working for him and Sadie was working for him. I had a pretty soft job. I can't say about Sadie. She stayed, though, even if she had a lot to put up with. Things like. Oh, things like the time when the boss and I made the trip to Chicago. That time there was a blonde ice skater with phony Swedish hair. We weren't back two days when Sadie knew about it. First she blew up in the boss's office and then she came over into mine and blew what she had left over.

[Female Character (possibly Sadie or Lucy)]

I'll kill him. I swear it, I'll kill him.

[Narrator/Announcer]

You set a high valuation on something.

[Female Character (possibly Sadie or Lucy)]

I'll ruin him. I'll drive him out of this state. After all I've done for him.

[Narrator/Announcer]

Listen, don't tell me. I know too much already.

[Female Character (possibly Sadie or Lucy)]

Who made him governor? Who put him in a big time?

[Narrator/Announcer]

I reckon. You mean for me to say that? You did.

[Female Character (possibly Sadie or Lucy)]

And it's True. And now he goes in two times me.

[Narrator/Announcer]

He wasn't two timing you. He was two timing Lucy.

[Female Character (possibly Sadie or Lucy)]

Lucy. Lucy. She'd had her way, he'd be still slapping hogs in Mason City right now, and he knows it. He knows what she'd do for him.

[Narrator/Announcer]

You seem to think that Lucy's on her way out.

[Female Character (possibly Sadie or Lucy)]

Give him time. He'll ditch her. Why that.

[Narrator/Announcer]

Take it easy, Sadie.

[Female Character (possibly Sadie or Lucy)]

Jack. Jack, what was she like?

[Narrator/Announcer]

Who?

[Female Character (possibly Sadie or Lucy)]

In Chicago. Was she pretty?

[Narrator/Announcer]

She was nothing. Forget it.

[Female Character (possibly Sadie or Lucy)]

Forget it.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Look.

[Female Character (possibly Sadie or Lucy)]

Look at my face. Look at was a smallpox up there in that shack. My father, he'd come home drunk and start kissing me all over my face. Or else he'd just look at me and start slapping me. And that's the way I'll always drink. Sadie, no matter what you do for them, they'll kiss the face, then they'll kick dirt in it. That's the way it'll always be.

[Narrator/Announcer]

Listen, you make out all right. What do you care what he does?

[Female Character (possibly Sadie or Lucy)]

What do you know about it? What do you know?

[Narrator/Announcer]

Let him go. If it's all this grief, let him go.

[Female Character (possibly Sadie or Lucy)]

I'll kill him first. I'll kill him, I swear it. Listen. No matter who he runs after, he'll come back to me. He'll come back. He's got to. He can do without any of them, but he can't do without me. Do you hear? He can't do without Sadie Burke.

[Narrator/Announcer]

After a few years, the old McMurphy gang got the stirring around again and this impeachment thing came up. Well, the impeachment proceedings were killed before they ever got to the legislature. But the crowd didn't know that the wool hats and the Mother Hubbards that swirled around the Capitol that day, not singing, not yelling, just standing there. They didn't know. I did. And I wished I didn't. I wished I could have been hearing it for the first time when he came out and stood looking very small on the big steps in the flood of light and after a long time lifted his hand to quiet the roar.

[Female Character (possibly Sadie or Lucy)]

I tell you.

[Narrator/Announcer]

I tell you what I'm going to do.

[Female Character (possibly Sadie or Lucy)]

I'm going to build a hospital, the biggest and finest money can buy for

[Narrator/Announcer]

every man and woman of you for free. Because it is your right, you hear?

[Female Character (possibly Sadie or Lucy)]

It is your right. And I shall live in your will.

[Narrator/Announcer]

And you're right.

[Female Character (possibly Sadie or Lucy)]

And a man who tries to stop me, by heaven, I'll break it.

[Narrator/Announcer]

And I don't care what I hit him with or how. Because your will is my strength, your need is my justice. So that was licked. But I still had my orders to get something on Judge Irwin. You know, the easiest thing to think about is money. So I thought about money. Was there ever a time when the Judge didn't have enough money to make the Judge happy? I went first to the only two people living who knew him as well as I did. I fixed it up for us to have dinner together. Anne Stanton and Adam Stanton and I. And after dinner, I shot the question at them. Anne, was Judge Irwin ever broke?

[Female Character (possibly Sadie or Lucy)]

What are you talking about? Jag.

[Narrator/Announcer]

Was Judge Erwin ever broke? Think now. You too, Adam. The Judge? Why, no, I don't think. Yes. Wait a minute. Yes, he was, too. When? Let me see. I was just a kid. I heard them talking. It must have been about 1913 or 1914, huh?

[Female Character (possibly Sadie or Lucy)]

Thank you, Jack. Why did you want to know?

[Narrator/Announcer]

Oh, I don't want to know. My best pal wants to know. The guy who pays me the first of every month.

[Female Character (possibly Sadie or Lucy)]

Oh, you mean Stark.

[Narrator/Announcer]

Governor Stark, yes. Listen, Jack, what you do for a living is your business, but that man and his. That man? That man. That's what you all call him. He's done something for this state, and that's more than anybody else ever did.

[Female Character (possibly Sadie or Lucy)]

Including Judge Irwin and my father.

[Narrator/Announcer]

Your father was a nice guy. He was even a pretty good governor. You better say so. There's nobody like him. Maybe, but the rich still got richer and so forth. He ran this state from the top down. And Willie's running it from the bottom up. Why, he's going to build the biggest free hospital and medical center in the country. Sure, that's his bribe.

[Female Character (possibly Sadie or Lucy)]

Now, I suppose he wants you to find some scandal on Judge Irwin. He thinks everybody is as dirty as he is.

[Narrator/Announcer]

Well, let's forget it. What's the difference? If he knows erwin was broke 20 years ago, there's no law against it. Well, listen, I've got to be going.

[Female Character (possibly Sadie or Lucy)]

Oh, Adam, not yet.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

It's early.

[Narrator/Announcer]

Not for me. I've got three operations in the morning. Anyway, I've had my evening's worth of politics. So long, you two. Don't get up. I'll let myself out.

[Female Character (possibly Sadie or Lucy)]

Jack, why do you have to spoil everything? You didn't used to be this way. That man has done this to you.

[Narrator/Announcer]

Anne, if I was so wonderful before, why didn't you marry me?

[Female Character (possibly Sadie or Lucy)]

Leave that out of it. That man.

[Narrator/Announcer]

There you go again. That man. Just because he came off a dirt farm instead of a plantation. You're a bunch of snobs.

[Female Character (possibly Sadie or Lucy)]

All right, I'm snobbish. I'M so snobbish. I had lunch with him last week.

[Narrator/Announcer]

You what?

[Female Character (possibly Sadie or Lucy)]

I had lunch with him. A cheese sandwich in the cafeteria in the basement of the Capitol.

[Narrator/Announcer]

My, my. Governor Stanton's daughter having lunch with Governor Stark. What will the society editor say?

[Female Character (possibly Sadie or Lucy)]

I went to see him about getting the Children's Hospital. And I'm going to get it, too.

[Narrator/Announcer]

Does Adam know?

[Female Character (possibly Sadie or Lucy)]

What's the difference? It's just business.

[Narrator/Announcer]

Well, business or not, if you don't know his reputation with women, it's time you're dead. You're not supposed to be running around.

[Female Character (possibly Sadie or Lucy)]

Running around, running around. Don't be a fool. I'm nearly 35, and I can take care of myself. 35, Jack.

[Narrator/Announcer]

Practically senile.

[Female Character (possibly Sadie or Lucy)]

And I haven't done anything. Why didn't I do something? I could have been a doctor or a nurse or Adam's assistant.

[Narrator/Announcer]

Or gotten married to me.

[Female Character (possibly Sadie or Lucy)]

Oh, I don't mean just getting married.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

I mean.

[Narrator/Announcer]

You don't know what you mean, Anne. Except that little Jackie has spoiled your pretty evening. Let's leave it like that. Anyway, I'd found out something I wanted to know. Judge Irwin had once been broke, you know. You go looking for the secret passage in the old house. You tap along the wall, inch by inch, and you listen for the hollow sound. Here you are, young man. The records on the Irwin plantation. Thanks. What's a young fellow like you want to poke around the records in a county court out for? I'm just learning to read English. I want to practice. 1907, mortgage, Montague Irwin, $42,000. Foreclosure proceedings begun March 1914. May 1914. Mortgage paid in full. Hmm. He paid that mortgage. He paid it while he was running a cotton plantation. You don't clear that kind of money in one season on a cotton plantation. He was also Attorney General under Governor Stanton. You don't get rich there, either. At least you're not supposed to. Times Chronicle, February 26, 1914. Montague Irwin, attorney General, today dropped the suit against the Southern Bell Fuel Company for recovery of $150,000 in back royalties on the state coal lands. In the opinion of the Attorney General, the terms of the contract are ambiguous and the state has no case. Madison Corporation, New York City, is holding company for Southern Bell Fuel Company, also American Electric Power Company. You get to that point, and then you pray there isn't anything else to do. So you pray. You fall asleep. And right before you go to sleep, you pray it'll come to you in a dream. And it did. Just a name. A funny Name Mortimer LittlePaw. In a fifth page headline on some old cheese smelling newspaper someplace back in my life, the headline read, Coroner's Jury decides Mortimer Littlepaw. Death, Accident. And under that, General counsel for the American Electric Power Company.

[Female Character (possibly Sadie or Lucy)]

Yes?

[Narrator/Announcer]

Ms. Little Par. Yes?

[Female Character (possibly Sadie or Lucy)]

You wish to commune with some departed spirit?

[Narrator/Announcer]

That's right.

[Female Character (possibly Sadie or Lucy)]

Come in. Sit there while I put out the candles. The spirits will not come where there is light.

[Narrator/Announcer]

Oh, that's understandable.

[Female Character (possibly Sadie or Lucy)]

Are you ready now? I reckon first I must make contact

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

with the spirit world.

[Female Character (possibly Sadie or Lucy)]

The spirits are ready. With whom do you wish to commune?

[Narrator/Announcer]

Ask for Mortimer. Mortimer. Mortimer. Mortimer Littlepaw. Your brother, Mortimer. I want to ask him about the suicide.

[Female Character (possibly Sadie or Lucy)]

Suicide? You. You've tricked me.

[Narrator/Announcer]

I just want to know about Mortimer.

[Female Character (possibly Sadie or Lucy)]

My. My brother's death was an accident.

[Narrator/Announcer]

That's what the newspaper story said. Get out.

[Female Character (possibly Sadie or Lucy)]

Get out. You. I. I thought you were all right.

[Narrator/Announcer]

I may not be all right, but my money is. Look. Look at this. 100 bucks. Tell me about the letter from Mortimer that the bellboy swore he mailed to you. And you swore you never got.

[Female Character (possibly Sadie or Lucy)]

No. No, it's a lie.

[Narrator/Announcer]

What's the matter with you? Don't you need money? Here. 200 more. Pick it up and start talking.

[Female Character (possibly Sadie or Lucy)]

No. I know you. You're from the insurance company.

[Narrator/Announcer]

Look, look. The insurance company's forgotten all about it. Nobody cares. He was driven to kill himself, wasn't he? He'd given years to that company. And when they threw him out to make room for another man. Isn't that so?

[Female Character (possibly Sadie or Lucy)]

He did. That man. He drove my brother to his death. They hired him. It was a bribe and my brother knew it. But they said he couldn't prove it and they threw him out.

[Narrator/Announcer]

So he killed himself.

[Female Character (possibly Sadie or Lucy)]

He was old and sick. He'd worked all those years. He didn't know that they would throw him out. And when they did, he. He went to the Governor and.

[Narrator/Announcer]

What. What did you say to the governor?

[Female Character (possibly Sadie or Lucy)]

To Governor Stanton. And they told him.

[Narrator/Announcer]

Listen, Listen. Are you telling me that Governor Stanton.

[Female Character (possibly Sadie or Lucy)]

He wouldn't listen. It's all in the letter Mortimer wrote me. It's all there.

[Narrator/Announcer]

Where's the letter?

[Female Character (possibly Sadie or Lucy)]

I. I have it.

[Narrator/Announcer]

Look. $400. Give me the letter.

[Female Character (possibly Sadie or Lucy)]

No. You want to get rid of it? You're that man's friend.

[Narrator/Announcer]

He wouldn't think so. Give it to me. I'll.

[Female Character (possibly Sadie or Lucy)]

When I went to the Governor.

[Narrator/Announcer]

You went to the governor too.

[Female Character (possibly Sadie or Lucy)]

After my brother was dead, I went. I asked him to punish that man, but he said that man was his friend. But I had no proof.

[Narrator/Announcer]

Good Lord. Did you show him the letter?

[Female Character (possibly Sadie or Lucy)]

Yes. And he just stood there and said he'd have me punished for perjury because I'd sworn I never got it.

[Narrator/Announcer]

Miss Little Paw. Give me the letter.

[Female Character (possibly Sadie or Lucy)]

No. I'm afraid.

[Narrator/Announcer]

Don't be afraid. Get it. Nobody will bother you now. I swear it. She got it. And it was all there. For nothing is ever lost. There's a. There's always something, the boss had said. The twitch in the old wound, the slimy bottom in the clear pool. The oily track across the clean snow. There's always the truth. And we history students, we love the truth. From Hollywood, the NBC University Theater is bringing you Wayne Morris in a radio play based on Robert Penn Warren's novel All the King's Men, another in our series of dramatizations of outstanding works by modern American and British authors. If you are interested in supplementing your enjoyment of these productions with home study under college supervision, be sure to listen the announcement to be made at the close of our program. Our intermission speaker today is Mr. Granville Hicks, author of the Great tradition, Small Town, John Reed, the Make Out Other books. We present Mr. Hicks speaking to you from Schenectady. Robert Penn Warren, who was born in Kentucky 43 years ago, is a teacher, a critic, a poet and a novelist. He has taught at Southwestern University and the University of Louisiana and is now at the University of Minnesota. And he is a shining exception to George Bernard Shaw's rule that those who can do and those who can't, teach. For his reputation as a teacher of writing, high as it is in the profession, is surpassed by his reputation as a writer. All the King's Men, which was given the Pulitzer Prize as the best novel of 1946, was Warren's third novel, although it was the first of his books to reconsider large public. His first novel, Knight rider, published in 1938, has recently been reissued, and it is worth reading. So, for that matter, is his second novel, At Heaven's Gate. All three of these books resemble, in certain ways, the sociological novels of such writers as John despassos and John Steinbeck. That is, each of them is directly concerned with problems that grow out of the organization of society. But Warren's emphasis is different from the emphasis of the left wing novelists of the 30s. They said, in effect, here is an evil situation. How can we remedy it? He asks, what does this situation mean? What moral values apply to it? All the King's Men is a dramatic story of political intrigue in a southern state with a central character Willie Stark, who was obviously suggested by the late Huey Long. The style is racy, colloquial, and very skillful. Very often, Warren's prose rises to a rich and original imagery, and the reader remembers that this man is a poet. In the novel, as in the dramatization we are listening to, Jack Burden tells the story, and it is his story as much as it is Willie Starks and perhaps more. Willie Stark acts, and his actions are both good and bad. He acts and does not reflect. Jack Burton reflects, trying to understand the significance of Willie's life and his own. He begins by believing that life has no meaning, but in the end, he perceives that even if history is blind, man is not. The meaning of life is not discovered. It is created by the effort of man's imagination, intelligence, and will. From the beginning of his career, Robert Penn Warren has known that the philosophical problem, the moral problem, and the social problem cannot be understood separately, and he has had the courage to tackle them all together. That courage, combined with his insight and craftsmanship, have made him one of the most important of contemporary novelists. A dramatization of all the King's Men, starring Wayne Morris, continues from Hollywood. After a brief pause for station identification. The seven months I was digging on Irwin, the boss was plenty busy. It was that hospital he had dreamed up. He had it on his mind. Tiny Duffy had it on his mind, too. Tiny Duffy, the fat politico in the striped pants from the days of that first campaign. Tiny was lieutenant governor now because the boss just liked to keep him around to look at him and to make him sweat. Yes, Tiny had his mind on the hospital, all right. There was $6 million going into it, and Tiny was just one big overgrown itch. So one day I walked into the boss's office and Tiny was standing on the hearth rug and the tallow was melting off him fast. Look at him, Jack. Look at him. Tiny, you can't miss him. Look at him. Tried to trick me. You got that contractor in here, that gummy Larson boss.

[Female Character (possibly Sadie or Lucy)]

I. I thought.

[Narrator/Announcer]

You thought you'd tricked me into giving Larson the hospital contract so you could get your.

[Female Character (possibly Sadie or Lucy)]

No, boss.

[Narrator/Announcer]

Go on, get out.

[Female Character (possibly Sadie or Lucy)]

Get out. I'm going, boss.

[Narrator/Announcer]

I'm going to. Can't he understand? I don't want him messing with this thing. What'd you expect? There's $6 million in it. Yeah, but not for him. He's just being logical, according to his lights. Listen, Jack, I'm building the best hospital in the country, the Willy Stark Hospital. And Tiny's not gonna mess with it? Yes, sir. The biggest and the best. And anybody can go there without a dime. And. And vote for you. I don't care if they vote for me or not. And get that grin off your face. Listen, I'll still grin when I feel like it. Jack. Can't you understand? It's gonna be all the best. Oh, yeah. The guy that'll run it, he's gonna be the best too. They told me up in New York who to get who. And you're gonna get him for me. Dr. Adam Stanton. What? Boss, are you seeing pink elephants? You get him. Look, boss, Adam hates your guts. I'm not asking him to love me. I'm asking him to run my hospital. And I'm telling you to get him. Listen, Adam, I want to tell you something. And don't start yelling till I'm through, okay? Jack, Governor Stark wants you to be the director of the new hospital. No, thanks. Look, look. Think it over. You can write your own ticket. The boss said. The boss can't buy me, and he can't set me either. He's not trying to. Now, take it easy. It's no disgrace. Maybe not, but the answer is still no. Listen, Anne, we've been walking for two hours. Three more steps and we'll be in the river.

[Female Character (possibly Sadie or Lucy)]

All right, Jack. Let's stop here.

[Narrator/Announcer]

Okay. Now, what do you want?

[Female Character (possibly Sadie or Lucy)]

To talk about Adam.

[Narrator/Announcer]

What about Adam?

[Female Character (possibly Sadie or Lucy)]

Oh, you know perfectly well. You went there and told him.

[Narrator/Announcer]

Look, I just made him a proposition, Jack.

[Female Character (possibly Sadie or Lucy)]

You've got to make him take it. He's got to take it.

[Narrator/Announcer]

Why?

[Female Character (possibly Sadie or Lucy)]

To save himself. There's something driving him.

[Narrator/Announcer]

What?

[Female Character (possibly Sadie or Lucy)]

Oh, I don't know. I don't know him anymore. I went to talk to him about it, and we had such an awful row. I told him he was being selfish, and he said a man owed it to himself not to touch filth.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

And.

[Female Character (possibly Sadie or Lucy)]

Oh, Jack, why is he this way?

[Narrator/Announcer]

Why? Why? Oh, because he's the son of Governor Stanton and the grandson of Judge Stanton. He's ready to throw the world away because it doesn't look like his nice, romantic, aristocratic picture of it.

[Female Character (possibly Sadie or Lucy)]

That's why he's got to take it.

[Narrator/Announcer]

Are you sure you mean that? Because I can make him.

[Female Character (possibly Sadie or Lucy)]

How?

[Narrator/Announcer]

I can change his picture of the world. I can give him a history lesson.

[Female Character (possibly Sadie or Lucy)]

A history lesson?

[Narrator/Announcer]

Mm. You remember when I asked you about Judge Irwin being broke? Well, he was broke. And he took a bribe, and I can prove it.

[Female Character (possibly Sadie or Lucy)]

Judge Irwin a bride? But he was Father's friend.

[Narrator/Announcer]

That's right.

[Female Character (possibly Sadie or Lucy)]

My father took a bribe.

[Narrator/Announcer]

No, no, no, no, not that bad.

[Female Character (possibly Sadie or Lucy)]

Not that bad. Not that bad. I don't believe it.

[Narrator/Announcer]

Oh, it's true. He knew about the judge and for the protected him. I've got documents to prove it. I'm sorry, but it's true.

[Female Character (possibly Sadie or Lucy)]

Sorry? You're sorry? You don't touch me, you. You've dug it all up for that man Stark. All the lies. And now you say you're sorry? I hate you, Jack Burton. I hate.

[Narrator/Announcer]

Hello, Jack. And I was hoping you'd call.

[Female Character (possibly Sadie or Lucy)]

Jack, those papers you sent me, those photostats. I showed them to Adam. Oh, Jack, it was awful.

[Narrator/Announcer]

I know.

[Female Character (possibly Sadie or Lucy)]

No, you don't. You can't. He loved Father so much.

[Narrator/Announcer]

Yeah. What about the job?

[Female Character (possibly Sadie or Lucy)]

He'll do it, Jack. He told me to tell you that you could arrange everything with Governor Stark.

[Narrator/Announcer]

Well, Doc, what do you think of it? What? My hospital. I think it will do the state some good, Governor, and get you some votes. Forget the votes, boy. There are lots of ways to get votes. So I understand. Stand. It'll do. Good. But not unless you take it over. I won't stand any interference. I might fire you, but I won't interfere. Well, I told you I'd take the job. That's all we have to talk about. Sure, Doc, sure. And don't you worry. I'll keep your little hands clean. Don't you worry about a thing. I can take care of myself. Sure you can, Doc. And it's all your baby. What you say goes. Oh, you're a great guy, Doc, a great guy. And don't you let anybody tell you different. And so it was settled. But not for me. I'm a student of history and I had a question. Anne had gone to talk to Adam about the hospital, who had told Ann about the offer. The question simmered in my mind for weeks without any answer. But I found out. I found out on a. I heard Sadie making a racket in the boss's office. I'd heard her make plenty of those rackets. They'd gotten to be mechanical. They didn't mean anything to her anymore. But this was different. I knew it. As soon as she got through with them and came slamming into my office, I knew this was different. This was like the good old days.

[Female Character (possibly Sadie or Lucy)]

I'll kill him. I'll tell you, this time I'll kill him.

[Narrator/Announcer]

Take it easy, Sadie.

[Female Character (possibly Sadie or Lucy)]

He's done it again. He's two timing.

[Narrator/Announcer]

Now, Sadie, we've gone into all this before. It's Lucy. He's two timing, not you. I.

[Female Character (possibly Sadie or Lucy)]

Shut up. You and Your high toned friends.

[Narrator/Announcer]

My what?

[Female Character (possibly Sadie or Lucy)]

Your high toned friends. You ought to come mixing them in.

[Narrator/Announcer]

What are you talking about?

[Female Character (possibly Sadie or Lucy)]

I'll show her. I may not be so high toned, but I made him governor. I'll show her.

[Narrator/Announcer]

Sadie, what in the.

[Female Character (possibly Sadie or Lucy)]

You know what I'm talking about. Why don't you go in there and knock him down? I thought she was yours.

[Narrator/Announcer]

Who?

[Female Character (possibly Sadie or Lucy)]

Maybe he's fixed you up too. Like that doctor. Yeah, what's he making you director of

[Narrator/Announcer]

Lady Sadie, you don't know what you're saying. Sadie, you're not saying that she. That she. She.

[Female Character (possibly Sadie or Lucy)]

Yeah, she. She. That's just what I'm saying. Anne Stanton.

[Narrator/Announcer]

So I knew who'd told Anne about the hospital. I had come away from Burden's Landing and gone over to Willie Stark. And now, somehow, by an obscure and necessary logic I had handed Anne Stanton over to Willie Stark, too. Anne, who'd been all my days and all my dreams when I was 21. Ann, who had loved me. Ann Stanton, who belonged to Willie Stark. Well, the summer went on and we lived in it and nothing changed. And then on my way to the boss's office one day I got slammed out of the way by 180 pounds of sure bet for All American which was on its way out. Kind of looked like Tom Stark had been on the carpet. And the carpet belonged to Willie Stark. Jack, I ought to break that kid's neck. Well, this is a new one. What's up? What's up? A rat named Fry come to see me. Said Tom's got to marry his daughter. Get that? No routine, huh? Who's behind Fry? What do you think? McMurphy had a guy over here right on Fry's heels. McMurphy can make Fry see reason, I suppose. That's right. What's he want? The Senate. And so do you. And I'll get it. Judge Irwin can stop McMurphy. Remember I told you to get something on him. Where is it? I got it, huh? Listen, boss. I'm gonna give Judge Irwin a break. If he can prove it isn't true, I won't spill it. Listen, who you working for? I'm giving him a break. Okay, Jack. Do it your way. But if it'll stick, you know what I want. And it better stick. Well, Judge, you through reading? You've done quite a research judge. Job here, Jake. Must have taken you quite a while. Yes, it did. It is difficult for me to believe. Me too, Judge. Thanks for that, Mr. Jack. Does stock know? No. No, I told him I wouldn't tell him. Until I'd seen you. You have tender sensibilities for a blackmailer. You're trying to protect the blackmailer. No, Jake. No, I'm not trying to protect McMurphy. I'm. Maybe I'm trying to protect myself. You know how to do it, then. Just tell McMurphy to lay off a Tom Stark. No, Jack. I'll be back tomorrow, Judge. Look, you think it over and make up your mind. I know my own mind, boy. Made up. I'll be back tomorrow, Judge. Sure, Jack. Sure. You come back tomorrow. But my mind is made up. His mind was made up, all right. That afternoon, Montague Irwin, who'd once taught me to shoot ducks shot himself through the heart. There was only one thing left for the boss to do about McMurphy and that was to buy Gummy Larson. He did it. Gummy got the hospital cover contract. But the boss took it hard. You tell him. You tell him. He leaves one window latch off. He leaves one sack of cement out of that concrete. If he puts in one extra teaspoonful of sand, I'll rip him open. I'll rip them all open. That hospital, they're putting their dirty hands on it, and it's mine. Tom Stark did that. And then Tom Stark did something else. Tom Stark went out on the football field one Saturday. The 180 pounds of beautiful mechanism, the quarterback to dream about the darling of the grandstands. Went down in the scrimmage and didn't get up. The boss sent me to bring Lucy to the hospital.

[Female Character (possibly Sadie or Lucy)]

Willie. Willie. How is he?

[Narrator/Announcer]

Look here, Lucy. He's all right. He. He's gonna be all right.

[Female Character (possibly Sadie or Lucy)]

How is he, Willie?

[Narrator/Announcer]

I told you, he's all right.

[Female Character (possibly Sadie or Lucy)]

You say it, but what does the doctor say?

[Narrator/Announcer]

I'm waiting for Stanton now, but Tom's all right. You understand?

[Female Character (possibly Sadie or Lucy)]

Can I see him, Jack?

[Narrator/Announcer]

Yeah. Show her the way, William. Oh, wait. Governor Stark. Well, doc? There's a fracture and dislocation of the fifth and sixth cervical vertebra. What's that mean? He has a broken neck. Go on. We can do either of two things. Put him in a cast, operate. Go on. The operation is the outside chance it may be fatal. We may also find that the spinal cord has been crushed. In that case, the patient will remain paralyzed for the rest of his life. Go on. I advise the operation, but I want you to know it's radical. It's the gambler's choice. Well, do it, Mrs. Stark. Yes, very well. I shall operate immediately. Do it. Oh, my boy.

[Female Character (possibly Sadie or Lucy)]

Sit down.

[Narrator/Announcer]

Worry.

[Female Character (possibly Sadie or Lucy)]

Sit down and rest.

[Narrator/Announcer]

Don't you worry, Lucy. He's gonna be all right. God grant it, he will. He's got to. Lucy.

[Female Character (possibly Sadie or Lucy)]

Yes, Willie?

[Narrator/Announcer]

You know what I'm gonna do? I'm gonna name the new hospital for him, for my Tom. The Tom Stark Hospital. It'll be named for him. It'll be.

[Female Character (possibly Sadie or Lucy)]

Willie, don't you see?

[Narrator/Announcer]

Huh?

[Female Character (possibly Sadie or Lucy)]

These things don't matter. None of them. He was my baby boy. He was our baby boy, Willie. And these things don't ever matter. Don't you see?

[Narrator/Announcer]

Three hours, Lucy. Three hours. What are they doing? Jack, why don't you go see what they're doing? Look, boss, why don't you try to lie down? You've been up all night. Lie down. Jack, don't you understand? That boy in there, that's my boy. Well, Governor Stark, he will live.

[Female Character (possibly Sadie or Lucy)]

Thank God.

[Narrator/Announcer]

The spinal cord was crushed. No. I'm sorry, Governor. Tom. Tom.

[Female Character (possibly Sadie or Lucy)]

Willie. Come, Willie, it's time to go.

[Narrator/Announcer]

Sit down, Jack. I want you to be in on this, Tiny. Yeah, boss? There won't be any contract with Gummy Larson. Boss.

[Female Character (possibly Sadie or Lucy)]

Boss, you can't.

[Narrator/Announcer]

Boss. Yes, I can. You tell Larson. Go on, tell him. Tell him now. Go on, get out.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Get out.

[Narrator/Announcer]

Shut the door, Jeff. Sure. Well, the boss. It doesn't matter if you kick Tiny around some more. He's built for it. But Larson's a different cookie. Listen, Jack. Don't you understand, Boy, you gotta start someplace. I didn't know what he was talking about. And he got up and he went to Sadie's office. And I could hear them having words, but I couldn't catch any of them. So I went about my business. And it was late afternoon before I got back to my office and got the message to come to Anne Stanton's apartment right away. Jack.

[Female Character (possibly Sadie or Lucy)]

Jack, you've got to find him. You've got to.

[Narrator/Announcer]

Jack. Find who?

[Female Character (possibly Sadie or Lucy)]

Tell him how it was. Tell him it wasn't what they said. Tell him it wasn't because of me.

[Narrator/Announcer]

What?

[Female Character (possibly Sadie or Lucy)]

Find him, Jack. Find him. You've got to.

[Narrator/Announcer]

You come out of it. Now, stop jabbering.

[Female Character (possibly Sadie or Lucy)]

Now, tell me, Adam. He said it was all because of me.

[Narrator/Announcer]

What was that?

[Female Character (possibly Sadie or Lucy)]

He was made director of the hospital because of me. Because of me and stuck. Jack, you've got to find him. Find him and tell him.

[Narrator/Announcer]

Stop it or I'll shake your teeth out. Now, start at the beginning.

[Female Character (possibly Sadie or Lucy)]

He came up here. He started calling me names. It was awful.

[Narrator/Announcer]

What did he tell you?

[Female Character (possibly Sadie or Lucy)]

Some man had called him and told him about.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

About.

[Narrator/Announcer]

About you and Governor Stark.

[Female Character (possibly Sadie or Lucy)]

The man told him that Was the reason he was made director. And Adam, he believed it. He believed it all. He said terrible things. Jack, you've got to find him and tell him.

[Narrator/Announcer]

Tell him what?

[Female Character (possibly Sadie or Lucy)]

Tell him. It wasn't like that, Jack. I loved Willie. I loved him. And he's gone.

[Narrator/Announcer]

Stark's gone.

[Female Character (possibly Sadie or Lucy)]

I went to the place. Place where we always met. He called me to come there. And he told me he's going back to his wife.

[Narrator/Announcer]

Well, I'll be done. He said you had to start someplace.

[Female Character (possibly Sadie or Lucy)]

What?

[Narrator/Announcer]

Oh, nothing. I'll find Adam.

[Female Character (possibly Sadie or Lucy)]

Get him. Get him, Jack. He's all I've got now.

[Narrator/Announcer]

I went looking for Adam, but I didn't find him. Around nine at night, I got a message from the boss to come over to the Capitol. We walked together across the big domed lobby crowded with men because the legislature was in session. And then there were two shots. The one from Adam's.22 that got the boss. And the one from the state patrolman's.38 that got Adam. They buried the boss in a crowd that it took the police two hours to clear away afterward. And they buried Adam with just me and Ann and a few snoopers who came around then. For weeks I stayed at the Landing to be near an then I couldn't stay there anymore. I was the history student, and there was something I wanted to know. Hope you don't mind my coming to see you, Sadie.

[Female Character (possibly Sadie or Lucy)]

Why should I mind?

[Narrator/Announcer]

How you getting on?

[Female Character (possibly Sadie or Lucy)]

All right. Why shouldn't I be? What do you want?

[Narrator/Announcer]

Oh, I came to ask you a question, Sadie. Adam Stanton killed the boss, but he didn't get that idea himself. Somebody primed him, Sadie. Somebody called Adam up that afternoon and gave him the whole works. Do you have any idea who it was?

[Female Character (possibly Sadie or Lucy)]

I don't need any idea. I know who. Duffy.

[Narrator/Announcer]

How do you know?

[Female Character (possibly Sadie or Lucy)]

You? Why do you always have to mess in things?

[Narrator/Announcer]

How do you know?

[Female Character (possibly Sadie or Lucy)]

Why can't you leave me alone?

[Narrator/Announcer]

How do you know?

[Female Character (possibly Sadie or Lucy)]

Because I told him to.

[Narrator/Announcer]

You killed him.

[Female Character (possibly Sadie or Lucy)]

Stop looking at me like that. All right, I killed him. He was throwing me over for that Lucy. And after what I did for him.

[Narrator/Announcer]

You killed Adam Stanton.

[Female Character (possibly Sadie or Lucy)]

Adam Stanton. I killed Willie. I killed him.

[Narrator/Announcer]

Yes. Well, I guess I found out what I came for. We'll fix Duffy.

[Female Character (possibly Sadie or Lucy)]

It won't stick in a court.

[Narrator/Announcer]

There's other ways.

[Female Character (possibly Sadie or Lucy)]

It'll drag her into it. You know that.

[Narrator/Announcer]

Aunt Stanton, she'll do it. I want to get Duffy.

[Female Character (possibly Sadie or Lucy)]

Suits me. The world's full of duffies. I've been knowing them all my life.

[Narrator/Announcer]

I'm just thinking about one.

[Female Character (possibly Sadie or Lucy)]

Jack.

[Narrator/Announcer]

Yeah?

[Female Character (possibly Sadie or Lucy)]

Let it drop.

[Narrator/Announcer]

What?

[Female Character (possibly Sadie or Lucy)]

Let it drop, Jack.

[Narrator/Announcer]

I don't get it.

[Female Character (possibly Sadie or Lucy)]

That Stanton girl, Jack. She's had enough to put up with, I guess.

[Narrator/Announcer]

That doesn't sound like you, Sadie, don't it?

[Female Character (possibly Sadie or Lucy)]

Listen, I'm not saying she's my best friend, but it'll be awful rough on her. Jack, give her a break. Let it drop.

[Narrator/Announcer]

Okay, Sadie. I'll let it drop.

[Female Character (possibly Sadie or Lucy)]

It was nice of you to come out, Jack.

[Narrator/Announcer]

It's been a long time, Lucy. Thought I'd see how you was getting along.

[Female Character (possibly Sadie or Lucy)]

I've been well, Jack. And you?

[Narrator/Announcer]

Oh, fine, fine. I'm getting married to Ann Stanton.

[Female Character (possibly Sadie or Lucy)]

Oh, I'm glad. I hope you'll be happy.

[Narrator/Announcer]

Thanks.

[Female Character (possibly Sadie or Lucy)]

You knew Tom was dead.

[Narrator/Announcer]

Yes. Yes, I. I knew that.

[Female Character (possibly Sadie or Lucy)]

Pneumonia. He died very quickly. I'm resigned now, Jack. And God has given me something so I can live. Would you like to see him?

[Narrator/Announcer]

Him? Who?

[Female Character (possibly Sadie or Lucy)]

I'll show you. Come on. This way. What? It's Tom's baby. It's my grandchild. You remember, Jack.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

That poor girl.

[Narrator/Announcer]

Yeah. Boy, do I. I went to see

[Female Character (possibly Sadie or Lucy)]

her and I persuaded her to let me adopt him.

[Narrator/Announcer]

A legal adoption?

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Oh, yeah.

[Female Character (possibly Sadie or Lucy)]

I gave her what I could. It wasn't much. Willie always spent everything he made. But I gave her $6,000.

[Narrator/Announcer]

Well, that was nice for her.

[Mercedes McCambridge (Narrator/Character in America's Boyfriend)]

Here.

[Female Character (possibly Sadie or Lucy)]

Don't you want to hold him?

[Narrator/Announcer]

Yeah, sure. What's his name?

[Female Character (possibly Sadie or Lucy)]

Well, at first I thought I'd name him for Tom. And then it came to me. I name him for Willie. His name is Willie Stark.

[Narrator/Announcer]

Willie Stark.

[Female Character (possibly Sadie or Lucy)]

You know, Jack, I named him for Willie because. Well, because Willie was a great man. He made mistakes, Jack. Maybe he did do bad things, like they say. But inside. Inside, he was a great man. A great man. You see, Jack, I. I just have to believe.

[Narrator/Announcer]

The curtain falls on our dramatization of Robert Penn Warren's all the King's men, the 16th in our current series of radio plays based on outstanding works in modern Anglo American fiction. You may learn more about these authors and their works by enrolling in the college supervised courses being offered in connection with the NBC University of the Air. This week we're happy to announce that the University of Tulsa at Tulsa, Oklahoma, has completed its plans for offering such a course, thus joining the University of Louisville and Washington State College, whose established home study plans are already serving listeners in other areas of the the nation. For information then on how you may enhance your knowledge through these courses, write to the NBC University of the Air in care of the University of Louisville. Louisville, Kentucky. Washington State College. Pullman Washington, or the University of Tulsa, Tulsa, Oklahoma. This dramatization was written by Clarice A. Ross. Your intermission commentator was the distinguished author, Mr. Granville Hicks. Starred in the role of Jack Burton was Wayne Morris, who will soon be seen in the Warner Brothers picture John Loves Me Mary. Our cast included Paul Freeze as Willie, Paul McVeigh as the judge, Lois Corbett as Lucy, Sylvia Sims as Sadie, Jacqueline DeWitt as Anne, Louis Van Ruten as Adam, and Stone as Lily, and Jim Nusser as Tiny. Your announcer, Don Stanley, director of the NBC University Theater is Andrew C. Love. Original music for all the King's Men was composed and conducted by Albert Harris. Next week at this time time listen for the NBC University Theater's presentation of the Ministry of Fear by Graham Green, starring Alan Mowbray. Foreign this program came to you from Hollywood. Yes, indeed. It is a wonderful Sunday on NBC. Listen first for the adventures of Ozzing and Harriet. Then it's time for Horace Height with more talented new entertainers, followed immediately by the shenanigans of Phil Harris and Alice Fay. Then for Fred Allen with guest Charles Boyer, topped off with Robert Cummings in let's Live a Little on NBC Theater and many, many other fine programs. Listen all evening for your wonderful Sunday on most of these NBC stations. This is NBC, the National Broadcasting Company.

[Show Host]

We just heard Broderick Crawford and Mercedes McCambridge, the stars of all the King's Men that will do it for this week's show. Thanks so much for joining me. I hope you'll be back next week for more old, Old Time Radio suspense. In the meantime, you can check out down these Mean 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 O TR I'll be back next week with another Hollywood classic and it stars each of them appearing in a tale well calculated to keep you in

[Narrator/Announcer]

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.