I Love Adventure and Suspense

Summary

The Relic Radio Show – “I Love Adventure and Suspense”
Date: March 24, 2026
Host: RelicRadio.com

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Episode Overview

This episode of The Relic Radio Show dives into the allure of old-time radio with two classic programs:

1. “I Love Adventure” – The Pearl of Great Price (May 16, 1948), a high-stakes adventure involving secret societies, lost cities, and a mysterious gem.
2. “Suspense” – Dime a Dance (Jan 13, 1944), starring Lucille Ball, a noir thriller steeped in the grit and danger of a 1940s dance hall, with a menacing killer on the loose.

The host provides minimal commentary, letting the original stories take center stage and reviving the magic of radio’s golden age.

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Segment 1: I Love Adventure – “The Pearl of Great Price”

[00:25] – [28:33]

Main Theme

A secret assignment leads operatives Jack Packard and Reggie York to the heart of French Indochina, on a mission for the mysterious “21 Old Men.” The quest for the fabled Pearl of Great Price sets them against criminal intrigue, treacherous landscapes, and a tangle of international interests.

Key Discussion Points & Story Highlights

• Arrival and Assignment

  • Jack and Reggie report to the grandiose headquarters of the 21 Old Men at 10 Gramercy Park, London.
  • The mysterious group tasks them with heading to Indochina (“Come to London at once for assignment in French Indochina” [00:33]), emphasizing secrecy and urgency.
  • Briefing includes a wry exchange about “21 old graybeards.” They correct: “The majority of our members are entirely smooth shaven.” [~04:30]

• Journey to the Edge of Civilization

  • The two are flown to a remote outpost and picked up by Flora, a resourceful Englishwoman with a tragic backstory (“My husband…couldn’t resist the charms of the native women. I found him…with a kris straight through him. I guess that taught him.” – Flora [07:13]).
  • Flora briefs them: a sacred temple in Burma has been robbed, the loot—including the Pearl of Great Price—is rumored to be guarded by priests in the lost city of Shiva (“There is a pearl of great price hidden there. Those are the words I was told to give you.” – Flora [09:08]).

• Betrayal and Capture

  • Just as the assignment is revealed, Jack and Reggie are ambushed by jungle men and rendered unconscious.
  • They find themselves captives on an elephant caravan deep in the jungle, bound and at the mercy of their captors [12:06].
  • Suspicious that Flora betrayed them, Jack remarks, “I think Flora framed us with this bunch of bandits.” [13:09]

• The “Lost City” and Unexpected Hospitality

  • Delivered to the lost city of Shiva, they are released and treated as honored guests by the enigmatic local leader.
  • “You bring us here and then do our bidding? Yes. The elephant and camels are tied up in the jungle to the west of the city. We await your orders.” [~16:00]
  • The elephant driver is alternately insulted and bribed; the tension yo-yos between threat and uneasy alliance.

• Discovery and the Real “Pearl”

  • Jack and Reggie break into the temple and discover a hidden tunnel, finding a train of Tibetan ponies carrying loot.
  • The “pearl of great price” is revealed not to be a gemstone but a Burmese princess. “The pearl of great price, I say. Well, how about that? We're looking for a piece of jewelry and come up with a Burmese princess.” [22:29]

• The Escape and Coda

  • Amid pursuit and jungle dangers, the group escapes with the princess. Flora and Jack meet again in the moonlit garden, their misunderstandings resolved.
  • Cue romance: “Tell me something. Does that Shiva temple over there go on with that Chinese flute like that forever?” [26:44]
  • The next assignment looms: “You are requested to return to London immediately…in connection with a hundred million dollar diamond robbery…” [28:11]

Notable Quotes & Memorable Moments

• “No wonder I feel reverent. I’m communing with the ghosts of the great names of history.” – Reggie York [00:56]
• “I deliver these men into your hands and you treat me like a piece of merchandise!” – Flora, upon their capture [10:49]
• “You bring us here and then do our bidding?…The elephant and camels are tied up. We await your orders.” [16:00]
• “We're looking for a piece of jewelry and come up with a Burmese princess.” [22:29]
• “Adventure. That's all you care about. You care nothing for a pretty woman. All you want is adventure.” – Flora [28:24]

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Segment 2: Suspense – “Dime a Dance” (Lucille Ball)

[30:40] – [58:33]

Main Theme

A taut murder mystery set in the seedier side of New York nightlife. Taxi dancer Ginger Allen (Lucille Ball) is stalked by a serial killer who preys on red-haired dance hall girls and pays a "dime a dance." The show weaves together noir intrigue, romance, and danger.

Key Discussion Points & Story Highlights

• Setting the Scene

  • Ginger introduces her world: a bustling Broadway dance hall, where 50 girls dance for a dime per song.
  • Friend Julie is missing, heightening the sense of unease from the start.

• Murder and Investigation

  • Julie’s death is revealed: “Julie's dead.” – Marino [35:06]
  • Police piece together clues—a worn-out phonograph needle, bloodied dimes, the song "Poor Butterfly"—suggesting a ritualistic killer.
  • Detective Nick is assigned undercover to protect Ginger, with a pointed warning: “The two girls murdered before Julie both had red hair. Julie had red hair… and so have you, baby.” [41:50]

• Danger Tightens

  • The presence of the killer looms as police protection fades; Ginger realizes she’s being targeted.
  • A chilling clue: Ginger recalls Julie’s description of a “cement mixer” dancer who hurt her hand—a detail that fingers the killer’s identity [45:00].

• Climax: The Killer Revealed

  • Nick, Ginger's supposed protector, is unmasked as the killer in a tension-soaked sequence, where she cleverly leaves a trail of ticket stubs [49:01].
  • “Nick Ballister, the one you assigned to protect me…We have no Nick Ballister. And there was no man assigned by us to protect you.” -- Police [49:10]
  • With Marino’s help, Ginger escapes a deadly confrontation in an abandoned house. The killer, obsessed and delirious, reveals a history of murder and betrayal linked to mistaken identity—conflating Ginger with his long-lost wife, Muriel.

• Resolution

  • Detective Nick was actually undercover all along, using Ginger as unwitting bait to catch the maniac.
  • The episode closes with Ginger torn between fear, anger, and relief…and the promise of a new romance—and dance lessons—with the “real” Nick.

Notable Quotes & Moments

• “Have you ever danced with a murderer? Doesn’t cost any more for the extra thrill.” – Ginger Allen [31:39]
• “The two girls…before Julie both had red hair. Julie had red hair… and so have you, baby.” – Nick [41:50]
• “He pays a dime a dance. Whether you’re alive or dead.” – Ginger [39:43]
• “You killed her, Marino, again and again. You only killed her last month, Marino.” – Ginger, as killer’s madness spirals [54:19]
• “No wife of mine is going to have a redheaded temper.” – Nick [56:02]

Notable Timestamps

• [31:39] Ginger’s opening narration: “Have you ever danced with a murderer?”
• [35:06] Julie’s death is announced.
• [41:50] Nick explains the killer’s pattern.
• [45:00] Discovery of the “cement mixer” dancer clue.
• [49:01] The real police reveal no Nick Ballister was assigned.
• [51:07] Ginger at the chop suey restaurant—her dread peaks.
• [54:05] Showdown in the abandoned house.
• [56:06] Final romantic banter; Ginger safe at last.

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Episode Takeaways

“I Love Adventure” delivers globetrotting intrigue, trading classic pulp tropes—secret societies, lost treasures, perilous jungles—for fast dialogue, wit, and reversals of fortune.

“Suspense: Dime a Dance” blends noir melodrama with psychological tension. Lucille Ball shines as the savvy, sardonic Ginger, while the script subverts expectations by making the protector a potential suspect and mixing romance with mortal danger.

The original language and atmospheric soundscape are left intact, immersing listeners in the drama of radio’s heyday.

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Additional Resources

Find more episodes and support The Relic Radio Show at relicradio.com.

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For fans of adventure, suspense, and vintage drama, this episode exemplifies why golden age radio remains timeless.

Transcript

[A]

This is the relic radio show, Old time radio entertainment still standing the test of time from relicradio.com

[B]

today on the

[A]

relic radio show, I love adventure starts

[B]

us off with the pearl of great price. Their story from May 16, 1948. That's followed by suspense and diamond ants

[A]

from January 13, 1944. International incident number four. Jack Packard and Reggie Yorke report to London at once for assignment in French indochina. Sign the 21 Old Men of 10 Gramercy Park. I love adventure. The American broadcasting company presents a new Carlton e. Morse production featuring the international escapades of Jack, doc and Reggie. Tonight's incident brings you the pearl of great price. Good morning, major packard. You too, Sergeant York, sir. Good morning. Glad to have you two gentlemen back at 10 Gramercy park with us again. Thanks. Right into the great reception hall, if you will, please. All right. Right in, please. Quiet. Well, I say, Jack. The door closed with no sound at all. Sounds been deadened in this great room, but it made such a frightful noise from the outside. I say, Jack, do you have the feeling of having been to church when you come into this room? Why not? The cathedral like windows. Tapestries depicting the history of the world hanging from the vaulted ceiling three stories up. Furniture and paintings and carpets that were used by emperors and queens. And a princely hoard from the beginning of organized government. Jove, is that what all this represents? And more. No wonder I feel reverent. I'm communing with the ghosts of the great names of history. And it's against this background the 21 old men are working. Look here. Except that we've done a couple of nasty jobs for them. Do we know anything about them? We don't know who they are individually, what they stand for. Yes. Do we indeed? They're a group of international figures, each one representing his native country, gathered together with wealth and power and the good of the world at heart. Come to London at once for assignment in French Indochina. Who wants to go to Indochina? I do. So do you. It's interesting enough. I'd still like to know just what these 21 old gray beards are up to. It's pretty simple. The world's in chaos today. Governments are weak and suspicious. Everyone feels as though he. He's sitting on dynamite. 21 old men use us and others like us as their undercover instruments to work behind the scenes and clean up festering spots with no one the wiser. A very excellent explanation, Major Packard. Well, there goes the Tapster back. 21 old men are in session. Did you speak, sergeant? York. Not at all, sir. Just the fact that you can see us from behind that ruddy glass while we seem to be talking to the empty air. Believe me, Sergeant, you are not talking to the empty air. I'm sure of that, sir. Before I give you into the hands of Mr. Reynold, our French representative for your next assignment. The 21 old men have asked me to state that you, Sergeant York, were overheard referring to us as 21 old graybeards. Oh, I say quite all right, Sergeant. Quite all right. It is simply that the majority of our members are entirely smooth shaven. And they feel out of character being referred to as graybeards. I shall refrain in the future. And now then, Monsieur Reynaud, one more question, please. Well, what about our third partner, Doc Long? Looking for him? We are making inquiries. The matter has our attention. And now, Monsieur Reynaud Packard, your next assignment will take you to the northernmost border of French Indochina. Where it joins Burma. It is jungle country. It is dangerous country at this moment because there is deep unrest among the natives of both countries. Therefore, you will travel from the last civilized outpost to the lost city of Shiva upon the backs of elephants. Not elephants. Upon the backs of elephants. With Hindu and Sikh outriders upon Tibetan ponies and camels. Circus, no less. What's our jumping off plane? That you do not need to know. One of our planes will fly you to Saigon. And another will take you to the last outpost. There you will contact the camel and elephant train. Mercy. What for? What's the assignment? That you will be told at the last outpost of civilization. Do not waste time on questions. There is a cab driver waiting who will take you to the airport directly. Well, thanks for the ride. Oh, I la. Oh, I lack here. This is no airport. It's the same. This flying junkie has landed. Come on, get out. Yeah, nothing but a blooming cow pasture. And all the cows look like buffalo. Not buffalo. Caribou. Must outpost. The civilization's right. No town, no hotel. And night coming on. Hey, where's he going? I don't know. He's delivered us here. Now I guess he's going home. Well, but look here, Jack. We just being dumped out here in the middle of nowhere. Getting dark. And no friends. No contest.

[B]

Hello. Are you so sure?

[A]

Hello. Where did you pop from?

[B]

I've got some Tibetan ponies hitched to a buckboard. Or what's left of a buckboard over there behind those banyan trees.

[A]

There goes our plane.

[B]

Yes, I kept out of sight until he taxied off.

[A]

Nobody told us we were going to Meet a girl. Especially not an English girl. What are you doing out here on the fringe of nowhere?

[B]

My husband was an OSS officer out here during the war. He liked it here. He brought me back afterwards.

[A]

Oh, explains you being here. And your husband?

[B]

Dead father. He couldn't resist the charms of the native women. And I found him on the doorstep one morning with a Kris straight through him. I guess that taught him.

[A]

Look here. I should think you'd return to England.

[B]

Has that got anything to do with your assignment out here?

[A]

No.

[B]

No. Is your curiosity satisfied?

[A]

Yes.

[B]

Yes. Well, then let's get into what's left of my buckboard. After these four legged Tibetan devils get through kicking the blazes out of it and head into town. All right, you shaggy little imps of Satan, take us to the hotel.

[A]

Jolly good dinner. Yeah, I'm a great curry eater myself. Yeah, so I know this.

[B]

I brought you out here in the garden behind the hotel where we can talk in the darkness without being overheard.

[A]

About time we got down to something definite. You say you had direct word from the 21 Old Man?

[B]

Yes. Listen. That music's coming from the temple of Agog behind the garden. That's a real Chinese flute.

[A]

It has the flavor of this jungle setting. What are those? Chimes?

[B]

Chinese bells, cymbals. I don't know all the names for their instruments.

[A]

Well, never mind that. What I want to know is what are Reg and I doing in the back country of Indochina? What's up?

[B]

You are 10 days journey by camel or elephant from the Burma border.

[A]

Yeah.

[B]

Some place near the border is the lost city of Shiva.

[A]

I thought this was the last outburst.

[B]

The lost city is dead.

[A]

Dead?

[B]

Banyan trees and jungle vines have swallowed it up. Except for a few priests of the old religion. Worshipers of Shiva. It is uninhabited.

[A]

I've heard of these old cities of a lost civilization. Why are we going there?

[B]

Keep your voices guarded. There is a pearl of great price hidden there. Those are the words I was told to give you. Recently, the sacred temple and Lai King on the Burmese border was raped and pillaged. The marauders and their precious loot are said even now to be under the protection of the priests of the lost city.

[A]

What's all this stilted English you're using?

[B]

I'm repeating a message word for word which I was told to give you.

[A]

Marauders from Indochina crossed the border and pillaged a Burmese temple.

[B]

Yes.

[A]

And brought their loot back across the border into Indochina.

[B]

And are now under the protection of the high priests of the lost city of Shiva.

[A]

And we're to round up the marauders

[B]

and loot the pearl of great price.

[A]

What?

[B]

That is all that is required of you. Return the pearl of great price.

[A]

You mean look for a single precious stone in a sweltering jungle hundreds of miles here? Aren't we getting an awful long way from the hotel?

[B]

The further from listening ears, the better serve.

[A]

Jungle creeps right up to the very threshold of civilization, doesn't it?

[B]

It's a fight. Man against nature. Never ends.

[A]

In the tropics, those creeping vines gleam like serpents in the moonlight. Yeah, let's turn back. I don't like it. Hey, Reggie. Look at that. Men creeping out of the jungle.

[B]

Run.

[A]

Run. No, we can't. They're behind us. Hello. Peer into them. Reggie, I don't think. Enough. Enough. We want them alive.

[B]

Tell this slimy native to take his hands off me. I should think so. I deliver these men into your hands and you treat me like a piece of merchandise.

[A]

It was a mistake. In the confusion, you have delivered them according to plan. The main sahib does her job. You coming around, Reggie? Oh, I see this. This awful motion. A bit of an earthquake, huh? We're in a howa. Aboard an elephant. Oh, no. You're only spoofing J. How do you feel? Rotten head splitting, stomach churning, tongue swollen. Hey, guard. Water. Give him water. Huh? Funny, this bound head and foot. Yeah, same here. All right. Remember my knee, Jo? Yes. Hold that water back to my mouth.

[B]

Water.

[A]

Beautiful stuff. Water. Fat neck. Thanks, old boy. Now I remember, Jack. We were set on by these jungle jackals and beaten into insensibilities. Yeah. Back in the hotel garden, they swarmed over us like locusts. What do we know? Listen. What's this? Monkeys. Spuds. Yeah. We're plunging through trackless jungle captives on an elephant. What's it all about? Couldn't they grill up a canvas? Sides of this Hotter. It's hotter than blizzard. I got one or two glimpses out. There's nothing to see but jungle. It's worse in the open.

[B]

Listen.

[A]

I hear someone. Something following us. Even a belly musician. Remember hearing this old caravan. Elephants leading off to break. Frail camels and Tibetan ponies to the rear. You mean we've been grabbed off by some roving jungle tribe? What do they expect to get out of us?

[B]

I don't know.

[A]

Doesn't make sense. What's become of the girl, Flora? They could have her on another elephant, I suppose. That looks to me like something else. Oh, Swaying and rocking, doing things to my insides. It'll get Worse before it gets better. Keep your mind on what I'm saying. You said. What did you say? I say, I think Flora framed us with this bunch of bandits. But she had word from the 21 Old Men to help us. Or did she? Mighty funny. She had to take us to the back end of that hotel garden to talk to us. And how did these boys happen to be back there waiting for us? Well. But she had to be. What she said, Jack. Why? Because she's the only one who knew why we're here. She didn't even. We didn't even know ourselves until she told him. Hey, that's right. The pearl of great price. If she's an enemy, that may be a lot of hokum. How about that? Kidnapped on elephants without the faintest idea what our assignment is. Oh boy, this heat's brutal. If we don't get someplace pretty soon. You've lost yourself a good right hand man. Ah, good evening. It is getting cooler. Such politeness. Who are you? I am the one who kidnapped you to this place. I'm not surprised you got the face for it. You do not like my face? Hey, what is this place? Where are we? What became the elephant caravan? This is the lost city of Shiva, sir. The lost city of. Hey, look. What is this? You kidnappers. You drag us out here trussed up like chickens. Then you turn us loose. Give us this adobe cottage on the edge of the jungle with servants and fresh clothes and treat us like guests. What's it all about? You are dissatisfied. Did we not bring your luggage from the hotel? Did he not return your weapon? You did that. But why the about faith? One minute we're captive, next nothing's too good for us. Listen. Okay. Drums. Ceremonial drums from the temple. The old ones are performing the rites of purification with the dancing girls. Chancy girls, those you will not see. They are the maidens of the temple. Look, I don't care about dancing. Girls are maidens. Oh, look here, Jack. Let's not go too far. Stop beating around the bush. What's up? You do not know? I do not know. You don't know why you brought us here? It was a commission given to me. Kidnapped the two white men from the hotel garden. Delivered them by elephant train to the lost city of Shiva. Give them the Mahatma's quarters with the Mahatma's servants to wait on them. And after that? Yeah. After that what? Do their bidding. Really? How about that? Bring us here and then do our bidding. Yes. The elephant and camels are tied up in the jungle to the west of the city. We await your orders. What about that white woman back at the hotel? What about Flora? She was but a small cog in the great wheel which has begun to turn. You know anything about a band of cutthroats around here? Cutthroats? Jungle bandits. Just got back from sacking a sacred temple over in Burma. I would not know. Ever hear of the pearl of great price? Well, did you? I'm not a dealer in precious stones. Look here, old boy. Your tongue says one thing, your eyes say something else. You called me a liar. Hey, put that picture back in your robe. Take it easy. That's better, Jack. The old boy's eyes. Let it alone, will you, Reggie? Say, how about the temple? Can we get in? It is forbidden. What's to prevent us? Rambles all over the landscape, Half the walls caved in. It is forbidden. Say, which side of the fence are you on? The dog of an infidel who defiles a temple with his presence shall have his throat cut before the morning. Take him, Reggie. That's good, boy. Tie him up. Will we ever get out of this jungle now? I don't know, but at least he's not going to keep us out of the temple. I say. Oh, boy. Hold it right here. What now? I heard an echoing footstep. Let me get a look around his next corner. Well, easy. Someone's coming. Get a look at him. Yeah. Dressed in a priest's robe, but there's a dagger in his belt and a pistol in his hand. Man of peace. Listen, when he comes around the corner, jump him. He's my man. Ah, good. Quick, drag him in here. Under this stairway. Coming. Poking around these dank, cobwebby places makes me think of tarantulas and puff adders. Yeah, that's good. Hello. Ring of keys. Hey. Now we can go back and find out what's behind that locked door we had to bypass. I see. Jack, we're not getting anywhere. Well, we've had three hours in here without getting caught. And if all the priests we put to sleep were laid end to end. Come on, come on. Let's see where that big door leads to. There's a pearl of great price in this decrepit old temple. We've got about as much chance of. Take it easy. We may have to search for days. And I suppose the priesthood will hold still for that. Yeah. This is the door. 50 keys. Which one fits? How about this? No. Then this ought to do just about it. Well, I'll be blessed. I say that not so Much noise. Yeah. Sounds like a jailhouse break. Too late now. Where do we seem to have got True. Blasted tunnel. Reed torches burning along the wall. Dirt underfoot. Here, give me a flashlight. Here. Well, thanks. Here, look. Footprints of horses in the dirt. Mighty small horses. Tibetan ponies. The little ones. Either that or the small shaggy burrow. Recently used, too. I think we found something. No doubt of it. But what? I don't know. Maybe the hideout of the raiders. Raiders? The gang that robbed the Burmese temple. Jove. The tappies were the pearl. Could be. Barely. Reed torches are all right for atmosphere, but they smoke like chimneys. Electricity? Much more practical. Less light, the better for us. Hello, Jack. Do I hear something? Listen. Sounds like Santa Claus. It does, doesn't it? Coming from around the corner, down the passage. I'm getting closer, too. Here they come. Well, I say. Tibetan ponies with sleigh bells. Pack horses. Ten ponies, every one of them packed to the running board. Tell Jack. Could that be the loot from the temple? I don't know. Doesn't seem to be guarded. Just one native priest guiding the lead pony by the halter. Look.

[B]

Look.

[A]

On the fourth six. Sixpenny. Isn't that the girl? A girl bound hand and foot and strapped to the pack saddle. Well, is that our idea, chivalry? What's fair about that? Here they come alongside. You clip the priest, I'll grab the pony's halter and we'll just keep going. Get him. That's the good boy. Come on. We've got the spoils from the temple. We've got the whole thing right in this pony carav. Where are you taking us? I'm taking us out to the west of the lost city. To the elephant and camel caravan. Oh, this place is killing me. We'll soon be there. I got it figured out. What? The reason this pony train had only one priest in the tunnel that got it was because the bandits themselves weren't allowed in the temple. Oh, I see. Good deduction. We weren't supposed to be in there either. Now we caught them by surprise. The priest was delivering the caravan back to the bandits. What? Native priests and bandits working together? Well, who knows which is which in this country. Where were they going with it? It's been hidden here since the Burmese temple was sacked. Our arrival probably made them nervous. They were going to move the booty to some safer place. We grab it off first. That's the reason for getting to the elephant caravan fast. The bandits find out that we grabbed off their loot. This jungle's not going to be fit for man or beast. Yeah, but I knocked out the leader of our elephant trains. I think that chap's going to be on side now. Do. We'll give him a choice. He can still be on our side or get a hole in his head. Hey, now look, Shandu, or whatever your name is, you got nasty with us and we had to take care of you while we worked. We apologize. We'll do whatever we can to make up for the insult of knocking you out. But you got to get your elephant caravan going and get us out of here. I have been been insulted. My ancestors have been insulted. My progeny have been insulted. Look, old chap, here's a hundred dollars American. Doesn't that wipe out all the insults? There is other things in the world besides money. Look, can't you get it through your head? We've captured the whole pack train of loot from the Burmese standard. You better say Rom Ray. Once they discover what we've done, they'll be on us like wild animals. They'll butcher your whole caravan. I think you lie. Reggie, go get the girl. Be back with her in a shake. Girl? They had a Chinese or Burmese girl tied to one of the ponies. Chinese or Burmese? You cannot tell the difference. Ordinarily, yes. This time the girl seems to speak Chinese. But her looks are. You have captured her. You have in your possession that one. Honey. You're in safe hands. The one Mandarki Deviko. Namaskar. Ho. Namaskar. What's going on? Well, we certainly stirred things up. Are we getting underway? The caravan starts in five minutes. All right, Reggie, cut those ropes off his wrist. Hold out your hands. There. What happened? What sold you on becoming our friend again? You do not know this priceless one, this princess. You mean this girl? Someone of importance. The pearl of great price, I say. Well, how about that? We're looking for a piece of jewelry and come up with a Burmese princess. Come. The elephant train is ready, Sir. Step forward. The elephant will lift you with his trunk to the howdah. Step right up, Reggie. Braced by an elephant. Look here. Now tell the brute to be careful. Look, Jack. Bloody elevator. It will be dark presently. The marauders don't like the dark. No one likes the dark in these jungles. If he's wise. What about us? Ah, we have elephants. All jungle beasts are afraid of elephants. Major Packard, the elephant is ready. The Burmese princess first. Hey, Reggie, give the little lady a hand when she arrives up. There she comes. I say, Jack, she doesn't need any help. We've got a jungle cat on our hands. If you please, Major Packard. The elephant will lift you now. Coming right up. Here I come. How's that for elevator service, huh? Welcome home. We've got the sides of the howdah rolled up. And with the sun down behind the jungle, it's not half bad. Why doesn't old Chandu get the caravan on the way? Hey, let's get started. Well, we're moving off. Never see so much confusion, but we're on our way. Living monkeys and jungle birds don't help anyone. I say, my dear, you may be the pearl of great price, but you'll have to talk plainer than that if you want my companionship. Hey, listen. Can do. Hey. Can do. What's that? Fight. It is the enemy trying to break through. The enemy? It is the enemy trying to break through our rear guards. But they will not succeed. Our horsemen will hold them off for another half hour when it will be darkness. After that, we have nothing to fear. That's great. If that's the case, we should be out of this jungle and back in the outpost of civilization in just 10 days.

[B]

It is an enchanting evening, is it not, Major Packard?

[A]

You were going to call me Jack, remember?

[B]

But it will be a pleasure floor.

[A]

Tell me something. Does that Shiva temple over there go on with that Chinese flute like that forever?

[B]

You don't like it?

[A]

It's not bad. But out in the garden under an Indo China moon with jasmine in my nostrils and a beautiful English girl on my arm.

[B]

Yes, well, you'll have to admit the

[A]

Chinese flute isn't a Viennese waltz or mood music for an affair of the

[B]

heart on the ahead.

[A]

Good. I just wanted to be sure.

[B]

Oh, Jack. Oh. Well, well, well. Where have you been all my life?

[A]

And to think, 10 days ago I thought you'd betray us into the hands of the enemy in this fairy garden.

[B]

Forget business. We have something more important for this evening.

[A]

Poor Reggie. Oh, he's inside the hotel guarding the Burmese princes till her government sends officials to return her to the temple.

[B]

His fond Burmese girl?

[A]

Not in the least. He's in there fuming because you and I are out here.

[B]

Poor boy. We must find some nice girl to help him enjoy his stay also.

[A]

Nah. Say, Pocket. Who said that?

[B]

So dark there by the banyan tree. What are you doing in this garden?

[A]

So, Charmin Sai, it is important I deliver this message to Sahib Pocket. Message? This message, if you please.

[B]

You've delivered your message. Now leave.

[A]

I follow Mim sahib's orders. Here, hold this flashlight.

[B]

While I read this, who'd be sending you messages out here?

[A]

Listen to this. You are requested to return to London immediately for special assignment in connection with a hundred million dollar diamond robbery. Sign the 21 old men of 10 Gramercy Parks.

[B]

Adventure. That's all you care about. You care nothing for a pretty woman. All you want is adventure.

[A]

Lady, I still have 24 hours to make you eat those words. You have just heard. I love adventure. A new Carlton E. Morse production. Featuring Michael Rofetto as Jack Packard and Tom Collins as Reggie York. Next week, International incident number five. The 100 million dollar manhunt. An affair of girls and nations resulting in a high adventure halfway around the world. Other players included Al Mulattan, Lal Chan Mehra, Donald Morrison, Everett Glass, Barbara Jean Wong and Harry Lang. Sound effects were created by Fred Cole, Robert Conlon and Ed Ludus. The Pearl of Great Price was written and produced by Carlton E. Morse. Organ music and effects by Rex Curry. Your announcer, Dresser Dollstead. I love adventure. Came to you from Hollywood. Can you identify that beautiful voice? It belongs to me. Burt Parts, your MC on abc. Stop the music program. I might call you this Sunday evening to identify a tune. And if you have trouble naming it, I'll even sing it for you. This is abc, the American Broadcasting Company. Roma wines presents suspense. Roma Wines made in California for enjoyment throughout the world.

[B]

Salut.

[A]

May your health, senor. Roma Wines toast the world. The wine for your table is Roma wine made in California for enjoyment throughout the world. This is the man in black here for the Roma Wine Company of Fresno, California. To introduce this weekly high half hour of suspense. Tonight in Hollywood, Roma Wines bring you The MGM star, Ms. Lucille Ball. The suspense play which stars Ms. Ball, which is produced and directed by William Spear, is called Dime A Dance. It deals, as you will presently know, with Broadway life and sudden death, both set to music. And so with Dimer dance and with the performance of Lucille Ball as a red haired young lady named Ginger Alice. Roma Wines again hope to keep you in the spin.

[B]

Have you ever danced with a murderer? Doesn't cost any more for the extra thrill. It's only a dime. How could I do it, you say I had to to save my own life. I'm a taxi dancer from the Joyland Palace. One of the places just off Broadway in the 40s. You know the kind of place second rate dance bands like Frankie Froman's 15 Frolickers. I was late to work that night. I ran down Broadway, scrambling through the crowd to the entrance of the Joyland 50 beautiful girls, upstairs. Boys. You made a count of yourself. No admission, 10 cents. An ad.

[A]

The men would just get started. The music is the very.

[B]

Hello, Max.

[A]

Hey, Ginger. You better step on them. Marina's looking for you. You're late. He's burning.

[B]

I know it is. Julie, come in.

[A]

You?

[B]

Not yet.

[A]

50 beautiful girls waiting to dance with you. Good evening. You finally decided to come, did you?

[B]

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

[A]

You ought to be. So did Julie. All the cash customers are waiting. I sent out the girls before. All of you are here. And you say I'm playing favorites.

[B]

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

[A]

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

[B]

Isn't she here?

[A]

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

[B]

And I thought she was here.

[A]

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

[B]

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

[A]

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

[B]

Yeah. Maybe she slipped in while you were busy counting tickets or something. See you right away. Marino. Thanks for being late and being Peach's cat. We've been entertained by mom here while waiting for her. All right, lay off, Mom. Throw me that foot powder. Looks like a heavy night out there. My feet still hurt from last night. Here you are, Jerry. That's the way I am, girly. What I like every once in a while is a good, juicy murder. Nice kid. No, not to be murdered herself. Throw me that dress, would you? Madame defarge. The green one. Is Julie here? Not unless she's hiding in the closet, honey. Do any of you know where she is? You asking us? Ain't she your buddy? Maybe they had a fight. Well, did any of you hear from her? Why not ask Marino? He's been hanging around her. Now, that Southern girl, Sally. She used to work in a joint like this one further uptown. There was a murder for. Come on, hurry it up, baby. She just never showed up to work. Who didn't? That Southern girl, Sally. Then they found her. That was about three years ago. Oh, what a sight she was when the police discovered the body. Oh, cut it out, Mom. Then there was the Robinson gal out in Brooklyn, stabbed to death. They found a phonograph and records by a body. Didn't even belong to her. The murderer brought his own music. She was a dance. All phony, too. Maybe some guy has it in for you girls. Pleasant character. Well, maybe one fella killed the both of them. Maybe there's a dance hall killer still at large, getting ready for his next victim.

[A]

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

[B]

I often wonder. You think we're giving a free show in here?

[A]

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

[B]

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

[A]

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

[B]

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

[A]

The police want to see you, Ginger.

[B]

Police? What for? I didn't do anything. I'm sorry, Ginger, but something's happened to Julie.

[A]

That's what the police want to see you by. Julie's dead.

[B]

Dead?

[A]

Murdered. Tonight in our suspense theater, death is a dancing thing. Roma Wines is bringing you Lucille Ball as star of suspense in the Cornell Woolrich story Dime a Dance. You have heard the prologue for tonight's tale of suspense. Before we return to the scene of our drama, let me say just this. This few spots on the globe boast the unique and perfect combination of nature's gifts which makes possible truly good wine, wine which the whole world can enjoy. But wine experts will tell you that among those fortunate spots, none can surpass the vineyards of our own California. From these renowned California vineyards come Roma wines, wines so perfect in flavor, so delightful, that they are enjoyed in many countries of the world. To us in America, Roma wines are an everyday treat. Or we may buy them at an astonishingly low price, since we pay no import duties or expensive shipping costs. Do you enjoy a delicious, tangy sherry? Tomorrow, treat yourself to a glass of Roma California sherry. We're sure you will agree you've never tasted finer. With your first sip, you'll understand why Roma wines are America's largest selling wine. Tomorrow, ask your dealer for your favorite type of Roma wine, made in California for enjoyment throughout the world. And now it is with pleasure that Roma wines bring back to our soundstage Miss Lucille Ball in Diamond Dance, a tale well calculated to keep you in suspense.

[B]

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

[A]

Sister. In here.

[B]

Is. Is she. Is she still in there?

[A]

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

[B]

Oh. How'd it happen?

[A]

Strangled.

[B]

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

[A]

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

[B]

Well, I was the only friend she

[A]

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

[B]

Flatfoot didn't answer Marino. He shut up all at once, as if he didn't have the heart to tell us the rest of it. His eyes gave him away, though. I got the whole score just following his gaze around the room. First he looked at the little phonograph. By using bamboo needles, she could play it late at night, soft, you know, so no one could hear it. The needle was worn down halfway, all. All shredded, as though it had been played over and over. Then his eyes wandered to a flat piece of paper that had eight or ten shiny new dimes on it. Some had little brown flecks on them. Then his eyes went down to the rug. It was all pleated up in places, especially along the edges, as though something heavy, something lifeless, had been dragged back and forth over it. You mean he danced with her after he killed her? Gave her a dime a dance, even then.

[A]

Now, will you tell us who was her boyfriend? Play that racket? Maybe she'll remember. Some guy they both knew who was kept on the piece. The only one he played. You just must.

[B]

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

[A]

Sure someone did. Maybe her boyfriend, sort of.

[B]

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

[A]

Hey, can I see you a minute?

[B]

Got a ticket?

[A]

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

[B]

It's your dime. Say, how do you know my name? What just happened to who are you, anyway?

[A]

Recognize those two guys leaning against the wall?

[B]

The two flatbeats.

[A]

And I'm the third. Nick's the name.

[B]

What about Mer? About her boyfriend?

[A]

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

[B]

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

[A]

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

[B]

How do you know what he looks like?

[A]

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

[B]

Protect me?

[A]

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

[B]

Then why did you?

[A]

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

[B]

Well, what if someone asks me who you are?

[A]

Say I'm your new boyfriend.

[B]

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

[A]

Good. Now you've got one. Oh.

[B]

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

[A]

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

[B]

Julie had red hair?

[A]

Yeah, and so have you, baby.

[B]

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

[A]

How's Ginger?

[B]

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

[A]

Ms. Me?

[B]

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

[A]

If the city got broke, I'd do this job for another. Oh, your straw boss. Marino is giving you the high time.

[B]

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

[A]

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

[B]

He pays for his tickets, doesn't he?

[A]

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

[B]

My boyfriend.

[A]

Oh. Known him long?

[B]

Long enough.

[A]

Take care of yourself, Ginger.

[B]

Don't worry, Marino. I know my way around. But thanks.

[A]

Besides, we're not Running any matrimonial view around here? You got to spread yourself around a little more, Share the wealth. It's not a customer.

[B]

All right.

[A]

Watch that, will you?

[B]

All right. Right.

[A]

What did. What did he want?

[B]

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

[A]

No, no, no. Calm down. Redhead.

[B]

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

[A]

Well, I've got my reason.

[B]

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

[A]

That's right. Those cops.

[B]

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

[A]

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

[B]

Who you look out the door for dinner? Now, you take that killer there was a real goofy kid. Oh, shut up, Mom. Will you cut it off? Oh, I'm sorry, D. I keep forgetting you. And keep it so. That's all right. I'm jittery. Laverne, have you seen my boyfriend? Not tonight. Maybe he got bored. Billy, have you seen Nick? You know, the tall hand? Not tonight, redhead. I guess he's giving you the air. Come on. Come on off.

[A]

What am I paying you for?

[B]

Come on.

[A]

What's the matter? Kids here look like you've seen a ghost. What are you looking for out there? What's so fascinating about the clock?

[B]

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

[A]

How'd you know about that?

[B]

Never mind that now. Where are they?

[A]

Called off.

[B]

Called off?

[A]

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

[B]

That's crazy. I'm gonna fall.

[A]

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

[B]

All right. I'll be out in a second. Really, I will. Marino, the burns. Yes, honey. As soon as Nick comes in, tell him to come right here. Tell him to tap on the door, will you? Sure, N, sugar. Hey, what are you looking at me like that for? Ginger. Look, Mom, I gotta talk to you. I can't go out there on the floor. I'm scared. But what are you staring holes in me for? Mom? You and I were here in this room the last night Julie was alive. The night she must have been killed. Remember? You poor kid. Always look like we gotta remember. We've just got to. There was someone dancing with Julie that night. Some rum dum. Julie said something about him. I can't remember what it was she said. Oh, you mean the one that hurt her hand. That's it. That's it. Hurt her hand, bent her wrist back when they were dancing. Yes, that's the guy. She said it was almost like as if he got a kick out of hurting her. Yeah, and a squirrel. Yeah. Now what else? What else? Well, Julie called him a cement mixer. Oh, now we're getting somewhere. Mom's. Oh, he had Julie crazy dancing like a slap happy pug. I remember her describing it. He'd take three little steps to the right as if he was getting ready for a stand and broad jump. That was it. Remember how Julie said she felt like screaming? For Pete's sake, if you're gonna ju. Jump, jump three steps to the right. And if you're gonna jump, jump. Hey, what are you doing? Ginger and Detective Wink. Getting some clues. You know who we're talking about, Mom? The killer. Yeah. Oh, if he enjoyed hurting her like that when she was still alive, he'd enjoy dancing with her after she was dead. Why, he's worse than prune face. Why? Dad, there's someone I gotta tell this to right away. Oh, where the. Nick. See you later, Mom.

[A]

Hey, how's Ginger?

[B]

Nick. How's Nick?

[A]

Hey, you're trembling. Sure it's me. Why not?

[B]

I thought you were called off the case.

[A]

We were.

[B]

Then what are you doing here?

[A]

Habit. Do you mind?

[B]

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

[A]

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

[B]

Well, depends on.

[A]

I want to take you in my arms.

[B]

All right, take me in your arms and dance. Anyway, for the time being.

[A]

I'm a rotten dancer.

[B]

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

[A]

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

[B]

They play Dinah and then comes the break. We can leave then.

[A]

What makes it so sure?

[B]

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

[A]

You know, I like everything about you.

[B]

I like everything about you. But you're dancing. Let up on my hand, was it? You're bending it upside down. It hurts my wrist.

[A]

I told you I was a rotten dancer.

[B]

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

[A]

No, certainly isn't. It's a request number.

[B]

Who requested it?

[A]

I did. What's the matter, baby? I look sick.

[B]

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

[A]

Am I dancing that bad?

[B]

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

[A]

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

[B]

Oh, Operator. Operator. Operator, Give me the police department. Homicide squad. Police department. Homicide.

[A]

Right away.

[B]

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

[A]

Third man? What third man?

[B]

Nick Ballister, the one you assigned to protect me.

[A]

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

[B]

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

[A]

Ginger.

[B]

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

[A]

How you feeling?

[B]

Shouldn't have come in here, Nick. Did you see the sign?

[A]

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

[B]

Why couldn't you leave me in here alone?

[A]

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

[B]

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

[A]

Ginger.

[B]

Yes, Nick?

[A]

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

[B]

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

[A]

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

[B]

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

[A]

Mom told me, and I followed your ticket stops. He almost saw me. Come on, quick.

[B]

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

[A]

You won't have to. There's a vacant house in the middle of the block. Here. Inside. Fast. I think I see him coming.

[B]

Cold. Dark in here.

[A]

No one lives here. That's why. Here. I like this searchlight. There's a stairway leading upstairs. Go ahead. Now watch it. Now, don't trip. Downstairs. It's broken. Now do this door. Here's a candle and a match. There. Now we can see each other. Wait.

[B]

Do you think we're safe?

[A]

Well, no. In a few minutes.

[B]

Oh, Marino.

[A]

Good job.

[B]

Oh, damn. Should put out that camp now.

[A]

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

[B]

Tim.

[A]

All right. You act for it. We'll see about that.

[B]

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

[A]

Oh, my God.

[B]

Oh, go on, kill me. Get it over with. Oh, why did you stop the music?

[A]

You danced from the beginning of the record.

[B]

Marino.

[A]

Yeah, yeah. Muriel. You think you can hide from me with different names and different faces?

[B]

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

[A]

Each time you tell me a different name. Muriel.

[B]

That you can't get away by changing names. Marino.

[A]

The first time you change your name was when you married me. Before I left for Europe with that operetta company. Remember? You all got to play poor Butterfly. When you promise to love me forever.

[B]

Help me. Somebody help me.

[A]

Yeah, well, the next time you change your name was when you thought I was dead. Lived on my insurance and I married another man. No matter how many times you change your name, Muriel offered.

[B]

No, not me.

[A]

Me.

[B]

You killed her. You killed her, Marino, again and again. You only killed her last month, Marino.

[A]

Next time I think I have. She rises again. This time I'm going to kill you and your lover. This is the last time.

[B]

And now we dance.

[A]

Now we dance. How's Ginger? Nick.

[B]

Oh, Nick. I thought he killed you.

[A]

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

[B]

Nick. How do you fit into this? Headquarters never heard of you.

[A]

They were instructed to say that in case you called.

[B]

What was the idea, scaring me to death?

[A]

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

[B]

Why you no good.

[A]

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

[B]

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

[A]

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

[B]

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

[A]

Oh, calm down. No wife of mine is going to have a redheaded temper.

[B]

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

[A]

Yeah, it looks that way.

[B]

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

[A]

And so closes Dime A Dance, presented by Roma Wines and starring Lucille Ball. Tonight's tale of suspense. In just a moment, we'll hear again from Ms. Ball. First, though, let's visit a glamorous casino somewhere on the sunny Caribbean. Smartly dressed people stroll about the garden. The strains of a Cuban song float out. Two men watch from a table on the terrace. One is a Cuban, the other a North American. One is about to propose a toast to your beautiful country, Jose. I drink to that. Now I propose a toast to this wine in which we drink our toast. It comes from North America, from California. Its name is Roma. Only a few places in the world produce wine so fine that many countries enjoy them. And among these enjoyable wines are Roma wines wines, for they come from vineyard districts that are among the finest in the world, our own sunny California. What better testimonial to the quality of Roma wines could you ask than the fact that Roma wines are made in California for the enjoyment of the world? There is a fine Roma wine for you, whether your taste calls for a sherry, a Burgundy or Sauternes. And no matter what type of Roma wine you buy, you know you're receiving a truly fine wine at a price made possible because Roma wines are the overwhelming favorite of Americans, America's largest selling wines. Ask your dealer to show you his assortment of Roma wines tomorrow and choose your favorite Roma R O M a Roma wine made in California for enjoyment throughout the world. Remember, this is the year of decision. And that means that this year, more than ever before, we should all buy more and even more war bonds and stamps.

[B]

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

[A]

Thank you, Ms. Ball. Lucille Ball appeared tonight through the courtesy of Metro Goldwyn Mayer, producers of Madame Curie. Don't forget. Then next Thursday, same time for Paul Lucas in Suspense presented by Roma Wine R O M a made in California for enjoyment throughout the wine world. This is the Columbia Broadcasting System.

[B]

You can find more from I love adventure, suspense, the Relic Radio show and all of the Relic Radio podcasts at the website relicradio.com. you can donate through that website as well if you'd like to help support this and all of the shows. My thanks as always to those who have thanks for joining me this week.

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Be back tomorrow with an hour of

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mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.