WEBVTT 00:00.000 --> 00:18.720 Roma wines presents Suspense. 00:18.720 --> 00:23.920 Roma wines made in California for enjoyment throughout the world. 00:23.920 --> 00:24.920 Salud. 00:24.920 --> 00:26.920 Your health, Signor. 00:26.920 --> 00:32.560 Roma wines toast the world. The wine for your table is Roma wine. 00:32.560 --> 00:36.720 Made in California for enjoyment throughout the world. 00:36.720 --> 00:42.720 This is the man in black here for the Roma wine company of Fresno, California. 00:42.720 --> 00:46.600 To introduce this weekly half hour of Suspense. 00:46.600 --> 00:52.520 Tonight in Hollywood Roma wines bring you the MGM star Miss Lucille Ball. 00:52.520 --> 00:57.920 The Suspense play which stars Miss Ball, which is produced and directed by William Spear, 00:57.920 --> 01:01.600 is called Dime a Dance. 01:01.600 --> 01:07.400 It deals, as you will presently know, with Broadway life and sudden death. 01:07.400 --> 01:09.760 Both set to music. 01:09.760 --> 01:13.600 And so with Dime a Dance and with the performance of Lucille Ball as a red haired young lady 01:13.600 --> 01:22.840 named Ginger Allen, Roma wines again hope to keep you in Suspense. 01:22.840 --> 01:24.440 Have you ever danced to the murder? 01:24.440 --> 01:27.080 It doesn't cost anymore for the extra thrill. 01:27.080 --> 01:28.520 It's only a dime. 01:28.520 --> 01:30.960 How could I do it, you say? 01:30.960 --> 01:32.840 I had to to save my own life. 01:32.840 --> 01:36.880 I'm a practice dancer in Joyland Palace. 01:36.880 --> 01:41.920 One of the places just off Broadway in the 40s, you know the kind of place. 01:41.920 --> 01:47.720 Second rate dance bands like Frankie Frohman's 15 Frolicers. 01:47.720 --> 01:49.960 I was late to work that night. 01:49.960 --> 01:53.440 I ran down Broadway scrambling through the crowd to the entrance of the Joyland. 01:53.440 --> 01:54.440 Fifty beautiful girls upstairs, boys. 01:54.440 --> 01:55.440 Come in and count them yourself. 01:55.440 --> 01:56.440 No one makes it ten cents a dance. 01:56.440 --> 01:57.440 The men will just get started. 01:57.440 --> 01:58.440 The music is the very- 01:58.440 --> 01:59.440 Hello, Max. 01:59.440 --> 02:00.440 Hey, Ginger. 02:00.440 --> 02:01.440 You better step on him. 02:01.440 --> 02:02.440 Marina's looking for you. 02:02.440 --> 02:03.440 You're late. 02:03.440 --> 02:04.440 He's burning. 02:04.440 --> 02:05.440 I know. 02:05.440 --> 02:06.440 Has Julie come in yet? 02:06.440 --> 02:07.440 Not yet. 02:07.440 --> 02:08.440 Fifty beautiful girls waiting to dance with us. 02:08.440 --> 02:09.440 Step right in. 02:09.440 --> 02:12.440 Four seconds, please. 02:12.440 --> 02:17.440 All three of you, step. 02:17.440 --> 02:18.440 Good evening. 02:18.440 --> 02:20.440 So you finally decided to come, did you? 02:20.440 --> 02:21.440 Hi, I'm Marina. 02:21.440 --> 02:22.440 Sorry I'm late. 02:22.440 --> 02:23.440 Hey, Audubon. 02:23.440 --> 02:24.440 It's okay, Julie. 02:24.440 --> 02:25.440 All the cash customers are waiting. 02:25.440 --> 02:28.360 I sent out the girls before all the years are here and you say I'm playing favorites. 02:28.360 --> 02:29.520 Well, blame it on Julie. 02:29.520 --> 02:30.520 She gave me a stand-up tonight. 02:30.520 --> 02:31.520 All right, so I'll blame it on Julie. 02:31.520 --> 02:32.520 Where is she? 02:32.520 --> 02:33.520 Isn't she here? 02:33.520 --> 02:34.520 No, she ain't home neither because I phoned her there 15 minutes ago. 02:34.520 --> 02:35.520 I thought she was with you. 02:35.520 --> 02:36.520 And I thought she was here. 02:36.520 --> 02:37.520 Hey, if this is no gag, what happens if I call her? 02:37.520 --> 02:38.520 I'll call her. 02:38.520 --> 02:39.520 If this is no gag, what happens to her? 02:39.520 --> 02:40.520 Well, that's what I'm beginning to wonder. 02:40.520 --> 02:41.520 Go on in and get your stuff on. 02:41.520 --> 02:42.520 Julie will be all right. 02:42.520 --> 02:43.520 Yeah, maybe she slipped in while you were busy counting tickets or something. 02:43.520 --> 02:44.520 See you right away, Marina. 02:44.520 --> 02:45.520 Thanks for being late and being teacher's pet. 02:45.520 --> 02:46.520 We've been entertained by Mom here while waiting for you. 02:46.520 --> 02:47.520 All right, lay off. 02:47.520 --> 02:48.520 Mom, throw me that foot powder. 02:48.520 --> 02:49.520 Looks like a heavy night out there. 02:49.520 --> 02:50.520 My feet still hurt from last night. 02:50.520 --> 02:51.520 Here you are, dear. 02:51.520 --> 02:52.520 That's the way I am, girlie. 02:52.520 --> 02:53.520 What I like every once in a while is the good juicy moose. 02:53.520 --> 02:54.520 I'm not a moose. 02:54.520 --> 02:55.520 I'm a moose. 02:55.520 --> 02:56.520 I'm a moose. 02:56.520 --> 02:57.520 I'm a moose. 02:57.520 --> 02:58.520 I'm a moose. 02:58.520 --> 02:59.520 I'm a moose. 02:59.520 --> 03:08.520 I'm a moose. 03:08.520 --> 03:30.520 I'm a moose. 03:30.520 --> 03:45.520 I'm a moose. 03:45.520 --> 03:50.520 I'm a moose. 03:50.520 --> 04:09.520 I'm a moose. 04:09.520 --> 04:14.520 I'm a moose. 04:14.520 --> 04:17.720 That's your, Marino. Think we're giving a free show in here? 04:17.720 --> 04:22.120 Ah, you couldn't interest anybody in that chassis of yours even with a set of dishes thrown in. 04:22.120 --> 04:24.520 All right, all of you, file out. I got something to tell Ginger. 04:24.520 --> 04:27.920 Ah, come on, get out. 04:27.920 --> 04:29.920 Uh, Ginger, what I wanted to see you about... 04:29.920 --> 04:32.920 I know, I know, Marino. I put you in a spot. I'll be dressed in a minute, 04:32.920 --> 04:36.720 and if you ward off those garlic eaters tonight, I'll work twice as hard and make it up to you, Honest. 04:36.720 --> 04:39.720 I'm in no spot, Ginger, but you are. 04:39.720 --> 04:41.720 Marino, what's the matter? What's happened? 04:41.720 --> 04:43.320 The police want to see you, Ginger. 04:43.320 --> 04:46.120 Police? What for? I didn't do anything. 04:46.120 --> 04:48.320 I'm sorry, Ginger, but... 04:48.320 --> 04:49.720 Something's happened to Julie. 04:49.720 --> 04:52.120 That's what the police want to see you by. 04:52.120 --> 04:53.720 Julie's dead. 04:53.720 --> 04:54.720 Dead? 04:54.720 --> 04:55.720 Moted. 05:02.420 --> 05:07.520 Tonight in our suspense theater, death is a dancing thing. 05:07.520 --> 05:11.320 Roma Wines is bringing you Lucille Ball, a star of suspense. 05:11.320 --> 05:14.520 In the Cornell Woolwich story, dime a dance. 05:22.520 --> 05:26.920 You have heard the prologue for tonight's tale of suspense. 05:26.920 --> 05:31.320 Before we return to the scene of our drama, let me say just this. 05:31.320 --> 05:35.720 Few spots on the globe boast the unique and perfect combination of nature's gifts, 05:35.720 --> 05:38.520 which makes possible truly good wine. 05:38.520 --> 05:41.320 Wine which the whole world can enjoy. 05:41.320 --> 05:44.520 But wine experts will tell you that among those fortunate spots, 05:44.520 --> 05:47.920 none can surpass the vineyards of our own California. 05:47.920 --> 05:51.720 From these renowned California vineyards come Roma Wines. 05:51.720 --> 05:54.920 Wines so perfect in flavor, so delightful, 05:54.920 --> 05:58.120 that they are enjoyed in many countries of the world. 05:58.120 --> 06:01.120 To us in America, Roma Wines are an everyday treat, 06:01.120 --> 06:03.920 for we may buy them at an astonishingly low price, 06:03.920 --> 06:07.920 since we pay no import duties or expensive shipping costs. 06:07.920 --> 06:10.520 Do you enjoy a delicious, tangy sherry? 06:10.520 --> 06:14.320 Tomorrow, treat yourself to a glass of Roma California sherry. 06:14.320 --> 06:17.520 We're sure you will agree you've never tasted finer. 06:17.520 --> 06:23.920 With your first sip, you'll understand why Roma Wines are America's largest selling wine. 06:23.920 --> 06:28.120 Tomorrow, ask your dealer for your favorite type of Roma Wine, 06:28.120 --> 06:32.320 made in California for enjoyment throughout the world. 06:32.320 --> 06:36.720 And now it is with pleasure that Roma Wines bring back to our soundstage, 06:36.720 --> 06:39.720 Miss Lucille Ball in Dime a Dance. 06:39.720 --> 06:42.720 A tale well calculated to keep you in... 06:42.720 --> 06:44.720 ...sustains. 06:53.720 --> 06:57.320 All the way over in that police car with those two flat feet from homicide, 06:57.320 --> 07:00.320 I could see Marino's face when he said, murdered. 07:00.320 --> 07:02.320 Poor Marino. 07:02.320 --> 07:06.320 We got out and walked up to the third floor of the building, the Julie's room. 07:06.320 --> 07:08.320 Marino never said a word. 07:08.320 --> 07:10.320 All right, sister, in here. 07:10.320 --> 07:12.320 Is she... is she still in there? 07:12.320 --> 07:14.320 No, you won't have to look at her. 07:16.320 --> 07:18.320 Oh. 07:18.320 --> 07:19.320 How did it happen? 07:19.320 --> 07:20.320 Strangled. 07:20.320 --> 07:23.320 Why didn't she yell out? There were plenty of people around. 07:23.320 --> 07:25.320 Alec, Ginger, we're asking the question. 07:25.320 --> 07:29.320 Yeah, but since you raise it, we figured the person who could get close enough to kill Marino 07:29.320 --> 07:31.320 was someone she felt safe with. 07:31.320 --> 07:34.320 She was murdered by someone she trusted, by a friend. 07:34.320 --> 07:36.320 Well, I was the only friend she had. 07:36.320 --> 07:38.320 Yeah, so they'd tell us. 07:38.320 --> 07:40.320 Unless she had a boyfriend. 07:40.320 --> 07:41.320 And who was her boyfriend? 07:41.320 --> 07:42.320 Yeah. 07:42.320 --> 07:45.320 If she was strangled, where did all the blood come from? 07:47.320 --> 07:49.320 Flatfoot didn't answer Marino. 07:49.320 --> 07:53.320 He shut up all at once as if he didn't have the heart to tell us the rest of it. 07:53.320 --> 07:55.320 His eyes gave him away, though. 07:55.320 --> 07:58.320 I got the whole score just following his gaze around the room. 07:58.320 --> 08:00.320 First he looked at the little phonograph. 08:00.320 --> 08:04.320 By using bamboo needles, she could play it late at night. 08:04.320 --> 08:07.320 Soft, you know, so no one could hear it. 08:07.320 --> 08:13.320 The needle was worn down halfway, all shredded as though it had been played over and over. 08:14.320 --> 08:21.320 Then his eyes wandered to a flat piece of paper that had eight or ten shiny new dimes on it. 08:21.320 --> 08:24.320 Some had little brown flecks on them. 08:24.320 --> 08:37.320 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. 08:40.320 --> 08:43.320 You mean he danced with her after he killed her? 08:43.320 --> 08:46.320 Gave her a dime a dance even then? 08:47.320 --> 08:49.320 Now will you tell us? 08:49.320 --> 08:50.320 Who was her boyfriend? 08:50.320 --> 08:51.320 Play that record. 08:51.320 --> 08:55.320 Maybe she'll remember some guy they both knew who was hept on the piece. 08:55.320 --> 08:57.320 He was the only one he played. 09:04.320 --> 09:12.320 You just must die for Butterfly. 09:12.320 --> 09:15.320 Turn it off! Stop it! Stop that music! 09:16.320 --> 09:18.320 That wasn't hers, she never had that record. 09:18.320 --> 09:20.320 Poor Butterfly, she hated it. 09:20.320 --> 09:23.320 She couldn't stand it. Someone brought that record here with him. 09:23.320 --> 09:26.320 Sure someone did. Maybe her boyfriend sort of... 09:26.320 --> 09:31.320 There was no boyfriend, it was someone who waited for her in that room in the dark and killed her before she could scream. 09:31.320 --> 09:35.320 It was the same madman who killed those two other dance hall girls. 09:35.320 --> 09:40.320 He pays a dime a dance. A dime a dance whether you're alive or dead. 09:40.320 --> 09:45.320 Back at the grind. The flat feet let me go, nobody told me anything. 09:45.320 --> 09:55.320 Sometime when you have nothing better to do you try dancing with a couple of hundred guys a night asking yourself each time one of them wraps his arms around you, is this the killer? 09:55.320 --> 09:58.320 Has he a knife in his hand behind my back? 09:58.320 --> 10:01.320 Say, can I see you a minute? 10:01.320 --> 10:02.320 Got a ticket? 10:02.320 --> 10:04.320 I'll be right back. 10:04.320 --> 10:10.320 Yeah, but I don't want to dance Ginger, I want to talk. 10:10.320 --> 10:12.320 Well it's your dime. 10:12.320 --> 10:15.320 Say, how do you know my name? 10:15.320 --> 10:17.320 What, just happened to? 10:17.320 --> 10:18.320 Who are you anyway? 10:18.320 --> 10:21.320 Recognize those two guys leaning against the wall? 10:21.320 --> 10:22.320 The two flat feet? 10:22.320 --> 10:24.320 And I'm the third, Nick's the name. 10:24.320 --> 10:27.320 What about Merk, about her boyfriend? 10:27.320 --> 10:31.320 Relax, we have proof it wasn't her boyfriend and it wasn't you. 10:31.320 --> 10:35.320 Oh, then you expect him to show up again after what he's done already, huh? 10:35.320 --> 10:37.320 We just got the report on those other two girls. 10:37.320 --> 10:40.320 They were killed by a maniac who played poor butterfly. 10:40.320 --> 10:43.320 Also the fingerprints in all three cases match. 10:43.320 --> 10:45.320 He'll keep it up until we get him. 10:45.320 --> 10:46.320 How do you know what he looks like? 10:46.320 --> 10:49.320 We don't, we only know he isn't through yet. 10:49.320 --> 10:51.320 That's why I was assigned to protect you. 10:51.320 --> 10:52.320 Protect me? 10:52.320 --> 10:53.320 Yep. 10:53.320 --> 10:57.320 Keep my eye on you all night while you work and then take you home right to your door. 10:57.320 --> 11:01.320 Now, Marina knows about the other two dicks, but no one knows about me. 11:01.320 --> 11:04.320 In fact, this headquarters told me not to tell even you. 11:04.320 --> 11:06.320 Then why did you? 11:06.320 --> 11:08.320 I just saw how touchy you are. 11:08.320 --> 11:11.320 I don't want you to misunderstand my intentions. 11:11.320 --> 11:13.320 Well, what if someone asks me who you are? 11:13.320 --> 11:15.320 Say, I'm your new boyfriend. 11:15.320 --> 11:17.320 Oh, don't get smart, I never had a boyfriend. 11:17.320 --> 11:18.320 Good, now you've got one. 11:18.320 --> 11:22.320 Oh, 35 girls on this musical chain gang, why do you pick on me? 11:22.320 --> 11:25.320 Because we found out one more thing about you. 11:25.320 --> 11:29.320 Because we found out one more thing about the killer's habits. 11:29.320 --> 11:33.320 The two girls that were murdered before Julie, both had red hair. 11:33.320 --> 11:35.320 Julie had red hair? 11:35.320 --> 11:38.320 Yeah, and so have you, baby. 11:44.320 --> 11:47.320 So I was set up as victim number four. 11:47.320 --> 11:49.320 Nice thought. 11:49.320 --> 11:54.320 But every night like the milkman, just when the girls filed out to feast the arms and eyes of the wolves, there was Nick. 11:54.320 --> 11:56.320 Now that was some comfort. 11:56.320 --> 11:58.320 Nothing personal, you understand. 11:58.320 --> 12:02.320 It was also a comfort to see those other two flat feet on the job night after night. 12:02.320 --> 12:03.320 How's Ginger? 12:03.320 --> 12:04.320 Fine, how's Nick? 12:04.320 --> 12:05.320 You're four minutes late. 12:05.320 --> 12:06.320 Miss me? 12:06.320 --> 12:11.320 Oh, I'm just a tax payer that wants to see a public servant earn his money. 12:11.320 --> 12:14.320 If the city got broke, I'd do this job for nothing. 12:14.320 --> 12:17.320 Uh-oh, your straw boss, Marino, is giving you the high side. 12:17.320 --> 12:21.320 I'll go see what he wants, you wait here. 12:21.320 --> 12:22.320 It's on your mind, Marino. 12:22.320 --> 12:24.320 Hey, who is that monkey hanging around you every night? 12:24.320 --> 12:26.320 He pays for his tickets, doesn't he? 12:26.320 --> 12:28.320 Yeah, but he never uses them. Who is he? 12:28.320 --> 12:29.320 My boyfriend. 12:29.320 --> 12:31.320 Oh, you know him long? 12:31.320 --> 12:32.320 Long enough. 12:32.320 --> 12:33.320 Take care of yourself, Ginger. 12:33.320 --> 12:36.320 Don't worry, Marino, I know my way around, but thanks. 12:36.320 --> 12:38.320 Besides, we're not running any matrimonial bureau around here. 12:38.320 --> 12:40.320 You've got to spread yourself around a little more. 12:40.320 --> 12:41.320 Share the wealth. There's other customers here. 12:41.320 --> 12:42.320 All right, all right. 12:42.320 --> 12:43.320 Now watch out, will you? 12:43.320 --> 12:44.320 All right. 12:47.320 --> 12:48.320 What did he want? 12:48.320 --> 12:49.320 Oh, nothing. 12:49.320 --> 12:50.320 Nick, is there any news? 12:50.320 --> 12:52.320 You know, it's a month since Judy was... 12:52.320 --> 12:54.320 No, no, no, no. Calm down, Redhead. 12:54.320 --> 12:55.320 That's just it, that red hair. 12:55.320 --> 12:57.320 Look, why won't you let me dye it? 12:57.320 --> 12:59.320 Oh, I've got my reasons. 12:59.320 --> 13:02.320 Yeah, yeah, yeah. You great big silent strong cop. 13:02.320 --> 13:04.320 That's right, those cops. 13:09.320 --> 13:12.320 And then came that night, that horrible night. 13:12.320 --> 13:15.320 I was late as usual, got to the dressing room 13:15.320 --> 13:17.320 planning to dress in no-seconds flat 13:17.320 --> 13:19.320 so I could get out on the floor and be with Nick. 13:19.320 --> 13:22.320 Somehow I felt that I was going to need him that night. 13:22.320 --> 13:26.320 Some instinct told me it was a matter of life or death. 13:26.320 --> 13:30.320 It's been a whole month since the last one. 13:30.320 --> 13:33.320 What I like every once in a while is a good, juicy murder. 13:33.320 --> 13:35.320 Come on, snap it up. 13:35.320 --> 13:38.320 What do you think I pay you girls for anyway? 13:38.320 --> 13:40.320 Who are you looking out the door for, Ginger? 13:40.320 --> 13:42.320 Now you take that killing machine. 13:42.320 --> 13:44.320 There was a real juicy case. 13:44.320 --> 13:46.320 Oh, shut up, Mom. Will you cut it out? 13:46.320 --> 13:47.320 Oh, I'm sorry, dearie. 13:47.320 --> 13:49.320 I keep forgetting you and she's been so cool. 13:49.320 --> 13:51.320 That's all right. I'm jittery. 13:51.320 --> 13:53.320 Laverne, have you seen my boyfriend? 13:53.320 --> 13:55.320 Not tonight. Maybe he got bored. 13:55.320 --> 13:57.320 Billy, have you seen Nick? You know, the tall, handsome... 13:57.320 --> 13:59.320 Not tonight, Redhead. I guess he's giving you the air. 13:59.320 --> 14:02.320 Come on, come on up. What am I paying you for? 14:02.320 --> 14:04.320 Come on. 14:04.320 --> 14:07.320 What's the matter, Ginger? You look like you've seen a ghost. 14:07.320 --> 14:08.320 What are you looking for out there? 14:08.320 --> 14:10.320 What's so fascinating about the clock? 14:10.320 --> 14:12.320 Marino, they're not there. Where are those two flat seats? 14:12.320 --> 14:13.320 How'd you know about that? 14:13.320 --> 14:15.320 Never mind that now. Where are they? 14:15.320 --> 14:16.320 Called off. 14:16.320 --> 14:18.320 That sounds scurry to me, but police headquarters figures 14:18.320 --> 14:20.320 they frightened off whoever they were looking for. 14:20.320 --> 14:22.320 But that's crazy. I'm gonna fall... 14:22.320 --> 14:24.320 I won't do no good. I told them anybody had to wait 14:24.320 --> 14:26.320 till it cooled off before trying again. 14:26.320 --> 14:28.320 Now is when we should have protection. 14:28.320 --> 14:30.320 Well, come on. Get out on the floor. Come on, Ollie. Out on the floor. 14:30.320 --> 14:32.320 All right, I'll be out in a second. Really, I will, Marino. 14:32.320 --> 14:33.320 Laverne. 14:32.320 --> 14:33.320 Yes, hi. 14:33.320 --> 14:35.320 As soon as Nick comes in, tell him to come right here. 14:35.320 --> 14:37.320 Tell him to tap on the door, will you? 14:35.320 --> 14:37.320 Sure enough, sugar. 14:39.320 --> 14:42.320 Hey, what are you looking at me like that for, Ginger? 14:42.320 --> 14:44.320 Look, Mom, I gotta talk to you. 14:44.320 --> 14:46.320 I can't go out there on the floor. I'm scared. 14:46.320 --> 14:48.320 But what are you tearing holes in me for? 14:48.320 --> 14:52.320 Mom, you and I were here in this room the last night Julie was alive. 14:52.320 --> 14:54.320 The night she must have been killed, remember? 14:54.320 --> 14:56.320 You poor kid. I always liked you. 14:56.320 --> 14:58.320 Look, we gotta remember. We've just got to. 14:58.320 --> 15:00.320 There was someone dancing with Julie that night. 15:00.320 --> 15:02.320 Some rum-dum. 15:02.320 --> 15:05.320 Julie said something about him. I can't remember what it was she said. 15:05.320 --> 15:07.320 Oh, you mean the one that hurt her hand? 15:07.320 --> 15:09.320 That's it. That's it. Hurt her hand. 15:09.320 --> 15:11.320 Then her wrist back when they were dancing. 15:11.320 --> 15:16.320 Yes, that's the guy. She said it was almost like as if he got a kick out of hurting her. 15:16.320 --> 15:17.320 Yeah. 15:16.320 --> 15:17.320 In a squint. 15:17.320 --> 15:19.320 Yeah, I know. What else? What else? 15:19.320 --> 15:21.320 Well, Julie called him a cement mixer. 15:21.320 --> 15:23.320 Oh, now we're getting somewhere, Mom. Think hard. 15:23.320 --> 15:26.320 Oh, he had Julie crazy, dancing like a slap-happy pug. 15:26.320 --> 15:28.320 I remember her describing it. 15:28.320 --> 15:32.320 He'd take three little steps to the right as if he was getting ready for a standing broad jump. 15:32.320 --> 15:33.320 That was it. 15:33.320 --> 15:37.320 Remember how Julie said she felt like screaming, for Pete's sake, if you're gonna jump, jump? 15:37.320 --> 15:40.320 Yeah, three steps to the right, and if you're gonna jump, jump. 15:40.320 --> 15:43.320 Hey, what are you doing, Ginger? 15:43.320 --> 15:46.320 Some detective work? Getting some clues? 15:46.320 --> 15:48.320 You know who we're talking about, Mom? 15:48.320 --> 15:50.320 The killer. 15:50.320 --> 15:51.320 Yeah. Oh! 15:51.320 --> 15:55.320 If he enjoyed hurting her like that, Mom, as a hunch he was still alive, 15:55.320 --> 15:57.320 he'd enjoy dancing with her after she was dead. 15:57.320 --> 16:00.320 Oh, his wife's son, Prune Face. Why, that... 16:00.320 --> 16:03.320 There's someone I gotta tell this to right away. Oh, where the... 16:03.320 --> 16:06.320 Nick! See you later, Mom. 16:06.320 --> 16:08.320 Hey. How's Ginger? 16:08.320 --> 16:11.320 Oh, Nick. How's Nick? 16:11.320 --> 16:14.320 Are you trembling? Sure it's me. Why not? 16:14.320 --> 16:16.320 I thought you were called off the case. 16:16.320 --> 16:17.320 We were. 16:17.320 --> 16:18.320 Then what are you doing here? 16:18.320 --> 16:20.320 Habit. Do you mind? 16:20.320 --> 16:23.320 No, you dumb ape, I don't mind. Boy, how I don't mind. 16:23.320 --> 16:26.320 And as long as it isn't duty anymore, 16:26.320 --> 16:30.320 do you mind if I do something to you that I've wanted to do for days? 16:30.320 --> 16:32.320 Well, it depends. 16:32.320 --> 16:33.320 I want to take you in my arms. 16:33.320 --> 16:37.320 All right, take me in your arms and dance. Anyway, for the time being. 16:37.320 --> 16:38.320 I'm a rotten dancer. 16:38.320 --> 16:40.320 You're telling me. 16:40.320 --> 16:43.320 Nick, Nick, we gotta talk. 16:43.320 --> 16:46.320 I just found out something about the killer that you ought to know. 16:46.320 --> 16:49.320 Later. I paid Marina for all the dances to the end. 16:49.320 --> 16:51.320 We can leave whenever you want. 16:51.320 --> 16:55.320 After this song, they play Dinah, and then comes the break. We can leave then. 16:55.320 --> 16:56.320 What makes you so sure? 16:56.320 --> 16:59.320 Well, the band always plays the song in the same order. 16:59.320 --> 17:03.320 Then they can sleep while they work. I tell time by them. 17:03.320 --> 17:08.320 Slime House Blues means it's 10.45, Lady with a Tramp means 11.15, 17:08.320 --> 17:11.320 Dinah means 11.30. Never changes except when there's a request number. 17:11.320 --> 17:14.320 You know, I like everything about you. 17:14.320 --> 17:16.320 I like everything about you, but you're dancing. 17:16.320 --> 17:20.320 Light up on my hand, will you? You're bending it upside down. It hurts my wrist. 17:20.320 --> 17:24.320 I told you I was a rotten dancer. 17:24.320 --> 17:27.320 Well, for Pete's sake, don't dance like you were priming for a standing broad jump. 17:27.320 --> 17:33.320 If you're going to jump, jump. 17:33.320 --> 17:35.320 That's not Dinah. 17:35.320 --> 17:39.320 No, certainly isn't. It's a request number. 17:39.320 --> 17:40.320 Who requested it? 17:40.320 --> 17:53.320 I did. 17:53.320 --> 17:56.320 What's the matter, baby? You look sick. 17:56.320 --> 18:01.320 I...I...I feel just awful. I...I do feel sick. 18:01.320 --> 18:03.320 Am I dancing that bad? 18:03.320 --> 18:06.320 No, no, I just...I...Nick, I'll have to stop at the air, I guess. 18:06.320 --> 18:10.320 I'll go in to get a drink of water. Yeah, drink of water in the ladies' room. 18:10.320 --> 18:14.320 Oh, I'm sorry. I'll wait here for you. 18:14.320 --> 18:27.320 I'll just be a minute. 18:27.320 --> 18:28.320 Operator? 18:28.320 --> 18:31.320 Operator. Operator, give me the police department, Homicide Squad. 18:31.320 --> 18:36.320 Police department, Homicide, right away. 18:36.320 --> 18:37.320 Homicide? 18:37.320 --> 18:44.320 Hello, Homicide. This is Ginger Allen at Joyland. The third man you assigned to our place is... 18:44.320 --> 18:46.320 Third man? What third man? 18:46.320 --> 18:49.320 Nick Ballester, the one you assigned to protect me. 18:49.320 --> 18:54.320 We have no Nick Ballester, and there was no man assigned by us to protect you. 18:54.320 --> 18:57.320 It's the killer. He's taking me out with him. I don't know where to. 18:57.320 --> 19:00.320 Look, I'll leave a trail of ticket stubs. Please come quick. 19:00.320 --> 19:01.320 Ginger. 19:01.320 --> 19:07.320 Goodbye, Katie. Sorry you couldn't work tonight. I'll fix it with Marino. 19:07.320 --> 19:08.320 How you feeling? 19:08.320 --> 19:10.320 You shouldn't have come in here, Nick. Did you see the sign? 19:10.320 --> 19:15.320 All that? Men keep out, violator subject to arrest? 19:15.320 --> 19:19.320 Didn't say positively. Besides, they wouldn't arrest a cop. 19:19.320 --> 19:21.320 Why couldn't you leave me in here alone? 19:21.320 --> 19:24.320 You were gone so long, I thought something had happened. 19:24.320 --> 19:27.320 Nothing's happened...yet. 19:27.320 --> 19:36.320 Don't ask me how, but I kept up a patter while we walked. 19:36.320 --> 19:40.320 All my brains were in my right hand to clutch those ticket stubs in my coat pocket. 19:40.320 --> 19:44.320 I kept dropping those stubs, making sure he didn't see. 19:44.320 --> 19:48.320 I tried to stay on the bright streets, but he led me to the lonely ones. 19:48.320 --> 19:52.320 The one we were on now was like a graveyard. No lights, no people. 19:52.320 --> 19:55.320 Suddenly I felt my blood run cold. 19:55.320 --> 19:59.320 My fingers in that right hand pocket fished around like a drowning man clutching for straw. 19:59.320 --> 20:04.320 The last ticket stub was gone. 20:04.320 --> 20:05.320 Ginger. 20:05.320 --> 20:06.320 Yes, Nick? 20:06.320 --> 20:09.320 I'm hungry. Would you like some chop suey? 20:09.320 --> 20:14.320 Like it? Oh, I'd love it. 20:14.320 --> 20:19.320 He ate that chop suey with an appetite, like a guy who had work to do. 20:19.320 --> 20:21.320 Work he was going to enjoy. 20:21.320 --> 20:26.320 I side-sneaked a glance at the jukebox without turning my head, you know, just my eyes. 20:26.320 --> 20:30.320 What a relief. All kinds of songs, but no poor butterfly. 20:30.320 --> 20:35.320 Nick was beginning to act nervous. He'd guzzle a cup of tea, pour another, keep looking over his shoulder, 20:35.320 --> 20:37.320 like he was worried somebody might be following him. 20:37.320 --> 20:41.320 Then he'd grin like he used to and reach over for my hand. 20:41.320 --> 20:45.320 He pressed my fingers till they hurt. Hard, like he never pressed them before. 20:45.320 --> 20:48.320 I guess...I guess he couldn't wait. 20:48.320 --> 20:50.320 And suddenly he stood up. 20:50.320 --> 20:54.320 Ask the weight of the check, Ginger. I'm just going to wash my hands. 20:54.320 --> 20:56.320 But it's time we left. 20:58.320 --> 21:00.320 Waiter. Waiter, quick. 21:00.320 --> 21:02.320 Yes, you men. What will you be? 21:02.320 --> 21:06.320 I'm leaving. When my boyfriend comes out, tell him you think I went back to the powder room. 21:06.320 --> 21:09.320 Gag. You know, he's a deadbeat. I want to shake him. 21:09.320 --> 21:11.320 Maybe...don't understand. 21:11.320 --> 21:13.320 Marino, how did you get here? 21:13.320 --> 21:16.320 Mom saw me, and I followed your ticket stub. He almost saw me. Come on, quick. 21:16.320 --> 21:18.320 Marino, thank heaven you got here. 21:18.320 --> 21:20.320 I'm going to get you a new one. 21:27.320 --> 21:31.320 Marino, I can't run anymore. I won't last the block. 21:31.320 --> 21:35.320 You won't have to. There's a vacant house in the middle of the block. 21:35.320 --> 21:38.320 Here, inside. Fair thought, I think I've seen him coming. 21:38.320 --> 21:39.320 It's all dark in here. 21:39.320 --> 21:43.320 No one lives here, that's why. Here, I'll light this search light. 21:43.320 --> 21:46.320 There's a stairway leading upstairs. 21:46.320 --> 21:49.320 Go ahead. Now watch it. Now don't trip. The stairs are broken. 21:49.320 --> 21:53.320 Here. Now. Do this door. 21:53.320 --> 21:54.320 Oh. 21:54.320 --> 21:57.320 Here's a candle and a match. 21:57.320 --> 21:59.320 Okay. 21:59.320 --> 22:03.320 There. Now we can see each other. Wait. 22:03.320 --> 22:04.320 Do you think we're safe? 22:04.320 --> 22:06.320 We'll know in a few minutes. 22:06.320 --> 22:09.320 Oh, Marino. 22:09.320 --> 22:10.320 Good job! 22:10.320 --> 22:11.320 Oh, damn. 22:11.320 --> 22:16.320 Put out that candle. Now hide. Right there. I'll take care of him. 22:27.320 --> 22:28.320 Ginger! 22:28.320 --> 22:29.320 Jim! 22:29.320 --> 22:31.320 All right, you ask for it! 22:31.320 --> 22:41.320 See about that. 22:41.320 --> 22:51.320 Marino. Who? 22:51.320 --> 22:57.320 Who is it? Who is it? Answer me. Answer me, please. 22:57.320 --> 23:07.320 Who? 23:07.320 --> 23:13.320 Oh, my God. 23:13.320 --> 23:16.320 Oh, go on. Kill me. Get it over with. 23:16.320 --> 23:18.320 Oh, why did you stop the music? 23:18.320 --> 23:20.320 We danced from the beginning of the record. 23:20.320 --> 23:21.320 Marino! 23:21.320 --> 23:26.320 Yeah. Yeah, Muriel. You think you can hide from me with different names and different faces? 23:26.320 --> 23:33.320 Marino! Why do you call me Muriel? What are you doing? I'm Ginger, don't you remember? I'm Ginger Allen. 23:33.320 --> 23:37.320 Each time you tell me a different name, Muriel, that you can't get away by changing names. 23:37.320 --> 23:38.320 Marino! 23:38.320 --> 23:43.320 The first time you changed your name was when you married me before I left for Europe with that operetta company. 23:43.320 --> 23:48.320 You remember? You all got to play poor butterfly when you promised to love me forever. 23:48.320 --> 23:50.320 Help me. Somebody help me. 23:50.320 --> 23:52.320 Yeah, well, the next time you changed your name was when you thought I was dead. 23:52.320 --> 23:59.320 Lived on my insurance and married another me. No matter how many times you changed your name, Muriel, I'll find you. 23:59.320 --> 24:07.320 No, not me. You killed her. You killed her, Marino, again and again. You only killed her last month, Marino. 24:07.320 --> 24:14.320 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. 24:14.320 --> 24:15.320 Oh, Nick! 24:15.320 --> 24:23.320 And now we dance. Now we dance. Dance. Whenever you're dying, the road you were going on, dance. 24:23.320 --> 24:25.320 And now we dance. And then you... 24:39.320 --> 24:40.320 How's Ginger? 24:40.320 --> 24:46.320 Oh, Nick. Oh, Nick. I thought he killed you. 24:46.320 --> 24:50.320 I got an awfully hard head. The police will be here in just a minute. 24:50.320 --> 24:59.320 Oh, Nick. How do you fit into this? Headquarters never heard of you. 24:59.320 --> 25:01.320 They were instructed to say that in case you called. 25:01.320 --> 25:05.320 What was the idea? You scared me to death! 25:05.320 --> 25:14.320 I figured Marino 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. 25:14.320 --> 25:16.320 Why, you no good... 25:16.320 --> 25:22.320 It was the only way to find his hideout and the evidence we need. The phonograph, the record, and the attempted murder. 25:22.320 --> 25:30.320 At my expense, you big piece of... Another thing. How'd you know about dancing like a broad jumper and turning up my wrist? 25:30.320 --> 25:38.320 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. 25:38.320 --> 25:42.320 I put them together with poor Butterfly so I could scare the daylights out of you. 25:42.320 --> 25:45.320 Oh, you did, too. Hang on, I'll ring your... 25:45.320 --> 25:49.320 Oh, calm down. No wife of mine is gonna have a redhead of temper. 25:49.320 --> 25:54.320 Wife of yours? You'll do anything to learn how to dance, won't you? 25:54.320 --> 25:56.320 Yeah, it looks that way. 25:56.320 --> 26:03.320 No wonder you didn't want me to dye my hair. You wanted that nice, premature gray color. 26:03.320 --> 26:29.320 And so closes Dime a Dance presented by Roma Wines and starring Lucille Ball, tonight's tale of... Suspense. 26:29.320 --> 26:32.320 In just a moment, we'll hear again from Miss Ball. 26:32.320 --> 26:37.320 First, though, let's visit a glamorous casino somewhere on the sunny Caribbean. 26:37.320 --> 26:42.320 Smartly dressed people stroll about the garden. The strains of a Cuban song float out. 26:42.320 --> 26:47.320 Two men watch from a table on the terrace. One is a Cuban, the other a North American. 26:47.320 --> 26:49.320 One is about to propose a toast... 26:49.320 --> 26:51.320 To your beautiful country, Jose. 26:51.320 --> 26:54.320 I drink to that. Now I propose a toast. 26:54.320 --> 27:00.320 To this wine in which we drink our toast. It comes from North America, from California. 27:00.320 --> 27:02.320 Its name is Roma. 27:02.320 --> 27:07.320 Only a few places in the world produce wine so fine that many countries enjoy them. 27:07.320 --> 27:11.320 And among these enjoyable wines are Roma Wines. 27:11.320 --> 27:17.320 For they come from vineyard districts that are among the finest in the world, our own sunny California. 27:17.320 --> 27:23.320 What better testimonial to the quality of Roma Wines could you ask than the wine of the world? 27:23.320 --> 27:33.320 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? 27:33.320 --> 27:39.320 There is a fine Roma Wine for you, whether your taste calls for a sherry, a burgundy, or sotern. 27:39.320 --> 27:46.320 And no matter what type of Roma Wine you buy, you know you're receiving a truly fine wine at a price made possible 27:46.320 --> 27:52.320 because Roma Wines are the overwhelming favorite of Americans, America's largest selling wine. 27:52.320 --> 27:56.320 I'll show you his assortment of Roma Wines tomorrow and choose your favorite. 27:56.320 --> 28:01.320 Roma. R-O-M-A. Roma Wines. 28:01.320 --> 28:05.320 Made in California for enjoyment throughout the world. 28:05.320 --> 28:08.320 Remember, this is the year of decision. 28:08.320 --> 28:16.320 And that means that this year more than ever before, we should all buy more and even more war bonds and stamps. 28:16.320 --> 28:21.320 This is Lucille Ball. It's been a great pleasure to appear on Suspense this evening. 28:21.320 --> 28:27.320 Next week, I know you'll want to be listening, as I certainly will, to a very wonderful actor, Mr. Paul Lucas, 28:27.320 --> 28:32.320 who will appear in a Suspense play called, A World of Darkness. 28:32.320 --> 28:34.320 Thank you, Miss Ball. 28:34.320 --> 28:41.320 Lucille Ball appeared tonight through the courtesy of Metro-Goldwyn-Mayer, producers of Madame Curie. 28:41.320 --> 28:49.320 Don't forget then, next Thursday, same time, for Paul Lucas in Suspense. 28:49.320 --> 28:54.320 Presented by Roma Wines. R-O-M-A. 28:54.320 --> 29:15.320 Made in California for enjoyment throughout the world. 29:15.320 --> 29:19.320 This is the Columbia Broadcasting System.