September 28, 2025 • 26 mins
“Fugue in C Minor,” starring the legendary Vincent Price and Ida Lupino, from the radio series SUSPENSE. It’s a great story about a pipe organ that was built throughout an entire house, and the reason it plays on its own. This episode aired on June 1, 1944.
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Episode Transcript
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Speaker 1 (00:01):
Hudson River Radio dot Com.
Speaker 2 (00:11):
Roma Wines present Suspend Roma Wine made in California for
enjoyment throughout the world. Your health, Senor Roma Wine toast
the world. The wine for your table is Roma Wine
(00:34):
made in California for enjoyment throughout the world.
Speaker 3 (00:40):
The Roma Wine Company of Presno, California welcomes you again
to this weekly half hour of suspense. Tonight from Hollywood.
Roma Wines bring you with stars Miss Idelapino, currently being
seen in Warner Brothers in Our Time, and mister Vincent
Price of twentieth Century Fox, soon to be seen in
the Darrell Santa production Winson. For the appearance of these
(01:03):
two distinguished screen personalities, will see you. Fletcher has written
a suspense play that deals with brooding anxiety and sharpening
suspicion played against the severe and forbidding background of the
late Victorian era, and so with Hughue in C Minor,
and with the performances of Idelapino and Vincent Price, we
(01:23):
again hope.
Speaker 4 (01:24):
To keep you in Suspend.
Speaker 5 (01:55):
April first, nineteen hundred, Dear Bessie, this is just to
let you know that I arrived in Pilot still. Lizzie
met me at the station. She's heartbroken about Papa's bankruptcy,
and for some reason, Field that is up to me
to remedy the family situation. I told her I'd been
offered a job, but she swept away that idea in horror.
Speaker 6 (02:15):
A girl with your looks aman to Peabody, doesn't have
to get a job.
Speaker 7 (02:19):
There are too many rich husbands floating around for that.
Speaker 5 (02:22):
Furthermore, she says she has a rich husband already picked
out to me right here in Pilotsville.
Speaker 6 (02:26):
Don't you remember I told you about him at Christmas time.
Speaker 7 (02:30):
He's a mister Evans, richest, crisest.
Speaker 6 (02:33):
Charming, cultured, a lonely widower with two dear little children.
And besides that, he's just your type, a real intellectual.
You should hear him play the pipe organ.
Speaker 5 (02:43):
And you know, Bessie, I've met so few interesting men lately, and.
Speaker 6 (02:47):
All you'd have to do is lift your little finger.
Speaker 8 (03:02):
Mister.
Speaker 4 (03:03):
Oh good evening, missus Chumley, How delightful to see you here.
Speaker 6 (03:06):
I'd like you to beat my sister, mister Evans, my
sister a.
Speaker 4 (03:09):
Man to Peabody delighted.
Speaker 5 (03:10):
I'm sure it's a lovely party, Miss Tresan.
Speaker 4 (03:12):
Thank you, miss Peabody, Have you just come to Pilotsville.
Speaker 6 (03:15):
Yeah, she's done from me or visiting me after the
world of the hectic soution season.
Speaker 4 (03:20):
Indeed, And I'm afraid our Pilotsville society must seem a
bit dull to you, Miss Peabody.
Speaker 5 (03:24):
Oh no, not at all. It's charming. I've enjoyed everything
so much tonight, your beautiful house music. I hear you're
going to play for SMSs rhythm.
Speaker 4 (03:32):
Oh a bit. Do you care for organ music, Miss Peabody?
Speaker 5 (03:35):
Very much. I never miss a church recital. But what
a luxury it must be to have your own pipe
organ right here in the house.
Speaker 4 (03:41):
I'm afraid I couldn't do without it. It's my hobby,
you know, bach bookster Hoodah, says our trunk. Don't you
adore their work?
Speaker 5 (03:48):
Oh? Amanda's very musical. You should hear her render the
burning of room.
Speaker 4 (03:53):
Yes. And the delightful thing, of course, about having a
pipe organ in the house is that it's everywhere to
sit at a keyboard, and here the walls, the ceilings,
the floors vibrate. You see, Miss Peabaddy. I've had the
pipes installed all over the house. Under this floor for example.
Or all the choir stops up in the bedroom walls
are the stops for the swell manual in the great
(04:14):
thirty two foot pedal stops. The giant dire Pasians are
underneath the staircase. My children sleep next door to the
echo chamber. So you see, we live like angels here
in a paradise of music. How thrilling ladies? Come upstairs
to the second floor landing, won't you, And I'll show
you the consoles.
Speaker 1 (04:32):
It was made for me in Vienna, April.
Speaker 5 (04:45):
Seventh, nineteen hundred and Bessie dare to tell you the truth.
I really find him fascinating. I wish you could hear
him play. It sweeps you off your feet. There is
such wildness twitterms at the same time such dignity, And
to hear the song all through that marvelous house, rolling
through those gorgeous rooms with their beautiful tapestris and potted palms.
(05:07):
I could sit and listen to him all night.
Speaker 4 (05:11):
You have the most amazing eyes, Miss Peabody. What are
you thinking about the music?
Speaker 8 (05:16):
Oh?
Speaker 5 (05:16):
Please, don't stop, it's so beautiful.
Speaker 4 (05:18):
Well, you seem to be as mad about music as
I am. Your sister says, you play too.
Speaker 5 (05:22):
Oh no, only a little. My appreciation of it is
all inside.
Speaker 4 (05:25):
I'm afraid that's plenty. If one can't play, it's better
just to enjoy the music of others. I can't bear
this sentimental drumming, can you.
Speaker 5 (05:32):
I shouldn't think he would enjoy it.
Speaker 4 (05:34):
The idiotic tunes people play nowadays. Give me the old
stern classics. They have strength and power. Give me something
with light, or something that will flood the whole house
and town.
Speaker 5 (06:00):
Oh that's mum.
Speaker 4 (06:02):
You're a very unusual girl, miss Peaboddy, quite unlike the
run of girls here and down here at Pilotsville.
Speaker 5 (06:07):
Yes, and what way?
Speaker 4 (06:08):
Oh, it's rather hard to explain. Uh some more tea Amanda, No,
thank you? A muffin?
Speaker 5 (06:17):
No thank you. You have an excellent cook.
Speaker 4 (06:19):
Mister Evans, please please call me Theodore. You know you
promised Theodore Amanda.
Speaker 5 (06:25):
And your house is beautifully run too. You must have
an excellent housekeeper. Everything always looks so charming and quiet.
I haven't even heard a pea part of your children.
Speaker 4 (06:35):
My children? Oh, yes, the children have been away at school.
You have two, haven't, Yes, Daphne and David.
Speaker 5 (06:40):
What sweet names.
Speaker 4 (06:41):
But nearly. I don't approve of schools for young children,
but you see, they were rather overwrought after Missus Evans
passed on.
Speaker 5 (06:49):
I can well understand.
Speaker 4 (06:50):
They were almost morbidly devoted to their mother, and then,
of course the unfortunate circumstances of her death. But I
suppose your sister, missus Chumley, has told you all about that.
Speaker 5 (06:59):
No, not very much, except your wife was killed in
a street accident, wasn't she.
Speaker 4 (07:04):
Yes, in Philadelphia, a brewery wagon and four horses ran
her down.
Speaker 5 (07:08):
Oh how terrible.
Speaker 4 (07:09):
It's something I don't like to think about very often.
Poor beautiful Margaret. Well, it's like a nightmare, Amanda, and
I still can't feel reconciled. But well, what I was
driving at was the children. They were in school when
she died, and by some malicious stroke of fate, there
was an epidemic of scarlet fever raging up there. The
authorities wouldn't lift the quarantine and let them out for
(07:30):
her funeral.
Speaker 5 (07:31):
Oh, poor little things.
Speaker 4 (07:32):
It upset them dreadfully. In fact, I sometimes fear it's
left a mark on them which may endure all their lives.
But what do you mean they suffer from delusions delusions
about her. They think that in some ways she is linked,
her soul is imprisoned in the organ pipes.
Speaker 5 (07:49):
Oh horrible.
Speaker 4 (07:50):
I wish I could do something about it. It's frightful notion.
But they won't. They don't let me play when they're
at home. That echo chamber, in particular, next door to
their bedroom. Yes, you know, it's nothing but an empty,
sealed room with a few wires. Of course, it's all
because they never saw her dead, But they have a
notion that she's well, somehow hidden there.
Speaker 5 (08:09):
How ghastly they really think that, do they? Children can
think of such very strange things in their little minds,
can't they?
Speaker 3 (08:30):
To Night or Suspense, Roma Wines are bringing you as stars,
miss Ida la Pino and mister Vincent Price, whom you've
heard in the prologue to Fugue in C Minor, Tonight's
tale of Suspense. And now it is with pleasure that
(08:54):
we bring back to our sound stage Idle the Pino
as a man of peabody, and Vincent Price is Theodore
Evans in que in C minor, a tale well calculated
to keep you in.
Speaker 7 (09:06):
Sam April eighteenth.
Speaker 5 (09:23):
I met the children today Bessie for the first time.
It was a shock. Yes, strange little creatures, utterly unlike
their father. The girl is about eleven and the boy ate.
They were both dressed in deep mourning. Their large gray
eyes seemed strained with terror. They listened and trembled at
every sound.
Speaker 4 (09:44):
This is miss Peabody, children, She's a very good friend
of mine. Now I want you both to shake hands
with her. Oh come now, Daphne, you can at least
tell miss Peabody how old you are.
Speaker 5 (09:55):
Oh no, please don't press her. I know when I
was a little girl, I hated people to talk about
my mine. I'd much rather hear about Well, about school.
Speaker 9 (10:04):
We're not going back there, no matter what anybody says, David.
Speaker 5 (10:07):
That's all right. Then you didn't like school.
Speaker 10 (10:10):
No, mammy didn't like it either, She cried when we
went away.
Speaker 5 (10:15):
Oh but your mama wanted you to be educated, didn't she.
She wanted you to grow up and be intelligent. People
didn't she, Well, didn't she. Daphney, who are you? You
may call me aunt Amanda. I'm a friend of your papa's.
Speaker 10 (10:29):
Do you know where my mama is?
Speaker 5 (10:32):
Your mama, Well, your mama's in heaven. Dear, No, she's
not then where is she?
Speaker 4 (10:38):
Please? Please don't start them off, Amanda, it's too upsetting.
Come along, children, now we're going to have a little
music like old times. You remember when your mother was alive.
We all used to play together. David, you with your cornette,
and Daphne at the violin and Mama at the piano. Well,
miss Peabody plays the piano too, and she's promised to
(10:58):
play Narcissus's favorite piece.
Speaker 5 (11:02):
Well perhaps some other times, Theodore, when they don't feel
so strange, I tell you.
Speaker 4 (11:07):
I've humored them to death. Now come, David, there's your
cornette on the mantelpiece, and Daphne, no, I insist. Look now,
I'll start the melody on the organ. David, you come
in with your cornett opplegato in the third measure. Daphne
you can follow me.
Speaker 5 (11:33):
What's that?
Speaker 4 (11:35):
Come along, children?
Speaker 5 (11:36):
What's that?
Speaker 10 (11:37):
No? No making up money?
Speaker 8 (11:39):
Noise?
Speaker 4 (11:42):
What note? Oh you mean that? Oh that's just a cipher.
A wire must have stuck somewhere. One of the pipe thows,
it's mama.
Speaker 10 (11:50):
That's where mommy is.
Speaker 5 (11:51):
She's calling for it.
Speaker 4 (11:52):
Don't be silly. I just hit the key a few times,
and it'll stuff. You've heard these ciphers before. Happened to
miss Bee buddy.
Speaker 5 (11:58):
Well, I don't know much about pipe or.
Speaker 4 (12:00):
Common technical occurrence, but very annoying. Of course.
Speaker 10 (12:02):
What is she doing in there? Why doesn't it stop?
That's where she is. She's in a pipe and she
can't get out.
Speaker 4 (12:07):
Deafney, stop that nonsense.
Speaker 5 (12:09):
Hush, dear, Your papa will fix no e won He can't.
Speaker 10 (12:12):
She won't let him because he killed her.
Speaker 4 (12:16):
Deathly. Definitely, what did you say?
Speaker 5 (12:20):
She didn't mean it. I'm sure, the poor little thing hysterical.
We should never have tried to persuade them, oh, Manda.
Speaker 4 (12:25):
Just because they never looked upon her face, because they
never saw her lying there in the cortin My own
children believe that I am a.
Speaker 5 (12:32):
Murderer, Theodore. You're making them both, Oh I.
Speaker 4 (12:35):
I who loved their mothers so much, was so devoted
for twelve years. Do I look like a murderer, Amanda?
Do I? No?
Speaker 10 (12:45):
There it is again.
Speaker 5 (12:47):
It's mama. It's mamah dear. I'll take them upstairs for you, Theodore,
while you try and fix it.
Speaker 1 (12:57):
Hudson River Radio dot com, you're a low rockland County station.
Speaker 6 (13:03):
This is Husband River Radio dot Com.
Speaker 5 (13:10):
April twenty fourth, Oh, Bessie, those poor little children. We
took them out to the cemetery today to show them
her grave. A marble angel guarded it. It was planted
with pure white tulips. How final it was and peaceful,
And yet they began to tremble again the moment we
set foot inside the house. Poor Theodore, the man is
(13:32):
nearly out of his mind. What can he do? I
keep asking myself that question.
Speaker 4 (13:39):
She died in Philadelphia, You say, yes, I'm May fifteenth
s just a little less than a year ago.
Speaker 5 (13:44):
You weren't with her.
Speaker 4 (13:45):
No, she went there to take a piano lesson. There
was a new teacher she'd heard about. She was always
so self conscious about her technique. But she never reached
his studio. They notified me at midnight from the city.
Speaker 5 (13:56):
Morgue, and no one in Philadelphia saw her, No.
Speaker 4 (14:00):
One except the attendants at the morgue, of course, and
the people who picked her up after the collision. It
was such a brutal accident.
Speaker 5 (14:06):
Could there be no one from among them who could
speak to the children explained to them.
Speaker 4 (14:10):
Oh no, oh, it's so horrible, so sordid.
Speaker 5 (14:13):
Oh, I know, my dear, I hate to make you suffer.
But if we could find some way, if they could
just believe when you brought her back here to Pilot
Still there was a funeral, yes, And was there anybody
then who saw her?
Speaker 3 (14:28):
Oh?
Speaker 4 (14:28):
No, I couldn't bear it. And and I I didn't think
at the time she'd been so beautiful, her lovely, sweet,
gentle face in her eyes. The horses had completely trembled. Oh.
Even if the children had been able to come home,
I wouldn't have let them look. The coffin was sealed
when I left Philadelphia. I didn't want to see her
again myself.
Speaker 5 (14:47):
But there was a funeral. People came, There were flowers
and undertaker. Yes, well, if they could believe that, if
there was one witness, my own Sisterli.
Speaker 6 (15:05):
Of course there was a funeral, the finest funeral in town,
a snow white hearse and twenty five coaches. Everybody said flowers.
The casket wasn't opened, but I've been to lots of
funerals where they don't open the casket. And for what
I understand, she was pretty badly mangled.
Speaker 5 (15:21):
But it was a beautiful funeral.
Speaker 6 (15:23):
Mister Evans played the organ himself for the finest selections,
all the sweet old pieces.
Speaker 8 (15:27):
His wife liked.
Speaker 6 (15:29):
There was Narcissus and Mighty Night Rose and Goodbye Forever.
Speaker 4 (15:38):
That's the way it was.
Speaker 5 (15:40):
So, you see, David, my sister, Missus Cholmley, was there.
Speaker 10 (15:43):
Yes, But how did she know it was Mama?
Speaker 5 (15:46):
Oh, David, she didn't see Mama, did she. Well, nobody
saw your poor mamma, dear. She wouldn't have wanted anyone
to see her.
Speaker 10 (15:55):
Mary wasn't there. She talks to us every night. She
tells us to look for quere dear in the pipes.
Speaker 5 (16:02):
But David, your mama's dead. She's been dead for nearly
a year. You saw her grave out in the cemetery.
She's happy and the rest.
Speaker 10 (16:11):
Why doesn't Papas give us the key?
Speaker 5 (16:13):
If you'd only let us have, we could look for
what key, dear, the keys to the pipes.
Speaker 10 (16:20):
There's a little door just underneath the stairs.
Speaker 11 (16:24):
That's where they that's where the big pipes are, and
inside it's all.
Speaker 9 (16:28):
Dark but well, but but there there are tunnels. There's
a little room. That's where she's hiding. That's where mommy is.
Speaker 5 (16:45):
That's where mommy is Oh David Darling, now look come here. No,
I hate you, But why do you hate me? Why
don't you let me help you? Because because what?
Speaker 10 (16:55):
Because you like him?
Speaker 5 (16:58):
Him?
Speaker 10 (17:00):
Papa. You're going to marry him, aren't you? Yes, you are.
Speaker 12 (17:05):
The Fina says you are. You're going to marry him.
Then he'll send us back to school. There'll be no
one left to help Mama. Poor Mamma will never be
left out.
Speaker 4 (17:17):
Oh I hate I hate David. What are you doing here? David?
Did you strike miss Peabody?
Speaker 5 (17:23):
He's six, Piodore. I'm sure he's very sick.
Speaker 4 (17:25):
I go to your room at once. Oh, those dreadful children,
I tell you, Amanda, they'll ruin whatever happiness we might have.
Speaker 5 (17:33):
Theodore, I love you very much, but I couldn't marry you,
not with that child's cry ringing in my head. We've
got to help them. Give them that key. Let them
go and look in the room where the pipes are.
Then they'll see for themselves that there's no ghosts.
Speaker 4 (17:47):
He who told you, ABOUBEQUI to that room, the children,
the children, Amanda. I'm going to tell you something, something
I've tempered never told to a living soul. It may
frighten you. Yes, Margaret was going mad when she died. Oh,
no one knew it but me. It ran in her family.
I discovered it long after we were married, after the
children were born.
Speaker 5 (18:08):
Otherwise I'd never have Now, you think the children.
Speaker 4 (18:10):
I'm afraid. So it was peopling of sound. She had,
just like them, a fear of the dead's returning. She
used to play what's that?
Speaker 5 (18:22):
Sounds like the organs?
Speaker 4 (18:23):
But the motor isn't done. The console was locked when
I left.
Speaker 5 (18:27):
Someone's trying to play.
Speaker 4 (18:29):
No one but me can touch that instrument. It's forbidden
in this house, and the servants are out unless those
children come upstairs. The man.
Speaker 5 (18:40):
Theodore. Why there's no one here, No one of the keyboards.
The organ's playing itself.
Speaker 4 (18:46):
That's impossible. The motor's not going. The motor, yes, excess,
the fellow's going. There's no air in the pipes unless
it's on. No air to make the pipe speak. It's impossible.
I tell you.
Speaker 5 (18:54):
The children found the key and found in me.
Speaker 4 (18:56):
No, no, no, the keys here in my pocket.
Speaker 5 (18:58):
There's no other way.
Speaker 4 (18:59):
No.
Speaker 5 (19:00):
Theodore opened that door. Go in there and see what's happening.
Speaker 4 (19:04):
Please, No, Theodore. I won't give in. I won't bear
prey to it. Do you hear I won't, I won't,
I won't. It's stopped now. Yes, it was probably nothing
but the wind.
Speaker 5 (19:20):
Theodore. Give me the key. I'm not afraid.
Speaker 4 (19:24):
Are you saying that? I am?
Speaker 5 (19:26):
I don't know, but I'll be fair with you, Theodore.
I couldn't marry you and live here with that any
more than your children can. Do you mean, rip out
those pipes, rip out the whole pipe, Organ, give it
to a church, but don't keep it here.
Speaker 4 (19:38):
Organ. Yes, but I couldn't. The whole house was built
around it. It's been the very soul and spirit of
this home.
Speaker 5 (19:44):
In the curse you mean, Theodore. I know I'd go
mad too if I had to listen to it night
and day. It's so hollow to think those pipes, so
huge down there in the darkness. I'd begin to hear
things too.
Speaker 4 (19:59):
Oh, quiet, quiet, Come outside, we'll take a walk.
Speaker 5 (20:02):
No, No, give me the key. Give me the key.
Speaker 4 (20:05):
Hterical, Amanda. I'm sorry I've overburdened Georgia.
Speaker 5 (20:08):
Why don't you want to go in there? Is it
because you know something? You did something?
Speaker 4 (20:12):
What do you mean did you kill Amanda? Very well, Amanda,
here's the key. If that's the way you trust me,
we'll go down and look around together. Come now, Amanda.
Speaker 5 (20:30):
I'm sorry, Theodore, it slipped out. It was a dreadful
thing to say.
Speaker 4 (20:35):
All right, I understand, yet it hurts a little. I've
trusted you so completely, Amanda, Theodore. Yes, Amanda, let's not
go in there.
Speaker 5 (20:44):
I do trust you, Darling. I believe everything you've told me.
Speaker 4 (20:47):
No this little key, to think it should mean so much.
Speaker 5 (20:57):
Black.
Speaker 4 (20:57):
It is pitch blank cold.
Speaker 5 (21:01):
Where are the pipes? I can't see them.
Speaker 4 (21:03):
Come in further, Amanda. You'll see them as soon as
your eyes grow accustomed to the darkness. The biggest pipes
pack this well under the great staircase like giants.
Speaker 5 (21:13):
Where I'm beginning to see them. Now, shouldn't we go
and get a candle?
Speaker 4 (21:18):
Go in a little feather? Be careful the floor. It's
a maze of wires. Now stand there.
Speaker 5 (21:22):
For a second, Theodore, don't leave me.
Speaker 4 (21:25):
I won't be long. I thought you said you weren't afraid.
Speaker 5 (21:28):
I'm not. Only where are you going?
Speaker 4 (21:31):
Just upstairs to play for you, Theodore. I'd like you
to hear how the music sounds in the darkness. It's
quite an experience being so close to the pipes, you know, narrow, suffocating,
especially when I pay the great pascolia and fugue of Bach.
Speaker 5 (21:47):
Theodore, Please, I don't want to stay here.
Speaker 4 (21:49):
As one of the Weinberger symphonies are the great corrals
of Cesar Frank Margaret, of course preferred narcissus. You're very gullible, Amanda,
kill her?
Speaker 5 (22:01):
You kill her in this room? Are you going to
kill me?
Speaker 4 (22:05):
Simple? Isn't it good? Why? I don't know? One gets
tired every now and then of mere music. Sometimes the
classics demand competition, a scream, for example, There's something so
exciting about pulling out all the steps and drowning out
all human sound. Have you ever tried to match your voice,
Miss Peabody, against the thunderous voice of Bach? It's most effective.
(22:27):
And then when the struggle gets weaker, when the air
is almost gone and you choke and gasp for breath
to bring the music down softer, softer.
Speaker 3 (22:36):
You're mad.
Speaker 4 (22:37):
You're mad, Amanda? Would you deny me that pleasure? I
promise you to be too long. It takes about eight
hours before the air gives out, But you know. I
could play for days, and don't worry about the children.
I think you've convinced them about the ghosts. But that
there door. Someone shut the door. It's locked in the
keys outside. Who's there? Let me up, Let me out,
(23:03):
I get away from you. Let me out, you let
me out, Let me out.
Speaker 8 (23:06):
I can't breathe. I'm just stoffocating. It's so dark. I
can't breathe. Let me out, please, please, I can't breathe.
I can't. No, don't, I can't.
Speaker 4 (23:17):
I can't. Let let me out.
Speaker 8 (23:18):
I can't breathe.
Speaker 5 (23:32):
Sea dog, your dog, Let me out, Let me out.
Speaker 10 (23:39):
He's dead.
Speaker 12 (23:40):
He's dead, Yes, David, where are you?
Speaker 7 (23:44):
Open the door?
Speaker 8 (23:46):
Help me, help me?
Speaker 13 (23:49):
No hell, May one, nineteen hundred.
Speaker 5 (24:08):
I shall be coming home in a few days, Bessy,
I still can't sleep at night. I still hear that laughter,
still hear that cornet playing its unearthly music. And Theodore
Evans once more lies dead at my feet. Twas his heart, Bessy.
He died of fright in those few moments he anticipated
(24:30):
with hideous fate he had meted out to so many.
And I might have died there if he had not
gone so quickly. But the children hated me. They wanted
to kill us both, those terrible, pathetic children. What horrors
they must have sensed in that Charnel house. There were
other women beside his wife, please far, the more buried
(24:54):
and stuffed away into unused parts of the pipe organ. Bessie,
I was that pipe room alone with him for four
hours before that door creaked open. There they stood, and
I shall never forget their faces or the thing they said.
You can come off now if you're really sorry. I'm sorry.
Speaker 10 (25:17):
Are you sure he's quite dead?
Speaker 5 (25:20):
Yes, he's dead.
Speaker 12 (25:22):
We were right all the time, won't we.
Speaker 5 (25:25):
Miss Peaboddy, Yes, you were right.
Speaker 11 (25:28):
Now, will you come and help us find mama?
Speaker 3 (26:00):
And so closes FEWU in C minor starring miss Ida
Luppino and Vincent Price, to Night's Tale of Suspend. Suspense
is produced and directed by William Spear.
Speaker 5 (26:15):
This is Ida Lupino, don't forget to buy that war
bond this week, Suspend.
Speaker 2 (26:23):
This is CBS, the Columbia Broadcasting
Speaker 9 (26:25):
System, Hudson River Radio dot Com the dot com makes
it cool
Hudson River Radio dot Com.
Speaker 2 (00:11):
Roma Wines present Suspend Roma Wine made in California for
enjoyment throughout the world. Your health, Senor Roma Wine toast
the world. The wine for your table is Roma Wine
(00:34):
made in California for enjoyment throughout the world.
Speaker 3 (00:40):
The Roma Wine Company of Presno, California welcomes you again
to this weekly half hour of suspense. Tonight from Hollywood.
Roma Wines bring you with stars Miss Idelapino, currently being
seen in Warner Brothers in Our Time, and mister Vincent
Price of twentieth Century Fox, soon to be seen in
the Darrell Santa production Winson. For the appearance of these
(01:03):
two distinguished screen personalities, will see you. Fletcher has written
a suspense play that deals with brooding anxiety and sharpening
suspicion played against the severe and forbidding background of the
late Victorian era, and so with Hughue in C Minor,
and with the performances of Idelapino and Vincent Price, we
(01:23):
again hope.
Speaker 4 (01:24):
To keep you in Suspend.
Speaker 5 (01:55):
April first, nineteen hundred, Dear Bessie, this is just to
let you know that I arrived in Pilot still. Lizzie
met me at the station. She's heartbroken about Papa's bankruptcy,
and for some reason, Field that is up to me
to remedy the family situation. I told her I'd been
offered a job, but she swept away that idea in horror.
Speaker 6 (02:15):
A girl with your looks aman to Peabody, doesn't have
to get a job.
Speaker 7 (02:19):
There are too many rich husbands floating around for that.
Speaker 5 (02:22):
Furthermore, she says she has a rich husband already picked
out to me right here in Pilotsville.
Speaker 6 (02:26):
Don't you remember I told you about him at Christmas time.
Speaker 7 (02:30):
He's a mister Evans, richest, crisest.
Speaker 6 (02:33):
Charming, cultured, a lonely widower with two dear little children.
And besides that, he's just your type, a real intellectual.
You should hear him play the pipe organ.
Speaker 5 (02:43):
And you know, Bessie, I've met so few interesting men lately, and.
Speaker 6 (02:47):
All you'd have to do is lift your little finger.
Speaker 8 (03:02):
Mister.
Speaker 4 (03:03):
Oh good evening, missus Chumley, How delightful to see you here.
Speaker 6 (03:06):
I'd like you to beat my sister, mister Evans, my
sister a.
Speaker 4 (03:09):
Man to Peabody delighted.
Speaker 5 (03:10):
I'm sure it's a lovely party, Miss Tresan.
Speaker 4 (03:12):
Thank you, miss Peabody, Have you just come to Pilotsville.
Speaker 6 (03:15):
Yeah, she's done from me or visiting me after the
world of the hectic soution season.
Speaker 4 (03:20):
Indeed, And I'm afraid our Pilotsville society must seem a
bit dull to you, Miss Peabody.
Speaker 5 (03:24):
Oh no, not at all. It's charming. I've enjoyed everything
so much tonight, your beautiful house music. I hear you're
going to play for SMSs rhythm.
Speaker 4 (03:32):
Oh a bit. Do you care for organ music, Miss Peabody?
Speaker 5 (03:35):
Very much. I never miss a church recital. But what
a luxury it must be to have your own pipe
organ right here in the house.
Speaker 4 (03:41):
I'm afraid I couldn't do without it. It's my hobby,
you know, bach bookster Hoodah, says our trunk. Don't you
adore their work?
Speaker 5 (03:48):
Oh? Amanda's very musical. You should hear her render the
burning of room.
Speaker 4 (03:53):
Yes. And the delightful thing, of course, about having a
pipe organ in the house is that it's everywhere to
sit at a keyboard, and here the walls, the ceilings,
the floors vibrate. You see, Miss Peabaddy. I've had the
pipes installed all over the house. Under this floor for example.
Or all the choir stops up in the bedroom walls
are the stops for the swell manual in the great
(04:14):
thirty two foot pedal stops. The giant dire Pasians are
underneath the staircase. My children sleep next door to the
echo chamber. So you see, we live like angels here
in a paradise of music. How thrilling ladies? Come upstairs
to the second floor landing, won't you, And I'll show
you the consoles.
Speaker 1 (04:32):
It was made for me in Vienna, April.
Speaker 5 (04:45):
Seventh, nineteen hundred and Bessie dare to tell you the truth.
I really find him fascinating. I wish you could hear
him play. It sweeps you off your feet. There is
such wildness twitterms at the same time such dignity, And
to hear the song all through that marvelous house, rolling
through those gorgeous rooms with their beautiful tapestris and potted palms.
(05:07):
I could sit and listen to him all night.
Speaker 4 (05:11):
You have the most amazing eyes, Miss Peabody. What are
you thinking about the music?
Speaker 8 (05:16):
Oh?
Speaker 5 (05:16):
Please, don't stop, it's so beautiful.
Speaker 4 (05:18):
Well, you seem to be as mad about music as
I am. Your sister says, you play too.
Speaker 5 (05:22):
Oh no, only a little. My appreciation of it is
all inside.
Speaker 4 (05:25):
I'm afraid that's plenty. If one can't play, it's better
just to enjoy the music of others. I can't bear
this sentimental drumming, can you.
Speaker 5 (05:32):
I shouldn't think he would enjoy it.
Speaker 4 (05:34):
The idiotic tunes people play nowadays. Give me the old
stern classics. They have strength and power. Give me something
with light, or something that will flood the whole house
and town.
Speaker 5 (06:00):
Oh that's mum.
Speaker 4 (06:02):
You're a very unusual girl, miss Peaboddy, quite unlike the
run of girls here and down here at Pilotsville.
Speaker 5 (06:07):
Yes, and what way?
Speaker 4 (06:08):
Oh, it's rather hard to explain. Uh some more tea Amanda, No,
thank you? A muffin?
Speaker 5 (06:17):
No thank you. You have an excellent cook.
Speaker 4 (06:19):
Mister Evans, please please call me Theodore. You know you
promised Theodore Amanda.
Speaker 5 (06:25):
And your house is beautifully run too. You must have
an excellent housekeeper. Everything always looks so charming and quiet.
I haven't even heard a pea part of your children.
Speaker 4 (06:35):
My children? Oh, yes, the children have been away at school.
You have two, haven't, Yes, Daphne and David.
Speaker 5 (06:40):
What sweet names.
Speaker 4 (06:41):
But nearly. I don't approve of schools for young children,
but you see, they were rather overwrought after Missus Evans
passed on.
Speaker 5 (06:49):
I can well understand.
Speaker 4 (06:50):
They were almost morbidly devoted to their mother, and then,
of course the unfortunate circumstances of her death. But I
suppose your sister, missus Chumley, has told you all about that.
Speaker 5 (06:59):
No, not very much, except your wife was killed in
a street accident, wasn't she.
Speaker 4 (07:04):
Yes, in Philadelphia, a brewery wagon and four horses ran
her down.
Speaker 5 (07:08):
Oh how terrible.
Speaker 4 (07:09):
It's something I don't like to think about very often.
Poor beautiful Margaret. Well, it's like a nightmare, Amanda, and
I still can't feel reconciled. But well, what I was
driving at was the children. They were in school when
she died, and by some malicious stroke of fate, there
was an epidemic of scarlet fever raging up there. The
authorities wouldn't lift the quarantine and let them out for
(07:30):
her funeral.
Speaker 5 (07:31):
Oh, poor little things.
Speaker 4 (07:32):
It upset them dreadfully. In fact, I sometimes fear it's
left a mark on them which may endure all their lives.
But what do you mean they suffer from delusions delusions
about her. They think that in some ways she is linked,
her soul is imprisoned in the organ pipes.
Speaker 5 (07:49):
Oh horrible.
Speaker 4 (07:50):
I wish I could do something about it. It's frightful notion.
But they won't. They don't let me play when they're
at home. That echo chamber, in particular, next door to
their bedroom. Yes, you know, it's nothing but an empty,
sealed room with a few wires. Of course, it's all
because they never saw her dead, But they have a
notion that she's well, somehow hidden there.
Speaker 5 (08:09):
How ghastly they really think that, do they? Children can
think of such very strange things in their little minds,
can't they?
Speaker 3 (08:30):
To Night or Suspense, Roma Wines are bringing you as stars,
miss Ida la Pino and mister Vincent Price, whom you've
heard in the prologue to Fugue in C Minor, Tonight's
tale of Suspense. And now it is with pleasure that
(08:54):
we bring back to our sound stage Idle the Pino
as a man of peabody, and Vincent Price is Theodore
Evans in que in C minor, a tale well calculated
to keep you in.
Speaker 7 (09:06):
Sam April eighteenth.
Speaker 5 (09:23):
I met the children today Bessie for the first time.
It was a shock. Yes, strange little creatures, utterly unlike
their father. The girl is about eleven and the boy ate.
They were both dressed in deep mourning. Their large gray
eyes seemed strained with terror. They listened and trembled at
every sound.
Speaker 4 (09:44):
This is miss Peabody, children, She's a very good friend
of mine. Now I want you both to shake hands
with her. Oh come now, Daphne, you can at least
tell miss Peabody how old you are.
Speaker 5 (09:55):
Oh no, please don't press her. I know when I
was a little girl, I hated people to talk about
my mine. I'd much rather hear about Well, about school.
Speaker 9 (10:04):
We're not going back there, no matter what anybody says, David.
Speaker 5 (10:07):
That's all right. Then you didn't like school.
Speaker 10 (10:10):
No, mammy didn't like it either, She cried when we
went away.
Speaker 5 (10:15):
Oh but your mama wanted you to be educated, didn't she.
She wanted you to grow up and be intelligent. People
didn't she, Well, didn't she. Daphney, who are you? You
may call me aunt Amanda. I'm a friend of your papa's.
Speaker 10 (10:29):
Do you know where my mama is?
Speaker 5 (10:32):
Your mama, Well, your mama's in heaven. Dear, No, she's
not then where is she?
Speaker 4 (10:38):
Please? Please don't start them off, Amanda, it's too upsetting.
Come along, children, now we're going to have a little
music like old times. You remember when your mother was alive.
We all used to play together. David, you with your cornette,
and Daphne at the violin and Mama at the piano. Well,
miss Peabody plays the piano too, and she's promised to
(10:58):
play Narcissus's favorite piece.
Speaker 5 (11:02):
Well perhaps some other times, Theodore, when they don't feel
so strange, I tell you.
Speaker 4 (11:07):
I've humored them to death. Now come, David, there's your
cornette on the mantelpiece, and Daphne, no, I insist. Look now,
I'll start the melody on the organ. David, you come
in with your cornett opplegato in the third measure. Daphne
you can follow me.
Speaker 5 (11:33):
What's that?
Speaker 4 (11:35):
Come along, children?
Speaker 5 (11:36):
What's that?
Speaker 10 (11:37):
No? No making up money?
Speaker 8 (11:39):
Noise?
Speaker 4 (11:42):
What note? Oh you mean that? Oh that's just a cipher.
A wire must have stuck somewhere. One of the pipe thows,
it's mama.
Speaker 10 (11:50):
That's where mommy is.
Speaker 5 (11:51):
She's calling for it.
Speaker 4 (11:52):
Don't be silly. I just hit the key a few times,
and it'll stuff. You've heard these ciphers before. Happened to
miss Bee buddy.
Speaker 5 (11:58):
Well, I don't know much about pipe or.
Speaker 4 (12:00):
Common technical occurrence, but very annoying. Of course.
Speaker 10 (12:02):
What is she doing in there? Why doesn't it stop?
That's where she is. She's in a pipe and she
can't get out.
Speaker 4 (12:07):
Deafney, stop that nonsense.
Speaker 5 (12:09):
Hush, dear, Your papa will fix no e won He can't.
Speaker 10 (12:12):
She won't let him because he killed her.
Speaker 4 (12:16):
Deathly. Definitely, what did you say?
Speaker 5 (12:20):
She didn't mean it. I'm sure, the poor little thing hysterical.
We should never have tried to persuade them, oh, Manda.
Speaker 4 (12:25):
Just because they never looked upon her face, because they
never saw her lying there in the cortin My own
children believe that I am a.
Speaker 5 (12:32):
Murderer, Theodore. You're making them both, Oh I.
Speaker 4 (12:35):
I who loved their mothers so much, was so devoted
for twelve years. Do I look like a murderer, Amanda?
Do I? No?
Speaker 10 (12:45):
There it is again.
Speaker 5 (12:47):
It's mama. It's mamah dear. I'll take them upstairs for you, Theodore,
while you try and fix it.
Speaker 1 (12:57):
Hudson River Radio dot com, you're a low rockland County station.
Speaker 6 (13:03):
This is Husband River Radio dot Com.
Speaker 5 (13:10):
April twenty fourth, Oh, Bessie, those poor little children. We
took them out to the cemetery today to show them
her grave. A marble angel guarded it. It was planted
with pure white tulips. How final it was and peaceful,
And yet they began to tremble again the moment we
set foot inside the house. Poor Theodore, the man is
(13:32):
nearly out of his mind. What can he do? I
keep asking myself that question.
Speaker 4 (13:39):
She died in Philadelphia, You say, yes, I'm May fifteenth
s just a little less than a year ago.
Speaker 5 (13:44):
You weren't with her.
Speaker 4 (13:45):
No, she went there to take a piano lesson. There
was a new teacher she'd heard about. She was always
so self conscious about her technique. But she never reached
his studio. They notified me at midnight from the city.
Speaker 5 (13:56):
Morgue, and no one in Philadelphia saw her, No.
Speaker 4 (14:00):
One except the attendants at the morgue, of course, and
the people who picked her up after the collision. It
was such a brutal accident.
Speaker 5 (14:06):
Could there be no one from among them who could
speak to the children explained to them.
Speaker 4 (14:10):
Oh no, oh, it's so horrible, so sordid.
Speaker 5 (14:13):
Oh, I know, my dear, I hate to make you suffer.
But if we could find some way, if they could
just believe when you brought her back here to Pilot
Still there was a funeral, yes, And was there anybody
then who saw her?
Speaker 3 (14:28):
Oh?
Speaker 4 (14:28):
No, I couldn't bear it. And and I I didn't think
at the time she'd been so beautiful, her lovely, sweet,
gentle face in her eyes. The horses had completely trembled. Oh.
Even if the children had been able to come home,
I wouldn't have let them look. The coffin was sealed
when I left Philadelphia. I didn't want to see her
again myself.
Speaker 5 (14:47):
But there was a funeral. People came, There were flowers
and undertaker. Yes, well, if they could believe that, if
there was one witness, my own Sisterli.
Speaker 6 (15:05):
Of course there was a funeral, the finest funeral in town,
a snow white hearse and twenty five coaches. Everybody said flowers.
The casket wasn't opened, but I've been to lots of
funerals where they don't open the casket. And for what
I understand, she was pretty badly mangled.
Speaker 5 (15:21):
But it was a beautiful funeral.
Speaker 6 (15:23):
Mister Evans played the organ himself for the finest selections,
all the sweet old pieces.
Speaker 8 (15:27):
His wife liked.
Speaker 6 (15:29):
There was Narcissus and Mighty Night Rose and Goodbye Forever.
Speaker 4 (15:38):
That's the way it was.
Speaker 5 (15:40):
So, you see, David, my sister, Missus Cholmley, was there.
Speaker 10 (15:43):
Yes, But how did she know it was Mama?
Speaker 5 (15:46):
Oh, David, she didn't see Mama, did she. Well, nobody
saw your poor mamma, dear. She wouldn't have wanted anyone
to see her.
Speaker 10 (15:55):
Mary wasn't there. She talks to us every night. She
tells us to look for quere dear in the pipes.
Speaker 5 (16:02):
But David, your mama's dead. She's been dead for nearly
a year. You saw her grave out in the cemetery.
She's happy and the rest.
Speaker 10 (16:11):
Why doesn't Papas give us the key?
Speaker 5 (16:13):
If you'd only let us have, we could look for
what key, dear, the keys to the pipes.
Speaker 10 (16:20):
There's a little door just underneath the stairs.
Speaker 11 (16:24):
That's where they that's where the big pipes are, and
inside it's all.
Speaker 9 (16:28):
Dark but well, but but there there are tunnels. There's
a little room. That's where she's hiding. That's where mommy is.
Speaker 5 (16:45):
That's where mommy is Oh David Darling, now look come here. No,
I hate you, But why do you hate me? Why
don't you let me help you? Because because what?
Speaker 10 (16:55):
Because you like him?
Speaker 5 (16:58):
Him?
Speaker 10 (17:00):
Papa. You're going to marry him, aren't you? Yes, you are.
Speaker 12 (17:05):
The Fina says you are. You're going to marry him.
Then he'll send us back to school. There'll be no
one left to help Mama. Poor Mamma will never be
left out.
Speaker 4 (17:17):
Oh I hate I hate David. What are you doing here? David?
Did you strike miss Peabody?
Speaker 5 (17:23):
He's six, Piodore. I'm sure he's very sick.
Speaker 4 (17:25):
I go to your room at once. Oh, those dreadful children,
I tell you, Amanda, they'll ruin whatever happiness we might have.
Speaker 5 (17:33):
Theodore, I love you very much, but I couldn't marry you,
not with that child's cry ringing in my head. We've
got to help them. Give them that key. Let them
go and look in the room where the pipes are.
Then they'll see for themselves that there's no ghosts.
Speaker 4 (17:47):
He who told you, ABOUBEQUI to that room, the children,
the children, Amanda. I'm going to tell you something, something
I've tempered never told to a living soul. It may
frighten you. Yes, Margaret was going mad when she died. Oh,
no one knew it but me. It ran in her family.
I discovered it long after we were married, after the
children were born.
Speaker 5 (18:08):
Otherwise I'd never have Now, you think the children.
Speaker 4 (18:10):
I'm afraid. So it was peopling of sound. She had,
just like them, a fear of the dead's returning. She
used to play what's that?
Speaker 5 (18:22):
Sounds like the organs?
Speaker 4 (18:23):
But the motor isn't done. The console was locked when
I left.
Speaker 5 (18:27):
Someone's trying to play.
Speaker 4 (18:29):
No one but me can touch that instrument. It's forbidden
in this house, and the servants are out unless those
children come upstairs. The man.
Speaker 5 (18:40):
Theodore. Why there's no one here, No one of the keyboards.
The organ's playing itself.
Speaker 4 (18:46):
That's impossible. The motor's not going. The motor, yes, excess,
the fellow's going. There's no air in the pipes unless
it's on. No air to make the pipe speak. It's impossible.
I tell you.
Speaker 5 (18:54):
The children found the key and found in me.
Speaker 4 (18:56):
No, no, no, the keys here in my pocket.
Speaker 5 (18:58):
There's no other way.
Speaker 4 (18:59):
No.
Speaker 5 (19:00):
Theodore opened that door. Go in there and see what's happening.
Speaker 4 (19:04):
Please, No, Theodore. I won't give in. I won't bear
prey to it. Do you hear I won't, I won't,
I won't. It's stopped now. Yes, it was probably nothing
but the wind.
Speaker 5 (19:20):
Theodore. Give me the key. I'm not afraid.
Speaker 4 (19:24):
Are you saying that? I am?
Speaker 5 (19:26):
I don't know, but I'll be fair with you, Theodore.
I couldn't marry you and live here with that any
more than your children can. Do you mean, rip out
those pipes, rip out the whole pipe, Organ, give it
to a church, but don't keep it here.
Speaker 4 (19:38):
Organ. Yes, but I couldn't. The whole house was built
around it. It's been the very soul and spirit of
this home.
Speaker 5 (19:44):
In the curse you mean, Theodore. I know I'd go
mad too if I had to listen to it night
and day. It's so hollow to think those pipes, so
huge down there in the darkness. I'd begin to hear
things too.
Speaker 4 (19:59):
Oh, quiet, quiet, Come outside, we'll take a walk.
Speaker 5 (20:02):
No, No, give me the key. Give me the key.
Speaker 4 (20:05):
Hterical, Amanda. I'm sorry I've overburdened Georgia.
Speaker 5 (20:08):
Why don't you want to go in there? Is it
because you know something? You did something?
Speaker 4 (20:12):
What do you mean did you kill Amanda? Very well, Amanda,
here's the key. If that's the way you trust me,
we'll go down and look around together. Come now, Amanda.
Speaker 5 (20:30):
I'm sorry, Theodore, it slipped out. It was a dreadful
thing to say.
Speaker 4 (20:35):
All right, I understand, yet it hurts a little. I've
trusted you so completely, Amanda, Theodore. Yes, Amanda, let's not
go in there.
Speaker 5 (20:44):
I do trust you, Darling. I believe everything you've told me.
Speaker 4 (20:47):
No this little key, to think it should mean so much.
Speaker 5 (20:57):
Black.
Speaker 4 (20:57):
It is pitch blank cold.
Speaker 5 (21:01):
Where are the pipes? I can't see them.
Speaker 4 (21:03):
Come in further, Amanda. You'll see them as soon as
your eyes grow accustomed to the darkness. The biggest pipes
pack this well under the great staircase like giants.
Speaker 5 (21:13):
Where I'm beginning to see them. Now, shouldn't we go
and get a candle?
Speaker 4 (21:18):
Go in a little feather? Be careful the floor. It's
a maze of wires. Now stand there.
Speaker 5 (21:22):
For a second, Theodore, don't leave me.
Speaker 4 (21:25):
I won't be long. I thought you said you weren't afraid.
Speaker 5 (21:28):
I'm not. Only where are you going?
Speaker 4 (21:31):
Just upstairs to play for you, Theodore. I'd like you
to hear how the music sounds in the darkness. It's
quite an experience being so close to the pipes, you know, narrow, suffocating,
especially when I pay the great pascolia and fugue of Bach.
Speaker 5 (21:47):
Theodore, Please, I don't want to stay here.
Speaker 4 (21:49):
As one of the Weinberger symphonies are the great corrals
of Cesar Frank Margaret, of course preferred narcissus. You're very gullible, Amanda,
kill her?
Speaker 5 (22:01):
You kill her in this room? Are you going to
kill me?
Speaker 4 (22:05):
Simple? Isn't it good? Why? I don't know? One gets
tired every now and then of mere music. Sometimes the
classics demand competition, a scream, for example, There's something so
exciting about pulling out all the steps and drowning out
all human sound. Have you ever tried to match your voice,
Miss Peabody, against the thunderous voice of Bach? It's most effective.
(22:27):
And then when the struggle gets weaker, when the air
is almost gone and you choke and gasp for breath
to bring the music down softer, softer.
Speaker 3 (22:36):
You're mad.
Speaker 4 (22:37):
You're mad, Amanda? Would you deny me that pleasure? I
promise you to be too long. It takes about eight
hours before the air gives out, But you know. I
could play for days, and don't worry about the children.
I think you've convinced them about the ghosts. But that
there door. Someone shut the door. It's locked in the
keys outside. Who's there? Let me up, Let me out,
(23:03):
I get away from you. Let me out, you let
me out, Let me out.
Speaker 8 (23:06):
I can't breathe. I'm just stoffocating. It's so dark. I
can't breathe. Let me out, please, please, I can't breathe.
I can't. No, don't, I can't.
Speaker 4 (23:17):
I can't. Let let me out.
Speaker 8 (23:18):
I can't breathe.
Speaker 5 (23:32):
Sea dog, your dog, Let me out, Let me out.
Speaker 10 (23:39):
He's dead.
Speaker 12 (23:40):
He's dead, Yes, David, where are you?
Speaker 7 (23:44):
Open the door?
Speaker 8 (23:46):
Help me, help me?
Speaker 13 (23:49):
No hell, May one, nineteen hundred.
Speaker 5 (24:08):
I shall be coming home in a few days, Bessy,
I still can't sleep at night. I still hear that laughter,
still hear that cornet playing its unearthly music. And Theodore
Evans once more lies dead at my feet. Twas his heart, Bessy.
He died of fright in those few moments he anticipated
(24:30):
with hideous fate he had meted out to so many.
And I might have died there if he had not
gone so quickly. But the children hated me. They wanted
to kill us both, those terrible, pathetic children. What horrors
they must have sensed in that Charnel house. There were
other women beside his wife, please far, the more buried
(24:54):
and stuffed away into unused parts of the pipe organ. Bessie,
I was that pipe room alone with him for four
hours before that door creaked open. There they stood, and
I shall never forget their faces or the thing they said.
You can come off now if you're really sorry. I'm sorry.
Speaker 10 (25:17):
Are you sure he's quite dead?
Speaker 5 (25:20):
Yes, he's dead.
Speaker 12 (25:22):
We were right all the time, won't we.
Speaker 5 (25:25):
Miss Peaboddy, Yes, you were right.
Speaker 11 (25:28):
Now, will you come and help us find mama?
Speaker 3 (26:00):
And so closes FEWU in C minor starring miss Ida
Luppino and Vincent Price, to Night's Tale of Suspend. Suspense
is produced and directed by William Spear.
Speaker 5 (26:15):
This is Ida Lupino, don't forget to buy that war
bond this week, Suspend.
Speaker 2 (26:23):
This is CBS, the Columbia Broadcasting
Speaker 9 (26:25):
System, Hudson River Radio dot Com the dot com makes
it cool
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