May 2, 2025 • 29 mins
A gritty series about a hard-hitting reporter who uncovers human stories behind the headlines. It mixes crime investigation with emotional depth and realism.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
NBC presents Frank Lovejoy.
Speaker 2 (00:05):
In Nice Seat.
Speaker 3 (00:25):
Hi, this is Randy's Stone. I cover the nice beat
for the Chicago Stars. Yeah, I cover the Knife I beat.
It's about eight square miles of darkness unless there that's
a lot of knights every evening.
Speaker 4 (00:39):
I start walking into it.
Speaker 3 (00:40):
Let it swirl around me and let its swallow me up.
Part of me relaxes, part of me becomes tense and wary,
like our.
Speaker 4 (00:48):
Hunter coming back to the jungle.
Speaker 3 (00:50):
I steal at home, but I know that there's things.
But the Knight is filled with its own brand of
a lonely lost, guey, mixed up people of the night,
drifting out of the darkness like fragments of a nightmare.
Speaker 1 (01:09):
Reason sport.
Speaker 4 (01:10):
You don't want a force fell and human beings along
with one of her dime.
Speaker 3 (01:16):
Yeah, disembodied hands stretched out for that ever loving coin
to buy, just another burst of that final anesthetic and
must be set or a brittle laugh of a painted
footing and rising out of the Knight, proving to the
world who doesn't care, laughing.
Speaker 1 (01:31):
Until the tears come.
Speaker 3 (01:33):
And a flurry of footset's rushing by a muffled conversation
deciding life or death or to Night's Movies, an ambulance
racing past on its way to General Husband. It's red
warning light flashing on and off quickly, like the frenzy
Postpa or the poor devil inside.
Speaker 4 (01:52):
All right's the old gu.
Speaker 3 (01:53):
Say this night is for the phony too, Like this
character coming toward me while I was grabbing a bite
in the little rest of it next to the radio
and the CD studios. They acted on stage twenty four
hours a day.
Speaker 4 (02:06):
Do you mind if I said?
Speaker 1 (02:07):
On next to me? Yeah?
Speaker 4 (02:10):
What do you say?
Speaker 1 (02:10):
How's a kid?
Speaker 3 (02:11):
Are the kids fine?
Speaker 4 (02:12):
Boothing? Like mad? Nothing?
Speaker 5 (02:15):
Barrel alasis character bruises the human You know I love
that columns Maybe with me It's like a shot of pensity.
Speaker 1 (02:21):
Oh. The only lack I find.
Speaker 4 (02:23):
In it is that I never seen any mention of
the guess whom boom.
Speaker 5 (02:27):
John Boost The World's Greatest testio, also available for Wake's
Weddings and beer bus.
Speaker 3 (02:33):
You couldn't see your way clear to let me go
on my sweeve, so I finished my coffee.
Speaker 1 (02:38):
How do you like this? Citizens?
Speaker 5 (02:39):
You can insult your if you curl up and die
and you're still loving. Look, I know the minute I'm
out of here. It's actually gonna forget me. So I'm
going to give you this little postcard to hang on to.
If you sure can send the boost ask for the
lad They call.
Speaker 1 (02:51):
John brust well but rhymes any I gotta be going there. Remember,
Maybe I don't mind what to say, as long as
you say something.
Speaker 4 (03:00):
Yeah, that Bruce spelled with a bee. I know it's
spelled with a bee.
Speaker 3 (03:11):
A great, big, beautiful hunk of zero with some fear,
brown eyes continually shifting, sizing you up and figuring.
Speaker 4 (03:18):
You out, a friendly smile.
Speaker 3 (03:21):
So Tony, you look for the safety things, Tony getting placed.
Speaker 1 (03:25):
Oh, relax, it's a big knife.
Speaker 3 (03:28):
You are half a block and John Bruce is lost
forever because there's always something waiting up ahead. I just
turned down Grand Avenue. Oh now there's one of a
nice chilly little sounds for you, A pursoner, alarms shattering
the quiet. I looked down the dark, empty streets, trying
to figure out which store, and I thought childsome darting
(03:50):
out of the doorway and began racing.
Speaker 4 (03:52):
The other way. A child, Hey, stop.
Speaker 1 (03:58):
Stup.
Speaker 3 (04:01):
I tried racing after it. If there wasn't a chance,
I went back to the store. It was a sporting
good street, one window smashed and blood spotted on the glass.
Speaker 4 (04:10):
Like the kid had used his naked fist to get.
Speaker 3 (04:12):
To the display of guns and knives and side. After
the cop came and I told them what I knew,
I continued my wondering down through the Lincoln Park districts
and up through honky Tonk roll wildly on signs making
(04:36):
the night bleed red and green and purple, and then
the little jack combo doing that way, and the bart
(04:58):
the goal, keep splashing it, bang that dave against the
sidewalking shout about the twelve dancing that I was waiting
just for you, and they all can't hawkings, popcorn and
hot smalies and a little child's wagon and George a
thirty five inch dwarf, the sole newspapers, just Clark and night, Georgie,
(05:18):
how's it going fine?
Speaker 1 (05:20):
And Danny better than good?
Speaker 3 (05:22):
Always say one for little Georgie, give me the sometimes
always good to see what the competitions up?
Speaker 4 (05:26):
Do they are? Hey reading all about it pipe, It's
a lovely headline, one of those in the.
Speaker 3 (05:36):
Hey George, maybe the way things are the world, which
is a good idea, but it's when I started pulling.
Speaker 4 (05:43):
The paper in blood.
Speaker 1 (05:44):
H what are you talking about?
Speaker 4 (05:47):
Let's be yourself slid all over.
Speaker 1 (05:48):
That's the way I got it. Yeah, I'll give you
another thank you.
Speaker 3 (05:52):
Let go my hands, it's soaking through the bandage.
Speaker 1 (05:55):
George, I cut myself in a cannover. I hope you
want to a doctor.
Speaker 4 (05:59):
Doc. You got to get all in the glass. I
got on it.
Speaker 1 (06:03):
I told you it was a can over it.
Speaker 3 (06:05):
While I saw that window was guns and nines, I
thought it was a kid.
Speaker 1 (06:08):
Okay, see, you got yourself a story. Get on the phone,
call a cops. What are you waiting for?
Speaker 4 (06:14):
But if you would have started telling me why a
sweet guy is acting like such a dope?
Speaker 1 (06:18):
What is it, Georgie? Almost one o'clock a little morning hour,
and she'll be here. Go on, call a coups. You'll
be doing me a favor. If you're done, I'll kill him.
Speaker 4 (06:26):
I swear i'll kill him.
Speaker 3 (06:27):
She'll show up in an hour and you'll kill him.
Speaker 1 (06:29):
Kid, you lost me, all right, mister Stone, you're a
good guy. You're entitled to a las. Come on follow me.
Speaker 3 (06:45):
He dumped his papers down of the sand and started
across the street. Thirty five inches of desperate humanity. I
followed him around, packing down the stairs of an old teliment.
Speaker 4 (06:56):
He stopped at the basement guard a fish out of keys.
I followed him inside a dark, stank hole. He flicked
the switch.
Speaker 3 (07:04):
The rest of light pissed on, showing a cold white
glow over walls draped and black velders. There were dark
foods in a small bar. It was deathly quiet. I
know the establishment, and after our jointed, when all the
legitimate bars closed, those who still sought refuge from the
night come to places like this. George had it straight
(07:26):
for the only bit of brightness in the room, leaning
aluminum juke box in the corner. In the center of
the juke box was a neon mounth, and within the
mouth the microphones. Other neons spelled.
Speaker 4 (07:38):
Out the message after your tunes. It operated like your telephone.
Speaker 3 (07:43):
Somewhere with the girls said of the switchboard connected the city,
said jukeboxes.
Speaker 1 (07:47):
And taverns all over the city.
Speaker 3 (07:50):
George stood glaring at his tiny reflection in the jukebox.
Speaker 1 (07:53):
Shiny coat.
Speaker 4 (07:54):
I think I'd like to smash the piece brought the jukebox.
Speaker 2 (07:58):
The owner of this jointy gave your keys I could
come in and get warm on cold nights.
Speaker 1 (08:03):
Yeah, only you can see for yourself when you're alone,
which place can give you a creuse.
Speaker 6 (08:10):
I thought maybe your tune would cheer me up, so
I started usking around with.
Speaker 1 (08:14):
A fukee Bucks, eating at my loose Nichols like this,
and then heart talking to me.
Speaker 4 (08:23):
What tune would you lie?
Speaker 1 (08:25):
It's me, Julie.
Speaker 4 (08:27):
Oh, hello, darling, I'm so excited. George, is me morel
throw me?
Speaker 1 (08:34):
Yeah, me too, Julie.
Speaker 3 (08:39):
I said, you can't understand your feelings, not mind you.
Speaker 1 (08:41):
For them before the.
Speaker 4 (08:45):
Records.
Speaker 1 (08:46):
Not a record, Julie's the records, the records.
Speaker 4 (09:00):
Okay, you can start laughing anytime you want, mister Stone,
I just all about you know.
Speaker 1 (09:08):
It's ten seconds of conversation with every record.
Speaker 6 (09:11):
Started as a dag, me playing a big lover because
she couldn't see she was talking to her dwarf.
Speaker 1 (09:18):
The big joke huh on me because talking to her
every night, I don't know.
Speaker 6 (09:26):
Something started happening to me inside, happening to both of us,
because she felt the tooth she really did, mister Stone,
I mean an understanding.
Speaker 1 (09:36):
I don't know, I don't know the words, but she
felt the tool, and then he had to ruin it,
destroy it.
Speaker 3 (09:52):
Yes, it was soap opera, had said, suddenly my little
dwarf and his love affair was Julie, the jokebox girl.
Speaker 1 (10:00):
Help me.
Speaker 4 (10:00):
Georgie even invented an invalid wife. That was his reason
why he and Julie did never meet except.
Speaker 3 (10:06):
Through the jukebox. But like all little melodramas taken from life,
there was also a villain. One of the men who
worked in this joint happened over here George filling his
heart out and as a guy. When George wasn't around,
he told Julie that the poor guy was dying to
meet her in person, that they should get together at
least once. And that's what schedule for two am high
(10:29):
this meeting.
Speaker 1 (10:30):
Yeah, it was Julie's idea. I mean, the way it's
gonna be. The record made us think. The record, Yeah,
it's from Charlie Taikowski. Is that what they call him?
Huh ole and his baroness, some fancy ladies.
Speaker 2 (10:44):
They had a friendship letters, and they felt that they
had to meet at least once.
Speaker 1 (10:49):
So one day they passed each other in carriages and
nodded without a word and went on, never saw each
other again.
Speaker 4 (10:59):
And what's good enough for house is good enough for
Georgie and Julie.
Speaker 6 (11:02):
Huh Yeah, she'll be wearing a green hat and a
figure Violet. I'll be wearing a red flower. Well, you
think you'll be.
Speaker 1 (11:11):
A little surprised at what she's going to see, mister Stone,
isn't it a joke? It's okay for you to laugh,
Thorn laugh, mister Stone, laugh, my turn.
Speaker 3 (11:26):
Who was a big, paunchy, ball headed dren standing in
the doorway having himself a wonderful It was right out
of Max sent at a barrel of life, George the dwarf,
judging right into the big guy who Mary lifted him up,
shrugged his shoulder, and sent a little fellow flying across
(11:47):
the room, crashing.
Speaker 1 (11:48):
Into a wall. Oh that's character, that little monkey is.
Speaker 4 (11:51):
Eh.
Speaker 1 (11:52):
Did he tell you about his romance?
Speaker 4 (11:54):
So you're that's me.
Speaker 5 (11:56):
I'm even willing to take him to that road for
his lapels. Doesn't too good for loverboy.
Speaker 2 (12:01):
What a line he's got.
Speaker 4 (12:03):
You gotta hear it to believe it, Okay much.
Speaker 3 (12:12):
The knife in George's hand would have looked much better
back in that sporting good window.
Speaker 4 (12:17):
He moved out of his shadows. He moved toward the
big guys.
Speaker 3 (12:20):
A trickle of blood ran down George's mouth, but he
didn't know anything about that. Put that knife aware or
shove it down your throat, but George kept coming. A
smile on the big man's face took the leave of absence.
Speaker 1 (12:31):
Come on, now, George, what's the matter? Take a big
a shoke.
Speaker 3 (12:37):
A bait of sweat started big zagging down his face,
mixing with the falcon powder.
Speaker 1 (12:41):
His lips continued to.
Speaker 3 (12:42):
Work, but now no words came out because this thing
coming towards him.
Speaker 1 (12:46):
This wasn't a comical little dwarf. This was dead.
Speaker 7 (13:03):
NDC is bringing you nice the starrying Frank Lovejoy as
Randy So.
Speaker 1 (13:16):
Every s the style in.
Speaker 3 (13:21):
Everyday and Night is from this station Barning and night.
Speaker 1 (13:29):
And now back to night thee and Randy So.
Speaker 3 (13:40):
George the Dwarf was passing in front of me and
was raight as a big guy who loves up his
romance with Julie the jukebox girl, and knife pointed in his.
Speaker 4 (13:47):
Hand, and he didn't even know that I was there.
The only other.
Speaker 3 (13:51):
Person in all the world existed for him at that
moment was a heavily perspiring patman, and as George came
just a little culture, I lunch pusted his arm back
until the knife clattered to the fort and I reached
down for it and George CORNLUSI ran off the door.
Speaker 1 (14:08):
You like that little character kind a knife to me.
Speaker 3 (14:11):
I'm gonna call a coup, though I'm gonna be a
little awkward, seeing how the joint here is slightly illegal.
M oh well.
Speaker 1 (14:20):
One thing I'm gonna do. I'm gonna tell is Jane
on a duke box who she's dealing with.
Speaker 4 (14:25):
I'm gonna tell her this crazy puff last term.
Speaker 3 (14:29):
You even say howdy to that girl, and I might
decide to find George and give him back this knife.
I found George all right, plumped against his newsstand all through,
wanting to kill anybody. I told him I'd see the
cops and maybe they'd say it was okay if George
(14:51):
paid for all the damage to that sport door and
behaved himself from now on. That didn't make him feel
much better, because it was getting off his boast to
see across and was meeting with Julie. I told him
that I'd called Julie, an informer that he'd suddenly come
down with a slight face of dubonic plays or something.
I got the name of the company office juke box.
(15:13):
In the after hours, joined the Acting Music Company. I
found a bone. Both reached for a coin and instead
came up with a card that stead if your show
can stand up Boost asked for the lad they call
John Bruce, and John's beautiful phony face smiling up at me.
All of a sudden, I was looking for the phone
number at the bottom of the card, and then I
(15:35):
began dialing, like Mat, that's got to be hers. Which
one coming down the street? The green hats, the strig
of violence. Yep, this is going to be the sat pleasure.
Speaker 1 (15:49):
Baby.
Speaker 3 (15:50):
I just remember what you're supposed to do.
Speaker 1 (15:53):
Baby.
Speaker 3 (15:53):
You walk past, you nod, and you keep walking.
Speaker 1 (15:56):
What's the mysterial about? Its a level with Brucey.
Speaker 3 (15:59):
Bulls ten bucks, No questions asked.
Speaker 1 (16:01):
That was the agreement book, and I at least mumbled
some quota you.
Speaker 4 (16:04):
Open your mouth for anything but breathing.
Speaker 1 (16:06):
Okay, okay, he's almost reached the corner. Move.
Speaker 3 (16:14):
I stepped back to the paper stand where George was waiting.
Together we watched Julie and John.
Speaker 1 (16:20):
Bruce approach each other.
Speaker 4 (16:23):
Missus to TuS, never had it so good.
Speaker 3 (16:25):
She was really something out of body beautiful. As the
two approached, George's hand unconsciously passing on my arm. Now
Julie and John were passing each other, their eyes meeting
George's hand, began to tighten it.
Speaker 1 (16:40):
Julie, beautiful, how beautiful.
Speaker 3 (16:45):
Julie nodded to John Bruce, and out of the corner
of my eye I saw a little George nodding return
no one. Sickening moment, I thought Bruce was going to
open his mouth and going to a monologue, but somehow
he controlled himself. They passed each other and went on.
I looked down at George. His eyes were shining.
Speaker 2 (17:05):
It was me, what I said to her, pouring out
my heart, that brought her here tonight. Jurgy, Yeah, but
why couldn't it really have been me? Why couldn't it
have been leaves the.
Speaker 3 (17:23):
Stone at the stars. Maybe they had an answer for you, Georgie,
me I had worked to do. I tell o my
story to find somewhere among the waiters, pulling their cuppeeedos away,
(17:43):
yawning as they changed in the the street clothes. Somewhere
among the jazz musicians, their saper waxing with the pee,
their shirt collars poked in sweat, but still reaching for
that beautiful pure and not somewhere in the police wagons,
screaming insanely down the street. I'm wearing the yellow lights
at the general hospital. Am my elevanty warehouse a tip
(18:05):
of breathing tears, the desultate park in an alley on
a street corner.
Speaker 4 (18:10):
Somewhere in the night.
Speaker 1 (18:11):
My story was waiting for me. And now that was
all of letting.
Speaker 4 (18:16):
My morning.
Speaker 3 (18:17):
I'd forgotten all about George and Julie and John Bruce.
I finished my column, and I'd gone home to smooth
and in my fog of the juke box wasn't ended,
and only just the gun.
Speaker 1 (18:32):
Yeah, yeah, I woa, Well what do you know? What
do you want? Bruce? Oh you are magnificent. I'll see
your yeah read No.
Speaker 7 (18:52):
What was that routine that got old Johnny boy guessing?
Speaker 1 (18:55):
Wow? Well, good for Johnny Boy.
Speaker 4 (18:57):
See you're ready.
Speaker 7 (19:00):
Friends, Like they say, where can I locate this kid?
Speaker 4 (19:04):
Maybe we'll having a couple of laughs together.
Speaker 1 (19:06):
Huh nod? Where can I find them?
Speaker 4 (19:15):
Yeah?
Speaker 3 (19:15):
When you're in my racket when you deal with these
terrocism and i'd be brother, You've got to be prepared
for the totally unexpected. Johnny Boy had fallen for the
lady of a duke, bought like a ton of bricks.
Speaker 1 (19:28):
Of course, he.
Speaker 4 (19:28):
Couldn't come right out and say it plain and simple.
He had a.
Speaker 3 (19:31):
Hamlet right up to the hilp. But I know the score,
and from then Onnie's haunted me night and day.
Speaker 1 (19:38):
Come on, Randy, who is she? Where can I find it?
You're the girl a breaker?
Speaker 3 (19:42):
He caned me on the street at the newspaper, at
my host.
Speaker 1 (19:45):
Who is she? Randy?
Speaker 7 (19:46):
Be a power?
Speaker 1 (19:47):
What's wrong with me looking her up and giving her
a little attention? Day after day after the state? Where
can I find her? Randy? What's the big mystery?
Speaker 3 (19:59):
For a while I and enjoyed it. He was sweating
and on him it looked good. But I guess this
morning I just wasn't in the mood. I've come down
to the office around five a m. And any newspaper
office that time of day is a pretty sad affairs.
Many women slatting their way up and down the aisle,
and ray listless gone float against the windows the empty desk.
(20:20):
I knew it was one of those real sour little
tails to write about it, about a bum they found
behind some garbage cans on skid rolls, a bomb with
a distinguished service cross into the pocket of his filthy shirt.
One of those gallant young gods that we swore we'd
never forget that I was feeling Jim Dandies. I sat
(20:41):
down to my typewriter and I whipped a hunk of paper.
Speaker 1 (20:44):
Into the rollers.
Speaker 3 (20:47):
And then I saw John Bruce standing in the shadows across.
Speaker 1 (20:50):
The room from me.
Speaker 3 (20:53):
Alright, O, friend, I'm not in the mood this morning.
I got work with you, and you God listened to me.
I founding little after midnight behind a wine shot.
Speaker 1 (21:04):
Brandy, You've got to tell me where I can find it?
Speaker 3 (21:07):
Just another bumb you at all, Brandy listened to me.
Speaker 1 (21:10):
You got.
Speaker 3 (21:12):
What I'm telling you nothing. You understand that one dame
is going to escape the same John Bruce charm. It's
a very small tragedy, clear of it.
Speaker 1 (21:21):
If you'll only listened to me.
Speaker 3 (21:22):
I'm slightly bored was listening to you, miss the booth.
I'm even more bored with looking at.
Speaker 1 (21:27):
You miss the bruce.
Speaker 3 (21:29):
There's no phoney. It sticks out like measles. Miss the
bruce from your fist, curly hair, right down to your
beautifully poli shoe. If this comes as a great, supine,
great surprise, there's one king a guy.
Speaker 1 (21:41):
I keep that kind of news from me, Solf. Okay,
I'm sorry, I'm pretty lad.
Speaker 3 (21:48):
I don't know I who further it is.
Speaker 1 (21:50):
I want him try to explain it. I can't explain
it to my spelt. It's that success bug. It's dog
eat dog. Anything goes as long as you make Why
do you have to make it? Does it stay so?
Speaker 4 (22:04):
In the constitution?
Speaker 5 (22:05):
But about her, I'm not setting on any acts about her, Randy,
I'm a big boy.
Speaker 1 (22:13):
Well at first side of my kiddy.
Speaker 5 (22:17):
Listens, Randy, just exchange the look maybe five seconds, and
until the day I die, I won't be able to
forget it. I guess that sounds like samor Johnny Boy's routine. No,
go on, go on, I can't I tell you, how
do you explain it? But in those few seconds I
(22:41):
said something I've been looking for all my life, Randy,
something genuine, something real, something, Well, maybe I've still my
own salvation Randy, and maybe I was just kidding myself,
setting myself a Billy Goods. So I got to find out.
(23:03):
I gotta see her again, step to her. Maybe I'm
in a cheer of them amount the dreaming something.
Speaker 1 (23:09):
That I'm like, humpty dumpty. I don't know.
Speaker 3 (23:12):
I don't think so no, there issue man, the act
new music company. Let me take your time. She doesn't
show up until night. I don't know why I did it.
Maybe it was something I saw in John Bruce eyes
(23:32):
that made me feel if I didn't tell him, well,
it would have been a bum deal for Jewlie. I
wanted to reach George right away and try to explain
what I'd done, but I didn't know where to look
for him excepted his news stands. In my world of
the night, all you ever know about any winners where
they are right now. I didn't think much that day.
(23:53):
Making George understand wasn't going to be any cinch, but
he had to know that this had been a sick
thing that could only hurt him. In that night, I
hurried right onto his newsstand, only he wasn't around.
Speaker 4 (24:05):
I started worrying, and on our hunts, I went across
the street because they.
Speaker 1 (24:08):
After hours joined. The door was a jar. I went in.
Speaker 3 (24:14):
He was there squatting in front.
Speaker 1 (24:16):
Of a jukebox listen to her song look Back.
Speaker 3 (24:34):
The song ended, and I switched. My man liked crazy
for the right words. He was fumbling with some coins
and he slipped one of them.
Speaker 1 (24:40):
Into the jukebox slid gitar. Oh you know I do
every time I hear it. I see you again, so beautiful.
It's pretty beautiful yourself, Julie. It's wonderful to hear you
say that. I backed out quick.
Speaker 4 (25:03):
I didn't get it.
Speaker 3 (25:04):
I had to see gone with John Foot. I have
to have for the ACME Music Company. A dilapidated office
in the loft. I'm you're on street. The door was open,
so I went on inside an empty death. The papers
got it all over, but nobody alarm. I went into
a dark hallway Mark.
Speaker 4 (25:21):
No admitted ahead of me, with the lighted glass door
with the word studio painted on it. I started borting
when someone came running up behind me. Here, you can't
you read the sign?
Speaker 1 (25:30):
No admits?
Speaker 4 (25:31):
I thought that was very clear.
Speaker 3 (25:32):
It wasn't anybody at the best.
Speaker 4 (25:34):
You're telling me something I don't know. Quitting without a
minute notice.
Speaker 1 (25:38):
That's a fine thing.
Speaker 4 (25:40):
That's that way, that's Sary. She'll want a reference.
Speaker 3 (25:43):
Someday I'll give her a reference, all right. Not come around, Dally.
She the one who quits without a minute's notice. A
jerk comes popping and I was worn't in bad. Next
thing your nose.
Speaker 4 (25:55):
She's walking out of here with him, But that surfcase,
someday she'll want a reference. Is a dark haired girl,
beautiful bunk, so she's beautifully built. Come on, miss her.
Speaker 3 (26:06):
I got fifty things to do. Then that would be
Julie working in the studio up ahead? So or do
you mind if I peek in through the door, then
I'll go.
Speaker 4 (26:14):
Do you want to freak over?
Speaker 1 (26:15):
Peak for Julie.
Speaker 4 (26:16):
I'm not worried about her running off.
Speaker 1 (26:19):
But Julie, I'm safe.
Speaker 3 (26:26):
Yes, he was safe with Julie. As I looked through
the glass door, I thought, sure, it's figures too can
play the same game. The Dwarf had had a John
Bruce and Julie had her Sally. Julie couldn't have shown
up for a meeting with George, even if she wanted to.
Because I very much doubt that Julie could have lifted
(26:46):
her three hundred and fifty pounds out of that chair.
Speaker 1 (26:50):
You falling.
Speaker 3 (26:51):
Julie working like mad at the switchboard with its flashing
lights from juke boxes all.
Speaker 1 (26:57):
Over the city.
Speaker 3 (26:59):
And then while I watched is she answered one called.
Speaker 1 (27:01):
Something happened.
Speaker 3 (27:03):
Her eyes lit up in a strange and wonderful way.
Then she flicked the twitch that made a certain record
for a certain juke box, and her eyes became even
more bright. I didn't have to hear the.
Speaker 1 (27:17):
Rest of the record.
Speaker 3 (27:18):
She was playing there song for the guy George, and
all of a sudden.
Speaker 1 (27:23):
I realized how right George June was.
Speaker 3 (27:46):
Yeah, that's how it is when you walk the night, Dad,
you always know that if you walk far enough and
long enough, and if you keep your eyes open and
you listen very carefully, sooner or later in the dakness.
Speaker 1 (28:00):
You'll find the city's heart.
Speaker 4 (28:04):
Yay Tommy Boyce. Nightbeat, starring Fank.
Speaker 7 (28:21):
Lovejoy, is produced and directed by Warren Lewris. The night
story was written by Larry Marcus with music by Robert Armbruser.
Speaker 2 (28:29):
The part of John Bruce was played by Bill Conrad.
Jeff Corey was George.
Speaker 7 (28:34):
Others in Tonight's Past were Betty lou Gerson, Ray Hartman,
and Eddie Field.
Speaker 4 (28:39):
Frank love Joy can currently be seen co.
Speaker 7 (28:41):
Starring with Joan Crawford and Robert Young and Warner Brothers
Goodbye My Fancy. Listen next week at this time and
every week as Randy Stone searches through the city for
the strange story waiting for him.
Speaker 1 (29:00):
The doctor might be means you from Hollywood
NBC presents Frank Lovejoy.
Speaker 2 (00:05):
In Nice Seat.
Speaker 3 (00:25):
Hi, this is Randy's Stone. I cover the nice beat
for the Chicago Stars. Yeah, I cover the Knife I beat.
It's about eight square miles of darkness unless there that's
a lot of knights every evening.
Speaker 4 (00:39):
I start walking into it.
Speaker 3 (00:40):
Let it swirl around me and let its swallow me up.
Part of me relaxes, part of me becomes tense and wary,
like our.
Speaker 4 (00:48):
Hunter coming back to the jungle.
Speaker 3 (00:50):
I steal at home, but I know that there's things.
But the Knight is filled with its own brand of
a lonely lost, guey, mixed up people of the night,
drifting out of the darkness like fragments of a nightmare.
Speaker 1 (01:09):
Reason sport.
Speaker 4 (01:10):
You don't want a force fell and human beings along
with one of her dime.
Speaker 3 (01:16):
Yeah, disembodied hands stretched out for that ever loving coin
to buy, just another burst of that final anesthetic and
must be set or a brittle laugh of a painted
footing and rising out of the Knight, proving to the
world who doesn't care, laughing.
Speaker 1 (01:31):
Until the tears come.
Speaker 3 (01:33):
And a flurry of footset's rushing by a muffled conversation
deciding life or death or to Night's Movies, an ambulance
racing past on its way to General Husband. It's red
warning light flashing on and off quickly, like the frenzy
Postpa or the poor devil inside.
Speaker 4 (01:52):
All right's the old gu.
Speaker 3 (01:53):
Say this night is for the phony too, Like this
character coming toward me while I was grabbing a bite
in the little rest of it next to the radio
and the CD studios. They acted on stage twenty four
hours a day.
Speaker 4 (02:06):
Do you mind if I said?
Speaker 1 (02:07):
On next to me? Yeah?
Speaker 4 (02:10):
What do you say?
Speaker 1 (02:10):
How's a kid?
Speaker 3 (02:11):
Are the kids fine?
Speaker 4 (02:12):
Boothing? Like mad? Nothing?
Speaker 5 (02:15):
Barrel alasis character bruises the human You know I love
that columns Maybe with me It's like a shot of pensity.
Speaker 1 (02:21):
Oh. The only lack I find.
Speaker 4 (02:23):
In it is that I never seen any mention of
the guess whom boom.
Speaker 5 (02:27):
John Boost The World's Greatest testio, also available for Wake's
Weddings and beer bus.
Speaker 3 (02:33):
You couldn't see your way clear to let me go
on my sweeve, so I finished my coffee.
Speaker 1 (02:38):
How do you like this? Citizens?
Speaker 5 (02:39):
You can insult your if you curl up and die
and you're still loving. Look, I know the minute I'm
out of here. It's actually gonna forget me. So I'm
going to give you this little postcard to hang on to.
If you sure can send the boost ask for the
lad They call.
Speaker 1 (02:51):
John brust well but rhymes any I gotta be going there. Remember,
Maybe I don't mind what to say, as long as
you say something.
Speaker 4 (03:00):
Yeah, that Bruce spelled with a bee. I know it's
spelled with a bee.
Speaker 3 (03:11):
A great, big, beautiful hunk of zero with some fear,
brown eyes continually shifting, sizing you up and figuring.
Speaker 4 (03:18):
You out, a friendly smile.
Speaker 3 (03:21):
So Tony, you look for the safety things, Tony getting placed.
Speaker 1 (03:25):
Oh, relax, it's a big knife.
Speaker 3 (03:28):
You are half a block and John Bruce is lost
forever because there's always something waiting up ahead. I just
turned down Grand Avenue. Oh now there's one of a
nice chilly little sounds for you, A pursoner, alarms shattering
the quiet. I looked down the dark, empty streets, trying
to figure out which store, and I thought childsome darting
(03:50):
out of the doorway and began racing.
Speaker 4 (03:52):
The other way. A child, Hey, stop.
Speaker 1 (03:58):
Stup.
Speaker 3 (04:01):
I tried racing after it. If there wasn't a chance,
I went back to the store. It was a sporting
good street, one window smashed and blood spotted on the glass.
Speaker 4 (04:10):
Like the kid had used his naked fist to get.
Speaker 3 (04:12):
To the display of guns and knives and side. After
the cop came and I told them what I knew,
I continued my wondering down through the Lincoln Park districts
and up through honky Tonk roll wildly on signs making
(04:36):
the night bleed red and green and purple, and then
the little jack combo doing that way, and the bart
(04:58):
the goal, keep splashing it, bang that dave against the
sidewalking shout about the twelve dancing that I was waiting
just for you, and they all can't hawkings, popcorn and
hot smalies and a little child's wagon and George a
thirty five inch dwarf, the sole newspapers, just Clark and night, Georgie,
(05:18):
how's it going fine?
Speaker 1 (05:20):
And Danny better than good?
Speaker 3 (05:22):
Always say one for little Georgie, give me the sometimes
always good to see what the competitions up?
Speaker 4 (05:26):
Do they are? Hey reading all about it pipe, It's
a lovely headline, one of those in the.
Speaker 3 (05:36):
Hey George, maybe the way things are the world, which
is a good idea, but it's when I started pulling.
Speaker 4 (05:43):
The paper in blood.
Speaker 1 (05:44):
H what are you talking about?
Speaker 4 (05:47):
Let's be yourself slid all over.
Speaker 1 (05:48):
That's the way I got it. Yeah, I'll give you
another thank you.
Speaker 3 (05:52):
Let go my hands, it's soaking through the bandage.
Speaker 1 (05:55):
George, I cut myself in a cannover. I hope you
want to a doctor.
Speaker 4 (05:59):
Doc. You got to get all in the glass. I
got on it.
Speaker 1 (06:03):
I told you it was a can over it.
Speaker 3 (06:05):
While I saw that window was guns and nines, I
thought it was a kid.
Speaker 1 (06:08):
Okay, see, you got yourself a story. Get on the phone,
call a cops. What are you waiting for?
Speaker 4 (06:14):
But if you would have started telling me why a
sweet guy is acting like such a dope?
Speaker 1 (06:18):
What is it, Georgie? Almost one o'clock a little morning hour,
and she'll be here. Go on, call a coups. You'll
be doing me a favor. If you're done, I'll kill him.
Speaker 4 (06:26):
I swear i'll kill him.
Speaker 3 (06:27):
She'll show up in an hour and you'll kill him.
Speaker 1 (06:29):
Kid, you lost me, all right, mister Stone, you're a
good guy. You're entitled to a las. Come on follow me.
Speaker 3 (06:45):
He dumped his papers down of the sand and started
across the street. Thirty five inches of desperate humanity. I
followed him around, packing down the stairs of an old teliment.
Speaker 4 (06:56):
He stopped at the basement guard a fish out of keys.
I followed him inside a dark, stank hole. He flicked
the switch.
Speaker 3 (07:04):
The rest of light pissed on, showing a cold white
glow over walls draped and black velders. There were dark
foods in a small bar. It was deathly quiet. I
know the establishment, and after our jointed, when all the
legitimate bars closed, those who still sought refuge from the
night come to places like this. George had it straight
(07:26):
for the only bit of brightness in the room, leaning
aluminum juke box in the corner. In the center of
the juke box was a neon mounth, and within the
mouth the microphones. Other neons spelled.
Speaker 4 (07:38):
Out the message after your tunes. It operated like your telephone.
Speaker 3 (07:43):
Somewhere with the girls said of the switchboard connected the city,
said jukeboxes.
Speaker 1 (07:47):
And taverns all over the city.
Speaker 3 (07:50):
George stood glaring at his tiny reflection in the jukebox.
Speaker 1 (07:53):
Shiny coat.
Speaker 4 (07:54):
I think I'd like to smash the piece brought the jukebox.
Speaker 2 (07:58):
The owner of this jointy gave your keys I could
come in and get warm on cold nights.
Speaker 1 (08:03):
Yeah, only you can see for yourself when you're alone,
which place can give you a creuse.
Speaker 6 (08:10):
I thought maybe your tune would cheer me up, so
I started usking around with.
Speaker 1 (08:14):
A fukee Bucks, eating at my loose Nichols like this,
and then heart talking to me.
Speaker 4 (08:23):
What tune would you lie?
Speaker 1 (08:25):
It's me, Julie.
Speaker 4 (08:27):
Oh, hello, darling, I'm so excited. George, is me morel
throw me?
Speaker 1 (08:34):
Yeah, me too, Julie.
Speaker 3 (08:39):
I said, you can't understand your feelings, not mind you.
Speaker 1 (08:41):
For them before the.
Speaker 4 (08:45):
Records.
Speaker 1 (08:46):
Not a record, Julie's the records, the records.
Speaker 4 (09:00):
Okay, you can start laughing anytime you want, mister Stone,
I just all about you know.
Speaker 1 (09:08):
It's ten seconds of conversation with every record.
Speaker 6 (09:11):
Started as a dag, me playing a big lover because
she couldn't see she was talking to her dwarf.
Speaker 1 (09:18):
The big joke huh on me because talking to her
every night, I don't know.
Speaker 6 (09:26):
Something started happening to me inside, happening to both of us,
because she felt the tooth she really did, mister Stone,
I mean an understanding.
Speaker 1 (09:36):
I don't know, I don't know the words, but she
felt the tool, and then he had to ruin it,
destroy it.
Speaker 3 (09:52):
Yes, it was soap opera, had said, suddenly my little
dwarf and his love affair was Julie, the jokebox girl.
Speaker 1 (10:00):
Help me.
Speaker 4 (10:00):
Georgie even invented an invalid wife. That was his reason
why he and Julie did never meet except.
Speaker 3 (10:06):
Through the jukebox. But like all little melodramas taken from life,
there was also a villain. One of the men who
worked in this joint happened over here George filling his
heart out and as a guy. When George wasn't around,
he told Julie that the poor guy was dying to
meet her in person, that they should get together at
least once. And that's what schedule for two am high
(10:29):
this meeting.
Speaker 1 (10:30):
Yeah, it was Julie's idea. I mean, the way it's
gonna be. The record made us think. The record, Yeah,
it's from Charlie Taikowski. Is that what they call him?
Huh ole and his baroness, some fancy ladies.
Speaker 2 (10:44):
They had a friendship letters, and they felt that they
had to meet at least once.
Speaker 1 (10:49):
So one day they passed each other in carriages and
nodded without a word and went on, never saw each
other again.
Speaker 4 (10:59):
And what's good enough for house is good enough for
Georgie and Julie.
Speaker 6 (11:02):
Huh Yeah, she'll be wearing a green hat and a
figure Violet. I'll be wearing a red flower. Well, you
think you'll be.
Speaker 1 (11:11):
A little surprised at what she's going to see, mister Stone,
isn't it a joke? It's okay for you to laugh,
Thorn laugh, mister Stone, laugh, my turn.
Speaker 3 (11:26):
Who was a big, paunchy, ball headed dren standing in
the doorway having himself a wonderful It was right out
of Max sent at a barrel of life, George the dwarf,
judging right into the big guy who Mary lifted him up,
shrugged his shoulder, and sent a little fellow flying across
(11:47):
the room, crashing.
Speaker 1 (11:48):
Into a wall. Oh that's character, that little monkey is.
Speaker 4 (11:51):
Eh.
Speaker 1 (11:52):
Did he tell you about his romance?
Speaker 4 (11:54):
So you're that's me.
Speaker 5 (11:56):
I'm even willing to take him to that road for
his lapels. Doesn't too good for loverboy.
Speaker 2 (12:01):
What a line he's got.
Speaker 4 (12:03):
You gotta hear it to believe it, Okay much.
Speaker 3 (12:12):
The knife in George's hand would have looked much better
back in that sporting good window.
Speaker 4 (12:17):
He moved out of his shadows. He moved toward the
big guys.
Speaker 3 (12:20):
A trickle of blood ran down George's mouth, but he
didn't know anything about that. Put that knife aware or
shove it down your throat, but George kept coming. A
smile on the big man's face took the leave of absence.
Speaker 1 (12:31):
Come on, now, George, what's the matter? Take a big
a shoke.
Speaker 3 (12:37):
A bait of sweat started big zagging down his face,
mixing with the falcon powder.
Speaker 1 (12:41):
His lips continued to.
Speaker 3 (12:42):
Work, but now no words came out because this thing
coming towards him.
Speaker 1 (12:46):
This wasn't a comical little dwarf. This was dead.
Speaker 7 (13:03):
NDC is bringing you nice the starrying Frank Lovejoy as
Randy So.
Speaker 1 (13:16):
Every s the style in.
Speaker 3 (13:21):
Everyday and Night is from this station Barning and night.
Speaker 1 (13:29):
And now back to night thee and Randy So.
Speaker 3 (13:40):
George the Dwarf was passing in front of me and
was raight as a big guy who loves up his
romance with Julie the jukebox girl, and knife pointed in his.
Speaker 4 (13:47):
Hand, and he didn't even know that I was there.
The only other.
Speaker 3 (13:51):
Person in all the world existed for him at that
moment was a heavily perspiring patman, and as George came
just a little culture, I lunch pusted his arm back
until the knife clattered to the fort and I reached
down for it and George CORNLUSI ran off the door.
Speaker 1 (14:08):
You like that little character kind a knife to me.
Speaker 3 (14:11):
I'm gonna call a coup, though I'm gonna be a
little awkward, seeing how the joint here is slightly illegal.
M oh well.
Speaker 1 (14:20):
One thing I'm gonna do. I'm gonna tell is Jane
on a duke box who she's dealing with.
Speaker 4 (14:25):
I'm gonna tell her this crazy puff last term.
Speaker 3 (14:29):
You even say howdy to that girl, and I might
decide to find George and give him back this knife.
I found George all right, plumped against his newsstand all through,
wanting to kill anybody. I told him I'd see the
cops and maybe they'd say it was okay if George
(14:51):
paid for all the damage to that sport door and
behaved himself from now on. That didn't make him feel
much better, because it was getting off his boast to
see across and was meeting with Julie. I told him
that I'd called Julie, an informer that he'd suddenly come
down with a slight face of dubonic plays or something.
I got the name of the company office juke box.
(15:13):
In the after hours, joined the Acting Music Company. I
found a bone. Both reached for a coin and instead
came up with a card that stead if your show
can stand up Boost asked for the lad they call
John Bruce, and John's beautiful phony face smiling up at me.
All of a sudden, I was looking for the phone
number at the bottom of the card, and then I
(15:35):
began dialing, like Mat, that's got to be hers. Which
one coming down the street? The green hats, the strig
of violence. Yep, this is going to be the sat pleasure.
Speaker 1 (15:49):
Baby.
Speaker 3 (15:50):
I just remember what you're supposed to do.
Speaker 1 (15:53):
Baby.
Speaker 3 (15:53):
You walk past, you nod, and you keep walking.
Speaker 1 (15:56):
What's the mysterial about? Its a level with Brucey.
Speaker 3 (15:59):
Bulls ten bucks, No questions asked.
Speaker 1 (16:01):
That was the agreement book, and I at least mumbled
some quota you.
Speaker 4 (16:04):
Open your mouth for anything but breathing.
Speaker 1 (16:06):
Okay, okay, he's almost reached the corner. Move.
Speaker 3 (16:14):
I stepped back to the paper stand where George was waiting.
Together we watched Julie and John.
Speaker 1 (16:20):
Bruce approach each other.
Speaker 4 (16:23):
Missus to TuS, never had it so good.
Speaker 3 (16:25):
She was really something out of body beautiful. As the
two approached, George's hand unconsciously passing on my arm. Now
Julie and John were passing each other, their eyes meeting
George's hand, began to tighten it.
Speaker 1 (16:40):
Julie, beautiful, how beautiful.
Speaker 3 (16:45):
Julie nodded to John Bruce, and out of the corner
of my eye I saw a little George nodding return
no one. Sickening moment, I thought Bruce was going to
open his mouth and going to a monologue, but somehow
he controlled himself. They passed each other and went on.
I looked down at George. His eyes were shining.
Speaker 2 (17:05):
It was me, what I said to her, pouring out
my heart, that brought her here tonight. Jurgy, Yeah, but
why couldn't it really have been me? Why couldn't it
have been leaves the.
Speaker 3 (17:23):
Stone at the stars. Maybe they had an answer for you, Georgie,
me I had worked to do. I tell o my
story to find somewhere among the waiters, pulling their cuppeeedos away,
(17:43):
yawning as they changed in the the street clothes. Somewhere
among the jazz musicians, their saper waxing with the pee,
their shirt collars poked in sweat, but still reaching for
that beautiful pure and not somewhere in the police wagons,
screaming insanely down the street. I'm wearing the yellow lights
at the general hospital. Am my elevanty warehouse a tip
(18:05):
of breathing tears, the desultate park in an alley on
a street corner.
Speaker 4 (18:10):
Somewhere in the night.
Speaker 1 (18:11):
My story was waiting for me. And now that was
all of letting.
Speaker 4 (18:16):
My morning.
Speaker 3 (18:17):
I'd forgotten all about George and Julie and John Bruce.
I finished my column, and I'd gone home to smooth
and in my fog of the juke box wasn't ended,
and only just the gun.
Speaker 1 (18:32):
Yeah, yeah, I woa, Well what do you know? What
do you want? Bruce? Oh you are magnificent. I'll see
your yeah read No.
Speaker 7 (18:52):
What was that routine that got old Johnny boy guessing?
Speaker 1 (18:55):
Wow? Well, good for Johnny Boy.
Speaker 4 (18:57):
See you're ready.
Speaker 7 (19:00):
Friends, Like they say, where can I locate this kid?
Speaker 4 (19:04):
Maybe we'll having a couple of laughs together.
Speaker 1 (19:06):
Huh nod? Where can I find them?
Speaker 4 (19:15):
Yeah?
Speaker 3 (19:15):
When you're in my racket when you deal with these
terrocism and i'd be brother, You've got to be prepared
for the totally unexpected. Johnny Boy had fallen for the
lady of a duke, bought like a ton of bricks.
Speaker 1 (19:28):
Of course, he.
Speaker 4 (19:28):
Couldn't come right out and say it plain and simple.
He had a.
Speaker 3 (19:31):
Hamlet right up to the hilp. But I know the score,
and from then Onnie's haunted me night and day.
Speaker 1 (19:38):
Come on, Randy, who is she? Where can I find it?
You're the girl a breaker?
Speaker 3 (19:42):
He caned me on the street at the newspaper, at
my host.
Speaker 1 (19:45):
Who is she? Randy?
Speaker 7 (19:46):
Be a power?
Speaker 1 (19:47):
What's wrong with me looking her up and giving her
a little attention? Day after day after the state? Where
can I find her? Randy? What's the big mystery?
Speaker 3 (19:59):
For a while I and enjoyed it. He was sweating
and on him it looked good. But I guess this
morning I just wasn't in the mood. I've come down
to the office around five a m. And any newspaper
office that time of day is a pretty sad affairs.
Many women slatting their way up and down the aisle,
and ray listless gone float against the windows the empty desk.
(20:20):
I knew it was one of those real sour little
tails to write about it, about a bum they found
behind some garbage cans on skid rolls, a bomb with
a distinguished service cross into the pocket of his filthy shirt.
One of those gallant young gods that we swore we'd
never forget that I was feeling Jim Dandies. I sat
(20:41):
down to my typewriter and I whipped a hunk of paper.
Speaker 1 (20:44):
Into the rollers.
Speaker 3 (20:47):
And then I saw John Bruce standing in the shadows across.
Speaker 1 (20:50):
The room from me.
Speaker 3 (20:53):
Alright, O, friend, I'm not in the mood this morning.
I got work with you, and you God listened to me.
I founding little after midnight behind a wine shot.
Speaker 1 (21:04):
Brandy, You've got to tell me where I can find it?
Speaker 3 (21:07):
Just another bumb you at all, Brandy listened to me.
Speaker 1 (21:10):
You got.
Speaker 3 (21:12):
What I'm telling you nothing. You understand that one dame
is going to escape the same John Bruce charm. It's
a very small tragedy, clear of it.
Speaker 1 (21:21):
If you'll only listened to me.
Speaker 3 (21:22):
I'm slightly bored was listening to you, miss the booth.
I'm even more bored with looking at.
Speaker 1 (21:27):
You miss the bruce.
Speaker 3 (21:29):
There's no phoney. It sticks out like measles. Miss the
bruce from your fist, curly hair, right down to your
beautifully poli shoe. If this comes as a great, supine,
great surprise, there's one king a guy.
Speaker 1 (21:41):
I keep that kind of news from me, Solf. Okay,
I'm sorry, I'm pretty lad.
Speaker 3 (21:48):
I don't know I who further it is.
Speaker 1 (21:50):
I want him try to explain it. I can't explain
it to my spelt. It's that success bug. It's dog
eat dog. Anything goes as long as you make Why
do you have to make it? Does it stay so?
Speaker 4 (22:04):
In the constitution?
Speaker 5 (22:05):
But about her, I'm not setting on any acts about her, Randy,
I'm a big boy.
Speaker 1 (22:13):
Well at first side of my kiddy.
Speaker 5 (22:17):
Listens, Randy, just exchange the look maybe five seconds, and
until the day I die, I won't be able to
forget it. I guess that sounds like samor Johnny Boy's routine. No,
go on, go on, I can't I tell you, how
do you explain it? But in those few seconds I
(22:41):
said something I've been looking for all my life, Randy,
something genuine, something real, something, Well, maybe I've still my
own salvation Randy, and maybe I was just kidding myself,
setting myself a Billy Goods. So I got to find out.
(23:03):
I gotta see her again, step to her. Maybe I'm
in a cheer of them amount the dreaming something.
Speaker 1 (23:09):
That I'm like, humpty dumpty. I don't know.
Speaker 3 (23:12):
I don't think so no, there issue man, the act
new music company. Let me take your time. She doesn't
show up until night. I don't know why I did it.
Maybe it was something I saw in John Bruce eyes
(23:32):
that made me feel if I didn't tell him, well,
it would have been a bum deal for Jewlie. I
wanted to reach George right away and try to explain
what I'd done, but I didn't know where to look
for him excepted his news stands. In my world of
the night, all you ever know about any winners where
they are right now. I didn't think much that day.
(23:53):
Making George understand wasn't going to be any cinch, but
he had to know that this had been a sick
thing that could only hurt him. In that night, I
hurried right onto his newsstand, only he wasn't around.
Speaker 4 (24:05):
I started worrying, and on our hunts, I went across
the street because they.
Speaker 1 (24:08):
After hours joined. The door was a jar. I went in.
Speaker 3 (24:14):
He was there squatting in front.
Speaker 1 (24:16):
Of a jukebox listen to her song look Back.
Speaker 3 (24:34):
The song ended, and I switched. My man liked crazy
for the right words. He was fumbling with some coins
and he slipped one of them.
Speaker 1 (24:40):
Into the jukebox slid gitar. Oh you know I do
every time I hear it. I see you again, so beautiful.
It's pretty beautiful yourself, Julie. It's wonderful to hear you
say that. I backed out quick.
Speaker 4 (25:03):
I didn't get it.
Speaker 3 (25:04):
I had to see gone with John Foot. I have
to have for the ACME Music Company. A dilapidated office
in the loft. I'm you're on street. The door was open,
so I went on inside an empty death. The papers
got it all over, but nobody alarm. I went into
a dark hallway Mark.
Speaker 4 (25:21):
No admitted ahead of me, with the lighted glass door
with the word studio painted on it. I started borting
when someone came running up behind me. Here, you can't
you read the sign?
Speaker 1 (25:30):
No admits?
Speaker 4 (25:31):
I thought that was very clear.
Speaker 3 (25:32):
It wasn't anybody at the best.
Speaker 4 (25:34):
You're telling me something I don't know. Quitting without a
minute notice.
Speaker 1 (25:38):
That's a fine thing.
Speaker 4 (25:40):
That's that way, that's Sary. She'll want a reference.
Speaker 3 (25:43):
Someday I'll give her a reference, all right. Not come around, Dally.
She the one who quits without a minute's notice. A
jerk comes popping and I was worn't in bad. Next
thing your nose.
Speaker 4 (25:55):
She's walking out of here with him, But that surfcase,
someday she'll want a reference. Is a dark haired girl,
beautiful bunk, so she's beautifully built. Come on, miss her.
Speaker 3 (26:06):
I got fifty things to do. Then that would be
Julie working in the studio up ahead? So or do
you mind if I peek in through the door, then
I'll go.
Speaker 4 (26:14):
Do you want to freak over?
Speaker 1 (26:15):
Peak for Julie.
Speaker 4 (26:16):
I'm not worried about her running off.
Speaker 1 (26:19):
But Julie, I'm safe.
Speaker 3 (26:26):
Yes, he was safe with Julie. As I looked through
the glass door, I thought, sure, it's figures too can
play the same game. The Dwarf had had a John
Bruce and Julie had her Sally. Julie couldn't have shown
up for a meeting with George, even if she wanted to.
Because I very much doubt that Julie could have lifted
(26:46):
her three hundred and fifty pounds out of that chair.
Speaker 1 (26:50):
You falling.
Speaker 3 (26:51):
Julie working like mad at the switchboard with its flashing
lights from juke boxes all.
Speaker 1 (26:57):
Over the city.
Speaker 3 (26:59):
And then while I watched is she answered one called.
Speaker 1 (27:01):
Something happened.
Speaker 3 (27:03):
Her eyes lit up in a strange and wonderful way.
Then she flicked the twitch that made a certain record
for a certain juke box, and her eyes became even
more bright. I didn't have to hear the.
Speaker 1 (27:17):
Rest of the record.
Speaker 3 (27:18):
She was playing there song for the guy George, and
all of a sudden.
Speaker 1 (27:23):
I realized how right George June was.
Speaker 3 (27:46):
Yeah, that's how it is when you walk the night, Dad,
you always know that if you walk far enough and
long enough, and if you keep your eyes open and
you listen very carefully, sooner or later in the dakness.
Speaker 1 (28:00):
You'll find the city's heart.
Speaker 4 (28:04):
Yay Tommy Boyce. Nightbeat, starring Fank.
Speaker 7 (28:21):
Lovejoy, is produced and directed by Warren Lewris. The night
story was written by Larry Marcus with music by Robert Armbruser.
Speaker 2 (28:29):
The part of John Bruce was played by Bill Conrad.
Jeff Corey was George.
Speaker 7 (28:34):
Others in Tonight's Past were Betty lou Gerson, Ray Hartman,
and Eddie Field.
Speaker 4 (28:39):
Frank love Joy can currently be seen co.
Speaker 7 (28:41):
Starring with Joan Crawford and Robert Young and Warner Brothers
Goodbye My Fancy. Listen next week at this time and
every week as Randy Stone searches through the city for
the strange story waiting for him.
Speaker 1 (29:00):
The doctor might be means you from Hollywood
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.