August 31, 2024 • 29 mins
Hope you enjoy this episode of Quiet Please! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Quiet, Please! was a radio fantasy and horror program created by Wyllis Cooper, also known for creating Lights Out. Ernest Chappell was the show's announcer and lead actor. Quiet, Please! has been praised as one of the finest efforts of the golden age of American radio dram. A total of 106 shows were broadcast between 1947 and 1949. - Thank you for listening, consider a donation to help keep the OTR radio stations commercial-free: https://www.buymeacoffee.com/jared.day.oldtimeradio - Audio Credit: The Old Time Radio Researchers Group. Licensed under CC BY-NC-ND 3.0 - Find all the podcasts, download free - Spreaker | Apple Podcasts | YouTube Music
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
Quiet Please, Quiet Please.
Speaker 2 (00:40):
Today's Quiet Please, story, written and directed by Willis Cooper
and featuring Ernest Chappell, is called bring Me to Life?
Speaker 1 (01:20):
Shut Up? Why can't people let me alone? Yeah? This
is Hank Fscarty. Hello, Hank. How are you today? Where's
(01:43):
your stretched? Oh? I've just got three more pages to go.
I got it into you this afternoon. We'll be sure
you do, Willga. We're sitting here waiting for us. Oh, sorry, Hank,
I'll get it in all right. Okay, Now we've got
to have it today. All right, all right, if you'll
get it, okay, I'll wait for it, alright. I'll see you. Yeah, yeah,
(02:07):
i'll see you. I'll see it if I get an idea?
Nothing no more idea in a rabbit page one. Yeah
that's a start. Let me see what I needs? A character? Character? Character?
(02:35):
Come on, character? Have you got three dollars? No, I
haven't got three dollars. What do you want three dollars
for a milkman?
Speaker 3 (02:43):
You had some money last night?
Speaker 1 (02:44):
I got eighty cents.
Speaker 4 (02:45):
Bay.
Speaker 1 (02:46):
Listen, Ruthie, give me an idea for a character.
Speaker 4 (02:48):
I haven't got any ideas for characters. Haven't you really
got three dollars. He's been here twice, you much.
Speaker 2 (02:54):
Check what I wants a character for this script?
Speaker 1 (02:57):
The only one I can.
Speaker 3 (02:57):
Think of now is a milkman.
Speaker 2 (03:00):
You get to work, Yeah, get to work. Sure, Sure,
I get a character. I'll get to work. That's all
I need, and I'll get a story, all right, I think?
Come on, character, Come on, character.
Speaker 1 (03:21):
And now what you want? I said, I haven't got
three dollars? I'll come on in. Ruth, What are you?
What's the matter with you?
Speaker 2 (03:34):
Come on here, I.
Speaker 1 (03:35):
Said, Ruth, didn't you knock at this door? Well? I
thought I heard somebody? All right? All right? Oh god
(03:55):
it I must be going. Oh I didn't write that.
How did that get on that paper? Bring me to life?
Speaker 2 (04:08):
I didn't write that, No, I did, Ruth.
Speaker 1 (04:19):
Ruthie, Hey, Ruthie, what's that? Ruthie? Come here? Come here quick?
Speaker 3 (04:25):
What's the matter with you?
Speaker 1 (04:27):
Look at my typewriter?
Speaker 3 (04:28):
What about it? Look?
Speaker 1 (04:29):
Look what's on the paper?
Speaker 3 (04:31):
Bring me to life? What's strange about that?
Speaker 1 (04:35):
I didn't write it?
Speaker 3 (04:37):
What are you?
Speaker 1 (04:38):
Look? Look see what it's doing underlining those words?
Speaker 3 (04:44):
How are you doing that?
Speaker 1 (04:46):
God? I tell you? Look, I said, I didn't write it.
And the typewriter just said, no I did.
Speaker 3 (04:53):
Who is it?
Speaker 1 (04:55):
I don't see h A R A C T E
R character.
Speaker 4 (05:10):
Now, look, this is a gag of some kind. How
are you doing? And it isn't a gag that that
typewriter's haunted.
Speaker 3 (05:18):
This is impossible, now I tell you it is.
Speaker 1 (05:21):
Huh, we'll look at it.
Speaker 3 (05:23):
Bring me life, you see.
Speaker 4 (05:29):
All right, smart guys, it's a great trick.
Speaker 1 (05:32):
How do you do it? Ruth? I swear to I
swear I'm not doing it.
Speaker 3 (05:37):
You are too.
Speaker 1 (05:38):
Look no, wait, wait a minute, I'll go way over
here and you'll see. Now it'll right, it'll right. What now.
Speaker 3 (05:51):
I knew it was a gag. Listen, I've got housework
to do. Now, you go on and get that script written, Ruth.
Speaker 1 (05:58):
I have to think up a character there first. Yere,
it goes again, it.
Speaker 3 (06:08):
Says, me, me, me.
Speaker 5 (06:10):
Me, me, all right, there's your character, write about him?
Speaker 1 (06:18):
Do you really suppose?
Speaker 3 (06:19):
Now, look, darling, I've been married to a.
Speaker 4 (06:22):
Writer long enough to believe almost anything. I don't know
how this is done, but it's worth trying.
Speaker 3 (06:27):
Isn't it.
Speaker 1 (06:28):
Well I don't like the monkey with things like that.
Speaker 3 (06:31):
Don't be silly.
Speaker 1 (06:32):
Well, it's wait a minute. It's one thing to write
about supernatural things. It's it's another to experience them.
Speaker 4 (06:39):
You've always been wishing you had a typewriter that to
do your script for you. Now you got it. Go ahead, yes, but.
Speaker 1 (06:47):
How do I know who this is? Who?
Speaker 3 (06:49):
Well?
Speaker 1 (06:50):
This character, whatever he is.
Speaker 3 (06:52):
Well, you decide you'll bring him to life. Go ahead?
Speaker 1 (06:58):
Who should you be?
Speaker 4 (07:00):
Well?
Speaker 1 (07:01):
A pirate? I don't know anything about pirates.
Speaker 3 (07:08):
It says I do. Go ahead.
Speaker 1 (07:12):
I don't like it.
Speaker 3 (07:13):
Go ahead unless this is a gag.
Speaker 1 (07:16):
It's no gag, right. Well?
Speaker 5 (07:24):
M m.
Speaker 1 (07:28):
It was a dark and stormy night. What's that?
Speaker 3 (07:32):
Sounds like thunder? There's a storm coming out?
Speaker 1 (07:38):
Gosh? Does this thing control of weather?
Speaker 3 (07:40):
To go on?
Speaker 1 (07:42):
Like some more?
Speaker 3 (07:43):
This is getting interesting?
Speaker 1 (07:45):
Well right, m m hm, m mm hmmm, nothing's happening.
What did you write here? Read it?
Speaker 4 (08:06):
The pirate ship gotted through the roaring wave, all her
sails straining.
Speaker 1 (08:11):
Under the howling wind.
Speaker 3 (08:16):
Do you smell anything?
Speaker 1 (08:18):
Smell? Yeah? I sure do. It smells like the ocean.
Go on, read some more, Ruth, I think I know
how this works now, Oh what do you mean? I
think you have to read it to make it happen,
(08:40):
well you read it, then, no you.
Speaker 3 (08:45):
I don't want to read it. I'm scared.
Speaker 1 (08:49):
I don't like it either.
Speaker 3 (08:53):
Look the typewriter, it.
Speaker 1 (08:55):
Says, read it well.
Speaker 2 (08:59):
Well Captain Jaber's thorn, scourge of the Spanish Main, Scourge
of the Spanish Main. Slowly climbed the steps of the
companion way, Uh, companion way.
Speaker 3 (09:21):
There's somebody coming up the stairs.
Speaker 1 (09:24):
You know there are any stairs in this house? Who
read some more and flung open the door. He gazed
on the wild scene for a second and drew his cutlass.
What's that?
Speaker 4 (09:41):
My sweetish crystal vase?
Speaker 2 (09:44):
It fell down?
Speaker 3 (09:44):
He knocked it off with that.
Speaker 1 (09:46):
That's comeless or whatever it is.
Speaker 3 (09:48):
That phase costs forty two dollars.
Speaker 1 (09:51):
Well, I couldn't help it, honey, You do something about it.
Speaker 3 (09:54):
Oh my beautiful vase.
Speaker 1 (09:57):
And there isn't another one like it in the world.
What can I do for God? Say Sonny, I can't
help Wait a minute. Wait. He returned the cutlass to
its scabbards.
Speaker 3 (10:16):
You see that doesn't bring back my veins.
Speaker 1 (10:19):
Listen.
Speaker 2 (10:21):
He turned to the beautiful girl at his side.
Speaker 1 (10:24):
Put on his arm. What's the matter, and great big hands,
what's happening?
Speaker 4 (10:32):
Ruth, somebody kissed me with whisper.
Speaker 5 (10:39):
You you're hiring you you no, no you ruts stop
hop stop him there your pirate?
Speaker 1 (10:50):
Ah rude. Well, my friends, that all happened a week ago.
(11:14):
Sure it really happened. No, I haven't got any explanation
for it.
Speaker 2 (11:20):
All I know is that that stuff appeared on my typewriter,
and all the other things happened just the way you've
heard them.
Speaker 1 (11:26):
And Ruth made the pirate disappear when she tore up
the sheet of paper.
Speaker 2 (11:32):
All I know is it hidden a good idea for
a story about a pirate, and I wrote it. People
thought it was swell. And here it is deadline time
again and me without an idea again, And any minute
that Hank Viscard he'll be on that phone again asking
for my script.
Speaker 1 (11:50):
You see getting psychic? Oh okay, hello, Hank? How did
you know it was me?
Speaker 2 (11:59):
I always know when it's script a. I've only got
about three pages to go, Hank. When do I get
it tomorrow morning?
Speaker 1 (12:08):
For sure? Okay? See that you do? Okay, Hank, you
get it? You get it? Here we go, yet, here
we go again?
Speaker 3 (12:24):
Me?
Speaker 1 (12:24):
What do I write about this time? No? Not about
pirates again. Now let me think. No, that's not for me.
I don't like love stories. No, no, people don't want
(12:49):
war stories. How about her? Who done it? A crime story?
Speaker 5 (13:00):
Uh?
Speaker 1 (13:00):
A murderer? Detective spies? Maybe calling all card? Yeah, maybe
I could do that now, awful lot of food done,
it's on the networks though, Oh well, one more won't
hurt him. Let's go. Eh Now for a character character,
(13:30):
I wonder wait a minute, Wait a minute, ruly, Ruthie
(13:50):
just wanted to be sure she's asleep for the way
she murdered my pirate.
Speaker 2 (13:57):
You know this could turned out to be a great racket.
Have your characters write your stories for them. The only
thing is you have to be careful when I put
down on paper. Don't want to find myself getting choked
to death by somebody I've brought to life.
Speaker 1 (14:10):
Hey, Hey, what am I saying? Well, let's see what
happens page one. You know you don't have to believe
these friends. I'm not so sure I believe it either,
(14:32):
even though I've been mixed up with supernatural stories for
so long. I guess I'm a sucker for Maybe all
that didn't happen. Maybe Ruthie and I dreamed it. The
only thing is two people don't usually dream the same
dream at the same time, you know. And that Swedish
(14:52):
crystal vase of hers is sure busted. You know. I
didn't give it. Okay, that isn't maybe okay or something,
And I'm going to try it again. Sure, just relapse,
but we will see who will do the laughing? Hi,
me or you? How's your imagine it? Mine's all right?
Speaker 3 (15:15):
Like you?
Speaker 1 (15:16):
So shut up a minute while I try this up.
Let's keep quiet and let's see what happens. Okay, okay, hey, character, character,
Come on, character, Come on, character? What no I did that?
(15:44):
It wasn't the character I just wrote? Are you there?
Let me see if he answers? Come on, character, I
need a story. Will help me the other day? Character
help me? Now, come on, tell come to my character.
You hear me? Come on, pal, I need help. Don't
(16:07):
be mad at me, hyrate romantic guy. I'm a soldier,
(16:29):
I mean I'm a detective.
Speaker 2 (16:38):
Okay, okay, So I'm a jump so I can't pull
a coct out of the air like that.
Speaker 1 (16:43):
Okay, So go on. And last I'm sorry. And if
you were sitting around waiting in the country at this
time of night, all alone. Your wife sounds asleep, and
this is the only light in the house, and you've
got to write a supernatural little story before morning. Try
it sometime, friends. We'll just keep quiet and let me
(17:06):
try to work. Huh. You got nothing to do but
listen to the radio. How'd you like to have to
write those things that you listen to? Huh in the
middle of the night, or hold on by yourself? Okay, quiet, please,
hm m mm huh, listen to this, m m m m.
(17:40):
I am alone. I am alone in a great dark
house with only the weird wail of the wind and
the whispering willows.
Speaker 3 (17:49):
Uh.
Speaker 2 (17:50):
You think that's too much alliteration.
Speaker 1 (17:52):
Weird wail of winds, whispering willows. I kind of like it.
Speaker 2 (17:59):
Yeah, uh, whispering willows to keep me.
Speaker 1 (18:02):
Somber company, That's okay. Huh. Maybe I'll get a story yet,
just keep quiet. They sure wish that character will give
me a hand though, Now, what could have happen to
a guy sitting here like I am. Let's see what happened.
(18:24):
It could be a ghost nine No, I know, ghost chains,
clanking and stuff, corny sound effects. No, uh, a burger.
M well, burger might be good. Uh, I wouldn't know
what to do about a burger though, we haven't got
anythinghere's stealing around here. Besides, burgers are kind of corny too,
(18:45):
wan't there? You know? Uh? You always think of a
fat guy and a mask with an old fashioned dark
lantern and a bag over his shoulders, like those fellas.
Uh they're drawn codgers. Uh, what's the name of the fella?
Does Larry Reynolds, the big fat guy in the loldan? Now,
burglars are funny, burglers are out. Well, what then hood
(19:08):
comes sneaking into your house in the middle of the night.
Let me see, let's see, Hey, what about an escape convict?
An escape convict. That'll be all right, wouldn't it? And
he can do a lot of things with an escape convict.
Guy's wife asleep, you know, a desperate character. I could
(19:31):
have let the door unlocked. He could have sneaked in.
I never know it. They could be looking over my
shoulder right now.
Speaker 3 (19:38):
Hey, stop that.
Speaker 1 (19:40):
Scare myself to that. Hey, this will be all right,
this will be alright. He Uh, let's see, he could
have sneaked into Ruthie's room. Old I wake you, Ruthie. Oh,
I'm sorry talking to myself, ruth food. What's the matter, darling?
(20:04):
Where's the like? Never mind the like? Mister? And you
shut up right now? I said, shut up quiet now,
stop it, stop it, and I won't hurt you. Now
stop you.
Speaker 5 (20:17):
You hurt my husband.
Speaker 1 (20:18):
You'll be all right now, just keep quiet a minute.
Who are you, ma'am?
Speaker 6 (20:23):
I just crashed out of the big house. As they
say in the movies. You I escaped convict, ma'am. And
for your information, I am a pretty desperate escaped convict.
Where's your husband?
Speaker 1 (20:34):
Keep his clothes?
Speaker 3 (20:35):
What?
Speaker 1 (20:36):
I am still wearing? The clothes of the state thoughtfully
provides for convicted murderers, ma'am, and they're rather conspicuous. I
need a change. Which is his closet?
Speaker 3 (20:47):
You've killed him?
Speaker 1 (20:48):
No, ma'am, I didn't kill him, but I may do
that yet. If I don't get a little cooperation out.
Speaker 3 (20:51):
Of you, let me out. O.
Speaker 1 (20:54):
You just sit there and tell me where to find
his other suit? Where's the right? Mm? You're very pretty?
Speaker 3 (21:05):
Let me go to my husband, ah, darling, No, I
got other plans for you.
Speaker 1 (21:11):
Is uh? Is this his closet? Oh? Yeah?
Speaker 6 (21:17):
Nice?
Speaker 1 (21:18):
Little suit. Yeah, I I like now a little on
the large side for me. But you can shut your
eyes while I change. I I'll need a shirt too.
Speaker 3 (21:32):
What are you going to do?
Speaker 6 (21:33):
Well, I'll tell you first. I'm gonna get into this
nice new oversized suit of clothes.
Speaker 1 (21:39):
Let me see if you go right? Sorry, m nice shirt. Sorry, No,
I don't think he's dead, and uh, even if he is,
he can't hang me more than once.
Speaker 3 (21:51):
You know. Please please be still, oh, I.
Speaker 6 (21:54):
Said, be still. Listen, ma'am. Don't be misled because I'm
treating you nicely. I am really a very rough person.
You might have read about me in the papers.
Speaker 3 (22:05):
Please won't know.
Speaker 6 (22:07):
Now, shut up or I'll have to shut you up.
As soon as I get these clothes adjusted, I'm gonna
leave here, ma'am, and i'm gonna take you with me. No,
you see, they're not after me already, and they want
me pretty badly. They have rifles and shop guns, ma'am,
and they won't hesitate to use them, that is, unless
(22:28):
there's a lady present.
Speaker 1 (22:30):
You see now, Now on that tie, you're not sh
please please? Hm? Nice tie? Very nice? You see.
Speaker 6 (22:42):
If I might be so crude, I intend to take
you along for a kind of shield man. The boys
won't shoot you, understand if there's a possibility of putting
a bullet through you. So I suggest you get up
and get a coat or something. It's getting quite a
lot cooler out, I said, get up.
Speaker 3 (23:00):
I won't, ma'am. You better please let me see my hont.
Speaker 1 (23:04):
I told you'd be all right. Man.
Speaker 6 (23:06):
If you're a good girl, you might get back to
him one of these days. If you're not, does your
husband wear hats?
Speaker 1 (23:11):
If you're not, you might not. Come on, get up,
I won't. I suppose it was ruth screaming that brought
me back through the darkness to a kind of semi consciousness.
The light was still on in their room. I could
(23:32):
hear them talking, still out cold. I have my eyes shut.
I I don't know why. I suppose I ought to
have got up and help Ruth. I was still pretty groggy.
I just lay there. I could hear them, come on, ma'am,
I haven't got much time to wait. I got my
eyes open just a little then, and I could see
Ruth with their heavy croat thrown around her, and he
(23:54):
had her by the hand, and he was pulling toward
the door. Come on, Come on, come on. Seemed to
be a long time before I could hit up on
one elbow. I had hurt, and I wasn't sure what happened.
Ruth was gone? Who was the man I saw dragging
(24:14):
her away? I I tried to think. Finally, the fog
feared away enough so I could figure out what to do.
It seemed hours later that I got to my feet.
Speaker 2 (24:27):
I staggered out to the other room, where I'd been
working with my typewriter.
Speaker 1 (24:33):
I should do something, I knew what should I do.
My mine wouldn't work. I wanted to go after them,
but something stopped me. Something wouldn't let me go. I
didn't know what it was. Something was making a noise
through the ringing in my ears. What was it? And
(24:57):
at last I recognized sound. It was my typewriter.
Speaker 2 (25:04):
I fell down as I staggered across to it. I
crawled the rest of the way, of course, myself, to
look at the paper.
Speaker 1 (25:13):
My keys were tapping away, and slowly, thankfully, I read
the words bring me to life, Bring me to life,
(25:34):
Bring who to life? Mean mean me, said the typewriter, Me, me, me,
and the last my pirate. Oh, come on, character, come
(25:55):
on pirate, and the typewriter clacked away. Hurry, hurry, hurry,
said painfully, Oh so painfully. I got one hand on
the keyboard that is real blurred when I found them.
(26:18):
H Pirate comes in, draws cutlass, sees enemy, goes to
rescue through French window, pursues enemy, enemy, frightened wife knows
(26:46):
rescue coming. Pirates raises cutlass. Yeah, I'm on bail, Well,
now a bail. I was pretty hard to explain that
that man wearing my clothes in my garage dead from
(27:09):
the wicked slashing blows of a great sword a cutlass.
Hard to explain. That's impossible. You believe it. I believe it.
Ruth believes it. And that's the whole story.
Speaker 2 (27:28):
Thanks character, good night, character, you have listened to bring
(27:50):
me to life. A Quiet Please. Story written and directed
by Willis Cooper.
Speaker 1 (27:55):
The man who talked to you was Ernest Chappell, that
Ruth was played by Helen Marcy. Walter Black was the murderer.
The man on the telephone was Warren Bryant. The music
was composed and played by Jeane Brazzo and the character.
And now for a word about next week's Quiet Please,
(28:15):
Here is our writer director Willis Cooper.
Speaker 2 (28:18):
Next week's story is called A Mile High and a
Mile Deep.
Speaker 6 (28:21):
It's a story about the copper mind and the mountains above,
Butte Montana.
Speaker 7 (28:26):
And the people who worked there, and so until next week.
At this time, I am quietly yours, Ernest Chappel.
Speaker 2 (29:03):
This program came to you from New York. This is
the world's largest network, the Mutual Broadcasting System
Quiet Please, Quiet Please.
Speaker 2 (00:40):
Today's Quiet Please, story, written and directed by Willis Cooper
and featuring Ernest Chappell, is called bring Me to Life?
Speaker 1 (01:20):
Shut Up? Why can't people let me alone? Yeah? This
is Hank Fscarty. Hello, Hank. How are you today? Where's
(01:43):
your stretched? Oh? I've just got three more pages to go.
I got it into you this afternoon. We'll be sure
you do, Willga. We're sitting here waiting for us. Oh, sorry, Hank,
I'll get it in all right. Okay, Now we've got
to have it today. All right, all right, if you'll
get it, okay, I'll wait for it, alright. I'll see you. Yeah, yeah,
(02:07):
i'll see you. I'll see it if I get an idea?
Nothing no more idea in a rabbit page one. Yeah
that's a start. Let me see what I needs? A character? Character? Character?
(02:35):
Come on, character? Have you got three dollars? No, I
haven't got three dollars. What do you want three dollars
for a milkman?
Speaker 3 (02:43):
You had some money last night?
Speaker 1 (02:44):
I got eighty cents.
Speaker 4 (02:45):
Bay.
Speaker 1 (02:46):
Listen, Ruthie, give me an idea for a character.
Speaker 4 (02:48):
I haven't got any ideas for characters. Haven't you really
got three dollars. He's been here twice, you much.
Speaker 2 (02:54):
Check what I wants a character for this script?
Speaker 1 (02:57):
The only one I can.
Speaker 3 (02:57):
Think of now is a milkman.
Speaker 2 (03:00):
You get to work, Yeah, get to work. Sure, Sure,
I get a character. I'll get to work. That's all
I need, and I'll get a story, all right, I think?
Come on, character, Come on, character.
Speaker 1 (03:21):
And now what you want? I said, I haven't got
three dollars? I'll come on in. Ruth, What are you?
What's the matter with you?
Speaker 2 (03:34):
Come on here, I.
Speaker 1 (03:35):
Said, Ruth, didn't you knock at this door? Well? I
thought I heard somebody? All right? All right? Oh god
(03:55):
it I must be going. Oh I didn't write that.
How did that get on that paper? Bring me to life?
Speaker 2 (04:08):
I didn't write that, No, I did, Ruth.
Speaker 1 (04:19):
Ruthie, Hey, Ruthie, what's that? Ruthie? Come here? Come here quick?
Speaker 3 (04:25):
What's the matter with you?
Speaker 1 (04:27):
Look at my typewriter?
Speaker 3 (04:28):
What about it? Look?
Speaker 1 (04:29):
Look what's on the paper?
Speaker 3 (04:31):
Bring me to life? What's strange about that?
Speaker 1 (04:35):
I didn't write it?
Speaker 3 (04:37):
What are you?
Speaker 1 (04:38):
Look? Look see what it's doing underlining those words?
Speaker 3 (04:44):
How are you doing that?
Speaker 1 (04:46):
God? I tell you? Look, I said, I didn't write it.
And the typewriter just said, no I did.
Speaker 3 (04:53):
Who is it?
Speaker 1 (04:55):
I don't see h A R A C T E
R character.
Speaker 4 (05:10):
Now, look, this is a gag of some kind. How
are you doing? And it isn't a gag that that
typewriter's haunted.
Speaker 3 (05:18):
This is impossible, now I tell you it is.
Speaker 1 (05:21):
Huh, we'll look at it.
Speaker 3 (05:23):
Bring me life, you see.
Speaker 4 (05:29):
All right, smart guys, it's a great trick.
Speaker 1 (05:32):
How do you do it? Ruth? I swear to I
swear I'm not doing it.
Speaker 3 (05:37):
You are too.
Speaker 1 (05:38):
Look no, wait, wait a minute, I'll go way over
here and you'll see. Now it'll right, it'll right. What now.
Speaker 3 (05:51):
I knew it was a gag. Listen, I've got housework
to do. Now, you go on and get that script written, Ruth.
Speaker 1 (05:58):
I have to think up a character there first. Yere,
it goes again, it.
Speaker 3 (06:08):
Says, me, me, me.
Speaker 5 (06:10):
Me, me, all right, there's your character, write about him?
Speaker 1 (06:18):
Do you really suppose?
Speaker 3 (06:19):
Now, look, darling, I've been married to a.
Speaker 4 (06:22):
Writer long enough to believe almost anything. I don't know
how this is done, but it's worth trying.
Speaker 3 (06:27):
Isn't it.
Speaker 1 (06:28):
Well I don't like the monkey with things like that.
Speaker 3 (06:31):
Don't be silly.
Speaker 1 (06:32):
Well, it's wait a minute. It's one thing to write
about supernatural things. It's it's another to experience them.
Speaker 4 (06:39):
You've always been wishing you had a typewriter that to
do your script for you. Now you got it. Go ahead, yes, but.
Speaker 1 (06:47):
How do I know who this is? Who?
Speaker 3 (06:49):
Well?
Speaker 1 (06:50):
This character, whatever he is.
Speaker 3 (06:52):
Well, you decide you'll bring him to life. Go ahead?
Speaker 1 (06:58):
Who should you be?
Speaker 4 (07:00):
Well?
Speaker 1 (07:01):
A pirate? I don't know anything about pirates.
Speaker 3 (07:08):
It says I do. Go ahead.
Speaker 1 (07:12):
I don't like it.
Speaker 3 (07:13):
Go ahead unless this is a gag.
Speaker 1 (07:16):
It's no gag, right. Well?
Speaker 5 (07:24):
M m.
Speaker 1 (07:28):
It was a dark and stormy night. What's that?
Speaker 3 (07:32):
Sounds like thunder? There's a storm coming out?
Speaker 1 (07:38):
Gosh? Does this thing control of weather?
Speaker 3 (07:40):
To go on?
Speaker 1 (07:42):
Like some more?
Speaker 3 (07:43):
This is getting interesting?
Speaker 1 (07:45):
Well right, m m hm, m mm hmmm, nothing's happening.
What did you write here? Read it?
Speaker 4 (08:06):
The pirate ship gotted through the roaring wave, all her
sails straining.
Speaker 1 (08:11):
Under the howling wind.
Speaker 3 (08:16):
Do you smell anything?
Speaker 1 (08:18):
Smell? Yeah? I sure do. It smells like the ocean.
Go on, read some more, Ruth, I think I know
how this works now, Oh what do you mean? I
think you have to read it to make it happen,
(08:40):
well you read it, then, no you.
Speaker 3 (08:45):
I don't want to read it. I'm scared.
Speaker 1 (08:49):
I don't like it either.
Speaker 3 (08:53):
Look the typewriter, it.
Speaker 1 (08:55):
Says, read it well.
Speaker 2 (08:59):
Well Captain Jaber's thorn, scourge of the Spanish Main, Scourge
of the Spanish Main. Slowly climbed the steps of the
companion way, Uh, companion way.
Speaker 3 (09:21):
There's somebody coming up the stairs.
Speaker 1 (09:24):
You know there are any stairs in this house? Who
read some more and flung open the door. He gazed
on the wild scene for a second and drew his cutlass.
What's that?
Speaker 4 (09:41):
My sweetish crystal vase?
Speaker 2 (09:44):
It fell down?
Speaker 3 (09:44):
He knocked it off with that.
Speaker 1 (09:46):
That's comeless or whatever it is.
Speaker 3 (09:48):
That phase costs forty two dollars.
Speaker 1 (09:51):
Well, I couldn't help it, honey, You do something about it.
Speaker 3 (09:54):
Oh my beautiful vase.
Speaker 1 (09:57):
And there isn't another one like it in the world.
What can I do for God? Say Sonny, I can't
help Wait a minute. Wait. He returned the cutlass to
its scabbards.
Speaker 3 (10:16):
You see that doesn't bring back my veins.
Speaker 1 (10:19):
Listen.
Speaker 2 (10:21):
He turned to the beautiful girl at his side.
Speaker 1 (10:24):
Put on his arm. What's the matter, and great big hands,
what's happening?
Speaker 4 (10:32):
Ruth, somebody kissed me with whisper.
Speaker 5 (10:39):
You you're hiring you you no, no you ruts stop
hop stop him there your pirate?
Speaker 1 (10:50):
Ah rude. Well, my friends, that all happened a week ago.
(11:14):
Sure it really happened. No, I haven't got any explanation
for it.
Speaker 2 (11:20):
All I know is that that stuff appeared on my typewriter,
and all the other things happened just the way you've
heard them.
Speaker 1 (11:26):
And Ruth made the pirate disappear when she tore up
the sheet of paper.
Speaker 2 (11:32):
All I know is it hidden a good idea for
a story about a pirate, and I wrote it. People
thought it was swell. And here it is deadline time
again and me without an idea again, And any minute
that Hank Viscard he'll be on that phone again asking
for my script.
Speaker 1 (11:50):
You see getting psychic? Oh okay, hello, Hank? How did
you know it was me?
Speaker 2 (11:59):
I always know when it's script a. I've only got
about three pages to go, Hank. When do I get
it tomorrow morning?
Speaker 1 (12:08):
For sure? Okay? See that you do? Okay, Hank, you
get it? You get it? Here we go, yet, here
we go again?
Speaker 3 (12:24):
Me?
Speaker 1 (12:24):
What do I write about this time? No? Not about
pirates again. Now let me think. No, that's not for me.
I don't like love stories. No, no, people don't want
(12:49):
war stories. How about her? Who done it? A crime story?
Speaker 5 (13:00):
Uh?
Speaker 1 (13:00):
A murderer? Detective spies? Maybe calling all card? Yeah, maybe
I could do that now, awful lot of food done,
it's on the networks though, Oh well, one more won't
hurt him. Let's go. Eh Now for a character character,
(13:30):
I wonder wait a minute, Wait a minute, ruly, Ruthie
(13:50):
just wanted to be sure she's asleep for the way
she murdered my pirate.
Speaker 2 (13:57):
You know this could turned out to be a great racket.
Have your characters write your stories for them. The only
thing is you have to be careful when I put
down on paper. Don't want to find myself getting choked
to death by somebody I've brought to life.
Speaker 1 (14:10):
Hey, Hey, what am I saying? Well, let's see what
happens page one. You know you don't have to believe
these friends. I'm not so sure I believe it either,
(14:32):
even though I've been mixed up with supernatural stories for
so long. I guess I'm a sucker for Maybe all
that didn't happen. Maybe Ruthie and I dreamed it. The
only thing is two people don't usually dream the same
dream at the same time, you know. And that Swedish
(14:52):
crystal vase of hers is sure busted. You know. I
didn't give it. Okay, that isn't maybe okay or something,
And I'm going to try it again. Sure, just relapse,
but we will see who will do the laughing? Hi,
me or you? How's your imagine it? Mine's all right?
Speaker 3 (15:15):
Like you?
Speaker 1 (15:16):
So shut up a minute while I try this up.
Let's keep quiet and let's see what happens. Okay, okay, hey, character, character,
Come on, character, Come on, character? What no I did that?
(15:44):
It wasn't the character I just wrote? Are you there?
Let me see if he answers? Come on, character, I
need a story. Will help me the other day? Character
help me? Now, come on, tell come to my character.
You hear me? Come on, pal, I need help. Don't
(16:07):
be mad at me, hyrate romantic guy. I'm a soldier,
(16:29):
I mean I'm a detective.
Speaker 2 (16:38):
Okay, okay, So I'm a jump so I can't pull
a coct out of the air like that.
Speaker 1 (16:43):
Okay, So go on. And last I'm sorry. And if
you were sitting around waiting in the country at this
time of night, all alone. Your wife sounds asleep, and
this is the only light in the house, and you've
got to write a supernatural little story before morning. Try
it sometime, friends. We'll just keep quiet and let me
(17:06):
try to work. Huh. You got nothing to do but
listen to the radio. How'd you like to have to
write those things that you listen to? Huh in the
middle of the night, or hold on by yourself? Okay, quiet, please,
hm m mm huh, listen to this, m m m m.
(17:40):
I am alone. I am alone in a great dark
house with only the weird wail of the wind and
the whispering willows.
Speaker 3 (17:49):
Uh.
Speaker 2 (17:50):
You think that's too much alliteration.
Speaker 1 (17:52):
Weird wail of winds, whispering willows. I kind of like it.
Speaker 2 (17:59):
Yeah, uh, whispering willows to keep me.
Speaker 1 (18:02):
Somber company, That's okay. Huh. Maybe I'll get a story yet,
just keep quiet. They sure wish that character will give
me a hand though, Now, what could have happen to
a guy sitting here like I am. Let's see what happened.
(18:24):
It could be a ghost nine No, I know, ghost chains,
clanking and stuff, corny sound effects. No, uh, a burger.
M well, burger might be good. Uh, I wouldn't know
what to do about a burger though, we haven't got
anythinghere's stealing around here. Besides, burgers are kind of corny too,
(18:45):
wan't there? You know? Uh? You always think of a
fat guy and a mask with an old fashioned dark
lantern and a bag over his shoulders, like those fellas.
Uh they're drawn codgers. Uh, what's the name of the fella?
Does Larry Reynolds, the big fat guy in the loldan? Now,
burglars are funny, burglers are out. Well, what then hood
(19:08):
comes sneaking into your house in the middle of the night.
Let me see, let's see, Hey, what about an escape convict?
An escape convict. That'll be all right, wouldn't it? And
he can do a lot of things with an escape convict.
Guy's wife asleep, you know, a desperate character. I could
(19:31):
have let the door unlocked. He could have sneaked in.
I never know it. They could be looking over my
shoulder right now.
Speaker 3 (19:38):
Hey, stop that.
Speaker 1 (19:40):
Scare myself to that. Hey, this will be all right,
this will be alright. He Uh, let's see, he could
have sneaked into Ruthie's room. Old I wake you, Ruthie. Oh,
I'm sorry talking to myself, ruth food. What's the matter, darling?
(20:04):
Where's the like? Never mind the like? Mister? And you
shut up right now? I said, shut up quiet now,
stop it, stop it, and I won't hurt you. Now
stop you.
Speaker 5 (20:17):
You hurt my husband.
Speaker 1 (20:18):
You'll be all right now, just keep quiet a minute.
Who are you, ma'am?
Speaker 6 (20:23):
I just crashed out of the big house. As they
say in the movies. You I escaped convict, ma'am. And
for your information, I am a pretty desperate escaped convict.
Where's your husband?
Speaker 1 (20:34):
Keep his clothes?
Speaker 3 (20:35):
What?
Speaker 1 (20:36):
I am still wearing? The clothes of the state thoughtfully
provides for convicted murderers, ma'am, and they're rather conspicuous. I
need a change. Which is his closet?
Speaker 3 (20:47):
You've killed him?
Speaker 1 (20:48):
No, ma'am, I didn't kill him, but I may do
that yet. If I don't get a little cooperation out.
Speaker 3 (20:51):
Of you, let me out. O.
Speaker 1 (20:54):
You just sit there and tell me where to find
his other suit? Where's the right? Mm? You're very pretty?
Speaker 3 (21:05):
Let me go to my husband, ah, darling, No, I
got other plans for you.
Speaker 1 (21:11):
Is uh? Is this his closet? Oh? Yeah?
Speaker 6 (21:17):
Nice?
Speaker 1 (21:18):
Little suit. Yeah, I I like now a little on
the large side for me. But you can shut your
eyes while I change. I I'll need a shirt too.
Speaker 3 (21:32):
What are you going to do?
Speaker 6 (21:33):
Well, I'll tell you first. I'm gonna get into this
nice new oversized suit of clothes.
Speaker 1 (21:39):
Let me see if you go right? Sorry, m nice shirt. Sorry, No,
I don't think he's dead, and uh, even if he is,
he can't hang me more than once.
Speaker 3 (21:51):
You know. Please please be still, oh, I.
Speaker 6 (21:54):
Said, be still. Listen, ma'am. Don't be misled because I'm
treating you nicely. I am really a very rough person.
You might have read about me in the papers.
Speaker 3 (22:05):
Please won't know.
Speaker 6 (22:07):
Now, shut up or I'll have to shut you up.
As soon as I get these clothes adjusted, I'm gonna
leave here, ma'am, and i'm gonna take you with me. No,
you see, they're not after me already, and they want
me pretty badly. They have rifles and shop guns, ma'am,
and they won't hesitate to use them, that is, unless
(22:28):
there's a lady present.
Speaker 1 (22:30):
You see now, Now on that tie, you're not sh
please please? Hm? Nice tie? Very nice? You see.
Speaker 6 (22:42):
If I might be so crude, I intend to take
you along for a kind of shield man. The boys
won't shoot you, understand if there's a possibility of putting
a bullet through you. So I suggest you get up
and get a coat or something. It's getting quite a
lot cooler out, I said, get up.
Speaker 3 (23:00):
I won't, ma'am. You better please let me see my hont.
Speaker 1 (23:04):
I told you'd be all right. Man.
Speaker 6 (23:06):
If you're a good girl, you might get back to
him one of these days. If you're not, does your
husband wear hats?
Speaker 1 (23:11):
If you're not, you might not. Come on, get up,
I won't. I suppose it was ruth screaming that brought
me back through the darkness to a kind of semi consciousness.
The light was still on in their room. I could
(23:32):
hear them talking, still out cold. I have my eyes shut.
I I don't know why. I suppose I ought to
have got up and help Ruth. I was still pretty groggy.
I just lay there. I could hear them, come on, ma'am,
I haven't got much time to wait. I got my
eyes open just a little then, and I could see
Ruth with their heavy croat thrown around her, and he
(23:54):
had her by the hand, and he was pulling toward
the door. Come on, Come on, come on. Seemed to
be a long time before I could hit up on
one elbow. I had hurt, and I wasn't sure what happened.
Ruth was gone? Who was the man I saw dragging
(24:14):
her away? I I tried to think. Finally, the fog
feared away enough so I could figure out what to do.
It seemed hours later that I got to my feet.
Speaker 2 (24:27):
I staggered out to the other room, where I'd been
working with my typewriter.
Speaker 1 (24:33):
I should do something, I knew what should I do.
My mine wouldn't work. I wanted to go after them,
but something stopped me. Something wouldn't let me go. I
didn't know what it was. Something was making a noise
through the ringing in my ears. What was it? And
(24:57):
at last I recognized sound. It was my typewriter.
Speaker 2 (25:04):
I fell down as I staggered across to it. I
crawled the rest of the way, of course, myself, to
look at the paper.
Speaker 1 (25:13):
My keys were tapping away, and slowly, thankfully, I read
the words bring me to life, Bring me to life,
(25:34):
Bring who to life? Mean mean me, said the typewriter, Me, me, me,
and the last my pirate. Oh, come on, character, come
(25:55):
on pirate, and the typewriter clacked away. Hurry, hurry, hurry,
said painfully, Oh so painfully. I got one hand on
the keyboard that is real blurred when I found them.
(26:18):
H Pirate comes in, draws cutlass, sees enemy, goes to
rescue through French window, pursues enemy, enemy, frightened wife knows
(26:46):
rescue coming. Pirates raises cutlass. Yeah, I'm on bail, Well,
now a bail. I was pretty hard to explain that
that man wearing my clothes in my garage dead from
(27:09):
the wicked slashing blows of a great sword a cutlass.
Hard to explain. That's impossible. You believe it. I believe it.
Ruth believes it. And that's the whole story.
Speaker 2 (27:28):
Thanks character, good night, character, you have listened to bring
(27:50):
me to life. A Quiet Please. Story written and directed
by Willis Cooper.
Speaker 1 (27:55):
The man who talked to you was Ernest Chappell, that
Ruth was played by Helen Marcy. Walter Black was the murderer.
The man on the telephone was Warren Bryant. The music
was composed and played by Jeane Brazzo and the character.
And now for a word about next week's Quiet Please,
(28:15):
Here is our writer director Willis Cooper.
Speaker 2 (28:18):
Next week's story is called A Mile High and a
Mile Deep.
Speaker 6 (28:21):
It's a story about the copper mind and the mountains above,
Butte Montana.
Speaker 7 (28:26):
And the people who worked there, and so until next week.
At this time, I am quietly yours, Ernest Chappel.
Speaker 2 (29:03):
This program came to you from New York. This is
the world's largest network, the Mutual Broadcasting System
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