August 14, 2025 • 28 mins
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Episode Transcript
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Speaker 1 (00:03):
Night Beat. Hi, this is Randy Stone. I cover the
night Beat for the Chicago Star. My story is talking
(00:24):
with many different ways. This one began with a kid
and one hundred dollars bill and ended in the death
cell of Juliet.
Speaker 2 (00:32):
Might be starring Frank Lovejoy as Randy Stone. See how
wheaty's at seven can help at eleven? Well, Sure your
Monday morning wheaties might have made today's wash look a
lot smaller. Wheedy's tomorrow? Could baby make your iron seem
lighter Wednesday, Thursday, any day. Wheaties sort of make insurance
(00:55):
policies easier to sell and feels easier to plow, and
time fighters easier to punch, because when you've had your wheaties,
you've had the husky whole wheat vitamins and minerals that
help keep you able to trim down big chores right
down beside yet making beds or making money. It just
seems a whole lot easier when you've had your wheaties. Surey,
(01:15):
mother beat them up good every morning on those crisp
light whole wheat flakes. It's a wonderful sight a family
full of wheaties.
Speaker 1 (01:23):
What is it?
Speaker 2 (01:23):
The man says, see how Wheaty's at seven can help
at eleven? That's it crying. Huh, Wheedy's tomorrow.
Speaker 1 (01:39):
It was a great night, chilly as I walked, hunched
against the rain and stopping long enough to catch the
sweetness and light in the headlines. H bomb, menace, traffic,
tall mounts, murderous to die this morning in the electric chair. Okay, people,
keep it up. You're doing fine. But I had my
own worries, wondering where my a loving story had come from.
(02:01):
Tonight it hit me before I expected it, A little
kid six Maybe he came running at me and into
me before I could step aside. Well you think of
those break three line fella.
Speaker 3 (02:13):
Let me go, Let me go?
Speaker 1 (02:14):
Okay, okay, where.
Speaker 4 (02:15):
To I I'm running away?
Speaker 1 (02:18):
I all right, all right, now you get your breath
for the second leaf.
Speaker 4 (02:21):
They're coming after me.
Speaker 2 (02:23):
Oh, I want to go to my mom.
Speaker 1 (02:26):
I thought you were running away. I uh wait a second,
what's this? My money? One hundred dollars bills mine, just
a little loose change. Huh, please give it back to me.
Speaker 4 (02:36):
I gotta get a bus.
Speaker 1 (02:38):
Where do you live?
Speaker 5 (02:39):
I I wanna.
Speaker 1 (02:41):
Go to six sixteen Wolverton, Wolburton's quite a piece from here.
Speaker 5 (02:47):
They're coming.
Speaker 4 (02:48):
They're coming after me in the auto.
Speaker 1 (02:51):
Seem looks like this surrounded kid. Oh, take it easy
for a second.
Speaker 2 (02:59):
It's here. You've been a bad boy, Marty running away
like this?
Speaker 1 (03:04):
You gonna take me back? Uh, you're a kid, mister. No,
what's the angle here?
Speaker 2 (03:10):
The kid ran away from his old man.
Speaker 5 (03:12):
I didn't My father's dead.
Speaker 1 (03:14):
Sure, he always says that. Now come on, Marty. No,
it seems he doesn't want to go again. He will
or maybe not. I'd like to know it. Eddie back
big boys.
Speaker 3 (03:31):
Yeah, mister, you just forget all about this, Marty.
Speaker 1 (03:35):
Get in the car. Get away from that kid, Eddie
mac him. That's a sample. Open your trap again and
you get the rest. Come on, let's go. Before my
eyes closed all the way I saw him hustle the
kid into the car. If hegan to move away, glided
(03:57):
under a street, laughing from the rear window of face
looked out Jerry McCallum. The brain's behind almost any illegitimate enterprise.
You could name nothing too small or too big for
Jerry if it made a nickel. From what I saw
of McCallum's face, he could have gone in right then
for murder mine. A half hour later, after some minor
(04:21):
repairs on my face, I dropped in to see Sergeant Kolski.
I asked some questions and I got some answers. McCallum
had never gone in for kidnapping, and no carpet stick
his neck out without positive proof. If I wanted to
go slumming, I was going alone. It wasn't far to
McCallum's place, but knowing where he lived and getting to
see him with two different things. However, I had a
(04:43):
hunch that Jerry McCallum had seen me. I made sure
of it by sending him a note with one word
on it. Marty McCallum had me shown in. He smiled
at me from behind a marble top desk, flanked by
two of his boys, one of them my playmate of
a little earlier.
Speaker 6 (04:57):
Oh, he's glad to see a news favorite boy.
Speaker 2 (04:59):
Stone.
Speaker 6 (04:59):
You fell want to print rough stuff once in a while,
but it makes good for circulation, huh true or not?
Speaker 1 (05:04):
Yeah? Sure? You know we make up those things printed
about you.
Speaker 6 (05:07):
I give us, So what do you want tonight? Stone
for a starter?
Speaker 1 (05:10):
Ten minutes alone with a lover boy, they're the one on.
Speaker 6 (05:12):
Your right, Willy Bigger. Why yes, Now, Willy hasn't.
Speaker 1 (05:17):
Done I know, hasn't been out of your sight for
a week. In fact, about forty minutes ago, he was
baking a cake. Okay, forget it, good idea.
Speaker 6 (05:24):
Where's the kid, Marny yep? Do you like children?
Speaker 1 (05:27):
Yeah? Until they grow up, they're nice people.
Speaker 6 (05:30):
The kid's none of your business, Stone, Yet I am curious.
Speaker 1 (05:33):
Along comes a kid with one hundred.
Speaker 6 (05:34):
Dollars at all. Well, he took it. I keep lots
of dough around here, and drawers everywhere. The kid grabs
some and bed.
Speaker 1 (05:40):
Why because he wanted to go home?
Speaker 6 (05:43):
Did he say where? I?
Speaker 1 (05:45):
No? No, he didn't.
Speaker 6 (05:47):
Okay, then this is his home. What would you say
if I told you he was my kid?
Speaker 1 (05:52):
Nothing? I'd be speechless.
Speaker 6 (05:53):
Stone, forget this whole thing. You've got nothing nothing. Whatever
you're thinking is your idea. And that's as far as
we go. As far as you go, both of us,
I'll beat it. Don't crowd your luck.
Speaker 1 (06:03):
Okay, there's nothing I can prove, but it makes a
good story. It's good reading.
Speaker 6 (06:08):
You got no finish to it now.
Speaker 1 (06:10):
Frank Stockton wrote a story once the Lady and the Tiger.
There's no finish to that one either, but it caused
more comment.
Speaker 6 (06:15):
That way, you're not scaring me Stone. People can ask
all the questions they want after tomorrow.
Speaker 1 (06:21):
After tomorrow, mister McCallum, Why after tomorrow.
Speaker 6 (06:24):
I'm sick of looking at you. I'm even sicker of
listening to you. Now, get out, Oh, by the way,
get out.
Speaker 1 (06:31):
Yeah. One thing more, though, A friend of mine, a
cop named Cosky, knows that I came here. I'm telling
you in case my back looks inviting. When I walk
out so long on the way down to the street,
that tight feeling grabbed my throat, made my nose itch,
in my eyes water. I kept my shoulders hunched against
(06:54):
a bullet or a knife, but nothing came. Why not?
I asked that a thousand times before I hit the street.
I know I didn't scare hi McCallum. When I told
him about Kolski, mcallum had a million ways to rub
out anybody who'd got in his way, and a million
alibis to keep himself clear. He done it before, but
me he let go. Why? He said after tomorrow he
(07:15):
didn't want anything to happen until after tomorrow. I kept
thinking he kept walking, and then something began to go
around on the back of my head. McCallum tomorrow, McCallum tomorrow,
And suddenly it hit all about the electric Yeah start okay, yeah, eh,
(07:37):
nice morning for somebody to sit in the hot sea.
Then Clay looking dame too? Now, why probably something like that.
There's a million dollars that you'd better bring Callum's girlfriend. Mccallums,
where you've been missed? Everybody knows that. Yeah, but you
forget things when they're not close to you. Class you're
looking dame. Never think a dog like that at bumper
(07:58):
husband gonna fry it. Hey, mister, you sick or something
or something? Yeah, but you ever get a great big hunch.
Once I lost, I might too, but it's worth a try.
I grabbed the cab. I thought maybe some of McCallum's
boys were tailing me, so I had the driver a
(08:18):
cut back and forth. Then when I was sure we
were clean, I had him drive to McCallum's apartment house
and park down the street a few doors and it's okay, mister, yeah, oh,
turn off your motor. Okay, But I gotta leave the
meat to take it. That's okay. I listen to turn
off your lights. Why look, I'm Randy Stone, Chicago Star.
(08:39):
Here's my press card. Okay, okay, Hey, wat's up? You
take this newspaper? It's what do I do with it?
I pretend you're reading it?
Speaker 2 (08:49):
All right?
Speaker 1 (08:51):
Do you want to stormy Yellow? Hello? Don't pay any
attention to anything. You're just park You're waiting for a fair.
You're reading that paper. I understand, I get it. What
about you? I'll sit back. I think anybody can see
me from the outside. Nah. Now if you sit in
the corner, Nah, okay, I just sit and read the paper. Okay.
Speaker 3 (09:12):
I guess this dame's gonna cook. Hey, yell, do you
think a big shed like McCallan.
Speaker 2 (09:17):
To be able to get his dollar off a rat?
Speaker 1 (09:19):
Eh?
Speaker 2 (09:20):
But he didn't, you.
Speaker 1 (09:22):
Wonder mister at midnight? She gets it?
Speaker 3 (09:26):
They pull a switch. Then no more lorrain at hims
Eh ain't much to wonder about. Once they hold to
pretend to read the paper. And you see, yeah, some
guys are coming out. You see yeah, Oh there they're
looking this way.
Speaker 1 (09:46):
Don't look up. One of them's coming this way. Okay,
start your motor, start pulling out.
Speaker 3 (09:52):
Yeah, we gotta go right past him. You better squeeze
heart against that back seat.
Speaker 1 (10:00):
But don't go too fast, and you know, just as
though you're cruising for a fair Okay, it's okay. They
ain't looking at us. Hey, hey, mister Stone, did you
see that day away? Yeah? Yeah, get past then step
on it around the corner. Mister.
Speaker 2 (10:14):
I ain't sure what I see, but there was a
dame just coming out.
Speaker 1 (10:17):
Of the lobby. I you only got a quick look
at her face? Yeah, yes, so did I. What did
you say if that dame was in this doll in
the paper? I'll buy a horse as it were. Even
we're both crazy. I saw it too, Lorraine Adams. How
do you convince a Knight editor you haven't suddenly walked
(10:38):
out from under your head? How do you do it
even when you've got proof of something that sounds and
looks crazy? I listened to my editor. I'm at Cammel.
You're not.
Speaker 6 (10:46):
Both of you stay in out of the night air.
Speaker 1 (10:48):
But both of us saw the private guy.
Speaker 6 (10:49):
Eh, you want to take any bets.
Speaker 1 (10:52):
Either of you?
Speaker 6 (10:53):
I let call come through man, and that call from
Joliet comes through five, will get your tax free. Ten
That Lorraine Adams are sitting in the death sound, Na,
she's not well. You've got a yawn about a kid
wandering around holding one hundred bucks in his half little hand.
There's no record of any kid, nothing and he Look.
Speaker 1 (11:08):
Look, Lorraine Adams killed her husband because she was McCallum's girlfriend.
You remember the trial. She pleaded not guilty self defense,
but it didn't stick.
Speaker 6 (11:15):
Public sentiment was against her.
Speaker 1 (11:17):
Yes, I know, appeal nothing. Jerry mcallum didn't raise a
finger to get her off. Why not? Why not Matt
with his battery of high priced lawyers and with his connections. Okay, okay,
what's your best That Lorraine Adams is free right now?
I don't know how. I don't know what the kid
Marty has to do with it.
Speaker 6 (11:32):
But there's a call and he held your hat not
common here, Okay, put it through Wendy one putting up
a fine oh on the line. Okay, now hello, yeah
a look a Stromberg. You're covering the Lorraine Adams electric cuture,
aren't you. Uh huh, Well, listen, this is gonna sound nuts.
(11:55):
But is Lorraine Adams still in the death cell? Oh
you don't say okay, see I thinks no, that's.
Speaker 1 (12:04):
All so on, all right, all right, Matt, give you.
Speaker 6 (12:09):
Know what I'm gonna do with this five spot? Buy
you a jacket with sleeves to tie in the back?
Speaker 1 (12:16):
What did Stromberg City?
Speaker 6 (12:17):
The Lorraine Adams execution is scheduled tonight as planned. The
chaplain is with Lorraine Adams right now, because at midnight,
in exactly two hours and ten minutes she burns.
Speaker 2 (12:42):
General Mills is bringing you nightbeat starrying Frank Lovejoy as
Randy Stone. See how Wheaty's at seven can help at eleven?
Say a friend, Yes, Frank, isn't there some way and
you could put a little more umph into that line?
You mean, like this, Maybe see how Wheaty's at seven
can help at eleven? Well, or see how Wheaty's at
(13:03):
seven can help at eleven?
Speaker 1 (13:04):
There, that's it.
Speaker 2 (13:06):
See how Wheaty's at seven can help at eleven, because
they really can their whole wheat. You see, I guess
everybody knows about the snap and energy you get from
whole wheat. While you start breakfast with a big bowl
of wheaties in the whole morning just seems to slide
along easier. Big chores don't look so big. Long hours
don't seem so long. People seem pleasanter when you've had
(13:27):
your wheaties, and you know why. It's just that wheaties
have lots of vitamins and minerals, lots of solid nourishment
the kind you need to look a tough task right
in the eye. Wheaties tastes good too, crisp and nice
to munch on, A nice sunny nuts sweet taste to them,
a good, satisfying flavor that keeps on tasting like more
(13:48):
no matter how often you eat them. You see, when
you eat good, you feel good. It's simple as that. Now,
my friend, would you just try that line again? See
how wheaty's at seven can help at the line of
him that way, because they really can, you know, try it, weedy.
(14:15):
I'm now back to night beat. I'm Bramby's throne.
Speaker 1 (14:20):
In two hours and ten minutes, Lorraine Adams would go
to the electric chair. What I saw the cab driver
saw right in the middle of Chicago, free as a burden.
I checked some more after I left the office. The
police went along with the gag and checked the prison. Yes,
the girl on the death cell was Lorraine Adams. Her
fingerprints proved it. But then who was the girl the
cab driver? And I saw was McCallum going to work
(14:43):
a switch at the last minute? Fantastic? Sure, but McCallum
might be able to work it. And how did little
Marty tie in? What did a six year old kid
have to do with it? Well? I had until midnight
to learn a lot of things. There was only one
place to start. Six one six woven in the address
Marty had given me. It was a cheap boarding house.
I had the drive away. I knocked on the manager's
(15:03):
door until three minutes to get her out of bed.
And she wasn't happy. Where you are, sah Randy Stone?
She called the star. I take a news papers? You
selling papers this time in the morning? Oh no, listen
to me? Will you magazines?
Speaker 3 (15:20):
All day?
Speaker 1 (15:20):
Newspapers in the middle of the night. You take this
and listen? Ten bucks for what does a little kid
live here? His name was Marty about six, brown hair,
cute little guy? Are you kidding? That was four or
five months ago? But he lived here with his mother.
His mother? What did she look like? Ask my husband?
Where did she go? Well? He was thing. I can tell.
(15:43):
She worked at a joint called uh oh, come on,
come on the Blue Heirs.
Speaker 5 (15:51):
Yeah, I said, blue Heirs.
Speaker 1 (16:06):
Your hat, sir, and I check it for you all ranks? Honey?
That clock behind you? Is it right? Sure? Sony can
do eleven? The night is young. You want to bed?
How long you been here here? Maybe?
Speaker 2 (16:17):
Why?
Speaker 1 (16:17):
And I won't check my hat, but I'll leave this
with you. With five dollars, you could leave a diving suit.
Who do I kill? A girl used to work here.
She had a little boy, a little boy named Marty.
But I remember, Oh, yes you do.
Speaker 2 (16:31):
Baby.
Speaker 1 (16:31):
Your face shows us so I need makeup. You've seen
the kid, haven't you? You knew his mother? Mister? I
don't know anything that goes on. I check hats and coats.
That's why mister McCallum pays me. McCallum. Oh, the Blue
heron is one of his friends. I'll go away now,
will you? Did you like the girl? She was a
sweet cat? Well, then help her. She's in trouble. I
(16:51):
don't know anything. But there was a guy, a knocked
out musician, trombone player. He went for a fine hand.
Where what's his name Harry Ann He used to play here,
but when Peggy left Peggy, yeah, Peggy, Shit, Hey, you
don't even know her name. What do you want? Where
can I find Harry Aaron? You get out of here,
beat it, take it easy, get off before I call
a bouncer. With the clock getting ahead of me, I
(17:16):
looked up Harry Aaron in the musician's directory. With only
an hour and tenminus left, I tried to find him. Yes,
he played here, he played there. It was a good boy,
but he was always high. I covered one spot after another, time,
running out an hour left, fifty minutes, and then finally
I hit a rooming house, one of those places where
(17:37):
you stay up all day and all night. Anybody goes
to sleep. He's a curiosity. There was a jam session
going on, and I headed for the music. Five boys
was swinging high, but the trombone player was the one
I wanted. Skinny, pale face over which perspiration drenched hair.
(17:59):
I walked over to him, Hi, Harry, Harry, knock yourself out,
grab anything, cut in? What are you playing nothing? What
are your drink now thing? What are you living for? Harry? Harry?
(18:19):
Come on off the ceiling and you hear me. I
want to talk about Peggy. Peggy.
Speaker 6 (18:28):
What what you're saying?
Speaker 1 (18:30):
I want to talk about Peggy? You remember? Where about it?
What about Peggy? Let's get out of here, Harry. There's
a coffee shop down the street. Hey, find me a drink. Huh?
All right, all right, but come on huh hey, wait, wait, wait,
wait a second. Wait. Listen to that beef for it's
like a train running inside. Grab anything cutting any place? Peggy, Harry, Harry, Peggy,
(18:55):
you said, Peggy, Harry, you gotta come with me. You've
got to talk. We got forty minutes, Harry, and after
that it's I guess the boys goodbye. I made him
drink coffee strong and black, and I made him walk
until his head cleared up a little. But it took time, time,
and only thirty minutes I had left before that execution.
(19:16):
And then we sat and talked, what are you why
from me? Knocked out?
Speaker 3 (19:20):
Me?
Speaker 1 (19:20):
The top is all going, inside going? What do you
want for Peggy? Where is she? And why did she leave? Who?
I'm Stone Chicago star And I listened to me. You
remember Marty, Peggy's kid. I got a picture of her
right here. Hey, that's Peggy and that's Marty right there, Peggy.
This is Peggy. Dark hair, you bleach it blonde, and look,
Harry talk fast. I don't know what we'll get. But
(19:42):
tell me when you saw Peggy last on what she
said she was going away with him? Mcallum, mcallum. Why
this one night after the show, she was in the
line she was you know the chorus. You know I
went to see her. I found her pack. I'm packing
a suitcase. Shittn't tell me before that she was walking out.
She just looked at by fast Harry, real fast, white kid.
(20:10):
What's all the rush? I can't tell you, Harry, only
you're not gonna see me anymore. Oh, yeah, I get it.
You don't, Harry, you don't at all. Mcallum. I know
they talk a long time, he asked. It's nothing to
do with mcallum. Sure, that's nothing to do with a
knocked out horn player either. Oh don't talk like that. Okay,
I'll play it for you sometimes twenty choruses. I don't
(20:31):
blame you, Peggy.
Speaker 5 (20:34):
I got a kid, Marty, I'm sick.
Speaker 1 (20:37):
You know that got maybe a year.
Speaker 2 (20:39):
Doc said, So what happens to the kid?
Speaker 1 (20:41):
Then? What happened with me, I could.
Speaker 5 (20:44):
Maybe I ain't gonna have my eating off trunk, crackers
and milk three times a day.
Speaker 1 (20:51):
Oh what's mcallum gonna do for me? Say goodbye? Harry? Please?
You know what? I love you?
Speaker 2 (21:00):
Oh that yes.
Speaker 1 (21:03):
Means nothing alone.
Speaker 4 (21:06):
Harry, Get out of here.
Speaker 1 (21:07):
Don't stand there just looking at me. I won't be
able to go through with it.
Speaker 2 (21:10):
I won't And I go Harry, my kid.
Speaker 1 (21:27):
That's all. That's all I know. When did that happen?
Five yeah, five months ago, just before Lorrain Adams went
to trial for murder. What are you talking about, Louck?
This is Lorraine Adams picture on the paper. Hiss Peggy,
say bleach Peggy's hair, and she's Lorrain Adams. McCallum saw that.
You're crazy, Stone, You're crazy. McCallum couldn't make the switch
before the trial. Lorrain Adams gave herself up a week
(21:49):
after she killed her husband. But it wasn't Lorrain. It
was Peggy Racy. It's crazy. No less than half an
hour Peggy would go to the electric chair in place
of Lorraine Adams.
Speaker 6 (21:58):
But get a route.
Speaker 1 (21:59):
You gotta do something. I only proof is Marty, but
he's at McCallum's place. Don't she's gonna die. You said it,
She's gonna die. Stn't do something. I'm gonna jollyet to
see the warden. You gotta do something to Harry, Fine, Marty.
(22:19):
It's preparsal as missus Stone. Impossible, but it was done Wharton,
And in ten minutes a girl will go to a chair.
Ten minutes I call the governor.
Speaker 6 (22:26):
He's left it up to me.
Speaker 1 (22:27):
Well, then stop the execution.
Speaker 6 (22:28):
I can do that only if this girl admits she's
not Lorraine. Animals, I've broken a rulestone on the strength
of what you've told me. The girl is being brought
here the visiting room.
Speaker 1 (22:39):
To talk to and what if she doesn't admit, there's
no proof. The execution is scheduled. Where is that Harry,
she's here? Bring her in, Chapman, Hello, Triggy.
Speaker 6 (22:55):
What is your name?
Speaker 1 (22:57):
I am Lorraine Adams, Chaplin? This girl is not Lorraine Adams.
Didn't she tell you of Madam?
Speaker 6 (23:03):
What she told me?
Speaker 2 (23:04):
I cannot tell you.
Speaker 1 (23:06):
But in a case like this crime to him and
to God, yes, that you took Lorrain Adams place. You
have tried, convicted sentence and you'll die in less than
ten minutes. You'll die. I am Loraine Adams. You took
her place, You gave yourself up in her place. That's
why the real Lorrain Adams was gone for a week,
to give you time to beat your hair, and I
(23:26):
killed my husband. You're killing yourself for what? For Marty?
For your boy?
Speaker 6 (23:30):
No Peggy, No Peggy, Why don't you there's nothing else
to say.
Speaker 1 (23:35):
You made a bargain with McCallum. What kind of a bargain?
You never see your son again? You only had a
year to live, but in that year you'd have had him.
What did you leave him to a vicious gangster who'll
never keep his promise to you? You'll die pegging soul Marty, Yes,
he'll die too, as you know him. He'll be dead.
(23:55):
Think what he'll be living with a rat like that.
Speaker 6 (23:57):
I'm Adam Warden. I can't believe she'd lie. Now she's
facing dance stone.
Speaker 1 (24:04):
She can't lie what she is for her boys? She
would she would.
Speaker 4 (24:13):
Well moment, Mom, I've been looking at the places.
Speaker 5 (24:25):
Mom, it's me, Mom. You you got you here? No, Mom,
you ain't mad at me me? Mom, he's hurt.
Speaker 1 (24:46):
Where is he? Oh? Here? Mister Stone. Hi, Harry, I
get here in time? Yeah, in time, Harry.
Speaker 6 (25:01):
Uh, that's real.
Speaker 1 (25:02):
Out of this world? How did you get McCallum A
long time ago? I put a gun. I never used
it until the night one. I'll get the girl all right,
begg Hi Becky, Hi, Harry. I had a hard time
(25:24):
trying to get in here. Take it easy, Harry, Sure,
thank you? Achams. Oh brother, am I a knockdod character?
Speaker 2 (25:36):
For sure?
Speaker 1 (25:50):
Love l O V E. Spell it one way, interpreted
a hundred ways. Mcallums full of rain Adams to wreck
anyone else's life. Peggy's for Marty, Harry's for Peggy. Yeah,
it's love that makes the world go around. It all
depends on who does the spinning.
Speaker 2 (26:12):
Cobby boy, you are listening to Nightbeat. I'm the Wheaties
Big Parade. Oh Frank love joy. You have a guest I.
Speaker 1 (26:26):
Have Oh, so I have welcome Joel mccraig.
Speaker 2 (26:30):
Hello, Frank. I enjoyed your show.
Speaker 1 (26:33):
Thank you very much, Joel. I understand that you have
a new program that's joining the Wheaties Big Parade. Glad
to have you with us, Glad to be with you.
Speaker 2 (26:41):
Yes, I'm turning into a Texas Ranger for our new
Saturday night program beginning this week.
Speaker 1 (26:45):
A Texas Ranger for real.
Speaker 2 (26:47):
Huh well, pretty much for real. These are real stories
from the files of the Texas Rangers. You know, just
like your show Nightbeat. It's pretty dramatic stuff.
Speaker 1 (26:56):
You'll have fun doing them, Joel and I know that
we'll enjoy hearing it. Now, say, have you got the password? Password?
Speaker 2 (27:06):
Oh? Sure, Wheedies, that's ripe, Night Joe, Thank you, gentlemen.
Night Bee, starring Frank Lovejoy, is produced and directed by
Warren Lewis and edited.
Speaker 1 (27:25):
By Larry Marcus.
Speaker 2 (27:27):
Tonight's story was written by Russell Hughes from an idea
by Bill Callack, with music by Frank Worth. Those in
Tonight's cast were Loreene Tuttle, David Ellis, Joan Banks, Peter Leeds,
Rick Vallen, Herb Butterfield, and Peter Poutrian. Listen next week
(27:49):
at this time and every week as Randy Stone searches
through the city for the strange stories waiting for him
in the darkness Tuesday, that's tomorrow.
Speaker 1 (27:59):
Listen to the Penny Singleton Show on the Wheaties Big Parade.
Speaker 2 (28:03):
The preceding was transcribed Jack Late brings you a fund
of interesting stories.
Speaker 1 (28:08):
Friday on NBC
Night Beat. Hi, this is Randy Stone. I cover the
night Beat for the Chicago Star. My story is talking
(00:24):
with many different ways. This one began with a kid
and one hundred dollars bill and ended in the death
cell of Juliet.
Speaker 2 (00:32):
Might be starring Frank Lovejoy as Randy Stone. See how
wheaty's at seven can help at eleven? Well, Sure your
Monday morning wheaties might have made today's wash look a
lot smaller. Wheedy's tomorrow? Could baby make your iron seem
lighter Wednesday, Thursday, any day. Wheaties sort of make insurance
(00:55):
policies easier to sell and feels easier to plow, and
time fighters easier to punch, because when you've had your wheaties,
you've had the husky whole wheat vitamins and minerals that
help keep you able to trim down big chores right
down beside yet making beds or making money. It just
seems a whole lot easier when you've had your wheaties. Surey,
(01:15):
mother beat them up good every morning on those crisp
light whole wheat flakes. It's a wonderful sight a family
full of wheaties.
Speaker 1 (01:23):
What is it?
Speaker 2 (01:23):
The man says, see how Wheaty's at seven can help
at eleven? That's it crying. Huh, Wheedy's tomorrow.
Speaker 1 (01:39):
It was a great night, chilly as I walked, hunched
against the rain and stopping long enough to catch the
sweetness and light in the headlines. H bomb, menace, traffic,
tall mounts, murderous to die this morning in the electric chair. Okay, people,
keep it up. You're doing fine. But I had my
own worries, wondering where my a loving story had come from.
(02:01):
Tonight it hit me before I expected it, A little
kid six Maybe he came running at me and into
me before I could step aside. Well you think of
those break three line fella.
Speaker 3 (02:13):
Let me go, Let me go?
Speaker 1 (02:14):
Okay, okay, where.
Speaker 4 (02:15):
To I I'm running away?
Speaker 1 (02:18):
I all right, all right, now you get your breath
for the second leaf.
Speaker 4 (02:21):
They're coming after me.
Speaker 2 (02:23):
Oh, I want to go to my mom.
Speaker 1 (02:26):
I thought you were running away. I uh wait a second,
what's this? My money? One hundred dollars bills mine, just
a little loose change. Huh, please give it back to me.
Speaker 4 (02:36):
I gotta get a bus.
Speaker 1 (02:38):
Where do you live?
Speaker 5 (02:39):
I I wanna.
Speaker 1 (02:41):
Go to six sixteen Wolverton, Wolburton's quite a piece from here.
Speaker 5 (02:47):
They're coming.
Speaker 4 (02:48):
They're coming after me in the auto.
Speaker 1 (02:51):
Seem looks like this surrounded kid. Oh, take it easy
for a second.
Speaker 2 (02:59):
It's here. You've been a bad boy, Marty running away
like this?
Speaker 1 (03:04):
You gonna take me back? Uh, you're a kid, mister. No,
what's the angle here?
Speaker 2 (03:10):
The kid ran away from his old man.
Speaker 5 (03:12):
I didn't My father's dead.
Speaker 1 (03:14):
Sure, he always says that. Now come on, Marty. No,
it seems he doesn't want to go again. He will
or maybe not. I'd like to know it. Eddie back
big boys.
Speaker 3 (03:31):
Yeah, mister, you just forget all about this, Marty.
Speaker 1 (03:35):
Get in the car. Get away from that kid, Eddie
mac him. That's a sample. Open your trap again and
you get the rest. Come on, let's go. Before my
eyes closed all the way I saw him hustle the
kid into the car. If hegan to move away, glided
(03:57):
under a street, laughing from the rear window of face
looked out Jerry McCallum. The brain's behind almost any illegitimate enterprise.
You could name nothing too small or too big for
Jerry if it made a nickel. From what I saw
of McCallum's face, he could have gone in right then
for murder mine. A half hour later, after some minor
(04:21):
repairs on my face, I dropped in to see Sergeant Kolski.
I asked some questions and I got some answers. McCallum
had never gone in for kidnapping, and no carpet stick
his neck out without positive proof. If I wanted to
go slumming, I was going alone. It wasn't far to
McCallum's place, but knowing where he lived and getting to
see him with two different things. However, I had a
(04:43):
hunch that Jerry McCallum had seen me. I made sure
of it by sending him a note with one word
on it. Marty McCallum had me shown in. He smiled
at me from behind a marble top desk, flanked by
two of his boys, one of them my playmate of
a little earlier.
Speaker 6 (04:57):
Oh, he's glad to see a news favorite boy.
Speaker 2 (04:59):
Stone.
Speaker 6 (04:59):
You fell want to print rough stuff once in a while,
but it makes good for circulation, huh true or not?
Speaker 1 (05:04):
Yeah? Sure? You know we make up those things printed
about you.
Speaker 6 (05:07):
I give us, So what do you want tonight? Stone
for a starter?
Speaker 1 (05:10):
Ten minutes alone with a lover boy, they're the one on.
Speaker 6 (05:12):
Your right, Willy Bigger. Why yes, Now, Willy hasn't.
Speaker 1 (05:17):
Done I know, hasn't been out of your sight for
a week. In fact, about forty minutes ago, he was
baking a cake. Okay, forget it, good idea.
Speaker 6 (05:24):
Where's the kid, Marny yep? Do you like children?
Speaker 1 (05:27):
Yeah? Until they grow up, they're nice people.
Speaker 6 (05:30):
The kid's none of your business, Stone, Yet I am curious.
Speaker 1 (05:33):
Along comes a kid with one hundred.
Speaker 6 (05:34):
Dollars at all. Well, he took it. I keep lots
of dough around here, and drawers everywhere. The kid grabs
some and bed.
Speaker 1 (05:40):
Why because he wanted to go home?
Speaker 6 (05:43):
Did he say where? I?
Speaker 1 (05:45):
No? No, he didn't.
Speaker 6 (05:47):
Okay, then this is his home. What would you say
if I told you he was my kid?
Speaker 1 (05:52):
Nothing? I'd be speechless.
Speaker 6 (05:53):
Stone, forget this whole thing. You've got nothing nothing. Whatever
you're thinking is your idea. And that's as far as
we go. As far as you go, both of us,
I'll beat it. Don't crowd your luck.
Speaker 1 (06:03):
Okay, there's nothing I can prove, but it makes a
good story. It's good reading.
Speaker 6 (06:08):
You got no finish to it now.
Speaker 1 (06:10):
Frank Stockton wrote a story once the Lady and the Tiger.
There's no finish to that one either, but it caused
more comment.
Speaker 6 (06:15):
That way, you're not scaring me Stone. People can ask
all the questions they want after tomorrow.
Speaker 1 (06:21):
After tomorrow, mister McCallum, Why after tomorrow.
Speaker 6 (06:24):
I'm sick of looking at you. I'm even sicker of
listening to you. Now, get out, Oh, by the way,
get out.
Speaker 1 (06:31):
Yeah. One thing more, though, A friend of mine, a
cop named Cosky, knows that I came here. I'm telling
you in case my back looks inviting. When I walk
out so long on the way down to the street,
that tight feeling grabbed my throat, made my nose itch,
in my eyes water. I kept my shoulders hunched against
(06:54):
a bullet or a knife, but nothing came. Why not?
I asked that a thousand times before I hit the street.
I know I didn't scare hi McCallum. When I told
him about Kolski, mcallum had a million ways to rub
out anybody who'd got in his way, and a million
alibis to keep himself clear. He done it before, but
me he let go. Why? He said after tomorrow he
(07:15):
didn't want anything to happen until after tomorrow. I kept
thinking he kept walking, and then something began to go
around on the back of my head. McCallum tomorrow, McCallum tomorrow,
And suddenly it hit all about the electric Yeah start okay, yeah, eh,
(07:37):
nice morning for somebody to sit in the hot sea.
Then Clay looking dame too? Now, why probably something like that.
There's a million dollars that you'd better bring Callum's girlfriend. Mccallums,
where you've been missed? Everybody knows that. Yeah, but you
forget things when they're not close to you. Class you're
looking dame. Never think a dog like that at bumper
(07:58):
husband gonna fry it. Hey, mister, you sick or something
or something? Yeah, but you ever get a great big hunch.
Once I lost, I might too, but it's worth a try.
I grabbed the cab. I thought maybe some of McCallum's
boys were tailing me, so I had the driver a
(08:18):
cut back and forth. Then when I was sure we
were clean, I had him drive to McCallum's apartment house
and park down the street a few doors and it's okay, mister, yeah, oh,
turn off your motor. Okay, But I gotta leave the
meat to take it. That's okay. I listen to turn
off your lights. Why look, I'm Randy Stone, Chicago Star.
(08:39):
Here's my press card. Okay, okay, Hey, wat's up? You
take this newspaper? It's what do I do with it?
I pretend you're reading it?
Speaker 2 (08:49):
All right?
Speaker 1 (08:51):
Do you want to stormy Yellow? Hello? Don't pay any
attention to anything. You're just park You're waiting for a fair.
You're reading that paper. I understand, I get it. What
about you? I'll sit back. I think anybody can see
me from the outside. Nah. Now if you sit in
the corner, Nah, okay, I just sit and read the paper. Okay.
Speaker 3 (09:12):
I guess this dame's gonna cook. Hey, yell, do you
think a big shed like McCallan.
Speaker 2 (09:17):
To be able to get his dollar off a rat?
Speaker 1 (09:19):
Eh?
Speaker 2 (09:20):
But he didn't, you.
Speaker 1 (09:22):
Wonder mister at midnight? She gets it?
Speaker 3 (09:26):
They pull a switch. Then no more lorrain at hims
Eh ain't much to wonder about. Once they hold to
pretend to read the paper. And you see, yeah, some
guys are coming out. You see yeah, Oh there they're
looking this way.
Speaker 1 (09:46):
Don't look up. One of them's coming this way. Okay,
start your motor, start pulling out.
Speaker 3 (09:52):
Yeah, we gotta go right past him. You better squeeze
heart against that back seat.
Speaker 1 (10:00):
But don't go too fast, and you know, just as
though you're cruising for a fair Okay, it's okay. They
ain't looking at us. Hey, hey, mister Stone, did you
see that day away? Yeah? Yeah, get past then step
on it around the corner. Mister.
Speaker 2 (10:14):
I ain't sure what I see, but there was a
dame just coming out.
Speaker 1 (10:17):
Of the lobby. I you only got a quick look
at her face? Yeah, yes, so did I. What did
you say if that dame was in this doll in
the paper? I'll buy a horse as it were. Even
we're both crazy. I saw it too, Lorraine Adams. How
do you convince a Knight editor you haven't suddenly walked
(10:38):
out from under your head? How do you do it
even when you've got proof of something that sounds and
looks crazy? I listened to my editor. I'm at Cammel.
You're not.
Speaker 6 (10:46):
Both of you stay in out of the night air.
Speaker 1 (10:48):
But both of us saw the private guy.
Speaker 6 (10:49):
Eh, you want to take any bets.
Speaker 1 (10:52):
Either of you?
Speaker 6 (10:53):
I let call come through man, and that call from
Joliet comes through five, will get your tax free. Ten
That Lorraine Adams are sitting in the death sound, Na,
she's not well. You've got a yawn about a kid
wandering around holding one hundred bucks in his half little hand.
There's no record of any kid, nothing and he Look.
Speaker 1 (11:08):
Look, Lorraine Adams killed her husband because she was McCallum's girlfriend.
You remember the trial. She pleaded not guilty self defense,
but it didn't stick.
Speaker 6 (11:15):
Public sentiment was against her.
Speaker 1 (11:17):
Yes, I know, appeal nothing. Jerry mcallum didn't raise a
finger to get her off. Why not? Why not Matt
with his battery of high priced lawyers and with his connections. Okay, okay,
what's your best That Lorraine Adams is free right now?
I don't know how. I don't know what the kid
Marty has to do with it.
Speaker 6 (11:32):
But there's a call and he held your hat not
common here, Okay, put it through Wendy one putting up
a fine oh on the line. Okay, now hello, yeah
a look a Stromberg. You're covering the Lorraine Adams electric cuture,
aren't you. Uh huh, Well, listen, this is gonna sound nuts.
(11:55):
But is Lorraine Adams still in the death cell? Oh
you don't say okay, see I thinks no, that's.
Speaker 1 (12:04):
All so on, all right, all right, Matt, give you.
Speaker 6 (12:09):
Know what I'm gonna do with this five spot? Buy
you a jacket with sleeves to tie in the back?
Speaker 1 (12:16):
What did Stromberg City?
Speaker 6 (12:17):
The Lorraine Adams execution is scheduled tonight as planned. The
chaplain is with Lorraine Adams right now, because at midnight,
in exactly two hours and ten minutes she burns.
Speaker 2 (12:42):
General Mills is bringing you nightbeat starrying Frank Lovejoy as
Randy Stone. See how Wheaty's at seven can help at eleven?
Say a friend, Yes, Frank, isn't there some way and
you could put a little more umph into that line?
You mean, like this, Maybe see how Wheaty's at seven
can help at eleven? Well, or see how Wheaty's at
(13:03):
seven can help at eleven?
Speaker 1 (13:04):
There, that's it.
Speaker 2 (13:06):
See how Wheaty's at seven can help at eleven, because
they really can their whole wheat. You see, I guess
everybody knows about the snap and energy you get from
whole wheat. While you start breakfast with a big bowl
of wheaties in the whole morning just seems to slide
along easier. Big chores don't look so big. Long hours
don't seem so long. People seem pleasanter when you've had
(13:27):
your wheaties, and you know why. It's just that wheaties
have lots of vitamins and minerals, lots of solid nourishment
the kind you need to look a tough task right
in the eye. Wheaties tastes good too, crisp and nice
to munch on, A nice sunny nuts sweet taste to them,
a good, satisfying flavor that keeps on tasting like more
(13:48):
no matter how often you eat them. You see, when
you eat good, you feel good. It's simple as that. Now,
my friend, would you just try that line again? See
how wheaty's at seven can help at the line of
him that way, because they really can, you know, try it, weedy.
(14:15):
I'm now back to night beat. I'm Bramby's throne.
Speaker 1 (14:20):
In two hours and ten minutes, Lorraine Adams would go
to the electric chair. What I saw the cab driver
saw right in the middle of Chicago, free as a burden.
I checked some more after I left the office. The
police went along with the gag and checked the prison. Yes,
the girl on the death cell was Lorraine Adams. Her
fingerprints proved it. But then who was the girl the
cab driver? And I saw was McCallum going to work
(14:43):
a switch at the last minute? Fantastic? Sure, but McCallum
might be able to work it. And how did little
Marty tie in? What did a six year old kid
have to do with it? Well? I had until midnight
to learn a lot of things. There was only one
place to start. Six one six woven in the address
Marty had given me. It was a cheap boarding house.
I had the drive away. I knocked on the manager's
(15:03):
door until three minutes to get her out of bed.
And she wasn't happy. Where you are, sah Randy Stone?
She called the star. I take a news papers? You
selling papers this time in the morning? Oh no, listen
to me? Will you magazines?
Speaker 3 (15:20):
All day?
Speaker 1 (15:20):
Newspapers in the middle of the night. You take this
and listen? Ten bucks for what does a little kid
live here? His name was Marty about six, brown hair,
cute little guy? Are you kidding? That was four or
five months ago? But he lived here with his mother.
His mother? What did she look like? Ask my husband?
Where did she go? Well? He was thing. I can tell.
(15:43):
She worked at a joint called uh oh, come on,
come on the Blue Heirs.
Speaker 5 (15:51):
Yeah, I said, blue Heirs.
Speaker 1 (16:06):
Your hat, sir, and I check it for you all ranks? Honey?
That clock behind you? Is it right? Sure? Sony can
do eleven? The night is young. You want to bed?
How long you been here here? Maybe?
Speaker 2 (16:17):
Why?
Speaker 1 (16:17):
And I won't check my hat, but I'll leave this
with you. With five dollars, you could leave a diving suit.
Who do I kill? A girl used to work here.
She had a little boy, a little boy named Marty.
But I remember, Oh, yes you do.
Speaker 2 (16:31):
Baby.
Speaker 1 (16:31):
Your face shows us so I need makeup. You've seen
the kid, haven't you? You knew his mother? Mister? I
don't know anything that goes on. I check hats and coats.
That's why mister McCallum pays me. McCallum. Oh, the Blue
heron is one of his friends. I'll go away now,
will you? Did you like the girl? She was a
sweet cat? Well, then help her. She's in trouble. I
(16:51):
don't know anything. But there was a guy, a knocked
out musician, trombone player. He went for a fine hand.
Where what's his name Harry Ann He used to play here,
but when Peggy left Peggy, yeah, Peggy, Shit, Hey, you
don't even know her name. What do you want? Where
can I find Harry Aaron? You get out of here,
beat it, take it easy, get off before I call
a bouncer. With the clock getting ahead of me, I
(17:16):
looked up Harry Aaron in the musician's directory. With only
an hour and tenminus left, I tried to find him. Yes,
he played here, he played there. It was a good boy,
but he was always high. I covered one spot after another, time,
running out an hour left, fifty minutes, and then finally
I hit a rooming house, one of those places where
(17:37):
you stay up all day and all night. Anybody goes
to sleep. He's a curiosity. There was a jam session
going on, and I headed for the music. Five boys
was swinging high, but the trombone player was the one
I wanted. Skinny, pale face over which perspiration drenched hair.
(17:59):
I walked over to him, Hi, Harry, Harry, knock yourself out,
grab anything, cut in? What are you playing nothing? What
are your drink now thing? What are you living for? Harry? Harry?
(18:19):
Come on off the ceiling and you hear me. I
want to talk about Peggy. Peggy.
Speaker 6 (18:28):
What what you're saying?
Speaker 1 (18:30):
I want to talk about Peggy? You remember? Where about it?
What about Peggy? Let's get out of here, Harry. There's
a coffee shop down the street. Hey, find me a drink. Huh?
All right, all right, but come on huh hey, wait, wait, wait,
wait a second. Wait. Listen to that beef for it's
like a train running inside. Grab anything cutting any place? Peggy, Harry, Harry, Peggy,
(18:55):
you said, Peggy, Harry, you gotta come with me. You've
got to talk. We got forty minutes, Harry, and after
that it's I guess the boys goodbye. I made him
drink coffee strong and black, and I made him walk
until his head cleared up a little. But it took time, time,
and only thirty minutes I had left before that execution.
(19:16):
And then we sat and talked, what are you why
from me? Knocked out?
Speaker 3 (19:20):
Me?
Speaker 1 (19:20):
The top is all going, inside going? What do you
want for Peggy? Where is she? And why did she leave? Who?
I'm Stone Chicago star And I listened to me. You
remember Marty, Peggy's kid. I got a picture of her
right here. Hey, that's Peggy and that's Marty right there, Peggy.
This is Peggy. Dark hair, you bleach it blonde, and look,
Harry talk fast. I don't know what we'll get. But
(19:42):
tell me when you saw Peggy last on what she
said she was going away with him? Mcallum, mcallum. Why
this one night after the show, she was in the
line she was you know the chorus. You know I
went to see her. I found her pack. I'm packing
a suitcase. Shittn't tell me before that she was walking out.
She just looked at by fast Harry, real fast, white kid.
(20:10):
What's all the rush? I can't tell you, Harry, only
you're not gonna see me anymore. Oh, yeah, I get it.
You don't, Harry, you don't at all. Mcallum. I know
they talk a long time, he asked. It's nothing to
do with mcallum. Sure, that's nothing to do with a
knocked out horn player either. Oh don't talk like that. Okay,
I'll play it for you sometimes twenty choruses. I don't
(20:31):
blame you, Peggy.
Speaker 5 (20:34):
I got a kid, Marty, I'm sick.
Speaker 1 (20:37):
You know that got maybe a year.
Speaker 2 (20:39):
Doc said, So what happens to the kid?
Speaker 1 (20:41):
Then? What happened with me, I could.
Speaker 5 (20:44):
Maybe I ain't gonna have my eating off trunk, crackers
and milk three times a day.
Speaker 1 (20:51):
Oh what's mcallum gonna do for me? Say goodbye? Harry? Please?
You know what? I love you?
Speaker 2 (21:00):
Oh that yes.
Speaker 1 (21:03):
Means nothing alone.
Speaker 4 (21:06):
Harry, Get out of here.
Speaker 1 (21:07):
Don't stand there just looking at me. I won't be
able to go through with it.
Speaker 2 (21:10):
I won't And I go Harry, my kid.
Speaker 1 (21:27):
That's all. That's all I know. When did that happen?
Five yeah, five months ago, just before Lorrain Adams went
to trial for murder. What are you talking about, Louck?
This is Lorraine Adams picture on the paper. Hiss Peggy,
say bleach Peggy's hair, and she's Lorrain Adams. McCallum saw that.
You're crazy, Stone, You're crazy. McCallum couldn't make the switch
before the trial. Lorrain Adams gave herself up a week
(21:49):
after she killed her husband. But it wasn't Lorrain. It
was Peggy Racy. It's crazy. No less than half an
hour Peggy would go to the electric chair in place
of Lorraine Adams.
Speaker 6 (21:58):
But get a route.
Speaker 1 (21:59):
You gotta do something. I only proof is Marty, but
he's at McCallum's place. Don't she's gonna die. You said it,
She's gonna die. Stn't do something. I'm gonna jollyet to
see the warden. You gotta do something to Harry, Fine, Marty.
(22:19):
It's preparsal as missus Stone. Impossible, but it was done Wharton,
And in ten minutes a girl will go to a chair.
Ten minutes I call the governor.
Speaker 6 (22:26):
He's left it up to me.
Speaker 1 (22:27):
Well, then stop the execution.
Speaker 6 (22:28):
I can do that only if this girl admits she's
not Lorraine. Animals, I've broken a rulestone on the strength
of what you've told me. The girl is being brought
here the visiting room.
Speaker 1 (22:39):
To talk to and what if she doesn't admit, there's
no proof. The execution is scheduled. Where is that Harry,
she's here? Bring her in, Chapman, Hello, Triggy.
Speaker 6 (22:55):
What is your name?
Speaker 1 (22:57):
I am Lorraine Adams, Chaplin? This girl is not Lorraine Adams.
Didn't she tell you of Madam?
Speaker 6 (23:03):
What she told me?
Speaker 2 (23:04):
I cannot tell you.
Speaker 1 (23:06):
But in a case like this crime to him and
to God, yes, that you took Lorrain Adams place. You
have tried, convicted sentence and you'll die in less than
ten minutes. You'll die. I am Loraine Adams. You took
her place, You gave yourself up in her place. That's
why the real Lorrain Adams was gone for a week,
to give you time to beat your hair, and I
(23:26):
killed my husband. You're killing yourself for what? For Marty?
For your boy?
Speaker 6 (23:30):
No Peggy, No Peggy, Why don't you there's nothing else
to say.
Speaker 1 (23:35):
You made a bargain with McCallum. What kind of a bargain?
You never see your son again? You only had a
year to live, but in that year you'd have had him.
What did you leave him to a vicious gangster who'll
never keep his promise to you? You'll die pegging soul Marty, Yes,
he'll die too, as you know him. He'll be dead.
(23:55):
Think what he'll be living with a rat like that.
Speaker 6 (23:57):
I'm Adam Warden. I can't believe she'd lie. Now she's
facing dance stone.
Speaker 1 (24:04):
She can't lie what she is for her boys? She
would she would.
Speaker 4 (24:13):
Well moment, Mom, I've been looking at the places.
Speaker 5 (24:25):
Mom, it's me, Mom. You you got you here? No, Mom,
you ain't mad at me me? Mom, he's hurt.
Speaker 1 (24:46):
Where is he? Oh? Here? Mister Stone. Hi, Harry, I
get here in time? Yeah, in time, Harry.
Speaker 6 (25:01):
Uh, that's real.
Speaker 1 (25:02):
Out of this world? How did you get McCallum A
long time ago? I put a gun. I never used
it until the night one. I'll get the girl all right,
begg Hi Becky, Hi, Harry. I had a hard time
(25:24):
trying to get in here. Take it easy, Harry, Sure,
thank you? Achams. Oh brother, am I a knockdod character?
Speaker 2 (25:36):
For sure?
Speaker 1 (25:50):
Love l O V E. Spell it one way, interpreted
a hundred ways. Mcallums full of rain Adams to wreck
anyone else's life. Peggy's for Marty, Harry's for Peggy. Yeah,
it's love that makes the world go around. It all
depends on who does the spinning.
Speaker 2 (26:12):
Cobby boy, you are listening to Nightbeat. I'm the Wheaties
Big Parade. Oh Frank love joy. You have a guest I.
Speaker 1 (26:26):
Have Oh, so I have welcome Joel mccraig.
Speaker 2 (26:30):
Hello, Frank. I enjoyed your show.
Speaker 1 (26:33):
Thank you very much, Joel. I understand that you have
a new program that's joining the Wheaties Big Parade. Glad
to have you with us, Glad to be with you.
Speaker 2 (26:41):
Yes, I'm turning into a Texas Ranger for our new
Saturday night program beginning this week.
Speaker 1 (26:45):
A Texas Ranger for real.
Speaker 2 (26:47):
Huh well, pretty much for real. These are real stories
from the files of the Texas Rangers. You know, just
like your show Nightbeat. It's pretty dramatic stuff.
Speaker 1 (26:56):
You'll have fun doing them, Joel and I know that
we'll enjoy hearing it. Now, say, have you got the password? Password?
Speaker 2 (27:06):
Oh? Sure, Wheedies, that's ripe, Night Joe, Thank you, gentlemen.
Night Bee, starring Frank Lovejoy, is produced and directed by
Warren Lewis and edited.
Speaker 1 (27:25):
By Larry Marcus.
Speaker 2 (27:27):
Tonight's story was written by Russell Hughes from an idea
by Bill Callack, with music by Frank Worth. Those in
Tonight's cast were Loreene Tuttle, David Ellis, Joan Banks, Peter Leeds,
Rick Vallen, Herb Butterfield, and Peter Poutrian. Listen next week
(27:49):
at this time and every week as Randy Stone searches
through the city for the strange stories waiting for him
in the darkness Tuesday, that's tomorrow.
Speaker 1 (27:59):
Listen to the Penny Singleton Show on the Wheaties Big Parade.
Speaker 2 (28:03):
The preceding was transcribed Jack Late brings you a fund
of interesting stories.
Speaker 1 (28:08):
Friday on NBC
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