April 29, 2025 • 29 mins
Please enjoy GEORGELOVESJULIE a great episode of the legendary Night Beat - A Classic Old Time radio Show.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
NBC presents Frank love.
Speaker 2 (00:04):
Joy in Night Sea.
Speaker 3 (00:25):
Hi, this is Randy Stone. I cover the Knight, bat
of the Chicago's Stars. Yeah, I cover the Knife. My
beat is about eight square miles of darkness unless there
that's a lot of knights every evening. I start walking
into it and let us swirl around me and let
us swallow me up. Part of me relaxes, part of
(00:46):
me becomes tense and wary, like a hunter coming back
to the jungle. Life steel at home, But I know
that there's in. But the night is filled with its
own brand of people, a lonely, lost, brewy, mixed up
people of the night, drifting out of the darkness like
(01:06):
fragments of a nightma.
Speaker 4 (01:09):
Reasons sport.
Speaker 5 (01:10):
You don't want a force felfer human being to go
on with a longer We're done.
Speaker 3 (01:16):
Yeah, disembodied hands stretched out, but that ever loving coin
to buy, just another grip of that final anesthetics and
must have tested. Or a brittle laugh of a painted
tutsy rising out of the knight, proving to the world
who doesn't care, laughing until the tears come and a
flurry of footste's rushing by a muffled conversation deciding life
(01:38):
or death.
Speaker 4 (01:39):
Or tonight's movie.
Speaker 3 (01:41):
An ambulance racing past on its way to General Huston.
It's red warning life flashing on and off quickly. It's
a frenzied postseat. Or the poor devil inside the old
gu say this night for the phony too, like this
character coming towards me while I was grabbing a bite
and a little rest.
Speaker 4 (02:00):
Next for the radio in the see the studios.
Speaker 3 (02:02):
They acted on stage twenty four hours a day.
Speaker 4 (02:06):
Do you mind if I said the next thing? You
they mean?
Speaker 2 (02:09):
Yeah? What do you say? I was a kid?
Speaker 3 (02:11):
All the kid's fine, heathing like mad. Nothing's serious barrel
alas is character who's in the Human You know I
love that Columny. Maybe with me it's like a shot
of Vinsitrey.
Speaker 4 (02:21):
Oh.
Speaker 2 (02:22):
The only lack I find, and it is.
Speaker 4 (02:24):
That I never see any mention of the guests.
Speaker 1 (02:26):
Who whom John Bruce, the World's greatest test You also
available for Wake's weddings and beer bus.
Speaker 3 (02:33):
You couldn't see your way clear to let him go
on my sleeve, so I finished my coffee.
Speaker 2 (02:38):
How do you like this? Citizens?
Speaker 1 (02:39):
You can insult her as you curl up and die
and you're still loving. Look, I know the minute I'm
out of here, it's actually gonna forget me. So I'm
going to give you this little postcard to hang on to.
If you sure can stand the boost, ask for the
lad they.
Speaker 4 (02:51):
Call John brust Well rhymes Yeah, I gotta be going.
Speaker 3 (02:57):
Remember, baby, I don't mind what to say, as long.
Speaker 2 (02:59):
As you say something.
Speaker 3 (03:00):
Yeah, that's the Bruce felled would be. I know it
spelled with a bee, a great, big, beautiful hunk of zeros.
Let him see your brown eyes continually shifting, sizing you
up and figuring you out a friendly smile.
Speaker 4 (03:21):
So Tony, you look for the safety things only getting placed.
Oh relax, it's a big night.
Speaker 3 (03:28):
You walk half a block and John Bruce is lost
forever because there's always something waiting up ahead. I just
turned down Grand Avenue. Oh now there's one of a
nice chilly little sounds for you. A burglar, alarms shattering
the choiet. I looked down the dark, empty streets, trying
to figure out what store, and I thought child come
(03:50):
guarding out of the doorway, began racing the other way.
Speaker 4 (03:53):
A child he stop.
Speaker 3 (03:58):
Stop. I tried racing after it. If there wasn't a chance.
I went back to the store. It was a sporting
good splace, one window smashed and blood spotted on the glass,
like the kid had used his naked fist to get
to the display of guns and knives and side. After
the cop came and I told them what I knew,
I continued my wandering out through the Lincoln Park district
(04:23):
and up through a Hockey Town road, wildly on signs
making the night bleed red and green and purple, and
then the little jazz combo doing that way, and.
Speaker 4 (04:57):
The bottom they're going to splashing.
Speaker 3 (05:00):
They banged their clothes against the sidewalking shout about the
twelve dancing girls waiting just for you, and the old
John Hawkins pop corn and hot.
Speaker 4 (05:09):
Tamales, and a little child's writing, and.
Speaker 3 (05:11):
George a thirty five inch dwarf, the sole newspapers, just
Clark and Night, George, how's it going fine?
Speaker 2 (05:20):
And Danny better than good? Always a one for with Georgie.
Speaker 3 (05:24):
Give me the some times, always good to see what
the competitions up to they are He read all about it.
Speaker 4 (05:31):
Some lovely headlines. One of my.
Speaker 3 (05:36):
Hey, George, maybe the way things an the world? This
is a good idea that this when I started filling
the paper in blood.
Speaker 2 (05:45):
Huh, what are you talking about?
Speaker 4 (05:47):
Look for yourself slid all over.
Speaker 2 (05:49):
It's the way I got it.
Speaker 3 (05:50):
Yeah, I'll give you another thank you. Let go my hands,
it's soaking through the bandage. George, I cut myself in
a canno. I hope you went to a doctor.
Speaker 2 (05:59):
Doc.
Speaker 4 (06:00):
You got to get all the glass I got on it.
Speaker 2 (06:03):
I told you it was a can open it.
Speaker 4 (06:05):
All I saw in that window was guns and nines.
Speaker 3 (06:07):
I thought it was a kid.
Speaker 1 (06:08):
Okay, see, you get yourself a story. Get on the phone,
call a cops.
Speaker 4 (06:12):
What are you waiting for?
Speaker 3 (06:14):
What I for you to start telling me why a
sweet guy is acting like.
Speaker 1 (06:17):
Such a dope? What is it, Georgie? Almost one o'clock
in the morning hour, she'll be here.
Speaker 2 (06:22):
Go on, call a cops. You'll be doing me a favor. Yeah, don't,
I'll kill him. I swear I'll tell him.
Speaker 3 (06:27):
She'll show up in an hour and you'll kill him.
Speaker 1 (06:29):
Kid, you lost it all right, mister Stone, you're a
good guy. Stun titles to a lad. Come on, follow me.
Speaker 3 (06:45):
He dumped his papers down to the stand and started
across the street. Thirty five inches desperate humanity. I followed
him around back and down the stairs of an old tellment.
He stopped at the basement guard a fish out of keys.
I followed him inside of God's dank hole. He flicked
the switch. Joress of Light pisted on, throwing a cold
(07:07):
white glow over walls draped in black veilder. There were
guards boos in a small bar. It was empty, deathly quiet.
I know the establishment, and after hours joined. When all
the legitimate bars closed, those who still sought refuge from
the night come to places like this. George hit it
straight for the only bit of brightness in the room,
(07:29):
the gleaming aluminum juke box in the corner. In the
center of the juke box was a neon mount, and
within the mouth the microphones. Other neons spelled out the
message past your tunes. It operated like your telephone. Somewhere
the girl sat of this good board connected the city,
said juke boxes and taverns.
Speaker 4 (07:48):
All over the city.
Speaker 3 (07:50):
George stood glaring at his tiny reflection in the jukebox
shiny coat. I think I'd like to smash the piece,
but the jukebox the join me your keys.
Speaker 2 (08:00):
I could come in and get warm on cold nights.
Speaker 4 (08:03):
Yeah, I know you can see for.
Speaker 1 (08:05):
Yourself when you're alone, this place can give you a clutch.
I thought maybe your tune would cheer me up, so
I started busking around with this tuup bucks, feeding at
my loose Nichols like this, and then their talking to me.
What tune, would you lie?
Speaker 2 (08:25):
It's me, Julie. Oh, hello, darling, I'm so excited. George
more throw.
Speaker 1 (08:34):
Yeah, do too, Julie.
Speaker 3 (08:39):
I certainly can't understand your feelings.
Speaker 1 (08:41):
I'd mind you for them before the spoon record not
a record, Julie's b Records Records.
Speaker 5 (08:51):
Sure, okay, you can start laughing any time you want,
mister Stone, I just felt about.
Speaker 2 (09:08):
You know, it's ten seconds of conversation with every record.
Speaker 1 (09:12):
Started as a dad me playing the big lover because
she couldn't see she was talking to her dwarf.
Speaker 2 (09:18):
The big joke, huh. I mean, because.
Speaker 1 (09:23):
Talking to her every night, I don't know, something started
happening to me inside, happening to both of us, because
she felt the too. She really did, mister Stone. I
mean an understanding. I don't know, I don't know the words,
but she felt the two.
Speaker 2 (09:42):
And then he had to ruin it.
Speaker 1 (09:44):
Destroy it.
Speaker 3 (09:52):
Yes, it was soap opera that subly my little DofE
and his love affair was Julie, the joke box girl.
Speaker 2 (10:00):
Help me.
Speaker 3 (10:00):
George even invented an invalid wife. That was his reason
why he and Julie did deever met except through the jukebox.
But like all little melodramas taken from life, there was
also a villain. One of the men who worked in
this joint happened over here George filling his heart out
and as a guy. When George wasn't around, he told
(10:21):
Julie that a boy's guy was dying the meter in person,
that they should get together at least once, and that's
what schedule for two am this meeting.
Speaker 1 (10:30):
Yeah, it was Julie's idea. I mean, the way it's
going to be. The record made us think of it.
The record, Yeah, it's from Charlie Sekowski.
Speaker 2 (10:39):
Is that what they call him?
Speaker 4 (10:40):
Uh huh uh.
Speaker 2 (10:42):
Well, he and his barons as some fancy ladies.
Speaker 4 (10:44):
They had a friendship.
Speaker 1 (10:46):
Letters and they felt that they had a meet at
least once. So one day they passed each other in
carriages and nodded without a word and went on never
story each other again.
Speaker 4 (10:59):
And it's good enough to KAUSI is good enough for
Georgie and Julie.
Speaker 1 (11:02):
Huh. She'll be wearing a green hat and a spig
of violets. I'll be wearing a red flower. Well, I
think she'll be a little surprised at what she's going
to see. Mister Stone, isn't it a joke? It's okay
for you to laugh, Laugh, mister Stone, laugh.
Speaker 3 (11:24):
I turned. Who was a big, paunchy, bald headed standing
in the doorway, having himself a wonderful It was right
out of Max Sennert, a barrel of life. George the
judge him right into the big guy who Mary lifted
him up, shrugged his shoulder, and sent a little fellow
(11:46):
flying across the room, crashing into a wall.
Speaker 4 (11:49):
Oh that's character that little monkey is.
Speaker 5 (11:51):
Eh.
Speaker 2 (11:52):
Did he tell you about his romance? So I'm even
willing to take into that road for his lapels?
Speaker 4 (12:00):
Doesn't too good for lovaboy?
Speaker 2 (12:01):
What a line he's got.
Speaker 4 (12:03):
You gotta hear it to believe him.
Speaker 3 (12:05):
Okay, Lord, The knife in George's hand would have looked
much better back in that supporting good window. He moved
out of his shadows. He moved toward the big guys.
A trickle of blood ran down George's mouth, but he
didn't know anything about that. Put that knife away or
(12:25):
shut it down your throat, but George kept coming. The
smile on the big man's face took believe of absy.
Come on now, George, yes, what's the matter? Take get
a big of dop. A bead of sweat started zig
zagging down his face, mixing with the falcon potterer.
Speaker 4 (12:41):
His lips continued to work, but.
Speaker 3 (12:43):
Now no words came out because this thing coming towards him.
This wasn't a comical little dwarf.
Speaker 4 (12:49):
This was death.
Speaker 3 (13:03):
N DC is bringing you Nice be Daring, Frank Lovejoy
as ramdy Stoe Starlight and Night is from fifty.
Speaker 6 (13:28):
And Night and now back to Nice Beat and Randy Stoe.
Speaker 3 (13:40):
George bit dwarf was patching in front of me and
was read of the big guy who lovest up his
romance with Julie. The jukebox and knife blinded in his hand,
and he didn't even.
Speaker 4 (13:48):
Know that I was there.
Speaker 3 (13:50):
The only other person in all the world existed for
him at that moment was a heavily perspiring past and
as George came just a little culture.
Speaker 4 (13:59):
I lunched, fisted his arm back until and if clotted to.
Speaker 3 (14:03):
The sport and I reached down for it. George, he
ran off the door.
Speaker 4 (14:08):
You like that little character trying to knife me.
Speaker 2 (14:11):
I'm gonna call a cup.
Speaker 3 (14:12):
So I'm gonna be a little awkward, seeing how the
joint here is slightly illegal.
Speaker 4 (14:17):
Huh.
Speaker 2 (14:19):
Well, one thing I'm gonna do.
Speaker 4 (14:21):
I'm gonna tell this Jane on the Drew box who
she's doing this. I'm gonna tell her this crazy buff.
Speaker 3 (14:27):
Last you even say howdy to that girl, and I
might decide to find George and give him back this life.
I found George or right, plumped against his newsstand all
through wanting to kill anybody. I told him I'd see
(14:48):
the cops and maybe they'd say it was okay if
George pay for all the damage to that sports door
and bade himself flow on. That didn't make him feel
much better, because it was getting off as close to
to a class and he was meeting with Julie. I
told him that I'd called Julie an informer, that he'd
suddenly come down with a white face as jubonic plays
(15:09):
or something. I got the name of the company off
the duke box. In the after hours, joining react Me
Music Company, I found a phone booth, reached for a
coin and instead come up with a card that said
if your show can stand up boost asked for the
lad they called John Bruce, and John's beautiful phony face
smiling up at me. All of a sudden, I was
(15:32):
looking for the phone number at the bottom of the card,
and then I began dialing, like Matt, that's got to
be hers. Which one coming down with stout grain hats
the strig of violence? Yep, this is going to be
just I just remember what you're supposed to do. Baby,
(15:53):
you walk past, you nod, and you keep walking. What's
the misteril about? You can level with Brucey boys? Ten bucks,
no questions asked? That was the agreement.
Speaker 2 (16:02):
Can I at least mumble some quote?
Speaker 4 (16:04):
Do you open your mouth for anything but breathing?
Speaker 3 (16:06):
Okay, okay, he's almost reached the corner. I stepped back
to the paper stand where George was waiting.
Speaker 4 (16:19):
Together.
Speaker 3 (16:19):
We watched Julie and John Bruce approach each other LITERATUSTI
and never had it so good. She was really something
out of body beautiful. As the two approached, George's hand
unconsciously passing on my arm. Now Julie and John were
passing each other, Their eyes meeting George's hand, began to tighten.
Speaker 4 (16:40):
Julie beautiful, How beautiful?
Speaker 3 (16:46):
Julie nodded to John Bruce, and out of the corner
of my eye I saw a little George, not a
new turn, one pickling moment. I thought Bruce was going
to open his mouth and go into a monologue, but
somehow he control himself. They passed me southern went on.
I looked down at George. His eyes were shining. It
was me, what I said to her, pouring out my heart.
(17:12):
That daughter here tonight churches. Yes, but why couldn't it here?
Speaker 4 (17:18):
You have been me?
Speaker 2 (17:21):
Why couldn't it have been me?
Speaker 4 (17:22):
Mister Stone, ask the stars? Maybe they had an answer
for your Georgie me I had waited to do him.
Speaker 3 (17:38):
I tell her my story to find somewhere among the waiters,
pulling their toughtetoes away, yawning as they changed mid street clothes,
somewhere among the jazz musicians, their papers waxing with fatigue,
their shirt collars soaked them sweat, but still reaching for
that beautiful jure, not somewhere on the police wagon, screaming
(17:58):
and stanely down the streets, somewhere in the yellow lights
of the General Hospital, the Elevanty warehouse, a sip of
breezy sear, a desolate park, and then now in a
street corner, somewhere in the night.
Speaker 4 (18:11):
My story was waiting for me. And now that was
all atlantic. By morning, I'd forgotten all about George and
Julie and John Bruce.
Speaker 3 (18:21):
I'd ben it's my column, and I'd gone home to smooth,
And then my thought of the juke box wasn't ended,
and only just the gun. Yeah, yeah, I am woa, Well.
Speaker 4 (18:39):
What do you know? What do you want? Bruce?
Speaker 3 (18:42):
Oh you are magnificence. I'll see your yeah, yeah read No,
what was that routine you got old Johnny Boy guessing wore? Well?
Speaker 4 (18:56):
Good for Johnny Boy.
Speaker 1 (18:58):
Ready as she's not a friend.
Speaker 5 (19:03):
Where can I look at this kids?
Speaker 2 (19:04):
May people have a couple of last age?
Speaker 4 (19:06):
Uh huh? Where can I find by them?
Speaker 2 (19:15):
Yeah?
Speaker 3 (19:15):
When you're in my racket, when you deal with these
characterism and I be brother, you've got to be prepared
for the totally unexpected. Johnny Boy had fallen for the.
Speaker 4 (19:25):
Lady of a juke box like a tun of bridge.
Speaker 3 (19:28):
Of course, he couldn't come right out and say it
plain and simple. He had a hammett right up to
the hilp.
Speaker 4 (19:33):
But I know the score. And from then Onie, he
haunted me night and day.
Speaker 1 (19:38):
Come on, Randy, who is she? Where can I find it?
Give the girl a breaker?
Speaker 4 (19:42):
He called me on the street at the newspaper, at my.
Speaker 2 (19:45):
Host, Who is she? Randy?
Speaker 6 (19:47):
Be a power?
Speaker 2 (19:47):
What's wrong with me looking her up and giving her
a little attention?
Speaker 4 (19:50):
Day after day after stay?
Speaker 2 (19:52):
Where can I find her? Randy?
Speaker 4 (19:53):
What's the big mystery?
Speaker 3 (19:59):
For a while I even enjoyed it. He was sweating
and on him it looked good. But I guess this
morning I just wasn't in the mood. I'd come down
to the office around five a m. And any newspaper
office that time of day is a pretty side of fairs,
cny women flocking their way up and down the aisle,
the gray, listless, darn flat against the windows, the empty desks,
(20:20):
and me was one of those real sour little tails
to write about about a bum they found behind some
garbage cans on skid walls, A bomb with a Distinguished
Service Cross into the pocket of his Soify shirt. One
of those gallant young gods that we swore we'd never forget. Yeah,
I was feeling Jim dandies and sat down to my typewriters,
(20:43):
and I whipped a hunk of papers into the orlder.
And then I saw John Booth standing in the shadows.
Speaker 4 (20:50):
Across the room from me.
Speaker 3 (20:53):
All at finding not in the mood this morning.
Speaker 4 (20:56):
I got work with you, and you just got.
Speaker 2 (20:58):
To listen to it.
Speaker 3 (21:00):
They founding let her after midnight and the one shut blandly.
Speaker 4 (21:05):
You've got to tell me where I.
Speaker 2 (21:06):
Can find it?
Speaker 4 (21:07):
Just another bum you at.
Speaker 3 (21:09):
All, Brandy listened to me, you got that blessing.
Speaker 4 (21:14):
I'm telling you nothing.
Speaker 3 (21:15):
You understand that one dame is going to escape the
same John Bruce charm. It's a very small tragedy. I
play on it if you'll only listen to me.
Speaker 4 (21:22):
I'm blightly bored.
Speaker 3 (21:23):
Was listening. You'll miss the boost. I'm even more bored,
was looking at you missed the boost. You're so funny.
It sticks out like nagels. Missed the Booth from your
chris curly hair right down to your beautifully polis shoes.
Speaker 4 (21:36):
If this comes as a great surprise.
Speaker 7 (21:41):
There's one thing, a guy you said, I kind of
need to sing. So okay, I'm sorry. I'm pretty tired.
I don't know who fun it is. I won't even
try to explain it. I can't explain it to my stout.
It's that success, Budge, it's.
Speaker 4 (21:57):
Dog eat dog. Anything goes as long as you're make it.
Speaker 2 (22:01):
Why do you have to make it?
Speaker 4 (22:03):
Does it stay throwing the constitution?
Speaker 2 (22:06):
But about her?
Speaker 1 (22:06):
Right, I'm not putting on any acts about her, Randy.
Speaker 2 (22:10):
I'm a big boy wether.
Speaker 4 (22:14):
At first time, I might kit it. Thissten is Randy.
Speaker 1 (22:20):
I just exchange the look maybe five seconds, and until
the day I die, I won't be able to forget it.
Speaker 4 (22:28):
I guess that sounds like Samorrow Johnny Boy's FTATA. No
go on, go on? I can I tell you?
Speaker 2 (22:37):
How do you explain it?
Speaker 1 (22:40):
But in those few seconds, I said something I've been
looking for all my life, Randy, something genuine, something real.
Speaker 2 (22:49):
Something.
Speaker 1 (22:52):
Well, maybe I've still my own salvation, Randy. Maybe I
was just killing myself setting myself ability goods.
Speaker 4 (23:01):
But I got to find out. I gotta see her against.
Speaker 1 (23:06):
Maybe I'm gonna che opens them off to dream of
something that I'm like something don't say.
Speaker 4 (23:10):
I don't know, I don't think so so ver issue right.
Speaker 3 (23:17):
The act new music Company. It's gonna take your time.
She doesn't show up until night. I don't know why
I did it. Maybe it was something I saw in
John Bruce eyes that made me feel if I didn't
tell him, well, it would have been a bum deal
(23:37):
for Julie. I wanted to reach George right away, try
to explain what I've done, but I didn't know where
to look for him excepted.
Speaker 4 (23:44):
His news stands.
Speaker 3 (23:45):
In my world of the night, all you ever know
about anyone is where they are right now. I didn't
think much that day. Making George understand wasn't going to
be any sense, but he had to know that this
had been a sick thing that could only hurt in
the end.
Speaker 4 (24:02):
That night, I hurried right onto his newsstand, only he
wasn't around. I started worrying.
Speaker 3 (24:06):
When on a Hunts I went across the street for
the after hours Joy. The door was a jar. I
went in.
Speaker 4 (24:14):
He was there squatting in front of.
Speaker 3 (24:16):
A jukebox at her song. Looked back, the song ended,
and I searched no I like crazy for the right words.
(24:37):
He was fumbling with some coins, and he slipped one
of them into the jukebox.
Speaker 2 (24:44):
Oh you know I do every time I hear it,
I see you again.
Speaker 4 (24:49):
So beautiful.
Speaker 2 (24:51):
It's pretty beautiful yourselves, truly wonderful to hear you say that.
Speaker 3 (25:00):
Yeah, I backed out quick. I didn't get it. Why
haven't gone with gone truth? I have to tad for
the Acting Music Company. A dilapidated office in the lock.
Speaker 4 (25:11):
And you're on street. The door was opened, fly went
on inside.
Speaker 3 (25:15):
I left your gat. The papers got it all over,
but nobody along. I went into a dark hallway mark
no admitting ahead of me, with the lighted glass door,
with the word studio painted on him.
Speaker 4 (25:26):
I started fourth when someone came running up the hike.
Speaker 2 (25:29):
There.
Speaker 3 (25:29):
You can't you read the sign no admissals? I thought
that was very clear. It wasn't anybody the best. You're
telling me something I don't know. Quitting without a minute notice.
That's a fine thing. Not that way, said Sally. You
wanna reference someday, I'll give her a reference, all right,
Come on, Dally and see the one who quits without
(25:49):
a minute's notice. A shirt comes popping and I was
working them back. Next thing, your nose was walking out
of here with him. But that's surfcase. Someday you want
a reference. Lly is a dark headed girl, beautifully built Stow.
She's beautifully built Burial. Come on, mister, I.
Speaker 4 (26:06):
Got fifty things to do.
Speaker 3 (26:07):
Then that would be Julie working in the studio up ahead,
So or do you mind if I peek in through
the door, then I'll go. Do you want to preak
a word peak for Julie. I'm not worried about her.
Speaker 4 (26:18):
Woman off with Julie.
Speaker 5 (26:20):
I'm safe.
Speaker 3 (26:26):
Yes, he was safe with Julie. As I looked through
the glass door, I thought, sure, it's figures too, can
play the same game as one that had a John
Bruce and Julie had her Sally. Julie couldn't have shown
up for a meeting with George even if she wanted to,
because I very much doubt that Julie could have lifted
(26:46):
her three hundred and fifty pounds out of that chair.
You fawling Julie working like mad at the switchboard with
its flashing lights from juke boxes all over the city.
Speaker 4 (27:00):
All I watched is she answered one call.
Speaker 3 (27:02):
Something happened her eyes lit up in a strange and
wonderful way. Then she flicked the switch and pite a
certain record for a certain juke box, and her eyes
became even more right.
Speaker 4 (27:17):
I didn't have to hear the rest of the record.
Speaker 3 (27:19):
She was playing their song for the guy, George, and
all of a sudden I realized how.
Speaker 4 (27:24):
Right George June was.
Speaker 3 (27:46):
Yeah, that's how it is when you walk the night, Dade.
You always know that if you walk far enough and
long enough, and if you keep your eyes open and
you listen very carefully, sooner or later in the dakness.
Speaker 4 (28:00):
You'll find the city is part.
Speaker 3 (28:04):
Yes Tommy Boyce.
Speaker 6 (28:20):
Night Beat, starring Fank love Joy, is produced and directed
by Warren Leys. The night story was written by Larry
Markers with music by Robert Armbruser. The part of John
Bruce was played by Bill Conrad. Jeff Pory was George.
Others in Tonight's past were Betty lou Gerson, Ray Hartman,
and Eddie Fields.
Speaker 3 (28:39):
Frank love Joy can currently be seen.
Speaker 6 (28:41):
Co starring with Joan Crawford and Robert Young and Warner
Brothers Goodbye My Fancy Listen next week at this time
and every week as Randy Stone searches through the city
for the strange stories waiting for him.
Speaker 2 (29:00):
I'm in the doctors.
Speaker 1 (29:14):
Nice dates came to you from Hollywood. Nice dates came
to you from Hollywood.
NBC presents Frank love.
Speaker 2 (00:04):
Joy in Night Sea.
Speaker 3 (00:25):
Hi, this is Randy Stone. I cover the Knight, bat
of the Chicago's Stars. Yeah, I cover the Knife. My
beat is about eight square miles of darkness unless there
that's a lot of knights every evening. I start walking
into it and let us swirl around me and let
us swallow me up. Part of me relaxes, part of
(00:46):
me becomes tense and wary, like a hunter coming back
to the jungle. Life steel at home, But I know
that there's in. But the night is filled with its
own brand of people, a lonely, lost, brewy, mixed up
people of the night, drifting out of the darkness like
(01:06):
fragments of a nightma.
Speaker 4 (01:09):
Reasons sport.
Speaker 5 (01:10):
You don't want a force felfer human being to go
on with a longer We're done.
Speaker 3 (01:16):
Yeah, disembodied hands stretched out, but that ever loving coin
to buy, just another grip of that final anesthetics and
must have tested. Or a brittle laugh of a painted
tutsy rising out of the knight, proving to the world
who doesn't care, laughing until the tears come and a
flurry of footste's rushing by a muffled conversation deciding life
(01:38):
or death.
Speaker 4 (01:39):
Or tonight's movie.
Speaker 3 (01:41):
An ambulance racing past on its way to General Huston.
It's red warning life flashing on and off quickly. It's
a frenzied postseat. Or the poor devil inside the old
gu say this night for the phony too, like this
character coming towards me while I was grabbing a bite
and a little rest.
Speaker 4 (02:00):
Next for the radio in the see the studios.
Speaker 3 (02:02):
They acted on stage twenty four hours a day.
Speaker 4 (02:06):
Do you mind if I said the next thing? You
they mean?
Speaker 2 (02:09):
Yeah? What do you say? I was a kid?
Speaker 3 (02:11):
All the kid's fine, heathing like mad. Nothing's serious barrel
alas is character who's in the Human You know I
love that Columny. Maybe with me it's like a shot
of Vinsitrey.
Speaker 4 (02:21):
Oh.
Speaker 2 (02:22):
The only lack I find, and it is.
Speaker 4 (02:24):
That I never see any mention of the guests.
Speaker 1 (02:26):
Who whom John Bruce, the World's greatest test You also
available for Wake's weddings and beer bus.
Speaker 3 (02:33):
You couldn't see your way clear to let him go
on my sleeve, so I finished my coffee.
Speaker 2 (02:38):
How do you like this? Citizens?
Speaker 1 (02:39):
You can insult her as you curl up and die
and you're still loving. Look, I know the minute I'm
out of here, it's actually gonna forget me. So I'm
going to give you this little postcard to hang on to.
If you sure can stand the boost, ask for the
lad they.
Speaker 4 (02:51):
Call John brust Well rhymes Yeah, I gotta be going.
Speaker 3 (02:57):
Remember, baby, I don't mind what to say, as long.
Speaker 2 (02:59):
As you say something.
Speaker 3 (03:00):
Yeah, that's the Bruce felled would be. I know it
spelled with a bee, a great, big, beautiful hunk of zeros.
Let him see your brown eyes continually shifting, sizing you
up and figuring you out a friendly smile.
Speaker 4 (03:21):
So Tony, you look for the safety things only getting placed.
Oh relax, it's a big night.
Speaker 3 (03:28):
You walk half a block and John Bruce is lost
forever because there's always something waiting up ahead. I just
turned down Grand Avenue. Oh now there's one of a
nice chilly little sounds for you. A burglar, alarms shattering
the choiet. I looked down the dark, empty streets, trying
to figure out what store, and I thought child come
(03:50):
guarding out of the doorway, began racing the other way.
Speaker 4 (03:53):
A child he stop.
Speaker 3 (03:58):
Stop. I tried racing after it. If there wasn't a chance.
I went back to the store. It was a sporting
good splace, one window smashed and blood spotted on the glass,
like the kid had used his naked fist to get
to the display of guns and knives and side. After
the cop came and I told them what I knew,
I continued my wandering out through the Lincoln Park district
(04:23):
and up through a Hockey Town road, wildly on signs
making the night bleed red and green and purple, and
then the little jazz combo doing that way, and.
Speaker 4 (04:57):
The bottom they're going to splashing.
Speaker 3 (05:00):
They banged their clothes against the sidewalking shout about the
twelve dancing girls waiting just for you, and the old
John Hawkins pop corn and hot.
Speaker 4 (05:09):
Tamales, and a little child's writing, and.
Speaker 3 (05:11):
George a thirty five inch dwarf, the sole newspapers, just
Clark and Night, George, how's it going fine?
Speaker 2 (05:20):
And Danny better than good? Always a one for with Georgie.
Speaker 3 (05:24):
Give me the some times, always good to see what
the competitions up to they are He read all about it.
Speaker 4 (05:31):
Some lovely headlines. One of my.
Speaker 3 (05:36):
Hey, George, maybe the way things an the world? This
is a good idea that this when I started filling
the paper in blood.
Speaker 2 (05:45):
Huh, what are you talking about?
Speaker 4 (05:47):
Look for yourself slid all over.
Speaker 2 (05:49):
It's the way I got it.
Speaker 3 (05:50):
Yeah, I'll give you another thank you. Let go my hands,
it's soaking through the bandage. George, I cut myself in
a canno. I hope you went to a doctor.
Speaker 2 (05:59):
Doc.
Speaker 4 (06:00):
You got to get all the glass I got on it.
Speaker 2 (06:03):
I told you it was a can open it.
Speaker 4 (06:05):
All I saw in that window was guns and nines.
Speaker 3 (06:07):
I thought it was a kid.
Speaker 1 (06:08):
Okay, see, you get yourself a story. Get on the phone,
call a cops.
Speaker 4 (06:12):
What are you waiting for?
Speaker 3 (06:14):
What I for you to start telling me why a
sweet guy is acting like.
Speaker 1 (06:17):
Such a dope? What is it, Georgie? Almost one o'clock
in the morning hour, she'll be here.
Speaker 2 (06:22):
Go on, call a cops. You'll be doing me a favor. Yeah, don't,
I'll kill him. I swear I'll tell him.
Speaker 3 (06:27):
She'll show up in an hour and you'll kill him.
Speaker 1 (06:29):
Kid, you lost it all right, mister Stone, you're a
good guy. Stun titles to a lad. Come on, follow me.
Speaker 3 (06:45):
He dumped his papers down to the stand and started
across the street. Thirty five inches desperate humanity. I followed
him around back and down the stairs of an old tellment.
He stopped at the basement guard a fish out of keys.
I followed him inside of God's dank hole. He flicked
the switch. Joress of Light pisted on, throwing a cold
(07:07):
white glow over walls draped in black veilder. There were
guards boos in a small bar. It was empty, deathly quiet.
I know the establishment, and after hours joined. When all
the legitimate bars closed, those who still sought refuge from
the night come to places like this. George hit it
straight for the only bit of brightness in the room,
(07:29):
the gleaming aluminum juke box in the corner. In the
center of the juke box was a neon mount, and
within the mouth the microphones. Other neons spelled out the
message past your tunes. It operated like your telephone. Somewhere
the girl sat of this good board connected the city,
said juke boxes and taverns.
Speaker 4 (07:48):
All over the city.
Speaker 3 (07:50):
George stood glaring at his tiny reflection in the jukebox
shiny coat. I think I'd like to smash the piece,
but the jukebox the join me your keys.
Speaker 2 (08:00):
I could come in and get warm on cold nights.
Speaker 4 (08:03):
Yeah, I know you can see for.
Speaker 1 (08:05):
Yourself when you're alone, this place can give you a clutch.
I thought maybe your tune would cheer me up, so
I started busking around with this tuup bucks, feeding at
my loose Nichols like this, and then their talking to me.
What tune, would you lie?
Speaker 2 (08:25):
It's me, Julie. Oh, hello, darling, I'm so excited. George
more throw.
Speaker 1 (08:34):
Yeah, do too, Julie.
Speaker 3 (08:39):
I certainly can't understand your feelings.
Speaker 1 (08:41):
I'd mind you for them before the spoon record not
a record, Julie's b Records Records.
Speaker 5 (08:51):
Sure, okay, you can start laughing any time you want,
mister Stone, I just felt about.
Speaker 2 (09:08):
You know, it's ten seconds of conversation with every record.
Speaker 1 (09:12):
Started as a dad me playing the big lover because
she couldn't see she was talking to her dwarf.
Speaker 2 (09:18):
The big joke, huh. I mean, because.
Speaker 1 (09:23):
Talking to her every night, I don't know, something started
happening to me inside, happening to both of us, because
she felt the too. She really did, mister Stone. I
mean an understanding. I don't know, I don't know the words,
but she felt the two.
Speaker 2 (09:42):
And then he had to ruin it.
Speaker 1 (09:44):
Destroy it.
Speaker 3 (09:52):
Yes, it was soap opera that subly my little DofE
and his love affair was Julie, the joke box girl.
Speaker 2 (10:00):
Help me.
Speaker 3 (10:00):
George even invented an invalid wife. That was his reason
why he and Julie did deever met except through the jukebox.
But like all little melodramas taken from life, there was
also a villain. One of the men who worked in
this joint happened over here George filling his heart out
and as a guy. When George wasn't around, he told
(10:21):
Julie that a boy's guy was dying the meter in person,
that they should get together at least once, and that's
what schedule for two am this meeting.
Speaker 1 (10:30):
Yeah, it was Julie's idea. I mean, the way it's
going to be. The record made us think of it.
The record, Yeah, it's from Charlie Sekowski.
Speaker 2 (10:39):
Is that what they call him?
Speaker 4 (10:40):
Uh huh uh.
Speaker 2 (10:42):
Well, he and his barons as some fancy ladies.
Speaker 4 (10:44):
They had a friendship.
Speaker 1 (10:46):
Letters and they felt that they had a meet at
least once. So one day they passed each other in
carriages and nodded without a word and went on never
story each other again.
Speaker 4 (10:59):
And it's good enough to KAUSI is good enough for
Georgie and Julie.
Speaker 1 (11:02):
Huh. She'll be wearing a green hat and a spig
of violets. I'll be wearing a red flower. Well, I
think she'll be a little surprised at what she's going
to see. Mister Stone, isn't it a joke? It's okay
for you to laugh, Laugh, mister Stone, laugh.
Speaker 3 (11:24):
I turned. Who was a big, paunchy, bald headed standing
in the doorway, having himself a wonderful It was right
out of Max Sennert, a barrel of life. George the
judge him right into the big guy who Mary lifted
him up, shrugged his shoulder, and sent a little fellow
(11:46):
flying across the room, crashing into a wall.
Speaker 4 (11:49):
Oh that's character that little monkey is.
Speaker 5 (11:51):
Eh.
Speaker 2 (11:52):
Did he tell you about his romance? So I'm even
willing to take into that road for his lapels?
Speaker 4 (12:00):
Doesn't too good for lovaboy?
Speaker 2 (12:01):
What a line he's got.
Speaker 4 (12:03):
You gotta hear it to believe him.
Speaker 3 (12:05):
Okay, Lord, The knife in George's hand would have looked
much better back in that supporting good window. He moved
out of his shadows. He moved toward the big guys.
A trickle of blood ran down George's mouth, but he
didn't know anything about that. Put that knife away or
(12:25):
shut it down your throat, but George kept coming. The
smile on the big man's face took believe of absy.
Come on now, George, yes, what's the matter? Take get
a big of dop. A bead of sweat started zig
zagging down his face, mixing with the falcon potterer.
Speaker 4 (12:41):
His lips continued to work, but.
Speaker 3 (12:43):
Now no words came out because this thing coming towards him.
This wasn't a comical little dwarf.
Speaker 4 (12:49):
This was death.
Speaker 3 (13:03):
N DC is bringing you Nice be Daring, Frank Lovejoy
as ramdy Stoe Starlight and Night is from fifty.
Speaker 6 (13:28):
And Night and now back to Nice Beat and Randy Stoe.
Speaker 3 (13:40):
George bit dwarf was patching in front of me and
was read of the big guy who lovest up his
romance with Julie. The jukebox and knife blinded in his hand,
and he didn't even.
Speaker 4 (13:48):
Know that I was there.
Speaker 3 (13:50):
The only other person in all the world existed for
him at that moment was a heavily perspiring past and
as George came just a little culture.
Speaker 4 (13:59):
I lunched, fisted his arm back until and if clotted to.
Speaker 3 (14:03):
The sport and I reached down for it. George, he
ran off the door.
Speaker 4 (14:08):
You like that little character trying to knife me.
Speaker 2 (14:11):
I'm gonna call a cup.
Speaker 3 (14:12):
So I'm gonna be a little awkward, seeing how the
joint here is slightly illegal.
Speaker 4 (14:17):
Huh.
Speaker 2 (14:19):
Well, one thing I'm gonna do.
Speaker 4 (14:21):
I'm gonna tell this Jane on the Drew box who
she's doing this. I'm gonna tell her this crazy buff.
Speaker 3 (14:27):
Last you even say howdy to that girl, and I
might decide to find George and give him back this life.
I found George or right, plumped against his newsstand all
through wanting to kill anybody. I told him I'd see
(14:48):
the cops and maybe they'd say it was okay if
George pay for all the damage to that sports door
and bade himself flow on. That didn't make him feel
much better, because it was getting off as close to
to a class and he was meeting with Julie. I
told him that I'd called Julie an informer, that he'd
suddenly come down with a white face as jubonic plays
(15:09):
or something. I got the name of the company off
the duke box. In the after hours, joining react Me
Music Company, I found a phone booth, reached for a
coin and instead come up with a card that said
if your show can stand up boost asked for the
lad they called John Bruce, and John's beautiful phony face
smiling up at me. All of a sudden, I was
(15:32):
looking for the phone number at the bottom of the card,
and then I began dialing, like Matt, that's got to
be hers. Which one coming down with stout grain hats
the strig of violence? Yep, this is going to be
just I just remember what you're supposed to do. Baby,
(15:53):
you walk past, you nod, and you keep walking. What's
the misteril about? You can level with Brucey boys? Ten bucks,
no questions asked? That was the agreement.
Speaker 2 (16:02):
Can I at least mumble some quote?
Speaker 4 (16:04):
Do you open your mouth for anything but breathing?
Speaker 3 (16:06):
Okay, okay, he's almost reached the corner. I stepped back
to the paper stand where George was waiting.
Speaker 4 (16:19):
Together.
Speaker 3 (16:19):
We watched Julie and John Bruce approach each other LITERATUSTI
and never had it so good. She was really something
out of body beautiful. As the two approached, George's hand
unconsciously passing on my arm. Now Julie and John were
passing each other, Their eyes meeting George's hand, began to tighten.
Speaker 4 (16:40):
Julie beautiful, How beautiful?
Speaker 3 (16:46):
Julie nodded to John Bruce, and out of the corner
of my eye I saw a little George, not a
new turn, one pickling moment. I thought Bruce was going
to open his mouth and go into a monologue, but
somehow he control himself. They passed me southern went on.
I looked down at George. His eyes were shining. It
was me, what I said to her, pouring out my heart.
(17:12):
That daughter here tonight churches. Yes, but why couldn't it here?
Speaker 4 (17:18):
You have been me?
Speaker 2 (17:21):
Why couldn't it have been me?
Speaker 4 (17:22):
Mister Stone, ask the stars? Maybe they had an answer
for your Georgie me I had waited to do him.
Speaker 3 (17:38):
I tell her my story to find somewhere among the waiters,
pulling their toughtetoes away, yawning as they changed mid street clothes,
somewhere among the jazz musicians, their papers waxing with fatigue,
their shirt collars soaked them sweat, but still reaching for
that beautiful jure, not somewhere on the police wagon, screaming
(17:58):
and stanely down the streets, somewhere in the yellow lights
of the General Hospital, the Elevanty warehouse, a sip of
breezy sear, a desolate park, and then now in a
street corner, somewhere in the night.
Speaker 4 (18:11):
My story was waiting for me. And now that was
all atlantic. By morning, I'd forgotten all about George and
Julie and John Bruce.
Speaker 3 (18:21):
I'd ben it's my column, and I'd gone home to smooth,
And then my thought of the juke box wasn't ended,
and only just the gun. Yeah, yeah, I am woa, Well.
Speaker 4 (18:39):
What do you know? What do you want? Bruce?
Speaker 3 (18:42):
Oh you are magnificence. I'll see your yeah, yeah read No,
what was that routine you got old Johnny Boy guessing wore? Well?
Speaker 4 (18:56):
Good for Johnny Boy.
Speaker 1 (18:58):
Ready as she's not a friend.
Speaker 5 (19:03):
Where can I look at this kids?
Speaker 2 (19:04):
May people have a couple of last age?
Speaker 4 (19:06):
Uh huh? Where can I find by them?
Speaker 2 (19:15):
Yeah?
Speaker 3 (19:15):
When you're in my racket, when you deal with these
characterism and I be brother, you've got to be prepared
for the totally unexpected. Johnny Boy had fallen for the.
Speaker 4 (19:25):
Lady of a juke box like a tun of bridge.
Speaker 3 (19:28):
Of course, he couldn't come right out and say it
plain and simple. He had a hammett right up to
the hilp.
Speaker 4 (19:33):
But I know the score. And from then Onie, he
haunted me night and day.
Speaker 1 (19:38):
Come on, Randy, who is she? Where can I find it?
Give the girl a breaker?
Speaker 4 (19:42):
He called me on the street at the newspaper, at my.
Speaker 2 (19:45):
Host, Who is she? Randy?
Speaker 6 (19:47):
Be a power?
Speaker 2 (19:47):
What's wrong with me looking her up and giving her
a little attention?
Speaker 4 (19:50):
Day after day after stay?
Speaker 2 (19:52):
Where can I find her? Randy?
Speaker 4 (19:53):
What's the big mystery?
Speaker 3 (19:59):
For a while I even enjoyed it. He was sweating
and on him it looked good. But I guess this
morning I just wasn't in the mood. I'd come down
to the office around five a m. And any newspaper
office that time of day is a pretty side of fairs,
cny women flocking their way up and down the aisle,
the gray, listless, darn flat against the windows, the empty desks,
(20:20):
and me was one of those real sour little tails
to write about about a bum they found behind some
garbage cans on skid walls, A bomb with a Distinguished
Service Cross into the pocket of his Soify shirt. One
of those gallant young gods that we swore we'd never forget. Yeah,
I was feeling Jim dandies and sat down to my typewriters,
(20:43):
and I whipped a hunk of papers into the orlder.
And then I saw John Booth standing in the shadows.
Speaker 4 (20:50):
Across the room from me.
Speaker 3 (20:53):
All at finding not in the mood this morning.
Speaker 4 (20:56):
I got work with you, and you just got.
Speaker 2 (20:58):
To listen to it.
Speaker 3 (21:00):
They founding let her after midnight and the one shut blandly.
Speaker 4 (21:05):
You've got to tell me where I.
Speaker 2 (21:06):
Can find it?
Speaker 4 (21:07):
Just another bum you at.
Speaker 3 (21:09):
All, Brandy listened to me, you got that blessing.
Speaker 4 (21:14):
I'm telling you nothing.
Speaker 3 (21:15):
You understand that one dame is going to escape the
same John Bruce charm. It's a very small tragedy. I
play on it if you'll only listen to me.
Speaker 4 (21:22):
I'm blightly bored.
Speaker 3 (21:23):
Was listening. You'll miss the boost. I'm even more bored,
was looking at you missed the boost. You're so funny.
It sticks out like nagels. Missed the Booth from your
chris curly hair right down to your beautifully polis shoes.
Speaker 4 (21:36):
If this comes as a great surprise.
Speaker 7 (21:41):
There's one thing, a guy you said, I kind of
need to sing. So okay, I'm sorry. I'm pretty tired.
I don't know who fun it is. I won't even
try to explain it. I can't explain it to my stout.
It's that success, Budge, it's.
Speaker 4 (21:57):
Dog eat dog. Anything goes as long as you're make it.
Speaker 2 (22:01):
Why do you have to make it?
Speaker 4 (22:03):
Does it stay throwing the constitution?
Speaker 2 (22:06):
But about her?
Speaker 1 (22:06):
Right, I'm not putting on any acts about her, Randy.
Speaker 2 (22:10):
I'm a big boy wether.
Speaker 4 (22:14):
At first time, I might kit it. Thissten is Randy.
Speaker 1 (22:20):
I just exchange the look maybe five seconds, and until
the day I die, I won't be able to forget it.
Speaker 4 (22:28):
I guess that sounds like Samorrow Johnny Boy's FTATA. No
go on, go on? I can I tell you?
Speaker 2 (22:37):
How do you explain it?
Speaker 1 (22:40):
But in those few seconds, I said something I've been
looking for all my life, Randy, something genuine, something real.
Speaker 2 (22:49):
Something.
Speaker 1 (22:52):
Well, maybe I've still my own salvation, Randy. Maybe I
was just killing myself setting myself ability goods.
Speaker 4 (23:01):
But I got to find out. I gotta see her against.
Speaker 1 (23:06):
Maybe I'm gonna che opens them off to dream of
something that I'm like something don't say.
Speaker 4 (23:10):
I don't know, I don't think so so ver issue right.
Speaker 3 (23:17):
The act new music Company. It's gonna take your time.
She doesn't show up until night. I don't know why
I did it. Maybe it was something I saw in
John Bruce eyes that made me feel if I didn't
tell him, well, it would have been a bum deal
(23:37):
for Julie. I wanted to reach George right away, try
to explain what I've done, but I didn't know where
to look for him excepted.
Speaker 4 (23:44):
His news stands.
Speaker 3 (23:45):
In my world of the night, all you ever know
about anyone is where they are right now. I didn't
think much that day. Making George understand wasn't going to
be any sense, but he had to know that this
had been a sick thing that could only hurt in
the end.
Speaker 4 (24:02):
That night, I hurried right onto his newsstand, only he
wasn't around. I started worrying.
Speaker 3 (24:06):
When on a Hunts I went across the street for
the after hours Joy. The door was a jar. I
went in.
Speaker 4 (24:14):
He was there squatting in front of.
Speaker 3 (24:16):
A jukebox at her song. Looked back, the song ended,
and I searched no I like crazy for the right words.
(24:37):
He was fumbling with some coins, and he slipped one
of them into the jukebox.
Speaker 2 (24:44):
Oh you know I do every time I hear it,
I see you again.
Speaker 4 (24:49):
So beautiful.
Speaker 2 (24:51):
It's pretty beautiful yourselves, truly wonderful to hear you say that.
Speaker 3 (25:00):
Yeah, I backed out quick. I didn't get it. Why
haven't gone with gone truth? I have to tad for
the Acting Music Company. A dilapidated office in the lock.
Speaker 4 (25:11):
And you're on street. The door was opened, fly went
on inside.
Speaker 3 (25:15):
I left your gat. The papers got it all over,
but nobody along. I went into a dark hallway mark
no admitting ahead of me, with the lighted glass door,
with the word studio painted on him.
Speaker 4 (25:26):
I started fourth when someone came running up the hike.
Speaker 2 (25:29):
There.
Speaker 3 (25:29):
You can't you read the sign no admissals? I thought
that was very clear. It wasn't anybody the best. You're
telling me something I don't know. Quitting without a minute notice.
That's a fine thing. Not that way, said Sally. You
wanna reference someday, I'll give her a reference, all right,
Come on, Dally and see the one who quits without
(25:49):
a minute's notice. A shirt comes popping and I was
working them back. Next thing, your nose was walking out
of here with him. But that's surfcase. Someday you want
a reference. Lly is a dark headed girl, beautifully built Stow.
She's beautifully built Burial. Come on, mister, I.
Speaker 4 (26:06):
Got fifty things to do.
Speaker 3 (26:07):
Then that would be Julie working in the studio up ahead,
So or do you mind if I peek in through
the door, then I'll go. Do you want to preak
a word peak for Julie. I'm not worried about her.
Speaker 4 (26:18):
Woman off with Julie.
Speaker 5 (26:20):
I'm safe.
Speaker 3 (26:26):
Yes, he was safe with Julie. As I looked through
the glass door, I thought, sure, it's figures too, can
play the same game as one that had a John
Bruce and Julie had her Sally. Julie couldn't have shown
up for a meeting with George even if she wanted to,
because I very much doubt that Julie could have lifted
(26:46):
her three hundred and fifty pounds out of that chair.
You fawling Julie working like mad at the switchboard with
its flashing lights from juke boxes all over the city.
Speaker 4 (27:00):
All I watched is she answered one call.
Speaker 3 (27:02):
Something happened her eyes lit up in a strange and
wonderful way. Then she flicked the switch and pite a
certain record for a certain juke box, and her eyes
became even more right.
Speaker 4 (27:17):
I didn't have to hear the rest of the record.
Speaker 3 (27:19):
She was playing their song for the guy, George, and
all of a sudden I realized how.
Speaker 4 (27:24):
Right George June was.
Speaker 3 (27:46):
Yeah, that's how it is when you walk the night, Dade.
You always know that if you walk far enough and
long enough, and if you keep your eyes open and
you listen very carefully, sooner or later in the dakness.
Speaker 4 (28:00):
You'll find the city is part.
Speaker 3 (28:04):
Yes Tommy Boyce.
Speaker 6 (28:20):
Night Beat, starring Fank love Joy, is produced and directed
by Warren Leys. The night story was written by Larry
Markers with music by Robert Armbruser. The part of John
Bruce was played by Bill Conrad. Jeff Pory was George.
Others in Tonight's past were Betty lou Gerson, Ray Hartman,
and Eddie Fields.
Speaker 3 (28:39):
Frank love Joy can currently be seen.
Speaker 6 (28:41):
Co starring with Joan Crawford and Robert Young and Warner
Brothers Goodbye My Fancy Listen next week at this time
and every week as Randy Stone searches through the city
for the strange stories waiting for him.
Speaker 2 (29:00):
I'm in the doctors.
Speaker 1 (29:14):
Nice dates came to you from Hollywood. Nice dates came
to you from Hollywood.
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