August 11, 2025 • 29 mins
Dive into the eerie and captivating world of "Quiet Please." This iconic radio show from the golden age of radio offers a unique blend of horror, mystery, and drama that will keep you on the edge of your seat. Whether you're a fan of classic radio dramas or looking for spine-tingling stories to listen to, "Quiet Please" has something for everyone. Don't miss out on this timeless collection that will transport you to a world of suspense and intrigue.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
Quiet Please, Quiet Please.
Speaker 2 (00:40):
Today is Quiet Please story written and directed by Willis
Cooper and featuring Ernest Chapel called bring Me to Life,
(01:20):
shut Out? Why can't people let me alone?
Speaker 3 (01:36):
Yeah? This is Hanks?
Speaker 1 (01:37):
This guy? Hello, Hank? How are you today? Where's your strength? Oh?
I've just got three more pages to go. I'll get
it into you this afternoons. We'll be sure, you know.
Will guess we're sitting here waiting for a doll Sorry, Hank,
I I'll get it in all right, Okay, Now we've
got to have it today. Alright, alright, if you'll get it, okay,
(02:00):
I'll wait for it, all right, I'll see you.
Speaker 2 (02:04):
Yeah, yeah, i'll see you. Ah, I'll see it if
I get an idea not no more idea in a
rabbit page one. Yeah, that's the start. Let me see
(02:30):
when I needs a character? Character? Character?
Speaker 1 (02:35):
Come on, character?
Speaker 3 (02:37):
Have you got three dollars? No?
Speaker 1 (02:39):
I haven't got three dollars. What do you want? Three
dollars for.
Speaker 3 (02:42):
The milk man? You had some money last night?
Speaker 2 (02:44):
I got eighty cents. Right, listen, Ruthie, give me an
idea for a character.
Speaker 3 (02:48):
I haven't got any ideas the characters? How do you
really got three dollars. He's been here twice pretty much.
Speaker 1 (02:54):
Check. When I wants a character for this script.
Speaker 3 (02:57):
The only one I can think of now is a
milk man.
Speaker 2 (03:00):
You get to work, Yeah, get to work. Sure, Sure,
I get a character. I'll get to work. That's all
I need, and I'll get a story, all right, I think?
Come on, character, Come on, character, and now what you want?
(03:23):
I said, I haven't got three dollars. I'll come on in, Ruth?
What are you? What's the matter with you?
Speaker 3 (03:34):
Come on in?
Speaker 1 (03:35):
I Ruth? Didn't you knock at this door? Oh?
Speaker 2 (03:44):
I thought I heard somebody? Alright, alright, don't go on,
and I must be going. Oh, I didn't write that?
How did that get on that paper? Bring me to life?
(04:08):
I didn't write that, No, I did, Ruth.
Speaker 1 (04:19):
Ruthie, Hey, Ruthie. What's the matter, Ruthie? Come here, come
here quick?
Speaker 3 (04:26):
What's the matter with you?
Speaker 1 (04:27):
Look at my typewriters?
Speaker 3 (04:28):
What about it?
Speaker 1 (04:29):
Look? Look what's on the paper?
Speaker 3 (04:31):
Bring me to life? What strange about that?
Speaker 1 (04:36):
I didn't write it?
Speaker 3 (04:37):
What are you going?
Speaker 1 (04:38):
Look? Look see what it's doing underlining those words?
Speaker 3 (04:44):
How are you doing that?
Speaker 1 (04:46):
God? I tell you?
Speaker 2 (04:47):
Look, I said, I didn't write it, and the typewriter
just said, no I did. Who I don't see h
E R A C T E R character.
Speaker 3 (05:10):
No, look, this is a gag of some kind.
Speaker 2 (05:14):
How are you doing it? And it isn't a gag
that that's typewriter's horn it.
Speaker 3 (05:18):
This is impossible, now I tell you it is.
Speaker 1 (05:21):
Huh. We'll look at it. Bring me to life, you see?
Speaker 3 (05:29):
Alright, smart guys, it's a great trick.
Speaker 1 (05:32):
How do you do it? Ruth? I swear to I
swear I'm not doing it.
Speaker 3 (05:37):
You are too.
Speaker 1 (05:38):
Look my way.
Speaker 2 (05:39):
Wait a minute, I'll go way over here and you'll see.
Speaker 1 (05:43):
Now it'll right. It's a right what now.
Speaker 3 (05:51):
I knew it was a gag. Listen all I've got
housework to do. Now you go on and get that
script written on.
Speaker 1 (05:57):
It, ruth I, I have to think up a cat first. Yeah,
it goes again.
Speaker 3 (06:08):
It says me, me, me, me, me, all right, there's
your character, write about him?
Speaker 1 (06:18):
Do you really suppose?
Speaker 4 (06:19):
Now, look, darling, I've been married to a write long
enough to believe almost anything.
Speaker 3 (06:25):
I don't know how this is done, but it's worth trying,
isn't it.
Speaker 1 (06:28):
Well? I don't like the monkey with things like that.
Speaker 3 (06:31):
Don't be silly.
Speaker 1 (06:32):
Well it's wait a minute.
Speaker 2 (06:33):
It's one thing to write about supernatural things. It's well,
that's another, due experience them.
Speaker 3 (06:39):
You've always been wishing you had a typewriter that toll
do your script for you? Now you got it?
Speaker 1 (06:43):
Go ahead? Yes, but too, m How do I know
who this is?
Speaker 3 (06:49):
Who?
Speaker 1 (06:49):
Who this character? Whatever he is?
Speaker 3 (06:52):
Well, you decide you'll bring him to life? Go ahead?
Speaker 1 (06:58):
Who should you be?
Speaker 3 (07:00):
We all a pirate? M?
Speaker 1 (07:04):
I don't know anything about pirates?
Speaker 3 (07:08):
Hm, it says I do.
Speaker 1 (07:11):
Go ahead. I don't like it.
Speaker 3 (07:13):
Go ahead unless this is a gag.
Speaker 1 (07:16):
It's no gag, right, Well.
Speaker 3 (07:24):
R h.
Speaker 1 (07:28):
It was a dark and stormy night. What's that like?
Speaker 3 (07:33):
Thunder? It's a storm coming out?
Speaker 1 (07:38):
Gosh? Does this thing control the weather? Too?
Speaker 3 (07:41):
Oh? Want some more? It's just getting interesting?
Speaker 1 (07:45):
Well like right, m m m m m m m
m okay, nothing's happening.
Speaker 3 (08:03):
What did you write here?
Speaker 1 (08:05):
Read it?
Speaker 3 (08:06):
The pirate ship started through the roaring waves, all her
sails straining under the howling wind. Do you smell anything?
Speaker 1 (08:18):
Smell?
Speaker 2 (08:20):
Yeah, I sure do. It smells like the ocean. Go on,
read some more, ruth, hype, I think I know how
this works now.
Speaker 1 (08:34):
Oh what do you mean I.
Speaker 2 (08:36):
Think you have to read it to make it happen?
Speaker 3 (08:40):
Well you read it then, no you I don't want
to read it. I'm scared.
Speaker 1 (08:49):
I don't like it either. Look the typewriter, it said,
read it.
Speaker 2 (08:57):
Well, well okay, Captain Jabe's tharn Scourge of the Spanish Main,
Scourge of the Spanish Main slowly climbed the steps of
the companion way, A companion way.
Speaker 3 (09:20):
Yes, there's somebody coming up the stairs.
Speaker 2 (09:24):
You know there are any stairs in this house. Oh,
read some more, and flung open the door. He gazed
on the wild scene for a second and drew his cutlet.
Speaker 3 (09:39):
What's that my sweetish crystal vase?
Speaker 1 (09:44):
It fell down?
Speaker 3 (09:45):
He knocked off. Who that that comes? Or whatever it is?
That phase costs forty two dollars.
Speaker 1 (09:51):
Well, I couldn't help it, honey, you can do.
Speaker 3 (09:53):
Something about it. Oh, it's my beautiful vase, and there
isn't another.
Speaker 1 (09:57):
One like it in the world. What can I do for?
I say, Sonny, I can't help Wait a minute. Wait.
He returned the cutlass to its scabbard.
Speaker 3 (10:17):
You see that doesn't bring back my vein.
Speaker 1 (10:20):
Listen.
Speaker 2 (10:21):
He turned to the beautiful girl that his side put
on his arm.
Speaker 1 (10:26):
What's the matter, great hand? What's happening?
Speaker 3 (10:32):
Ruth? Somebody kiss me? What western.
Speaker 1 (10:39):
You?
Speaker 3 (10:40):
You hired you?
Speaker 1 (10:42):
You? No? No, Ruth?
Speaker 3 (10:46):
Time cotop him? Stare your siren?
Speaker 1 (10:50):
Ah rude? Well, my friends, that all happened a week ago.
(11:15):
D it really happened? No? I haven't got any explanation
for it.
Speaker 2 (11:20):
All I know is that that stuff appeared on my typewriter,
and all the other things happened just the way.
Speaker 1 (11:25):
You've heard them.
Speaker 2 (11:27):
And Ruth made the pirate disappear when she tore up
the sheet of paper. All I know is it hid
me a good idea for a story about a pirate,
and I wrote it.
Speaker 1 (11:37):
People thought it would swell.
Speaker 2 (11:40):
And here it is deadline time again and me without
an idea again, And any minute that Hank Viscarti'll be
on that phone again asking for my script.
Speaker 1 (11:50):
You'll see geting psychic? Oh okay, hello, Hank? How did
you know it was me?
Speaker 2 (11:59):
I always know when it's script A. I've only got
about three pages.
Speaker 1 (12:04):
To go, Hank. When do I get it? Tomorrow morning?
For sure? Okay? See that you do? Okay, Hank, you
get it. You get it.
Speaker 2 (12:17):
Here we go again, Here we go again. I mean,
what do I write about this time?
Speaker 1 (12:29):
No? Not about pirates again? Now let me think. No,
it's not for me.
Speaker 2 (12:40):
I I don't like love stories. M No, No, people
don't want war stories.
Speaker 1 (12:52):
How about her? Who done it? A crime story? Uh?
Speaker 2 (13:00):
The murderer? Detective spies? Maybe calling all card Yeah, maybe
I could do that. And awful lot of food done
in sum the networks though, Oh well, one more won't
hurt him. Let's go h Now for a character character,
(13:30):
I wondered, Wait a minute, Wait a.
Speaker 1 (13:33):
Minute, ru Rufie just wanted to be sure she's asleep
(13:54):
after the way she murdered my pirate.
Speaker 2 (13:57):
You know, this could turned out to be a great racket.
Your characters write your stories for them. The only thing
is you have to be careful when I put down
on paper. Don't want to find myself getting choked at
aaf by somebody I've brought to life. Hey, Hey, what
am I saying? Well, let's see what happens Age one.
(14:28):
You know you don't have to believe these friends. I'm
not so sure I believe it either.
Speaker 1 (14:32):
Even though.
Speaker 2 (14:35):
I've been mixed up with supernatural stories for so long.
I guess I'm a sucker for maybe.
Speaker 1 (14:41):
All that didn't happen. Maybe Ruthie and I dreamed it.
Speaker 2 (14:45):
The only thing is two people don't usually dream the
same dream at the same time, you know. And that
sweetish crystal base i've heard is sure busted. You know
I didn't do it. Okays, it may be okay or something,
and I'm going to try it again, sure, just for
(15:06):
a laugh. But we'll see. Who do a lasting tipen
me or you? How's your imagine? Mine's all right that
you so shut up a minute while I try to.
Let's keep quiet and might see what happens. Okay, okay, hey, characters, character,
(15:33):
come on, character, Come on? Character? What no I did that?
Speaker 1 (15:44):
It wasn't the character I just wrote? Are you there?
Let me see if the answers? Come on?
Speaker 2 (15:51):
Character, I need a story. Will help me the other day?
Character help me? Now, come on, come on, don't tell
'e about it. Character, you hear me? Come on, pal,
I need help. Don't be mad at me. Hi, right,
(16:16):
romantic guy, I'm a soldier. I mean I'm gonna detective
your name? Okay, okay, So i'm'a jump so I can't
(16:42):
pull a character out of.
Speaker 1 (16:43):
The guy like that. Okay, so go on and last
I'm sorry. And if you were sitting around waiting in
the country at this time of night, all alone, your.
Speaker 2 (16:54):
Wife sound asleep, and this is the only life in
the house, and you got throught a super nah little
story before morning. We'll try a sometime.
Speaker 1 (17:03):
Friend.
Speaker 2 (17:05):
Just keep quiet and let me try to work. Huh,
you got nothing to do but listen to the radio.
How'd you like to have to write those things you
listen to huh in the middle of the night, or
hold on by yourself?
Speaker 1 (17:16):
Okay, quiet, please, hm m mm huh, listen to this,
(17:37):
m m M. I am alone.
Speaker 2 (17:42):
I am alone in a great dark house with only
the weird wail of the wind and the whispering willows.
Uh you think that's too much alliteration.
Speaker 1 (17:52):
Weird wail of winds, whispering willows. I kind of like it.
Speaker 2 (18:00):
And uh, whispering willows to keep.
Speaker 1 (18:02):
Me somber company. That's okay, Huh, maybe I'll get a story. Yes,
just keep quats.
Speaker 2 (18:12):
They sure wish that character will give me a hand though. Now,
what could have happen to a guy sitting here like
I am?
Speaker 3 (18:20):
Let's see.
Speaker 1 (18:23):
What happened could be a ghost. Nah, now know.
Speaker 2 (18:27):
Ghost chains clanking and stuff, corny sound effects, and u.
Speaker 1 (18:33):
Uh burglar m burger might be good. Uh. I wouldn't
know what to do about a burgler, though we haven't
got anywhere stealing around here.
Speaker 2 (18:44):
Besides, burglers are kind of corny to I say. You know, uh,
you always think of a fat guy and a mask
with an old fashioned dark glantern and a bag over
his shoulder.
Speaker 1 (18:53):
But like those fellas are drawn cadge. Uh, what's the
name of the fella? Doesn't Larry Reynolds is the big
fat guy in the little logan? Now, Burglers are funny.
Burgers are out.
Speaker 2 (19:07):
Well, what the hood comes sneaking into your house from
the middle of the night. Let me see, let's see, Hey,
what about an escape convict? An escape convict. That'll be
all right, wouldn't it. H And he could do a
lot of things with an escape convict. Guy's wife is sleep,
(19:28):
you know, a desperate character. I could have let the
door unlocked. He could have sneaked in.
Speaker 1 (19:34):
I never know it. They could be looking over my
shoulder right now. Hey, stop that scare myself at that.
Speaker 2 (19:43):
Hey, this'll be all right, this will be alrighty uh.
Let's see he could have sneaked into Ruthie's room. Now
would I wake your Ruthie?
Speaker 1 (19:54):
Oh? I'm sorry talking to myself, ruth what's the matter, dolling?
Where's the like? Never mind the likings? To m And
you shut up right now? I said, shut up? Quiet now,
stop it, stop it, and I will hurt you.
Speaker 3 (20:15):
Now stop you, you hurt my friends.
Speaker 4 (20:18):
You'll be all right now, just keep quiet a minute.
Who who are you, ma'am? I just crashed out of
the big house. As they say in the movies, you will.
I am an escaped convict, ma'am. And for your information,
I am a pretty desperate escaped convict. Where's your husband?
Keep his clothes? What?
Speaker 1 (20:36):
I'm still wearing the clothes the state thoughtfully provides for
convicted murderers, ma'am, And they're rather conspicuous. I need a change.
Which is his clauset?
Speaker 3 (20:47):
You've killed him? You know, ma'am.
Speaker 4 (20:48):
I didn't kill him, but I may do that yet
if I won't get a little cooperation out of you,
let me up. Oh, you just sit there and tell
me where to find his other suits?
Speaker 1 (20:58):
Where's the like? Mm? You're very pretty? Let me go
to my husband. Nah, darling, No, I got other plans
for you. Is uh is this your closet? Oh? Nice
little suit? Yeah? I I like now a little on
(21:24):
the large side for me. But you can shut your
eyes while I change. I I'll need a shirt too.
Speaker 3 (21:32):
What are you going to do?
Speaker 4 (21:33):
Well, I'll tell you first. I'm gonna get into this
nice new oversized suit of clothes.
Speaker 1 (21:39):
Let me see if you go right? Sorry, nice shirt?
Speaker 3 (21:45):
Sorry?
Speaker 1 (21:45):
No, I don't think he's dead. And uh, even if
he is, he can't hang me more than once. You know.
Please please be still, oh, I said, be still. Listen, ma'am.
Speaker 2 (21:57):
Don't be misled because I'm treating you nice. I am
really a very rough person. You might have read about
me in the papers. Please no, now shut up, or
I'll have to shut you up. What do you As
soon as I get these clothes adjusted, i'm gonna leave here, ma'am,
and I'm gonna take you with me.
Speaker 1 (22:18):
No, you see there. It's not after me already, and
they want me pretty badly. They have rifles and shotguns, ma'am,
and they won't hesitate to use them, that is, unless
there's a lady present. You see now, now a neck tie.
You're not sh please please hmm. Nice tie is very nice. Okay,
(22:42):
you see, if I might be so crude, I intend
to take.
Speaker 4 (22:45):
You along for a kind of shield man. The boys
won't shoot you. Understand that there's a possibility of putting
a bullet through you, So I suggest you get up
and get a coat or something.
Speaker 1 (22:56):
It's getting quite a lot cooler out I get up.
I won't, ma'am.
Speaker 3 (23:02):
You better please let me see my hont.
Speaker 1 (23:04):
I told you be alright. Man. If you're a good girl,
you might get back to him one of these days.
If you're not, uh did your husband wear hats? If
you're not, you might not come on, get.
Speaker 3 (23:16):
Up, I won't.
Speaker 1 (23:24):
I suppose it was.
Speaker 2 (23:25):
Ruth screaming that brought me back through the darkness to
a kind of semi consciousness.
Speaker 1 (23:30):
The light was still on in their room. I could
hear them talking, still off cold, and I have my
eyes shut. I I don't know why. I suppose I
ought to have got up and help Ruth, but I
was still pretty groggy. I just lay there. I could
hear them. I, ma'am, I haven't got much time to wait.
Speaker 2 (23:48):
I got my eyes open just a little then, and
I could see Ruth with their heavy croat thrown around her,
and he had her by the hand, and he was
pulling toward the door. Oh, come on, come on, come on.
Seemed to be a long time before I could hit
up on one elbow. I hadn't hurt, and I wasn't
(24:08):
sure what happened. Ruth was drawn.
Speaker 1 (24:12):
Who was the man I saw dragging her away? I
tried to think. Finally, the uh I'd feared away enough
so I could figure out what to do.
Speaker 2 (24:23):
Seemed hours later than I got to my feet, I
s daggered off to the other room where I'd been
working with my typewriter. I should do something, I know, well,
what should I do? My mine wouldn't work. I wanted
to go after them, but something stopped me, Something wouldn't.
Speaker 1 (24:45):
Let me go. I didn't know what it was. Something
was making a noise through the ringing in my ears.
What was it? And at last I recognized it.
Speaker 2 (25:02):
Was my typewriters. I felt down as I staggered across
to it. I crawled the rest of the way, forcing
myself to look at the paper.
Speaker 1 (25:13):
The keys were papping away and slowly, thoufully I read
the words with me too, wife, Bring me to life,
(25:34):
bring hood to life. I mean it's mean, means. The
typewriters me, me, me, and the last my pirate. Oh
come on, kind that.
Speaker 2 (25:55):
Come on, I'm a pirate. And the typewriter clacked away. Hurry, hurry, hurry,
has said, painfully, Oh so painfully. I got one hand
on a keyboard. That is where blurred when I found them.
Speaker 3 (26:18):
Mh.
Speaker 1 (26:19):
Pirates comes in, draws cutlass, seeds, enemy.
Speaker 2 (26:33):
Goes to rescue through French window, pursues enemy, enemy.
Speaker 1 (26:43):
Frightened wife knows rescue coming. Pirates raises cutless. Yeah, I'm
they now a bailus. Was pretty hard to explain that
(27:06):
that man wearing my clothes in.
Speaker 2 (27:08):
My garage dead from the wicked slashing blows of a
great sword a cutlass.
Speaker 1 (27:15):
Hard to explain. That's impossible. You believe it. I believe it.
Ruth believes it, and that's the whole story.
Speaker 2 (27:28):
Thanks character, good night, character, you have listened to bring
(27:50):
me to life A quiet please. Story is written and
directed by Willis Cooper. The man who talked to you
was Ernest Chappell. That Ruth was played by Helen Marcy.
Walter Black was the murderer. The man on the telephone
was Warren Bryan. The music was composed and played by
Jeane Brazzo and the character And if for a word
(28:13):
about next week's.
Speaker 1 (28:14):
Quiet, please here is our writer, Director Willis Cooper. Next
week's story is called A Mile High and a Mile Deep,
with the story about the copper mines and the mountains,
about but Montana and the people who worked there, and
(28:37):
so until next week. At this time, I am quiet
for yours Ernest Chapel.
Speaker 2 (29:03):
This program came to you from New York. This is
the world's largest network, the Mutual Broadcasting System
Quiet Please, Quiet Please.
Speaker 2 (00:40):
Today is Quiet Please story written and directed by Willis
Cooper and featuring Ernest Chapel called bring Me to Life,
(01:20):
shut Out? Why can't people let me alone?
Speaker 3 (01:36):
Yeah? This is Hanks?
Speaker 1 (01:37):
This guy? Hello, Hank? How are you today? Where's your strength? Oh?
I've just got three more pages to go. I'll get
it into you this afternoons. We'll be sure, you know.
Will guess we're sitting here waiting for a doll Sorry, Hank,
I I'll get it in all right, Okay, Now we've
got to have it today. Alright, alright, if you'll get it, okay,
(02:00):
I'll wait for it, all right, I'll see you.
Speaker 2 (02:04):
Yeah, yeah, i'll see you. Ah, I'll see it if
I get an idea not no more idea in a
rabbit page one. Yeah, that's the start. Let me see
(02:30):
when I needs a character? Character? Character?
Speaker 1 (02:35):
Come on, character?
Speaker 3 (02:37):
Have you got three dollars? No?
Speaker 1 (02:39):
I haven't got three dollars. What do you want? Three
dollars for.
Speaker 3 (02:42):
The milk man? You had some money last night?
Speaker 2 (02:44):
I got eighty cents. Right, listen, Ruthie, give me an
idea for a character.
Speaker 3 (02:48):
I haven't got any ideas the characters? How do you
really got three dollars. He's been here twice pretty much.
Speaker 1 (02:54):
Check. When I wants a character for this script.
Speaker 3 (02:57):
The only one I can think of now is a
milk man.
Speaker 2 (03:00):
You get to work, Yeah, get to work. Sure, Sure,
I get a character. I'll get to work. That's all
I need, and I'll get a story, all right, I think?
Come on, character, Come on, character, and now what you want?
(03:23):
I said, I haven't got three dollars. I'll come on in, Ruth?
What are you? What's the matter with you?
Speaker 3 (03:34):
Come on in?
Speaker 1 (03:35):
I Ruth? Didn't you knock at this door? Oh?
Speaker 2 (03:44):
I thought I heard somebody? Alright, alright, don't go on,
and I must be going. Oh, I didn't write that?
How did that get on that paper? Bring me to life?
(04:08):
I didn't write that, No, I did, Ruth.
Speaker 1 (04:19):
Ruthie, Hey, Ruthie. What's the matter, Ruthie? Come here, come
here quick?
Speaker 3 (04:26):
What's the matter with you?
Speaker 1 (04:27):
Look at my typewriters?
Speaker 3 (04:28):
What about it?
Speaker 1 (04:29):
Look? Look what's on the paper?
Speaker 3 (04:31):
Bring me to life? What strange about that?
Speaker 1 (04:36):
I didn't write it?
Speaker 3 (04:37):
What are you going?
Speaker 1 (04:38):
Look? Look see what it's doing underlining those words?
Speaker 3 (04:44):
How are you doing that?
Speaker 1 (04:46):
God? I tell you?
Speaker 2 (04:47):
Look, I said, I didn't write it, and the typewriter
just said, no I did. Who I don't see h
E R A C T E R character.
Speaker 3 (05:10):
No, look, this is a gag of some kind.
Speaker 2 (05:14):
How are you doing it? And it isn't a gag
that that's typewriter's horn it.
Speaker 3 (05:18):
This is impossible, now I tell you it is.
Speaker 1 (05:21):
Huh. We'll look at it. Bring me to life, you see?
Speaker 3 (05:29):
Alright, smart guys, it's a great trick.
Speaker 1 (05:32):
How do you do it? Ruth? I swear to I
swear I'm not doing it.
Speaker 3 (05:37):
You are too.
Speaker 1 (05:38):
Look my way.
Speaker 2 (05:39):
Wait a minute, I'll go way over here and you'll see.
Speaker 1 (05:43):
Now it'll right. It's a right what now.
Speaker 3 (05:51):
I knew it was a gag. Listen all I've got
housework to do. Now you go on and get that
script written on.
Speaker 1 (05:57):
It, ruth I, I have to think up a cat first. Yeah,
it goes again.
Speaker 3 (06:08):
It says me, me, me, me, me, all right, there's
your character, write about him?
Speaker 1 (06:18):
Do you really suppose?
Speaker 4 (06:19):
Now, look, darling, I've been married to a write long
enough to believe almost anything.
Speaker 3 (06:25):
I don't know how this is done, but it's worth trying,
isn't it.
Speaker 1 (06:28):
Well? I don't like the monkey with things like that.
Speaker 3 (06:31):
Don't be silly.
Speaker 1 (06:32):
Well it's wait a minute.
Speaker 2 (06:33):
It's one thing to write about supernatural things. It's well,
that's another, due experience them.
Speaker 3 (06:39):
You've always been wishing you had a typewriter that toll
do your script for you? Now you got it?
Speaker 1 (06:43):
Go ahead? Yes, but too, m How do I know
who this is?
Speaker 3 (06:49):
Who?
Speaker 1 (06:49):
Who this character? Whatever he is?
Speaker 3 (06:52):
Well, you decide you'll bring him to life? Go ahead?
Speaker 1 (06:58):
Who should you be?
Speaker 3 (07:00):
We all a pirate? M?
Speaker 1 (07:04):
I don't know anything about pirates?
Speaker 3 (07:08):
Hm, it says I do.
Speaker 1 (07:11):
Go ahead. I don't like it.
Speaker 3 (07:13):
Go ahead unless this is a gag.
Speaker 1 (07:16):
It's no gag, right, Well.
Speaker 3 (07:24):
R h.
Speaker 1 (07:28):
It was a dark and stormy night. What's that like?
Speaker 3 (07:33):
Thunder? It's a storm coming out?
Speaker 1 (07:38):
Gosh? Does this thing control the weather? Too?
Speaker 3 (07:41):
Oh? Want some more? It's just getting interesting?
Speaker 1 (07:45):
Well like right, m m m m m m m
m okay, nothing's happening.
Speaker 3 (08:03):
What did you write here?
Speaker 1 (08:05):
Read it?
Speaker 3 (08:06):
The pirate ship started through the roaring waves, all her
sails straining under the howling wind. Do you smell anything?
Speaker 1 (08:18):
Smell?
Speaker 2 (08:20):
Yeah, I sure do. It smells like the ocean. Go on,
read some more, ruth, hype, I think I know how
this works now.
Speaker 1 (08:34):
Oh what do you mean I.
Speaker 2 (08:36):
Think you have to read it to make it happen?
Speaker 3 (08:40):
Well you read it then, no you I don't want
to read it. I'm scared.
Speaker 1 (08:49):
I don't like it either. Look the typewriter, it said,
read it.
Speaker 2 (08:57):
Well, well okay, Captain Jabe's tharn Scourge of the Spanish Main,
Scourge of the Spanish Main slowly climbed the steps of
the companion way, A companion way.
Speaker 3 (09:20):
Yes, there's somebody coming up the stairs.
Speaker 2 (09:24):
You know there are any stairs in this house. Oh,
read some more, and flung open the door. He gazed
on the wild scene for a second and drew his cutlet.
Speaker 3 (09:39):
What's that my sweetish crystal vase?
Speaker 1 (09:44):
It fell down?
Speaker 3 (09:45):
He knocked off. Who that that comes? Or whatever it is?
That phase costs forty two dollars.
Speaker 1 (09:51):
Well, I couldn't help it, honey, you can do.
Speaker 3 (09:53):
Something about it. Oh, it's my beautiful vase, and there
isn't another.
Speaker 1 (09:57):
One like it in the world. What can I do for?
I say, Sonny, I can't help Wait a minute. Wait.
He returned the cutlass to its scabbard.
Speaker 3 (10:17):
You see that doesn't bring back my vein.
Speaker 1 (10:20):
Listen.
Speaker 2 (10:21):
He turned to the beautiful girl that his side put
on his arm.
Speaker 1 (10:26):
What's the matter, great hand? What's happening?
Speaker 3 (10:32):
Ruth? Somebody kiss me? What western.
Speaker 1 (10:39):
You?
Speaker 3 (10:40):
You hired you?
Speaker 1 (10:42):
You? No? No, Ruth?
Speaker 3 (10:46):
Time cotop him? Stare your siren?
Speaker 1 (10:50):
Ah rude? Well, my friends, that all happened a week ago.
(11:15):
D it really happened? No? I haven't got any explanation
for it.
Speaker 2 (11:20):
All I know is that that stuff appeared on my typewriter,
and all the other things happened just the way.
Speaker 1 (11:25):
You've heard them.
Speaker 2 (11:27):
And Ruth made the pirate disappear when she tore up
the sheet of paper. All I know is it hid
me a good idea for a story about a pirate,
and I wrote it.
Speaker 1 (11:37):
People thought it would swell.
Speaker 2 (11:40):
And here it is deadline time again and me without
an idea again, And any minute that Hank Viscarti'll be
on that phone again asking for my script.
Speaker 1 (11:50):
You'll see geting psychic? Oh okay, hello, Hank? How did
you know it was me?
Speaker 2 (11:59):
I always know when it's script A. I've only got
about three pages.
Speaker 1 (12:04):
To go, Hank. When do I get it? Tomorrow morning?
For sure? Okay? See that you do? Okay, Hank, you
get it. You get it.
Speaker 2 (12:17):
Here we go again, Here we go again. I mean,
what do I write about this time?
Speaker 1 (12:29):
No? Not about pirates again? Now let me think. No,
it's not for me.
Speaker 2 (12:40):
I I don't like love stories. M No, No, people
don't want war stories.
Speaker 1 (12:52):
How about her? Who done it? A crime story? Uh?
Speaker 2 (13:00):
The murderer? Detective spies? Maybe calling all card Yeah, maybe
I could do that. And awful lot of food done
in sum the networks though, Oh well, one more won't
hurt him. Let's go h Now for a character character,
(13:30):
I wondered, Wait a minute, Wait a.
Speaker 1 (13:33):
Minute, ru Rufie just wanted to be sure she's asleep
(13:54):
after the way she murdered my pirate.
Speaker 2 (13:57):
You know, this could turned out to be a great racket.
Your characters write your stories for them. The only thing
is you have to be careful when I put down
on paper. Don't want to find myself getting choked at
aaf by somebody I've brought to life. Hey, Hey, what
am I saying? Well, let's see what happens Age one.
(14:28):
You know you don't have to believe these friends. I'm
not so sure I believe it either.
Speaker 1 (14:32):
Even though.
Speaker 2 (14:35):
I've been mixed up with supernatural stories for so long.
I guess I'm a sucker for maybe.
Speaker 1 (14:41):
All that didn't happen. Maybe Ruthie and I dreamed it.
Speaker 2 (14:45):
The only thing is two people don't usually dream the
same dream at the same time, you know. And that
sweetish crystal base i've heard is sure busted. You know
I didn't do it. Okays, it may be okay or something,
and I'm going to try it again, sure, just for
(15:06):
a laugh. But we'll see. Who do a lasting tipen
me or you? How's your imagine? Mine's all right that
you so shut up a minute while I try to.
Let's keep quiet and might see what happens. Okay, okay, hey, characters, character,
(15:33):
come on, character, Come on? Character? What no I did that?
Speaker 1 (15:44):
It wasn't the character I just wrote? Are you there?
Let me see if the answers? Come on?
Speaker 2 (15:51):
Character, I need a story. Will help me the other day?
Character help me? Now, come on, come on, don't tell
'e about it. Character, you hear me? Come on, pal,
I need help. Don't be mad at me. Hi, right,
(16:16):
romantic guy, I'm a soldier. I mean I'm gonna detective
your name? Okay, okay, So i'm'a jump so I can't
(16:42):
pull a character out of.
Speaker 1 (16:43):
The guy like that. Okay, so go on and last
I'm sorry. And if you were sitting around waiting in
the country at this time of night, all alone, your.
Speaker 2 (16:54):
Wife sound asleep, and this is the only life in
the house, and you got throught a super nah little
story before morning. We'll try a sometime.
Speaker 1 (17:03):
Friend.
Speaker 2 (17:05):
Just keep quiet and let me try to work. Huh,
you got nothing to do but listen to the radio.
How'd you like to have to write those things you
listen to huh in the middle of the night, or
hold on by yourself?
Speaker 1 (17:16):
Okay, quiet, please, hm m mm huh, listen to this,
(17:37):
m m M. I am alone.
Speaker 2 (17:42):
I am alone in a great dark house with only
the weird wail of the wind and the whispering willows.
Uh you think that's too much alliteration.
Speaker 1 (17:52):
Weird wail of winds, whispering willows. I kind of like it.
Speaker 2 (18:00):
And uh, whispering willows to keep.
Speaker 1 (18:02):
Me somber company. That's okay, Huh, maybe I'll get a story. Yes,
just keep quats.
Speaker 2 (18:12):
They sure wish that character will give me a hand though. Now,
what could have happen to a guy sitting here like
I am?
Speaker 3 (18:20):
Let's see.
Speaker 1 (18:23):
What happened could be a ghost. Nah, now know.
Speaker 2 (18:27):
Ghost chains clanking and stuff, corny sound effects, and u.
Speaker 1 (18:33):
Uh burglar m burger might be good. Uh. I wouldn't
know what to do about a burgler, though we haven't
got anywhere stealing around here.
Speaker 2 (18:44):
Besides, burglers are kind of corny to I say. You know, uh,
you always think of a fat guy and a mask
with an old fashioned dark glantern and a bag over
his shoulder.
Speaker 1 (18:53):
But like those fellas are drawn cadge. Uh, what's the
name of the fella? Doesn't Larry Reynolds is the big
fat guy in the little logan? Now, Burglers are funny.
Burgers are out.
Speaker 2 (19:07):
Well, what the hood comes sneaking into your house from
the middle of the night. Let me see, let's see, Hey,
what about an escape convict? An escape convict. That'll be
all right, wouldn't it. H And he could do a
lot of things with an escape convict. Guy's wife is sleep,
(19:28):
you know, a desperate character. I could have let the
door unlocked. He could have sneaked in.
Speaker 1 (19:34):
I never know it. They could be looking over my
shoulder right now. Hey, stop that scare myself at that.
Speaker 2 (19:43):
Hey, this'll be all right, this will be alrighty uh.
Let's see he could have sneaked into Ruthie's room. Now
would I wake your Ruthie?
Speaker 1 (19:54):
Oh? I'm sorry talking to myself, ruth what's the matter, dolling?
Where's the like? Never mind the likings? To m And
you shut up right now? I said, shut up? Quiet now,
stop it, stop it, and I will hurt you.
Speaker 3 (20:15):
Now stop you, you hurt my friends.
Speaker 4 (20:18):
You'll be all right now, just keep quiet a minute.
Who who are you, ma'am? I just crashed out of
the big house. As they say in the movies, you will.
I am an escaped convict, ma'am. And for your information,
I am a pretty desperate escaped convict. Where's your husband?
Keep his clothes? What?
Speaker 1 (20:36):
I'm still wearing the clothes the state thoughtfully provides for
convicted murderers, ma'am, And they're rather conspicuous. I need a change.
Which is his clauset?
Speaker 3 (20:47):
You've killed him? You know, ma'am.
Speaker 4 (20:48):
I didn't kill him, but I may do that yet
if I won't get a little cooperation out of you,
let me up. Oh, you just sit there and tell
me where to find his other suits?
Speaker 1 (20:58):
Where's the like? Mm? You're very pretty? Let me go
to my husband. Nah, darling, No, I got other plans
for you. Is uh is this your closet? Oh? Nice
little suit? Yeah? I I like now a little on
(21:24):
the large side for me. But you can shut your
eyes while I change. I I'll need a shirt too.
Speaker 3 (21:32):
What are you going to do?
Speaker 4 (21:33):
Well, I'll tell you first. I'm gonna get into this
nice new oversized suit of clothes.
Speaker 1 (21:39):
Let me see if you go right? Sorry, nice shirt?
Speaker 3 (21:45):
Sorry?
Speaker 1 (21:45):
No, I don't think he's dead. And uh, even if
he is, he can't hang me more than once. You know.
Please please be still, oh, I said, be still. Listen, ma'am.
Speaker 2 (21:57):
Don't be misled because I'm treating you nice. I am
really a very rough person. You might have read about
me in the papers. Please no, now shut up, or
I'll have to shut you up. What do you As
soon as I get these clothes adjusted, i'm gonna leave here, ma'am,
and I'm gonna take you with me.
Speaker 1 (22:18):
No, you see there. It's not after me already, and
they want me pretty badly. They have rifles and shotguns, ma'am,
and they won't hesitate to use them, that is, unless
there's a lady present. You see now, now a neck tie.
You're not sh please please hmm. Nice tie is very nice. Okay,
(22:42):
you see, if I might be so crude, I intend
to take.
Speaker 4 (22:45):
You along for a kind of shield man. The boys
won't shoot you. Understand that there's a possibility of putting
a bullet through you, So I suggest you get up
and get a coat or something.
Speaker 1 (22:56):
It's getting quite a lot cooler out I get up.
I won't, ma'am.
Speaker 3 (23:02):
You better please let me see my hont.
Speaker 1 (23:04):
I told you be alright. Man. If you're a good girl,
you might get back to him one of these days.
If you're not, uh did your husband wear hats? If
you're not, you might not come on, get.
Speaker 3 (23:16):
Up, I won't.
Speaker 1 (23:24):
I suppose it was.
Speaker 2 (23:25):
Ruth screaming that brought me back through the darkness to
a kind of semi consciousness.
Speaker 1 (23:30):
The light was still on in their room. I could
hear them talking, still off cold, and I have my
eyes shut. I I don't know why. I suppose I
ought to have got up and help Ruth, but I
was still pretty groggy. I just lay there. I could
hear them. I, ma'am, I haven't got much time to wait.
Speaker 2 (23:48):
I got my eyes open just a little then, and
I could see Ruth with their heavy croat thrown around her,
and he had her by the hand, and he was
pulling toward the door. Oh, come on, come on, come on.
Seemed to be a long time before I could hit
up on one elbow. I hadn't hurt, and I wasn't
(24:08):
sure what happened. Ruth was drawn.
Speaker 1 (24:12):
Who was the man I saw dragging her away? I
tried to think. Finally, the uh I'd feared away enough
so I could figure out what to do.
Speaker 2 (24:23):
Seemed hours later than I got to my feet, I
s daggered off to the other room where I'd been
working with my typewriter. I should do something, I know, well,
what should I do? My mine wouldn't work. I wanted
to go after them, but something stopped me, Something wouldn't.
Speaker 1 (24:45):
Let me go. I didn't know what it was. Something
was making a noise through the ringing in my ears.
What was it? And at last I recognized it.
Speaker 2 (25:02):
Was my typewriters. I felt down as I staggered across
to it. I crawled the rest of the way, forcing
myself to look at the paper.
Speaker 1 (25:13):
The keys were papping away and slowly, thoufully I read
the words with me too, wife, Bring me to life,
(25:34):
bring hood to life. I mean it's mean, means. The
typewriters me, me, me, and the last my pirate. Oh
come on, kind that.
Speaker 2 (25:55):
Come on, I'm a pirate. And the typewriter clacked away. Hurry, hurry, hurry,
has said, painfully, Oh so painfully. I got one hand
on a keyboard. That is where blurred when I found them.
Speaker 3 (26:18):
Mh.
Speaker 1 (26:19):
Pirates comes in, draws cutlass, seeds, enemy.
Speaker 2 (26:33):
Goes to rescue through French window, pursues enemy, enemy.
Speaker 1 (26:43):
Frightened wife knows rescue coming. Pirates raises cutless. Yeah, I'm
they now a bailus. Was pretty hard to explain that
(27:06):
that man wearing my clothes in.
Speaker 2 (27:08):
My garage dead from the wicked slashing blows of a
great sword a cutlass.
Speaker 1 (27:15):
Hard to explain. That's impossible. You believe it. I believe it.
Ruth believes it, and that's the whole story.
Speaker 2 (27:28):
Thanks character, good night, character, you have listened to bring
(27:50):
me to life A quiet please. Story is written and
directed by Willis Cooper. The man who talked to you
was Ernest Chappell. That Ruth was played by Helen Marcy.
Walter Black was the murderer. The man on the telephone
was Warren Bryan. The music was composed and played by
Jeane Brazzo and the character And if for a word
(28:13):
about next week's.
Speaker 1 (28:14):
Quiet, please here is our writer, Director Willis Cooper. Next
week's story is called A Mile High and a Mile Deep,
with the story about the copper mines and the mountains,
about but Montana and the people who worked there, and
(28:37):
so until next week. At this time, I am quiet
for yours Ernest Chapel.
Speaker 2 (29:03):
This program came to you from New York. This is
the world's largest network, the Mutual Broadcasting System
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