Quiet Please - Baker's Dozen

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Quiet, please.

Quiet, please.

Quiet, please.

This will broadcast the system presents Quiet, please.

Which is written in the rightly by Willis Cooper and which we choose in its samples.

Quiet, please. For the night is called.

Bakers doesn't.

I thought of that.

Yeah, used to be a bit.

Everybody was all there, too, for an extra fun.

One more parker house roll when they bought a dozen teeth.

That's supposed to be some kind of old time.

Customers, something from Beijing.

Yeah, I wouldn't put out.

Not me, I don't know.

Not me, don't you know, 13's and I'm lucky.

Number I'd say.

I'm lucky for a move.

I'd say unlucky for anybody because it gives away stuff like that.

So I'll maybe laugh and never lost very much attention, I guess.

Anyway, you try and get a baker's dozen of anything out there, isn't anybody?

You get a whole new year equation.

Well, so, baker's dozen is a kind of cute name for a story, I think.

Test and see if anything's done.

I have this wife, she is.

She has a tough time with me.

And I'm always fighting the top of a bulge now.

I'm coming home and taking pics out.

I love a shooter, a shooter.

I love it.

But I'm a great big schmal that ain't got sense enough to leave the bottom of this alone.

And I got eight nights lucky, and I'm a double schmal.

Charlie Brooks already has given me the evo 64 times.

After a long time, I'm not very welcome to Charlie's bar.

He said once that he knows how to make a make-up.

He presented me with a double one for three.

So I'm not one of these big writers, fellas.

And with my old lady, every time I come home singing three cheers,

Florence Jones, Jr. Hi, he's Dr. Ducking.

Because I don't like what she's got for supper.

Why don't you get a new bastard, she's been fighting her fingernails again

and will might give her his.

That's me.

The schmal and spades.

It'll make any difference, I'm nice to her when I'm not drinking that stuff.

She doesn't perfectly always drink in the stomach.

Man, I'm sorry.

That's so what?

Any of these she ever hangs on a mic in?

No, she don't.

Did she know how to cover on me either?

One time there was a conflict next door and he gave me a push and her honey comes in.

She says she hit her nose out of the door.

The cock gives me the I've been looking, what is she doing?

She kisses.

And what can the cock do?

Go away, that's what the cock can do.

There you see.

Why is that woman a lover schmal?

Well, to give Charlie the way to tell you about myself,

I think it's a story.

Listen.

I was on this jury.

A lot of times I've been called for jury to leave it.

Now I'm just like you where I was trying to get out of it.

With me, it might interfere with my bottle department, see?

Well, this time I don't put up a beat by taking it.

You ever been on a jury?

Well, I guess you know how it is.

Nobody pays any attention to you.

You just sit there like a black everybody else.

You might as well be in West overs, you or Kansas.

Arkansas, or whatever, far as the rest of the jury is concerned.

Guys, hollerin' at witnesses and bobby structures of all ages

and sexes watching the police show and hopefully get some dirt.

I guess more.

Well, I didn't have a hangover.

So I never come to tell quite a while after the trial had begun.

You know how a hangover is?

Yeah.

So I had kind of blank spaces in my yard, you know?

First I hear the doctor say when it was caused this guy to croak

and it was on my butt.

Traumatic synthesis of the gravity of something.

And I got caused by applying a blood estimate of the fellow's noggin kind of hard.

So he had this gravitation, he's at that picture.

Then another fellow stops up and down in front of the jury box.

He says he's going to prove this thing done it.

He's going to by gravy hammer hunt if only the fine jury will cooperate.

There's another fellow with a red list as he ejects.

There is a copper that says, yeah, he found the guy with his noggin ready.

And the other, the other, the other all over the place.

Got my noggin, Harrison.

Yeah.

I kind of go to sleep some.

There I am.

Waked off like this thing in a bit of me.

You don't tell me about this Charlie Brooks I used to bring it his bar.

But who is all of a sudden sitting on the witness there?

The Charlie Brooks.

Listen.

My name is Charles Brooks.

Your occupation, Mr. Brooks.

I am a bartender.

And the very good one I hear.

And I fight for what I say.

He makes the best martini in town.

See, I don't know.

I'm not grudges because after all I'm a small one.

He should throw me out.

Nobody even looks at me there.

I just goes right out.

Did you know the deceased, Mr. Brooks?

I certainly did.

I see.

And what sort of man was he, Brooks?

I would say he was not a good man.

What do you mean by that?

Well, he was quarrelsome.

quarrelsome?

When he drank.

Just like me, Charlie.

Did he drink at your bar often, Mr. Brooks?

He used to.

But I refused to serve him for several months.

Just like me.

Because he came in the night he was murdered.

I mean the night he died, he wasn't murdered.

Most described that last bar house, your honor.

Try it out.

Combine your statements to answers to my questions, please, Mr. Brooks.

The jury will decide if murdered and committed or not.

Yes, sir.

Now tell me, Mr. Brooks.

Did you know of any quarrels this man had with his wife?

Yes, sir.

How did you know?

He told me.

That was one of the reasons I told him not to come back to my bar.

I see.

You said you saw him the night he died.

Yes, sir.

He came in drunk and wanted to buy a drink.

But I said no.

And I threw him out personally, personally.

Yes, sir.

It's quite impossible, isn't it?

Yes, sir.

Any injuries you might have inflicted on him and brought him out to the result of his death?

Would you repeat the question, please?

Well, let me put it this way.

You don't think that you injured him badly enough to have crossed his death.

Mr. I kicked him.

You didn't kick him in the head.

No, sir.

I did not kick him in the head.

You would say that he was a bad, vicious, wicked man than Mr. Brooks.

I certainly would.

And that he gave others good cause to kill him.

I certainly do.

I mean, he did.

Especially his wife.

Mr.

Because you give her a medal.

That will be all, Mr. Brooks.

Now, here comes Charlie stepping out from the witness stand and walking across the floor past the jury box right in front of me.

My grin had him and I whispered.

Hey, Charlie.

How are you doing?

And you know what?

You don't give me a combo.

But he couldn't help hearing me but he don't even look at me.

Hello, all right, next time you see me in your bot budget, you're gonna see me in that situation.

But you think he is a big shot because he's a witness in the court?

What is this?

But that ain't the only surprise I get.

Charlie Brooks.

Is this a competitor living next door like I said?

Tell me the gaffigan his name is your name is Dominic Gaffigan. He is and are you a police officer?

I am. You live next door because of the defendant's place of residence. I do. Have you ever been in a defendant's home?

I have. On what occasion officer Gaffigan? It was on March 18, 1947 at 7.45 p.m.

I was attracted by the sound of an altercation. What kind of sound officer?

Like a man beaten his wife and her whimpering life. Go on.

But I put out my head from a door and the door to the defendant's apartment was open.

And I looked in and I saw the defendant run across the room in Christ.

There was a rip in the waste of a dress and he was bleeding at the door.

And what did you do? I entered the apartment. Go on. In the apartment I saw the deceased who was going to the time.

And he was shouting invitations at the defendant. What did he say? He, he cursed very well. And what did he do?

He started across the room after her and I stopped him.

How did you stop him? I said stop. Only that? Well I put my hand against his chest like I see. And then what happened?

Then the defendant turned on me and she asked me what I was doing in the other apartment. Did you answer her?

I did. What did you say? I said I came in to prevent murder. And what did she say? She turned on me.

Said she had pumped her nose on the door. It was going to be no murder and I should go away.

And did you? Well I remonstrated with her. Then from the face of heaven. But she would have known me.

And then she cursed and just her husband. Said she loved him. So I came away then. I see.

And it is still your impression that you arrive on the scene to prevent his murder. It is. You think he would have murdered?

I do. And have you any knowledge of other altercations between the defendant and the deceased stalker's a gypsy?

I have. I stood up and I said. Gaffigan you know you're the biggest liar in the police force.

Gaffigan you're not perfectly as well as what you told that fellow is what happened at my apartment pretty near a year at all.

And you're trying to hang something on some poor small and you know that happened to me as Elsa? You're a staker Gaffigan.

Yes sir. I think the woman would be perfectly justified in killing the man.

You see? That's a cop for you. And I hold it out again. That Gaffigan's a liar, Judge.

But nobody even looked like they heard me. Only the guy that was doing the question. He turned around towards the jury man.

He looked at us. He looked at us so long that Judge Lee Johnson said.

I'm not a Mr. Cuttingham. I'm sorry you're honest. But every time I glance at the jury box.

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I guess the distinction question is there's an extra cure there.

Are you sure you deal all right Mr. Cunningham?

Well I'm sorry sir. I'm having a little trouble with my eyes lately.

I'm sure you're letting me count the cure. Thank you your honor.

One, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve.

I'm sorry your honor. You may proceed Mr. Cunningham.

The guy walked away but he still looked kind of puzzled.

I looked at the other girls and everyone of them was doing what he'd done.

Cunningham, I watched him.

They all turned back to the courtroom.

They were satisfied there was only twelve.

I couldn't help counting two. One, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve.

That's right.

Twelve.

But I didn't count myself. I'm thirteen. I make the Bakers dozen.

I yelled at the D.A.

Hey! That is thirteen of us here.

Hey!

He makes like I'm not there.

You don't even look a pretty sure at me.

I yell again.

Hey!

But he's talking to a woman I know what he's saying.

Will you state your name?

Mrs. A. Johnson.

Mike, I spoke about it.

I stand up.

Hey! That's my wife.

What are you doing here, Elsa?

And your place of residence?

That is not costly.

I'm in France.

Will you please tell the jury exactly what happened on the evening of January 13th?

I was alone in the apartment.

I speak up, ladies and gentlemen.

I was alone in the apartment.

My husband often came home late.

So I wasn't alone when it became seven o'clock and eight o'clock.

What were you doing, Mrs. Broughton?

I was ironing.

I don't even want.

My husband should.

I see.

When it became nine o'clock, I became a little bit alone.

Why?

Wasn't because you were sure your husband was drunk somewhere.

My husband did not drink so much.

Was it because you were afraid that he would come home drunk and beat you up?

No.

Mrs. Broughton, your husband has beaten you up before.

No.

You heard one officer gap again and said, didn't you?

I told him the truth.

I did strike my nose on the door.

You didn't strike it on your husband's face?

No.

He has never struck you.

Never.

Mrs. Broughton, did you hate your husband?

I loved my husband, sir.

Even when he beat you up?

He did not beat me.

I loved him and he loved me.

I couldn't stand it any longer.

I jumped up again, I said.

Listen, you watch as you're all about.

What are you doing with my wife?

Tell her what are they doing to you?

I love my husband.

Tell her I love you.

Well, if you loved him so much, why did you kill her?

What's that devil you're talking about?

What is this stuff?

Listen to me.

I'm talking to you.

You hear me?

I love him.

She's lost me and I love her.

Broughton, I'm not going to let you make a fool of her anymore.

You hear me?

You loved him, so you killed him.

What are you talking about?

And then I got the big idea.

Then I, all of a sudden, knew why that guy thought

there was 13 of us in a jury box.

And why there was.

I could see it.

I heard it things like that, but I didn't believe in ghost stories

or whatever they are.

Only I knew something now.

You know what I knew?

Sure.

I was there.

I was a ghost.

I was sitting on the jury while I was trying my wife for murdering me.

Couldn't be anything else, could it?

I was there.

They said I was there.

They said Elsa murdered me.

You murdered your husband, Mrs. Bronson.

I was ironing.

I was so tired.

I was so afraid.

Afraid of him?

Yes.

I was afraid of him.

He did see to that.

Why should I lie?

Believe me.

I was a good husband to me sometimes.

Because all he would ever dream.

But he was bad.

He had such a long time together when we were happy always.

And then once he had struck me, he was bad easier for him the next time.

He was not himself when he drank, you know.

He was not.

I forgave him each time.

He cried with me so many times afterwards.

What could I do but thank you?

I love him.

Yes, Elsa.

I guess a dead guy can say a say.

Even if nobody give you him, I know you love me.

And I love you.

Always.

I don't know how this happened, Elsa.

But whatever it was, I had it come and didn't I?

No, I had it come.

Nobody in the world would ever believe that I loved you.

Nobody but you.

I don't know what they'll do to the outset.

But I wish I could take the wrap for you.

It isn't enough just being dead.

It was nine o'clock and ten o'clock and I was so tired.

So I went and made myself a bite to eat alone.

And then I came back to the ironing.

I'm afraid I'm slow at my worst.

But I'm very careful.

And you were iron when they came out?

Yes.

Yes, I was ironing.

They tore open.

And I saw at once that he had been drinking.

He walked across the room to me and he stood there smilingly.

The way he always smiled when he was angry.

And he said, he said, what are you doing, Elsa?

Ironing?

And I said yes.

He pushed the ironing board against me and then.

And the iron burned my hand and he bent over to pick me up.

And I was talking about the iron.

And I was talking before.

But I couldn't.

Don't take me away and hate me.

I do not want to live off the fence.

Feeling she got down from the witness box.

She started walking out of the courtroom.

She stopped in front of the jury box and she looked at each one of the other twelve people.

The man in the study was a both-binder and the young salesman.

The girl with the red feather in her hat and all the rest of them.

And when she had looked at each one of them, she looked at me.

And she saw me.

I know she saw me.

Come, Irving.

Come home with me.

I got up from my chair and I went out the little gate in the jury box.

And I walked along over there.

And we went through the little fence in front.

Down the island.

Charlie Brooks got up and walked out one side of her and down on a gaffer in the place.

And he got up and walked out the other side of her.

And we walked out.

There was another policeman with us and he was walking behind him.

He looked out of the courtroom and it was all knocked out there.

And I fell off.

And I just got one glimpse of her.

She turned her head over her shoulder.

And I was walking in the dark for a long, long time.

And I didn't know where I was.

And then all of a sudden it was awful bright.

And I felt somebody chickens me.

And there was Charlie Brooks.

And if you ever come back in this place again drunk or sober, I'll beat your brains out.

You hear me?

And the dark was behind him.

And I was in the snow.

And my head heard worse than ever.

I get up and I walk in the snow.

I stagger.

I stagger along one way in the snow.

I'm going home.

That's really fun.

And this is the house.

This is the stairway.

And this is the door.

So that's the stairway.

That's the stairway.

Alongside the island board.

Hey.

I'm not dead.

What you do now sir.

I'm not dead.

I'm not dead.

I'm not dead.

I'm not dead.

You have listened to Quiet Please, which is written and directed by Willis Cooper.

Irving, the man who spoke to you was Brenna's chapel.

And Elsa was the modest of his key.

The district of Dirty was Jim Bowles.

The Catholician was played by Ed Latimer.

Charlie Brooks's married forms and the judge was anywhere.

The original music for Quiet Please is composed and played by Albert Berman.

Now for what about next week's Quiet Please, here is our writer director.

Willis Cooper.

And we have a story for you next week called The Green Light.

So until next week at the same time.

I am Quiet Lee Ours.

Curtis Chapel.

Quiet Please comes to you from New York.

This is the mutual broadcasting system.

Following station identification you'll hear and now.

Teleredics here from 2311 Racing.

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Hi, this is Alex Cansford.

I'm the host of Big Technology Podcast,

a long time reporter and an on-air contributor to CNBC.

And if you're like me, you're trying to figure out how artificial intelligence is changing the business world and our lives.

So each week on Big Technology, I bring on key actors from companies building AI tech and outsiders trying to influence it.

Asking where this is all going.

They come from places like Nvidia, Microsoft, Amazon and plenty more.

So if you want to be smart with your wallet, your career choices,

and meetings with your colleagues and at dinner parties,

listen to Big Technology Podcast wherever you get your podcasts.