Quiet Please - Bring Me to Life

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Let's go places.

Quiet please.

Today's quiet please, Joy, written and directed by Willis Cooper and featuring Ernest Chappell,

that calls, bring me to life.

Why can't people let me alone?

Yeah, this is Hanks' Sky.

Hello, Hank.

How are you today?

I just got three more pages to go.

I'll get it into you this afternoon.

I'll be sure you do, Lincoln.

We're sitting here waiting for us.

I'll get it in all right.

We've got to have it today.

All right, all right, she'll get it.

Okay.

I'll wait for you.

All right, I'll see you.

Yeah.

Yeah, I'll see you.

I'll see you when I get an idea.

Not a new idea, no rabbit.

Page one.

Well, that's a start.

Let me see what I need the character.

Character, character.

Come on, character.

And you've got three dollars.

What do you want three dollars for?

The Milkman.

You had some money last night.

I got 80 cents.

Thanks.

Listen, Ruthie, give me an idea for a character.

I haven't got any ideas for the character.

Haven't you really got three dollars?

He's been here twice.

Get him a check.

When I want a character for this script.

The only one I can think of now is the Milkman.

You'll get no work.

Oh, yeah, yeah.

Get to work.

Sure, sure.

If I get a character, I get to work.

That's all I need, then I'll get a story all I need.

I think.

Come on, character.

Come on, character.

And I know what you want.

I said I haven't got three dollars.

Oh, come on in, Ruth.

What do you...

What's the matter with you?

Come on in, Ruth.

Ruth.

You're driving me.

Didn't you knock at this door?

I'm no crazy.

Oh, I thought I heard somebody.

That's what we're.

All right, all right.

Don't go, that must be going.

No, I didn't write that.

How did that get on that paper?

I didn't write that.

No, I did.

Ruth.

Ruthie.

Hey, Ruthie.

What's the matter?

Ruthie, come here.

Come here, quick.

What's the matter with you?

Look at my typewriter.

What about it?

Look, look what's on the paper.

Bring me to life.

What strange about that.

What?

What's the matter?

Ruthie, come here.

What about that?

I didn't write it.

What?

Are you...

Look, look.

See what it's doing?

Underlining those words.

How are you doing that?

No, I said you look.

I said I didn't write it.

And the typewriter just said?

No, I did.

Who is it?

I don't.

C-H-A-R-A-C-T-E.

C-E-R character.

Now, look.

This is a gag of some kind.

How are you doing that?

I tell you, it isn't a gag.

That typewriter's haunted.

This is impossible now, I tell you.

It is, huh?

We'll look at it.

Bring me to life.

You see?

All right, smart guy.

It's a great trick.

How do you do it?

Ruth, I swear to...

I swear I'm not doing it.

You are, too.

Look, now, wait.

Wait a minute.

I'll go away over here.

And you'll see.

Now, in a life.

In a life.

Watch now.

I knew it was a gag.

Listen, I've got how it's worth to do.

Now, you go on and get that script written.

I have to think of my character first.

Here it goes again.

It says me, me, me, me, me.

All right, there's your character.

Write about him.

Do you really suppose?

Now, look, darling.

I've been married to a writer long enough

to believe almost anything.

How do I know how this is done, but it's worth crying, isn't it?

Well, I don't like to mucky with things like that.

Don't be silly.

Wait a minute.

It's one thing to write about supernatural things.

It's another to experience them.

You've always been wishing you had a typewriter

that would do your script for you.

Now, you got it.

Go ahead.

Yes, but...

How do I know who this is?

Who?

This character or whatever it is.

Well, you decide.

You'll bring him to life.

Go ahead.

Who should you be?

Well, a pirate.

I don't know anything about pirates.

It says I do.

Go ahead.

I don't like it.

Go ahead.

Unless this is again.

Yes, no gag.

Right.

Well...

It was a dark and stormy night.

What's that?

Sounds like thunder.

It's a storm, I got it.

I gosh, does this thing control the weather, too?

Come on.

Like some more.

It's getting interesting.

Well, I...

Right.

Nothing's happening.

What did you write?

Here.

Read it.

The pirate ship got it through the roaring wave.

All her stale straining under the hauling wind.

Do you smell anything?

Smell?

Yeah, I sure do.

It smells like the ocean.

Go on.

Read some more, Ruth.

I think I know how this works now.

What do you mean?

I think you have to read it to make it happen.

Well, you read it, then.

No.

Do.

I don't want to read it.

I'm scared.

I don't like it either.

Look, the typewriter.

It says, read it.

Well?

Well, Captain.

JB's farm.

Scourge of the Spanish main.

Scourge of the Spanish main.

Slowly climb the steps of the companionway.

A companionway.

Yes.

Here's somebody coming up the stairs.

You know there are any stairs in this house.

Oh, read some more.

And Flung opened the door.

What?

He...

Gaze on the wild scene for a second and drew his cutlass.

What's that?

My sweet crystal vase.

It fell down.

He knocked it off with that cutlass or whatever it is.

That vase cost $42.

Well, I couldn't help it, honey.

You do something about it.

Oh, my beautiful vase.

And there isn't another one like it in the world.

What can I do for a guy who shakes on the eye?

I can't help.

Wait a minute.

Wait.

He returned the cutlass to its scabbard.

You see?

That doesn't bring back my vase.

Well, listen.

He turned to the beautiful girl at his side.

Yes, don't read that.

Put out his eye.

Oh, what?

Hands!

What's the matter?

Hands!

Great big hands!

Oh!

What's happening?

Oh!

Somebody catch me with...

With whiskers!

You...

You'll hire you!

I'll fix you!

Oh, no, no!

Stop!

You...

You'll stop!

Stop!

Hands!

Stand your fire and...

Oh, please.

Well, my friends.

That'll happen a week ago.

You're really happened.

No, I haven't got an explanation for it.

All I know is that that stuff appeared on my phone.

I don't know.

Well, my friends.

That'll happen a week ago.

You're really happened.

No, I haven't got an explanation for it.

All I know is that that stuff appeared on my typewriter.

All the other things happened just the way you've heard them.

And Ruth made the pirate disappear when she tore up the sheet of paper.

All I know is that it hit me a good idea for a story about a pirate and I wrote it.

People thought it was swell.

And here it is, deadline time again and me without an idea again.

Any minute that Hank the Scotty will be on that phone again asking for my script.

You see?

Getting psychic.

Oh, okay.

Hello, Hank.

How did you know it was me?

I always know when it's script day.

I've only got about three pages 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 here we go again.

Here we go again.

What do I write about this time?

No.

No, not about pirates again.

Now, let me think.

No, that's not for me.

I don't like love stories.

No, no.

People don't want war stories.

How about a who died?

A crime story.

A murder.

Detective.

Spies.

Calling all cars.

Yeah, maybe I could do that.

No, awful lot of who done it's on the network still.

Well, one more won't hurt him.

Let's go.

And now for a character.

Character.

I wonder.

Wait a minute.

Wait a minute.

Ruthie.

I wanted to be sure she's asleep.

After the way she murdered my pirate.

You know this could turn out to be a great racket?

Having your characters write your stories for them?

The only thing is you have to be careful what I put down on paper.

Don't want to find myself getting choked to death by somebody I brought to life.

Hey, what am I saying?

Well, let's see what happens.

Page one.

You know, you don't have to believe this, friends.

I'm not so sure I believe it either, you know.

I've been mixed up with supernatural stories for so long.

I guess I'm a sucker for it.

Maybe all that didn't happen.

Maybe Ruthie had died, dreamed it.

The only thing is two people don't usually dream the same dream at the same time, you know.

And that sweetest crystal vase of hers is sure busted.

You know, I didn't.

Okay, Jason, maybe, okay.

Something.

I'm going to try it again.

Sure, just relax.

But we'll see who will do the last thing.

Me or you?

How's your imagination?

Mine or I think.

So shut up a minute while I try this out.

Keep quiet and let's see what happens, okay?

Okay.

Hey, character.

Come on, character.

Come on, character.

Come on, character.

What?

No, I did that.

It wasn't the character I just wrote.

Are you there?

Let me see if the answer's.

Come on, character.

I need a story.

Help me the other day.

Character, help me now.

Come on, come on.

I need help.

Don't be mad at me.

I'm...

I don't like that guy.

I'm a soldier.

I'm a soldier.

I'm a soldier.

I'm a soldier.

I'm a soldier.

I'm an detective.

Okay.

Okay, so I'm a chump.

So I can't pull a character out of the air like that.

Okay.

So go on and laugh.

I'm sorry.

I let the ures sit around waiting in the country of this time of night.

All alone, your wife sounds asleep.

And this is the only life in the house.

You've got to write a supernatural story before morning.

Try it sometime, Frank.

This keeps 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 home by yourself.

Okay.

Quiet, please.

Okay.

Quiet, please.

Listen to this.

I am alone.

I am alone in a great dark house with only the weird veil of the wind and the whispering

sounds.

You think that's too much illiteration?

Weird veil of wind, whispering willows.

I kind of like it.

In the whispering willows to keep me somber company.

That's okay, huh?

Maybe I'll get a story yet.

Just keep quiet.

Make sure we start a character and give me a handle.

Now what?

What happened to a guy sitting here like I am?

Let's see.

What happened?

Could be a ghost?

No, no, no.

Ghost chains, clanking and stuff, corny sound effects.

No, no.

I'm burger.

Hmm.

Burger might be good.

I wouldn't know what to do about it, burger, though.

We haven't got anything more stealing around here.

Guys, burgers are kind of corny, too, aren't they?

You know, you always think of a fat guy and a mass with an old-fashioned dark lantern

and a bag over his shoulder.

But like those colors, the jaw and conjure.

What's the name of the color, does it Larry Reynolds?

It's a big fat guy and a little old man.

Now, burgers are funny.

Burgers are out.

Well, what the...

Who comes sneaking into your house in the middle of the night?

Let's see, let's see.

Hey, uh, what about an escape complex?

An escape complex?

That'd be alright, wouldn't it?

You can do a lot of things with an escape complex.

Guy's wife is heavy.

You know what?

Desperate character, I could have let the door unlock.

They could have sneaked in.

I never know it.

They could be looking over my shoulder right now.

I thought that scared myself to death.

Hey, this will be alright.

This will be alright, he, uh...

Let's see, he could have sneaked in the roofies room.

Would I wake you, Ruthie?

I'm sorry, talking to myself.

Ruth!

Ruth!

What's the matter, darling?

Where's the light?

Never mind the light, mister.

And you shut up right now.

I said shut up.

Quiet now. Stop it, stop it.

And I will hurt you.

Now stop.

You, you hurt my husband.

You'll be alright now.

Just keep quiet a minute.

Who are you?

I am, I just clashed out of the big house as they say in the movie.

You?

I am an escape complex, man.

If you're in formation, I am a pretty desperate escape complex.

Where's your husband keep his clothes?

What?

I'm still wearing clothes that state properly provides for convicted murderers, ma'am.

And they're rather conspicuous.

I need a change.

Which is his closet.

You killed him.

No, ma'am, I didn't kill him, but I may do that yet.

I got a little cooperation out of you.

Let me out.

Oh, you just sit there and tell me where to find his other suit.

Where's the light?

You're very pretty.

Let me go to my husband.

Oh, darling.

No, I got other plans for you.

Is this your closet?

Oh, my little suit.

Yeah, I like that one.

Yeah.

A little on the large side for me, but you can shut your eyes while I change.

I'll need a shirt too.

What are you going to do?

Well, I'll tell you.

First, I'm going to get into this nice new oversized suit of clothes.

Let me see if he's all right.

Sorry.

Oh, nice shirt.

Sorry.

No, I don't think he's dead.

And even if he is, he can't hang me more than once, you know.

Please, please.

Please, still.

I said, be still.

Listen, ma'am.

Don't be misled because I'm treating you nicely.

I am really a very rough person.

You might have read about me in the papers.

Please, won't you?

No.

Now, shut up, or I'll have to shut you up.

What are you doing?

As soon as I get these clothes adjusted, I'm going to leave, your ma'am.

Well, then can I?

And I'm going to take you with me.

No.

You see, they're out 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 they're the lady present.

You see?

Now.

Now in that tie.

You're not.

Please, please.

Hmm.

My tie is.

Very nice.

Hey, you see, if I might be so crude, I intend to take you along for a kind of shield, ma'am.

No.

A boy won't shoot you understand if there is a possibility of putting a bullet through you.

So I suggest you get up and get a coat or something.

It's getting quite a lot cooler out.

I said, get up.

I won't.

Ma'am, you better.

Please, let me see my husband.

I told you to be all right.

And if you're a good girl, you might get back to him one of these days.

If you're not, uh, did you have more hats?

If you're not, you might not.

Come on.

Get up.

I won't.

I suppose it was rude screaming that brought me back through the darkness

just to a kind of semi-consciousness.

The light was still on in the room.

I could hear them talking.

He's still out cold, ma'am.

I have my eyes shut.

I don't know why I suppose I ought to got up and help him.

I was still pretty groggy.

I just lay there.

I could hear them.

Ma'am, I haven't gotten much time to wait.

I'm not going.

I got my eyes open just a little, ma'am.

I could see room for their heavy coat thrown around her.

He had her by the hand and he was pulling her toward the door.

Come on, come on.

No!

No!

Come on!

It seemed to be a long time before I could head up on one elbow.

My head hurt.

I wasn't sure what happened.

Roof was gone.

Who was the man I saw dragging her away at?

I tried to thank you.

Finally, the dog appeared away and I'm so like a figure out what to do.

It seemed hours later than I got to my feet.

I staggered off to the other room where I'd been working with my typewriter.

I should do something I knew.

What should I do?

A line wouldn't work.

I wanted to go after them but something stopped me.

Something wouldn't let me go.

I didn't know what it was.

Something was making a noise through the ringing in my ears.

What?

What?

And the last time I recognized this sound was my typewriter.

I held down as I staggered across to it.

I crawled the rest of the way.

Of course, when I stopped looking at the picture, my keys were tapping away and slowly.

I had to read the words.

Bring me to life.

Bring me to life.

Bring home to life.

Bring me to life.

Bring me to life.

And last, my pirate.

Come on, character.

Come on, pirate.

And the typewriter cracked away.

Hurry. Hurry, it's said.

Painfully, oh, so painful.

I got one hand on the keyboard.

And these were blurred.

But I found them.

Pirate comes in.

Draws.

Cutlets.

Seed.

Enemy.

Goes to rescue through French window.

Pursues.

Enemy.

Enemy fighting.

White nose.

Rescue coming.

Pirate raises cutlets.

Yeah, I'm on bail now.

On bail.

That was pretty hard to explain to that man wearing my clothes and my garage.

Dead from the wicked, slashing glows of a great sword.

A cutlets.

Hard to explain.

That's impossible.

You believe it?

I believe it.

Ruth believes it.

And that's the whole story.

Thanks, character.

You have listened to Bring Me To Life.

A quiet flea story written and directed by Willis Cooper.

The man who talked to you was Ernest Chappell.

Ruth was played by Helen Massey.

Walter Black was the murderer.

The man on the telephone was Warren Bryan.

The music was composed and played by Jean Brasso.

And the character.

And now for a word about next week's quiet please.

Here is our writer director, Willis Cooper.

Next week's story is told a mile high and a mile deep.

It's a story about the contra mind and the mountains above Gute Montana and the people who work there.

And so until next week at this time, I am quiet for yours, Ernest Chappell.

This program came to you from New York.

This is the world's largest network, a mutual broadcasting system.