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About this Episode
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Hosts & Guests
Transcript
Quietly.
Quietly.
The Neutral Broadcasting System presents Quietly,
which is written and directed by Willis Cooper,
which thinkers on his channel.
Quietly, for tonight is called 13 and 8.
I don't remember when was the first time I seen him, I don't think.
What was the fire of the Harbor Hotel last August, wasn't it?
When the fella jumped out of the window,
lit on the streetcar, got carried,
sleep-locked, and it's nice to...
Yeah, let's talk it.
I guess that was the first time.
I've seen him a lot of times since then.
Well, I never thought much about it the first time,
me and this kid was, we was covering the fire.
You know how it is when the hotel gets on the fire
in the middle of the night.
It could be, it should be a big story.
You see the shot of a guy doing a swan dive
with a 20-story and get one of them flashes.
Only the harbor hotel's only three stories high,
and this guy landed on a streetcar
and all he got was a fracture-clavicle wherever that is.
When I get the pitchers, only no prize.
I'll tell you about it, Steve.
There's about 12 or 15 photographs
there from different tapers
and a lot of reporters and cops and firemen and things.
Too many at the bubblegum kids with their box cameras
getting everybody's way,
and that's what's in the wild getting stood on their heads
and the gutter by working kids like me.
All of a sudden it's fuzzy.
How does he look at a guy in the window?
And I looked and thought it was everybody else.
And everybody has got his camera aimed at the guy.
And he's citizen, that's like fun on it.
Well, you know what is the lens loud?
We get them all the time.
They're citizens.
They want to crawl into a picture
and lose the target's nakedness.
So they get their puts in the paper.
And they're out by the millions,
but they're by the millions.
They only got a kind of yell when you yell sometimes.
And when you see a lens loud,
it's the last laugh of the year.
Who won off the other guy's seat?
We had a 13-nate.
And everybody's on it with garcy
and the lens louds being out of breath.
So I had a 13-nate.
And all the others at times they look around
and just end up telling just off the window.
And I see on the guy looking
and I bang each other.
Well, I figure the lens louds
is right in the middle of the picture.
He was moving in on my lens.
But maybe I also got the fella jumping off
in the window to the background
and we could round out the lens louds
and just have a shot of the guy flying
to the year with the greatness of these.
Well, I put on a sticky wall
and saw some of the crests
and all of a box and lean it in here.
Well, howler and wave in their cameras
because they missed a picture
on the count of eye hollage 13-nate.
And I say, listen, I'm just trying
to say nice guy in the camera head.
I initially said, you do, don't I?
And I say, there wasn't nobody.
And I say, what do you mean you're adjective?
And they say, there wasn't nobody.
And I was just trying to throw him off the picture.
I say, there was too.
He was guy, wasn't he?
And this was.
He looked kind of funny.
He said, no, there was.
And then a sticky wall was dying.
He said, if this was the old days,
they'd take the playaway thing and bust it.
I said, well, it's still him.
And you can't bust still him.
And then I say, and besides,
this is the new days and you lay off
and maybe I'll take your face and bust it.
And they swore at me.
And the fire was out.
So, bust and me, we went back to the office.
So, we go in the dark room and I cooked the film.
Sure enough, I got a lens facing the shadow of the guys,
giving out of the window.
And they had no sight of the film I've seen in front of me.
The lens, love.
So I say, hit buzzer, it's funny.
It buzzes.
Listen, fuck how he says it.
Listen.
You know there wasn't nobody there.
And he laughed and said,
here was a pretty cute thing.
Going off there was a fella like that rocker.
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
So, what am I crazy for something?
I say there was a guy there.
Or else I wouldn't have had a holiday 13 and then.
And I got a 15 dollar bonus check.
Yeah, but just the same old holiday 13
and they they can't have a birthday party.
So, they're going into my lens.
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Ah!
Well, fine.
Two more times I've seen a guy.
Given all the stage you see a guy and you don't see him.
And he looks like somebody else.
One is just because you've never wanted a violin,
because you recognize a violin.
Well, as for this guy.
I only get to see him.
See, looking through the wire thing on my camera
with one eye.
And I got new sighted to that eye a little bit.
But I'll see pop straight in front of the mayor one day
while he is saying,
welcome to some ambassadors.
There's not so many to look at.
And it's very quiet in my hall around.
So, see you later.
And the mayor jumps in his look at more thoughts.
And I shoot just as him in one of the ambassadors.
Look, there heads again.
Teach us what?
And oh boy, I've got another 15 dollars on it.
I'm the guy that we don't like to mayor.
See?
And at the next jump, until he won his time,
teach me first the charges against me.
He says brother Rocco Carcini is guilty of his conduct
on becoming.
And it was didn't testify for him.
We have to be sent out of together something.
All I'm doing is trying to be a good guy.
Yeah.
Well, now I'll tell you about the third time.
The time I got the rain.
This time I was at the big time Charlie
with a pinball machine.
See, he was just by the time.
No, they have put the thing around him,
but they can.
The judge says how he's to spend the next 40 years
making little ones out of big ones or whatever they do
down at Charlie Adams.
So, it's the day when they're going to jump in the car
and take him down Highway 66 at Charlie Adams.
Stuff him in the hope.
All the papers that got the guys around
to make the farewell start to the take-off.
He's been in the big channel on California.
We're standing around outside waiting for the party to come up.
Mr. Biggie, what was that?
He's standing alongside me.
You're going to have a 13 and eight on a six-time record.
I'm going to shove your cameras down your throat.
Yeah, you and who else?
The university's guys.
I'm not kidding, too.
Well, listen, Biggie, I don't have a list.
I see somebody.
You've never seen anybody to last two times.
I did, too.
I'm only trying to do your favor.
You should do me favor.
I'm just wanting you.
It's after coming.
You keep your nose clean now, Raccoon.
I'll go shoot you.
Hey, sheesh.
Hey, sheesh.
Hey, hey, sheesh.
How about it?
All right, police.
You get fat.
Now, put your hand a little bit, Chief.
Okay.
Yes.
Hold it.
One more.
One more.
Can't take this that off, Chief.
Take off your hat.
How's that?
Okay.
Pull it.
Pull it.
You got all of the names?
Sure, we got the names.
We shoot one more and you get the car, huh?
Okay.
Come on, Jan.
And then I see this here.
Don't go ahead, I say, don't much off that.
That's how the look is familiar to me.
I move around so direct from me.
Now that he moves, I'll just get me in the car
and somebody else is shuffling up close to this.
I have a yellow turkey in the back.
Hey.
Oh, that's how I got the only shot of this big shot, low on a hole through the chief of police with a gun that somebody slipped on.
And you know what, a picky woman's sign, if it hadn't been for his camera, a picky woman's sign would have got his head blows right on.
Only he was holding up the camera through his face and all that done is through in the box and all the other shots he made.
Yeah, this seems loud to Santa right in front of me, but he wasn't in a picture when I developed it.
There wasn't nobody but the big shot with his gun and the chief of police down there with a dumb look on his hand and the hole in his chest could choke a heart with it.
And I get a spoon and a thing.
Well, I want to tell you about this kid because I was talking about it.
They went together quite a lot.
You see, he is fresh out from college where he was at D.I. built out of the war.
He's humble as a city out of their tires, but well, we're getting kind of famous, say, how do I count the scoop time, get them?
And of course, budget was raised, so he went in on it too. And I figured maybe he's good luck.
Besides, he's smart.
He was the guy, for instance, that named a street car. You know, a killer car?
You know, the kind that pumps the old lady at Lake Park in 49th.
She had a run away from the motorman member and hit the automobile with them kids, and he got a virtually the very next week.
Yeah, it was budget for Santa.
How do you think of that first?
I didn't think it took any special genius to think that one off-rock-o.
Oh, yeah. Sure is it.
Anybody think of it?
I wouldn't.
Wow.
You know, it's a time, you know, sir.
I wish they could think of it.
You were doing all right, but you'd take your rock.
Oh, sure, dear.
Oh, no, you.
One thing, though, rock.
Huh?
One of these days you're going to wake up with a busted nose.
You're a wild, full-wilded nose.
Not me.
I mean, that's 13 and 8 steps.
What about it?
Well, it's been a great day.
One of these days you're going to fill it once too often.
Some of your ragged colleagues will put the arm on you.
Well, listen, I didn't bust.
You're not kidding me.
Oh, there is a guy.
This is the same guy.
You know it's a guy.
No, it ain't.
I couldn't even recognize him.
Well, how come I've never seen him?
Did you see them?
Did you see them?
On your power.
Listen, bud, trust my heart.
I hope you guys are as a guy.
Yes.
I'm telling you, he follows me around.
Little man with a green coat.
No, no green coat.
But he's a real guy.
Well, how come he never appears in any of those pictures?
He is me.
Don't kid me, Rocco.
I wouldn't fit the other guys either, if I were you.
I think they're getting tired of it.
I said no bodyguards.
OK.
OK, right.
But don't come to me for sympathy when I hang up on you.
They ain't going to hang up on anybody.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
No.
I'm going to fall for you, Rocco.
OK.
Hello.
Hello, Mr. Campbell.
How long, Mr. Tumble?
No, sir. I was just going in the doctor room to develop it.
Yes, sir. I sure do need a new camera.
Hey, right here. What's left of it?
Oh, no. I got the holder out in the thorns all right, sir.
I think... I think I got a good shot.
Sure.
Oh, sure.
Well, I never think you'll hit me, but I think I know who it is.
Think you while it's time.
Yeah, sure, from behind me.
I'm pretty sure it was always faster in the start of the jump on my camera.
I was laying down.
I just think footprints going up and down on my camera right in front of my nose.
Yes, sir.
No, sir.
No, sir.
No, sir.
Nothing.
I'm sure that was kind of a reflection.
A reflection like an automatic. I've seen the stunning stuff.
An automatic. I say 13 and eight.
And go on my bed.
Huh?
Oh, well, it was a beautiful camera anyway.
Okay, run away.
Yes, sir.
All righty.
No matter, Rocco, you can't work over.
I shut up. We're in the doctor room.
Nobody.
Anybody in there?
I guess not.
Hi, Rocco. Where'd you get the black guy?
Where'd you get it?
One of the doctors was me.
Okay.
And number two?
Rocket.
And maybe I had a snack.
Big guy thing, where's the suit?
Oh, here.
You stay it again?
They want.
Yes, that's the time of the day.
13 and eight.
Yes.
I see them again.
They're digging a hole in the river.
How's the time?
You can't see the guy.
You mean the time?
Yeah, just, uh, so I got a taxi as it were, whatever it is.
And they haul them up at a police station.
Police?
Yeah, and my friend's a lentil.
I was just in front of me.
And I just say it's not for getting caught in the mouth.
And they fall down.
I crashed the thing, as I fall down.
The rope breaks on the bullet.
And the guy falls back in the drink.
And they jump on my camera.
I mean, you got a child, the man falling rock on.
Why, you get it, that character.
You get it all over the film.
Yeah.
It's cooking up.
You get it in the high floor.
Adventure bridge.
I hope that's my fault.
I'm in the white light.
Uh, a minute.
Okay.
Oh, boy.
And look at that.
I want to go too late.
See you in a minute.
Amy, tell you what.
If your guy was done.
Your lens loss, it was standing in front of you, huh?
Yeah.
Hey, look here.
I'll wait a little bit for the light.
Ha-ha, you see?
I'll look here.
I don't see.
See?
Uh, there's a head, see?
Huh?
Did you have?
See?
Did you not see?
Yeah, but he's there.
You'll save me.
Then, oh, right.
But why do you suppose you can see right through?
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Oh!
Well, you know what?
I took this hand.
I gave it over to the Kinsey Grill one.
I know that I've made sticky, well, and the time.
And I'm with him with it.
Him and Orey Fox is getting at the table organized with some beer.
I just woke up and stood out.
I said, look, I want to show you something.
I'm messy.
I just want to prove something.
No, I just don't prove I never hollered searching
and ate for nothing.
I want you to see the tear like that.
Well, you know what happens when you're not like that.
I love the clock and pull the free beers.
The baby one was done obviously being in heaven alone.
And Orey Fox is also going over the office and getting his camera
so I can jump on it.
I mean, they're sorry.
And the only one thing that bothers none of us is why is the guy
so you can see someone.
And then Ziggy Wallace, I'm putting his shirt there.
Dear.
Maybe the guy is a ghost, welcome.
Well, you know what?
I am not on the thing with both the next afternoon.
Who is there also with Ziggy Wallace?
He gives me a big hello.
I give him one.
There were pals.
See?
And we stand alongside each other lining up a shop.
He bars the flash phones for me.
That's the show where brothers and things.
And he grins at me and he says, no, don't holler, Rocco.
And I say, why should I holler?
They ain't anybody here, but I'm chicken.
Any left.
And so we line up our shop so they won't be too much to like it.
It's a sound of a full shed where they found $34,000
and $20 bills.
And I'm grinsin' with my fun life through the wire thing.
And all of a sudden, I see the night.
And I'm putting it in my cameras.
I bust a stand and hide down front.
And listen.
There wasn't anybody there at all.
Nobody was me and Ziggy.
I've seen him.
I've seen Rocco.
I've just seen him.
Yeah, crazy.
He was standing right there in front of us both.
Where'd he go then?
I don't know.
Listen, bud, you wouldn't be pulling a gag on your power, would you?
Me?
Yeah, you.
I've seen him, Rocco.
Because you think I've pulled a gag on you a couple of times?
Of course, Rocco.
Listen, you are.
I knew you would pull out your nails.
Thank you, sir.
Well, now I am back at the stop.
With another bunch of cameras.
And the loose tooth on place.
Also, I got no picture.
And I feel off.
Hey, Rocco.
That was a nice day, though.
Yeah?
Huh?
Get out of there.
I ain't talking to you.
Now listen.
Thank you.
See what?
You did.
You have?
You are?
Hungry.
Yeah.
You know what?
He's got a picture of that guy on this one.
And you can see right through him.
Rocco.
Yeah, what do you want?
Come on.
Oh, boy.
Hey, what's cooking?
He'll recharge it again.
Huh?
He'll recharge.
Oh, the free car.
And I don't have to track on the south side and kill the mailman.
Come on, tumble once, pick it up.
Oh.
Here we go again.
Come on.
He wants to take this over now for the funds all over.
Come on, come on, come on.
He gave me taxi money.
Oh, for the money.
That's it.
Bye, sir.
Bye, sir.
That doesn't very much.
The car's blocking the street.
The snow's up on the sidewalk.
It doesn't matter the bit.
I got me four five shots.
The art department couldn't paint up with dotted lines.
The next isn't something.
Well, as you've got a lot of stuff in the people that's seen it,
I'm putting to them big, you want to thank them all.
Well, as you listen to the barb,
I tell how he was giving some old guy a shampoo
and he'd like one of a bungalow bungalow.
And the mailman comes down to the window to scatter
and post the cards all over the shop.
And I've got them on the cursed brick in the bottle,
ale, and writing down name.
Can any good shots, Marco?
I'll make this stuff.
Hey, yes.
That's it, sir.
I don't want to talk about it.
Leave me show it to you.
So?
Yes.
Look.
I made a print.
Listen, Biggie.
What are you suppose to do?
I don't know, but it scares me.
Then...
Did you see anybody here?
No.
You think you're on me as much?
You know what?
I wouldn't take no pets out of life.
What they say of the paper?
I told them it was a double exposure.
What in the...
You know it, wasn't it?
Hey, yes.
Do you think we're on it?
I wouldn't bet on that either.
Hey, look.
What?
He's a lost cleaner in your picture.
I noticed it.
Can't quite see his pistol.
No.
But there's something awful familiar about it.
Here's the rifle.
Uh, where do I click?
Who's that?
Get me a close-up of the pilot.
We're here with the number and everything.
Ah, what's for?
I want it.
Ah, number one to two.
Oh, well.
Oh, hi, Biggie.
Hi, Brad.
Hi, Brad.
Hi.
Oh, yeah, Brad.
I want to get back.
Uh, you find something I don't know, Brad.
I'll meet my girl.
Oh, stop it.
Sorry, Biggie.
What?
Hey, Biggie.
Come quick.
Back out again.
Go to the front of the car.
Hit them.
Come on, Brad.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
Hit them.
How are they?
The sound of them.
I'm just going in the bathroom.
It's trombles.
Oh.
You want me to trombles?
Yes, sir.
Well, buses, right there with you, Eddie?
Where's your auntie?
He can tell you.
No, sir, I ain't supposed to check it.
No, I know.
Well, no, sir, I sure thought there was somebody
under that cow, and I was taking a picture.
And when we went back, no, that's right.
I couldn't see anybody either, but I just wanted.
Well, I don't know.
Well, I'm going to cook the film right now.
Yes, sir.
Yes, sir, I'll call you soon, sir.
Yes, sir.
Yes, sir.
Hey, anybody in the bathroom?
It's going to be a big, big wall inside.
Biggie, this is alcohol, listen.
Well, wait a minute.
I've got to film this stuff together.
Yes.
You know that picture I took when I saw that thing
I started going to the car?
Yes.
Yes, well, in the picture, there is a guy under the car.
In the picture, there is a guy under the car
and he's on smack down.
Oh, and I shouldn't.
Yes.
Sure.
Oh, you couldn't see through him this time.
Well, listen, biggie, I'm scared of him.
If you got a shot from the car, I could borrow it.
I've got to have it.
I never missed a shot from my looks.
Yes, I've got to send it over my kid with it.
What?
I can't sit in the tumble.
Oh, I can't.
I can't sit with the buzz either.
What?
Listen, biggie, I've run it up.
Tell him I've run it up.
Well, you can see the guy's face laying in the picture.
Yes.
Yes.
It's buzzed.
Oh, God.
What have we been doing down here in the lobby?
We can't make a noise.
What was I?
Come on, you're going with me.
We got to sit here, Simon Boy.
Well, I...
I mean, definitely.
Don't get it.
I'll be right here.
I've been looking all over the place for you.
I'll tell you on the way.
Don't get the camera in the lamp.
Well, don't do rock or hoist.
Take it now.
I need you down here.
I'll be right here.
I got to make a phone call.
Where are you going?
Where are you going?
I'm going to reach out.
I'm going to reach out for you.
What are you doing there?
I'm going to reach out for you.
Where are you going?
Yeah, I want to thank you again. It'll be a full story. I promise you now we go right out the car blinds now until the car is waiting for it. Come on.
It is written and directed by Willis Cooper and the man who spoke to you was Ernest Kappel.
And very far it was played by Ed Ruggie and the variety of voices in the voice of the half-hour.
We've heard out loud voices that were by Dave Hallemalle. Music required, please, as usual, is played by Albert Brumman.
Now it was from our writer's director Willis Cooper.
You couldn't possibly have recognized yourself if anybody you ever knew living a dead 15 late because I am better than I'm a son.
And any resemblance to anybody else is an amazing coincidence.
We've next week to call how beautiful upon the mountain.
And so until next week at the same time, I am quietly yours, Ernest Kappel.
Quietly, it comes to you all from New York. This is the usual broadcasting system.
And so until next week at the same time, I am quietly yours.
