Quiet Please - Bring Me to Life

0:00Quiet please. Quiet please. Quiet please. Quiet please. Today is Quiet, please. Joy, written and directed by Willis Cooper and featuring Ernest Chappell, that calls, Bring Me To Life.

1:11Oh, shut up. Why can't people let me alone? Yeah! This is Hanks' Scotty. Hello, Hank. How are you today? Where's your strip? Oh, I just got three more pages to go. I'll get it into you this afternoon. I'll be sure you know, Lincoln. We're sitting here waiting for us. Oh, very thank God. I'll get it in all right. Ok now, we've got the habit today. All right, all right, she'll get it. Ok. I'll wait for you. All right, I'll see you. Yeah. Yeah, I'll see you. I'll see you. I'll see you.

2:12I get an idea. Not a new idea or rabbit. Page one. Now, that's the start. Let me see. What I need is a character. Character, character. Come on, character. And you've got $3. And all I have have got $3. What do you want $3.4? The Milkman. You had some money last night. Oh my god, 80 cents. Hey. Listen, Ruthie, give me an idea for a character. I haven't got any ideas for a character. How about you really got $3? He's been here twice. Get him a check. What I want is 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. I get a character. I get to work. That's all I need. And I'll get a story all I need.

3:13I think. Come on, character. Come on, character. And I want you all. I said I haven't got $3. Come on, Ruth. What do you... What's the matter with you? Come on, him. Ruth. You're fine. Didn't you knock at this door? I'm no crazy. Oh, I thought I heard somebody. That's all right. All right. All right. Oh, come on. I must be going. All right, didn't write that. How did that get on that paper? Bring me to life. I didn't write that.

4:14No, I did. Ruth. Ruthie. Hey, Ruthie. What's the matter? What's the matter with you? Look at my typewriter. What about it? Look what's on the paper. Bring me to life. What strange about that. I didn't write it. What? Are you... Look, look. What is she doing? Underlining those words. How are you doing that? I said I didn't write it. And the typewriter just said, no, I did. What? I didn't write it. No, I did. Who is it? I don't. CH-A-R-A-C-T-E-R character. Now, look. This is a gag of some kind.

5:14How 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? Let's 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. Wash 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. Go on to Huta. 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.

6:15Write about him. Do you really suppose? Now, look, darling. I've been married to a writer long enough to believe almost anything. I don't know how this is done, but it's worth trying, isn't it? Well, I don't like to mucky with things like that. Don't be silly. Well, it's... Wait a minute. It's one thing to write about supernatural things. It's another dude. 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. Hmm? What? It says, I do. Go ahead. I don't like it. Go ahead. Unless this is again.

7:16Yes, no gag. Right. Well... It was a dark and stormy night. What's that? Sounds like thunder. This is storm, I got it. I gosh, does this thing control the weather too? Come on. Run 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 howling wind.

8:16Do 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. Oh, 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 horn... scourge of the Spanish main... Scourge of the Spanish main... slowly climb the steps of the companionway.

9:18Companionway. Here... here's somebody coming up the stairs. You know there aren't any stairs in this house. Oh, read some more. The flunk opened the door. What? He... gazed on the wild scene for a second and... drew his cutlass. What's that? My sweetest crystal vase. It fell down. He knocked it off with that... that compass or whatever it is. That vase cost $42. Well, I couldn't help it, honey. You don't do something about it. Oh, my beautiful vase. And there isn't another one like it in the world. What can I do for God's sake on the eye? I can't help it. Wait a minute. Wait. He returned the cutlass to its scabbard. You see? That doesn't bring back my vase.

10:20Listen. He turned to the beautiful, girleted side. Don't read that. Put out his eyes. Oh, what? Hands! Great big hands! Oh, what's happening? Somebody get me with... with Wester! You... you'll fire you? I'll fix you! No, no, stop! You... You'll stop! Stop! Stop! Hands! Stand your fire and... Oh, no! Well, my friends, that all happened 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 that. And Ruth made that.

11:21And Ruth made that. And Ruth made that. And Ruth made that. And Ruth made that. And Ruth made that. And Ruth made that. And Ruth made the pirate disappear when she tore up the sheet of paper. Oh, I know it was 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. And any minute that Hank the Scotty of the Unnappphone again asked him for my script. You see? Getting psychic. Oh, okay. Hello, Hank. How is your know with 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.

12:23What do I write about this time? 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. Detectives. Spies. Calling all cars. Maybe I could do that. No. All for a lot of who done it's on the network still? Oh well. One more won't hurt him. Let's go. No, no, for a character.

13:27Character. I wonder. Wait a minute. Wait a minute. Roofy. Roofy. Yes, dear. 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? You only think you have to be careful when 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.

14:28You know, you don't have to believe this, friends. I'm not so sure I'd 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 Roofy 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, just a minute. Maybe, okay. Something. And I'm going to try again. Sure, just a minute. But we'll see who do the last thing I'll meet with you. Now, you're imagining it. 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.

15:30Come on, character. Come on, character. Come on, character. What? No, I did that. It wasn't the character. I just thought, 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 to me. Now, character, you have it. Come on, pal. I need help. Don't be mad at me. I'm... No, I think I... No soldier. I'm gonna detect it.

16:31No! Okay. Okay, so I'm a chump. So, I can't pull a character out of the air like that. Okay. So, the one and the left. I'm sorry. I let the uers sit around waiting in the country of this time of night, all alone, when your wife's down to sleep. And this is the only light in the house. You've got to write a supernatural story before morning. Try it sometime, Frank. Let's 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, all alone by yourself. Okay. Quiet, please. Huh? Listen to this.

17:31I am alone. I am alone in a great dark house with only the weird whale of the wind and the whispering willows. You think that's too much illiteration? Weird whale of wind, whispering willows. I'm not alone. I'm not alone in a great dark house with only the weird whale of the wind and whispering willows. I kind of like it. In the whispering willows to keep me somber company. That's okay, huh? Maybe I'll give a story yet. Just keep quiet. Make sure we start character would give me a handle. Now what could happen to a guy sitting here like I am? I don't see. Could be a ghost? No, no, no. Ghost chains, clanking and stuff, corny sound effects.

18:32No, no. I'm burger. Burger might be good. I wouldn't know what to do about a burger though. We haven't gotten any more stealing around here. Besides burgers, I kind of corny too, aren't they? I just think of a fat guy in a mass with an old-fashioned dark lantern and a bag over his shoulder. But like those colors of the jaw and conjure, what's the name of the color of the desert Larry Reynolds? It's a big fat guy in a little old room. Now, burgers are funny. Burgers are out. Well, what the... Who comes sneaking into your house in the middle of the night? We see. Let's see. Hey, what about an escape complex? An escape complex? That'd be all right, wouldn't it? You can do a lot of things with an escape complex. Guy's wife is heavy. You know, desperate character. I could have let the door unlock.

19:33He could have sneaked in. I never know it. He could be looking over my shoulder right now. He's got that scare myself to death. Hey, this will be all right. This will be all right, eh? Let's see. He could have sneaked in the roofies room. Oh, did 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, you got to quiet now. Stop it, stop it, my little herchus. Now stop! You heard my husband. You'll be all right 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.

20:34Where's your husband keep his clothes? What? You're wearing clothes that state-coughly 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 heard 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? That's it. 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 lonely, 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?

21:34I'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 bad. 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've made a red about me in the paper. Please, won't you? No. No. 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.

22:34Please, please. Mm. Like tie, this. Very nice. Hey, you see, if I might be so crude, I intend to take you along for a kind of shield now. And boys, 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're 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 won't. I suppose it was rude screaming that brought me back through the darkness to a kind of semi-consciousness. The light was still on in a room like a huddle. Talk. He's still out cold, ma'am.

23:34I 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 the mark. Come on, ma'am. I haven't gotten much time to wait. I'm not going. I got my eyes open just a little and I could see Roof with her heavy coat thrown around her. He had her by the hand and he was pulling her toward the door. Come on, come on. No! Come on! It seemed to be a long time before I could hit up on one elbow. My head hurt. I wasn't sure what happened. Roof was gone. Who was the man I saw dragging on a radio? I tried to thank you. Finally, the dog appeared away and I'm so like a figure out what to do. I'd seen hours later than I got to my feet. I staggered out to the other room where I'd been working with my typewriter. I should do something I knew.

24:36What should I do? My mind 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 last night, I recognized this sound. It was my typewriter. I held down as I staggered across to it. I crawled the rest of the way. Of course, when I felt through the paper, 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.

25:37Bring me to life. Bring me to life. And last, my pirate. Come on, character. Come on, pirate. And the typewriter cracked away. Hurry, hurry, you said. Painfully, oh, so painful. I got one hand on the keyboard. My keys were blurred. When I found them, pirate comes in. Draws. Cutlets. Seed. Enemy. Goes to rescue through French window.

26:40Pursues. Enemy. Enemy fighting. White nose. Rescue coming. Pirate. Rays is cutlet. Yeah, I'm on bail now. On bail. It was pretty hard to explain to that man wearing my clothes and my garage. Dead from the wicked, slashing blows 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. Good night, character. You have listened to Bring Me To Life.

27:43A quiet, please, toy, written and directed by Willis Cooper. A man who talked to you was Ernest Chapel. Dan Ruth was played by Helen Marcy. Walter Black was the murderer. A man on the telephone was Warren Bryan. The music was composed and played by Jean Brasso. And the character was the one who was the most powerful. 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 copper mines in a mountains above Gute Montana and the people who work there. And so, until next week at this time, I am quiet for yours, Ernest Chapel.

28:46This program came to you from New York. This is the world's largest network, a mutual podcasting system. The world's largest network.