Eleventh Hour [SA] xxxxxx xx April The 15th

Summary

Podcast Summary: Harold's Old Time Radio

Episode: Eleventh Hour [SA] "April The 15th"
Date: August 23, 2025
Host: Harolds Old Time Radio

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Overview

This episode of Harold’s Old Time Radio delves into "The Eleventh Hour"—a suspenseful tale reminiscent of the Golden Age of Radio. The story centers on themes of fate, doppelgängers, inherited vendettas, and the relentless reach of the Mafia. Set in various locales across Europe and Australia, the episode artfully weaves identity, trust, and fear into a taut drama that keeps listeners on edge until the final moment.

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Key Discussion Points & Story Insights

Introduction: The 11th Hour (00:34)

• A dramatic, moody introduction establishes time as the unseen force "that measures man's destiny," culminating in the fateful "11th hour."

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A Chance Encounter in Paris (01:29)

• Dexter Holloway and Anne Mason are at a Paris café when they meet Tony Camonte—who mistakes Anne for "Carla," his lost love.
• The doppelgänger motif is immediately established when Tony observes Anne is a near-perfect double of Carla Delavana, showing her a photograph for proof:

  "Even your voice is the same. Here, let me see. ... It's like looking into a mirror." — Tony Camonte (02:06–02:37)

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The Tragic Story of Carla Delavana (03:28)

• Tony recounts his whirlwind romance with Carla in Sydney, whose life is shadowed by a family curse:
  • Carla’s father, an ex-Mafia member and judge, sentenced two mafiosi to death, triggering a cycle of vengeance.
  • Each April 15th, a member of Carla’s family has died following the ritualistic delivery of a hangman’s noose:

    "My father was murdered on April 15, my mother mysteriously killed ... my brother supposedly shot himself. That's what April 15 has done to me." — Carla Delavana (05:11)

• Carla is convinced the Mafia is hunting her, describing the organization's far-reaching power and inescapability:

  "The law in various countries has been fighting the Mafia for 50 years without even denting it." — Carla (06:06) "In Sicily, graveyards are filled with people who did not take the Mafia seriously." — Carla (13:03)

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Terror Builds: The Night of April 15th (09:14–15:44)

• As midnight approaches, fear escalates: Carla receives a chilling phone call reminding her it remains April 15th back home and that her fate isn’t yet escaped.
• Mysterious intrusions—phone line cuts, strange shadows, falling flowerpots—push Tony and Carla to desperation and paranoia.
• The attempted call to the police is thwarted, fueling the atmosphere of claustrophobia and suspicion.

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Betrayal Revealed (20:01)

• In a shocking twist, Tony confesses he was coerced by the Mafia:

  "I'm sorry, my dear. I am the only one [to kill you]. Except for the lookout in the hall, the telegram boy... He spoke to you on the phone and dropped that window box." — Tony (20:06)

• Tony’s internal conflict is palpable; torn by love, he cannot kill Carla:

  "I can't do it. I love you." — Tony (21:24)

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The Final Confrontation (22:28–25:19)

• Roberto Manetti (aka ‘the telegram boy’), the true assassin, enters, taunting Carla and Tony's failed resolve.
• In a struggle, Carla is tragically killed—her death presented not with melodrama but grim inevitability:

  "Carla was dead when I smashed in the door to her bedroom." — Dexter/Anne narration (25:15)

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Aftermath and Reflection (25:15–27:17)

• Manetti is arrested, implicating only small Mafia members; the larger network remains untouched.
• Tony, haunted by Carla's memory, keeps running from the Mafia and his own past.
• A cruel irony closes the story: Tony, in a rush across the avenue, is struck down by a car, on April 15th—the date never ceases to claim its promised victim.

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Notable Quotes & Moments

• On the Nature of the Mafia:

  "Once you join, death is your only release." — Carla (06:46)

• On Futility of Law Enforcement:

  "Go down to police headquarters of any large city...usually there is a whole room [of unsolved Mafia cases]." — Carla (11:20)

• On Fear and Fate:

  "Do you know what it's like? ... My father, my mother, my brother. Now to have to wait until they finish torturing." — Carla (11:06)

• On Betrayal and Emotional Conflict:

  "I've got no choice, Carla. ... There's no other way except this noose for you? Well, why don't you fight me?" — Tony (20:53)

• On Love and Courage:

  "To be placed in such a position by those vile men of the Mafia..." — Carla’s empathy towards Tony (21:10)

• On Irony of Survival:

  "He must have heard you. He stopped. ... Didn't even stop when he hit him." — Anne & Dexter, after Tony's death by car (26:37–26:55)

• On the Inescapable Date:

  "Look at the date on it. ... April 15th." — Final, chilling line as Tony’s lifeless body is found (27:11)

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Timestamps for Key Plot Beats

• Opening Narration & Setup: 00:34–01:29
• The Doppelgänger Encounter: 01:29–02:37
• Carla’s Family Curse/Judicial Backstory: 05:11–08:46
• Rising Suspicion & Paranoia: 12:03–18:37
• First Attempted Assassination (flower box): 18:06
• Phones are Dead (Isolation): 18:24–18:45
• Tony’s Betrayal Revealed: 20:01–21:27
• Manetti’s Confrontation and Carla's Death: 22:28–25:15
• Aftermath & Tony’s Demise: 25:15–27:17
• Final Reveal (April 15th’s Enduring Fate): 27:17

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Tone and Style

• The episode maintains a noir, suspenseful atmosphere with emotionally intense dialogue—switching between fear, anger, and tragic romance.
• The performances lean into melodrama befitting an old radio play, mixing sharp-edged banter with passionate declarations.
• The story is rich with tension, ambiguity, and fatalism, in true Golden Age radio fashion.

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This episode is a riveting reminder of classic radio drama’s power—layered, atmospheric, and engrossing, brimming with memorable lines, twists, and emotional complexity.

Transcript

[A]

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[B]

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[C]

Time. The silent herald of life and death. Success or failure. The unseen force that measures man's destiny. Reaching its most fateful moment as it slowly strikes the 11th hour. So you see, my dear, in me you behold a very happy man. A very happy man. Are you Dexter Paris in the spring, sitting at a sidewalk cafe with Anne Mason? The very beautiful Anne Mason.

[B]

Carla.

[C]

Carla, I. I can't believe it.

[B]

I'm afraid you've made a mistake.

[C]

It can't be true. It can't be. You were dead. Anne, be careful. He's going.

[B]

Okay. Thank you.

[C]

It's all right. I've got him. Here, pull that chair out while I get him into it.

[B]

There. Put him down, Dexter.

[C]

Let me have that. Cony can do you? Yeah. My friend. Drink some of this. I'm sorry.

[B]

How odd. Dexter. He seems to have mistaken me for someone else.

[C]

Judging by his reaction, the last someone in the world expected to see. I'm terribly sorry. Guess it was the sudden shock of seeing you. So I guess you see, you're so much like a girl. I know. Exactly like her. I've got a picture of it here in my wallet. Even your voice is the same. Here, let me see. I'd say this is amazing. And look at this.

[B]

Good heaven. It's like looking into a mirror.

[C]

I've heard of people having almost exact doubles before, but this is a fantastic likeness. Who is the girl in the picture? Carla. Carla Delavana. Oh, by the way, my name is Camonte. Tony Camonte. I'm Dexter Holloway. And the double of the girl in your picture is Anne Mason. How do you do? I can't tell you how sorry I am.

[B]

Nonsense. I'd have been just as shocked as you if it happened to me. Delavana. Is that an Italian name?

[C]

Originally, the Delavanas came to England right after World War I. We, she and I were to have been married and something happened. Would it help to talk about it?

[B]

Oh, don't, if you don't want To. But frankly, you can't blame me for being intrigued about any girl who looks so exactly like me.

[C]

Yes, yes, I'd like to talk about it. Get it off my chest. You see, it all started on April 15th of last year in Sydney, Australia. Shortly before that day, Carlo and I had been introduced by mutual friends. We. Well, I felt tremendously attracted to her and I was sure she felt the same towards me. Well, on this night of April 15th, we'd gone out to dinner, gone on dancing somewhere afterwards. Carla had been acting strangely all evening. I couldn't imagine why. She'd taken a luxury flat on a waterfront, came back there shortly before midnight. Well, you could just imagine how I felt. I was covered with confusion and scrambled.

[B]

What time is it, Tony?

[C]

Oh, that clock's about right, the one you're staring at.

[B]

Will it never be past midnight?

[C]

Anyway, there I was in her kitchen, which looked as if a cyclone had hit it. Scrambled eggs all over me. At which point I am darned if the door didn't open and. Carla? Carla.

[B]

I'm sorry, Tony. Were you saying something?

[C]

I've been saying things all evening, but all you said to me.

[B]

Are you sure that clock is right?

[C]

Yeah, words to that effect. I always thought that women had no time sense at all if it would.

[B]

Only be past midnight.

[C]

Look, what is this thing about the time?

[B]

Carla, I just want this day to end.

[C]

Well, nobody likes Mondays much.

[B]

It has nothing to do with Monday. It's April 15th, but I won't finish it.

[C]

Now, what has April 15th ever done to you? Can I mix you a drink?

[B]

What is it done? My father was murdered on April 15, my mother mysteriously killed in a car crash. Exactly one year later, in the following April 15, my brother supposedly shot himself. That's what April 15 has done to me.

[C]

Oh, Carla, darling, I had no idea. You should have told me. Look here, I think we could both use a drink.

[B]

I told you. What good would that have done? What good would you or anyone else be against them?

[C]

Against whom?

[B]

The Mafia.

[C]

Oh, now, just a minute, Cara. I'm not sure that you ought to have this drink.

[B]

You don't believe the Mafia exists, I suppose?

[C]

Well, I know it did exist years ago. But somebody smashed it, didn't they?

[B]

Smashed it? The law in various countries has been fighting the mafia for 50 years without even denting it.

[C]

How come you know so much about it? What is the Mafia to do with you?

[B]

Only that they murdered three members of my family. Now they are trying to kill me.

[C]

Kill you? Is this some kind of a joke?

[B]

A Joke. In your world, perhaps. In my world. In Sicily. Where the Delavanas come from originally. The Mafia was born there and rules there still.

[C]

But I thought you were born in England.

[B]

No, I am naturalized English. My father was born in Sicily. He joined the Mafia when he was a young boy. Everyone on the island had to join it if they wanted to work. Once you join, death is your only release.

[C]

Yeah, Yeah, I remember reading something about that.

[B]

My father came to England. He studied law at night, became a solicitor, then a barrister, eventually a judge. A few years ago, two brothers appeared before my father for trial. They'd been involved in a horrible, brutal, meaningless murder. The Leoni case.

[C]

Oh, yeah. I remember that case. The papers were full of us.

[B]

The two brothers were mafista. Their chief tried to frighten my father into giving them only a small sentence. My father said, I am a Delavana. There were princes in our family. While you scum were still living in gutters. He sentenced the two brothers to be hanged on the 15th of April, the 5th.

[C]

I see.

[B]

A year later, almost to the day, my father came home to find a package waiting for him with a noose in it.

[C]

Hangman's noose.

[B]

And a card reading. You will die on April 15. My father paid no attention. But on April 15, he was found in his study, shot. The official verdict was suicide.

[C]

And your mother and brother?

[B]

A year later, my mother's car went over an embankment. The next year, it was my brother's turn. Before each of their deaths, the hangman's noose was mailed to them. A year after my brother's death, I received my noose.

[C]

What did you do?

[B]

Panicked. Ran anywhere, Everywhere. Halfway around the world for all of the next year. Always there were eyes watching, footsteps following.

[C]

But you've lived through one. April 15th?

[B]

Yes. This is the second one since my brother's death. For a while, I was sure I'd escaped them. This year, April 15th came nearer and nearer.

[C]

There. Now April 15th is going further and further away. It'll be over when that clock stops striking midnight.

[B]

Oh, Tony, Tony, it all seems so stupid now, but when I rang, you asked you to take me out this evening.

[C]

Was it just because you were frightened?

[B]

My dear, you know better. Knowing you, these past weeks has been like suddenly finding the sunlight after a whole world of darkness.

[C]

Carla. Carla. D. Darling. It's all over now.

[B]

All over and all beginning. Oh, you see, I jump at shadows.

[C]

Well, not anymore, darling.

[B]

Hello, Carla.

[C]

Delavana.

[B]

Yes.

[C]

It is still April 15th in our country Color. Still time for you to get Your noose. No. Carla, what is it?

[B]

I'm all right.

[C]

Who's on that phone? Here, give it to me. Hello? Hello? Hello?

[B]

It's no use. He hung up right after.

[C]

Who hung up after what?

[B]

It was just his voice of this man saying, it's still April 15th in our country, Carlo. Then he laughed and said, still time for you to get the news.

[C]

Carlo.

[B]

Tony. He was right, you know. I'd forgotten the difference in time between London and here. It is still April 15th there. And it will be for hours. Hours of waiting come for me, not knowing where nor how.

[C]

Carla. Carla, stop it. You must stop it.

[B]

Oh, stop it. Do you know what it's like? Have you any idea what I've gone through already? My father, my mother, my brother. Now to have to wait until they finish torturing.

[C]

Carla, stop it. They do have police, you know.

[B]

Police? Go down to police headquarters of any large city, Tony, and ask to see the file on the Mephista isn't justifiable. Usually there is a whole room. And most other cases involving the Mafia are unsolved.

[C]

Yeah, well, I'm still gonna ring them.

[B]

Oh, give me that phone. Give it to me. You're out of your mind. A Mafia has found me. They know I'm here. If we rang the police now, ask them to send someone over to protect us. How will we know the man who arrives is from the police?

[C]

But. But you can't just sit here and wait. Carlos.

[B]

How do I know what I'm going to do?

[C]

I'll get it. I'll get it.

[B]

Tony. Tony, I beg of you. No, don't go to that door. Don't open that door.

[C]

Hey.

[B]

Hey.

[C]

You scare a bloke to death opening a door like that. Carla, it's the telegram boy, Richard Anderson. Oh, there's no Anderson here.

[B]

Upstairs. The flat above this one.

[C]

Upstairs. Righto.

[B]

Wait. Nonnio Astragliano. Leigh. The Italiani.

[C]

No, Carlo. Quiet.

[B]

Tony. You are Italian, aren't you?

[C]

Who, me? Gosh, no. Next blow up, eh? Okay. Why did he come here?

[B]

Why?

[C]

Carla, for heaven's sake, the Mafia can't have taken over the gpo.

[B]

Tony, don't try to be funny.

[C]

I'll get it. Hello? Hello. Look, friend, I don't like games, so speak up. All right, have it your way.

[B]

What was it?

[C]

Nothing. Somebody was on the line. I could hear breathing. Oh, but Carla, I just can't take this Mafia business seriously.

[B]

In Sicily, graveyards are filled with people who did not take the Mafia seriously.

[C]

But it's so old world, how can it be happening in this country.

[B]

It can happen anywhere, Tony. It will happen anywhere so long as the mafia can find frightened people. Frightened people?

[C]

Carla, quick, get over here.

[B]

What?

[C]

Get over here. Get down behind this couch.

[B]

What is it?

[C]

Keep your voice down. I just saw a shadow move out there on the terrace to this flat.

[B]

I can't see anything other than. Tony, it's too dark.

[C]

I tell you there is someone out there. Now you stay behind this couch. I'll get over to the terrace door and throw it open. Now wait here.

[B]

Tony, please be careful.

[C]

All right. Come out of there.

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[C]

Oh, for the love of pink.

[B]

Oh, that is Jojo the cat from next door.

[C]

Here, Jojo.

[B]

Jojo.

[C]

Ah, come on, puss. I'll put you back where you belong. Yeah. Now next time you want to scare, pick someone your own size. Huh? Caller, come here.

[B]

I'm coming, Tony. What is it?

[C]

This. The next door terrace is only about two feet from this one. The average guy could jump that and he sleep. Is there another terrace below this one?

[B]

No, it's a straight drop through the street. I usually keep this terrace door locked, Tony.

[C]

What about the kitchen? Is there a back door?

[B]

It's always locked and bolted.

[C]

Well, let's get back inside. It's a bit breezy out here. Are there any other Doors to this flat, besides the kitchen and the front.

[B]

One, my bedroom has a door onto the outside corridor.

[C]

In here?

[B]

Yes, that is the bedroom.

[C]

Well, the door of the car is locked. You certainly picked a place for the enough ways to get in.

[B]

I picked one with enough ways for me to get out.

[C]

Carla, look, I've got to ring the police.

[B]

But how would we know anyone who came here was from the police?

[C]

Well, how would the mafia know that you'd call the police?

[B]

You've never heard of tapping a telephone?

[C]

Oh, yeah. Well, there's a public call box down the corridor from here. Now, if I rang from there and made a point of speaking personally to the detective, they'll assign us who and gave him some sort of password. Something he'd have to say before we opened the door to him.

[B]

Tony, I don't know if you think you should.

[C]

I think I'd better. Now, I'll be right back.

[B]

Take my door key. It's in the purse on the chair by the front door. I'll wait for you out on the terrace. Tony, I feel the walls of this room seem to be closing in on me.

[C]

No, just don't catch Cole, that's all.

[B]

Oh, don't worry, I shun. Oh, that is better. Everything looks so normal from up here. Street traffic below, the lights along the harbor. Who else? Better get hold of yourself, Carlo. Try and relax. Oh, that is better.

[C]

Hey, Carla. Hey, Carla, what's up? What was that crash?

[B]

That box. The flower box.

[C]

Hey, where did that come from?

[B]

From up there. Someone pushed it over. Tony, it was meant to kill me.

[C]

Here, we better get off this terrace.

[B]

I'm so glad you insisted on going to ring the police.

[C]

Carla, I. I couldn't call them. The phone down the hall is dead.

[B]

Oh, no.

[C]

This phone's dead too.

[B]

It couldn't just happen, could it?

[C]

Not to two phones. Obviously someone did. Something cut the wires, I imagine.

[B]

Telephone wires are inside the house, aren't they?

[C]

Yeah, they are inside the house. And so are the mafia.

[B]

I suppose so. And they think I will just wait here in fear and trembling until they decide to come after me, do they? Well, they are wrong, Tony. That I shall not do.

[C]

Carla, what are you gonna do?

[B]

Tony, no, don't look at me like that, my darling. I'm going out of this building to the police. But you, you are to wait here. They won't harm you. This is my fight, darling, and I've already dragged you into it far enough.

[C]

Carly, you must.

[B]

You can't stop me if they're waiting. If they do kill me. I want someone to know. Tony, I want you to tell people of the terror, the blind, unreasoning terror, that. Oh, my dear, however much I want to, I can't kiss you goodbye. I daren't kiss you. Hold you closer.

[C]

Yes, you can, Connor. Tony, you can kiss me goodbye and I'll hold you very close. Very, very close. With this.

[B]

He knows. Oh, you're joking.

[C]

Hangman never joked. Carla, I don't believe it. You don't believe what? That the Mafia only sent one man to kill a Delavana. I'm sorry, my dear. I am the only one. Except for the lookout in the hall, the telegram boy. Remember? His name is Manetti. He spoke to you on the phone and dropped that window box. He gets impatient. Manetti does.

[B]

You are going to kill me.

[C]

I lied when I pretended not to know about the Mafia. I know about them, all right. They've been holding my mother prisoner since I was sent out here to find you.

[B]

They have threatened to kill your mother.

[C]

Unless I kill you. Sorry, Carla.

[B]

You think your mother would want me to live at such a price?

[C]

I've got no choice, Carla. Don't just look at me. There's no other way. Don't you see no other way except this noose for you? Well, why don't you fight me? Scream, yell, try to run away. Anything. Claudia. Just look at me.

[B]

Poor Tony. My poor Tony. To be placed in such a position by those vile men of the Mafia.

[C]

I can't.

[B]

I can't.

[C]

I can't do it. I love you.

[B]

Car. Oh, there. It wouldn't have mattered so much. You see, if I had thought, truly believed. You could have killed me. I would not have wanted to live anyway.

[C]

Oh, Connor. Carla, this is crazy. You know they'll be after both of us now.

[B]

Both of us? Yes. And your mother.

[C]

Tony, we'll have to run for it. Take a chance that maybe Minetti won't spot us. We'll have to risk it. Where's your coat?

[B]

In the bedroom. I'll get it.

[C]

Well, hurry, my darling.

[B]

Hurry. Yes, Tony.

[C]

Yes, Car?

[B]

Isn't it funny? On the night I was meant to die. I have only just learned what it is to live. Wait there, my darling. I shan't be a moment. Who is that?

[C]

Very pretty. Just found out how to live, have you?

[B]

Manetti.

[C]

That's right. Roberto Manetti, at your service.

[B]

Tony calls me Manny.

[C]

You can, too, if you like.

[B]

How did you get in here?

[C]

Through the door from the corridor. You should have changed the lock, Carla. I could open that With a toothpick, I would to that. Cara. I don't like noise. Especially I don't like the sort of noise you were going to make getting your friend Tony in here. Now, you're going to be quiet if I let you go. All right. That's better. I was afraid I bruised those pretty lips of yours. So Tony turned yellow. Couldn't go through with it. Fell for your big brown eyes, eh?

[B]

Did you really think he would do your beastly work for you?

[C]

No. Me, I never did think he had.

[B]

What it takes using his mother to force him into position like that. There is nothing too low for your kind, is there?

[C]

Save it, Carla. You're wasting time. And sometimes, one thing we haven't forgotten.

[B]

What are you going to do? Hands? Me? What are you going to do?

[C]

What do you think I'm going to do?

[B]

You're going to get rid of me, aren't you? Why don't you say something? Why are you looking at me like that? If you're going to kill me, do it.

[C]

You. You know something.

[B]

All I know is that you have come here to shoot me.

[C]

Who said anything about shooting you?

[B]

Why else would you be here with a gun in your hand?

[C]

Carla. Carla, are you all right?

[B]

Tell him.

[C]

Yes, Carla.

[B]

Yes, I'm all right. Tony.

[C]

What are you doing in there? We've got to get out of here while it's still tied. Careful what you say.

[B]

I had to change into a suit. I shot to. Be a minute, Tony.

[C]

Okay, but for Pete's sake, shake him up. I'll get around to him in a minute.

[B]

Oh, please. You've got me. You mustn't hurt Tony.

[C]

Tony had a job to do. He didn't come through. And in our business it doesn't.

[B]

Give me that girl. Stop it, you little bull. Stop it.

[C]

God. Call her. Open the door.

[B]

Carla. Carla.

[C]

Let me in.

[B]

Carla.

[C]

Carla was dead when I smashed in the door to her bedroom.

[B]

Horrible. How horrible?

[C]

What about Manette? What happened to him? The police picked him up. Didn't he implicate the man Mafia when he confessed? Two or three small fry. Small as Manetti himself. Nobody dares implicate the big ones. I got away, got out of the country. And then I realized they were on my trail. The Mafia, I mean. And I. Well, since then I've run everywhere. Finally here to Paris. I don't much care about getting away from them, you see. If I could only run away from the memory of Carla and what happened to her. And that's. That's why when I saw you Miss Mason, I thought. For an insane, wonderful moment, I thought. I don't know why I've told you all this, but. Well, I guess I be on my way. Poor devil.

[B]

Yes, he. Oh, Dexter, look. Carla's picture. He left it on the table.

[C]

Jovius. Or maybe I can catch him.

[B]

There he is, just starting across the avenue.

[C]

Tony. Hi, Tony. Come on.

[B]

He must have heard you. He stopped.

[C]

Yes. Shan't be a moment. Hey, Tony, watch that car lighter. Didn't even stop when he hit him.

[B]

Holy smoke. Just look at him, Dexter. Is he.

[C]

Yes, he's had it. And.

[B]

Oh, great Scott.

[C]

And look, the newspaper sticking out of his pocket.

[B]

Newspaper.

[C]

It's today's paper. Look at the date on it.

[B]

April 15th.

[C]

Be listening for another mounting drama of action and suspense. When next we bring you the 11th hour. Sam.

[B]

Sa.

[C]

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[A]

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