First Nighter 39-04-28 (0417) Three Who Face Death

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: First Nighter 39-04-28 (0417) Three Who Face Death
Release Date: December 27, 2025
Source: Radio theater performance from the Golden Age of Radio

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Episode Overview

This episode showcases a complete broadcast of "The First Nighter Program," featuring the radio play "Three Who Face Death" (originally aired April 28, 1939). In this suspenseful drama, a young woman named Mary arrives home suffering from amnesia, pursued by a gangster named Madden. As the events unfold, psychological intrigue, danger, and quick-thinking heroics come to the fore, with the play blending elements of crime, melodrama, and 1930s-era theatrical flair.

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Key Discussion Points and Plot Breakdown

Setting the Stage: Opening Night on the Air

[00:43 - 03:45]

• The Narrator immerses listeners in the thrill of opening night at a "little theater off Times Square."
• Stars are introduced: Barbara Luddy as Mary, a distressed young woman; Les Tremayne as Paul, a psychology professor and Mary's love interest.

Act 1: Mystery and Danger Arrive

[03:45 - 11:43]

• Mary is found in a dazed state outside Paul's family home.
  • She exhibits signs of amnesia: "She looks straight at me, but she don't recognize me... unless something's wrong with her brain." – Whitey, (03:45)
• Paul and his father try to comfort her, unsuccessfully attempting to restore her memory.
• Enter Madden, the gangster:
  • Madden barges in, claiming Mary is his wife and demanding to see her.
  • Paul recognizes Madden: "Dad, take a good look at him. He's a gangster. You've seen his picture in the paper any number of times."
• Madden is accused of murder; the house's phone line is found cut, isolating the family.

Notable Quote

• Madden threatens:
  "Listen, white whiskers, before I came in here, I cut your telephone wire. So don't bother trying to telephone." – Madden, (09:10)

Act 2: Uncovering the Truth

[15:17 - 21:45]

• Paul and his father debate what to do. Paul refuses to involve the police, hoping to use psychology to cure Mary's amnesia.
• Paul attempts hypnosis:
  • He uses a candle to hypnotize Mary, restoring her memory.
  • Mary reveals she witnessed Madden committing murder and fled in terror, causing her amnesia:
    • Mary confesses:
      "I saw him shoot a man. I saw him commit murder... I drove away as fast as I could... and I don't remember anymore." (19:08-19:41)
• Madden confronts the group, brandishing a gun and threatening everyone who knows his secret.
  • "I'm talking about you and your old man, Mr. Smart Guy. There are three people who know that I bumped off Al Malone... If you don't think I'm going to do something about you three people, you got another guess coming." – Madden, (21:29)

Act 3: Showdown and Justice by Hypnosis

[25:14 - 32:48]

• Tensions erupt as Paul and Madden square off. Paul uses psychological taunts to get Madden to put away his gun for a fistfight.
  • "Paul would never be in your spot. You're a coward hiding behind a gun." – Paul, (25:26)
• Fight scene: Paul overpowers Madden after a struggle. They prevent Mary from panicking.
• Paul's gambit: While Madden is unconscious, Paul plans to hypnotize him, using his dulled will.
  • "You can't hypnotize this man." – Narrator skeptically, (28:42)
  • "I can if I catch him in a moment when his will is dulled." – Paul, (29:00)
• Under hypnosis, Paul compels Madden to leave and confess his crimes:
  • Paul's command:
    "You're going to leave this house... You're taking only one thing with you – the truth... You're going to confess to the murder of Al Malone... and your other crimes, and you'll stick to your story." (30:30-31:10)
• Madden confesses:
  • "I killed Hal Malone. I killed Red Adam. I killed my own brother. My own brother..." (31:50)
  • Paul sends him out to face justice, freeing Mary and his family from danger.

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Memorable Moments & Notable Quotes

• "That's amnesia. What's that? That's what you get when you're scared stiff." – Whitey and Paul, humorous exchange illustrating 1930s psychological understanding. (03:45)
• "I might have killed you, Madden, but I don't want even your evil blood on my conscience... so I send you this way to bring yourself to justice." – Paul, as he hypnotizes Madden to confess, reflecting a unique moral resolution. (31:20)
• Mary, upon recovering her memory:
  "That's not true. I don't even know him. It's not true... Cole Madden came here to kill me." (19:01-19:08)

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Timestamps for Key Segments

• [03:45] – Play begins, Mary found in amnesiac state.
• [09:10] – Madden enters, threats begin.
• [19:08] – Mary recounts witnessing the murder, explaining her amnesia.
• [21:29] – Madden threatens all three witnesses.
• [25:26] – Paul confronts Madden, calls him a coward.
• [27:03-27:49] – The fight between Paul and Madden.
• [29:00-31:50] – Hypnosis scene: Paul hypnotizes Madden, makes him confess.
• [32:48] – Curtain falls; play concludes, moral victory for Paul and Mary.

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Tone and Style

The episode exemplifies the melodramatic, fast-moving style of 1930s radio theater. Dialogue is crisp, filled with earnest appeals, bold threats, and clear-cut morality. The family-centric values and faith in psychology as “modern science” reflect the era’s sensibilities.

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Final Thoughts

"Three Who Face Death" delivers a compact, suspenseful tale mixing crime, psychological intrigue, and moral justice. Paul’s innovative use of hypnosis both saves the day and provides a unique radio drama flourish. The episode is a classic example of Golden Age radio — family-friendly suspense with a satisfying, if implausible, resolution.

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Transcript

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[Narrator]

Campana's Italian Bomb presents the first night of program a copyrighted feature coast to coast. Theater time Broadway. Once again you're invited to attend the opening night performance of a new play in the little theater off Times Square. All theater land thrills to those magic words. Opening night. It's a supreme moment for the producer. It's the acid test for the author and the actors. They're all wagering their time and talent on their ability to please the public. Taste for entertainment. Will they succeed tonight? Will this new play be the sensation of the season? Well, there's one thing we do know. We don't want to miss any of the excitement, so let's get underway. Here's my cab. Won't you step in and we'll start for the theater. Off Broadway across 42nd street, beating to the rhythm of commerce in the daytime into the gaiety of nightlife after sundown and on just a short distance to the little theater off time it. Well, here we are. Have your tickets ready, please. Have your ticket ready, please. Mr. War going in the door.

[Paul / Male Lead]

Hey.

[Narrator]

That evening Mr.

[Paul / Male Lead]

The usher will show you the box. Thank you.

[Narrator]

We'll go right in. Here. We are all filled in our box with a minute or two before the play begins. I see that the title of tonight's play is Three who face death. Another original by Addison Simmons. The play is pure fiction, of course, does not refer to real people or to actual events. In the star parts are Barbara Luddy and blessed to mace. Mr. Domain is cast as Paul, a young professor of psychology. Ms. Bloody is to play the role of Mary, a young lady whose life is endangered by an unexpected set of circumstances. As usual, there's an allstar test. And now here is Eric Segaquist with his famous orchestra. Before first Curtis, There's the signal for first curtain. The house lights are off.

[Paul / Male Lead]

And here's the play. Hello? Hello? Madden? Yeah, go ahead, Whitey. Matt, I got the thing. Yeah? Where? Up in Loganville. Well, what did you do? I didn't do nothing. I'll put the Finger on him for you. But that's all I'll do, and you know it. Okay. I'll take care of him myself. Where do I find her? Something happened to her. Yeah. What do you mean? Well, I. I think she's gone out of her head. She pulls up the car right down on the main street. When she gets out, she walks right by me, looking kind of dazed like. See? She looks straight at me, but she don't recognize me. And she ain't forgetting me that quick. Unless something's wrong with her brain. Yeah, sure. That's amnesia. What's that? That's what you get when you're scared stiff. Where is she now? She's parked in front of our house, just on the outside of town. I'm falling from a drugstore. I can see her from here. Yes. What's your dress? Connor, Smith and Dean. Right. I'll catch a plane. I'll be up there in half an hour. Okay, but when you get here, I'm beaten. Okay. Goodbye. Well done. I'm glad you made me. Get out and take a walk. We both need it then. Psychology books and psychology classes. If I didn't have my walk every night, I'd need to be looked at by a psychologist myself. I must join you more often. Dad, there's a car in front of the house. A roadster. Dad, that's Mary. No.

[Narrator]

It is, dad.

[Paul / Male Lead]

Come on, Mary.

[Narrator]

Mary, honey.

[Paul / Male Lead]

Mary.

[Narrator]

Mary.

[Paul / Male Lead]

Mary, you'll come back home.

[Mary / Female Lead]

Mary.

[Paul / Male Lead]

Mary, Come on, get out of the car. There's something wrong. Mary, what's the matter?

[Mary / Female Lead]

Mary?

[Paul / Male Lead]

We were inside. Yes. Come on, Lila. Come in the house.

[Mary / Female Lead]

Afraid?

[Paul / Male Lead]

There's nothing to be afraid of. Come on, dear. Open the door. Dad. Come in, Mary.

[Mary / Female Lead]

Um. Afraid?

[Paul / Male Lead]

But there's nothing to be afraid of. You're home, Mary. In the living room, Pa? Yes.

[Mary / Female Lead]

I've got to get away.

[Paul / Male Lead]

Sit down, Mary, dear. That's it.

[Mary / Female Lead]

I got to get away.

[Paul / Male Lead]

What's the matter, Mary?

[Mary / Female Lead]

Mary.

[Paul / Male Lead]

Son, this amnesia. Mary, listen to me. Do you know who I am?

[Mary / Female Lead]

Don't know, dear.

[Paul / Male Lead]

Listen, you've had some trouble and you've come home. Everything's going to be all right now. Yes, dear. Paul and I will see that everything's all right. Son, I think she'd better get some rest first. She looks worn out. All right, then. Come along, Mary. You're going to get some sleep.

[Mary / Female Lead]

Sleep? I'm free.

[Paul / Male Lead]

If you could only tell us what you're afraid of, Mary. Come on, try.

[Mary / Female Lead]

I don't know.

[Paul / Male Lead]

Who would that be? You stay with her. Dad. I'LL go. All right, son. Now, don't cry, Mary. Good evening. Come in. Yes? Who are you? What do you want? I want my wife. Your wife? Mary? Yeah, Mary. Where is she? What is it, Paul? Something wrong, dad? This man says he's Mary's husband. That's what I said. Just a minute. Who are you? I said I'm Mary's husband. Isn't that good enough? Dad, I know who this man is. Oh, yeah? Dad, take a good look at him. He's a gangster. You've seen his picture in the paper any number of times. Wife? Yes, Madden. That's right. Now, where's my wife? Madden, I don't believe Mary's your wife and you're not going to see her. I tell you, she is my wife and I want to see her right now. Mr. Madden, let me tell you something about Mary. He was born and raised in this town. He was an orphan. I raised her here in this house, a member of my own family. So what, mister? Madam, Mary loves my son. This is my son. She went away to the city for a singing career. When she had enough of it, she was coming home to marry my son. Oh, don't bother to tell him that. Just a minute. Paul Medley. Mary didn't go to the city to mingle with such as you, let alone marry you. Listen, white whiskers, in my day, I smacked down plenty of guys for talking back to me. Yes, and we know just how. You smack them down with a gun. Better look out how you talk. Nobody ever proved I used a gun on anybody. We know all about that, too. You've been tried for murder three times. But you shake off a murder charge like a duck shakes off Walker. You know all about me, don't you? All I want to know. Dad, phone for the police. I'll see that he stays where he is. Well, now, ain't he the brave boy, though? Listen, white whiskers, before I came in here, I cut your telephone wire. So don't bother trying to telephone Madden. This will get you exactly nothing. Mary, get back in there.

[Mary / Female Lead]

I'm afraid alone.

[Paul / Male Lead]

Well, you don't have to be afraid anymore, Mary. I've come to take you back home.

[Mary / Female Lead]

Home? Who are you?

[Paul / Male Lead]

Now, Mary, don't tell me you don't know your little Danny. Mary. Mary seems to. Poor kid. She's sick, talking like that. She's sick, all right. Unless I'm mistaken, you know what she's sick about? Yeah. What does that crack mean? Suppose you tell me. All right, smart guy, maybe I will tell you. I Thought you could. Mary, please go back in there and close the. Okay, gents, you wanted it or you'll get it. Mary's got a good reason for being like she is. You know why? What? Because she croaked a guy, that's why. And she got this away from the shock of it. I don't believe it. Nor do I. No, of course you don't. But I'm a guy that knows Betton. None of these lies will get you anything. Mary is not leaving here.

[Narrator]

Is that so?

[Paul / Male Lead]

Well, okay.

[Narrator]

And I'm not leaving either.

[Paul / Male Lead]

See, she's my wife. And if she stays, I stay. Get it?

[Narrator]

The curtain comes down in the first act tonight play in the little theater off Times Square. Working in the honor of Abby or downstairs. Please let me ask this question.

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[Paul / Male Lead]

Come in, dad. Where's Madam? In the living room. How's Mary? Asleep?

[Narrator]

No, just lying there with her eyes closed.

[Paul / Male Lead]

She speaks now and then mumbles. What are we going to do? What if Madden is married to you? Don't believe that, dad. After all, we don't know. It's so many months since Mary wrote to us, dad. She couldn't marry a man like that. She wouldn't. She wouldn't want to. A man like that. That's what he wants with threat. Paul, shouldn't one of us try to get out of the house and drive down for the police? No, this isn't a job for the police yet, dad. Why not? Because I want to know first the real cause of Mary's amnesia. What can we do, Pa? Can we just sit and wait? No, we won't just sit and wait. And you remember the Languedore treatise on hypnotism after this? Yes, why? You remember he tried hypnotism to cure amnesia? Paul? Yes. I'm going to try it then. Of course, Paul, it may work. It's worth trying. Yes, Tom, you must try it. Lock the door. All right, Paul, go ahead. Yes. Mary. Mary, are you over.

[Mary / Female Lead]

Mary.

[Paul / Male Lead]

Mary. Come, dear. Get up. Yes, that's it. I want you to sit right here. Just sit there and relax, dad. Like one of those candles. Put it on the mantle and turn off the other lights. Now, Mary. Look here, Mary. I'm going to help you. I want you to trust me, dear. I want you to do exactly as I say. I want you to sit there and relax and fix your eyes on the flame of that candle. That's it. Keep looking. Looking. Looking, Mary. In that candlelight, in that yellow flame is peace. Sleep. You're going to sleep, Mary. A sweet, deep sleep. You're going to rest. You will go to sleep. Sleep. And when you wake up, all your troubles will be gone. Now, sleep. Sleep. No more amnesia. You remember it, your name, everything. You'll do all this because I tell you, Mary. Because it's good for you. Now you're going to wake up. You're going to wake up, all right? Wake up. Wake up. Sister Rat. Marilyn.

[Mary / Female Lead]

Paul.

[Narrator]

Dad.

[Paul / Male Lead]

Tonight.

[Mary / Female Lead]

Paul. Father. What am I doing here, Mary? How do you feel, Paul? How did I get here?

[Paul / Male Lead]

You've been a victim of amnesia.

[Mary / Female Lead]

What?

[Paul / Male Lead]

You came here because you knew we'd help you. Now you tell us what the trouble is. You tell us about Madden.

[Mary / Female Lead]

Madden? How do you know about Madden?

[Paul / Male Lead]

Madden's here in this house, Mary.

[Mary / Female Lead]

Here?

[Paul / Male Lead]

He followed you here.

[Mary / Female Lead]

Where is he?

[Paul / Male Lead]

In the living room. He wants to take you away.

[Mary / Female Lead]

Oh, no.

[Paul / Male Lead]

You said you were his wife.

[Mary / Female Lead]

That's not true. I don't even know him. It's not true.

[Paul / Male Lead]

You knew it wasn't true. Mary.

[Mary / Female Lead]

Cole Madden came here to kill me.

[Paul / Male Lead]

To kill you?

[Mary / Female Lead]

Yes. I saw him shoot a man. I saw him commit murder.

[Paul / Male Lead]

Murder? You saw him?

[Mary / Female Lead]

Yes. It was freed. I walked around the corner just as he did.

[Paul / Male Lead]

Did Madden see you?

[Mary / Female Lead]

Yes. There was another man, too. He hollered out, Madden. The girl saw you. And then I. I ran back and got into my car and Madden shouted. I was terrified. I drove away as fast as I could. I saw the other man get into a car and come after me. I remember driving a two block, terrified. And I don't remember anymore.

[Paul / Male Lead]

That's when amnesia stopped you. You drove home instinctively.

[Mary / Female Lead]

This mad Imperial. Kill me, Paul.

[Paul / Male Lead]

We've got to have him arrested. Other people have tried that and they are dead.

[Narrator]

Hey, open that door. What's the idea? Open the door.

[Paul / Male Lead]

Mary. Listen, that's madness. You've got to pretend amnesia. You're bewildered. You echo words. You're stunned. Can you do it, please?

[Narrator]

Come on, open it up.

[Paul / Male Lead]

Just a minute. Careful, Mary. What's the idea of locking a door in my own home? Madden? I intend to lock any door I please. Yes. Yeah. Pretty tough customer, ain't you? Oh, hello, Mary. How you feeling? Come on, look up here. What are you afraid of?

[Mary / Female Lead]

Afraid?

[Paul / Male Lead]

Ah, there's nothing to be scared of. I'll take care of you. Nobody's going to hurt you. Come on now, get your hat and coat on. I'm taking you out of here right now. You're not picking her out of here. Oh yes I am. What's more, I got a couple of.

[Narrator]

Little jobs to do right here before we go.

[Paul / Male Lead]

What are you talking about? I'm talking about you and your old man. Mr. Smart Guy. This ho do you think I was when you were pulling that hypnotism act? Yeah, Mary, you ain't so full of.

[Narrator]

Amnesia now, are you? I was outside that door listening to the whole thing.

[Paul / Male Lead]

So you're told what you knew, didn't you?

[Mary / Female Lead]

I didn't mean it.

[Paul / Male Lead]

Madden.

[Mary / Female Lead]

Listen, Madden, you can take me out of here, you can do what you want with me, but please let him alone.

[Paul / Male Lead]

Mary. Just a minute. He's not going to take you out of here. No. I suppose you're going to stop me. Yes, I'll stop you.

[Mary / Female Lead]

Madden. Put away that gun.

[Paul / Male Lead]

Yeah. Listen my friend, there are three people.

[Narrator]

Who know that I bumped off Al Malone.

[Paul / Male Lead]

Now if you don't think I'm going to do something about you, those three people, you've got another guest coming.

[Narrator]

The curtain comes down on the second act of tonight's play in the little theater off Times Square. Walking downstairs are in the outer lobby, please. Now then, let's talk over something important. I'm authorized by Campana to make a startling offer tonight to every woman in this coast to coast audience. Listen carefully please, or here's the sensational news. Campana wants to give you absolutely free a full 20 cent jar of their amazing facial cleansing pads. Dress skin coolies. You get this jar without one penny, of course.

[Paul / Male Lead]

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[Narrator]

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[Paul / Male Lead]

Foreign.

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[Narrator]

First are lower their seats ready for the third and last act. And there goes the curtain.

[Paul / Male Lead]

All right, Madden. The three of us know about your latest murder. What are you going to do about it? What am I going to do about it? What would you do if you were in my spot? Paul would never be in your spot. You're a coward hiding behind a gun. So I'm a coward, am I? Certainly you're a coward. Your kind is always brave with a loaded gun. Without a gun. You're the yellow at swarm of humanity. That's what you say. Madden. I've met your kind before. I studied your type. Every line of your face spells cowardice. From the weak mouth to the shifty watery eyes. Pure kind has got to have a gun to behave like a man. Yeah? What are you trying to do? Get me to put up this gun and handle you with my bare hands? Oh no, no. A yellow rat doesn't give up his only source of good. You're pretty smart, ain't you? All you got to do is make Me, ashamed of myself with a coward. I put up the gun and we.

[Narrator]

Go at it with fit.

[Paul / Male Lead]

And then somebody clips me on the head from behind and it's all over. Ain't that a smart trick now? It's certainly something a coward wouldn't risk. You know what, smart guy? I think I'm gonna give you your wish. I think maybe there'd be fun bashing in that case of yours. The fun's waiting for you if you want it. Sure, I want it. But it ain't gonna work out the way you think. Now, listen, all three of you. Once there was some people that turned me into the cops and figured they'd be witnesses in a nice little murder trial for me. You know, it's a funny thing, but something happened to them before they could get down to the courthouse to testify.

[Narrator]

I thought you understood.

[Paul / Male Lead]

We knew all about that. I just wanted to make sure, that's all. Well, you still looking for a fight? I think so. Okay, but I'm warning you, all three of you. My gun goes in my pocket, and as long as it's fair fighting, it stays there. But if anybody tries any funny business, so help me, I'll plug you. Don't worry, it'll be a fair fight. Okay, a gun's in my pocket. Come on, fight.

[Mary / Female Lead]

Hold on, please.

[Narrator]

Mary, stay back.

[Paul / Male Lead]

Keep her back, dad.

[Narrator]

Well, I'm waiting.

[Paul / Male Lead]

Yes, and you'll get what you're waiting for. All right, get up. You can do it, Paul.

[Narrator]

Get up. Get up, Paul. Yeah, get up, Paul.

[Mary / Female Lead]

Come on. Oh, Paul.

[Paul / Male Lead]

Mary, look up. Get all the way.

[Narrator]

Metal.

[Paul / Male Lead]

I'm going to kill you here, but come on and do it. Oh, he's down.

[Mary / Female Lead]

He's down.

[Paul / Male Lead]

Quick, get his gun. I'll get it, Paulie.

[Mary / Female Lead]

He doesn't move. I think he's dead.

[Paul / Male Lead]

No, he isn't dead. He's just out cold. What do we do with him, Paul? I don't know. Yes, I do. I know what we'll do with him. We'll finish Mr. Madden.

[Mary / Female Lead]

Paul, you can't kill him.

[Paul / Male Lead]

I'm not going to kill him. He's going to do it all himself. Give me your hand with him, Dad. I want to sit him up in this armchair. What is it, son? What are you going to do? I'm going to manufacture a little justice. Listen, come on, help me. Sit there, Mr. Madden, and make yourself comfortable.

[Mary / Female Lead]

What are you going to do?

[Paul / Male Lead]

You see, Mary, turn off the light. We'll just swing the chair around so that Mr. Madden freezes the candlelight and you can't hypnotize this man. You'll see.

[Narrator]

Paul, you know you can't hypnotize an unwilling subject.

[Paul / Male Lead]

I can if I catch him in a moment when his will is dulled.

[Mary / Female Lead]

But how?

[Paul / Male Lead]

When he begins to come to. That's the chance. If I can put him under quickly, he'll have no will to resist. He's coming out of it, Paul. Quiet now. Don't speak a word. I got to work fast. Madden. Madden. Open your eyes, Madden. That's it. Don't move. Stay just as you are, Madden. There's the light straight ahead of you. Candlelight. That's it. Look at it. Keep looking. Keep looking, Madden. You're going back to sleep. You're going back to sleep at once. The light, the candlelight, Madden. Keep looking. Keep looking. Sleep, Madden. Close your eyes. You're going to sleep. Sleep. Sleep, Madden. Sleep. He's out, Paul. Yes, Madden. Now open your eyes. Let's see. Now look at me. That's it. Now listen. Listen to every word, Madden. I'm going to send you away from this house. It won't be your own will to take you away. It will be my will. Because you're going to do what I say. Exactly what I say. You're going to leave this house with only one purpose ahead of you. From now on, you're going to take tell the truth. You're going to speak the truth and nothing but the truth. Do you hear, madam? You're going back to the city where you came from. And you're taking only one thing with you. Truth for you. The deadly truth. There's a grand jury sitting, Madden. You'll go to them. You'll confess to the murder of Hel Malone. You'll confess to your other crimes and you'll stick to your story. You'll stick to the truth until the truth makes a finish of you. You hear me? Answer me. You hear me? Yes. The truth. You understand? Yes. All right. Get up, Madden. The door to the street is open. It's the door into the night. The blackest night you ever stepped into. Blackest. Because you carry your own doom in your own hands. I might have killed you, Madden, but I don't want even your evil blood on my conscience. I might have turned you over to the police in the regular way, but you're too slick for the regular way. And so I send you this way to bring yourself to justice. Yeah. But before you go, I want you to tell me what you're going to tell those who ask you. Speak. What are you going to Tell. I killed Hell Malone. I killed Red Adam. I killed my own brother. My own brother. Madam. Take that story and the rest of it to those who want to know. Down there at the next corner, you'll meet a policeman. Tell it to him. He'll help you on your way. Now, good night, Magn. And may God have mercy on you. Mary. Dear Mary. Don't blood of her mother. It'll do her good. Come here, Mary. Come here.

[Narrator]

And the curtain falls on another first night of success. The 419th performance in the Middle Theater off Times Square. Ms. And Ms. Bloody are in front of the footlight. And now, before we move on to a smart party at an uptown supper club, remember that daylight saving time becomes effective day after tomorrow. Therefore, next Friday. If your community does not have daylight time, tune in first nighter one hour earlier than tonight. If your community does observe daylight savings, then tune in at the usual hour. And now we move out of the theater and into the street.

[Paul / Male Lead]

Here's your cabinet. The first nighter.

[Narrator]

Thank you. Good night.

[Paul / Male Lead]

Foreign.

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[Mary / Female Lead]

Honey, this is it.

[Paul / Male Lead]

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[Paul / Male Lead]

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[Narrator]

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[Paul / Male Lead]

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