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First Nighter 39-04-28 (0417) Three Who Face Death - Harold's Old Time Radio | Wave AI Podcast Notes

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

Harold's Old Time Radio

Sat Dec 27 2025

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

Summary

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

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.

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.

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)

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.

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.

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 (0:43)

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 (2:03)

Hey.

Narrator (2:03)

That evening Mr.

Paul / Male Lead (2:06)

The usher will show you the box. Thank you.

Narrator (2:08)

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 (3:45)

Paul / Male Lead (29:03)

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.