Night Beat 49-09-19 000 The Ted Carter Murder Case (audition)

Summary

Podcast Title: Harold's Old Time Radio
Episode: Night Beat 49-09-19 000 The Ted Carter Murder Case (audition)
Release Date: February 5, 2025

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Introduction

Night Beat 49-09-19 000 The Ted Carter Murder Case (audition) marks the debut of the new series "Nightbeat," set in the Golden Age of Radio. Starring Edmund O'Brien as Hank Mitchell, a tenacious columnist for the Examiner, the episode delves into the intricate investigation of Ted Carter's mysterious murder. This summary captures the essence of the episode, highlighting key discussions, character interactions, and the unfolding of the murder plot.

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Setting the Scene

The episode opens with Hank Mitchell introducing himself and the case at hand. Ted Carter, a man with a troubled past, has been found dead, and Hank feels a personal connection to the case.

Hank Mitchell [00:57]: "Sometimes it can start out frolicking like birds on a Sunday morning and then turn up with a corpse in a dark alley. The corpse in the dark alley is the business at hand."

Hank describes his emotional turmoil upon discovering Ted's body at the county morgue, emphasizing his longstanding friendship and concern for Ted's recent attempts to go straight.

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Initial Investigation

Hank interacts with the Police Lieutenant, seeking more information about Ted's death. The lieutenant remains dismissive, offering no substantial leads.

Police Lieutenant [02:44]: "You had to get positive identification, Hank. You were the only one we could reach. Sorry I got you out of bed."

Frustrated by the lack of progress, Hank vents his disdain for the city's indifference and vows to uncover the truth behind Ted's murder.

Hank Mitchell [03:00]: "Nobody talks, Hank. Nobody remembers anything. No clues, but a lot of suspects."

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Confrontation with Joan

Hank visits Joan, Ted's girlfriend, seeking insights into Ted's last days. Joan appears distraught and reveals the complexities of Ted's life, hinting at his associations with unsavory characters.

Joan [04:38]: "They called me from the police station."

Hank Mitchell [05:03]: "Who was the last guy he worked for, Joan, who got sore when Ted decided to quit, huh?"

Joan admits ignorance about Ted's last involvements, deepening the mystery and pushing Hank to further explore Ted's connections.

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Uncovering Leads

Determined, Hank recalls Ted's association with Laverne Claire, an old flame. Visiting Laverne, Hank probes for information, leading to a mention of "Bailey" and "Jerry," introducing potential suspects tied to Ted's past.

Hank Mitchell [07:03]: "Bailey character parlies pinballs into diamond stick pins. Numbers racket Bailey, huh?"

Laverne remains evasive, discouraging Hank from pursuing Bailey, which only fuels Hank's determination.

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Confrontation with Bailey's Associate

Hank's investigation leads him to George Bailey, a racketeer with a dubious reputation. His attempts to involve the police are thwarted by the lieutenant's skepticism.

Police Lieutenant [09:10]: "Bailey's had this town by the throat for 10 years. No. I'm sorry, Hank. I can't help you."

Undeterred, Hank channels his frustration into his writing, determined to expose Bailey's involvement through his column.

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The Climactic Encounter

Hank arranges a meeting at Wentworth Tower, anticipating a confrontation with Bailey. Accompanied by Jerry, Bailey's henchman, the encounter escalates as Hank realizes he's been lured into a trap. A tense standoff ensues, culminating in Hank's narrow escape and frantic pursuit by Jerry.

Jerry [12:48]: "Mr. Bailey made me the reception committee."

As the situation spirals, Hank navigates the building's perilous environment, ultimately reaching a deadlock with the antagonist.

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Resolution and Reflection

In the aftermath, Hank returns to Joan, only to face accusations of complicity in Ted's murder.

Joan [27:05]: "Sooner than you've been lying to me. You did kill them. They come to arrest you."

Hank vehemently denies involvement, unraveling the complexities of trust and betrayal. The episode concludes with Hank reflecting on the broader themes of selfishness, jealousy, and the human condition, tying back to the motivations behind Ted's murder.

Hank Mitchell [29:50]: "Too many of us have decided that the golden rule may have been all right for Grandpa, but nowadays the fashionable thing is dog eat dog."

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Key Themes and Insights

• Friendship and Loyalty: Hank's unwavering commitment to uncovering the truth about Ted's death underscores the depths of their friendship.

• Corruption and Power: The character of George Bailey embodies the pervasive corruption within the city, highlighting challenges in seeking justice.

• Isolation and Desperation: Hank's isolation in his quest reflects the struggles individuals face when confronting systemic issues.

• Moral Ambiguity: Characters like Joan and Laverne add layers of complexity, challenging the notions of right and wrong.

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Notable Quotes

• Hank Mitchell [00:19]: "Hank Mitchell has the unique perspective of both a writer and a friend seeking the truth."

• Police Lieutenant [09:05]: "Me trying to make an arrest stick because some drunken dame shot her mouth off."

• Hank Mitchell [25:05]: "I couldn't stop. I was like a snowball. Somebody started rolling down a hill."

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Conclusion

"The Ted Carter Murder Case" sets a compelling foundation for the "Nightbeat" series, blending classic radio drama elements with intricate storytelling. Through Hank Mitchell's relentless pursuit of justice, listeners are immersed in a narrative rich with suspense, emotional depth, and societal commentary, reminiscent of the cherished radio shows of the past.

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Credits:
Nightbeat was written by Larry Marcus, directed by William P. Rousseau, and featured a talented cast including Edmund O'Brien, Betty Moran, Jack Craig Crucian, Anne Stone, Herb Butterfield, Gail Bonney, Jack Edwards, and Larry Dobkin. Music was composed by Rex Corey. The series is produced by NBC, the National Broadcasting Company.

Transcript

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[Edmund O'Brien]

The National Broadcasting Company presents Nightbeat. Starring Edmund O'Brien as Hank Mitchell.

[Hank Mitchell]

Hank Mitchell's the name. The guy who writes that column buried somewhere in the middle section of your examiner. In case you haven't discovered it. Well, it's a lot like anybody's life. Sometimes it mutters around like an old man absently looking for his pipe. Sometimes it can start out frolicking like birds on a Sunday morning and then turn up with a corpse in a dark alley. The corpse in the dark alley is the business at hand. In a big city, a dead man is a pretty impersonal thing. But this one I had a special interest in because they wanted me to identify was early morning when I walked into the county morgue. And there was that same familiar ammonia smell stinging my nostrils. The usual gleaming tile and the empty feeling you get when the cold swipe of the morgue hits you across the face. Like the tail end of a nightmare. The police lieutenant was waiting for me. He nodded for the attendant to pull back the white sheet. Well, yeah, that's him. That's Ted Carter. Ted Carter. And as the attendant pulled the sheet back up over him, I couldn't help feeling that no matter who they might say killed Ted, the one who'd really put him under that canvas sheet was me. I'd known Ted since we were kids growing up in the same block of tenements. Only I took to hanging on a typewriter while Ted started hanging around with the bad boys. We still managed to see each other through the years. And whenever we got together, I never lost the chance to make noble sounds about Ted going straight because he liked me. He started listening to me. And so because he listened, he was lying on a slab. I turned to the lieutenant. He was looking at his pocket watch and yawning.

[Police Lieutenant]

You had to get positive identification, Hank. You were the only one we could reach. Sorry I got you out of bed.

[Hank Mitchell]

No, it's okay.

[Police Lieutenant]

Well, I guess that winds it up.

[Hank Mitchell]

Be seeing you.

[Police Lieutenant]

Thanks for the trouble.

[Hank Mitchell]

Hey, wait a minute, mister. Hurry. You act like you never knew the kid.

[Police Lieutenant]

Sure, I knew him. So what? I know lots of people.

[Hank Mitchell]

Stuck his neck out for you more than once. Saved your face a couple of times, that I remember.

[Police Lieutenant]

I know you had a friendly interest in the kid, Hank, but he got it the way all hoodlums eventually get it.

[Hank Mitchell]

He's been going straight and, you know, it's.

[Police Lieutenant]

What are you sore about?

[Edmund O'Brien]

Well, who did it?

[Hank Mitchell]

Who killed him?

[Police Lieutenant]

Go in any book joint, any gym, or look in any back alley, any flop house. Whoever you find there could have done it. Take your pick.

[Hank Mitchell]

Take my pick.

[Police Lieutenant]

Nobody talks, Hank. Nobody remembers anything. No clues, but a lot of suspects. In my book, it's murder by a person to persons unknown.

[Hank Mitchell]

Just like that?

[Police Lieutenant]

Just like that.

[Hank Mitchell]

Well, maybe for you it's that way, Lieutenant, but not for me. I walked away from the lieutenant like he had the smallpox, and I'd never been vaccinated. When I hit the street, it was raining. The sky was gray. There was a cold chill in the air. I waited for a cab, thinking for the first time that I hated this city. Hated it. Because somewhere out in that rain was Ted's killer. What was he doing now? Sleeping. Having his morning coffee. Waiting for the first editions to come out to see how well he'd done. You'd have to look hard to find anything about Ted. Page 6. Ex hoodlum found shot. Period. When you're an ex, anything. That's a nice way of saying you're dead, brother. Lie down. When a cab showed up, I went over to see Ted's girl, Joan. Soon as she opened the door, I knew she'd found out. Her face looked pinched and pale. Her eyes were red, like she'd squeezed out that last tear.

[Joan]

They called me from the police station.

[Hank Mitchell]

Yeah.

[Joan]

Hank, why did it have to happen like that?

[Hank Mitchell]

What do you think did it, Joan?

[Joan]

I don't know. He told me he was all through with the rackets.

[Hank Mitchell]

What was he doing? Who had he been mixed up with?

[Joan]

He never told me anything. I never asked him. I believed him when he told me he was going straight.

[Hank Mitchell]

I'm gonna find out who killed him.

[Joan]

Joan, you and Ted lived in different worlds. He wouldn't want you to get hurt because of him.

[Hank Mitchell]

He believed me when I told him he'd be happier if he went straight. That's a nice thing to keep me company from now on, huh?

[Joan]

But this is for the police.

[Hank Mitchell]

Sorry. The police aren't interested. Who was the last guy he worked For Joan, who got sore when Ted decided to quit, huh?

[Laverne Claire]

I don't know.

[Hank Mitchell]

I don't know. Joan didn't know. I went around to the old haunts. His former friends. They didn't know. The district attorney didn't know. The cops didn't know. Ted had kicked around in this city among all these people for 28 years. And now, suddenly, it was like he'd never lived at all. Then I remembered a little item from his old life. A little item with baby blue eyes and red hair. Laverne Claire. He'd gone with her before he met Joan. And even after he met Joan. I know he kept sneaking back to laverne like a drunk, deciding whether to spend his last coin calling Alcoholics Anonymous or buying a glass of muscatel. I went looking for laverne. She had the number four spot, one of those five a day shows on the untidy side of town. When I got there, I had to wait till the fleshy part of the entertainment was over. Then I went to a dressing room. Ted spent a lot of time telling me how crazy he was about you, Laverne.

[Laverne Claire]

Yeah, he was a sweet guy, Ted was, all right.

[Hank Mitchell]

You like to tell me about the way you looked when you dance.

[Laverne Claire]

Yeah, sure. Hey, where's my drink? That bottle there. Pour me, will you?

[Hank Mitchell]

Oh, sure. Say.

[Laverne Claire]

That'Ll be when.

[Hank Mitchell]

Uh. Huh. There you are. Thanks. Who do you think killed him, Laverne?

[Laverne Claire]

Look, Mr. Mitchell, you're a nice guy, so why don't you go back to your office and write your column about pretty things, Mr. Mitchell? Nice, nice, harmless things. You don't want to get mixed up with Bailey or with that guy Jerry. They're poisoned, Mr. Mitchell. Why'd they go home? Get out of here.

[Hank Mitchell]

Bailey.

[Laverne Claire]

I didn't say Bailey.

[Hank Mitchell]

So it's Bailey character that parlies pinballs into diamond stick pins. Numbers racket Bailey, huh? So Ted knew something and he had a shot.

[Laverne Claire]

I didn't say that. I didn't say anything.

[Hank Mitchell]

And who's this Jerry? I don't know.

[Laverne Claire]

I don't know anything.

[Hank Mitchell]

Get out of here.

[Laverne Claire]

By the way, you understand?

[Hank Mitchell]

Yeah, yeah, I'm beginning to understand. So I had myself a lead. George Bailey. Only it was like going fishing with the hope you'll be lucky enough to catch a trout. But all of a sudden, look who's eating. You were Moby Dick the whale. Before I told anyone else, I thought I'd go back and see Joan. I think I know who killed him, Joan.

[Joan]

You do?

[Hank Mitchell]

I'm not positive, but it's a beginning.

[Joan]

Who?

[Hank Mitchell]

George Bailey? No one.

[Joan]

Bailey. Who told you it was Bailey?

[Hank Mitchell]

You're getting pale, Joan. So you think it was Bailey too?

[Joan]

Listen, Hank, stay away from Bailey. He's trouble.

[Hank Mitchell]

Yeah, well, I'll let you know exactly how much trouble. See you later.

[Joan]

Where are you going?

[Hank Mitchell]

The lieutenant told me anyone could have killed Ted. He invited me to take my pick. Well, I'm going over and see that cop. I've taken my pick. George Bailey.

[Police Lieutenant]

I think you surprised me. You really expect me to arrest George Bailey? On what charge?

[Hank Mitchell]

He's mixed up with Ted's killing. You know it and I know it.

[Police Lieutenant]

But outside of this laverne girl, have you got a witness? One single witness who'll testify that Bailey have a new test?

[Hank Mitchell]

Now, you know nobody would testify against Bailey.

[Police Lieutenant]

But I've got to have something to go on. Hank, do you have one shred of evidence pointing to Bailey?

[Hank Mitchell]

All right, arrest him on suspicion and then sweat it out of him.

[Police Lieutenant]

Now, wouldn't I look fine against Bailey's high powered chyster lawyer?

[Hank Mitchell]

So what?

[Police Lieutenant]

Me trying to make an arrest stick because some drunken dame shot her mouth off. And even then she'd deny it if I put her on the witness stand.

[Hank Mitchell]

Uh huh. So you don't want to touch Bailey.

[Police Lieutenant]

Oh, wait a minute. Get me one witness who saw them together. Find me one scrap of circumstantial evidence. I'll arrest Bailey in a minute. You won't find anything. I know. I've tried. All you'll find is frightened people and blank walls. Bailey's had this town by the throat for 10 years. No. I'm sorry, Hank. I can't help you.

[Hank Mitchell]

But I couldn't stop. I was like a snowball. Somebody started rolling down a hill. I didn't know where I was going or what would happen when I got there, but I had to keep rolling. They've got a name for that. It's called a gilt complex. And I had it in Technicolor. Ted was dead and buried because he believed in me. I couldn't forget that any more than I could forget my name. And then I remembered my column. Sure, why not? Why not? The stories of those happy winos would have to move over. I was gonna work on Bailey in the only way I knew and keep my fingers crossed that something would happen. What big shot racketeer sends for his aspirin every time someone mentions the back alley murder of Ted Carter? When is the district attorney going to get wise and change the address of Mr. B from a downtown penthouse? To an upstate death.

[Jerry]

Listen to this, boss. Mitchell's latest little offering. When are the police gonna bring in the Carter killer?

[Hank Mitchell]

Let me see it. And if they don't know who it is, I'll give them a hint. Think of daily and reach for the letter B.

[Jerry]

How long's he gonna get away with that?

[Hank Mitchell]

And if I'm wrong, why doesn't somebody sue? Why doesn't somebody sue? Hand me the phone.

[Jerry]

Sure.

[Hank Mitchell]

How long? I want Hank Mitchell. You got him. I'll say it only once, Mr. Mitchell. I don't like this kind of publicity. I. You must be Bailey. I'm asking you to lay off. Oh, real polite, like. That's right.

[Jerry]

Real for life.

[Hank Mitchell]

So what's the good word, Mr. Mitchell? The good word, huh? Well, I got a whole sack full. If you get a copy of the examiner first thing tomorrow, you'll see him right under my byline. Now listen, my friend, since you were nice enough to call, I'll give you a preview. Something like this. When are the local gendarmes gonna knock on Mr. Bailey's door with a warrant for his? Okay, so he doesn't want a preview. Oh, let him pay 7 cents. I got back to my rooming house a little after 10. I was feeling pretty good. That guilt complex about Ted Carter wasn't hurting quite so much. I unlocked my door and stepped inside. I didn't have to shut the door. It was shut for me.

[Jerry]

I've been waiting for you, Mr. Mitchell.

[Hank Mitchell]

Well, as long as you're here, make yourself at home.

[Jerry]

You're a wisecracker, ain't you? Like your friend Ted Carter.

[Hank Mitchell]

What do you know about Ted Carter?

[Jerry]

He was a regular car.

[Hank Mitchell]

Okay, what do you want?

[Jerry]

My boss sent me over to take a look at you.

[Hank Mitchell]

Your boss?

[Jerry]

Mm. Mr. Bailey.

[Hank Mitchell]

And you, your little boy blue.

[Jerry]

Yeah, Regular wisecracker.

[Hank Mitchell]

Tell that boss of yours I'll be dropping around to see him for an interview. Uh huh.

[Jerry]

You don't want it that way. He sent me to see you instead.

[Hank Mitchell]

Oh, yeah?

[Jerry]

Yeah. He don't like people who don't pay attention to his telephone messages. He thinks you're very nasty, Yapping all the time that he had something to do with the Ted Carter killer.

[Hank Mitchell]

So?

[Jerry]

So, like I said, Mr. Bailey don't like it.

[Hank Mitchell]

Okay, buster, now get out of here.

[Jerry]

Not right now. Mr. Bailey wants me to teach you a lesson. Mr. Bailey don't like smart guys. Wise cracker.

[Hank Mitchell]

I woke up with a nice view of my ceiling. A sign outside the window flashed on and off, and every time it flashed on it was like that punk of Bailey's with his blackjack. Testing his strength in my skull and doing fine. After a while, I crawled on my knees and worked my way over to the wall. And I climbed up the side of the dresser till I reached the phone.

[Laverne Claire]

Operator.

[Hank Mitchell]

Operator, get me the police. No, never mind. Skip it. All of a sudden, I didn't want the police in on this. I wanted this to be a private party. All of a sudden I was tired of the lieutenant shaking his head and saying, give me evidence. I was tired of the clatter of my typewriter and the fiery words that added up to nothing. I guess maybe it was the beating I'd taken. Or maybe that guilt complex about Ted working overtime. But all of a sudden, I wanted to feel a gun in my hands. I washed up and changed clothes, found a cab. It was a quarter to 11 when I reached Joan's apartment. I had to knock a long time before she came to the door. She was rubbing the sleep out of her eyes.

[Joan]

Oh, hey. Come in.

[Hank Mitchell]

Thanks, honey.

[Joan]

What happened to you?

[Hank Mitchell]

Surprise party by the same people who surprised Ted.

[Joan]

Wait, I'll get some vanities.

[Hank Mitchell]

That's not why I came. Ted once told me that when he decided to quit, he brought his gun to you so you could keep it and know he was on the up and up. So I want Ted's gun.

[Joan]

What are you gonna do with it?

[Hank Mitchell]

Never mind. Just get me the gun.

[Joan]

Crazy Hank, you'll the gun, will you?

[Hank Mitchell]

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[Hank Mitchell]

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[Joan]

It's in the bottom drawer. The dresser. I get. I think you're crazy. Here.

[Hank Mitchell]

Thanks. Now if I can use your phone. I called the examiner and talked to a pal on the crime beat. He gave me two telephone numbers for Bailey. One at his home, one at his office. I called the home first. They told me he was still working. I called the office and when friend Jerry answered I hung up. Well, he's at his office. A hard working fella, you know.

[Joan]

What is?

[Hank Mitchell]

Wentworth Tower. Skyscraper in the Little Mount. He's seeing you, Joan.

[Joan]

Hank, you're crazy. You're walking right into a trap. They'll kill you like they killed Ted.

[Hank Mitchell]

If I don't go, Jerry will be coming around again. You see, either way, it's no good. At least this way I say when.

[Joan]

But Hank.

[Hank Mitchell]

Wish me luck. Look, you fool.

[Joan]

You'll end up like Ted with five bullet holes in your back.

[Hank Mitchell]

The Wentworth Towers. It was almost midnight. The streets were deserted. The only sound was distant traffic. The front door of the building was locked. I looked through the glass. The only light in the lobby came from the night elevator. An old man sat inside the elevator, dozing. I pounded on the window. He looked out at me. He shook his white head for me to go away, But I wasn't going. When he saw me staying there, he got to his feet and started walking toward me. He snapped the door lock and pushed open the front door.

[Excited Bystander]

Nobody in this building. Now all the offices are closed.

[Hank Mitchell]

Not all of them, Pop. I have an appointment with Mr. Bailey. You have?

[Excited Bystander]

Okay, I'll take you up. 34th floor. Come on.

[Hank Mitchell]

As the elevator rose, I dipped my hand in my coat pocket. A cold touch of the gun had the comforting sensation of a boy holding his father's hand. The elevator came to a stop on the 34th floor. The doors opened and Jerry stepped out of the darkness. Also with a gun. Only his was in his fist.

[Jerry]

So that call tonight was from you, huh? Thank. Take us downstairs, pup.

[Excited Bystander]

Sure. Thanks, Eric.

[Hank Mitchell]

I want to see Bailey.

[Jerry]

Mr. Bailey made me the reception committee.

[Hank Mitchell]

Where does the reception take place? In the alley, maybe.

[Jerry]

And keep your hands out of your pockets. Let me see what you got there. A gun. Pretty nice. Thanks.

[Hank Mitchell]

I. Don't mention it. I'm always handing out souvenirs.

[Jerry]

You go out first, Pop, and open the street door.

[Excited Bystander]

All right, Jerry. I'll get it open for you.

[Jerry]

Is everything all right, Pop? Is it all clear?

[Hank Mitchell]

Why don't you go out there and see? Here, I'll help. Hey.

[Police Lieutenant]

What?

[Hank Mitchell]

I shoved the kid out and pushed the lever that slammed the doors shut and started the elevator going up. I could see little lights blink on the instrument panel as I passed each floor. Bailey was on the 34th floor. And I was getting closer, closer, closer. Stop. What was wrong? I kept punching the lever again and again. The elevator wouldn't budge. I tried to open the door but was sealed tight. The signals on the panel showed I was stuck between the 11th and the 12th floor. What was wrong? And I heard noises far down below. Now I knew what was wrong. Jerry and the old man had gone to the basement and switched off the power on my elevator. I didn't have to be a mastermind to figure out their next move. They'd bring up one of the other elevators and come after me. I began to feel like an animal trapped in a cage. And then I noticed the little door on top of the cage. I climbed on the old man's stool. I pushed the door upward and grabbed the sides of the opening. Then I started pulling myself. Now I'm standing on top of the elevator, hanging onto the greasy cable that ran down from the roof of the building. And far below, I heard the other elevator with Jerry and the old man start climbing. Leaning forward, I could just about reach the door of the 12th floor. A little further, a little. Almost lost my balance. The other elevator was coming fast. I lunged for the handle of the 12th floor door again. Got it Pulled forward with all my strength. The door opened and I began pulling myself up. Up through the open door and onto the 12th floor. I crouched, gasping like a fish out of water. Then, before I could move, the doors of the other burst open.

[Jerry]

Okay, Mr. Wise Guy, what now?

[Hank Mitchell]

I don't know. Got any suggestions?

[Jerry]

Yeah, with all that oil on you, we're gonna send you to the cleaners. Pop. You go downstairs.

[Excited Bystander]

You better wait a while, huh? Look down the hall.

[Jerry]

Who is it? See who's coming?

[Excited Bystander]

One of the cleaning women.

[Hank Mitchell]

We're gonna have a witness.

[Cleaning Woman]

Hey, Pop, will you wait for me, please?

[Excited Bystander]

Come on, come on.

[Cleaning Woman]

Well, this is sure a break, you being up here, Pop. I thought you'd be taking a snooze and I'd have to wait for heaven knows how long.

[Excited Bystander]

No, I'm going down now. Get in.

[Cleaning Woman]

Well, what about the gentlemen here? Ain't they going down?

[Hank Mitchell]

Yes, yes, of course.

[Jerry]

But we can't.

[Hank Mitchell]

I just remembered. Remembered what?

[Jerry]

I left those reports on top of the desk. Come on, we'll go back and pick them up.

[Hank Mitchell]

We can pick them up tomorrow.

[Jerry]

I want to get them now and.

[Hank Mitchell]

Go yourself. I'll go down. But you heard what this lady said. It's hard to get the elevator this time of night. We rode down, the four of us. No one said anything. The cleaning woman was half dead on her feet, her head bobbing, half asleep. That lovely, innocent, tired old gal was saving my life so long as she was with us. Then her head jerked up. She blinked at the signals on the panel.

[Cleaning Woman]

I'll get out on the thing. Third floor, Pop. I'm going to the dressing room.

[Excited Bystander]

There it is. Here you are. Number three.

[Cleaning Woman]

Thanks, Pop. Good night. Or should I say good morning?

[Excited Bystander]

Good night. Good night.

[Hank Mitchell]

Me, too. I got to get off here.

[Jerry]

No, you don't. This isn't the main floor.

[Hank Mitchell]

For me, this is the main floor.

[Jerry]

Mitchell, come back here.

[Hank Mitchell]

Mitchell. I raced down the hall past the cleaning woman who stared at me with her mouth wide open. In the distance, I saw what I was looking for. A little red sign that said Stairway. My pal was right after me. When I got to the stairs, I started down four at a time. He was right in my tail.

[Police Lieutenant]

You're not there.

[Hank Mitchell]

No way, Mitchell. I had to get out of here fast. The party was getting rough. I reached the main floor. But instead of going through the lobby and into the street, I ducked behind the cigar counter. A few seconds later, the kid raced by. He went through the front door, looking for me on the street outside, I looked at the indicator over the night elevator door. The old guy was still parked on the third floor. I went to the stairs again and down into the basement. A light was burning at a desk. At the desk, a little guy in overalls was sleepily playing solitaire. I grabbed hold of a wrench and started toward him. He heard me and looked up. Hey, what do you want? One of those elevators. Which one is working? What's going on in this place? Which one of those elevators is working? Number five. All right. You come with me here. This tool room looks all right. Come on, get inside.

[Police Lieutenant]

But listen, you shouldn't complain.

[Hank Mitchell]

You don't know how lucky you are. But I got into the elevator and started up. I was getting to be a regular genius with these elevators. But this was going to be the end of this little game. I was finally on my way up to see Bailey. 34th floor. The building tapered off. Up here, around the small, square hallway, were six office doors. Bailey was behind one of those doors. The hallway switch was easy enough to find. I snapped off the lights. Now, if Bailey decided to start shooting, I wouldn't make such a good target. I went to the first door. Dudley and Dudley Patent Attorneys. The guilt letter said. The second door was locked. Then a telephone started ringing inside one of the offices. The fifth down the hall. I hurried over to it. Locked. The transom was half open, but no light showed through. Then, as I was about to turn away, I heard.

[Excited Bystander]

Hello?

[Hank Mitchell]

Is that you, Jerry? The good thing you called.

[Edmund O'Brien]

Where the devil are you?

[Hank Mitchell]

The lobby, you crazy fool. He's up here? Yes, in the hall just outside this door.

[Edmund O'Brien]

Get that night elevator and come up here right away. He's turned out the hall lights.

[Hank Mitchell]

Don't take any chances.

[Edmund O'Brien]

As soon as your elevator door's open, kill him. All right, move.

[Hank Mitchell]

Now. What are your plans, Mr. Mitchell? That was a good question. Bailey. What was I gonna do? I couldn't break into Bailey's office. I didn't have a gun. He'd kill me before I could turn the doorknob. The indicator above the night elevator door was blinking fast. It was on its way up. The kid was in it. And the instant the door opened, he'd. He'd kill me. Right then I started thinking of Joan.

[Joan]

You'll end up like Ted. With five bullet holes in your back.

[Hank Mitchell]

Yeah. Yeah, it was beginning to look that way. The elevator had passed the 17th floor. 18th, 19th. The little lights were dancing like a string of shooting stars. The kid was coming up fast. I was beginning to feel those bullets tearing into my back.

[Joan]

You'll end up like Ted with five bullet holes in your back.

[Hank Mitchell]

I couldn't get Joan's voice out of my mind. What was I gonna do?

[Joan]

You'll end up like Ted with five bullet holes in your back.

[Hank Mitchell]

With five bullet holes in my bag. His bag. The elevator reached the 30th floor. I'd fought my way 34 stories to reach Bailey. And now. Now I wasn't thinking about Bailey.

[Joan]

You'll end up like Ted with five bullet holes in your back.

[Hank Mitchell]

As the kids elevator passed the 32nd floor, I started running for the elevator I'd brought up from the basement. I jumped into it and started down. I didn't want to kill Bailey anymore. I wanted only to get to Joan. Joan was waiting for me when I got to her apartment. She was still as upset as when I left her to get Bailey. She wanted the whole story, everything that happened. When I finished. I watched her relax a little.

[Joan]

Then you didn't kill Bailey?

[Hank Mitchell]

No, John. I didn't kill Bailey.

[Joan]

Police siren sounds like it's stopping in front of the house.

[Hank Mitchell]

Yeah, they came here sooner than I expected.

[Joan]

Sooner than you've been lying to me. You did kill them. They come to arrest you. You lied.

[Hank Mitchell]

I haven't lied, Joan. They haven't come to arrest me, huh? Come to arrest you?

[Joan]

Me?

[Hank Mitchell]

For the murder of Ted Carter.

[Joan]

What are you talking about? I didn't.

[Hank Mitchell]

Oh, but you did. You said the wrong thing tonight when I went out to get Bailey.

[Joan]

What do you mean?

[Hank Mitchell]

You said I'd end up like Ted with five Bullet holes in my back. How did you know about that? But it wasn't in any of the newspaper stories. You never went to the morgue. There was no way on earth you could have known unless. Unless you killed him. Be right with you. That's the police. Joan. Any more questions?

[Joan]

I was willing to do anything for him. Scrub his floor, wash his clothes, give him a good home, anything. But always he kept going back to La Verne the way I loved him. Do you think I could let any of them.

[Hank Mitchell]

Okay, boys, I'll let you in. I just want you to know one thing, Joan. No matter what you thought, Ted really loved you. You see, Laverne represented his old world. But with you, he was gonna have a new life. You remember that, will you? Okay, boys, she's ready. She's all. Yep. That's the story of Ted Carter, murdered in the name of love. Okay, that's what love does to y'all. String along with Peanut. I guess I'm just feeling low tonight. Because murder is only a symptom of what we're suffering from. The disease is selfishness and jealousy and greed. Too many of us have decided that the golden rule may have been all right for Grandpa, but nowadays the fashionable thing is dog eat dog. Then I think, how can that be? How can any of us hurt or hate or even be indifferent to those around us, when in this whole crazy world, all any of us ever really have is each other? Well, that does it for tonight. Nice job. You finish up, yell for the copy boy, grab for a secondhand sandwich and a tired cup of coffee, and then you start all over again. Because tomorrow you got another night beat. You don't know where the story's coming from or where it's going to take you. But you know, it's. It's somewhere out there in the dark waiting for you. Tell you about it next week, Copy boy.

[Edmund O'Brien]

You have just heard the first of a new series, Nightbeat, starring Edmund O'Brien. Also in our cast were Betty Moran, Jack Craig Crucian, Anne Stone, Herb Butterfield, Gail Bonney, Jack Edwards and Larry Dobkin. Music was by Rex Corey. Nightbeat is written by Larry Marcus and directed by William P. Rousseau. Edmond O'Brien is currently co starring with James Cagney in the Warner Brothers production White Heat. This is NBC, the national broadcasting Company.

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