Night Beat 50-02-06 001 Zero (promo)

Summary

Podcast Summary: Harold's Old Time Radio – Night Beat 50-02-06 001 Zero (Promo)

Episode Title: Night Beat 50-02-06 001 Zero (Promo)
Release Date: April 6, 2025
Host/Author: Harold's Old Time Radio
Series Description: Night Beat is a gripping mystery series set in the bustling cityscape of Chicago, featuring the tenacious newspaper columnist Randy Stone as he navigates nocturnal adventures to uncover hidden truths and solve perplexing cases.

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Overview

In this promotional episode of Night Beat, listeners are introduced to an intense narrative that intertwines themes of error, desperation, and redemption. The storyline revolves around Ruth Baker, a receptionist who inadvertently links her colleague, Philip Warren, to a dire fate due to a clerical mistake. As midnight approaches, the suspense builds as Randy Stone and Ruth race against time to prevent a tragedy that looms over Chicago's sprawling urban landscape.

Plot Summary

[00:33] Randy Stone Introduction:
Randy Stone, the protagonist and a dedicated newspaper columnist, sets the stage by describing his nightly patrols through Chicago. His quest begins with a simple zero on a typewriter, symbolizing nothingness but representing death for one of the city's millions.

[03:29 - 05:17] The Beanery Encounter:
Randy enters Benny's All Night Beanery, seeking refuge from the cold night. Here, he meets Ruth Baker, who is frantically trying to reach Philip Warren, the man she mistakenly believes she caused to threaten his life. Ruth's desperation is palpable as she pleads for change to continue her futile attempts to save Philip.

[06:00 - 12:07] Unraveling the Mistake:
Randy and Ruth delve deeper into the mystery as Ruth reveals her tragic error: mislabeling Philip Warren's laboratory number led to a false report of him having an inoperable condition. This misinformation has driven Ruth to the brink, believing she has inadvertently condemned Philip to suicide.

[13:00 - 20:32] The Race Against Time:
The duo collaborates to trace Philip's possible whereabouts across Chicago. They methodically eliminate potential locations based on Philip's routine, narrowing down his possible destinations. Despite initial setbacks and missed sightings, their persistence highlights the high stakes involved as midnight—the deadline—draws near.

[21:38 - 27:46] Climactic Confrontation:
In a frantic final attempt, Randy and Ruth locate Philip at the Wrigley Building's Campanile Tower. The tension peaks as they confront Philip on the rooftop, battling against time to convince him that his perceived fate was a mistake. Through heartfelt pleas and unwavering determination, they strive to bring Philip back from the edge.

[27:46 - End] Resolution and Reflection:
The episode concludes with a poignant reflection from Randy as he attempts to pen the night's events, only to be thwarted by the symbolic zero—emphasizing the thin line between existence and oblivion. The narrative wraps up with credits, highlighting the creative team behind the episode and teasing future adventures.

Key Characters

• Randy Stone ([00:33], [03:29], etc.):
  The central character, Randy is a relentless and compassionate columnist dedicated to uncovering the truth. His deep sense of responsibility drives him to assist Ruth in rectifying the life-threatening mistake.

• Ruth Baker ([03:29], [10:08], etc.):
  A receptionist grappling with guilt over a clerical error that endangers Philip Warren's life. Her emotional turmoil fuels the urgent quest to save Philip before midnight.

• Philip Warren:
  The unwitting subject of Ruth's mistake, Philip's impending fate serves as the catalyst for the night's suspenseful events.

• Benny ([04:12], [05:05], etc.):
  The proprietor of Benny's All Night Beanery, Benny adds depth to the nocturnal Chicago setting, serving as a silent witness to the unfolding drama.

Notable Quotes with Timestamps

• Ruth Baker ([00:12]):
  "Making a statement, treat bold patterns like neutrals. Go wild like an untamed animal."
  (Note: Although this quote appears during a Wayfair advertisement segment, it encapsulates Ruth's initial attempt to bring normalcy before the crisis unfolds.)

• Randy Stone ([00:33]):
  "Stories start many different ways, but this one began modestly enough with a zero on a typewriter. That's right. Cipher. Naught. Nothing. But to one man of Chicago's 4 million, that zero meant death."
  (Sets the tone for the episode, highlighting the gravity of the impending tragedy.)

• Ruth Baker ([05:17]):
  "The man I killed."
  (A heart-wrenching admission that propels the narrative into a race against time.)

• Randy Stone ([13:33]):
  "Night Beat stars Frank Lovejoy as Randy Stone. Find one man out of 4 million people, find one place out of a thousand square miles of city and do it in 2 hours."
  (Emphasizes the daunting challenge faced by the characters.)

• Ruth Baker ([26:25]):
  "Mr. Warren, look at me. You know who I am."
  (A plea that signifies the emotional climax as they confront Philip.)

• Randy Stone ([27:42]):
  "You're not going to die. Do you hear me? He said I was but he wouldn't say when. He wouldn't tell me when."
  (His unwavering resolve to save Philip showcases his heroic nature.)

Themes and Insights

• The Fragility of Life:
  The episode underscores how a simple mistake can have life-altering consequences, highlighting the delicate balance between hope and despair.

• Redemption and Responsibility:
  Both Randy and Ruth embody the human desire to rectify errors, emphasizing themes of accountability and the quest for redemption.

• Time as an Adversary:
  The looming midnight deadline serves as a constant reminder of time's unforgiving nature, driving the narrative's urgency.

• Urban Isolation:
  Set against Chicago's vast cityscape, the story portrays how individuals can feel isolated even in a densely populated environment, amplifying the characters' personal struggles.

Conclusion

Night Beat 50-02-06 001 Zero (Promo) masterfully blends suspense, emotion, and urban intrigue to deliver a captivating narrative. Through the intertwined lives of Randy Stone and Ruth Baker, the episode explores profound themes of error, redemption, and the relentless passage of time. With its rich dialogue, poignant moments, and a ticking clock that heightens the stakes, this installment promises listeners an immersive experience into the heart of Chicago's mysterious nights.

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Join Us Again:
Don't miss next week's episode of Night Beat, where Randy Stone continues his relentless search through Chicago's darkest corners, uncovering stories that emerge from the shadows and breathe life into the night.

Transcript

[Randy Stone]

We interrupt this program to bring you an important Wayfair message. Wayfair's got style tips for every home. This is Styles MacKenzie helping you make those rooms sing. Today's style tip when it comes to.

[Ruth Baker]

Making a statement, treat bold patterns like neutrals. Go wild like an untamed animal.

[Randy Stone]

Print area rug under a rustic farmhouse table.

[Ruth Baker]

From wayfair.com fierce this has been your Wayfair style tip to keep those interiors superior. Wayfair Every style, every home.

[Randy Stone]

Night Beat hi, this is Randy Stone. I cover the Night Beef for the Chicago Star. You know, stories start many different ways, but this one began modestly enough with a zero on a typewriter. That's right. Cipher. Naught. Nothing. But to one man of Chicago's 4 million, that zero meant death. @ this point, may I take just a moment which might normally be utilized for an opening sales message to say a word concerning the show you're about to hear. This year, more than ever before, the mystery program is a good radio buy. Low in cost, high in appeal, mysteries are doing standout jobs for a growing list of enthusiastic advertisers. As Variety sums it up, the crime sagas enjoy a per point rating payoff calculated to make the sponsors do handsprings. And that goes double for Night Beat. Even if you're not the type for handsprings, you you will be interested in what this new mystery can do for you. Spearheaded by the hard hitting dialogue of its star, Frank Lovejoy, Nightbeat provides rugged realism tailored to today's radio tastes. It has all the spine tingling qualities which attract large audiences. Contact your NBC sales representative for complete information on this fast moving program designed to make yours a fast moving product. Mine is a funny kind of a job. When that evening sun goes down, I start walking through the dark city, peering into bleak alleys, wandering through the bright neon, listening to the sounds of a city at night. The whisper of footsteps, the shattering roar of an L train, the sob of an ambulance siren. I wander up the boulevards, down the back street, searching for something in the dark city. And what exactly is it that I seek, brother? It's something more elusive than the farthest star. I seek the city's heart. Tonight I must have walked for miles. The cold wind off Lake Michigan, ad living with my ribs and the hot breath of my deadline biting into my neck. Then ahead of me, I saw that friendly oasis in the darkness, Benny's All Night Beanery, otherwise known as Ptomaine Junction. Throwing caution to the winds, I started through the door for a cup of coffee.

[Ruth Baker]

Operator. Operator. Anthony.

[Randy Stone]

Nobody around but Benny polishing the counter and this little blonde yapping excitedly into the wall phone near the door.

[Ruth Baker]

Please hurry.

[Randy Stone]

Such devotion. Somebody should get that excited over me.

[Ruth Baker]

Hello, Mrs. Warren? Yes, we were disconnected. Has he come home yet? Mrs. Warren?

[Randy Stone]

How are you, Benny? How's the bicarbonate king? Oh, hiya, Randy. You always say that, but you keep coming back. Glutton's the punishment.

[Ruth Baker]

Well, you've got to find him.

[Randy Stone]

You've just got to get her. What's with her? Benny? No, no. 25 calls she makes like that. 25 times she gets the same answer. 25 times she comes over to get more nickels. Business is good, huh? Eh, a hole in the head. What's in it for me? Making change all night?

[Ruth Baker]

Give me some change, please, Nichols.

[Randy Stone]

Lady, sooner or later I gotta run out. This is it.

[Ruth Baker]

I gotta have some.

[Randy Stone]

I don't make them here, lady. Now will you please change quarters?

[Ruth Baker]

Dime.

[Randy Stone]

Let me take a look, see if I have any.

[Ruth Baker]

Oh, yes, please do. But hurry, please hurry. I gotta reach him.

[Randy Stone]

Randy, make with the catch. He's passing out. Oh, easy, lady, easy. Oh, cold coffee, Benny, quick. There's one thing I'll say. If Gabriel's trumpet doesn't succeed in waking the dead, all they've got to do is send for some of Benny's coffee. After I got a couple of sips down the girl's throat, she started coming out of it, tears rolling down her face, her whole body trembling with sobs. Oh, come on now. Now stop it, honey, stop it.

[Ruth Baker]

What happened to me?

[Randy Stone]

You passed out but good.

[Ruth Baker]

What time is it?

[Randy Stone]

Oh, it's 9:45.

[Ruth Baker]

I've got to find him. I've just got to.

[Randy Stone]

Oh, now, take it easy. You're still shaking. Now come on, have a few more sips of this so called coffee.

[Ruth Baker]

Oh, no, no.

[Randy Stone]

Well, if you think Benny's coffee is bad, you ought to try his hamburgers.

[Ruth Baker]

I've just got to find him.

[Randy Stone]

Who have you got to find?

[Ruth Baker]

The man.

[Randy Stone]

What man?

[Ruth Baker]

The man I killed.

[Randy Stone]

Ask a foolish question, you get a foolish answer. Only before I could ask any more questions, a little lady was on her way out of the place. I looked at Benny just to make sure he'd heard the same thing I had. He'd heard his mouth was hanging open like somebody had taken off the hinges. I left the beanery and started after the girl. At first I thought I'd lost her. Then I saw her sagging against the side of a building under the elevator tracks on Dearborn Street. She saw me coming oh, I'm just an old busybody.

[Ruth Baker]

I don't know what to do. I'm going crazy. I should call Mrs. Warren again. Maybe he came home.

[Randy Stone]

Who?

[Ruth Baker]

That man.

[Randy Stone]

The man you killed. Huh? Well, that. That makes sense. Now, listen.

[Ruth Baker]

Look, you don't understand. You just don't understand.

[Randy Stone]

This you can be sure of.

[Ruth Baker]

I've got to find him. I've just got to.

[Randy Stone]

You've killed him, but you've got to find him. Yeah.

[Ruth Baker]

I must go. Please. Please let me go.

[Randy Stone]

I'm not holding you, kid.

[Ruth Baker]

I don't know where to turn.

[Randy Stone]

You don't want to go anyplace, do you? You want help? All right, here it is.

[Ruth Baker]

I don't know you.

[Randy Stone]

My name is Stone. Now that we're formally introduced.

[Ruth Baker]

The. The newspaper columnist.

[Randy Stone]

Well, the man's got to eat.

[Ruth Baker]

Maybe you can help. Maybe you can, Mr. Stone.

[Randy Stone]

Yeah, but first I've got to know why you keep calling the home of the man you killed. To see if he's gotten in yet. This is slightly confusing.

[Ruth Baker]

All right, I'll tell you. My name is Ruth Baker. I'm receptionist and secretary for Dr. Stanley Loring.

[Randy Stone]

A specialist. Yes, go ahead.

[Ruth Baker]

There was a man, Philip Warren, a week ago. He saw Dr. Loring for an examination today. This afternoon he came back for the report. I was in the outer office when Mr. Warren left the consultation room. He looked strange. Strange and frightened.

[Randy Stone]

Will you give me a cigarette, Miss Baker?

[Ruth Baker]

Oh, certainly, Mr. Warren. Here, there's a lighter on the table.

[Randy Stone]

Never mind. I don't want a cigarette.

[Ruth Baker]

Is there anything wrong?

[Randy Stone]

Hey, what time have you got?

[Ruth Baker]

3:15.

[Randy Stone]

You're a minute slow.

[Ruth Baker]

All that.

[Randy Stone]

But a minute is important. Very important.

[Ruth Baker]

If you're going to catch a train.

[Randy Stone]

No, it's always important.

[Ruth Baker]

Yes, I suppose it is.

[Randy Stone]

Oh, yes. You know, I've lived all my life that way. Paying attention to time, being punctual. My wife considers it a nuisance. Do you?

[Ruth Baker]

I'm afraid I hadn't thought it should.

[Randy Stone]

Everyone should Time. Have you thought how many different ways one tells time? It can whisper in an hourglass or tinkle in the tiny little clock, or it can roar. Yes, all my life it's been important to me. Now he won't tell me when. All he says is sometime. That's not fair, Miss Baker. It's not right.

[Ruth Baker]

Look, Mr. Warren, perhaps you'd better lie down. Oh, no, no, no.

[Randy Stone]

I've got several things to do. Many things, in fact.

[Ruth Baker]

I see you don't.

[Randy Stone]

But that doesn't matter at all. You know, in my office, I can hear the chimes of the clock in the tower above me. I've always listened to them. I like them because time is important. But I never heard them chime midnight.

[Ruth Baker]

Midnight.

[Randy Stone]

I guess midnight is a special time. It's either tomorrow or today. It's in between. Tells a man that the day is over, another one's going to begin. It's like standing on the edge. Goodbye, Miss Baker. Goodbye, Miss Baker.

[Ruth Baker]

Yes, Doctor?

[Randy Stone]

Miss Baker, will you come in, please?

[Ruth Baker]

Right away.

[Randy Stone]

Warren gone, Ms. Baker?

[Ruth Baker]

Yes, he just left. Dr. Loring.

[Randy Stone]

Yeah. That was certainly unexpected. I was almost certain it wasn't that serious. Well, put his examination report back, will you?

[Ruth Baker]

Yes, sir.

[Randy Stone]

The closed file, Ms. Baker.

[Ruth Baker]

The. The closed.

[Randy Stone]

Yes.

[Ruth Baker]

Oh, I'm sorry. What was it?

[Randy Stone]

An inoperable condition.

[Ruth Baker]

Oh, now I see.

[Randy Stone]

See what, Ms. Baker?

[Ruth Baker]

Why, he acted so strangely.

[Randy Stone]

Oh, don't worry. He'll go home. Think about it. When the first shock wears off, he'll accept it. What else can he do? What else can anyone do?

[Ruth Baker]

After that, I went back to my desk. Mr. Stone. I was checking my files.

[Randy Stone]

Come on, Ruth. What?

[Ruth Baker]

I made a mistake. A horrible mistake.

[Randy Stone]

What was it?

[Ruth Baker]

Well, when a patient comes in for examination, only Dr. Loring knows his name. The technical laboratory has only a number. A number on a card. Mr. Warren's was 5,000, 129. I typed it wrong. I typed 5,120, the card number of another patient. It was a mistake. I put Mr. Warren's name under the wrong laboratory number. The number of a man who is going to die.

[Randy Stone]

Certainly Dr. Loring will be able to tell if Warren.

[Ruth Baker]

Oh, just. Just a routine checkup would indicate symptoms. It took actual laboratory work to. To make certain.

[Randy Stone]

Oh, I see.

[Ruth Baker]

He'll kill himself. He's that kind of a man. And if he does, I've killed him. Murdered him. And if I. I don't want to live, I'll kill myself.

[Randy Stone]

Oh, no. Come on. Come on now. There's no time for that. Does Dr. Loring know?

[Ruth Baker]

I told him right away.

[Randy Stone]

And he tried to reach Warren.

[Ruth Baker]

We've been trying since this afternoon. At his home, everywhere. He must have gone home first because he left his wife a note.

[Randy Stone]

Suicide note?

[Ruth Baker]

Yes.

[Randy Stone]

Ruthie, come on, let's go.

[Ruth Baker]

Where?

[Randy Stone]

Warren's home. And if he's not there? Well, Chicago's a big city. It'll be tough finding one man among 4 million people. But we can try.

[Ruth Baker]

I found the note when I got home. I knew Philip went to see Dr. Loring, but I didn't know just the Note.

[Randy Stone]

And nothing else, Mrs.

[Ruth Baker]

Nothing.

[Randy Stone]

You called the police right away?

[Ruth Baker]

Of course I did.

[Randy Stone]

And you haven't left this apartment?

[Ruth Baker]

Not for a second. Well, didn't he phone, try to get in touch with you at all? No, Ms. Baker, he did not. And if my husband isn't found before he kills himself, I'll see to it.

[Randy Stone]

Thank you.

[Ruth Baker]

I'm telling you, it was a mistake. Anyone could make a mistake. Mistake? To make a man believe he's going to die in horrible pain. No, that's no mistake. That's murder. The cruelest kind of murder. Don't. Get out of here and leave me alone.

[Randy Stone]

Wait a minute, Mrs. Warren. Why crucify this kid? Because she made a mistake. That could happen only once in a.

[Ruth Baker]

Million years to my husband, to anyone. Oh, leave me alone.

[Randy Stone]

You want to find him, don't you?

[Ruth Baker]

Well, now, what kind of a question is that?

[Randy Stone]

A nice, reasonable question. You want to find him, all right. Help us.

[Ruth Baker]

But what can we do? By midnight he'll. He'll be dead. The note he left said so.

[Randy Stone]

Someone's at the door.

[Ruth Baker]

It might be him.

[Randy Stone]

I'll get it, Mr. Warren. Warren? Why, no.

[Ruth Baker]

Paul.

[Randy Stone]

Yes, Paul.

[Ruth Baker]

What did you find out?

[Randy Stone]

Nothing. I checked every precinct station between here and the Oak Street Beach.

[Ruth Baker]

Paul, this is Mr. Stone. And the girl who I see Paul is a friend of Phillips.

[Randy Stone]

Yeah, yeah. There's nothing you said. No, no one's seen him. And no suicide report. Not his.

[Ruth Baker]

It's 10 now. We've got two hours to find him.

[Randy Stone]

You know that bothers me. Why should he choose exactly 12 o'clock to die?

[Ruth Baker]

If you knew my husband, you'd understand why the ticking of the clock was the most important thing in his life. You could set your watch by his schedule. Up at 7:30 in the morning. Never. 7:28. Never. 7:31. 7:30. Breakfast at 10 minutes to wait.

[Randy Stone]

Herma. Herma. We haven't time to worry about Philip's idiosyncrasies right now. We've got to find him. As the young lady said, we've only got two hours.

[Ruth Baker]

I'm sorry.

[Randy Stone]

Try to think the way he would. What does he do for those two hours? Where does he go? What does he want to see?

[Ruth Baker]

He's lived all his life doing things exactly the same way, that's all.

[Randy Stone]

Well, that's something. What are you getting at, Stone? Well, I was just thinking. Nobody ever lets go of life without holding onto something else. Nobody knows whether you can take a memory with you or not. Maybe it's just a face. A Melody. A favorite place. Nobody knows, but we like to think so. Go ahead. What were you going to say? Well, that Philip would want to die exactly as he'd lived, knowing exactly when and where. That's what I mean. Mrs. Warren, I want a list of every place your husband might go.

[Ruth Baker]

But tell him, Mama. There are so many places.

[Randy Stone]

A hundred, a thousand, what's the difference? Write them down. I'll go with you, Storm. No, no. You stay here with Mrs. Warren. Somebody's got to be here if he shows up. And step on it with that list. Mrs. Warren got a lot of places to cover by midnight. If we haven't found him then we can cut our list down to one place. The county morgue. Night Beat stars Frank Lovejoy as Randy Stone. Find one man out of 4 million people, find one place out of a thousand square miles of city and do it in 2 hours, 120 minutes. A long chance compared to our job. A buck on the Irish sweepstakes was money in the bank. We had two things in our favor. One, Mrs. Warren had called the police. A thousand cops had Warren's description. Two, Warren himself. The way he lived was a clue to the way he might die. On time. Punctual. But where? The first list. The first place on this list was a little restaurant where he sometimes ate. They knew him there all right. Mr. Warren. Yes, I know him. Has he been in here tonight? Tonight? Yes, tonight. I see. You don't know Mr. Warren very well. Mr. Warren comes here on Tuesday evenings only. This is Monday. Cross off one place, go to the next. Yes, they knew Mr. Warren. No, he hasn't been in tonight. This is Monday. He comes here only on Fridays. Grab a cab and hurry on, watching the minutes go by. Watching Ruthie die a minute at a time, telling her no matter how bad we were doing, the cops would find him for sure. The cigar store where he stopped for cigarettes missed him by an hour. The newsreel theater. Sure, an old customer. But he comes on Wednesday for the new weekly show. Ruthie wanting to call Mrs. Warren again to see if the police had found him yet. But no time. 40 minutes gone, an hour lost. Going down the list. Hey, Ben, late edition. Get your paper. Hey, kid. Oh, paper, mister. No, not right now. Listen to me. Every night a man stops by here. His name is Warren. Oh, I know him. What about him?

[Ruth Baker]

Well, has he been here tonight?

[Randy Stone]

Sure. Hey, Warren, what gives with that guy? What do you mean? Well, any other night he's by here. 6:00 sharp tonight. He comes past after 10 buys a paper, a late edition. Never done that before. Fact, I never seen him after six. Which way did he go? Did he say anything to you? Nothing. All he does is buy the paper, walk away, and then he throws the paper away like he don't want it in the first place.

[Ruth Baker]

Which way did he go?

[Randy Stone]

Straight up Michigan. That way. You got to admit, it's unusual. Yes, I admit it. I admit it. Thank you. Come on, cabby, move. So we went straight up Michigan Avenue. That a way. All we accomplished was to lose another five minutes of our time. And brother, when it came to time, we were really scraping bottom. Those ever loving cops were becoming more important by the second. One by one, we kept scratching names off the list. The cafeteria where he sometimes stopped for coffee, but not tonight. The drugstore where we stopped for stamps, but not tonight. Then the last place on the list? The very last. A little cocktail lounge on Michigan Avenue. One of those shishi joints where the lights are so soft and low you can't watch the bartender watering the booze. Our two hours were just about all used. Can I help you, sir? Oh, pal, if you can't, nobody else can. I'm looking for a man named Philip Warren. Do you know him? Oh yeah, yeah, quite well. I consider Mr. Warren one of my special customers. Is he here tonight? Well, why do you ask? We don't have time for anything but. Yes or no answers, please. Yes or no? I really don't feel I'm at liberty to discuss with complete strangers.

[Ruth Baker]

Randy, it's not gonna work. We're not gonna find him.

[Randy Stone]

Something wrong with Mr. Warren? Well, to put it mildly, yes. Now come on. Well, if you'll tell me why you want. Listen, please. It's not really proper to tell just anyone who happens to inquire. Now, unless we find him in the next 15 minutes, Warren is going to die. You're joking. Look at this girl here. Warren died, she'll. Never mind. Look at her face and tell me I'm joking. Oh, all right. I. I didn't know. Mr. Warren's a good customer, you know. Two strangers asking why is he in here and how long ago he came in a little while ago. I thought it was strange, you know, because he's late. It's always comes in promptly at 5:35. Never mind the details. How long ago? About 10 minutes ago. He sat at the usual place, but then he didn't drink a sherry.

[Ruth Baker]

Do you know where he went?

[Randy Stone]

No, no I don't. Did you see him go? Oh yeah, I saw him leave. All right, now Think. Has he ever said anything about going anywhere from here? No, no, no. He was always very quiet. Oh, but I think his office is near here. What makes you think that? Well, he mentioned once he always leaves it at 5:30 and so. Thank you. Where's the phone? Near the entrance. Come on, Ruth. Thank you.

[Ruth Baker]

What is it, Mr. Stone? What did you think of him?

[Randy Stone]

He got his home phone number?

[Ruth Baker]

Yeah, written down here.

[Randy Stone]

Thank you.

[Ruth Baker]

Why are you calling here?

[Randy Stone]

I want to know where his office is.

[Ruth Baker]

But why?

[Randy Stone]

All his life, punctual, methodical. Everything to him was a habit. Maybe it's a crazy hunch, but I could be right. He could have gone to his office.

[Ruth Baker]

Yes, you could be right.

[Randy Stone]

Come on. Come on, answer. Answer.

[Ruth Baker]

They gotta be there. They said they'd stay, but they don't answer.

[Randy Stone]

Ruth, do you remember where his office is? Must be on your records.

[Ruth Baker]

I don't remember it, but we can go and get it.

[Randy Stone]

There's no time.

[Ruth Baker]

Try it again.

[Randy Stone]

They're not there. I told them to stay there. The fools. I.

[Ruth Baker]

What?

[Randy Stone]

The phone directory. I'd have a business listing for him. Warren. Warren, Warren. Warren. Paul. Paul Phillip Warren, Is it? No, only his home phone. The number I just called.

[Ruth Baker]

Mr. Stone, what if Mrs. Warren isn't home? She might have gone to the police. Maybe they found him.

[Randy Stone]

That could be it. Keep your fingers crossed that they found him alive. Well, well.

[Ruth Baker]

Randy Stone.

[Randy Stone]

Snooping around this precinct for storage. I've got one. Mac, listen, I'm in a hurry. You've got to tell me something. Why are you sure, Randy? Why? There's a general call out for a man named Philip Warren. If you got anything on it, I'll take a look.

[Ruth Baker]

Warren.

[Randy Stone]

Philip Warren. That's right. Oh, Mac. Come on, come on. Nothing here on the name Randy. Nothing. Mack, you're crazy. The call went out this afternoon. Every precinct is gone. Well, this is one of them. But there ain't a thing. Here. Take a look for yourself. Here's the sheet. No, I'll take your word for it. Mack. Listen, put out a call right away. He's got to be picked up. He killed somebody. He'll kill himself. You hear that, Mac? He'll kill himself if he's not found before midnight. Before midnight? But that's just 15 minutes. Yes, yes, I know.

[Ruth Baker]

What did they say?

[Randy Stone]

They didn't have a call for him.

[Ruth Baker]

That's crazy. They must have. Mrs. Warren called the police.

[Randy Stone]

Yeah, yeah, yeah. Just a minute, Cabby. Look, Ruth, let's figure it. That last cocktail lounge, the bartender said Warren came in every evening at 5:30.5 that he left his office at 5:30. That makes his office a five minute walk from the cocktail lounge.

[Ruth Baker]

And. And what he said to me, Remember?

[Randy Stone]

What, what, what?

[Ruth Baker]

He said he liked to sit in his office and listen to the chimes from the tower above his office.

[Randy Stone]

Tower? Tower. Five minutes from that cocktail lounge on Michigan Avenue. Look.

[Ruth Baker]

Look up the avenue.

[Randy Stone]

The Wrigley Building. The clock in the Campanile Tower. Ruth, that's gotta be it. We've got 10 minutes to get there and find the office cabbie. Wrigley Building, fast. The red in the traffic lights didn't mean a thing. But it still took us three minutes to get to the Wrigley Building. When we got there, the hands of the clock in the Campanile tower pointed to 7 of 12. And as we looked up, the larger hand crossed out another minute of Warren's life. One more went by before the night watchman heard me pounding at the doors. And then he opened them. Hey, hey, what's all the fuss? Look, look. My name is Stone. Chicago Star. Yeah. Will that give you the right to pound on doors? Please, please, just listen. Does a man named Philip Warren have an office in this building? Oh, he ain't got no office. Are you sure? Of course I'm sure. Man named Warren works here. Philip Warren? Sure. Works for Western Research. Did he come in tonight? Why? Stop asking questions. Please. We've got to find him or he'll be dead. He was all right when he walked in. All right, take us up to him. Hey, you've got to sign the in and out sheet just like everybody else. All right, all right, we'll sign it. Just take us up. Yeah, okay. Gotta use the freight elevator, though. Regular ones don't run at night. Not this shot. I don't care which one we use. Just get us up to Warren. I stopped looking at my watch while that freight elevator droned its deadly way up to the floor where Warren had his office. And then, at last, we were there. Western Research Office is right down that way. I'll just show you. Call the police. Call the police. Tell them you're calling for me to get here as soon as they can. Oh, sure. Okay. Thank you. Come on, Ruth.

[Ruth Baker]

There it is.

[Randy Stone]

There's no light inside. It's open.

[Ruth Baker]

There's no one here.

[Randy Stone]

Find the light switch.

[Ruth Baker]

Yeah.

[Randy Stone]

All right. Never mind. I'll light a match. What's the matter?

[Ruth Baker]

I thought I saw someone at the desk when you lighted that match.

[Randy Stone]

All right, follow me.

[Ruth Baker]

Look, Mrs. Warren, what are you doing here?

[Randy Stone]

Well, I thought of the same thing you did and I. Still here?

[Ruth Baker]

Yes, Paul, Mr. Stone is here too.

[Randy Stone]

Stone?

[Ruth Baker]

Yes. Turn on the light, Paul.

[Randy Stone]

Why wasn't the light on in the first place?

[Ruth Baker]

Well, we thought if Philip came here and saw a light, he wouldn't come in.

[Randy Stone]

That's right, Stone. We. We called the police. They had nothing yet. So. So we came here. We thought you called the police.

[Ruth Baker]

We just couldn't stay home and do nothing.

[Randy Stone]

The police didn't tell you anything, huh? No. Everyone's looking for Philip. I'll ask you nice, Paul. Where is he? I don't understand. Let's stop playing patty kick. Where is he? I tell you, we don't know. Sure you do. Why, you're one of his best friends. Where is he? Come on, give.

[Ruth Baker]

We don't know where he is. We came here for the same reason. You never told the police about your husband. Like you said you didn't want them to find him. You're insane, both of you.

[Randy Stone]

Come on, poor boy. Tell me where he is. I don't know. Now let's try it again. Come on, Stone. You're insane. Never mind me. Let's stick to the subject of the moment. Where is he? Hi, Georgie. Where is he? All very neat and clean, wasn't it? Let the old boy kill himself. Just don't do a thing about it. Stop it, Stone. Stop it. You tell me when, Paul. How much insurance was he gonna leave to your lady?

[Ruth Baker]

Finn?

[Randy Stone]

You sure it isn't one of those non cancellable policies, Paul? You know, some of them don't pay off on suicide. Tell me where he is. Tell me.

[Ruth Baker]

Stop it. Stop it. Stop it. Stop it. He's on the tower. He's on the top.

[Randy Stone]

Top of the building. I saw him. He's gonna jump. Here's your boyfriend, Mrs. Warren. Catch. The tower. Ruth. Come on.

[Ruth Baker]

The elevator.

[Randy Stone]

No time. Tower's only two flights up. Come on, I'll need you. It was one minute of 12 when we took the first step of the two flights. The run up was like one of those dreams in which you stand aside and watch yourself. There was a queer impersonal detachment about it that made the horror even more real. And then we were out on the roof.

[Ruth Baker]

Did you see him?

[Randy Stone]

No. No, not yet.

[Ruth Baker]

Up there.

[Randy Stone]

Where?

[Ruth Baker]

Look. On the tower.

[Randy Stone]

Warren. Warren. Wait.

[Ruth Baker]

Warren.

[Randy Stone]

Yes, I'll wait.

[Ruth Baker]

Because it's not quite time. I've got to finish off today.

[Randy Stone]

You've got to listen to me. You're not going to die. Do you hear me? He said I was but he wouldn't say when. He wouldn't tell me when.

[Ruth Baker]

But I know. I can tell you it's not quite.

[Randy Stone]

12, but when it is. Warren, look here, Ruth, make him listen to him.

[Ruth Baker]

Mr. Warren, look at me. You know who I am.

[Randy Stone]

Yes, I know. I know everybody in the world. And I could see everybody from here.

[Ruth Baker]

Please. The report was a mistake. You're not going to die. Do you hear? It was a mistake. Please listen to me.

[Randy Stone]

Good night. Go away.

[Ruth Baker]

Everybody lied to me all my life.

[Randy Stone]

You want me to suffer? I can't. I tell you, I can't. And I know I'm not going to die.

[Ruth Baker]

But you're not. It was a mistake. My mistake. Not the doctor's. I swear. We're not lying to you. I swear it.

[Randy Stone]

Randy. Randy, wait. Oh, Mother and heaven. Get your boys ready, Mac. They're all set with him. What about him? Keep talking. He's watching you. Keep talking.

[Ruth Baker]

Mr. Warren. You're all right. Do you hear? You're not going to die. You told me it was a mistake.

[Randy Stone]

Please. Please don't lie to me. Please. It's the truth, Mr. Warren. You're not going to die. Do you believe?

[Ruth Baker]

Thank heaven. Thank heaven.

[Randy Stone]

You can get him now, Mac. He'll hold on until your boys reach him. So here I sit, trying to write my story for tonight. But I keep hitting that one key zero zero cipher. Naught. Nothing. Oh, dear. Someday a nice peaceful story is going to be written. About a flock of happy little birds leisurely circling a burned out world, wondering whatever happened to all those crazy two legged characters who spent their lives knocking each other's brains out. What a nice thing to read that'd be. Yeah, but wait a second. Who'd write it? All right, you broken down two bit philosopher. The makeup editor's gotta go home too. So let's get going. Hello. Give me a rewrite. Nightbeat, a new dramatic series, stars Frank Lovejoy as Randy Stone. Tonight's story was written by Russell Hughes. Night Beat is edited by Larry Marcus and directed by Warren Lewis. Music by Frank Wirth. Others in tonight's cast were Peter Leeds, Gene Bates, Larry Dobkin, Joan Banks, Stacy Harris, Wills Herbert and Junius Matthews. Frank Lovejoy will next be seen in Milton Spurling's production, Rock Bottom, released by Warner Brothers. Listen next week at this same time and every week as Randy Stone searches through the city for the strange stories waiting for him in the darkness, the stories that come out of the shadows and to find their way into Nightbeat.