Sears Radio Theater 79-02-07 (003) Hostages

Summary

Podcast Summary: Sears Radio Theater 79-02-07 (003) – "Hostages"

Podcast: Harold's Old Time Radio
Host: Harold's Old Time Radio
Episode Title: "Hostages"
Original Air Date: February 7, 1979
Summary Date: September 13, 2025

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Episode Overview

This episode features the classic "Hostages" from the Sears Radio Theater, a dramatic crime story full of tension, emotional conflict, and social commentary. Hosted by Vincent Price, it exemplifies Golden Age radio's knack for suspense and character-driven drama. The story centers on a hostage situation at a suburban bank, where marital strife, desperation, and police procedures intersect, leading to a tragic showdown.

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Key Discussion Points and Plot Breakdown

1. Setting the Stage: Suburban Tensions, Family Division

• [00:18-02:09] The small town of Farrington is introduced as tranquil and well-to-do, masking deeper social problems. The tone is immediately tense, shifting from domestic discord to the threat of violence.
• Frank and Carol Mason are estranged spouses in distress:
  • Frank is desperate, angry, and feels betrayed by Carol and her attorney, Ted Brock.
  • Carol is fearful and defensive, setting boundaries ("No, I can't trust you. Not after the last time." [02:23])
  • Frank accuses Carol of being manipulated by her lawyer and vows never to grant her a divorce.

Quote:

• Frank (to Carol): "I'll never give you a divorce. I mean it." [03:01]

2. At the Bank: Personal Crisis Turns to Public Danger

• [04:08-07:56] Carol, now at her job as bank manager, is visited by her attorney, Ted Brock, to discuss her fears and Frank’s threats.
  • Ted urges Carol to file for divorce; Carol hesitates out of fear for Frank’s reaction and professional repercussions.
  • The bank robbery abruptly interrupts their conversation.
    • The robber, armed and volatile, herds employees at gunpoint.
    • An employee attempts heroism and is seriously wounded.

Quote:

• Robber, asserting control: "Everybody just stay nice and orderly. No fuss, no sudden moves." [07:34]

3. The Hostage Standoff: Escalation, Negotiation, and Desperation

• [08:00-15:13]
  • Hostages are forced to comply. The police surround the bank, with tense exchanges between the robber and law enforcement.
  • Frank, revealed to be a police lieutenant and Carol’s estranged husband, is thrust into demanding negotiation, personally affected.
  • The robber’s demands: a plane to Cuba, money, safe passage.

Quote:

• Robber (on the phone with police): "I'm calling the tune. You got that, huh? You're my ticket out. I get out, then you get out. Otherwise... there better not be an otherwise." [10:29]

4. Psychological and Emotional Trauma

• [16:25-27:27]
  • Carol is manipulated and threatened; the robber doubts the truth of her situation but uses her as leverage.
  • The wounded bank employee ("Captain Heroic") is released—revealed to be Ted Brock, not just a random hero.
  • Miscommunication and guilt ripple among the hostages. Frank’s personal and professional identities blur as he attempts to resolve the crisis and save his wife.
• Carol reveals deep scars from emotional and physical abuse in her marriage, highlighting long-term damage and fear.

Quote:

• Carol, to robber: "My husband tell you how I got that beautiful scar? ... he did it in one of his rages. He attacked me with a steak knife." [27:38]

5. The Final Confrontation and Tragic Resolution

• [27:27-34:59]
  • Frank attempts a solo rescue through the air ducts as the robbery unravels.
  • Carol and the robber engage in psychological chess—Carol tries to convince the robber that she is not simply a hostage but a target for her husband.
  • The robber, worn down and fearing for the hostage’s health, surrenders; the hostages are released except for Carol, whom the robber holds as a last shield.
  • Frank enters, leading to a tense stand-off. In the chaos, Frank is shot dead, the robber is killed by police marksmen, and Carol is left emotionally shattered.

Quote:

• Carol, after Frank's death: "It's wrong. It's wrong." [34:59]

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Notable Quotes & Memorable Moments

• Frank (threatening Carol): "If you see that lawyer Brock again, you'll live to regret it. And that's only the beginning of our story." [03:16]
• Robber, negotiating for his life: "Listen, get the plane in a half hour or I start throwing corpses out of the bank." [14:08]
• Carol, on her marriage’s history of abuse: "Nobody means dirty... he attacked me with a steak knife." [27:54]
• Police Commissioner (trying to manage Frank): "Let's not turn this into a massacre. I don't want to see innocent people get killed." [25:54]
• Carol, at the end, in disbelief and grief: "It's wrong. It's wrong." [34:59]
• Police Officer (attempting to comfort her): "I know how you feel. Frank was a devoted husband. All he could think about was you. He died a hero." [35:04]

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Important Timestamps

• [02:09] – Domestic dispute, setting personal stakes
• [07:34] – Robbery begins, hostages taken
• [09:04] – Police arrive, standoff initiated
• [10:29] – Criminal issues demands
• [13:05] – First negotiations and false information
• [16:25] – Ted is taken out, Frank bargains
• [21:12] – Confusion over Ted Brock's fate
• [27:27] – Carol’s abuse history is revealed
• [32:10] – Robber signals surrender
• [33:44] – Final confrontation, deaths of Frank and the robber
• [34:59] – Aftermath and emotional close

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Themes and Tone

The episode is rich with classic radio drama suspense, emotional complexity, and dark social realities: marital breakdown, cycles of violence, psychological trauma, and the flawed heroism of embattled authority figures. The tone swings from noir tension to melodrama, driven by strong performances and tightly spun dialogue, all in an era before the comfort of video or visual distractions.

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Conclusion

"Hostages" is a vivid, harrowing portrait of domestic tragedy and the explosive results of private turmoil becoming public crisis. The episode’s careful pacing, authentic period dialogue, and unflinching look at human flaws make it a standout in the Sears Radio Theater canon—an unforgettable example of radio’s power to capture the extremes of drama and emotion within the theater of the mind.

Transcript

[A]

And Doug Limu and I always tell you to customize your car insurance and save hundreds with Liberty Mutual. But now we want you to feel it. Cue the emu music. Limu.

[B]

Save yourself money today. Increase your wealth. Customize and save.

[A]

We say that may have been too much feeling. Only pay for what you [e-mail] Liberty Liberty. Liberty. Liberty Savings Very unwritten by Liberty Mutual Insurance Company and affiliates. Excludes Massachusetts Foreign from Sears Radio Theater which will be brought to you Monday through Friday on this station. Today, Vincent Price will bring you a generous helping of mystery and suspense. Tomorrow, Cicely Tyson will enthrall you with tales of love and hate. Dramas involving human emotions. Friday, Richard Whitmill host Tales of Adventure in Outer Space. Under the Sea. Anywhere there is adventure. Monday, you'll hear stories of the golden west and the west we know today with Lauren Green as your host. And on Tuesday you can laugh with Andy Griffith as your host for Things that Are Funny. The Sears Radio Theater will begin after this message from your local station. This is Vincent Price. The quiet suburban town of Farrington is a typical bedroom community. It exhibits all the trappings of a settled small town. Tree lined streets, solid brick homes, even an authentic 19th century town square. Bright station wagons and manicured lawns give it the air of affluence and normalcy. One house, a single story ranch style home would appear to be the perfect example of the serenity of this neighborhood. Husband standing just outside the partly open front door. Wife within the house saying her last goodbyes. But if we look closer, the woman seems frightened, the man in a fury. And the door is held in place by a chain.

[B]

Please, Frank, don't make another scene.

[A]

I just want to come in and talk this out. Unfasten the chain, please.

[B]

No.

[A]

It's that damn lawyer. He turned you against me.

[B]

I'm not going to rehash our marital problems at the front door.

[A]

Let me in.

[B]

No, I can't trust you. Not after the last time.

[A]

I promise not to start anything.

[B]

Call me tonight.

[A]

It's better that way, so you can record the conversation.

[B]

Don't get paranoid.

[A]

Just talk with me for five minutes.

[B]

I can't. I'm late getting to the bank. If it is.

[A]

I said I want in.

[B]

Listen, it's still my house. Stop it. You'll upset the children again. Dad. Harry, it's Daddy. Help me. Mommy won't let me see if you.

[A]

Won'T let me come home.

[B]

Stop it now. Stop it. Don't drag them into our mess.

[A]

All I want to do Is sit in my own living room and reason with you instead of some attorney's office. Is that asking too much?

[B]

We've been talking for months. Nothing's changed.

[A]

I'll never give you a divorce. I mean it.

[B]

I haven't asked for one. I'll give me time to see it.

[A]

I won't let you go. I know you want to marry Brock. Just keep him away from this house.

[B]

Right.

[A]

I don't want him touching you, holding you.

[B]

You're only making things worse.

[A]

I'm warning you, if you see that lawyer Brock again, you live to regret it. And that's only the beginning the of of our story. Sears Radio Theater. A new adventure in radio listening brought to you five nights a week by Sears, Roebuck and Company. Sears, where America shops. Your host, Lauren Green. I'll bring you stories of the Old west and the new. Andy Griffith with a look at the funny side of life. Vincent Price, with tales of mystery and suspense.

[B]

Vince Heights, with stories about love, hate and relationship.

[A]

Richard Widmar. I'll bring you stories of pure adventure. Five nights of exceptional entertainment every week. Brought to you in Elliot Lewis production of the Sears Radio Theater. Our story, Hostages by Ken Gerard. Our stars, Virginia Greg, Shepard Menken and Vic Perrin. In spite of her husband's threat, Carol Mason called her attorney, Ted Brock, the moment he arrived at the bank. She was terrified. She needed advice. Ted Brock told her he would come to her office immediately. How are you this morning, Mr. Enright? Never better, Mr. Brock. Oh, you can smell spring in the air. Go right in, please. Mrs. Matson is expecting you in her office. Thanks. I know the way. I've been here enough.

[B]

Come in.

[A]

I came as soon as I could. Are you all right?

[B]

I'm still shaking.

[A]

Did he get violent?

[B]

No. I had the chain on the door. He didn't get in.

[A]

What about the children?

[B]

They didn't hear it. I drove them to school after he left.

[A]

Carol, why don't you and the kids spend a few days at our house? Betty would love it to. The kids can use the pool. Change would do you good.

[B]

That would be the final straw. Teddy thinks there's something between you and me. He's gone completely mad.

[A]

When Frank threatened you, you should have called the police.

[B]

It would have done some good. How do you arrest a police lieutenant? They wouldn't have believed me.

[A]

Hasn't your situation gone far enough? You've given him every chance to pull himself together. He's not gonna change. Please file the divorce papers. I can have them ready for your signature this afternoon.

[B]

Oh, Your thought terrifies me. I don't know what he'd do if I went through with it.

[A]

I'll have him enjoined from seeing you.

[B]

That wouldn't stop him.

[A]

We'll go to the police disciplinary board and open up the whole case. Even the incident with Jeff?

[B]

It has to be a different way. That could ruin him.

[A]

But you've exhausted every remedy, Carol. The marriage counseling was a fiasco. You begged and pleaded. Haven't you punished yourself enough? And you can't subject the children to his rage as much less.

[B]

I know, I know. But I still hope that he isn't.

[A]

Going to straighten himself out. That's wishful thinking. Why spend the rest of your life in fear?

[B]

You're right. It's even affecting me here at the bank. Sometimes I think he's out there watching me or following me home.

[A]

Let me call Inspector Metzger and explain the situation. Maybe he can reason with Frank.

[B]

Oh, that's not fair. It might affect his efficiency rating. They might use it to deny him a captain's feet.

[A]

He's been passed over twice, Carol. Other people see he's disturbed too.

[B]

You know I don't want to do it.

[A]

I can't understand you. This man has threatened you and the children. He's almost.

[B]

Frank, I don't want to hear it.

[A]

All right. I won't go into it. I can't help you with my hands tied.

[B]

Yes?

[A]

Mrs. Matson, I'm sorry to bother you.

[B]

But I told you I didn't want to see anybody for a few minutes.

[A]

I understand, but this customer insists on seeing the manager.

[B]

Can't you handle it for once?

[A]

No way, honey. Why bother with a junior exec when you can talk to the boss?

[B]

Do you mind waiting outside? I'll be with you in a minute.

[A]

I'm sorry, lady. I happen to prefer group meetings.

[B]

Oh, my God.

[A]

He's got a gun.

[B]

Shotgun.

[A]

Don't point that at me. Now, everybody just stay nice and orderly. No fuss, no sudden moves. We're marching out front. Mrs. Manager here will instruct the cashier to fill up my briefcase. If everybody keeps cool, this whole thing will be over in two minutes. Don't anybody get heroic. Now.

[B]

Move. I. I don't want any bloodshed. Just take the money and leave.

[A]

That's good enough for me. Mrs. Max, we can't let him do this.

[B]

I don't believe we have a telling.

[A]

Keep walking. Don't show the tellers anything's wrong. It'll be over before you know it. Just keep in front of me.

[B]

Fine, fine. But don't shoot.

[A]

This is just your garden variety bank holder. It's not a shooting.

[B]

Harriet, please, no.

[A]

Grab his arm. Give me that. That was some stupid.

[B]

With blood. He eats all over my face.

[A]

Don't you. Don't. Don't. Don't kill me.

[B]

I didn't mean it.

[A]

You miserable creep. Had to play hero.

[B]

Look like he's going to die. Quiet. Control yourself.

[A]

Everybody on the deck except you, lady. You, fill up that bag.

[B]

Did you hear me? Harriet? Give him everything and be quick.

[A]

Oh, just a paper money, you idiot. That's better. Now, nobody gets off this floor for the next 10 minutes. You got it? Right, boy?

[B]

Yes, sir. In a moment, Ted. It's almost over.

[A]

That better be an ambulance. I'll take a look. Damn it. Two squad cars. Right, get back, everybody. Get behind the counter. Hurry up. Move that body, mister. Now, who tripped the silent alarm? Which one of you morons did it? Answer me or I'll blow somebody's head off.

[B]

I did it. I'm sorry. Oh, you all killed me. Tell him not to kill me, Mrs. Ne. I don't want to die.

[A]

Shut up. I've got to think. This is the police. The building is surrounded. Police are all the people trapped inside. And come out with your hands behind your head. You see? You see? It's a real mess. This one's had to get brave. And she had to bring in the cop. Now it's a real production. He had to make it complicated.

[B]

This man needs medical attention. He could bleed to death.

[A]

Oh, that's tough. That's the price of trying to be a hero.

[B]

I can't stop the bleeding.

[A]

Makeup. Pressure bandage. Here, bright boy, rip up your shirt. This guy's bleeding all over the floor. Keeps thinking I'm going for her, but. Oh, forget it. Here, use my jacket.

[B]

If he dies, it's murder.

[A]

No kidding. You're telling me. The law. Lady, I'm a two time loser. If I don't get out of this one, it's all over. I'm gone for good. Just throw away the key. I repeat, the building is surrounded. There is no way to escape. You don't want to hurt anybody. Free all the people in the bank and come out with your hands in the air. Is he crazy? He expects me to let you go? We want answers in five minutes.

[B]

What's with him?

[A]

I'm the one calling the shots. You want an answer? Sure. Here. That's my answer. You know where you can go? I'm calling a turn. You got that, huh? You're my ticket out. Of this hole. I get out, then you get out. Otherwise. Well, there better not be an otherwise.

[B]

No, we'll do anything. But, Pete, no more shooting.

[A]

That's more like it. This is your fault, you know. You had to protect somebody else's dole. Why? Was it worth it? If they rush this place, you're all dead.

[B]

Think about that.

[A]

You get that phone? Yeah.

[B]

I mean you. Hello?

[A]

Carol, it's Frank. Are you all right?

[B]

I think so.

[A]

Give me that. What do you want? Who is this? Donald Tuck. Don't try anything funny.

[B]

I'm not.

[A]

Okay, talk. Is this unright? Sorry, he's with a customer. Call tomorrow. You're a real comedian. Hey, check with me some other time. I got a couple of problems right now. Yeah, I know. I'm watching the whole thing. This ain't a spectator sport. Keep out of this, huh? You know, you're in a whole lot of trouble. Armed robbery, bad news, you know. Are you the man? Yeah, yeah, I'm the one in charge. Come on, buddy, give it up. Don't make it tougher on yourself. There's no way out. Let the civilians go. Come out, huh? Don't make it any lousier than it is. Are you nuts? I got all the aces. The manager, a couple of flunkies and some would be hero. I'm calling the Toons, not you. Okay, okay, I got the message. Anybody hurt so far? Yeah, Captain Heroic. Got it in the shoulder. That all? At least for now. Come on, cooler. Take your finger off the trigger. I want to cooperate with you. We'll try it your way. Oh, you're gonna let me go scot free, huh? Why don't you let the wounded guy out? No way. The hero stays put. What's his name? Hey, what's your name? He's out cold. Anybody know this joker? Everybody's shaking their heads, including the manager lady. Hey, let me talk to the manager. How about it? Forget it. This is a one man show. I make all the decisions. Don't get bent out of shape. I just want to make sure the women are all right. Okay, but any tricks and they buy it. Here. Talk to the cop. Tell them everything's under control.

[B]

Hello?

[A]

Is he listening on another line?

[B]

No.

[A]

All right, play along. Don't jeopardize yourself. Okay. How many guns is he carrying?

[B]

The other two employees are fine.

[A]

Two. Two? You're sure?

[B]

Oh, positively.

[A]

Pistols?

[B]

Well, there's play. Pigeons?

[A]

Shotguns?

[B]

No, no, it's just a combination of things.

[A]

I got it. Pistol and shotgun.

[B]

Yes, that's right, Lieutenant. Everything's Fine. Don't worry. We're being treated well.

[A]

Good girl. Good girl. I'm gonna get you out of there, Carol. Trust me. Keep the others calm. I know what to do. Carol. I love you. Give me the pump. You satisfied? Hey, no sweat. Take it easy. Don't conn me, huh? Listen, I forgot to get your name. No name. I don't want you running a make on me. All right, have it your way. You need food or cigarettes? Oh, blow it out your ear. Save that guy for the amateur. How about a doctor for the wounded man? Oh, sure. Anything to get a copy. Take it easy. You're holding all the high cards. I just don't want to see anybody die. Make you a trade. Let's hear it. First, you clear out all the cops, SWAT teams and everything. Then I send out the wounded guy. Second, I get safe passage to the airport and a plane to Cuba. Once I'm there, I release the hostages. That's complicated. You got to give me time. Take it, or else I need authorization. Listen, get the plane in a half hour or I start throwing corpses out of the bank. Okay, okay, okay. It's a deal. But it's outside my authority. If I go out on a limb for you, you gotta show me some good faith. Good faith? This isn't a union contract. I need shows my superiors I can handle the situation. I'll tell you, just release the wounded man. There's no reason for him to die, right? Yeah. Okay. First, pull back the troops. You come get him alone and unarmed. Now you're talking. Okay, folks, the hero's going to the hospital and we're heading for Cuba. Cuba?

[B]

Oh, Lord. I never needed to get to Philadelphia.

[A]

Who hired this idiot?

[B]

Why don't they bring a doctor in here? He's too weak to be moved.

[A]

You just get him on his feet. Get him up. Do it now.

[B]

Move. Come on. Here we go.

[A]

I thought you didn't notice. We all know him. He's Mrs. Matthew.

[B]

He brought too much blood. He can't be moved. Shut up.

[A]

Drag him to the door.

[B]

All right, come on.

[A]

Here he is. All right, keep him moving fast. Yeah, okay, okay, I'm coming for. All right, everybody else right behind the counter. Now.

[B]

Come on.

[A]

I'm out here at the front door. Please help me. Well, I'll be in. Brock, you got a half hour to come come across. Yeah, sure. You lied to me. I didn't, honest. You met with her. I told her not to see you. I warned her, but she did it anyway. Please help me. You couldn't stay Away from each other, could you? You had to put your filthy hands on her. To her. Please. I hope you're in agony.

[B]

You're right.

[A]

Breaking up my home. She's deceived me for the last time. I told her I meant business. I got her now. And she thinks I'm gonna save. Across the street from the beleaguered bank in the town of Farrington, Ted Brock's body is placed in a waiting ambulance. Lieutenant Frank Maxim, bullhorn in hand, is briskly supervising all the activity out in the street. All right. You and the bank. I kept my part of the deal for now. Yeah. What I want. Harry, come in. Yeah. Pull the marksman back, completely out of sight. Tell those guys on the roof to get down. Roger. Sergeant Lopez, take three men with riots in the SWAT team to the rear of the bank. You wait on my orders. When I give the word, you go and blast him. Everything. He's a wild one, but wait for my word. And Lopez, no screw up. Sure, Frank, you're in control. We're gonna have to watch him, Commissioner. He's got automatic weapons. Sounds like a tough monkey. What's the. Save it. The area is roped off. No tv, no press. The place is surrounded. Hank, set up a command post in the safe store across the street. There's a phone there up front in the window. You can see it clearly from the bank. Good planning. Now, I've got one guy out already. Bad shoulder wound, but he'll survive. Anybody else in there? Three. One of them's my wife. What? Yeah. Yeah, it's a rough one. How about Captain Gordon taking over? No, sir. No, sir. My ball game. Miss my wife. Captain. Okay, now run the show. Let's get him out of there in one piece. Just. Just let me alone and I can do it. All right, any demands? A plane to Cuba, $2 million and release of all political prisoners. Political what? Prisoners? Beat the hell out of me. He sounds like an extremist punk. Hood. This. His name is Claudio. Hey, there's a Claudia wanted in connection with an attempt on a German ambassador. Could be the same guy, a radical, pro hit man. Listen, now, don't you make any moves yet. I'm gonna get the FBI in on this. Meantime, just stall some more. Maybe that's what he wants us to do. Why be a platform for him? Once we bring in the Fed, then I can't hold back the threat. Let's handle it like a local matter, all right? All right, I'll buy that. Treat him like a stick up man. Play it low. Key. Keep it one on one for now, until we can force the issue. Now, Frank, this Claudio is no back alley. He's got a full sheet. Arson, political assassination, murder and rape. Now, don't take any chances in my situation. Look, I want my wife out alive. If you need anything, I'll be at the command post. I'm coming with you. I'm going to use that phone in the front window. You'll see. I'm alone. No taps, no SWAT team. Good. Frank, you pull this one off and you'll make captain. Yes. Now, see about that later. Yeah. Hey, everything's cool. I just got the word on your plane. Slow it down. Good. No fancy stuff. Oh, I know. Or everybody gets hurt. Right. Hey, did that guy make it? Oh, sure, sure, sure. The paramedic stopped up his wound. Be good as new in a couple of weeks. You did a smart thing, buddy. I won't forget it. Sure. You'll be a character witness. Let me speak to the manager again, will you? She's good stuff. You got something going with her? Manager? Lady, Dick Tracy wants to talk to you. Lady, get on the horn. Hello, Carol. Ted Brock died. Bled to death in the ambulance. Oh, no.

[B]

Dad. Oh, my dad. He was just trying to help. It isn't fair.

[A]

What the hell is going on? My fault.

[B]

Ms. Mathen, what happened?

[A]

What did you do? I didn't do anything. I killed him.

[B]

I killed him. Because of me, he's dead.

[A]

Who's dead?

[B]

Dead. I killed.

[A]

No, no, no. He murdered them. He shot him. The killer.

[B]

I knew it. I knew it.

[A]

We're all going to die. Everybody shut up. What is going on? Did that cop tell you something?

[B]

Death died on the way to the hospital.

[A]

The hero. Yeah, well, the cop told me he's alive. They patched him up. Hey, lady, if this is some trick, you'll all be sorry. Let me. Let me go, please. I got a bad heart. I'm sick. Think coward. You let these Julie stay here, wouldn't you? If that badge has something close up, you better skip it.

[B]

I want to say something.

[A]

There's a lot of funny stuff going down. First, nobody knows the hero. Then everybody does. The cop tells her one thing, then feeds me another line. I just don't like the smell of this. Too many bad vibes, that's all. Talk to me and give it to me straight. The dead man is. Was Ted Brock. Mrs. Matthew's attorney. He was here to talk with her about a Pursa AV editorial. There's a missing piece that makes me nervous. And folks, that's Bad news for all of you. Yeah, you're set. 25 minutes. Maybe. What do you mean, maybe? I had it all worked out. The plane's fueling. The car will be in front of the bank in 10 minutes. There's stuff in the air. The guy I sent out, what's his name, fatso? Ted Brock. Yeah, Ted Brock. He bought it, huh? No, I told you, he's a the county general being sewed up. The manager says he's dead. Hysterical women. What do you expect? Can't hear anything. Right. Let me talk to her. Here, talk.

[B]

No.

[A]

Get on the phone now.

[B]

Hello?

[A]

Pull yourself together.

[B]

I'm trying to.

[A]

Rock isn't dead.

[B]

Then why did you?

[A]

Because I wanted you to feel what it's like to be fake. To loose something.

[B]

Oh, please don't. Not now. Please.

[A]

Haven't I said please for months? Please, let's be a family. Please may I see my children?

[B]

Please don't.

[A]

Don't see a lawyer. Please let me come home.

[B]

My home.

[A]

I've been saying please until I choke.

[B]

On wasn't that simple.

[A]

But now it is. You want me to get you out of there now. You want me.

[B]

Now I'm necessary.

[A]

No.

[B]

I've always wanted. I've always wanted it to be like it was. Like three years ago.

[A]

Liar.

[B]

No, Frank, it's true.

[A]

Behind my back you defied me for the last time, Carol. Understand? The last time. I just can't let this pass. You have to be taught a lesson.

[B]

This is different.

[A]

There are others involved. That's their problem.

[B]

Don't blame our troubles on innocent people.

[A]

In it with you, I knew what went on down there. Even Enright. And you. Don't do this to me. Oh, please, let someone help us. Oh, you'd like that. But the commissioner says it's my show. I could make captain.

[B]

Yet you're creating it.

[A]

I know.

[B]

Don't put us in this position, please. It isn't fair. Life isn't fair.

[A]

I want to talk to him.

[B]

Why are you punishing me?

[A]

I've got nothing else to say to you. I want to talk with our friend.

[B]

It's all yours, mister.

[A]

Put us in what position? Hey, I want to tell you before my wife gets it all balled up. What wife? The FBI won't go with the plan. Are you crazy? Tell them to get on the stick or they bought some dead people. Can't do it. They took it out of our hand. Well, get it back. In the next five minutes, our brains will be all over the street. No, no, no, no, no. Don't get trigger happy. I know you mean business. You think I want to have my wife murdered? What is this wife routine? The manager is my wife. Oh, bull. I don't believe any of you. Listen to me, fella. I want to help you, and I want to get my wife back home. Hey, we got two kids. Oh, save the corn, huh? She is my wife. Keep your hands off her or I'll come in there and blow you away. Do that and she's the first one coming out dead, huh? Well, you try it and it's all over. The negotiations are closed. We'll come in there with more guns than an army. Better not. I'm holding the aces, all three of them. And I don't think this babe is your wife. You're just giving me a lot of smoke. No smoke, buddy. It's all true, and I'll prove it. She's got a small scar above her left breast. Check it out. Okay. Come here.

[B]

I don't want to talk to him.

[A]

Take off your blood. No. I said take it off.

[B]

Don't touch me. He's gonna rap her. You gotta stop him.

[A]

Okay, now we go. Commissioner. Commissioner. What's going on, Frank? It's falling apart. The whole plan backfire. Take it easy. He's after my wife. I think he shot the teller. Where's the SWAT team? Rear of the bank. Let them rush him from the rear and we'll open from the front. I'll leave now. Hang on. Hang on now. Let's not turn this into a massacre. I don't want to see innocent people get killed. Oh, sure, sure. It's not your wife that's going to be raped. Get hold of yourself. I understand what you're going through, but we've got to try and save lives. There's no time. Don't judge us. We've got to get in there. No rush in and we lose everybody. Okay, okay. Then let's make it a solo job. I can get into the bank through the air conditioning duct. The main feed is in a room to the rear of the teller's cages. And we'll start a diversionary movement in front. Yeah, yeah. Pull some squad cars back and forth. It should give me enough time to do it. All right. Get whatever gear you need. Flak jacket, helmet, anything. Yeah, well. Well, all I need is my gun. Fine. Let's move. We'll start the cars in three minutes. Sure, that'll give. That'll give me enough time to get into the shaft and start down. Good luck, Frank. Thank you, sir. Don't Take too many chances. No, sir. Let's get him. I will. I will. I'm going to shoot to kill both of them. Vincent. Frank again. And here's the concluding act of Hostages.

[B]

Are you satisfied? Did you see what the scar looked like? It's pretty, isn't it?

[A]

I'm sorry, lady, but, well, I had to make sure.

[B]

My husband tell you how he got that beautiful scarlet? No, no, of course not. Because he did it in one of his rages. He attacked me with a steak knife.

[A]

I didn't mean to hurt you.

[B]

Nobody means dirty.

[A]

There's too much stuff going down, too many stories. I. I don't trust anybody. Who wants you to close that faith, fat boy Thug.

[B]

Oh, George, don't make it any worse.

[A]

Yeah, why die angry?

[B]

Don't you. You see what's happening? My husband's using you. You're being fed up. He's creating situations. He wants you to kill me.

[A]

Oh, now that's some story. Cop wants wife dead. I don't buy it. If he's coming, he's coming for me.

[B]

For both of us.

[A]

Come on.

[B]

For me. Because I defied him. The man you shot was my attorney. He's a divorce lawyer. My husband hated him. Threatened me if I saw him again. Charlie said I have to be taught a lesson.

[A]

Oh, that's screwy.

[B]

Yes, that's why we were separated. He's unstable, violent. He needs help. Do you know what 16 years on the force does to a man? What he's seen? Murder, suicide, death. The insane ugly side of humanity tore him apart. He started screaming in the middle of the night. He kept hearing gunfire. Sleeping with his service revolver under the pillow. Begged him to go into therapy, take a medical retirement. But it was too late. That really felt started his paranoia. I became his enemy. They were plotting against him.

[A]

Even you.

[B]

Even our children. In one of his rages, he tried to strangle his son.

[A]

What now?

[B]

He's planning to get rid of some more enemies. Me, you. Even those two.

[A]

He wants to kill me. That's a great story, lady. Okay, you're his wife, but you're still a cops wife. The rest of that routine is just too much to swallow. Ted Brock is her attorney. She was separated from Frank. Everybody knows how he treated her. Maybe. But lady, I think you're just buying time. Enough time for the FBI to get into the act and pull the noose tighter. But your husband's dumb. I've got complete control. A cop's wife is a first class ticket out.

[B]

You're wrong. It's a Death warrant. I'm not a hostage. I'm a target. He'll kill us both. Doesn't matter. Or you'll kill me. He thinks he can't lose. If you don't give up, I'm dead. We're all dead.

[A]

You expect me to fall for that? Give up. Just march out there and say sorry. Hey, if I don't get out of this, I'm gone for good. Armed robbery, assault, kidnapping. Even without a prior record, I'm away forever. So drop the routine. I don't believe you. Okay, Fat, go up. It's time to send him another present.

[B]

All right.

[A]

Oh, just pain.

[B]

It's his heart.

[A]

Oh, it's another trick.

[B]

Trick? That's all you can think about. He's had a weak heart for years. What do you expect when a gun's aimed at you, breathing so heavily? Get some water.

[A]

Don't let me die.

[B]

Take it easy, George.

[A]

Don't want to die.

[B]

Docs, a doctor. Is this what you want?

[A]

All right, all right. Get a doctor. Tell the cop to call the paramedics.

[B]

Yes? This is the commissioner.

[A]

I want to talk to Claudio.

[B]

Who?

[A]

The man who's holding you hostage.

[B]

We need a doctor in here. Mr. Enright's had a heart attack.

[A]

A doctor's impossible under the circumstances. It's too dangerous. We might risk more hostages.

[B]

He needs a doctor now. They won't.

[A]

Give me that phone. Okay, it's over. The whole thing's over. I don't want any deaths. I'm giving up. I'm finished. Send out the hostages first. I said it's over. Now get a doctor in here before this guy dies. It ain't worth it. I'll toss out my hardware. You got a deal here. Tell him you're intact.

[B]

This is Mrs. Matson. Carol Matson. We're safe. It's all right. Let me speak to my husband.

[A]

That's impossible. He's trying a solo rescue. I guess he's somewhere in the bank.

[B]

Oh, you've got to stop him. You've got to stop him.

[A]

No, no, no. Don't worry, Mrs. Matson. Frank won't take any chances. Get Matson on the two way. Tell him Claudio surrendered. We're trying to raise him now.

[B]

Hurry, please. Oh, hurry.

[A]

What do you mean, he doesn't answer it? Try it again. Just a minute. I think he's turned off his set. Frank doesn't respond, Mrs. Manson. He's probably there inside. Now, what the hell's going on? Give me that phone. If you're coming in here, they die. Oh, no, no. I've called off the operation. Sure. I'm pulling everybody out. Okay? You can have two of them, but the manager sticks with me until I'm positive. That's not our deal. Neither would a goon. Come. Cars. Now. Pull them out, everybody. All right, all right. Surrender to me. I'll meet you in the front of the bank. What an honor. Okay, chickens, you're going home. Hang tight, Fell.

[B]

You're getting your doctor in. Right. Here, let me help you.

[A]

I think I can make it.

[B]

Harriet.

[A]

Well, you didn't have a heart attack. That was a fake.

[B]

Run, Harry, run. Oh, D.

[A]

I'll be damned. Coward. Faint Chicken butt. Go ahead, sister.

[B]

Peter, I said go. Move. Move. Now. Go ahead, Harriet. I'll be all right.

[A]

What a screw up for a lousy couple of G's. Boy. You people on the outside or something? It's safer in the joint. Come on, lady. I've had it. We're coming out. Hold it right there. It was a trick. One move and she gets it right in the head.

[B]

Frank.

[A]

I moved. Killer. Are you crazy? I'm. I'm surrendering. I don't want to do it. I'm closer. Killer. Lady, tell him I. I got nothing to lose. You haven't got the guts to pull that trigger. You're just a small time punk hood.

[B]

Frank, please. We worked it out. He's giving up in the crunch.

[A]

These guys haven't got it. No guts, no backbone. See? He can't pull it off. He's impotent. You stay right there, cop. No way. Carol. I've got this aimed right at you. No one will ever know. Take it easy, Mrs. Matson. Real easy. It's all over. If we had just been a second. Quicker.

[B]

What?

[A]

Frank's dead. The robber killed him. I'm sorry. Fortunately, our marksman shot Claudio. He's dead too. You were next.

[B]

It's wrong. It's wrong.

[A]

I know how you feel. Frank was a devoted husband. All he could think about was you. He was a real brave guy. He died a hero. You've been listening to Sears Radio Theater, brought to you five nights a week by Sears, Roebuck and Company. Where America. Shots. Hostages was written by Ken Gerard. Produced and directed by Fletcher Marshall. Your host was Vincent Price. Our stars were Virginia Gregg, Shepard Menken and Vic Herron. Also heard were Sarah Selby, Norman Alden, Tyler McVeigh and Olan Soule. The music for Sears Radio Theater was composed and conducted by Nelson Riddle. Mark Gilmore speaking. The Elliot Lewis production of Sears Radio Theater is a presentation of CVI.