WEBVTT
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Arch Obelair wrote, directed, and produced the drama Heard Tonight
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with Bae Benadry and Jane Morgan in the cast. On
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February 4th, 1972, The Devil and Mr. O presented episode 21,
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Paris Macabre, a retitled rebroadcast of Obolair's 1943 lights-out play,
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The Ball. In Paris, two young American visitors seeking adventure
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gain admission to an artist's masquerade ball where masked guests
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and unfamiliar customs alter the course of their evening. Ladies
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and gentlemen, from the devil and Mr. O, here is
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the original broadcast.
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Lights out for the devil and Mr. O. It is
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later than you think.
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Turn out your lights now.
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We bring you stories of the supernatural and the supernormal,
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dramatizing the fantasies and the mysteries of the unknown. We
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tell you this frankly so that if you wish to
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avoid the excitement and tension of these imaginative plays, we
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urge you calmly but sincerely to turn off your radio now.
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This is Mr.
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O.R.
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Joveler. Did you ever go to a party or a
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dance and look at the people, the same old faces,
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and wish that, well, suddenly it could all be changed
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into a magic ball where everyone was beautiful and you
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were beautiful and life for a magical few hours was
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exactly the way you want it to be among the
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new beautiful people? Well, our play tonight isn't exactly about
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beautiful people.
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It is about a couple.
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Of young American undergraduates who are in Paris on their vacation,
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and the dance and the adventure begins after a word
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from your station.
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See?
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See the leaf?
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Right here in my hand. Oh, yes. Isn't that a
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new leaf?
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Yes, it is a new leaf.
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Here, I'm going to turn over.
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A new leaf.
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Get it?
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Leaf?
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New?
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What does that mean, to turn over a new leaf?
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Well, I'm serious.
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Mm-hmm.
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I thought you were going to have a little change.
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From what to what?
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From bad to good.
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Oh, really?
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Yeah.
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Well, suppose somebody was crying.
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They could switch from tears to a smile.
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Suppose they were lonely.
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They could go from loneliness to having somebody to play with.
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Well, suppose somebody wasn't loved.
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Could they turn over a new leaf?
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They could go from not loving somebody to loving somebody.
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How do they do that?
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All they have to do is try to love somebody.
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Just try?
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Yeah.
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It's easy to love people when you try.
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Love makes all things new again.
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Hey, what was that?
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Another sound of love from the Franciscans.
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And now, if you haven't already done so, turn off
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your lights now and listen to Paris Macabre. What do you.
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Say, Paul, that we're here?
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Oh, well, can we get out?
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Yeah.
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Come on, shove him.
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We'll get there.
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Come on, shove him.
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Uh, comment et.
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How much?
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Dix francs. Okay.
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Here you are.
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Ah, merci, monsieur. Merci.
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Well, I sure got to hand it to you, Paul.
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You sling that French right around, don't you?
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Took two years of it in school.
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Vive la France.
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Yeah.
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Oui, oui.
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How you doing? Oh, boy, what a time.
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How you gonna keep them down on the farm after
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they've seen Paris?
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Oh, how you gonna keep them?
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Hey, wait a second. Quiet down. It's almost midnight. Paul,
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anything goes in Paris. Oh, oh, oh. Come on, let's
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go in.
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It's the right address, isn't it?
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Yeah, I suppose it is. The card says 505 Rue
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de la Poop or something.
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Okay, let's climb.
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Hey, it sure looks like a joint.
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Don't be naive. I bet you it'll be about as
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exciting as a junior prom.
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Quit singing the blues.
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I tell you, this will be the real stuff.
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French artists and their models and things and stuff.
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Say, he must have got the wrong number. Look at
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the place.
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No light.
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It's pretty dark, isn't it?
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Listen, fella, if there's an artist shindig going on in there,
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then I'm a left-handed monkey.
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Come on, let's get back to the hotel.
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No, I'm going to find that artist ball if I
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have to tear the town apart.
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Where's the doorbell?
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Listen, I tell you, there's nothing going on in there.
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That's what you say.
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Oh, here's a knob. Now, let's see what... Hey, the Naples. Oh,
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now you did it.
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Wake up some old Napoleon this time of night and
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he'll scalp you.
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Listen, I paid that bozo six bits for this ticket.
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I'm going to find out what's what.
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End up in the Bastille.
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That's what you'll do. Yeah, well, if they want to.
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Paul, it is a party.
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Listen to him.
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Oh, I'll be.
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Andre, miss you.
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I'll say well, Andre.
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Come on, Paul.
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Yeah.
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Well, Paul, no artist ball, huh? So now you're a
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left-handed monkey, remember?
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Sure had me fooled.
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This way, monsieur.
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S'il vous plaît.
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Right with you, lady.
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If monsieur would be seated.
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Well, can't we go right in?
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We've got tickets.
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Yes.
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Soon you will go in. You will wait.
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Yes.
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Boy, oh boy, oh boy.
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Yeah, it sounded like quite a party.
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Yeah, and you thought it was a baloney. Well, how's
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it looked?
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You can't tell a good banana from the skin on
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the grape.
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Not so good, pal.
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Well, this party's going to be.
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You hope. Oh, well, this be something to write home about.
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If we ever get in the joint.
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See, I think I'm beginning to understand all this.
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Huh?
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It's a clip joint, that's what it is.
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Clip joint?
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Yeah, the way I've suspected all along. A sucker joint
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for tourists. Keep it up. You're terrific.
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Go on, laugh, but I'm.
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Telling you that if this was a real artist, Paul, why,
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in we go with Arnold Stalin. It's all a fake,
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and I'm getting out. Hey, Paul, wait.
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No, let me go.
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I'm getting out of here. And if you have any sense,
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you'll get out, too.
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Oh, Paul.
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Before they slip your Mickey Finn and clean you out.
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Monsieur.
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Huh?
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Oh, you may go in now, monsieur. Oh, yeah, sure.
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This way, monsieur.
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Well, pickle-puss Paul, my friend.
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You got any more to say?
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I still think there's something screwy.
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In here, monsieur.
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Okay.
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Paul, are you or aren't you going to have something
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to tell your grandchildren when they ask you about Paris? Oh,
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I'll stay. Is this something?
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Gosh.
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Would you look at the femme?
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Boy, oh, boy.
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Everybody's in costume.
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So what?
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I'm in costume, too.
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I got on a clean shirt.
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Gosh, will you get a load of the screwy masks
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they're wearing?
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Yeah, I see them.
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Sure weren't plenty for French models, are they?
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Yeah.
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Oh, well, evening's young yet.
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That's funny.
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You're right.
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They're not dancing.
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Oh, well, they're taking time out again.
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Yeah, but where is it? What? The orchestra. There's no orchestra.
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Oh, yeah, that's right.
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Oh, well, maybe they're hidden behind palms or something. Anyway,
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what's the deal?
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They may be masked, but, fella, I know honeys when
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I see them.
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But this is supposed to be a dance, so why
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don't they dance?
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There you are.
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Boy, are you guessing wrong tonight.
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Where's the organ?
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You cut it out.
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Who cares where the organ is?
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Paris, artists, models, mammy.
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Dancing.
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You look at him.
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Come on, let's cut out a couple of fillies and
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do a big apple. Yeah, but look at the way
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they're dancing.
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Huh?
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I never saw a dance like that.
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Yeah.
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Me neither.
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They sort of glide.
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Yeah. Jerry. What?
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What?
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Funny.
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No one's talking now.
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They sure take their dancing serious.
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And the music.
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Sure is funny music for an.
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Artist, Bull.
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Did you say this was going to be a wild party?
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Well, they look like artists.
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Don't act like them.
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Sure is funny music.
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Let's beat it.
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No.
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I want to find out what this is all about.
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Men and women dancing so quiet.
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Funny music.
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Let's go, Jerry.
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No, I want some answers first.
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I want to know why.
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You would like to dance?
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No, no, not me.
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And you, monsieur, you would dance?
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Well, yeah, but... It.
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Would be as you wish.
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As you wish.
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Oh, no, wait.
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What kind of a ball is this? These people, what
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kind of music? Hey, old lady, come on back here.
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Come on, Jerry, let's get out of here. What are
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you talking about? I paid dough for this ticket. I'm
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going to get one dance out of it.
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Jerry, don't be a fool.
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And don't you be a lily. What's there to be
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scared about? This is Paris, fella. Anything goes.
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Hey, look, there comes the old lady with my dancing partner. Boy,
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oh boy, will you look at that chassis.
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Miss you, Jerry. This young lady, she will dance with you.
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Well, now, Paul, here I go. You're a good dancer,
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aren't you? Gosh, I suppose you don't speak English, do you?
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I understand you, monsieur.
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You do?
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Oui.
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Say, that's swell. Oh, lady, I've got more things to
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ask you than a psych professor doing an IQ on Einstein.
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Whimsy?
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Well, I mean, this goofy music.
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And why doesn't anybody talk? And when are you going
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to take off your mask?
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Midnight.
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Midnight?
269
00:10:35.620 --> 00:10:36.779
That's not far off, is it?
270
00:10:37.659 --> 00:10:39.360
Not far off.
271
00:10:40.620 --> 00:10:42.299
Say, how about slipping your mask up a little and
272
00:10:42.340 --> 00:10:44.419
letting me have a sort of a, you know, a preview?
273
00:10:44.460 --> 00:10:45.120
No, no, no, no.
274
00:10:45.139 --> 00:10:47.120
Okay, I was just asking, that's all.
275
00:10:48.399 --> 00:10:50.419
There is still time for you to go.
276
00:10:50.450 --> 00:10:50.519
What?
277
00:10:51.590 --> 00:10:54.450
There is still time for you to go.
278
00:10:54.470 --> 00:10:54.529
Go?
279
00:10:56.909 --> 00:10:59.610
Why should I go? Gosh, I'm just starting to enjoy myself.
280
00:10:59.909 --> 00:11:03.659
I can give you only one warning. Warning?
281
00:11:04.620 --> 00:11:05.279
Warning of what?
282
00:11:06.299 --> 00:11:07.440
You are very young.
283
00:11:08.059 --> 00:11:08.440
Yeah?
284
00:11:08.759 --> 00:11:10.720
Well, I'm old enough to know all the answers. And
285
00:11:10.759 --> 00:11:13.149
if you don't think so, supposing you and me... One.
286
00:11:13.210 --> 00:11:17.509
Warning I can give you. And it has been given.
287
00:11:18.269 --> 00:11:19.870
Listen, if you're trying to warn me that this is
288
00:11:19.950 --> 00:11:23.129
a clip joint, well, I'm not worried. All my dough's
289
00:11:23.169 --> 00:11:26.509
in traveler's checks anyway. So, somebody wants to steal my pants?
290
00:11:26.950 --> 00:11:28.889
Okay. It's a two-pants suit anyway.
291
00:11:28.909 --> 00:11:30.580
Hey, look.
292
00:11:30.860 --> 00:11:32.019
Well, can you tie that?
293
00:11:32.179 --> 00:11:32.840
It's my pal.
294
00:11:32.960 --> 00:11:33.740
He's dancing, too.
295
00:11:34.240 --> 00:11:34.779
Hi, Paul.
296
00:11:34.799 --> 00:11:35.320
How you doing?
297
00:11:35.539 --> 00:11:36.259
All right, I think.
298
00:11:36.299 --> 00:11:37.419
What do you mean, you think?
299
00:11:37.460 --> 00:11:38.679
Well, my partner won't talk.
300
00:11:39.039 --> 00:11:40.919
Well, maybe she doesn't like your lines. No one here
301
00:11:40.940 --> 00:11:42.679
speaks English, I guess. Mine does.
302
00:11:43.159 --> 00:11:44.259
Don't you, beautiful? Jerry.
303
00:11:44.850 --> 00:11:46.330
After this dance, what do you say we go?
304
00:11:46.350 --> 00:11:47.929
Will you listen to that, beautiful?
305
00:11:48.210 --> 00:11:50.710
Me with you on my arms and he wants to go. Jerry, listen.
306
00:11:50.730 --> 00:11:51.710
No, you listen to me.
307
00:11:52.389 --> 00:11:55.169
Beautiful here tells me she's gonna unmask at midnight. And
308
00:11:55.190 --> 00:11:58.169
it's only a couple of minutes to. So, fella, I'm staying.
309
00:11:59.289 --> 00:12:00.389
I've got an idea that.
310
00:12:00.330 --> 00:12:03.250
Behind this goofy mask, beautiful here's got a face that's
311
00:12:03.289 --> 00:12:05.870
gonna take my heart and turn it inside out and put.
312
00:12:05.809 --> 00:12:06.490
It together again.
313
00:12:06.509 --> 00:12:09.570
Say, come to think of it, beautiful, what is your name?
314
00:12:10.429 --> 00:12:13.889
I have warned you. And now you will go.
315
00:12:18.929 --> 00:12:19.769
Too late.
316
00:12:20.509 --> 00:12:21.009
Too late?
317
00:12:21.029 --> 00:12:23.710
What are you talking about? It's 12.
318
00:12:23.710 --> 00:12:24.490
Come on now, beautiful.
319
00:12:24.529 --> 00:12:24.889
Unmask.
320
00:12:24.990 --> 00:12:25.409
No, no.
321
00:12:25.450 --> 00:12:26.750
What do you mean, no?
322
00:12:30.929 --> 00:12:31.250
Hey, look.
323
00:12:31.289 --> 00:12:32.350
Everyone stop dancing.
324
00:12:33.149 --> 00:12:36.059
Yeah, everyone's going to unmask. And that includes you, lady.
325
00:12:36.139 --> 00:12:36.860
No, no, no, no.
326
00:12:36.940 --> 00:12:37.419
All right, then.
327
00:12:37.460 --> 00:12:38.879
I'll take your mask off myself.
328
00:12:38.899 --> 00:12:40.600
No, no, no, no. Come on. No, no.
329
00:12:40.620 --> 00:12:41.840
Mustn't be so shy.
330
00:12:41.879 --> 00:12:46.389
Take it off. Take it off. Hey, the lights.
331
00:12:47.250 --> 00:12:49.779
They went out. How do you like that?
332
00:12:50.379 --> 00:12:51.360
Oh, no, beautiful.
333
00:12:51.860 --> 00:12:53.440
I don't think you're going to get away from me.
334
00:12:55.120 --> 00:13:00.159
I learned this arm lock from a professional. It's kind
335
00:13:00.200 --> 00:13:02.139
of nice standing here in the dark, close like this.
336
00:13:02.159 --> 00:13:07.450
Isn't it beautiful? Pretty tricky, this dance committee. Turning the
337
00:13:07.490 --> 00:13:09.309
lights off just at the minute when the masks are
338
00:13:09.330 --> 00:13:16.190
supposed to come off. Yep, pretty tricky. Well? Haven't you
339
00:13:16.210 --> 00:13:19.750
got anything to say? I mean, even if it is dark,
340
00:13:19.789 --> 00:13:21.629
we could sort of make conversation now, couldn't we?
341
00:13:23.889 --> 00:13:25.210
Oh, come on now, beautiful.
342
00:13:25.769 --> 00:13:27.470
Haven't you read that book on how to win and
343
00:13:27.509 --> 00:13:32.740
influence friends? You've got to give, you know, conversationally. Now, look,
344
00:13:33.120 --> 00:13:35.460
you ask me if I'm always this fresh with strangers,
345
00:13:35.480 --> 00:13:37.059
and I'll ask you where you've been all my life.
346
00:13:37.379 --> 00:13:40.940
And before you know it, we'll be pals. Ah, gee,
347
00:13:40.980 --> 00:13:43.700
I'll bet you are, honey. I just know you are.
348
00:13:45.080 --> 00:13:46.899
You know, a fella kind of knows when the girl
349
00:13:46.919 --> 00:13:47.720
he's with is a honey.
350
00:13:48.620 --> 00:13:48.799
She.
351
00:13:50.759 --> 00:13:54.870
Gosh, everybody's keeping quiet. Is that part of the entertainment?
352
00:13:55.299 --> 00:13:58.590
Standing around in the dark? Well, it's okay by me.
353
00:13:59.309 --> 00:14:00.990
But I sure would like to get that mask of
354
00:14:01.009 --> 00:14:02.970
yours off and really see what you look like.
355
00:14:04.750 --> 00:14:06.169
Hey, how about some light?
356
00:14:07.230 --> 00:14:07.669
Light!
357
00:14:07.850 --> 00:14:08.330
Light!
358
00:14:09.500 --> 00:14:10.899
A candle, monsieur.
359
00:14:10.940 --> 00:14:11.009
Huh?
360
00:14:11.590 --> 00:14:13.289
Candle? Oh, thanks.
361
00:14:13.669 --> 00:14:16.750
Yeah, thanks. Now, listen, beautiful. You stand right there while
362
00:14:16.769 --> 00:14:19.320
I light this thing. Got a match someplace here.
363
00:14:20.179 --> 00:14:20.620
Yeah, here.
364
00:14:22.919 --> 00:14:25.539
It's pretty nice whoever it was handing me a candle. Now,
365
00:14:25.559 --> 00:14:28.279
wasn't it beautiful? Must have guessed how anxious I was
366
00:14:28.320 --> 00:14:32.740
to see you. There we are. That's a nice flame. Now,
367
00:14:32.759 --> 00:14:34.690
you stand right like that while I take off this
368
00:14:34.730 --> 00:14:37.570
thing you got over your head. It sure is a
369
00:14:37.610 --> 00:14:44.259
goofy mask. It's fastened on so tight. Now, stand still, beautiful.
370
00:14:44.620 --> 00:14:46.679
In a minute, I'm going to be congratulating myself on
371
00:14:46.720 --> 00:14:47.759
what a swell picker I am.
372
00:14:48.659 --> 00:14:49.639
There we are.
373
00:14:50.059 --> 00:14:50.940
Off it comes.
374
00:14:51.360 --> 00:14:51.659
Oh!
375
00:14:53.600 --> 00:14:54.000
You....
376
00:14:56.029 --> 00:14:58.909
You haven't got it ahead.
377
00:15:05.590 --> 00:15:07.929
We leave our The Devil and Mr. O's Story of
378
00:15:07.980 --> 00:15:10.039
Paris Macabre for a message.
379
00:15:11.639 --> 00:15:14.039
When you've got a family to feed, there are ways
380
00:15:14.100 --> 00:15:16.789
to cut high food costs, and we'd like to tell
381
00:15:16.830 --> 00:15:21.080
you an economical, tasty way to serve top-quality meat dishes.
382
00:15:21.820 --> 00:15:27.519
Today's answer is high-protein ham, H-A-M, Krakus and Atalanta imported
383
00:15:27.590 --> 00:15:31.190
Polish ham. When you buy Krakus or Atalanta Polish ham,
384
00:15:31.210 --> 00:15:34.210
there's no waste, no gristle or bone to throw away,
385
00:15:34.750 --> 00:15:38.929
and no water added. It's all lean, flavorful ham, down
386
00:15:38.950 --> 00:15:41.350
to the last tasty bit. You can even use a
387
00:15:41.389 --> 00:15:44.370
small amount of jellied broth to make soups more nourishing
388
00:15:44.830 --> 00:15:48.389
or to create delicious gravies. And ham is also perfect
389
00:15:48.470 --> 00:15:52.990
for breakfast, school lunch, snacks, and parties. It's the easiest
390
00:15:53.129 --> 00:15:55.909
food you can prepare because Polish ham is fully cooked
391
00:15:55.950 --> 00:15:58.889
when you buy it. So if you wish, just zip
392
00:15:58.929 --> 00:16:02.289
open a tin can, slice, serve, and enjoy from end
393
00:16:02.350 --> 00:16:05.549
to end. In these days of high food prices, ham
394
00:16:05.610 --> 00:16:09.860
is understandably in great demand by economical housewives. So you
395
00:16:09.899 --> 00:16:12.740
may find that your favorite market is temporarily out of
396
00:16:12.879 --> 00:16:17.039
certain sizes of fine imported Polish ham. Shipments are now
397
00:16:17.120 --> 00:16:19.179
on the way. Thank you for your patience.
398
00:16:20.460 --> 00:16:27.970
And now back to our story of Paris Macabre.
399
00:16:29.129 --> 00:16:29.669
No head.
400
00:16:29.690 --> 00:16:32.350
She doesn't have a head.
401
00:16:34.269 --> 00:16:35.570
Nothing without a head.
402
00:16:36.389 --> 00:16:36.669
No.
403
00:16:37.559 --> 00:16:37.860
No.
404
00:16:37.919 --> 00:16:38.440
Jerry.
405
00:16:39.379 --> 00:16:40.440
Jerry, where are you?
406
00:16:41.340 --> 00:16:42.259
Jerry.
407
00:16:42.419 --> 00:16:42.659
What?
408
00:16:43.720 --> 00:16:44.220
Who's calling?
409
00:16:44.240 --> 00:16:44.480
What?
410
00:16:44.759 --> 00:16:45.100
Jerry.
411
00:16:45.240 --> 00:16:45.580
Jerry.
412
00:16:45.600 --> 00:16:45.879
Paul.
413
00:16:46.220 --> 00:16:46.700
Oh, Paul.
414
00:16:46.759 --> 00:16:48.320
Where have you been? What happened? I've been calling.
415
00:16:48.340 --> 00:16:48.639
Oh, wait.
416
00:16:48.659 --> 00:16:49.299
Don't come any closer.
417
00:16:49.330 --> 00:16:49.490
Jerry.
418
00:16:51.399 --> 00:16:54.230
It's just standing there. Jerry, what's happened? What's the matter
419
00:16:54.250 --> 00:16:54.500
with you?
420
00:16:54.539 --> 00:16:54.799
There.
421
00:16:56.049 --> 00:16:56.809
Standing right there.
422
00:16:57.710 --> 00:16:59.370
I dropped the candle. It's so dark.
423
00:16:59.409 --> 00:17:03.710
But she must be standing there, Paul. Jerry, for Pete's sake. Jerry.
424
00:17:03.730 --> 00:17:06.529
I saw it. I saw it. Saw what?
425
00:17:06.549 --> 00:17:09.609
For Pete's sake, there's no one here. I tell you,
426
00:17:09.630 --> 00:17:12.759
there's no one here. The whole hall's empty. Jerry, open
427
00:17:12.799 --> 00:17:15.660
your eyes. You're standing there with your hands over your
428
00:17:15.720 --> 00:17:19.839
eyes for luck, I tell you. See, there's no one here.
429
00:17:20.670 --> 00:17:22.980
The lights went on again and everyone was gone.
430
00:17:24.000 --> 00:17:24.220
What?
431
00:17:25.839 --> 00:17:26.240
I thought.
432
00:17:26.279 --> 00:17:28.460
Well, the devil with what you thought. Come on, let's
433
00:17:28.480 --> 00:17:30.210
get out of here. We should have gotten out a
434
00:17:30.250 --> 00:17:30.950
long time ago.
435
00:17:31.049 --> 00:17:32.369
Yes, but.
436
00:17:32.390 --> 00:17:35.450
We'll go, won't we? Come on. Don't act like you're sleepwalking.
437
00:17:35.490 --> 00:17:39.569
Come on. Oh, listen, she's... She didn't have.
438
00:17:39.589 --> 00:17:40.549
The devil or what she.
439
00:17:40.450 --> 00:17:42.230
Had or didn't have. We're getting out of here before
440
00:17:42.250 --> 00:17:43.230
those maniacs get back.
441
00:17:43.250 --> 00:17:45.059
Maniacs? Yes, I said maniacs.
442
00:17:45.519 --> 00:17:47.299
Some kind of a goofy bunch we walked in on.
443
00:17:47.880 --> 00:17:50.359
I knew they were screwy right from the start. Come on,
444
00:17:50.380 --> 00:17:50.869
let's get out.
445
00:17:50.880 --> 00:17:51.799
Paul, didn't you see that.
446
00:17:51.859 --> 00:17:55.599
What could I see? The lights went out. Everyone beat it. Here,
447
00:17:55.619 --> 00:17:56.579
I think this is the door.
448
00:17:56.599 --> 00:17:56.980
The door.
449
00:17:58.480 --> 00:17:59.269
Can't open it.
450
00:17:59.460 --> 00:18:01.220
We've got to get out. We've got to. We've got
451
00:18:01.240 --> 00:18:02.819
to get out. Let me at that door.
452
00:18:03.039 --> 00:18:03.700
Let me at it.
453
00:18:05.470 --> 00:18:07.589
No, get away, Paul. Quit banging your fists on us.
454
00:18:07.599 --> 00:18:08.440
We've got to break it down.
455
00:18:08.460 --> 00:18:08.880
Okay, come on.
456
00:18:09.000 --> 00:18:09.359
Okay.
457
00:18:09.420 --> 00:18:12.130
Mark, we've got to get out.
458
00:18:12.140 --> 00:18:13.079
We've got to get out.
459
00:18:14.720 --> 00:18:18.450
Now we'll get out. Get out where, monsieur?
460
00:18:18.769 --> 00:18:19.430
I know a woman.
461
00:18:19.529 --> 00:18:19.930
Oh, a woman.
462
00:18:19.950 --> 00:18:21.210
Tell us how to get out of this place.
463
00:18:21.269 --> 00:18:21.470
Yes.
464
00:18:21.829 --> 00:18:23.049
We've got to get out. You hear me?
465
00:18:23.190 --> 00:18:23.329
Out.
466
00:18:24.009 --> 00:18:27.650
Out? Yes. There is a way out.
467
00:18:28.220 --> 00:18:29.930
Well, don't stand there talking about it.
468
00:18:30.099 --> 00:18:31.839
Show us. Show us. We want to get out of here.
469
00:18:33.000 --> 00:18:34.500
You will play, monsieur.
470
00:18:35.299 --> 00:18:40.099
There is no need for such excitement. Just listen to me.
471
00:18:40.359 --> 00:18:40.660
Listen?
472
00:18:40.700 --> 00:18:42.160
But who wants to listen? We want to get out
473
00:18:42.200 --> 00:18:42.759
of here. You hear me?
474
00:18:42.880 --> 00:18:43.690
Out, out, out!
475
00:18:43.720 --> 00:18:47.380
No, Paul, wait. We're getting out. Let's find out what
476
00:18:47.400 --> 00:18:48.940
this is all about. I don't want to know what
477
00:18:48.960 --> 00:18:50.539
it's all about. I just want to get out. No, listen.
478
00:18:51.329 --> 00:18:53.230
We've got to know what it's all about. Don't you understand?
479
00:18:53.990 --> 00:18:56.789
If we don't, we'll always think that maybe... Well, I
480
00:18:56.829 --> 00:18:57.369
tell you, I've.
481
00:18:57.269 --> 00:18:57.809
Got to know.
482
00:18:58.250 --> 00:19:01.410
And I will tell you. Yes, I will tell you.
483
00:19:03.089 --> 00:19:05.349
Once a year, they meet here.
484
00:19:06.269 --> 00:19:08.250
They? Who?
485
00:19:10.170 --> 00:19:11.349
What sort of people are they?
486
00:19:11.809 --> 00:19:17.019
They meet and they dance. A miserable dance. A dance
487
00:19:17.099 --> 00:19:21.720
without joy, without meaning. Yet a dance of hope.
488
00:19:21.859 --> 00:19:23.819
Come on, Gary, let's beat it. Be quiet, will you?
489
00:19:24.000 --> 00:19:24.680
Go on, old woman.
490
00:19:25.420 --> 00:19:29.289
A dance of such weariness. And yet I say it.
491
00:19:30.329 --> 00:19:31.690
A dance of hope.
492
00:19:33.150 --> 00:19:33.369
Hope?
493
00:19:35.119 --> 00:19:35.480
Of what?
494
00:19:36.160 --> 00:19:41.720
Hope of deliverance. Hope of freedom from misery without end.
495
00:19:41.740 --> 00:19:43.680
What are you talking about? Oh, woman, what are you
496
00:19:43.700 --> 00:19:44.269
talking about?
497
00:19:44.289 --> 00:19:46.190
I saw a woman without a head.
498
00:19:46.670 --> 00:19:47.269
Did I see it?
499
00:19:47.269 --> 00:19:49.630
Did you see it?
500
00:19:49.900 --> 00:19:51.480
Push her out of the way, Jerry. Let's get out
501
00:19:51.500 --> 00:19:54.160
of here. No, no, wait, Paul. Now, I think I
502
00:19:54.180 --> 00:19:54.960
understand all this.
503
00:19:55.319 --> 00:19:59.299
It's all a gag, an initiation of some kind. Yeah,
504
00:19:59.319 --> 00:20:01.539
that's it, old woman, isn't it? It's a club, and
505
00:20:01.559 --> 00:20:03.319
these are all kinds of tricks to get in, aren't they?
506
00:20:03.759 --> 00:20:05.759
Trick mirrors and lights going.
507
00:20:05.599 --> 00:20:07.660
Out and all the rest of it. It's all a joke,
508
00:20:07.680 --> 00:20:09.000
an initiation, isn't it, old woman?
509
00:20:09.500 --> 00:20:13.880
One hope. A hope that one of you will blunder
510
00:20:13.920 --> 00:20:17.400
among them and give one of them deliverance.
511
00:20:17.460 --> 00:20:19.329
Old woman, stop talking in riddles, will you?
512
00:20:19.670 --> 00:20:22.009
This is all some kind of a ceremony, an initiation,
513
00:20:22.069 --> 00:20:22.359
isn't it?
514
00:20:22.369 --> 00:20:25.349
Answer me, isn't it?
515
00:20:26.190 --> 00:20:30.990
Yes, one like you. To give his head so that
516
00:20:31.170 --> 00:20:33.119
one of them can have their rest.
517
00:20:33.180 --> 00:20:38.900
Jerry, come on, I tell you, I can't stand that woman, Jerry. Wait, Paul. Oh, woman, you.
518
00:20:40.299 --> 00:20:45.940
Is that something about heads? What did you mean by that?
519
00:20:47.700 --> 00:20:48.019
What?
520
00:20:49.339 --> 00:20:58.089
Listen. What now? You hurt me, dear. You hurt. La Guillotine.
521
00:20:58.549 --> 00:21:00.789
Jerry, what's she talking about? Oh, woman, what do you mean?
522
00:21:00.809 --> 00:21:04.470
La Guillotine. La Guillotine. He took their heads. Yes.
523
00:21:06.329 --> 00:21:06.690
We.
524
00:21:08.170 --> 00:21:12.799
One day they were alive like you. Lived and breathed
525
00:21:13.519 --> 00:21:17.980
and had the world. And then La Guillotine was born.
526
00:21:19.180 --> 00:21:22.630
They took them in the cambros across the stormy street.
527
00:21:23.589 --> 00:21:27.900
The crowds were shouting. They took them one by one
528
00:21:28.539 --> 00:21:36.720
and fed them into her hungry mouth. The knife went up, up, up.
529
00:21:38.420 --> 00:21:42.680
A moment more of life. And then down it came.
530
00:21:42.700 --> 00:21:49.029
It struck. And their heads rolled into the basket.
531
00:21:49.589 --> 00:21:53.089
What's she talking about? What's she talking about? Oh, woman, that...
532
00:21:54.670 --> 00:21:59.450
That girl I danced with. You mean... She and.
533
00:21:59.579 --> 00:22:04.579
All the rest that danced tonight. La Coutine took their
534
00:22:04.640 --> 00:22:10.619
heads and lives. Many weary years ago. Dead.
535
00:22:12.079 --> 00:22:12.420
Dead.
536
00:22:13.759 --> 00:22:14.799
All of them dead.
537
00:22:15.220 --> 00:22:16.660
No, you crazy fool.
538
00:22:16.680 --> 00:22:17.799
You and the dead don't dance.
539
00:22:18.380 --> 00:22:20.609
But the victims of La Coutine danced.
540
00:22:20.619 --> 00:22:21.849
Five.
541
00:22:22.619 --> 00:22:25.859
They dance one night each year as here you saw them.
542
00:22:26.819 --> 00:22:27.099
Dance.
543
00:22:28.299 --> 00:22:28.599
Dance.
544
00:22:28.640 --> 00:22:31.039
Well, it can't be true. It can't be.
545
00:22:31.140 --> 00:22:37.299
Crazy. Crazy. One hope of rest. One hope, I tell you.
546
00:22:38.019 --> 00:22:40.559
That one of you shall blunder in to give his
547
00:22:40.619 --> 00:22:45.390
head for theirs. One hope. that one of you will
548
00:22:45.490 --> 00:22:49.470
headless take their place and let one of them... I.
549
00:22:49.490 --> 00:22:53.819
Won't listen anymore. Jerry, make her stop. You're crazy, old woman.
550
00:22:54.059 --> 00:22:55.900
You're crazy and trying to make us crazy, too.
551
00:22:56.160 --> 00:22:56.779
Come on, Paul.
552
00:22:56.799 --> 00:22:57.079
Stop.
553
00:22:58.319 --> 00:23:05.559
Stop, I tell you. Look behind you. Behind.
554
00:23:05.640 --> 00:23:07.720
Jerry, there's people there.
555
00:23:07.920 --> 00:23:08.259
Yeah.
556
00:23:08.920 --> 00:23:13.059
It grows lighter. He then?
557
00:23:13.220 --> 00:23:14.079
Father in heaven.
558
00:23:15.259 --> 00:23:16.259
All of them without heads.
559
00:23:17.339 --> 00:23:18.059
Without heads.
560
00:23:19.539 --> 00:23:20.640
Paul, they can't keep me here.
561
00:23:21.000 --> 00:23:21.660
Things without heads.
562
00:23:21.940 --> 00:23:22.380
I'll get out.
563
00:23:22.400 --> 00:23:23.440
Out of my way, old woman.
564
00:23:23.480 --> 00:23:29.049
The door. Things without heads. You won't get me. Paul. Paul,
565
00:23:29.069 --> 00:23:32.450
you've left me here with them. Oh, you shouldn't have
566
00:23:32.490 --> 00:23:33.150
done that, Paul.
567
00:23:34.690 --> 00:23:36.890
To let me here with them.
568
00:23:37.119 --> 00:23:43.779
Ah, Monsieur. Your friend. He has not gone far. Listen.
569
00:23:46.460 --> 00:23:46.700
What?
570
00:23:47.359 --> 00:23:48.059
Listen.
571
00:23:51.299 --> 00:23:51.599
So.
572
00:23:53.180 --> 00:23:56.460
La guillotine. She has been fed.
573
00:23:58.119 --> 00:23:58.480
Fed?
574
00:24:00.859 --> 00:24:04.400
Guillotine? What are you talking about?
575
00:24:05.319 --> 00:24:06.319
What are you talking about?
576
00:24:09.400 --> 00:24:09.720
Paul?
577
00:24:12.160 --> 00:24:12.539
Paul?
578
00:24:13.039 --> 00:24:15.200
Where are you, Paul? Listen.
579
00:24:15.700 --> 00:24:25.579
See? Your friend is wet.
580
00:24:27.279 --> 00:24:27.680
Paul.
581
00:24:29.869 --> 00:24:32.089
Oh, Paul, you're all right. You're all right.
582
00:24:35.670 --> 00:24:39.089
Paul, why do you stand there in the shadows?
583
00:24:41.619 --> 00:24:43.190
Paul, why do you stand there like that?
584
00:24:45.400 --> 00:24:50.619
Paul, come closer. Yes, we will come closer.
585
00:25:00.539 --> 00:25:01.579
Paul, what's the matter?
586
00:25:03.339 --> 00:25:04.440
Why don't you answer me?
587
00:25:07.480 --> 00:25:08.900
Paul, what have they done to you?
588
00:25:09.059 --> 00:25:09.480
Paul, what.
589
00:25:16.960 --> 00:25:19.779
Oh, you haven't got a head.
590
00:25:20.220 --> 00:25:22.539
Oh, no, no. Stay back, headless thing.
591
00:25:22.619 --> 00:25:25.900
Headless thing's all of you. I'll get through you. I'll
592
00:25:25.940 --> 00:25:26.380
get away.
593
00:25:26.759 --> 00:25:27.700
You won't do that to me.
594
00:25:27.940 --> 00:25:29.500
Not me. Let me through.
595
00:25:29.779 --> 00:25:30.680
Let me through.
596
00:25:30.700 --> 00:25:32.319
The GST won't get me.
597
00:25:33.279 --> 00:25:34.779
I'll get through.
598
00:25:34.900 --> 00:25:35.559
I'll live.
599
00:25:35.599 --> 00:25:37.380
You won't get me to the GST.
600
00:25:37.480 --> 00:25:38.099
Not me.
601
00:25:38.619 --> 00:25:38.960
The door.
602
00:25:38.980 --> 00:25:39.940
I'll get out. I'll live.
603
00:25:40.299 --> 00:25:40.579
I'll live.
604
00:25:46.690 --> 00:25:47.609
I'm free of you.
605
00:25:48.029 --> 00:25:50.730
You think you are free. I got away.
606
00:25:51.769 --> 00:25:55.440
I got away. They won't get me. I'll live.
607
00:25:55.740 --> 00:25:56.299
I'll live.
608
00:25:56.839 --> 00:25:58.140
And they won't get me.
609
00:25:58.160 --> 00:25:58.460
You can't.
610
00:25:58.500 --> 00:25:58.900
You can't.
611
00:26:06.980 --> 00:26:11.000
He'll run right into the car. Right into it.
612
00:26:11.039 --> 00:26:14.099
Right into the car. Like a mess. Messier, you must
613
00:26:14.119 --> 00:26:14.680
stand back.
614
00:26:14.920 --> 00:26:15.859
Give him air.
615
00:26:16.079 --> 00:26:19.059
Stand back. No, no, no, no. It's not the pin.
616
00:26:19.140 --> 00:26:20.920
He's dead.
617
00:26:21.859 --> 00:26:22.220
Look.
618
00:26:22.240 --> 00:26:23.740
Oh, it's a ruin.
619
00:26:24.579 --> 00:26:24.700
Ah.
620
00:26:25.759 --> 00:26:26.460
His head.
621
00:26:27.759 --> 00:26:31.559
Cut off as clean as if it had been done
622
00:26:31.599 --> 00:26:33.480
by the guillotine herself.
623
00:26:40.490 --> 00:26:44.970
This is Mr. O. Archobler. Ivan asks, can the past
624
00:26:45.039 --> 00:26:48.740
really return? I'd like to answer that this way. Since
625
00:26:48.900 --> 00:26:52.319
nothing in nature is lost, what has been still exists.
626
00:26:52.660 --> 00:26:54.880
It's simply a matter of a new form. Do you
627
00:26:54.900 --> 00:26:57.599
doubt that? Well, look at the late, late movies. Most
628
00:26:57.640 --> 00:27:00.400
of the actors long dead, and yet you see them,
629
00:27:00.440 --> 00:27:03.839
you hear them as living entities. Now, the play you
630
00:27:03.859 --> 00:27:06.240
just heard. Some of the actors have been in their
631
00:27:06.259 --> 00:27:08.839
graves for many years, and yet you heard them.
632
00:27:08.869 --> 00:27:09.730
They were alive.
633
00:27:10.420 --> 00:27:10.700
They.
634
00:27:10.619 --> 00:27:14.880
Returned from death. Now let's talk about next week. And
635
00:27:15.240 --> 00:27:18.819
curiously enough, considering what we've just been talking about, it's
636
00:27:18.880 --> 00:27:22.049
a play that looks not into the past, but into
637
00:27:22.109 --> 00:27:25.529
a future that existed then in my own imagination. Let's
638
00:27:25.609 --> 00:27:27.329
talk more about that after a message.
639
00:27:28.329 --> 00:27:30.890
This is Wally LaPrade, special agent in charge of the
640
00:27:31.069 --> 00:27:34.829
FBI for New Jersey. As a result of the large
641
00:27:34.890 --> 00:27:39.779
number of aircraft hijackings and related crimes aboard aircraft, Congress
642
00:27:39.799 --> 00:27:43.319
has charged the FBI with the responsibility of bringing these
643
00:27:43.400 --> 00:27:48.480
hijackers into federal court. Upon hearing of a hijacking, the FBI,
644
00:27:48.519 --> 00:27:52.039
in cooperation with local law enforcement agencies and the airlines,
645
00:27:52.519 --> 00:27:55.859
take every avenue available to safeguard the lives of the
646
00:27:55.920 --> 00:28:00.009
crew and passengers, as well as identify the criminals involved
647
00:28:00.450 --> 00:28:05.210
and place them under arrest. Usually the perpetrators demand transportation
648
00:28:05.269 --> 00:28:09.130
to another country or large sums of money. Everyone is
649
00:28:09.250 --> 00:28:12.809
urged to keep in mind that sometimes a passenger makes
650
00:28:12.869 --> 00:28:16.319
a joke of some nature, meaning no harm, but find
651
00:28:16.359 --> 00:28:19.119
themselves as a result of what they think is a joke,
652
00:28:19.579 --> 00:28:22.799
being prosecuted for one of the provisions of crime aboard
653
00:28:22.819 --> 00:28:26.740
an aircraft. The cooperation of the public is needed to
654
00:28:26.819 --> 00:28:28.779
rid this problem from our society.
655
00:28:30.359 --> 00:28:30.960
This is Mr.
656
00:28:31.009 --> 00:28:34.910
O again, about that next week's play. Its title is
657
00:28:35.329 --> 00:28:38.700
Rocket from Manhattan. And if you don't get some rather
658
00:28:38.759 --> 00:28:42.539
unexpected excitement when you hear it, I'll personally refund the
659
00:28:42.599 --> 00:28:47.480
price of your kilowatt half hour. Listen, then, for Rocket
660
00:28:47.549 --> 00:28:48.400
from Manhattan.
661
00:28:55.730 --> 00:29:00.789
It is later now.
662
00:29:01.690 --> 00:29:06.240
Then you think.
663
00:29:19.230 --> 00:29:21.740
We close the curtain on The Devil and Mr. O,
664
00:29:21.890 --> 00:29:27.480
episode 21, Paris Macabre. Until our next radio rendezvous, good evening.
665
00:29:27.839 --> 00:29:32.230
Follow Old Time Horror Radio for more classic horror broadcasts.
1
00:00:00.290 --> 00:00:03.859
Arch Obelair wrote, directed, and produced the drama Heard Tonight
2
00:00:04.019 --> 00:00:08.199
with Bae Benadry and Jane Morgan in the cast. On
3
00:00:08.279 --> 00:00:14.609
February 4th, 1972, The Devil and Mr. O presented episode 21,
4
00:00:14.609 --> 00:00:20.870
Paris Macabre, a retitled rebroadcast of Obolair's 1943 lights-out play,
5
00:00:21.170 --> 00:00:25.429
The Ball. In Paris, two young American visitors seeking adventure
6
00:00:25.489 --> 00:00:30.079
gain admission to an artist's masquerade ball where masked guests
7
00:00:30.160 --> 00:00:34.619
and unfamiliar customs alter the course of their evening. Ladies
8
00:00:34.679 --> 00:00:37.759
and gentlemen, from the devil and Mr. O, here is
9
00:00:37.799 --> 00:00:39.229
the original broadcast.
10
00:00:41.369 --> 00:00:59.229
Lights out for the devil and Mr. O. It is
11
00:01:00.450 --> 00:01:14.540
later than you think.
12
00:01:14.719 --> 00:01:17.400
Turn out your lights now.
13
00:01:20.650 --> 00:01:24.890
We bring you stories of the supernatural and the supernormal,
14
00:01:25.390 --> 00:01:30.269
dramatizing the fantasies and the mysteries of the unknown. We
15
00:01:30.310 --> 00:01:32.609
tell you this frankly so that if you wish to
16
00:01:32.689 --> 00:01:37.540
avoid the excitement and tension of these imaginative plays, we
17
00:01:37.640 --> 00:01:41.719
urge you calmly but sincerely to turn off your radio now.
18
00:01:48.049 --> 00:01:48.689
This is Mr.
19
00:01:48.790 --> 00:01:49.109
O.R.
20
00:01:49.129 --> 00:01:52.250
Joveler. Did you ever go to a party or a
21
00:01:52.349 --> 00:01:55.310
dance and look at the people, the same old faces,
22
00:01:55.349 --> 00:01:58.250
and wish that, well, suddenly it could all be changed
23
00:01:58.290 --> 00:02:01.549
into a magic ball where everyone was beautiful and you
24
00:02:01.590 --> 00:02:06.099
were beautiful and life for a magical few hours was
25
00:02:06.180 --> 00:02:09.099
exactly the way you want it to be among the
26
00:02:09.159 --> 00:02:13.639
new beautiful people? Well, our play tonight isn't exactly about
27
00:02:13.680 --> 00:02:14.500
beautiful people.
28
00:02:14.900 --> 00:02:16.159
It is about a couple.
29
00:02:15.879 --> 00:02:19.819
Of young American undergraduates who are in Paris on their vacation,
30
00:02:20.539 --> 00:02:23.879
and the dance and the adventure begins after a word
31
00:02:23.919 --> 00:02:24.659
from your station.
32
00:02:25.460 --> 00:02:25.680
See?
33
00:02:25.759 --> 00:02:26.639
See the leaf?
34
00:02:26.659 --> 00:02:29.560
Right here in my hand. Oh, yes. Isn't that a
35
00:02:29.580 --> 00:02:30.319
new leaf?
36
00:02:31.620 --> 00:02:32.620
Yes, it is a new leaf.
37
00:02:33.330 --> 00:02:35.729
Here, I'm going to turn over.
38
00:02:35.750 --> 00:02:37.050
A new leaf.
39
00:02:37.069 --> 00:02:38.509
Get it?
40
00:02:38.780 --> 00:02:38.960
Leaf?
41
00:02:39.250 --> 00:02:39.620
New?
42
00:02:39.919 --> 00:02:42.080
What does that mean, to turn over a new leaf?
43
00:02:42.379 --> 00:02:43.780
Well, I'm serious.
44
00:02:44.039 --> 00:02:44.199
Mm-hmm.
45
00:02:44.280 --> 00:02:47.219
I thought you were going to have a little change.
46
00:02:47.340 --> 00:02:48.340
From what to what?
47
00:02:49.460 --> 00:02:50.400
From bad to good.
48
00:02:50.819 --> 00:02:51.219
Oh, really?
49
00:02:51.240 --> 00:02:52.120
Yeah.
50
00:02:52.680 --> 00:02:53.979
Well, suppose somebody was crying.
51
00:02:54.000 --> 00:02:56.840
They could switch from tears to a smile.
52
00:02:57.419 --> 00:02:58.460
Suppose they were lonely.
53
00:02:59.099 --> 00:03:03.270
They could go from loneliness to having somebody to play with.
54
00:03:03.770 --> 00:03:05.150
Well, suppose somebody wasn't loved.
55
00:03:05.629 --> 00:03:06.849
Could they turn over a new leaf?
56
00:03:07.449 --> 00:03:10.849
They could go from not loving somebody to loving somebody.
57
00:03:11.150 --> 00:03:11.909
How do they do that?
58
00:03:12.469 --> 00:03:14.330
All they have to do is try to love somebody.
59
00:03:14.669 --> 00:03:15.229
Just try?
60
00:03:15.250 --> 00:03:15.949
Yeah.
61
00:03:16.870 --> 00:03:18.889
It's easy to love people when you try.
62
00:03:19.129 --> 00:03:21.069
Love makes all things new again.
63
00:03:21.090 --> 00:03:22.460
Hey, what was that?
64
00:03:22.860 --> 00:03:25.000
Another sound of love from the Franciscans.
65
00:03:26.469 --> 00:03:31.050
And now, if you haven't already done so, turn off
66
00:03:31.090 --> 00:03:47.699
your lights now and listen to Paris Macabre. What do you.
67
00:03:47.580 --> 00:03:48.840
Say, Paul, that we're here?
68
00:03:49.110 --> 00:03:50.370
Oh, well, can we get out?
69
00:03:50.409 --> 00:03:50.650
Yeah.
70
00:03:52.020 --> 00:03:52.879
Come on, shove him.
71
00:03:52.919 --> 00:03:53.560
We'll get there.
72
00:03:53.599 --> 00:03:54.409
Come on, shove him.
73
00:03:55.129 --> 00:03:57.289
Uh, comment et.
74
00:03:58.150 --> 00:03:58.689
How much?
75
00:03:59.069 --> 00:04:00.159
Dix francs. Okay.
76
00:04:00.479 --> 00:04:01.419
Here you are.
77
00:04:01.439 --> 00:04:02.659
Ah, merci, monsieur. Merci.
78
00:04:04.280 --> 00:04:05.639
Well, I sure got to hand it to you, Paul.
79
00:04:05.759 --> 00:04:07.250
You sling that French right around, don't you?
80
00:04:07.259 --> 00:04:08.460
Took two years of it in school.
81
00:04:08.860 --> 00:04:09.639
Vive la France.
82
00:04:09.719 --> 00:04:10.240
Yeah.
83
00:04:10.280 --> 00:04:10.740
Oui, oui.
84
00:04:10.819 --> 00:04:12.560
How you doing? Oh, boy, what a time.
85
00:04:12.599 --> 00:04:16.079
How you gonna keep them down on the farm after
86
00:04:16.120 --> 00:04:17.889
they've seen Paris?
87
00:04:18.310 --> 00:04:19.310
Oh, how you gonna keep them?
88
00:04:19.329 --> 00:04:21.649
Hey, wait a second. Quiet down. It's almost midnight. Paul,
89
00:04:21.709 --> 00:04:25.129
anything goes in Paris. Oh, oh, oh. Come on, let's
90
00:04:25.149 --> 00:04:25.410
go in.
91
00:04:26.360 --> 00:04:27.459
It's the right address, isn't it?
92
00:04:27.699 --> 00:04:30.899
Yeah, I suppose it is. The card says 505 Rue
93
00:04:31.079 --> 00:04:33.850
de la Poop or something.
94
00:04:33.949 --> 00:04:34.949
Okay, let's climb.
95
00:04:34.970 --> 00:04:42.509
Hey, it sure looks like a joint.
96
00:04:42.569 --> 00:04:45.000
Don't be naive. I bet you it'll be about as
97
00:04:45.060 --> 00:04:46.699
exciting as a junior prom.
98
00:04:46.740 --> 00:04:47.819
Quit singing the blues.
99
00:04:48.060 --> 00:04:49.339
I tell you, this will be the real stuff.
100
00:04:49.680 --> 00:04:52.240
French artists and their models and things and stuff.
101
00:04:54.810 --> 00:04:57.430
Say, he must have got the wrong number. Look at
102
00:04:57.449 --> 00:04:57.790
the place.
103
00:04:57.850 --> 00:04:58.350
No light.
104
00:04:58.870 --> 00:05:00.029
It's pretty dark, isn't it?
105
00:05:00.189 --> 00:05:02.470
Listen, fella, if there's an artist shindig going on in there,
106
00:05:02.490 --> 00:05:03.730
then I'm a left-handed monkey.
107
00:05:04.230 --> 00:05:05.569
Come on, let's get back to the hotel.
108
00:05:05.589 --> 00:05:07.240
No, I'm going to find that artist ball if I
109
00:05:07.250 --> 00:05:08.439
have to tear the town apart.
110
00:05:09.120 --> 00:05:09.819
Where's the doorbell?
111
00:05:09.839 --> 00:05:11.620
Listen, I tell you, there's nothing going on in there.
112
00:05:11.639 --> 00:05:12.600
That's what you say.
113
00:05:12.959 --> 00:05:16.839
Oh, here's a knob. Now, let's see what... Hey, the Naples. Oh,
114
00:05:17.199 --> 00:05:17.910
now you did it.
115
00:05:18.180 --> 00:05:19.980
Wake up some old Napoleon this time of night and
116
00:05:20.000 --> 00:05:20.680
he'll scalp you.
117
00:05:20.720 --> 00:05:23.220
Listen, I paid that bozo six bits for this ticket.
118
00:05:23.339 --> 00:05:24.420
I'm going to find out what's what.
119
00:05:24.439 --> 00:05:25.430
End up in the Bastille.
120
00:05:25.439 --> 00:05:27.250
That's what you'll do. Yeah, well, if they want to.
121
00:05:29.610 --> 00:05:31.290
Paul, it is a party.
122
00:05:31.689 --> 00:05:32.430
Listen to him.
123
00:05:32.689 --> 00:05:33.350
Oh, I'll be.
124
00:05:33.790 --> 00:05:35.110
Andre, miss you.
125
00:05:35.310 --> 00:05:36.610
I'll say well, Andre.
126
00:05:36.689 --> 00:05:37.350
Come on, Paul.
127
00:05:37.389 --> 00:05:37.550
Yeah.
128
00:05:40.899 --> 00:05:43.519
Well, Paul, no artist ball, huh? So now you're a
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00:05:43.519 --> 00:05:44.920
left-handed monkey, remember?
130
00:05:45.180 --> 00:05:46.199
Sure had me fooled.
131
00:05:46.600 --> 00:05:47.939
This way, monsieur.
132
00:05:47.959 --> 00:05:49.139
S'il vous plaît.
133
00:05:49.189 --> 00:05:50.350
Right with you, lady.
134
00:05:52.449 --> 00:05:54.629
If monsieur would be seated.
135
00:05:55.009 --> 00:05:56.310
Well, can't we go right in?
136
00:05:56.329 --> 00:05:57.230
We've got tickets.
137
00:05:57.709 --> 00:05:58.089
Yes.
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00:05:58.930 --> 00:06:02.060
Soon you will go in. You will wait.
139
00:06:03.319 --> 00:06:03.399
Yes.
140
00:06:05.149 --> 00:06:06.629
Boy, oh boy, oh boy.
141
00:06:06.680 --> 00:06:08.319
Yeah, it sounded like quite a party.
142
00:06:08.379 --> 00:06:10.120
Yeah, and you thought it was a baloney. Well, how's
143
00:06:10.139 --> 00:06:10.459
it looked?
144
00:06:10.480 --> 00:06:12.980
You can't tell a good banana from the skin on
145
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the grape.
146
00:06:13.500 --> 00:06:14.720
Not so good, pal.
147
00:06:15.240 --> 00:06:16.379
Well, this party's going to be.
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00:06:16.439 --> 00:06:19.240
You hope. Oh, well, this be something to write home about.
149
00:06:19.360 --> 00:06:20.500
If we ever get in the joint.
150
00:06:21.120 --> 00:06:23.290
See, I think I'm beginning to understand all this.
151
00:06:23.490 --> 00:06:23.629
Huh?
152
00:06:23.870 --> 00:06:25.329
It's a clip joint, that's what it is.
153
00:06:25.910 --> 00:06:26.490
Clip joint?
154
00:06:26.529 --> 00:06:29.149
Yeah, the way I've suspected all along. A sucker joint
155
00:06:29.170 --> 00:06:32.759
for tourists. Keep it up. You're terrific.
156
00:06:32.800 --> 00:06:33.939
Go on, laugh, but I'm.
157
00:06:33.839 --> 00:06:35.899
Telling you that if this was a real artist, Paul, why,
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00:06:35.959 --> 00:06:38.639
in we go with Arnold Stalin. It's all a fake,
159
00:06:38.660 --> 00:06:40.079
and I'm getting out. Hey, Paul, wait.
160
00:06:40.199 --> 00:06:40.819
No, let me go.
161
00:06:41.100 --> 00:06:42.959
I'm getting out of here. And if you have any sense,
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you'll get out, too.
163
00:06:43.730 --> 00:06:44.269
Oh, Paul.
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00:06:44.290 --> 00:06:46.029
Before they slip your Mickey Finn and clean you out.
165
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Monsieur.
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00:06:46.949 --> 00:06:47.129
Huh?
167
00:06:47.589 --> 00:06:52.009
Oh, you may go in now, monsieur. Oh, yeah, sure.
168
00:06:52.870 --> 00:06:55.290
This way, monsieur.
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00:06:55.310 --> 00:06:57.399
Well, pickle-puss Paul, my friend.
170
00:06:57.439 --> 00:06:58.399
You got any more to say?
171
00:06:58.639 --> 00:06:59.899
I still think there's something screwy.
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00:06:59.939 --> 00:07:02.660
In here, monsieur.
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00:07:02.680 --> 00:07:02.959
Okay.
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00:07:03.040 --> 00:07:07.009
Paul, are you or aren't you going to have something
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00:07:07.029 --> 00:07:09.930
to tell your grandchildren when they ask you about Paris? Oh,
176
00:07:10.069 --> 00:07:15.829
I'll stay. Is this something?
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Gosh.
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00:07:16.670 --> 00:07:18.029
Would you look at the femme?
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00:07:18.310 --> 00:07:19.310
Boy, oh, boy.
180
00:07:19.870 --> 00:07:21.009
Everybody's in costume.
181
00:07:21.129 --> 00:07:21.629
So what?
182
00:07:21.670 --> 00:07:22.709
I'm in costume, too.
183
00:07:22.990 --> 00:07:24.149
I got on a clean shirt.
184
00:07:24.269 --> 00:07:27.470
Gosh, will you get a load of the screwy masks
185
00:07:27.529 --> 00:07:28.089
they're wearing?
186
00:07:28.490 --> 00:07:29.740
Yeah, I see them.
187
00:07:30.379 --> 00:07:32.579
Sure weren't plenty for French models, are they?
188
00:07:32.639 --> 00:07:33.019
Yeah.
189
00:07:33.540 --> 00:07:35.060
Oh, well, evening's young yet.
190
00:07:35.079 --> 00:07:37.199
That's funny.
191
00:07:37.779 --> 00:07:38.079
You're right.
192
00:07:38.889 --> 00:07:39.730
They're not dancing.
193
00:07:40.189 --> 00:07:41.610
Oh, well, they're taking time out again.
194
00:07:42.129 --> 00:07:46.230
Yeah, but where is it? What? The orchestra. There's no orchestra.
195
00:07:46.649 --> 00:07:47.569
Oh, yeah, that's right.
196
00:07:48.410 --> 00:07:51.209
Oh, well, maybe they're hidden behind palms or something. Anyway,
197
00:07:51.250 --> 00:07:51.850
what's the deal?
198
00:07:52.110 --> 00:07:54.529
They may be masked, but, fella, I know honeys when
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00:07:54.569 --> 00:07:54.990
I see them.
200
00:07:55.110 --> 00:07:56.610
But this is supposed to be a dance, so why
201
00:07:56.649 --> 00:07:57.329
don't they dance?
202
00:07:58.470 --> 00:07:59.350
There you are.
203
00:08:00.110 --> 00:08:01.629
Boy, are you guessing wrong tonight.
204
00:08:02.189 --> 00:08:02.870
Where's the organ?
205
00:08:03.250 --> 00:08:04.029
You cut it out.
206
00:08:04.050 --> 00:08:05.370
Who cares where the organ is?
207
00:08:05.829 --> 00:08:07.990
Paris, artists, models, mammy.
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00:08:15.839 --> 00:08:16.860
Dancing.
209
00:08:16.879 --> 00:08:17.579
You look at him.
210
00:08:17.800 --> 00:08:19.300
Come on, let's cut out a couple of fillies and
211
00:08:19.319 --> 00:08:21.569
do a big apple. Yeah, but look at the way
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00:08:21.589 --> 00:08:22.430
they're dancing.
213
00:08:22.509 --> 00:08:23.430
Huh?
214
00:08:23.610 --> 00:08:25.029
I never saw a dance like that.
215
00:08:25.329 --> 00:08:25.850
Yeah.
216
00:08:25.870 --> 00:08:26.829
Me neither.
217
00:08:26.870 --> 00:08:28.110
They sort of glide.
218
00:08:28.129 --> 00:08:28.930
Yeah. Jerry. What?
219
00:08:28.970 --> 00:08:29.069
What?
220
00:08:35.690 --> 00:08:35.909
Funny.
221
00:08:35.929 --> 00:08:37.409
No one's talking now.
222
00:08:38.169 --> 00:08:41.190
They sure take their dancing serious.
223
00:08:41.230 --> 00:08:41.870
And the music.
224
00:08:42.549 --> 00:08:43.769
Sure is funny music for an.
225
00:08:43.769 --> 00:08:44.350
Artist, Bull.
226
00:08:44.370 --> 00:08:46.230
Did you say this was going to be a wild party?
227
00:08:46.470 --> 00:08:48.129
Well, they look like artists.
228
00:08:48.210 --> 00:08:49.029
Don't act like them.
229
00:08:51.149 --> 00:08:52.029
Sure is funny music.
230
00:08:52.070 --> 00:08:52.850
Let's beat it.
231
00:08:52.970 --> 00:08:53.629
No.
232
00:08:54.289 --> 00:08:55.690
I want to find out what this is all about.
233
00:08:56.149 --> 00:08:57.909
Men and women dancing so quiet.
234
00:08:58.169 --> 00:08:58.830
Funny music.
235
00:08:58.850 --> 00:08:59.450
Let's go, Jerry.
236
00:08:59.470 --> 00:09:01.289
No, I want some answers first.
237
00:09:01.549 --> 00:09:02.269
I want to know why.
238
00:09:04.320 --> 00:09:05.759
You would like to dance?
239
00:09:07.559 --> 00:09:08.559
No, no, not me.
240
00:09:09.080 --> 00:09:12.179
And you, monsieur, you would dance?
241
00:09:12.899 --> 00:09:15.129
Well, yeah, but... It.
242
00:09:15.070 --> 00:09:16.389
Would be as you wish.
243
00:09:17.490 --> 00:09:18.750
As you wish.
244
00:09:19.029 --> 00:09:19.830
Oh, no, wait.
245
00:09:19.870 --> 00:09:22.289
What kind of a ball is this? These people, what
246
00:09:22.309 --> 00:09:24.889
kind of music? Hey, old lady, come on back here.
247
00:09:24.909 --> 00:09:27.070
Come on, Jerry, let's get out of here. What are
248
00:09:27.110 --> 00:09:29.409
you talking about? I paid dough for this ticket. I'm
249
00:09:29.429 --> 00:09:30.740
going to get one dance out of it.
250
00:09:30.820 --> 00:09:31.769
Jerry, don't be a fool.
251
00:09:31.820 --> 00:09:33.720
And don't you be a lily. What's there to be
252
00:09:33.759 --> 00:09:37.419
scared about? This is Paris, fella. Anything goes.
253
00:09:38.360 --> 00:09:41.960
Hey, look, there comes the old lady with my dancing partner. Boy,
254
00:09:42.059 --> 00:09:43.919
oh boy, will you look at that chassis.
255
00:09:44.299 --> 00:09:49.669
Miss you, Jerry. This young lady, she will dance with you.
256
00:09:50.279 --> 00:10:04.950
Well, now, Paul, here I go. You're a good dancer,
257
00:10:04.990 --> 00:10:10.360
aren't you? Gosh, I suppose you don't speak English, do you?
258
00:10:11.340 --> 00:10:13.320
I understand you, monsieur.
259
00:10:13.879 --> 00:10:14.259
You do?
260
00:10:14.279 --> 00:10:15.720
Oui.
261
00:10:16.179 --> 00:10:20.039
Say, that's swell. Oh, lady, I've got more things to
262
00:10:20.100 --> 00:10:23.120
ask you than a psych professor doing an IQ on Einstein.
263
00:10:24.000 --> 00:10:24.340
Whimsy?
264
00:10:25.120 --> 00:10:27.500
Well, I mean, this goofy music.
265
00:10:28.399 --> 00:10:31.659
And why doesn't anybody talk? And when are you going
266
00:10:31.679 --> 00:10:32.500
to take off your mask?
267
00:10:33.620 --> 00:10:34.159
Midnight.
268
00:10:34.500 --> 00:10:34.899
Midnight?
269
00:10:35.620 --> 00:10:36.779
That's not far off, is it?
270
00:10:37.659 --> 00:10:39.360
Not far off.
271
00:10:40.620 --> 00:10:42.299
Say, how about slipping your mask up a little and
272
00:10:42.340 --> 00:10:44.419
letting me have a sort of a, you know, a preview?
273
00:10:44.460 --> 00:10:45.120
No, no, no, no.
274
00:10:45.139 --> 00:10:47.120
Okay, I was just asking, that's all.
275
00:10:48.399 --> 00:10:50.419
There is still time for you to go.
276
00:10:50.450 --> 00:10:50.519
What?
277
00:10:51.590 --> 00:10:54.450
There is still time for you to go.
278
00:10:54.470 --> 00:10:54.529
Go?
279
00:10:56.909 --> 00:10:59.610
Why should I go? Gosh, I'm just starting to enjoy myself.
280
00:10:59.909 --> 00:11:03.659
I can give you only one warning. Warning?
281
00:11:04.620 --> 00:11:05.279
Warning of what?
282
00:11:06.299 --> 00:11:07.440
You are very young.
283
00:11:08.059 --> 00:11:08.440
Yeah?
284
00:11:08.759 --> 00:11:10.720
Well, I'm old enough to know all the answers. And
285
00:11:10.759 --> 00:11:13.149
if you don't think so, supposing you and me... One.
286
00:11:13.210 --> 00:11:17.509
Warning I can give you. And it has been given.
287
00:11:18.269 --> 00:11:19.870
Listen, if you're trying to warn me that this is
288
00:11:19.950 --> 00:11:23.129
a clip joint, well, I'm not worried. All my dough's
289
00:11:23.169 --> 00:11:26.509
in traveler's checks anyway. So, somebody wants to steal my pants?
290
00:11:26.950 --> 00:11:28.889
Okay. It's a two-pants suit anyway.
291
00:11:28.909 --> 00:11:30.580
Hey, look.
292
00:11:30.860 --> 00:11:32.019
Well, can you tie that?
293
00:11:32.179 --> 00:11:32.840
It's my pal.
294
00:11:32.960 --> 00:11:33.740
He's dancing, too.
295
00:11:34.240 --> 00:11:34.779
Hi, Paul.
296
00:11:34.799 --> 00:11:35.320
How you doing?
297
00:11:35.539 --> 00:11:36.259
All right, I think.
298
00:11:36.299 --> 00:11:37.419
What do you mean, you think?
299
00:11:37.460 --> 00:11:38.679
Well, my partner won't talk.
300
00:11:39.039 --> 00:11:40.919
Well, maybe she doesn't like your lines. No one here
301
00:11:40.940 --> 00:11:42.679
speaks English, I guess. Mine does.
302
00:11:43.159 --> 00:11:44.259
Don't you, beautiful? Jerry.
303
00:11:44.850 --> 00:11:46.330
After this dance, what do you say we go?
304
00:11:46.350 --> 00:11:47.929
Will you listen to that, beautiful?
305
00:11:48.210 --> 00:11:50.710
Me with you on my arms and he wants to go. Jerry, listen.
306
00:11:50.730 --> 00:11:51.710
No, you listen to me.
307
00:11:52.389 --> 00:11:55.169
Beautiful here tells me she's gonna unmask at midnight. And
308
00:11:55.190 --> 00:11:58.169
it's only a couple of minutes to. So, fella, I'm staying.
309
00:11:59.289 --> 00:12:00.389
I've got an idea that.
310
00:12:00.330 --> 00:12:03.250
Behind this goofy mask, beautiful here's got a face that's
311
00:12:03.289 --> 00:12:05.870
gonna take my heart and turn it inside out and put.
312
00:12:05.809 --> 00:12:06.490
It together again.
313
00:12:06.509 --> 00:12:09.570
Say, come to think of it, beautiful, what is your name?
314
00:12:10.429 --> 00:12:13.889
I have warned you. And now you will go.
315
00:12:18.929 --> 00:12:19.769
Too late.
316
00:12:20.509 --> 00:12:21.009
Too late?
317
00:12:21.029 --> 00:12:23.710
What are you talking about? It's 12.
318
00:12:23.710 --> 00:12:24.490
Come on now, beautiful.
319
00:12:24.529 --> 00:12:24.889
Unmask.
320
00:12:24.990 --> 00:12:25.409
No, no.
321
00:12:25.450 --> 00:12:26.750
What do you mean, no?
322
00:12:30.929 --> 00:12:31.250
Hey, look.
323
00:12:31.289 --> 00:12:32.350
Everyone stop dancing.
324
00:12:33.149 --> 00:12:36.059
Yeah, everyone's going to unmask. And that includes you, lady.
325
00:12:36.139 --> 00:12:36.860
No, no, no, no.
326
00:12:36.940 --> 00:12:37.419
All right, then.
327
00:12:37.460 --> 00:12:38.879
I'll take your mask off myself.
328
00:12:38.899 --> 00:12:40.600
No, no, no, no. Come on. No, no.
329
00:12:40.620 --> 00:12:41.840
Mustn't be so shy.
330
00:12:41.879 --> 00:12:46.389
Take it off. Take it off. Hey, the lights.
331
00:12:47.250 --> 00:12:49.779
They went out. How do you like that?
332
00:12:50.379 --> 00:12:51.360
Oh, no, beautiful.
333
00:12:51.860 --> 00:12:53.440
I don't think you're going to get away from me.
334
00:12:55.120 --> 00:13:00.159
I learned this arm lock from a professional. It's kind
335
00:13:00.200 --> 00:13:02.139
of nice standing here in the dark, close like this.
336
00:13:02.159 --> 00:13:07.450
Isn't it beautiful? Pretty tricky, this dance committee. Turning the
337
00:13:07.490 --> 00:13:09.309
lights off just at the minute when the masks are
338
00:13:09.330 --> 00:13:16.190
supposed to come off. Yep, pretty tricky. Well? Haven't you
339
00:13:16.210 --> 00:13:19.750
got anything to say? I mean, even if it is dark,
340
00:13:19.789 --> 00:13:21.629
we could sort of make conversation now, couldn't we?
341
00:13:23.889 --> 00:13:25.210
Oh, come on now, beautiful.
342
00:13:25.769 --> 00:13:27.470
Haven't you read that book on how to win and
343
00:13:27.509 --> 00:13:32.740
influence friends? You've got to give, you know, conversationally. Now, look,
344
00:13:33.120 --> 00:13:35.460
you ask me if I'm always this fresh with strangers,
345
00:13:35.480 --> 00:13:37.059
and I'll ask you where you've been all my life.
346
00:13:37.379 --> 00:13:40.940
And before you know it, we'll be pals. Ah, gee,
347
00:13:40.980 --> 00:13:43.700
I'll bet you are, honey. I just know you are.
348
00:13:45.080 --> 00:13:46.899
You know, a fella kind of knows when the girl
349
00:13:46.919 --> 00:13:47.720
he's with is a honey.
350
00:13:48.620 --> 00:13:48.799
She.
351
00:13:50.759 --> 00:13:54.870
Gosh, everybody's keeping quiet. Is that part of the entertainment?
352
00:13:55.299 --> 00:13:58.590
Standing around in the dark? Well, it's okay by me.
353
00:13:59.309 --> 00:14:00.990
But I sure would like to get that mask of
354
00:14:01.009 --> 00:14:02.970
yours off and really see what you look like.
355
00:14:04.750 --> 00:14:06.169
Hey, how about some light?
356
00:14:07.230 --> 00:14:07.669
Light!
357
00:14:07.850 --> 00:14:08.330
Light!
358
00:14:09.500 --> 00:14:10.899
A candle, monsieur.
359
00:14:10.940 --> 00:14:11.009
Huh?
360
00:14:11.590 --> 00:14:13.289
Candle? Oh, thanks.
361
00:14:13.669 --> 00:14:16.750
Yeah, thanks. Now, listen, beautiful. You stand right there while
362
00:14:16.769 --> 00:14:19.320
I light this thing. Got a match someplace here.
363
00:14:20.179 --> 00:14:20.620
Yeah, here.
364
00:14:22.919 --> 00:14:25.539
It's pretty nice whoever it was handing me a candle. Now,
365
00:14:25.559 --> 00:14:28.279
wasn't it beautiful? Must have guessed how anxious I was
366
00:14:28.320 --> 00:14:32.740
to see you. There we are. That's a nice flame. Now,
367
00:14:32.759 --> 00:14:34.690
you stand right like that while I take off this
368
00:14:34.730 --> 00:14:37.570
thing you got over your head. It sure is a
369
00:14:37.610 --> 00:14:44.259
goofy mask. It's fastened on so tight. Now, stand still, beautiful.
370
00:14:44.620 --> 00:14:46.679
In a minute, I'm going to be congratulating myself on
371
00:14:46.720 --> 00:14:47.759
what a swell picker I am.
372
00:14:48.659 --> 00:14:49.639
There we are.
373
00:14:50.059 --> 00:14:50.940
Off it comes.
374
00:14:51.360 --> 00:14:51.659
Oh!
375
00:14:53.600 --> 00:14:54.000
You....
376
00:14:56.029 --> 00:14:58.909
You haven't got it ahead.
377
00:15:05.590 --> 00:15:07.929
We leave our The Devil and Mr. O's Story of
378
00:15:07.980 --> 00:15:10.039
Paris Macabre for a message.
379
00:15:11.639 --> 00:15:14.039
When you've got a family to feed, there are ways
380
00:15:14.100 --> 00:15:16.789
to cut high food costs, and we'd like to tell
381
00:15:16.830 --> 00:15:21.080
you an economical, tasty way to serve top-quality meat dishes.
382
00:15:21.820 --> 00:15:27.519
Today's answer is high-protein ham, H-A-M, Krakus and Atalanta imported
383
00:15:27.590 --> 00:15:31.190
Polish ham. When you buy Krakus or Atalanta Polish ham,
384
00:15:31.210 --> 00:15:34.210
there's no waste, no gristle or bone to throw away,
385
00:15:34.750 --> 00:15:38.929
and no water added. It's all lean, flavorful ham, down
386
00:15:38.950 --> 00:15:41.350
to the last tasty bit. You can even use a
387
00:15:41.389 --> 00:15:44.370
small amount of jellied broth to make soups more nourishing
388
00:15:44.830 --> 00:15:48.389
or to create delicious gravies. And ham is also perfect
389
00:15:48.470 --> 00:15:52.990
for breakfast, school lunch, snacks, and parties. It's the easiest
390
00:15:53.129 --> 00:15:55.909
food you can prepare because Polish ham is fully cooked
391
00:15:55.950 --> 00:15:58.889
when you buy it. So if you wish, just zip
392
00:15:58.929 --> 00:16:02.289
open a tin can, slice, serve, and enjoy from end
393
00:16:02.350 --> 00:16:05.549
to end. In these days of high food prices, ham
394
00:16:05.610 --> 00:16:09.860
is understandably in great demand by economical housewives. So you
395
00:16:09.899 --> 00:16:12.740
may find that your favorite market is temporarily out of
396
00:16:12.879 --> 00:16:17.039
certain sizes of fine imported Polish ham. Shipments are now
397
00:16:17.120 --> 00:16:19.179
on the way. Thank you for your patience.
398
00:16:20.460 --> 00:16:27.970
And now back to our story of Paris Macabre.
399
00:16:29.129 --> 00:16:29.669
No head.
400
00:16:29.690 --> 00:16:32.350
She doesn't have a head.
401
00:16:34.269 --> 00:16:35.570
Nothing without a head.
402
00:16:36.389 --> 00:16:36.669
No.
403
00:16:37.559 --> 00:16:37.860
No.
404
00:16:37.919 --> 00:16:38.440
Jerry.
405
00:16:39.379 --> 00:16:40.440
Jerry, where are you?
406
00:16:41.340 --> 00:16:42.259
Jerry.
407
00:16:42.419 --> 00:16:42.659
What?
408
00:16:43.720 --> 00:16:44.220
Who's calling?
409
00:16:44.240 --> 00:16:44.480
What?
410
00:16:44.759 --> 00:16:45.100
Jerry.
411
00:16:45.240 --> 00:16:45.580
Jerry.
412
00:16:45.600 --> 00:16:45.879
Paul.
413
00:16:46.220 --> 00:16:46.700
Oh, Paul.
414
00:16:46.759 --> 00:16:48.320
Where have you been? What happened? I've been calling.
415
00:16:48.340 --> 00:16:48.639
Oh, wait.
416
00:16:48.659 --> 00:16:49.299
Don't come any closer.
417
00:16:49.330 --> 00:16:49.490
Jerry.
418
00:16:51.399 --> 00:16:54.230
It's just standing there. Jerry, what's happened? What's the matter
419
00:16:54.250 --> 00:16:54.500
with you?
420
00:16:54.539 --> 00:16:54.799
There.
421
00:16:56.049 --> 00:16:56.809
Standing right there.
422
00:16:57.710 --> 00:16:59.370
I dropped the candle. It's so dark.
423
00:16:59.409 --> 00:17:03.710
But she must be standing there, Paul. Jerry, for Pete's sake. Jerry.
424
00:17:03.730 --> 00:17:06.529
I saw it. I saw it. Saw what?
425
00:17:06.549 --> 00:17:09.609
For Pete's sake, there's no one here. I tell you,
426
00:17:09.630 --> 00:17:12.759
there's no one here. The whole hall's empty. Jerry, open
427
00:17:12.799 --> 00:17:15.660
your eyes. You're standing there with your hands over your
428
00:17:15.720 --> 00:17:19.839
eyes for luck, I tell you. See, there's no one here.
429
00:17:20.670 --> 00:17:22.980
The lights went on again and everyone was gone.
430
00:17:24.000 --> 00:17:24.220
What?
431
00:17:25.839 --> 00:17:26.240
I thought.
432
00:17:26.279 --> 00:17:28.460
Well, the devil with what you thought. Come on, let's
433
00:17:28.480 --> 00:17:30.210
get out of here. We should have gotten out a
434
00:17:30.250 --> 00:17:30.950
long time ago.
435
00:17:31.049 --> 00:17:32.369
Yes, but.
436
00:17:32.390 --> 00:17:35.450
We'll go, won't we? Come on. Don't act like you're sleepwalking.
437
00:17:35.490 --> 00:17:39.569
Come on. Oh, listen, she's... She didn't have.
438
00:17:39.589 --> 00:17:40.549
The devil or what she.
439
00:17:40.450 --> 00:17:42.230
Had or didn't have. We're getting out of here before
440
00:17:42.250 --> 00:17:43.230
those maniacs get back.
441
00:17:43.250 --> 00:17:45.059
Maniacs? Yes, I said maniacs.
442
00:17:45.519 --> 00:17:47.299
Some kind of a goofy bunch we walked in on.
443
00:17:47.880 --> 00:17:50.359
I knew they were screwy right from the start. Come on,
444
00:17:50.380 --> 00:17:50.869
let's get out.
445
00:17:50.880 --> 00:17:51.799
Paul, didn't you see that.
446
00:17:51.859 --> 00:17:55.599
What could I see? The lights went out. Everyone beat it. Here,
447
00:17:55.619 --> 00:17:56.579
I think this is the door.
448
00:17:56.599 --> 00:17:56.980
The door.
449
00:17:58.480 --> 00:17:59.269
Can't open it.
450
00:17:59.460 --> 00:18:01.220
We've got to get out. We've got to. We've got
451
00:18:01.240 --> 00:18:02.819
to get out. Let me at that door.
452
00:18:03.039 --> 00:18:03.700
Let me at it.
453
00:18:05.470 --> 00:18:07.589
No, get away, Paul. Quit banging your fists on us.
454
00:18:07.599 --> 00:18:08.440
We've got to break it down.
455
00:18:08.460 --> 00:18:08.880
Okay, come on.
456
00:18:09.000 --> 00:18:09.359
Okay.
457
00:18:09.420 --> 00:18:12.130
Mark, we've got to get out.
458
00:18:12.140 --> 00:18:13.079
We've got to get out.
459
00:18:14.720 --> 00:18:18.450
Now we'll get out. Get out where, monsieur?
460
00:18:18.769 --> 00:18:19.430
I know a woman.
461
00:18:19.529 --> 00:18:19.930
Oh, a woman.
462
00:18:19.950 --> 00:18:21.210
Tell us how to get out of this place.
463
00:18:21.269 --> 00:18:21.470
Yes.
464
00:18:21.829 --> 00:18:23.049
We've got to get out. You hear me?
465
00:18:23.190 --> 00:18:23.329
Out.
466
00:18:24.009 --> 00:18:27.650
Out? Yes. There is a way out.
467
00:18:28.220 --> 00:18:29.930
Well, don't stand there talking about it.
468
00:18:30.099 --> 00:18:31.839
Show us. Show us. We want to get out of here.
469
00:18:33.000 --> 00:18:34.500
You will play, monsieur.
470
00:18:35.299 --> 00:18:40.099
There is no need for such excitement. Just listen to me.
471
00:18:40.359 --> 00:18:40.660
Listen?
472
00:18:40.700 --> 00:18:42.160
But who wants to listen? We want to get out
473
00:18:42.200 --> 00:18:42.759
of here. You hear me?
474
00:18:42.880 --> 00:18:43.690
Out, out, out!
475
00:18:43.720 --> 00:18:47.380
No, Paul, wait. We're getting out. Let's find out what
476
00:18:47.400 --> 00:18:48.940
this is all about. I don't want to know what
477
00:18:48.960 --> 00:18:50.539
it's all about. I just want to get out. No, listen.
478
00:18:51.329 --> 00:18:53.230
We've got to know what it's all about. Don't you understand?
479
00:18:53.990 --> 00:18:56.789
If we don't, we'll always think that maybe... Well, I
480
00:18:56.829 --> 00:18:57.369
tell you, I've.
481
00:18:57.269 --> 00:18:57.809
Got to know.
482
00:18:58.250 --> 00:19:01.410
And I will tell you. Yes, I will tell you.
483
00:19:03.089 --> 00:19:05.349
Once a year, they meet here.
484
00:19:06.269 --> 00:19:08.250
They? Who?
485
00:19:10.170 --> 00:19:11.349
What sort of people are they?
486
00:19:11.809 --> 00:19:17.019
They meet and they dance. A miserable dance. A dance
487
00:19:17.099 --> 00:19:21.720
without joy, without meaning. Yet a dance of hope.
488
00:19:21.859 --> 00:19:23.819
Come on, Gary, let's beat it. Be quiet, will you?
489
00:19:24.000 --> 00:19:24.680
Go on, old woman.
490
00:19:25.420 --> 00:19:29.289
A dance of such weariness. And yet I say it.
491
00:19:30.329 --> 00:19:31.690
A dance of hope.
492
00:19:33.150 --> 00:19:33.369
Hope?
493
00:19:35.119 --> 00:19:35.480
Of what?
494
00:19:36.160 --> 00:19:41.720
Hope of deliverance. Hope of freedom from misery without end.
495
00:19:41.740 --> 00:19:43.680
What are you talking about? Oh, woman, what are you
496
00:19:43.700 --> 00:19:44.269
talking about?
497
00:19:44.289 --> 00:19:46.190
I saw a woman without a head.
498
00:19:46.670 --> 00:19:47.269
Did I see it?
499
00:19:47.269 --> 00:19:49.630
Did you see it?
500
00:19:49.900 --> 00:19:51.480
Push her out of the way, Jerry. Let's get out
501
00:19:51.500 --> 00:19:54.160
of here. No, no, wait, Paul. Now, I think I
502
00:19:54.180 --> 00:19:54.960
understand all this.
503
00:19:55.319 --> 00:19:59.299
It's all a gag, an initiation of some kind. Yeah,
504
00:19:59.319 --> 00:20:01.539
that's it, old woman, isn't it? It's a club, and
505
00:20:01.559 --> 00:20:03.319
these are all kinds of tricks to get in, aren't they?
506
00:20:03.759 --> 00:20:05.759
Trick mirrors and lights going.
507
00:20:05.599 --> 00:20:07.660
Out and all the rest of it. It's all a joke,
508
00:20:07.680 --> 00:20:09.000
an initiation, isn't it, old woman?
509
00:20:09.500 --> 00:20:13.880
One hope. A hope that one of you will blunder
510
00:20:13.920 --> 00:20:17.400
among them and give one of them deliverance.
511
00:20:17.460 --> 00:20:19.329
Old woman, stop talking in riddles, will you?
512
00:20:19.670 --> 00:20:22.009
This is all some kind of a ceremony, an initiation,
513
00:20:22.069 --> 00:20:22.359
isn't it?
514
00:20:22.369 --> 00:20:25.349
Answer me, isn't it?
515
00:20:26.190 --> 00:20:30.990
Yes, one like you. To give his head so that
516
00:20:31.170 --> 00:20:33.119
one of them can have their rest.
517
00:20:33.180 --> 00:20:38.900
Jerry, come on, I tell you, I can't stand that woman, Jerry. Wait, Paul. Oh, woman, you.
518
00:20:40.299 --> 00:20:45.940
Is that something about heads? What did you mean by that?
519
00:20:47.700 --> 00:20:48.019
What?
520
00:20:49.339 --> 00:20:58.089
Listen. What now? You hurt me, dear. You hurt. La Guillotine.
521
00:20:58.549 --> 00:21:00.789
Jerry, what's she talking about? Oh, woman, what do you mean?
522
00:21:00.809 --> 00:21:04.470
La Guillotine. La Guillotine. He took their heads. Yes.
523
00:21:06.329 --> 00:21:06.690
We.
524
00:21:08.170 --> 00:21:12.799
One day they were alive like you. Lived and breathed
525
00:21:13.519 --> 00:21:17.980
and had the world. And then La Guillotine was born.
526
00:21:19.180 --> 00:21:22.630
They took them in the cambros across the stormy street.
527
00:21:23.589 --> 00:21:27.900
The crowds were shouting. They took them one by one
528
00:21:28.539 --> 00:21:36.720
and fed them into her hungry mouth. The knife went up, up, up.
529
00:21:38.420 --> 00:21:42.680
A moment more of life. And then down it came.
530
00:21:42.700 --> 00:21:49.029
It struck. And their heads rolled into the basket.
531
00:21:49.589 --> 00:21:53.089
What's she talking about? What's she talking about? Oh, woman, that...
532
00:21:54.670 --> 00:21:59.450
That girl I danced with. You mean... She and.
533
00:21:59.579 --> 00:22:04.579
All the rest that danced tonight. La Coutine took their
534
00:22:04.640 --> 00:22:10.619
heads and lives. Many weary years ago. Dead.
535
00:22:12.079 --> 00:22:12.420
Dead.
536
00:22:13.759 --> 00:22:14.799
All of them dead.
537
00:22:15.220 --> 00:22:16.660
No, you crazy fool.
538
00:22:16.680 --> 00:22:17.799
You and the dead don't dance.
539
00:22:18.380 --> 00:22:20.609
But the victims of La Coutine danced.
540
00:22:20.619 --> 00:22:21.849
Five.
541
00:22:22.619 --> 00:22:25.859
They dance one night each year as here you saw them.
542
00:22:26.819 --> 00:22:27.099
Dance.
543
00:22:28.299 --> 00:22:28.599
Dance.
544
00:22:28.640 --> 00:22:31.039
Well, it can't be true. It can't be.
545
00:22:31.140 --> 00:22:37.299
Crazy. Crazy. One hope of rest. One hope, I tell you.
546
00:22:38.019 --> 00:22:40.559
That one of you shall blunder in to give his
547
00:22:40.619 --> 00:22:45.390
head for theirs. One hope. that one of you will
548
00:22:45.490 --> 00:22:49.470
headless take their place and let one of them... I.
549
00:22:49.490 --> 00:22:53.819
Won't listen anymore. Jerry, make her stop. You're crazy, old woman.
550
00:22:54.059 --> 00:22:55.900
You're crazy and trying to make us crazy, too.
551
00:22:56.160 --> 00:22:56.779
Come on, Paul.
552
00:22:56.799 --> 00:22:57.079
Stop.
553
00:22:58.319 --> 00:23:05.559
Stop, I tell you. Look behind you. Behind.
554
00:23:05.640 --> 00:23:07.720
Jerry, there's people there.
555
00:23:07.920 --> 00:23:08.259
Yeah.
556
00:23:08.920 --> 00:23:13.059
It grows lighter. He then?
557
00:23:13.220 --> 00:23:14.079
Father in heaven.
558
00:23:15.259 --> 00:23:16.259
All of them without heads.
559
00:23:17.339 --> 00:23:18.059
Without heads.
560
00:23:19.539 --> 00:23:20.640
Paul, they can't keep me here.
561
00:23:21.000 --> 00:23:21.660
Things without heads.
562
00:23:21.940 --> 00:23:22.380
I'll get out.
563
00:23:22.400 --> 00:23:23.440
Out of my way, old woman.
564
00:23:23.480 --> 00:23:29.049
The door. Things without heads. You won't get me. Paul. Paul,
565
00:23:29.069 --> 00:23:32.450
you've left me here with them. Oh, you shouldn't have
566
00:23:32.490 --> 00:23:33.150
done that, Paul.
567
00:23:34.690 --> 00:23:36.890
To let me here with them.
568
00:23:37.119 --> 00:23:43.779
Ah, Monsieur. Your friend. He has not gone far. Listen.
569
00:23:46.460 --> 00:23:46.700
What?
570
00:23:47.359 --> 00:23:48.059
Listen.
571
00:23:51.299 --> 00:23:51.599
So.
572
00:23:53.180 --> 00:23:56.460
La guillotine. She has been fed.
573
00:23:58.119 --> 00:23:58.480
Fed?
574
00:24:00.859 --> 00:24:04.400
Guillotine? What are you talking about?
575
00:24:05.319 --> 00:24:06.319
What are you talking about?
576
00:24:09.400 --> 00:24:09.720
Paul?
577
00:24:12.160 --> 00:24:12.539
Paul?
578
00:24:13.039 --> 00:24:15.200
Where are you, Paul? Listen.
579
00:24:15.700 --> 00:24:25.579
See? Your friend is wet.
580
00:24:27.279 --> 00:24:27.680
Paul.
581
00:24:29.869 --> 00:24:32.089
Oh, Paul, you're all right. You're all right.
582
00:24:35.670 --> 00:24:39.089
Paul, why do you stand there in the shadows?
583
00:24:41.619 --> 00:24:43.190
Paul, why do you stand there like that?
584
00:24:45.400 --> 00:24:50.619
Paul, come closer. Yes, we will come closer.
585
00:25:00.539 --> 00:25:01.579
Paul, what's the matter?
586
00:25:03.339 --> 00:25:04.440
Why don't you answer me?
587
00:25:07.480 --> 00:25:08.900
Paul, what have they done to you?
588
00:25:09.059 --> 00:25:09.480
Paul, what.
589
00:25:16.960 --> 00:25:19.779
Oh, you haven't got a head.
590
00:25:20.220 --> 00:25:22.539
Oh, no, no. Stay back, headless thing.
591
00:25:22.619 --> 00:25:25.900
Headless thing's all of you. I'll get through you. I'll
592
00:25:25.940 --> 00:25:26.380
get away.
593
00:25:26.759 --> 00:25:27.700
You won't do that to me.
594
00:25:27.940 --> 00:25:29.500
Not me. Let me through.
595
00:25:29.779 --> 00:25:30.680
Let me through.
596
00:25:30.700 --> 00:25:32.319
The GST won't get me.
597
00:25:33.279 --> 00:25:34.779
I'll get through.
598
00:25:34.900 --> 00:25:35.559
I'll live.
599
00:25:35.599 --> 00:25:37.380
You won't get me to the GST.
600
00:25:37.480 --> 00:25:38.099
Not me.
601
00:25:38.619 --> 00:25:38.960
The door.
602
00:25:38.980 --> 00:25:39.940
I'll get out. I'll live.
603
00:25:40.299 --> 00:25:40.579
I'll live.
604
00:25:46.690 --> 00:25:47.609
I'm free of you.
605
00:25:48.029 --> 00:25:50.730
You think you are free. I got away.
606
00:25:51.769 --> 00:25:55.440
I got away. They won't get me. I'll live.
607
00:25:55.740 --> 00:25:56.299
I'll live.
608
00:25:56.839 --> 00:25:58.140
And they won't get me.
609
00:25:58.160 --> 00:25:58.460
You can't.
610
00:25:58.500 --> 00:25:58.900
You can't.
611
00:26:06.980 --> 00:26:11.000
He'll run right into the car. Right into it.
612
00:26:11.039 --> 00:26:14.099
Right into the car. Like a mess. Messier, you must
613
00:26:14.119 --> 00:26:14.680
stand back.
614
00:26:14.920 --> 00:26:15.859
Give him air.
615
00:26:16.079 --> 00:26:19.059
Stand back. No, no, no, no. It's not the pin.
616
00:26:19.140 --> 00:26:20.920
He's dead.
617
00:26:21.859 --> 00:26:22.220
Look.
618
00:26:22.240 --> 00:26:23.740
Oh, it's a ruin.
619
00:26:24.579 --> 00:26:24.700
Ah.
620
00:26:25.759 --> 00:26:26.460
His head.
621
00:26:27.759 --> 00:26:31.559
Cut off as clean as if it had been done
622
00:26:31.599 --> 00:26:33.480
by the guillotine herself.
623
00:26:40.490 --> 00:26:44.970
This is Mr. O. Archobler. Ivan asks, can the past
624
00:26:45.039 --> 00:26:48.740
really return? I'd like to answer that this way. Since
625
00:26:48.900 --> 00:26:52.319
nothing in nature is lost, what has been still exists.
626
00:26:52.660 --> 00:26:54.880
It's simply a matter of a new form. Do you
627
00:26:54.900 --> 00:26:57.599
doubt that? Well, look at the late, late movies. Most
628
00:26:57.640 --> 00:27:00.400
of the actors long dead, and yet you see them,
629
00:27:00.440 --> 00:27:03.839
you hear them as living entities. Now, the play you
630
00:27:03.859 --> 00:27:06.240
just heard. Some of the actors have been in their
631
00:27:06.259 --> 00:27:08.839
graves for many years, and yet you heard them.
632
00:27:08.869 --> 00:27:09.730
They were alive.
633
00:27:10.420 --> 00:27:10.700
They.
634
00:27:10.619 --> 00:27:14.880
Returned from death. Now let's talk about next week. And
635
00:27:15.240 --> 00:27:18.819
curiously enough, considering what we've just been talking about, it's
636
00:27:18.880 --> 00:27:22.049
a play that looks not into the past, but into
637
00:27:22.109 --> 00:27:25.529
a future that existed then in my own imagination. Let's
638
00:27:25.609 --> 00:27:27.329
talk more about that after a message.
639
00:27:28.329 --> 00:27:30.890
This is Wally LaPrade, special agent in charge of the
640
00:27:31.069 --> 00:27:34.829
FBI for New Jersey. As a result of the large
641
00:27:34.890 --> 00:27:39.779
number of aircraft hijackings and related crimes aboard aircraft, Congress
642
00:27:39.799 --> 00:27:43.319
has charged the FBI with the responsibility of bringing these
643
00:27:43.400 --> 00:27:48.480
hijackers into federal court. Upon hearing of a hijacking, the FBI,
644
00:27:48.519 --> 00:27:52.039
in cooperation with local law enforcement agencies and the airlines,
645
00:27:52.519 --> 00:27:55.859
take every avenue available to safeguard the lives of the
646
00:27:55.920 --> 00:28:00.009
crew and passengers, as well as identify the criminals involved
647
00:28:00.450 --> 00:28:05.210
and place them under arrest. Usually the perpetrators demand transportation
648
00:28:05.269 --> 00:28:09.130
to another country or large sums of money. Everyone is
649
00:28:09.250 --> 00:28:12.809
urged to keep in mind that sometimes a passenger makes
650
00:28:12.869 --> 00:28:16.319
a joke of some nature, meaning no harm, but find
651
00:28:16.359 --> 00:28:19.119
themselves as a result of what they think is a joke,
652
00:28:19.579 --> 00:28:22.799
being prosecuted for one of the provisions of crime aboard
653
00:28:22.819 --> 00:28:26.740
an aircraft. The cooperation of the public is needed to
654
00:28:26.819 --> 00:28:28.779
rid this problem from our society.
655
00:28:30.359 --> 00:28:30.960
This is Mr.
656
00:28:31.009 --> 00:28:34.910
O again, about that next week's play. Its title is
657
00:28:35.329 --> 00:28:38.700
Rocket from Manhattan. And if you don't get some rather
658
00:28:38.759 --> 00:28:42.539
unexpected excitement when you hear it, I'll personally refund the
659
00:28:42.599 --> 00:28:47.480
price of your kilowatt half hour. Listen, then, for Rocket
660
00:28:47.549 --> 00:28:48.400
from Manhattan.
661
00:28:55.730 --> 00:29:00.789
It is later now.
662
00:29:01.690 --> 00:29:06.240
Then you think.
663
00:29:19.230 --> 00:29:21.740
We close the curtain on The Devil and Mr. O,
664
00:29:21.890 --> 00:29:27.480
episode 21, Paris Macabre. Until our next radio rendezvous, good evening.
665
00:29:27.839 --> 00:29:32.230
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