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<v Speaker 1>The Damon Runyan Theater. Once again, The Damon Runy in

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<v Speaker 1>Theater brings you another story by the master storyteller, Damon Runyan,

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<v Speaker 1>and this one cemetery Bate, and you tell it to

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<v Speaker 1>you here is Broadway.

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<v Speaker 2>Thanks.

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<v Speaker 3>One day I get a call to go to the

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<v Speaker 3>State Penitentiary. I go there because a character by the

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<v Speaker 3>name of Gentleman George sends for me. Now, being in

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<v Speaker 3>such a place as no novelty but Georgie and ordinarily

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<v Speaker 3>will cause him no confusion. The trouble this time is

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<v Speaker 3>that he is in what is called the death house.

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<v Speaker 3>It seems that he has allowed visitors. And I am

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<v Speaker 3>more than somewhat curious why he sends for me. So I,

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<v Speaker 3>overcome my natural repugnance at such institutions, go to see him.

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<v Speaker 3>And he tells me a very strange story.

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<v Speaker 4>Indeed, among which I will tell you in a minute.

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<v Speaker 1>And now back to the Damon Runy in Theater and

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<v Speaker 1>the famous story cemetery Bait.

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<v Speaker 3>Like I say, I find myself at the State Penitentiary,

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<v Speaker 3>I also find myself sitting in the cell with gentlemen

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<v Speaker 3>Joy and he says, as funds, it is very.

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<v Speaker 2>Nice of you to come Broadway. Maybe you wish to

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<v Speaker 2>know why I get you up here? I am curious. Yes, Well,

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<v Speaker 2>as you know, tomorrow I am to be placed in

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<v Speaker 2>mister Edison's rocking chair and giving a severe shock in

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<v Speaker 2>the seat of my britches.

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<v Speaker 1>Here, dad, yea.

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<v Speaker 2>So I wish to tell you a story because you

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<v Speaker 2>are a good guy, and you will let it be

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<v Speaker 2>known that I perform a great public service. You do, Georgie,

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<v Speaker 2>I do. I wish all citizens to be more kindly

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<v Speaker 2>disposed toward me, So I will tell you.

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<v Speaker 3>Yeah, Well, please make it short, George, I am getting

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<v Speaker 3>a severe case of feeling cooped up.

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<v Speaker 2>Sure. Well, it is in the summer of last year

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<v Speaker 2>that Lou Adolia comes to me. You remember Lou.

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<v Speaker 3>Oh, sure, he is a hot citizen who cases joints

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<v Speaker 3>for diamonds and such.

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<v Speaker 2>Yeah, and then he gets another citizen to knock over

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<v Speaker 2>the joint. Well, like I say, Lou comes to me

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<v Speaker 2>last summer and he puts a proposition to me which

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<v Speaker 2>reads like.

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<v Speaker 5>This, Georgie, I think I got a great job for you.

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<v Speaker 5>Only you'll have to go to Miami, Florida and knock

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<v Speaker 5>it over.

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<v Speaker 2>Okay, Lou, I do not mind traveling what is the layoff?

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<v Speaker 5>Well, here is a certain dull married to a guy.

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<v Speaker 2>Well, next I do not knock over guy so that

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<v Speaker 2>dolls can have good time.

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<v Speaker 6>Not then like that, she's got a bark full of

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<v Speaker 6>rock that will bring maybe eighty grand?

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<v Speaker 2>Go on, loo? What else? Will I figure?

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<v Speaker 6>A good box man like you can saw through and

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<v Speaker 6>pick off the stuff?

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<v Speaker 2>You got a place to unloaded? Sure? Sure don't I always? Yeah, okay,

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<v Speaker 2>give me the rest of the setup.

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<v Speaker 6>Well we'll go to Miami. I'll do another case job

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<v Speaker 6>when I lay out, and you can work your way

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<v Speaker 6>through from there. It'll be a lead pipe.

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<v Speaker 2>Session so Broadway. It is not more than a week

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<v Speaker 2>later that I find myself on a train going to Miami, Florida.

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<v Speaker 2>The way Lou talks, it looks like I am going

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<v Speaker 2>for a sense job. Then it comes up one night

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<v Speaker 2>on the train and I am as sick as a

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<v Speaker 2>puppet because I eat fish, which I can never stand.

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<v Speaker 2>I am on my bed when I hear a knock

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<v Speaker 2>on my door. Oh who is it?

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<v Speaker 3>What's the matter in there?

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<v Speaker 2>I am about to become a corpse. Go away. Let me.

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<v Speaker 3>Come on, come on, come on, maybe I can help you.

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<v Speaker 2>Okay, just a second. All right, lie down again. I

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<v Speaker 2>am sick. I am so sick.

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<v Speaker 1>So I see by the color of your face.

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<v Speaker 2>I didn't think you were born green. Where does it hurt? Stomach?

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<v Speaker 2>Domain poisoning?

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<v Speaker 5>I saw you eating fish in the dining car.

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<v Speaker 2>I will die before my time.

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<v Speaker 3>Nonsense, No one ever does that.

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<v Speaker 5>Besides, you might be better off if you did not.

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<v Speaker 2>Enough people know when to die. Please you say you

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<v Speaker 2>will help me. I will.

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<v Speaker 3>I'll never get any seat next door with you groaning

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<v Speaker 3>and grunting all night.

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<v Speaker 1>Porter, Porter, come.

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<v Speaker 2>In here, will you? What are you going to do

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<v Speaker 2>with him? Send for some medicine you call me, sir.

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<v Speaker 1>Yes, go to the dining car and get.

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<v Speaker 2>Some hot water.

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<v Speaker 1>Also bring back some soda box falland hurry.

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<v Speaker 2>Yes, sir, right away, Sir? Do I get anything to

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<v Speaker 2>go with the soda? Shut up and lie still. Look, mister,

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<v Speaker 2>why do you do this for me? If You've got

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<v Speaker 2>any stupid notion that I'm doing it as a good Samaritan,

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<v Speaker 2>forget it. I merely want to get some sleep tonight.

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<v Speaker 2>Well Broadway, the old guy who was maybe pushing on

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<v Speaker 2>sixty or thereabouts does good for me. In maybe an hour,

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<v Speaker 2>I am feeling better and dropped to sleep. Then in

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<v Speaker 2>the morning I wake up and the train is in Miami.

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<v Speaker 2>I get out on the platform and I see the

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<v Speaker 2>old guy. He looks at me and says, feeling better?

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<v Speaker 2>Oh sure, sure lots. In fact, I am a well man,

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<v Speaker 2>and I wish to thank you.

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<v Speaker 3>Don't just remember that you're unable to eat fish, you're

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<v Speaker 3>allergic to it.

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<v Speaker 2>Oh but look, mister, I wish by and keep away

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<v Speaker 2>from fit.

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<v Speaker 1>Hey.

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<v Speaker 5>Wait, hey, hey, Georgie.

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<v Speaker 2>Oh hi you look yeah, say see that old guy

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<v Speaker 2>getting in a car?

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<v Speaker 5>Heah, what about him?

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<v Speaker 2>Who is he? Oh?

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<v Speaker 6>I don't know. I didn't see enough of them. Now, look,

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<v Speaker 6>you bring your tools. Sure, but I sure wish I

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<v Speaker 6>know who that old citizen is. He saves my life

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<v Speaker 6>last night. And so few people are good to me

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<v Speaker 6>that I wish to cherish the name of one who

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<v Speaker 6>wish Okay, okay, save the lady. I got that deal

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<v Speaker 6>lined up.

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<v Speaker 2>How does it look?

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<v Speaker 5>All great?

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<v Speaker 2>We're your bags platform. Where do we go? Now?

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<v Speaker 5>You better check in the hotel. Don't use your right name.

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<v Speaker 2>You'll know me better than that, lou. It is just

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<v Speaker 2>a question of picking the one I like best.

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<v Speaker 6>Okay, let's get moving. We got just two days to

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<v Speaker 6>pull this job and move.

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<v Speaker 2>Out hot huh plenty.

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<v Speaker 5>Your cut will be ten geez.

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<v Speaker 2>My cut will be fifteen geese, or you will get

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<v Speaker 2>yourself another can opener. Twelve fourteen eleven, thirteen and a

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<v Speaker 2>half fighteen, I am in business. Leave us code well

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<v Speaker 2>Broadway thirteen geeze is not bad for a day's work,

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<v Speaker 2>So Georgie, I ask you to skip the details Broadway.

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<v Speaker 2>I only got today and tomorrow morning before I will

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<v Speaker 2>have to skip everything. Do you begrudge me this hour?

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<v Speaker 3>I am sorry, but I do not see what all

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<v Speaker 3>this has to do with performing a great public service.

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<v Speaker 2>You will see in a minute. Well, I check in

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<v Speaker 2>at a hotel. I and Lou range to meet later

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<v Speaker 2>at a place called the Bath and Sailing Club. It

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<v Speaker 2>is a bad name because I do not see anybody

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<v Speaker 2>taking a bath or sailing, although some of the dolls

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<v Speaker 2>in the dining room seem to be dressed for the

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<v Speaker 2>first occupation. Then I see a beautiful pancake walk in

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<v Speaker 2>and sit at a table by the window. Now amol.

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<v Speaker 2>The head waiter is a good friend of mine, so

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<v Speaker 2>I ask him who the doll is and he says

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<v Speaker 2>the one invite mister George. Yeah, the pancake with the

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<v Speaker 2>dress that he's made for dolls like her, Mister George.

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<v Speaker 2>She is cemetery bit or married to a jealous husband.

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<v Speaker 2>This is bad arranging. Her husband is very senitish that

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<v Speaker 2>he is my my, she is very lovely, gorgeous. But

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<v Speaker 2>there is something about her I do not like amol

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<v Speaker 2>one thing. I do not mean in the way of equipment,

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<v Speaker 2>but in the way her eyes look to me. They

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<v Speaker 2>are heavenly blue. They are on the cold side chiuned

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<v Speaker 2>cold or not, she is beyond us, mister George, especially

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<v Speaker 2>since her husband is one of the best amateur marksmen

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<v Speaker 2>in the world. Oh now, I see why you call

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<v Speaker 2>her cemetery bait. However, I have heard that she is

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<v Speaker 2>looking around. It is a brave man who will overlook

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<v Speaker 2>her husband. Ah, yes, but you will excuse n.

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<v Speaker 5>Yeah, George, a male sit down.

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<v Speaker 6>Yeah, see you later, mail, Yes, sir, Yeah, Well it's

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<v Speaker 6>on set for the.

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<v Speaker 5>Night, George.

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<v Speaker 2>My goodness, I hardly have time to get settled.

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<v Speaker 5>You can do all right after you crack the job. Now, look,

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<v Speaker 5>here's he it.

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<v Speaker 2>Rice.

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<v Speaker 5>Take a good look.

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<v Speaker 2>Okay, I got it right now.

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<v Speaker 6>The maid who gives me the tip says the best

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<v Speaker 6>time the finger the job is about one in the morning.

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<v Speaker 2>I'll have to keep late hours.

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<v Speaker 5>Father, love of Mike, When you shut up and let

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<v Speaker 5>me talk.

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<v Speaker 2>Go ahead, Okay. The safe is a tin can.

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<v Speaker 5>You want to be able to take it apart.

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<v Speaker 2>But it happened, Lou. You know I do a very

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<v Speaker 2>neat job, no blasting, no drilling. I do not like

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<v Speaker 2>to ruin other people's property.

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<v Speaker 5>We're getting the can open.

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<v Speaker 2>Is your job.

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<v Speaker 5>Once you get the stuff, I'll pick it up and

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<v Speaker 5>get it out.

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<v Speaker 2>Of Miami like usual.

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<v Speaker 6>No, it wouldn't look good for us to take the

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<v Speaker 6>wind right after the Juno's done, so we'll stick around

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<v Speaker 6>a couple of days.

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<v Speaker 2>Then i'll leave. You'll follow, Okay, one o'clock this morning.

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<v Speaker 6>Yeah, and Georgie, what, Lou?

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<v Speaker 2>Please don't take any samples. What do you mean? I mean?

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<v Speaker 6>I hope your pockets do not have holes in them,

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<v Speaker 6>so little twinklets slip into the linings.

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<v Speaker 2>Lou, I promise you I will hold out nothing.

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<v Speaker 6>Okay, go right to your hotel. I'll pick up the stuff.

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<v Speaker 6>It will be out in Miami in an hour. Yeah,

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<v Speaker 6>and I what's the matter.

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<v Speaker 2>I just that pancake who just leaves looks just as

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<v Speaker 2>good from this side as the other.

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<v Speaker 6>Keep your mind on your work, lady can have all

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<v Speaker 6>the happies you want.

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<v Speaker 2>So broadway. I wait until about one am in the morning.

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<v Speaker 2>Then I go to the address. Loop gives me there

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<v Speaker 2>is not a soul there. I had the layout, so

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<v Speaker 2>I go right to the safe and start work. I

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<v Speaker 2>use my own little gadget that I invent.

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<v Speaker 6>I'll go ahead.

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<v Speaker 5>Why do you stop?

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<v Speaker 2>I wonder why the government never lets me have the

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<v Speaker 2>patent I ask for in that gadget.

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<v Speaker 3>Well, Georgie, they have got very peculiar ideas about.

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<v Speaker 2>Some things here, I guess. So anyway, I work away.

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<v Speaker 2>When I hit the front door open and close, I

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<v Speaker 2>take a quick look. And who do you think it is?

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<v Speaker 2>Er buffalo Bill? He is dead? Will I give up?

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<v Speaker 2>Who is it? The beautiful pancake I see earlier that night?

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<v Speaker 5>This is her house?

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<v Speaker 2>It turns out that is the case. Anyway, She is

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<v Speaker 2>with a guy. Know who the guy is, Georgie.

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<v Speaker 3>Before you finish this story, they will put you in

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<v Speaker 3>the juicer and I will never know what happens.

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<v Speaker 2>Please proceed. Who is the guy? Remember, little Eddie Baker Baker, Oh,

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<v Speaker 2>oh sure, sure the Shakman, Yeah, blackmailer Broadway. He is

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<v Speaker 2>very crooked, more than somewhat. So what happens? The doll

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<v Speaker 2>does not turn on the lights, but they come into

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<v Speaker 2>the room where I am going about my business. I

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<v Speaker 2>see that Eddie Baker is now wearing a little mustache,

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<v Speaker 2>and he is dressed to kill. I duck in a

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<v Speaker 2>closet behind some clothes, and I hear the dolls say.

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<v Speaker 5>To Marsel, don't turn on the line.

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<v Speaker 2>Why you said we would be alone? Oh we are COULDA?

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<v Speaker 2>I do not like this? What if someone saws?

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<v Speaker 3>Who could.

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<v Speaker 5>Frightened Tomassel? Your husband away on a fishing ton.

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<v Speaker 2>But he may come back sooner than you expect.

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<v Speaker 4>I don't think so.

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<v Speaker 2>He likes the fish.

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<v Speaker 7>Corda, you're so lovely, am I? You know you are

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<v Speaker 7>so listen to me? Why can't we go away together?

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<v Speaker 5>How much money do you have to Mussel?

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<v Speaker 2>No, nor do I You're Jewish?

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<v Speaker 5>Tomusl the way I like to live. That wouldn't last a.

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<v Speaker 2>Year, Yes, but you don't know what it's like married

247
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<v Speaker 2>to a man who watches every move mt.

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<v Speaker 5>No, we were careful, Corda.

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<v Speaker 2>What are we going to do. That's why I brought

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<v Speaker 2>you up here. We've got to talk about it. To

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<v Speaker 2>Mussel about what Corda, what are you thinking about my husband? Yes,

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<v Speaker 2>he loves me. He loves me, Tomaso. He loves me

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<v Speaker 2>so much that when he dies, I'll get everything.

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<v Speaker 5>And it's a state, the yacht, the money.

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<v Speaker 2>I'll be very wealthy, Tomussel, I could marry anyone I

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<v Speaker 2>wanted me, perhaps, you said, perhaps m hm.

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<v Speaker 7>When not here, not in Miami. It's got to look

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<v Speaker 7>like an accident. You will be leaving for New York

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<v Speaker 7>in two days, won't you.

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<v Speaker 1>Ye.

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<v Speaker 7>There's many more possibilities for an accident in New York.

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<v Speaker 2>There there are. Do you love me? Wait and see

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<v Speaker 2>how much? Well?

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<v Speaker 5>That is the story the gentleman George tells.

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<v Speaker 3>Me so far, and even though I am sitting in

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<v Speaker 3>a penitentiary listening to it, I cannot believe, because I

267
00:13:40.879 --> 00:13:42.000
<v Speaker 3>wish to know what happens.

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<v Speaker 2>I find out and it's very strange, indeed, and I

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<v Speaker 2>will tell you about it in a minute.

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<v Speaker 1>And now back to the Damon Rundom Theater and the

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<v Speaker 1>famous story cemetery bait.

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<v Speaker 3>Like I say, I am sitting with gentlemen, George in

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<v Speaker 3>the death house listening to him, and he goes on.

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<v Speaker 2>To wit, Viz, what time is it Broadway? Hap passed three?

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<v Speaker 1>What?

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<v Speaker 2>My My time goes real fast in a place like this. Yeah, yeah,

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00:14:31.440 --> 00:14:34.600
<v Speaker 2>yeah does George. But you are telling me a story. Yeah,

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<v Speaker 2>and I wish you to promise me that you will

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<v Speaker 2>tell it so everybody can see what a great public

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00:14:38.799 --> 00:14:41.759
<v Speaker 2>service I do, even though I am waiting to be fried,

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<v Speaker 2>I promise George. Okay, Well, I hear this. Cora Doll

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<v Speaker 2>and Eddie Baker, whose name now seems to be Tomaso,

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00:14:50.320 --> 00:14:52.840
<v Speaker 2>set up a thing to knock over her husband, who

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<v Speaker 2>seems to be interfering with their amusement. But I figure

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<v Speaker 2>it is none of my business. Until the next day

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<v Speaker 2>I am at the beach with blue Adolia.

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<v Speaker 5>That was a good job last night, Georgie.

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<v Speaker 2>You are happy with it?

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00:15:06.919 --> 00:15:11.519
<v Speaker 5>Yes, I figured the stuff shuit fring maybe more.

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00:15:11.320 --> 00:15:13.879
<v Speaker 2>Than eighty grand Yeah, it is gone.

291
00:15:14.120 --> 00:15:16.000
<v Speaker 5>It was out of Miami. And aready slipped to me?

292
00:15:16.440 --> 00:15:21.120
<v Speaker 2>And when do I get my cutters? Sosay, heats off. Okay, meanwhile,

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<v Speaker 2>this is a very fine life. My my, there is

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<v Speaker 2>a doll wearing a handkerchief.

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<v Speaker 6>Yeah yeah, but what a small handkerchief? Oh hey, blue,

296
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<v Speaker 6>wasn't mat of cops.

297
00:15:37.159 --> 00:15:39.840
<v Speaker 2>No, there is the old guy who saves my life

298
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<v Speaker 2>on the train.

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00:15:40.480 --> 00:15:43.679
<v Speaker 6>Look, will you forget that all you had was a

300
00:15:43.720 --> 00:15:44.360
<v Speaker 6>stomach ache.

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<v Speaker 2>I am very grateful to him. It is very seldom

302
00:15:47.159 --> 00:15:48.840
<v Speaker 2>that people do things for me, and I wish to

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00:15:48.879 --> 00:15:51.919
<v Speaker 2>speak to him. Okay, okay, go ahead. I will be

304
00:15:52.080 --> 00:15:54.120
<v Speaker 2>right over there with a red umbrella.

305
00:15:54.360 --> 00:15:59.360
<v Speaker 5>Yeah, yeah, I see, Georgie. Georgie, sit down? Why sit down?

306
00:15:59.480 --> 00:16:01.120
<v Speaker 5>Your don't sit down?

307
00:16:01.240 --> 00:16:02.679
<v Speaker 2>What is eating you?

308
00:16:02.679 --> 00:16:04.080
<v Speaker 5>You know who that is?

309
00:16:04.399 --> 00:16:06.080
<v Speaker 2>Yes, he's the man who saves my life.

310
00:16:06.159 --> 00:16:08.879
<v Speaker 5>He's the guy who's joint you're knocked over last night?

311
00:16:09.080 --> 00:16:10.320
<v Speaker 2>Oh no, oh.

312
00:16:10.159 --> 00:16:12.759
<v Speaker 5>Yes, Colonel Samuel B.

313
00:16:13.120 --> 00:16:16.519
<v Speaker 2>Venus, Why do you not tell me this before I

314
00:16:16.559 --> 00:16:17.120
<v Speaker 2>do the job?

315
00:16:17.440 --> 00:16:20.519
<v Speaker 6>You look, how did I know he was the guy

316
00:16:20.559 --> 00:16:23.440
<v Speaker 6>that cured just Tommy besides.

317
00:16:23.039 --> 00:16:24.960
<v Speaker 2>The eighty grand I am very sorry.

318
00:16:25.240 --> 00:16:26.080
<v Speaker 5>You shut up.

319
00:16:26.240 --> 00:16:29.120
<v Speaker 2>I am very ungrateful. I should speak to him.

320
00:16:29.240 --> 00:16:31.360
<v Speaker 5>Look, just keep away from him.

321
00:16:31.799 --> 00:16:32.919
<v Speaker 2>I guess you were right.

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00:16:32.879 --> 00:16:37.600
<v Speaker 5>Dob, the dumb clucks echover guy's joint. The things still

323
00:16:37.639 --> 00:16:39.440
<v Speaker 5>happen you when I talk to him.

324
00:16:39.519 --> 00:16:41.679
<v Speaker 2>Maybe I will find some other way. To thank him.

325
00:16:41.919 --> 00:16:44.759
<v Speaker 2>Maybe I will, Holy Mac, Georgie.

326
00:16:44.480 --> 00:16:46.399
<v Speaker 5>Would they give me the nise? What's now?

327
00:16:46.639 --> 00:16:49.720
<v Speaker 2>I just remember something that's impossible.

328
00:16:50.080 --> 00:16:50.799
<v Speaker 5>But what is it?

329
00:16:51.000 --> 00:17:02.480
<v Speaker 2>I nothing, low, nothing, I guess, But I do remember

330
00:17:02.519 --> 00:17:06.599
<v Speaker 2>something Broadway. This Colonel Samuel be Venus is the husband

331
00:17:06.599 --> 00:17:10.119
<v Speaker 2>that Cora and Tomaso are going to decease. Yeah, that

332
00:17:10.279 --> 00:17:13.279
<v Speaker 2>is right now. Personally I would not care if they

333
00:17:13.319 --> 00:17:16.359
<v Speaker 2>do it on somebody else. But the colonel saves my life.

334
00:17:17.240 --> 00:17:19.079
<v Speaker 2>You understand, Sure, I understand.

335
00:17:19.720 --> 00:17:22.400
<v Speaker 3>But somehow it seems to be a little unimportant considering

336
00:17:22.440 --> 00:17:22.920
<v Speaker 3>where we are.

337
00:17:23.400 --> 00:17:27.279
<v Speaker 2>Huh, nothing nothing. So what happens then, Georgie? Well, I

338
00:17:27.359 --> 00:17:29.720
<v Speaker 2>figure I will try to do something without getting myself

339
00:17:29.720 --> 00:17:32.039
<v Speaker 2>in trouble for the little job I do for Luidolia.

340
00:17:32.640 --> 00:17:35.319
<v Speaker 2>So I stick around and I find that the Colonel

341
00:17:35.319 --> 00:17:38.119
<v Speaker 2>and Cora are going to New York by boat, so

342
00:17:38.440 --> 00:17:41.759
<v Speaker 2>I go the same way. The boat is named the Castilia.

343
00:17:44.279 --> 00:17:45.400
<v Speaker 2>That is very familiar.

344
00:17:45.759 --> 00:17:47.720
<v Speaker 3>Sure, I just tell it to you, you know, I

345
00:17:47.720 --> 00:17:50.839
<v Speaker 3>mean I read something about that boat. Oh well, I

346
00:17:50.880 --> 00:17:52.839
<v Speaker 3>will tell you what it is. You remember, Yeah, well,

347
00:17:52.839 --> 00:17:54.680
<v Speaker 3>all right, you are on the boat. So is the

348
00:17:54.720 --> 00:17:58.000
<v Speaker 3>colonel and the doll corps ah, and so is Tomaso.

349
00:17:58.559 --> 00:18:01.000
<v Speaker 3>But you know what, I do not know what what?

350
00:18:01.279 --> 00:18:04.720
<v Speaker 2>Georgie the Cora Pancake and Tomaso never even look at

351
00:18:04.759 --> 00:18:08.000
<v Speaker 2>each other. It is like they are strangers. That is

352
00:18:08.119 --> 00:18:11.000
<v Speaker 2>very strange, right. Perhaps they do not wish the colonel

353
00:18:11.000 --> 00:18:15.079
<v Speaker 2>to see them together. Yeah, yeah, that is real smart

354
00:18:15.079 --> 00:18:18.240
<v Speaker 2>of you. But I watched them, but they never make

355
00:18:18.240 --> 00:18:21.119
<v Speaker 2>a move to do in the old guy. Then it

356
00:18:21.240 --> 00:18:23.480
<v Speaker 2>comes up one night and I am in my cell

357
00:18:23.640 --> 00:18:27.640
<v Speaker 2>so cabin. Oh yeah, I'm in my cabin with Ruid Dohlia.

358
00:18:27.799 --> 00:18:30.920
<v Speaker 2>Who is along? I'm just getting some sleep when all

359
00:18:30.920 --> 00:18:35.119
<v Speaker 2>of a sudden I hear a lot of noise. Hi, Hey,

360
00:18:35.480 --> 00:18:35.799
<v Speaker 2>what's that?

361
00:18:36.240 --> 00:18:37.759
<v Speaker 5>Ahl?

362
00:18:38.279 --> 00:18:38.480
<v Speaker 2>Hey?

363
00:18:38.480 --> 00:18:39.079
<v Speaker 5>What's going on?

364
00:18:40.559 --> 00:18:43.359
<v Speaker 2>Who is throwing a party? John plucks it on her hair?

365
00:18:43.839 --> 00:18:45.079
<v Speaker 5>This tank is on fire?

366
00:18:45.279 --> 00:18:46.039
<v Speaker 2>What come on?

367
00:18:46.200 --> 00:18:46.519
<v Speaker 7>Twitch?

368
00:18:46.720 --> 00:18:50.000
<v Speaker 2>I am not fresh throwing up? Don't come on which way, louke?

369
00:18:50.039 --> 00:18:51.440
<v Speaker 5>Come on, let's get up the stairs.

370
00:18:51.599 --> 00:18:53.799
<v Speaker 2>With all this water around, hors a boat catch on

371
00:18:53.880 --> 00:18:56.319
<v Speaker 2>fire and move fast away? Wait a minute?

372
00:18:56.400 --> 00:18:56.680
<v Speaker 1>What for?

373
00:18:56.920 --> 00:18:58.119
<v Speaker 2>Look? I have got an idea.

374
00:18:58.319 --> 00:18:59.680
<v Speaker 5>Oh not at a time.

375
00:19:00.279 --> 00:19:01.559
<v Speaker 2>You go ahead, I will follow.

376
00:19:01.599 --> 00:19:02.200
<v Speaker 5>What are you gonna do?

377
00:19:02.440 --> 00:19:04.440
<v Speaker 2>A lot of people will be rushing out and maybe

378
00:19:04.519 --> 00:19:06.960
<v Speaker 2>leave valuables. I can pick up some trickers up the

379
00:19:07.039 --> 00:19:10.079
<v Speaker 2>red time. It is all right. You go ahead, I

380
00:19:10.079 --> 00:19:12.559
<v Speaker 2>will make hey well his son chaw tay. It's your off.

381
00:19:12.640 --> 00:19:19.759
<v Speaker 2>You will see you later. Anybody in here, I just

382
00:19:19.839 --> 00:19:27.799
<v Speaker 2>wish to tell you the boat is on fire. Well broadway.

383
00:19:28.200 --> 00:19:30.240
<v Speaker 2>I go from place to place and I pick up

384
00:19:30.279 --> 00:19:33.200
<v Speaker 2>a few odds and ends. In fact, I do all right.

385
00:19:34.079 --> 00:19:36.599
<v Speaker 2>Then I get the one cabin and go inside. I

386
00:19:36.640 --> 00:19:39.759
<v Speaker 2>see nobody at first until I start to leave. Then

387
00:19:39.759 --> 00:19:42.200
<v Speaker 2>I see there is somebody in the bed all tied

388
00:19:42.279 --> 00:19:45.440
<v Speaker 2>up and gagged. You know who it is, Colonel Samuel

389
00:19:45.480 --> 00:19:50.039
<v Speaker 2>be Venus. Ah there, you know. Never mind what happens? Then?

390
00:19:50.359 --> 00:19:53.039
<v Speaker 2>Well I get him untied and get the gag out

391
00:19:53.079 --> 00:19:57.319
<v Speaker 2>of his body, and he says, thank you, thank you.

392
00:19:57.319 --> 00:19:59.480
<v Speaker 2>You've got to get out of here. Yeah, it seems

393
00:19:59.519 --> 00:20:02.279
<v Speaker 2>the right thing to do. What is the matter.

394
00:20:02.440 --> 00:20:03.160
<v Speaker 3>I can't walk.

395
00:20:03.599 --> 00:20:07.200
<v Speaker 5>They tied my legs so tightly the circulation stopped.

396
00:20:07.440 --> 00:20:09.039
<v Speaker 2>I will have to carry you. Wait a minute, I

397
00:20:09.119 --> 00:20:10.799
<v Speaker 2>want to get something. I will get it for you.

398
00:20:11.119 --> 00:20:13.680
<v Speaker 1>That drawer in the small cabinet there's a gun.

399
00:20:16.519 --> 00:20:16.559
<v Speaker 2>This.

400
00:20:17.000 --> 00:20:18.039
<v Speaker 1>Yes, yes, I.

401
00:20:18.759 --> 00:20:20.559
<v Speaker 5>I know you.

402
00:20:20.559 --> 00:20:22.799
<v Speaker 2>You saved my life. Now I save yours.

403
00:20:22.799 --> 00:20:27.279
<v Speaker 3>Oh yes, yes, I remember, Oh oh wait, I can't

404
00:20:27.319 --> 00:20:27.720
<v Speaker 3>get up.

405
00:20:27.839 --> 00:20:29.880
<v Speaker 2>Look, hold my arm. They did this.

406
00:20:30.559 --> 00:20:34.599
<v Speaker 6>They did this to me, Cora, Cora, and that man,

407
00:20:34.680 --> 00:20:36.720
<v Speaker 6>that man in the white pole cap and the coat

408
00:20:36.799 --> 00:20:37.279
<v Speaker 6>to man.

409
00:20:37.480 --> 00:20:39.960
<v Speaker 2>Little guy black mustache. He hit me.

410
00:20:40.240 --> 00:20:42.319
<v Speaker 5>They tied me out and killed him.

411
00:20:42.440 --> 00:20:43.680
<v Speaker 2>What about her? Help me?

412
00:20:44.119 --> 00:20:44.599
<v Speaker 1>Carry me?

413
00:20:44.960 --> 00:20:48.720
<v Speaker 2>All right? Up? You com now, Hang on.

414
00:20:49.000 --> 00:20:49.960
<v Speaker 1>It's not her fault.

415
00:20:50.559 --> 00:20:54.240
<v Speaker 2>She's just a child. But him, I don't even know him.

416
00:20:54.359 --> 00:20:56.759
<v Speaker 2>Hang on tighter. I got to use my hands to

417
00:20:56.799 --> 00:20:59.960
<v Speaker 2>feel through the smokers. Yes, that poor child, she didn't

418
00:21:00.119 --> 00:21:02.559
<v Speaker 2>know what she was doing. You'll think not. I know

419
00:21:02.680 --> 00:21:06.079
<v Speaker 2>she didn't. But I'll kill him. That little man in

420
00:21:06.200 --> 00:21:06.960
<v Speaker 2>the white.

421
00:21:06.680 --> 00:21:08.160
<v Speaker 5>Golden cap, I'll kill him.

422
00:21:08.279 --> 00:21:11.359
<v Speaker 2>Look, colonel, I have to tell you something. Save your breath.

423
00:21:11.759 --> 00:21:12.319
<v Speaker 6>You'll need it.

424
00:21:12.359 --> 00:21:15.079
<v Speaker 5>But I gotta keep your mouth closed.

425
00:21:16.240 --> 00:21:22.119
<v Speaker 2>No doll is worth killing somebody. She is an innocent child. Okay, okay,

426
00:21:22.160 --> 00:21:26.359
<v Speaker 2>I will not say anything more. We're almost on deck.

427
00:21:27.079 --> 00:21:32.440
<v Speaker 1>Then I'll find him and i'll kill him.

428
00:21:34.759 --> 00:21:37.079
<v Speaker 2>I get the old guy on deck, he is pretty

429
00:21:37.119 --> 00:21:39.240
<v Speaker 2>done in. So I take a look around for myself.

430
00:21:39.279 --> 00:21:42.599
<v Speaker 2>On deck, everybody is getting a little boats and on rafts.

431
00:21:43.119 --> 00:21:45.240
<v Speaker 2>I see a few things, and I do a little

432
00:21:45.240 --> 00:21:47.400
<v Speaker 2>thinking about the old guy and the doll he thinks

433
00:21:47.480 --> 00:21:50.319
<v Speaker 2>is an innocent child. Then I go back to where

434
00:21:50.319 --> 00:21:52.640
<v Speaker 2>I leave the colonel, and I see he is looking

435
00:21:52.720 --> 00:21:53.400
<v Speaker 2>out to see.

436
00:21:53.599 --> 00:21:56.960
<v Speaker 3>Look, look in that life boat out there, do you see?

437
00:21:58.039 --> 00:22:02.119
<v Speaker 2>Yeah, I see somebody in a white polo coat and cap. Oh,

438
00:22:02.200 --> 00:22:04.559
<v Speaker 2>but you better get on this raft, Colonel. That's the man.

439
00:22:04.799 --> 00:22:07.519
<v Speaker 2>I won't let him get away. Look, col kill him.

440
00:22:07.680 --> 00:22:09.160
<v Speaker 2>You're going to shoot him now.

441
00:22:09.680 --> 00:22:10.799
<v Speaker 5>Nobody will hear the shots.

442
00:22:10.839 --> 00:22:13.079
<v Speaker 2>But you cannot hit him at that distance. And the

443
00:22:13.079 --> 00:22:14.359
<v Speaker 2>boat is popping up and down.

444
00:22:14.480 --> 00:22:16.640
<v Speaker 3>Hit harder targets than that, and.

445
00:22:16.680 --> 00:22:25.319
<v Speaker 5>For less reason why.

446
00:22:25.519 --> 00:22:27.559
<v Speaker 2>That is real good shooting.

447
00:22:27.640 --> 00:22:31.200
<v Speaker 1>Yes, yes, I've never done better in my life.

448
00:22:31.519 --> 00:22:34.319
<v Speaker 2>Oh, I guess you do not. The little white cap

449
00:22:34.400 --> 00:22:37.319
<v Speaker 2>is floating on the side. Kill him. I said I would,

450
00:22:37.319 --> 00:22:40.440
<v Speaker 2>and I did. Sure. Sure, Now we better get on

451
00:22:40.480 --> 00:22:41.000
<v Speaker 2>this raft.

452
00:22:41.119 --> 00:22:44.079
<v Speaker 5>Come on, No, wait, wait, Coral, We've got to find Cora.

453
00:22:44.200 --> 00:22:46.960
<v Speaker 2>There is no time, Colonel. Besides it, it is more

454
00:22:46.960 --> 00:22:48.319
<v Speaker 2>than likely that she gets on a book.

455
00:22:48.359 --> 00:22:49.200
<v Speaker 1>I've got to find it.

456
00:22:49.359 --> 00:22:50.960
<v Speaker 2>Look, I tell you, I take a look around.

457
00:22:51.000 --> 00:22:52.839
<v Speaker 5>She is not on this point that I'm not leaving

458
00:22:52.920 --> 00:22:53.839
<v Speaker 5>until I find her.

459
00:22:53.880 --> 00:22:58.160
<v Speaker 2>That poor child. I've got to find her. Do you understand, colonel,

460
00:22:58.440 --> 00:23:01.119
<v Speaker 2>Once you saved my life. Now I have got to

461
00:23:01.160 --> 00:23:06.559
<v Speaker 2>do something for you. Like I say, I've got to

462
00:23:06.599 --> 00:23:09.400
<v Speaker 2>get you in the raft. And it is easier if

463
00:23:09.440 --> 00:23:15.920
<v Speaker 2>you are unconscious this way. So I get him on

464
00:23:15.960 --> 00:23:18.440
<v Speaker 2>the raft and it is not long before another big

465
00:23:18.480 --> 00:23:20.839
<v Speaker 2>boat comes and picks us up. Yeah. See ah you

466
00:23:20.960 --> 00:23:26.799
<v Speaker 2>doing George? Huh? Oh fine, got the time? Yeah? Three

467
00:23:26.960 --> 00:23:31.359
<v Speaker 2>forty ah anything you want? No, I guess not. Thanks,

468
00:23:31.480 --> 00:23:35.720
<v Speaker 2>just the same, Yeah, take it easy. That guard is

469
00:23:35.759 --> 00:23:38.240
<v Speaker 2>a real nice guy. There is another one who was

470
00:23:38.319 --> 00:23:41.160
<v Speaker 2>not so nice, probably because I take two bucks away

471
00:23:41.200 --> 00:23:42.920
<v Speaker 2>from him at two handed pre knuckle. Yeah.

472
00:23:42.920 --> 00:23:46.319
<v Speaker 3>But George, h you say you do a great public

473
00:23:46.400 --> 00:23:48.759
<v Speaker 3>service and you wish me to tell people about it.

474
00:23:49.440 --> 00:23:51.799
<v Speaker 2>However, I cannot tell people what it is unless you

475
00:23:51.880 --> 00:23:55.240
<v Speaker 2>tell me. Oh yeah, I am coming to that first.

476
00:23:55.480 --> 00:23:58.920
<v Speaker 2>Got a cigarette? Sure? Thanks?

477
00:23:59.400 --> 00:23:59.519
<v Speaker 1>Light.

478
00:24:00.200 --> 00:24:08.200
<v Speaker 2>Yeah, you are a nice guy Broadway. I will be

479
00:24:08.240 --> 00:24:11.799
<v Speaker 2>sorry to see you go. Oh thanks, George. Now let

480
00:24:11.839 --> 00:24:15.400
<v Speaker 2>me see I am telling you about my great public service.

481
00:24:16.279 --> 00:24:18.200
<v Speaker 2>I will get an ashtray. I do not like to

482
00:24:18.200 --> 00:24:19.119
<v Speaker 2>get this place dirty.

483
00:24:19.440 --> 00:24:21.880
<v Speaker 3>Well, George walks to get an ash tray, and when

484
00:24:21.880 --> 00:24:23.880
<v Speaker 3>he gets it, he comes back and gives me the

485
00:24:23.960 --> 00:24:26.680
<v Speaker 3>payoff of the story, which I will tell you in

486
00:24:26.720 --> 00:24:49.240
<v Speaker 3>a minute. Like I am saying, George gets the ashtray,

487
00:24:49.359 --> 00:24:51.839
<v Speaker 3>comes back and sits down for a minute.

488
00:24:51.839 --> 00:24:54.920
<v Speaker 2>He just looks off into space, and then he says,

489
00:24:55.519 --> 00:24:58.799
<v Speaker 2>you know, I am criticized very severely for what I

490
00:24:58.880 --> 00:25:01.519
<v Speaker 2>do when I get on that rare. And what is

491
00:25:01.559 --> 00:25:04.799
<v Speaker 2>it you do, George, Well, it is very crowded, so

492
00:25:04.839 --> 00:25:07.359
<v Speaker 2>I have got to push away a female character who

493
00:25:07.400 --> 00:25:10.599
<v Speaker 2>is trying to get on. You do what I push

494
00:25:10.720 --> 00:25:13.880
<v Speaker 2>this character off, especially when I see she has got

495
00:25:13.880 --> 00:25:17.279
<v Speaker 2>a small black mustache. What are you talking about? Well,

496
00:25:17.640 --> 00:25:19.519
<v Speaker 2>I do not tell you, and I do not tell

497
00:25:19.559 --> 00:25:22.000
<v Speaker 2>the colonel that. When I take a look around, I

498
00:25:22.039 --> 00:25:25.000
<v Speaker 2>see Tomaso making this Cora now change clothes with him

499
00:25:25.200 --> 00:25:27.680
<v Speaker 2>at the point of a knife, thinking he can get

500
00:25:27.680 --> 00:25:30.400
<v Speaker 2>in a boat reserve for women and children.

501
00:25:30.119 --> 00:25:33.000
<v Speaker 5>Then the colonel he shoots.

502
00:25:33.079 --> 00:25:37.359
<v Speaker 2>Yeah, he shoots Cora. She deserves it Broadway because he

503
00:25:37.480 --> 00:25:40.319
<v Speaker 2>is a nice old guy and she does not deserve him.

504
00:25:40.559 --> 00:25:45.759
<v Speaker 2>Does he find it out? Yeah, he is now in

505
00:25:45.839 --> 00:25:49.000
<v Speaker 2>a place where they keep guys who go off their rockers.

506
00:25:50.279 --> 00:25:52.519
<v Speaker 3>But look, George, why do you not tell everybody that

507
00:25:52.519 --> 00:25:53.839
<v Speaker 3>it is not a female.

508
00:25:53.480 --> 00:25:55.759
<v Speaker 2>You push away. That is this, sir Tomaso.

509
00:25:56.079 --> 00:25:58.519
<v Speaker 3>You have still got some hours to clear that up. Well,

510
00:25:58.759 --> 00:26:00.960
<v Speaker 3>I tell you do I not, but I cannot keep.

511
00:26:00.839 --> 00:26:05.880
<v Speaker 2>You out of the juice. Oh you misunderstand. I am

512
00:26:05.920 --> 00:26:09.160
<v Speaker 2>not here for giving Tomaso the heave ho, although that

513
00:26:09.319 --> 00:26:12.400
<v Speaker 2>is the public service I speak about, because I figure

514
00:26:12.440 --> 00:26:15.160
<v Speaker 2>he is a menace to the sanctity of the American home.

515
00:26:16.559 --> 00:26:19.559
<v Speaker 2>I am here because lou Adohlia forgets to give me

516
00:26:19.640 --> 00:26:23.240
<v Speaker 2>my cut, and one night I push his car over

517
00:26:23.279 --> 00:26:26.960
<v Speaker 2>a cliff and I forget to remove him from saying.

518
00:26:27.920 --> 00:26:30.680
<v Speaker 4>Yeah, yeah, I see, Well I.

519
00:26:33.119 --> 00:26:37.440
<v Speaker 2>Guess I will be going Yeah, thanks for coming, Broadway.

520
00:26:38.079 --> 00:26:38.599
<v Speaker 2>Not at all.

521
00:26:40.599 --> 00:26:55.880
<v Speaker 8>Well, Georgia, thanks the same to you and many of them.

522
00:26:55.920 --> 00:27:00.319
<v Speaker 1>And so ends the famous Damon Runyon story cemetery bait,

523
00:27:01.079 --> 00:27:20.640
<v Speaker 1>listening again next week for the Damon Runyon Theater. The

524
00:27:20.720 --> 00:27:24.480
<v Speaker 1>Damon Runyon Theater with John Brown as Broadway is directed

525
00:27:24.480 --> 00:27:27.400
<v Speaker 1>by Richard Sandville and the story is adapted for radio

526
00:27:27.480 --> 00:27:30.920
<v Speaker 1>by Russell Hughes. Bern Carstensen is in charge of production.

527
00:27:31.559 --> 00:27:33.359
<v Speaker 2>This is a Mayfair production.