WEBVTT

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And now, tonight's presentation of radio's outstanding theater of thrills, Suspense.

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Tonight, the story of how perhaps the smallest of items can be the cause of unbelievable

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terror and hardship.

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In this case, the lack of a little loose change.

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So now with Harry Bartell as Clark, here is tonight's Suspense play, Chicken Feed.

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All right, it was a silly thing to fight over, I admit it.

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A nickel, a measly worthless nickel, Chicken Feed.

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Junior asked for a nickel and I flipped it over to him and Mary said I shouldn't spoil

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the kid.

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It was time he learned the value of money and I said, great Scott, if I couldn't give

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my own child a nickel without her jumping down my throat.

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Oh, you know how those things get going.

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You keep saying things you shouldn't and she lashes out with an answer and before you know

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it, you've stormed out of the house and you're taking it out on the car.

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Fifty miles cooled me down a little, but not much.

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I automatically slowed up when I came to the sign.

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You are now entering Lansing, California.

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Go slow and see our town, go fast and see our jail.

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Going through the quiet Sunday street gave me time to think of something besides the

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biting words Mary and I had slugged at each other.

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I pulled up at a little cafe next to the police station.

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It had a whitewashed sign on the window.

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Best cup of coffee in town for five cents.

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I went in.

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I resent that officer, Brady.

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Too over easy, Sam, heavy on the pride.

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What's yours, mister?

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Coffee, please.

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Coming up.

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Here you are.

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Thanks.

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Say Officer Brady, how's your star boarders?

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Well, Phillip, they're coming for him in the morning.

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Think you'll be able to hold him till then?

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You got out of that Bennington jail like a paper bag.

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Don't worry, sister.

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Phillip won't get out of this one.

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I listened to them with half an ear while I sipped my coffee.

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There was a stack of the local papers nearby and I pulled one over to look at.

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This Phillips was on the front page.

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Bank robber.

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Killed a teller.

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He had a face I wouldn't want to run into.

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Close.

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After a while, the hot coffee made me feel better.

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Maybe, maybe I'd been at fault as much as Mary.

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She wasn't the only one who had a bad temper.

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On a sudden impulse, I left my coffee and went over the phone on the far wall.

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I heard the dial tone, then I fished in my pocket for change.

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It was empty.

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Say, Miss, could you change a dollar for me?

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I want to use the phone.

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Yes, sir.

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Hmm.

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What's the matter, Mister?

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My wallet.

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I seem to...

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Look, I'll be back in a minute.

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Mary wasn't the only one with a temper.

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I'd stormed out of the house without changing the contents of my pockets to the suit I was

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wearing.

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I didn't have a dime on me, not a nickel.

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I rummaged in the glove compartment.

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Mary sometimes left a coin purse, but this time, naturally, it wasn't there.

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What seems to be the trouble, Mister?

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Oh, officer, I seem to have come off without my money.

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Embarrassing.

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Yeah.

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I didn't realize it until I tried to phone.

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Where's your driver's license?

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It's in my wallet in San Francisco.

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Got any other identification?

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Well, the registration slip on the car.

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That's the car.

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What about you?

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Look, officer, I'm Ralph Clark.

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Clark and Jacobs in the Hatfield building.

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We're attorneys.

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Kind of far from home to be without any dough, aren't you?

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Well, I came out of the house without changing the stuff into this suit.

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You know how that happens.

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How do you happen to have the keys to the car?

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I don't take them out when it's in the garage.

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Say, you don't think...

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Where you had it for?

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I know it sounds funny, but nowhere, really.

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You see, I had a fight with my wife and I just batted out of the house to cool off.

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I'll tell you what, Mr. Clark.

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Suppose we just mosey over to the station.

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Station?

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Say, what is it?

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Nothing.

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Nothing at all.

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Just next door and you can call your wife from there.

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I don't see why that's necessary.

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If you just lend me the money, I could call here and reverse the charges.

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We'll go.

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You can leave the car here.

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I'll take that key.

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Now, look here, officer.

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I don't get...

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Move.

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Come on, move.

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Hi, Jim.

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What do you got this time?

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Tell you better after he makes a call.

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Give me the phone, will you, Rod?

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It's out of order.

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Went there half an hour ago.

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Yeah?

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I reported it.

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They said they can't have a man here before tomorrow.

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Well, did you tell them this is a police station, for Pete's sake?

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Sure, I told them.

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Not bad, though.

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We get incoming calls.

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We've still got the nickel snatcher over there.

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Here's the pay for them, Mr. Clark.

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You can make your call from there.

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I don't have any money, remember?

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Oh.

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Okay, here's the nickel.

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A nickel?

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That's all it takes in this town.

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Jerk water, please.

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Let me speak to your wife when you get it.

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This is gonna sound fine, just fine.

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She'll think I've really tied one on.

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Operator.

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Operator, I want to call San Francisco.

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Fillmore 60098.

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And reverse the charges, please.

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Thank you.

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Your number, please.

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This is 460.

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I have a collect call from Lansing, California, for Fillmore 60098.

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Will you accept it?

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Lansing?

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Well, I don't know...

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It's me, Mary.

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Take the call.

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Oh, it's you, isn't it?

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What do you think you're doing, 50 million?

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Will you accept the call, madam?

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I should say no.

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With a very high dear.

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Mary, wait.

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Hey!

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I'm sorry.

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The party will not accept the call.

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Look, operator, get her back, will you?

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This is important.

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I'll ring them again.

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Swell at the sweetheart.

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She's there, the little...

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Why didn't she pick up that phone?

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Your party doesn't answer.

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Oh.

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No soap, huh?

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Hey, they kept our nickel.

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Let me have another one, will you?

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I'll get hold of my partner.

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He'll identify.

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Look, we've wasted enough time.

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Come on in here.

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You're locking me up, right?

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What's the big idea?

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I'm holding you on suspicion.

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Suspicion of what?

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Defrauding the cafe, for one thing.

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And I want to check that car.

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You think I stole it?

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It's been done.

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Oh, now wait if you let me fall...

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You're entitled to one call, you've had it.

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Now look here, officer.

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Inside.

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Jail.

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Jail all on account of a measly nickel, a lousy, stinking nickel.

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I...

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You mean you ain't even got a nickel?

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No.

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You see, gee, that's too bad, ain't it, Pete?

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Sure is.

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Wish we could help you out.

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Maybe we can.

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Have you got a nickel?

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Sure.

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I've got three of them.

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Will you lend me one?

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Just one.

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What's it worth to you, chum?

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I'll send you ten dollars.

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Pie in the sky.

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Hey, my wrist watch.

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What's the matter with it?

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Nothing.

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Nothing's the matter with it.

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It's worth fifty dollars.

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Here, you fool, look at it.

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It's yours for five cents for one measly nickel.

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What can you lose?

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Is it hot?

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You mean stolen?

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Of course not.

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What are you offering it for a nickel for?

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I want to get out of this filthy place.

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Oh, so you don't like our company, is that it?

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No, ain't that just too bad.

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What do you think of that, Mr. Phillips?

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You don't like it.

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Have you got any nickels, Mr. Phillips?

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I followed his glance.

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For the first time I saw deep in the gloom of a locked cubicle the face that I'd seen on the front page of the newspaper.

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The face I'd said I wouldn't want to run into.

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Close.

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Well, it was close, and I was glad there were bars between us.

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Mr. Phillips here, he's a big shot.

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Robbed four banks and broke out of two jails.

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Killed a man, too.

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Sure, we're just fags.

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But Mr. Phillips, he's going to the hot seat.

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They're coming to get him and take him back to Utah and burn him.

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Ain't that right, Mr. Phillips?

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Mr. Phillips don't want to talk about it.

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Mr. Phillips don't want to talk about nothing.

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Mr. Phillips ain't very sociable.

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Just like this.

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Now, look, fellas, I want to get out of this jail.

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Here, take the watch and give me that nickel, huh?

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Tell you what, I'll match you for it.

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Match me?

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Yeah, nickel against the watch.

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Well, take it or leave it.

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All right.

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Leave Pete Ho the watch.

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I'll flip the nickel on the floor.

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You call.

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Heads.

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Tails.

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I win.

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Hey, wait a minute.

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Get your foot off it.

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How do you know it's tails?

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It's tails, ain't it, Pete?

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Sure, it's tails.

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Here's the watch, then.

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What is this?

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Watch this, brother.

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Well, you're not going to get away with this.

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Get out of here.

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Get out.

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Ow.

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Don't kick me.

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Hey, what's going on in there?

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Officer, there ain't nothing.

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This new guy is acting up as all.

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Quiet down in there.

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Get up.

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I can't.

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You're trying to get us in trouble, huh?

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No.

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Look, fellas, for heaven's sake.

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Shut up.

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Okay.

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Kangaroo.

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I'll be the judge and you'll be the prosecutor, huh?

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Yeah.

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Maybe Mr. Phillips will be defense attorney.

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You want him, Mr. Phillips?

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He don't want him.

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If he doesn't know at the bar, stand up.

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I don't stand up.

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Now, cut it out.

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I...

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All right, counselor.

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What's the prisoner charged with?

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Your Honor, this man is a desperate criminal.

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He's charged with breaking into jail,

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insulting his fellow boarders,

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poor sportsmanship, and fight.

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A very dangerous character, Your Honor.

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Yeah, guilty on all counts.

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Prisoner, have you anything to say

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before I pronounce sentence?

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No?

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Okay.

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I fine you five cents.

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Hand it over.

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You know I haven't got it.

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Can't pay, huh?

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Well, then, you can work it out.

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Rate it one cent a day.

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Your first job will be to shine the court shoes.

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Shine your own shoes.

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Oh, so it's gonna be like that, huh?

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Hold him slim.

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Officer!

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Officer!

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The pack's down in there.

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All right.

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Now get on them shoes.

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The next hours were unadulterated agony.

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It was unbelievable the filthy and human jobs

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they could think up for me to do.

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And with every move I made,

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I could feel the glittering steely eyes of Phillips,

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the silent man in the locked cage next to me,

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following me, weighing me.

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Then he winked at me and nodded his head as old as Sigel.

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And then his two huge arms came through the bars

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and thrust me reeling across the cell,

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and I fell and hit my head.

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And that's all I remember.

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You are listening to Chicken Feed,

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tonight's presentation in radio's

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outstanding theater of thrills, Suspense.

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Every Thursday night on Night Watch,

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a CBS radio police recorder goes right along

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in the prowl car with actual police.

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There's nothing added to the truth,

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nothing subtracted from it,

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when Night Watch tells its stories.

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Don't miss it later tonight on most of these stations.

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And now we bring back to our Hollywood soundstage

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Harry Bartel as Clark,

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in tonight's production of Chicken Feed,

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a tale well calculated to keep you in suspense.

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I don't know what time it was,

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two or three in the morning,

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and I felt a stealthy touch on my shoulder.

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I opened my eyes, I was still on the stone floor,

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and Phillips was bending over me,

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holding a revolver.

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You fool, you want to wake them punks?

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Get up quick.

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I glanced quickly at Phillips cell.

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It was open and so was the door to mine.

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We walked to the front desk.

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There bound and gagged securely Sergeant Ross Claredance.

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Eh, which is the key to your car?

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This one.

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Take it and let's move.

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Where's the car?

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Over there.

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You drive.

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Well, we made it.

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Them hick bulls, they panic me.

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Guy could spring that crack with a hairpin.

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You nearly done a fine job of louching things up.

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What happened to you getting thrown in a can

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in the middle of the day?

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They picked me up on suspicion.

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Well, it wasn't supposed to be till midnight tonight.

14:11.840 --> 14:12.840
What?

14:12.840 --> 14:16.840
And all that phony kid stuff about the nickel.

14:16.840 --> 14:17.840
The nickel?

14:17.840 --> 14:18.840
Yeah.

14:18.840 --> 14:21.840
All you had to do was slip me the word that Jerry Nickel sent you.

14:21.840 --> 14:29.840
Served you right the way them lusher's treated you.

14:29.840 --> 14:31.840
Jerry Nichols.

14:31.840 --> 14:33.840
Nichols.

14:33.840 --> 14:35.840
He thought I was an accomplice

14:35.840 --> 14:38.840
sent by a partner to help him break jail.

14:38.840 --> 14:41.840
And all my screams about a nickel had been nothing but a signal to him.

14:41.840 --> 14:43.840
A signal that I came from Jerry Nichols.

14:43.840 --> 14:45.840
Jerry got the hideout set up?

14:45.840 --> 14:46.840
Uh, yeah.

14:46.840 --> 14:48.840
Where is it?

14:48.840 --> 14:49.840
The hideout?

14:49.840 --> 14:50.840
The hideout.

14:50.840 --> 14:52.840
We're going to Jerry's place first, right?

14:52.840 --> 14:54.840
Then what?

14:54.840 --> 14:57.840
Well, I'll take you to Jerry's,

14:57.840 --> 14:59.840
and then he'll take over from there.

14:59.840 --> 15:00.840
How far is it to Jerry's?

15:00.840 --> 15:01.840
Well, it...

15:01.840 --> 15:03.840
Hey, look behind you.

15:03.840 --> 15:04.840
What's the matter?

15:04.840 --> 15:05.840
There's a car following us without lights.

15:05.840 --> 15:06.840
Where? I don't see...

15:06.840 --> 15:09.840
What the...

15:09.840 --> 15:12.840
Say, what's the big idea? You trying to cross me?

15:12.840 --> 15:14.840
Go ahead, get it started.

15:18.840 --> 15:19.840
It's flooded.

15:19.840 --> 15:21.840
I'm getting up. Let car pass.

15:21.840 --> 15:23.840
You make for the other side, and no tricks.

15:23.840 --> 15:25.840
Just to make sure I'll take this key.

15:25.840 --> 15:27.840
Remember, no tricks.

15:31.840 --> 15:33.840
I had made myself a chance when I took it.

15:33.840 --> 15:36.840
I slipped out of the car on the other side and ran.

15:36.840 --> 15:39.840
Across the field until I could run no more.

15:39.840 --> 15:42.840
After an interminable two miles, I found a road.

15:42.840 --> 15:45.840
And after a while, a dark shape loomed up before me.

15:45.840 --> 15:46.840
A gas station.

15:46.840 --> 15:49.840
And through the glass, I could make out the outline of a telephone.

15:49.840 --> 15:51.840
I tried the door.

15:51.840 --> 15:54.840
It was locked, of course, but I found a tire iron and sprang the latch.

15:56.840 --> 15:59.840
I ran to the phone and almost threw myself on it.

15:59.840 --> 16:01.840
Before I saw it, it was a payphone.

16:01.840 --> 16:03.840
In a rage, I shook the black box.

16:03.840 --> 16:06.840
There must be some money in this room.

16:06.840 --> 16:09.840
My eyes focused on a battered desk.

16:09.840 --> 16:16.840
There was some change in it. I took a nickel.

16:20.840 --> 16:21.840
Number, please.

16:21.840 --> 16:25.840
Kept me San Francisco. Sutter 15994.

16:25.840 --> 16:29.840
Thank you. There may be a slight delay, sir.

16:29.840 --> 16:31.840
I'll hold on. But hurry, operator. It's important.

16:31.840 --> 16:33.840
One moment, please.

16:35.840 --> 16:36.840
I waited.

16:36.840 --> 16:40.840
Far down the road, the headlights of a car juggled over the rise and aimed toward me.

16:40.840 --> 16:45.840
I hung up the receiver, closed the cash drawer, snapped the lock on the door.

16:45.840 --> 16:47.840
Then I crouched beneath the desk.

16:56.840 --> 16:58.840
Open up! Hey!

16:58.840 --> 17:01.840
I've tried to wake that geezer before. He sleeps like a dead man.

17:01.840 --> 17:02.840
Hey, Gary!

17:02.840 --> 17:06.840
All right, all right. I'm coming.

17:07.840 --> 17:08.840
Who is it?

17:08.840 --> 17:11.840
Randy and Ross. Open up.

17:14.840 --> 17:17.840
Well, you're a fine bunch of cops running out of gas in the middle of the night.

17:17.840 --> 17:20.840
Hey, come on in. It's chilly with the door open.

17:20.840 --> 17:22.840
Phillips broke jail.

17:22.840 --> 17:24.840
What? Well, you don't tell me.

17:24.840 --> 17:25.840
Hey, how'd he do that?

17:25.840 --> 17:27.840
Well, there was two of them. He had an accomplice. Said he was a lawyer.

17:27.840 --> 17:32.840
He found their car abandoned on the road back at Ferris' Hopfield. Ran out of gas.

17:32.840 --> 17:34.840
He can't be far away.

17:34.840 --> 17:39.840
There was a big reward for Phillips after he broke jail at Bennington, wasn't there?

17:39.840 --> 17:40.840
Yeah. A thousand dollars.

17:40.840 --> 17:44.840
Hey, you know him, don't you? You were in the Bennington Polk when he did that break.

17:44.840 --> 17:49.840
Yeah. Yeah, we was roommates for a night. I was pretty scared.

17:49.840 --> 17:50.840
How'd he do it, the break?

17:50.840 --> 17:55.840
Well, I don't know. I was sleeping it off. A thousand dollar reward, huh?

17:55.840 --> 18:00.840
Don't you go getting any ideas now. That Phillips is a killer, and so is his partner most likely.

18:00.840 --> 18:07.840
Well, I ain't exactly helpless myself. Got me a nice little fella in my side here.

18:07.840 --> 18:09.840
You take my advice, chum, and put the gun away.

18:09.840 --> 18:12.840
Now show up here, you talk soft, and let us do the capture.

18:12.840 --> 18:14.840
Sure, sure. I'll play safe.

18:14.840 --> 18:17.840
Well, we'll be going. Just wanted to alert you, Jerry.

18:17.840 --> 18:27.840
Yeah, well, thanks. So long, boys.

18:27.840 --> 18:30.840
All right, you, come out from under that desk.

18:30.840 --> 18:31.840
Mr.

18:31.840 --> 18:40.840
Come on out, I say. This gun's mighty nervous.

18:40.840 --> 18:42.840
And get your hands up and stand over there.

18:42.840 --> 18:43.840
Look, mister, I...

18:43.840 --> 18:45.840
I'll do the talking. Who are you?

18:45.840 --> 18:47.840
You've got to believe me, I'm not a criminal, I'm a lawyer.

18:47.840 --> 18:51.840
Oh, yeah, you must be that other one. Hey, keep them hands up.

18:51.840 --> 18:52.840
Now where's Phillips?

18:52.840 --> 18:56.840
I left him in the car. Now that's another thing. You can get the reward.

18:56.840 --> 18:58.840
I know who he's going to meet, and they're going to a hideout.

18:58.840 --> 19:00.840
I see, yeah. Who's he going to meet?

19:00.840 --> 19:05.840
Somebody named Jerry Nichols. There. Now if you'll let me get to that phone, I can clear everything up.

19:05.840 --> 19:07.840
No, you don't. You stay right where you are.

19:07.840 --> 19:12.840
But that's my partner, my law partner in San Francisco. I only broke in here so I could phone him. He'll identify me.

19:12.840 --> 19:15.840
You don't believe me?

19:15.840 --> 19:16.840
Yeah, I believe you all right.

19:16.840 --> 19:19.840
Then what? Answer it yourself, you'll see.

19:19.840 --> 19:21.840
Not on your life, mister, will you think I'm out of my mind?

19:21.840 --> 19:25.840
But you've got to answer it, Jerry. You don't know what I went through to place that call.

19:25.840 --> 19:27.840
You can't just stand there...

19:28.840 --> 19:32.840
Jerry. You're Jerry Nichols.

19:32.840 --> 19:35.840
Yep, that's right. So you see it...

19:36.840 --> 19:38.840
Jerry! Jerry!

19:38.840 --> 19:40.840
Hey, turn off that light. It's Phillips.

19:40.840 --> 19:42.840
You stand over there where he can't see you. Now go on.

19:42.840 --> 19:43.840
Jerry!

19:43.840 --> 19:45.840
Come on in, Phillips.

19:47.840 --> 19:49.840
Hey, ran out of gas and that...

19:49.840 --> 19:51.840
Oh, Jerry!

19:56.840 --> 20:00.840
Yep, dead or alive. I just made me a thousand dollars.

20:01.840 --> 20:02.840
You're worse than he is.

20:02.840 --> 20:10.840
Shut up. Maybe I can get a reward for you too. A small one.

20:11.840 --> 20:18.840
I could feel the bullet landing my side just below the belt in the avenues of pain spread out like the cracks in a hammered window glass.

20:18.840 --> 20:24.840
But somehow, strangely, it didn't stop me. I kept moving toward him. He backed away surprised.

20:24.840 --> 20:26.840
He was aiming for another shot when we grabbed him.

20:26.840 --> 20:28.840
Jerry! Jerry!

20:28.840 --> 20:35.840
I got the gun and he got my through. He fell backwards over the chair and I was on top of him.

20:35.840 --> 20:39.840
As we thrashed around on the floor, I brought his hand up suddenly and smashed his own gun.

20:39.840 --> 20:40.840
Hit him!

20:40.840 --> 20:42.840
And he lay still.

20:44.840 --> 20:49.840
It was hard. He was alive. I got up gasping for breath.

20:49.840 --> 20:55.840
And then I realized that I was all right. Yet he'd shot me. Hit me.

20:55.840 --> 21:00.840
I should be lying there on the plank floor instead of that grotesque heap in the shapeless flannel nightgown.

21:00.840 --> 21:05.840
I felt my side where the bullet had struck. Brought my hand away.

21:05.840 --> 21:09.840
There was no blood on it. There should be blood.

21:09.840 --> 21:14.840
I dodged the spot again. Fingered the contour of something small and round.

21:14.840 --> 21:19.840
I pulled it out of my watch pocket. Battered where the slug had struck it. Bet almost double.

21:19.840 --> 21:26.840
Nickel. Nickel. On the twentieth part of a dot.

21:26.840 --> 21:33.840
All a man needed to buy a cup of coffee. To make a phone call. To pay a fine in a kangaroo court.

21:33.840 --> 21:41.840
To save his life. And I'd had it all the time. I'd had it all the time.

21:41.840 --> 21:44.840
I'd had it all the time.

21:44.840 --> 21:49.840
I'd had it all the time.

22:03.840 --> 22:04.840
Hello?

22:04.840 --> 22:08.840
I have your party now in San Francisco. Shall I connect you, sir?

22:08.840 --> 22:14.840
Yeah, but first, get the Lansing Police Station with you, operator.

22:14.840 --> 22:16.840
Lansing Police?

22:16.840 --> 22:23.840
Yeah. Shut up, Jerry. You're gonna live. I'm gonna be in court with you.

22:23.840 --> 22:38.840
Yeah, I wouldn't give a plug nickel for your chance.

22:38.840 --> 22:43.840
Suspense. In which Harry Bartel starred as Clark.

22:43.840 --> 22:47.840
Crime photographer is now heard Friday nights on CBS radio.

22:47.840 --> 22:52.840
Tomorrow, marking his move to the new night and time, Casey tackles a tough assignment.

22:52.840 --> 22:57.840
Confronting a corrupt political boss, a beautiful redhead, and the wayward son of a respected cop.

22:57.840 --> 23:01.840
In his efforts to crack a protection racket rooted in the city.

23:01.840 --> 23:06.840
Don't miss Crime Photographer in action tomorrow night against crime and criminals.

23:06.840 --> 23:10.840
Next week, the simple tale of a woman who finds herself accused of murder.

23:10.840 --> 23:15.840
And yet has no remembrance of either the act itself or the person she is said to have killed.

23:15.840 --> 23:18.840
We call it lost.

23:18.840 --> 23:36.840
That's next week on Suspense.

23:36.840 --> 23:43.840
Suspense is produced and directed by Norman MacDonald with music composed by Lucian Marloweck and conducted by Lud Bluskin.

23:43.840 --> 23:47.840
Chicken Feed was specially written for Suspense by Lawrence Goldman.

23:47.840 --> 24:03.840
Featured in the cast were Clayton Post, Jack Crouchon, James Nusser, Vic Perrin, Edgar Barrier, Michael Anne Barrett, Larry Thor, and Eleanor Tannen.

24:03.840 --> 24:18.840
Mary Clooney sings Thursday nights on the CBS Radio Network.

