Scene: Highlight:
Pat Novak for Hire, Episode 10
Go Away, Dixie Gillian
Original Air Date - April 16, 1949

Characters:

SCENE 1: Standard Introduction

Characters: ANNOUNCER, MUSIC, FX, NOVAK
1
ANNOUNCER

Ladies and Gentlemen, the American Broadcasting Company brings transcribed to its entire network, one of radio's most unusual programs

2
MUSIC

Brief, dramatic intro, then soften for next line

3
ANNOUNCER

Pat Novak, For Hire.

4
MUSIC

Up again briefly and fade out

5
FX

Harbor ambiance during novak's intro lines

6
FX

Footsteps out of the fog

7
NOVAK

Sure, I'm Pat Novak, For Hire.

8
FX

Harbor out

9
MUSIC

Up as harbor fades. Play briefly and then soften as novak continues.

10
NOVAK

That's what the sign out in front of my office says Pat Novak, For Hire. Down on the waterfront in San Francisco you always bite off more than you can chew. Its tough on your wind pipe, but you don't go hungry. And down here a lot of people figure its better to be a fat guy in a graveyard than a thin guy in a stew. That way he can be sure of a tight fit. (Pause) Oh, I rent boats and do anything else which makes a FX like money--

11
MUSIC

Out

12
NOVAK

-it works out alright, if your mother doesn't mind you coming home for Easter in a box. I found that out on Wednesday night at about 9 o'clock. I closed the shop early and I came home to read. It wasn't a bad book, if you ever wanted to start a forest fire. It was one of those historical things and the girl in it wandered around like a meat grinder in ribbons. Ah, I was moving along alright. She was just getting her second wind before going for the world's record when the door to my apartment opened and the place began to get kinda crowded. From where I sat, the crowd looked good.

SCENE 2:

Characters: FX, NOVAK, LEIGH, MUSIC
1
FX

Soft footsteps approach until leigh's first line

2
NOVAK

She sauntered in, moving slowly from side to side like a hundred and eighteen pounds of warm smoke. Her voice was alright, too. It reminded you of a furnace full of marshmallows.

3
LEIGH

(Sultry) Good evening.

4
NOVAK

Yeah. Thanks for knocking.

5
LEIGH

I don't think you mind my coming in without warning.

6
NOVAK

No. I get the cabbage smell from next door the same way.

7
LEIGH

Does it pay to be that polite, Mr. Novak?

8
NOVAK

It saves you the trouble of saying, "Please". What's on your mind?

9
LEIGH

That bottle in front of you. Will you pour me a drink?

10
NOVAK

No I won't. You'll save dough if you look up a bartender.

11
LEIGH

Alright. I came to use you instead of your whiskey anyway.

12
NOVAK

Let's hear.

13
LEIGH

My name is Leigh Underwood. I'll give you $300 to do something for me. It'll only take an hour.

14
NOVAK

That's too much dough unless it's murder; and if it is murder, its not enough dough.

15
LEIGH

Are you afraid?

16
NOVAK

I just don't like paid murder, I told you. When you get caught, the pay gets expensive.

17
LEIGH

If it were murder, I'd do it myself. (Pause) Mr. Novak, I want you to frighten someone for me.

18
NOVAK

Why don't you hire a friend? Are they too pretty?

19
LEIGH

It's a man named Dixie Gillian. You'll find him in an office down on Folsom Street. Here's the address. I promise, nothing will happen to you.

20
NOVAK

That's what they told Benedict Arnold.

21
LEIGH

He'll be in his office until eleven tonight. I want you to go and see him. Tell him you're from Adrian and he's to get out of town by tomorrow noon.

22
NOVAK

Suppose he wants to put it off?

23
LEIGH

He won't. Don't let him know who hired you. Just tell him Adrian said to leave.

24
NOVAK

Look, lady, you'd better go on home. For three-hundred bucks I won't buy a tissue-paper plot. Now tell me more or say goodbye.

25
LEIGH

There's not much more I can tell you, except, there won't be any trouble. He's a rotten little beast and I want him frightened badly.

26
NOVAK

Why?

27
LEIGH

He's been bothering my sister.

28
NOVAK

(Pause) Why doesn't he bother you?

29
LEIGH

Because, I bother back too fast. (Pause) You want the three-hundred, Mr. Novak?

30
NOVAK

Yeah, its gonna be a long summer. Put it on the table.

31
LEIGH

Good. And you'll need this, too.

32
FX

Laying gun on table

33
NOVAK

No, you keep that. I don't want a gun.

34
LEIGH

It's empty. Don't worry.

35
FX

Opening and closing bullet chamber

36
LEIGH

See? No shells. Its perfectly safe.

37
NOVAK

(Irritated) Look, Sis, I've got a nasty disposition. You can rent that for three-hundred bucks. But if you want more, find a gunsel.

38
LEIGH

I don't want you to be a gunsel. That's why I want you to use this gun. I know it's empty. Use it on Dixie and he'll scare fast. Its just a way to save some breath.

39
NOVAK

(Resignedly) Alright. Its your three-hundred.

40
LEIGH

You'd better go now.

41
NOVAK

Yeah. Wait'll I get a coat will you.

42
FX

Footsteps walk away and quickly return

43
NOVAK

If your doorbell rings, don't play mouse--

44
LEIGH

Oh?

45
NOVAK

-because I may look you up.

46
LEIGH

Am I too young to ask why?

47
NOVAK

Because if anything goes wrong I'll be around looking for you. And from there on it won't be nice. (Threatening) I'll dirty you up like a locker room towel.

48
LEIGH

Relax, Patsy. You'll never learn to fall in love that way.

49
MUSIC

Sultry saxophone bridge to next scene

50
NOVAK

She handed me the gun and walked out of my apartment. Seeing her leave made you feel like Frank Buck losing an argument. She walked with the nice, easy swing of a satisfied leopard. For a small leopard, she had pretty good spots, too. Well, I put the gun in my overcoat pocket and I went down to Folsom Street. The address was down near the bridge entrance and the street was deserted except for a couple of winos near the corner trying to buy back 1926 at a dollar a jug. I stopped in front of the place. It was a machinery company. And I could see a light burning in the back. I began to walk through the place. It was so quiet you could a hear worm with the whooping cough and there were enough shadows around to keep a ghost happy for years. When I got to the office back in the corner, through a glass I could see a man sitting at the desk. When I opened the door--

SCENE 3:

Characters: FX, NOVAK, UNDERWOOD
1
FX

Door opening followed by footsteps

2
NOVAK

-and walked in, he didn't seemed surprised.

3
UNDERWOOD

Come on in, mister. You're bad on noise.

4
NOVAK

Yeah?

5
UNDERWOOD

That's right. You make too much for a thief and not enough for a customer. What do ya want?

6
NOVAK

About ten words if you're Dixie Gillian.

7
UNDERWOOD

Go ahead.

8
NOVAK

You'd better look up a timetable.

9
UNDERWOOD

What makes you that tough?

10
NOVAK

This.

11
UNDERWOOD

Ohh. Well, you look tougher with a gun. Does it make you talk faster?

12
NOVAK

Now look, I'm gonna say it slow, Mister. Pack up your rompers and get out.

13
UNDERWOOD

Is that you talkin', or somebody else?

14
NOVAK

I'm just the guy with the gun. Adrian does the talking.

15
UNDERWOOD

And he says, "Get Out."

16
NOVAK

That's right. You got the whole message now.

17
UNDERWOOD

Alright. You told me, so wander off and spend your dough.

18
NOVAK

I will.

19
UNDERWOOD

You'll need part of it, though. `Cause I'm gonna give you an answer. I'm gonna take that gun away from you, mister. You can pick the pieces out of your head on the way home.

20
NOVAK

You'd better stand back or I'll share it with you.

21
UNDERWOOD

You've got your offer, mister, now let's see you make good--

22
FX

Struggle

23
NOVAK

Save your muscle, fella.

24
UNDERWOOD

Drop that gun.

25
NOVAK

Save your muscle, fella, the gun's empty.

26
FX

GUNSHOT. STRUGGLE STOPS.

27
UNDERWOOD

(Gasps) (Weakly) Somebody--fooled us--mister.

28
FX

Body drops to floor

29
NOVAK

Sometimes you can get a home run with a half swing. That's the way it was this time. He couldn't have made it with a prayer book in both hands. He slid down on the floor, trembled for a minute, and then flattened out like a leaf in a pool of water. Just before he died he grabbed his side as if he didn't like the way it hurt. And then he didn't care. I rolled him on his back and let him look at the ceiling. His eyes were open and he looked surprised, like a guy who didn't figure on a change in the weather. There was a scar that ran across his forehead and dug deep into his hairline. And he was lying there with a bunch of pink gum showing as if he was trying to pick up a few bucks with a toothpaste ad. Well, I didn't have time to tell him how sorry I was because if homicide caught me here I'd have about as much chance as a canary in a basement full of cats. I started for the door, but right them I knew I could start ordering bird seed. It was Helleman, and he walked over to look at the body.

SCENE 4:

Characters: FX, HELLEMAN, NOVAK, MUSIC
1
FX

Footsteps

2
HELLEMAN

Hello, Novak. The guy looks embarrassed.

3
NOVAK

Yeah. I guess he is, Helleman.

4
HELLEMAN

What's he doin' dead?

5
NOVAK

Putting in a beef somewhere, I guess. He rates it.

6
HELLEMAN

He'll like you for that, Novak. How did it happen?

7
NOVAK

A team play. We worked it out together.

8
HELLEMAN

But you've got the gun.

9
NOVAK

That's right. I got the gun.

10
HELLEMAN

Yeah. You feel like a bet?

11
NOVAK

No. Just keep stealing the old way.

12
HELLEMAN

You know how I feel, Novak?

13
NOVAK

You feel flabby to anybody else, but to yourself I suppose you feel good. Look, I walked in here with a gun. There was some quick fight talk and I killed him but its still not a good rap.

14
HELLEMAN

I can get a long price on it for ya, Novak.

15
NOVAK

I'll bet you can Helleman. You can give me a bad deal, but part of the time it'll be from the other side of the deck.

16
HELLEMAN

Worse than that, Novak. It'll be all the time. And I want to watch you, because I think you'll be a cry baby.

17
NOVAK

I'm gonna scream, if that's what you mean, Helleman. I'm gonna scream about a gal who sent me in here with an empty gun.

18
HELLEMAN

That's a big hole for a cap pistol, Novak.

19
NOVAK

I got a last minute curve. It was empty once.

20
HELLEMAN

Yeah--that's the only way they make a gun. I don't want you for an hour ago. I want you for this dead guy on the floor.

21
NOVAK

Alright, alright. I told you I didn't come in here to kill the guy. I don't know him. He may even be a good guy. I'm sorry he's dead.

22
HELLEMAN

Alright, Novak. Just wait a few weeks. You can tell him personally.

23
MUSIC

UP AND BRIDGE TO NEXT SCENE.

24
NOVAK

Helleman had me up against the rail and he knew it. When we left there he was wearing a big, toothy smile that was big enough to sew on his ears. He called the coroner and told him to pick up the stiff and then we went downtown. He dropped the gun into ballistics and hauled me into his office. The reporters were there; he gave them the whole story and told `em how to spell Helleman. After that we wound up at the desk and he booked me on suspicion of murder. The next hour-and-a-half was the kind of stuff they don't write about in the paper. They call it interrogation and when you're finished you've been through a lot of tight spots like an atom up at Cal Tech. About eleven o'clock Helleman brought me into his office. From there on, it happened kind of fast.

SCENE 5:

Characters: HELLEMAN, NOVAK, FX, POLICEMAN, MUSIC
1
HELLEMAN

I just talked to the D.A. He's gonna streamline things for you.

2
NOVAK

Well, he's gonna look funny going to trial on a guy you can't identify.

3
HELLEMAN

We'll find out all about the dead guy.

4
NOVAK

You can't count his fingers without making a mistake. If you want to know who he is, talk to that girl. Her name's Leigh Underwood.

5
HELLEMAN

We've been through all that, Novak. Now suppose you tell me who Dixie Gillian is.

6
NOVAK

I don't know, Helleman. The girl said his name was Dixie Gillian.

7
HELLEMAN

I won't press you. I don't have to, Novak. I've got the only parlay I need--you, the dead guy and a big fat murder gun.

8
FX

Phone rings at end of last line

9
NOVAK

Sure.

10
FX

Phone is picked up

11
HELLEMAN

Yeah-Helleman talkin'. ... Yeah, I know it was a .38. ... Their crazy down in ballistics. I saw him standing over the dead guy. ... They must have made a mistake, that's all. ... No, no, I don't want him in here.

12
FX

Clicking switch hook on phone several times.

13
HELLEMAN

I don't want him in here!

14
FX

More phone switch hook clicks continuing into next line

15
HELLEMAN

Hey, Tony. ...Tony, I don't -- ahh.

16
FX

Phone slammed down.

17
NOVAK

You're getting pale. You need some more rouge, Helleman.

18
FX

Door opens, footsteps come into room

19
POLICEMAN

I got some bad news, inspector.

20
HELLEMAN

Well, keep it, or you'll take more home to your wife. I'll talk to you later.

21
NOVAK

No, talk to him now, Helleman. If that bullet doesn't match the gun, talk to him now.

22
POLICEMAN

That's right, inspector. It's a .38 bullet, but it won't match the gun you brought in.

23
HELLEMAN

It's gotta match. I came in and founding him standing there. He's already admitted it.

24
POLICEMAN

Its a neat trick, then. If he fired the bullet out of that gun he must have re-tooled it in mid-air.

25
NOVAK

I'm not that fast, Helleman. Come on, get out of that chair so you'll have room to squirm.

26
HELLEMAN

You keep still, Novak.

27
NOVAK

I won't bother you. I'm going home.

28
HELLEMAN

Huh?

29
NOVAK

I'm walking out of your jail, Helleman. You got a broken down .38 that won't fit anything but your thumbs. You can't hold me on that.

30
HELLEMAN

I found you over the body. I can hold you on suspicion of murder.

31
NOVAK

It'll hurt tomorrow morning, Helleman. The papers will be down for a follow-up and you'll have to tell them what it looks like out in left field.

32
HELLEMAN

I'll handle 'em.

33
NOVAK

You can't afford to let them start laughing at you. People will get the idea it's your face.

34
HELLEMAN

You can save car fare if you stay right here because I'll have you back by noon tomorrow.

35
NOVAK

You're not that good, Helleman. You couldn't hold a moth with a search light. The town oughtta thank you.

36
HELLEMAN

What?

37
NOVAK

Oh, you've got a nice jail, Helleman. With you around it'll last for years.

38
MUSIC

Up and bridge to next scene.

39
NOVAK

When I walked out of headquarters I had a nice mess to juggle. It was like trying to walk the baby on a floor full of marbles. If things didn't add up for Helleman, they weren't gonna do any better for me. I knew that gun I had went off. If it did, what happened to the bullet? And where did the other one come from. And why weren't there two shots? Well, I couldn't put my finger on a thing and nothing added up. It was like trying to follow a grain of rice in a Shanghai suburb. So I looked up Leigh Underwood's address and I went by her apartment. The girl downstairs told me that she worked at a night club out on the Bay Shore Highway. Well, I had to hit a couple of places, so I looked up the only honest guy I know, an ex-doctor and a boozer by the name of Jocko Madigan. A good man until he figured that last drink in the bottle is just as easy to get at as the first. I found him in a little leather- trimmed sink on Powell Street. It was a grimy little hole where they wash the glasses once a week and served stale beer. But Jocko was more at home than a vulture in Calcutta.

SCENE 6:

Characters: FX, JOCKO, NOVAK, MUSIC
1
FX

Fade in on bar ambiance--continue through next scene.

2
JOCKO

(Irish brogue) Ahh--Patsy! You're just in time to celebrate my return to health. Something mild for Mr. Novak. A double Stinger, perhaps.

3
NOVAK

No, forget it, Jocko. I've gotta talk to ya.

4
JOCKO

Patsy, I've passed through a crisis. A few minutes ago they set before me a glass with a woman's lipstick all around the rim.

5
NOVAK

Alright, Jocko.

6
JOCKO

It took one gulp and looked at the glass and in this dim light I thought I was bleeding to death. It took them 10 minutes and three mirrors to calm me down.

7
NOVAK

I'm in trouble and you've gotta help me.

8
JOCKO

They washed the glass for me, in ammonia. They must have left a little ammonia in the glass because the next drink had a very odd tang about it. I've had three more just like it. A sort of Ammonia Collins.

9
NOVAK

Alright. Alright.

10
JOCKO

So far they've been using domestic ammonia. When the imported stuff comes in I may give up whiskey all together.

11
NOVAK

Calm down will you, Jocko. I got a bum shake tonight.

12
JOCKO

Yes?

13
NOVAK

I killed a guy--or thought I did.

14
JOCKO

That uses up the alternatives. What are you doing now, taking a vote?

15
NOVAK

I got hired to scare a guy down on Folsom Street. Ten minutes later the guy was dead.

16
JOCKO

Patsy, you take your work too seriously. Couldn't you have just scared him into a lingering illness instead of killing him?

17
NOVAK

One of the problems is that when the fight came it grew bullets. Helleman walked in right after on a telephone tip.

18
JOCKO

What are you doing out of the gas chamber?

19
NOVAK

The whole thing backfired down at headquarters. The bullet and the phony gun wouldn't match. Oh, it doesn't add up, Jocko. That call to Helleman is the tip-off. I was framed. But why wasn't I framed all the way?

20
JOCKO

Who is the dead man?

21
NOVAK

Just a guy with a falling blood count. His name was supposed to be Dixie Gillian but there's no identification and no record on him.

22
JOCKO

You shouldn't have hired out as a gunsel.

23
NOVAK

I told you, I didn't hire out as a gunsel. It was somebody else's idea.

24
JOCKO

You have no conscience, Patsy. It's just a sort of soap opera rule of thumb you put into practice now and then. But no real conscience. You'd let a dying woman lie in the middle of the highway unless her head was resting on a pile of savings bonds.

25
NOVAK

Alright, Jocko, I'll cry with you later. I need help now.

26
JOCKO

What sort of help?

27
NOVAK

I want you to break into a girl's apartment.

28
JOCKO

Yes?

29
NOVAK

Don't worry. She won't be home.

30
JOCKO

Ah--is that supposed to be an incentive?

31
NOVAK

It's at this address, here. Up on O'Farrell. Her name is Leigh Underwood. She's the one who hired me.

32
JOCKO

If the girl's not there, what I am supposed to find?

33
NOVAK

Anything that will connect her with the dead man. He's a big guy with a scar.

34
JOCKO

Well, that doesn't help much.

35
NOVAK

You can't miss. Go through the desk and drawers... Pick up everything you can, will ya? Leave a message at my place.

36
JOCKO

As soon as I finish this drink.

37
NOVAK

Oh, hurry up, Jocko. Leave the glass alone and get going.

38
JOCKO

Don't rush me.

39
NOVAK

Hurry up, will, ya. The glass is empty anyway.

40
JOCKO

Yes. That's what you thought about that gun. But that fellow got an awful jolt out of it. Good night, lover.

41
MUSIC

Up and bridge to next scene.

42
FX

Fade out bar ambiance

43
NOVAK

I went by a horse parlor on O'Farrell Street and borrowed a car from a guy. It was after midnight when I started down the Bay Shore Highway. And about a half-hour later I pulled up in front of the Cat's Paw. It was a long, rambling place on the left side of the road. There was no plan. It just followed the erosion line until they ran out of material. There was enough neon to light up a main intersection in Heaven. In the lobby I saw a picture of Leigh Underwood. One of those shadowy things that was supposed to make you think that she'd die in a cold climate. She was sitting at a piano with a little microphone in front of her and you got the idea right away. She didn't have much of a voice but plenty of songs that made your wife lean over and ask you to explain. I asked a 50-year old bus boy and he said she was back in her dressing room getting ready for the one-o'clock show. When I walked in she was sitting in front of a mirror working on an up-swept hair-do. If she swept it up any more it was gonna leave her head. I stood behind her looking at the pink, flesh part of her neck that didn't show when her hair was down.

SCENE 7:

Characters: LEIGH, NOVAK, FX, DIXIE, MUSIC
1
LEIGH

You seem fascinated, Patsy.

2
NOVAK

No, I just want to know where to break it.

3
LEIGH

Oh? Sit down on the footstool next to me.

4
NOVAK

Mmm.

5
LEIGH

That's it. I like to look down on people. Hmm-let me brush that strand of hair back. Or, do you like it your eyes?

6
NOVAK

No, brush it back so I can see your answers. Who's Dixie Gillian?

7
LEIGH

What difference does it make?

8
NOVAK

None to him and some to me. He's dead.

9
LEIGH

No. No, he couldn't be dead.

10
NOVAK

He'd like to believe that, too. I couldn't sell him that story about an empty gun.

11
LEIGH

He couldn't have been killed with that gun.

12
NOVAK

No?

13
LEIGH

No. I put in a blank, Patsy.

14
NOVAK

Somebody used a hard-working bullet because Dixie's dead.

15
LEIGH

There's no reason to kill him. I don't understand.

16
NOVAK

Yeah. Well, that makes you even with homicide. But they got a bigger team. Now look, I made a diagram, Angel. Up at my place I ran over murder with you. I don't like it. If you kill people you don't get invited out enough. So if it's you or me on this one, I'm gonna push you all the way.

17
LEIGH

I don't understand it, Patsy.

18
NOVAK

Who's Dixie Gillian?

19
LEIGH

He was after some microfilm. I thought I could scare him away.

20
NOVAK

You better be ready to identify him because homicide's stumped. Even that scar didn't help.

21
LEIGH

What scar, Patsy?

22
NOVAK

The scar across his face. There's no record on him.

23
LEIGH

No. No, Patsy. Everything goes wrong. Everything you touch goes wrong. That's the wrong man, Patsy.

24
NOVAK

Yeah. Well it's too late for a recount.

25
LEIGH

You've got to get to that body, Patsy. I don't know how, but someway you've got to get to him.

26
FX

Approaching footsteps.

27
DIXIE

You look good, Leigh. You make a nice picture.

28
LEIGH

Wait a minute, Dixie.

29
DIXIE

You don't need your coat. Com' on.

30
LEIGH

I don't know what happened, Dixie. I didn't mean it that way.

31
DIXIE

You like it that way, alright. Bring your boyfriend, too.

32
LEIGH

No, don't let him, Patsy.

33
NOVAK

The gun's too big. I'm goin' with him.

34
MUSIC

Up and bridge to next scene.

NOVAK It was a short trip. He led us out of the dressing and down a thin hall to the back door. On the way past the kitchen you could smell onions and used grease and that's about all you noticed except the FX of a juke box somewhere out in front. And somebody laughing in a loud, mirthless way. When we got to the door...

SCENE 8:

Characters: FX, NOVAK, DIXIE, LEIGH, MUSIC
1
FX

Door opening and then closing a few seconds later.

2
NOVAK

... it was raining outside.

3
FX

Footsteps crunching on gravel

4
NOVAK

We walked about forty feet over near some trees, where the dark was working overtime. And the gunsel made her stop.

5
DIXIE

Pick your spot, Leigh.

6
LEIGH

You can't be that crazy, Dixie.

7
FX

Three gunshots

8
FX

Body falling to ground

9
NOVAK

She's gonna get wet, Mister.

10
DIXIE

You'll have a little trouble yourself.

11
FX

Fist hitting someone

12
NOVAK

(Grunt)

13
MUSIC

Up and bridge to next scene.

14
NOVAK

When I woke up it was still raining. I was lying on top of the mud like a stubborn seed. My wallet was gone, and the gunsel had ripped open my pockets. I stood up and walked over for a last look at Leigh. The rain had washed the make-up off her face, and she looked small and tired as she lay there like a broken doll that had been tossed out in the rain. I guess she was. Well, I got to my car and I drove back to town. I checked my place and there was no word from Jocko so I went up to Leigh's apartment. When I opened the door the room was dark but I knew somebody was on the rug, either that or they'd varnished the floor with bourbon. I flipped on the light and bent over Jocko.

SCENE 9:

Characters: FX, NOVAK, JOCKO, MUSIC
1
FX

Turning body over, and slapping face.

2
NOVAK

Hey, hey, Jocko.

3
JOCKO

Groans.

4
NOVAK

Jocko. Jocko. Com` on, wake up. Wake up.

5
JOCKO

Oh, oh (groggily, like in a dream) A little ammonia. A little ammonia I think would bring me around.

6
NOVAK

What happened?

7
JOCKO

I was -- sapped -- I guess.

8
NOVAK

Yeah--everybody's got the same act tonight.

9
JOCKO

(Groaning) Eh--help me up.

10
FX

Helping lift body up from floor

11
JOCKO

Where have you been?

12
NOVAK

I went down to meet the girl.

13
JOCKO

Where'd you meet her, in a swimming pool?

14
NOVAK

I've been in the rain all night. She's gonna stay longer. What did you find out?

15
JOCKO

The fella with the scar is her husband.

16
NOVAK

Yeah?

17
JOCKO

There's a picture in the desk.

18
NOVAK

Are there any more pictures?

19
JOCKO

Yes. A few. Take a look.

20
FX

Footsteps

21
NOVAK

Where--in here?

22
JOCKO

Yeah.

23
FX

Shuffling through pictures.

24
NOVAK

Well, well.

25
JOCKO

Who's he?

26
NOVAK

Must be Dixie Gillian. He was down to pay off a debt tonight. She called him Dixie once.

27
JOCKO

There's a note with that name and an address in the other drawer.

28
NOVAK

He's our boy. We'd better get up there.

29
JOCKO

Not if he's already killed two other people.

30
NOVAK

We can't wait for Helleman. If he gets away I'm all through. I won't have a leg to stand on.

31
JOCKO

That's my point. When the other fellow gets through with us we won't have much standing to do.

32
MUSIC

Up and bridge to next scene.

33
NOVAK

I felt better now. Gillian was the only guy left in the picture so I dragged Jocko up to his place. It was an apartment up on Post Street. The elevator operator took us up to the eighth floor and said that Gillian had come in a few minutes before. There was no answer so we tried the door and it was open.

SCENE 10:

Characters: FX, NOVAK, JOCKO, MUSIC, HELLEMAN, DIXIE, ANNOUNCER
1
FX

Door opening and a few footsteps

2
NOVAK

Jocko didn't like the idea.

3
FX

Door closing, footsteps continue for about two lines

4
JOCKO

Patsy, this is folly. Risking my life is one of the bravest things you do.

5
NOVAK

Keep still, Jocko. What are we supposed to do? The door was open, wasn't it?

6
JOCKO

So are a lot of graves, but I've never been tempted...

7
NOVAK

Hey--look at the furniture. There's been a fight in here. I'll look in here and you check in the bedroom.

8
FX

Footsteps walking away

9
JOCKO

(Moving away) Well, if I'm not right back, don't expect me at all.

10
NOVAK

Alright.

11
JOCKO

(From next room) Patsy. Patsy.

12
NOVAK

Yeah.

13
JOCKO

Patsy, come here.

14
NOVAK

Alright.

15
FX

Footsteps and FXs of moving around for next several lines.

16
JOCKO

There's somebody on the fire escape.

17
NOVAK

Come here. Stand back here.

18
JOCKO

He's not moving. He was leaning that way when I first saw him.

19
NOVAK

Alright, I'll get on this side. You raise the window. Now go easy, Jocko.

20
FX

Window sash raised up.

21
NOVAK

Can you see him from there?

22
JOCKO

Raise it a little more.

23
NOVAK

Alright.

24
FX

More window noise

25
NOVAK

(Grunting from the effort.)

26
JOCKO

He's still leaning there. I can reach out.

27
FX

Shuffling noise through next several lines.

28
NOVAK

Alright, watch yourself. If he's kidding you'll lose an arm.

29
JOCKO

(Straining) I've got it. Good. Raise the window more.

30
FX

More window

31
JOCKO

Patsy, he's falling. Give me a hand. (Straining noises)

32
NOVAK

Let me through there.

33
JOCKO

Too late. I can't hold him.

34
NOVAK

Hang on, Jocko.

35
JOCKO

He's falling. Oh, I'm sorry.

36
NOVAK

Well, he was probably dead, anyway.

37
JOCKO

If he wasn't, that was a step in the right direction.

38
MUSIC

Up and bridge to next scene

39
NOVAK

Well, it was an easy night to die. Three of them had already checked out and there was still time to look for more. Jocko went downstairs to see the guy. He was lying face down in the alley and as you looked at him you got the funny feeling he belonged there. He didn't disturb the scene. He just fitted in like a dirty, wet newspaper under a grandstand. There was a gun in his pocket; probably the same one that killed the girl, but there was no way of knowing. Jocko and I watched him for a minute but your eyes begin to hurt as you see your only warm lead in a deep freeze.

It was past two when I got down to headquarters and looked up Helleman. I briefed him on the girl and the guy in the alley and then I asked him if any microfilm had turned up on the first guy in the morgue. That was a waste of time. Helleman couldn't find a brass ring in a dead man's nose. But we went over to the morgue for another look. So, far it was working out like a crossword puzzle torn in half.

40
FX

Echo on. Footsteps approaching.

41
HELLEMAN

It's your time, Novak. I've got more after tomorrow, you haven't.

42
NOVAK

The film must be on the guy. Three people have been killed for it and I got roughed up just for laughs.

43
HELLEMAN

We searched the guy once. Here it is.

44
FX

Footsteps stop.

45
HELLEMAN

Help me roll it out.

46
NOVAK

Yeah.

47
FX

Rolling out morgue slab

48
NOVAK

Well, well. He sure got thin under that sheet didn't he.

49
HELLEMAN

Wait a minute.

50
NOVAK

Oh, you run a good morgue, Helleman. What'll the papers say when they hear that stiff got up and walked out.

51
HELLEMAN

They got him in the wrong place, or something. He didn't walk out.

52
NOVAK

Well, he's gone, Helleman. You got an answer?

53
HELLEMAN

He's been moved, I tell you. The guy was dead and I saw him put in here. Couldn't be walking around with a hole in the middle of his back.

54
NOVAK

I don't know, Helleman, you do it with one in your head. Don't sell the guy short.

55
FX

Echo off

56
MUSIC

Up and bridge to next scene.

57
NOVAK

When Helleman found out that the body was gone he stood there and stared at the empty slab. Then he began looking around in a nervous way like a man trying to find the sugar bowl at a restaurant counter. A few minutes later he turned and walked out of the morgue. We were half-way downtown when it happened. It must have hit us at the same time--it was sharp and quick like a piece of candy on a bad tooth. The guy back in the alley had come off that slab in the morgue. We got out to Dixie's place and we began to check. There was a phone operator downstairs and she said that Dixie had put through a call about two hours ago. Helleman checked the number and it was the ticket office of a railroad. We got downtown and ran through the timetable. There was a train leaving the Oakland Mole in about forty minutes. Well, it was an outside chance, but tonight that was the only kind for sale. We got down in time to slide onto the last ferry over to the mole.

58
FX

Faint FXs of ferry boat and harbor.

59
NOVAK

But over toward the Berkeley hills it was beginning to get light. The sky was the color of a bruise spot on a man's arm.

60
HELLEMAN

We'll get up to the pilot house and tell them not to dock until we've gone through all the passengers.

61
NOVAK

He doesn't have to be on this one.

62
HELLEMAN

We'll check the train when we get there.

63
NOVAK

Wait a minute. You don't have to check. There's your boy.

64
HELLEMAN

Where?

65
NOVAK

Up there on the rail. See? You better go easy, Helleman. He's not a scale model.

66
HELLEMAN

Yeah. Just walk quietly until we're behind him.

67
FX

Slow footsteps

68
NOVAK

Alright.

69
HELLEMAN

Turn around, mister. You'll get a better view.

70
DIXIE

Hello, Novak. How was the wind and the rain in your hair?

71
NOVAK

Meet Inspector Helleman. You'd better turn in your ticket.

72
DIXIE

I hope you brought your muscle.

73
FX

Struggle begins

74
NOVAK

Grab him, Helleman.

75
HELLEMAN

That's what I'm tryin' to do.

76
DIXIE

Alright, copper.

77
HELLEMAN

I'm being pushed over on the rail.

78
NOVAK

I'm worried, Helleman.

79
HELLEMAN

Watch it, Novak, I'm going over. (Yell as he falls over the side.)

80
FX

Body hitting the water.

81
DIXIE

That's one down, Mister. Now for you.

82
FX

Punch in the jaw.

83
NOVAK

(Grunt). I landed on the deck and watched him disappear into the dark. Half way down the guy turned in. I got up and followed him down the ladder and along the main deck. He ducked into one of the engine spaces and I started in to look for him. It didn't take long because he turned out to be real helpful.

84
FX

Gunshot--and engine noises

85
DIXIE

Ya got the idea, yet, Novak?

86
NOVAK

I'll come closer. Tell me then.

87
DIXIE

Suit yourself. But I'll knock ya down hard when you show.

88
FX

Two gunshots.

89
NOVAK

Watch that platform! You're backin' into trouble.

90
DIXIE

Stay back there, Novak.

91
NOVAK

Watch out for that platform, will you? You're backing into the engine.

92
DIXIE

(Long scream--then silence)

93
FX

Running footsteps

94
DIXIE

(Weak) I -- kinda wanted a blast --

95
NOVAK

Yeah. That's the way it looks. (Pause) Did you get the microfilm?

96
DIXIE

Yeah. Oh--I got a big hurt. Does it show?

97
NOVAK

A little.

98
DIXIE

Yeah. It's been a long night, Novak. Huh?

99
NOVAK

Yeah. But your worries are over. It's almost dawn.

100
DIXIE

I don't know if I can use it, but I'll give it to you.

101
MUSIC

Up and out to big finish.

102
MUSIC

New theme begins and then fades as dialog starts.

103
FX

Harbor ambiance

104
NOVAK

They fished Helleman out of an oil slick a few minutes later. It was the first time his hair ever looked good. Dixie Gillian lasted long enough to piece the story together for homicide. Leigh Underwood knew her husband was carrying microfilm. She was worried, so she hired me to scare off Gillian. Well, it might have worked, too. But the first slip came when Leigh's husband went by to make a deal with Dixie without telling her. When I jumped him, Dixie was outside and figured it was a double cross so he killed him with a silencer when that phony gun that Leigh gave me went off. Dixie knew that the microfilm was still on the dead man. But the only way he could be sure was to get the body out of the morgue. He took it up to his apartment and when he got the film he planted the gun and put the body on the fire escape. He was a little safer that way. It was a 50/50 chance the police would miss it the first time around and he'd have a fair lead. It almost worked out for him except for that phone call. The microfilm was in a capsule next to the roof of the guy's mouth. So old it was new again. Helleman asked only one question -- In that fight did I have anything to do with pushing him against the rail? I told him, sometimes those ferry boats roll as much as forty-five degrees.

105
MUSIC

Up and lower and play under following.

106
ANNOUNCER

The American Broadcasting Company has just brought the tenth of a new series, PAT NOVAK, FOR HIRE, starring Jack Webb. PAT NOVAK is produced and directed by William P. Rousseau. Jocko Madigan is played by Tudor Owen. Inspector Helleman is played by Raymond Burr. Music was composed and conducted by Basil Adlam. Be with us again next week when most of these same ABC stations will bring you PAT NOVAK, FOR HIRE. This program came to you transcribed from Hollywood.

107
MUSIC

Up briefly, then down for the following.

108
ANNOUNCER

This is ABC, The American Broadcasting Company.

109
MUSIC

Up and finish.