The Edge of Night, 1950s
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| Announcer | Now brought to you by Tide. | 0:01 |
| All over America women have proved to themselves | 0:04 | |
| you can't beat Tide for the cleanest clothes. | 0:07 | |
| (dramatic piano music) | 0:12 | |
| "The Edge of Night." | 0:21 | |
| (clothes ripping) | 0:28 | |
| - | What's this? | 0:30 |
| You always tear clothes in half before you wash them? | 0:31 | |
| - | No, but it's a good way to demonstrate | 0:33 |
| Tide's cleaning power. | 0:36 | |
| Come see. | 0:37 | |
| We'll save one half of each dirty garment | 0:39 | |
| and we'll wash these other halves with Tide. | 0:42 | |
| Thank you. | 0:48 | |
| In the new AMC washer. | 0:49 | |
| AMC packs Tide in every automatic. | 0:51 | |
| - | Mmm-hmm. | 0:54 |
| - | A new AMC feature is cycle tron programming. | 0:55 |
| Press one fabric selector button | 0:58 | |
| and everything from water temperature to rinsing time | 0:59 | |
| is controlled automatically. | 1:02 | |
| AMC has nine spray rinses, plus a deep overflow rinsing. | 1:04 | |
| Time for our Tide wash results. | 1:08 | |
| - | Oh boy! What a difference! | 1:10 |
| - | Yes, when a product gets clothes that were dirty as this | 1:13 |
| clean as this, it belongs in automatic washers. | 1:15 | |
| - | Sure, it does. | 1:19 |
| And you know, 25 makers pack Tide | 1:20 | |
| in their automatic washers at the factory. | 1:22 | |
| Use Tide in your washer. | 1:24 | |
| (soft organ music) | 1:28 | |
| (phone bell ringing) | 1:32 | |
| (rotary dial clicking) | 1:34 | |
| (phone ringing) | 1:45 | |
| Mr. Moore | Yes? | 1:57 |
| - | This is Ruth, Mr. Moore. | 1:58 |
| Mr. Moore | Where are you? | 1:59 |
| - | I'm on my way. | 2:00 |
| I'm calling you from a phone booth so you can speak freely | 2:01 | |
| if there's anything you wanna say. | 2:03 | |
| - | Are you all set? | 2:05 |
| Ruth | I certainly am. | 2:06 |
| I'm all dressed up just the way you told me. | 2:07 | |
| I couldn't look any more conspicuous | 2:10 | |
| unless I was carrying a bass drum. | 2:11 | |
| Got my suitcase. | 2:13 | |
| - | And those knockout pills? | 2:14 |
| - | Sure. I wouldn't forget those. | 2:15 |
| Those little pills are right in the bottom of my purse. | 2:17 | |
| Any change in the plan? | 2:20 | |
| - | No, no, you just go over to the La Siesta Motel | 2:22 |
| and register as Mr and Mrs. Jack Lane. | 2:24 | |
| Ruth | Would it seem strange if I do that | 2:27 |
| when there's no Mr. Lane on hand? | 2:28 | |
| - | I've already taken care of that. | 2:30 |
| I talked to the manager. | 2:32 | |
| I told them I was Jack Lane at that my wife | 2:33 | |
| would arrive shortly, but I would be delayed, | 2:35 | |
| and so you would register for us both. | 2:37 | |
| - | You do think of everything, don't you? | 2:40 |
| Mr. Moore | Well, I try to, especially when | 2:41 |
| there's so much at stake. | 2:43 | |
| There must be no slip up, Ruth. | 2:45 | |
| - | I'm on the ball, Mr. Moore. | 2:46 |
| I'll not only enjoy blackmailing Mr. Lane, | 2:48 | |
| I have a private score to settle with him. | 2:51 | |
| Mr. Moore | What time do you think Lane | 2:53 |
| will be at his apartment? | 2:54 | |
| - | I don't know. | 2:56 |
| He'll probably eat dinner out with his wife away. | 2:57 | |
| - | Well, you call 'em as soon as you're ready. | 2:59 |
| Now, do you know what you're gonna say to him | 3:01 | |
| that'll persuade him to come to the motel to meet you? | 3:04 | |
| Ruth | I'll think of something. | 3:06 |
| - | No, I'll think of something. | 3:07 |
| Now wait. | 3:09 | |
| Ah, you tell him that you have information | 3:10 | |
| regarding someone who is trying to steal the motor. | 3:13 | |
| - | Mr. Moore, you are clever. | 3:17 |
| I never would've thought of telling him the truth. | 3:18 | |
| - | Now, when he joins you, you'll have to stall for awhile | 3:21 |
| until you get a chance to drop one or two | 3:23 | |
| of those tablets in his drink. | 3:24 | |
| So tell him that you overheard one of the girls | 3:25 | |
| talking in the restroom at Grimsley's. | 3:29 | |
| Ruth | Okay. Anything else? | 3:31 |
| - | No. | 3:32 |
| Except for one word of caution. | 3:33 | |
| Don't forget that your name at the motel is Mrs. Jack Lane. | 3:35 | |
| - | All right, Mr. Moore. | 3:40 |
| If there's any trouble, I'll- | 3:42 | |
| Mr. Moore | There must be no trouble! | 3:43 |
| Goodbye. | 3:46 | |
| - | Goodbye. | 3:47 |
| (dramatic organ music) | 3:49 | |
| - | What's the use of fooling myself? | 4:03 |
| My family knows they should brush their teeth | 4:05 | |
| after every meal, but I know they don't. | 4:07 | |
| They can always say... | 4:10 | |
| - | But Mommy, I didn't have a chance. | 4:12 |
| - | Look, how can I always brush? | 4:15 |
| - | You see? | 4:19 |
| That's why we've switched to Gleem. | 4:20 | |
| - | Gleem, the toothpaste for people | 4:22 |
| who can't brush after every meal. | 4:24 | |
| Just one Gleem brushing destroys decay | 4:26 | |
| and odor-causing bacteria. | 4:29 | |
| You see, Gleem and only Gleem contain GL70 | 4:31 | |
| to fight decay and odor. | 4:34 | |
| Just watch this scientific comparison. | 4:37 | |
| Here are mouth bacteria before brushing. | 4:39 | |
| Now see how one Gleem brushing destroys most bacteria. | 4:42 | |
| Not only destroys decay bacteria, | 4:45 | |
| but also stops mouth odor all day | 4:47 | |
| for most people with just one morning brushing. | 4:50 | |
| Means a sweeter kiss. | 4:53 | |
| So if brushing after meals is your problem, use Gleem. | 4:54 | |
| It's for people who can't brush after every meal. | 4:58 | |
| (dramatic organ music) | 5:04 | |
| - | Come in, Willy, come in. | 5:07 |
| - | Michael. | 5:09 |
| - | Well now, who was it who called upon old Hickam? | 5:14 |
| - | A woman. | 5:18 |
| - | A woman? | 5:20 |
| - | Yeah. | |
| - | Oh, why did you consider that to be so important | 5:21 |
| that you called me up and said you had | 5:24 | |
| something hot for me? | 5:25 | |
| - | I'll tell you, my friend. | 5:27 |
| Mrs. Hickam. | 5:28 | |
| - | Her mother? | 5:31 |
| - | Could be. | 5:32 |
| - | Hmm, that's very interesting. | 5:35 |
| Willy | One of my men followed her | 5:37 |
| and she's moved over in the rough section | 5:38 | |
| over on the west side in one of those kind of | 5:40 | |
| broken down apartment houses. | 5:42 | |
| - | Uh-huh. | 5:43 |
| Willy | Maybe from out of town, I don't know. | 5:44 |
| But I think we oughta talk to this lady. | 5:46 | |
| - | Why? | 5:49 |
| - | After all, who could tell us more about | 5:50 |
| dear little Ruthie, I suppose, than her own mother, huh? | 5:51 | |
| - | Willy, it has been reported to me that mothers | 5:55 |
| are notoriously prejudiced in favor of their offspring. | 5:57 | |
| - | Not this one. | 6:01 |
| - | Why not? | 6:02 |
| - | A man was outside the door of Ruthie's apartment | 6:03 |
| and these two little ladies were having a conversation | 6:05 | |
| that were calling each other, | 6:09 | |
| I would call them uncomplimentary names, | 6:11 | |
| screaming like a couple of alley cats. | 6:12 | |
| - | Hmm, well I see what you mean. | 6:15 |
| - | Yeah, the woman left. | 6:17 |
| It was because our Ruthie said, "Get out!" | 6:18 | |
| And practically threw her out into the night. | 6:20 | |
| - | Hmm. | 6:23 |
| Yes, I think maybe I would like to talk to this Mrs. Hickam. | 6:25 | |
| - | What about supper, buddy? | 6:28 |
| - | Oh, I think that can wait. | 6:30 |
| - | Oh. (chuckling) | 6:32 |
| (dramatic organ music) | 6:34 | |
| (switchboard buzzing) | 6:45 | |
| (Harvey sighing) | 6:48 | |
| - | Yes? | 6:52 |
| Yes, ma'am. | 6:53 | |
| Just as soon as I can find the boy. | 6:56 | |
| Yes, ma'am. | 6:59 | |
| (bell ringing) | ||
| - | I'm Mrs. Jack Lane. | 7:02 |
| - | Oh, yes. | 7:04 |
| (switchboard buzzing) | ||
| Excuse me. | 7:06 | |
| (switchboard buzzing) | ||
| La Siesta Motel. | 7:11 | |
| I'll see. | 7:13 | |
| I'm sorry, Miss Violet hasn't shown up yet. | 7:19 | |
| She's my assistant. | 7:22 | |
| She takes care of the switchboard. | 7:22 | |
| I'm afraid his room doesn't answer. | 7:26 | |
| You're welcome. | 7:28 | |
| - | I'm Mrs. Jack Lane. | 7:31 |
| (switchboard buzzing) | ||
| - | That's the way it goes sometimes. (chuckling) | 7:35 |
| (switchboard buzzing) | 7:38 | |
| Yes? | 7:41 | |
| Oh, yes, sir. | 7:42 | |
| Yes, I'll have your bill ready for you. | 7:45 | |
| I'll send for your luggage just as soon | 7:48 | |
| as the boy comes back. | 7:50 | |
| Yes, sir. | 7:52 | |
| (bell ringing) | 7:54 | |
| You know, that thing drives me crazy. | 7:55 | |
| Ruth | I'm Mrs. Jack Lane. | 7:58 |
| - | Oh, single or double? | 7:59 |
| Ruth | Has my husband registered? | 8:00 |
| - | Oh, what's the name? | 8:02 |
| (switchboard buzzing) | 8:04 | |
| I'll be right back. | ||
| Yes? | 8:09 | |
| Well, I'm very, well, I... | 8:12 | |
| Well, I'm very sor... | 8:14 | |
| Your... | 8:16 | |
| I'm ver... | 8:18 | |
| But the boy hasn't come back yet. | 8:19 | |
| Yes, ma'am. | 8:22 | |
| I sent the boy out to put some luggage in a car | 8:26 | |
| and he hasn't come back yet. | 8:28 | |
| Ruth | I was supposed to meet my husband here. | 8:29 |
| Has he registered? | 8:31 | |
| - | What's the name? | 8:32 |
| Ruth | Lane. Jack Lane. | 8:34 |
| I'm Mrs. Jack Lane. | 8:36 | |
| - | No, I'm afraid there's nobody by that name here. | 8:38 |
| - | Dear, what am I going to do? | 8:41 |
| - | Well, if you'd like to wait for him, | 8:43 |
| the cocktail lounge in there is more comfortable. | 8:44 | |
| You don't have to have a cocktail. | 8:47 | |
| Ruth | Is there a message for me? | 8:49 |
| - | What's the name? | 8:50 |
| Ruth | Lane. | 8:52 |
| - | Lane. Oh, Lane. | 8:53 |
| Wait a minute, wait a minute. | 8:54 | |
| Now, let's see now, Lane. | 8:55 | |
| Lane. Lane. | 8:57 | |
| Lane. Oh, Jack Lane! | 8:59 | |
| - | Yes. | 9:00 |
| - | Yes, of course, I took it myself. | 9:01 |
| It's right here. | 9:02 | |
| Yes, Mr. Lane phoned and said that he'd been delayed. | 9:03 | |
| - | Oh, not again! | 9:06 |
| - | But that as soon as Mrs. Lane arrives, to get the rooms. | 9:07 |
| He reserved a suite. | 9:11 | |
| - | Oh, how nice. | 9:12 |
| - | And to wait for him. | 9:13 |
| - | Oh, thank you so much, mister, uh? | 9:14 |
| - | Zuckerman. | 9:17 |
| Harvey Zuckerman. | 9:18 | |
| I'm the manager. | 9:19 | |
| Ruth | Mr. Zuckerman. | 9:20 |
| - | Well, you can register. | 9:23 |
| - | Oh, my husband usually registers for us. | 9:24 |
| - | Well, just sign Mr. and Mrs. Jack Lane | 9:27 |
| and fill out all the little space. | 9:29 | |
| (switchboard buzzing) | 9:31 | |
| Excuse me. | ||
| Yes? | 9:37 | |
| Yeah, well I, yeah. | 9:40 | |
| Well ju... | 9:42 | |
| If the boy isn't back right away, | 9:44 | |
| I will bring the ice water myself. | 9:45 | |
| Yes, ma'am. Thank you. | 9:48 | |
| Well now. | 9:54 | |
| Oh, you, your home is right here in Monticello, Mrs. Lane. | 9:55 | |
| - | Yes, my husband's one of the younger executives | 9:58 |
| with Grimsley Corporation. | 10:00 | |
| - | Oh, is that so? | 10:02 |
| - | Yes, we're having our apartment redecorated, | 10:03 |
| and you know what it's like living there | 10:05 | |
| with that kind of thing going on. | 10:06 | |
| Harvey | Oh, yes, yes, indeed. | 10:08 |
| - | So we thought we'd get away from it all | 10:09 |
| for just one night. | 10:12 | |
| - | I don't blame you. | 10:13 |
| I hope you will like it here at La Siesta, Mrs. Lane. | 10:14 | |
| - | I'm sure I shall. | 10:17 |
| - | Well now, your husband said that he wanted | 10:19 |
| the very best we have, so I've reserved the, uh, | 10:21 | |
| bridal suite. | 10:24 | |
| - | That will be very nice. | 10:26 |
| - | Well, if you'll sit down and make yourself | 10:28 |
| comfortable for just a small minute, | 10:29 | |
| I'll have the boy get your bags. | 10:31 | |
| (bell ringing) | 10:33 | |
| And if he isn't back immediately, | 10:34 | |
| I'll take it up to your rooms myself. | 10:35 | |
| - | Thank you so much, Mr. Zuckerman. | 10:37 |
| - | Not at all. | 10:40 |
| (bell ringing) | 10:45 | |
| (dramatic organ music) | 10:48 | |
| Announcer | We'll continue with our story | 10:55 |
| in just a moment. | 10:56 | |
| Announcer | When a dog comes home with dirty paws, | 10:58 |
| his best friend is Mr. Clean, | 11:01 | |
| the all-time champ of all kinds of cleaning. | 11:04 | |
| Proctor & Gamble's new all-purpose liquid cleaner. | 11:07 | |
| On wash day, soap dirty, grimy paw prints with Mr. Clean. | 11:10 | |
| They just disappear, 'cause he helps laundry suds | 11:15 | |
| do cleaner, fresher smelling wash. | 11:18 | |
| Grimy paw prints on painted doors? | 11:20 | |
| No trouble at all for Mr. Clean himself! | 11:23 | |
| He cleans anything washable, faster and easier. | 11:26 | |
| This means I'm hungry. | 11:29 | |
| It also means dirty dirt. | 11:31 | |
| But Mr. Clean just wipes it away, nothin' to it. | 11:34 | |
| Why, he'll even clean the dog himself. | 11:37 | |
| No wonder dogs love Mr. Clean. | 11:40 | |
| ♪ Mr. Clean gets rid of dirt and grime ♪ | 11:43 | |
| ♪ And grease in just a minute ♪ | 11:46 | |
| ♪ Mr. Clean will clean your whole house ♪ | 11:48 | |
| ♪ And everything that's in it ♪ | 11:50 | |
| ♪ Mr. Clean, Mr. Clean, Mr. Clean ♪ | 11:51 | |
| (dramatic organ music) | 11:57 | |
| (knuckles rapping) | 12:09 | |
| - | Well. | 12:15 |
| - | Ah, Mrs. Hickam? | 12:18 |
| Mrs. Hickam | Yeah. | 12:19 |
| - | May we come in, please? | 12:20 |
| - | What do you want? | 12:22 |
| - | Well, we'd like to talk to you about your daughter. | 12:24 |
| May we come in? | 12:26 | |
| - | Talk to me about who? | 12:27 |
| - | Ruth. | 12:29 |
| - | Oh. | 12:31 |
| That one. | 12:33 | |
| She isn't my daughter. | 12:35 | |
| I wouldn't known her if she was. | 12:37 | |
| She's my stepdaughter and she's, um, | 12:41 | |
| selfish, ungrateful, no good. | 12:44 | |
| - | Well, in that case we do want to talk to you | 12:50 |
| about your daughter. | 12:53 | |
| (dramatic organ music) | 12:56 | |
| Announcer | The first half of "The Edge of Night" | 13:06 |
| has been brought to you by Gleem toothpaste. | 13:08 | |
| (piano and organ music) | 13:14 | |
| We'll continue with our story immediately following | 13:21 | |
| station identification. | 13:23 | |
| (dramatic piano music) | 14:00 | |
| The second portion of "The Edge of Night" | 14:10 | |
| is brought to you by Pillsbury's Instant Mashed Potatoes, | 14:12 | |
| Pillsbury Chocolate Fudge Cake, | 14:16 | |
| and Pillsbury Buttermilk Pancakes. | 14:19 | |
| (dramatic organ music) | 14:22 | |
| - | What do you wanna know about Ruth? | 14:27 |
| - | Well, Mrs. Hickam, in our business it | 14:30 |
| often becomes necessary for us to obtain | 14:33 | |
| certain confidential information. | 14:36 | |
| - | Oh. | 14:38 |
| Checkin' up on her credit, huh? | 14:39 | |
| - | Yeah. | 14:41 |
| Yes, I guess you'd call it that, yeah. | 14:42 | |
| - | Hmm. | 14:45 |
| Wouldn't you know. | 14:46 | |
| Livin' in a fancy apartment like that | 14:48 | |
| with all them pretty clothes | 14:50 | |
| and she'd still be buyin' things on credit. | 14:52 | |
| Willy | Well, some constantly, Mrs. Hickam. | 14:55 |
| - | Just like her old man. | 14:58 |
| Debts, debts, debts, all the time. | 14:59 | |
| Bulls and debts. | 15:02 | |
| Ah, if you wanna know what I think about Ruth, | 15:05 | |
| I'll tell ya. | 15:08 | |
| I wouldn't trust her for a plug nickel. | 15:10 | |
| Willy | Well, that's, that's very interesting. | 15:13 |
| - | Well, I receive the impression then | 15:17 |
| that you and your stepdaughter don't get along | 15:18 | |
| very well together. | 15:21 | |
| - | Hmm. | 15:22 |
| - | See, the important thing here is that we've got | 15:23 |
| to have an opinion that's not prejudiced or biased. | 15:26 | |
| Gotta be trustworthy, you know, judgment of her. | 15:32 | |
| - | I ain't prejudiced and I ain't biased. | 15:36 |
| I know what I'm talking about. | 15:39 | |
| Believe me, I know. | 15:42 | |
| Listen, if you trust little Ruthie, | 15:45 | |
| you deserve to get rooked. | 15:49 | |
| - | Why do you say that, Mrs. Hickam? | 15:52 |
| I mean, do you know of some specific instance | 15:54 | |
| in which she's shown herself to be untrustworthy? | 15:56 | |
| - | Hmm, you bet I do. | 15:59 |
| - | Well, I assure you that anything you might say here | 16:02 |
| would be strictly confidential. | 16:04 | |
| - | I don't care if it's confidential or not. | 16:06 |
| I don't care if you tell it to her face what I say. | 16:10 | |
| She knows what I think about her. | 16:13 | |
| Listen, I went to see her today | 16:16 | |
| to give her a chance to show her gratitude | 16:20 | |
| for what I done for her, and you know what? | 16:22 | |
| - | She wasn't grateful? | 16:25 |
| - | Hmm, first words out of her, "Get out. | 16:27 |
| Get out, get out or I'll throw you out." | 16:31 | |
| Yeah, my own stepdaughter said that to me. | 16:33 | |
| - | Oh, Mrs. Hickam. | 16:36 |
| Oh, in all fairness to her, | 16:38 | |
| maybe she wasn't feeling well, huh? | 16:39 | |
| - | Ah, you wouldn't try to defend her | 16:42 |
| if you knew what I knew. | 16:45 | |
| - | Well, um, why don't you tell us, Mrs. Hickam? | 16:47 |
| - | All right, I will. | 16:53 |
| Ruthie was 10 years old when I married her old man. | 16:57 | |
| 10 years old. | 17:00 | |
| She was an ugly, little, toe-headed brat | 17:02 | |
| already runnin' wild. | 17:05 | |
| - | She couldn't have been very wild | 17:07 |
| at the age of 10, could she? | 17:10 | |
| - | Oh, that one could. | 17:11 |
| I tried to take her in hand, teach her how to be a lady. | 17:14 | |
| Michael | Where was this, Mrs. Hickam? | 17:21 |
| This town, Monticello here? | 17:23 | |
| - | No. | 17:25 |
| Denver. | 17:26 | |
| I always lived in Denver. | 17:27 | |
| Only came here a couple days ago lookin' for Ruth | 17:29 | |
| because, well, | 17:31 | |
| because I needed some money to live on. | 17:35 | |
| - | How long has it been since you heard from her? | 17:38 |
| Mrs. Hickam | Oh, a long time. | 17:40 |
| She ran away from home when she was 16. | 17:43 | |
| - | Well, was this, was it a good home? | 17:47 |
| - | It was the best I could make. | 17:50 |
| My husband, her father, was no good. | 17:52 | |
| Drank, never worked steady. | 17:54 | |
| Michael | You took care of her. | 17:57 |
| That would be about, uh, six years then. | 17:58 | |
| - | Yeah, I tried to. | 18:01 |
| I sent her to school. | 18:03 | |
| I kept after her. | 18:05 | |
| Tryin' to make her learn something | 18:07 | |
| instead of runnin' around wild, carousin' at night. | 18:08 | |
| I nagged her into going to secretary school. | 18:13 | |
| Paid for it myself, too, money I earned. | 18:16 | |
| Yeah. | 18:19 | |
| When she thought she knew enough to hold down | 18:21 | |
| a steady job, she left. | 18:23 | |
| Just left. | 18:26 | |
| Took the money out of my purse. | 18:28 | |
| All of it, cleaned me out. | 18:30 | |
| And | 18:32 | |
| no goodbye, no thank you. | 18:33 | |
| - | Did you ever hear from her again? | 18:38 |
| - | No. | 18:40 |
| I saw her two, three years later | 18:42 | |
| on a street in Denver, | 18:45 | |
| and she was with a guy, all dressed up pretty. | 18:47 | |
| Too pretty for her to have earned the money | 18:52 | |
| to buy them clothes with a typewriter. | 18:55 | |
| But I spoke to her anyway. | 18:58 | |
| I spoke to her and I, uh, | 19:00 | |
| she pretended she didn't recognize me. | 19:04 | |
| Said to the man she was with, | 19:06 | |
| "Give the poor thing a dollar. | 19:08 | |
| Buy a cup of coffee." | 19:10 | |
| Hmm, he handed me a dollar. | 19:12 | |
| Like a big shot, I threw it in her face | 19:16 | |
| and she laughed at me. | 19:18 | |
| - | Mrs. Hickam, how did you learn that she was | 19:23 |
| here in Monticello? | 19:25 | |
| - | Oh, some girl she used to know | 19:26 |
| in Denver saw her here. | 19:29 | |
| She was here visitin', | 19:30 | |
| and Ruth pretended that she didn't know her. | 19:32 | |
| Well, then a couple months ago my husband died | 19:34 | |
| and drank himself to death. | 19:36 | |
| Didn't leave me anything and I couldn't get steady work, | 19:39 | |
| so I thought I'd swallow my pride | 19:42 | |
| and come and look up Ruth, | 19:45 | |
| forget how much we hated each other. | 19:47 | |
| Maybe she'd stake me, help me find a job. | 19:49 | |
| Anything else you wanna know? | 19:55 | |
| - | No, I, I don't think so, Mrs. Hickam. | 19:58 |
| - | Listen. | 20:03 |
| My best advice to you is | 20:04 | |
| don't trust little Ruthie. | 20:07 | |
| (dramatic organ music) | 20:10 | |
| - | Thank you very much, Mrs. Hickam. | 20:14 |
| - | Thank you, Mrs. Hickam. | 20:16 |
| (dramatic organ music) | 20:18 | |
| - | Me? | 20:25 |
| Put me out? | 20:27 | |
| (knuckles rapping) | 20:33 | |
| Ruth | Who is it? | 20:34 |
| Harvey | The manager, Mrs. Lane. | 20:36 |
| Harvey Zuckerman. | 20:37 | |
| - | Oh, what is it, Mr. Zuckerman? | 20:39 |
| Oh. | 20:41 | |
| - | Flowers. | 20:41 |
| - | Flowers? | 20:42 |
| - | Yes, these came just now and I put them | 20:43 |
| in a vase for you. | 20:45 | |
| - | Oh, thank you very much. | 20:46 |
| - | There was a card. | 20:48 |
| It was tied on the box and I put them right there | 20:49 | |
| on the flowers. | 20:51 | |
| - | Oh. | 20:52 |
| Oh. | 20:53 | |
| - | Oh, from your husband. | 20:58 |
| - | Yes. | 20:59 |
| - | Well, how very nice. | 21:01 |
| - | I think so. | 21:03 |
| - | Yes, indeed. (chuckling) | 21:04 |
| Well, it looks like there's going to be | 21:06 | |
| a second honeymoon. | 21:08 | |
| - | Yes, yes, I guess in a way there is. | 21:09 |
| - | Well, I've gotta get back to my switchboard. | 21:12 |
| Excuse me. | 21:16 | |
| (dramatic organ music) | 21:17 | |
| Announcer | Our story continues after this message. | 21:23 |
| (lighthearted music) | 21:26 | |
| - | A girl has to have a few secrets from her husband. | 21:30 |
| Here's one of mine. | 21:33 | |
| New Pillsbury Instant Mashed Potatoes. | 21:34 | |
| He doesn't dream that these are instant | 21:37 | |
| because they have all the fluff and flavor of home mashed. | 21:39 | |
| And I? | 21:43 | |
| I can switch in to dinner unsteamed, serene. | 21:44 | |
| Announcer | Here at last is an instant potato | 21:47 |
| with the fluff and flavor of home mashed. | 21:50 | |
| New Pillsbury Instant Mashed Potatoes. | 21:53 | |
| You can't tell them from home mashed | 21:55 | |
| because Pillsbury has what it takes: flakes! | 21:57 | |
| Only flakes whip up into this natural fluffiness, | 22:01 | |
| natural fresh flavor. | 22:04 | |
| Pillsbury promises you homemade fluff and flavor | 22:06 | |
| in new Pillsbury Instant Mashed Potatoes. | 22:09 | |
| Try them, and try new Pillsbury Quick Hash Browns, | 22:11 | |
| steakhouse-style hash browns, easy to make at home. | 22:14 | |
| ♪ Nothin' says lovin' like somethin' from the oven ♪ | 22:18 | |
| ♪ And Pillsbury says it best ♪ | 22:21 | |
| - | Well. | 22:28 |
| What do you think of our sweet Ruthie now? | 22:31 | |
| - | Willy, I'm of the opinion that if somebody | 22:34 |
| offered Ruth Hickam an attractive sum of money, | 22:37 | |
| she wouldn't hesitate a fraction of a second | 22:40 | |
| to sell out Winston Grimsley, Dick Appleton or Jack. | 22:42 | |
| - | I guess the worst thing I can think of | 22:45 |
| is a girl who'd sell out her own mother. | 22:47 | |
| Even her stepmother. | 22:49 | |
| Just. | 22:51 | |
| - | Keep a look out, will ya? | 22:52 |
| This girl quits her job at Grimsley's, | 22:55 | |
| says she's going to leave town, and then she doesn't. | 22:56 | |
| Why? | 22:59 | |
| - | She leaves town, we'll know it. | 23:00 |
| - | I'm more interested in case she doesn't leave town. | 23:02 |
| I'm interested to know why. | 23:05 | |
| Put two men on this girl, Willy. | 23:07 | |
| If she talks to anybody, anybody at all, | 23:09 | |
| I don't care who it is, tail them, too. | 23:12 | |
| - | Still want to follow Jack? | 23:15 |
| - | Yes. | 23:19 |
| (dramatic organ music) | 23:21 | |
| (switchboard buzzing) | 23:56 | |
| - | La Siesta Motel. | 24:05 |
| Oh, yes, just a moment. | 24:08 | |
| (phone ringing) | 24:11 | |
| - | Hello? | 24:29 |
| - | Ruth, darling, this is Jack. | 24:30 |
| Ruth | As if I didn't know, sweetheart. | 24:32 |
| - | Please forgive me, darling, | 24:34 |
| for not being there when you arrived. | 24:36 | |
| - | I miss you, dear. | 24:38 |
| I'm lonely. | 24:39 | |
| Mr. Moore | But not for long, precious. | 24:40 |
| - | How soon can you get here? | 24:42 |
| Mr. Moore | I'm not sure. | 24:43 |
| I'm tied up with some business. | 24:44 | |
| It's very important. | 24:45 | |
| Only important business would keep me away. | 24:47 | |
| - | Oh, I know. | 24:50 |
| And darling, thank you for the flowers. | 24:51 | |
| They're lovely. | 24:53 | |
| - | Well, I sent them so you wouldn't forget me. | 24:54 |
| Ruth | Silly boy. | 24:56 |
| - | I'll be there as soon as I can. | 24:58 |
| Don't be impatient. | 25:00 | |
| - | I can hardly wait. | 25:02 |
| Mr. Moore | Bye now, my sweetheart. | 25:04 |
| - | Bye bye, Jack. | 25:06 |
| (dramatic organ music) | 25:08 | |
| Announcer | We'll be back in just a moment. | 25:20 |
| (lighthearted music) | 25:24 | |
| Announcer | Look good? | 25:27 |
| Want some? | 25:28 | |
| It's the new Pillsbury Deluxe Chocolate Fudge Cake, | 25:30 | |
| made from a new kind of mix. | 25:33 | |
| Pillsbury Deluxe Cake Mix, | 25:35 | |
| for cakes so rich, so moist, | 25:38 | |
| so quickly gone. | 25:41 | |
| The special way Pillsbury puts things together | 25:43 | |
| makes it easier for shortening and flavoring | 25:46 | |
| to spread richly, evenly all through the cake. | 25:48 | |
| A Pillsbury Deluxe Cake keeps it fresh, | 25:51 | |
| moist taste longer than any mix cake ever did before. | 25:54 | |
| New Pillsbury Deluxe Chocolate Fudge Cake. | 25:58 | |
| So rich, so moist, so quickly gone! | 26:01 | |
| Get Pillsbury New Deluxe Chocolate Fudge Cake Mix | 26:05 | |
| in this new package. | 26:09 | |
| Just one of seven deluxe flavors. | 26:10 | |
| ♪ Nothin' says lovin' like somethin' from the oven ♪ | 26:14 | |
| ♪ And Pillsbury says it best ♪ | 26:16 | |
| Announcer | Watch this scene from tomorrow's story. | 26:22 |
| - | Jack? | 26:27 |
| Oh, is he there? | 26:28 | |
| May I speak to him, please? | 26:29 | |
| Thank you. | 26:30 | |
| Jack, this is Ruth. | 26:33 | |
| I've got to see you right away. | 26:35 | |
| It's about the Appleton motor. | 26:36 | |
| (dramatic organ music) | 26:39 | |
| - | This is the newest Linkletter, my grandson Mike. | 26:43 |
| Imagine me a grandpa. | 26:46 | |
| You know, grandpa's used to look like this, | 26:48 | |
| and they used to eat heavy, old-fashioned pancakes | 26:50 | |
| about as big as cartwheels, | 26:53 | |
| and then they went out to plow the back 40. | 26:54 | |
| Nowadays Pillsbury gives you that same old-fashioned flavor | 26:57 | |
| in the lighter buttermilk pancakes folks want today. | 27:01 | |
| Yes, Pillsbury has created lighter buttermilks | 27:05 | |
| for today's modern taste | 27:08 | |
| in Pillsbury Buttermilk Pancake Mix. | 27:10 | |
| Just look at 'em. | 27:14 | |
| Each and every Pillsbury buttermilk pancake's | 27:15 | |
| a perfect fluff of flavor. | 27:17 | |
| Pour on the syrup, go to it. | 27:20 | |
| These are the lighter Pillsbury buttermilks. | 27:22 | |
| Light to your fork and light to your taste. | 27:25 | |
| Pillsbury Buttermilk Pancake Mix, | 27:28 | |
| the leading buttermilk pancake mix by a country mile, | 27:30 | |
| the mix that makes those lighter buttermilks | 27:33 | |
| for today's modern taste. | 27:36 | |
| Get yourself a package, hmm? | 27:38 | |
| (piano and organ music) | 27:42 | |
| Announcer | Tune in again tomorrow | 27:52 |
| for "The Edge of Night," created by Irving Vendig. | 27:54 | |
| (piano and organ music) | 27:58 | |
| "The Edge of Night" has been brought to you by | 28:01 | |
| Pillsbury's Instant Mashed Potatoes, | 28:03 | |
| Pillsbury Chocolate Fudge Cake, | 28:05 | |
| and Pillsbury Buttermilk Pancakes. | 28:07 | |
| Pillsbury, who helps you add a loving touch to every meal. | 28:10 | |
| Pillsbury. | 28:14 | |
| (soft piano and organ music) | 28:16 | |
| This is Harry Kramer inviting you to join us | 28:36 | |
| each weekday afternoon for "The Edge of Night." | 28:39 |
Item Info
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