 Great scenes from great plays, tonight starring John Payne in Dead End, the play by Sidney Kingsley, adapted for radio by Arnold Pearl. I swore and died. Ah, you fattest monster. Your mud is good. How ya spit, huh, Angel? What's up, Tommy? How's the water, Dippie? It's cool. Hey, look it. Look at a new sign the cap's put up. Well, what do you know? It's like the old one that was here. Dead End! Now here's your host, the distinguished actor-manager, Mr. Walter Hamden. Good evening, ladies and gentlemen. Welcome to another transcribed half hour of great scenes from great plays. Presented on behalf of the families of the Protestant Episcopal Church of your own community and the Episcopal Actors Guild. Tonight we dedicate our play to the great and understanding work of the Boy Scouts of America. This is Dead End. Our star, John Payne, is gimpty, an unemployed young architect who's not yet able to move out of the slums in which he was born and raised and who will forever carry their mark in his twisted rickety legs. Dead End. That means this is a street that can't go any further. It ends right here on this open walk hanging over a polluted river. It's all tenements on one side of the street. On the other, there's a high cement wall with an iron gate in it. The back entrance to a twenty-story luxury apartment building. All this began on the summer afternoon. Five o'clock and hot, flat, heavy heat. Ash cans spilling over with refuse and garbage. Babies, women, whole families sprawling on fire escapes, panting for air. As usual, I was sitting there on the walk with a sketch pad on my knee, watching the kids with one eye and listening. And then I saw him. What you looking at? Nothing. See much? How ya? You don't know me. How are you, babyface? Shut up. My name's Johnson. Keep your mouth shut. Look at me, babyface. Don't you know me? Gimty. I'm a son of a gun, Gimty. It used to mime my clothes right here when I went swimming. Hey, how'd you know me? I had my face changed. Plastic, they call it. I knew. You read about me, Gimty? Public Enemy Number One. $5,000 reward out for you, isn't it? You wouldn't be getting any ideas, would you? I wouldn't be telling you about them, would I? Okay. Just don't get any... It ain't healthy. Say, have you really killed eight men as they say you have? Shut up. All right. Sure I'd kill them. What do you think? They had something I didn't have. Now I got it. Got everything I need. How about you, Gimty? What are you doing? Me? Sitting. Mostly just sitting. You went to college, didn't you? Six years, including graduate work and architecture. Six years. That's a laugh. He goes to college for six years and he's still sitting waiting. What are you waiting for, Sandy Close? What? You might not be so far off at that. Well, Gimty, why don't you do what I'd done? Take it. Go out and take what you want. Not no handouts, what you can get. I ain't done so bad, have I? I'll take your word for it. Say, is it so smart of you coming around here? What are you, a dope? Don't you read the papers? I'm way out west somewhere. Say, Gimp, see my old lady lately? Yesterday. You mean you haven't seen her yourself? That's what I come back for. Took her in my head, I gotta see my old lady. It's seven years. How's she look? All right. Do something for me, Gimp. Go out and get my old lady to come down here now, will you? I can't take a chance in going into the house, you see? Tell her I got something to give her. Get it? Sure. She could use some money. She's gonna feel awful good seeing me. Seven years. I ain't seen her since I got out of reform school. Heh. Get me almost born and just overseeing my old lady. I got one of the kids to go for Babyface's mother. Kid called TB. Named for his lungs. Knuckles sent him off like an express train. Babyface went over to one of the tenement stoops to wait. I took up my drawing pad again and sat there sketching, listening. Spit it away from me, you wet little angel afraid of getting wet. Boy, I'm starving. Me too, Spit. Why you tell me? See, I'm so hungry I could even live dog. With sauerkraut, Angel? Sure, with sauerkraut, Dippy. Anybody got any dough? I ain't, Spit. Me neither. I bought an angel. You didn't make no money shining shoes? Just tomorrow day. Then you ain't going to mind me looking in your pants' pockets here, are you? Leave him alone. Hey, get out of there. Will you, Spit? Come on. Let's see. A couple of stamps. Bring it. Hey, I'll get a knife. Get out of there, Spit. Give me that back. Hand over the knife. Who says? What for? I says that's what for. Give it here or I'll let you have it right in the bugle. Some knife. Five blades. This knife is okay, Angel. You want it, Tommy? Sure. Go ahead. You want it, Tommy? No kidding. Hey, look on me. New knife. Listen to that s-blade jump open. Chey. Hey, Tommy. You know that rich kid from the apartment house there? You know the one we seen yesterday. Little Philipsy with a watch and a French dame that takes him walking. Yeah, that's him. Well, him and a mademoiselle's gone by by again in about a half an hour. I heard him saying. So are they gone walking? No, they ain't. They gone riding. Walking, riding. What's he talking about? Shut up, Dippy. I'll slap you on. They gone riding in a big black heap as big as a hoist. Gee, some swell car. I seen it around front. Well, you punk, stop interrupting. Ah. The print is, Tommy. The streets all tore up in front. They got a hole as big as a freight barge right in front of the door, digging for the gas pipe. Okay, so they can't use the front door. They got to come out the back gate. They've been doing it for two days. So what's the pitch? Well, yeah, Leamy, tell ya. The guy and the dame come out. The dame's got to go all the way around the front to get to the car. Maybe to the gin mill after the shoe foot. So that leaves the guy and the watch. Just standing there at a gate, asking for it. Hey, maybe you got something there. It'll be like finding that watch. We can hack it for 40, maybe 50 bucks. Now look, here's how we work it. We don't even see him when they come out. You get it? Kinda scatter like we was hunting for something. Gee, I lost a nickel here last week. Shut up and listen, young meatball. So that and a French dame goes after the chauffeur. Yeah, but what about the door man? What's the matter, ain't show ya yellow? Tommy? Then we roll a jerk for the watch. Tommy, I see you. What are you doing? What are you watching? Tommy, do it. It's Dreamer. Later. Later. Let's get in the water. Okay, meet you under the water. Come on, fellas. Last one in to rotten apple. Last one in to fat. That's what the rats said. Sit down and catch them. Dreamer's 20. She's Tommy's sister. Sister, father, and mother roll into one. She tried to catch him before he jumped in, but she never had a chance. He was too fast for her. She sat down next to me and began to talk. You're empty. I'm worried. I'm worried sick about Tommy. The kid's all right, Trina. A year ago, even six months ago, he was. Now. Now what? He's always on the street. I can't do anything with him. Yeah. You got yourself a job looking after Tommy. When Mom died, I promised her I wouldn't let him grow up to be another babyface Martin. Babyface? What made you think of him? He used to hang out here. He used to swim right off this wharf. Yeah. Yeah, I knew him then. I used to watch his clothes when he was in the water. I'd rather see Tommy. I'd almost rather see him dead than grow up like that. Dreamer left. She was too wise to think she could stay there and outweigh her brother. You know, there wasn't really anything very wrong with Tommy. Not yet. He was like all the others. Half child, half hoodlum. Enough of either one to develop into a real man or a babyface Martin. He and the other kid slid out from under the wharf as soon as Dreamer was out of sight. I had no idea what they were up to, but I noticed they walked in a big circle heading for the apartment house gate. I noticed too that Philip Griswold, the rich boy, was standing there alone. Then babyface got up from the stoop and walked up to Tommy. Hey, who's the big shot? The head guy. Every mob's got a head guy. Me, I'm the head guy. They're gonna roll on that kid for his watch, are ya? Hey, I do know. I know a deal that's cooking from here to the coast. Listen, what's the setup? We call him over, see, and make out we got a watch too, only better than his. We say maybe we swap with him, maybe not, but we got to see his face to decide. See, that's all. We get the watch, we beat it. Kid stuff. Look it, you got him like a sitting duck, you four to one. It's coming on dark time. That means no cops around. They're all at the station house about dark time. Say, that's right, Tom. Tommy, what's going on here? You, lay off these kids, will ya? Ah, Bush, well, I go paddle your papers, Kimpty. Look, Mr. Fordo, one ain't fair. Fair? You want the watch, don't you? Hey, you got a knife? Well, I like... Sure he's got a knife. Well done, as you meet. Put your knife, show me your main business. What are you waiting for? You ain't yellow, Tommy. Don't be a fool. How far is mustache? Come on, gang. We got business with little Philipsy. How do we say it? Philip Griswold ran screaming through the apartment house gate. Ten seconds later, the street was empty. Except for baby face, leaning against a building. Leaning and grinning. And then I saw his mother come down the block. He didn't see her. She stopped a few feet away from him and stood with her hands on her hips. He didn't notice her until she spoke. You dog! You dirty yellow dog! Hey, Mom, is that any way to... Don't you call me, Mom. I am no mother of yours. I stick my neck out of my to come to see you after seven years. I was sappin' up to think you'd be glad to see me. What do you want with me now? Ain't you caused me enough trouble? Hey, look, Mom, Mom, take this. Take this, though. Buy yourself a dress, son. Keep your blood money, you mad dog murderer! Shut up, you... Butch! Go back where you come from. Go back and die like the Rhetroir. Only leave me alone to forget I ever bore you. Oh, you won't take that to remember me by... Murderer! Murderer! Murderer! Fifteen minutes later, Tommy came creeping back to see if the coast was clear. That's when the Griswold boy spotted him. That's when Mr. Griswold grabbed him. Let me go, let me go. I didn't do nothin', mister. You're sure this is the one, Philip? Yes, Father. He's the one that took my watch. Honest. It was only kiddin'. I was bringin' it back just now. Let me gauss as I can get it out of me pocket. Oh, no, you don't. You filthy little gutter snipe. You'll give it back, and I'll still hold you for a policeman. Then one arm, let one arm go. How do you expect me to get it? One arm, then. There. Now you can get the watch. Father, look out! He's got a knife. Hold me for the cops, would you? I'll show you. Oh, Philip! He's got a way. He stabbed me. Get the police. Yes, Father. Oh, I'm bleeding. Stop him. He stabbed me. They put a regular dragnet out for Tommy, but he'd made a clean getaway and was hiding out. No one knew where to find him. I'd seen Babyface coach him and taunt him until he stole a watch from a perfectly harmless boy. Now he'd stabbed that boy's father. I suppose Babyface himself got fascinated by what was happening in his old neighborhood, or maybe he just didn't have any place to go. Anyhow, he stayed around, counting on the excitement in his new face to protect him from discovery. And that's when I went to see Mulligan, the policeman on the beat. Oh, go away. Go away and don't bother me. Gimpy, I'm busy. Tell me, who's the kid that stabbed old Griswold? Where is he? I don't know. I've got something else for you. I've got to find the kid that used that knife. Griswold's a big shot. His brother's a judge. Mulligan. Yeah? See that man standing in the doorway, second house from the corner? I told you. There's a $5,000 reward up for him. Mulligan, that man is Babyface Martin. Babyface Martin? You sure, Gimpy? You ain't kidding? I'm sure. And I'm not kidding. Not one second. It ended as it had to end. Squad cars with Tommy guns, plain clothes men taking up positions on roofs, blocking off the street from entrance or exit. A voice spoke Martin's name. Martin, come on out. And a snarl came for an answer. Come and get me, campus. And then Martin lay sprawled in the street and a big crowd gathered. In the crowd were Philip Griswold and his father, Gris newly bandaged. I noticed they seemed more interested in the crowd than in the corpse. They kept moving around, looking to the face of every kid. They had Mulligan with them. Finally they stopped and Philip shouted. And this one right here, I heard them call him spit. Let me go, let me go. I'll tell you who done it. Well then who? Come on now. What's his name? Tommy. Tommy McGrath. Where does he live? We'll let me go if I take you there. Yeah, we'll let you go. We'll mush you up if this ain't on the level. First Avenue between 53rd and 4th. Come on, I'll show you. They didn't find Tommy at home. Only Trina and she nearly crazy with worry. A day went by, but the dragnet still out for the 14-year-old boy. And still he avoided catching. And late at night, what was left of Tommy's gang was on the wharf, roasting potatoes or Mickey's as they call them in an ash can fire. Come on, Dip, let's go get that wood. Angel, you stay in line, I'm Mickey. Spit, I want to go out, I want to stay here. What's the matter? You're afraid of the dark. Come on, Dip, before he starts pulling. You'll be there when we get back or we'll marbleize you. Tommy, where are I? Shut up. Under the wharf. Any cops around? No. Just you? Yeah. Tommy, what are you going to do with all the cops looking for you? Gonna run away. But first I got something to do. You're my friend? You know me, Tommy. All right. Oh, rat it on me. I don't know. Won't you light on me, I'll kill you. I swear and hope to die, I don't know, Tommy. I know. Spit. The rat. You think so? Yeah. But I want to find out for sure. So this is what I want you to do, Angel. Anything you say, Tommy. When spit comes back, I say old man Griswold, the guy I stabbed, was looking for spit. To give him five bucks for snitching on who'd done it. You got it straight? The guy you stabbed was here with five bucks for spit. Right. And remember, if you let on, I'm here under the wharf. All right, Tommy, ain't I your friend? Didn't I give you my knife? All right. Just like I told you, okay? What are you gonna do to him? What do you think? I'm gonna give him this, the knife. Right across his face. It's a mark of a squealer. Right. A mark of a squealer. Hey, spit, you missed him. That guy was here. What guy? That Griswold, the guy Tommy stabbed. He was looking for you. Me? What for? He said he had five bucks to give you. For snitching on who'd done it, Adam. Where is he? Where did he go? Five bucks. Did you squeal on Tommy? Sure I did. You want to make something out of it, Dippy? No. All right. Nothing. You bet nothing. Now where did he go, Angel? Five bucks. I want my five bucks. Tommy, you'll get your five bucks right now. You'll win your dirt. I didn't tell him. Get off of me. Down. Down on the ground where you belong, you rat. Leave me. I'll leave you. I'll leave you. Something to remember the rest of your life. You see this? Tommy. Tommy, they made me. The cop had me. I wouldn't have told. Shut up, you squealer. Shut up. Help. Help. Tommy's gonna cut me. Shut up, I said. Help somebody. Help. Tommy, stop it. You're crazy. Stop it. Rina. Tommy. Stop that. Let him off. Say away the both of you. Get off him. Get off him, I said. Let go. Let go of my arm, Rina. Tommy. Tommy. Here. Here now. Let go of me. I got it. Give me back that knife, Gimpy. Get off him. Okay, you rat. I'll get you. Spit. Get up out of there. And get out of here. I'm gonna swear out a word again. Get out, I told you. You two, Angel, Dippy. Remember, Spit. I'll get you. Bob. I won't forget what you've done to me, Angel. Tommy, have you gone crazy? Listen to me. Have you any... He snitched on me. He just squealed her. Does that mean he can cut his face? Maybe kill him? What are you gonna do, Tommy? I'm getting out of here. I haven't gone now if you hadn't come buttoning in. Where's none of your business? Is this why Mom died and Pa worked himself into his grave? So you could wind up like babyface Martin? Rina, what do you want me to do? Get locked up until I'm 21 in a reform school. Tommy. We're going right now to Mr. Griswold. We'll give him back his watch and we'll explain to him. Maybe he'll let you off. Oh, that's a good... He won't listen. Maybe he will, Tommy. If Drina and you and I talk to him, anything's better than this. Come on, Tommy. What have we got to lose? Officer, arrest this boy. That's my final word. Okay, Mr. Griswold. Come on, kid. Let's go. You see, Drina, I told you he wouldn't listen. He's not a bad boy, Mr. Griswold. Please, not. He stabbed me, young lady. And before that, he'd stolen my son's watch. May I say something? Who were you? Just a friend. I know these boys. I've lived in this block in the tenements all my life. Well, what do you want to say? A man was shot and killed in the street yesterday. The gangster, yes. What about it? I killed him. You what? I turned him in. Well, you were only doing your duty. He was a menace. I'm doing the same, turning this boy over to Officer Mulligan here. It's not the same. Babyface Martin was a butcher. He was a murderer. He deserved to die, but Tom, he's a baby. Please, Drina, maybe what I did was good, Mr. Griswold. Maybe it was bad. But what you're doing is condemning a child to a future even blacker than his past has been. I don't see that. What was Babyface Martin like before he became a killer? He was a leader among boys of this neighborhood, and he wasn't vicious. He had pretty decent instincts, all things considered. And so he became a gunman. No, not right away. Because of the life he had to lead in this neighborhood and the tenements and all the streets, he got into trouble and was sent to reform school. When he came out, he was a hardened criminal. Sure, they taught him the ropes, the angles, and he was bright. He learned too well. I'm afraid I don't see what... You're condemning this boy to that same sort of a future. And what'll happen if he stays here? That, I think, is up to you and to me and all the people who tolerate slums, who let human beings, children, grope, and places not fit for cattle. Yes, that's our responsibility. And it's our responsibility to give them something to do beside playing and filth and swimming in a dirty river. Very pretty speech, young man, but aren't you living in a dream? No, no. You are in a nightmare. Take the boy away, officer. There's no such thing. You can't do that! You can't! You can't! All right, kid. Let's get going. You see? You see, I told you. I told you nothing that helped. It's a month later and I'm still on the wharf, still sketching. The kids are sitting with their feet dangling over the edge into the water. They've been talking about the future, Tommy's future and theirs. Hey, Spit, what's that song that one smoker used to sing at a reform school? I forget. I remember. What? If I had the wings of an angel. Oh, yeah. All for these prison walls I would fly. Yes, sure. And I'd fly to the arms of my mother and there. Dead End is not a happy story, but it offers each of us a great challenge by reminding us with shocking force how strongly an adult's example molds a young life. Perhaps the bitter fact that Tommy had to be sent to a reform school will make us ask ourselves this question. What can I do to make sure there will be always a full open road, never a dead end for my children and all children? The answer is simple. We can ensure a better physical world for our children by aiding the passage of all social legislation that is designed to make better housing, better schools and better places to play. We can support the fine youth organizations that teach our youngsters the meaning of sportsmanship, the fun and satisfaction of working and playing together. The Boy Scouts of America is an especially good example of this kind of youth organization. Most important, we can ensure a better spiritual world for our children by leading Christian lives ourselves, by attending church and making sure our children attend Sunday school. For by giving our children the example of a Christian home, we are helping them to grow up with the knowledge and inner strength that will guide them always to choose the right road through life. If you're already a member of some church, you know how much the church and organizations in the church can do to provide adults and children alike the living values that provide this inner strength and happiness. If you are not already a member of some church, you certainly owe it to yourself and to your family. To discover just how much a church and the friendship and guidance of an experienced clergyman may be able to help you. Of course, you're always welcome at your nearest Episcopal church, and its clergyman is ready and eager to meet and talk with you, to explain to you what the Episcopal church stands for and how it offers you and your family a faith to live by. Why not decide right now to visit your nearest Episcopal church at morning services this Sunday? This is Walter Hamden. I want to thank our guests and especially you, John Payne, for an excellent performance. Next week, friends, the families of the Protestant Episcopal church of your own community and the Episcopal Actors Guild will present an outstanding play I'm sure you will want to hear. Henrik Ibsen's A Doll's House. And to recreate the dramatic roles of Nora and Taubald, we will be privileged to have with us two great stars, Miss Ingrid Bergman and Mr. Brian Ahern. I hope you will join us. John Payne will soon be seen starring in the Paramount production, El Paso. Music on tonight's transcribed program was composed and conducted by Nathan Crowell. Now, an invitation from the church. The Episcopal church welcomes men and women alike to share in the opportunities for service represented by the church's wide variety of activities. There is important work to do for those less fortunate than ourselves. Work that in the true spirit of the church makes better citizens of us all. So after services this Sunday,