Mirror Mirror On the Wall
"QUIET, PLEASE!" #10

Wyllis Cooper

Network - Sun Aug 24th 1947 - 10:00-10:30 PM EDST
WOR - Mon. Aug. 25th 10:00- 10:30 PM EDST

Rehearsals: Fri. Aug. 22nd 2:00-5:00 PM
Sun. Aug. 24th 8:00-10:00PM
Studio 15

CHAPPELL: Quiet, please.

(SEVEN SECONDS' SILENCE)

CHAPPELL: Quiet, please.

(MUSIC...THEME...FADE FOR)

ANNCR: "Quiet, Please!" for tonight, written and directed by Wyllis Cooper, 
and featuring Ernest Chappell, is called "Mirror, Mirror, on the Wall"

(MUSIC...THEME...UP & FADE)

---

OLIVER: (TALKING TO A MAN ON THE PHONE) You haven't got any idea. You haven't 
got an idea in the world, no sir. If I was to do the right thing I'd take him 
and I'd cut his head off. As a matter of fact, Eddie, if I had the - the 
intestinal fortitude of a - of a llama or something - a llama. You know, like 
in crossword puzzles. It's some kind of camel or something that lives up in 
the mountains. I said if I had the courage of a llama, I'd just up and kill 
the man! What? Oh, it's all right, for heaven's sake, nobody's listening on 
the telephone! Oh, is that so? Well, I'll stack up old man Everwein against 
your boss any day, and give you two-to-one odds, too. Did I tell you about 
this morning? Well, you know when I saw you in the drug store when I was 
having coffee - huh? Oh, you know her. She's a model. I just ran into her as I 
was going into the drugstore, and I said have a cup of coffee with me. I don't 
know. Peters, or Peterson, or something like that. Evelyn. Evelyn Peters, or 
Peterson, or something.

No, costume stuff. Well, when I was in the drugstore - oh, I'm sorry, I meant 
to give you the seventy-five cents I borrowed, and I forgot all about it. 
Remind me, will you, Eddie? Oh, not in the drugstore. That old - that old goon 
has forbidden every one of us to go downstairs for coffee during working 
hours. Everwein! It's all right; he can go down and drink coffee till it runs 
out his ears, but the Art Department can sit up there and starve for all he 
cares. Well, I think it's pretty small of a man. After all, we're not just 
laborers, you know. Oh, what I started to say: right after you walked out, he 
walked in. No, I was talking to this Peters, or Peterson, or whoever she is, 
and I didn't see him at all. First thing I knew was he shoved that great big 
ugly unshaven puss of his right between me and this Peterson character - oh, I 
wasn't saying anything! - and he said Oliver, did you forget your drawing-
board? I give you my word, Eddie, boiling hot coffee - I pretty near 
incinerated myself I was so startled! And I sort of burbled through the 
coffee, I said, like an utter idiot, what drawing-board, Mister Everwein? And 
he said the one you left upstairs. He said do you want me to bring it down 
here, Oliver, so you can combine business and pleasure? And that Peterson, she 
laughed right out loud. I could kill her, too! What?

Well, what if I am being bloodthirsty tonight? I've got a right to! What? Oh. 
Well, then he kind of gritted his teeth and he looked just like Victor 
MacLaglen or somebody and he said Get Back Upstairs! And believe me, Eddie, 
people just kind of shrunk away like an earthquake or something, and I felt 
about THIS high. Do? What COULD I do? I put your seventy-five cents on the 
counter – the whole seventy-five cents, darn it! – and I just slunk out. And 
you know that he did? You won't believe it! He sat right down there with that 
Peterson, or whatever her name is, and he bought her another cup of coffee! 
With the seventy-five cents I borrowed from YOU, to add insult to injury! Do 
you wonder I want to murder him? And her, too? The way she laughed? Oh, yes, 
and then – get this – when he came back upstairs half an hour later – half an 
hour! – he walked in and stood looking over my shoulder, and you know how that 
always gives me the screaming meemies, to have somebody looking over my 
shoulder while I'm drawing .... Oh, doesn't it you? It does me. I go nuts. And 
so what happens? He just stands there and stands there, and I get jitterier 
and jitterier, and all of a sudden I put my sleeve right in the middle of the 
design I'd just finished inking in – label for a shoe-box. All full of, you 
know, Pompeian borders and curlicues and stuff and things. You know.

Oh, ruined it. Murdered it. And that fiend in human form stood there and 
laughed fit to bust. Losing your touch, Oliver, he said? I have you my word 
Eddie, I was so close to busting, and I kept drawing great big deep breaths, 
and getting fuller and fuller of air, and finally I yelled at him. Oh, I 
always make a fool of myself. What? I said give me back my seventy-five cents, 
Mister Everwein! Oh, go on and laugh. (HE HAS TO LAUGH A LITTLE HIMSELF) Did 
you ever in all your life hear anything so ridiculous? That's what I was 
saying, if I had the – the whatever-it-is of a llama or something I'd have 
brained the man with a T-square or something. And I holler for six bits! Oh, 
he had a fit. He just laid down on the floor and howled.(CHUCKLES) I had one 
satisfaction, though. Whitey Haines, you know sits back of me with dark 
glasses, he'd just dropped a whole jar of vermillion paint on the floor and 
Everwein didn't know it. What? Just wallered in it! Well, so I had to stay and 
work overtime to get this hideous label finished so they can ship it out to 
Little Rock or wherever it goes, and that's why I'm not going bowling tonight. 
No, you'll just have to get a substitute, Eddie. I'm dead. Who, Caroline? Oh, 
no, she's out to some clambake or something. That woman. I could cut her 
throat with a – a bottle-opener or something.

Preferably a dull one. You know what she left me for dinner? Listen. One can 
of tuna-fish. One slice of dry whole-wheat bread. A warm bottle of cherry 
soda. And eleven hard-boiled eggs. And she'd been defrosting the refrigerator 
and forgot to turn it on again. No, Eddie; I have a stomach-ache, for one 
thing. My head hurts. My hands and arms are tired. I am a dead man, and I 
definitely will not bowl this evening. I am going to sit here and think of 
different ways to murder Mr. Klaus Everwein, my favorite art-director, and 
perhaps that Peterson girl, or whatever her name is, and possibly Caroline, 
the wife of my bosom. And if you continue to shout in my ear about bowling, I 
shall include you. Yes, Eddie. No, Eddie, Goodnight, Eddie.

SOUND: (HE REPLACES THE TELEPHONE RECEIVER, SITS BACK, AND SIGHS)

OLIVER: Oh, me. (HE YAWNS) I should BOWL, of all things. Where do you suppose 
the woman is?

I shouldn't have eaten those hardboiled eggs.

SOUND: (THE DOORBELL RINGS)

OLIVER: Now, who's that? Calling me up in the middle of the night! If that's 
Eddie again about bowling I'll murder him! The crust of the man!

SOUND: (HE LIFTS THE RECEIVER)

OLIVER: Hello-I-am-not-going-bowling! (A PAUSE) Hello, Eddie! Hello, hello, 
hello! Why, you rang me, young woman. Yes, you di-

SOUND: (THE DOORBELL RINGS AGAIN)

OLIVER: Oh, it's the doorbell. Excuse me.

SOUND: (HE REPLACES THE RECEIVER AND GETS UP)

OLIVER: Caroline, of course. Forgotten her key again.

SOUND: (HE GOES AWAY)

OLIVER: If that woman doesn't do something about remembering her keys, I'm 
simply going to kill her.

SOUND: (HE OPENS THE DOOR)

OLIVER: Well, my love!

EVERWEIN: (AT THE DOOR) What did you call me, Oliver?

OLIVER: Mister Everwein!

EVERWEIN: Well, are you going to let me in or not?

OLIVER: Why, certainly, Mr. Everwein. Please come in, sir.

SOUND: (THE DOOR CLOSES BEHIND EVERWEIN)

OLIVER: Come in and have a chair, sir. (AS THEY RETURN)

EVERWEIN: (IN) Who did you think I was, anyway?

OLIVER: I thought you had forgotten your key.

EVERWEIN: What? Are you nutty?

OLIVER: I'm sorry, Mr. Everwein. I mean I thought it was my wife, who has gone 
out, and who has probably forgotten her key. I mean she quite often forgets 
when she goes out. I thought it was my wife – 

EVERWEIN: For the love of Mike will you stop gibbering?

OLIVER: Yes, Mr. Everwein. Well – ah – what brings you to our neighborhood, 
I'm sure?

EVERWEIN: Oliver, you know, if you weren't the best freehand design man I've 
got in the shop – 

OLIVER: Oh, but I'm not, Mr. Everwein – 

EVERWEIN: I'd try to have you committed. I don't think you've got all your 
buttons.

OLIVER: Mr. Everwein, I've got my buttons all right, but for heaven's sake, 
Mr. Everwein, I just get embarrassed.

EVERWEIN: At what?

OLIVER: When people yell at me, or anything, I mean ...

EVERWEIN: Am I yelling at you, Oliver?

OLIVER: Well, you ... you do.

EVERWEIN: Am I yelling at you now, Oliver?

OLIVER: N-no, sir.

EVERWEIN: Well, stop looking silly then. I've got something for you to do.

OLIVER: Huh? Now?

EVERWEIN: Yes. Right now.

OLIVER: Oh, but Mr. Everwein, I'm all in. I – 

EVERWEIN: Never mind that. This is a rush job that the merchandising 
department has to have first thing in the morning ...

OLIVER: Is there much? Maybe I could get up early – 

SOUND: (UNWRAPPING A SKETCH)

EVERWEIN: Nope. This'll take you nearly all night, Oliver.

OLIVER: Oh, my!

EVERWEIN: See, this is the layout. I want a hand-drawn border, thirteen by 
twenty-seven, see – and all these decorative doo-dads in each corner, and 
hand-letter the trade-mark here, see – no, here. Right down your alley, 
Oliver.

OLIVER: Oh, but I'm so tired ... my hands are trembling, even...

EVERWEIN: Now, now, Oliver.

OLIVER: Sir?

EVERWEIN: You like your job, don't you?

OLIVER: Well ...

EVERWEIN: You know artists are a dime a dozen, Oliver ...

OLIVER: Good ones, though ...

EVERWEIN: A dime a dozen. All right, you going to do it or not?

OLIVER: Oh, well ...

EVERWEIN: Okay. Get at it, now. And I want it on my desk at eight o'clock 
tomorrow morning.

OLIVER: EIGHT o'clock!

EVERWEIN: Eight o'clock on the nose. This drawing has to get to the 
merchandising department at eight-thirty, and I want to see it first.

OLIVER: Eight o'clock ...

EVERWEIN: You heard me. All right, get to work, and don't get it all smeared 
up, either, like you did that one today.

OLIVER: All right, Mr. Everwein.

EVERWEIN: Good night.

OLIVER: Good night, Mr. Everwein.

SOUND: (OPENING DOOR)

EVERWEIN: You still standing there? Get to work!

OLIVER: Yes, Mr. Everwein ...

SOUND: (THE DOOR CLOSES)

EVERWEIN: (CHUCKLES QUIETLY..)

SOUND: (..THEN WALKS DOWN A SHORT LENGTH OF CONCRETE WALK, AND OPENS THE DOOR 
OF A CAR.)

EVERWEIN: He thought it was you. (HE CHUCKLES)

CAROLINE: What? What you mean?

EVERWEIN: When I rang the bell he thought I was you. Thought you'd forgotten 
your key.

SOUND: (CLOSES CAR DOOR)

CAROLINE: Oh, my goodness! I did forget it!

EVERWEIN: Well, that's clever. How you going to get in?

CAROLINE: I'll climb in through a window, I guess. (SHE LAUGHS) Remember that 
other time when I left my key? I climbed in the kitchen window. He never even 
moved.

EVERWEIN: Yes, but this time he'll be awake, working, Caroline.

CAROLINE: Oh, well – I'll tell him some kind of story. He'll believe anything. 
Are we going to sit here all night?

EVERWEIN: I should say not.

SOUND: (HE STARTS THE CAR)

EVERWEIN: Where do you want to go?

CAROLINE: Someplace where we can dance?

EVERWEIN: Sure; we can go anyplace we want to. He won't be showing up, that's 
for sure.

CAROLINE: Like that time at the Cotton Club when he and Eddie came in and we 
had to hide in the checkroom!

EVERWEIN: Well, that little job of work will keep little Oliver neatly stashed 
away for a long time, kid, so forget him.

CAROLINE: (DEMURELY) I always forget Oliver when I'm with you, Mister Everwein 
...

(MUSIC ... FOR A TRANSITION)

OLIVER: (YAWNS) Well, I don't know, Eddie; I don't know what to do. I've been 
working all night, and I guess I must have fallen asleep or something, and 
when I woke up I went in the bedroom to see if she was there, but she wasn't. 
Well then, I thought, I'll call up Eddie and ask him if his missus has seen my 
missus. Say she hasn't? I wonder where she can be. No, never as late as this; 
for heaven's sake it's half-past four. Oh, I suppose she's gabbing with some 
dizzy dame and just hasn't looked at the clock or something. Well, obviously
can't call up all of her friends looking for her, waking them up out of their 
favorite nightmares and asking silly questions. I suppose she'll come home 
eventually. But I tell you if I had her here I'd take a club and beat her head 
in. Oh, working. I didn't tell you, Eddie. That – that fiend, that Everwein 
showed up about nine-thirty with a rush job I have to turn in at eight o'clock 
in the morning, and for gosh sakes it isn't finished yet. I fell asleep. 
Brought it right to the house. Yelled at me. What was I going to do? Oh, sure. 
Threatened my job. Eddie, I promise you a day'll come when I'll take that man 
and I'll fill him so full of lead they can use him for a – for a paperweight. 
Did you have a good time bowling? What did you roll? Oh, only 134 average? 
You're slipping, Eddie. (YAWNS) Golly, I'm sleepy. What? Oh, I'm sorry, Eddie, 
I didn't realize I was keeping you awake, too. I'm sorry. I'm so sorry. But I 
do wish I knew where Caroline was. Is, I mean. I just thought she and your 
missus – oh, I said that. Well, thanks, Eddie. Good night, Eddie.

SOUND: (HE REPLACES THE RECEIVER AND YAWNS AGAIN)

OLIVER: Well, let me see ... about another hour's work, I guess. That 
Everwein. Ever-swine, that's what he is. I could cheerfully watch him being 
eaten alive by an alligator or something. I know this night work is going to 
ruin my eyes. I think I'll go and put some cold water on them.

SOUND: (HE MOVES AWAY, STILL MUTTERING TO HIMSELF)

OLIVER: I'd like to put boiling water – no, boiling oil – on that man.

SOUND: (HE TURNS ON THE WATER)

OLIVER: Yes, and on that wife of mine.

SOUND: (HE SLAPS WATER ON HIS FACE)

OLIVER: Ow, that water's cold.

SOUND: (HE SLAPS MORE WATER)

OLIVER: Makes my eyes feel better, though. I wish I had that Caroline here. 
I'd drown her. Staying out till broad daylight playing bridge or something, 
letting me worry my head off. I don't care where she is. I'd be better off 
without her. Huh! (AS HE LOOKS IN THE MIRROR) I'm a fine looking sight, ain't 
I? Look at that face. Red eyes. Hair's getting thin. Hello, you ugly brute. 
You used to be good-looking once, though. Yah. Yayayayaya! Getting old, losing 
your nerve. Afraid to stand up to people. Afraid to give Everwein what he's 
got coming. Afraid to smack your wife across the puss. Why don't you come out 
of that mirror and do something? Answer me! Why don't you?

REFLECTION: Well, what do you want me to do?

OLIVER: I want you to murder my – (DOUBLE TAKE) – it talked back to me! It 
ANSWERED me!

REFLECTION: Yes, I answered you. Now answer me, you jerk.

OLIVER: This is not true. 1-2-3-4-5-6-7-8-9-10. It's still there.

REFLECTION: I'm still here, and I'm getting awful tired of you. What do you 
want me to do that you're too much of a coward to do?

OLIVER: You are my reflection in the bathroom mirror.

REFLECTION: I am.

OLIVER: And you are talking back to me.

REFLECTION: I am.

OLIVER: This can't be.

REFLECTION: What a jerk you are.

OLIVER: You can't talk to me like that!

REFLECTION: I'm talkin' to you like that. Listen, Oliver, every person's got 
two sides, see? I'm the rough side of your character.

OLIVER: Well, for heavens' sake.

REFLECTION: Who you want killed?

OLIVER: Would you kill somebody?

REFLECTION: With pleasure.

OLIVER: I'll be darned.

REFLECTION: Oliver, where's your wife?

OLIVER: That woman! I'll break her neck – 

SOUND: (THERE IS A SMALL GLASS CRASH, BUT SMALL)

REFLECTION: That, Oliver, is a very good idea. (GOING) I'll be right back.

SOUND: (FOOTSTEPS ARE HEARD, RECEDING)

OLIVER: Hey! (A PAUSE) Heyyy!

SOUND: (A DOOR CLOSES)

OLIVER: Am I crazy? (HE LOOKS INTO THE MIRROR) Where – where's my reflection? 
(HE LOOKS HARDER) It's - he's gone!

(MUSIC ... FOR A TRANSITION, AND STAY IN THE BACKGROUND)

CAROLINE: My gracious, I've got to run! Why, it's practically broad daylight!

EVERWEIN: How are you going to get in, Caroline?

CAROLINE: Maybe he'll be asleep.

EVERWEIN: I sure hope so, for your sake.

CAROLINE: My sake! Ha! Don't worry about me. Anyway, I can always climb in the 
window.

EVERWEIN: Well, good night. Or good morning I guess it is.

CAROLINE: Yeah. I had a swell time, Everwein. 

EVERWEIN: Why do you always call me Everwein?

CAROLINE: I like it. Kiss the girl, Everwein.

SOUND: (SO EVERWEIN KISSES HER)

CAROLINE: Thanks, Everwein.

EVERWEIN: Sure you don't want me to run you home?

CAROLINE: Oh, no, it's only three blocks, and besides he might see your car. 
I'll be all right. Thanks for fun. 'Night.

EVERWEIN: 'Night, honey.

SOUND: (A DOOR CLOSES)

CAROLINE: (STARTS TO GO, HUMMING A LITTLE TO HERSELF. SHE SUDDENLY STOPS.)

CAROLINE: Oliver!

REFLECTION: Yeah.

CAROLINE: Oliver, what are you – I mean – 

REFLECTION: Come here, Caroline.

CAROLINE: (FRANTICALLY) Oliver – no – Oliver, what are you going to do – 

REFLECTION: Why, I'm going to break your neck, Caroline.

CAROLINE: (SCREAMS)

REFLECTION: You see?

(MUSIC ... COMES UP FULL AND FADES OUT)

OLIVER: I'm going to count to ten and if that reflection isn't back there, I'm 
going to call up the police and explain that I've gone crazy, I've been driven 
crazy by overwork – 1-2-3-4-5-6-7-8-9-10, no, I better shut my eyes and do it 
over.

1-2-3-4-5-6-7-8-9-10. Now. (A SIGH OF RELIEF) It is back!

REFLECTION: Sure, I'm back.

OLIVER: Well, for heavens' sake, where have you been?

REFLECTION: You said you wanted to break Caroline's neck.

OLIVER: Huh?

REFLECTION: Well, I broke it.

OLIVER: You did – I mean you DID?

REFLECTION: Yah. Just as easy.

OLIVER: Well – well, where did you find her, if you broke her neck?

REFLECTION: Up there in front of that apartment building Everwein lives in.

OLIVER: Why, you fool.

SOUND: (HE SMACKS THE GLASS)

REFLECTION: Be careful there, Oliver.

OLIVER: Be careful of what?

REFLECTION: Don't break the mirror.

OLIVER: I will if I want to.

REFLECTION: Be sorry if you do.

OLIVER: What? Why?

REFLECTION: Cause this is where I live, see?

OLIVER: I am going completely comprehensively, utterly stark staring mad 
insane crazy. Nutty.

REFLECTION: No, you're not, Oliver. You're a split personality now, kid.

OLIVER: Schizophrenic.

REFLECTION: And just one more thing before you answer the door. 

OLIVER: Door? What door?

REFLECTION: It'll be the cops, coming to tell you about finding Caroline with 
her neck busted.

OLIVER: But I didn't – 

REFLECTION: That's what I was gonna tell you. Don't tell me to do things you 
don't want done, Oliver. I don't kid around. I do 'em, kid. See?

OLIVER: Listen.

SOUND: (THE DOORBELL RINGS)

REFLECTION: Go to the door, Oliver. It's the cops. You got nothing to worry 
about, kid. You got a swell alibi. Go ahead.

(MUSIC ... FOR A TRANSITION)

OLIVER: There just isn't anything to say, Eddie. What? I know. I said that. I 
said I'd like to murder her, but you know. Well, she's dead. Listen, Eddie, I 
can't tell you about this on the telephone, but I'm under some kind of 
technical arrest or something, and I know they're going to accuse me of 
murdering her, and honestly, Eddie, I was right here in the house all the 
time; you know that. I talked to you on the phone. Remember? Yes, but they 
said somebody saw a fellow they thought was me, running away from the corner 
where ... where she... But I was here. Eddie, I was right here. I was in the 
bathroom.

Eddie, I need a lawyer, so do you want to be my lawyer? I haven't got a whole 
lot of money, Eddie, really, but I guess maybe I've got enough if you don't 
charge too much. And I'd rather have a lawyer I know, you know, instead of 
some stranger. Will you, Eddie? No, I can't leave the house, so you better 
come over here. Eddie, listen, I can explain the whole thing. Maybe you won't 
believe it, but maybe I can prove it to you. Oh, Eddie, and to think that 
Everwein – that rat, that snake, that – I could chop his ugly head off – 

SOUND: (THERE IS A LITTLE GLASS CRASH AND A DOOR OPENS AND CLOSES)

OLIVER: - Wait a minute, Eddie, I thought I heard a door – Oh, my gracious, 
Eddie, what have I done now?

(MUSIC ... COMES UP SWIFTLY, HOLDS, AND FADES OUT)

SOUND: (DICTAGRAPH BUZZER. IT RINGS AGAIN. FLIP A SWITCH)

EVERWEIN: Yes?

VOICE: (ON DICTAGRAPH) Mr. Everwein, Oliver is here.

EVERWEIN: (FRIGHTENED) Oliver! Well – well, tell him I can't see him now. Tell 
him – 

VOICE: (ON DICTAGRAPH) I told him you were busy, but he insists on seeing you, 
Mr. Everwein.

EVERWEIN: Is – is the door locked?

VOICE: (ON DICTAGRAPH) Yes, Mr. Everwein.

EVERWEIN: Tell him I can't see him.

VOICE: (ON DICTAGRAPH) Just a second, Mr. Everwein. (TO SOMEONE ELSE) He can't 
see you now, Oliver. Oliver!

Oliver – wait – no – no, Oliver – 

SOUND: (AND THE DOOR IS BROKEN DOWN)

EVERWEIN: Oliver – listen, Oliver – 

REFLECTION: Sorry I had to bust the door, Everwein.

EVERWEIN: Oliver, listen, it was pure coincidence that – that – 

REFLECTION: Was, huh?

EVERWEIN: You know it was, Oliver. You know perfectly well, Oliver – 

REFLECTION: I know all about it, Everwein.

EVERWEIN: Now, Oliver. Get away from me, Oliver.

REFLECTION: Why you s'pose I broke her neck, Everwein?

EVERWEIN: Did – did YOU – ooh!

REFLECTION: I certainly did. It was just as easy.

EVERWEIN: You – you killed her?

REFLECTION: With these hands, Everwein.

SOUND: (THE TELEPHONE RINGS)

EVERWEIN: Let me answer the phone – 

REFLECTION: Sure.

EVERWEIN: (LIFTS RECEIVER) Hello, this is Everwein, Poli – (HE IS CHOKED OFF)

REFLECTION: Stop that.

EVERWEIN: (GURGLES, FINALLY IS RELEASED)

REFLECTION: Take it easy. Answer the phone decent, now.

EVERWEIN: (THROAT HURTS) Yes?

OLIVER: (ON PHONE) Mr. Everwein, this is Oliver – 

EVERWEIN: What!

OLIVER: (ON PHONE) This is Oliver, Mr. Everwein, somebody's coming up there to 
kill you – 

EVERWEIN: Who are you?

OLIVER: (ON PHONE) Oliver, I said, Mr. Everwein. I don't really want to kill 
you – 

EVERWEIN: What?

OLIVER: (ON PHONE) I said this is Oliver. I – 

EVERWEIN: Oliver is standing alongside my desk, threatening to kill me – is 
this some kind of joke? Is this – 

OLIVER: (ON PHONE) That's him, Mr. Everwein! That's him! He's going to cut 
your head off!

REFLECTION: Give me that phone, Everwein. Hello, Oliver. Listen, Oliver, keep 
your shirt on. You said the guy's head off, I can't help it. You know your 
wish is my command, Oliver, old kid, and the funny thing is I'm getting to 
like it. Now shut up and let me alone, will you?

SOUND: (HE REPLACES THE RECEIVER)

REFLECTION: Now, Everwein? You got a sword or something around here? Huh?

(MUSIC ... UP AND BACK TO OLIVER)

OLIVER: All right, Eddie. I know. I know all about Everwein. I called him on 
the phone, but it was too late. He took the phone away from Everwein, and told 
me what he was going to do, and there wasn't any way to stop him, Eddie. 
Eddie, please come over. They're going to have me for another murder, Eddie, 
and I didn't do it! I didn't do it, I tell you. I was right here. I talked to 
Everwein on the phone, you can ask him Ed – oh, my goodness, no, you can't,
can you? Eddie, please come over!

All right, Eddie. Yes, Eddie. No, Eddie. Good-bye, Eddie.

SOUND: (HE REPLACES THE RECEIVER)

OLIVER: What am I going to DO?

They'll – they'll hang me or something!

How'm I going to stop this?

By jiminy gee!

That's it! The mirror, the mirror, the mirror! Why didn't I think of that 
before? I'll fix it!

SOUND: (HE RUNS TO THE BATHROOM)

OLIVER: I'll fix it – where's a hammer or something? (HE LOOKS AROUND) Aha! 
The drinking-glass. I'll fix you, Mister Reflection! I'll fix you!

SOUND: (HE THROWS THE HEAVY GLASS AND IT SMASHES THE MIRROR)

OLIVER: There!

REFLECTION: You're gonna be sorry, Oliver.

OLIVER: Wh-what? Who was that?

REFLECTION: I told you you'd be sorry, Oliver. I'd have gone back into the 
mirror and you'd never been bothered with me any more, but you busted it. I 
got no place to go now, kid. No place to go. I'm on the town, Oliver. I'm on 
the world, kid ... and every time you think of killing somebody .. (HE LAUGHS) 
oh, boy, oh, boy, oh, boy ... you sure done it now, Oliver. Keep your mind 
clean, baby.

OLIVER: Hey – hey – where did you go – 

SOUND: (AND A DOOR CLOSES IN THE DISTANCE)

(MUSIC ... UP AND FADE FOR)

OLIVER: No, I can't tell you where I am, Eddie. You wouldn't recognize me if 
you saw me, either. I'm in disguise. The police are looking for me everywhere, 
Eddie. Just everywhere. Oh, you know that. Well, I just had to call you. I had 
to, Eddie. We used to have such fun, darn it, Eddie, and now everything's so 
awful. Eddie, I don't kill people. I didn't kill anybody, Eddie, honest. No, I 
didn't. No, I didn't. But you know how it is. If I even think of somebody that 
ought to be killed, if I just say I could kill that fellow, why, boom, he's 
dead, Eddie. It's a curse! It's horrible! I don't know what to do! Eddie, I 
could murder everybody in the world, you know! If I dream about killing 
somebody, it's in the papers the next morning! If I say I hope you ch – oh, 
no, I musn't say it! It's my reflection! Reflection – from the mirror! No, I'm 
not crazy. I thought I was, but I know I'm not. Eddie, I'm scared every 
minute! Sure, you could tie me up so I couldn't talk, but all I got to do is 
THINK! I think murder, and he's right there to do it! What, Eddie? No, no, 
there's nothing I can do about it. My goodness, if I show myself on the 
streets I'll be arrested instantly! Oh, Eddie, I wish I was dead!

SOUND: (A DOOR OPENS AND CLOSES)

OLIVER: What, Eddie? I said -gosh, what can I do? I said I wish I was dead!

REFLECTION: Why, Oliver, you know, I think we can handle that.

(MUSIC ... THEME ... FADE FOR)

ANNCR: You have listened to Quiet Please, written and directed by Wyllis 
Cooper. Tonight's story was called "Mirror, Mirror on the Wall." The man who 
talked to you was Ernest Chappell.

CHAPPELL: And Nancy Douglass played Caroline. Everwein was Eric Dressler. The 
music was composed and played by Gene Perrazzo. And now for a word about next 
week's Quiet Please story, here is our writer-director Wyllis Cooper:

COOPER: I have a story for you next week about something that happened – or at 
least it might have happened – in the early days of World War II. The story is 
called "A Ribbon of Lincoln Green". I hope you'll like it.

CHAPPELL: And until next week at this time, I am quietly yours, Ernest 
Chappell.