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MURDER WARD "Not guilty by reason of insanity" sounds like an easy out to murderer Edmund - but when he checks into Dr. Larson's mental hospital, he gets much more than he bargained for. Cast List Edmund/Achilles - Kim Turner Preacher Ronald - Pat McNally Rose Connelly - Joy Jackson Hector - Cole Hornaday Dr. Larson - Marge Lutton Terrance - Greg Porter Lawyer - Sigmund Hoverson Ape man - Reynaud LeBoeuf District Attorney - Melinda Mains Also heard - Julie Hoverson Music:  Kevin MacLeod (Incompetech.com) Editing and Sound:   Julie Hoverson Sound effects found on Soundsnap.com Cover Photos:  Front - Witek Burkiewicz             (courtesy of Stock Xchange.com) Recorded with American Radio Theater "What kind of a place is it?  Why, it's an insane asylum - can't you tell?  Where else would you find... a murderer?"   ************************************************************ Murder Ward This was another episode I wrote specifically in an Old Time Radio format and put together with American Radio Theater, a group that recreates old time radio shows. Parts of this story were very loosely inspired by (of all things) The Seven Keys to Baldpate, a stage play by George M. Cohen (and a film inspired by it, "The House of Long Shadows"), as was at least one other episode of my show, though in a completely separate way.  Some stories just stick with me.... Or make me think of ways I could do it better.... A big part of this particular story comes from my love of old true crime and detective stories, and how often (in fiction at least) people claim to be temporarily insane in order to get an easier sentence. I don't want to say more about this story, just will leave it up to the listener. I want to talk about how I got into podcast audio dramas. I was doing OTR re-creations with ART when Reynaud Leboeuf (one of my most reliable stock actors in 19 Nocturne Boulevard) said he'd been cast in this podcast Lovecraftian comedy soap opera called The Unspeakable and the Inhuman (which was hilarious), and that they were still looking for a female lead, and would I like to audition? Well, of course I would! I was cast, and we recorded in early 2008 at Neohoodoo Studios (Ryan's basement), and during one of these recordings, one of the other actors commented that this was so fun, they should make more shows so that we could record more.... ...and I said I have some scripts!!!! Of course, I still had to learn how to mix, and all that sort of thing, but that's basically where it started.  For most of 2008, 19 Nocturne was recorded primarily at Neohoodoo, with the help and kind permission of Ryan - and that got me good sound to work with for my beginning efforts, which made a huge difference.  Joy from ART and Ryan both showed me a few things and gave me some tips on mixing. I have to admit to being a teensy bit smug when, after Unspeakable and Inhuman kind of fell apart, I ran into the main writer Derek at a convention a few years later, and he asked me "How did you make it to so many episodes, when we never got past 9?" and I replied "I'm not a committee." I do wish Unspeakable and Inhuman was still available somewhere, but I don't think it is.  Maybe I'll get in touch with Derek someday and get permission to post the episodes - for posterity. For the first year of 19 Nocturne, episodes came out in the U&I feed - after the first 8 came out at Brokensea - which further muddies the waters as to what the original order of episodes might have been.  It was late 2009 before I decided I was definitely going to keep making shows, and therefore it was worth getting my own page and RSS feed. ...Everything else, as they say, is history. ************************************************************ MURDER WARD Cast: OLIVIA, the host EDMUND Rafelsen (M/30s) - evil alter ego "Achilles" RUDY Horton, Esq. (M/50s) - Edmund's lawyer TERRANCE (M/20s) - the guard ROSE Connelly (F/20s) - paranoid, hears voices HECTOR Wilson (M/20s) - phobic, fears women RONALD Tomlinson (M/40s) - believes he's obeying god VINCENT (M/any) - frightening, violently crazy DOCTOR Sara LARSON (F/40s) - psychiatrist CROWD, GIRL, MOM, KID - any voices D-A. - District Attorney OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's an insane asylum, can't you tell?  Where else would you find ...a murderer?  MUSIC OLIVIA    [voice over]  "Not guilty by reason of insanity".  A legal defense, often misused to try and get a lighter sentence for a heinous crime.  And what does it really mean?  In a nutshell--   SCENE 1.  OFFICE RUDY    --it means at the time you did what you did, you didn't - couldn't - understand what you were doing was wrong.  It's a tough sell, Ed.  No matter what the movies make out, most juries just don't believe-- EDMUND    [cultured voice]  Mr. Horton, I would prefer that you address me directly when you speak to me. RUDY    Ed, this isn't funny. EDMUND    There is no "Ed" here.  Edmund, however, is sleeping.  Mr. Horton, if you cannot bring yourself to use my name, at least-- RUDY    OK, look-- SOUND    rustling paper RUDY    [disapproving]  --Achilles - I-- EDMUND    And I am not insane.  Nor is Edmund.  I knew perfectly well what I did was wrong.  All those pretty little women.  I was really doing them a favor.  The world is so harsh. RUDY    I--  Look, Achilles, let me talk to Ed for a while.  It's his name on the docket, after all. EDMUND    Very well.  I shall rouse him for you.  [voice changes to more lower class - after this, he speaks as Ed any time not otherwise noted]  Yeah?  What is it shyster?  Hey!  Why's my cigarette all burned down all of a sudden? MUSIC   SCENE 2.  COURTROOM CROWD    [MURMURS] SOUND    GAVEL DOCTOR LARSON    Ahem.  As I said, after a thorough examination, I have concluded that while Edmund is nominally the dominant persona, his alter ego Achilles was the one who actually committed... [fade out] MUSIC   SCENE 3.  ASYLUM HALLWAY SOUND     FOOTSTEPS ON TILE.  JINGLE OF KEYS TERRANCE    Guess you think you're lucky, eh? SOUND    DOOR UNLOCKS EDMUND    And why's that? SOUND    DOOR OPENS INMATES    [AD LIB, MURMURS "IN CHARACTER" see monologues at end] EDMUND    What the--? TERRANCE    Your new pals, bub.  As I was saying, I guess you THINK you're lucky, getting off without the death penalty and all.  Come on. SOUND    SLOW FOOTSTEPS EDMUND    Look mac, I thought I was gonna have a private room-- TERRANCE    These are the induction cells.  Once the Doc gets a handle on your syko-sees, she'll move you to someplace appropriate. EDMUND    She?  SOUND    FOOTSTEPS STOP TERRANCE    Sure.  You saw her at your trial - Doctor Larson.  She's got some big-brain new ideas about how ta deal with luniacks like yourself.  SOUND    KEYS JINGLE.  TERRANCE    Your room, misshur. SOUND    CELL UNLOCKS, DOOR OPENS. EDMUND    But, but there's a DAME in here.  Ain't we supposed to be-- TERRANCE    Funny thing about that.  Dames go off the pier too.  And we're overbooked in that department.  She probly won't be here long.  Besides, she's waaaay over there.  She can't hurt you. SOUND    FOOTSTEPS HECTOR    [fading in - urgent milktoast]  --he's right.  She shouldn't be in here.  You don't understand the damage they can do.  [fading] Women are-- RONALD    [fading in, hissing whispers]  ‑‑have new instructions.  It is time for you to let me go.  HE has declared it.  [fading]  My presence is required-- SOUND    FOOTSTEPS END, JINGLE OF KEYS ROSE    [fading in] --staring at me.  Are you sure they can't get out?  Please, would you check the locks again?  [fading]  I'm so afraid-- SOUND    DOOR OPENS AND SHUTS. INMATES    [MOMENT OF SILENCE] ROSE    [sigh] RONALD    [normal, husky voice]  Hey.  New guy.  Got any smokes? EDMUND    What? RONALD    Smokes.  EDMUND    Even if I did, they wouldn't let us have any matches, would they? ROSE    [hard dame]  Who are you kidding?  You can get pretty much anything in here, just as long as you know who to ask.  And HOW to ask it. EDMUND    Funny, you sounded crazy a minute ago. ROSE    [snort]  Yeah, well.  We all have our bad days...  [raising voice slightly]  And some never have good days, right Heck? HECTOR    Wicked Jezebel.  You shouldn't be here. ROSE    [to Edmund]  We're pretty sure that Hector there is the real McCoy.  RONALD    Now, now.  We're ALL nuts.  We must keep that in mind. ROSE    Yeah, but THAT guy - he just never lets up! EDMUND    But if you ain't crazy-- RONALD    [chuckles]  Court says we are.  Even with moments of lucidity, well--  What can they do? EDMUND    What if they're listening?  Recording, maybe? ROSE    I thought I was the one with the persecution complex. RONALD    I've been trying to catch them for over a month.  Nothing doing.  They're just not interested.  Besides, once the jury brings down the verdict, the court has to keep you locked you up until they cure you. ROSE    OR you give up and confess. RONALD    Oh, sure.  [sarcastic]  I'll just admit it was all phony, take my lumps and go to the Chair!  EDMUND    What if one of you decides to squeal? ROSE    [laughs]  Who'd take the word of a head case? HECTOR    If you try and spit your fiendish poison at me, fiend, I shall find a way to defend myself! ROSE     [disgusted sigh]  I am real sick of him.  RONALD    He probably had a bad mother. ROSE    Yeah?  Well who didn't? EDMUND    The guard said I'd only be in here for a little while-- RONALD    Yeah.  Us too.  I've now been here for two months, and Rose-- ROSE    Rose Connelly, p'raps you hearda me? EDMUND    YOU'RE Rose Connelly? ROSE     [pleased]  Yeah.  The one and only.  My sister's got a scrapbook of clippings for me.  She can't bring them, but she tells me all about them when she visits.  RONALD    Rose's been here about three weeks.  Since her sentencing. EDMUND    And Romeo over there? ROSE    Hah!  Cute.  Two incredibly long days.  EDMUND    And...this is it? RONALD    What? EDMUND    This is what we get?  I mean, in prison they at least get some kind of exercise and stuff.  Geneva convention, and all that.  ROSE    Ah, it's just temporary.  I guess the loony bins are all booked up right now.  [giggles]  Say, maybe there's a convention in town. RONALD    Don't worry.  We get to talk to the Doc each day, regular as clockwork.  She's a sweetheart, but I bet Hector isn't making any improvements. HECTOR    [matter of fact]  Doctor?  She's the devil!  I refuse to give her the satisfaction of a single word. ROSE    [derisive]  "Doctor," hah!  She's the one that let me get myself in here.  I thought it would be real tough to fool a head shrinker, but boy was she a pushover.  Always so sympathetic.  So understanding.  She don't deserve to be a nurse, let alone a doctor.  RONALD    Funny, she testified at my trial too.  Hmm.  Guess we both got lucky. EDMUND    [absently]  Yeah.  Lucky. MUSIC   SCENE 4.  DOCTOR'S OFFICE DOCTOR LARSON    Edmund, I can't help you if you refuse to cooperate.  EDMUND    [as Achilles]  I am trying my utmost, madam, but he simply refuses to converse with you. DOCTOR LARSON     [not batting an eye]  Then let's you and I talk, Achilles.  You claim that the killing was-- EDMUND    [as Achilles]  Killings.  Let us be precise.  Mercy killings, actually.  [fading]  I felt so kindly‑‑ MUSIC   SCENE 5.  CELL HALLWAY SOUND    SNORING FROM ALL INMATES SOUND    SCRITCHING, LIKE A MOUSE TRYING TO BORE THROUGH WOOD EDMUND    [snores, then wakes, frightened]  Ah! ah!  What? [NOTE    LOW VOICES] RONALD    Shh.  You'll wake the neighbors. EDMUND    What was that?  But that noise - it's-- RONALD    I know.  We call him Mortimer. EDMUND    This place has mice? RONALD    We haven't seen him, so we're not sure what particular type of rodentia he is, but we sure hear him.  Particularly when it's quiet.  EDMUND    But how can I get any sleep--? RONALD    You get used to it.  We all get used to lots of things. HECTOR    [coming awake with a scream]  Aaagh!  Off me, you fiend from hell!  No! No! [goes on incoherently] ROSE    [Wakes with a whimper] [NOTE    VOICES NORMAL] EDMUND    That'll take some getting used to. RONALD    Yeah. MUSIC   SCENE 6.  DOCTOR'S OFFICE DOCTOR LARSON    Edmund, why don't you tell me about your mother? EDMUND    [as Edmund]  My mother?  What - why?  My mother's fine.  She got nothing to do with this. DOCTOR LARSON     Do you love your mother? EDMUND    Well, o'course.  I mean, you gotta - it's just nature, ain't it?  [trailing off with] No matter... what... she does t'you. DOCTOR LARSON    What did your mother do, Edmund?  [beat]  Edmund? EDMUND    [as Achilles]  It's no use, doctor.  He has gone into retreat. MUSIC   SCENE 7.  CELL HALLWAY SOUND    CELL BLOCK DOOR OPENS INMATES     [begin their various muttering] TERRANCE    This way folks.  Step lively now. SOUND    CROWD MURMURS, LOTS OF SHUFFLING FOOTSTEPS HECTOR    What is this?  How dare you bring in more of THEM!  Mischief!  Mischief! ROSE    [aside, shocked, not pretending] What's a kid doing here? MOM    Tommy, now look at that - that's what crazy folks look like. KID    Gee. TERRANCE    [like a carnival barker] Not just any crazy folks, lady, these are all crazy murderers! CROWD    Ooh! TERRANCE    Each and every one of these... people... has committed the most heinous of crimes! GIRL    Wow, look at that one over there, he's kinda cute--! HECTOR    Harlot!  Harlot!  Do not approach, or I must smite thee down! GIRL    What's smite - is that bad? TERRANCE    Best to stay away from the bars.  Now, this here is Rose Connolly, known throughout the entire state-- ROSE    [seriously disturbed] Stop looking at me!  How can you--?  Get them outta here, wontcha?  TERRANCE    --For killing her husband while under the inexorable compulsion of a persecution complex. ROSE    This isn't right! GIRL    What's inexcorable - is that bad? MOM    Killing your man - now, that ain't right! RONALD    Come, come, now - leave her, she is unimportant, aha!  But I - I have a message to give unto you. MUSIC - TIME PASSES   SCENE 8.  CELL HALLWAY SOUND    CROWD WANDERS OUT, DOOR SHUTS ROSE    [Breaks down]  Oh! RONALD    How mortifying. ROSE    [sobbing]  Like animals in a zoo.  EDMUND     I'm surprised they didn't start throwing us peanuts. RONALD    I tried to get them away from you, Rose, I really did.  But big headlines trumps preaching, I guess. HECTOR    This should stand as a warning to you, woman!  You are never alone!  There is always a witness to the wicked things you do! ROSE    I have had just about enough out of you!  You-- noisy little weasel!  We girls, we're just folks just like everybody else - you have no right to-- RONALD    Rose, calm down.  Shh.  It's not going to help. EDMUND    Yeah.  For crying out loud, we've made it this far, how much worse can it get?  MUSIC   SCENE 9.  DOCTOR'S OFFICE EDMUND    [as Achilles]  It was mortifying for Edmund, Doctor.  I think he may have suffered a terrible setback. DOCTOR    Now, the tours are conducted for very good reasons. EDMUND    What, pray tell? DOCTOR    It's really not something we should be discussing, but - since you are so concerned - First, it is to show the public that this facility is on the up and up - you've certainly heard of the old fashioned "asylums" where inmates were neglected and beaten?  This way, nothing is hidden - so no abuses occur-- EDMUND    [almost breaking character]  No abuses? DOCTOR    Also, it helps to make insanity seem less frightening to the general public.  Most people have seen insanity only in movies - where it is so inevitably terribly destructive and dangerous.  This way, they see the human side of it. EDMUND    [as Achilles] I see that your intentions are admirable, but I can't help but think that a trip through the violent ward would merely reinforce the negative popular belief? DOCTOR    That's why the tour through the violent ward is only for serious students of psychology.  [fading]  You must have misunderstood. MUSIC   SCENE 10.  CELL HALLWAY SOUND    CELL BLOCK DOOR OPENS RONALD    And the lord said-- ROSE    Can't you make them stop staring? SOUND    FOOTSTEPS, DOOR CLOSES INMATES    [CONTINUE MURMURS] SOUND     CELL DOOR OPENS EDMUND    [Achilles]  Thank you, my good man. SOUND    CELL DOOR CLOSES, FOOTSTEPS.  THEN A SCUFFLE! HECTOR    [struggling]  Give it to me!  TERRANCE    [struggling]  Leave go, you ape! HECTOR    [struggling]  I have to-- oof! [air knocked out of him] SOUND    TWO FOOTSTEPS.  DUSTING OFF HANDS TERRANCE    That'll show you to tangle with me.  HECTOR    [weak]  Yes, but ... I have your gun. ROSE    [scream]  EDMUND    Stop him Ron - you're closest! SOUND    GUN SHOT TERRANCE    Aargh! ROSE    Oh no!  No! HECTOR    [calm and creepy] The next one is for you, Delilah!  Salome! ROSE    Me?  I didn't do anything-- [gasps] INMATES    [GASP] SOUND    CLICK RONALD    Who put out the lights? HECTOR    It was the monster - Lilith, devourer of infants!  SOUND    PSSST OF GAS EDMUND    Do you... hear... [getting sleepy] Some...thing...? MUSIC - TIME PASSES   SCENE 11.  CELL HALLWAY EDMUND    [waking up]  Hmm?  Wha--? RONALD    [groans] ROSE    [wakes with a startled gasp] EDMUND    What happened? RONALD    At least the lights are back on. ROSE    But I don't wanna open my eyes. EDMUND    Look! RONALD    Where?  [disgust]  Oh! ROSE    Just ... just tell me, I don't wanna-- EDMUND    Better you don't look, Rose.  [muttered]  That's a lot of blood. RONALD    [muttered back]  You don't lose that much and walk away.  Too bad.  Terry was a right guy. ROSE    Blood?  Oh, no!  Hector?  Where is he?  He's going to shoot me! RONALD    Calm down, Rose.  He's gone. EDMUND    So's the guard.  There's just the... blood. SOUND    CLICK - LOUDSPEAKER ON DOCTOR LARSON    [filter/loudspeaker]  We apologize for the inconvenience of using a psychotropic gas on you.  EDMUND    Gas? DOCTOR LARSON    [filter]  Rest assured there will be no long-term effects.  EDMUND    That was what I heard. DOCTOR LARSON    [filter]  If you are feeling groggy or your head aches, sit quietly, breath deeply, and it will pass. SOUND    CLICK - LOUDSPEAKER OFF ROSE    [breathing deeply but raggedly]  It wasn't our fault - they haveta know that!  EDMUND    It's not like we're a bunch of babes in the woods.  They may know what happened and just not care. ROSE    So just because I killed my husband, I;m gonna - I'm gonna hurt a random stranger?  That's silly. RONALD    [chuckles]  No.  Just insane, m'dear.  MUSIC   SCENE 12.  OFFICE RUDY    I don't see any way to-- EDMUND    What?  This is cruel and inhumane-- RUDY    You don't understand, Ed.  [dry]  It is Ed I'm talking to, isn't it? EDMUND    Yeah, yeah. RUDY    You are not a free citizen.  You've been consigned to Dr. Larson's care, and-- EDMUND    Now you don't understand, Horton.  A guard was killed last night, in our block-- RUDY    You didn't--? EDMUND    Nah, it was this loony who thinks women are all evil. RUDY    Which, of course, you don't--? EDMUND    This ain't the time for that, Rudy.  I'm talking about a murder. RUDY    There's no record of-- EDMUND    The corpse's name is Terry, Terrance, something like that.  He is - was - a guard here.  Come on, someone's gotta be doing something! RUDY    I haven't seen anything in the papers.  These state-run facilities, though-- sometimes they're like a world in themselves. EDMUND    Well get me another world. RUDY    [chuckles]  There's only ONE way to do that. EDMUND    Yes? RUDY    Admit that you're not insane... and go to the chair. MUSIC   SCENE 13.  CELL HALLWAY SOUND    CELL BLOCK DOOR OPENS, ROSE'S FOOTSTEPS AND A HEAVY SET OF MAN'S FOOTSTEPS, SLOW AND MEASURED. ROSE    Can't you please stop looking at me?  I know why - I know why you're staring!  You can read my mind! SOUND    KEYS JINGLE EDMUND    [Achilles]  You are such a lovely young lady.  And so frightened.  Come to me and I shall cure you of all your fear. SOUND    DOOR UNLOCKS, OPENS ROSE     Stop!  Don't say things like that.  He never takes his eyes off of me, you know.  RONALD    [quietly]  And he said unto me, for I am the way-- SOUND    ROSE'S QUICK FOOTSTEPS, DOOR SHUTS, LOCKS. EDMUND    Hey, buddy, don't you talk? SOUND    KEYS JINGLE.  HEAVY FOOTSTEPS LEAVE RONALD    Justice is ever mute. SOUND    DOOR OPENS, CLOSES INMATES    [quiet for a moment] EDMUND    What's with that guy? RONALD    I hate being ignored like that. ROSE    He didn't say anything in the halls - going to the doc's office OR coming back, either.  No matter what I did. EDMUND    Did the doc say anything about the dead guard? ROSE    Not a word, even though I asked.  She just ignored the question. RONALD    She didn't ignore you completely, though? ROSE    No... But she didn't say much.  Did she talk to you at all during your appointment? RONALD    I didn't have an appointment with her this morning. EDMUND    But you were gone-- RONALD    I wasn't going to say anything, but the guard just took me out and walked me around the halls for an hour.  MUSIC   SCENE 14.  OFFICE EDMUND    I got rights, Horton! RUDY    Well, technically, no.  Actually, I could do more for you if you WERE in prison.  Once you're committed to the doctor's care, you really can't complain.  Particularly since you don't have any proof for any of your allegations-- EDMUND    Allegations?  Proof?  How's this for proof - the others will back me up! RUDY    [condescending]  Two other certified inmates?  Oh, sure.  That'll stand up in court. MUSIC   SCENE 15. EDMUND    You guys ever wonder what they did with old Hector? RONALD    Solitary confinement, I guess.  Killing a guard's pretty serious. EDMUND    [sarcastic] Oh, yeah, unlike whatever it was we did to get here. ROSE    Hey, I draw the line at killing strangers.  EDMUND    Just your husband? ROSE    Looking back, I guess it wasn't such a great idea. RONALD    You guess?  Hah! You-- EDMUND    Why'd you do it, then?  Did he push you around or something? ROSE    [snorts] Nah.  If he'd'a beaten me, I woulda had a defense in court.  Nah, it was just little things.  Like the sounds he makes when he eats - ate - and the thing with his toenails.  Us women have to put up with this kind of thing all the time, but...  It just got to me. EDMUND    It just got to you?  ROSE    Well, yeah!  RONALD    There's a reason the marriage vows say until death do we part-- ROSE    AND I wasn't going to the chair for something like that, so I started pulling the "he was out to get me" hash on my lawyer, and it worked.  More or less.  Not like this joint is anything to write home about.  RONALD    It wasn't so bad up until that guy Hector showed up.  Since then... well. EDMUND    So who'd you kill? SOUND    TINNY CHAMBER MUSIC BEGINS TO PIPE IN, VERY QUIETLY. RONALD    I don't think so-- EDMUND    [pushing] Go on.  Who? ROSE    Oh, leave off.  Hey, that's kind of nice. RONALD    What?  ROSE    The music. RONALD    Hmm.  And if I prefer to maintain my right to avoid self-incrimination? EDMUND    Geez.  Don't take it that way, I was just curious.  [pause]  I killed four women. ROSE    Four?  Maybe I SHOULD be worried. SOUND    MUSIC STARTS TO VERY SLOWLY GET LOUDER EDMUND    Oh, I put on a song and dance for the cops about how they needed to be killed to save them and all.  Making up a Mr. Hyde personality to take all the blame.  [beat]  Three of em were mob snitches.  RONALD     So what, you're a hit man? EDMUND    I owed some money.  Shouldn't have got caught at all, seeing as how there was no connection between me and them, but the cops got something - fingerprints or something - and they tracked me down. ROSE    And ...the fourth? EDMUND    Huh?  [offhanded]  Oh, just some dame - I did her to throw off the connections and make myself look nuts.  I'd already figured on being caught - and better a whacko than a torpedo, ya know?  SOUND    MUSIC IS LOUD ENOUGH THAT THEY ARE RAISING THEIR VOICES OVER IT RONALD    You are some piece of work. EDMUND    Still casting stones, eh, preacher?  Why don't you explain how you got here--  What in the name of --- What IS that MUSIC? ROSE    It was ok... to start with... but, now--! SOUND     MUSIC REACHES A CRESCENDO, THEN CUTS OUT WITH MUSIC STING - TIME PASSES   SCENE 16.  CELL HALLWAY SOUND    DOOR LOCK UNLOCKS, DOOR OPENS. RONALD    --said the offender must be plucked out! SOUND    SLOW FOOTSTEPS - ORDERLY BRINGING IN NEW INMATE, VICTOR EDMUND    I am so sick of this guy. ROSE    Are you taking me away?  I know you've been watching me. SOUND    RATTLE OF LARGE CHAIN, STUMBLING FOOTSTEPS VICTOR    [growls and snaps]  SOUND     KEYS, CELL DOOR OPENS. ROSE    [whispered]  Ed?  Ed?  That guy - is he even human? EDMUND    [whispered]  Shh.  I dunno. ROSE    [whispered]  But he's so... so huge! SOUND    SHUFFLING FOOTSTEPS, CHAIN RATTLING. RONALD    The beast!  For I have seen-- VICTOR    [growl - lunge] SOUND    SCUFFLE OF FEET, CHAINS CLANG AGAINST BARS. RONALD    Aah!  SOUND    SCUFFLE AWAY. VICTOR    [snarling] SOUND    THUNK OF NIGHTSTICK ON FLESH, RATTLE OF CHAINS ROSE    He didn't-- it didn't even notice!  The guard hit it and hit it--  [screaming]  Get me out of here!  Please!  Please get me out of here!  sound    cell door closes, locks, rattle of chains against bars EDMUND    Shh.  He's not listening anyway. ROSE    Anything!  Whatever you want!  [collapsing into sobs]  I can't take any more! SOUND    GUARD'S FOOTSTEPS, KEYS, CELL BLOCK DOOR UNLOCKED ROSE    Please!  I'll admit everything!  Take me to the doctor - the lawyer - the JUDGE!  Anything! SOUND    [BEAT]  FOOTSTEPS RETURN, KEYS, CELL DOOR UNLOCKS. ROSE    [Breaking down] Oh... thank you.  Thank you...! MUSIC   SCENE 17.  OFFICE RUDY    --none of your business.  She's not my case.  Now, Ed, they can keep you locked up any way they want - with anyone they want - for as long as they want.  You're getting three squares a day, right? EDMUND    Usually.  Sometimes it comes pretty late, though.  And there's been a couple of times it's been too salty to eat. RUDY    So they have a crummy cook - place like this?  Go figure.  EDMUND    You gotta get me out of here, Rudy. RUDY    I've told you, there's no place else to put you. MUSIC   SCENE 18.  CELL HALLWAY RONALD    I think he's asleep. EDMUND    It.  Rose called it an it. RONALD    I asked the doctor about Rose.  The doc said a whole lot of nothing, but I get the impression she - Rose - has revealed all, as they say, and is heading for a short vacation in a nice clean death row cell. EDMUND    Not so bad for her.  Women get pardoned all the time, specially pretty ones.  RONALD    Yeah.  And you would know all about the pretty ones, eh? EDMUND    [remembering fondly]  They were all lookers, yeah.  RONALD    How can you sleep?  EDMUND    Don't get high and mighty moral on me, bud, you're in here too. RONALD    I was only--  It WAS a moral choice.  A decision that had to be made and no one was making it. EDMUND    Oh, so who'd you kill?  Cripples? RONALD    I ended the suffering of several decrepit-- VINCENT    [ROAR!] SOUND    CHAINS SMACK AGAINST CELL BARS RONALD    [half choking] Let go! EDMUND     Nobody's got arms that--! RONALD    [gasping]  Get someone!  You gotta-- [choking] EDMUND    Hey!  Hey! over here, ugly! SOUND    RATTLE OF CHAINS RONALD    [gasps for breath] SOUND    THUMPING FOOTSTEPS, RATTLE OF CHAINS EDMUND    Hah!  Gorilla!  Even you can't reach this far, eh?  SOUND    CELL DOOR BEING SHAKEN VICTOR    [growls] RONALD    [hoarse]  Thanks, pal. EDMUND    Don't thank me yet - I think those hinges are coming loose! SOUND    CELL DOOR BREAKS OPEN, RATTLE OF CHAINS RONALD    Oh, god!  No!  Release the gas!  Someone please release the gas!!!  [choking] VICTOR    [growls] SOUND    CHAINS RATTLING AGAINST BARS SOUND    TINNY CHAMBER MUSIC PLAYS OVER THE FIGHT NOISES EDMUND    Not the music!  The gas!  He's dying, for crying out loud!  RONALD    [expiring noise] SOUND    GAS MUSIC   SCENE 19.  OFFICE EDMUND    Horton, whatever I need to do, whatever I need to sign, just hand it over.  I ain't spending another night in this place. RUDY    You understand the consequences?  You won't have the slightest option of recanting again and going back to your original statement.  EDMUND    Yeah, yeah.  Anything - and I mean anything - is better than this freak show.  MUSIC   SCENE 20.  RECEPTION PARTY SOUND    GLASSES TINKLE, DRINKS BEING POURED DOCTOR LARSON    I'm so glad you find my program effective, Mr. District Attorney. D-A.    Well, I admit I had my doubts, when you first outlined it-- DOCTOR LARSON    You expressed concern about the danger of physical harm to the subject?  As you now see, there is never any direct physical contact.  Thus, there can be no allegations of physical harm or coersion. ROSE    He might have come close to dying with fright, though.  [teasing]  You were quite terrifying, darling. VICTOR    [growls jokingly, then fairly cultured voice]  After fifteen movies as monsters ROSE    And an apeman... VICTOR    [chuckles]  And one apemen, who wouldn't be? HECTOR    I'm rather glad I get to duck out early.  Murderers just [shudders] give me the creeps. TERRANCE    Hey, we're out of sham-pane.  Want me to go and get some more? HECTOR    Nah, I'll go.  Be right back!  D-A.     It seems like a lot of effort, though, for a single confession.  A lot of manpower.  [tip of the hat]  And woman power. DOCTOR LARSON    Ah, but it's valuable work on a number of levels.  We convince a murderer to confess, and we learn a great deal about the human psyche each time through the experiment. D-A.    Each time?  How many--? ROSE    Hmm...  [thinking]  I've had the screaming meemies four times-- RONALD    And I've nearly died... oh, three, I think. DOCTOR LARSON    Not all of them last as long as our good friend Edmund.  D-A.    I'll drink to that. MUSIC CLOSER OLIVIA    Now that you know how to find us, you'll have to come back.  Maybe next week?  Don't be a stranger - we have enough of those already...     INDIVIDUAL SPEECHES FOR THE "INMATES" FOR "ad lib" SECTIONS ROSE    I can feel them, all the time, watching everything I do - always making sure.  Always knowing.  I never get a moment alone, never a smidgen of privacy.  How can I live like this?  It's always the same - at first, they seem so nice, so different, then they turn on you, controlling you, having to know everything you do, and then they just don't let you do anything.  I couldn't even have a glass of water without getting permission. HECTOR    Sinner!  Be penitent and god may be merciful and end your despicable life - hah, raise your head in the presence of your condemnation, will you?  Created to sin, designed by Satan to tempt honest men from the path of righteousness.  Daughters of Eve, you share her taint!  You try and draw us into your web, to make us debase ourselves for your enjoyment!  Wickedness!  Temptress!  Succubus! RONALD    God moves in mysterious ways, for his decisions are inscrutable and his calling ineffable.  He has summoned me to his bidding, and I must obey.  There is no evil in ending the suffering of those that god would have called home to his presence.  He does not strike out in anger, but reaches forth to embrace his injured and damaged children, who need his solace.

Reissue of one of 19 Nocturne's earliest episodes (from October 2008). Includes notes from Julie about the history and making of 19 Nocturne Boulevard.  (transcript below cast list) THE THRICE TOLLED BELL (TW:  Insensitive archaic references and representations of people who might be in a "sanitarium".) An homage to classic Hammer films. Cast List Dracula - Bryan Hendrickson Van Helsing - Rick Lewis Wallace - Gene Thorkildsen Dr. Pettigrew -      Michael Faigenblum Miranda Locksley -      Rhys Torres-Miller Dr. Trevalian -      Mathias Rebne-Morgan Mrs. Farge - Molly Tollefson Gorvi - Joel Harvey Britt - Julie Hoverson Nurse - Krystal Baker MUSIC All works composed by Harlan Glotzer (© 2008) [BMI] {harglo@gmail.com} Concertina - Harlan Glotzer Violoncello - Rachael Beaver & Tracy Hagen Toy Piano - Dana Wen & Roger Nelson Clavichord - Dana Wen     Toy-Box Trio (http://www.myspace.cpm/toyboxtrio) toyboxtrio@gmail.com Voices recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound:   Julie Hoverson Assistant Director:  Reynaud LeBoeuf 19 Nocturne Theme Music:  Kevin MacLeod     (Incompetech.com) Cover Photo:   Vickie Mathews              (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's an Edwardian insane asylum, can't you tell?" __________________________________________________ THE THRICE TOLLED BELL intro   This was one of the first ten episodes of 19 Nocturne Boulevard that I made and put out, back in late 2008.  I can't recall, specifically, what order I made them in. I've mentioned previously that Brokensea audio hosted a new spooky episode every day in October for a big spooky month event, and several of my first batch of episodes debuted during that event. But this episode, in particular, is literally attributable to Bill Hollweg, the master of disaster of Brokensea, he who will ever be missed.  In the couple of months leading up to the October event, he posted a challenge to all comers, to write him a script with the following parameters: It must be in the style of a Hammer Studios Dracula film (the 1960s-70s classics that starred the mesmerizing Christopher Lee); It may only include Dracula and Van Helsing (no other Hammer standard characters or monsters); and It must include a broken bell, a wooden leg, and use the line "It's never done that before!" ...To the best of my memory, anyway. So I sat down and wrote The Thrice Tolled Bell, but then didn't want to give the script up to anyone else!  I don't recall if he had any other entries, but Bill took it all with a roaring laugh and loved what I made. I loved including the stock types of characters - the lunkheaded servant; the straight-laced housekeeper; and the sexy chick played by (in this case) my best Britt Eckland voice.  I even snuck in an obviously semi-nude scene, just because I could, and it fit the genre. This was also my first attempt at commissioning music, since for once I couldn't find *quite* what I wanted among the massive catalog (even back then) of Kevin MacLeod of Incompetech.com, who I can never thank enough for what he makes available for beginning and not for profit storytellers of all kinds.  I don't recall much of the process, but I got one piece of music that I used bits of throughout and it was quite effective. When I was casting this piece, I still had a limited pool to draw from, since I was trying to stay local and work mainly with people I could actually direct in the studio.  One of my actors, Beverly Poole, was still in high school, and the doctors in this piece were some of her classmates.  But I needed the right voice for Mrs. Farge, the irascible housekeeper. I was still seeking when I went to Beverly's school play Twelfth Night (which did a lot of gender cross casting, and Beverly played Malvolio to extreme hilarity), and the voice of Fabian (pretty sure that was the role) struck me and after the play I caught up with Beverly and shouted (well, not shouted, but it was excited and urgent) "Bring me that voice!" and Molly Tollefson was recruited, accent and all. I've never cared much for auditions.  Either doing them or holding them.  It's just me.  I'd always rather grab an actor I've heard, or recruit someone from a show I like than have to evaluate from a bunch of recorded voices.  Plus, I hate being "mean" and having to turn everyone else down. ____________________________________________________ SCRIPT THE THRICE TOLLED BELL (an homage to Hammer Studio horror films)   TW:  disrespectful references to sanitarium patients and a "halfwit" character, in keeping with the time the script is set as well as the general character types of the Hammer Films franchise.  ...also nudity.   Cast (All various British accents except Dracula): Dracula (M), immortal vampire Van Helsing (M), Vampire Hunter Dr. Michael Pettigrew (20s/M), new head of the asylum Miranda Locksley(20s/F), Pettigrew's nurse/fiancée Mrs. Farge (30s/F), housekeeper Gorvi (30s/M), trustee Wallace (40s/M), cheery orderly Dr. Trevalien (40s/M), rival Britt Mecklin (20s/F), hapless blonde Nurse (F any) OLIVIA      What do you mean, what kind of a place is it?  Why, it's an Edwardian asylum, can't you tell?  MUSIC SOUND      HEAVY DOOR CRASHES SHUT SOUND     FOOTSTEPS - ONE SET LIMPS ODDLY WALLACE     Right through here - sir, miss.  Now this is one of the saddest cases we have, sir, truth be told.  Once he was the finest psychiatric mind in Europe - perhaps even the world.  MICHAEL     Always tragic when a good mind snaps.  The same fire that feeds genius also devours and leaves madness in its wake. WALLACE     Yessir. MIRANDA     What sort of madness does he suffer from? WALLACE     Miss?  I dunno that I should-- MICHAEL     Go ahead, Wallace.  Miss Locksley is not merely my fiancée, but a very competent and highly trained psychiatric nurse.  We will be working in tandem to try and bring my late father's asylum into the 20th century. MIRANDA     [sadly] From what I've seen, it will take quite some doing. WALLACE     [stiff] Sir, I dunno 'bout that, but your father was a very good and brilliant man - though the last ten years or so, since your mother died, begging your pardon, sir, he seemed to lose interest in everything. MICHAEL     Did he - not even treat the patients? WALLACE      He left much of that in the hands of Dr. Trevalian.  MICHAEL     Why did he not send for me?  I could have spent my residency here instead of in Budapest.  I could certainly have learned as much from father as I did from Dr. Bulovic! WALLACE     Sir, if you don't mind me speaking above me place, I think your father - well, he didn't want you to see him... like that. MICHAEL     But I might have been able to help him! WALLACE     I don't think naught could have helped him - not at the end, there.  MICHAEL     [British agony] He should have sent for me. MIRANDA     Dearest.  He did what he thought was best.  I'm sure your father thought very highly of you - otherwise, why should he have left this institution under your care? MICHAEL     Of course, you're right.  [condescending] Always the practical one. MIRANDA     One of us needs to be, and you must save your energy for the needs of the patients. MICHAEL     Well, show us this paragon, Wallace. WALLACE     Sir? MICHAEL     The doctor you say was so sadly struck down. WALLACE     Oh, yes sir - sad it is to see great men crumble.  SOUND     KNOCK ON HUGE IRON BOUND DOOR WALLACE     Herr Doktor?  Young Doctor Pettigrew wishes to speak with you. VAN HELSING     [muffled, behind the door] Enter. WALLACE     Ah.  Here we go, then.  SOUND     OPENING LOCKS AND BARS ON DOOR WALLACE     Dr. Pettigrew, Miss Locksley--  [ta-da!] Doctor Van Helsing. MUSIC GORVI     Gorvi done mopping.  Gorvi eat now? MRS. FARGE     Tis not dinner time yet, ye pillock.  Yer s'posed to muck out the barn t'make room for that motorcar the new head brought wi' 'im. GORVI     Mo-to-cah?  What is mo-to-cah? MRS. FARGE     An engine of Satan.  If god had wanted us to speed about in great smoking heaps of metal, he wouldn'a made horses. GORVI     [wail] Gorvi hungry! MRS. FARGE     Off wi' ye!  I've no time for this today - must have everything ready for inspection by the new head.  And here's hoping he doesna choose to sack us all.  Shoo! SOUND     GORVI LEAVES - HEAVY FOOTSTEPS, RICKETY DOOR OPENS, CLOSES AMBIANCE     OUTSIDE BRITT     [off, barely audible, singing]  When that I was and a little tiny boy-- GORVI     [leering chuckle] SOUND     FOOTSTEPS ON GRASS SPEED UP GORVI     Pretty pretty britty.  Pretty... golden... BRITT     With a hey-ho, the wind and the rain-- SOUND     FINGERS SQUEAK ACROSS GLASS, TINY WINDOW SLIDES OPEN - SINGING IS NOW CLEAR, WITH SLOSHING OF WATER, BATHING GORVI     Oh-ho! BRITT     A foolish thing was but a toy, for the rain it raineth every day... GORVI     [smothering his delighted chuckles] SOUND     DRIPPING AS A LEG IS RAISED OUT THE WATER.  BRUSH SCRUBS BRITT     Hey-ho, the wind and the rain, for the rain it raineth every day... GORVI     [Bursts out with a shriek of delight] BRITT     What?  [gasps]  Oh no! SOUND     HEAVY FOOTSTEPS RUNNING ON GRAVEL GORVI     [breathing heavily]  No scream, no scream.  Gorvi not bad.  No scream, pretty Britty. SOUND     SHIFT TO INSIDE BRITT     [screams piercingly] SOUND     [INSIDE] DOOR OPENS, FEET RUSH IN NURSE     What is it miss? BRITT     Someone was looking at me!  A man! NURSE     [condescending, fading out]  Of course.  Don't you worry.  We'll sort it all out... SOUND     SHIFT TO OUTSIDE SOUND     GORVI RUNNING GORVI     [panting with exertion] SOUND     OPENS HUGE OLD DOOR, RUNS IN MUSIC MICHAEL     After Wallace's admonitions, this is hardly what I expected. VAN HELSING     I am quite aware of my condition, my dear doctor Pettigrew.  You're fortunate enough to catch me on a good day.  MICHAEL     Perhaps you would indulge me with your own diagnosis? VAN HELSING     Simple, really.  Bouts of severe depression, which, I am ashamed to admit, I... treat... unsuccessfully... with over-use of alcohol. MICHAEL     Dipsomania? VAN HELSING     I would consider it more a symptom than a core disease, but you understand how difficult it is to be objective. MICHAEL      I appreciate your frankness. MIRANDA     I trust you are comfortable here, doctor - this is hardly a typical cell.  More like a suite in an expensive hotel. VAN HELSING     Dr. Pettigrew - the elder - was very kind, and understood that reading... helps me to ...moderate... my humors. MICHAEL     If only more patients could respond to such simple, constructive therapies.  [chuckles] VAN HELSING     [slight chuckle, indulgent] MIRANDA     The human mind is a fabulous, complex organ.  VAN HELSING     It is amazing. MUSIC AMBIANCE     ECHOEY ROOM - ABANDONED CHURCH GORVI     [muttering] Pretty pretty.  Gorvi likes pretty golden Britt.  [heavy sigh]   Britty no like Gorvi.  Gorvi only look. DRACULA     [creepy echoey voice]  Do you want her? GORVI     Who... is there?  Please? DRACULA     [creepy echoey voice]  Help me, and I shall help you in return. GORVI     Where are you?  Gorvi is alone? DRACULA     [creepy echoey voice]  Return later and bring a shovel.  I shall show myself. GORVI     You - new doctor? DRACULA     [creepy echoey voice]  Do you want this pretty Britt you long for? GORVI     Oh, want!  [licks his lips]  Yes. MUSIC AMBIANCE     DINNER NOISES SOUND     LARGE PLATTER SET DOWN MIRANDA     [cold] Thank you, Mrs. Farge.  SOUND     FOOTSTEPS TAP AWAY MIRANDA     [anxious]  Are you certain you want to do this, Michael?   I realize your father-- TREVALIAN     They expect it, even look forward to it.  Besides, they should be given the chance to meet the two of you.  You needn't worry, it is only the most stable of the inmates. SOUND     FEET RETURN MRS. FARGE     [announcing] Miss Mecklin. TREVALIAN     Miss Locksley, Dr. Pettigrew, may I present Miss Britt Mecklin. BRITT     Pleased to meet you, Doctor.  Miss Locksley. MICHAEL     Charmed. MIRANDA     Lovely. TREVALIAN     Will you have a seat? SOUND     CHAIRS SHIFT AS HE SEATS HER, THEN THEY SIT MIRANDA     It would be somewhat indelicate to discuss cases during dinner.  There will be time tomorrow to familiarize ourselves-- MICHAEL     Of course. BRITT     I have nothing to hide.  I have come to realize that it is only in my subconscious that people watch me.  Understanding it is all in my head does not stop it from frightening me, but makes it more bearable. MICHAEL     [reassuring] We shall work on that. MUSIC AMBIANCE     STORMY NIGHT OUTSIDE ECHOEY STONE ROOM SOUND     SQUEAKY DOOR OPENS, GORVI'S FOOTSTEPS GORVI     Gorvi brings shovel! DRACULA     [creepy echoey voice]  Have you light? GORVI     Gorvi have a candle. DRACULA     Do you see the bell? GORVI     Bell?  DRACULA     The bell.  You must move the bell. GORVI     No bell.  Gorvi see no bell. DRACULA     It is metal.  It is large.  Move it, or I shall unleash the fires of hell upon you! GORVI     Ahhhhh! SOUND     SHOVEL CLATTERS TO FLOOR, FEET RUN, SLAM MUSIC SOUND     WATER INTO METAL TUB.  DISHES BEING WASHED SOUND     DOOR SLAMS OPEN MRS. FARGE     Don't you dare--! [surprised] Oh! Lucas! TREVALIAN     Lena.  I simply couldn't take it any more.  Having to kow-tow to that ... boy doctor and his miserable cold fiancée. MRS. FARGE     Lucas.  You shoulda been put in charge! TREVALIAN     I know.  [snarl] Blood runs thick.  MRS. FARGE     Dr. Pettigrew shouldna've looked over yuir years o'loyalty - Yuir unstinting devotion! TREVALIAN     There's no time for that now.  We must bide and see what they decide to alter -- SOUND     BACK DOOR SLAMS OPEN, GORVI RUNS IN MRS. FARGE     What the divvil is wrong with ye, y'idiot? Running about in the rain like a madman! TREVALIAN     Calm yourself, Lena. MRS. FARGE     Tis easy for ye to be charitable.  Ye dinna haveta squeeze work outta him like blood from a turnip.  Turnip!  That's what y'are! GORVI     Gorvi not turnip.  Gorvi scared. TREVALIAN     What frightened you? MRS. FARGE     [over her shoulder] Perhaps a slight breeze. TREVALIAN     Shh.  Gorvi, tell me everything. MUSIC SOUND     VAN HELSING'S DOOR UNLOCKS, OPENS VAN HELSING     Right on time. WALLACE     'Ave I ever missed?  SOUND     DOOR SHUTS, WOODEN LEG FOOTSTEPS WALLACE     Were it a good idea, d'yer think, to tell them you was an alcoholic?  VAN HELSING     I needed a reason for my presence here that wouldn't require overmuch explanation.  Speaking of spirits, have you--? WALLACE     [chuckling]  'Course.  Would I let yer down? SOUND     SITS.  ODD, HEAVY UNSCREWING NOISE VAN HELSING     Your thoughts on the new administrators? WALLACE     Well, 'e'll never 'ave an 'appy life, not wit' that one.  She's cold, and no mistake. VAN HELSING     Truer words were never said. WALLACE     'Ee seems... well-intentioned... but I don't see 'ow you'll be able to tell 'im much.  Not wi'out proof. SOUND     BOTTLE PULLED OUT OF WOODEN SHELL WALLACE     And there y'are.  Better use for me wooden leg, I'll never know.  [hinting] 'Cept the one... SOUND     BOTTLE OPENS VAN HELSING     Care to stay for a game of chess before you strap it back on? WALLACE     Don't mind if I do. MUSIC AMBIANCE     STORMY NIGHT GORVI     There door.  Gorvi no go in again. TREVALIAN     In the old chapel?  Dr. Pettigrew always insisted it was on the verge of falling in.  [sigh, to Gorvi]  Not safe.  No go in. GORVI     He say Gorvi move bell.  He yell at Gorvi. TREVALIAN     Poor halfwit.  TREVALIAN     Run along back to the kitchen, Gorvi.  No need to wait out here in the wet. GORVI     Doctor be careful! TREVALIAN     Of course.  Go on. SOUND     GORVI RUNS OFF SOUND     SQUEAKY OLD DOOR OPENS TENTATIVELY TREVALIAN     Hmm.  Sounder than I expected. SOUND     DOOR SHUTS, MUFFLES SOUND OF RAIN SOUND     TAP ON WALL TREVALIAN     Here's the shovel-- SOUND     PICKS UP SHOVEL TREVALIAN     And that must be the bell... SOUND     SLOW FOOTSTEPS TREVALIAN     That explains a lot - who's ever seen a huge bell sitting on the floor?  Hardly even recognizable under all those cobwebs.  Must have fallen... DRACULA     [creepy distant whisper, piteous]  Help me. TREVALIAN     Hello? DRACULA     Help.  Please.  The bell.  It came down and trapped me. TREVALIAN     I see.  Hmm.  [thinking]  Wait, the cracks in the flags below it are... covered in dust - that bell fell ages ago! DRACULA     Please.  Help. TREVALIAN     Where could that voice be coming from? DRACULA     [closer whisper, becomes command]  Move the bell.  Anything you want - it will be yours. TREVALIAN     I doubt you could give me what I truly want. DRACULA     Oh, yes.  I can give you such things....  Come, close to the crack in the bell, and tell me what it is you... crave. MUSIC MICHAEL     Darling? MIRANDA     Yes, Michael? MICHAEL     Do you think you can stick it here? MIRANDA     Of course.  You know I'm fully prepared to take on anything you need me to do. MICHAEL     I know, but - well, you won't hate it or anything, living in the country like this? MIRANDA     I shall immerse myself in work.  Just as you will.  Side by side. MICHAEL     Should I--  May I-- sit next to you there on the settee, then? MIRANDA     Michael!  We are to be wed in the spring.  I just want to make certain - living here without a proper chaperone, and all--  MICHAEL     Of course, darling.  I - I think I shall turn in.  Get an early start in the morning. MIRANDA     That sounds very wise. SOUND     TAP ON DOOR MIRANDA     Yes? SOUND     DOOR OPENS, MRS. FARGE ENTERS, PICKS UP TRAY MRS. FARGE     Did ye need anything further tonight? MIRANDA     No, we were--- SOUND     IN THE DISTANCE, A BELL TOLLS SOUND     TRAY CLATTERS TO FLOOR MRS. FARGE     [gasp!] MICHAEL     Why Mrs. Farge, whatever is the matter? MRS. FARGE     [haunted]  That be the bell up t'old kirk.  MICHAEL     Come, now, it's never done that before? MRS. FARGE     [ominous] Nay - I've been here nigh on 15 years, and that bell has nivver rung. SOUND     FOOTSTEPS AWAY MRS. FARGE     [slightly off] But I wouldna go seeking it - not even if m'very life depended on it. MUSIC VAN HELSING     [considering]  Mmm.  Check. SOUND     BELL TOLLS IN THE DISTANCE WALLACE     Wazzat? VAN HELSING     What? WALLACE     [worried] The bell - don't you hear it? VAN HELSING     Nonsense.  Hmm....  Go and check it.  If it is, we might have a problem on our hands. SOUND     BELL TOLLS IN THE DISTANCE WALLACE     I'll get going-- SOUND     QUICKLY STRAPPING LEG BACK ON VAN HELSING     Wait!  Just in case. SOUND     BOTTLE SLOSHES WALLACE     Is it--? VAN HELSING     It should help. WALLACE     Every bit does.  Leave the door open, shall I? MUSIC BRITT     [waking]  Eyes!  Someone at the window?  [muttered] I will not go look.  I will not-- SOUND     TAPPING AT THE WINDOW DRACULA     [creepy voice]  Open the window that I may bask in your radiance. BRITT     [breathing heavily, bosom heaving] It is not real.  I must take my solace in the lord. SOUND     OPENS DRAWER, TAKES OUT BIBLE BRITT     God, please give me strength! SOUND     SOMETHING FLAPS AWAY INTO THE NIGHT, ANNOYED MUSIC MICHAEL     Are you certain you'll be all right?  I could bring in a cot - there's a couch in my dressing room--? MIRANDA     No, Michael, I will be fine.  Kiss me quickly and go to bed. SOUND     QUICK KISS MIRANDA     Sleep well. SOUND     DOOR SHUTS MIRANDA     [sighs]   Men.  [chuckles]  SOUND     RAP AT THE WINDOW, BUT SHE DOESN'T NOTICE DRACULA     [distant, creepy, heavy breathing]  Yessss. SOUND     LETS HER HAIR DOWN, BEGINS TO REMOVE CLOTHES MIRANDA     [humming to herself] SOUND     HEAVY GOWN LAID ON THE BACK OF A CHAIR SOUND     STEPS APPROACH THE WINDOW SOUND     TAPPING SOUNDS ON THE GLASS DRACULA     [creepy whisper]  Open the window. MIRANDA     Hmm?  MIRANDA     How vexing.  Tree branch?  We'll see about that--! SOUND     LATCH TURNS MUSIC MIRANDA      [Off, scream!] MICHAEL     Good god! SOUND     FLINGS OFF BEDCLOTHES, FOOTSTEPS MICHAEL     [calling] Miranda!  Darling!  I'll be right there! SOUND     DOOR FLINGS OPEN, A FEW STEPS.  DOORKNOB RATTLES, POUNDING ON THE DOOR MICHAEL     [frantic]  Miranda!  Open the door! SOUND     KNOCKING MICHAEL     I'm coming in! SOUND     HEAVY THUMP MIRANDA     [calling from behind the door, spooky sounding]  Michael?  Whatever are you doing? MICHAEL     Are - are you - all right? SOUND     DOORKNOB RATTLES MIRANDA     [close now] Of course, darling.  I woke from a... strange dream.  Nothing to fret over. MICHAEL     [off] If... you're... quite certain. MIRANDA     When am I not? MICHAEL     [off] Well.  Sorry.  I-- MIRANDA     Go back to bed, dear.  We'll talk tomorrow. SOUND     [off] MICHAEL'S FOOTSTEPS RECEDE MIRANDA     [long sigh]  Well...? DRACULA     [husky] Very good, my most delectable one... SOUND     SEXY NECK NIBBLING MIRANDA     [ecstatic gasp] MUSIC SOUND     WOODEN LEG STEPS SOUND     BRISK KNOCK ON A DOOR WALLACE     Doctor, sir?  It's morning, it is. MICHAEL     Come on in, Wallace.  I'm up.  SOUND     DOOR OPENS, STEPS APPROACH MICHAEL     Is Miranda-- Miss Locksley up? WALLACE     Feeling poorly, she says.  Wooden even 'ave the drapes open.  Travel don't suit 'er? MICHAEL     Hmm.  I suppose I might breakfast with Dr. Trevalian, then. WALLACE     I ain't sure where 'e can be found, sir.  Went out last night and ain't come back.  MICHAEL     Does he do that often? WALLACE     Can't say, sir. MICHAEL     [sigh]  I hate to breakfast alone. WALLACE       Ahem, sir.  Doctor Van Helsing would be glad of your company. MUSIC MRS. FARGE     Gorvi!  Gorvi! Where is that bloody idiot? SOUND      DOOR OPENS GORVI     [whimper] MRS. FARGE     What the divvil is wrong wit' ye, ye mongrel?  Get out here! GORVI     [whimpering]  Gorvi no like! MRS. FARGE     Gorvi like breakfast? GORVI     Yes.  Please. MRS. FARGE     Gorvi will get up and work, then! GORVI     Aye, Mrs. Farge. MRS. FARGE     Go fetch some water from the well, ye brute - and while you're out, you might look where you last left Lucas-- Dr. Trevalien, that is - and see wha' he's been up to all night. GORVI     No!  No go to old door!  No! MRS. FARGE     I'll get the whip! GORVI     [whimper] SOUND     SCUTTLES OUT THE DOOR MUSIC SOUND     VAN HELSING'S DOOR OPENS VAN HELSING     Come in, dear fellow!  Wallace? WALLACE     [leans in] Yessir? VAN HELSING     [muttered] The chapel? WALLACE     [muttered] Never made it, sir, the inmates was restless last night. VAN HELSING     Today then? WALLACE     Better anyway.  [significant]  Better light. VAN HELSING     I hope so. SOUND     MICHAEL ENTERS MICHAEL     Sorry?  Do you mind if I sit down with you? VAN HELSING     Never meant to exclude you, dear boy.  Simply thought I'd heard something last night that couldn't have been. MICHAEL     The bell? VAN HELSING     You heard it as well? MICHAEL     Of course.  Why? VAN HELSING     Would you do me an enormous favor? MICHAEL     If I can - I have a busy day ahead of me, and Miranda's - a bit under the weather. VAN HELSING     Soon as we finish here, then, go along with Wallace to the old chapel.  Take a look at the bell.  Would you? MICHAEL     Why? VAN HELSING     [considers]  Hmm.  That's a tale for after you've looked.  [changing tone, chatty]  Do you, by any chance, play chess? MUSIC SOUND     KNOCK ON THE DOOR MIRANDA     [dead tired] Go away! MRS. FARGE     Dinna want to start organizing everything? MIRANDA     Oh, blast.  SOUND     STUMBLING FEET, DOOR OPENS MIRANDA     Can you help me?  I feel weak as a kitten. MRS. FARGE     You do look a wee bit pale.  I'll fetch something hearty to drink. MIRANDA     [shudder] I couldn't face anything heavy. MUSIC AMBIANCE     OUTSIDE SOUND     WALLACE AND MICHAEL WALKING OUT TO CHAPEL MICHAEL     Humoring a delusion is not the right answer - in most cases. WALLACE     You 'eard the bell, too, sir. MICHAEL     But why go look at a bloody bell? SOUND     DOOR CREAKS OPEN WALLACE     Come along, then. SOUND     FOOTSTEPS GO IN, SLOW, THEN STOP SOUND     DOOR SHUTS WALLACE     [quiet but fervent] Oh, my gracious lord. MICHAEL     What is it?  Oh!  That must have been-- SOUND     DASHING FORWARD MICHAEL     [urgent] Help me move it! WALLACE     I fear it's too late for Dr. Trevalian. MICHAEL     Help me! BOTH     [grunting and heaving] SOUND     BELL ROLLS, BUMPS, AND THUMPS INTO A WALL MICHAEL     Good god! WALLACE     Sir? MICHAEL     You're right.  He's gone.  That thing must have fallen and crushed him. WALLACE     Shouldn't there be more blood, sir? MICHAEL     Not necessarily.  We'll get him back to the infirmary and take a look. WALLACE     I'll go for a stretcher, then, shall I? MICHAEL     Just a moment!  Is this the bell we heard? WALLACE     Yes, sir. MICHAEL     [echoey - inside the bell] But there's not even a clapper! WALLACE     'asn't been rung in decades, sir. MICHAEL     What are all these markings on the inside? WALLACE     Wouldn't know, sir.  Though I don't doubt Doctor Van Helsing could 'elp you. MICHAEL     [coming out] Really - why would he--? WALLACE     I think 'e was 'ere when the bell fell, sir. MICHAEL     It must have been sitting here - the clear circle on the ground - but this is odd-- MUSIC SOUND     DOOR BURSTS OPEN, MICHAEL STORMS IN MICHAEL     I demand an explanation.  Who, precisely, was trapped under that bell? VAN HELSING     [calm] What? MICHAEL     I saw the marks of fingernails!  Trying to scratch a way out!  Wallace said you were there, along with my father.  I want to know what you did. VAN HELSING     Sit.  [up]  Wallace? WALLACE     Yes, Sir? VAN HELSING     Please check on the residents, particularly any comely females. SOUND     WALLACE GOES OUT, SHUTS DOOR CAREFULLY VAN HELSING     Now, my boy... MICHAEL     You're not "mad" at all, are you?  You've lived here all this time-- VAN HELSING     Shh. Shh.  You need to hear this.  15 years ago, your father called upon my services to help him with a rather difficult problem - a rash of unusual deaths and nightmares among the female inmates.  Having had a great deal of experience with such obsessions and delusions, I was able to spot the problem immediately - a vampire. MICHAEL     [incredulous] A vampire?  One who believes he must steal life from the living?  VAN HELSING     No delusion - a true creature of the night. MICHAEL     Preposterous! VAN HELSING     Humor an old man.  This was not just any vampire, but Dracula - the lord of all vampires, whom I have sworn to destroy.  MICHAEL     But the bell? VAN HELSING     We trapped him.  Blessings etched on the inside - some from when it called the faithful, others we added - kept him penned.  Simply putting a stake through his heart, as would do for most vampires, is not sufficient for Dracula.  Far too simple for those who follow the dark arts to summon him back across the dark divide! MICHAEL     But there must be a way-- VAN HELSING     What do you think I have been researching all these years?  I believe I have the answer, but first we must locate him. MICHAEL     Why should I believe any of this? VAN HELSING     Ask your fiancée. MUSIC MRS. FARGE     Let me fetch the doctor. BRITT     Yes.  You can't be too careful! MIRANDA     [trying to be strong] Nonsense.  I'm just tired.  I'm... not used to the country. BRITT     Someone was looking into my room last night. MRS. FARGE     Nonsense.  You know that's all in your mind. BRITT     No, it was real!  Eyes.  At the window. MIRANDA     Red eyes? BRITT     You saw them too? MIRANDA     [evasive] Don't be silly.  How could it be? SOUND     DOOR BURSTS OPEN, FEET DASH IN, THEN STOP MIRANDA     [gasp] MICHAEL     Oh, goodness.  I'm sorry, but darling, there's something I must ask-- VAN HELSING     [coming on, commanding]  Remove that scarf and show us your neck, if you please. MIRANDA     [gasps and faints noisily] SOUND     BODY DROP MUSIC VAN HELSING     --resting normally.  Despite the slight anemia, she should recover.  We must watch her very closely, though, my young friend. MICHAEL     How could this have happened?  Miranda is the most sensible of women-- VAN HELSING     Does it take a fanciful mind to be attacked by a rabid dog?  No!  In fact, a more fanciful mind is often better prepared to ward off such evil.  Witness Miss Mecklin. BRITT     Me? VAN HELSING     What did he say to you, at your window? BRITT     It was just noises - scratching. VAN HELSING     Come now, there were words - if not in your ears, then in your mind, were there not? BRITT     [sniffling] It's my subconscious.  Not real. VAN HELSING     This time, I'm afraid, is much different.  You must help us. BRITT     He just said "open the window".  VAN HELSING     But it was definitely a "he?" BRITT     It is always men who are watching me. VAN HELSING     Did he say where he might hide by day? BRITT     No.  I am so sorry! VAN HELSING     Never mind.  You did well.  Keep your bible close tonight. BRITT     Oh, yes! MUSIC GORVI     [muttering]  No more for Gorvi.  He will sleep now.  No more work.  Gorvi will-- SOUND     DOOR OPENS, QUICK STRUGGLE DRACULA     [hissing whisper]  Silence! GORVI     [hand over his mouth]  Mmm! DRACULA     Shut the door. SOUND     DOOR SHUTS DRACULA     You did not release me, but I can overlook that, if you will serve me now. GORVI     [muffled] Mm-hm! [yes] DRACULA     Good.  I still know what you want.  The oh-so-lovely miss Britt. GORVI     [muffled] Mm-hm! [eager yes] DRACULA     Then this is what you must do... MUSIC SOUND     DOORS BEING LOCKED, WINDOW SHUTTERS SECURED VAN HELSING     I appreciate your humoring me, Michael. MICHAEL     Of course. VAN HELSING     Bringing everyone here to my rooms. MICHAEL     I assume you think we may be safe here? VAN HELSING     As safe as anywhere else. MIRANDA     How can we all sleep? VAN HELSING     You may lie on the couch, if you need to.  Michael and I will remain awake.  On guard. BRITT     I can help guard as well. VAN HELSING     Did you bring your bible? BRITT     I could not find it! VAN HELSING     Never mind, I think we have whatever we may need.  Wallace? WALLACE     [grim] Absolutely, sir. MICHAEL     What if he doesn't come here? VAN HELSING     He must.  I circled the patient rooms and staff quarters with poppy seeds and salt.  He will never get across that.  MICHAEL     So he will have to come here, or--? VAN HELSING     --or starve. MUSIC     TIME PASSES VAN HELSING     We can slow him with spells, or stake him through his heart, but to truly banish his soul to the purgatory he so richly deserves, only holy water will suffice - and not a mere sprinkling, a veritable dousing. MUSIC     TIME PASSES VAN HELSING     Vampires are irredeemably evil.  The only way to save miss Locksley from this hellish fate is to destroy this monster before she loses the last spark of humanity.  As long as her soul does not depart her body, she can be saved. MUSIC     TIME PASSES SOUND     MOST ARE SLEEPING VAN HELSING     This will be it.  Are you ready? WALLACE     Can't wait to see how it turns out, sir.  VAN HELSING     Good man. SOUND     KNOCK AT THE DOOR VAN HELSING     Ah...  It begins. GORVI     [muffled] Gorvi is alone?  Let Gorvi in! WALLACE     Bloody idiot. VAN HELSING     You may be more correct than you know.  Wait for my signal.  Michael, wake up, get the ladies into the dressing room, back there.  Whatever you do, do not open the door until you are certain it is morning - you may have to restrain miss Locksley, if Dracula has enough of a hold over her.  Can you? MICHAEL      Yes, I think so. VAN HELSING     Move, then.  There's a good lad. VAN HELSING     Take this-- SOUND     RATTLE OF NECKLACE CHAIN VAN HELSING     It offers some protection. SOUND     CROWD GOES OUT, DOOR SHUTS VAN HELSING     Now. WALLACE     Right.  Gorvi?  Is there anyone with you? GORVI     [muffled, but clearly lying] No.  Who would be with Gorvi? VAN HELSING     [laugh] No one alive.  Throw open the gate. WALLACE     A'right.  Just a moment. SOUND     DOOR THUMPS VAN HELSING     [hissed] Stay back. SOUND     DOOR SLAMS OPEN, HITS WALLACE WALLACE     Uhh! SOUND      BODY DROPS AND SLIDES ACROSS FLOOR VAN HELSING     Wallace! WALLACE     uhh...[out cold] SOUND     HEAVY BOOTS STRIDE CONFIDENTLY INTO ROOM VAN HELSING     Dracula! DRACULA     You stand between me and destiny, old man.  Step aside and I shall kill you quickly. VAN HELSING     Never.  Back, foul fiend! DRACULA     [hisses]  You believe you can tame me?  I have seared my flesh on your so-clever prison walls so many times, I have scars. VAN HELSING     And yet, you do not approach. DRACULA     Only a fool uses his hands to dig when he has a shovel... Gorvi! GORVI     [flying leap] Master! SOUND     BODY DROP - CROSS DROPS VAN HELSING     Unh! DRACULA     [evil laugh]  And now, my most precious enemy, prepare to meet your well-deserved fate! SOUND     DOOR SLAMS OPEN MICHAEL     No! SOUND     MICHAEL STORMS IN VAN HELSING     Dammit, boy!  You've ruined it!  Do what you want with me-- DRACULA     Of course, herr doktor!  You have always cared more for others than for yourself.  [commanding, hot] Come to me, my darling! MIRANDA     [breathless] I must go--! MICHAEL     No!  Get back! BRITT     Miss Miranda, you can't! GORVI     Britt! MIRANDA     [snarling]  Let me pass, strumpet! SOUND     SHORT CATFIGHT MIRANDA     Ugh! [hurling Britt] SOUND     BRITT ENDS UP IN DRAC'S ARMS GORVI     [upset] Britt! DRACULA     A gift?  For me?  You are too kind. MIRANDA     My love!  You don't want her! DRACULA     She is merely the aperitif, my dearest darling - [hot] you alone can satisfy me. MIRANDA     [ecstatic sigh] DRACULA     Now, my pale blonde flower.. BRITT     [struggles for a moment, then goes limp with a sigh, breathing hard] SOUND     FANGY NOISE GORVI     No!  Gorvi wants Britt! VAN HELSING     Wallace!  Ready! DRACULA     Imbecile! SOUND     THUMP AS GORVI HITS DRACULA SOUND     HEAVY THROW, BODY HITS WALL, NECK CRUNCH GORVI     [dying noises] DRACULA     Miranda, show your devotion - come and hold this delectable morsel for me. SOUND     RUNNING FEET WALLACE     Yaaaah! VAN HELSING     Kick him! DRACULA     [very slight] Oof.  WALLACE     [struggling] DRACULA     [chuckles nastily] And now what do you do?  I have your leg. WALLACE     [triumphant] Yes! SOUND     CLICK, SMALL EXPLOSION SOUND     MUCH WATER SPLASHES, HISSING BURNING NOISE DRACULA     What?  No!  [shrieking in agony] Ahhh! MICHAEL     Good God! VAN HELSING     Holy water!.  DRACULA     But how?  I would have seen a bottle.  Ahh! VAN HELSING     Wooden leg.  WALLACE     And a small blasting cap. DRACULA     Ahh! [receding] SOUND     LIQUIDY HORRIBLE PUDDLY NOISE WALLACE     Uh, Sir?  Can I get a hand? VAN HELSING     Certainly.  I'll even give you a leg up. MUSIC END  

Reissue of one of 19 Nocturne's earliest episodes (from October 2008).  Includes notes from Julie about the history and making of 19 Nocturne Boulevard. MAKING BOOK [warning - mature language and violence] Retired safecracker Fay James has to do one last job, to save her brother Rusty from leg-breakers - but what they  steal turns out to be dynamite!   Cast List Fay James - Julie Hoverson Rusty James - Reynaud LeBoeuf Mr. Broadstreet - Cole Hornaday Jimmy - Jake Stratton Jordan - Greg Porter Gertie - Jody Montague Bank phone voice - Beverly Poole Music:  Kevin MacLeod (Incompetech.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound:   Julie Hoverson Cover Photo:  Konrado Fedorczyko (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's a rich man's study - where else would you find...burglars?"     TRANSCRIPTS Intro material then the full script MAKING BOOK with intro   This was one of the first ten episodes of 19 Nocturne Boulevard that I made and put out, back in late 2008.  I can't recall, specifically, what order I made them in, which may seem odd, but I was determined to have a bunch ready to go when I debuted the series - in October, naturally - to make sure they would come out on time, which would help me establish the series and its credibility.  Even back then, shows came and went with the wind. By the time I was prepping to start, the wonderful and always missed Bill Hollweg of Brokensea audio announced that Brokensea was going to put out or host a new episode every day in October for a big spooky month event, so I volunteered 4 episodes to debut there (I think I actually ended up sharing 6 with them, but again - it was a while ago).  BrokenSea was a big part of most audio drama fandom at the time, and it was a great way to quickly get 19 Nocturne Boulevard out to the audience they already reached. So these episodes first debuted in Brokensea's feed, then when I put them up myself, I was still piggybacking on the feed of The Unspeakable and Inhuman, which I will talk about in another intro.  That's why my own libsyn listing doesn't have a full list, in order, for me to consult to recall precise dates. I warn that Making Book has "foul language", but the language in this episode is incredibly tame, compared to several other of my stories.  This is because when I wrote it, I was still working with an old time radio mentality, and the language in this would be considered unbroadcastable, for the 1940s.  While we recorded this - we were still working in Ryan's basement studio, with his excellent help, back in those early days - and the hardest thing to record was the screaming. Screaming is one way to quickly overpower a microphone, so it has to be carefully placed, gained, and modulated.  I amazed everyone with the length and breadth of the screams I was able to produce. The main monster fx were mainly me making mouth noises, then playing with various ways to tweak the sound.  I'm quite pleased with what I came up with in all that.  This was very early days in my learning how to sound edit, and yet I managed some really good stuff.  The hardest sound to find was the sound of the lights turning off in the bar.  Go figure. The music in this episode is all from the amazing Kevin MacLeod of incompetech.com, including "Netherworld Shanty", the piece I adopted as the 19 Nocturne Boulevard theme song. Mike Flowers helped me with doing a bit of sound tuning and will be helping me with episodes for as long as he can put up with me! If you want to listen to this story without all this intro jibjab, the original is still available through the episodes page on my website at 19nocturneboulevard.com, or do a quick search on our libsyn page at nineteennocturne.libsyn.com The script of the episode follows.   MAKING BOOK "This episode has some foul language and excessive violence and may not be suitable for all listeners.  Please listen responsibly."  Cast: Olivia [host, intro] Fay James (F/26), reformed safecracker and strip club dancer Rusty James (M/23), unreformed gambler Simeon Broadstreet (M/40s), spooky client Jimmy (M/40s), sleazy bartender/boss Jordan (M/30s), mysterious stranger Gertie (F/40), another dancer John (M/any) Bank Phone voice (any) Teacher (any) OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a rich man's study, can't you tell?  Where else would you find... a safecracker? SCENE 1.    THE HEIST MUSIC    MISSION IMPOSSIBLE STYLE CAPER MUSIC SOUND    SILENCE.  A COUPLE OF QUIET CLICKS [NOTE    THEY WHISPER THROUGHOUT THIS SCENE.] RUSTY    Fay!  FAY    [startled]  Huh?  Crap!  Rusty, shut your pie-hole!  You'll make me lose the damn-- RUSTY    Don't swear, Fay. [note:  while Fay is relatively foul-mouthed, I kept it low-key in this because I set the story in the 1940s, as a classic-style radio story.] FAY    Rusty...! RUSTY    A car just turned in! FAY    Then cork it and let me finish this damn thing, or we can get the hell out right now. RUSTY    [annoyed and disappointed] Fay! FAY    Watch the damn window and freaking shut up! RUSTY    Ok. SOUND    CLICKS MUSIC   SCENE 2.    THE GETAWAY SOUND    IN A CAR, DRIVING RUSTY    [annoyed sigh] FAY    [breaking an uncomfortable silence] Sorry.  I get so tense when I'm working. RUSTY    [sullen] I know. FAY    I said I'm sorry.  I should ... I should be more careful what I say. RUSTY    You're never gonna do anything with your life if you don't start talking more nicer. [note:  they both speak with the poor grammar of the "stereotypical gangster" and thus this is ironic] FAY    [chuckles] Hey, who's the older sister here? RUSTY    Not me - I don't got the parts.  But seriously, sis - You always looked out for me, I'm just trying to return some.  Besides, I get all clenched up inside when you start spouting off like that. FAY    I'll work on it.  Speaking of who's looking out for who - if this all comes off, you're clear, right? RUSTY    [sheepish] Yeah. FAY    You know I don't wanna do this again - I've mended my ways and all that bullsh-- all that ... bull. RUSTY    Mr. Broadstreet's paying ten Gs.  That should get me clear. FAY    And then you stop. RUSTY    Stop? FAY    You know. RUSTY    It's usually not that big a-- FAY    Rusty.  You need to stop.  Just cut it out.  Cold turkey.  Don't you watch Dr. Phil?  Gambling is an addiction - there are support groups and everything. RUSTY    I guess. FAY    Tell you what, maybe we both see if we can quit - me with the bad words, you with the bets.  Just for a month.  Whatya say? RUSTY    [long sigh]  Let me deal with this first, OK? FAY    [sigh] Yeah. SOUND    RATTLE OF PAPER WRAPPED PARCEL BEING TURNED OVER IN RUSTY'S HANDS RUSTY    What do you think it is? SOUND    SHAKES IT [no rattle] FAY    Ten thousand dollars. RUSTY    Really?  SOUND    TAPPING ON THE PARCEL - sounds like a book RUSTY    Maybe we should open it? FAY    Jeez, Rusty, sometimes I really think you're too stupid to live.  RUSTY    Fay! FAY    I meant I think it's worth the ten thousand your wack job employer is going to pay for it.  Undamaged.  He said that.  Undamaged. RUSTY    But it won't hurt if I unwrap it, will it? SOUND     PAPER TEARING FAY    Do I haveta pull this car over? RUSTY    A book? FAY    What? RUSTY    It's just a big old book.  [sniffs, coughs]  Gah, even smells old.  Look, it's got a lock, like a diary. FAY    What is it? RUSTY    [slowly, "duh"] A book. FAY    I mean the title. RUSTY    Um...  It's ain't in English.  If that's even writing.... SOUND    SCRATCHING ON BOOK LEATHER FAY    So don't-- SOUND    CREAK OF LEATHER FAY    OK, that's it! SOUND    JAMMING ON THE BRAKES RUSTY    Gahh... FAY    Give me that! RUSTY    I was just seeing if it was really locked.  FAY    Did you not get the part about he wants it undamaged?  You think prying open the lock or trying to snap the leather somehow don't count? RUSTY    I was, I was just thinking, Fay, that why would someone pay a bunch of dough for a book?  Maybe it just looks like a book, and it's really a box full of jewels or something. FAY    You're willing to throw away a sure thing-- RUSTY    You could probably pick that lock in a heartbeat, couldn't you, Fay? FAY    Look, Rusty-- [softening, worried]  This ain't the double down, li'l bear [little bear and sissy/sister bear are their childhood nicknames for each other] - the odds are - oh, I dunno, but it's pointless.  This book, as is, will get you out of hock to the bad men.  This time.  You were damned lucky to find someone with that kind of dough to sling around - why screw it up? RUSTY    But if there's any chance-- FAY    No goddam way.  This is the end.  I'll drop you off on my way to Jimmy's, but I'm keeping this bad boy with me. RUSTY    It'll get stolen! FAY    By who?  Crackheads don't read. RUSTY    But, 10 grand'll just get me out, what'll I do for a stake? SOUND    CAR GETS MOVING AGAIN FAY    [said a million times] You could get a job. RUSTY    You know I ain't no good at anything.  Not like you.  You just touch a lock and it-- FAY    There are zillions of jobs that don't need you to be any good.  You just gotta do what people tell you. RUSTY    How can I go work for peanuts when I know I can win a fortune? FAY    But you don't win, Rusty.  Peanuts is better than a hole in the head. RUSTY    [sullen]  Is that what you tell yourself when you're dancing for sweaty old men?  FAY    [warning]  Rusty.  [deep breath, calms]  So I'm doing whatever the hell it takes to get MY stake - to get some school and maybe a business of my own.  I'm 100 percent legit.  Finally.  That's what counts.  RUSTY    But you could get what you need real easy-like.  Just pull another job or two ... then go legit. FAY    ...and just one more and just one more and just one more, right?  No, Rusty.  Cuz then I'd be you. SOUND    CAR STOPS FAY    [tight control] I'll call your guy and make all the arrangements for us to meet tomorrow.  sound    car door opens, shuts RUSTY    Fay, I-- FAY    Rusty.  Next time you dig yourself in deep, you know what I'm gonna do?  RUSTY    What? FAY    I'm gonna buy you some goddamn crutches.  [because the guys he owes money to would break his legs] SOUND    Car slams into gear, roars off. FAY    "Just this one more time, Fay."  "It's gonna change, Fay."  Jeez, I'm such a shit-fer-brains. MUSIC    FOR FLASHBACK   SCENE 3.    HOME, COOKING SOUND    COOKING NOISES.  Mixing, rinsing dishes, sizzling RUSTY    Just this one more time, Fay.  FAY    No. RUSTY    It'll be easy. FAY    I'm done, Rusty. RUSTY    But, but they'll-- [teary sniff] SOUND    pause in the movement FAY    [long beat, long sigh, then quietly]  They'll what. RUSTY    Nothing.  [making a big deal out of sniffing]  That sure smells good.  I love your cooking, sissy bear. FAY    [under her breath] ...bastard. RUSTY    Hmm? FAY    What will they do, Rusty? RUSTY    Oh.  Well, this is Mr. Capelli, and his guys - well, they don't kid around. FAY    [tight] --and? RUSTY    They'll hurt me real bad. FAY    How much do you need? RUSTY    Nothing! FAY    Nothing? RUSTY    That's the best part - I found this guy who is willing to cover everything-- FAY    How much? RUSTY    Ten large. FAY    Ten?  SOUND    CLATTER LIKE DROPPED LID FAY    How did you get in that far? RUSTY    But this guy, see, he just wants us to get something, and I told him I might, you know, know someone. FAY    Get something? RUSTY    A package. MUSIC     ends flashback.   SCENE 4.    IN CAR, STILL DRIVING FAY    Yep.  Shit.  Fer. Brains. music    transition fades into pounding hard rock, vastly distorted, then fades into background   SCENE 5.    STRIP CLUB sound    on filter, phone rings FAY    [to self] Come on, come on.  sound    on filter, phone picks up FAY    [jumping in]  Mr. Broadstreet? BROADSTREET    Hello?  What?  Yes, this is-- FAY    We got your package.  I mean Rusty and me - I helped him.  We've got it. BROADSTREET    Unopened? FAY    [gasp] Oh, yeah.  It's fine.  Look, we need to get the cash soonest.  When can we meet? BROADSTREET    It is vital that the ...package... remain closed.  Can you guarantee that? FAY    Yeah.  I got it all safe and sound.  You got the cash or not? BROADSTREET    I have the cash.  Come to my house--- FAY    I'd really rather we do this somewhere a bit more neutral.  You know. BROADSTREET     [thinks a moment]  There's a courtyard at the library downtown.  You have to go through the rare books section to get there, so it's usually quite deserted.  Can you find it?  FAY    Sure.  BROADSTREET    I expect to see you - both of you - with the package, tomorrow at noon. sound    on filter, phone hangs up FAY    Hey!!  sound    fay slams down receiver FAY    You arrogant sonofab-- JIMMY     [coming on]  Fay!  I don't pay you to gab on the phone all night! FAY    [through gritted teeth]  I'm on my break. JIMMY    Well, I hope you made it to the can, too, since that was your last break before closing - now get out there and shake it.  There's an old fart at table 5 who still got some green left. FAY    Right, Jimmy. MUSIC    rock music, for time PASSES, THEN cutS off or winds down - SOUND system IS SHUT OFF.       SCENE 6.    STRIP CLUB, CLOSING TIME sound    light SWITCHES being thrown. GERTIE    Hey, Fay, coming out for some grub? JOHN    [in background] Hey babe, come on. FAY    Nah, you go on - I'm waiting on a call.  GERTIE    Your brother. FAY    Yeah. sound     quick steps, jingle of bell on door. GERTIE    [off] That deadbeat.  [beat, remembering]  Oh, crap! JOHN    [still off]  What's the deal, sweetheart? SOUND    STEPS RETURN GERTIE    Here's that catalog. FAY    [down] Thanks.  I don't think I -- GERTIE    Take it.  Read it.  It's not too late. FAY    I'm kinda in the middle of something. GERTIE    You got a week to register for Fall.  [waits, then]  Winter, maybe? FAY    Maybe. SOUND    FOOTSTEPS RETREAT AGAIN GERTIE    [moving away]  You really don't want-- JOHN    [off]  Let's skip the food, babe and get right to the motel. GERTIE    [off] --to end up like me. sound    door closes behind gertie sound     FAY's footsteps echo slightly, empty room. sound    phone rings FAY    Huh?  sound    walks quickly over, phone picked up FAY    You're early. JORDAN    [on filter, ominous voice]  You have the book. FAY    Broadstreet?  Wait, no-- JORDAN    Broadstreet must not get the book.  FAY    How'd you get this--? JORDAN    Bring the book to me tomorrow at 2 pm.  At the corner of central and 12th. FAY    What the hell--? sound    dial tone. FAY    Great. sound    hangs up phone sound     fay's footsteps as she walks into changing room no music for scene   SCENE 7.    CHANGING ROOM sound    door opens.  sound    serrated knife cutting leather - continues until noted FAY    Jimmy!  You bastard!  What the-- No! JIMMY    Back off babe.  I'm just seeing what you got in your little diary, here-- sound    knife ends, finishes the cut FAY    You scumbag!!! sound    book creaks open, pages flip. sound    tentacles pop out of the book and grab jimmy JIMMY    [screaming in fear and agony] FAY    [screaming at the top of her lungs in terror] sound    horrid ripping noise as Jimmy is torn asunder  JIMMY     [stops screaming suddenly] sound    slurping noise as tentacles go back into the book.  book slams shut. sound    trickles of blood running down the walls. FAY    [screaming winds down to gasps and sobs] sound     phone rings and keep ringing FAY    [shrieks once, then starts to almost laugh] sound    hesitating footsteps.  One slightly wet sounding one. FAY    Ew! sound    rubbing foot on floor, then running for phone sound    phone picks up RUSTY    [on filter]  Hey.  Sorry about earlier. FAY    [laughs almost soundlessly, almost hysterical] RUSTY    Fay?  Wait, is this Fay?  FAY    Yeah, Rusty, it's -- it's me.  [breathing, trying to calm down] RUSTY    What's so funny? FAY    Nothing.  Oh, shit.  L'il bear, I need your help with something.  RUSTY    Anything, sissy bear.  You know it.  FAY    Come down to the club, and bring me some old clothes.  Bring some for you too. music   SCENE 8.    CHANGING ROOM, LATER SOUND    FAY SCRUBBING SOUND    RUSTY ENTERS RUSTY    Yikes!  Was it a holdup? FAY    Sure.  A holdup.  A really, really messy holdup.  Go in the back there and fill this bucket - really hot water - about halfway. RUSTY    Good thing the book didn't get all bloody.  Then Broadstreet would never pay for it. FAY    [almost a sob]  Yeah. sound    scrubbing fades into music   SCENE 9.    CHANGING ROOM, EVEN LATER RUSTY    Fay!  The book sound    her reaction is very frightened, until she turns and sees nothing FAY    What?  What!! RUSTY     The strap's been cut! FAY    Yeah.  Uh, I'm gonna see if I can fix that-- Don't touch it!!! RUSTY    Why not? FAY     Here, I'll... [gulps] move it. sound    a couple of wet slappy steps. FAY    [deep breath, then an effort]  There! sound    Book dropped quickly onto table RUSTY    Fay, you gotta tell me what's up - you're totally acting nutso. FAY    You gotta trust me l'il bear, don't touch it. RUSTY    I hate it when you treat me like a kid, Fay!  I can take it!  [sudden idea] Did you kill Jimmy? FAY    [hollow] What makes you so sure this was Jimmy?  It's just ... chunks. RUSTY    Who else would it be?  Level with me Fay, or...  or-- FAY    or what? RUSTY    [sharp breath] sound     quick squishy steps RUSTY     Or I'll... I'll open it! FAY    No!  No!  Don't screw around, Rusty!  This is way more serious than you know! RUSTY    Tell me, Fay. FAY    Not here.  I'll tell you when we're done and home.  Please, it's - it's just too much. MUSIC   SCENE 10.    IN THE CAR FAY    [begging] Give me the book, please? RUSTY    No, Fay.  I gotta know what went down.  FAY    [still breathing hard, almost sobbing, subdued, reliving the event] Jimmy, being the nosy bast-- busybody that he is, got into my locker.  He saw the book looked like something, and he ... cut through ... the ...strap... [sobs] RUSTY    [not willing to budge] --And then? FAY    It killed him.  Rusty, the book did it.  Don't open it, it was horrible. RUSTY    [ghoulishly interested]  Tell me!  Sissy bear, tell me! FAY    You don't need to know!  RUSTY    [wheedling]  Sissy bear! FAY    [beat]  Things came out, like squids-- RUSTY    Tentacles? FAY    [breaking] Yeah.  Yeah.  They grabbed him and just pulled him into pieces, then pulled the pieces ... most of them ... in and shut the book behind it. RUSTY    [excited] It must be some kind of a door to another reality.  I read about those things all the time. FAY    A door to h-e-- double hockey-sticks!  music   music   SCENE 11.    PHONE BANK sound    BEEPS, MECHANICAL VOICE AUTOTELLER    --[a balance of] two thousand, one hundred thirty two dollars and seventy four cents. To repeat this, press 6-- SOUND    RECEIVER HANGS UP SOUND    RECEIVER PICKED UP, PHONE DIALS FAY    Hey Beans, Wally around?  No!  What's he in for? Again?  Shoot, I was hoping he could use-- oh, never mind. SOUND    DOOR OPENS, RUSTY ENTERS RUSTY    You up already? FAY    Like I could sleep. RUSTY    You doing ok? FAY    Yeah.  Ain't no goddamn love lost between me and Jimmy.  But I gotta feeling this means I'm out of a job. RUSTY    But, seeing all that blood and stuff--? FAY    [muttered]  Why you think I ain't sleeping? [louder]  But there ain't jack shi-- RUSTY    [warning noise] FAY    There ain't nothing I can do about it now.  I just ain't got time for a freakout. RUSTY    Should I rustle us up some breakfast? FAY    [slightly teasing] Sure.  You get started, I'll unplug the smoke detector. RUSTY    [mock annoyed] Hey!  Besides, even I can't mess up corn flakes. FAY    I'll get something started in a minute, l'il bear.  [a moment] Thanks for staying.  I really didn't wanna-- RUSTY    Are you kidding?  And miss out on my chance to do something for you?  [pause] Some day Fay, I'm gonna - I dunno, strike it rich, and then we'll see who's taking care of who. FAY    [rueful] Yeah. RUSTY    I was thinking.  Maybe we shouldn't give this guy the book. FAY     Huh?  Why not? RUSTY    He's not gonna want to pay for it, damaged and all, and, well, if it's all you say, sounds like it's pretty dangerous. FAY    Yeah, like I wanna keep it around! RUSTY    We could sink it in the river.  Maybe seal it in a block of concrete.  We don't know this guy.  Who knows what he plans to do - or who he plans to do, with it?  [sure] I'll handle it. FAY    I-I don't really care what this guy has up his sleeve.  I'm just hoping he'll pay something, damaged or not, and that maybe Mr. Capelli will take half down.  Pass me that, wouldya? SOUND    WRAPPING PAPER RUSTY    Isn't this--? FAY    I want to get this thing re-wrapped. RUSTY    You think maybe it'll fool him? FAY    [snort] Nah.  I'm just hoping it will give us time to be out of reach when he opens it. MUSIC   SCENE 11.    LIBRARY RENDEZVOUS sound    daytime noises, footsteps echo slightly on stone FAY    I'm glad you were willing to see reason.  I don't know who your buyer is, but he must have some tough mojo to think he can control something awful like this. RUSTY    Yeah. BROADSTREET    [coming on]  Ah, good to see you.  You have my package? FAY    Right here.  There was a --- RUSTY    It's just fine.  You got the money? BROADSTREET    Here.  Shall we trade? RUSTY    How 'bout you put down the briefcase, and I bring you the book?  Then, when you're happy, I'll take the money. FAY    [surprised, side of mouth]  Good going, L.B. [lil bear] BROADSTREET    An eminently sensible plan.  I'll have to check and make sure the book has not been tampered with. RUSTY    Be my guest, here, I'll get it out for you. sound    rustle of paper being unwrapped BROADSTREET    Just hand it over--  aaaugh! [note    rusty opens the book, facing toward Broadstreet] Sound    Same sounds as before slurp, squish, crunch BROADSTREET     [screams] FAY    [screaming] BROADSTREET     [stops in mid-scream] sound    all sounds end with a slurp and the book slamming shut. FAY    [screaming, ending with]  Rusty!  Ohmigod, Rusty what the hell do you think you're doing? SOUND    DRIPPING NOISES RUSTY    I was right!!  For once, I GOT it! FAY    Rusty, what the hell-- RUSTY    Look, Fay.  Don't you see, this is our ticket?  My ticket, anyway, if you're too chicken.  We may have a mess, but we also have ten thousand dollars AND the book. FAY    And what pray tell do you plan to do with the sonofabitch goddamn book? RUSTY    [dark, serious]  Don't swear, Fay.  [almost chuckling]  It's so perfect - no way to trace it, so there's no way to catch me!  All I gotta do is walk up to someone, open the book at 'em, just like now, and whammo!  FAY    You're gonna go around killing people?  Once they're eaten, it's not like you can take their wallets! RUSTY    I thought of that.  I'm not gonna ROB no one.  Just hire myself out.  FAY    How could you?  Mom would never have-- RUSTY    [bitter, accusing] Yeah, well, I never knew mom, sissy bear.  Any problems with my upbringing?  They're all on you! FAY    But-- RUSTY    I knew it.  You just want me to be a wimp, so you can push me around.  Just your little bear.  You never want me to win big, because if I was ever a success, you wouldn't have anyone to gloat over and preach to!  Well, it's too late - it's my turn, Fay.  This is my chance to be the man! FAY    Rusty, you stop this.  Right now. RUSTY    What're you gonna do, put me over your knee?  I got the book, and while I'd hate to have to use it again right away... FAY    You wouldn't! RUSTY    [steely] Try me.  [beat, hollow] Just let me go, Fay. music   SCENE 12.    LEAVING THE LIBRARY sound    busy street noises JORDAN    [startlingly close]  You didn't bring it. FAY    [jumps]  Oh!  You're‑‑ JORDAN    I'm Jordan.  FAY    Jordan something or something Jordan? JORDAN    [almost a chuckle] Something.  Where's the book? FAY    Tell me what it is first.  I can't just hand it over without knowing more about it. JORDAN    We can't talk here. FAY    Oh sure we can - a busy street is as anonymous as you can get.  Spill. JORDAN    [beat] It is... a gateway. FAY    Hah.  We figured that. JORDAN    [upset] You opened it?  How many?  How many has it devoured? FAY    Keep your voice down.  We may be anonymous, here, but there is a limit.  Why's it matter who got et? JORDAN    The book is a Demonilatrium Triskadecorum, one of thirteen gates disguised as ancient grimoires.  They were put into this world to trap those who seek the deepest levels of occult knowledge.  [note:  totally made up name.  Triskedec is a root meaning "13", and demon is self-explanatory] JORDAN    Each book will take thirteen souls and then - pfft!  Go back from whence it came.  This one has already eaten 7 that I've been able to verify. FAY    [hopeful]  But then it'll just go away? JORDAN    Taking the last wielder with it. FAY    [weakly, hopeful] Wielder, like the one facing the book? JORDAN    The one holding it. SOUND    ODD BIRD CALL FAY    Oh, shi-- JORDAN    Did you hear that? FAY    What?  The car horn? SOUND    ODD BIRD CALL JORDAN    That.  Damn, they found us.  We need to find some place less public - now! FAY    Why?  Aren't we sort of safe out here on the street? JORDAN    Doubtful.  They're after the book.  FAY    But Rusty has--  I mean--  Shit! JORDAN    They're tracking me, not the book.  We need to get away from them. SOUND    RAPID FOOTSTEPS FAY    Not part of your club, eh? JORDAN    There are many factions seeking to control the Triskadecora.  This way...! SOUND    STREET NOISES RECEDE FAY    Being alone with a bunch of freaks sounds like a dumbass plan, Jordan Something.  JORDAN    I can't cloak us if there are any observers. FAY    Like being able to be invisible, but only if there's no one watching you? JORDAN    Shh.  In here. SOUND    SLIGHT SCUFFLE, FOOTSTEPS STOP AMB    IN A TUNNEL OR UNDER A BRIDGE SOUND    WEIRD LOW BUZZING NOISE JORDAN    [whispered] Now stay quiet. FAY    [whispered] You have to grope me like this? JORDAN    [whispered] The range is limited, we have to stay very close. FAY    [whispered] I'm not bitching, I just wanted to know. JORDAN    Shh! SOUND    WEIRD BIRD CALL, STRANGE NOISES MOVE SLOWLY PAST. SILENCE FOR A MOMENT FAY    [whispered] Are they gone? JORDAN    [whispered] Just another moment.  [slightly husky] For safety. FAY    [whispered] Oh... [beat, chuckle]  Well, what do you do when you're not hiding from demons and chasing old carnivorous books, Mr. Jordan? music   SCENE 13.    VISITING THE VICTIMS sound    night ambiance.  nightclub noises in the near distance FAY     I just hope we got here first.  Last I checked, nobody'd seen him yet - they're kind of used to me calling around looking for him. JORDAN    And you're quite sure-- FAY    Oh, yeah - first people he'd go after are his bookies.  Lucky thing they weren't in town this afternoon or they'd be squid bait long since. JORDAN    Squid? FAY    You know-- [making a squooshing tentacle noise]  They come out of the book. JORDAN     I've never actually seen one opened.  We're working to get them all into safekeeping.  It sounds like your brother is a prime example why. FAY    He's weak.  It's all my fault.  Our mom died when he was born, then dad went a dozen years later.  After that, it was just me and him.  I guess I ... I didn't do it right. JORDAN    [matter of fact]  Probably not. FAY    Hey!  Not helping! sound    [over at the building] knock on door, door squeaks open. FAY    Oh, crap.  That ain't good. JORDAN    Stay behind me. FAY    As if. sound    running footsteps FAY    Rusty?  Rusty?  Rusty? sound     footsteps slow, then stop FAY    Aw, jeez, Rusty. RUSTY    Stay out of it, Fay.  FAY    That's a lot of blood, Rusty.  How... how many were there?  RUSTY    Just Mr. Capelli and his bodyguard.  I'm still waiting for the other guys to get back.  You gonna help or just mess me up - like always? FAY    Like always?  Who's the one always comes when you start screaming about guys being after you?  This whole goddamn thing started because you can't keep your hands off an inside flush. [a bad gamble in poker]. RUSTY    Fay, you better leave. FAY    Look Rusty... there's this guy and he - he knows about the book.  I mean he can tell you, he - you gotta listen to him, Rusty - this isn't a joke, l'il bear!  He really - It's worse than you think! RUSTY    Fay, you better leave.  It's gonna get messy real soon.  I don't wanna haveta kill you. FAY    Oh, li'l b--. JORDAN    Ah-hah! [attack noise, not so silly] SOUND    BEGIN STRUGGLE RUSTY    Hey, what? [grunting with exertion] SOUND    FABRIC RIPS, BODY SLAMS INTO SOMETHING HARD. JORDAN    [grunting with exertion] Give me the-- SOUND    FINGERS SKID ACROSS LEATHER.  BOOK DROPS TO THE FLOOR. FAY    No! SOUND    SCRAMBLING, SLAPPING AS THE MEN FIGHT FOR THE BOOK FAY    No!  Get back! SOUND    PAGES FLIP FAY    [Screams in anguish] JORDAN    [screams in agony, but not too clear which man this is] sound    blahlalalalalalalala monster eats Jordan moment of silence FAY    I can't believe you did that.  My own brother.  What kind of a goddam monster are you? RUSTY    [breathing hard, triumphant]  I'm alive Fay.  That's what counts.  I'm the one holding the book. FAY    Rusty, that was the one guy who knew what this stupid freaking thing really is.  And your dumbass book just ate him! RUSTY    STOP SWEARING!  You know I hate it when you do that! FAY    Rusty - I think this has gone waaay beyond my potty mouth.  Give me the book now, or put your goddamned money where your mouth is and feed me to it. RUSTY    [snapped back to reality]  What?  Sissy--? FAY    [under her breath]  Seven... eight nine... RUSTY    I don't wanna haveta kill you, Fay. FAY    [under her breath]  Ten and eleven, oh shit, twelve.  RUSTY    Talk to me sissy bear - why can't you see this is good for me?  You got locks, I finally got something! FAY    [under her breath]  Oh, hell.  [loud]  Bite me you whining little piece of shit.  I am so sick of your weakling ass dragging around behind me.  RUSTY    [shocked] Fay! FAY    Yeah, if it weren't for you and the gigantic hole in your stupid ass pocket, I woulda been free and clear years ago.  Do you know how much goddamn sonofabitch money I have pissed down the freaking drain for you? RUSTY    [getting angry] Fay, stop it! FAY    I am so goddamn sick to the teeth of feeling guilty over you, you puling little ass-wipe, worrying over you and having to run around changing your dirty diapers every time you freaking crap yourself! RUSTY    [almost crying] If -- if I'm all -- all you say, it's your fault, you made me this way! FAY    [hissing] I might have made you weak, but I never made you a murderer - there, you're self-made. RUSTY    I'll make you stop! SOUND    PAGES FLIP FAY    [Gasps, braced] sound    again.  monster.  RUSTY    Hey, what?  No!  Noooo!  I'm the master!  I'm the master---[trails into agonized screams] SOUND    Rusty dies in screaming agony. moment of silence FAY    [sobbing] Goodnight, ...l'il bear.  SOUND    SHE WALKS AWAY music   SCENE 14.    college classroom.  sound    people shuffle into seats.  papers move. TEACHER    [utterly bored] Jackson?  good.  Fay James? FAY    Here. TEACHER    Good. MUSIC STING end

Bill Hollweg from BrokenSea Audio Productions joins Jack and David in the search for the weakness in the fabric of Podiospace with tonight's features being the incredible Colonial Radio Theatre's "Vincent Price Presents: The Abominable Mr. Phibes", and "The Epic Adventures" by Sean T. Young

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A Bonus release, to celebrate the series’ return to BrokenSea. Here is the New Main Theme, that was specially composed by Stevie K. Farnaby (AKA SKiFfle) for Episode 5, and use on Series 2. It’s an Industrial cover of the … Continue reading →

A Bonus release, to celebrate the series’ return to BrokenSea. Here is the End Credits Theme, that was specially composed by Stevie K. Farnaby (AKA SKiFfle) for Episode 5, and use on Series 2. It’s an Industrial cover of Megadeth’s … Continue reading →

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Hey listeners!You'll find more Doctor Who adventures starring Mark Kalita as The Doctor at BrokenSea.com.Here's a promo: Promo - more Doctor Who at Brokensea.com.