Podcasts about music end

It's iFanboy 20/25 -- 20 years of podcasting and 25 years of iFanboy! Thank goodness for great comics, and the ability to appreciate them. And as Gandalf would say, "So do all who live to see such times". Multiple POW contenders come together, and we battle through illness and fatigue to talk about them. Enjoy. Please. Note: Time codes are estimates due to dynamic ad insertion by the distributor. Running Time: 01:14:20 Pick of the Week: 00:01:40 - Jenny Sparks, Book Seven Comics: 00:11:52 - The Holy Roller #9 00:18:35 - Zatanna #1 00:22:27 - Batman & Robin: Year One #5 00:30:56 - Aliens vs. Avengers #3 00:35:08 - Weapon X-Men #1 00:36:59 - Doom Academy #1 Patron Pick: 00:40:32 - Godzilla: Heist #1 Patron Thanks: 00:50:37 - Nawid Ahrary Listener Mail: 00:55:25 - Drew E calls in to ask about Josh's solo shows. Leading Josh to talk even more. 01:00:49 - Ryan W. has questions about Crises. Brought To You By: Shopify – This episode is sponsored by Shopify. Sign up for a one-dollar-per-month trial period and take your business to the next level. iFanboy Patrons - Become one today for as little as $3/month! Or join for a full year and get a discount! You can also make a one time donation of any amount! iFanboy T-Shirts and Merch - Show your iFanboy pride with a t-shirt or other great merchandise on Threadless! We've got TWENTY designs! Music: "End of a Century" Blur Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to this heartwarming meditation centered on cultivating gratitude and thankfulness as you delve into the twilight stage, those intimate moments before succumbing to rest. In this serene interval, you'll naturally set your intentions, visualize, and manifest a deep appreciation for life's blessings and lessons. Unwind now with our positive sleep affirmations podcast. Our soothing affirmations relax the mind and prepare the body for rest. Hit play, and drift into Good Sleep... Listen to more positive sleep affirmations by subscribing to the audio podcast in your favorite podcast app:  Apple Podcasts: https://podcasts.apple.com/us/podcast/good-sleep-positive-affirmations/id1704608129 Spotify: https://open.spotify.com/show/3OuJvYoprqh7nPK44ZsdKE And start your morning with Optimal Living Daily! Apple Podcasts: https://podcasts.apple.com/us/podcast/optimal-living-daily-mental-health-motivation/id1067688314 Spotify: https://open.spotify.com/show/1hygb4nGhNhlLn4pBnN00j?si=ca60dcfd758b44b4 Learn more about your ad choices. Visit megaphone.fm/adchoices

Bryce Greene speaks about 9/11 with a special guest, Jon Gold. Independent researcher and activist Jon Gold is the author of We Were Lied to About 9/11: The Interviews--a very useful book for anyone interested in referencing suppressed true facts of 9/11. You can download a free copy of the book at Jon's We Were Lied to About 9/11 website. This episode marks the third in a series of 9/11 episodes that our own Bryce Greene is producing. Special thanks to Dana Chavarria for producing the episode! Music "End of the World" by Mock Orange

Welcome to this heartwarming meditation centered on cultivating gratitude and thankfulness as you delve into the twilight stage, those intimate moments before succumbing to rest. In this serene interval, you'll naturally set your intentions, visualize, and manifest a deep appreciation for life's blessings and lessons. Unwind now with our positive sleep affirmations podcast. Our soothing affirmations relax the mind and prepare the body for rest. Hit play, and drift into Good Sleep... Listen to more positive sleep affirmations by subscribing to the audio podcast in your favorite podcast app:  Apple Podcasts: https://podcasts.apple.com/us/podcast/good-sleep-positive-affirmations/id1704608129 Spotify: https://open.spotify.com/show/3OuJvYoprqh7nPK44ZsdKE And start your morning with Optimal Living Daily! Apple Podcasts: https://podcasts.apple.com/us/podcast/optimal-living-daily-mental-health-motivation/id1067688314 Spotify: https://open.spotify.com/show/1hygb4nGhNhlLn4pBnN00j?si=ca60dcfd758b44b4 Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to this heartwarming meditation centered on cultivating gratitude and thankfulness as you delve into the twilight stage, those intimate moments before succumbing to rest. In this serene interval, you'll naturally set your intentions, visualize, and manifest a deep appreciation for life's blessings and lessons. Unwind now with our positive sleep affirmations podcast. Our soothing affirmations relax the mind and prepare the body for rest. Hit play, and drift into Good Sleep... Listen to more positive sleep affirmations by subscribing to the audio podcast in your favorite podcast app:  Apple Podcasts: https://podcasts.apple.com/us/podcast/good-sleep-positive-affirmations/id1704608129 Spotify: https://open.spotify.com/show/3OuJvYoprqh7nPK44ZsdKE And start your morning with Optimal Living Daily! Apple Podcasts: https://podcasts.apple.com/us/podcast/optimal-living-daily-mental-health-motivation/id1067688314 Spotify: https://open.spotify.com/show/1hygb4nGhNhlLn4pBnN00j?si=ca60dcfd758b44b4 Learn more about your ad choices. Visit megaphone.fm/adchoices

The funny and emotional conclusion as host Soraya Sarhaddi Nelson and her journalist husband Erik Nelson walk from Portugal to Spain on their first-ever Camino. Hear about the “arrow” debacle, spiders and singing nuns! And whether they actually make it to Santiago de Compostela.Featuring Casa Alternativo “albergue” host and Camino veteran Dries Nuitten; Camino veteran, author and co-founder of the Facebook group “Senior Travelers on the Camino” Brian John Skillen,  and Camino newbies from Vancouver, Hayley Biller and Josh Klaasen.Music:  “End of the Road” and “All for Nothing” by Anthem of Rain; “Irrational-Rain” by Koi-Discovery;  “Melancholy Serenade” by Universfield; “Walking on water” by TRG Banks; “Fixation” by Jangwa. (Source: FMA) Produced by Axel Scheele and Soraya Sarhaddi Nelson

High Hopes  SOS Band So Excited Janet JacksonYou Called And Told Me Jeff ReddIf I Had No Loot Tony Tone ToniMake That Move ShalamarBefore I Let Go Frankie Beverly & Maze Im Your Baby Tonight Whitney Houston Back Up Plan Angie Stone Grooveology Gerald Albright Get Up and Daance FreedomThighs High Tom BrowneCloser Than Friends SurfaceWhat A Woman Levert II Feat O'Jays Just Like Me UsherSo Fine Howard Johnson Why Just Be Friends Remix Joe Nutin But A Party TruceDon't Give It Up LemarWhatcha Wanna Do RLShake Wade O Brown Its All Divine James Day Ft Trina BroussardSteal My Joy Sarah TeiboGood Love Keith Sweat Good Kinda Lovin Jay King Already All Ready La Porsha RenaeUs Trust Charlie Wilson Ft Wiz KhalifaLet's Get Married Jagged Edge Joy N Pain Rob Base Touch It Monifah Exclusivity Remix Damian Dame Love Come Down Evelyn Champagine King Hanging On A String Loose Ends Best Of My Love The EmotionsDo You Love What You Feel RufasPick Up The Pieces Average White Band So  Very Hard To Go Tower Of Power Just The Way You Are Johnny GillTake It Back The E Family Friends Of Mine Full Flava Ft Moksha The One Juanita WynnMovin Avery Sunshine Zapp & Roger Tribute Stan Edward Moore Ft Stank Cascade Stokley feat.The Bonfyre Saturday Love Cherrelle Feat. Alexander O'NealTake Care of Me Saint Smith

The Color Of Music- End Of Year Edition -2023 by Saliva Commandos

This is a special bonus news bulletin, as during the past week it has been confirmed that TAP Music have decided not to renew their contract with the BBC.What will this mean for the UK's music selection at Eurovision 2024?What route should the BBC now go down? Another label, a public vote, an internal selection?Steven Perkins is here to break this all down for you.If you love Eurovision as much as we do, don't forget to connect with us on social. DM us on Twitter at @Bingewatch_Pod and join our Facebook Page.You can also now support the show with a generous Douze Points of your own!And if you want more bingeworthy TV coverage, check out our other shows:BingewatchBitesize BingewatchDouze Points is a Podcasts By Liam production, presented by Steven Perkins and produced by Liam Heffernan. Original theme composed by Ian MacEwan. The Bingewatch network was created by Hannah Fernando and Ian MacEwan. For any queries, including advertising & sponsorship, please email hello@podcastsbyliam.com

Spotify Wrapped, InstaFest, Apple Music Replay, whatever you use… what'd you get? What surprised you? We Show Some Love: World Cup Group C Follow, Like, and Subscribe: Facebook / Instagram / Twitter @inAdditionpod Anchor.fm/inAdditionpod Contact us: inadditionpod@gmail.com Hosts: Stephanie Crugnola, Emily Swan, Mike Ellison, Tony P. Henderson Music: Pomade by Silent Partner --- Send in a voice message: https://anchor.fm/inadditionpod/message Support this podcast: https://anchor.fm/inadditionpod/support

End of the Road Take 4 – Jason Scarabin poem from Summer 2014. Recorded April 13, 2015 with Ainsley doing some back-up vocals. This poem is in Let Me Be Your Bernie T. --- Send in a voice message: https://anchor.fm/jason-scarabin/message Support this podcast: https://anchor.fm/jason-scarabin/support

A girl living in a haunted house must find a way to protect her way of life.. Written and produced by Julie Hoverson Cast List Eden - Jaiden Douwes Henry - Danar Hoverson Callandra - Julie Hoverson Frederick! - Reynaud LeBoeuf Ethan - Scott Douwes Mrs. Sherman - Angela Kirby Garth Sherman - Luke LeBoeuf News - Suzanne Dunn Henry's Mom - Gwendolyn Gieseke-Woodard Music by Kevin MacLeod (Incompetech.com) Sound mastering:  Julie Hoverson Cover Design:  Dennis Hager  "What kind of a place is it? Why it's an old brownstone home, can't you tell?  Where else would you expect to find ... a couple of ghosts? *************************************************************** A Ghost of a Chance   Cast: Eden Anderson, precocious 11-year old Ethan Anderson, her dead father, 47 Callandra O'Doul, dead Irish maidservant, 20 Henry Torrence, burglar, 23 Frederick Ferryman, dead actor, 40s-50s Ms. Sherman, CPS, 32 Garth Sherman, her son, a bully, 13 News [anything] OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a big old brownstone, can't you tell?  Where else would you find a ghost or two? SCENE 1 – coming home MUSIC SOUNDS    MODERN STREET NOISE.  SOUND    WE FOLLOW THROUGH A CREAKY GATE.  STREET NOISE QUIETS A BIT.  FOOTSTEPS ON LEAVES, THEN ON WOOD PORCH.  KEY IN LOCK, DOOR OPENS, FOOTSTEPS PASS THROUGH.   SCENE 2 – HALLWAY AND KITCHEN EDEN    Hey!  I'm home! SOUND    BACKPACK FLUNG ONTO TABLE.  DOOR SHUTS AND IS CAREFULLY LOCKED. CALLANDRA    You're going to have to do some shopping soon, miss.  We're almost out of soap powder. EDEN    [sigh] I'll put it on the list.  SOUND    FOOTSTEPS, THEY HESITATE, THEN STOP EDEN    What?  Move it.  I'm tired. CALLANDRA    [evasive] You're looking a mite peaked.  You could use a bite to eat.  Come into the kitchen and have some soup. EDEN    [slightly suspicious] O-kay...  SOUND    MODERN JAZZ, PLAYED LOW, SLIGHTLY MUFFLED EDEN    Dad's not at the videos again is he? SOUND    OPENING CUPBOARDS, CANS BEING PULLED OUT AND PLACED ON THE COUNTER CALLANDRA    [not quite convincing] No. EDEN    Then why don't you want me to go upstairs? SOUND    POP TOP ON CAN, SOUP INTO BOWL CALLANDRA    Whatever gave you that idea--? EDEN    Oh, please. CALLANDRA    Can I not just be concerned about you?  Someone has to be! SOUND    MICROWAVE OPENS, FOOD IN, SETTING TIME EDEN    I'm fine. SOUND    TURNS ON MICROWAVE MUSIC   SCENE 3 – A BIT LATER AMBIANCE    TELEVISION PLAYS LOW IN THE BACKGROUND News    ....was stolen from the J.J. Holdings museum at the university today.  The vase is attributed to the school of Cellini, and has been valued at nearly half a million dollars. SOUND    CELLPHONE DIALS, RINGS, PICKS UP EDEN    Hey Ariel.  ... Nothing.  Look, I've been thinking about-- SOUND    THUMPING ON CEILING EDEN    --trying out... for...  Can you wait a minute, Ariel? SOUND    HOLD BUTTON IS PRESSED SOUND     DOOR OPENS.  STEPS INTO FOYER, SLIGHT ECHO SOUND    THUMPING FROM ABOVE.  A COUPLE OF RAPID STEPS. SOUND    [WHOOSHING SOUND OF A GHOST ARRIVING] CALLANDRA    Oh no, miss.  EDEN    Yeah?  Stop me.  It's not dad - I can hear his computer going, and it's not you, since you're right here.  Maybe Frederick?  [yelling] Frederick? CALLANDRA    [worried] Oh... SOUND    [WHOOSHING SOUND OF A GHOST ARRIVING] FREDERICK    [overly theatrical, as always] Enter stage right.  Yeeeees?  CALLANDRA    See, it's all gone now-- SOUND    THUMPING FROM ABOVE CALLANDRA     [dismay] Ooh! EDEN    [grim] What is it? FREDERICK    Shall I make a recon, my young commander? EDEN    Oh! Shoot! SOUND    BEEP ON PHONE EDEN    Gotta call you back, Ariel.  Yeah, it's dad.  SOUND    PHONE HANGS UP EDEN    Callandra?  You want to explain-- SOUND    DOORBELL RINGS.  WHOOSH [GHOSTS LEAVING] EDEN    [exasperated sound]  Uuh! SOUND    STAMPING FEET, CHAIN LOCK GOES ON EDEN    [sighs] SOUND    DOOR OPENS EDEN    [sweetly] Yes?  SHERMAN Good evening. Are your parents around? EDEN    My father is asleep.  He hasn't been feeling very well. SHERMAN I think he'll want to speak to me. FREDERICK    [whisper]  Why?  Is she covered in chocolate? EDEN    [gritted teeth]  Maybe when he's feeling better.  Can he call you? SHERMAN Here's my card. EDEN    Oh. CALLANDRA    What's C-P-S?  Does that mean she's with the coppers? EDEN    What's this about?  I would invite you in, but-- SHERMAN No, I understand. Safety first.  [serious] There's been a complaint. EDEN    By who?  FREDERICK    [booming voice] Whom. EDEN    I mean - by whom? SHERMAN I'll discuss all that with your father. Please do have him call me.  [going off] All my info's on the card. EDEN    [calling] Thanks - uh - Ms. Sherman. SOUND    DOOR SHUTS EDEN    Oh, shoot! CALLANDRA    Now, it's not that bad.  Is it? FREDERICK    Of course it is.  CPS are the child police service.  They arrest bad little children. CALLANDRA    The devil you say!  Oh, Eden, tell me darling!  They won't arrest you! EDEN    They don't - but they do take children away from the wrong type of home environment. CALLANDRA    [relieved] Ohhh!  We're safe enough then. EDEN    [as if] Ri-ight. SOUND    THUMPING EDEN    Are you going to tell me, or do I just get to find out for myself? CALLANDRA    Oh, my stars... MUSIC   SCENE 4 - UPSTAIRS SOUND     DOOR UNLOCKS, OPENS HENRY    [gasps] Jeez!  About flipping time!  You ever hear of unlawful imprisonment? EDEN    I've heard of burglary. HENRY    You're kinda small for a cop. EDEN    [exasperated noise] Dude.  You can come out now, but just so you know, I've got a taser. SOUND    SLOW FOOTSTEPS EDEN    [gasps, shocked] You look like--! HENRY    Got my hands up, all that.  [quoting] Don't tase me, [ending lamely] uh, bro. SOUND    A COUPLE MORE STEPS, THEN HENRY    [grunt as he lunges at her] SOUND    SCUFFLE.  FALLING FURNITURE, SOMETHING BREAKS, THEN... FREDERICK    [unearthly wail] HENRY     [screams, then gibbers until noted] SOUND    SOMETHING SMALL CLATTERS TO THE FLOOR EDEN    I hate when you do that!  That is so gross!  [tsk, annoyed sigh] You coulda left your head on... FREDERICK    [huffy] It was effective. EDEN    [sigh]  You.  What's your name? HENRY    [gibbering]  ...head came off, and cold, so cold! SOUND    SLAP HENRY    [sharp intake of breath] Wha-ah-ah? EDEN    Your name, mister burglar. HENRY    Henry.  Henry Torrence.  [whispered] What the heck was that? EDEN    A ghost.  Now, Mister Torrence, I suppose I'm gonna have to tie you up or something, so you don't try and jump me again-- HENRY    Howzabout just letting me - ya know - go? EDEN    You broke in.  I have to do something, and I really don't want to have to deal with the cops - they'll bother dad. HENRY    Look, I never hurt no one, I ain't the type.  I swear! EDEN    Still...  I think you need to stay locked up for a while.  CALLANDRA    Can I keep him?  Please?  I caught him! FREDERICK    Shut up woman, we may be able to use this fellow's services. EDEN    [ordering] March!  I'll put you somewhere better than that closet, but you better stay put or - FREDERICK    Boooooo! HENRY    [gasps] EDEN    [unenthusiastically] Yeah, that.  Boo. MUSIC   SCENE 5 - DOWNSTAIRS CALLANDRA    What do you plan to do with him?  Please say I can have him for me own - he's such a fine specimen of a man. EDEN    If you keep him, I have to feed him. CALLANDRA    Well... not necessarily... EDEN    No.  No.  No.  I'm not having any more ghosts around here. CALLANDRA    You never let me have any fun! EDEN    Besides, didn't you notice the resemblance? CALLANDRA    To a man? SOUND    WHOOSH, FF ENTERS FREDERICK    Our dear Callandra never looked above his [mocking her accent] "luuuvly broad shoulders!" CALLANDRA    Bite your tongue, Frederick!  I still have those clippings of yours, and you will sorely regret having a jape at my expense-- EDEN    Shut up!  MUSIC   SCENE 6 – BREAKFAST IN BED SOUND    MORNING BIRD NOISES SOUND    MUFFLED THUMP, RATTLE AT DOORKNOB HENRY    [yawns, waking] SOUND    CHAIN RATTLES, BEDCLOTHES RUSTLE EDEN    [muffled] Are you awake? HENRY    Yeah, sure.  Whatever. SOUND    DOOR OPENS WITH DIFFICULTY SOUND     EDEN ENTERS WITH TRAY EDEN    I hope you like bacon. HENRY     Uh, yeah! [surprised and enthused] SOUND    SHIFTING AS HE SITS UP IN BED, CHAIN MOVES HENRY    Thanks.  Breakfast in bed.  Almost like a dream, except-- SOUND    RATTLE OF CHAINS CALLANDRA    [snarky] Well, we can't have you wandering around the house like some sort of ... burglar, can we? HENRY    Does she need to be here? SOUND    SETS DOWN TRAY, DISHES RATTLE EDEN    She's my backup.  I need to talk to you. HENRY    [annoyed] Go ahead.  I don't eat with my ears. SOUND    EATING NOISES EDEN    [snort of laughter]  This is going to sound really dumb, but...  [thinks hard]  I have a kind of proposition for you. HENRY    [offended] You are way too young, and she's dead. EDEN    Huh? CALLANDRA    Shame on you! HENRY    Nothing. [eats noisily] EDEN    Ew!  [angry sigh]  Look, no.  My dad is out of town, and I need someone to pretend to be him and talk to CPS. HENRY    CPS?  The CPS?  Hell no.  I hate those bast‑‑ uh-- buttheads. EDEN    Why?  You got kids? HENRY    Never mind.  No way you can talk me into-- EDEN    We'll pay you. HENRY    --into-- How much? EDEN    Dad said we could give you a thousand.  For staying here for two weeks and pretending to be him. HENRY    He's not coming home for two weeks?  [truly offended] What the hell is wrong with him, leaving you all alone? CALLANDRA    Language!! HENRY    I don't give a flying rat's patoot about my language!  If your dad is so flipping negligent to leave you all alone for weeks at a time, [losing steam] then maybe you'd be ... better off-- EDEN    [anguish] In foster care?  No way!! HENRY    Well, no, but... don't you have any other family? EDEN    [mumbled] Not anywhere around here. HENRY    [sincere] That sucks! EDEN    Look, I'm not supposed to say anything, but my dad...  He [whispers importantly] he works for the government.  Top secret. HENRY    Seriously? EDEN    Uh-huh!  So he can't always control when he'll be back. HENRY    Why would he - why would you even trust me? EDEN    You won't get paid until after the two weeks is up.  Besides... I'm a pretty good cook? HENRY    Okay, but I have to be able to tell my mom.  She'll worry if I don't get home. EDEN    You live with your mom?  But you're like a grownup.  That's weird. HENRY    Why do you think I don't have a real job?  MUSIC   SCENE 7 – MEETING CPS FREDERICK    [sharp whisper] Now you just behave now, my lad, or I'll give you what for again. HENRY    [trying to be flippant] “Boo.”  I get it.  This makeup itches.  EDEN    Sorry.  You had to look a little older.  HENRY    It is kinda creepy how I look so much like your dad. EDEN    Yeah.  [fretting] Where IS she? SOUND    KNOCK ON THE DOOR CALLANDRA    Eep! EDEN    [to the ghosts] Scat! [quiet] Ready? HENRY    Guess we'll find out. SOUND    FEET, DOOR UNLOCKS and OPENS EDEN    Hello?  Ah.  Right on time. SHERMAN Your father--? EDEN    Right here.  Come on in. HENRY    [trying too hard to sound old] Ethan Anderson.  Pleased to meet you.  You're Ms. Sherman? EDEN    [warning] Dad!  [explaining] He's had a cold. SHERMAN [warm] Ah!  I hope you're on the mend? HENRY    [clears his throat, sounds more normal]  Yes, yes.  Much better. MUSIC   SCENE 8 – WAITING IN THE KITCHEN SOUND    FLAP OF KITCHEN DOOR, FEET CALLANDRA    [very nervous] How goes it? EDEN    Seems OK, so far.  HENRY    [off, furious] What? EDEN    Oh no! SOUND    RUNS OFF, FLAP OF DOOR EDEN    [breathless] What? HENRY    [grim] Tell her. SHERMAN [sweet] My dear, um, Eden. I was just telling your father that your school has raised issues about your father's involvement-- EDEN    Why?  He emails them all the time.  They understand how busy he is. SHERMAN We still have to take it under advisement. Now, off the record, and with the understanding that you, sir, are a fairly wealthy man, I might ask why you haven't engaged a nanny or other similar household staff-- EDEN    [QUIET, prompting] DAD!    HENRY    [angry] What business is it of yours, lady? SHERMAN Perhaps you should step out and leave us alone again, dear. EDEN    No.  I may be too young for my opinion to count, but I want to hear what you plan to do to me.  We don't need anyone to look after the house.  I can do that. SHERMAN But you shouldn't have to - you are a child, dear, and you have better things to do. EDEN    Like what?  Play Xbox and get fat? MUSIC   SCENE 9 – AFTER SHE LEAVES SOUND    FRONT DOOR SHUTS, LOCKS HENRY    You have 20 million dollars? EDEN    And a half.  Not like I can spend it.  They don't trust me - that's why they call it a trust fund. HENRY    [snort] SOUND    SHE STARTS UP THE STAIRS HENRY    Hey, we're talking here. EDEN    [upset] You're only my dad while there's an audience. HENRY    [calling] Why don't you want a nanny or something? SOUND    RUNS UP THE STAIRS CALLANDRA    Poor child.  HENRY    [gasps]  Oh, right.  CALLANDRA    Pity you're not much of a father. HENRY    [offended] You're not much help, either. CALLANDRA    Oh?  And what do you expect from me?  I've been dead over a century, boyo. HENRY    How's that work, anyway? CALLANDRA    [pouty] Don't know.  Wouldn't tell you if I did. HENRY    Fine.  Whatever.  You have anything to drink around this place? CALLANDRA    [rolls eyes] Oh, yes.  That would look terrible good to Ms. Sherman, wouldn't it? HENRY    I'm going out for a while.  Don't worry - I'll sneak out the back.  I'm good at THAT. MUSIC   SCENE 10 – HENRY'S HOME SOUND    DOOR OPENS, MUSIC PLAYS IN THE BACKGROUND HENRY    [sigh, then calling]  Hey mom! MOM    [bleary drunk] Baby?  That you? HENRY    [resigned] Yes, mom. MOM    Where you been?  HENRY    I gotta job, mom.  Been working. MOM    You bring me back a little something, baby?  Medicine? HENRY    [down] Tomorrow.  I promise. MOM    [sarcastic] Such a good boy.  You gon' expect me to bail you out again?  You need to get you some better friends, baby. HENRY    I'm not a baby, mom.  I'm thirty-five. MOM    You'll always be my baby, Henry, won't you?  You know how much I count on you.  How much it hurts every time you been taken away from me.  What would I do if you were in jail?  Do you ever think about that? HENRY    Yeah.  [under his breath] All the time. MUSIC   SCENE 11 – CHAT WITH DAD SOUND    COMPUTER KEYS SOUND    DOOR OPENS HENRY    Eden? EDEN    [gasps] What?  Oh!  You're back! SOUND    FOOTSTEPS HENRY    You shouldn't sit in the dark like that. EDEN    [sarcastic] Thanks dad.  [serious]  I've been chatting with my real dad. HENRY    I didn't hear anything, if that's what you're worried about. EDEN    Duh.  Computer chatting.  HENRY    Typing.  Right.  I'm not much for the whole computer thing. EDEN    That could be awkward, if Ms. Sherman decides to quiz you on what you do for a living.  Dad's a programmer. HENRY    For the government? EDEN    [scornful] No!  [realizing] Oh, I mean... uh... he's a programmer for real, but he doesn't program for them. HENRY    [suspicious] Can I type something to him? EDEN     Sure. SOUND    CHAIR SHIFTS, CLUMSY, SLOW TYPING EDEN    Is this a secret, or can I type it for you? HENRY    Yeah, go on - at this rate I'll be here all night just to say Hi.  Um... [thinking] Mister... uh ... can I call him Ethan? EDEN    [responding to dad]  All right.  He says let's turn on the microphone. SOUND    CLICK EDEN    Now you can just talk. He still has to type, though.  His mike is broken. HENRY    I don't know you, so maybe I'm not the one who should be saying this, but - here goes.  Dude, leaving your kid alone makes you a bad dad.  So what if the government needs you! EDEN    You're... serious? HENRY    Hell yeah.  You're gonna grow up robbing banks and stuff. EDEN    Hmm.  He says, just because your dad was a deadbeat, doesn't mean -- HENRY    What the hell do you think you know? EDEN    He says-- HENRY    I can see what he says.  Background check, my ass! EDEN    I told you he's a computer guy. HENRY    Fine.  You need to take care of-- EDEN    Don't tell me how to raise my daughter.  Oh, and he says "watch"-- SOUND    [some CCTV video comes on the computer] HENRY    [shocked] How did he get that? EDEN    Is that you?  Breaking into a building?  Wow.  Wait, is that the museum? HENRY    So that's your way of keeping me in line?  EDEN    Are you the one who stole the Cellini vase? HENRY    I plead the fifth.  [angry sigh] Fine.  I'll do my two weeks, and then I am the hell out of here. EDEN    [angry] Very well, you worthless wretch! HENRY    What? EDEN    [innocent] Just what he said. MUSIC   SCENE 12 – RUDE AWAKENING SOUND    POUNDING ON DOOR CALLANDRA    Mr. Anderson!!  HENRY    [sleepy] What? CALLANDRA    That woman is at the door!  HENRY    I can't answer it like this!  I don't have that old-age makeup-- CALLANDRA    Frederic! HENRY    No, no - I can do it-- SOUND    POUNDING AGAIN FREDERIC    Did I hear a cue? HENRY    No, we-- CALLANDRA    He needs to look old and ill.  And right fast. HENRY    Really, I-- FREDERIC    Hmm.  Here.  [horrible ghostly noise] HENRY    [screams] CALLANDRA    Shh! FREDERIC    Damnation.  Once that would have turned your hair quite white - as it is, you will have to wear a cap. MUSIC   SCENE 13 – CPS AGAIN SOUND    DOOR OPENS SLOWLY HENRY    [shaky] Yes? SHERMAN Took you long enough. HENRY    I was in the shower.  Nearly killed myself slipping when I came down the stairs. SHERMAN Are you going to ask me in? HENRY    You might have heard the scream. SHERMAN No. [hinting to let her in] It is rather chilly out here. HENRY    [sigh] Very well. SOUND    THEY GO IN, HE FAKES A LIMP CALLANDRA    You watch out for that one! HENRY    Shh! FREDERICK    She can't hear us unless we want her to. SHERMAN I expect Eden is at school right now? HENRY    She's a very good student. SHERMAN [disdainful] B plus. HENRY    That ain't nothing to sneeze at, lady! SOUND    SITS SHERMAN But we both know she could do better. HENRY    What makes you think that? SHERMAN You could get her tutors. HENRY    Why?  She's real smart. FREDERICK    You tell her!  But you might try using proper grammar. SHERMAN There's so many things your money could do for your daughter. HENRY    I'd rather let her be herself. CALLANDRA    Oh, that's touching, that is. SHERMAN You could send her to private school. My own son Garth is in private school. HENRY    [faltering] She has ...friends.... here. SHERMAN [hinting] A very expensive private school. HENRY    You recruiting or something?  I ain't making any decisions behind my kid's back. SHERMAN You could pay me to leave you alone. HENRY    She wants to stay --  WHAT?  CALLANDRA    Horrors! FREDERIC    Bezom! SHERMAN You must understand, Mr. Anderson, just how poorly compensated we civil servants are these days. What a completely thankless job we do. HENRY    You really just hit me up for money? SHERMAN And how particularly expensive a really good school is. HENRY    [incredulous] Money.  You're asking for money. SHERMAN Of course. HENRY    You're a skanky money-grubbing ho! FREDERIC    Filth straight from the bowels of satan's own thrice-crowned hounds of hell! SHERMAN Language! [evil nice again] You have plenty of money.  I've looked into your financials.  Not just Eden's little trust fund, but liquid assets as well.  HENRY    That's blackmail! SHERMAN Technically, it's extortion. So far.  Extortion is getting money with a threat of something yet to come. HENRY    It's still illegal. CALLANDRA    Oh, horrors! SHERMAN Blackmail, on the other hand, is getting money with the threat of revealing something from the past. Like your criminal record? HENRY    My... [confused] what? SHERMAN Mr. Anderson, I have no wish to go into detail, but do you really think I would come here with just the might of CPS behind me? HENRY    Maybe. SHERMAN No. I have something concrete on you.  HENRY    Doesn't ring a bell.  [chuckles lamely]  Criminal record?  Me?  [laughs] SHERMAN Do the words 1987 and dot com mean anything to you? HENRY    But I was just-- ["a kid", but he cuts off] SHERMAN Using an assumed name? You're very lucky no one thought to cross-reference your fingerprints before, but once they do what I did... HENRY    Oh, crap. SHERMAN I'm in no hurry. I'd be happy to take a little something up front, and then a larger payment by the end of the week, perhaps? HENRY    I'll ...see what I have lying around. MUSIC   SCENE 14 – CHAT WITH DAD SOUND    DOOR OPENS, FEET STORM IN HENRY    Is your mike on, Mr. Anderson? SOUND    COMPUTER BEEP HENRY    Good.  Cause I don't know jack about how to work these things. SOUND    COMPUTER BOOP HENRY    You heard what happened?  How? SOUND    BOOP HENRY     I didn't even notice a computer in the living room.  SOUND    BOOP HENRY    Huh?  Which button? SOUND    BOOP HENRY    No need to get snippy. SOUND     BUTTON PUSHED ETHAN    [computer generated voice]  You will go immediately to the first hill bank and trust-- HENRY    What do you mean immediately?  I gotta do grocery shopping this morning. ETHAN    Delivered. HENRY    Not for here.  for my mom. ETHAN    Get it delivered. HENRY    Hey! Mom may be an old lush, but she expects to see me from time to time. ETHAN    Bank after. HENRY    What's all this crap that witch was talking about, anyway? ETHAN    No time.  Bank today.  Take three thousand dollars-- HENRY    I can't pass for you at a damn bank!  I can't sign your name!  ETHAN     Account in your name.  Use your own I-D. HENRY    What?  In my name?  What makes you think I won't just walk off... [back on topic] Second - why three thousand?  She won't settle for just three-- ETHAN    Three thousand will pay off her car. HENRY    Damn.  You really can find out anything, can't you? MUSIC   SCENE 15 – HENRY HOME SOUND    DOOR OPENS, MOM'S HOUSE.  TV ON HENRY    I brought your groceries. MOM    Good.  Didja get any beer? HENRY    It's still in the car. MOM    Bring that in next, woudja?  That's a good boy. HENRY    [from other room, confused] Mom?  Where's my TV? MOM    Mine was ...uh...on the fritz, so I moved yours in here. HENRY    You did? MOM    I had help. HENRY    You forgot to pay, didn't you? MOM    That is no way to talk to your mother!  Besides, if you weren't gone all the time, I wouldn't have such a problem.  You know I never was good with money.  HENRY    Yeah. MOM    When did you say you'd get paid for this new job you got? MUSIC   SCENE 16 – DINNER WITH EDEN SOUND    DINNER NOISES    HENRY    You made this? EDEN    [sullen] Yeah.  HENRY    It's pretty good. EDEN    Should be.  Been cooking since I was [Callandra's accent] "just a wee thing".  [change of tone, sullen]  You were gone all day.  Again. HENRY    I came back. EDEN    Well, duh.  We're paying you to be here. HENRY    Are the ghosts joining us? EDEN    [still sullen] Frederic gets too jumpy around food, and Callandra "doesna feel tis proper." MOMENT OF SILENCE HENRY    Are you mad at me?  SOUND    THUMP - VASE ON TABLE HENRY    What the h---ay?  You going through my room? EDEN    Callandra saw you hide it.  SHE's very upset with you. CALLNDRA    [from off] Though it is a right pretty wee thing! HENRY    I had to bring it along - mom was about to use it as an ashtray. EDEN    Why do you steal? HENRY    Whoa!  That ain't polite to ask. EDEN    It isn't polite to steal. MOMENT OF SILENCE HENRY    What else am I gonna do?  Shove burgers?  I ain't even got a GED.  Without that… well… EDEN    If you're trying to convince me to stay in school, there's no point. HENRY    No way!  You gonna drop out?  Smart kid like you – you could be any darn thing you want! EDEN    Oh, please.  I already have a GED.  Or at least, I took the test – just to see, you know?  And I've taken a few college courses on the Internet.  I stay in school for the socialization.  HENRY    Huh? EDEN    I stay in school to look normal and have friends.  The work is boring as hell, but I don't want to stand out.  Do you know how hard it is to manage a B+ average? HENRY    [sarcastic] Never had that problem, myself. EDEN    [mounting upset] I have to guess on each test what the correct percentage of answers is to get wrong.  I have to dumb my writing down for essay questions.  I have to-- HENRY    Why? EDEN    Why? HENRY    Why not just say to hell with it, and let em see how smart you are? EDEN    Smart kids get noticed.  I can stand out when I'm older.  When it's safe.  MUSIC   SCENE 17 – WHERE'S DAD SOUND    COMPUTER NOISES HENRY    You need to get your butt home, dude.  Your government might need you, but your daughter needs you more. ETHAN    Not possible. HENRY    What, are you in deep cover or something?  In a foreign prison?  [slow realization]  Oh.... crap. ETHAN    We are both in crap. HENRY    No, I mean you - you're like them, aren't you? ETHAN    Define "them". HENRY    The ghosts. ETHAN    [beat] Yes. HENRY    Holy crap. ETHAN    No.  Just regular crap.  HENRY    I can't stay here forever! ETHAN    Eden needs you. HENRY    [wobbling] My mom... she needs me, too. ETHAN    Open the scanner. HENRY    What?  Oh, that.  SOUND    SCANNER NOISE ETHAN    I need your hand. MUSIC   SCENE 18 – WHERE'S MOM SOUND    SILENT HOUSE, KEY IN LOCK, DOOR OPENS HENRY    Mom, why's the TV --?  [panicky] Mom? SOUND    MOVES THROUGH, TALKING HENRY    Mom, please say you're okay.  Say something!  Hello?  Oh, jeez, what could they'a done to‑‑ [cuts off as he spots something] What? SOUND    PAPER PICKED UP HENRY    [Reading]  Hope you get this. Woulda called, but-- MOM    [continuing, guilt tripping]  --you never gave me your number at "work".  Won a cruise in a mail-in contest.  Back in a month.  "Mom."  P-S, all expenses paid - how you like them apples.  Oh, and make sure to pay the electric bill.  Want heat when I get home. HENRY    [half amused, half annoyed chuckle] Ethan, you king of all shits. MUSIC   SCENE 19 – LIKE MOTHER SOUND    OUTSIDE, DAYTIME STREET GARTH    Hey! EDEN    [suspicious]  Can I help you? GARTH    [mean chuckle] You bet. SOUND    CLICK OF CAMERA PHONE GARTH    [annoyed] Hey! EDEN    [scared, but standing her ground] If this is a mugging, I just e-mailed your picture to my dad. GARTH    He's not gonna do anything. EDEN    What makes you so sure? GARTH    My mom has him by the short hairs. EDEN    Your mom? GARTH    Sherman?  From CPS?  Ring any bells? EDEN    She went away.  Everything is fine. GARTH    Course it is.  It's fine as long as you guys play ball. EDEN    [starting to get it]  As long as we--? GARTH    Pay up.  EDEN    But that's-- GARTH    You wanna complain, go whine to your dad, he'll explain the facts of life.  For now... you got an ipod? EDEN    [starting to break] I-- GARTH    [threatening] Or should I say, do I got an ipod?  [snarl] Hand it over. SOUND    HAND OVER EDEN    [nearly in tears] There.  Choke on it, you bully! GARTH    Uh!  [shoves her] SOUND    EDEN FALLS EDEN    [gasp, trying hard not to cry] SOUND    GARTH WALKS AWAY GARTH    Hah!  She got the Bieber fever.  [nasty laugh]  Ooh!  Beyonce!  EDEN    [long sniffle] SOUND    RUNNING FEET HENRY    What happened?  Here, let me-- SOUND    SHE JUMPS UP AND THROWS HER ARMS AROUND HIM EDEN    [crying] HENRY    [nervous, not sure what to say] It's okay!  I'll handle this.  It's-- [determined, personal]  It's going to be okay. MUSIC   SCENE 20 – getting even SOUND    QUIETLY DRESSING HENRY    [whispering] It's easy to forget she's just a kid. FREDERIC    [stage whisper]  She is a most self-possessed young lady. HENRY    Shh.  She only just got to sleep. FREDERIC    And you?  Are you leaving her now, in her hour of need? HENRY    [grim] Something I gotta do. FREDERIC    In the middle of the night? SOUND    ZIPPER ZIPS FREDERIC    And dressed all in black?  I sense skullduggery! HENRY    Sense all you want, but stay quiet about it.  FREDERIC    Alas that I cannot do more than keep the light burning for your return.  HENRY    Yeah.  See you in the morning. MUSIC   SCENE 21 – SATISFACTION SOUND    LOUD BANGING ON THE FRONT DOOR, DOOR OPENS HENRY    [self satisfied] Ahh!  [yawns]  So sorry.  Long night. SHERMAN Your check bounced! HENRY    [congenial]  No, I put a stop payment on it.  Won't you come in? SHERMAN You WHAT? HENRY    I - we - aren't playing your game any more. SOUND    DOOR CREAKS OPEN A CRACK, UP CLOSE EDEN    [whispered, eavesdropping] Go, Henry! FREDERIC    I could always give her a visitation - maybe we'll get lucky and she'll keel over from the shock! EDEN    No!  He may be a butt, but I don't want you to kill some kid's mom!  CALLANDRA    They've gone into the living room! EDEN    I'll have to listen on the laptop then.  Right dad? SOUND    BEEP MUSIC   SCENE 22 – REVELATION HENRY    Would you like a soda? SHERMAN I would like an explanation. What makes you think I won't go through with turning you in? HENRY    Go ahead.  When they take my fingerprints and they don't match the ones you have on file, you'll look pretty silly. SHERMAN You - you...! HENRY    You might have noticed that I'm a bit of a computer nerd. SHERMAN Oh-ho-ho! [getting composure back]  You may have changed the prints on the system,  But you can't get into my backups. HENRY    Call my bluff. SHERMAN Very well-- HENRY    BUT-- SOUND    MOMENT OF AWKWARD PAUSE SHERMAN [worried] What? HENRY    I'm afraid you have a problem of your own. SHERMAN I have a what? Are you trying to blackmail me?  I am very careful. HENRY    About your money stuff, yeah - I'm sure you are.  This is something else.  A vase. SHERMAN A what? HENRY    Have you read the papers recently?  The museum? SHERMAN The Cellini Vase? HENRY    Yeah, that thing. SHERMAN What does that have to do with me? HENRY    It's in your house. MUSIC   SCENE 23 – FINALE EDEN    What if she finds it? HENRY    What's she gonna do with it?  She don't know no fences. CALLANDRA    Or any place to sell it either. EDEN    She might give it back? FREDERIC    And try to explain how she happened to come by such a fugitive object?  Hah! HENRY    Hah is right. EDEN    [down] So I guess this means you're gonna go now.  I mean now that it's all clear. HENRY    I guess. EDEN    Would you stay?  I mean, if you could? HENRY    I'd like to but.... I dunno.  My mom-- SOUND    BEEP ETHAN    [computer voice] Was lucky and got an apartment in a new full-service assisted living community. HENRY    What?  You can't just-- ETHAN    Try and get her out.  They have KeNo every Thursday. HENRY    [annoyed but thinking] Hmm..... Does she get to have a nice TV? ETHAN    No. HENRY    What?  How can you--? ETHAN    You will bring one to her.  EDEN    Clever. FREDERIC    Brilliant! CALLANDRA    [sniffling] Touching. HENRY    Gotcha.  And what about me? EDEN    I have four more years before I can technically be emancipated.  If you're willing to be my dad til then, we'll-- ETHAN    Pay you one hundred thousand per year. HENRY    [dubious] That's pretty good.  Hmm...  Four years. EDEN    Well, what do you want, then? HENRY    Four years sounds like a heckuva lot like college. EDEN    I'm still too young. HENRY    Nah... I was thinking... you know... [quiet] For me.  [up] But only if you'll help me get my GED and stuff. EDEN    I bet I could be a really good tutor! MUSIC    END

Even in the middle of a blizzard, Lem and Fanshaw find someone in need of help - outlaws have taken over a Quaker hostel, holding the proprietress' children hostage.   Written and Produced by Julie Hoverson Cast List Lemuel Roberts / Deadeye Kid - J. Spyder Isaacson Clarence Fanshaw -  J. Hoverson Don Phelps - Reynaud LeBoeuf Randall Cullom - J.D. Lloyd Garrett Cullom - Shawn Connor Burden Fayette - Beverly Poole Will Fayette - Glen Hallstrom Fayette Children - Al Aseoche, Krystal Baker, Molly Tollefson, Reynaud LeBoeuf, Julie Hoverson Music:  Kevin MacLeod (Incompetech.com) Editing and Sound:  Julie Hoverson Cover Design:  Brett Coulstock "What kind of a place is it? Why it's the middle of a blizzard, can't you tell?" ********************************************************* HOSTEL TERRITORY Cast: Olivia Lemuel Roberts, the Kid Clarence Fanshaw, the sidekkick THE FAMILY Burden Fayette, the woman Faith, Hope, Fortitude, Courage, and Pious, the children Will Fayette, the dead husband Valor, the dog THE OUTLAWS Don Phelps, the leader Randall Cullom, the rabid one Garret Collum, the dying one OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's the only building for miles in a blizzard, can't you tell?  Good thing it's a hostelry. 1  INCOMING SOUND    BLIZZARD SOUND    HORSES AND MAN WADE THROUGH SNOW FANSHAW    [not cold] Not much further.  LEMUEL    [very cold] You been saying that fer the last hour. FANSHAW    And you've kept walking.  If you look up, you can see the light from the window. LEMUEL    And get a snootful of frozen sleet?  No thank you very much.  Is there a barn? FANSHAW    Yes.  It's a bit closer, why? LEMUEL    These here horses'll drop afore I do.  Need to get 'em inside. VALOR    [distant howl] FANSHAW    I'll go and see if it's unlocked, then, shall I? 2_INSIDE MUSIC AMBIANCE    INSIDE, BLIZZARD STILL RAGES OUTSIDE SOUND    DOOR CLOSES, WOMAN'S FOOTSTEPS DON    Well? BURDEN    [quiet] He ain't doing too well, but I think he'll pull through. RANDALL    You think?  BURDEN    [sharp] My husband was the one with some doctoring.  I am doin what I can. DON    You best keep on.  [threat] Them children o'yours depend on you. BURDEN    [almost breaking] I know. SOUND     BABY CRIES, NEARBY 3_BARN MUSIC AMBIANCE    INSIDE THE BARN - CLOSER TO THE STORM SOUND    HORSES BLOW, RUBBING SOUNDS LEMUEL    [to horses, and self] It ain't much, but leastways it's above freezin in here. FANSHAW    [coming on] I've taken the liberty of looking around, Lemuel.  It is a hostel, so you're very lucky on that count.  I haven't been inside, but a peek through the windows shows they're sitting down to dinner even as we speak. LEMUEL    [almost drooling]  Dinner.  Mebbe even coffee. VALOR    [distant but approaching - insistent barking] FANSHAW    Perhaps, but-- LEMUEL    How could anyone leave a good dog out on a night like this? FANSHAW    You're certain it's not a wolf or a coyotay? LEMUEL    You mean a kai-yote?  You could try to speak normal from time to time, y'know.  Nah.  Neither o'them barks like that.  That's a hound, right enough. FANSHAW    Your guns? LEMUEL    What about em? FANSHAW    The hostel sign shows they're quakers.  They do not allow guns in the house. LEMUEL    Idjits.  Fine.  I'll cache em here somewheres. SOUND    RUSTLING VALOR    [coming on, barking and panting, doesn't seem at all cold] FANSHAW    Oh, I say. LEMUEL    That explains a lot.  You look after 'em.  I got t'get inside and get around some grub.  FANSHAW    Right-ho.  Here boy.  There's a good dog. VALOR    [enjoys the petting, then barks a couple of times] 4  DINNER MUSIC SOUND    TWO TIN PLATES AND FORKS BURDEN    I haven't spoken grace yet! DON    Grace yourself, woman.  We're hungry. BURDEN    For what we are about to receive, let the lord make us thankful.  Amen ALL CHILDREN    Amen. SOUND    POUNDING ON THE DOOR BURDEN    [gasps, almost a scream] CHILDREN    [also react] RANDELL    Shut up!  Tell em to go 'way. BURDEN    We are a stage stop - we have to take folks. DON    Not tonight. Go on. SOUND    CHAIR, WOMAN'S FOOTSTEPS, KNOCK ON DOOR AGAIN BURDEN    But if I send them away, they might could make it to Corvel in the valley, and tell folks--. RANDALL    We can't have no one-- BURDEN    Even on a night like this, the sheriff would-- DON    Let 'em in.  [threat] We can deal with 'em, if'n we have to. SOUND    BAR REMOVED FROM DOOR, DOOR OPENS, LEM'S STEPS COME IN BURDEN    [as if trying to tell him something] Sorry about the wait, stranger - things are a mite rough here right now. DON    [saccharine] Never mind, dearest-- BURDEN    [gasp] DON    Bring the gentleman on in. LEMUEL    I hope you don' mind - I already bunked my horses in the stables. PIOUS    What he say? RANDALL    [hissed]  You'll keep shut if you know what's good fer you. SOUND    WOMAN'S BOOTS RUN TO TABLE BURDEN    Shh.  Shh, Pious, honey.  SOUND    CHAIR SCRAPE, MAN TAKES A COUPLE OF STEPS DON    Children.  [forced chuckle] You got to take a firm hand with them.  I'm Don Phelps, the proprietor here, and this here's my wife, [hint hint] right dear? BURDEN    [quiet] Yes. RANDALL    But-- DON    And this here's her brother, Randall - he helps us around the place.  [beat] We don't see many travelers in weather like this. LEMUEL    [playing a bit dumb] Reckon not.  Well, I'm right lucky you're here, and, ma'am, I am pert near faintin with rapture at the smell o'your cookin - can you make some room at that table, with all them young'uns? BURDEN    Always room.  And they's always food. LEMUEL    I should oughta tell you - I had to leave a parcel of my goods out in the woods, since the horses was flaggin.  I kin go back fer it once the sky clears a bit, but all my money's in there. RANDALL    [too quick] How much? DON    Ssh.  I kin see right well this feller's good fer the cost of a room and grub, even if the snow carries on fer a mite longer. GARRETT    [off, muffled groan] RANDALL    Garry!  What's agoin on with him--? DON    Hesh now, Randall.  Woman, you go and look in on [emphasized] your other ailing brother.  I'll serve this good feller. SOUND    AFTER A SLIGHT HESITATION, FOOTSTEPS LEAVE, DOOR OPENS AND SHUTS DON    Well sir, we've got some good stew here, a load of turnips, and bread and butter. FANSHAW    Lem, there is something very much not right here. LEMUEL     Reckon I'll take whatever you got to spare. FANSHAW    I know you won't be able to reply to anything I say, but-- DON    You tuck in, and I spect that tomorrow, once it clears some, my brother-in-law here and I would be happy to help you go and get your ... goods.  How far out was you when you had to unburden yourself? FANSHAW    Goods? LEMUEL    Coupla hours back - so might coulda been a few miles, depending on how much headway we made.  I kin find it again, though I doubt me anyone else could - I hid it real good.  [chuckles] FANSHAW    Ah.  I see you don't need me to tell you these fellows are up to no good.  And carrying weapons - no quakers, these. LEMUEL    What's wrong with your friend in the back? RANDALL    None o' your goddamned-- DON    Randall!  Not in front of the children!  He slid on some ice and broke his leg real bad.  FANSHAW    Funny - I took a look back there, and I never saw a broken leg that required a bloody bandage to the chest before. LEMUEL    Hmm.  That's a real bad one.  VALOR    [Whines] FANSHAW    Shh.  I know how frustrating it can be to smell food and not be able to have any.  Believe me, boy. DON    What do you do, stranger? LEMUEL    [swallows hard, then]  I - well, see, I'm a‑‑ FANSHAW    Courier? LEMUEL    --a courier.  Carrying important packages fer -- gold mining concerns.  VALOR    [whining, tugging] FANSHAW    What is it?  You can't-- VALOR    [almost growling as he tugs] RANDALL    Gold mining?  FANSHAW    I swear that man's eyes just lit up like the footlights at the Tivoli. VALOR    [GROWLING, getting intense] FANSHAW    Damn.  Lem, the dog's not going to let up until I see what he wants to show me.  [going off] I shall return shortly. LEMUEL    Bet them kids are a good lot of help running a hostel and all. DON    Not so much as you'd think.  I'm only their step-daddy, you see, so they ain't taken to me much yet. LEMUEL    Ahh.  At's a hard row to hoe. SOUND    DOOR OPENS, WOMAN COMES BACK, APPROACHES SLOWLY BURDEN    [whispering] I finally managed to stop the bleedin. LEMUEL    Bleedin?  [low whistle]  That's a bad break and no mistake. DON    Yes.  Yes 'tis.  [to Burden] Well, that's good, then.  Sit and eat. BURDEN    I need to get the children to bed. RANDALL    No way, you-- DON    Shh.  Don't you have no hospitality in you, woman?  Them kids can see to themselves while you stay here and keep us all comp'ny. BURDEN    Come here, y'all.  A kiss goodnight then you run along. FAITH    Mama-- BURDEN    Shh.  You look after the little ones, Faith. SOUND    KISS ON THE FOREHEAD HOPE    [in tears, but quiet] I don't wanna--! BURDEN    You have to, Hope, sweetie. SOUND    KISS ON THE FOREHEAD RANDALL    Oh, get on with it.  Are they like this every damn night? DON    [forced chuckle]  He's just arrived fer a visit.  These cowhands - not used to family living. LEMUEL    I'm purty much the same. FORTITUDE    Mama. SOUND    KISS ON THE FOREHEAD BURDEN    Don't you forget your prayers just cause we have guests in the house, Fortitude. FORTITUDE    Yes, mama. RANDALL    Well, I gots to take myself outside for a bit.  Y'all'll be all right without me? BURDEN    The outhouse is-- RANDALL    This kind of weather, I ain't troublin to go that far. SOUND    FOOTSTEPS, DOOR, BLIZZARD UP, DOOR SHUTS COURAGE    [whimper] BURDEN    Have courage, Courage. SOUND    KISS ON THE FOREHEAD DON    Them names these children have. LEMUEL    Nothing wrong with good sound virtues.  SOUND    KISS ON THE FOREHEAD BURDEN    Now, Courage, you take Pious by the hand and all ya'll run along t' bed.  Hope, take baby Humility-- DON    Baby can stay.  BURDEN     [gasps]  DON    They're too young to look after him.  Sides, he's sleeping. BURDEN     You... y'all go on up, now. SOUND    PATTER OF FOOTSTEPS GOING UPSTAIRS BURDEN    I'll be listenin fer your prayers!  [breaking slightly] I - I love y'all! VALOR    [distant mournful howl] 5 OUT BACK MUSIC SOUND    BLIZZARD VALOR    [Howling mournfully] FANSHAW    Bloody dog.  If you weren't a good solid dark color, I would have lost you long ago.  So what is it, boy?  Hmm?  [horrified and stunned] Oh.  My word. 6_PLAIN FARE MUSIC AMBIANCE    INSIDE, BLIZZARD IN BACKGROUND LEMUEL    Well, ma'am, I must say that's the best meal I've aten in quite some time.  BURDEN    [pleased] Plain fare.  We weren't expectin no one. LEMUEL    Plain fare's the best.  Hits the spot. DON    Randall's been gone a damn long time.  Where could he'a got to? BURDEN    You want I should go an' check? DON    [sharp]  No!  [chuckles insincerely, softens] I mean, no, dear.  Why donch you come and sit by me?  SOUND    HAND PATS CHAIR, RELUCTANT FOOTSTEPS, CHAIR SQUEAK DON    If Randall cain't find his own way back from relievin hisself, well, mebbe he deserves to have it freeze and snap off. LEMUEL    I can go and look?  I should cast an eye over my horses, make sure they're warmin up. DON    Um...  Certainly, certainly.  That sounds just fine. LEMUEL    Be right back.  [goodbye] Ma'am. SOUND    BOOTS, DOOR OPENS 7 BRAVING THE STORM SOUND    BLIZZARD UP SOUND    DOOR CLOSES, BOOTS IN SNOW FANSHAW    Lemuel, something terrible is happening here.  You must come see-- SOUND    DOOR OPENS DON    [shouting very loud]  You bring Randall on back here the minute you find him, eh, stranger? LEMUEL    A'course. SOUND    DOOR SHUTS LEMUEL    [low] No chance of sneaking up on that kai-yote while he's rifling my saddlebags now, is there? FANSHAW    Oh, yes, I forgot to mention-- LEMUEL    That's not what you wanted me to--? FANSHAW    He didn't find your guns, but he's still in the barn.  Come along, this way. 8 BACK INSIDE MUSIC AMBIANCE    INSIDE SOUND    DOOR OPENS AND CLOSES, FOOTSTEPS RANDALL    Colder than a witches-- DON    Where the hell were you?  That stranger went a'looking fer you - didn't you see him? RANDALL    Nope.  Mebbe he got lost. DON    Well, that won't get us his goods, will it?  We can search from now to kingdom come and-- RANDALL    Keep yer shirt on.  [leering]  At least fer now, eh, wifey? BURDEN    [sharp intake of breath] RANDALL    [grumbling] And you told the fellow I'us her brother just so's you could get a leg up-- DON    You should go find that feller.  We cain't let him get to thinkin there's anythin wrong.  SOUND    FOOTSTEPS, DOOR UNLATCHES DON    Oh, and - was there anything int'resting in his saddlebags? RANDALL    [grunt of annoyance]  Not much.  Mostly what you'd expect. DON    Mostly? RANDALL    Well, there was this metal jar might be worth a few bucks.  But it wouldn't open.  And was right heavy.  [shrugs] Figured if'n we decide it's worth it, we can lift it later with the rest of his kit. 9 _ THE BODIES MUSIC FANSHAW    Just a bit farther. LEMUEL    [snort]  Like I haven't heered that before. VALOR    [bark, panting] FANSHAW    Watch where you step. LEMUEL    Blood? FANSHAW    Well, snow certainly doesn't usually come in that color. SOUND    BRUSHING AWAY SNOW LEMUEL    It's fresh - no more'n a couple hours old. FANSHAW    The - source - is just ahead of you. LEMUEL    Hmm?  Ah, hell.  Who's he? FANSHAW    I suspect we have here this poor fellow's master.  And just to your right-- LEMUEL    Yep.  The man'us kilt outright - shot through the head like that don't leave you moving much. FANSHAW    But - the blood trail? LEMUEL    That's your amigo there.  Looks like even gut shot, he was tryin to go and get hep.  FANSHAW    Did he freeze? LEMUEL    I hope so - I heer it hurts some less than a gunshot.  But froze or bled out, he probably passed right about when we first heered him. FANSHAW    Poor fellow. LEMUEL    I swear'n he's the first animal spirit I've ever come upon--  Master around anywhere's? FANSHAW    I'll take a look. DON     [off, calling] Stranger?  You lost? LEMUEL    Damn.  See if you can pick up anythin.  I'll circle round so's they cain't see I was out this way. FANSHAW    Righty-ho.  Be careful, Lem.  LEMUEL    Like a cowhand in his best boots. SOUND    FOOTSTEPS OFF THROUGH SNOW A1  LEM RETURNS MUSIC AMB    INSIDE.  BURDEN    [fretting] I should check on the children. RANDALL    They're fine.  Why'n't you give me a big kiss, li'l lady, while we have a chance to be on our lonesome. BURDEN    I will not. RANDALL    [snort] Won't kiss me?  You'll do more'n that 'fore we hit the trail again, and having all them children, I'll bet you know jest what I mean... BURDEN    I am a righteous woman!  You can't-- RANDALL    Righteous or not, the parts all work the same. SOUND    SLIGHT STRUGGLE SOUND    DOOR OPENS DON    What'n hell you up to, Randall?  We agreed-- RANDALL    You agreed.  I ain't had much choice. DON    If that feller walks in and sees this - RANDALL    I say we tie em both up, take what we want, and forget all this folderol. DON    Have you looked in that feller's eyes?  He ain't the kind o' man to give in, even tied up and beaten.  We gotta pull the wool over his eyes, but good.  Shh! SOUND    BOOTS UP ONTO PORCH,  STOMP OFF SNOW.  DOOR OPENS SOUND    BURDEN PULLS FREE OF RANDALL, DASHES TO LEM BURDEN    [trying badly to sound normal] Let me hep you with yer coat.  We thought you mighta got lost.  [whispered] be careful. LEMUEL    Nah, Jest took the long road back, by way of the convenience - seemed logical, since I was already out in it.  [whispered] I know. BURDEN    [normal tone, startled] You--? LEMUEL    Hold on, let me shake the snow out the door.  [whispered] I won't put you or your brood in danger if'n I can hep it. BURDEN    Thank you kindly. RANDALL    [teasing] I do believe he's trying to make time with your wife, Don. DON    Oh shut up, ya pillock.  Can we getcha anythin' else stranger? GARRETT    [coming on, yawning] Oh, boy do I feel a heap better.  How about some grub? LEMUEL    [muttered]  Damn. A2  FANSHAW AND VALOR MUSIC AMB    OUTSIDE FANSHAW    Hello?  Are you here?  Hmm.  Hey boy!  Find your master!  Can you do that? VALOR    [panting, one bark, then a slurp] FANSHAW    Good boy! A3  GARRETT MUSIC AMB    INSIDE GARRETT    Randall?  What's a'goin on? RANDALL    I spect we oughtta get you up to yer room fer the night, eh stranger? GARRETT    Randell!  Dammit!  SOUND    DOOR, FOOTSTEPS BURDEN    Pardon me, but we can't really go on calling you stranger, can we?  You're our guest now.  LEMUEL    [thinks for a moment] Lemuel Roberts. RANDELL    The Deadeye Kid? SOUND    SLAP AND DRAW LEMUEL    [quizzical] Who? GARRETT    The Deadeye Kid!  Ain't that just-- DON    Stand up and show me yer hands. SOUND    CREAK OF CHAIR, COAT BEING LIFTED DON    You never heered of the Deadeye Kid? LEMUEL    He an outlaw? GARRETT    He's a gunslinger. RANDELL    [disbelieving noise] He's just one of the meanest hombres out there.  Kilt over 30 men they say - all showdowns. LEMUEL    [chuckles] I look like that kind of feller? DON    A bit, around the eyes. GARRETT    Funny - he din't actually say he weren't the Kid.  Ask him again. DON    Well, at least you ain't strapped now.  That's fine.  Randall, you gotta jug on you? BURDEN    [gasps, then smothers it] SOUND    POP OF CORK, LIQUID POURS RANDELL    Here's hoping the snow runs away fast as a redcoat regiment. GARRETT    What's wrong?  Why won't you ask him? LEMUEL    Sounds good. SOUND    DRINKING A3  KITCHEN MUSIC AMB    INSIDE, BUT NOT THE SAME ROOM VALOR    [bark, bark] FANSHAW     [coming on]  In here?  Aha!  Sir? WILL    Who the hell are you?  Another one of my wife's men? FANSHAW    What? WILL    The way she's carrying on out there - Them fellers are just about having their way with her-- FANSHAW    "Them fellers" killed you, sir, and your good lady is in there trying to keep them from doing the same to your children. WILL    O'course you would say that - fancy pants like you, she'd be kissing your feet. FANSHAW    [long breath out]  I am going to ask you one time, sir - do you have a weapon here somewhere that might help us? WILL     Oh, you'd like that wouldn't you?  Take a man's own shotgun, poke his wife, and dance on his grave, eh?  Well, Bessie is well hidden.  You won't never find her - let the bitch and her bastard whelps die. SOUND    HARD PUNCH WILL    Hey! FANSHAW     So sorry, usually I would warn a gentleman before striking him. WILL    You bastard!  SOUND    COUPLE OF JABS FANSHAW    But since you're not a gentleman... SOUND    PUNCH WILL    [going down] Uhh! SOUND    DOOR OPENS, QUICK FOOTSTEPS IN FANSHAW    Ma'am.  Ahh. [frustrated noise] SOUND    SLOWLY POURING WATER TO COVER THE SOUND OF CRYING BURDEN    [crying] FANSHAW    Oh, Madam.  I wish I could reassure you.  Lemuel is very good at what he does.  If there weren't the two of them, he'd have sorted this out long ago.  Don't cry.  If there is anything I can do - anything within my power, I -- [sigh, then annoyed]  Of course there isn't-- SOUND    FROM OFF [GARRET SCREAMING IN FRUSTRATION] FANSHAW    Or is there? A4  SHUT UP SOUND    HER FOOTSTEPS TO DOOR, DOOR OPENS LEMUEL    [fading in after door opens]  --spent a few weeks in California - nothing much there, cept'n round the train tracks... GARRETT    [screaming]  What's going on?  FANSHAW    What's--?  [catching himself]  Bloody hell. GARRETT    [screaming]  This isn't funny!  Randall!  SOUND    SLAP FANSHAW    Calm down!  GARRETT    Ow! FANSHAW    Come with me, now. GARRETT    Who in blazes are you? FANSHAW    [thinks for a moment, then]  I'm the angel Gabriel.  Who the devil are you?  GARRETT    Gabriel?  But I ain't -- Oh, lord am I dead?  Shouldn't angels not be taking the devil's name in vain? FANSHAW    [arch and superior] Who do you think we should swear by?  Our lord? GARRETT    [cowed] You got yerself a point.  Sorry.  What do I do now? FANSHAW    Firstly, you be quiet, and let people think. LEMUEL    [sigh of relief] DON    That's some good stuff, ain't it? LEMUEL    Let's just say, I have a special fondness for spirits. DON    I'll drink to that. RANDALL    You reckon I should look in on Garrett? LEMUEL    Let the lady do that.  It's her job, making sure he [slight emphasis] stays alive, right? BURDEN    [distant] Yes.. DON    What's wrong with you? BURDEN    [sniff, almost in tears] It's been a trying day. DON    Women.  You get on now.  Make sure Garret's comftable. SOUND    FOOTSTEPS, DOOR FANSHAW    Lem.  I expect you've noticed Garrett's dead.  I have him calmed down, but that may not last.  Do you think she'll know what to do?   LEMUEL    [muttered] She ain't screamed yet. RANDALL    What's that?  LEMUEL    Your friend must be doin all right.  Or your wife would have called for help. RANDALL    My sister.  His wife? LEMUEL    Sorry, it's late.  And that's some pow'rful strong stuff you got. FANSHAW    There's a shotgun somewhere in the house.  If I find it, can you let that poor woman know?  Her husband is - well, he - I had to "slug" him, I believe is the word. LEMUEL    Worst thing about late nights is the rambling on some folks do.  DON    What? LEMUEL    Just thinking you're good company, you two, since you understand the value of silence. FANSHAW    Very well.  [sigh]  I shall go and look for the shotgun. A5  DOGS CHOICE MUSIC VALOR    [barks] FANSHAW    Some Quakers.  Alcohol and guns.  Tsk. Tsk.  They're not even trying.  All right boy, show me where the gun is? WILL    He's my damn dog.  No way he's gonna betray me. FANSHAW    What's his name, then? WILL    Valor.  Like it matters, since he won't answer to you. FANSHAW    Valor?  Hmm.  Here boy, here Valor. VALOR    [Panting, one sharp bark.] WILL    Don't listen to him, ya damn mutt. SOUND    SCRABBLING OF CLAWS ON THE FLOOR FANSHAW    The poor little fellow looks confused.  WILL     Get over here, or I'll whup you good, and you know I will! FANSHAW    Valor.  Help me help your mistress, boy. VALOR    [two sharp barks] SOUND    DOG RUNS TO FANSHAW VALOR    [panting] FANSHAW    Good boy.  Yes, you are a good boy, aren't you? A6  FINAL FIGHT MUSIC SOUND    BABY FUSSES DON    Can't you keep that thing quiet? BURDEN    It's noisy in here.  He can't sleep. LEMUEL    If you need to absent yourself, ma'am.  I'm sure we menfolk kin do without you. RANDALL    You don't know no such thing.  Woman, sit! FANSHAW    Lem, your glass - tap it once for yes, twice for no.  Understand?   SOUND    One tap FANSHAW    Valor - the dog - showed me where the master of the house kept his shotgun.  It's behind some turnip sacks on a shelf in the cellar. SOUND    ONE TAP FANSHAW    You think you can get at it somehow? SOUND    TWO TAPS LEMUEL    Ma'am? FANSHAW    What? BURDEN    Yes, Mr. Roberts? LEMUEL    Do you have some more of this fine whiskey? BURDEN    Of course not! RANDALL    [a bit drunk] Pious mealy mouth.  We had t'bring our own, o'course. LEMUEL    Come now, ma'am.  I bet you have something a bit more powerful - say, down in the root cellar?  My momma allus used to hide hers behind some turnip sacks on a shelf. BURDEN    How do you know I have a cellar? LEMUEL    Let's jest say the spirits are calling to me. RANDALL    You don't know how true that just may be! DON    Shut it.  I don't know that we need anything more to drink.  LEMUEL    Ah, well.  Yer prob'ly wise there.  One more drink and I'll be toes up next to that fire snoring my life away, anyway. DON    Really?  [sly] See what you can find, woman. SOUND    FEET CROSS ROOM, DOOR SOUND    BABY FUSSES RANDALL    I swear'n  I'm gonna smother that critter. DON    That's no way to speak of your nephew, Randall.  [apologetic]  He's real close to toes up hisself, stranger. LEMUEL    I know that.  Mm.  One other hazard of liquor.  I think I got to find my way outside again. DON    Nonsense.  Much too cold now.  LEMUEL    When you gotta, you-- SOUND    GUN SLAPPED DOWN ON TABLE RANDALL    Man said no, Stranger. LEMUEL    a'right. GARRETT    [coming in] Gabriel?  I been saying every prayer I know, and I'm plumb bored.  Ain't no heavenly choir coming fer me, yet. FANSHAW    [sigh]  I shall check on that.  Wait in that room for me-- WILL    [coming on]  Dammit, you told that harlot where my gun is!  And who the hell are you? FANSHAW    Mr. innkeeper, this is one of the bastards who shot you and your dog.  WILL    What?  You done that? GARRETT    That ain't very angelic, Gabriel.  Besides, it was Don what actually shot him.  Oof! SOUND    PUNCH WILL    I gotta feeling I can't whale the tar out of him, though. SOUND     FIGHT CONTINUES FANSHAW    [whispered]  Garrett - perhaps I am really the devil and am damning you to be tormented  by those you wronged.  How do you like them apples? GARRETT    [grunts] LEMUEL    [laughs, turns it into a cough] DON    Where is that woman? RANDALL    [almost gone] Yeah? LEMUEL    She said she was going to the cellar. FANSHAW    I'll check. LEMUEL    She'll prob'ly be just another minute. RANDALL    I cain't wait another-- SOUND    CHAIR SQUEAKS, HE STUMBLES A COUPLE OF STEPS, THEN FALLS TO THE FLOOR SOUND    BABY WAILS DON    Oh, god dammit. FANSHAW    Tip the table, Lem. SOUND    CREAK, SLIDE OF BASKET SOUND    BABY CRY SLIDES ALONG LEMUEL    [muttered] Thank you, I did think of that m'self.  Check the kitchen. DON    What you doing? SOUND    BABY GURGLES LEMUEL    My fault, I guess I leaned on it too hard. DON    Damn table nearly took my head off! LEMUEL    Leastways, I caught the baby. SOUND    BASKET SET ON FLOOR SOUND    BABY FUSSES SOUND    GUN DRAWN DON    Why don't you get up real slow? LEMUEL    Dammit.  SOUND    CHAIR SQUEAK SOUND    DOOR CREAKS OPEN REAL QUIET FANSHAW    She has the gun, Lem, but I don't know if she'll use it. LEMUEL    I don't wanna hear that. DON    Who you talking to?  You that drunk? LEMUEL    Look, you kill me, then what happens?  Think about it - you got one man wounded and another drowned in corn likker.  Which one you plan to carry when you make a run fer it? DON    Who says we're going anywhere?  We dump your sorry hide outside and stay here, snug as a bug 'til the snow lets up. LEMUEL    Or til you hurt one of this woman's children. DON    Spare me.  She ain't never gonna do nothing.  Quakers don't believe in violence.  I could butcher each one of the little brats and serve 'em to her in a stew, and she'd have to take it.  [ridicule] for god. BURDEN    Stranger! DON    Huh? SOUND    METAL SLIDING ON WOOD, THE SHOTGUN SKIDS TOWARD HIM DON    You damn bitch! SOUND    GUN SHOT BURDEN    [scream] SOUND    DOOR SLAMS SOUND    SHOTGUN COCKS DON    Now you-- SOUND    SHOTGUN BLAST DON    Uh! SOUND    BODY DROP RANDALL    [bleary] Whazzat? SOUND      SHOTGUN COCKS AGAIN SOUND    DOOR OPENS BURDEN    No! LEMUEL    What? BURDEN    That man is no threat.  Get his guns, and I'll tie him up. SOUND    LEM TAKES RANDALL'S GUNS, PATS HIM DOWN LEMUEL    But he - he threatened you.  And your kids. BURDEN    I will keep him tied up until the sheriff can get to us.  That one may have been god's will, but I will not have any more killing in my home. FANSHAW    She has a great deal of conviction. SOUND    ROPES WHIPPING AROUND TO TIE UP RANDALL LEMUEL    You do realize you will be alone? BURDEN    Nonsense.  I have seven children to help me look after him. SOUND    [baby wails]  LEMUEL    Ma'am, let me do this for you then.  Let me take the body - bodies, if I'm right about the man in the back room - outside.  I'll put them in the shed, along with your husband. BURDEN    He is dead? LEMUEL    I saw his body.  And the dog.  That's what put me on my guard. BURDEN    Give me my baby and I'll leave you to your... work.  A7  DEPARTING MUSIC AMB    OUTSIDE, COLD, BUT NOT BLOWING SOUND    HORSES BLOW, STAMP BURDEN    Stay to the left side of the road, it's a bit higher, and not so icy. LEMUEL    Thank you, ma'am.  I hope things get better for you. BURDEN    Please don't think I cannot appreciate your help.  Though I cain't abide violence, I -[breaking] I thank ye kindly for saving my children. LEMUEL    Not to worry, ma'am.  As a man who lived by the gun, I'm... well, I'm tryin'. BURDEN    We will pray for you. CHILDREN    [assenting] SOUND    HORSES LEAVE SOUND    SLIGHTLY OFF, DOOR SHUTS FANSHAW    I say, Lemuel, how does a pious woman like that end up married to a beast like - well, you must have heard him?  LEMUEL    Heard enough.  Out here, most times it's better to have some man in the house than no man - no matter what a cuss he is. FANSHAW    Have you ever considered settling down?  A hostel like that would be quite a nice little retirement. LEMUEL    I plumb cain't see myself putting down roots.  You? RANDALL    [muffled, tied face down over a horse]  Mm? FANSHAW     I haven't any roots to put down. LEMUEL    If you did? FANSHAW    Well...  At one point, I fancied an academic seat of some sort.  Teaching, you know. RANDALL    [muffled]  If I did what? FANSHAW    Pity.  I rather hoped he would remain unconscious until we reached the sheriff. LEMUEL    If wishes were horses... FANSHAW    That kai-yote would be riding upright, instead of prone on a pack horse? LEMUEL    [chuckles] MUSIC END

Lem and Fanshaw roll into a little town just in time to stop an unjust hanging... but can they find out who truly deserves the rope?   Written and Produced by Julie Hoverson Cast List Lemuel Roberts / Deadeye Kid -  J. Spyder Isaacson Clarence Fanshaw  -  J. Hoverson Sheriff Mortimer - Rick Lewis Larkey Collins - J.D. Lloyd Harp Fowler - Molly Tollefson Maddy Fowler - Krystal Baker Lute Fowler - Gene Thorkildsen Amity Fowler - Kris Keppeler Meg Pickens - Julia Lorraine Rafe Jenkins - Reynaud LeBoeuf Kentucky Pete - Sidney Williams (Fear On Demand) Jeb - Robyn Paterson (Kung Fu Action Theatre) Gabby, dead drunk - Sean Connor Harmonica music by Jere Canote (Canote.com) Other Music:  Kevin MacLeod (Incompetech.com) Editing and Sound:   Julie Hoverson Cover Design:  Brett Coulstock Cover Photo:  Lauren Burbank (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's a mountain pass in late spring, can't you tell...?" ******************************************************************** A HANGING AT PICKENS ROCK Cast: [credits/olivia] Lemuel Roberts, the Deadeye kid Clarence Fanshaw Lute Fowler, accused murderer Harp Fowler, 11 Madrigal "Maddy" Fowler, 7 Amity Fowler, dead mother Rafe Jenkins, victim Sheriff Mortimer Larky Collins, henchman Meg Pickens, Rafe's fiancee Kentucky Pete, Gambler Gabby, town drunk OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a mountain pass in late spring, can't you tell?  1_ARRIVING MUSIC SOUND    EARLY MORNING NOISE, WOODS, TWO HORSES AMBLING FANSHAW    So many things I miss - out in the wilderness like this. LEMUEL    What?  You got air and water.  Freedom.  What else you need? FANSHAW    [longing] Tea.  LEMUEL    There's tea all over.  But you cain't even-- FANSHAW    It's not the drink itself, it's the act - the ceremony, if you will, of taking tea.  Tea and crumpets.  LEMUEL    What on god's green earth is a crumpet? FANSHAW    It's a... a... rather like a muffin, but more... refined.  LEMUEL    So you want boiled leaves and a refined muffin?  Next town we roll into, I'll make sure and rustle y'up some. FANSHAW    You don't understand.  Tea is a symbol.  Sitting down to tea with someone - it represents refinement.  Civilization. SOUND    CREAK OF SIGN HUNG FROM TREE LEMUEL    Speakin o' civilization-- FANSHAW    [sarcastic]  Ah.  Yes.  I'm certain any town out here will be chock-a-block with tea and crumpets. LEMUEL    "Pickens Rock".  Makes me think of... FANSHAW    Slim pickings? LEMUEL    [agreeing] I reckon. 2  TOWN MUSIC SOUND    SLOW HOOFBEATS ON HARDPACK.  SLIGHT ECHO, EMPTINESS FANSHAW    Slim pickings, indeed.  No one appears to be in residence. LEMUEL    Don't look abandoned, though.  Ev'thing's shut up tight.  Mebbe there's a county fair or sumpin? FANSHAW    Possible, yes.  Oh, there's someone-- LEMUEL    Sir? GABBY    [drunk and confused]  Whaa-a-at? LEMUEL    I'm shore sorry to bother you, feller, but-- GABBY    h-h-hh- who are you? LEMUEL    --where is ev'body? GABBY    They's a-a-a-all just gone off to the hangin.  Who a-a-are y'all? LEMUEL    Which way?  [prompting] To the hangin'? GABBY    Follow the rud, as you're goin.  At the fork, take a-a-a-a left.  You'll hear 'em by then.  They's mighty worked up. FANSHAW    Lemuel, what are you thinking? LEMUEL    Tell me, old feller - who they fixing to set dancin? GABBY    Nice boy, thaa-a-at Lute Fowler.  Never woulda pegged him for a-a-a drygulcher. LEMUEL    Figgers.  We never end up nowhere, but they's an emergency awaitin us.  Come on.  [clicks to the horses] SOUND    HOOVES TAKE OFF FANSHAW    [calling back] Thank you very much! GABBY    [calling] D-d-d-ont mention it! 3  CROWD MUSIC SOUND    ANGRY CROWD SOUND    HOOVES APPROACH LEMUEL    Whoa, there. SOUND     HORSES PULL UP SHORT.  CROWD     QUIETS, THEN BUZZ STARTS FANSHAW    I can't wait to hear this. LEMUEL    [through gritted teeth] Shut up.  [voice raised]  I hear there's fixin to be a hangin? CROWD    BUZZ SHERIFF    [off, yelling]  Who's askin? LEMUEL    Y'ever hear of the Texas Rangers? CROWD    BUZZ!!!!! SOUND    PEOPLE MOVE, FEET APPROACH SHERIFF    [Coming on, suppressed fury, trying to be civil]  Well, now.  This is strictly local business.  We don't need no help.  But I do thank you for looking in on us. LEMUEL     That feller on the horse?  He's your - uh - SHERIFF    Duly tried and convicted murderer. LEMUEL    Lucky town, to have a judge handy. CROWD    BUZZ of MISGIVING LARKY    Well, we don't-- SHERIFF    Put a bit in it, Larky.  We didn't need no judge, ranger.  We got ourselves a confession. LUTE    [yelling, very hoarse] I never did-- [gulp as noose is tightened] HARP and MADDY    [scream and cry] LEMUEL    Funny.  That sounds like a denial t'me.  You do realize that without a judgment from a legal court o' law, this ain't no execution, it's a murder. CROWD    BUZZ, STARTING TO FALL APART. FANSHAW    Is it?  SHERIFF    I'm the law in this here town, friend.  I don't take kindly to you walkin in here and trying to cause a commotion. LEMUEL    I ain't tryin to do nothin of the sort, Sheriff.  I just don't want to see a lawman like yerself let hisself get swept up by a mob and, uh-- FANSHAW    --be forced to condone an injustice? LEMUEL    --be forced to condone an injustice.  I know how tetchy a mob can be, and I cain't rightly blame you for not wantin a try and face 'em down - but with me at your side, I reckon we could stand. SHERIFF    [furious, but trying to stay jovial]  Well, now.  I guess I'll thank you very kindly, and..... [long breath, calming self, then turns away to call out]  Good people!  As I have long maintained, we must wait for the proper authority to conduct this properly.  We'll keep Lute Fowler locked up in jail until the circuit judge comes through next month - just as we shoulda done from the start.  [back]  Larky, go get that - gentlemen - down and back to the jail. LEMUEL    That's right big of you, Sheriff.  Now I'd be mighty honored to help you with any little thing you might need, seeing as I'm in town for a while. SHERIFF    For a while?  How long? LEMUEL    Don' rightly know.  Depends on how long it takes me to find what I'm looking for. SHERIFF    What's that? LEMUEL    'fficial business.  Caint go into it. SHERIFF    Very well, then.  I've got to get back to town, see this varmint locked up tight.  [grits teeth]  Again.  SOUND    FOOTSTEPS STOMP AWAY FANSHAW    A Ranger?  You've never--? LEMUEL    Never said I was - just ast if they'd heered of 'em. FANSHAW    What happens when they demand to see your credentials?  I somehow think that things are not so different over here -  impersonating an official is bound to get you into hot water. LEMUEL    I'll cross that bridge when I get there-- HARP    Mister? LEMUEL    What?  Oh, hello l'il pardner.  Didn't I see you standin up front--? HARP    You saved my pa, din't you? MADDY    [yes] Uh-huh! LEMUEL    Now, I just saw that justice is done proper-like.  If he's proven guilty, then he deserves-- HARP    He din't do none of this. MADDY    [no] Uh-uh. LEMUEL    Do either of you gotta name? [teasing] or any manners? HARP    Sorry, sir.  We's just real upset, y'unnerstand?  I'm Harp Fowler, and this is my little sister Maddy - Madrigal. LEMUEL    Well, I tell you what, Harp.  And Maddy.  I promise I will look into the case.  That's all.  If your pa's innocent, then I'll find it out.  All right? HARP    I reckon.  Well, if you need any help or anything, you can find me at the Lazy H ranch, up Blackbird Gulch.  I can shoot a gun! LEMUEL    I'll keep that in mind.  Y'all get on now. FANSHAW    [musing] Harp, Lute, and Madrigal?  What would they have named the next child? MADDY    Viola if twas a girl.  Fortay for a boy.  That's what mama always says. HARP    [annoyed] Oh, c'mon. SOUND    SMALL FEET WALK AWAY FANSHAW    [shocked] I... say. LEMUEL    What? FANSHAW    That child - the little girl.  She's...  she spoke to me.  She heard me. LEMUEL    [sorry for the kid] Damn.  4  SCENE OF THE CRIME MUSIC SOUND    FEET ON ROUGH GROUND LARKY    Just about here, I spect.  LEMUEL    Thankee kindly. LARKY    Whatchoo specting a find?  Lute kilt the Jenkins boy nigh on a week ago, and it's rained since. RAFE    Hello?  You lookin fer me? LEMUEL    Jest tryin to get a feel fer whut happened.  [beat] I kin find my own way back to town. LARKY    I'd be right pleased to get a chance to observe a real Ranger at work.  I won't make no bother.  LEMUEL    [reluctant]  Fine. RAFE    Hey, I'm over here. FANSHAW    [whisper] Keep him busy.  I'll see what I can find out. LEMUEL    [thinks, then] Where'd you say you thought the shooter was? RAFE    Shooter?  What shooter? LARKY    Up thissaway. SOUND    FOOTSTEPS OFF RAFE    [calling] Hey!  Fellers! FANSHAW    Hold on there. RAFE    What you want?  FANSHAW    My apologies sir, but I'm afraid I have some rather bad news for you.  RAFE    Why you talk like that? FANSHAW     There's no kind way to say this.  [sigh]  I'm afraid you are dead. RAFE    Dead?  What're you, then, an ayngel? FANSHAW    Oh!  No.  We - that gentleman over there and I - are trying to find out what happened to you. RAFE    How come he ain't askin me hisself? FANSHAW    Well, he would - but that fellow with the colorful name "Larky" would probably find it odd. RAFE    I... guess I see.  Tsch.  Dunno what I can tell you - I guess I really didn't even ... yet... FANSHAW    Realize that you're dead?  It's not uncommon, I fear. 5  OUTHOUSE MUSIC SOUND    WOODEN DOOR SWINGS SHUT LEMUEL    [quiet]  Where in hell are you, Fanshaw? FANSHAW    [shocked, muffled] Lemuel!  Don't you prefer some privacy? LEMUEL    [quiet] Consarn it, ya ninny.  That Larky is on me like a tick on a tinhorn.  I figgured this is the only way to get out from under him. FANSHAW    Well, I hope it's a two-seater.  [coming on]  Rafe didn't see anything - he was ambushed.  Shot in the back. LEMUEL    I got sumpin more important.  This. SOUND    SOMETHING PULLED OUT OF A POCKET FANSHAW    A badge? LEMUEL    A ranger's badge, and I surely didn't whittle it myself.  Someone slipped it inta my pocket.  I'm thinkin it musta been in that crowd at the hangin - only time anyone but Larky's been near enough.  Don't reckon you saw nothin'? FANSHAW    Terribly sorry, but no.  No one that stood out. LEMUEL    Seems the coach line here sees enough traffic that there's more'n a few strangers in town.  I couldn't poke much more'n that. FANSHAW    But who could have given that to you, and why? LEMUEL    How's this fer a guess - there's a ranger, here in town, and he don't want no one to know who he is. FANSHAW    But to give his badge away? LEMUEL    I'm figgurin he 'preciated my stoppin the hangin and dint want them fellers to find out I weren't no ranger and start the whole thing up again.  Jest acause he's hidin out don't mean he thinks we don't need no ranger in town. FANSHAW    [slight exasperatd sigh] Perhaps if you could get away from this Larky fellow, the real ranger would make himself known to you. LEMUEL    I'll see what I can do. 6  BRIGHT AND EARLY MUSIC SOUND    WINDOW SLIDES UP, CIGARETTE LIT AMBIANCE    EARLY MORNING NOISES LEMUEL    [blows out a long breath] SOUND    SOFT RAPPING AT THE DOOR SOUND    CHAIR SQUEAKS, A COUPLE OF BARE FOOTSTEPS, A GUN SNATCHED UP OFF A TABLE LEMUEL    [quiet] Yup? HARP    [whispered through door]  I needs to talk to you, Ranger. LEMUEL    [not quite being funny] You strapped? MADDY    [muffled giggle, through door] HARP    Shh.  [very serious]  Nope.  I come peaceable.  LEMUEL    All right then.  Come on. SOUND    DOOR OPENS CAREFULLY AND QUIETLY, SMALL FOOTSTEPS ENTER, DOOR SHUTS AMITY    Thank you kindly, sir. LEMUEL    [a bit surprised] Um.  Y'all have a seat? SOUND    CREAK OF WOOD HARP    You rangers see a lot of strange stuff, dontcha? LEMUEL    Strange how? HARP    My sister is a might tetched. MADDY    I ain't. HARP    She ain't rightly crazy, just thinks she sees folks as has gone and passed away.  MADDY    Where's your friend? LEMUEL    He- he'll be-- HARP     [to Maddy] Oh, hush.  Men're talkin' here. AMITY    They grow up so fast. LEMUEL    One thing rangers always do, fella, is get to the point.  You can't shock me, so come on. HARP    My sister says our dead momma is following us around to look after us [clears his throat as he tries to avoid breaking into tears] while our pa is in the hoosegow.  AMITY    I really tried to teach them to speak better, sir.  HARP    Maddy also says-- MADDY    There he is! FANSHAW    Is... this a party? LEMUEL    Ah, hell.  [comes to a decision]  Look, I'm gonna tell you the whole truth, but you can't let no one else hear this.  Swear? HARP    On my mama's grave. MADDY    That's not fair - she's right here. AMITY    It's all right, sweetheart.  You promise too. MADDY    All right, I promise too. LEMUEL    We gotta talk quiet.  Make sure no one hears. HARP    [avid]  All right! LEMUEL    I ain't never told no one alive what I'm about to tell you, and I can offer you proof, afore you go off thinkin I'm foolin wit'cha, here. HARP    I'ud never think you'us foolin. LEMUEL    Firstly, I ain't a real ranger.  It was the only thing I could think of t'say t'stop the hangin.  See, I'm being plumb truthful here, now. HARP    [hopes dashed] Not a ranger? LEMUEL    Sorry, son, I'm just plain Lemuel Roberts - retired gunslinger.  FANSHAW    He used to be the Deadeye Kid. MADDY    You were the Deadeye Kid? HARP    How you know that? LEMUEL    My pal Fanshaw just told her. HARP    Who?  What's agoin on? LEMUEL    Lissen t'me, your sister aint tetched a'tall. She's ... like me.  Whether it's a blessin or a curse, we both see and hear "them as has passed on". HARP    'Zat mean our mama's truly here? LEMUEL    Is your mother a tall woman with big hands, a long plain face and a real sweet smile? HARP    [suddenly a small child] Momma? AMITY    I'm always with them both.  But Maddy will have to be the one to speak fer me. LEMUEL    Ma'am.  I spect you know there's a reason you're here? AMITY    Doesn't everyone remain after their clay has returned to dust? LEMUEL    I reckon the world would be an awful crowded place if t'were the case.  I found it's mostly just them with unfinished business that stay tethered.  AMITY    And my business--? FANSHAW    If I ain't mistaken, ma'am, they's sittin right here. AMITY    [laughs]  You're a very perceptive man. MADDY    [yes] Uh-huh! HARP    [sniffles, then gets down to brass tacks] So my sister ain't crazy.  Well, that's right fine, but howzit gonna help clear our pa? AMITY    He didn't do it, you know.  I was with him all night, as I always am, but I doubt I could be very credible as a witness. LEMUEL    [mildly amused] No, ma'am.  Spect not.  Harp, from everything I've heard, your pa's innocent, but I'm better off trying to find out who done it than trying to prove he din't.  What you know that I might not'a heard yet? HARP    Well, Rafe was dry-gulched around dusk, six days back.  My dad was at home.  LEMUEL    Why'ud the sheriff think your pa'ud done it? HARP    He wooden! MADDY    They's all sayin pa kilt Rafe cause Rafe assid--  assud-- AMITY    Accidentally. MADDY    Assidentally kilt our ma.  His cart run her down when he lost control o' his team.  AMITY    It was an accident, and Maddy and I have assured Lute of that, best we could.  Even if I didn't already know where he was all night long, he would never have hurt that poor boy. HARP    I believe Maddy.  And... and [almost breaking up] ma. LEMUEL    [sincere] Faith is a grand thing, son.  Don't you never lose it. HARP    Faith ain't gonna hep save our pa.  What can we do to hep you? LEMUEL    Is there anyone else in town might have a grudge against this fella Rafe? HARP    Nope.  He'us a nice feller.  His folks got the big spread up to the plateau. LEMUEL    Any other kin likely to get money if'n he died? HARP    I don't rightly know - reckon his folks are well off, and he got him four brothers, but they're all regular church-going folks - none'a them'ud do that. AMITY    [whispering] tell them about Meg. MADDY    Rafe was courting Meg Pickens.  Her folks own half the town.  [whispering] I saw 'em kissin once. HARP    Ew.  LEMUEL    And someone shot this poor feller, who everyone liked, in the back. 7  MEG MUSIC AMBIANCE    BUSY WESTERN STREET SOUND    BOOTS ON WOODEN SIDEWALK LEMUEL      [talking low] Looks like I need to scout the road out of town, figger out where they plan their ambuscade. FANSHAW     Ambuscade?  I'm impressed. LEMUEL    Pshaw.  I was thinkin-- MEG    [challenging]  Are you the Ranger? LEMUEL    [sigh] I spect I'm the one you're lookin fer.  And you are? FANSHAW    She appears to be in mourning - did Rafe have any sisters? MEG    I'm Meg Pickens, and you're the one who stopped the hanging of the ki-yote who killed my ...  [breaking a bit]  my beau. FANSHAW    Ah, the sweetheart. LEMUEL    You so sure Lute'us the right man?  I hate to orphan no children without being dead certain. MEG    Everyone knows he did it - he blamed Rafe for the accident that took his Amity! LEMUEL    Lute's children said he never spoke a harsh word agin the boy. MEG    Of course they'ud say that. LEMUEL    Now, miss, I won't never say that children ain't known to lie from time to time, but they don't, if y'understand, always know what lies t'tell.  MEG    I don't take your point--. LEMUEL    If'n I ast them if their pa killed the man, shore they'd say no, cause even if'n it was true, they'd know that was the right lie to tell.  But I ast if their pa ever had harsh words agin your feller, and they said no - he was powerful torn up over their ma's passin, and was angry the boy lost control, but he never said it were no one's fault but providence. MEG    [softening] He never did? FANSHAW    Nottingham approacheth. LEMUEL    Eh? FANSHAW    My apologies - the sheriff. SOUND    BOOTS ON WOOD SHERIFF    [coming on] Ah, Ranger.  [smarm] Meg, my dearest girl.  You know I have nothing but sympathy for your loss. FANSHAW    Nothing?  The old letcher, he's practically salivating. MEG    Thank you kindly, sheriff Mortimer. SHERIFF    Can't you call me Henry? FANSHAW    It's rather like a wolf and a lamb. MEG    [disturbed] It really isn't appropriate, Sheriff.  I -- I just have... so much respect for your office. LEMUEL    I was just explaining to [slight emphasis] Miss Pickens here that I am just as het to see Rafe Jenkins' killer hung as anyone, but the law allows every man a proper trial, and you and I both, we're sworn to that law. SHERIFF    [nearly a growl] O'course.  Nothin's more important than the law. LEMUEL    Yep. MADDY    [off]  Psst. FANSHAW    What?  Oh.  I'll see what she wants. SHERIFF    Whuzzat?  Oh, the brat-- [grinds out] little Fowler child. MEG    I do feel sorry fer her.  If her father's a murderer and all. SHERIFF    If?  [anger rising] If?  A'course he's a murderer.  I wooden'a put him away if'n he weren't! SOUND    LITTLE FEET RUN AWAY MEG    [gasp, afraid] Sir!  Sheriff!  I understand you feel strongly about this-- SHERIFF    I'm shore sorry to let you see me in a pet like that.  [deep breath]  Last thing I'd ever want to do is show you the rough edge of my temper, Meg. LEMUEL    Sheriff, I'll take my leave, if'n you don't mind.  [goodbye] Miss Pickens. SOUND    BOOTS ON WOOD FANSHAW    You shouldn't leave her alone with him. LEMUEL    I wooden if they'us inside, but there's folks out and about here.  FANSHAW    That look in his eye - I would swear he's barely human. LEMUEL    Ayep.  You thinkin we just mighta seen the start of all this ruckus? FANSHAW    The sheriff?  You think he--?  Over the girl--?  Oh.  That is a sticky wicket, indeed. 8  SALOON MUSIC AMBIANCE    SALOON SOUND    BOOTS APPROACH MEN AT TABLE SHERIFF    Gimme three. SOUND    CARDS BEING DEALT KENTUCKY     And you? LARKY    Nothin' - no, wait.  Uh, one. SOUND    CARDS LEMUEL    Sorry, I thought this was dinner. SHERIFF    Will be shortly, Ranger.  Care to sit in for a coupla hands? LEMUEL    Don't mind if I do.  SOUND    SCRAPE OF CHAIR KENTUCKY    We'll just finish here first.  Won't be long.  Call? SHERIFF    Three tens. LARKY    Damn. SOUND    CARDS TOSSED DOWN OTHER MEN    [grumbling] SOUND    MORE CARDS, COINS, ETC. SHERIFF    And you, Kentucky? KENTUCKY    [sucks his teeth, then] Weeellll.  I've got two Jacks. SHERIFF    [chuckles avariciously] KENTUCKY    And three queens. SOUND    CARDS LAID DOWN SLOW AND TRIUMPHANT SHERIFF    What?  LEMUEL    I believe that makes a full house. SHERIFF    [furious!]  Cheater!  Sharp! KENTUCKY    I did not--! SOUND    TABLE FLIPS, CARDS, MONEY, GLASSES, FALL TO FLOOR SHERIFF    We don't hold with cheatin in this here town! KENTUCKY    I assure you-- SOUND    PUNCH, THEN A GRAB, and a SWING THAT MISSES LEMUEL    Sheriff, I reckon you need ta calm down.  SHERIFF    [spluttering]  That bastard--! LEMUEL    Larky, take your boss here and get him a shotta whiskey - I'll search this feller, and if he's holdin out, well then I'll arrest him. LARKY    [trying to be brave, but frightened] C'mon boss. LEMUEL    Up you come.  [grunts as he helps K up] KENTUCKY    [groans]  I think he broke my nose. LEMUEL     [amused] Musta been a good pot. KENTUCKY    Not more than ten dollars.  [long juicy sniff, grunt of pain]  You that ranger? LEMUEL    That's got around, eh? KENTUCKY    Hard not to, town like this.  I assure you, sir, I was not cheating.  Frankly, it's hardly necessary against players who... well, aren't particularly skilled. SOUND    RUSTLE OF CLOTHING LEMUEL    I'll check your sleeves and pockets anyway, just so's they don't think you're talkin your way past me. KENTUCKY    I appreciate that. SOUND    RUSTLING OF CLOTHING, PAT ON THE BACK LEMUEL    Well, that's it - nothin.  Now I'll go see if the Sheriff's still colicky.  I'm thinkin you should get while the gettin's good.  SOUND    DRINK POURED, GULPED [SHER], GLASS SLAMMED DOWN ON BAR LARKY    Boss!  He's comin. SHERIFF    [slurry drunk] I'm gon kill him.  Ranger or not, he'll still bleed red. LARKY    Shh.  Only works if he don' know it's comin.  [up] Ranger!  You let him go? SHERIFF    What? SOUND    SCUFFLE AS SHERIFF TURNS FROM THE BAR AND ALMOST FALLS LEMUEL    He wasn't holdin.  I convinced him to take his stake and go.  You'n yer men can go and collect your own - it's all still there on the floor. FANSHAW    Lem, that sheriff person is making no secret of his plans to assassinate you. LEMUEL    [accepting] Mm.  [up to the men] I'm thinkin I'll grab some grub and turn in - even rangers can only take so much excitement in a day. SHERIFF    [dark] Reckon so.  SOUND    FOOTSTEPS AWAY LARKY    Not in the hotel, boss.  SHERIFF    [snarls] How dare you? LARKY    Sir, I mean - woodenit be better to get him on his way outta town?  Then everyone'll know he was fine when he left - won't blame you - I mean, us.  SHERIFF    [grunt] FANSHAW    Despicable blackguards. 9  SHERIFF'S OFFICE MUSIC AMBIANCE      WESTERN STREET, MORNING SOUND    FOOTSTEPS ON WOODEN SIDEWALK, SOUND     SECOND PAIR OF FOOTSTEPS TROT UP LARKY    [coming on, puffing a bit]  Hey, ranger! LEMUEL    [muttered] Ah hell. LARKY     You headin to Sheriff's office?  Me too.  Messenger just come in, said the circuit judge'll be here two-three days at the outside.  Good news eh?  Lute can have his trial, then I reckon the town can have its hangin. LEMUEL    [muttered] Consarn it. LARKY    Whassat? LEMUEL    Come on. MUSIC SOUND    DOOR OPENS, WALK INTO OFFICE LARKY     Hey Jeb!  Sheriff in? JEB    Uh, no - he's off to look on on Meg Pickens.  He said he's worried cause her folks are away. FANSHAW    Oh, that's not good.  That young lady will be defenseless. LEMUEL    [snort of agreement, trying hard not to sound anxious]  How long ago did he leave?  We might could catch him up? JEB    Oh, round half hour ago, but I figgered he'd stop home to, uh, spruce hisself up a bit.  He's plumb sweet on that li'l lady. LARKY     That he is. LEMUEL    Larky, you kin show me how to head him off? LARKY     Cain't it wait til tomorra?  I sorely doubt that this would be a good time t'interupt him.  LEMUEL    I - I found sumpin he needs to see.  It'd prove Lute's case. LARKY     Hmm.  Sheriff'll be happy to hear that.  Make the judge's job real easy. LEMUEL    [level but forced] Get me to him. A1  RIDING OUT MUSIC SOUND    HOOFBEATS, TROTTING LARKY     He ain't gon' thank you, and he ain't gon' be best pleased with me, neither. LEMUEL    I don't care a whit for whether he's pleased or not.  Whoa! SOUND    HORSES PULL UP LARKY     What? LEMUEL    Whassat? LARKY     Where? LEMUEL    [irritated] Over there.  Lean this way.  See?  SOUND    THUMP ON HEAD LARKY     augh! SOUND    BODY SLOWLY LOWERED OFF HORSE TO GROUND, CRUNCHES ON GRASS LEMUEL    Cain't have you behind me Larky, old hoss.  FANSHAW    Leveled the playing field, I see.  You should take his horse - in case he recovers quickly. LEMUEL    Thick skull like that, he jest might. A2  SHOWDOWN_1 MUSIC SOUND    HOOVES, WALKING SOUND    HOOVES APPROACH QUICKLY LEMUEL    [coming on]  Sheriff! SHERIFF    What the blue blazes?  You?  What in hell do you want? SOUND    SECOND PAIR OF HOOVES SLOWS LEMUEL    Lute Fowler's escaped! SHERIFF    What! SOUND    HORSE REINS UP, SECOND HORSE REINS TOO SHERIFF    That sheep-loving son of a bitch!  I knew he'd try somethin. LEMUEL    I figgured this'd be worth trackin you down for.  I got a hunch tells me where he might go, as well. SHERIFF    Really?  LEMUEL    You and me, we can take him down. SHERIFF    [evil realization]  You and me?  Ye-e-e-es. MUSIC SOUND    HORSES SLOW, THEN STOP LEMUEL    We'll have to leave the horses.  Cain't let him hear us. SHERIFF    [sly] Course not. SOUND    CREAKS AS THEY DISMOUNT SHERIFF    Show the way. LEMUEL    Stay here fr'a minute. SOUND    RUNS OFF THROUGH BUSHES SHERIFF    [fading off] Whatever you say, [dangerous] ranger. FANSHAW    Maddy told me of a big rock just over that rise.  Quickly now - you'll want cover.  He's rather agitated. LEMUEL    [snort]  SOUND    BUSHWHACKING STOPS LEMUEL    [calling]  Lute?  Lute Fowler? SHERIFF    [off, deliberately calling weakly] He there? You hear him? SOUND    STEALTHY MOVING THROUGH BUSHES LEMUEL    Shh! FANSHAW    He's closing on you.  He moves awfully quietly for a big man. SHERIFF    [almost a whisper, trying to sound farther away than he is]  Ranger? FANSHAW    Are you going to shoot him? LEMUEL    I - No. FANSHAW    What? SOUND    MOVEMENT STOPS, THEN SUDDEN NOISE AS LEM TURNS TO FACE THE SHERIFF LEMUEL    Y'coverin me, or fixin to shoot me in the back, Sheriff? SHERIFF    [tries to laugh it off] Lute's a desperate man.  Surprised you're still in leather. LEMUEL    Lute ain't here.  It's jest you and me. SHERIFF    Eh?  If you're plannin to plant me, boy, you shoulda thought twice.  Only gun to hand right now is mine. SOUND    TWO STEPS FORWARD LEMUEL    [calm and even] I see that.  And I know you can shoot a man in the back.  But that - uh - shake t'yer hand says maybe you cain't look me in the face and do it. SHERIFF    I can do anything I please.  No one'll even ask once you're gone. LEMUEL    Oh, there's a couple.  You think any ranger'd be fool enough to come out here without a man t'watch his back? SHERIFF    What I've seen from you, I ain't much impressed with rangers. LEMUEL    Huh.  Well you gonna shoot me or what? SHERIFF    I... will.  You gonna give me a reason? LEMUEL    Nope.  I'm figgurin you'll show yellow til you get riled 'nuff.  So I don' plan to rile you none. SHERIFF    [flash of anger] Yellow? LEMUEL    Rafe'us unarmed, barely old enough t'shave, and still you hadta shoot him in the back.  That says yellow louder than-- SHERIFF    [screaming]  Yellow!  I'm the damn sheriff!  The Sheriff I tell you! HARP    [screams from off]  Sheriff! SOUND    GUNSHOT GOES WILD SOUND    BODY HITS GROUND, ROLLS A BIT FANSHAW    Lemuel?  Lemuel? SOUND    GUNSHOT FROM FAR AWAY SHERIFF    Argh! A3 SHOWDOWN 2 LEMUEL    [spitting gravel, annoyed]  I'm fine. SOUND    BODY HITS GROUND FANSHAW    But that shot? LEMUEL    Well I was biting dirt, so I din't rightly see. HARP    Ranger!  Get up!  He's a-coming! SOUND    SLOW FOOSTEPS ACROSS HARD GROUND SOUND    SCUFFLE AS LEM TURNS TO FACE NEWCOMER LEMUEL    Well.  You do have a thick skull, don'tcha? SOUND    A COUPLE MORE SLOW STEPS, THEN LARKY    [chuckles, then sounding a lot less stupid and rough than before]  Good thing too.  You pack a wallop. FANSHAW    The sheriff is still breathing. LEMUEL    What happens now? LARKY    You hit the ground pretty hard.  Need a hand up?  LEMUEL    [beat] I - I'm a mite confused now. LARKY    I think you have something of mine. LEMUEL    What? SOUND    RUNNING FEET APPROACH HARP    You stop right there, Larky!  SOUND    COCKING OF HAMMER ON GUN LEMUEL    [getting it] I - I think it's all right Harp.  Slowly now, let that hammer down. HARP    But he's one o' them that railroaded my pa! LARKY    I'm truly not-- LEMUEL    Harp, don't be loco.  He's the one goes with this-- SOUND    SOMETHING PULLED OUT OF POCKET LEMUEL    Ain't you, Ranger Larky? A4 RANGER MUSIC AMBIANCE    BACK IN THE HOTEL LARKY    You understand why I couldn't do anything - if I came forward, I would have wasted months of work, getting myself next to the Sheriff.  But-- LEMUEL    I still don't see-- LARKY    Hold on!  I swear to you, though, I would not have let Lute Fowler get hung just to keep my cover.  You came in at the nick of time. LEMUEL    Reckon we're even now.  LARKY    Reckon we are.  So where you off to? LEMUEL    Spect I don' know no more 'bout that than you do.  I jest... drift.  LARKY    Ever consider takin up the star? LEMUEL    [surprised] Me?  A ranger?  I don' think so. LARKY    And why not?  Takes grit, and you have that by the cartload. LEMUEL    I don't reckon I'd take to havin t'answer t'anyone.  LARKY    [chuckles] None o'us do.  But it ain't so bad when it means you got someone at yer back.  [long beat]  You'll let me know if'n you change yer mind? LEMUEL    You'll be the first. A5 TEA  MUSIC SOUND     PACKING THINGS INTO A RUCKSACK AS LEM TALKS LEMUEL    Now you don' forget-- MADDY    I don't never talk to no one in public less'n my brother talks to 'em first. LEMUEL    Yup.  And? MADDY    And if anyone catches me talkin to myself, I says I'm tryin to recall my lessons, and not that I's talking to dead folks. LEMUEL    That'll take you far.  You be careful, now. AMITY    Don't forget what you brought. LEMUEL    And what's 'at? MADDY    [remembering] Oh!  [grunt as she moves something heavy] SOUND    BASKET SET ON TABLE, CHAIR SQUEAKS LEMUEL    What... is it? MADDY    You sit on down, now.  Where's Mr. Fanshaw? SOUND    CHAIR SQUEAKS LEMUEL    [calling] Fanshaw! FANSHAW    [off, coming on] Eh?  What? SOUND    THINGS BEING TAKEN OUT OF THE BASKET AND SET ON THE TABLE MADDY    You sit rightchere. AMITY    [promptin] On my left. MADDY    [importantly] On my left. FANSHAW    [slowly realizing] Oh! LEMUEL    What? MADDY    Mama, you'll have a seat on my right? AMITY     Thank you kindly. SOUND    CLATTER OF PORCELAIN LEMUEL    Will someone please explain? MADDY    Would you like one lump or two, Mr. Lemuel? AMITY    [prompting] Mr. Roberts. MADDY    Mr. Roberts. LEMUEL    One lump of what?  I hate to tell you, child, but them plates and bowls is all empty. FANSHAW    [prompting] That's not the point, Lem.  Say One lump, no milk. LEMUEL    I ain't sayin-- aw, heck.  One lump no milk. SOUND    RATTLE OF PORCELAIN, CHING OF METAL ON CUP MADDY    And you, Mr. Fanshaw? FANSHAW    Oh, I would simply adore two lumps, and just the slightest bit of milk.  And are these biscuits? MADDY    No.  They's cookies.  I made 'em my self. FANSHAW    Well, they look delicious.  May I? MADDY    [giggles] You go on ahead now.  They's plenty where that come from. LEMUEL    But there ain't--  What is it?  What is all this folderol? FANSHAW    Why Lem, it's -- tea! MUSIC END

Heather, Nick and Matt discuss some of their favorite end credit themes in another edition of Now That's What I Call Video Game Music! They also talk about which Ninja Turtle they are, plus another installment of their quiz segment You Don't Know Jack (Off).

Grown Folks Music  End Of Year 2021  Podcast 48 Hosted By Sam Smith 1st Show Aug 28  2010 1st Show Aug 28  2010Sexy Can I Ray J Sands Of Time SOS BandRude Boy Rihanna GFM ID Bernette Cooper (Klymaxx) GFM ID Bernette Cooper (Klymaxx) Sam Smith Talking Sam Smith TalkingSept 3 2011 Sept 3 2011Treat Her Like A Lady The Temptations Give It To Me Baby Rick James Im Coming Out Diana Ross You Are My Heaven (Remix) Fonke SocialistiksNov 9 2013 Nov 9 2013 Sam Smith Talking Sam Smith TalkingThe Party Dont Start Till I Get There Sir Jonathan Burton Sentamental Deborah CoxSprung On Me Charlie Wilson  She's Bad Mama Jama Carl Carlton Sam Smith Talking Sam Smith TalkingDec 27 2014 Dec 27 2014Candy Rain (D.T.S Remix) Soul IV RealIs It Good To You Teddy Riley Featuring Tammy LucasBaby Ginuwine Ft. Shayal Repertoire James Day (feat. Tony Terry & U-Nam) Sam Smith Talking Sam Smith TalkingJan 17 2015 Jan 17 2015Change of Heart Change Game Changer Johnny Gill  A Night to Remember Mary J. Blige Love It, Love It Luther Vandross Sam Smith Talking Sam Smith TalkingFeb 20 2016 Feb 20 2016GFM 2016 Intro 2 (Part) GFM 2016 Intro 2 (Part)No Way TamiaYou Love Me (Best of My Love) Anita WilsonGood Love (Remix 2016 Alfa & Trade Mark) Keith Sweat Haven't your heard K-Fox  Sam Smith Talking Sam Smith TalkingMar 10 2017 Mar 10 2017Fashion Alex Jacke Remember Me Daley Feat. Jessie JThinking About You Ta Mara & The Seen Lawdy Lawdy Dante  Sam Smith Talking Sam Smith TalkingApr 14 2018 Apr 14 2018Walk Away from Love Ali Ollie Woodson My Heart Toni Braxton Feat. Colbie Caillat R&B Junkie Janet JacksonShy Tuxedo with ZappMay 8 2019 May 8 2019 Soul Jam The Kinsman Dazz BandAll I Need Da Quela PayneSurely Five Star Like We Use To Gary Lil G Jenkins June 13 2020 June 13 2020Feel Good Gary Lil G Jenkins  Love's Comin' at Ya Melba MooreJump To The Beat Stacy Lattisaw Immortal Megamix Michael JacksonJul 16 2021 Jul 16 2021I Get Lifted George McCrae Babylove Jam & Lewis feat. Morris Day, Jerome & The RootsSoul Heaven Johnny Taylor Stay (Radio Edit) The Controllers

[Transcript below] Adapted by Julie Hoverson from the short story by H.P. Lovecraft and Kenneth Sterling When Kenton Stanfield takes a job on Venus hunting for power crystals, he finds the hazards of the job too much to handle.  Cast List Kenton Stanfield - Reynaud LeBoeuf Frederick Dwight - Cole Hornaday Marshall Miller - Pat McNally Dana Manners - Julie Hoverson Supply Clerk - Marge Lutton Recorder - Beverly Poole Music:  Kevin MacLeod (Incompetech.com) Recorded in Conjunction with ART (American Radio Theater) Editing and Sound:   Julie Hoverson Cover Photo:  Julie Hoverson  "What kind of a place is it? Would you believe it's a mining colony on the steamy jungle planet we call Venus?" ___________________________________________________________________ Within the walls of Eryx  Adapted by Julie Hoverson from the original story by H.P. Lovecraft and Kenneth Sterling. This was the second story I ever tried to adapt - the first one I did as an audio drama.  I had previously adapted The Thing on the Doorstep into a short film script - which I much later rewrote into an audio drama, and that will come up when it comes up.  This one was also one of the original ten episodes I put together for the series. You can see, I was starting with an easy writer to adapt.... H.P. Lovecraft.  HAH! Since then, I have actually adapted a LOT of Lovecraft, and one of the reasons his writing is so hard to translate into other mediums is that much of his genius is in his actual use of words, and unless you quote his long descriptive passages word for word, you lose that.  And if you do quote large chunks of it, you might as well just make an audio book.  I try and walk a fine line. As an aside - I know the title of the story is actually "IN the Walls of Eryx", but that always bothered me as being incorrect - the RATS are IN the walls (in the story The Rats in the Walls).  These guys are WITHIN the walls - between the actual walls, you know? In the Walls of Eryx was one of HPL's many collaborations and rewrites.  Little is known of Kenneth Sterling, the high school student and aspiring writer who sought Lovecraft's help, but he was clearly a sci fi fan - Eryx is unusual among Lovecraft's works as being a pure scifi story, with very little horror or mythos or mythical background to it, even if Lovecraft is generally credited with a complete rewrite and expansion of Kenneth's original idea. In the 1930s, when this was written, a common sci fi trope was that Venus was a steamy jungle planet, often populated by some lizardy species, and it appears as such in this story.  The other details are fairly unique to Eryx. Since the original story was all one man's report, technically written out, I had to pull scenes from his story and create them, and the characters in them, from whole cloth.  Not to mention adding somebody - "Miss Manners" - he could report in to throughout the story, to add some audio texture when Kenton was technically out on his own, as well as the voice for his "recorder" unit, which also functions as a sort of encyclopedia, and helps break up the heavy data dump of "this is how Venus works".  Perhaps the weirdest thing to try and portray in audio is the very "visual" presence - or absence - of the walls themselves.  A maze of invisible walls.  Or the native Venusians - whose weird cries were originally geese, if I remember correctly.  I think I slowed them down and ran them backward, or something like that. I also chose to tell this story vastly out of order, to give a sense of foreboding from the very start, as the audience hears how bad Kenton is doing, winding down, but still without giving away how it will ultimately end.  To make the time shifts clear, since they happen throughout the story, I created three different background ambiances for his log entries - since they have no other point of reference - each with his breather machinery getting a bit clunkier and running down.  Beyond that, everything rested heavily on Reynaud LeBeouf, the actor playing Kenton, to create the stages of the character's downward spiral.  We did record each set of scenes separately, out of order, essentially, so all the chatty beginnings were all at once and the weak and wearied end at the end.  Rey is one of my core group of go-to actors, and you'll hear him a lot in 19 Nocturne Boulevard. This was also recorded with the help of A-R-T - American Radio Theater - and many of the actors in it were part of that group.  A-R-T is a group of old time radio enthusiasts who focused on re-creating old episodes and working on the occasional newer play.  Having been part of the group for years before I began 19 Nocturne Boulevard, I featured various actors from A-R-T in a number of my episodes. _______________________________________________________________ WITHIN THE WALLS OF ERYX Cast: Kenton J. Stanfield (M/25), space prospector Frederick N. Dwight (M/30), space prospector Marshall Miller (M/40), commander Dana Manners (F/30), contact at control Supply Clerk (any) Recorder, mechanical voice (any)   OLIVIA      Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Would you believe, it's a mining camp on the steamy jungle planet we call Venus?  NOTE:     "AMBIANCE" CUES ARE FOR BACKGROUND SOUNDS THAT CONTINUE THROUGHOUT EACH SCENE.  THEY ARE DETAILED AT THE END OF THE SCRIPT MUSIC SCENE 1.     KENTON'S LOG AMBIANCE     LOG 5 KENTON     [filter, weak]  Venus month 6, day 14, nighttime.  Kenton J. Stanfield.  Perhaps my final report.  [rasping bark of almost laughter]  My fifth whole day.  Canteen went dry at noon.  Food tablets not dangerously low... yet.  Chlorate cubes are my real worry.  I feel...weak from my forced economy in oxygen, and from my constantly mounting thirst. MUSIC   SCENE 2.     MINING BASE SOUND     TWO MEN WALK IN A FACILITY KENTON     [hale & hearty]  You're still using Carter oxygen units?  But they're so darn heavy! MILLER     Budget's god around here, kid.  You'll see.  We're not funded like the government. KENTON     A Dubois mask isn't that much more, and does the job at half the weight.  Saves on chlorate cubes, too. MILLER     Just figure how much "not much more" IS when multiplied by over a hundred prospectors.  If you last up here, you can always get yourself a Dubois.  [chuckles]  Once you start making the big bucks. KENTON     The way you say that... MILLER     Oh, it happens.  Just not that often. MUSIC   SCENE 3.     KENTON'S LOG AMBIANCE     LOG 5 KENTON     [filter, weak]  I do not know the time.  It is dark.  There is something damnable... something uncanny... about this labyrinth. I could swear that I had eliminated certain turns through charting, and yet each new trial belies some assumption I had thought established.  Never before did I realize how lost we are without visual landmarks.  MUSIC   SCENE 4.     JUNGLE SOUND     SLIGHT, RHYTHMIC BEEPING CONTINUES UNDER ENTIRE SCENE [crystal detector] SOUND     [FILTER] CRACKLE OF RADIO INTERFERENCE INTERMITTENT THROUGHOUT. DANA     [filter]  Hey greenhorn!  This is your contact, Dana Manners, speaking.  [chuckle]  That's Miss Manners, to you.  You got me for a glorious half hour. KENTON     What?  Why only--? DANA     [filter]  Don't none of you boys ever crack a manual?  [quoting]  "The company's only rebroadcast orbiter is a" - well, it's a dang fast critter - so it "provides a window for one half hour approximately every six hours for each sector."  And that's your first five minutes.  Care to waste some more, or you plan to make some kinda report? KENTON     [chuckling]  Sorry!  OK, my coordinates-- SOUND     different beeping [pocket recorder] DANA     [filter]  Good-Ness.  Did you bring your blankie, too?  All that boring info is sent up automatic-like.  KENTON     [worried]  But... my log, too? DANA     [filter]  [pause, prolonging the agony]  Nah, takes too much juice.  This way, you get to edit out all your little personal comments and naughty little secrets before handing it over for archiving. KENTON     [relieved]  Oh.  Good.  DANA     [filter]  So you one of those boys who grew up just panting to work on Venus? KENTON     Actually, I wanted to be a writer.  Venus just pays better.  Now it seems like I-- DANA     [filter]  --got hustled out of the base the minute your feet touched the sweet soggy ground?  Y'ain't the first.  "Here's your mask, grab your suit, what's yer hurry?" KENTON     Pretty much. MUSIC   SCENE 5.     KENTON'S LOG AMBIANCE     LOG 5 KENTON     [filter, weak]  ...Continued.  The effect of all these fr-fruitless wanderings is one of profound discouragement.  I can understand how poor Dwight must have felt.  His corpse is now just a skeleton, and the sificlighs and farnoth-flies are gone.   MUSIC     SCENE 6.     MINING BASE AMB          CANTEEN, EATING MILLER     It's all about the crystals, kid.  You read the manual? KENTON     Well... MILLER     You had an entire rocket trip and--? KENTON     [sheepish]  Well...  There was this poker game-- MILLER     [oh lord!]  Save me from greenhorns with less sense than kittens!  That book could have saved your life, you know.  KENTON     Well, I figured there'd be time-- MILLER     There's never enough time.  Men who can withstand the strains of crystal hunting here on Venus are few and far between.  Most - like yourself - last no more than three trips.  KENTON     What makes you think--? MILLER     Prove me wrong. DWIGHT     [off mike]  Hey!  Miller! MILLER     See that?  Now there's a guy who knows his beans. DWIGHT     [coming closer, gloating]  Miller!  Read it and weep! SOUND     paper FLOURISH. DWIGHT     Twenty-three carats! MILLER     Twenty-three?  That's-- DWIGHT     Right there in black and white.  Beat that! MILLER     [to Kenton]  Kenton, this is Dwight - Fred Dwight, one of the brightest stars of the Terra Nova Corp.  DWIGHT     The brightest star.  Ken, is it?  Well, Ken, there ain't no one else out there's netted as many total lifetime karats as me.  Over seven hundred.  KENTON     Oh.  Um, I don't-- MILLER     Kid skipped the manual. DWIGHT     Pfah.  OK, it takes about 20 karats to power, say the entire city of Chicago for a year.  Shoot, by my calculations, I've kept the entire eastern seaboard lit for the last five! MUSIC   SCENE 7.     KENTON'S LOG AMBIANCE     LOG 4 KENTON     [filter, tired]  Nightfall.  There is nothing to do but persevere.  Dwight would have got out if he had kept on a minute longer.  It is just possible that somebody from Terra Nova will come looking for me before long, although this is only my fourth day out.  MUSIC   SCENE 8.     SUPPLY OFFICE SOUND          OBJECTS BEING BROUGHT OUT AND SET DOWN SUPPLY CLERK     Suit fit OK?  Last chance. KENTON     Feels fine. MILLER     With the tropical atmosphere out there, you better be sure - five days is a long damn time to chafe. KENTON     [chuckles]  I understand.  I'm sure.  So my tour is five days? MILLER     To start with.  You remember Dwight?  Now there's a long-hauler.  Does about 2 months - earth months, 60 days - on most trips.  SUPPLY CLERK     Food tablets.  One week. SOUND     BOX being set down. MILLER     But then, he's been Cytherean for over a decade.  KENTON     Cytherean?  MILLER     Means "of Venus" to us long-timers.  We feel "Venusian" sounds too damn silly after all the crummy movies. SUPPLY CLERK     Breathing unit. SOUND     larger box KENTON     Cytherean.  Got it. MILLER     Dwight's practically one of the locals.  You seen them yet? SUPPLY CLERK     Chlorate cubes.  One week. SOUND     another box KENTON     Only pictures - now THAT part of the manual I did look over.  [shudder]  Creepy little buggers, aren't they? MILLER     Little?  Ken, Ken, Ken.  [sigh]  You didn't look hard enough - on average, the lizard-men run seven feet tall! KENTON     Holy--! SUPPLY CLERK     Recording unit. SOUND     box MILLER     Don't worry too much.  They're-- well, they're not harmless, not by a long chalk, but they're... manageable. KENTON     So those...tentacles they've got for arms...? SUPPLY CLERK     Crystal detector. SOUND     box. MILLER     Arms, legs, tongue, who knows what they are - Yup, four or five feet long on some of them.  We call them lizard-men, what with the greenish, scaly skin and all, but they're not really like anything back home. KENTON     [awe]  Seven feet tall... SUPPLY CLERK     Flame pistol.  Fully charged. SOUND     box. MUSIC   SCENE 9.     KENTON'S LOG AMBIANCE     LOG 4 KENTON     [filter, tired]  Four days out.  I think.  I am resolved not to hasten matters as Dwight did.  His grinning skull has just turned toward me, shifting by the groping of one of the scavengers that are picking him over.  The ghoulish stare of its empty eye-sockets is worse than the tentacled onlookers that stand gloating around the invisible barrier laughing at me.  Another day and I shall go mad, if I do not drop dead from exhaustion. MUSIC   SCENE 10.     JUNGLE SOUND     strong, rhythmic beeping THROUGHOUT SCENE [crystal detector] KENTON     You still there, Miss Manners? DANA     [filter, very crackly throughout]  Just another coupla minutes.  What's your beef? KENTON     I've got a reading on my crystal detector - looks like a big one.  DANA     [filter]  Them things ain't reliable for size, just direction.  Could be just an itty bitty one, real nearby. KENTON     Well, what's the terrain like due, um... SOUND     beeping gets slower, then picks up again AS HE TURNS KENTON     North, I think, of my current position? DANA     [filter]  North?  [prolonged crackle]  --Erycinian highlands--  [crackle]  --last known position of-- SOUND     crackling.  CLICK - radio turned off. KENTON     Great.  On my own again.  Recorder? RECORDER     [filter, mechanical voice]  Ready. KENTON     Erycinian highlands? RECORDER     [filter]  A plateau mapped by Matsugawa from the air fifty years ago.  Designated 'Eryx'  One of the few areas of any size on Venus noted for a lack of vegetation-- KENTON     Off.  Lack of vegetation?  That'll be a relief.  Anything to get out of those rubbery creepers and overhanging fronds. MUSIC   SCENE 11.     KENTON'S LOG AMBIANCE     LOG 3 KENTON     [filter, normal]  Month 6, Day 12, my third day out.  Afternoon.  In less than an hour, I saw that the jungle growths were thinning out, and by five o'clock - after passing through a belt of tree-ferns with very little underbrush - I emerged on a broad plateau.  My progress now became rapid, and I saw by the wavering of my detector-needle that I was getting closer to the crystal I sought.  MUSIC   SCENE 12.     KENTON'S LOG AMBIANCE     BAR - MAINLY MALE VOICES MILLER     Some brainy types insist they're intelligent.  DWIGHT     The lizzies?  [dismissive]  Screwballs. KENTON     Well, they build cities-- DWIGHT     Anthills.  Beehives.  And we don't try to make treaties with bugs, do we?  Hmm? KENTON     But they talk... don't they? MILLER     That's been debated for years.  There seems to be some pattern to the tentacle movements-- DWIGHT     Yeah, and bees dance.  I've been out there longer than just about anyone, and they're nothing but a damn nuisance. MILLER     A religious nuisance. DWIGHT     So they worship the crystals.  Big deal.  They can't use 'em - don't even know they do anything more'n glow.  If we wanna change things, we got about two real choices-- MILLER     [ironic]  Try and civilize them, like we did with everyone back home? DWIGHT     Nah - they're way too primitive for that.  I say we either gotta cage 'em up like the animals they are-- MILLER     We've tried THAT one before, too. DWIGHT     Or we can just blow em all away.  Why not?  They're not decorative, useful, or even edible.  They don't do ANYTHING worth keeping 'em around. MUSIC   SCENE 13.     KENTON'S LOG AMBIANCE     LOG 4 KENTON     [filter, tired]  Note to self.  Um, day - fourth.  Fourth day.  I racked my brains with speculations regarding the material, origin, and purpose of the strange edifice.  That the hands of men might have reared it, I could not for a moment believe.  Human knowledge does not include any perfectly transparent, non-reflective solid such as the substance of this building.  Did a forgotten race of highly-evolved beings precede the man-lizards as masters of Venus?  The strange and seemingly non-practical building and its material suggests a religious purpose. MUSIC   SCENE 14.     PLATEAU SOUND     RADIO STATIC KENTON     Contact?  You back yet?  Manners?  Damn. SOUND     crackling static.  radio CLICKS off KENTON     This is just... nuts!  SOUND     two thunks - pounding on stone wall KENTON     What the heck is this stuff? SOUND     pounding, hand groping along wall KENTON     Hmm.  Smooth.  Cool to the-- SOUND     RADIO STATIC DANA     [filter]  Contact here.  Report? KENTON     Have I got a report for you!  I found an invisible wall! MUSIC   SCENE 15.     KENTON'S LOG AMBIANCE     LOG 5 KENTON     [filter, weak]  Fifth day out, and I doubt I will see a sixth.  Very weak.  Did not sleep much till daylight.  Must save chlorate cubes, so I'm nearly suffocating for lack of oxygen.  Can't walk much of the time, but ma-manage a crawl.  Those damnable green things keep staring and laughing with their tentacles, and sometimes they gesticulate in a way that makes me think they share some terrible joke, just beyond my perception. MUSIC   SCENE 16.     PLATEAU DANA     [filter]  Listen to me real careful now, Ken.  You need to close your eyes and start backing up.  Right this minute. KENTON     What?  My recorder unit lists nothing about invisible walls-- DANA     [filter]  You backing up yet?  Ignore anything you see or hear-- KENTON     Why, for crying out loud? DANA     [filter]  Get yourself clear first, then check your recorder's entry for mirage-plants.  Move your backside!  Them things're deadly. KENTON     Wait.  No...  Wait a minute.  I'm in the middle of the plains of Eryx.  No plants within a half mile.  Nothing to see but mud, and-- [cuts himself off] SOUND     BEEPING [crystal detector] DANA     [filter]  [beat]  Yeah?  Mud and ...? KENTON     [evasive]  Hmm?  Oh, the walls.  But you can't SEE them because they're invisible. MUSIC   SCENE 17.     KENTON'S LOG AMBIANCE     LOG 3 KENTON     [filter]  Third day, supplemental.  What made my heart leap was a smaller detail, whose position could not have been far from the plain's exact centre.  It was a single point of light, blazing through the mist and seeming to draw a piercing, concentrated luminescence from the yellowish, vapor-dulled sunbeams.  This, without doubt, was the crystal I sought.  I could hardly wonder, as I glimpsed the distant glow, that those miserable man-lizards worship them. MUSIC   SCENE 18.     PLATEAU SOUND     squishy footsteps, intermittent throughout KENTON     --maybe 20 feet tall - I managed to throw a handful of mud about that high, and it went over. DANA     [filter]  I ain't got any maps or archives with specifics for that locale.  Not a popular spot, seeing as there's none of the streams them crystals show up in. KENTON     No streams, but plenty of damp - the whole plateau is-- [slight shudder] --like a solid sheet of slimy mud, with a light frosting of ground mist.  DANA     [filter]  Could this wall thing be some kinda natural phenomena? KENTON     Too smooth.  Very regular.  Slightly curved, too, I think.  Ovoid. DANA     [filter]  You writers and your big ole words...  Been all the way round yet? KENTON     I don't think so, but I can't really tell-- DANA     [filter]  [condescending]  Well, did you hit your own dainty little footsteps again? KENTON     Not a chance.  The mud is so liquid, it just doesn't take - not even for a minute.  It's like I haven't been here before. DANA     [filter]  I need you to mark your position and come back to base, Ken.  This is way outside standard procedure.  You hear me? KENTON     Got it.  I'll get out of here pretty soon.  I just wanted to--  SOUND     BEEPING [crystal detector] SPEEDS UP SLIGHTLY.  THEN IS MUFFLED. KENTON     --to get all the way round, just once.  DANA     [filter]  Honey, I'll be flat out of range in two shakes.  I don't want to worry you none, but if anything happens out there, it could be days before help'll arrive. KENTON     Days?  But a lander would only‑‑ DANA     [filter]  Manpower and money, old son.  Base only has a dozen resident staff, and none of us is jungle-worthy.  We gotta wait for some of you roughnecks to wander on home, THEN the company has to pay fer their time fer a rescue.  Why d'you think they load you up with plenty of ammo?  Much cheaper.  KENTON     It's a wonder they bother. DANA     [filter]  [serious]  And death benefits.  KENTON     What? DANA     [filter]  They're cheaper, too. MUSIC   SCENE 19.     KENTON'S LOG AMBIANCE     LOG 5 KENTON     [filter, weak]  Horror and despair. Baffled again!  I had been deceived once more, and was apparently back where I had been on my first futile attempt to leave the labyrinth.  Whether I screamed aloud I do not know - perhaps I was too weak to utter a sound.  I merely lay dazed in the mud for a long period, while the greenish things outside leaped and laughed and gestured.   MUSIC   SCENE 20.     MINING BASE KENTON     Isn't this a lot of ammo?  I mean, seven clips-- DWIGHT     One a day - that's pretty average.  Save 'em for the trip home.  The lizzies don't usually try much right away - that is, until you got one of their precious crystals.  The worst you can expect before you make a find is pot-shots with blow-gun darts. KENTON     Blow-guns?  That's it? DWIGHT     Don't scoff.  One of those darts'll slice through your suit like butter.  All it needs to do is nick you and the local germs do the rest - if the insects don't get you first.  [beat]  If you don't get back to base in time...  Well, you noticed the bartender's hand? KENTON     [gulps]  The hook? DWIGHT     Um-hmm. MUSIC   SCENE 21.     KENTON'S LOG AMBIANCE     LOG 3 KENTON     [filter, normal]  Late afternoon, third day.  I have said that even from a great distance the shining object's position seems indefinably queer - a slight mound rising from the slime and mist.  Now - at about a hundred yards - I could see plainly just what that mound was.  It was the body of a man in one of the Company's protective suits, lying on his back, with his oxygen mask half buried in the mud a few inches away.  In his right hand, crushed convulsively against his chest, was the crystal which had led me here - a spheroid of incredible size, so large that the dead fingers could scarcely close over it.  I wondered who the man was. MUSIC   SCENE 22.     PLATEAU KENTON     Holy cow!  SOUND     THUMP ON WALL KENTON     Dwight?  SOUND     THUMPING ON WALL, HURRIED SPLISHING FOOTSTEPS KENTON     Oh, jeez. [SOUND: THUMP]  But the walls-- [SOUND: THUMP]  How could he--  [gasps]  Woah! SOUND     splash in the watery mud as he finds a gap. MUSIC   SCENE 23.     KENTON'S LOG AMBIANCE     LOG 3 KENTON     [filter, normal]  There was an opening about three feet wide.  Without a moment's hesitation I stepped through and advanced two paces to the prostrate body - which lay in what seemed to be an intersecting doorless corridor.  It gave me a fresh curiosity to find that the interior of this vast enclosure was divided by partitions... MUSIC   SCENE 24.     BAR SOUND     TIN CUP SET DOWN DWIGHT     [a bit drunk]  I hope I die out there.  SOUND     LIQUID POURS KENTON     You want to die? DWIGHT     No - don't WANT to, just that when I do, I hope it's out there.  In the jungle.  The scavengers'll strip me clean in a coupla hours and no one'll ever know what happened. MILLER     Just make sure you're dead first.  Some of them bugs don't wait. KENTON     Will they really--? MILLER     That's why the suits are made the way they are - like cellophane, but thicker.  No weave, no tiny holes for bugs to get in through. KENTON     But the suit doesn't cover everything--? DWIGHT     Ah, they don't like the breather.  Smells bad or something.  So your head is pretty safe... as long as you don't take it off. MUSIC   SCENE 25.     KENTON'S LOG AMBIANCE     LOG 3 KENTON     [filter, normal]  Looking about for some possible cause of death, my eyes lit upon the oxygen mask lying close to the body's feet.  Probably carelessly buckled, so the weight of the tubes worked the straps loose - wouldn't've happened with a Dubois sponge-reservoir mask.   MUSIC   SCENE 26.     PLATEAU KENTON     Well, Dwight, old buddy, you got your wish.  At least this baby won't go to waste.  [grunts]  Let go!  [grunts again]  Aha!  SOUND     a couple of squish-steps KENTON     Waitaminute.  Wait...  Rigor mortis, it... it doesn't last...  Manners, you there?  SOUND     crackle of radio KENTON     Recorder? RECORDER     Ready. KENTON     Rigor mortis. RECORDER     A condition of deceased flesh.  A spasming of muscles-- KENTON     How long does it last? SOUND     rustling, slapping noises far in background RECORDER     Rigor begins 3-7 hours after termination of life, and lasts approximately 12 hours. KENTON     Off.  Holy--!  Dwight... SOUND     rustling, slapping noises build KENTON     What in sam hill--?  [what the heck?] MUSIC   SCENE 27.     KENTON'S LOG AMBIANCE     LOG 3 KENTON     [filter, normal]  It was a group of a dozen or so of those detestable man-lizards emerging from the forest far off across the plain.  When they drew nearer they seemed less truly reptilian - only the flat head and the green, slimy, frog-like skin carrying out the idea.  They walked erect on odd, thick stumps, which made curious noises in the mud.  The motions of their tentacles - if the theories are right - indicated that the things were in animated conversation. MUSIC   SCENE 28.     PLATEAU DANA     [filter]  You asleep? KENTON     [bummed]  Would it matter? DANA     [filter]  You sound real down.  Tell mama Manners all about it.  You may not have a lot of time, though, there's some sunspot activity predicted for tonight, so I may have to miss a date or two-- but you can forgive a girl for that, can't you? KENTON     I--  I'm lost. DANA     [filter]  Nonsense.  You're nowhere near uncharted territory.  Just punch into the recorder-- KENTON     Oh, I know exactly where I am.  But I'm still lost. DANA     [filter, half joking]  Is this where I start telling you to back away quickly?  KENTON     The invisible wall?  Well, it's more like-- DANA     [filter]  Like what?  An invisible barn? KENTON     --An invisible ...maze.  I can see the entire plain from here, the trees are at the edges, the sky above, but I can't... get... out. DANA     [filter]  Have you tried taking every left fork?  That usually-- KENTON     There's something else.  I-- There's a crowd of the lizard-men just waiting at the entrance - ready to jump me if I manage to escape. DANA     [filter]  Two things-- KENTON     I need some help-- DANA     [filter, sadly]  Ain't gonna happen.  [crackle]  Not for a couple days.  Sunspots play havoc with landing vehicles, same as communications. KENTON     So I just-- DANA     [filter]  Listen to me Ken.  You've never tried shooting one of them things, have ya?  The flame guns are particularly nasty.  Them critters go up like oily rags.  Once you get one or two of 'em, the others'll head for the hills.  They don't really wanna fight-- DWIGHT     [filter, distant and echoey]  That is, until you got one of the precious crystals. KENTON     Oh.  [resolved]  No. DANA     [filter]  No?  No what? KENTON     I'm not giving it up. DANA     [filter]  That's the spirit, Ken.  Long as you're in a safe place, just sit tight, and we'll get a rescue party in, soon as possible. KENTON     [considering]  You mean other prospectors, right? DANA     [filter]  Yep.  KENTON     Maybe I will be out of here by then... MUSIC   SCENE 29.     KENTON'S LOG AMBIANCE     LOG 4 KENTON     [filter, tired]  Fourth day.  Shortly after dawn.  The alluring crystal, the body of the man who seized it before me - these have acquired a dark and threatening meaning.  Dwight was a victim, too.  He must have been trapped some time ago, and failed to find his way out.  His mask probably didn't slip accidentally.  Rather than face a lingering death he solved the issue by letting the lethal atmosphere do its work.  The horrible irony of his fate lay in his position - only a few feet from the exit he failed to find.  And now I'm as trapped as he'd been.  MUSIC   SCENE 30.     plateau KENTON     [tired, but not quite exhausted - yet] Recorder. RECORDER     [filter]  Ready. KENTON     Location - central chamber.  Describe? RECORDER     [filter]  Round chamber.  Six irregularly spaced egresses. KENTON     Progress? RECORDER     [filter]  You have 27 times attempted the exit you designated "door in line with corpse and tree". KENTON     Yeah, well...  Then I realized three of the doors all line up that way.  There's just not enough difference in perspective. RECORDER     [filter]  You have recorded 43 trips out of the central chamber.  KENTON     I know.  With no way to mark anything, I can't tell which door is which. RECORDER     [filter]  You have attempted to score the wall with your knife, and with your flame pistol.  You have tried to make a mark in ink, and smear it with mud.  You have reported no success. KENTON     Picking a damn door at random would do me more good. RECORDER     [filter]  Correlating the turns you have thus far recorded, a random choice would give you odds of 1 in-- KENTON     Off. MUSIC   SCENE 31.     KENTON'S LOG AMBIANCE     LOG 5 KENTON     [filter, weak]  This, then, is the end.  Three days, taking me nowhere.  My strength is gone.  It was no common series of mischances which made me lose my way in this roofless, unseen tangle of corridors.  Far from it.  Beyond doubt, the place is a genuine maze - a labyrinth - a trap set to catch humans.  MUSIC   SCENE 32.     PLATEAU KENTON     [weak, not on filter]  Hiya Dwight.  Hey, buddy. SOUND     weak pounding on wall, splishes of vague movement in the mud. KENTON     You got it all over me.  You almost made it, old pal.  Almost... SOUND     RUSTLING AND SPLISHING [Kenton takes out his recorder] KENTON     Recorder on. RECORDER     [filter]  Ready. SOUND     ALIEN NOISES GET LOUDER. KENTON     [weak]  I have just taken the great crystal out of my pouch to look at in my last moments.  It shines fiercely and menacingly in the red rays of the dying day.  The leaping horde have noticed it, and their g-gestures have changed in a way I cannot understand.  I am ... growing ... numb.   SOUND     ONE LAST LABORED EXHALE, MACHINE SLOWS, THEN A MOMENT OF SILENCE. MUSIC   SCENE 33.     GENERAL QUARTERS [NOTE:       Miller is dictating, not playing back, so he is NOT on a filter] MILLER     Operative A-49, Kenton J. Stanfield left Terra Nova early on six-twelve, for a short-term trip.  Due back 13th or 14th.  Did not appear by evening of 15th.  Followed last reported location to Erycinian Highland.  Brought plane down nearby and corner of the wing crashed on unseen obstruction.  Approaching on foot, we came up short against a smooth, invisible barrier.  Located skeleton of Operative B-9, Frederick N. Dwight of Koenig's division, and aforementioned deceased, Stanfield.  We had great difficulty in getting to Stanfield, but finally succeeded.  We shall bury Dwight and Stanfield in the company graveyard, and ship the crystal on the next-- SOUND     beep [phone].  MILLER     Off. SOUND     phone picked up. MILLER     Miller. DANA     [filter]  I heard-- MILLER     Yeah. DANA     [filter]  And I'm real sorry.  Boy seemed real nice-- MILLER     He was.  Keep it under your hat, but I think this is the last straw. DANA     [filter]  Last straw? MILLER     [sigh]  I have been warned.  The next rocket'll be carrying marines. DANA     [filter]  [shocked]  Oh.  Well.  I AM sorry. MILLER     Yeah. SOUND     HANGS up PHONE.  MILLER      Recorder on. SOUND     CLICK. RECORDER     [filter] Ready. MILLER     [sigh]  Personal note.  I am impressed not only with the irony of Dwight's fate, but with that of Stanfield as well.  We found a doorway some fifteen feet past Dwight.  Beyond this was a hall and ... oh, hell... Stanfield could have reached the outside by walking twenty-two feet if he had just found the opening directly behind him. 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.  (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  

"You focus too much on society's idea of success instead of enjoying life to the fullest". The year 2020 has COMPLETELY thrown off our sense of time and productivity. Mental health is at an all-time low, so Episode 9 is all about removing that guilt, just to step back, and live your life according to you! Wanna say something about How Do You Even Human? Use the podcast hashtag #HowDoYouEvenHuman or episode hashtag #HDYEH9 and tag me (Chez the Host) @chezcuenca To listen to the audio version of the HDYEH Podcast, go to https://youtu.be/V5gBaFfXYrw instagram: instagram.com/chezcuenca twitter: twitter.com/chezcuenca email: ffcuenca.6@gmail.com tiktok: @chezcuenca Music: End of the Rainbow - Quincas Moreira This is How Do You Even Human, Episode 9! This podcast is for you, me, and everyone else who doesn't have a clue on how to live this human life on this confusing planet.

Everyone's losing their sense of time, and we feel like time's just passing by. Everything's overwhelming us, and we're not getting anything done. This episode is for all the lazy but busy people out there who want to gain control (again) of their time and productivity even when no one's telling them to do so. We'll talk about Pareto's Principle, Parkinson's Law, Pomodoro, calendars, to-do lists, simple workflows, and everything else to help you with your everyday sanity! Wanna say something about the podcast? Use the podcast hashtag #HowDoYouEvenHuman or episode hashtag #HDYEH4 and tag me (Chez the Host) on Twitter: @chezcuenca Instagram: @francescacuenca To watch the video version of this podcast, go to https://youtu.be/jqW1tK8bitY! Music: End of the Rainbow - Quincas Moreira

Una pillolina a settimana per questo caldissimo mese di agosto, registrata di fretta e male perchè si. Il Podcast ► Vita da informatici è il podcast ufficiale della pagina Facebook "Vita da informatici - la rinascita", dedicata a tutti gli informatici in giro per il globo. ► La vita dell'informatico è costellata di episodi più o meno divertenti. Gioie (poche) e rogne (tante). Narrator ► Elisa Danese About the Hosts ► Il mio nome è Silvio Benvenuto, ma tutti mi chiamano l'aittì o l'omino dei computer. Sono un fonico (di formazione) e un informatico (di professione), e questo podcast è la mia valvola di sfogo da tutti i soprusi, gli intrighi e i tradimenti che subisco a lavoro. ► Il mio nome è Maria Chiara, ma tutti mi chiamano Chiara. Sono un architetto (di formazione), ma sono anche una Podcast Creator. Scrivo, parlo, intrattengo e da sempre amo raccontare storie. Avrei qualcosa da dire Show e Dannati Architetti sono i miei progetti podcast personali, curati assieme al mio compagno Silvio (voce narrante di questo show). Music ► End of summer by FXRBES BEATS Collegamenti ► Gruppo Facebook: https://www.facebook.com/groups/veterans20 ► Sito web Host: https://mariachiaravirgili.com Dietro le quinte di Vita da informatici ► Voci: Silvio Benvenuto e Maria Chiara Virgili ► Illustrazioni a cura di Matteo Danieli, Maria Chiara Virgili e Silvio Benvenuto Altre produzioni curate dagli hosts: ► Dannati Architetti, ascoltalo qui: https://link.chtbl.com/dannatiarchitetti

Una pillolina a settimana per questo caldissimo mese di agosto, registrata di fretta e male perchè si. Il Podcast ► Vita da informatici è il podcast ufficiale della pagina Facebook "Vita da informatici - la rinascita", dedicata a tutti gli informatici in giro per il globo. ► La vita dell'informatico è costellata di episodi più o meno divertenti. Gioie (poche) e rogne (tante). Narrator ► Silvio Benvenuto Special Guest ► Elisa Danese About the Hosts ► Il mio nome è Silvio Benvenuto, ma tutti mi chiamano l'aittì o l'omino dei computer. Sono un fonico (di formazione) e un informatico (di professione), e questo podcast è la mia valvola di sfogo da tutti i soprusi, gli intrighi e i tradimenti che subisco a lavoro. ► Il mio nome è Maria Chiara, ma tutti mi chiamano Chiara. Sono un architetto (di formazione), ma sono anche una Podcast Creator. Scrivo, parlo, intrattengo e da sempre amo raccontare storie. Avrei qualcosa da dire Show e Dannati Architetti sono i miei progetti podcast personali, curati assieme al mio compagno Silvio (voce narrante di questo show). Music ► End of summer by FXRBES BEATS Collegamenti ► Gruppo Facebook: https://www.facebook.com/groups/veterans20 ► Sito web Host: https://mariachiaravirgili.com Dietro le quinte di Vita da informatici ► Voci: Silvio Benvenuto e Maria Chiara Virgili ► Illustrazioni a cura di Matteo Danieli, Maria Chiara Virgili e Silvio Benvenuto Altre produzioni curate dagli hosts: ► Dannati Architetti, ascoltalo qui: https://link.chtbl.com/dannatiarchitetti

Una pillolina a settimana per questo caldissimo mese di agosto, registrata di fretta e male perchè si. Il Podcast ► Vita da informatici è il podcast ufficiale della pagina Facebook "Vita da informatici - la rinascita", dedicata a tutti gli informatici in giro per il globo. ► La vita dell'informatico è costellata di episodi più o meno divertenti. Gioie (poche) e rogne (tante). Narrator ► Andrea Ci About the Hosts ► Il mio nome è Silvio Benvenuto, ma tutti mi chiamano l'aittì o l'omino dei computer. Sono un fonico (di formazione) e un informatico (di professione), e questo podcast è la mia valvola di sfogo da tutti i soprusi, gli intrighi e i tradimenti che subisco a lavoro. ► Il mio nome è Maria Chiara, ma tutti mi chiamano Chiara. Sono un architetto (di formazione), ma sono anche una Podcast Creator. Scrivo, parlo, intrattengo e da sempre amo raccontare storie. Avrei qualcosa da dire Show e Dannati Architetti sono i miei progetti podcast personali, curati assieme al mio compagno Silvio (voce narrante di questo show). Music ► End of summer by FXRBES BEATS Collegamenti ► Gruppo Facebook: https://www.facebook.com/groups/veterans20 ► Sito web Host: https://mariachiaravirgili.com Dietro le quinte di Vita da informatici ► Voci: Silvio Benvenuto e Maria Chiara Virgili ► Illustrazioni a cura di Matteo Danieli, Maria Chiara Virgili e Silvio Benvenuto Altre produzioni curate dagli hosts: ► Dannati Architetti, ascoltalo qui: https://link.chtbl.com/dannatiarchitetti

Una pillolina a settimana per questo caldissimo mese di agosto, registrata di fretta e male perchè si. Il Podcast ► Vita da informatici è il podcast dedicato a tutti gli informatici in giro per il globo. ► La vita dell'informatico è costellata di episodi più o meno divertenti. Gioie (poche) e rogne (tante). Narrator ► Gianluca Mola About the Hosts ► Il mio nome è Silvio Benvenuto, ma tutti mi chiamano l'aittì o l'omino dei computer. Sono un fonico (di formazione) e un informatico (di professione), e questo podcast è la mia valvola di sfogo da tutti i soprusi, gli intrighi e i tradimenti che subisco a lavoro. ► Il mio nome è Maria Chiara, ma tutti mi chiamano Chiara. Sono un architetto (di formazione), ma sono anche una Podcast Creator. Scrivo, parlo, intrattengo e da sempre amo raccontare storie. Avrei qualcosa da dire Show e Dannati Architetti sono i miei progetti podcast personali, curati assieme al mio compagno Silvio (voce narrante di questo show). Music ► End of summer by FXRBES BEATS Collegamenti ► Gruppo Facebook: https://www.facebook.com/groups/veterans20 ► Sito web Host: https://mariachiaravirgili.com Dietro le quinte di Vita da informatici ► Voci: Silvio Benvenuto e Maria Chiara Virgili ► Illustrazioni a cura di Matteo Danieli, Maria Chiara Virgili e Silvio Benvenuto Altre produzioni curate dagli hosts: ► Dannati Architetti, ascoltalo qui: https://link.chtbl.com/dannatiarchitetti

Una pillolina a settimana per questo caldissimo mese di agosto, registrata di fretta e male perchè si. Il Podcast ► Vita da informatici è il podcast dedicato a tutti gli informatici in giro per il globo. ► La vita dell'informatico è costellata di episodi più o meno divertenti. Gioie (poche) e rogne (tante). Narrator ► Gianluca Mola About the Hosts ► Il mio nome è Silvio Benvenuto, ma tutti mi chiamano l'aittì o l'omino dei computer. Sono un fonico (di formazione) e un informatico (di professione), e questo podcast è la mia valvola di sfogo da tutti i soprusi, gli intrighi e i tradimenti che subisco a lavoro. ► Il mio nome è Maria Chiara, ma tutti mi chiamano Chiara. Sono un architetto (di formazione), ma sono anche una Podcast Creator. Scrivo, parlo, intrattengo e da sempre amo raccontare storie. Avrei qualcosa da dire Show e Dannati Architetti sono i miei progetti podcast personali, curati assieme al mio compagno Silvio (voce narrante di questo show). Music ► End of summer by FXRBES BEATS Collegamenti ► Gruppo Facebook: https://www.facebook.com/groups/veterans20 ► Sito web Host: https://mariachiaravirgili.com Dietro le quinte di Vita da informatici ► Voci: Silvio Benvenuto e Maria Chiara Virgili ► Illustrazioni a cura di Matteo Danieli, Maria Chiara Virgili e Silvio Benvenuto Altre produzioni curate dagli hosts: ► Dannati Architetti, ascoltalo qui: https://link.chtbl.com/dannatiarchitetti

Hi Everyone , Aluku Rebels E.O.Y (End of Year) bumper mix is here slightly early before the festive time comes around and excited to present this 2hr African Electronic journey mix with touches of Deep,Progressive and Techno sounds for you all to enjoy . NEW 2020 AR releases to come from Benny T , Ed-Ward and Team Distant featuring on this mix. Have a great festive and new year celebration to come next month . Be YOU, Stay TRUE and one love from ALUKU Track list 1.Ed-Ward - ???? . PROMO/2020 [Aluku Records] 2.Amberoom - Kastell (Dixon Touch) . 2019 [Innervisions] 3.&ME - Garden . 2019 [Keinemusik] 4.Lemon & Herb ft LJ Pepper - Edge . 2019 5.Themba - Kensho (Extended Mix) . 2019 [Saved] 6.Kintar , DJ Angelo - Cala del Sol . 2019 [Sudam Recordings] 7.KEENE - Bullerenque (Boot Slap Remix) . PROMO/2019 [Connected Frontline] 8.Brian Cid - Rebirth . 2019 [Lost & Found] 9.Jullian Gomes , Martin Iverson - Temple of Snakes . 2019 [World Without End] 10.Thomas Gandey , Santiago Garcia - On Two Strangers . 2019 [Innervisions] 11.Benny T - ???? . PROMO/2020 [Aluku Records] 12.Da Capo - Land of Kush . PROMO/2019 [MIDH] 13.Antonio Ocasio feat.Anjani - Distant Movement (Manoo Dub) . 2019 [Tribal Winds] 14.Unnayanaa, Ifran Rainy , Ibtisam - Taht Min Aini (Yoruba Soul Remix) . 2019 [Boarders Of Light] 15.Robbie Akbal , Ay Sarita - Fanaya (Floyd Lavine's African Techno Mix) . 2019 [Akbal Music] 16.Fka Mash - Kasango's Revenge . 2019 [Aluku Records] 17.Laolu - Many Faces . 2019 [MIDH] 18.Bekzin Terris , Kususa & Argento Dust - Ghost . 2019 [Aluku Records] 19.Vanco , Njabuloseh - Lutho (Djeff Remix) . 2019 [Afrocentric Records] 20.Chelsea Como , Jacko - Waves (Enoo Napa Remix) . 2019 [TR Records] 21.Studio Bros, Freddy Da Stupid , Lilocox - Curto Circuito (Original Mix) . 2019 22.Djeff, Dino D'Santiago - Alegria (Caiiro Remix) . 2019 [Kazukuta Records] 23.Team Distant - Makova (Original Mix) . 2019 [iNF3CTD MUSE] 24.G Washintion feat Miriam Makeba - Warrior Mbube . 2019 [RISE MUSIC] 25.Bob Sinclar - Imbalaye (Boddhi Satva Ancestral Soul Extended Mix) . 2019 [Yellow] 26.Team Distant - Native Flute Song (Original Mix) . PROMO/2020 [Aluku Records] 27.BahSonik & Nadirah Shakoor - Spring & Autumn (Neter's Sepedet Drummah'Mix w/Lead Vox) . 2019 [ODH] 28.David August - ELYSIAN FIELDS (Ron Trent Reconstruction) . 2019   Check out the official Aluku Records website with exclusive stuff . alukurecords.com

Music.

Ken & Jackie talk about rumors of Adele making new music, the continued record breaking success of the new Avengers movie, and the continued scandal revolving Empire star Jussie Smollett

It's a bit late but we have our end 2018 Music podcast. We talk about the best and worst albums of the year and more!

Busiest two weeks of my year and only a day late on this episode drop. Boom. Get at me, boys. Vega is picking up right where she left off, and this is the episode you don’t want to skip. Trust me. Not a single one of you is ready.      Patreon - patreon.com/ivuomaokoro       Music: “End is Near” by Hill   *Special attribution credits*: The amazing drum sounds you heard during the sequence at Vega’s hometown come to you from India and the mesmerizing tamte drums. The culture and sounds can be appreciated on Youtube at this link: https://www.youtube.com/watch?v=CLUoUgbrKig&t=64s

Animus. That's the name to remember. If nothing else about this next twenty minutes of story, you gon' remember that. After this little introduction, I don't think Vega will soon forget it either. Did someone turn off the lights in here or did things just get a little dark?   Patreon - patreon.com/ivuomaokoro    Music: "End is Near" - Matt Wigton "Lunar Bones" - Isaac Joel "Banana Bandana" - Hill "Crispy Chicken" - Mikey Geiger "Peso" - Alter Ego "Trap Trip" - Mikey Geiger "The Seeds of Unrest" - Hill Sound Effects  freesound.org  

Two words. Or rather, one long, hyphenated word. World-building. But make it fashun! In this episode, Vega finds herself dug into a metaphorical hole and home girl is really struggling to find her way out of it. Also, she gets to make her way through a club so prepare for beats in your earbuds. Glorious, dance party beats.   Music: "End is Near" - Hill "Bad Boys" - Alter Ego "That Swagga' Tho" - Matt Wigton     Patreon - patreon.com/ivuomaokoro

Well Mariah wrapped up the first part of her Vegas return... let's talk about it.   Available on iTunes, iHeartRadio, Google Play, and Stitcher. Check out our merch store at www.mariahreportstore.com Support the show and access bonus material for as little as $1 at www.patreon.com/themariahreport Leave us an iTunes review, they help the show grow. https://itunes.apple.com/us/podcast/the-mariah-report-a-mariah-carey-fan-podcast/id1031735322?mt=2  Follow us on Facebook, Twitter, Tumblr, or Instagram @themariahreport #themariahreport mariahreport@gmail.com Graphic Designer: Sean Marks www.seanmarks.com.au Theme song 'Gimmie Your Love' produced by Ereezybeatz Music www.ereezybeatz.com Disclaimer: This is a fan podcast and is not affiliated with Mariah Carey or her record label. We don't know her.  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week fill up yr poison cups and break out the chinese translators cause we're talking about the sad, sad songs of M. Ward. Next, on The Radio Cure! Spotify Playlist: https://open.spotify.com/user/123363873/playlist/2OvEQid6o0Ujrh3bVQNKt2?si=D4s8iAGRRiSUONZp3gA0uwReview: https://pitchfork.com/news/m-ward-surprise-releases-new-album-what-a-wonderful-industry-listen/Music:End of Amnesia:FLaming Heart: https://www.youtube.com/watch?v=er3JvoPEGfMCarolina: https://www.youtube.com/watch?v=dlIYkt2wrIETrans of Vin:Sad, Sad Song: https://www.youtube.com/watch?v=0VpJzTe3gycDuet for Guitars #3: https://www.youtube.com/watch?v=Pmjd-3WRU9AOutta My Head: https://www.youtube.com/watch?v=5yxqM2nPinITrans Radio:Hi-Fi: https://www.youtube.com/watch?v=8Bct-85hb7cPaul's Song: https://www.youtube.com/watch?v=Am8hNCY19rII'll Be Yr Bird: https://www.youtube.com/watch?v=1nOzVfefA7QPost War:Poison Cup: https://www.youtube.com/watch?v=Krf2fyazu_oPost-War: https://www.youtube.com/watch?v=c1oG9f4SQJ4Chinese Translation: https://www.youtube.com/watch?v=6BvPMbJZfLwMagic Trick: https://www.youtube.com/watch?v=KFGHb3RbAk0What A Wonderful Industry:Miracle Man:https://www.youtube.com/watch?v=GIaAjgVkwn0Morotcycle Ride: https://www.youtube.com/watch?v=T9_v7pRxp0EDarkwing Duck: https://www.youtube.com/watch?v=lCrn-wrJW5Y 

Teaser NARRATOR Donuts, deodorant, buns and burgers. They're killing us -- and not just because of what they do to our bodies. No, it's because of what the soy, beef, and palm-oil that they're made of -- and they paper they're packaged in -- do to the environment. More specifically, it's because of the way way we get these commodities -- by chopping or degrading forests -- which is one reason that tropical forests now emit more greenhouse gasses than they absorb, according to a study published last month in the journal Science. But what if I told you we could end this by 2020 -- just two years from now? I'm not saying we can end all deforestation by 2020, but what if I told you we can purge deforestation from these four commodities -- the ones that drive most of the world's deforestation -- by ramping up ten activities that we're already engaged in -- and have been for decades: that these activities are time-tested, and they're lined up like dominoes, ready to be activated? It's like a giant, simmering pot ready to boil. Would you believe me? I hope so, because that's exactly what I'm saying, and it's not just me saying this. It's more than 250 economists, ecologists, and agronomists from around the world, and they're drawing on the experience of environmental NGOand small farming communities from Africa to Asia to Latin America -- as well as the big agribusinesses -- who are, quite frankly, the critical actors in all of this. Today we're looking at these ten activities, how they fit into 100 more that are getting a lot of attention these days -- as well as where they came from, why they work, and how you can learn more about them.   NARRATOR Earth. We broke it. We own it -- and nothing is as it was. Not the trees, not the seas - not the forests, farms, or fields -- and not the global economy that depends on all of these. But we can restore it. Make it better: greener, more resilient, more sustainable. But how? Technology? Geoengineering? Are we doomed to live on a... Bionic Planet? Or is Nature itself the answer? That's the question we address in every episode of Bionic Planet, a podcast of the Anthropocene -- the new epoch defined by man's impact on earth -- and nowhere is that impact more deeply felt than in the forests, farms, and fields that recycle our air and provide our food. Today we're looking at lists: two of them, to be specific. One involves 100 solutions that can not only slow climate change, but end it and even reverse it. The other involves ten activities that can accelerate a cluster of the big 100. In between our examination of these two lists, you're going to have to sit through a little history class -- because you won't understand where we're at or where we're going if you don't understand where we came from and how we got here. Act I NARRATOR I'm opening today's show with a book review of sorts -- a very short one like the ones that Sister Mary Ann used to ask us to deliver in her English class at Christ the King school in Chicago. It compares and contrasts two best-sellers related to Climate Change. One is called "Drawdown", and it's a recipe book of sorts... for saving the planet. I love this book. The other is called "This Changes Everything", and it's a mess. I hate it -- even though it's more entertaining than the first. What I love about Drawdown, which is edited by environmentalist and entrepreneur Paul Hawken, is that it focuses on concrete, doable ways of fixing the mess. Specifically, it summarizes 100 solutions that can not only slow climate change, but -- cumulatively -- end it and even reverse it. Of these 100, 80 already exist and are even being implemented, while 20 are listed as "coming attractions". He categorizes about a quarter of the solutions under either "food" or "land use", and they include things like green agriculture, forest protection, and indigenous peoples' land management -- all of which I cover in this podcast What I hate about "This Changes Everything" is that it's shrill, sloppy, and dismissive of workable solutions. Its basic story arc is this: "Gee, I just realized this climate stuff is serious, and so I spent a year or so investigating it, and I found that all of the so-called solutions out there only fix part of the problem... none of the fix the whole thing. We need something radical! A total reset of human nature! And I'm just the person to tell you how to do it, and it involves the post office." On the one hand, in writing the book, Naomi Klein sounded the alarm, which is great, and she even pointed out that we need to radically alter the way we run our economy... which is true... but then she dismisses anything that isn't a magic bullet like the ones that kills vampires... or is it warewolves? Anyway... and either way, she ends up floating a solution that's just as imaginary as those two creatures, while not just ignoring but actively dissing and dismissing solutions like the ones that Hawken highlights in his book  Now, I get the Daniel Burnham aspect of this -- he's the Chicago architect who said, and I quote, "Make no little plans; they have no magic to stir men's blood and probably themselves will not be realized." So, I can see why Klein -- and, in fact, most mainstream writers -- steer clear of wonky, tedious solutions. They're boring. But our job as reporters isn't just to entertain. It's to act as a kind of scout... going out into the wilderness, seeing what's happening there -- what the threats are, how to avoid them... and then reporting back in a way that clear and concise. I'm excited about Drawdown for two reasons: first, because it achieves this, and second, because it's become a best-seller -- and it should, because these wonky, tedious solutions aren't little. Each is massive in its own right, and Drawdown looks at 100 of them. What's more, the book's goal isn't just to slow climate change, but to actually end it and reverse it. If that doesn't stir your heart, I don't know what will -- and on that note, I'd to share with you the second half of that quote, which we almost never hear. "Make big plans," he says. "Aim high in hope and work, remembering that a noble, logical diagram once recorded will never die, but long after we are gone will be a living thing, asserting itself with ever-growing insistency. Remember that our sons and grandsons are going to do things that would stagger us. Let your watchword be order and your beacon beauty." Nothing there about being simple and pithy, and the emerging solutions to the climate challenge are not always simple, but they are noble, logical, orderly, and beautiful. The Paris Agreement, for example, is a masterwork of diplomacy -- a massive mosaic of thousands of smaller agreements that respect every country and culture on the planet. Likewise, the solutions I'll be examining today emerge from diverse sectors and societies, yet they all fit together like a jigsaw puzzle, and they're also integral to the success of the Paris Agreement. I'm focusing mostly on the corporate sector, because that's where we need to focus our attention if we're going to fix this mess. The ten solutions we'll be examining in the final segment come from Tropical Forest Alliance 2020. But what is Tropical Forest Alliance 2020, and how does it influence corporate activities?  Act 2 Marco Albani We're basically a platform for private-public collaboration NARRATOR That's Marco Albani who runs Tropical Forest Alliance 2020.  MARCO ALBANI Created by US government and CGF MUSIC: Zydeco NARRATOR We're going to be focusing on two organizations today, and the Consumer Goods Forum is one of them. It's a coalition of CEOs and top managers from more than 400 retailers, manufacturers, and service providers in 70 countries. It coalesced in 2009, but traces its origin to the aftermath of World War I, when French food merchants were beginning to engage in international commerce again, and needed to know that they were getting good stuff. But they soon learned that the "war to end all wars" achieved nothing of the kind, and it wasn't until 1953 that the International Committee of Food Chains was born. This was a commercial enterprise focused on making sure farmers in far-away places were delivering good food to merchants and shopkeepers closer to home, but the parameters of quality control gradually expanded to include labor conditions and environmental impact. By the 1990s, environmental pressure groups had forced the creation of certification standards for the sustainable production of palm oil and timber & pulp, while other industry groups emerged to promote general food safety. Then, in 2009, just as climate negotiators were gathering for year-end talks in Copenhagen, Denmark, three of these industry groups -- the Global Commerce Initiative, the Global CEO Forum, and the International Committee of Food Chains -- merged into the Consumer Goods Forum, which is dedicated to promoting fair labor and environmental practices among companies whose sales add up to $3.5 trillion per year. Now, I'm not so naive as to believe that these companies are all selfless and beneficent. In fact, I even think many of them are selfish and sociopathic, as legal scholar Joel Bakan maintains. But there are ways of changing that, and these multilateral organizations are one. In fact, research from the Forest Trends Supply Change initiative shows companies that belong to organizations like the Consumer Goods Forum not only make more environmental commitments than companies that don't, but they're also much better at reporting progress towards delivering on those commitments, which is why this matters: MARCO ALBANI 2010 GCF Resolution NARRATOR Beef, soy, palm oil, and pulp & paper. There they are again -- the big four commodities responsible for most of the world's deforestation, because farmers around the world are chopping forests to grow them. So it's a pretty big deal when 400 companies line up behind a specific pledge to end that.  But, of course, it doesn't end there. Just as the Kyoto Protocol showed us that government can't do this on its own, common sense tells us that the global, profit-driven corporate sector isn't going to fix our problems on its own, either, despite what free-market fundamentalists like to believe. We need government, we need NGOs, we need indigenous groups... we need them all working together. So, in 2012, the Consumer Goods Forum and the US government launched the group we're primarily focusing on today: Tropical Forest Alliance 2020 -- or TFA 2020 -- to get all these sectors working towards the goal of changing the way we produce the big four deforestation commodities, so that by the year 2020 we no longer chop forests to do so. MARCO ALBANI And since then grown... more than 400 partners... business, producers to consumers. MUSIC: zydeco? NARRATOR So, you've got the Consumer Goods Forum representing business, and you've got Tropical Forest Alliance 2020 -- or TFA 2020 -- representing all of these diverse interests. Then, in 2014, as climate negotiators were gearing up for the Lima talks, things get serious. UN General Secretary Ban Ki Moon holds a massive rally in New York designed to turbocharge TFA 2020's mission. The result is the New York Declaration on Forests, which is a pledge to cut the global rate of deforestation in half by 2020, and to end deforestation by 2030 while restoring hundreds of millions of acres of degraded land. The pledge is endorsed by 36 national governments,  20 sub-national governments -- meaning states and cities -- 15 indigenous organizations, 53 environmental NGOs, and 52 multinational corporations. The list of companies is interesting: it includes traditional good actors like Danone, Unilever, and Kellogg's -- but also companies with a reputation for doing the wrong thing, like Asia Pulp and Paper -- a longtime environmental pariah once known for grinding pristine forest into pulp. Dewi Bramono turn story around NARRATOR That's Dewi Bramono, Asia Pulp and Paper's Director of Sustainability and Stakeholder Engagement, who we'll hear from later in the show. Most of the audio in today's show comes from an event that Forest Trends hosted in September during New York Climate Week, and Dewi Bramono's presence in that room is proof that companies can change. The New York Declaration on Forests is a big deal, because you got all of these companies publicly committing to tackle deforestation, and the declaration isn't just a simple statement, but is actually 10 specific goals that -- like all of those 100 solutions in Drawdown -- feed on and reinforce each other. The challenge is holding these companies to their word. MUSIC: ends Now we come to 2015: you've got these two global networks and this very public commitment -- how do you turn this into action? In part by getting everyone on the same page, so the governments of the UK and Norway ramped up funding for TFA 2020, and the World Economic Forum essentially adopted it -- giving it a place to live in Switzerland. That same year, the organization I work for -- Forest Trends -- launched the Supply Change initiative -- that's Supply-Change.org -- to track not just corporate commitments, but the progress that companies report, and you may have noticed I use them as a resource quite a lot. Now we come to last year -- 2016. You've got all of these commitments and all of this transparency, and TFA 2020 needed to pull it all together so we could see how far we were from the goal. They asked a dozen leading NGOs to help out, and they put a research-oriented group called Climate Focus in charge. Then, at last year's climate talks in Marrakesh, they published two reports: one focused on progress towards all ten of the goals outlined in the New York Declaration on Forests, and one focused exclusively on Goal Number Two, which says that, by 2020, we will no longer be chopping forests to produce the big four deforestation commodities. MUSIC: End zydeco MARCO ALBANI Goal Two Assessment - 1 NARRATOR Specifically, it's a mixed bag. Using Supply Change data on almost 700 companies, they found less than half of the companies that had made commitments were actually disclosing progress -- although those that did report progress were usually on track to meet their goals. They also found huge variance from company to company -- meaning some great success stories, some shining examples, and a lot of lessons-learned.  MARCO ALBANI Goal Two Assessment - 2 NARRATOR It's crunch-time, and we need to very quickly harvest the lessons of the last eight years to see what works and what doesn't. Then we need to scale up what works, and do it fast. So Tropical Forest Alliance 2020 called in "Climate Focus". They're the research-oriented NGO that led the creation of the two earlier assessments. CHARLOTTE STRECK We started with the New York Declaration NARRATOR That's Charlotte Streck, who runs Climate Focus. CHARLOTTE STRECK Then we had a series of workshops... FADE OUT NARRATOR You get the picture. They didn't just pull this out of thin air, but instead they talked to more than 250 organizations, put their findings out for review, adjusted them, and finally presented them in New York. SOUND: fade charlotte back in MUSIC: pensive NARRATOR So, let's pause again to get our bearings. We started with 100 activities that can reverse climate change, and we dove into one of them: ending deforestation, which we realized is part of a cluster of activities related to land-use and agriculture. We in turn found that this cluster was broken into ten specific goals of its own, enshrined in the New York Declaration on Forests. Then we dove into one of those ten goals -- Goal Number Two, the most immediate one: purging deforestation from the big four commodities by the year 2020 -- and we found it's doable. And now, after diving down to this one goal... we're going to open things up again... to look at the ten priority areas that can help us achieve the goal of purging deforestation from these four key commodities in just two years, which will in turn help us achieve the other 9 goals in the New York Declaration on Forests, which will in turn help us achieve a few dozen of the 100 activities that will help us reverse climate change. MUSIC: END NARRATOR Before we move on, some key points. First: Charlotte Streck This is not a step-wise approach NARRATOR And also, if we do achieve the 2020 goal, the game isn't over.  , MARCO ALBANI Need to keep long-term MUSIC: ?? NARRATOR I'm about to unveil the ten priority areas, but first I have a question for you: do you like this show? If so, would you like more episodes -- maybe better produced to boot? With a second set of ears and more time for editing? You can make that possible by giving me a good rating on iTunes or wherever you access the show; you can tell friends about me. Or, best of all, you can become a patron at bionic-planet.com I've set the patronage page up so you can support me per episode, but with a monthly cap. So, if you think $5 per month is good for a five-episode month, you can pledge $1 per episode, but with a $5 monthly cap. That way, if I don't manage to generate five episodes in a month, you're not paying for something you didn't get, and if I go nuts and deliver 20 episodes one month, you won't get whacked, either. By the same token, you can offer $5 per episode... or 10 or 50 or whatever.  I'm sitting on a ton of material -- Interviews and audio I gathered as far back as June -- and I'm itching to share it with you in ways that make sense. But I've got a day job, and I've got to pay the bills, too, and I'm not even close to breaking even on the podcast. I like the idea of being listener supported, but am also open to big sponsors, advertisers, or investors to cover my costs, hire some help, and scale this up. The web site, again, is bionic-planet.com, or you can e-mail me at steve@bionic-planet.com MUSIC: end music Act 3 SOUND: drumroll NARRATOR And now, the moment you've all been waiting for. The ten priority areas for purging deforestation from the supply chains of the big four deforestation commodities by the year 2020. Beginning with  SOUND: gong CHARLOTTE STRECK point 1 NARRATOR So, what does this mean? I'll let Michael Jenkins explain it. He runs Forest Trends, which means he signs my checks... but I think the group does good work, too, which is why I work for them. Michael Jenkins Forest Trends Illegality Report 1 NARRATOR He means illegal conversion of forests to farms or fields. MICHAEL JENKINS Forest Trends Illegality Report 2 NARRATOR Let that sink in for a moment. In fact, let's hear it again. MICHAEL JENKINS Forest Trends Illegality Report echo NARRATOR So, while we do need better legal frameworks, we also need to enforce the laws already on the books -- as Brazil showed when it slashed deforestation 70 percent between 2004 and 2014. If you listened to Episode 20, you heard how good-acting companies can also support enforcement -- something Charlotte also alluded to. CHARLOTTE STRECK companies can help NARRATOR Companies that are good with the law can also boost their bottom line by building up trust with importers abroad -- as Asia Pulp and Paper is doing in Indonesia. DEWI BRAMONO legality NARRATOR It's the right thing to do -- and it certainly can't hurt their status with global buyers. SOUND: drumroll NARRATOR And that brings us to... SOUND: Gong CHARLOTTE STRECK 2- palm certificatin NARRATOR Palm oil is in everything from donuts to soap to after-shave. You probably use it but don't even know it. CHARLOTTE STRECK Palm Oil is one of the main drivers NARRATOR Remember we talked about certification on the start? Supply Change data shows that of the big four commodities, companies are making the most progress in reducing deforestation around two of them: palm oil and timber and pulp -- mostly because we started seeing certification of these back in the 1980s. Today, about 21 percent of palm oil is certified by the Round Table on Sustainable Palm Oil, or RSPO. The challenge is twofold: getting consumers to pay a premium for this, and extending certification to more forests. CHARLOTTE STRECK We don't have sufficient demand SOUND: drumroll NARRATOR Then comes the next priority SOUND: gong CHARLOTTE STRECK 3 beef intensification NARRATOR "Sustainable intensification of cattle grazing"... that basically means raising more cows on the same piece of land, so that you don't have to keep chopping forests to graze them.  CHARLOTTE STRECK Beef is responsible for more... NARRATOR In episode 7 of Bionic Planet, we saw how Kenyan farmers are using agroforestry to increase milk production -- they plant trees in among their crops to pull nitrogen from the air and infuse it into the soil, and they turn the leaves into silage for their cows. That's just one solution, and there are dozens of them. Ideally, we should all eat less beef, but for now we can reduce the amount of land used to raise the ones we do have. CHARLOTTE STRECK we know that we can SOUND: drumroll SOUND: gong NARRATOR Which brings us to... CHARLOTTE STRECK 4 palm and cocoa intensification NARRATOR Cocoa is not one of the big four, but it's a huge contributor -- and it's mostly produced by small farmers working in cooperatives. CHARLOTTE STRECK More than 30 percent of palm oil and 90 percent of cocoa NARRATOR The report shows that small palm-oil producers can increase their productivity 85 percent without chopping more trees. CHARLOTTE STRECK  These smallholders NARRATOR So, that gets us through three of the big four, plus cocoa -- or cacao, as the threes themselves are called. Ignacio Gavilan what about soy - 1 NARRATOR Yes -- what about soy? That, by the way, is Ignacio Gavilan, Director of Sustainability, for the Consumer Goods Forum. IGNACIO GAVILAN what about soy - 2 SOUND: drumroll NARRATOR And that brings us to... SOUND: gong   CHARLOTTE STRECK 5 sustainable soy NARRATOR Up until 2006, farmers across the Brazilian Amazon were chopping forest like mad to grow soy, but then something changed: Companies like McDonalds -- responding to pressure from groups like Greenpeace -- voluntarily stopped buying soy from Amazon farmers who chop trees to grow the stuff. The soy moratorium is just one example of a successful multilateral effort to fix the climate mess.  CHARLOTTE STRECK it is important NARRATOR Certification programs are ridiculously expensive and notoriously difficult to manage -- I mean, this is really complex stuff. A company like McDonalds buys beef from slaughterhouses like Marfrig or JBM, and those slaughterhouses buy from thousands of small farmers. To really do this right, we have to scale up  SOUND: drumroll NARRATOR And that's where the next priority area comes in SOUND: gong CHARLOTTE STRECK 6 - accelerating implementation of jurisdictional NARRATOR "jurisdictional" means governmental -- it can be federal, it can be state, it can be county, or even city. If you get an entire state like Sabah in Malaysia or California in the United States to make sure it's farmers are producing fruits and veggies in a sustainable way, companies can buy there without spending a fortune to certify each producer individually. CHARLOTTE STRECK we have screened 34 NARRATOR The state of Sabah, in Malaysia, for example, is working with several NGOs that have coalesced into an alliance called "Forever Sabah" Cynthia Ong jurisdictional 1 NARRATOR That's Cynthia Ong, who runs a group called "Land, Empowerment Animals, People" or LEAP. She's also one of Forever Sabah's co-executive directors. CYNTHIA ONG jurisdictional 2 NARRATOR Even big companies like Asia Pulp and Paper have realized they can't access certified material on a large scale one plantation at a time. DEWI BRAMONO landscape jurisdiction NARRATOR There are scores of efforts underway -- the Rainforest Alliance is also doing great work, which you can learn about if you listen to episode 23 -- that episode will have the raw audio from this event without me interjecting every few minutes. It's kind of long, but if this episode sparked your interest, I think you'll find the full event worth listen to. SOUND: drumroll NARRATOR But for now, we move on to... SOUND: Gong CHARLOTTE STRECK 7 - land security and land rights NARRATOR This is another one we've addressed here before: indigenous and traditional communities tend to have a strong connection to their land. Studies have shown they usually -- not always, of course, but usually -- maintain their forest and want to keep it, but their legal rights to the forests are often in limbo. That leaves them vulnerable to speculators, and also less willing to invest too much in the forest CHARLOTTE STRECK Uncertainty of land. NARRATOR Another thing to remember: people in developing countries buy stuff, too SOUND: drumroll NARRATOR Which brings us to: SOUND: gong CHARLOTTE STRECK Goal: Mobilizing demand in emerging markets NARRATOR Remember earlier, when we talked about certification? We learned that 21 percent of all palm oil is certified by the Round Table on Sustainable Palm Oil, or the RSPO. One reason it's not higher is that people still, for the most part, buy whatever is cheapest, so it's not worthwhile for producers to spend all that money getting certified -- and that's even more so in developing countries. Kavita Prakash-Mani of WWF is working to change that. Kavita Prakash-Mani 21 percent CHARLOTTE STRECK In addition to this: domestic demand NARRATOR We're getting near the end here, folks -- so far, we've talked a lot about producers and consumers, but what about investors? SOUND: drumroll NARRATOR That brings up our next priority area: SOUND: Gong CHARLOTTE STRECK Redirecting Finance NARRATOR This is something we cover a lot on bionic planet, and it's the core of what we cover at Ecosystem Marketplace. Investors are still backing the bad actors, and they'll continue to do so until they realize that environmental bad actors are also financial bad risks -- but they'll only realize that if we all hold the bad actors accountable and support the good ones. We've seen some progress on this front over the past year, with HSBC manning up to some investments that led to deforestation and pulling the plug. You can learn more about that in an article I wrote for Ecosystem Marketplace called "Why HSBC's Recent Response To Greenpeace Really Is A Very Big Deal", and I link to that in show notes for this episode, which is episode 22 at bionic-planet.com. We're also seeing governments like Norway's stepping up with finance for sustainable forest management. Stina Reksten private-sector-capital 1 NARRATOR That's Stina Reksten of Norway's International Climate and Forest Initiative. She's helping to launch a new fund, together with the Global Environment Facility, Unilever, and IDH -- which is a Dutch sustainable trade initiative. STINA REKSTEN private-sector-capital 2 NARRATOR But that's just a sneeze in a hurricane compared to the $55 trillion global economy CHARLOTTE STRECK we have the finance NARRATOR But finance doesn't flow with guidance SOUND: drumroll NARRATOR And that brings us to... SOUND: gong CHARLOTTE STRECK data NARRATOR This is where we come in. I already mentioned Supply Change -- that's supply-change.org -- and we did another episode -- episode 11 -- focused on a platform called TRASE, which lets you trace soybeans from specific municipalities in Brazil to ports around the world. There are plenty of other efforts, and Nicole Pasricha of Rainforest Alliance outlined one that they're participating in. Nicole Pasricha point 10 NARRATOR That might sound boring and wonky, but the whole issue of comparability is critical -- because if you can't compare what different countries, companies, and counties are doing, you can't reject -- or reform -- the bad guys and reward the good Remember Ignacio Gavilan of the Consumer Goods Forum? He pointed out that member firms didn't know how much soy they used. So his group created a solution IGNACIO GAVILAN soy ladder NARRATOR Ignacio Gavilan wrapping up this edition of Bionic Planet -- which is a bit different than most episodes. I usually like to dive deep into an issue, but this time, we kept it pretty high-level. I hope to revisit all of these activities in more detail, and if you think that would be of value, be sure to help me out by sharing Bionic Planet with friends and giving me a good rating on iTunes, Stitcher, or wherever you access podcasts. You can also help by becoming a patron at bionic-planet.com -- where you can show your appreciation for as little as $1 per month. If today's show sparked your curiosity, be sure to download episode 23 as well. That one will contain the full audio from the Climate Week session that I harvested for this. If you're a paid patron, I will not be charging for episode 23, but rather just uploading that as a public service. Until next time, I'm Steve Zwick in Rotterdam. Thanks for listening!

We are joined by Sam and the Barbers this episode. They share their EP with us, talk about their writing process, and more.   Music: End of the World Everyone Here 1982 I Promise I'll Never Promise Again

Follow me on Facebook at www.facebook.com/DJNickM.UK or on Twitter @nibl831. Donna Summer vs. Usher - DJ Got Us Falling In Hot Stuff (DJs From Mars Mix)2. Jenny Silver - Something In Your Eyes (Club Junkies Mix)3. Erasure - Be With You (Moto Blanco Mix)4. Lady Gaga vs. Ida Corr/Fedde Le Grand - Let Me Think About Telephone (DJ Nick M Mix)5. Dionne Bromfield - Spinnin' For 2012 (Steve Smart & WestFunk Mix)6. 7th Heaven ft. Donna Gardier-Eliott - Don't Make Me Wait (Mars & Vans Mix)7. Lady Gaga - Marry The Night (Cosmic Dawn Mix8. Radio Killer - Don't Let The Music End (Extended Mix)9. Chris Willis - Too Much In Love (Wawa Mix)10. Maroon 5 ft. Christina Aguilera - Moves Like Jagger (Soul Seekerz Mix)11. Mason vs. Freemasons ft. Siedah Garrett - Rain Down Exceeder (DJ Nick M vs. Martijn Ten Velden Mix)12. Guru Josh Project - Infinity 2012 (LoverushUK! Mix)

TONIGHT IS THE NIGHT (Mike Rizzo Club Mix) Outasight | YOU DA ONE (Almighty Club Mix) Rihanna | GLAD YOU CAME (Mixin Marc & Tony Svejda Remix) The Wanted | DON'T LET THE MUSIC END (Extended Mix) Radio Killer | MARRY THE NIGHT (Lazy Rich Mix) Lady GaGa | WE RUN THE NIGHT (Alex Lamb & Bill Carling Remix) Havana Brown | SHOW ME (Jump Smokers Remix) Jessica Sutta | JUST A LITTLE BIT (Spencer & Hill Airplay Mix) Kid Massive & Jolly feat. Elliotte Williams N'dure | DOMINO (Jump Smokers Remix) Jessie J | DOWN FOR WHATEVER (Steve Pitron & Max Sanna Club Mix) Kelly Rowland | PARTY PEOPLE (Jody Den Broeder Club Mix) Erika Jayne | LOVE YOU LIKE A LOVE SONG (Mixin Marc & Tony Svejda Remix) Selena Gomez | IF IT WASN'T FOR LOVE (Razor Guido Skribble Remix) Deborah Cox | LETTING YOU GO (Dabruck and Klein Vocal Remix) Three Drives | PUMPED UP KICKS (Sex Ray Vision Remix) Foster the People | BIG IN JAPAN (Denzal Park Remix) Martin Solveig & Dragonette feat. Idoling!! | BE WITH YOU (Moto Blanco Club Mix) Erasure

Featuring: Michael "Boston" Hannon, John "Knobs" Knoblach, and Ryan Pratt Running Time: 1:35:06 Music: End of Eternity Despite crippling technical difficulties, we chat about Contract Killers: Zombies, Shadowgun, Batman: Arkham City, Left 4 Dead 2, AC: Revelations, X-Men Arcade, Battlefield 3, Gears of War 3, Voltron: Defenders of the Universe, Words With Friends, Blops, Skyrim, Deadly Premonition, Infinity Blade, Uncharted 3, and Metal Gear Solid Peace Walker. Microsoft and Nintendo make piles of money during Black Friday. Vita memory card prices unveiled. Put simply, they suck. GamePro is dead Obsidian’s new RPG has been announced

Hey all… I have a new show… Alasdair joins me on the show to talk a little about Double Knitting and I flub my way through a wrap up of the last couple months. MUSIC End of the world is by The Crabs Lost my way is by Matthew Ebel UPDATED NOTES: Alasdair is working … Continue reading "IAPM41: Back From Vacation"