Podcasts about whadda

Tom Reilly is a dynamic artist whose work has brought to life The Thing, Ant Man, and now the exciting new G.I. Joe series! We talk about all kindsa things, but especially about The Thing. We love The Thing. It's one of the Things we have in common. I'm not trying to do this, it just happens. Anyway, one of the long-running debates in comics is ... does The Thing have teeth? Some artists draw him with, some draw him without. Whadda you think? ( now you need to go Google Ben Grimm Thing teeth or no teeth so you can see for yourself, right...? )

Whadda you lookin' at? It's Johnny Da Big, Bankadelic's official Wise Guy of Debatable Talent, lending his nit-so-dulcet tones and storytelling to the holiday classic "Do You Hear What I Hear?" Or "What I Hoid," as he likes to say in his South Philly patois. Listen if you dare, maybe even share, it's better than being a grinch and far more satisfying. Ya got a problem wit day?

We didn't have a ton of time to record tonight, so it's mostly Roma trash talking me. Good times. Also rolled out a new intro. Whadda ya think?

Whadda you get when you cross Warlords with Tetris?!? You get Atari's Rampart! Can the multiplayer arcade classic make the journey to the shores of the Amiga, or is this ship sunk!?

Whadda you get when you cross Warlords with Tetris?!? You get Atari's Rampart! Can the multiplayer arcade classic make the journey to the shores of the Amiga, or is this ship sunk!?

He did what? In his WHAT?!?!? In this week's episode we dive into the Qatar Grand Prix and the insane conditions it (and the FIA) subjected the drivers to. We also discuss the various ways we're able to observe cars through other's eyes. We love you!!!

While Jim Sharpe thinks a new study on screen time and kids is pretty guilt-inducing, but he also sees a lot of loopholes for lazy parents in it.See omnystudio.com/listener for privacy information.

“You are my number one guy – tickle me!” Removing a grappling gun from their utility belt(s) before aiming and shooting it skyward, the panel of peril zip up to an overhead gantry to watch this week's film Batman (Tim Burton, 1989). Batman (Billy Crystal/Michael Keaton) is emerging from the shadows of Gotham City as conspiracy theories about him find their way into the news. Gotham's police force is riddled with corruption. And local, mid-level gangster Jack Napier (Jack Nicholson) has just taken a tumble into a vat of chemicals, courtesy of Bats. The collision course is set; who shall prevail? Watch the trailer here: https://www.youtube.com/watch?v=dgC9Q0uhX70 ********PLOT SPOILER ALERT******** Love that Joker! He's only throwing a big parade, with entertainment, and $20m in cash being redistributed amongst Gotham's working class! Whadda guy! Or is he? What about that Smylex chemical he's put in cleaning products that causes people to die laughing? Batman doesn't think it's a very nice thing to do, and neither do we! Can the Caped Crusader stop the Clown Prince of Crime becoming the city's newest top dog, mob boss? What did the panel think of this week's movie? How can they improve upon the villain's masterplan? And who will be anointed this week's most diabolical? Sound Effects from Pixabay Sound Effect by Music_For_Videos from Pixabay Music by Humanoide_Media from Pixabay Sound Effect by UNIVERSFIELD from Pixabay Sound Effect by SUBMORITY from Pixabay

You have heard the proverb “cheaters never prosper.” Whadda load! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jimsalvucci.substack.com/subscribe

Masks of Nyarlathotep marches on through the Peru Chapter, in this session of DICELORE's The CTHULHU FILES. Our heroes spend the day in Lima, Peru buying all kinds of goodies for their upcoming excursion to find an ancient temple in the Andean Highlands, including deadly poisons, a bullet-proof vest, machetes, and rosaries. Then bad things happen and Rocco kills a guy. Whadda ya gonna do?

Game on! This week the ol' gang gets together to jam out to more "Scott Pilgrim vs. The World," by Bryan Lee O'Malley! Enjoy some movie talk and our discussion of Scott Pilgrim chapters 9 - 11. Now come up to the front and dance! 02:17 - Whadda ya see, whadda ya say? 15:25 - Scott Pilgrim!    "Black Sheep," by Metric used for educational purposes only. Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/   

We are Bookclub Members! 1,2,3,4! Rock out with the bookclub this week, check out some listener feedback and check out our discussion of Scott Pilgrim vs. The World! Who let Aubrey's dogs out?! 04:37 - Listener Feedback 13:50 - Whadda ya see, whadda ya say? 28:18 - Scott Pilgrim vs. The World   "The Horse," by Cliff Nobles, "Love Theme for Romeo and Juliet," by Tchaikovsky, "Final Fantasy 4 Theme," by Uematsu, and "Ramona," by Beck used for educational purposes only. Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/   

In today's episode of Catholic Family Matters: Paul shouts this week Betsy wobbles, but she doesn't fall down What does God want with us Paul reflects on where we find God Betsy's song is Suscipe(tious) Links: How to Discern God;s Will in 1 Minute by Fr. David Michael Moses The God Minute: July 19th - The Father's Will (Sr. Carol) Take, Lord, Receive by St. Louis Jesuits   Click below to follow us at: Facebook Twitter On the Web Email

A town with a strange secret, ripe for the picking by three petty criminals.  Sounds a bit too easy, doesn't it?     Written and produced by Julie Hoverson Cast List Claude - Shawn Connor Lenny - Cole Hornaday Charlie - Risa Torres Host - Bob Noble Bank Teller - Beverly Poole Little Girl - Krystal Baker Waitress - Angela Kirby Music by  Kevin MacLeod (Incompetech.com) Editing and Sound:   Julie Hoverson Cover Design:  Brett Coulstock "What kind of a place is it? Why it's a cheap fleabag motel, can't you tell?" ******************************************** AN HOUR TO KILL Cast: [Opening credits - Olivia] Claude, a thug Lenny, a dumber thug Charlie, Claude's greedy wife Host Bank Teller Little Girl Waitress OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a fleabag motel in the early 50s, can't you tell?  MUSIC SOUND     DRIPPING OF BAD SINK, DISTANT RADIO TALKING LENNY    [hushed, excited] I tell you, Claude, it's a done deal!  It was Artie told me, and-- CLAUDE    [resigned] And Artie's never wrong.  Yeah, I know.  [up]  Whatchoo think, Charlie? CHARLIE    Zip it.  I'm listening. CLAUDE    To what? CHARLIE    Whoever's next door has a radio, [barbed] unlike some, and they got the stories on.  If youse two mugs can keep yer traps shut, I can just barely make out what happens to be transpiring. LENNY    [quiet]  It's just over the hill, Claude.  Hop skip and a jump. CLAUDE    [quiet]  Good thing, too, Lenny.  That car we nabbed ain't good for much but skipping. LENNY    [quiet]  And jumping. CLAUDE    [chuckles halfhaertedly]  So Artie said this town was ripe for the picking?  LENNY    Yeah, he said it was real weird, but-- CHARLIE    [upset] No!  What is wrong with this world? CLAUDE    [flat, uninterested] I don't know, what's wrong with it? CHARLIE    Them on the other side, they turned it off!!  And just when Cynthia was about to reveal the name of the guy who ran off and left her with two kids, then changed hs name and married someone else. LENNY    What a bum! CLAUDE    [undertone] Don't encourage her.  [up] Can we talk normal now? CHARLIE    Makes no nevermind now. CLAUDE    Apparently Artie told Lenny something in stir last week. LENNY    And Artie's never wrong! CHARLIE    [hard sarcasm] If he ain't never wrong, why's he in the joint? CLAUDE    [snorts] LENNY    That ain't the point.  He found the perfect score. CHARLIE    And he told you about it? CLAUDE    Yeah, that does seem a little cuckoo.  Artie never did like you much. LENNY    But he still likes Cherlie there just fine.  I think he told me cuz he knows I'd tell you, and that would help her get some of the nice things she deserves. CHARLIE    [cutesy]  Really?  That big a score, then?  Artie might have something going for him after all.  Maybe I shoulda married him. CLAUDE    You said you didn't like monkeys. CHARLIE    I was joking.  Just cuz he's kinda short and shriveled and stuff don't mean he might not make a good husband.  Ugly guys don't run off so often. LENNY    Nobody wants 'em. CHARLIE    You would know. CLAUDE    [long suffering sigh] Let's get back to the job? LENNY    It's this town, see?  He says the whole town is like loopy, cuz one day a year, for an hour in the middle of the day, the entire town [slow, with import] just falls asleep. CLAUDE    [snort]  You're loopy.  Artie's throwing you a knuckle ball, knucklehead. LENNY    No, he was serious - I could see it in his face. CLAUDE    The whole town?  LENNY    Yeah! CLAUDE    And how does Artie know this? LENNY    He says he was there.  Couple years back, said he was hiding out and saw it happen, so he went back again the next year to see, and it happened again. CLAUDE    Why ain't he in there robbing the place? LENNY    Says he meant to, this year, but he's gonna be sporting stripes for a nickle. [5 years] CLAUDE    It makes no damn sense!  Why would everybody fall asleep? CHARLIE    Maybe it's something in the water.  Or get this-- [ramping up]  Maybe it's a curse or something, like in that episode of One Step Too Far!! CLAUDE    You've gone one step too far if you're gonna believe Artie and this idiot.  [to Lenny] Nuttin' personal, Lenny. LENNY    Gotcha. CHARLIE    What can it hurt?  If it's so darn close, why don't we drive over there and see?  We can be ready, and if this "see-ester" [siesta] thing happens, then we take advantage.  If not... what's it gonna hurt? CLAUDE    What day's it supposed to be, Len? LENNY    Tomorrow.  Or I should say the longest day of the year, since that's what it is - tomorrow is, I mean, but Charlie, you can't come! CHARLIE    And why pray tell not, ya big goon? LENNY    Artie only told me on account of I promised I'd see to it that you don't go.  I think he wants you to come and visit him instead. CLAUDE    That's crazy talk.  But you shouldn't come, babe.  You'll just get in the way. CHARLIE    [incensed] I'll just WHAT?  CLAUDE    I mean-- there might be guns.  I wouldn't want you getting shot or nothing. CHARLIE    They gotta be pretty talented in this town to shoot ...in their sleep!  Besides, you need someone along who can actually tell time, if all you got is just one hour!  [fades out]  And if this is supposed to be tomorrow, since I have it on good authority - meaning the morning news - that tomorrow is the longest day of the year - then we had better get our sweet little selves ready to move! LENNY    [over her diatribe]  But I promised Artie-- CLAUDE    [over, too - miserable, to Lenny] Just drop it.  Trust me.  Once she starts with this, she can't even hear no more. CHARLIE    You hear me? LENNY    [really quiet] Maybe you shoulda let Artie have her. MUSIC AMB    IN CAR CLAUDE    Whadda we do if it's all a big put-up job? LENNY    It ain't - Artie is-- CHARLIE    Stifle!  If they don't sack out, you mean?  In that case, we're just honest, but weary travellers going on our merry way.  Zat so hard to buy? CLAUDE    We gotta do something.  This flivver's on its last legs. CHARLIE    There's always something. LENNY    You believe in magic, Charlie? CHARLIE    Like Houdini stuff?  Hah!  Back when I was on the stage, the only thing them clip artists could make disappear was my hard earned simoleans. LENNY    But this-- CHARLIE    [loud] BUT!  Dontchoo interupt me there, Lenny.  It ain't polite!  [quieter] Hmph. I was tryin to say I could maybe believe in magic like miracles and genies and stuff.  Just always figured maybe it was all run out in the world, like the electricity in the meter when you're outta slugs.  Ya know? CLAUDE    [amused hmph]  Oh, that's a nice turn of phrase you got right there, Charlie. CHARLIE    [smug] And you thought you only married me for my legs. MUSIC AMB    OUTSIDE, RURAL SOUND    ONE SET OF STEPS ON GRAVEL CLAUDE    [relieved and tired] Finally.  [sighs] SOUND    DOOR OPENS WITH A JINGLE CHARLIE    [already arguing]  I don't care what kind of hokey-pokey yer pullin here!  I want a room and I want it pronto - savvy? CLAUDE    [quiet] Oh, lord.  [up, weary]  What's the noise, sweetcheeks? CHARLIE    This fellow says ain't no rooms to be had, not today tonight or any time soon. CLAUDE    Yer full up?  Out here in the middle of squat all? HOST    [old rustic] The young lady misunderstood me.  I was trying to explain that this is just a bad day to be here in Lafayette.  We got rooms, ayuh, but I wouldn't feel right about just putting you up without warning you folks first. CLAUDE    Warning us?  Where's Lenny? LENNY    [off] I'm pretending I'm somewehre's else. CLAUDE    Some help you are.  You was saying, pops? HOST    [cheerful horror]  It's the day we run the hogs. CHARLIE    That's disgusting!  CLAUDE    Hold on, dearest.  Let's hear the man out.  Hogs, you say? HOST    Ayup.  Local tradition.  Them hogs gets loose all over the town.  [self-satisfied] Raise a lotta havoc.  Tranple anything that moves, pretty much. CLAUDE    It'd be safe in the room, wouldnit? HOST    Well, 'spect it oughtta be, but you have to shut the doors and not move an inch.  Don't want to call no attention to yerselves.  [ominous] Folks round here don' like strangers watching our ways. CLAUDE    [sigh] Well, pops, I dunno if you noticed it, but we rode in in the grease monkey's tow.  Our heap ain't taking another step, and neither are we. HOST    [a little too smug] One room or two? CHARLIE    Just get one.  Lenny can sleep in the bureau drawer for all I care. HOST    [chuckles] CLAUDE    Since it's looking we'll need to get a new car soon, I guess one room's all we can spring for. MUSIC SOUND    DOOR SHUTS, BAG THROWN DOWN CHARLIE    Artie better damn well be right. CLAUDE    [hushed] Charlie!  Keep it quiet. LENNY    [hushed] Even if it works, how we gonna get out of town?  CLAUDE    We get a new car-- LENNY    How? CLAUDE    How'd we get the last one, pea-brain? LENNY    Oh, right.  There must be one or two, even in a boondock like this. CHARLIE    The landlord says we got a couple of hours before we gotta hole up [aping his speech] "just enough time to get around some flapjacks".  Flapjacks, my eye.  They better have a hootch parlor in this flyspeck. CLAUDE    Just enough time to case the place. LENNY    Oughtn't we to bring the heaters, Claude? CLAUDE    Hmm.  Nix on that.  Don't wanna get caught on the street heeled.  CHARLIE    Whaddaya mean?  So what if someone suspects something? CLAUDE    You may hate these chuck towns, Charlie, but their jails ain't nothing to write home about neither.  They make our first digs look like the ritz. CHARLIE    [disgusted] Oh! MUSIC AMB    OUTSIDE.  RURAL [note - they're all talking out the side of the mouth] LENNY    There's the spoon where the clerk said we could get us some-- CHARLIE    Flapjacks?  Puh-lease.  We got more important things-- LENNY    But he got me all hungry, with all his flapjack jabbering. CLAUDE    [under his breath] Flapjabbering.  [up]  Look, we need to split up anyway, cover the ground.  Lenny can pick up the skinny at the diner as well as anywhere else. CHARLIE    Where you wanna ronder-voo [rondezvous] later? CLAUDE    Well... [consdiering] Guess the motel's as good as any place. CHARLIE    In forty-five minutes.  No more, you big moose!   LENNY    No sweat - sides, they ain't gonna give me no forty-five minutes worth of flapjacks.  Not for what I got on me. SOUND    WALKS AWAY CLAUDE    And you? CHARLIE    I say you and I take the-- [softening] I mean, make a visit to the bank. CLAUDE    Who'm I to argue? MUSIC SOUND    DOOR OPENS, DING, A COUPLE STEPS LENNY    Hello? SOUND    FLAP OF DOOR, HEELS WAITRESS    Goodness!  I guess I really wan't expecting to see nobody in here today! LENNY    Guess not.  [pitifiul] Zat mean you're out of food? WAITRESS    Mercy, no!  We been cooking all day!  They'll go through plenty later on, but we can spare a bite or two.  What you want? LENNY    Flapjacks? WAITRESS    [chuckles] You came to the right place.  My momma's recipe has taken blue ribbons at the fair for thirty years.  Set yourself down, and I'll sling you a stack. SOUND    DOOR FLAPS, MUFFLED COOKING NOISES WAITRESS    [off some] You want some Java with that? LENNY    That'd be real nice. SOUND    DOOR FLAPS OPEN, QUICK STEPS WAITRESS    Here's your joe, the jacks will be out lickety split.  LENNY    Hey, uh, the goon at the hotel was saying something about something going on today? WAITRESS    Oh, yes.  It's the strangest thing, but nothing you gotta worry about - you're just passing through, right? LENNY    Oh, no, we're staying at the hotel.  WAITRESS    [a bit upset] Oh.  "We?"  Nevermind.  You should stay inside, then.  It ain't safe being out. LENNY    Oh, yeah, he said-- WAITRESS    I mean, they're just frogs, right?  But they are some vicious slimy little devils. LENNY    [baffled] Frogs? WAITRESS    Course.  Every year they just fall from the sky.  No one knows why.  Oops-- [sniffs] that's your jacks.  Be right back. MUSIC AMB    OUTISDE CLAUDE    [undertone]  Take a peep at the cadillac. CHARLIE    That brown heap? CLAUDE    Dat ain't brown, ya gob, dat's cham-payne colored. CHARLIE    Who you calling a gob, you mug? LITTLE GIRL    [off] Hey lady?  Would you like a kitten? CLAUDE    [[startled] Huh?  Oh, Hello little girl.  [really false hearty] No, thanks.  No kittens for us.  You have a real nice day, there. CHARLIE    [whispered]  Do I look like the kind of chickie who wants some damn animal hanging around?  Apart from you, anyway, darling? CLAUDE    Watch yer language, there's a kid present. CHARLIE    She's probably heard it all. CLAUDE    People got manners out in the country.  Here's the bank.  Stick to the script, babe. CHARLIE    Have I ever done you wrong? SOUND    DOOR OPENS, SLIGHT ECHO CLAUDE    This is nice. CHARLIE    [sweet and fake] Oh, honey, maybe everything will be o-k after all! CLAUDE    We'll see, dearest.  TELLER    Can I help you? CHARLIE    I'll just have a seat while you handle all that financial mam stuff. CLAUDE    [annoyed sigh]  You do that.  [hearty again] Hello.  Sorry about that. TELLER    No problem, sir.  What can I help you with? CLAUDE    We had some car trouble coming into town, and I need to find out if we can arrange to cash a check here. TELLER    Do you have an account with our bank, sir? CLAUDE    No, I'm afraid I don't.  We're with the Merchant Chinatown Association Farm Worker's Union Branch out of Miami. TELLER    That's pretty far away. CLAUDE    Yeah. TELLER    That's going to have to go through my manager.  He won't be back until this afternoon. CLAUDE    Really?  Well, that shouldn't be a problem - we're kinda stuck here. TELLER    [strange] Are you over at the motel? CLAUDE    You bet. TELLER    Ohhh. CLAUDE    What? TELLER    Nothing.  He'll be back in about four hours. CLAUDE    Is he part of this whole thing you got going on today? TELLER    [nervous]  What do you-- whatever do you mean? CLAUDE    The clerk was telling us-- TELLER    [urgent] Just stay inside and you'll be safe! CHARLIE    [coming on] Safe?  From-- TELLER    THEM! CLAUDE    Them?  The runners? TELLER    The ghosts. CLAUDE AND CHARLIE    WHAT? TELLER    I'm not from around here, and I'm scared to death.  I get to lock myself in the vault for the whole thing, or else I wouldn't even'a come to work today! CHARLIE    In the vault, eh? TELLER    Yes! CLAUDE    Wait a dang minute.  Ghosts? TELLER    Yes.  A bunch of soldiers from back in the civil war.  They run through town on this day every year, and destroy everything in their path! CLAUDE    Have you... seen the ghosts? TELLER    Of course not!  I stay shut up tight! CLAUDE    Right.  [heavy thinking sigh, the working to sound chipper again]  Well, maybe we'll see you later then.  When your manager's back. TELLER    Okey-doke.  You stay safe now! MUSIC SOUND    EATING SOUND    [OFF] FEET APPROACH CLAUDE    [outside] wait til we-- CHARLIE    What's that smell? SOUND    DOOR SLAMS OPEN CHARLIE    You! LENNY    I brought you some! CHARLIE    I'm watching my figure, you mope! CLAUDE    More for me.  Pass that. LENNY    Trudy at the diner, she gave me some extra butter too.  She did it up right fine. CHARLIE    Don't eat so much you slow down!  We'll leave you behind. LENNY    [talking around a mouthful]  Oh, come on, they're real good. CLAUDE    [licking his fingers]  They are.  Look, Lenny, there's something real hinky here-- LENNY    You don't need to tell me, Claude!  I heard all about-- CHARLIE    The ghosts? LENNY    The what? CLAUDE    According to the girl at the bank, it ain't pigs, it's ghosts. LENNY    That don't make no sense!  There ain't no such things as ghosts. CHARLIE    But you do believe that there might be a town where everyone falls asleep for an hour. LENNY    Anyway, it ain't ghosts, it's Frogs. CLAUDE    Like frog frogs, or french folks? LENNY    Like ribbit, ribbit.  They rain down, like in the old weird part of the bible. CHARLIE    Yeah, ghosts is lots more nuts than frogs. CLAUDE    Why would everyone have a different story?  CHARLIE    Are you just a moron or what?  They're all covering up!  Anything to scare us who ain't part of it into keeping shut up for the time they all fall asleep, excepting that they forgot to get their damn story straight.  I'd almost'a bought the one about the pigs, but FROGS?  LENNY    And ghosts. CHARLIE    Oh, don't even. CLAUDE    It still feels hinky.  Like we should-- SOUND    TAP ON THE DOOR CLAUDE    Stifle.  [up] Yes? LITTLE GIRL    [off]  I have to tell you something! LENNY    That's some sneaky girl scout. CLAUDE    Shh!  Just keep quiet! SOUND    DOOR OPENS SOUND    MEWING OF KITTENS CLAUDE    Yeah? LITTLE GIRL    I have to tell you this.  You have to listen! CLAUDE    I'm listening, little girl.  Watch out for your kittens, there. LITTLE GIRL    You don't get one. CLAUDE    Just tell me what you wanted to--? LITTLE GIRL    [solemn] In 15 minutes, the monsters come out.  If you leave your rooms, they will eat you.  CLAUDE    [almost laughs, stops himsefl]  Monsters? LITTLE GIRL    Yes.  CLAUDE    What kind of monsters? LITTLE GIRL    [exasperatied] The kind that eat people.   I have to go home now. CLAUDE    Before the monsters get you? LITTLE GIRL    Oh, they won't get me.  They'll be too busy chasing you. SOUND    SHE WALKS AWAY CHARLIE    Little street rat!  Get her back here, I'll show her what for! CLAUDE    No!  Let the kid go. LENNY    Claude?  You think maybe she's right? CLAUDE    It's not like she'd make something up like that.  CHARLIE    Someone told her to tell us. CLAUDE    The same someone who couldn't get their stories straight?  That don't make no sense.  There's something behind all this. CHARLIE    So what now, you want to give this all up and sit on your face like an ostrich or something? CLAUDE    I never said nothing like that.  We should-- we just gotta keep our eyes open is all. MUSIC SOUND    CLOCK CHIMES CLAUDE    Ready?  LENNY    [a little shaky] Yeah. CHARLIE    Hmph.  Yes. CLAUDE    Keep cool.  If this is all some kind of joke, we need to be ready to act like there ain't nothing going on. CHARLIE    Keep your gun handy, Lenny, in case of frogs. SOUND    WALKS AWAY LENNY    [muttered] Same to you.  I would say in case of pigs, but I know how you feel about family. CLAUDE    [almost laughs] CHARLIE    [sharp] What? LENNY    [trying to keep a straight face] Nuttin.  SOUND    DOOR OPENS, PAPER CRACKLES CLAUDE    What's this? CHARLIE    Aah - Must be the bill.  Give it.  We can look it over later. SOUND    PAPER SHOVED INTO PURSE MUSIC AMB    OUTSIDE, BUT MUTED. LENNY    Weird, ain't it?  Everything so quiet. CHARLIE    So everyone's gone to sleep.  Or they're messing with us.  CLAUDE    [shocked] No!  Look at this! LENNY    Oh, gee!  Think we should move her? CHARLIE    What are you--?  Holy knots!  The kid! LENNY    And all the kittens!  Are they ok? CLAUDE    [grunt as he kneels] Well, I ain't gonna hold a mirror up to all them tiny little noses, but they look like they're just sleeping. LENNY    They're so cute - you shoulda took one. CHARLIE    Are you done yet? LENNY    Shouldn't we move her, though?  What if the pigs hurt her? CHARLIE    Leave the stupid kid!  She's the one decided to take a nap in the middle of the street.  We got a bank waiting! LENNY    I'll-- I'll catch up to ya.  I wanna lug the little tyke up onta the porch. CHARLIE    Aargh!!!  [exasperated noise]  Fine!  Pick uppa car while you're at it, potater head! MUSIC SOUND    BIG DOOR CREAKS QUIETLY OPEN SOUND    OUTDOOR NOISES, OFF SLIGHTLY; VOICES HAVE MODERATE ECHO CLAUDE    [whispering] The lights are all on. CHARLIE    Why are you whispering? CLAUDE    I still got that weird feeling about this - like it's all gonna turn out to be a big joke or something.  There's a hook somewehres.  There gotta be. CHARLIE    We'll ditch it when we see it.  For now, let's go to work on that vault. SOUND    [OUTSIDE] WEIRD ANIMAL NOISE CLAUDE    What was that? CHARLIE    [snide] Not a pig, for crying out loud.  If you're so damn worried, shall we promenayde to the vault? CLAUDE    It was really - strange.  I ain't never heard no animal like it before. CHARLIE    That just rules out the zoo and Mel Blanc.  They're the only animals you ever heard in your whole stupid life. SOUND    [OUTSIDE] WEIRD ANIMAL NOISE CLAUDE    I just wanna take a look, see if Lenny's coming. CHARLIE    Fergit him!  I'm your wife - you should be here, lookin after me! CLAUDE    [sharp] Did you see that? CHARLIE    I see a grown man scared of some owl or something. CLAUDE    [on edge] No, there was this dark shape, went behind that buildign over there.  Watch! CHARLIE    [putting her foot down]  No!  I want to go inside!  [hissed] And I plan to lock the door, whatever side you happen to be on. SOUND    DOOR SLAMS AMB    OUTSIDE SOUND    RUSTLING CLAUDE    [calling quietly] Lenny?  Zat you? SOUND    WEIRD ANIMAL NOISE CLAUDE    [gasp] Dammit Lenny! SOUND    RUSTLING NOISE, OFF RIGHT SOUND    GUN READIED CLAUDE    [moving right]  Come out, whatever you are. MOMENT OF SUSPENSE, A COUPLE OF FOOTSTEPS CLAUDE    [gasp] LENNY    [gasp]  What's wit the heater, Claude?  I ain't done nuttin! SOUND    PUTTING GUN BACK CLAUDE    Nah, Lenny, it's-- did you hear something weird out there? LENNY    Birds.  Something.  I guess. CLAUDE    Charlie's inside.  Come on. LENNY    Why do you put up with her? CLAUDE    What?  We're married. LENNY    If she was my wife, I'd'a smacked her to kingdom come years ago - I wouldn'a been able to help myself. CLAUDE    I love her.  [shrugs]  And I hate her sometimes too.  What can you do? SOUND    BIG DOOR STARST TO OPEN SOUND    [CLOSE] WEIRD ANIMAL NOISE SOUND    BOTH MEN TURN, DRAW GUNS SOUND    DOOR SWINGS SHUT AGAIN LENNY    That's the noise you was talking about? CLAUDE    Yeah.  Shh.  [whispered] Can you tell where it is? LENNY    Nuh-uh. MOMENT OF JUST CAUTIOUS BREATHING, THEN SOUND    DOOR SLAMS OPEN BEHIND THEM LENNY and CLAUDE    [gasp] CHARLIE    Get your keisters in here, you nitwits!  Time's a-wasting! MUSIC AMB    INSIDE BANK, ECHOEY SOUND    COMBINATION LOCK BEING TURNED CHARLIE    [whispered] Hurry! LENNY    [whispered] That ain't gonna help! CLAUDE    Zip it!  I'm almost there! SOUND    A COUPLE OF CLICKS, HANDLE CLAUDE    [angry noise] Agh.  Nope.  Damn.  Charlie, give me something to write on. CHARLIE    What do I look like, your secretary? CLAUDE    Just find me something, or I'm gonna forget the numbers I already got! SOUND    FEET GO OFF SOUND    ROOTING AROUND IN A PURSE CHARLIE    Here's some paper. LENNY    [coming back] I got a pencil from the desk.  It's getting kind of dark outside. CHARLIE    Great - a storm. CLAUDE    Good thing you got that kid under cover.  She don't need to catch penumonia. CHARLIE    Oh, listen to Mary Curry over here. CLAUDE    [sighs] SOUND    WRITING SOUND    DISTANT ECHOEY WEIRD NOISE CHARLIE    What the hell? CLAUDE    That's what I've been trying to tell you about.  Cept now it sounds like it's inside here with us. CHARLIE     Get that vault open, before they find us. LENNY    They?  Don't you mean it? CHARLIE    It's got to be some sort of Okie joke.  These hicks are messing with us. SOUND    CLOSER ECHOEY WEIRD NOISE CHARLIE    [shrieking] Get it open! CLAUDE    My hands won't stop shaking, Charlie.  I can't concentrate-- CHARLIE    I can NOT believe I am hearing this! CLAUDE    [voice rising to a yell] --and you ain't helping!  SHUT UP! CHARLIE    huh! [affronted]  Hmph. CLAUDE    [long deep breath, trying to calm down] SOUND    CLICKING of DIAL BEGINS SOUND    DISTANT ECHOEY WEIRD NOISE SOUND    CLICKS TURN WILDLY CLAUDE    Yah! LENNY    [nervous, but trying to be helpful] I-I could go and look? CLAUDE    No, I think-- CHARLIE    Yeah, you do that, knucklehead.  Go and kick some heads on these nutballs. CLAUDE    [definitive]  No.  SOUND    DIAL TWIRLS QUICKLY CLAUDE    We're getting out of here. CHARLIE    [angry] Don't you chicken out on me now, Claude! [wheedling] Come, on baby!  We're this close to the big score.  I can taste it! The only thing in our way is this door. SOUND    ECHOEY WEIRD NOISE COMES AROUND CORNER, SKITTERING LENNY    And th-th-th-that!  [a shriek] Them! SOUND    RUNNING FEET MUSIC ALL    PANTING BREATHING IN A CLOSE SPACE LENNY    What the hell?  What were they?  CLAUDE    I dunno!  All I saw was teeth and fur. CHARLIE    They're like shrews or something. CLAUDE    Nah, they was more teeth than anything else.  Even shrews ain't like that.  These ain't nothing natural. CHARLIE    Well they ain't ghosts, frogs, or pigs.  LENNY    That just leaves monsters. CHARLIE    [after a beat]  What? LENNY    The little girl, she said it was monsters. SOUND    SCRABBLIONG AT THE DOOR BEGINS, GETS LOUDER THROGUHOUT LENNY    Oh, holy crap!  CHARLIE    Sounds like they're eating their way through! CLAUDE    And there ain't excatly a dozen ways out of this closet here. CHARLIE    There gotta be something!  I ain't going out like this.  Boost me up! CLAUDE    Boost? CHARLIE    I think I see something up there.  Just like in gramma's attic. CLAUDE    [grunt of boosting]  Lenny, give me a hand here, wouldja? LENNY    Yeah, here - uh!  Careful! [he has a kitten in his coat] BOTH    [grunt as they push her up] CHARLIE    Yeah!  I thought so!  SOUND    GRIND OF WOOD SHIFTING CHARLIE    This probably goes to a roof access.  [ugh! As she climbs up] CLAUDE    Don't kick!  Damn! LENNY    Watch out!  Uhhh!  SOUND    HER SCRAMBLING STOPS CHARLIE    [calling down] Big help you two are.  I see cracks of light - bet there's a vent and I can get out onto the roof. CLAUDE    And then what? CHARLIE    Well, they don't look much like climbers, do they?  We can wait it out up there! CLAUDE    How the hell are we supposed to get up there? LENNY    Whatever we do, we better do it quick!  Sounds like they're getting through! CLAUDE    Here, I'll boost you. LENNY    Nah, Claude - If you get killed, then I'm alone with her, and I can't take that.  CLAUDE    You dumbo! LENNY    Besides, you can pull me up better.  Okay? CLAUDE    Let's do this. SOUND    GRUNST, RUSTLES, THUMPS CLAUDE    [long grunt, pulling himself up] SOUND MOVES UP TO THEM ABOVE SOUND    DISTANT WOOD CRACKING LENNy    [distant]  Claude?  Come on!  My turn! [continues under] CHARLIE    oh, Claude!  [kisses him] CLAUDE    MMm!  [surprised, but enjoying the kiss] SOUND    WOOD QUIETLY SHIFTED, LENNY CUTS OUT CLAUDE    What was that for? CHARLIE    Just happy. LENNY    [off, screams!!!] CLAUDE    shit!  You closed the hatch!  CHARLIE    It's too late for him! LENNY    [Scream cuts out] CLAUDE    How could you do that? CHARLIE    If I didn't you woulda died wit him!  I'm protecting you, ya bastard. CLAUDE    Where's this damn vent? CHARLIE    Say you love me. CLAUDE    There it is. CHARLIE    What the hell's gotten into you? CLAUDE    You're my wife, and I'll get you out--  CHARLIE    Out of what? CLAUDE    Out of here.  Out of this town.  But don't expect to ever see me again after that. CHARLIE    [freaked] Cluade?  How can you even-- SOUND    KICKING OUT THE VENT MUSIC AMB    OUTISDE CLAUDE    [cold] Give me your hand. CHARLIE    [meek] all right, Claude. SOUND    SCRABBLING CLAUDE and Charlie [grunt as he pulls her up onto the roof] CLAUDE    [breathing hard with exertion]  [runs his hand over his face] CHARLIE    You still got the combination?  Just in case? CLAUDE    I don't even care no more. CHARLIE    Can I see it? CLAUDE    No.  Where's that pencil?  Ah. SOUND    PAPER RUSTLES CHARLIE    What're you doing? CLAUDE    Writing my will. CHARLIE    Will?  What you got to leave? CLAUDE    I dunno, but there must be something I can-- whoa. CHARLIE    What? CLAUDE    Where'd you get this paper? CHARLIE    That?  Oh I think that was the note on our door. CLAUDE    Damn. CHARLIE    What? CLAUDE    This woulda been good to know.  "So sorry to put you in harm's way, but the boggins is hungry, and if it ain't an outsider, then it's someone in town, and we can't have that.  But we did warn you, as tradtion demands, and you had every chance to leave.  Thank you for staying!" CHARLIE    So it must be over, right? CLAUDE    Are you flapping your lips for a reason? CHARLIE    [whine] Claude!  The note makes it sound like it's just one they need.  One outsider.  So Lenny-- CLAUDE    [cold, hard] You need to shut your trap.  Now. CHARLIE    [sweetie again] You gonna forgive me, arentcha? CLAUDE    [not quite sure] No. CHARLIE    Oh, come on, Claudie.  We're better off, ain't we?  Just you and me, like the old days? LENNY    You want old days, I was his friend first. CHARLIE    [gasps] SOUND    SHE LOSES HER BALANCE A BIT, FEET SLOWLY APPROACH CLAUDE    Len!  [pleased]  I'll be damned!  What... happened?  It sounded like-- LENNY    [freaked out] They were...everywhere.  I dunno why they didn't just take me down.  They took some chunks out of me, man, but they... stopped. SOUND    MONSTER NOISES START SNEAKING IN, UNDER CHARLIE    [insincere] What a relief! LENNY     Don't you start!  I heard everything.  CLAUDE    Can you forgive me, Lenny? LENNY    Yeah, probably.  Jeez I hope Peahces is OK. SOUND    UNZIP WIDNBREAKER CLAUDE    What? LENNY    You think we're safe up here? CHARLIE    [spiteful again] Apparently, you're safe anywhere.  Must taste bad. LENNY    Oh, look, he's still asleep. CLAUDE    [laughing a little]  A kitten?  You took you a kitten? CHARLIE    You did what?  You are SUCH a shit-for-brains. LENNY    Leave off, Charlie, or I swear I will-- SOUND    NOW BECOMING OBVIOUS, THE MONSTERS ARE DOWN BELOW CLAUDE    Shh!  It's those things! CHARLIE    The shrews? CLAUDE    Whatever they are.  CHARLIE    Can you see them? CLAUDE    The roof slopes wrong, I can't get close enough to get a look down. CHARLIE    Well, crawl out there!  Surely you don't expect me to do it! LENNY    I can't leave Peaches. CHARLIE    Peaches? SOUND    SNATCH, THUMP AS SHE THROWS THE KITTEN AT A WALL CHARLIE    [uh! As she throws] There's your damn Peaches. LENNY    Peaches!!  SOUND    SCRAMBLE ACROSS THE ROOF LENNY    You killed him!  He was justa baby kitten!  He never din't do nothing to you! CHARLIE    Stop bawling and start helping! LENNY    I'll help.  Yeah, I know what I can do to help. SOUND    MOVING CLOSER LENNY    [unh!  Shoving] CHARLIE    Lenny? What are you doing?  Ahh!!!  Claude! LENNY    Stay back, Claude. CLAUDE    I'm just a bit too damn tired to stop you. CHARLIE    Claude?!?  Ahhhhhhhhh [scream as she goes off the roof] SOUND    ROAR OF MONSTERs, grinding chewing CHARLIE    [Horrible screaming.] LENNY    [calm again] Sorry you had to see that. SOUND    MONSTER NOISES DISSIPATE CLAUDE    Sorry about your Peaches, Lenny.  We'll get you another kitten. LENNY    Okay.  [pause] Claude?  Let's not get you another wife, though, okay? SOUND    CLOCK CHIMES 1 O'CLOCK CLOSER OLIVIA    Now that you know how to find us, you'll have to come back.  Maybe next week?  Don't be a stranger - we have enough of those already... __________________ LENNY    Funny thing, though - Why'd Artie tell me about this?  CLAUDE    I have a feeling he... well... meant for us to come to a bad end. LENNY    But he carries a torch for Charlie! CLAUDE    Yup.  And he said she shouldn't come. LENNY    Oh!  [musing]  Artie's never...wrong. _________________ CLAUDE    If anybody who's asleep is safe, I think maybe Peaches saved your life. By sleeping. LENNY    [wailing] Peaches!!! CLAUDE    Lenny, just hold on to the good times. THE END

Whadda you wanna do with your life???

We've got a lot to get to the bottom of on this week's episode. Whadda you know about werewolves? Huh? You ever seen Predator 2? WHY NOT?! @IDS616 @TheArtist616 FreelanceWrestling.com This week's song: 'Loveletting' - VV (2022) We love you.

We have wanted this woman since the start of Table Manners.. she's been on the hit list since day one and finally, we have her! The one, the only, Dame Joanna Lumley popped over to Clapham for a vegetable pie & some poached pears and it was quite frankly, absolutely fabulous.Joanna talks to us about growing up in India, being addicted to limes, her love of the Queen & cocktail nights at home. Speaking with experience she talks us through her desert island meal & being Patsy Stone.Whadda woman. Her new TV show ‘Cities of the World' starts tomorrow Thursday 17 March at 9pm See acast.com/privacy for privacy and opt-out information.

The happiest of holidays from all of us at Studio Banter! Before you do your present opening and your gift wrapper toss, we invite you to hear the best of season 2. It's our annual clip episode of Banter Banter's yesteryears. We hope that you have a great holiday and we'll see you in season 4! Cover art is provided by @easylouisy (based on art by @Bobbin_Goblins on Twitter) The music for the season 2 intro and outro is called Bad Attraction by Brad Sucks off of his album I Don't Know What I am Doing.

Sid knows what you're thinking. His consumer reward app, HYKE harnesses math and psychology to delve deep into the subconscious. Originally from Iran, Sid discovered St. John's to be the perfect place to start a new life and a business, even though the local dialect and weather took some getting used to. Carol sits down with Sid and learns how he's harnessing tech to understand why we make the decisions we do, and why he sees poetry in numbers.

In Which Our Heroes Obsess Over MY BLUE HEAVEN (1990) FEATURING: He's got a system for everything! It's a veg-e-table! What the frig is the address here?! I thought Wankel invented the rotary engine! I was your pallbearer! The shoes are tragic! Whadda great day! Who's Terry?! AND it's a popoverrrr!!!

HALLOW'S EVE Good intentions may pave the way to ruin, but when Fran - a precocious 11-year old - sets out to rescue what she fervently hopes is a kidnapped child, Halloween may never be the same! Written and produced by Julie Hoverson Cast List Fran - E. Vickery Bobbie - M. Lane Officer Hooper - S. Connor Grigg - C. Hornaday Bool - B. Poole Kidnappers - J. Harvey & Mr.  Synyster Timmy & Billy - B. Lomatewama & R. LeBoeuf Mrs. Hooper - A. Kirby Thompson - S. Hoverson Ari & News Report - J. Hoverson Music:  Kevin MacLeod (Incompetech.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound:   Julie Hoverson Cover Photo: Jeff Mackay (courtesy of Stock Xchange.com)   "What kind of a place is it? Why it's a suburban street, where else would you find...goblins?"   ***************************************** This was one of the original episodes I had ready for the 2008 Halloween season.  It's set in a sort of 1950s era of classic monster movies.  I never actually specify that, but references to bobby socks and Corliss Archer (an old time radio show) should be a bit of a clue. One silly thing I should note in here is Fred and Bob (and in other episodes June and Kathy as well) - these are my generic names for extra characters who speak but don't really have personalities, and show up in surprising numbers if you look over the cast lists for a lot of my shows.  I found that I would waste time trying to come up with interesting names for all these background characters, and lose my train of thought and it would stall my writing, so I just dub the first such characters Bob and Fred for males and June and Kathy for females, and move on.  Later, they may become more specific and get real names, but often enough they just remain half generic.  I also find it makes them slightly easier to keep track of than "man1" or "woman B" Naming characters is often half the fun.  You see me play with names in many of my shows - D. Meeks in "A Stitch in Time", where Dougie jokes about "D. Meeks inheriting de Earth," or the way so many people in the vampire world of "The Big Dark" took new "vampire names" that are some variation on the characters from Stoker's Dracula. The names of episodes are often some kind of pun or inference, as well.  Not so much Hallow's Eve, but The Big Dark is a riff on The Big Sleep (which was a euphemism for death, in the Chandler novel), and the most difficult title to explain "Crumping The Devil" - crumping being a sort of hip hop adjacent challenge dance, conflated with my vague memory of story about an old woman Mrs. Crump who was so awful the devil wouldn't even take her. ***************************************** ALL HALLOW'S EVE Cast: Olivia, host Barbara "BOBBIE" Chandler [16], babysitter TIMMY Martin, child [9] FRAN Hooper, child [10] BILLY Jones, child [8] OFFICER HOOPER [30s] HOOPER [30s] GRIGG [alien] [adult] BOOL [alien child] FRED [30s], a thug BOB [30s], a thug ARI [8], kidnapped child THOMPSON [50s] RADIO VOICE MUSIC OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a suburban street, can't you tell?  Where else would you find "goblins"?  MUSIC     SOMETHING CHILDLIKE   SCENE 1.    OUTSIDE, STREET SOUND    FOOTSTEPS, COSTUMES BOBBIE    There you go, that one's got a light, now shh! SOUND    CRUNCHING OF LEAVES, THEN FOOTSTEPS ON WOOD. BILLY    [giggles] TIMMY    Shh! SOUND    DOORBELL RINGS.  DOOR CREAKS OPEN. THOMPSON [deep spooky voice] Yeeees? CHILDREN    Trick or Treat!!! THOMPSON [regular voice, pleased] Well, you kids!  Hey Martha, come and look, we've got a ghost and a clown and -- and what are you, little boy? FRAN    I'm a girl.  And I'm a Martian. THOMPSON [amused] Well, fancy that! An invasion right here on our street!  Martha...? MUSIC   SCENE 2.    INSIDE, HOUSE MRS. HOOPER    Looks like we've got more goblins coming, dear! SOUND    FOOTSTEPS RADIO VOICE    --in the five county manhunt for-- OFFICER HOOPER    Just a minute, hun.  Gotta see what they're saying-- RADIO VOICE    --involved in the Stanopopolus kidnapping-- [continues under] MRS. HOOPER    It's not your case.  And it's Halloween.  Just because Bobbie was kind enough to take Fran with her doesn't let you off for holiday spirit.  At least until you go on shift. SOUND    SNAP.  RADIO OFF. SOUND    DOORBELL. MRS. HOOPER    Well? MUSIC   SCENE 3.    OUTSIDE, STREET BOBBIE    Come on punkins, you must be getting tired by now! BILLY    [very tired] I'm not! TIMMY    I slept all day. FRAN    [raring to go] I only have half a bag.  We can't stop yet! BOBBIE    It's almost 9 o'clock!  No one will be up much longer.  CHILDREN    Please! BOBBIE    All right.  Three more houses.  That's all. FRAN    Big houses always have the best treats.  We should go to the Palmer's, the Winchell's and that big one on the corner. BILLY    On the corner?  But, that's ... that's the haunted house! TIMMY    Scaredy cat.  FRAN    Phooey!  It was just empty.  I saw someone moving in yesterday.  BOBBIE    If they just moved in, they're probably not-- TIMMY    Let's make Billy go into the haunted house! BOBBIE    No!  Timothy-- BILLY    No!  I don't wanna-- FRAN    Shut up!  It's not haunted.  Boys are dumb. BILLY    Not haunted? BOBBIE    Look, it's getting cold out here, so let's get a move on, whichever houses you plan to go to.  OK? MUSIC   SCENE 4.    ON PORCH SOUND    TENTATIVE KNOCK ON THE DOOR BILLY    [scared, but hiding it - relieved] No one home! FRAN    I hear something! SOUND    DOOR OPENS SLOWLY CHILDREN    [Gasp] BOBBI    Well, he looks normal enough. GRIGG    [weird foreignish accent] Help you may I? TIM    [giggles] He's funny. FRAN    We're here for candy.  Trick or treat. GRIGG    Please? BOBBIE    Oh, gosh, you're foreign aren't you?  They might not even DO trick or treat where he comes from. FRAN    You have to give us candy or we have to play a trick on you! BOBBIE    That's hardly fair if he doesn't know the rules.  Plus, you said it yourself, they just moved in. GRIGG    Candy?  Schweets?  I have-- BOOL    [child's voice, off mike, accented]  I want to go home!  I hate it here!  Take me home!  [Tails off into gibberish with lots of Ls and Ss] GRIGG    [agitated] My child.  He wants to go back to our old home.  He is not used to this one.  I should go to him. SOUND    DOOR SHUTS TIMMY    [beat] I don't want any foreign candy anyway. FRAN    Bobbie? BOBBIE    No arguments.  Time to go home. MUSIC   SCENE 5.    BOBBIE'S ROOM  SOUND    TAP ON WINDOW BOBBIE    Hank? SOUND    FOOTSTEPS BOBBIE    Hank, this is hardly-- SOUND    WINDOW OPENS BOBBIE    Who's that?  You're too short for Hank. FRAN    [whispered] It's me. BOBBIE    [sarcastic] So it's The Whisperer? FRAN    Me!  Fran! BOBBIE    Fran?  By Crosby, this is way too late for you to be out playing Halloween jokes, even on a Saturday night.  You need to get home - your parents will be worried sick. FRAN    Dad's on patrol. BOBBIE    Oh, great, then he'll be the one to arrest you for something. FRAN    Did you listen to the radio at all tonight? BOBBIE    Only Corliss Archer.  Gee, she has some trouble with-- FRAN    Argh!  The news? BOBBIE    Why? FRAN    The kidnapping news! BOBBIE    Look, let me get my penny loafers on and I'll walk you home. FRAN    The son of a Greek raccoon was kidnapped today.  No, that's not right.  Raccoon, typhoon-- BOBBIE    Tycoon? FRAN    A rich guy.  He was kidnapped from their hotel room. BOBBIE    Was he a tycoon, or just a millionaire? FRAN    [whispered with emphasis]  IT DOESN'T MATTER.  We heard him, and we need to go rescue him. BOBBIE    We did what? FRAN    The kid at the haunted house.  Screaming "I want to go home"?  Does that maybe put some thought into that teased-up skull of yours? BOBBIE    They did sound awfully foreign, but I'm not sure if it's Greek. FRAN    Well it ain't Spanish or Chinese.  Or French.  What else is there? BOBBIE    Don't say "ain't" - it ain't in the dictionary. FRAN    Are you coming, or am I going by myself? BOBBIE    Why me? FRAN    Who else?  Timmy?  [dismissive noise]  Besides, you're the only one tall enough to see in the windows.  MUSIC   SCENE 6.    OUTSIDE, YARD SOUND    CREEPING THROUGH BUSHES BOBBIE    OK, this is silly.  And dirty.  I'm walking‑‑ FRAN    No, we have to crawl!  They'll see us! BOBBIE    No one's looking! FRAN    But the window's open, they'll hear us.  [panic] Shh!  Did you hear that? BOBBIE    [beat, listening, then dismissively] No. FRAN    [grumpy] Ok.  Walk to the window.  Get spotted.  See if I care. SOUND    WALKING CAREFULLY ON GRAVEL.  BUSHES RUSTLE BOBBIE    Fran? FRAN    [off, loud whisper] I'm coming.  Keep your hair on. BOBBIE    Don't worry-- Shh! SOUND    LOUD RUSTLE SOUND    [FROM INSIDE] CLICK, FOOTSTEPS NOTE:  BOOL AND GRIG ARE INSIDE, HEARD THROUGH A WINDOW, WHILE BOBBIE AND FRAN ARE OUTSIDE. EAVESDROPPING BOOL    I down wanna be here.  Go home. GRIGG    "don't", not "down", child.  You need talk some good words, living here. BOOL    No talk.  No stay.  Home! GRIGG    Home is soon enough.  Soon as requirement is received. FRAN    [coming on, loud whisper] What are they saying? BOBBIE    Shh! BOOL    [speaks foreign] BOBBIE    Is that Greek? FRAN    Oh, sure, I'm the expert. GRIGG    [angry] English.  Need to hear normal! BOBBIE    [muttered] Like your English is so good, mister. GRIGG    People must not apprehend you are strange. FRAN    Shh. GRIGG    Sleep, child.  Dream of home. BOBBIE    Now that's just mean. SOUND    DOOR CLOSES FRAN    See?  We've got to rescue him! BOBBIE    But what if--? FRAN    What if he turns up dead like little Charlie Lindburgh?  How you gonna feel then? BOBBIE    You need to stop reading those crime books. FRAN    Argh!  Fine.  Boost me up, and you can go.  I'll figure something out! BOBBIE    No.  I-- I'll help, but only if the kid wants to come.  That's where I draw the line - if he wants to stay, then we'll just...  let your dad know and leave it at that. FRAN    Fine, but who's gonna ask him?  Better do it now, or he might fall asleep. BOBBIE    [sigh, then voice raised a bit, calling quietly] Little boy?  BOOL    [off, gasp] BOBBIE    We're here to -- FRAN    [prompting, whisper] --to take you home. BOBBIE    We're here to take you home! BOOL    [off] Home? SOUND    SCUFFLE AS HE ROLLS OUT OF BED AND RUNS TO THE WINDOW FRAN    Yes, home!  Don't you wanna go home? BOBBIE    Your parents must be worried sick about you. BOOL    What is *lala* parents?  Want home! FRAN    Come on then, we'll get you out of there.  Bobbie, give him a boost. BOBBIE    [sigh] MUSIC   SCENE 7.    OUTSIDE SOUND    NIGHT NOISES, WALKING ON SIDEWALK BOOL    [squeak] SOUND    MILD SCUFFLE FRAN    Put it on!  They won't look twice at us if we got masks on! BOBBIE    It is a little late for-- FRAN    So they'll worry, but they won't-- GRIGG    [way off, unearthly shriek] FRAN    Eep!  That sounds like-- BOOL    [squeak] BOBBIE    What if he has a car? FRAN    Then we duck into the bushes - honestly, does every girl lose her brains when she grows into angora? BOBBIE    It's Acrilon. GRIGG    [slightly closer, shriek] FRAN    Run! BOOL    [squeak, ends in gasp] SOUND    RUNNING FOOTSTEPS MUSIC   SCENE 8.    OUTSIDE, A LITTLE LATER BOBBIE    [whispered] Do you hear anything? FRAN    [listens, then whispered]  Nope. BOOL    [whispered squeak] BOBBIE    [comforting whispers]  Shh. It'll be o-k, kid.  All we have to do is get you safe and then--  [sudden thought]  Say, Fran, what is the plan?  Where are we taking this poor kid? FRAN    [whispered, sarcastic] I thought we'd just lie here under this bush until morning and hope it doesn't rain. BOOL    [a bit too loud] What is *lala* rain? BOBBIE    Rain makes-- [whispered] Rain makes you wet.  We should take him to your father.  He'll know what to do to get him home. BOOL    [plaintive wail, way too loud] Home!  FRAN    [whispered] Great.  Now you've set him off again.  We can't go to pop, cause - being a cop and all - he might just deduce I sneaked out.   BOOL    Holme! Home! BOBBIE    [whispered] Well, you did. FRAN    [exasperated noise, then] Ssh! BOOL    Home-- [cut off in mid-word as a hand is clapped over his mouth, then a squeak] FRAN    [whispered] His parents must be worried sick about him--  we need to get him h-o-m-e. BOBBIE    [whispered] To Greece?  [sarcastic]  I'm pretty sure my folks' car doesn't have that much gas.  FRAN    [whispered] See?  There's still a little smarts under all that fluff!  They're stopping at a hotel downtown. BOBBIE    [whispered] Which one? FRAN    [whispered] The news didn't say - there can't be that many, can there? BOBBIE    [exasperated] Ohhhh! BOOL    [muffled squeak] GRIGG    [distant, shriek] FRAN    [whispered] What is that weird guy doing?  He's not exactly sneaky. BOBBIE    [whispered] Someone's going to-- SOUND    CAR PULLS UP, SINGLE WHOOP OF SIREN FRAN    [normal voice, resigned] --Call my dad.  BOBBIE    It's probably for the best - this bush isn't doing my Acrilon any good. FRAN    All right, but-- GRIGG    [closer, shriek] BOOL    [squeak] BOBBIE    It's all right little boy, we won't let the scary man take you away. MUSIC   SCENE 9.    INSIDE, HOUSE SOUND    RADIO PLAYS IN BACKGROUND FRED    No way!  How could they have found us? BOB    Stay cool.  It's Halloween, it could be anything. SOUND    WINDOW SASH GOES UP BOB    [worried] Stop it. SOUND    REVOLVER HAMMER CLICKS BACK FRED    But it's parked right outside!  I'm not going down for this!  Go check on the kid. MUSIC   SCENE 10.    OUTSIDE, STREET GRIGG    [shriek] OFFICER HOOPER    Ok, that's enough. GRIGG    [caught in mid-shriek] *Haysa?*  [deep breath]  What? OFFICER HOOPER    It's much too late, even on Halloween, to be running around screaming.  Time to go home and sleep it off, pal. GRIGG    Sleep, what?  I am missing child.  Must find.  Child will listen me.  [starts to shriek] OFFICER HOOPER    [cutting off the shriek] Hey!  I'm figuring you're new around here, so you may not understand how we do things in the U-S of A, but if your kid's gone missing, you need to let the authorities - that's me - know about it, so we - I - can help you. GRIGG    Help?  Too many wordsssss.  [wail] Bool! BOOL    [slightly off, squeak] OFFICER HOOPER    Eh? FRAN    [slightly off] SHH! OFFICER HOOPER    What the--? GRIGG    Bool! OFFICER HOOPER     Fran? SOUND    GUNSHOT BOBBIE    [Scream] BOOL    [squeak, quickly muffled] GRIGG    Bool! OFFICER HOOPER    Get down! FRAN    Bobbie, get the kid out of here! OFFICER HOOPER    That you, Barbara Chandler?  Don't you move a muscle! SOUND    GUNSHOT GRIGG    [voice no longer sounds remotely human] WHAT IS THAT NOISE? OFFICER HOOPER    Stay down, sir, and let me handle this. SOUND    QUICK GRAPPLE GRIGG    [intense] YOU ME TELL - IS WEAPON?  HURT MY CHILD? BOBBIE    Heavens to Bette Davis, Fran, it's the kid's real dad! FRAN    Phooey. BOOL    [long squeak] OFFICER HOOPER    [forced calm, but furious underneath] As long as they stay behind my car there, they will be fine, now let go of me and let me stop the idiot who's been shooting up my town. GRIGG    SHOOT ARE GUN ARE DANGER?  OFFICER HOOPER    That's my job.  You stay here, and when it's clear, you can go to your kid.  [raising his voice] Bobbie!  You get those children down behind the car, you hear?  BOBBIE    Yes, sir, Officer Hooper! OFFICER HOOPER    [calling] You're still in trouble.  [to Grigg] You. Stay. MUSIC   SCENE 11.    INSIDE, HOUSE SOUND    RADIO PLAYS UNDER BOB    You idiot!  They weren't here for us! FRED    They won't take me alive!  Federal pen?  Uh-uh! BOB    Fine.  You play at O-K Corral.  I'll be out of the line of fire. FRED    [cold, commanding] Don't. BOB    What?  You gonna shoot me, now? FRED    Bring the kid out here.  We can still do this. BOB    Yeah, we give him back, and they take us alive.  I like that - the being alive part. FRED    Get him! MUSIC   SCENE 12.    OUTSIDE HOUSE OFFICER HOOPER    Throw out your guns and come out with your hands up! FRED    [calling from inside] We've got the kid.  Walk away or we kill him. OFFICER HOOPER     [calling to off]  That's not going to happen.  Let the kid go and I'll put in a good word for you. FRED     [from inside] I've got all the words I need, copper! ARI    [from inside] ow! FRAN    That must be the real Greek tyfoon's son, OFFICE HOOPER    [warning] Fran!?  I told you to-- FRAN    Pop!  I'm going to be a policeman when I grow up, so I figure I should start learning. OFFICER HOOPER    No, you're not, and you shouldn't.  This isn't a game.  Get back over there-- SOUND    GUNSHOT BOTH    [react] FRAN    He hasta run out of bullets ... eventually. OFFICER HOOPER    And how many guns does he have? FRAN    Huh?  [shrug] I dunno. [realizing] Oh. OFFICER HOOPER    See?  Now, get back-- SOUND     GUNSHOT OFFICER HOOPER    [fading out] Oh, heck.  Stay right here.  On this spot, young lady. MUSIC   SCENE 13.    INSIDE, HOUSE, BUT HEARD FROM OUTSIDE SOUND    RADIO PLAYS UNDER BOB    [fading in] You've got the kid, you've got the gun.  Let me go. FRED    Like you say, I've got the kid and the gun - what do I need you around for, ya bum? BOB    Good.  [raising his voice] I'm coming out coppers!  I'm giving myself up!  SOUND     FOOTSTEPS, DOOR OPENS   SCENE 14.    OUTSIDE, SHIFT OF PERSPECTIVE, BUT NO ACTUAL SCENE BREAK BOB    Don't shoot! SOUND     BOB TAKES THREE MORE STEPS, THEN-- SOUND    GUNSHOT BOB    Argh! SOUND    BODY FALLS SOUND     DOOR SLAMS MOMENT OF SILENCE   FRAN    Is that guy ... dead? OFFICER HOOPER    Dammit, I can't even go check.  GRIGG    [incoherent, alien tongue] OFFICER HOOPER    Oh, jeez, not you too?  [speaking slow]  Go back.  Your child is safe.  Bobbie has him, over there. GRIGG    [deep breath, then equally slowly]  This you child? FRAN    I'm Fran.  I'm really really sorry about-- OFFICER HOOPER    Yes.  Much as I may want to deny it, she has my nose. FRAN    [not getting it]  Huh? GRIGG    Much words.  You child? FRAN    He don't speak much English, do he?  OFFICER HOOPER    [sigh] Yes.  Mine. BOOL    [squeak] SOUND    SKITTERING FOOTSTEPS SOUND    GUNSHOT BOOL    [Screamy squeak] SOUND    BODY DROP FRAN    [running off] Hey! Kid! OFFICER HOOPER    Fran!  No! SOUND    [after a moment]  SCUTTLING COMING CLOSER FRAN    [breathing hard] Here.  I think he's OK. BOOL    [whimpering] GRIGG    My child! OFFICER HOOPER    Fran, dammit! FRAN    What?  He coulda got shot! MUSIC   SCENE 15.    INSIDE, HOUSE SOUND    RADIO ON IN BACKGROUND FRED    Kid, you speak English? ARI    A little. FRED    You know I'm gonna shoot you if you don't do everything I say? ARI    Yes. FRED    Good.  MUSIC   SCENE 16.    OUTSIDE GRIGG    Your child is brave heart.  OFFICER HOOPER    That's one word for it. GRIGG    She bring safe my Bool. OFFICER HOOPER    Um, yeah.  Dammit.  I can't tell where that guy is. GRIGG    Some child is hurted there? FRAN    Stolen.  Like we did, except we were only trying to help. GRIGG    [decisive] I help bring child to home. OFFICER HOOPER    At least you're an adult, even if you can't understand English.  [talking loud again] We go in.  You go left - that way - I go right.  Get to wall, up against it, then to door. GRIGG    Ahhhh. OFFICER HOOPER    Does he understand? FRAN    I guess.  He's nodding. OFFICER HOOPER    You don't come with us. FRAN    But I-- OFFICER HOOPER    Give me your hand. FRAN    Are you giving me a gun? OFFICER HOOPER    [heavy sigh] SOUND    HANDCUFFS SLAP ON WRIST, THEN ON DOOR HANDLE FRAN    Hey! OFFICER HOOPER    Now you'll stay put.  [sigh] I'm leaving the key here, in case. SOUND    KEY PUT DOWN ON CAR OFFICER HOOPER    Out of reach.  [loud, to Grigg] We go. SOUND    RUNNING FEET, OFF IN TWO DIRECTIONS SOUND    AFTER THEY LEAVE, JINGLE OF STRUGGLING WITH HANDCUFFS FRAN    [grunting]  Uun uun.  Darn it.  SOUND    SCRABBLING ON THE CAR HOOD, TRYING TO STRETCH FRAN    Hey, Bool? BOOL    Bool! FRAN    Yeah, [talking slow] I'm Fran.  BOOL    Flan? FRAN    Good enough.  Can you hand me that?  BOOL    [Hmm noise] FRAN    [slowly again] Give to me? BOBBIE    [coming on]  You're still here!  Let's get going. SOUND    REACTION INCLUDING RATTLE OF THE HANDCUFFS FRAN     How'd you--? BOBBIE    I went around the block.  I'm no dummy. FRAN    Brilliant!  We should-- BOBBIE    You are not talking me into any more shenanigans. FRAN    [whispered] Bool, get the key!  [Up]  Huh?  No, of course not... I -- BOBBIE    Are you -- chained to the car? BOOL    Kaaaay? FRAN    [too bright] No!  Whatever gave you that idea?  [whispered]  Bool! BOBBIE    Oh-- SOUND    SMALL METAL SCRAPE BOBBIE    --so this isn't the key? FRAN    Oh -- Drat!  BOOL    [squeak] FRAN    Boo-ul! MUSIC   SCENE 17.    OUTSIDE, AROUND HOUSE SOUND    RUSTLE IN A BUSH OFFICER HOOPER    [muttered]  Ok, mister rat bastard kidnapper, let me get a look atcha. GRIGG    [off]  Go? OFFICER HOOPER    [muttered] Oh, good, you know one word. [up, calling very quietly]  Make a noise! GRIGG    [shriek] SOUND    [OFF] CLATTER INSIDE FRED    [from inside] What the hell--?  OFFICER HOOPER    Come out of there with your hands up! FRED    [from inside] What's that noise? GRIGG    [shriek] OFFICER HOOPER    [sudden idea] Uh, what noise?  I don't hear anything. FRED    [from inside] What do you mean--?  You didn't hear that-- GRIGG    [shriek] FRED    [from inside] --that "THAT"? OFFICER HOOPER    [very pleased] Nope.  Don't hear anything. They say some people are bothered more than others by [slight chuckle] haunted houses. FRED    [a bit disturbed] Haunted--? MUSIC   SCENE 18.    OUTSIDE AT CAR BOBBIE    If I unlock it, you have to come home. FRAN    [sounding almost teary]  But- but our dads are in there. BOBBIE    That's what your dad does.  It's his job. FRAN    But it's not Bool's dad's job. BOBBIE    Bool?  Is that your name? BOOL    [sounding mournful] Chob.  FRAN    See? He's upset too. BOBBIE    Is he?  Tell you what, I'll get you home and then we'll call for more police. FRAN    [sniffing]  But I was thinking... tsch.  ohhhh. SOUND    THREE METAL TAPS - key on car BOBBIE    [thinking...]  What? FRAN    [sounding really down] Nothing.  Unlock me and we'll go home - [offhanded] even if we maybe COULD help. BOBBIE    Right. FRAN    Even if maybe our dads end up shot.  [long sniff] BOOL    [squeaky sniff] SOUND    UNLOCKING HANDCUFF BOBBIE    Come on. MUSIC   SCENE 19.    INSIDE, HOUSE SOUND    SHUFFLING FEET AS FRED PACES NERVOUSLY, DRAGGING ARI BACK AND FORTH WITH HIM SOUND    RADIO IN BACKGROUND FRED    [to self] Haunted?  Of course.  That explains so much. ARI    Maybe there is ghosts? FRED    That's what haunted means, ain't it?  And it's Halloween. OFFICER HOOPER    [from outside]  It's late, pal.  Almost the witching hour.  Let's get this sorted out. FRED    Witching--?  OFFICER HOOPER    [from outside]  You know, midnight.  Let's settle this and get that kid home safe and sound. FRED    You're going to tell me I can still get out of this, huh?  What about Bob out there? OFFICER HOOPER    Oh, your friend here? FRED    Friend.  [snort]  yeah. OFFICER HOOPER    Hmm.  Killing him on the doorway of house like that might a been a bad move. FRED    Whadda you mean?  Oh! GRIGG    [long, drawn-out shriek] FRED    Oh!! SOUND    RUSTY CREAK OF DISTANT DOOR, INSIDE FRED    What the heck? ARI    [scared]  Oh no! FRED    Shut up, kid.  I'm trying to listen, you hear me? ARI    [gasp and sniff- trying to stay quiet] FRED    [trying to convince himself] It's those cops.  They're doing this - [up, calling] You're doing this, aintcha, copper? OFFICER HOOPER    Doing what? FRED    [clinging to control] Making the damn noises! OFFICER HOOPER    [pleased with himself] What noises? MUSIC   SCENE 20.    INSIDE, HOUSE, UPSTAIRS [NOTE, THEY WHISPER THROUGHOUT SCENE] SOUND    CREAKING MOVEMENT BOBBIE    [whispered] Frannie, if any of us end up dead, it is entirely your fault.  That door was so loud. FRAN    On purpose.  C'mon, the stairs are over here. BOBBIE    How do you know?  This house-- FRAN    Sleepover two years ago, when Jennie and Sam lived here. BOBBIE    Your father is going to kill me. FRAN    We'll be upstairs - well out of the line of fire.  Now c'mon. BOOL    'mon. FRAN    See, Bool agrees with me. BOBBIE    Yeah.  Like a parrot.  [sigh] SOUND    TIPTOEING FOOTSTEPS MUSIC   SCENE 21.    INSIDE, HOUSE, DOWNSTAIRS SOUND    RADIO MUTTERS IN BACKGROUND FRED    [muttering]  They've probably got the back door covered... ARI    [small voice] You should let me go.  FRED    [about to hit him] Ahh!  SOUND    CREAKING FOOTSTEPS SOUND IN WALL AND CEILING FRED    Shh!  Hell!  What's that? ARI    [scary whisper] Evil spirits.  FRED    [gulp] Really? ARI    Maybe it is your dead friend.  He is very angry, I think. FRED    [weak] Shut up. SOUND    THEIR SCUFFLING FOOTSTEPS FRED    We'll just - Let's go check it out, eh?  I bet even ghosts don't like getting shot. MUSIC   SCENE 22.    INSIDE, HOUSE, UPSTAIRS [NOTE:  STILL WHISPERING] FRAN    OK, Bool, you see this vent? BOOL    See. BOBBIE    Great, now he's Spanish.  FRAN    Sh.  Bool, lean in and make a scary noise, like this...  [she does, and the noise echoes through the vents] BOOL    [like a laugh] Ah!  [leans in, mimics her noise, but it ends in his standard squeak - all echoey] BOBBIE    Did we ever figure out where Bool and his dad come from? FRAN    This isn't the time.  C'mon.  Now, Bobbie,  you creak this door - not too often, just from time to time.  Got it? MUSIC   SCENE 23.    OUTSIDE NEAR FRONT DOOR OFFICER HOOPER    OK, fella, time to come out.  [a beat]  Are  you in there?  [beat]  Oh, darn it all to--, they're gone.  Come on - [slow] help me break in the door. GRIGG    [yes] *Heh*. MUSIC   SCENE 24.    INSIDE, HOUSE, UPSTAIRS FRAN    I'll be right across the hall - now start. SOUND    DOOR OPENS FRAN    Eep! BOBBIE     Oh, no! BOOL     [squeak, which echoes] FRED    Ghosts, eh.  Looks like I got me a bunch more bargaining chips.  All of you move out here in the hall, real slow.  [snarls] Get over there-- ARI    [gasp] SOUND    THUD AS HE HITS THE WALL FRED    Keep your hands where I can see 'em! FRAN    [sarcastic] Of course, I might just have a gun. SOUND    SMACK FRED    Keep your mouth shut! FRAN    [gasps in real pain] BOOL    [mimics her gasp] FRED    You, too! BOOL    Flan! [squeaky growl]  Lalalala! FRED    What the hell's wrong with that kid? BOOL    [growl builds] FRED    [starting to get freaked out] Stop it.  What the hell? BOBBIE    Fran, is Bool glowing? FRAN    [sniff, then uncertain] Um, I think so. BOOL    [shriek which is a childish echo of Grigg's] FRED    [scream of terror] SOUND    GUNSHOT BOBBIE, BOOL, FRAN, ARI - scream, gasp, etc. SOUND    POUNDING FEET COMING UP THE STAIRS GRIGG    [full-on shriek, deeper and very alien] OFFICER HOOPER    Holy cow!  What the--? FRED    The light!   No!  [drawn out scream, which fades into a weird little popping noise] BOBBIE    I guess we--[gasp] might know--[gasp] where they came from, now. OFFICER HOOPER    [suspicious] Where'd he go? GRIGG    I made him nothing.  He try my child hurt.  Your child also. OFFICER HOOPER    Yeah, I, uh, noticed--  FRAN    [excited] Are you guys Martians? OFFICER HOOPER    [exasperated] --but she's clearly fine. GRIGG    I know not Marchan. BOOL    [Part muffled, satisfied] Flan! FRAN    [just as pleased]  Bool! BOBBIE    I don't know what to tell you, Mister - officer, I mean - Hooper.  OFFICER HOOPER    Don't worry, I blame my daughter.  [Back to Grigg]  So we don't have to worry about him coming back? GRIGG    Nothing.  No colme back. OFFICER HOOPER    And what exactly - well - are you? ARI    They saved us, is that not enough? FRAN    Yeah.  They're "good people," as mom would say. GRIGG    No concern, Hooper man.  We no stay now, you see us be do that.  We find more - uh - new home. BOOL    Home?  No!  [plaintive] Flan! GRIGG    [softly] No, Bool.  Go. OFFICER HOOPER    Tell me one thing, Grigg.  You planning to invade? GRIGG    *Haysa*? FRAN    He means are you gonna bring a bunch of people here and try and take over the planet - like in the movies? GRIGG    We hide - no one come with.  Bad place come away.  Alone. FRAN    There! BOBBIE    Are you thinking--? OFFICER HOOPER    [considering] I'm thinking I don't want to try writing this up.  Much easier if we just didn't see anything.  The one guy shot the other, then when he saw it was hopeless, he skedaddled. BOBBIE    But--  what--? FRAN    I didn't see anything.  You, Ari? ARI    No.  I was much too frightened.  He threw me against a wall and then ran off before my head cleared. FRAN    See, Bobbie? BOOL    Bah-bee? BOBBIE    That's kinda cute.  Good thing I-- I didn't see anything else.  Besides, anyone who would do whatever it takes to protect their kid - well, they can't be too bad. OFFICER HOOPER    You're still not babysitting for Fran ever again. BOBBIE    [truly relieved] Oh!  Thank you! FRAN    Hey! MUSIC, CLOSING OLIVIA    Now that you know how to find us, don't be a stranger - we have enough of those already...

Did you watch their first game? Check out their first win? The Seattle Kraken look like a team that will hang around all season. Between their players and Head Coach, it should be an exciting year for them. Whadda think?

Frames and Cabin 3 host this week's episode of WHADDA WEEK! We've started off Mini Camp/Shaver Specialty Week with tons of fun and we look forward to packing our next few days together with activities and special events. The post Whadda Week! August 23, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

Bravo, Soap, and the members of Cabin 24 (with a guest appearance by some of Cabin 22) host this week's episode of WHADDA WEEK! Find out what's happening at GAC this second week of Session #4, learn about some highlights of camp so far for these kids, and hear about some of the friendship skills […] The post WHADDA WEEK! August 14, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

Chlo and El spill all beans re; Chloes engagement, hens and wedding extravaganza… including the infamous bride stacking down the isle moment.The girls were thrilled to have their favourite sunglass brand sponsor this episode - Luv Lou are offering a generous 30% off to our listeners using code: “DARLINGSHINE30”Link: www.luvlou.com.au

Bravo and Cabin 24 host this week's episode of Whadda Week. Find out what's going on this second week of Session #3, 2021! The post Whadda Week! August 2, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

 Our Session 3 JCs (Junior Counselors) host this week's episode of Whadda Week! Get to know them and hear their goals for Session 3. Links: Junior Counselor Program info Subscribe to Gold Arrow Camp's Whadda Day Podcast. The post Whadda Week! July 25, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

It's the second week of Session #2 here at Gold Arrow Camp. With help from Hooper and Sunshine, Olivia, Hadley, Lindsay, & Dove (Cabin 18) host this week's episode of Whadda Week! The post Whadda Week! July 18, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

Hosts Bravo and Frames, along with Cabin 27, kick off Session #2 with this week's episode of WHADDA WEEK! The post Whadda Week! July 12, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

What's happening this week at GAC? Find out on WHADDA WEEK – Your weekly look into life at camp! We're halfway through Session 1. Here's an update from campers on what's happening this week and what we're learning about being BETTER TOGETHER and friendship at GAC. Listen to more episodes about camp at https://goldarrowcamp.com/podcast-2/. The post Whadda Week! July 4, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

Today's Whadda Day! features Cabin 0 before they departed for Shaver. Read more about today's friendship skill! The post Whadda Day! June 28, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

It's the first day of Session 1, 2021! This is WHADDA DAY! The post Whadda Day! June 27, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

It's the HAPPY FATHER'S DAY edition of Whadda Day, featuring some of the Shaver Watersports Specialty Campers! The post Whadda Day! June 20, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

Part Two! Whadda-ya-do? Check out Cristen on the Tucson Improv Movement's socials @tucsonimprov. There are many funny people from Arizona, not just us!

It's the first day of GAC 2021. Cabin 28 kicks off Whadda Day! The post Whadda Day! June 13, 2021 appeared first on Gold Arrow Camp - California Summer Camp and Traditional Sleepaway Camps for Children.

Most of the time when I record this podcast it is morning time which is my best time of day. Today, I'm recording at 6pm and I'm just feeling a bit drained, depressed and nervous.  What do you do when you feel off or low or just irritable?  I am finding ways to cope w/ these feelings and not giving them so much credit.  These feelings are NOT me...they are just chemical reactions in my brain and body that will pass.  It's processing these feelings and letting them go.  It's a practice and a process that I'm literally working through in this episode.

Helen Wood beef, remembering Nikki, smug Sunsetters, cowards, The Sauce, divine intervention, Kief gets grief, TikToks, representation, night vision, chillis and the binned blue line...Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Shart stories about pooping pants, feeling burned out, Godzilla v. Kong review, Whadda hell going on in the world, Helen Keller revisited. 

Whadda you get when Taiwan makes a British microcomputer!? BAM, it's the Tatung Einstein, the subject of ARG 148! This time out we take a look at this capable but obscure machine and learn about what made it a powerful component of the golden age of British computing...BEHIND THE SCENES! Then we dive into some wacky games, as we try out Escape from Merlin 8 and LAZY JONES! --- Support this podcast: https://anchor.fm/arg-presents/support

Whadda you get when Taiwan makes a British microcomputer!? BAM, it's the Tatung Einstein, the subject of ARG 148! This time out we take a look at this capable but obscure machine and learn about what made it a powerful component of the golden age of British computing...BEHIND THE SCENES! Then we dive into some wacky games, as we try out Escape from Merlin 8 and LAZY JONES! --- Send in a voice message: https://anchor.fm/amigospodcast/message

Well, 2020 has been quite the year and a difficult and stressful time for many. We thought it'd be a great idea to shake things up and have a little fun on this last episode of the year. Whadda ya say? You'll certainly understand how in the opening seconds of this episode.LA AGO member and renowned theatre organist Mark Herman is our guest this time on the LA AGO Podcast. Named the 2012 Organist of the Year by the American Theatre Organ Society (the youngest person ever to receive that honor), Mark will be playing for our LA AGO Virtual Holiday Party co-sponsored by LATOS (the Los Angeles Theatre Organ Society) on Monday, December 14th at 7pm from Bandrika Studios, the recording studio for film and television composer Nathan Barr which is home to the restored historic Fox Wurlitzer organ. This event will be streamed live via both the LA AGO YouTube channel and Facebook page (links below). Mark talks with host Thompson Howell about his first exposure to the organ back in his hometown of Fort Wayne, Indiana and the significance of the Embassy Theatre located there; the history of the theatre organ and the process of creating scores for silent films and the skills required to accompany them live; his interest in the silent-era films of Harold Lloyd; why he considers the theatre organ an "emotional instrument;" the legendary history of the Fox Wurlitzer organ which has been featured on many film soundtracks; his experience playing the organ parts at Bandrika for the soundtrack to the film The House with A Clock in Its Walls in 2018; and his recent appointment to the Adjunct Faculty of the University of Oklahoma's organ department teaching theatre organ classes to DMA students - and so much more!Listen at LAAGO.org...or subscribe wherever you get your podcasts.LINKS:Mark's website is here.Mark's YouTube channel is here.Mark's Facebook page is here."An Evening with Mark Herman: A Benefit for the Embassy Theatre" is here."The Mighty Wurlitzer" from The House with A Clock in Its Walls is here.The LA AGO YouTube channel is here.The LA AGO Facebook page is here.

Trump vs. Biden, cage match? Ellen cancelled? Video game movies. Male monthlies... Genital specific water closets. Unicorn farm!! Weaponized dolphins. Sundown towns... Consent condoms. Dead arts. Idiots in America!!! Who's a minority? 

He didn't wear the hat, but Lennie still loved having James Bay round for dinner. The 'Hold Back The River' heart-throb joined us at mum's for Some Coq Au Riesling (thanks for the recommendation Mr McIntyre), a Passionate Eton mess and plenty of the most delicious red wine courtesy of James. We spoke about busking, his legendary Grammys performance, jumping up and down on a trampoline with Rosie Huntingdon Whiteley, writing his 3rd album and eating cold Heinz Five Beanz. Whadda guy, what a gent. Go and have a listen to James’ wonderful new single Chew On My Heart now. See acast.com/privacy for privacy and opt-out information.

John Wesley was a “man of one book” - and he gave Methodists a good framework for studying and interpreting the Bible. That's a lifelong process - and it's important not only to understand what is in the Bible...but also what's not to be found there. We talk about studying the Bible in this episode of The Untidy Methodist.

Earning Freedom: Conquering a 45-Year Prison Term, by Michael Santos Chapter 10, Segment 2 Months 180-190 ****** Five extraordinary days with Carole lead to the preliminary plans for the rest of our lives. We pledge to build our relationship, growing together through the challenges I’m certain will come because of my imprisonment. Carole wants to marry me now, but I explain the reasons why she should understand more about the prison system’s stranglehold on my life before rushing into marriage.  Although I want to marry her, it’s necessary, I think, that she prepare herself for the unrelenting controls of the prison system and the strain it places on families. Her love comforts me, inspires me, and gives me a sense of belonging. Whether we marry now or not, I’m no longer alone. I stare at the walls, trying to contemplate ways that I’ll be able to provide for her.  I aspire to live as a worthy partner for her while I climb through the remainder of my sentence. Carole returns to Oregon, leaving me with an ache in my heart. I want to hold and kiss her.  Our physical separation leaves me bereft and longing. Writing her each day isn’t enough, but words on a page are all that I have while she’s gone. Despite my wanting her with me, I have major concerns about finances and my ability to support her. Although I still own stock that I could liquidate to raise cash, I’ve been counting on that capital to help launch my life when I leave prison. I love her, but I’m under no delusions about the challenges I’ll face with another decade of imprisonment ahead. Carole doesn’t have the resources to relocate to New Jersey, and I don’t know how I’ll earn them from inside of these boundaries. Like me, she’s 38 and divorced, but it wouldn’t be just the two of us. She has two children: Michael is 13 and Nichole is 11. Although Michael lives with his father, moving Carole to New Jersey would mean bringing Nichole, too. I don’t know how I would be able to take on this responsibility. I stretch back in my chair, run my fingers through my hair, and think of her while staring at photographs of us together in the visiting room. Although I’m confident that I can navigate the challenges of serving another decade in prison, devoting my life to Carole means I’ll be complicating the rest of my journey–albeit in magnificent ways.  When I’m released we’ll both be 49, but I want to begin my life with her now. I’ve got to figure out how to generate enough resources to support her. The only way I know how to earn money is through writing, so I invite Carole to join me in launching an effort to use the knowledge I’ve gained in prison. She agrees enthusiastically and asks how we’ll do it.  I explain that she can start a publishing company; it will produce and distribute books I write that describe the criminal justice system from the perspective of a man going through it.  From our efforts, we hope to build a sustainable income that will support her and Nichole while simultaneously providing guidance to people who need it. ****** After two guards open my door for the 3:00 a.m. census count and pass by, I throw back the covers and get out of bed. It’s time to work. Emmanuel, my roommate, still sleeps soundly, so I’m quiet. I’ve cut holes into tennis balls and slid them onto the legs of my metal folding chair so it doesn’t make noise when I sit at the desk. I’m in my sweats and socks, with only my two book lights illuminating the page as I work quietly in the dark. Since beginning this publishing project, my goal has been to write 15 pages of content each day.  It’s work, requiring a disciplined strategy. I mail the pages I write to Carole each evening.  Upon receiving the handwritten pages, Carole types them and returns them to me double-spaced, ready for editing. We’re a cross-country team, partners in the effort to raise money for her move to New Jersey. At the pace we’re going, we’re ahead of schedule. The manuscript should be finished within a month. This evening, as I’m using a blue pen to edit the pages Carole returned, my friend Geoff lies supine on the floor of my room. Geoff is an urbane cardiologist serving a 36-month sentence for the crime of treating poor people in his clinic and billing Medicaid for medicine and lab tests that weren’t covered. For 30 years he’s owned his Upper East Side medical clinic and the building where it’s located. We’ve become good friends. Geoff’s in his mid-60s, but his daily discipline over diet and exercise enable him to retain a high degree of fitness. In fact, fitness is a top priority for Geoff, and because I enjoy his company, I offer him the use of my floor. He devotes an hour each evening to working his abdominal muscles, with a combination of leg lifts and extensions that he does methodically and effortlessly. Usually, he simultaneously reads his beloved New York Times, or classic literature, devouring books by Tolstoy, Hugo, and Joyce. But tonight Geoff is upset and wants to talk. I set my pen down to listen. While lying on his back, he holds his extended legs steady, six inches off the floor, and tells me about business troubles at his clinic. Before surrendering to serve his sentence at Fort Dix, Geoff gave his business manager, Ted, authority to preside over his clinic. Through Ted’s mismanagement, or possible fraud, Geoff tells me that he’s losing $20,000 a month. “Why don’t you close the clinic down?” I suggest. “I can’t just close it. I employ three other cardiologists, an internist, and several nurses. The clinic sees more than 50 patients a day,” he explains while raising his legs higher, a foot off the ground, and holding them steady. “Then why not sell the practice to the doctors? You’ve worked long enough. You could rent them space, and leave them the headaches. By the time you finish this sentence, you’ll be almost 70 anyway. You could retire.” “I’ve thought about selling. The trouble is I don’t have any way of communicating from here. I’m totally in the dark while I serve this sentence. All I get are messages that Ted needs more money to meet payroll.” “Was the clinic losing money when you came in?” “No. Rather than costing me money, it should be earning 20 to 30 thousand each month. Ted is screwing up the billing, or something.” “You know what you need?” I have an idea. “What’s that?” “An office informant, someone who can tell you what’s going on.” “You’ve got that right.” “Why don’t you hire Carole?” “Who, your Carole?” “She could work at your office, then come visit us here and let you know what’s going on.” “Is she a lawyer?” “No, why?” “Well, I could use a lawyer to sort through the billing mess.” He lifts his legs higher, 18 inches off the floor. “Besides, how would she come visit us both if she’s not a lawyer?” “She can visit me, and you bring someone else to visit you. We’ll sit beside each other in the visiting room and she can tell you what she sees going on in your office. At least you would know.” “Do you think she’d be willing to come to New York?” “I can ask.” “How much would she want to earn?” “She’d have to earn enough to live.” “Living on the Upper East Side of New York City isn’t the same as living in Oregon.” “What’s it cost to rent an apartment near your office?” “Too much. But I’ve got a vacant apartment in the city, and I’ve got a car she can drive. She can use the apartment and the car, and I’ll pay her $2,000 a month. Does that sound fair?” “I’ll call and ask.” While Geoff continues with his leg lifts on the floor, I rush out of my room to secure a spot in line for a telephone. When she answers, the question spills out before I can ask about her day. “Would you move to New York if I could arrange an apartment, a car, and a job that would pay you $2,000 a month?” She doesn’t hesitate, saying she would. “What kind of job?” “Remember I told you about my friend who’s a doctor?” “Yes.” “He needs an office person, someone who can keep an eye on things and report back to him.” “I can do that. How often could we see each other?” “Every week. We’re only an hour apart. When could you be here?” “I’m ready to go whenever the job’s open.” “What about Nichole?” “She’ll come with me.” ****** Geoff’s desperation to resolve his crisis at the office precipitates his decision to hire Carole on the spot. He needs information. People he trusts are stealing from him and mismanaging a business he spent a lifetime building. As a prisoner, he doesn’t have access to information he needs about daily activities in his clinic.  The prison system limits each prisoner to 300 minutes of telephone use each month, and that isn’t sufficient for a man like Geoff, who has existing business interests.  In an effort to get a handle on things, he pays Carole’s expenses to move to New York. We make the arrangements quickly, as Geoff wants Carole to begin at once. I coordinate the deal for Carole, but I saddle her with the challenge of coordinating the complicated cross-country move on her own. I don’t have any responsibilities outside these prison boundaries, and I have enough money in the bank to cover my startup expenses when I’m released. After 15 years, I’ve mastered the challenges that mire other prisoners in failure. In moving Carole to New York, however, I’m knowingly making myself responsible for her and Nichole, her 11-year-old daughter. My credibility with family and mentors who believe in my judgment will be on the line, and maybe, too, the stability I’ve worked hard to create.  Still, I’m confident that we can make it together. “Honey,” I warn her over the phone, “you should prepare yourself for other people’s response to our plans. People are going to think you’re nuts.” “They already do, but I don’t care what anyone else thinks or says about me. I love you, Michael. I’m not staying in Oregon while the man I love is in New Jersey. I need to be close so we can visit as frequently as rules will allow.” “Baby, I need to be sure you fully understand my situation. I love you, and I’m the most fortunate man alive to have your love.  But I’ve got 11 more years to serve, and I don’t have any certainty about earning an income. I can’t do more than arrange this job with Geoff. You have to make this move work on your own, without my help.” “Do you want me to come?” “Yes, more than anything. But I’m used to prison life. I worry whether you’ll be able to handle it. Are you sure you’ve thought through what 11 more years of prison means?” “If you had a life sentence, I’d still choose you. You’re the only man I want to share my life with.” Her firm, unwavering dedication convinces me we can triumph together. “What about your family, your parents?” “I choose you, Michael. Whatever it takes to make this relationship work, I’m all in.” Our conversations and letters deepen my commitment. I want to give her all that I have and share all that I am and all that I will become. Carole’s certainty and radiance warm me like sunlight, bringing out my humanity. I embrace the joy and sense of fulfillment that comes with loving her. Friends and family worry that I’m blinded by love, that I’ve lost focus, and that I’m setting myself up for a fall. “What about when you come home, Michael?” My sister Julie presses, worrying that I haven’t thought everything through. “How can you be sure she’s the woman you want to spend your life with?” “Because I love her.” “But how are you going to take care of her?” “We’ll create our life together. I can help her, just as she’s helping me.” “What about your future? Are you selling the rest of your stock portfolio? Have you thought about what it will mean if you come home broke? Tim and I want to help you, but we can’t support another family.” “I’m not selling the stock. Carole has a job waiting for her in New York, and I’m writing a new book for her to sell. You trust me, don’t you?” “Of course.” “Julie, I’m not going into this blindly. Carole makes everything in my life better and I want to build my life around her. With her I’m not a prisoner, I’m a man, and together we can make this work.” “You’re a man, but you’re still a prisoner. Just don’t hurt her, Michael. She doesn’t know anything about what she’s getting into.” “I’ll never hurt her.” My closest mentors, Bruce McPherson and Carol Zachary, also express concern about this change I’m introducing to my life, and to Carole’s and Nichole’s as well. I understand. The pernicious, toxic environment of prison beats families down, tramples relationships to dust. But I know that we can make it. Whatever it takes, I’m determined, regardless of what odds conspire against us. I want her love and I’m willing to endure whatever struggles come with it. I hope that Carole can too. ****** Those struggles begin to manifest themselves in late December, one week before Carole’s scheduled arrival. Geoff comes to my room to share some unexpected news. “I’m being transferred,” he tells me. “What? Where to?” “They’re sending me to the drug program on the West side.” Geoff will still be at Fort Dix, but his transfer to the other compound will completely sever our ability to communicate. “Carole’s already sent her stuff with the moving company. I can’t reverse her move.” “I know, and I still want her to work in the office.” “But we won’t be able to visit together.” “Can’t she visit me over there?”
 I shrug, not knowing what guards will allow. “You can try putting her on your visiting list, but they might not let her in.” “Then she can write. Look, this is a mess, and there’s nothing we can do about it. I’ve got to be out of here in an hour. When she gets here, have her go to the office. Ted will give her the keys to the apartment and the car. We’ll work out the arrangements once she settles in.” When I call Carole to tell her about Geoff’s transfer, she doesn’t hesitate. “We’ll make it work. I’ll still fill him in on what’s happening in his office, and I’ll look after whatever he needs.” I admire her optimism, her commitment, and her courage. My determination equals hers. But hers is weighted with a high degree of risk. We talk about the logistics of her move and about coordinating delivery of her belongings to Geoff’s empty apartment. Such mundane tasks energize me. For the first time I’m part of a family, cherishing the feeling of belonging. We save two phone minutes from my monthly allotment, as I want to call her after her flight lands. We’re scheduled to visit on the morning after New Year’s, 2003, when I’ll meet Nichole for the first time. ****** It’s after six on New Year’s Eve, and I’m at my desk, trying to ease my anxieties by writing. I burned through the final two phone minutes from my December allotment after Carole’s plane landed and I won’t receive my next allocation of phone or visiting time until tomorrow, when the new month begins. Prison restrictions prevent all contact with Carole, which leaves me completely in the dark about her move. I stand, nervously pacing the floor. My old friend Windward comes to mind–he used to drive me nuts with his pacing.  That was longer than a decade ago, in USP Atlanta. This anxiety is new to me.  I can’t help her with this cross-country transition into a new city. At least I’ll have new phone minutes tomorrow. We’ll be able to talk, but we still won’t be able to visit for two more days. Prisons are not family friendly. While working through my silent worries, I hear an unexpected page. “Michael Santos. Report to the visiting room.” It’s my name being paged, but since I’ve expired my visiting privileges for the month, I’m confused as I walk to the visiting room. I see the guard at the visiting room door and I ask him for confirmation that he paged me. “You heard your name, didn’t you?” “Yes.” “Well, haven’t you been in long enough to know what that means? Strip!” I take off my clothes for the search ritual. The guard authorizes me to enter the visiting room and I see that it’s packed. I walk through the crowds of people to the guard’s platform, and as I hand him my ID card, I see Carole. She’s bundled in a blue, floor-length wool coat, and a pale pink cashmere scarf circles her neck. She’s obviously distraught. As I approach her, she walks to me quickly and wraps her arms around me, crying. She buries her face into my neck and I hold her. “Baby, what’s wrong? Why are you crying?”
She holds me tighter. “What is it? Talk to me,” I repeat urgently, quietly. I put my hands on her cheeks, tipping her head up to kiss her tears. “What’s wrong?” She sniffles, but between them I hear her say “No car, no apartment, no job.” She’s still crying and I pull her tight. “Tell me what happened.” I want to help her, and I suddenly feel the weight of what it means to accept this responsibility of love. She takes a deep breath to steady her voice before speaking. “It’s Ted, Geoff’s business manager. He says he’s in control of Geoff’s practice. He refuses to give me access to the office, and he’s refusing to give me keys to the apartment and the car I’m supposed to use. I’m here with Nichole, everything I own is in a moving truck on its way here, and I don’t know what to do.” I breathe in deeply, needing to soothe her before asking questions. I pull her close, wrap my arm around her shoulders, and walk toward a pair of plastic purple chairs in the back of the visiting room. We sit and hold hands. It’s the only comfort I can offer under the watchful eyes of cameras and guards. She sighs, exhaling with a long breath as she lays her head on my shoulder, and I feel her relax against me. “Don’t worry, Baby, I’ll take care of you.” I kiss her cheeks, taking a chance that in the crowded room, the guards won’t notice. “I’ve got enough money to help you settle.” “You said you’d never sell the stocks,” she says, lifting her head from my shoulder to look at me. “I know what I said, but you’re more important to me than any stocks.  Of course I’ll sell them. I love you, Carole. I’ll do anything for you.” Her head drops back onto my shoulder and I savor the feeling of her weight resting on me. “I’ll pay you back,” she promises. I chuckle at her promise, and then I ask where she is staying. “Did you get a hotel room in New York?” “We left New York when Ted refused to give me the apartment keys. I’ve still got my rental car, so I drove down and checked us into a hotel that’s closer. Nichole’s there now. She’s watching a movie until I get back.” I’m relieved that Carole came to New Jersey. It’s much less expensive here and we’ll need to be careful with our money. I caress her hands and appreciate how soft and feminine they feel inside mine. “Do you want to stay in New Jersey, or would you rather go back to Oregon?” “I’m staying with you.” Her voice so recently quivering is suddenly steady. “Okay, Honey. That’s what I want, too. We’ll make a plan and together we’ll make it work. I love you.” “I love you so much.” She kisses me gently. “Honey, we can’t kiss anymore,” I warn, conscious of the guards. “Tell me how you got in here. I didn’t have any visiting points left for the month.” “I know. I called here all day and I told your unit manger it was an emergency, but he wouldn’t let me talk to you. I decided to drive over and try to talk my way in. Thank goodness Officer Cruz was on duty. He must’ve believed me when I told him I had to see you. He changed something on the computer and here I am. I think he was worried I was going to burst into tears in front of him.” “See, I told you that God’s been protecting me through this journey.  Now he’s protecting you.  And although many people who work for the prison system make things difficult, some are nice.” “Yes, he was very nice. I’m grateful, because I really needed to see you, and I want to come back tomorrow, too.” “Tomorrow’s New Year’s Day, Honey. Holiday visiting privileges cost us double against my allotment for the month. Let’s wait until the day after tomorrow to visit. The rules limit me to a maximum of 30 hours in the visiting room for the month and we can’t squander them.”  She’s going to get an immersion course in the complications of my imprisonment. “Michael, I need to see you! We need to make a plan.” “Okay,” I relent. “You can come for one hour, but it’s going to cost us two hours against my monthly allotment of 30 points.” “I’ll bring Nichole.” ****** It’s cold.  My green jacket and orange knit cap aren’t enough to keep me from shivering when I leave the visiting room. Maybe I shiver more from worry than the frigid December temperatures. I can handle the cold, but as I cross the nameless road that leads to my housing unit, I realize for the first time in 38 years that the local economy is relevant to my life. As the president tries to push us into a second war in Iraq, the newspapers have been reporting on high unemployment rates. These didn’t concern me until an hour ago. But I’ve brought Carole here, thousands of miles away from her friends and family, on a promise. The promise went south. Now two lives hang on my ability to bring her stability, and suddenly the 11 years of prison that await me feel heavier. “Hey, I heard them call you for a visit.” Bob catches up to me, his tone revealing curiosity. “I thought you said you were out of points.” “I was. Carole talked her way in.” “Huh, I’m impressed. It’d be easier to talk your way out. She must’ve charmed them, but that’s like charming a rattlesnake. How’s her move coming along?” “Totally derailed. Geoff’s business manager is refusing to give Carole the job, the apartment, or the car. She’s stranded, and all her things are packed in a moving truck that’s supposed to arrive in New York next week.” “Wow.” We take a few steps with only the sound of crunching gravel and howling wind between us. “How can I help?” “I’ll take care of it. My sister is in Hawaii for the holidays, but when she returns, I’ll have her sell enough stock to send Carole the money she needs to settle.”  “I could get her a few thousand to tide her over if it would help.” “Thanks. I appreciate the offer, but I put her in this mess. I’ll get her out.” “Well let me know if you need anything.” Bob is a good friend, willing to lend me money even though we’re both in prison.  I’m grateful for the gesture. I walk into the housing unit and search for Richard, a young offender I interviewed recently for a story I wrote. While talking with him, I remember Richard telling me that his wife lived only a few miles from the prison. She was struggling financially, like many prison families, because of her husband’s imprisonment. He’s sitting on the stairs, slumped, his elbows resting on his knees. “What’s troubling you?” I ask. He looks up at me and takes off his glasses, rubbing his eyes. “Holidays. I miss my wife and son.” “That’s what I came to ask you about. Do you think your wife would want a housemate?” “Whadda ya mean?” “I’m in a bind. My fiancée and her daughter just moved here from Oregon. They thought they had an apartment, but the arrangements didn’t work out. I need to help her find a new place and I thought of you. Your wife could probably use the money, and they could support each other.” He puts his glasses back on. “That could really help. How old is your fiancée’s daughter?” “Eleven.” “I’m in line for the phone now. I’ll come by your room after I talk with my wife.”  

Episode 4 is a beautiful discussion with The Money Medium, aka Jane MacFarlane. Whadda badass she is! We discuss practical money management , the power of hypnosis, using body, mind and soul connection in manifesting and the power of the words we use, plus so much more. Head to full notes and links here: www.rootedliving.co/podcast/ep4/janemacfarlane

Podcast 124: Earning Freedom with Michael Santos Conquering a 45-Year Prison Term   I’m reading from chapter six of Earning Freedom: Conquering a 45-Year Prison Term, by Michael Santos. In this reading, we’re covering chapter Six: 1992-1995 Months 62-84   It’s Thanksgiving, 1992, just before my sixth holiday season in prison. Despite the forbidden affair I’ve been carrying on with Sarah for the past six months, today she tells me that she needs to move on with her life. She understands the risks associated with our trysts and she’s come to the conclusion that the stress would be too much to bear for another 21 years. I’ve hardened emotionally, as I’m now familiar with the concept of loss. I’ve been expecting this moment, anticipating her good-bye since our first kiss.  Grateful that it has lasted this long, I’m prepared to move forward. ******* “What’s up? Did she finally dump you?” Windward asks, sensing my despondency when I return to the cell and drop to my rack without undressing. “I told you she’s my lawyer. That’s it.” “And I told my judge that I thought it was flour I was bringin’ in. What’s that got to do with anythin’?” “Can’t you just be quiet?” “Least you can do is tell me how it went down. No sense keep denyin’ it. Ain’t no hot young lawyer gonna keep visitin’ a man in the joint ’less somethin’s going on. ‘Sides that, I smell her all over ya.” “She was trying to help with my case. That’s it. Enough, just drop it.” Lying on my rack, ignoring Windward’s irritating interrogation, I silently acknowledge that I knew Sarah would eventually disappear from my life. She was a wonderful, delicious respite from my all-male world, but now she’s gone and despondency starts to settle in like a dense fog. Thoughts of women, family, and the normal life from which I’m separated rush in, squeezing me. I have to refocus, to push thoughts of Sarah out of my mind and block all hope of finding a woman to carry this burden with me. I’m going to focus on completing five years at a time, alone. I’ve got to reach 1997. ******* The people have elected William Jefferson Clinton the 42nd president of the United States. I closely followed the political coverage throughout the year. Julie even purchased a subscription to the Washington Post for me to keep abreast of politics. Now, on a sunny day in January 1993, I’m overwhelmed by my emotions, tears filling my eyes, as I watch Justice Rehnquist swear our new president into office. “Why do you care so much who the president is when you can’t even vote?” In my sister’s world the president doesn’t play much part in day-to-day life and she doesn’t grasp why I’m optimistic with this switch from Bush to Clinton. As a federal prisoner, I live under the restrictions of the Bureau of Prisons, an agency that needs major reform. I’m hoping that President Clinton or his attorney general will appoint a new director of this agency. I’m certain the change will bring more empathy, as the president’s younger brother, Roger, served a federal prison sentence for nonviolent cocaine trafficking. Reform and liberalization of prison could well come under Clinton’s leadership. In preparation of a research report I’m working on for Hofstra I read about various progressive prison systems that President Clinton may consider. In Scandinavian countries citizens from local communities participate in panels designed to oversee and facilitate positive adjustments for offenders. Prisoners meet with “ombudsmen panels” at the beginning of their terms and together they work to establish clearly defined, individualized programs that prisoners may follow to reconcile with society and earn their freedom through merit. No similar program exists in our justice system, though under Clinton there’s hope for change.  Hope has been a mantra of Clinton’s throughout the campaign, and if he wants to restore it for people in prison, he’ll need a different kind of system. Instead of a system that encourages offenders to embrace societal values, studies combined with my experiences convince me that our system has a dramatically different mission with dramatically different outcomes.  It began to deteriorate in 1973, after Robert Martinson, a criminologist, published “Nothing Works.” It was an influential study suggesting that regardless of what programs administrators initiated, people in prison were incapable of reform. Then Professor James Q. Wilson, a mentor of Dr. DiIulio’s, published his widely quoted book, Thinking About Crime. In that book, Professor Wilson suggested that society ought to limit the functions of prisons to two goals: isolate and punish.  I’d like to see a different approach, and under President Clinton’s leadership, I’m hopeful for meaningful reforms. Either way, I’m on my own, knowing that I must succeed in spite of external forces.  The concepts of isolation, deterrence, and punishment don’t concern me. I’m making daily progress by staying physically fit and putting in long hours of study toward my master’s degree. Regardless of whether President Clinton appoints enlightened leadership to change the system or not, I’ll continue to learn and grow. Neither the system of punishment nor anything else will block me from achieving the goals that I set. Despite the rigid, punishment-based policies espoused by theorists like Martinson and DiIulio and endorsed by the BOP–policies that thwart my struggle to emerge as a capable and contributing citizen–I’m heartened to learn of leaders who embrace what I consider an enlightened system of justice. Some come from surprising places, like the United States Supreme Court. In a 1985 commencement speech entitled “Factories With Fences,” Former Chief Justice Warren Burger called for the graduating students from Pace University to reform America’s growing prison system. Instead of perpetuating a system that simply isolates and punishes, Justice Burger urged changes within the system that would encourage prisoners to work toward “earning and learning their way to freedom.” Although eight years have passed since Justice Burger delivered his speech, the Bureau of Prisons has done little to implement his vision. I don’t see any way to earn freedom. Through my work and achievements I want to become an example and a catalyst for change. I may not advance my release date, but I will contribute, and I will lead a life of relevance. I will show by example that self-discipline and education can lead a prisoner to emerge as a contributing citizen, and I will urge reforms that encourage others to do the same. ******* I’m inspired by what I’ve learned from The Future of Imprisonment, a book Dr. Norval Morris published in the 1970s. Dr. Morris wrote that prisons in an enlightened society should enable prisoners to rise to their highest levels of competence.  His thoughts resonate with me so I write him. Thinking that he’s still a law professor at Harvard, I send my letter of introduction to Cambridge. I want him to know that his work has touched my life, and I ask for his guidance going forward. Several months pass before I receive his response. Administrators at Harvard forwarded my letter, as Dr. Morris moved to become the Julius Kreeger Professor of Law at The University of Chicago. He responded graciously to my letter, offering to advise me with my studies at Hofstra and throughout the remainder of my term. “I may be of particular help to you at times,” he writes, “as I’ve known every director of the Bureau of Prisons, and the past three directors are close friends of mine. Count on my support if you run into any obstacles with your pursuit of education.” Dr. Morris’s support boosts my spirits. To have distinguished academics like Professors McPherson, DiIulio, and Morris as mentors means that I’ll have guidance from the same professionals who offer expert opinions to legislators and to the highest levels of prison administrators. The professors will have an interest in preparing me for release; I can trust in them to advocate for me if I need help. Through our letters and phone calls, Dr. Morris and I become friends. He encourages me to call him Norval and introduces me to other leading American penologists. I begin to correspond with professors from across the United States, including scholars such as Leo Carroll, Todd Clear, Francis Cullen, Timothy Flanagan, Tara Gray, and Marilyn McShane. They all support my efforts and invite me to contribute to their work. As a prisoner who studies prisons from the inside and shares what he knows with the world of academia, I’m evidently unique. Dr. George Cole, an author and Chair of the Political Science Department at the University of Connecticut, pledges his support.  We begin to build a close friendship. Liberation seeps incrementally into my psyche with each of these relationships. I’m less susceptible to the hopelessness that pervades the lives around me. The woman I loved left me and I serve a sentence that is still measured in decades, but I’ve created a sense of meaning and I feel as though I’m making progress, which is the key to growth. ******* Bruce and I have completed our collaboration on “Transcending the Wall” about the importance of education in transforming prisoners’ lives. He generously gives me credit as the first author but it is Bruce who coordinates publication in the scholarly, peer-reviewed Journal of Criminal Justice Education. As I told Bruce during our summer visit in 1993, our publication serves a pragmatic purpose. “I need to start thinking about transferring from this penitentiary,” I tell him during one of our visits. “Are you feeling threatened?” he asks, on alert. Bruce read about the violence at USP Atlanta in a New York Times article that cited it as one of the nation’s most dangerous high security prisons. He’s always concerned about my safety. “My schedule keeps me away from trouble, but gang activity is more intense every day. It’s violent, bloodshed every week. I think it’s time to request a transfer.” “So what’s stopping you?” “I need more information. The thing is, when a prisoner asks for a transfer there’s no telling where the BOP will send him. It’s like playing roulette. I need to transfer to the most education-friendly prison possible.” “Can Norval help you?” “He can help, and he said he would. The problem is that I don’t know where to go. If I ask for a transfer the BOP will probably send me closer to Seattle, but being closer to home isn’t as important as the preparations I need to make for when I get out.” “What do we need to do?” I always love Bruce’s steadfast support, and I especially appreciate his use of the “we,” meaning he’s always on board to help. “I need to find the best prison for educational programming, but not according to what staff members say. I need inside information from actual prisoners who serve time in the institutions.” Bruce doesn’t understand why the prisoners’ perspective is so valuable to me when I actively avoid close interactions with the penitentiary population. I try to explain. “If someone were to inquire about educational opportunities here at USP Atlanta, the staff would discuss the basic programs. They would say that teachers, classrooms, and even college programs are available. But I’m the only prisoner out of 2,500 who’s earned a degree here, and there’s a reason for that. It’s because, despite what staff members say, the atmosphere in here is oppressive and the policies in practice discourage us from pursuing an education.” “Yes, but you’ve gotten around the obstacles here. What makes you think that you won’t get around them wherever you go?” “The reason I make progress here is because I have support from Ms. Stephens, Mr. Chandler, and a few others. They let me create a schedule that allows me to avoid problems and gives me access to computers; they intervene when policies or staff members try to block me. When I get to the next prison I’m just another prisoner, and I’ll be facing obstacles there like everyone else, including from BOP staff members that may resent me for striving to become something more. Those kinds of staff members throw up insurmountable barriers. I see them every day here, but this penitentiary has become as familiar to me as the back of my hand and I know how to get around in here. I need details and the up-to-date truth from prisoners about what goes on in other prisons. With that information I can decide where to request a transfer.” Our conversation evolves into a plan. Bruce writes a letter of introduction to Sylvia McCollum, the Director of Education for the entire Bureau of Prisons. He lists his credentials as a retired professor of education from Chicago and explains that for the past several years he has been mentoring me. He includes a copy of the article we co-authored, offering to travel to Washington to meet with Ms. McCollum and discuss contributions he might make to the Bureau of Prisons as a volunteer. Had I written to Sylvia McCollum directly, it’s unlikely that my letter would’ve reached her, or that I would’ve received a response. With Bruce as my emissary, on the other hand, I knew that I would have a better chance of receiving the data I was looking to find. Bruce visited Ms. McCollum at her office in DC, at the Bureau of Prisons headquarters.  She welcomed his offer to mentor other prisoners and even congratulated me through Bruce on the progress I’ve made.  When he told her that he wanted to help others, Ms. McCollum encouraged him.  She gave him clearance to visit any federal prison he wanted and instructed those who presided over education departments to accommodate him by arranging private meetings with the prisoners who were most active in education programs. “I’m ready to begin my journey,” Bruce tells me over the phone after describing his successful meeting with Ms. McCollum. “Where should I go?” ******* The research work pays off.  With Bruce and Norval’s assistance, I successfully coordinate my transfer after learning that the best prison for education is FCI McKean. It’s wonderful news when guards inform me that I’m being transferred out of the United States Penitentiary and that I’m on my way to McKean. “Santos. 16377-004.” I respond to the guard who processes me in for transfer as he calls me forward. He shakes my wrists to ensure the handcuffs are secure and then yanks on the chain around my waist. “Whadda we got goin’ on down here?” The guard pulls my pant legs out from between my skin and the steel bracelets locked around my ankles.  “I didn’t get any socks, sir. The chains were digging into my shins.” “Gonna have to live with it. Security first.” He tightens the cuffs to ensure I don’t pull the pant legs through again. Then he clears me. I once read a novel by Wilbur Smith describing the horrific experiences of people who were locked in chains after slave traders captured them.  The slaves were forced to walk across rough terrain to the ships stealing them from Africa. The descriptions sickened me when I read the novel and I’m reminded of them as I shuffle my way onto the bus. The steel rings once again cut into my skin, but by shortening my steps I lessen the pain. My stomach churns despite three earlier trips to the bathroom. My body hasn’t moved faster than my legs could carry it since 1988, the last time I was in a vehicle. Now, in the spring of 1994, I’m sitting on an uncomfortable seat in the prison bus that is about to transport me out of USP Atlanta. Diesel fumes from the engines make me nauseous and beads of sweat form on my forehead It’s been seven years since my arrest. I’m now 30-years-old, certainly a different man, though still a prisoner with a long, steep climb into more darkness. I smile as I settle into the black vinyl seat, recalling how I engineered this transfer. With Norval’s help the administrative obstacles to the transfer were insignificant. Bruce visited five prisons and spoke with several prisoners in each. Clearly, the news about the Federal Correctional Institution in Bradford, Pennsylvania, known as FCI McKean, suggested that it would be my best choice. The prisoners at McKean refer to it as “Dream McKean,” with a progressive warden, Dennis Luther, who wholeheartedly supports educational programs. Ordinarily the documented address of release residence in my case file would’ve prohibited my transfer to McKean. The BOP confined me in the Southeast region because of my arrest in South Florida, but my release address is Seattle. “I can submit a transfer for you to FCI McKean,” my case manager told me when I asked, “but I know the Region isn’t going to approve it. You don’t have a release address for that part of the country, and I know you’ll either be sent to a prison in the West or another prison here in the Southeast.” “I don’t care about being close to home. I’ve got too much time left to serve and McKean’s the best spot to finish my education.” I persisted with the request, knowing she wanted to help. “Look, I support you and I’m going to submit you for McKean. I’m just telling you what’s going to happen. Once I send the file to the regional office it’s out of my hands, and no one in that office knows anything about you.” My case manager, Ms. Forbes, had attended my graduation in 1992 and helped me make arrangements with the mailroom to receive the books I needed from the Hofstra library. She supported my efforts but was honest in telling me what she thought would happen once she put forth my file for transfer. I existed only as a number in the system, and I understood that all consideration from staff at USP Atlanta would end with my transfer request. After that conversation with my case manager I called Norval and explained the advantages that FCI McKean offered along with the challenges I would have in transferring. Norval said he knew the regional director and promised to call him on my behalf. That was two days ago. When the bus engine begins to roar, I feel ready to leave. I’ve lived through six holiday seasons amidst prisoners serving multiple life sentences in the penitentiary. Transitioning to a medium-security prison means encountering less volatility and more optimism, I hope. As I wait for the bus to roll along, my thoughts, curiously, turn to my eventual release. I submitted a petition for clemency about six months ago.  It wasn’t my intention to submit the petition until 1997, when I would’ve completed my first decade.  But after discussing my plan with Norval, he convinced me on the merits of submitting the petition at once.  “These efforts take time and work,” Norval explained, “and clemency is extremely rare, especially in this political climate. I don’t see any advantage in waiting until 1997. You’ve earned one university degree and you’re well on your way to earning a second. Draft a petition now and send it to me for review. I think you should get the process started.” With Norval’s letter of support, I proudly sent my petition to the U.S. pardon attorney in Washington. That was more than six months ago. Whenever I’ve made an inquiry on the progress, I received form letters that say my petition is under review. I have no idea what will happen, if anything. I can’t grasp the concept of 19 more years in prison. But I’m transferring from a high-security penitentiary to a medium-security FCI now, and I’m excited about the change of scenery, even if I’m still immersed in a population of more than 1,500 felons.  

A little energetic cup of energy to start (or end) your day!! Whadda ya say!! Let's MOVE THE ENERGY!! What INSPIRES YOU??? What are you attracting? Join UER founder and co-creator, Anna Banguilan, for a moment of "inspired action" shifting and expanding!! Wooo Hooo!!