RADIO PLAYHOUSE 2018 Students of the 2018 Advanced Theatre Arts Class, Semester 2 Coke Keeps You Thin (Pg. 2) Sam Spade: The Jane Doe Caper (Pg. 3) 4, Folgers Commercial Bit (Pg. 23) 5. Rant with Ronnie (pg. 25) 6 ean (pg. 25) 7. Gunsmoke (pg. 27) 8. Ridden Valley Ranch (pg. 40) 9. Jolly Green Giant (pg. 41) 10. The Shadow (pg. 41) sodent (Pg. 60) Who’s on First (Pg. 61) Pi Pan Peanut Butter (Pg. 74) Sorry, Wrong Number (Pg. 75) 15. Chiguita Banana (Pg. 89)(uszc) ANNOUNCER Good evening and welcome to our first annual broadcast of Radio Playhouse, presented by the CEES Advanced Theatre Classes! (applause) our broadcast tonight is a journey back in time, offering a collection of stories, bits, and advertisements from the golden age of Radio and beyond! It’s sure to be a auditory delight for everyone in attendance. So please, sit back and enjoy the performance! But first, none of this would be possible without our generous sponsors for the evening, of which there are many. Before we get under way, we'll have a few words from one of most generous sponsors. COMMERCIAL: COKE KEEPS YOU THIN (wustc) SOPHIA: You know, this was me five years ago, and it’s still me. I must confess, I’m a waistline watcher from way back. Well, that’s enough for today. Time for a lively lift: ice-cold Coca-Cola. There’s no waistline worry with Coke, you know. Actually, this individual-size bottle has no more calories than half a grapefruit. Mnn — another thing — the cold crisp taste of Coke is so satisfying, it keeps me from eating something else that might really add those pounds . Coke's a natural, wholesome blending of pure food flavors. I guess that’s why everyone likes the refreshing new feeling you get only from not-too-sweet Coca-Cola. And ne wonder. Lively, lifty Coca-Cola provides a welcome bit of quick energy between meals. Makes for a pleasant pause in a busy day. oh, and remember, Coke is low in calories, too. Say now — don’t you get any thinner!ANNOUNCER Thank you Coca-cola! And now, without further ado, our first story of the night. All the way back to 1939, we bring you Dashiell Hammett’s classic hard-boiled detective, Sam Spade in the Jane Doe Caper! DRAMA: SAM SPADE AND THE JANE DOE CAPER ANNOUNCER (CONT. ) The Adventures of Sam Spade, Detective- brought to you by Wildroot Cream-0il Hair Tonic, the non-alcoholic hair tonic that contains Lanolin. Wildroot Cream-Oil, “again and again the choice of men and women and children, too." (Muste) SOUND: (PHONE RING) BPFIB: Sam Spade Detective Agency. SPADE: Me, Sweetheart. EFFIE: Oh, Sam, was it an interesting case? SPADE: Fascinating, in a depressing sort of way. BFFIS: oh, that's good. SPADE: Good? EFFIE: Yes, because I know those who depress you the most pay off the best. And we do need the money. SPADE: Well, don't send out for champagne. My client is on the way to Minneapolis. And besides, she's dead. EFFIB:You should have collected in advance, Sam. SPADE: Well, = couldn't very well do that. She was dead when I met her. And her name wouldn't have been any good on a check anyway. Stay where you are. Sweetheart. I'll be right down to dictate my report on the Jane Doe Caper (ausrc) EFFI: Sam, you say the most abstracting things on the telephone. And what do you mean, her signature wasn't good. SPADE: Fer name was Jane Doe, which means anybody, or nobody. BFFIS: There you go again, And what do you mean she was dead when you met her. SPADE: Just that. Come on, let's get this over. EFFIE: Sam, you're all unwrought. SPADE: Fill it in, Subject: The Jane Doe Caper. I had dropped in at the ty Morgue for a routine checkup on a missing person job. Dat DUNDY: Hello, Sam. What brings you here? SPADE: Morbid curiosity. And you. Lieutenant? DUNDY: This girl. Harbor Patrol brought her in. SPADE: Golden Gate Bridge? DUNDY: Could have been. Looks like suicide ...SPADE: Who was she? DUNDY: Don't know, yet. Tagged her Jane Doe. SPADE: (MUSIC UNDER) And that's when I took my first real look at her. She couldn't have been in the water more than a few hours. Her shoes were missing- they would be- but the rest of her clothes were intact, and even with the soaking they'd got in the bay, you could still see that they had style, and had cost someone a lot of money. But something about her didn't seem to belong to those clothes. And around her throat, where you would have expected to see a necklace or a string of pearls, there was a cheap silver medallion. She looked lonely and out of place, even in death. DUNDY: Funny how some of them get to you, isn't it, Sam? SPADE: Yeah. DUNDY: It's things like this that make me think sometimes I should have gone into some other line of work. A cop is net supposed to have any personal feelings. But I can't heip it. A young girl like that... everything to live for SPADE: Why do you keep saying that? DUNDY: Well . . . had money, anyway. Must have. Look at the way she's dressed. She could have sold that fur coat for enough te go away somewhere and start over. SPADE: You're sure of that, Dundy. DUNDY: You're darn right. That's mutation mink. My wife wants one.SPADE: Dundy, of all the bay suicides, can you remember a single one that didn't take off his coat before jumping? DUNDY: Well, now, Sam, I don't- Say! Come to think of it~ SPADE: That's using the old noodle. Keep it up, Dundy, I'll see you around. Hey, Maxie? DUNDY: (SLIGHTLY OFF) Wait 2 minute, Sam. SPADE: Yeah, Dundy? DUNDY: You got a hunch about this one? SPADE: You want to hire me? Dunpy: Now, Sam SPADE: Let me know how it comes out. MAXI: Sammy! What can I do for you? SPADE: That stiff tagged Jane Doe. MAXIE: Autopsy report just came down. Drowning. Multiple fractures and shock. She took the jump alright. SPADE: Let's see that report. And don't tell Dundy, I asked for- MAXI: Sure, Sammy. Make yourself at home.SPADE: There are a lot of Jane Does in morgues all over the country. A lot of them get buried under that name. I don't know what there was about this one. I couldn't shake the feeling that Jane Doe needed a friend- even if it was too late. (MUSIC CHANGES MOOD) None of the obvious means of identification were there. No labels in the clothes, no cleaner's marks, no dental work. The only thing that seemed to belong to her was that little cheap medallion, with the words St. Benedict. When I left the Morgue, I was carrying it in my pocket. My next stop was St. Benedict School, over on Lombard. SOUND: CHURCH CLOCK TOLLING THREE 2M, TWIST DOORBELL: FITZ: Good afternoon. Won't you come in? SPADE: ‘Thank you. FITZ: What can I do for you? SPADE: My name is Spade. I'm a private detective. I'm trying to trace down the identity of a girl who might have gone to school here. FITZ: Is she in trouble? SPADE, She's dead, Father FITZ: Poor child . SPADE: The only clue to her identity was this medallion. She was wearing it when the body was recovered. FITZ: Oh, yes, I remember these. Have you a picture of this girl? SPADE: Yes... It's not very pleasant...FITZ: many times . . . (SIGHS) Oh, yes. Poor caild. I have seen death before, SPADE, Do you recognize her? FITZ: perhaps. There have been so many. You (SOUND: STEPS UNDER) for more than Something about her . . . yes, see- there on the wall- the framed photographs. each one a group of a dozen or more children dating back twenty years. Here it is- the class of 1940. (MUSIC UNDER) SPADE: I looked at it. A group of eight boys and ten girls. The girls were wearing identical white dresses and white veils, identical self-conscious expressions, and wearing identical medals. I couldn't tell one from the other. And best the kindly old dean could do for me was the names and addresses of the ten girls. (MUSIC UP AND DOWN) SPADE: The first four addresses were dead leads. The fifth didn't look any more or less promising than the others had. It was just another frame house with lace curtains in the windows, a downhill sag, and a sign- "Doorbell out of order. (SOUND: KNOCK ON DOOR, DOOR OPENS) SPADE: You're Mrs. Armanda? LOUrS: How you know me? SPADE: I got your address from the Father at Benedict School. SPADE: Does your daughter live at home, Mrs. Armanda?LOUISA: (A BEAT) Julia? Why you talk about her? She is in trouble? SPADE: I don't know. You didn't answer my question. Loursi No. She don't live home no more. She is leave her own people. She is make shame on us all. SPADE: IT don't want to alarm you unnecessarily, but if the girl I have in mind is your daughter you'd better know about it. Here's a picture of the girl. Is it Julia? Mrs. Armanda, LOUTSi (LONG PAUSE) She is dead. what happen to this girl? SPADE: The police think she committed suicide. I'm not so sure. She isn't your daughter? Lovrsi No, She is no daughter of mine. Why you come here? SPADE: I told you. At the school. LOUIS: He's make a mistake. He is a good man. But he is old, he make too many mistake. What he say about this girl in the picture? SPADE: He thinks it would be tragic if she were buried as a suicide if she wasn't. Lours) (LONG PAUSE) No. She is no daughter of mine. SPADE: All right, Mrs. Armanda. Are you sure there isn't anything more you want to tell me? Lovrsi GoodbyeSOUND: DOOR CLOSED SPADE: (MUSIC IN) It was a funny kind of a bum's rush. Her voice said "goodbye," but her eyes seem to be pleading with me to stick around. I watched through the dingy glass pane in the door until she disappeared. Through the portiers into the living room. Then I opened the door and slipped back into the hallway. LOUIS: (WEEPING) BULL: (WELL OFF, FADING ON) Now, come on, now. Mother. T know how you feel, but this is not going to bring her back. Am I right? You've got yourself to think of and the rest of your family. She wasn't thinking of you when she took that way out. Am I correct? LOUIS: I don't believe it. I don't believe she killed herself. And even if she did, I got to claim my own. BULL: I'll take care of everything. I'll give her the biggest funeral you ever saw. And I'll see that you don't ever want for anything. Take care of you for life, That's the way Julia would have wanted it. Am T right? Lovrsi I don't know what is right. I know you want to be kind, but T know what T feel here. T go to her. BULL: It's too late. LOUIS: Why you say that? BULL: I told you I was taking care of her. Her body's been claimed. She's on the way to Minneapolis. LOUISA:I go to police. I tell them everything. I'm Now I know what you are. gone go to polices BULL: No, you're not- SOUND: (VOLLEY OF SHOTS) LOUL: (SCREAMS AND DIES) Music: (PUNCTUATE AND TO B.G.) SOUND: (RUNNING FOOTSTEPS: DOOR SLAMS OFFSTAGE) SPADE: All I saw was a pair of broad shoulders draped in a checked sports-jacket, before the back door closed behind him. (SOUND: STEPS OUT: DOOR YANKED OPEN) SPADE: By the time I got to it, he was half way down the stairway on the face of the hill, leading to the street at the rear of the house. I threw a couple of shots at him. Between the fog and night closing in, I didn't expect them to connect, and they didn't. Two seconds after he made it to the street, I saw a car pull away from the curb. guessed that he was in it, but that didn't help, because all = could see was the roof of it. I went back into the room where Mrs. Armanda had fallen. I didn't need a mirror test to know that she was dead. But I needed something better than that to find out why. I put the call in to Homicide. The house that Jane Doe had lived in was as bare and lacking in character as that tag they had put on her body in the The only other items of furniture in the room were broken and a dresser that looked as if I morgue. chair that had been mended with wire, it had been salvaged from a junkyard. Stuck in the frame of the dingy mirror was a blurred snapshot of a man in dungarees and a seaman! In the top drawer was a beaten-up patent leather purse a ditto change purse, a and a card of membership I decided that union watch-cap. containing an empty lipstick container, filled-in application for hospital insurance, in the Fish Cannery Workers Union of the Pacific. Card might be worth following up. But I didn't need it. SOUND: (RAPPING ON DOOR OFFSTAGE) atTONIA: I didn't know Julie had company. Just tell her Tonia came by to see how she is. oh, pardon me, SPADE: Maybe you'd better come in TONIA: oh, I wouldn't think of butting in on-. (STOPS) Is something wrong? SPADE, Come on in. SOUND: (HER STEPS IN: DOOR CLOSED) TONIA: Whe are you? Is Julie in trouble? SPADE: Everybody seems to think Julie should be in trouble. why? TONTA: Are you a cop? SPADE: No. TONIA: Well, then, I'm going. SPADE: Wait a minute. I'm not quite a cop. But if you're a friend of Julie's the police will be looking you up. So maybe I can help you on your answers. TONIA: Where is Julie? SPADE: She's dead. 12TONIA: I shouldn't say it, but I told her she was taking a terrible risk SPADE: Tell me about it. You and Julie worked together? TONIA: out at the Apex Cannery. We were on the tuna- belt together, she got moved up to Inspector. Maybe I should explain. The difference between an inspector is that we girls put the fish in the can and the inspector gets more money because all she does is look at them after yes, all they're in the can. Only you don't get there after only a month. So I said to Julie, = don't know what you've got on Mr. Driscoll, but be careful of it. SPADE: Who's Mr. Driscoll? TONTA: why, he owns the cannery. SPADE: And he was friendly with Julie? TONIA: Was he friendly? You should have seen the fur coat he sent her. Mutation mink, no less. Just the other day. SPADE, I saw TONTA: Oh. Was she wearing it when they found her? SPADE: Why do you say that? TONIA: I know what happens when a girl pushes her luck too far. She winds up in the bay. Isn't that where they found Julie? 13SPADE: Lock, Tonia, I don't know how much of this is shrewd guesswork on your part, or how much you really know. I don't know how much Julie's mother knew either. Well, she'll never tell us now. TONIA: You mean- Mrs. Armanda, too? SPADE: Yeah. She clammed up when she should have talked to me. Otherwise I could have saved her. TONIA: (PRANTICALLY) I don't-I don't even know who you are? SPADE: My name is Sam. I'ma friend of Julie's. TONIA: She never mentioned-. (A BEAT) But, yeah, I think so. Listen, Sam, T don't know what it was. All I know is, Julie was tired of being poor. She always had big ideas. One day she just got up right in the middle of work with a raw fish still in her hand and went straight inte Mr. Driscoll's office. I yelled after her, "Where are you going with that fish?" And she said, "I'm going to hit Bull Driscoll for a raise with it." And that's how it started. SPADE: I take it she got the raise. TONIA And that's not all. Always before she was panning the boss, like we girls. But after that, stars in her eyes. And then she started receiving the presents. She thought he was that way about her. Sut some of the looks he gave her behind her back were as cold as those when they dig them out of the freezers in the Mexican boats. SOUND: (SIRENS START FADING ON FROM A DISTANCE) SPADE: Listen, Tonia, hear that siren? That's the cops. If they find us here they'll have us both down at the Hall half the night answering questions. So what do you say we finish this conversation somewhere else? 14TONIA: Where the cops are concerned, you don't have to ask me twice. Come on. SPADE: I only got one more lead out of Tonia. The identity of the man in the snapshot stuck in Julie's mirror. His name was Chris Gorelli, and his address was aboard his boat at Fisherman's Wharf. SOUND: (WATER SLOSH) SPADE: ! Anyone aboard? CHRIS: (WELL OFF) Whaddya want? SPADE: His bloodshot eyes were dull, as if with drink or grief or maybe both. He waved me a perch on the opposite bunk, then pressed his forehead into his hands, as if trying to squeeze the pain out of it. CHRIS: Who are you? SPADE: The name is Spade. Here's my I.D. CHRIS: Private-. Who hired you? SPADE: Nobody. CHRIS: Meaning Bull Driscoll? SPADE: I don't know Driscoll. How well de you know him? CHRIS: Never met him. But maybe my luck will change. SPADE: 15You mean you've been trying to get to him? CHRIS: Yeah. I been hanging around that cannery all day. He never showed. SPADE: Did he have a reason to kill Julie? CHRIS: (APTER A BEAT) What was your interest in Julie? SPADE: I only saw her once. On a morgue slab. They'd tagged her Jane Doe. I didn't think the name suited her. CHRIS: Huh! I thought you guys only worked for money. Or you get some smart ideas from those glad rags she was wearing? SPADE: Okay, have it your way. Maybe it'll turn out to be smart after all. If a simple little girl like Julie could shake that much out of Driscoll, a smart boy like me should be able to really bleed him. CHRIS: (COUGHS) I don't get it. SPADE: What do you know about Driscoll? CHRIS: Smart operator. Took the pile he made running liquor during Prohibition and invested it in quick freezers. That way he don't wait for the tuna to run up here, he gets them in Mexican waters and brings them in frozen- the year around. SPADE, (MUSING) Yeah I'm going to hit Bull Driscoll with it for a raise. CHRIS: Huh? SPADE: Does Customs ever get a look at those fish before they're unloaded? 16CHRIS: Fat lot of good it'd do. It'd take dynamite SPADE: You mean they unload 'em and thaw "em out before they're inspected. CHRIS: Hey! You think he was running something in those fish and Julie was- SPADE: I don't know. All I know is Julie was dressed fit to kill. And T mean just that. (Muste) SPADE (CONT.) I didn't tell him what else I thought. I left him to ponder that one while I headed for the nearest phone booth to dig out Bull Driscoll's home address. When T came out, I headed uptown walking just slow enough for a drunk man to tail me without too much trouble. He was still behind me when I leaned on the doorbell at 1133 Taylor, where the trail ended. BULL: Good evening. SPADE: Mr. Driscoll? BULL: Right the first time. SPADE: You were Julie Armanda's employer? BULL: Right the second time. This about the tragic shooting of Julie's mother. Correct? SPADE: You're only half-wrong. BULL: 17I never met the family. But as far as Julie is concerned, I know her to be a fine girl. Never thought much of that fellow she's engaged to. Drunk. Given te violence. Made a scene at the cannery one time. Has he been questioned? SPADE: I talked to him. You know perfectly well that Julie is dead, am I right? BULL: Why do you say that? SPADE: You admit you know about the shooting of Julie's mother. Ergo, you read the papers. Ergo, you read the little item about the Jane Doe in the mutation mink and other glad rags. Ergo, you must have guessed who she was, since you brought her those clothes. Am I correct? BULL: Well... I admit = had my selfish reasons for not wanting to become embroiled. She's been despondent ever since I told her that... well she'd mistaken my intentions ...understand what I mean? SPADE: Yes But not in the way you think I do. I think she committed suicide when she went into your office with that fish in her hand, and come out with a promotion. BULL: Your hunch is that Julie was blackmailing me. Well, you're wrong. She merely discovered a little irregularity that was going on one of my boats was a smuggler. You follow? SPADE: So far, I'm ahead of you. BULL: Then you'd better talk till I catch up. SPADE: Okay, I will. You've got a nice apartment here. Good taste. You don't strike me as the kind of a guy who would give a twenty thousand dollar wardrobe to a girl who obviously didn't know how to wear it. You're also smart enough to know that you could have got results a lot cheaper, if all you wanted was to keep her quiet for awhile. 18BULL: Then way did I do it. Tell me that. SPADE: I know how it worked. The cops never identified her because it never occurred to them that a girl dressed like that might just be a poor little girl in a fish cannery. They're probably still looking for a missing heiress, you really did have that body claimed and shipped to Minneapolis. BULL: (A BEAT) Say that again. SPADE: Biggest funeral you ever saw. Take care of you for life. Brother, you sure did. BULL: (BURSTS OUT LAUGHING) SPADE: (SHOUTS HIM DOWN) I'm glad you think it's funny. That makes it a lot easier. I don't think it's funny when a poor dumb old woman gets filled with lead because she wants to claim her daughter's body. I don't think it's funny, dressing a poor confused little dame up in the only fur coat she'd ever touched, so she could keep a date with her murderer. BULL: Quite a humanitarian, aren't you? SPADE: I don't talk it very well. But I'll try and show you what I mean. (SOUND: GRABS HIM AND PULLS HIM TO HIS FEET) BULL: (REACTS) BULL & SPADE: (ADLIB FIGHT) SOUND: (SCUFFLE AND FIGHT) 19SPADE: (HEAVY BREATHING UNTIL) SOUND: (DOOR BUZZER: DOOR OPENED) SPADE: You're a little late, Chris. CHRIS: Get out of my way. SPADE: Don't be an idiot. CHRIS: (PULLING AWAY) I know what I'm doing. (QUICK FADE) Leave me alone! SPADE: (STUMBLES) Don't do it, Chris! You don't SOUND: (GUN EMPTIED: GUN THROWN) CHRIS: Okay, you can call the cops. I'm finished. SPADE: You stupid fool! I had him nailed. CHRIS: For what? He didn't kill gulie. T did. (A little pause) Yeah. SPADE: wh: CHRIS: You saw her; you said she was dressed to kill. Yeah, I got the wrong idea. (STARIS BREAKING) I thought I was losing her to a guy that could afford to dress her up like- When I saw her leave the house in those clothes ... on her way to meet him ... (SOBS INTO):Music: SPADE: Period. End of sob story. BPFIS: (S038) SPADE: Ef... I said end of sob story. EFFIE: It's not the story, Sam. It's you. SPADE: What did T do wrong? BFFIS: Nothing. That's it. You're just perfect, that's all. To give up all that time and money and sacrifice yourself so self- sacrificingly, all for a poor nameless girl, who wasn't even in a position to thank you. SPADE: True, Bffie. All too bitterly true. But I'm just a tiny bit less wonderful than you think. BFPIS: (STOPS CRYING) You are? SPADE: That's better. Now dry off your notebook and go type that up. When you return, I will tell all. EFFIS: All right. Sam. (FADE) But if you think you're going to shatter my delusions. Music: EFFI: (FADE ON) Here it is, Sam. And if you dare say one word against you SPADE: Perish forbid! 21BFFIS: But what is it that you so mistakenly think reflects to your dishonor? SPADE: What? EFFIS: The all you were going to unburden to me because you're too modest to take credit (SOBS) for your good deeds. SPADE: I've decided you're right, Ef. I mustn't shatter your delusions. EBFFIB: Please, Sam. So I can talk you out of it. SPADE: Well, I played it stupid, that was all. EFFIE: (STOPS CRYING) I know, Sam, but only to throw them off the scent. SPADE: I should have known all along that Driscoll didn't kill Julie. He was smart. He wouldn't have left that cheap little medallion on her. Don't make excuses for me. EFFIE: (FRESH SOBS) SPADE: Now, now... I wasn't that bad. BFFIS: No, Sam. Tt just proves all over again how wonderful you are. You cracked the case in spite of all the mistakes you made. SPADE: Okay, you win. Dry up and go home. EFFIE: (BLOWS NOSE) Goodnight, you sweet wonderful man. SPADE: 22(CLEARS THROAT) Goodnight, Sweetheart. MUSIC: SWELL TO FINISH (APPLAUSE) ANNOUNCER: Tune in next week fo another Sam Spade adventure! The Adventures of Sam Spade--Detective are brought to you by our generous sponsor Folger’s! COMMERCIAL: FOLGERS COMMERCIAL (Muste) WIFE: Harvey, do you want anything special for your birthday? HUSBAND: Just a decent cup of coffee. WIFE: You're kidding! HUSBAND: I’m serious, honey, your coffee is undrinkable. WIFE: That’s pretty harsh. HUSBAND: Well so’s your coffee. You know the girls down at the office make better coffee on their hotplates. Well, see you later. (music, later) WIFE: and he didn’t even kiss me goodbye! You know Mary, if I could just make a decent cup of coffee, 1 could relax. MARY: So, relax! Why don’t you try instant Folger’s? Tastes good as fresh pere’d! WIFE: 23Good as fresh perc’d? I/11 surprise Harvey for his birthday! (music, later) HUSBAND: (slurps) Hey, great coffee. WIFE: It's instant Folger’s. Doesn’t it taste good as fresh perc’d? HUSBAND: Better. WIFE: Better than those girls make at the office? HUSBAND: (blows out candle) Honey their coffee can’t hold a candle to yours. (kissing the cheek sounds) ANNOUNCER: Instant Folger’s tastes Good as Fresh perc’d! Try it! ANNOUNCER: A lot has changed since this advertisement first aired in the early 1960's, so we've decided to share with you the updated version of their advertising.. Here’s Folger’s latest... COMMERCIAL: UPDATED FOLGER’ S (music) WIFE: Harvey, do you want anything special for your birthday? HUSBAND: Just a decent cup of coffee. WIFE: Great, make it yourself! Folger’s in the cupboard. I’m late for my meeting with Ruth Bader Ginsburg. See you later! ANNOUNCER: Instant Folger’s, Make-it-yourself. 24(music seque) SHORT BIT: RANTS WITH RONNIE EMMA: Welcome back to ‘Rants with Ronnie’, with your host Ronnie Ripper! Today’s topic: Musical Theatre. (Pause) Oh, boy. For those of you not familiar with musicals, they’re the the disant, annoying cousin to live theatre. It’s the relative at Thanksgiving that everyone avoids and hopes will be stuck at the kids table for just one more year. I don’t get what the fuss is really: the plots in musical theatre make no sense. I mean seriously, whe have you seen break out into randem song and dance to fix real life problems? The premise of a musical is that songs move the plot along, but the plots are so shallow with not much substance to begin with, so what's there to move! I don’t know what kind of brainless idiot would want to go watch a show where all a person's problems are solved by a cheesy, over rehearsed song and dance. (chime) And the chime means a word from our sponsor. Let’s see, Catalina Foothills High School presents ‘9to5: The Musical’! Come watch this fun, catchy show with music and lyrics written by country star, Dolly Parton! This show has been raved by theatre critics from all over the US, but don’t take their word for it take mine. As an life-long musical theatre lover, I love nothing more than to sit and watch emotional and deeply meaningful plots unfold through song and dance. Buy your tickets today for only $15! Show dates are March 6, 18th, and the 22nd, 23rd, and 24th. Take a break from your work day to come watch this amazing show on women overcoming oppressors in the workplace. (Oh boy) T know I/1l be there, will you? And that’s all for today on ‘Rants with Ronnie’. Tune in next week for our talk on my hatred for country music! (music) (applause) COMMERCIAL: MR. CLEAN ANNOUNCER: Meet Mr. Clean, Proctor and Gamble’s new, all purpose liquid leaner! 25Man #1: g) Mr. Clean gets rid of dirt, and grime, and grease in just a minute. Woman #1: g) Mr. Clean will clean your whole house and everything that’s in it. Man # (Singing) Floors, doors, walls, halls, my sidewalk, cars, and old golf balls. Woman #1 (Singing) Sink, Stove, bathtub he’11 do. He'll even help clean laundry too. Man #1: (Singing) Mr. Clean gets rid of dirt, and grime, and grease in just a minute. Woman #1: g) Mr. Clean will clean your whole house and everything that’s in it. Woman #1: (Singing) Can he clean a kitchen sink? Man (Singing) Quicker than a wink. Woman #1: (Singing) Can he clean a window thash? Man #1: (Singing) Faster than a flash. Woman #1: (Singing) Can he clean a dirty mirror? Man #1: (Singing) He'll make it bright and clearer. Woman #1 (Singing) Can he clean a diamond ring? 26Man # (Singing) Mr. Clean cleans anything. ‘together: g) Mr. Clean gets rid of dirt, and grime, and grease in just a minute. Mr. Clean will clean your whole house and everything that’s in it. Mr. Clean Mr. Clean Mr. Clean (applause) ANNOUNCER: And now, onto another adventurous tale of the old West! DRAMA: GUNSMOKE ANNOUNCER (CONT. ) : Around Dodge City and in the territory out west, there's just one way to handle the killers and the spoilers... And that's with a U. Marshal, and the smell of...Gunsmoke! (music theme) ANNOUNCER (CONT.) : Gunsmoke!... the story of the violence that moved west with young America. And the story of a man who moved with it.. MATT DILLON: I'm that man Matt Dillon, United States Marshal. The first man they look for, and the last they wanta meet. It's a chancy job, and it makes a man watchful. And a little lonely. SOUND: Beer hall, clinking of glasses CHESTER: (very country, likable, slightly high pitched) You shore are slow with that beer, Doc. Here I am, ready for anotheur'n. poc: (likable, but cynical, full of character) Awww, yes, well you had enough last night, Chester. Matt told me you were still asleep at nine o'clock this morning! Now, what in the world is that fellow? 27CHESTER: who? Doc: Eh? just came in the door. See him? With Tyler and Short, there? CHESTER: Oh.-him? #h, well, that's Weed Pendle. He rode in on a mule couple days ago. pec: Well, which has the bigger ears...him? or his mule? CHESTER: (laughs) He is funny lookin", all right, and he acts pretty peculiar, too. SHORT: (high, H. Bartell voice, southern accent, ignorant loud-mouth) That's a scrawny mule, Pendle. I seen ya on him this mornin’. TYLER: (ditto, except lower pitched voice than Tyler) Yea, Pendle, here...he's kinda scrawny, hisself. Short. Maybe some bear'll fatten him up a little. PENDLE: (duli-witted, J, Nusser type semi-high, nasal voice) I'd like some beer, all right, but I got no money. TYLER: Well, why don' you just sell that gittar of yours? PENDLE: Sell my gittar? No, I'd never do that! SHORT: Pendle, you must have a nickel, at least! PENDLE: The last money I had got stoled. TYLER: Now, who'd dare steal money off a tiger like you, Pendle? 28PENDLE: I was asleep. I started to wake up, but they kicked me in the head TYLER: Pendle...you call that thing*a head? Looks to me like your n just growed out, and haired over. (laughter) Now, PENDLE: I ain't very handsome. TYLER: (louder now) Hey, bartender, three beers! You sure ain't. (laughter) SHORT: You buyin', Tyier? TYLER: fine old soldier, like Weed Pendle. on, I'm proud to buy. PENDLE: How'd you know I was a soldier? TYLER: Well now, I didn't. SHORT: Where was you a soldier, Pendle? PENDLE. Third Illinois Calvary. TYLER: Illinois! You were with the Yankees. PENDLE: I never done much. We had hard luck and never got to see no real Confederates...just a bunch of ragged-tail bushwackers in South Missouri. They was led by an old chicken thief name o' Cline. TYLER: Yea, so they was. Tell me somethin’ else, Pendle. Did you ever get to kill any o' Cline's men? 29PENDLE: A few. Before I got shot myself. They caught some of ‘em after, and hung ‘em. But I never did see a hangin’. TYLER: You never did see one? PENDLE: Nowheres. I never did. TYLER: That so? Well, Pendle, you'know, you're in luck. Seein’ as how we were all kinda in the war togetherr so to speak. I’m gonna show you a hangin". You're about ready, ain't you. Short? SHORT: Yea, my rope's on my saddle. I'11 get it and meet ya out back. (footsteps walk away) PENDLE: There gonna be a hangin’? A real hangin'? TYLER: Why, shore there is. And you're lucky, Pendle, you run into us, just in time. CHESTER: (approaching) Here now! What you talkin* about, Tyier? And whe you gonna hang? TYLER: It's kinda a surprise, Chester. You can watch, though. CHESTER: Now you know it's aginst the law to hang people around here! TYLER: I heard Marshal Dillon ride outta town this morning. Time he gets back, it'll be all over. Don't you try to buck me and Short, Chester. You die if you do. (pause) Now, come on, Pendle, come on. We don't wanta miss it! PENDLE, Sure! (footsteps walk away)CHESTER: Now what do you suppose they're up to, Doc? poc: I don't know, Chester. (thought fully) But I'd sure like to find out CHESTER: I sure do wish Mister Dillon was here. Yea...I reckon we'd better. (footsteps walk away) SOUND: (amid the tavern babble & footsteps, a door opens, gravel) footfalls in Doc: Uh..there they are. CHESTER: Why, they're putin' a rope around Pendle's neck! TYLER: you're not gonna get to see all of the hangin’, the start of it. "course, Pendle. Just PENDLE: What ya hangin’ me fer? I ain't done nothin"! SHORT: You was in the Third Tllinois Calvary. PENDLE: Well, sure T was.. SHORT: We was fightin’ under that old chicken thief! It's a pleasure to hang a Yankee like you. Cline?in South Missouri. PENDLE: But I only done what they told me to. I didn't kill nobody on purpose. CHESTER: you two! You've gone far enough! Now, you just wait a minute, SHORT: Shoot him, Tyler! 31Doc: You go shootin’ anybody, and you'll be the ones to end up on a rope! SHORT: Doc ain't armed. He never is. Go on, Tyler. CHESTER: But you're sure gonna you hang him? have to kill me before All right! You try TYLER: I'll kill you. MATT D1LLON: semi-gutteral W. Conrad voi me, too, Tyler. e) You'll have to kill (low, authoritive, SOUND: footsteps approach on gravel CHESTER: Mister Dillon! TYLER: Where'd he come from? DILLON: Take your rope off that man's neck, and you do it quick! SHORT: Sure, Marshal... sure? PENDLE: I..,told you you shouldn't hang me. TYLER: We was just funnin' him. Marshal. We wasn't gonna hang him! DILLON What's this all about, Short? SHORT: He's a Yankee, Marshal. Killed a lot of us in Missouri during the war. We was gonna scare him, and then run him off. 32DILLON You forget about that. You forget about the war, too. It's over. Next time I catch you up to anything like this, you'll go to jail. SHORT: Go to jail? Over a dumb Yankee who don't know nothin’ but a skinny mule and a gittar?! DILLON Get outta here, Short! You too, Tyler! TYLER: Well, this Yankee better get out here, too. Clean outta Dodge! DILLO! Shut up! (pause) And get movin'! TYLER: (pause) See you later, Pendle!. MUSIC: Bridge. Segue into... NARRATION BY DILLON: Sam gave Weed Pendle a job, sweepin' up the saloon, and let him live in a tiny shack out back. He'd play his guitar every night. I looked up Short and Tyler and I warned them again to leave him alone. They did, until one mornin’ a couple of days later. Chester and I had just come out of Delmonico's and were walkin’ up front street. SOUND: Outdoors, horses & buggy, etc. Footsteps walking on gravel. CHESTER: Looka-yonder, Mister Dillon, across the plaza, there. DILLON: Yea, I see ‘em. Let's go over. CHESTER: Pendle and his mule DILLON Yea...Tyler and Short, too. I told ‘em to keep away from him. 33CHESTER: Say, what they laughin’ at? DILLON: Yea, they're laughin’, and he isn CHESTER: What do you suppose they done to hin? DILLON: Look at his mule, Chester. That's what they done. CHESTER: oh, oh my goodness! Why, he's lost an ear! SOUND: tyier § Short are laughing SHORT: (off mike) Well, I guess there's just no pleasin' some men, Tyler. PENDLE, You shouldn't a-done that to my mule DILLON Did you men do this? TYLER: Now, Marshal...we ain't done nothin' to Pendle. DILLON: Did they do this, Pendle? PENDLE: I tried to stop 'em, but Tyler held me. An' they gave me the ear. Marshal. It's right here, see? DILLON: All right, turn around both of you. SHORT: What? 24DILLON: (shouting) Turn around, I sai SOUND: scuffling boots in gravel DILLON Now take their guns, Chester. CHESTER: Yes, sir. SHORT: You can't do nothin’ to us. Marshal. We didn't hurt Pendle none. DILLOI (strongly) I don't like what you did to his mule. CHESTER: T got tem, DILLON: you can turn around now. (boots scrape on gravel) I oughta cut an ear off each one of you, but I can't do that, so I'll do the next best thing. SOUND: fight, grunts, scuffle, blows. DILLOI Leave ‘em there, Chester. (pause) Pendle, I'm sorry about your mule. PENDE! He ain't much of a mule anymore. DILLON: Well, you go take care of him huh? Maybe these two will leave you alone now. PENDL: Poor mule! MUSIC: Bridge, into... 35SOUND: noisy barroom KITTY: You know what Weed Pendle told me yesterday, Matt? DILLOI Well, it coulda been most anything knowin' him. Kitty. KITTY: No...this kinda made sense. I asked him if he was ever lonely, and he said ‘no, T never stayed anywhere long enough to get to know anyone that well! (laughter in background) DILLON: Maybe he's not strange, after all. KITTY: Aw, now what are they up to? DILLOI Who? KITTY: Tyler and Short. They just came in with Pendle. Look, Matt, He's got his guitar with hin. DILLON: Yea. SHORT: (off mike aways) Hey! Listen, Everbody! Now, wait a minute! The little Yankee is gonna play his guitar for us. At least he's gonna try. Ain't ya. Yank? PENDLE: Don't sheot my mule. TYLER: We ain't gonna shoot your mule...not if you play good enough. SHORT: Go on! Get started!...if you know how.. (laughter) 36PENDLE: All right. I'11 play it. KITTY: ‘They're gonna kill his mule. Matt. You gotta stop this. DILLOI No, wait a minute. Kitty. Just sit quiet and listen. SOUND: Smooth guitar solo begins as laughter and talk dies down. [GUITAR SOLO OF OLD-TIME BALLAD, with occasional sounds of yes! & say! from crowd in background] ?then applause and exclamations at the end. KITTY: Aww, Matt!...that was beautiful! DILLON: Yea, he kinda surprised ev! rybody. KITTY: tyler and Short don't look too happy about it. PENDLS: The crowd's with Pendle. KITTY: Those bullies are leavin’ DILLOI Yea, they'd better. Mustc: Bridge. .segue into? SOUND: Footsteps on gravel TYLER: Hello, Yankee. PENDL: What? 37TYLER: You been playin' that gittar a long time in that saloon, ain't you, Pendle? PENDLE: They wanted me to. They liked it. TYLER: Me and Short been waitin’ to tell you how we liked it, too. SHORT: Yea, lemme see that gittar, Pendle. PENDLE No! You hurt my mule. SHORT: Give it to me! (noises) TYLER: I got a gun in your belly, Pendle. Don't you move. PENDL: T want my git-tar. SHORT: You kin have it. I just sorta wanta ‘tune’ it for you first. SOUND: wood smashing - moans, grunts SHORT: You know, that's another thing that's wrong with this gittar. It's a little bit too big for a man like you. But I can fix that, too." SOUND: wood smashing SHORT: (laughing) There ya are, Yankee soldier. TYLER: All right. That oughta learn him. Let's go now. Short. (laughing) 38MUSIC: Bridge into SOUND: footsteps on hardwood floor DILLOI Are they both dead. Doc? Dot Ah, yes. Real dead. For several hours, at least. Throats slit. CHESTER: sleep when it happened. Doc. Why, they musta been DILLOI It looks like Short there, struggled a little. I guess Tyler got his first and it woke Short up for a minute. Dow He wasn't awake for very long. Matt DILLOI "Just long enough to see who was cuttin’ his throat probably. Dow (footsteps) Well, I'm all through here. Waddya gonna do? Well, he can't talk now. DILLOI We'll let the hotel worry about ‘em. I guess it's Weed Pendle I want now. CHESTER: And him such a mild little fella, too. DILLOI Any man can take just so much, Chester. boc: I sure hate to see poor Pendle hang, Matt. for killing these two buzzards, 39SAM: (approaching) Mister Dillon, wait! It can’t have been Pendle. He was with me all night. CHESTER: Then who woulda done it, if it wasn’t Weed Pendle. DILLON: I don't know, but I do know one thing. There's a law against murder. And it's the same for ev'rybody! (src) ANNOUNCER: Gunsmoke! This story, The Guitar was especially written for Gunsmoke by John Meston, and adapted for radio by Norman McDonald. Will Matt Dillon find the killer--tune in next week to find out! And now, another message from our sponsors. (msi COMMERCIAL: HIDDEN VALLEY RANCH ALIYA: You picked a lettuce so fresh you can still feel it growing Crunchy cucumbers (mouth sounds) Tomatoes, still warm from the sun (mouth sounds) But hey, shouldn't your dressing taste as fresh as your salad? (mouth sounds) Come with us to hidden valley where the ranch dressing says fresh in every creamy bite (mouth sounds) Come to the valley- hidden valley Where the taste of ranch was born (music)ANNOUNCER: Thank you Hidden Valley! And what goes better with Hidden Valley Ranel than corn! COMMERCIAL: JOLLY GREEN GIANT (music) CONNO: In the valley of the Jolly. Ho Ho Ho, Green Giant Every year, at the valley fair, they judge Green Giant Niblet Corn against all comers, and Niblets Corn always wins.. The green Ribbon The judge explains, an ordinary can of corn contains lots of water. To keep his Niblet corn crisper, the Giant gives you just as much corn, but almost no water. Then it's vacuum packed. Niblets brand corn is the Giants own special kind, grown to be sweeter. For the crispest, freshest tasting corn, try Green Giants Niblet Corn. ANNOUNCER: Now our Radio journey takes us back to 1941, mystery: THE SHADOW! to a classic radio DRAMA: THE SHADOW Shado} Who knows what evil lurks in the hearts of men? The Shadow Knows! (laughs) ANNOUNCER: Aman of mystery who strikes terror into the very souls of evil-doers everywhere. Lamont Cranston, a man of wealth, a student of science, and master of other people's minds, devotes his life to righting wrongs, solving crimes, protecting the innocent, and punishing the guilty. Using advanced methods that may ultimately become available to all law enforcement agencies, Cranston is known to the underworld as The Shadow; never seen, only heard - as haunting to superstitious minds as a ghost; as inevitable as a guilty conscience. With his friend and constant companion, the lovely Margo Lane, The Shadow meets up with danger tonight when -- The Ghost Walks Again. ANNOUNCER (CONT) : Night, peaceful night has fallen on a small New England town. We hear the footsteps of a couple from the town, heading toward a village 4a.meeting, taking a shortcut through an ancient graveyard, when suddenly Grace: Sam, look! Up there by the big oak. Isn't that a freshly dug grave? Well now..it certainly looks like one. Grace: Odd! That section's been closed off...there've been no burials there in over...two hundred years. We'd better take a look. Grace: Hold the lanter higher, Sam...that's it. That's the grave - of Sir Roger Mathus. Now who could have done that? say Grace: I don't know, but it's a terrible trick. Desecrating a two hundred year old grave ~ the grave of the first governor of our colony! Whoever the meddler was should Mathus: (Hollow Voice) No meddler desecrated this grave! Sam! Look! Walking toward us! 42Sam: His clothes are covered with dust! And so old! Knee breeches, powdered hat...Puritan wig. Grace: It's like a death mask! Sam, look at his fac It looks...like the old pictures of Sir Roger! Mathus: T AM Sir Roger. T have returned from the dead! T have returned to save thee and thy village from it's sinful ways! Sam: It can't be... it can't be! Mathus: ilence! If either of thee utters word I shall run thee through with this sword. Grace: What shall we do, Sam? Mathus: Thou shalt do as I command! The will of Sir Roger Mathus is law. To break it...means death! Death! music BABBLE OF VOICES. A GAVEL QUIETS THE CROWD. Stebbins: Quiet! Quiet. Townspeople -- gentleman and ladies -~ the issue that brings us here tonight is this old meeting place. As you all know, it was erected in 1712 by the first Governor of this colony, Sir Richard Mathus. And as you also all know, nothing has been disturbed within these walls since that day. The furniture, the paintings, even the ancient punishment stocks and torture presses are all in their original places. CROWD ADLIBS REACTION 43Stebbins: Now, some members have proposed that this hall, which has always been a private gathering place for the descendants of the first settlers of the village, be opened to the public as a museum, and an admission price be charged. Silas: The proposition is an outrage! Stebbins: Please, Mr. Crossman! Silas: An outrage, I say! Thou art violating the very laws passed down to us by our founder, Sir Reger Mathus! Someone go inte the next room and fetch the original ruling, written in Sir Roger's own hand...you go, Harvey! Harvel Yes sir. FOOTSTEPS AND DOOR OPEN Silas: I shall read to thee his document and ye shall see- Harve Oh no...no! Stebbins: What is it, Harvey? Harve! In the press - the ancient torture press - there are two bodies! CROWD ERUPTS IN A HUBBUB Stebbins: What? Harve! It's Sam and Grace Merrill! They've been ~ crushed to death! Stebbins: There's a note in Sam's hand! 4aHarve| It locks like old parchment... Silas: What does it say? Harvey: nt...signed by...Sir Roger Mathus! It's an ancient death wa: MUSIC TRANSITION Sherriff: And that was the night the whole thing started, Mr. Cranston. Margo: oh, that's so gruesome, Lamont! Lamont: Indeed, Margo. Sherriff, have the state police uncovered anything? Sherriff: Nope, they're as baffled as we. That's why I sent for you. Margo: Has the ghost of Sir Roger been seen since? Sherriff: and there have been others that have died by his hand. Yes, Miss Lane. Many times. Margo: How many? Sherriff: Three. One was found in the stocks. Another, that was used for just that purpose in the olden days. A third was tied to the ancient ducking stool. We found him in the «drowned. Each one was clutching a parchment death warrant. hanging from the tree Lamont: Have there been any clues at all? Anything that would link these crimes together? Sherriff: 45Well...everyone who died was in favor of opening the old meeting place to the public. Lamon} I see. Sherriff: But that only strengthens people's belief in the ghost of Sir Roger...They say this is his vengeance for proposing such a move. Lamont: Aside from the ghost of Sir Roger, who is opposed to the opening of the meeting place? Sherriff: Quite a few would vote that way...the leader of the faction is old Silas Crossman. Lamont: Was he present that first night when the bodies were found? Sherriff: Yes...yes, he was...but you can't suspect him, Mr. Cranston. Old Silas is one of our leading citisens...his family was one of the founders of the village. Lamon| Tell me Sherriff...this ghost of Sir Roger he been seen? just where and when has Sherriff: He's always been seen in the old meeting hall...usually at the hour of midnight. Lamont: Very well...then WE shall seek out the gho Mathus...this very night! music © of Sir Roger Margo: (softly) Lamont...I don't think the ghost will ever appear. Lamon| The evening isn't over yet, Margo...Not frightened, are you? Margo: No...of course not... I mean...not very. 46CLOCK STARTS TO STRIKE MIDNIGHT Lamon} Listen...Midnight. The hour for the ghost to appear. (CALLS OUT) Sir Roger!...Sir Roger! If you are within the sound of my voice I defy you to show yourself. Margo: (AFTER A PAUSE) No one answers Lamon| Give him time, Margo. Give him a chance to... Margo: (sharply) Lamont, listen! Ex: DOOR CLOSES IN DISTANCE, FOOTSTEPS. Lamon} That did it. He's heard me. He's coming. Give me that flashlight, Margot. Margo: Here... Mathu (HOLLOW VOICE) Who called to me? Speak up! Who summoned Sir Roger Mathus? Margo: (WETSPERS) Look there, Lamont! Lamon| I did, Sir Roger! Margo: That face -- it's not human! Mathu Why art thou here? Lamon| tye heard a lot about you, Sir Roger...the fear you've created in this village... a7Mathu ols! The fate of the others will be thy fate as well! Thou art Lamont: We have no fear! Come ahead...begin your destruction curious to learn your powers! I am most Mathu I select the time for my revenge! Lamon| I see. then you are not going to harm us tonight, is that it? Very well, if you won't come to us, then we shall come to you? Mathu Stay where thou art...I wara thee! Lamont: Come on, Margo...we're going up to meet Sir Roger right now! Bx: RUNNING FOOTSTEPS Lamont: Hurry, Margo...Up these stairs PK: MORE, STEPS, A PANEI, CLOSES SHUT. Lamon| Well, Sir Ro He's gone! Margo: But where? Mathus: (OFF MIKE) I have chosen not to meet thee at this moment. Margo: Where is that voice coming from? Mathu Listen to me, both of you! 48Lamont: He must have gone through a secret panel. Mathu ‘Thou has defied the laws of Sir Roger Mathus shalt DIE for it! and by my sword...thou Music: Anner: The next morning, Lamont Cranston and the lovely Margo Lane returned to the town meeting place, to try discover the origin of their ous visitor of the previous night. myste: Lamont: The hall certainly looks different in the daylight, eh Margo? Margo: Sure does. Did you say anything to the sherriff about last night's encounter, Lament? Lamon No. I thought it best not to mention it to anyone for the present...We do know now, though, that Sir Roger proved himself to be a very human gaost. Margo: Yes. Lamon| and what his motives might be. discovered. But who he is. remain to be Margo: And how he got away! Lamont: Yes, that's what we must find out right now. We're looking for a secret panel, I think. You start at this end Margo... (MOVING OFF-MIKE)...and I'll look down by the speaker's stand....I£ you find anything suspicious, call me EX: KNOCKS ON WALL Margo: 49Well, this panel seems solid enough...No sign of any... Darrow: (QUIETLY, BUT RIGHT ON MIKE. YOUNG PLEASANT FELLOW) Good morning. Margo: (STARTLED) oh! Darro} Sorry...I didn't mean to frighten you. Margo It's alright...I just didn't hear you coming... Darrow: I'm Edward Darrow. Lamont: (WALKING UP)...and I'm Lamont Cranston, and this is my companion, Margo Lane. ALL EXCHANGE GREETINGS Darro} The sherriff tells me you've been trying to track down our elusive ghost. I'll be relieved if you succeed. Margo: Why is that? Darro} Well, I'm more-or-less the leader of the group who wish to open this meeting hall to the public...and most of the rest of the group has met death at the hands of the ghost. Lamont: You feel you might be next? Darro} Yes, sir. Lamont: ave there been any attempts on your life? Darrow:Not yet, knock wood.. (FX: HE DOES so) Although my uncle probably wishes there had been. Margo: Your uncle? Darro} Silas Crossman. He heads the opposition group. He's plenty sore at me. Lamon| I see. Darro} So, have you discovered any clues to the killings yet? Lamon| Not yet. We were just looking around in here...having heard of the ghost...and knowing that all good ghosts use secret passageways and such...we hoped we might stumble on one. Darro} Say, perhaps I can help you. Lamont: How? Darro} Well, I'm to be in charge of the restoration work in this hall if it's ever opened to the public, and I have a sheaf of the original plans at ome... Margo: Oh, could we see them? Darrow: Sure. I could bring them back by here, tonight. Oh...by the way trust no word of this will get back to my uncle Silas...he might...well.. Lamon| We shan't mention it to anyone. Darro} until tonight... Thank you S12THEY EXCHANGE GOODBYES. Px: FOOTSTEPS FADE. DOOR CLOSES. Lamon| Margot, I think it's time we invetigated Mr. going to pay a call on him right now as. Silas Crossman...I'm .the Shadow! SIC FX: SCRATCH OF PEN Shadow: (naughs) Silas: What was that? Shadot Sorry to interrupt your letter-writing, Mr. Crossman... Silas: Who are ye? Where does thy voice come from? Shado} -don't trouble yourself to look I am right beside you, Silas Crossman... Tam called...The Shadow. for me...no human eyes have ever seen me. Silas: What brings thee into my house? Shado} Silas Crossman -- the ghost of Sir Roger I'm in search of ghost, Mathus! And I believe you know all about him. Silas: I know nothing more than the others Shador Why are you oppposed to the opening of the old meeting hall? Silas: 82