
(49) Magic Island - Ready To Throw Switches
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Joan
Perfect.
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Narrator
When Captain Bradford decided to attempt to escape with the rescue boat, which Johnson sailed to within a few miles of The Magic Island, Mrs. Gregory and the captain planned to send a cold message to Johnson and have him standing by to help them when their fuel ran out. However, it was discovered that even though the captain's formula put all the chemists to sleep in the laboratory, the other Euclideans are very careful in their watch over the island. And the radio message can't be sent from the boat. Jerry and Joan take a desperate chance in going down into the lower levels of the island and in trying to escape from one of the Euclidean guards. They are climbing down the inside of an elevator shaft when the elevator starts down after them.
Joan
Jerry, that car has passed the fourth floor.
Jerry
Can't you get this door on the sixth floor open?
Joan
No, we must just go down as fast as we can and hope the elevator does not catch us.
Jerry
Come on then. Hurry up.
Joan
I am hurrying, Jerry, but that car sounds very near.
Jerry
Well, if we have to, we'll yell and give ourselves away.
Joan
It would do no good. The inside of the car is so noisy we could not be heard.
Jerry
Joan, the elevator stopped.
Joan
The guard is leaving the elevator on the fifth level.
Jerry
He's gone now. Well, I guess he decided we were on the same level with the laboratory.
Joan
That does not seem right, Jerry. The guard would know we could not be on that level. There is something else happening.
Jerry
Hey, what was that for?
Joan
That was a general alarm for the laboratory on the fifth level.
Jerry
Well, let's do something about it.
Joan
There is nothing we can do, Jerry. But we must hurry to the bottom of this elevator shaft and try to reach the power chambers in the sub level.
Jerry
Let's hurry it up then. I'm getting mighty tired of playing tag up and down this little steel ladder in the dark.
Joan
We have only about 40ft to go now, Jerry.
Jerry
Oh, that's nice. Just about 40ft more down this ladder. What do we do when we hit the bottom?
Joan
There is a steel floor at the bottom and doors open on all sides of the shaft. I will show you which one to use.
Jerry
I'll be glad to see any kind of a door that will open when we want it to.
Joan
If you would talk less and move faster, Jerry, we would soon be down.
Jerry
Okay with me. Here goes for silence. And action. Hey, you stepped on my fingers.
Joan
I thought you were going to hurry.
Jerry
I'll show you some hurrying. Oh, boy. I'm down on the floor.
Joan
I will be there in a moment.
Jerry
Jerry hurried up.
Joan
Oh. Oh, Jerry. That was a long climb, was it not?
Jerry
Sure was.
Joan
We will try this door directly in front of us. Do not use your flashlight, Jerry. We must only feel our way in the dark until we are in a lighted passage.
Jerry
Okay. How do you open this thing?
Joan
Just push it gently, Jerry. It should be quite noiseless.
Jerry
Well, I'll try it. Yes, it moves all right. Hey, look, Joan. There's a crack of light around the edge of the door.
Joan
Now open it very carefully, Jerry. It is possible there will be a guard stationed there.
Jerry
I'll sneak it open. There it is. Now, that's open. Far enough to get out through. I don't see anyone yet.
Joan
Then it will be safe to go out into the passageway. Go on, Jerry.
Jerry
Okay. No, not a soul in sight.
Joan
Close the door carefully. I think it is noiseless, but we must take no chances.
Jerry
Right. There it is. Now. Where?
Joan
As you can see, this corridor or tunnel runs around the outside of the lowest level in the island proper. We are now 100ft below the level of the surface of the island and about 90ft below the water level.
Jerry
And these power rooms we're trying to get to are still further down?
Joan
Yes. There are two sub levels under us. The rooms we are interested in are in the first level directly under our feet. Then let's.
Jerry
Let's get going and do something about it.
Joan
We will go carefully and swiftly around this curving passageway to the steps which lead down into the power rooms. And then.
Jerry
Well, what if we run into one of these guards?
Joan
Oh, there is no if, Jerry. We will meet one of them.
Jerry
Oh, that's nice. What do we do with him?
Joan
We must put him to sleep with a ray gun.
Jerry
Yeah, but what's he going to be doing all this time?
Joan
We must give him no chance to do anything. As we start to walk from here, you will walk in front of me. I will point my ray gun at your back as if you were my prisoner.
Jerry
Well, don't forget we're just playing that I'm your prisoner.
Joan
Do not worry about that. When we meet the guard. I will tell him that I followed you down here and captured you. Then I will find some excuse to walk back here and he will start the other way with you. That will give me an opportunity to use the ray gun on the back of his head.
Jerry
All right, then, after this guard goes to sleep, what do we do next?
Joan
As this is a 302nd ray gun, the guard will only sleep for five minutes. In that time, we must go down into the power rooms, pass such other guards as we have to shut off the power and escape from this level.
Jerry
Oh, and we've got five minutes to do all that in. Hey, what do we do in our spare time?
Joan
I think that will take nearly all of the five minutes.
Jerry
Yeah, I wouldn't be surprised. Well, come on, let's meet this guard and get it over with. Hey, that means the chemical laboratory again, doesn't it?
Joan
Yes, Jerry, something very important is taking place there. That is the second alarm. And that means that everyone on the island who can is to rush to the fifth level at once.
Jerry
How about these guards we've got to meet around here. Will that alarm also get them out of the way?
Joan
No, the guards will not leave their places for any reason. But the alarm will call everyone not on guard duty or in the confinement cells.
Jerry
Say, how about those confinement cells? If everybody on this island is a Euclidean, whether they have to have those guards all over the place and so many cells.
Joan
There are a great many people here who are not really Euclideans. Captain Bradford was very near the truth when he said that many of the island people must be no more than prisoners. That is exactly what they are. Prisoners who are made to do all the hard work at the bidding of the Euclidean scientists.
Jerry
They're not getting much action. Whatever it's all about and get this over with.
Joan
You walk a few steps ahead of me. I will hold this ray gun carefully trained on your back. Remember how you are to act as we meet the guard.
Jerry
I got it. Come on.
Joan
We should meet him just around the curve in the passage. Say no more. Until we arrive there,
Guard
You will stand where you are. Do not advance another step. What are you doing in this passageway?
Joan
I am Cleostra. This man is my prisoner. Guard. I am taking him to the general control chambers for questioning by the Euclidean Board of Governors.
Jerry
Hey, now look here. I wasn't doing anything. I was.
Guard
What was this man doing here? Cleostra?
Joan
I was instructed to guide him to the chemical laboratory on the fifth level. He has an antidote for the sleeping gas which has overcome the scientist.
Jerry
Well, what if I have silence? Okay.
Narrator
Proceed.
Guard
Cleostra, what is this man doing here?
Joan
I took him to the fifth level as instructed. There he broke away from me and reached this level before I could overtake him. For some reason, he has refused to take the formula which he holds to the laboratory.
Guard
Why is that, fool?
Jerry
Because if those Euclideans never wake up, it'll be too soon for me.
Guard
So I think I.
Joan
No, not that. Guard. He must be taken unharmed before the remaining scientists and compelled to deliver the formula. Then he is to stand close by and watch it compounded in the laboratory. This is to prevent any treachery.
Guard
That is well ordered. If he escaped from you once, how can you be sure of delivering him safely there now?
Jerry
She can't be. It'll take more than a girl with a ray gun in her hand to take me anywhere. If she uses that thing on me, I'll only go to sleep for five minutes. I'm kind of tired anyway.
Joan
I have a plan. Guard, you take this man to the scientist. Your ray gun will put him in a far different kind of sleep. If he resists you, I will attend your station until you return.
Guard
Good as well. These men in the laboratory must be revived at any cost. I will take him. Precede me, fool. And remember that this ray gun will put you to sleep for a thousand years. Walk quickly that way.
Jerry
Okay, okay. But you don't have to get so rough about silence.
Guard
I will return soon, Cleostra.
Joan
That is well. All right, Jerry, you may turn around now.
Jerry
I hope I can turn around. Yep, my neck moves anyway. Boy, when I heard that ray gun start crying up the back of my neck, I sure got a scare.
Joan
He will sleep nicely there for five minutes. Now, we must hurry on, boy.
Jerry
He didn't make a sound when he fell on this noiseless floor. Say, talking about making a sound wouldn't they hear that ray gun down in the power room?
Joan
No, Jerry. The power room is not noiseless. It is another room that is kept deliberately noisy. So the human ear will learn to distinguish the sounds of the various machines and whether or not they are in perfect operation.
Jerry
Okay, come on, then. Let's beat it. For the power room.
Joan
And when we get there, we will just have to walk boldly in. I know the location of the principal switches and valves. We will have to move rapidly. You must do as I tell you about everything you touch. Then our chances of escape will be a matter of seconds. Possibly a fraction of a second.
Jerry
Did you ever try to cut a second up into little pieces?
Joan
Of course not, Jerry. But a second does have an element of time within its limits which gives the human brain scope enough to encompass a considerable flight of mental activity.
Jerry
I got it. A second gives you long enough to think about all the other places you ought to be when the ray gun starts on you.
Joan
Come, Jerry, this is not the time for joking.
Jerry
I sort of figured that out for myself.
Joan
Quiet now. There is the door of the power chamber stairway. We must descend one flight.
Jerry
All right. Do I. Do I just jerk it open?
Joan
Yes, open it. Barely a crack at first. We may see something of advantage. Slowly and carefully now, Jerry.
Jerry
Gee, what a place.
Joan
It is wonderful, Jerry. There is enough power generated here to light a city in your world.
Jerry
Boy, I believe it. Well, what do we do now?
Joan
Let me see. Yes. Do you see those two large valves at the foot of the steps to your left?
Jerry
Yeah.
Joan
You will open those wide and do it quickly. I will open all the switches on the master panel in the center of the room. Then we must run madly back up these steps and out.
Jerry
But, hey, you're going to take the dangerous part. You'll be farther from the door.
Joan
No, Jerry, it will take you longer to open the valves now. Ready?
Jerry
Ready.
Joan
Then we go.
Date: June 9, 2026
Host: Harold's Old Time Radio
Episode Theme:
This episode brings to life a classic adventure from the Golden Age of Radio, featuring an episode of Magic Island. The story follows Jerry and Joan as they make a daring escape through the mysterious and dangerous corridors of Magic Island, intent on sabotaging the island’s power source amid alarms and relentless guards.
The episode centers around suspense and quick-witted adventure. Jerry and Joan navigate through labyrinthine passages and face tense encounters with guards as they attempt to disrupt the power systems of Magic Island. The purpose is to showcase not only the ingenuity and resourcefulness of the protagonists but also to capture the tense atmosphere of pre-television audio storytelling.
The dialogue is brisk, suspenseful, and peppered with light-hearted jabs—especially from Jerry. Joan remains composed, logical, and a source of critical knowledge. The unfolding events balance serious threats with the wit and pluck of the main duo—hallmarks of vintage radio adventure.
This Magic Island episode immerses listeners in a classic, edge-of-your-seat radio tale of escape, ingenuity, and sabotage. The chemistry between Jerry and Joan, combined with the perilous setting, makes for a gripping installment that’s emblematic of the era’s storytelling style.