Atlanta Radio Theatre Company - Into the Labyrinth

Summary

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Atlanta Radio Theatre Company – "Into the Labyrinth"

Podcast: Harold's Old Time Radio
Episode: Atlanta Radio Theatre Company - Into the Labyrinth
Date: March 19, 2026

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Episode Overview

This episode features a production by the Atlanta Radio Theatre Company, presented in two distinct segments as part of their "Into the Labyrinth" anthology:

1. Farm Report of the Worlds – A satirical homage to Orson Welles' iconic "War of the Worlds" radio broadcast, set the morning after Martians invade Grovers Mill, New Jersey.
2. Penny Dreadful – A modern supernatural mystery in a library, descending into metafictional horror as two friends encounter a haunted book hungry for a conclusion.

The productions blend humor, nostalgia for the golden age of radio, and chilling supernatural suspense, inviting listeners to reflect on the power of storytelling and the perils of dismissive laughter when it comes to creative works.

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Key Segments & Discussion Points

I. Farm Report of the Worlds (Starts ~01:02)

Parody Newscast in Grovers Mill

• Setting: Morning after Welles' 1938 "War of the Worlds"—local radio station WGAG broadcasts the farm report as normal life collides with sci-fi chaos.
• Cast: Bob Pearson (farm report host), Ken Phillips (agricultural agent), local callers.

Notable Moments & Quotes:

• Strangeness is played for laughs as the farm show takes calls about "red weeds" and "tentacled creatures" in the yard:
  • "[Caller]: ...my whole front yard isn't full of these weird looking red weeds. What are them things?" (03:34)
  • "Ken, I was just about to get to the Farm Press report, but let's put that off. We haven't had open lines for a while and here you are." (02:59)
  • "[Caller, panicked]: They're crawling out of this crater-like hole. They're waving these tentacle-like things." (04:42)
  • "[Ken]: Oh, what you got there are slugs, Dwight." (04:49)
• The farm report is hilariously unconcerned by Martian invasion, mistaking clues for typical rural nuisances:
  • "[Ken]: Slugs are crazy about beer. And they'll crawl right down into that bowl, a whole bunch of them. And they'll get drunk." (05:21)
  • "[Bob]: You could say they'd have a slugfest, Ken." (05:34)
• Subversive intrusion: Martian commands begin to blend with the farm prices:
  • "[Bob]: Obey your alien overlords. Winter wheat remains steady." (07:53)

Time Stamps:

• Farm Report Begins: 01:55
• First Listener Call: 03:26
• Alien Parody Intrusion: 07:53

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II. Penny Dreadful (Starts ~08:25)

Introduction:

A shift from parody to supernatural suspense. Librarians Ben and Caroline discover a mysterious, previously unseen Victorian penny dreadful, "The Adventures of Percival Plank in the Cult of Moonlight and Brimstone,” which soon entraps them in a literary nightmare.

Main Story Beats:

• Caroline and Ben, research librarians, discover a book that shouldn't exist (10:25). Its author, the publisher, and the editor are all shrouded in literary footnotes and scandal.
• The narrative inside the book starts to change, reflecting the librarians' actions and emotions (13:38).
• Supernatural intrusion: A menacing voice from the book confronts Caroline, demanding "Give it back. You’ve seen more than is good for you." (18:31)
• Background research uncovers a tragic literary scandal (19:03):
  • Miss Antonia Tate, the failed author, was so shamed by the editor's rejection of her work that she shot him.
  • The haunting arises from wounded creative pride—a craving for vindication, yet a terror of exposure.
• The curse manifests:
  • The voice demands an ending, paralleling Antonia's own inability to find literary resolution (22:22).
  • Tragedy strikes—Ben is found bleeding, the curse violence made real. Caroline pleads to take responsibility for mocking the failed author’s work (23:45–24:13).
  • The story closes with ambiguity and horror: The spirit insists, "You were laughing at me. Now you will never laugh again." (24:20)

Themes and Reflections:

• Metafictional Horror: The fictional and real worlds blur; the book "writes" its readers' fates.
• Creative Vulnerability: Mocking failed art can have unintended consequences—literally in this ghost story, emotionally in the real world.
• Haunting Consequences: The curse is only broken, perhaps, when the victims acknowledge the pain behind creation—and stop laughing.

Notable Quotes & Dialogue:

• "[G]: ‘It's a little hard to calm down when you've been reading about yourself in a book written over a hundred years ago.’" (13:38)
• "[D]: ‘The book’s haunted.’" (14:52)
• "[G]: ‘To want your work to be seen, but at the same time to be ashamed of it. She must have waited to hear our reaction. And, oh, God, we laughed.’" (20:50)
• "[J]: ‘They laugh. They always laugh. I’ll stop them from laughing. They won’t laugh.’" (12:48+; recurring spectral voice)
• "[J]: ‘How does it end?...I have no ending.’" (22:22, 22:31)

Time Stamps:

• Library Life & Discovery: 08:25–11:10
• Strangeness Unfolds: 11:10–13:00
• Supernatural Manifestation: 13:28–15:00
• Research & Backstory: 17:08–20:45
• Book Demands Conclusion: 22:22–22:56
• Tragedy & Climax: 23:35–24:37

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Memorable Moments & Tone

• Comic Parody (Farm Report): Light, witty, blending rural Americana with Martian absurdity.
  • Example: "[Bob]: You could say they'd have a slugfest, Ken." (05:34)
• Modern Meta-Horror (Penny Dreadful): Self-aware, suspenseful, fusing humor with mounting dread and compassion for literary failure.
  • Example: "[G]: ‘To want your work to be seen, but at the same time to be ashamed of it...’" (20:50)

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Cast and Credits

• Cast Members: Ariel Stewart, Jonathan Strickland, Trudy Leonard, Hal Wideman, Ron Butler, Claire W. Kiernan, David Benedict, Kelly Swilley, Brad Strickland.
• Special Notes: The plays were performed as part of "Into the Labyrinth 2005," produced and directed by Jeffrey M. Brown and David Benedict.

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Final Thoughts

This episode is a showcase of the enduring power and imaginative freedom of audio drama. Through the ghostly lens of failed creators and the playful disruptions of Martian invaders, the stories remind us: laughter, and even derision, leave an imprint. With sharp wit and genuine chills, Atlanta Radio Theatre Company brings the traditions of radio storytelling to life for new generations—one haunting at a time.

"Don't forget... there is adventure in sound."

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Transcript

[A]

Hey, it's Howie Mandel and I am inviting you to witness history as me and my Howie do it Gaming team take on Gilly the King and Wallow $267 million gaming in an epic global gaming league video game showdown. Four rounds, multiple games, one winner, plus a halftime performance by multi platinum artist Travy McCoy. Watch all the action and see who wins and advances to the championship match against Neo right [e-mail] that's globalgamingleague.com everybody games.

[B]

Here we are again with another edition of Artsy's podcast, the online venue of the Atlanta Radio Theater Company. You can reach us on the [e-mail]. so if you haven't had your fill of Halloween yet, you're in the right place. This is our spontaneous post All Hallows Eve show. So feel free to gorge yourself on the dregs of your Halloween candy as you sit back and listen to these plays.

[C]

On the night of October 30, 1938, a young Orson Welles led the Mercury Theater in a radio adaptation of H.G. wells, the war of the Worlds. The boy wonder Wells panicked a nation with his drama of alien invaders from Mars attacking the small town of Grovers Mill, New Jersey, and then New York City and then the world. Wells was a network star heard coast to coast. However, hundreds of smaller AM radio stations around the country were left to deal with the aftermath like the one we visit in Brad Strickland's searing account of the morning after. Join us for Farm Report of the Worlds.

[D]

Good morning, Grovers Mill, and welcome to another broadcast day from WGAG, the voice of west central New Jersey. It's 5:00am, farm friends, and time for the morning Farm Report. This here's your old buddy, Bob Pearson. First, the weather for this Halloween. The National Weather Bureau says we're in for a crisp fall day with a high of 45 this afternoon, dropping down to 30 tonight. We just might get a little frost in those Halloween pumpkins. Well, look who just walked into the studio. Ken Phillips, the agricultural agent. Pull up a chair, Ken. Didn't expect to see you for another hour.

[E]

Good morning, Bob. And good morning to all our listeners out there. You know, Bob, with all those meteorites falling last night, I couldn't get a wink of sleep, so I thought I'd just check in early. Now, how are you this time of the morning?

[D]

Still rubbing the sleep out of my eyes, Ken Mercy. Wasn't that meteor shower something? Folks, if you were out last night, you might have seen Them mighty bright, mighty pretty.

[E]

Beat any fireworks show I ever saw.

[D]

Ken, I was just about to get the Farm Press report, but let's put that off. We haven't had open lines for a while and here you are. So you folks out there, if you got some questions for Agricultural agent Ken Phillips, just pick up your phone and dial Grover313 and he'll give you the answer, even if I have to make them up. And the phone lines are lighting up already. Hello, you're on the Farm Report with Bob Pearson and Ken Phillips.

[F]

This is my first time calling in. Land sakes, I'm so nervous.

[E]

Oh, we're pretty easy to talk to. Now. Who are you, ma', am, and what's your problem?

[F]

Well, this is Pauline Wilmoth. Me and my husband live out on the Princeton and we love your show. But here's my question. I got up this morning to milk the cow and blamed if my whole front yard isn't full of these weird looking red weeds. What are them things?

[D]

Can you describe them, Mrs. Wilmoth?

[E]

Yeah. Is it a low growing broadleaf type of weed?

[F]

Oh, mercy, no. It's about 3 foot high. It has real funny leaves, all frilly and sort of lacy. Bright red. Real bright red.

[E]

Well, it sounds to me like you got some kind of purple dockweed. I tell you what, you could put a herbicide on there.

[D]

Yeah, something like a little sure. Kill.

[E]

Yeah, sure kill would do it. Or a little no, Doc. But tell you the truth, we're gonna probably have a frost this evening, Pauline. And if I was you, I'd just let old Mother Nature take care of those pesky weeds.

[F]

Well, that's just so good to hear. We love your show. Thank you now, Ken.

[G]

Bye bye.

[D]

Not much old Mother Nature can't take care of, Pauline. Well, look at these phone lines. Well, you're next on the farm report.

[G]

Hello, Hello.

[D]

This here's Dwight Farrell out towards Monmouth. They're a crawling out of this crater like hole. They're waving these tentacle like things.

[E]

Tentacle? Oh, what you got there are slugs, Dwight. You see, a lot of people don't know this is the time of year when slugs lay their eggs.

[H]

Oh.

[D]

Oh Lord, they're coming for me. Uh, well, we got us a bad line here, Dwight. So I'm gonna ask you to listen to Ken on your radio.

[E]

Now, Ken, slugs can be right hard to eliminate, Bob. But here's a little trick you might not have heard of. You get yourself a steep sided glass bowl, say about a 2 quart bowl. And you get some beer.

[D]

Oh, I like this remedy already.

[E]

Well, it can be cheap beer, Bob, so I bet you would enjoy it. Now you pour about half a pint of beer in that bowl and you just leave her out overnight. Slugs are crazy about beer. And they'll crawl right down into that bowl, a whole bunch of them. And they'll get drunk.

[D]

You could say they'd have a slugfest, Ken.

[E]

I could, but I won't, Bob. Now those drunk slugs will fall in and drown. And that's the easiest way to get rid of them.

[D]

Mercy, you learn something new every day.

[E]

Sounds like we might have a drunk slug out in the studio office, Bob.

[D]

Well, I'll run check it out. Meanwhile, you good folks, listen to this word from our sponsor.

[H]

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[A]

Hey, it's Howie Mandel and I am inviting you to witness history as me and my Howie do it gaming team take on Gilly the King and Wallow267's million dollars gaming in an epic global gaming league video game showdown.

[D]

4.

[A]

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[I]

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[H]

Quick clip, snip, snip, snip.

[D]

Quick slip. We're back from commercial and this is your old buddy Bo Pearson with the farm prices. Pumpkins reached a seasonal high yesterday and

[C]

are expected to decline.

[D]

Obey your alien overlords. Winter wheat remains steady.

[C]

Resistance is futile.

[H]

Corn prices are Expected to roll.

[D]

How's that marginalia coming?

[G]

Transcription's almost finished. Give me another half a minute.

[D]

Anything interesting?

[G]

It's in shorthand. Either it's suggestions for revision or recipe for lemon frosted tea cake or a covert love message.

[D]

You know how those romantic poets could get up to.

[G]

Well, it'll take some doing to crack it and find out. There. Five lines of inscrutability from the pen of Samuel Taylor Coleridge.

[D]

Maybe a piece of a lost sonnet. You could be onto a very important discovery there.

[G]

I'm not placing any bets.

[D]

You okay, Caroline? God, you could carry groceries in those bags under your eyes.

[G]

Well, this wild, raucous double life I'm leading is catching up with me.

[D]

Oh, you mean mild mannered, research librarian by day, hedonistic hellion by night.

[G]

Dancing for five hours straight, downing 20 margaritas on the rocks and making it with six different stud muffins all in one night. It gets exhausting. Wouldn't it be fun if I were serious?

[D]

Oh, sure, it'd be fun if I moonlighted as a Chippendale dancer too.

[G]

I'd pay to see that show.

[D]

Exotic, hot, bespectacled nerds and Speedos. One night only, we hope.

[G]

I had another fight with my sister.

[D]

What about the usual? Again with the whole get a life thing?

[G]

Uh huh. She claims that if I had a heart attack and died, it would be five weeks before anyone found my body.

[D]

Oh, come on. I'd find you, right?

[G]

You'd know something was wrong when I didn't show up for work at precisely 7:45am Caroline, Caroline, Caroline.

[D]

You can't let them get to you. Loud banging music, one night stands all night, benders and hangovers. Be honest. Is that your idea of a good time?

[G]

You know it isn't.

[D]

Well then let them say we have no life. Our life suits a pair of introverts like us.

[G]

Well, that's what I tried explaining to my sister till I was out of breath. She didn't get it.

[D]

Okay, if all else fails, tell her you're dating me.

[G]

Sherry, I'd like you to meet Ben, my significant other. He's a Chippendale dancer. Well, that ought to shut up for a while. Hello. What's this? Wonder of wonders.

[H]

Look at this.

[G]

Ben.

[D]

Golly gosh. A book here in the library. Who'da thunk it?

[G]

Hardy Har. Look, I've been plowing over that shelf for over a week now and I thought I knew every book on it, but I've never seen this one before. It's like it Just appeared.

[D]

Well, let's see what it is.

[G]

The Adventures of Percival Plank in the Cult of Moonlight and Brimstone. A lurid tale of mystery, lust and murder by Phyllis Anthony Lloyd.

[D]

Something tells me that Phyllis Anthony Lloyd is not one of those pen names Voltaire tossed out with the trash.

[G]

A lurid tale of mystery, lust and murder. Well, this may be interesting at that. One of those trashy, supernatural pulp pieces of yore. Oh, what did they call em I? Penny Dreadful.

[D]

Dreadful being the operative word, I expect.

[G]

So Percival awoke with the kiss of the purple sunrise warm upon his brow.

[D]

Oh, P ew.

[G]

Oh, it gets better. He tripped on tiptoe to the armoire, still adorned as always by the lace valentine sent him five years before by the lady he had never ceased to adore. Now unhappily affianced to the Duke of Piglingham. Oh, God. Somebody opened the windows.

[D]

Some books should just stay lost, you

[H]

know, Ben, I'm gonna.

[G]

I think I'm gonna take this home and read it.

[D]

One way to cure your insomnia, I expect.

[G]

It might be fun in its way. A masterpiece of pure putridity.

[D]

Plan nine from outer space, 19th century style.

[G]

Well, you got it. Think a minute. How many books on Coleridge are there?

[D]

I've lost count.

[G]

Over a hundred, probably. That's right. What's left to say? He was great, we all know that. But there might be some halfway decent scholarship in somebody like Phyllis Anthony Lloyd.

[D]

Alright, if you think so.

[G]

We could be literary paleontologists digging deep to discover the dung.

[D]

I'll let you have first crack at it.

[G]

Wimp. The masked murderer's fingers coiled about the throat of the hapless victim. She knew that she was about to die, yet all she could think of was a kiss. She denied the dimpled bow she knew too late that she loved. Oh, Ben was right. You're no fun at all, Phyllis Anthony Lloyd. Just boring. No wonder nobody does research on bad writers. They're bad.

[J]

They laugh. They always laugh. I'll stop them from laughing.

[G]

What is that?

[J]

They won't ever laugh again.

[H]

Hey. Hey.

[G]

What is that?

[J]

They won't laugh.

[H]

Who's there?

[G]

Nothing. Nobody. Oh, this thing must have been more powerful than I thought. It gave me nightmares. This isn't where I left off. She sat bolt upright in bed, heart pounding furiously. She told herself she couldn't have heard what she thought she'd heard. And perhaps a part of her even managed to believe she'd only had a nightmare. Yet another part of her knew that she had awakened something best left Undisturbed, and that the dark hand of the curse was upon her. Okay, now I'm weirded out.

[D]

Caroline, what the.

[G]

Something weird's going on. Then something really weird. Weird times ten. I mean, it puts the EI in weird energy.

[D]

Hey, calm down a second. What are you talking about?

[G]

It's a little hard to calm down when you've been reading about yourself in a book written over a hundred years ago.

[C]

Whoa.

[D]

Maybe you'd better start back at square one.

[G]

I took this thing home, thinking it might fall into the so bad it's good category. It was really just plain bad. But that's not the point. I put it aside and settled down to bed. And I must have fallen asleep fast. I dreamt about this eerie voice whispering in the dark. They laugh. They always laugh. I'll stop them from laughing. They won't laugh.

[D]

Not quite redrum, but I can see how it'd be a little nerve wracking.

[G]

Will you be serious?

[D]

Right. Being serious. See my being serious face. Go on.

[G]

I woke up and I turned on the lamp and I opened the book to where I'd left off. Only the writing had changed. I was reading about myself. See, look, I've marked it.

[D]

She watched with frightened eyes as he took up the book. She was so certain he would laugh at her that she readied herself to slap him before he'd made the first sound. You know, the writing's improved a little. I guess she got better as she went along.

[G]

Dad wasn't there last night.

[D]

She shouted at him. Why couldn't he understand? Then it began to dawn on him. He was staring at a curse.

[G]

You see, it's about us. Any more clever one liners, Quipmaster?

[D]

The book's haunted.

[G]

A brilliant deduction, Sherlock. So how is it haunted? Why is it haunted? And most important, what do we do about it?

[D]

Well, the first thing that leaps to

[G]

mind is get rid of it. I was thinking we take a lighter and set it on fire.

[D]

No, I'm not sure we should be so quick to destroy it. Not till we know a little bit more about it.

[G]

Ben. Last night I read that the dark hand of the curse was upon me. Does that sound good to you?

[D]

No, but.

[G]

But we burn it or we shred it. We just can't keep it around.

[D]

But how do we know it wouldn't be even worse to destroy it? I mean, there are all kinds of curses. Remember the picture of Dorian Gray?

[G]

I ought to. I wrote my thesis on the damn thing.

[D]

He thought he could get rid of his problem by getting rid of that portrait. And you know how that turned out.

[G]

So you're saying that if I set this book on fire, I'd burn up with it?

[D]

No, I'm saying you don't know for sure that wouldn't happen. Seems to me we're dealing with an unknown commodity here and it's in our interest to investigate.

[F]

But it's just.

[D]

Just consider for a minute. We know we want to get rid of this thing, right?

[G]

Right.

[D]

But we're not sure what'll happen if we try, right?

[G]

Right.

[D]

So if we investigate, we just might find out what kind of curse we're dealing with here and how we can break it, Right?

[G]

All right. All right. You win.

[D]

I knew it. I knew you'd end up being more curious and scared. You can sack out at my place tonight. We'll share custody of the book.

[G]

That could be dangerous, you know. The book hasn't got it in for you. You.

[D]

You've been my best friend for a long time now. Your curse is my curse. Besides, if my brother calls, you can answer the phone.

[G]

Right, in my Marilyn Monroe voice.

[D]

That'll work.

[G]

Ben's palace of euphoria. Open 24 hours.

[D]

Perfect. And do you know what we're going to do right now?

[G]

You tell me, man with the plan.

[D]

We're going to put this weird book aside and forget about it. Go on with our work with the Coleridge project as if everything were normal. We won't think the first thought about Ms. Antony Lloyd or Sir Percival Plank until the clock strikes five and we're ready to go home. Deal?

[G]

Deal. Any hits yet?

[D]

For all the World Wide Web knows, Phyllis, Anthony and Lloyd never existed.

[G]

That doesn't surprise me. It's got to be a pen name. If I'd have written that thing, I sure wouldn't put my real name on it.

[D]

Anything new in the book?

[G]

It's following our every mood move. In vain, the bleary eyed searchers sought some reference to the Phantom. Some clue that would aid them into solving the riddle that was haunting them.

[D]

I'll bet she's laughing up her sleeve right now.

[G]

Well, maybe we're not as stymied as she thinks. We can't find the author. All right, we'll Google the publisher. W.Q. wilmot and Sons.

[D]

That's worth a try. Bingo. W.Q. wilmot Sons, founded by William Quincy Wilmot in 1863, specialized in sensation and horror fiction. Had its highest output in the years 1872 through 1886.

[G]

This book stated 1884.

[D]

In November 1886, the company closed abruptly when its principal editor, Nathaniel Wainwright, was shot and killed amid rumors and that certain wealthy and influential people were paying him to recommend their manuscripts for publication regardless of quality.

[G]

Smell that.

[D]

Uh, no.

[G]

That, my friend, is the scent of pay dirt. We're very close. Now we Google Wainwright.

[J]

Give it back.

[D]

What the hell?

[G]

It's the voice from my dream, Ben.

[D]

So why am I hearing it?

[J]

It isn't yours. Give it back.

[G]

If you wanted to keep it, why did you give it to us?

[D]

Caroline, don't talk to it.

[G]

You put it right where you knew we'd find it. It's obvious you wanted us to see it. Why?

[H]

What is this all about?

[J]

Give it back. You've seen more than is good for you.

[G]

Tomorrow morning, we'll put this thing back where we found it. Meanwhile, shut up.

[D]

God, you're brave.

[G]

Okay, what about Wainwright? Any hits?

[D]

Here's a link. It's all about his murder. It was a minor scandal. All about improper publishing practices.

[G]

Sizzle, sizzle. Who is the murderer?

[D]

Ms. Antonia Tate. It says here that her family had paid Wainwright to publish a novel of hers, and afterwards it was generally regarded as a travesty.

[G]

And she was so ashamed when it came out in print that she shot him?

[D]

Not exactly. In her testimony, she claimed that she had no idea what her family had done. She thought he'd gotten it published because it was actually good.

[G]

Poor woman.

[D]

She tried to write another book, and when she asked Wainwright to have it published, he refused.

[G]

She got angry, and bang.

[D]

That's what it looks like.

[G]

It must have been a sad scene in the office that day. Look, Miss, I'm through publishing bad books

[D]

or something like, I hate to be the one to tell you this, but you just don't have any talent. For your own sake, stop trying to write books.

[G]

That's gotta hurt. You can almost understand shooting an editor

[D]

because he won't publish your book.

[G]

No, but how she felt. Here's how I see it going. Say, I'm Ms. Antonia Tate. All my life, I've dreamed of being a good writer. It's all I've worked and prayed for. People said I wasn't very good, but I just knew I had something to say. If I didn't, why would I be on fire to write?

[D]

Well, your family wanted to make your dream come true, so they went to Mr. Wainwright, cash in hand.

[G]

And then the miracle happened. I saw my work in print.

[D]

They may have thought you'd get it out of your system if you were published just once.

[G]

But it wasn't enough. I wanted more after all, they must have thought I was. Then I went to the publisher's office to speak to the man myself. I gave him the fruits of my

[D]

labor and he laughed in your face.

[G]

Laughed? They always laugh. I'll stop them from laughing. They won't laugh. She must have been thinking that right when she shot him. Antonia Tate. Anthony. Phyllis. Anthony Lloyd.

[D]

What we've got there is the one Wainwright published. God knows what the other one was like.

[G]

That's what we're dealing with here. She wanted us to see it, yet she didn't want us to see it. To want your work to be seen, but at the same time to be ashamed of it. She must have waited to hear our reaction. And, oh, God, we laughed.

[D]

That's not exactly our fault. We couldn't help it.

[G]

I'll stop them from laughing. We put the book back first thing tomorrow. Ben, I think we've seen all we need to see.

[D]

Does it say anything new?

[G]

The Searchers had put their finger on the heart of the mystery. The morning light would shine on how much good it had done them.

[D]

Whatever that means.

[G]

Perhaps it means that she'll leave us alone now that we know this little book isn't funny. We're not laughing anymore. We won't laugh at it again. Maybe now we can all get a decent night's sleep.

[D]

Maybe. Let's turn in. If you get scared, my room's right across the hall.

[G]

Thanks.

[D]

Caroline, how long have we been friends?

[G]

Five years now.

[D]

Five years. And in all that time, have you ever wondered seriously about.

[G]

It's probably not a good idea to wonder about that tonight. We'll table it till morning.

[D]

All right, I guess. See you tomorrow morning, then.

[G]

Good night, Ben. Well, sure, I've wondered about it. I never thought you did.

[J]

How does it end?

[G]

What?

[J]

It needs an ending. How does it end?

[G]

Oh, damn. Look, you got what you wanted. We stopped laughing. All right.

[J]

I have no ending.

[G]

Yes, you do. You ended with a noose. Now leave me alone.

[J]

It's got to end some. How does it end?

[G]

All right, you wanted an ending. Let's look at the ending. The last page. The dark hand of the curse was at her throat and poised to strangle at once. That's it. That can't be the end.

[J]

It must end. How does it end?

[G]

Will you stop saying that? Look, we're giving the book back. You're getting what you want.

[J]

How can you know what I want?

[G]

Because I've been you. Ten years ago, I thought I was born to be a great poet. But when I showed some verses to a magazine editor. He said that if I kept at it, I'd only embarrass myself. What would I have done if I'd had a gun in my hand? I'm glad I don't know.

[J]

But you were laughing when you read the little book. You were both laughing, laughing, laughing.

[G]

I'm sorry. No.

[J]

You scared.

[H]

Ben? Ben, are you awake? Can you hear anything? Ben. Ben.

[J]

The dark hand of the curse was at her throat.

[H]

Come on, answer me. Can't you hear that? Oh, thank God. Ben, what are you.

[G]

Oh, my God.

[H]

Oh, my God. He's bleeding. Ben. Oh, he's bleeding. My friend's been hurt.

[G]

Come quick.

[H]

Oh, God. O God. 127 Thomas Lane. Hurry.

[G]

They're on their way.

[H]

Ben, you're gonna be okay. Come on.

[J]

Just.

[G]

Just hang on.

[H]

Breathe. Please breathe.

[G]

Please.

[H]

God.

[G]

Oh.

[H]

How did this happen? How?

[J]

A quick stroke of the knife. A knife they'll never find.

[D]

No.

[G]

No.

[H]

This isn't right. It was me. I found your wrong book. I made fun of it. The hand of the curse is on me. Not him. Me.

[J]

That is right. The curse is on me. You were laughing at me. Now you will never laugh again.

[B]

The cast of Kelly Swilley's Penny Dreadful was comprised of Ariel Stewart, Jonathan Strickland and Trudy Leonard. Farm Report of the Worlds by Brad Strickland featured the voices of Hal Wideman, Jonathan Strickland, Ron Butler, Claire W. Kiernan, David Benedict, Kelly Swilley and Brad Strickland. These shows were performed as part of into the Labyrinth 2005, produced and directed by Jeffrey M. Brown and David Benedict. Don't forget to check back next week for another edition of RC's podcast. Be sure to keep your ears open for an audio adaptation of H.P. lovecraft's the Color out of Space. And remember, there is adventure in sound.

[D]

All material is copyright by its creators or the Atlanta radio theater company.

[G]

Artc.org.

[A]

Hey, it's Howie Mandel and I am inviting you to witness history as me and my How We Do It Gaming team take on Gilly the King and Wallow267's million dollars gaming in an epic global gaming league video game showdown. Two four rounds, multiple games, one winner, plus a halftime performance by multi platinum artist Travy McCoy. Watch all the action and see who wins and advances to the championship match against Neo right [e-mail] that's globalgamingleague.com everybody.

[K]

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