Columbia Workshop 36-07-18 A Comedy of Danger - The Finger of God

Summary

Podcast Summary: Harold's Old Time Radio

Episode: Columbia Workshop 36-07-18 A Comedy of Danger - The Finger of God
Release Date: March 6, 2025
Host/Author: Harold's Old Time Radio

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I. Introduction

In this episode of Harold's Old Time Radio, the host delves into the rich heritage of radio drama by presenting two distinctive plays from the Golden Age of Radio: Richard Hughes' A Comedy of Danger and Percival Wilde's Finger of God. Directed by Irving Reese, the Columbia Workshop aims to showcase the versatility and enduring power of radio as a storytelling medium, while experimenting with innovative production techniques to enhance the listener experience.

II. The Columbia Workshop Overview

Irving Reese opens the program by highlighting the transformative impact of radio technology, emphasizing its ability to bridge gaps of distance, class, and race through the "slim, swift path of the electric wave" (01:03). He underscores Radio's pivotal role not only in entertainment but also in fields such as aviation, medicine, and communication. Reese introduces the Columbia Workshop's mission to explore new forms of radio presentation, particularly in radio drama, by encouraging participation from new writers and artists.

He announces an "unusual experiment in dramatic presentation," intending to present A Comedy of Danger using traditional radio techniques, followed by Finger of God with a novel approach involving a parabolic microphone to capture dynamic stage movements (02:08-03:00). This setup allows actors to move freely within the studio while their voices are precisely recorded, simulating a live theatrical performance for radio audiences.

III. A Comedy of Danger Play Summary

Setting: A gallery in a Welsh coal mine, 1,000 feet below the earth's surface.

Characters:

• Jack: A miner grappling with fear and existential thoughts.
• Mary: Jack's companion, anxious about the darkness and their predicament.
• Mr. Bax: A fellow miner who introduces tension with his pessimism.

Plot Overview:

The play opens with an unexpected blackout in the mine, plunging Jack and Mary into complete darkness (04:36-05:00). Their anxiety about being lost escalates as they attempt to reassure each other amid the oppressive blackness. Mary's fear of the dark leads her to propose pretending their situation is a disaster to invoke a sense of thrill and companionship (06:02-07:12).

As darkness deepens, Mr. Bax arrives, exacerbating the tension with his cynical remarks about the mine's incompetency and the impending danger (06:10-08:06). The situation becomes dire when water begins flooding the mine (08:43-09:07). Jack and Mary confront their mortality, debating the nature of life and death, and Jack expresses a profound sense of regret over unfinished work and his strained relationship with Mary (10:07-12:09).

The climax occurs as the mine continues to flood, leading to a frantic struggle for survival. Jack and Mary grapple with their fears, ultimately facing the reality that escape may be impossible (12:15-15:05). The play concludes ambiguously, leaving listeners to ponder the characters' fate and the profound themes of fear, companionship, and the human instinct to survive.

Notable Quotes:

• Mary: "I wish we'd never come down to this beastly mine. I knew something would go wrong." (05:32)

• Jack: "We shall suffocate or starve or both, my dear, in each other's eyes." (07:58)

• Jack: "It's strange how little chaps wonder what will happen to him after death." (10:58)

• Mary: "Oh, Jack, I don't want to die. I hate it. I loathe it. I want him there." (12:09)

IV. Finger of God Play Summary

Setting: The living room of Strickland's apartment.

Characters:

• Bentham: The protagonist, planning a heist.
• Benson: Bentham's valet, assisting in the scheme.
• Mr. Bax: A stenographer whose role intertwines with the plot.
• Irving Reese: An underlying character representing authority.

Plot Overview:

Finger of God introduces Bentham and Benson as they meticulously plan a financial heist, demonstrating themes of trust and deception (17:53-19:02). The interplay between Bentham and Benson reveals their intricate strategy to avoid detection and the moral compromises involved in their plan.

As the narrative unfolds, Bentham interacts with Mr. Bax, who approaches under the guise of a personal stenographer bringing letters related to investments (21:21-24:04). Mr. Bax's persona is scrutinized by Irving Reese, who begins to unravel Bentham's true nature. Reese reveals Bentham's dark past of dishonesty and his internal struggle between maintaining an honest facade and succumbing to old temptations (26:39-28:57).

The climax sees Reese confronting Bentham with evidence of his past misdeeds, leading to a tense dialogue where Bentham's duplicity is laid bare. Reese condemns Bentham's actions and elaborates on the fragile nature of reputation and honesty (28:10-29:16). The play culminates in Bentham's realization of his inevitable downfall, symbolizing the inescapable consequences of one's actions.

Notable Quotes:

• Mr. Bax: "It's the midnight train for Chicago, isn't it?" (19:05)

• Irving Reese: "You must do something to deserve such letters or they wouldn't keep on coming in." (24:08)

• Irving Reese: "Mr. Strickland, you remember a few minutes ago you spoke the name of Alfred Stevens?" (26:10)

• Irving Reese: "I've gone too far. Do you understand me? Stealing it." (28:34)

V. Conclusion and Insights

This episode effectively demonstrates the enduring power of radio drama to convey complex narratives and deep emotional themes without visual aids. By presenting A Comedy of Danger in a traditional radio format and Finger of God using innovative parabolic microphone techniques, the Columbia Workshop illustrates the potential for hybrid production methods that enhance storytelling through sound.

Irving Reese's direction emphasizes the importance of engaging content and the seamless integration of technology to create immersive experiences for listeners. The plays themselves offer a compelling exploration of human fears, ethical dilemmas, and the consequences of one's choices, showcasing the richness of radio as a medium for dramatic expression.

Final Thoughts:

For listeners unfamiliar with these classic radio plays, this episode serves as both an introduction to the Golden Age of Radio and an illustration of how timeless stories can be revitalized through modern production techniques. The inclusion of notable quotes with precise timestamps allows enthusiasts to revisit pivotal moments, enhancing their appreciation of the storytelling craft.

Transcript

[Nicole Fire]

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[Irving Reese]

Wayfair Every style, every home the Columbia.

[Narrator]

Workshop under the direction of Irving Reese Ladies and gentlemen, Columbia takes pride in inaugurating tonight a new series of programs dedicated to you and to the magic of radio. The Columbia Workshop the Columbia Workshop believes in radio, in its past accomplishments and in its promise for the future.

[Irving Reese]

Radio has reduced the area of the.

[Narrator]

World to a split second of time for the transmission of human thought and feeling through man's literature, his music, his spoken word. In the five centuries that bridge the years since Gutenberg invented movable types and gave the world the store of man's knowledge through the printed word, no discovery has promised greater potentialities for shaping the world's culture than the slim, swift path of the electric wave. With the speed of light, it cuts through the barriers of boundary, class, race and distance. While these words, electrically amplified 100 trillion times from the microphone to the transmitters which hurl them on the air, are being sent you on broadcast bands, a hundred other bands in the radio spectrum are busily engaged, performing useful functions for man. At this second, somewhere 20,000ft above the earth's surface, giant aerial transport planes are winging their way above clouds through night and fog, following the straight, invisible electric path of the radio beam signal which guides them unerringly to their destination.

[Jack]

On.

[Narrator]

The high seas or near treacherous shs and reef strewn waters. The signal of the radio compass station points the way for mariners when the stars are hidden and the sextants useless. In hospitals throughout the world, electrical surgery and shortwave, artificial fever machines, radio's contribution to medicine, are helping scientists in their onslaught against disease and pain. The Columbia Workshop dedicates itself to the purposes of familiarizing you with the story behind radio, both in broadcasting as well as in aviation, shipping, communication and pathology, and to experiment in new techniques with the hope of discovering or evolving new and better forms of radio presentation, with a special emphasis on radio drama. To encourage and present the work of new writers and artists who may have fresh and vital ideas to contribute, the Workshop earnestly asks your participation in these and future experiments. Your response alone will enable us to Judge our progress and we shall appreciate your letters, your criticisms and your suggestions. Now, tonight we wish to try an unusual experiment in dramatic presentation. We're going to present two well known short plays. One has been written for the microphone and one for little Theater Presentation. In the radio play A Comedy of Danger by Richard Hughes, first produced by the British Broadcasting Company, the author created his setting for radio's dimensions alone. It would be almost impossible to present this play properly on a stage or on a screen. We shall attempt to produce the play, giving it every advantage of radio technique. And after you hear A Comedy of Danger, we shall present Percival Wilde's one act play, the Finger of God. This play will be presented with a technique never attempted in radio before. Mr. Myron Statler, well known director of the Little Theatre, has been asked to stage this play in the studio exactly as if he were presenting it before a theater audience. The performers will pay no attention to the microphone. They'll move around as the stage business demands. On a special set which we have erected in the studio through the cooperation of the Columbia Engineering department. A parabolic microphone which can be focused like a spotlight will be trained on the actors from a distance of 20ft and will follow their movements as they go through the business the play calls for. But first, the radio play. A Comedy of Danger. A gallery in a Welsh coal mine, 1,000ft below the surface of the earth.

[Jack]

The light has gone on.

[Mary]

What's happened? Where are you?

[Jack]

Here.

[Mary]

Where? I can't find you.

[Irving Reese]

Here. I'm holding my hand up.

[Mary]

I can't find you.

[Jack]

Well, right here. Oh, what's that?

[Irving Reese]

It's all right. It's only me.

[Mary]

Oh, you did frighten me, touching me suddenly like that. I had no idea you were so close.

[Jack]

Whatever happens, we mustn't lose each other.

[Mary]

That's better. What delights. Why have they gone out?

[Jack]

I don't know. I suppose something's gone wrong with the dynamo. They'll turn them up again in a minute.

[Mary]

Oh, Jack, I hate the dark.

[Irving Reese]

Shut up, darling. It'll be all right in a minute or two.

[Mary]

So frightfully dark down here.

[Irving Reese]

No wonder. There must be nearly a thousand feet of rock between us in the daylight. Not surprising. It's a bit dusky.

[Mary]

I didn't know there could be such utter blackness as this ever. It's so dark. It's as if there was never such a thing as light anywhere. Oh, Jack, it's like being blind.

[Jack]

Turn the lights up again soon.

[Mary]

I wish we'd never come down to this beastly mine. I knew Something would go wrong.

[Irving Reese]

It'll be all right, dear.

[Jack]

It's only the light.

[Mary]

Where are the others?

[Jack]

We're just on ahead.

[Irving Reese]

Not far.

[Mary]

Suppose we get lost?

[Jack]

We can't get lost, Mary darling. The others will stand still too, till the lights go up and then we can easily overtake them.

[Irving Reese]

We've only got to wait patiently.

[Mary]

I wish you hadn't wanted to drop behind the other. Oh, Jack, I'm afraid of the Dark Ministry.

[Irving Reese]

Buck up, Mary Oga. It'll soon be over.

[Jack]

Someone coming? I thought just when the party's visitors were seeing the place.

[Mary]

Oh, it's Mr. Bax. Hello.

[Jack]

Hello. Who's there? One of all the stupid, meddlesome idiots that I ever saw.

[Mary]

Oh, Mr. Bax, what's happened? Is it all right?

[Jack]

It is all right indeed. Leaving us suddenly in the dark like this.

[Mary]

But there has been an accident.

[Jack]

Goodness knows, I'd expect anything of a country like Wales. Wretched, incompetent. The houses are full of cockroaches. Well, I suppose the only thing to.

[Irving Reese]

Do is to sit and wait for the light to go up again.

[Mary]

There's no danger.

[Jack]

No danger, young lady, but it's damned unpleasant.

[Mary]

Oh, I don't know. I'm beginning to think it's Robin Fountain.

[Jack]

Well, if you can find any fun in breaking your shins in the dark.

[Mary]

Why don't you call it fun being in a mind disaster.

[Irving Reese]

But this isn't a disaster.

[Jack]

It's only the light.

[Mary]

Of course it is. You don't think it would be fun if it were a real disaster, do you? But the light going out might isn't a disaster. And think how thrilling it's going to be to talk about it afterwards. I say yes, yes, let's pretend it's serious.

[Jack]

What do you mean?

[Mary]

Well, let's pretend it's a rare disaster and we'll cooped up here forever. You will never be able to get out.

[Irving Reese]

Oh, don't joke about it.

[Mary]

Well, not. There's no real danger, is there? Let's get all the thrills we can.

[Jack]

You know all the morbid ideas, young people nowadays.

[Mary]

Let's pretend the roof's fallen in and they can't get at us.

[Jack]

All right, baby, you are. Here we are, my dear.

[Irving Reese]

Buried alive.

[Mary]

Oh, Jack.

[Jack]

Alas, they will never find us.

[Mary]

Oh, Jack. Well, so frightened.

[Jack]

What else?

[Mary]

About the roof having fallen in.

[Jack]

But it hasn't.

[Irving Reese]

It's only pretend.

[Mary]

Yes, but when I pretend, it seems so real.

[Jack]

Then don't pretend.

[Mary]

But I want to pretend. I want to be frightened. Only hold my Hand tight, won't you? Go on.

[Jack]

We shall suffocate or starve or both, my dear, in each other's eyes.

[Mr. Bax]

Oh, Jack.

[Jack]

Even death shall not part us.

[Mary]

Oh, Jack, don't. It's too off.

[Jack]

Our poor young life cut so short. Oh, don't go there. The article disorder. All the newspapers.

[Mary]

I wish I could read them.

[Jack]

You can't have your funeral and watch it, young lady.

[Mary]

This is fun. I wouldn't miss it for anything.

[Mr. Bax]

Quiet.

[Irving Reese]

Let's go.

[Jack]

You're bothering me. Keep going. Put yourself together. We're all right. We're not hurt. No, sir, we're not hurt. But listen. Water.

[Irving Reese]

Oh, no.

[Jack]

It's only an echo.

[Mary]

Oh, Mr. Bag, can't we find the other?

[Jack]

I. I don't think we could, young lady. It wouldn't be much use to us if we did.

[Mary]

The echo is getting louder. Yes. It isn't an echo. It is water. The mine's blooding.

[Jack]

We'll be drowned.

[Mary]

Oh, Jack, I don't want to die. I won't, I won't, I won't.

[Jack]

It's got to come sometime, young ladies. Isn't it better for it to happen now in your lover's arms, Both of you together. You old foolish. Very well with this story about death at your age. But we're young.

[Irving Reese]

We've got all life before us.

[Jack]

Well, can't you keep quiet about it then, you young Japanese. Do you think I want to die either? But it isn't good manners to talk about it. Where would it be if we all started screaming about it? We can at least die like gentlemen. Die indeed. I tell you, it's very well for an old chap like you. Die anyhow in a year or two. But it's different for us way down. Whereas if you wanted a casin, you shall have one, sir. Do you think it's any easier for the old to die than the young? I tell you, it's harder, sir. Harder. Life is like a trusted friend. More precious than the years go by now of your life once to the world. Whose dependent on you? What good are you to anyone? Well, what good are you, young man? One person is dependent on me anyway. You mean that you're loved by this young lady? If you both die, what lot is that to the world? Opposite quantities cancelling out.

[Mary]

Oh, you babe, you cruel.

[Jack]

I. I must speak, madam. In common justice to my age. Since that young cousin started the subject 0 always being twitted with her unwillingness to die. Look here, instead of talking like this, let's do something let's make some sort of an attempt to escape. What do you propose to do, young man? Why not? For some way out. We can't stay here and drown like.

[Irving Reese]

Rats in a cage.

[Mary]

Oh, the dark. I do hate the dark. I think I could go more easily if I could see life just once before it happens.

[Jack]

It's coming closer. Listen. Yes, it would be honored. In another five minutes. Pray hell this sentries us off quickly.

[Mary]

Oh, think of dying somewhere out in the open in the sunlight. Me able to see you and you able to see me. What a bliss that will be.

[Jack]

It's strange how little chaps wonder what.

[Irving Reese]

Will happen to him after death.

[Jack]

One hardly thinks about it. Yet I don't know how thrilled we should be if we met a chap who really knew. In five minutes we're going to know how it goes. All three of them. I've always wanted to travel. Now I'm going to. You know, I'm beginning to feel as excited about it as a child going to a seaside for the first time. Aren't you?

[Mary]

Yes. How queer you are. I never looked at it like that.

[Jack]

Well, I. I wasn't in any hurry to die, but now it's coming up. I feel sort of praying.

[Narrator]

As if.

[Jack]

It was a wonderful thing to manage to pull off. Oh, Jack. There's only one thing I'm sorry about.

[Mary]

What is it?

[Jack]

My work. If it wasn't for that, I'd go to death without carrying a tuppenny. Damn. I died just for the fun of the thing, to see what it felt like. I shouldn't worry about that if I were you. The world will get on all right without you. Never you fear. What is your work? I write poetry. You call that work?

[Mary]

The water's coming. It's over my feet. Oh.

[Irving Reese]

Colored, darling.

[Mary]

Oh, Jack, I don't want to die. I hate it. I loathe it. I want him there.

[Irving Reese]

Don't make it harder.

[Jack]

You don't think it's fun for me, do you? Haven't you died?

[Mary]

Jack is awful. Only for one more hour. I do want to live another hour.

[Jack]

Oh, God. Can't I be allowed to finish my work? Block your work, sir? Do you think I'm the only. The only one dying before his time? I tell you, every man dies before his time. Even in Hillcrest as old as Mercier.

[Mary]

Oh, it's not my name.

[Jack]

Don't touch at me like that, Mary. It won't do any good for the water.

[Mary]

The cannon's washing me away.

[Jack]

Hold tight, then.

[Irving Reese]

God is tight.

[Mary]

Oh, If I could only kill you.

[Jack]

Just. Just think of all the things I meant to do. Oh, shut up about the things you'd meant to do. You young cub. Will you realize we're all in the same boat? It's as hard for me to die as it is for you. Oh, worse, my dad. A thousand times worse. You hoary old sinner. Can't you prepare to get out of the world instead of cursing at me?

[Mary]

Oh, Jack.

[Jack]

Let pray if you like. Mary. I can't. Oh, Jack, no. I can't die. I'm an old man. I won't. I won't. Oh, hold yourself in, you old coward.

[Mary]

Poor Mr. Bax. I'm quite calm now. I don't mind dying. It's no good, Miss Man. No one can possibly hear us. The only thing is to keep calm. It won't be long now.

[Jack]

What's that? Up. We ought to listen.

[Mary]

It's up to my waistband.

[Jack]

My God, it's.

[Mary]

What's happened?

[Jack]

We're here, Father. Alone.

[Mary]

They'll find our bodies.

[Jack]

They'll find us. If they're quick enough. Father. Alarm. Still. That's right.

[Mary]

They can't be quick enough. Beside, I don't want them to find me.

[Jack]

I can't.

[Irving Reese]

Who?

[Jack]

Behave pensively.

[Mary]

Jack, darling.

[Jack]

I'll never leave you.

[Mary]

You.

[Jack]

How do you know they let you stay with him? You little fool. What do you know of death? Death being nothing. Not even a breath of the wind or a mere drop of the rain. Not even a d. Ghost dragging its chains on the staircase.

[Mary]

Get up to my chin.

[Jack]

Help me. Let me just do my arms, darling. Anyway, it gets up to my chin. We'll die together.

[Mary]

Hellish. It isn't true what he's been saying.

[Jack]

No, no, darling. Of course it's not true. Hurry up. You don't. You blockheads. Mackin, we're growling, I tell you. Growing. Quick, quick. They must be nearly through. Oh, this suspense. How much longer before we know that we're going to live or die? I don't care which. But I do want to know.

[Irving Reese]

Look.

[Jack]

There's a knife. A hole in the roof.

[Benson]

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[Jack]

I'm an old man. There's a girl here by dad, sir. Come along, young lady. I've got the room. Never mind. It'll be all right. I'll give you something to write about too, my boy. Oh, right about there. Have you got her? Up you go, quick.

[Narrator]

Mr. Beck.

[Irving Reese]

So.

[Jack]

Water. Still. You're right. No, no, my boy. After you. You're more value in the world than I am. Nonsense, sir.

[Narrator]

After you.

[Jack]

You're an older man than I am. Quick now. There won't be time. You've got Mary to think of now, Dick. All the way above there. No, no, Melody. It's me you're holding up.

[Narrator]

Don't let me back. We'll have you up first.

[Jack]

There's no time to waste now. We're away again. Hello there. Hey back. Catch on? Have you got it? Hi.

[Narrator]

And now we are about to present Percival Wild's play, the Finger of God, with a technique heretofore untried in radio. An engineer is stationed about 20ft from the performers, focusing a parabolic microphone on them as they move around the especially set screen. This will allow them an unrestricted movement which ordinarily cannot be done in present radio production. Percival Wiles, the Finger of God. The living room of Strickland's apartment. As the curtain rises, he is kneeling and burning some papers in a grate near the main door. Benson, his valet, is packing a suitcase which lies open on the writing desk.

[Irving Reese]

Bentham.

[Jack]

Yes, sir?

[Irving Reese]

Close the window. It's cold.

[Jack]

Yes. Why, sir?

[Narrator]

The window's closed.

[Jack]

Clean clothes all evening.

[Irving Reese]

Bentham.

[Jack]

Yes, sir.

[Irving Reese]

Don't forget a heavy overcoat. I've put it in already, sir. Plenty of fresh linen.

[Jack]

Yes, sir.

[Irving Reese]

Colors and ties.

[Narrator]

I've looked after everything, sir.

[Irving Reese]

You sent off the trunks this afternoon?

[Jack]

Yes.

[Irving Reese]

You're sure they can't be traced?

[Narrator]

I had one wagon taken to a vacant lot and another wagon taken to the station.

[Irving Reese]

Good.

[Narrator]

I checked them through to Chicago. Here are the checks. What train do we take them?

[Irving Reese]

I take the midnight. You follow me sometime next week. We mustn't be seen leaving town together.

[Narrator]

How will I find you in Chicago?

[Irving Reese]

You won't. You take room somewhere and I'll take room somewhere else till it's all Blown over. When I want you, I'll put an ad in the Tribune.

[Jack]

You.

[Narrator]

You don't know when that will be, sir? As soon as I think it's safe.

[Irving Reese]

Maybe two weeks. It may be a couple of months. But you'll stay in Chicago till you hear from me, one way or the other. You understand?

[Jack]

Yes, sir.

[Irving Reese]

Have you plenty of money?

[Narrator]

Not enough to last a couple of months.

[Irving Reese]

Well, how much do you want?

[Narrator]

Five or six hundred.

[Irving Reese]

Wait a minute. I left that much in my bureau drawer.

[Narrator]

Oh, Mr. Stickland.

[Irving Reese]

Yes?

[Narrator]

It's the midnight train for Chicago, isn't it?

[Irving Reese]

Yes.

[Narrator]

Hello?

[Jack]

Hello. Hello.

[Narrator]

This Finley? This is Benson. He's going to take the midnight plane to Chicago, Pennsylvania. You'd better arrest him at the station. If he once gets to Chicago, you'll never find him.

[Jack]

And Sydney. You won't forget me, will you?

[Narrator]

I want $5,000 for it.

[Jack]

Yes. Yes, 5,000. Well, that's a little enough.

[Narrator]

He's got almost 300,000 on him. You won't turn in all of that.

[Jack]

To headquarters, will you? Large bill.

[Mary]

Midnight to Chicago.

[Irving Reese]

Here's your money, Ben.

[Narrator]

Thank you, sir. Shall I go now?

[Irving Reese]

No, wait a minute. Hello, Pennsylvania. I want a compartment for Chicago. Midnight train. Yes, tonight.

[Narrator]

Don't give your own name.

[Irving Reese]

No, the name is Steven. Will you have one reserved in that name already? Well, this is Alfred, Stephen. You have it reserved in that name. Then give me another compartment. What? You haven't any other. Never mind, then. Goodbye. Benson. Go right down to the Pennsylvania and get the compartment reserved for Alfred Stevens. You've got to get there before he does. Wait for me at the train gate. Yes, sir. Now, don't waste any time. I'll see you later.

[Narrator]

Very well, sir.

[Irving Reese]

Who's there? Who are you?

[Mr. Bax]

Why, don't you remember me, sir?

[Irving Reese]

No.

[Mr. Bax]

I'm from the office, sir.

[Irving Reese]

The office?

[Mr. Bax]

Your office. I'm one of your personal stenographers, sir.

[Irving Reese]

Oh. I suppose I didn't recognize you on account of the hat. Well, what do you want?

[Mr. Bax]

There were some letters which came late this afternoon.

[Irving Reese]

You're bothering me with them now. I've got no time for that. You'd better go.

[Mr. Bax]

I thought you'd want to see these letters.

[Irving Reese]

Plenty of time tomorrow.

[Mr. Bax]

But you won't be here tomorrow, will you?

[Irving Reese]

Won't be here? What do you mean?

[Mr. Bax]

You're taking the train to Chicago tonight.

[Irving Reese]

How did you know? Taking a train to Chicago? Of course not. What put that into your head?

[Mr. Bax]

Why, you told me, sir.

[Irving Reese]

I told you?

[Mr. Bax]

You said so this afternoon.

[Irving Reese]

I didn't see you this afternoon?

[Mr. Bax]

No, sir. Then I found this timetable.

[Irving Reese]

Where did you find it?

[Mr. Bax]

On your desk, sir.

[Irving Reese]

On my desk?

[Mr. Bax]

Yes, Sir.

[Irving Reese]

You're lying, Mr. Strickland. That timetable never reached my desk. I lost it between the railroad station and my office.

[Mr. Bax]

Did you, sir? But this is the same timetable. You see? You checked the midnight train. I reserved a compartment for you.

[Irving Reese]

You reserved a compartment?

[Mr. Bax]

I knew you'd forget it. You have your head so full of other things. So I telephoned as soon as you left the office.

[Irving Reese]

I suppose you made the reservation in my own name.

[Mr. Bax]

No, sir. I thought you'd prefer some other name. You didn't want your.

[Irving Reese]

No, I didn't. What name did you give?

[Mr. Bax]

Stevens, sir. Steven Alfred Stevens.

[Jack]

What made you choose that name?

[Mr. Bax]

I don't know, sir.

[Irving Reese]

You don't know?

[Mr. Bax]

No, sir. It was just the first name that popped into my head. I said, Stevens. And when the clerk asked for the first name, I said Alfred.

[Irving Reese]

Have you ever known anybody of that name?

[Mr. Bax]

No, sir.

[Irving Reese]

You're sure you never knew anybody of that name?

[Mr. Bax]

How can I be sure? I may have. I don't remember it.

[Irving Reese]

How old are. You're not 20, are you?

[Mr. Bax]

You think so?

[Irving Reese]

And I'm 47. It was more than 25 years ago. You couldn't have known.

[Mr. Bax]

No, sir.

[Irving Reese]

What is your name?

[Mr. Bax]

Does it matter? You didn't recognize my face a few minutes ago. My name can't mean much to you. I'm just one of the office force. I'm the girl who answers when you push the button three times. These are the letters I brought with me.

[Irving Reese]

Well, what are they about?

[Mr. Bax]

Well, this one's from a woman who wants to invest some money.

[Irving Reese]

How much?

[Mr. Bax]

Only a thousand dollars.

[Irving Reese]

Why didn't you turn it over to the clerk?

[Mr. Bax]

The savings of a lifetime, she says.

[Irving Reese]

Well, what of it?

[Mr. Bax]

Well, she wrote that she had confidence in you. She says she wants you to invest it for her yourself.

[Irving Reese]

You shouldn't have bothered me with that. Did she enclose the money?

[Mr. Bax]

Yes. A certified check.

[Irving Reese]

Well, write her that. Oh, you know what to write that. I'll give the matter my own attention.

[Mr. Bax]

Yes, sir. She says she doesn't want a big return on her investment. She wants something that will be perfectly safe. And she knows you'll take care of us.

[Irving Reese]

Yes, of course. Well, what else have you?

[Mr. Bax]

A dozen other letters like it.

[Irving Reese]

All from old women?

[Mr. Bax]

Some of them.

[Irving Reese]

Why did you bring them here?

[Mr. Bax]

Every one of these letters asks you to do the investing yourself. Oh, and you're leaving town? Tonight. Here are the checks, every one of them. Is made out to you personally, not to the firm.

[Irving Reese]

You shouldn't have come here. I haven't time to bother with that sort of thing. Every man who has $5 to invest asks the head of the firm to attend to it himself. Means nothing. I get hundreds of letters like those still. Well, what?

[Mr. Bax]

You must do something to deserve such letters or they wouldn't keep on coming in. It's wonderful to inspire such confidence in people.

[Irving Reese]

Do you really think so?

[Mr. Bax]

Oh, it's more than wonderful. It's magnificent. These people don't know you from Atoms. Not one in a hundred has seen you, but they've all heard of you. And what's even more real than you is your reputation. Something in which they rest their absolute confidence.

[Irving Reese]

Well, you think there are few honest men?

[Mr. Bax]

No, there are many of them. But there's something about you that's different. Something in the tone of your voice and the way you shake hands. Something in the look of your eye that's reassuring. A. Oh, there's never a doubt, never a question about you. It's splendid. Simply splendid. What a satisfaction it must be to you to walk along the street and know that everyone you meet must say to himself, there goes an honest man. He's been an inspiration to me.

[Irving Reese]

To you?

[Mr. Bax]

Oh, I. I know you don't remember who I am, but you don't imagine that anyone can see you as I've seen you, work with you, as I've worked with you, without there being some kind of an effect, you know, in my own trouble.

[Irving Reese]

Oh, you have trouble?

[Mr. Bax]

You don't pay me a very big salary. And there are others whom I must help. But I'm not complaining. I used to be like the other girl. I used to watch the class and count the hours and the minutes till the day's work was over. But it's different now.

[Irving Reese]

How different?

[Mr. Bax]

I thought it over. Made up my mind that it wasn't right to count the minutes. You worked for an honest man.

[Irving Reese]

Are you sure I'm an honest man?

[Mr. Bax]

Don't you know it yourself?

[Irving Reese]

Mr. Strickland, you remember a few minutes ago you spoke the name of Alfred Stevens?

[Mr. Bax]

Yes.

[Irving Reese]

Suppose I told you there once was an Alfred Stevens? Suppose I told you that Stevens, whom I knew stole money, stole it when there was no excuse for it, when he didn't need it. His people had plenty and they gave him plenty. But the chance came and he couldn't resist the temptation. He was 18 years old. He didn't even know what to do with the money when he had stolen it they caught him in less than 24 hours. It was almost funny.

[Mr. Bax]

He was panicked.

[Irving Reese]

He served a year in jail, and what a year. His folks wouldn't do a thing for him. They said such a thing had never happened in their family. He told his family that he never wanted to see them again. He changed his name so they couldn't find him. He left his hometown. He came here.

[Mr. Bax]

And he's been honest ever since.

[Irving Reese]

Ever since. For 28 years. It was hard at times, terribly hard. It managed to live. It wasn't pleasant living. It wasn't even decent living. But he stayed alive. I don't like to think of what he did to stay alive, he thought. The year in jail was terrible. The first year he was free was worse. He'd never been hungry in jail.

[Mr. Bax]

Then his chance came.

[Irving Reese]

Yes, it was a chance. He found a purse in the gutter and he returned it to the owner. Before he made up his mind whether to keep it or not. The man who owned the purse gave him a job. Then they said he was a hard worker and they promoted him. They made him manager. They gave him more chances to steal. But there were so many men watching him. So many men anxious for him to make a slip so that they might climb over him that he didn't dare. And then the rest was easy. Nothing succeeds like a good reputation. And he didn't steal because he knew they'd catch him. But he wasn't honest at bottom. The rotten strike streak was still there. After 28 years, things began to be bad. He speculated, lost all his money and made up his mind to take other money that wasn't his. It was wrong. It was the work of a lifetime gone. But it was the rottenness in him coming to the surface. It was the thief he thought dead, coming to life again.

[Mary]

What a pity.

[Irving Reese]

He'd been honest so long, he'd made other people think he was honest.

[Mr. Bax]

Was he wrong?

[Irving Reese]

Mr. Scott Stevens, please. Look, I don't know what sent you, who sent you. But you've come here tonight as I'm running away. Well, you're too late. You can't stop me. Not even the finger of God himself could stop me. I've gone too far.

[Mary]

Look.

[Irving Reese]

Here's money. Hundreds of thousands of it. Not a cent of it mine. And I'm stealing it. Do you understand me? Stealing it. Tomorrow the firm will be bankrupt and there'll be a reward out for me. Here, if you please, is your honest man. What have you to say to him now?

[Mr. Bax]

The man has been honest so long that he's made himself think he's honest. Can't steal.

[Irving Reese]

Do you believe that?

[Mr. Bax]

I was left a little money this week. Only a few hundred dollars. Hardly enough to bother you with. Will you take care of it for me, Alfred? Stephen.

[Irving Reese]

Good girl.

[Mr. Bax]

What a beautiful night. Thousands of sleeping houses.

[Mary]

Millions of shining stars.

[Mr. Bax]

And the lights beneath. And in the distance, how the stars and the lights meet. So that one cannot say, here God ends. Here man begins.

[Irving Reese]

Yes? You're afraid I'm going to miss the train. Well, I am going to miss it. I'm going to stay here and face the music. I'm an honest man. Do you hear me? I'm an honest man. There. Did you hear what I told him?

[Jack]

Did you hear what I.

[Irving Reese]

Why, where are you?

[Jack]

Where are you? Why?

[Irving Reese]

She's gone. She was never here at all.

[Narrator]

The Columbia Workshop is presented as its first program a demonstration of radio and stage technique. Would you write and tell us how you like the demonstrations and whether or not the illusion, the stage play had any advantages or disadvantages over the radio presentation? The Columbia Workshop's presentation was conceived and directed by Irving Reese. This is the Columbia Broadcasting System.

[Benson]

How do you make an Airbnb a vrbo Picture a vacation rental with a host who's showing you every room like you've never seen a house before. Now get rid of them. There you go. No host ever. Now it's a vrbo. Make it a vrbo.

[Nicole Fire]

At Walden University, we get the W. We come here for more than just a degree. We come here to make an impact. We step up when everything is on the line and we create opportunities. At Walden University, we learn the skills to get us to the next level. Plus, with flexible online learning, we can do it on our time. Now it's your time. Get the W. Walden University. Set a course for change. Visit waldenu. Edu to learn more. Certified to operate by Shevy.