Fear on Four 88-01-24 (04) Music Lovers

Summary

Podcast Summary: "Fear on Four 88-01-24 (04) Music Lovers"

Introduction

"Fear on Four 88-01-24 (04) Music Lovers" is an enthralling episode from Harold's Old Time Radio, hosted by Harold's Old Time Radio. Released on July 21, 2025, this episode delves into the intricate interplay between obsession, perfection, and personal turmoil within the realm of music appreciation. The story, written by Nick Warburton and directed by Martin Jenkins, is masterfully narrated by Nigel Anthony and features performances by Prunella Scales and others.

Setting the Scene

The narrative unfolds in a somber, secluded setting where Nigel Anthony, embodying the role of Mr. Pauly, welcomes listeners into his "dark and lonely home" at [00:02]. The ambiance is immediately charged with tension as Mr. Pauly expresses his relentless pursuit of musical perfection:

Mr. Pauly (Nigel Anthony): "Perfection." [00:38]

This introduction sets the tone for a story where music serves as both a sanctuary and a source of obsession.

Characters and Initial Interactions

Miss Eames arrives promptly at [00:34], revealing her dedication to classical music and her anticipation for Mr. Pauly's program:

Miss Eames: "Most definitely. It's guitars and lutes, you see. My particular thing..." [02:17]

Their initial conversation centers around the music being prepared, particularly a piece identified as the Sarabande by Miss Eames, which Mr. Pauly seems hesitant to confirm. This subtle tension hints at underlying complexities between the characters.

Unveiling Past Connections

As the dialogue progresses, Miss Eames reveals her deep admiration for a performer named James Wilson, who tragically died in a plane crash:

Miss Eames: "I have a little confession to make... James Wilson recorded that in concert just before he died." [13:06]

Her emotional attachment to Wilson's music adds layers to her character, portraying her as someone profoundly connected to the art she loves.

Revelation of Obsession

The plot thickens as Mr. Pauly admits his fixation with the recording's imperfections caused by Miss Eames' cough:

Mr. Pauly: "Your cough can be heard five times on this recording. Five times. The music is, of course, ruined forever." [26:01]

This confession unveils Mr. Pauly's obsessive nature, where a minor flaw becomes a catalyst for his psychological unraveling. His inability to reconcile the blemish with his quest for perfection drives the narrative towards a crescendo of fear and tension.

Climactic Confrontation

The climax occurs when Mr. Pauly forces Miss Eames to confront the tainted recording, blurring the lines between reality and psychological torment:

Mr. Pauly: "You have to face the music, Miss Eames. And I did say I'll get rid of that cough for you, didn't I?" [27:22]

Miss Eames' increasing distress culminates in a harrowing interaction where Mr. Pauly reveals his manipulative intent, aiming to make her pay for the perceived ruin of the music:

Mr. Pauly: "You've destroyed something, Miss Eames. It must be made to pay for that." [26:13]

Themes and Insights

This episode intricately explores themes such as the destructive pursuit of perfection, the psychological impact of personal flaws, and the thin veil between obsession and madness. The characters embody the struggle between artistic integrity and personal demons, highlighting how the quest for flawlessness can lead to isolation and fear.

Notable Moments:

• Obsession with Perfection: Mr. Pauly's relentless need to eliminate imperfections in music symbolizes the extremes to which one might go in the name of art.

  Mr. Pauly: "Perfection. I'm not sure that any piece can claim to be that." [00:38]

• Psychological Torment: The manipulation of Miss Eames through the recording underscores the theme of psychological control and the haunting presence of guilt.

  Mr. Pauly: "The damage is done. All the swift now is the punishment." [26:01]

• Isolation vs. Connection: Despite their shared love for music, the characters' inability to communicate effectively leads to a chilling disconnect.

  Miss Eames: "We are alone, and somehow we merge into the music." [09:28]

Conclusion

"Fear on Four 88-01-24 (04) Music Lovers" is a gripping narrative that masterfully blends elements of horror and psychological drama within the context of a radio show about music. Through the characters of Mr. Pauly and Miss Eames, the episode delves deep into the consequences of obsession and the fragility of human connections when faced with personal flaws. Nigel Anthony's compelling performance, coupled with the poignant writing of Nick Warburton and direction by Martin Jenkins, ensures that listeners are left both haunted and reflective on the intricate dance between art and the human psyche.

Nigel Anthony (Narrator): "Well, that was a story which I'm sure all music lovers will find left a lump in their throats. Nigel Anthony played the man pursued by perfection and Prunella Scales, the lady killed by a Cough." [28:02]

This closing remark poignantly encapsulates the episode's exploration of how the pursuit of artistic perfection can lead to unforeseen and tragic consequences.

Transcript

[Nigel Anthony]

Welcome once more, ladies and gentlemen, to my dark and lonely home, where horror lurks always in the shadows and fear is forever in the forefront of the mind. As a fellow storyteller once said, if music be the food of love, play on. Well, music isn't always the food of love. And today's story is a case in point.

[Mr. Pauly]

Perfection.

[Nigel Anthony]

Perfection.

[Mr. Pauly]

This is Balm. Oh, Mr. Claudie, I am.

[Miss Eames]

I'm so sorry, bud.

[Mr. Pauly]

No, no, no, don't worry.

[Miss Eames]

I ought to have thought and. Well, I mean. Yes, My Bach. In the middle of Bach. What must you.

[Mr. Pauly]

Oh, please don't concern yourself.

[Miss Eames]

It's such an awful thing to do.

[Mr. Pauly]

No, no, no. Rarely seems you are forgiven. And anyway, it wasn't bark.

[Miss Eames]

But surely.

[Mr. Pauly]

No, just a piece for loot by some Frenchman. I think so. No great sacrilege there.

[Miss Eames]

Oh, I know. I only caught a snap.

[Mr. Pauly]

Really, I am grateful to you for coming. If you hadn't turned up, there'd be no one at all to hear my little selection. No, so far you are the only one.

[Miss Eames]

Oh, Mr. Poorly.

[Mr. Pauly]

Well, it's early yet, I suppose, but.

[Miss Eames]

I don't think it is. It's five past. That's why I was hurrying, I'm afraid. Mother wouldn't let me go until I'd caught the end of the arches.

[Mr. Pauly]

Oh, really?

[Miss Eames]

It means such a lot to her, you see.

[Mr. Pauly]

Still, at least you're here.

[Miss Eames]

Yes. Haven't you heard anything from any of the others? They're usually pretty punctual.

[Mr. Pauly]

Yes, I suppose so. Apart from Morris.

[Miss Eames]

Well. Yes.

[Mr. Pauly]

Well, you can console yourself with that thought, Miss Eames. Had you been Morris, your entry would have been later and, well, louder.

[Miss Eames]

Poor Morris.

[Mr. Pauly]

Morris, I fear, would also have joined in with the music. So, you see, I'm glad it was you.

[Miss Eames]

It's kind of you to say so.

[Mr. Pauly]

And anyway, I feel a little foolish playing my selection to myself. I could have done that at my flat on superior equipment.

[Miss Eames]

Oh, no, Mr. Paul. If he couldn't have that. I've been specially looking forward to your programme.

[Mr. Pauly]

Have you?

[Miss Eames]

Most definitely. It's guitars and lutes, you see. My particular thing, for a start, you've got the sarabande and bourre.

[Mr. Pauly]

Oh, really?

[Miss Eames]

The Bach.

[Mr. Pauly]

I was aiming for a little variety.

[Miss Eames]

That's what I thought you were playing when I came in.

[Mr. Pauly]

I don't think so. I believe it was a French piece.

[Miss Eames]

I expect you're right. It's just that it has rather been in my thoughts of late.

[Mr. Pauly]

Because of my little programme.

[Miss Eames]

Yes, it's such a lovely piece. And Well, I expect, you know, almost perfect for what it is.

[Mr. Pauly]

Perfect? I'm not sure that any piece can claim to be that.

[Miss Eames]

Not showy, of course, but so lovely, sort of sublime in the right hands.

[Mr. Pauly]

Oh, yes, as always. The interpretation must be right, mustn't it?

[Miss Eames]

May I ask who you've got on your recording?

[Mr. Pauly]

Oh, isn't it on the program I sent you?

[Miss Eames]

No, it isn't, as a matter of fact. Actually, it's the only item where you don't specify the sailor is.

[Mr. Pauly]

Oh, don't I? That's not like me.

[Miss Eames]

I wonder who you've got.

[Mr. Pauly]

As far as I can remember, it was an acceptable interpretation. I do hate it when people sing along. Don't you sing along with the music. Like Morris. Or perhaps you hadn't noticed.

[Miss Eames]

Oh, that. Yes, I have, as a matter of fact.

[Mr. Pauly]

It does spoil it for the rest of us, doesn't it? Don't you think there's enough of that kind of thing in society without having to contend with Morris?

[Miss Eames]

Enough of what?

[Mr. Pauly]

Well, people spoiling things. Vandalism, graffiti, that kind of thing.

[Miss Eames]

I suppose so. But what can you do?

[Mr. Pauly]

This is what I'm saying. You should at least be prepared to punish people.

[Miss Eames]

Punishment? I don't know.

[Mr. Pauly]

You know, you'd hardly believe it, but at the library we actually get people defacing books.

[Miss Eames]

Really?

[Mr. Pauly]

Oh, yes, yes. They write words in. They add bits to the pictures.

[Miss Eames]

Do they? What sort of bits?

[Mr. Pauly]

I couldn't possibly tell you, Miss Eames, but, well, we very rarely catch them, you see.

[Miss Eames]

Oh, dear. How did we get onto all this?

[Mr. Pauly]

Morris and his sing alongs. I try to hold my breath.

[Miss Eames]

Sorry?

[Mr. Pauly]

In the quieter passages, I hold my breath so I can hear nothing but the music.

[Miss Eames]

Really?

[Mr. Pauly]

Oh, yes. It's possible to improve with practice. So that you hardly know you're doing it. I can, for example, do the slow movement of the Emperor Concerto with very few breaths. Indeed.

[Miss Eames]

Really? Still just us, I'm afraid.

[Mr. Pauly]

What if we should start without them?

[Miss Eames]

Oh, poor Mr. Pauly. You deserve better from us. You really do.

[Mr. Pauly]

You haven't been in touch with any of them?

[Miss Eames]

I'm afraid not. We're not on the phone, you see. Mother doesn't like them phones, that is, she says they intrude.

[Mr. Pauly]

I. Perhaps it's just as well.

[Miss Eames]

I shall just take off my coat, hang it up at the back. I'm surprised at Mrs. Baker. It's not like her to miss.

[Mr. Pauly]

Oh, it's quiet, tone deaf, but regular as clockwork. Still, perhaps it will be better to have an appreciative audience of one and a full house of less sensitive times.

[Miss Eames]

Everything seems to depend on me. I hope I don't let you down.

[Mr. Pauly]

I'm sure you won't.

[Miss Eames]

I don't know how you can sound so confident, Mr. Pauley. You don't know me that well.

[Mr. Pauly]

You think not?

[Miss Eames]

Well, you've been with us for six months and you hardly ever speak.

[Mr. Pauly]

Oh, no, no. I'm not much of a conversationalist.

[Miss Eames]

Oh, I didn't mean to.

[Mr. Pauly]

It's not something I find particularly easy.

[Miss Eames]

It isn't? As a matter of fact, I'm always a little bit suspicious of those who do find it easy.

[Mr. Pauly]

Yes.

[Miss Eames]

It's not always sensible to judge people by what they say, is it?

[Mr. Pauly]

And yet, don't you find with music it's entirely different?

[Miss Eames]

Different?

[Mr. Pauly]

Yes. Often you don't have to speak at all.

[Miss Eames]

Ah, I see.

[Mr. Pauly]

In my experience, people who really understand music usually understand each other. Very few words need to be exchanged.

[Miss Eames]

That's just what I've found. And when I go to a concert or something, I. I never actually speak to the soloist. Well, of course I don't, but I do very often feel as if I understand him. Do you know what I mean? At a level beyond words.

[Mr. Pauly]

Beyond words? Yes. Whenever I get the chance.

[Miss Eames]

What's the matter?

[Mr. Pauly]

Didn't you hear it?

[Miss Eames]

What?

[Mr. Pauly]

A sound outside. Listen. Oh, no. There was something. I'll show you. I'm very sensitive to any extraneous sound, you know.

[Miss Eames]

Maurice.

[Mr. Pauly]

Too quiet. I better take a look.

[Miss Eames]

Oh, Mr. Pauly.

[Mr. Pauly]

Well, I shouldn't worry. Probably the biggest cat.

[Miss Eames]

Oh, I do hope so. You just never know these days.

[Mr. Pauly]

But I'm here, Mr. Eames. You're perfectly safe. Well, yes, I'm quite capable of dealing with sniggerers at the library. I'm sure I can look after you.

[Miss Eames]

Sniggerers?

[Mr. Pauly]

Youths who come in to snigger behind the shelves. I throw them out without a qualm.

[Miss Eames]

Do you.

[Mr. Pauly]

Would you like me to lock the door? It might make you feel better.

[Miss Eames]

Well, perhaps to be on the safe side.

[Mr. Pauly]

Actually, the seclusion we get here, it's a good thing most of the time.

[Miss Eames]

Is it?

[Mr. Pauly]

Well, we have the body of the church between us and the room.

[Miss Eames]

Ah, for sound. Yes. And the vicar does have the sense to keep a cat rather than a dog, I suppose.

[Mr. Pauly]

A cat? Does that make a difference?

[Miss Eames]

Well, dogs make such a row. Howls, yaps, barks.

[Mr. Pauly]

But so do cats.

[Miss Eames]

Well, they don't bark, Mr. Pauly. Cats are almost always silent.

[Mr. Pauly]

I'm afraid my experience Is to the contrary.

[Miss Eames]

Mother has a cat. And she has never once interfered with my listening.

[Mr. Pauly]

I inherited a cat once.

[Miss Eames]

You mean in a will?

[Mr. Pauly]

No. My brother went to Australia. Left the cat behind. It did not react well to music, I regret to say.

[Miss Eames]

What did it do?

[Mr. Pauly]

It used to make a noise like a sick baby whenever I put a record on. It had to go in the end.

[Miss Eames]

Go?

[Mr. Pauly]

Oh, yes. I don't think it suffered very much. Not as much as it used to make me suffer, anyway. But there you are. Perhaps I was just unlucky. Perhaps all other cats are attentive listeners.

[Miss Eames]

Well, ours is very attentive.

[Mr. Pauly]

The only creature I recall with any affection is the little listening dog.

[Miss Eames]

Oh, you had a dog then?

[Mr. Pauly]

No, not mine. The record label. His master's voice.

[Miss Eames]

Oh, yes. Such a perky little thing.

[Mr. Pauly]

There it sits, completely attentive and utterly silent. The perfect listener.

[Miss Eames]

Yes. Seeming to understand.

[Mr. Pauly]

Indeed. Just as you were saying.

[Miss Eames]

Was I?

[Mr. Pauly]

About understanding a soloist as you listen?

[Miss Eames]

Oh, that. It is a little like that, perhaps, yes. Sometimes I think.

[Mr. Pauly]

What?

[Miss Eames]

You think I'm silly.

[Mr. Pauly]

I'm sure I won't.

[Miss Eames]

Well, this is something I've felt for ages. I've never actually mentioned it to anyone before.

[Mr. Pauly]

Well, please go on.

[Miss Eames]

Sometimes I feel so close to the soloist that everyone else seems to fade away. It's really more than just a feeling, though. We are alone, and somehow we merge into the music. Oh, dear. I'm not explaining myself very well.

[Mr. Pauly]

Oh, yes, but you are, Ms. Ames.

[Miss Eames]

You see, it's unlike anything I've ever experienced in ordinary life.

[Mr. Pauly]

A physical experience, almost. What you do actually feel it?

[Miss Eames]

I wouldn't say that.

[Mr. Pauly]

Well, you said him earlier.

[Miss Eames]

Did I?

[Mr. Pauly]

As if the soloist were always a man.

[Miss Eames]

Well, you do say him, don't you? It doesn't mean.

[Mr. Pauly]

Oh, Ms. James, I'm sorry. No, I've pressed you too far. I do know what you mean, you see. And I suppose my understanding just carried me away.

[Miss Eames]

I wouldn't want you to think it's.

[Mr. Pauly]

It's just as I said. I don't know how to speak to people. I say. I say too little or I say too much.

[Miss Eames]

It's me who said too much.

[Mr. Pauly]

I think I was just trying to say how vivid your description was. This fading away of others. This oneness with a performer.

[Miss Eames]

It's not silly, then?

[Mr. Pauly]

Oh, no, no, not silly. I feel it myself.

[Miss Eames]

Mr. Pauley, do you know James Wilson?

[Mr. Pauly]

James Wilson?

[Miss Eames]

Yes. Thinking about your program, I wondered if you'd come across him.

[Mr. Pauly]

He was killed in a plane crash last. Yes, of course I was.

[Miss Eames]

Stammered. I just couldn't believe it.

[Mr. Pauly]

You were especially fond of him, were you?

[Miss Eames]

What I was saying earlier about being in contact with a performer was mostly about James Wilson.

[Mr. Pauly]

Through his music?

[Miss Eames]

Through his music, yes, but more than that, too. His actual presence. He was such a quiet, a gentle man. Did you ever see him?

[Mr. Pauly]

I may have done. I go to very many concerts.

[Miss Eames]

Oh, I'm sure you'd remember him if you had. You know, I once did the most awful thing. I saw him in the coffee shop at Snape. Do you know it?

[Mr. Pauly]

I know Snape. Of course. I'm not familiar with the coffee shop. I don't go to Snape for the coffee.

[Miss Eames]

No? Well, I was there two tables away, and he got up and went off somewhere and I took his beaker.

[Mr. Pauly]

You did what?

[Miss Eames]

Took his beaker. It was only a sort of paper cup with a soft drink in it. I thought he'd finished, but he hadn't. He came back and looked around for it. My face was burning with shame, but he didn't notice. You see, I've followed his career since that amazing Spanish tour when he was only 22. And I mean, you do keep mementos of people you know, don't you?

[Mr. Pauly]

Yes, I suppose you do.

[Miss Eames]

I do feel as if I knew him. When he plays, it's like sharing the most beautiful conversation with someone. Except that actual conversation is, well, flat.

[Mr. Pauly]

Yes, indeed. It falls short, doesn't it?

[Miss Eames]

Usually, yes. Mr. Pauly, may I ask you something direct?

[Mr. Pauly]

Of course.

[Miss Eames]

Would you mind checking the sarabande to see who's playing it?

[Mr. Pauly]

Oh, you think it might be Wilson?

[Miss Eames]

I fear so, yes.

[Mr. Pauly]

You fear so?

[Miss Eames]

Yes. I have a little confession to make, Mr. Pauley. You see, I was intrigued by your programme and I knew I had to come along. But there was something about it that disturbed me.

[Mr. Pauly]

Oh, dear. I certainly didn't intend that.

[Miss Eames]

My heart missed a beat when I saw you'd got the Sarah Bond down for tonight. The thing is, James Wilson recorded that in concert just before he died.

[Mr. Pauly]

Oh, really?

[Miss Eames]

Immediately, in fact. The week before. I know because I was there and, well, I'm not sure I can bear to hear it again.

[Mr. Pauly]

Oh, but surely.

[Miss Eames]

I mean, it doesn't really make sense, does it? But to me the occasion was perfect. And perfection is not a thing you meet very often in life. I don't.

[Mr. Pauly]

Anyway, haven't you got the recording?

[Miss Eames]

Oh, no. I've deliberately avoided it. It's probably stupid of.

[Mr. Pauly]

Please, I understand.

[Miss Eames]

So you. You won't mind checking?

[Mr. Pauly]

It's the Least I can do.

[Miss Eames]

I'd be so relieved.

[Mr. Pauly]

Let me see. It's among these. Oh, yeah. Here we are. Bark Salute. Suite number one. Recorded Thornton rooms. Oh, yes, yes, yes, I thought it might be. Oh, dear.

[Miss Eames]

You weren't to know.

[Mr. Pauly]

You weren't. Well, look. Better put it to one side, then. Unless. What? Well, that conversation you were talking about. The feeling that you were at one with Wilson as he played. You don't think it could continue?

[Miss Eames]

Continue How?

[Mr. Pauly]

After death?

[Miss Eames]

Oh, no.

[Mr. Pauly]

Well, in a sense, of course. Perhaps listening to him now might recreate that conversation.

[Miss Eames]

But suppose the recording is. Is less perfect than the live performance?

[Mr. Pauly]

That wouldn't do, would it? I'm glad you mentioned this, Miss Ames. It would have been awful to play the piece without realizing its effect.

[Miss Eames]

I'm really looking forward to the other pieces.

[Mr. Pauly]

Well, then perhaps I should start.

[Miss Eames]

Yes, please do.

[Mr. Pauly]

Yes. Well, here we go, then. Let's begin with a little shark spitner, shall we?

[Miss Eames]

Oh, lovely.

[Mr. Pauly]

Miss Eames. Miss Eames, Are you all right? Oh, I'm sorry.

[Miss Eames]

Please don't do that.

[Mr. Pauly]

I thought you were unwell.

[Miss Eames]

You shook me.

[Mr. Pauly]

I only touched your arm.

[Miss Eames]

I'm not unwell, Mr. Pauly. I was listening, that's all.

[Mr. Pauly]

It's just that I thought you were choking.

[Miss Eames]

Choking?

[Mr. Pauly]

Yes, you coughed.

[Miss Eames]

Did I? I wasn't aware.

[Mr. Pauly]

Oh, yes, you did. It was a little disconcerting. Oh, you're quite all right, then?

[Miss Eames]

Yes, I was involved. I didn't hear myself cough.

[Mr. Pauly]

Possibly it's something you're used to. It's a sort of nerves tickle. Rather like Morris.

[Miss Eames]

Morris?

[Mr. Pauly]

He's pom poming. That's probably nervous too. A cloak for ignorance in his case, I think. These things often disguise other problems.

[Miss Eames]

Does it disturb you?

[Mr. Pauly]

It does rather.

[Miss Eames]

I meant the cough.

[Mr. Pauly]

Yes, so did I. Oh, dear. And you haven't tried holding your breath?

[Miss Eames]

No.

[Mr. Pauly]

You could try that.

[Miss Eames]

Except that I don't know I'm doing it.

[Mr. Pauly]

Well, you do now.

[Miss Eames]

No one's ever mentioned it before. I wonder if it disturbs the others.

[Mr. Pauly]

Shouldn't think the others listen well enough.

[Miss Eames]

Only I know how annoying interruptions can be. Sometimes I get all the goings on of Ambridge drifting up through the floorboards of a Sunday morning.

[Mr. Pauly]

I don't know how you can tolerate it.

[Miss Eames]

I've spoken to Mother about it time and time again until I could.

[Mr. Pauly]

What? I might be able to help you, Miss Eames. To get rid of the cough, I mean.

[Miss Eames]

How could you do that?

[Mr. Pauly]

I imagine that in many ways you and I are quite similar.

[Miss Eames]

Are we?

[Mr. Pauly]

I mean, we're not quick to get on with people. We tend to keep them at bay. Do you think you're a nervous person, Miss Eames? Well, you see. You didn't like being touched.

[Miss Eames]

Well, of course not. No one likes being fingered with the lightest of touches.

[Mr. Pauly]

On your elbow.

[Miss Eames]

I know what it was. I'm not implying you just feel like some item in a shop.

[Mr. Pauly]

In a shop or on a shelf?

[Miss Eames]

Pardon?

[Mr. Pauly]

On a shelf. Machines. It needn't be like that. You don't have to throw up barriers all the time.

[Miss Eames]

You're not being fair, Mr. Pauly. You throw up barriers all the time. You never say a word in some meat.

[Mr. Pauly]

Yes, I know. And I'm beginning to think I'm wrong. You see, I'm talking about myself as well as about you.

[Miss Eames]

I don't know. I thought we came here for the music, but I'm beginning to wonder now.

[Mr. Pauly]

I thought that myself at first. I have to admit, though, that there are other things to do.

[Miss Eames]

With me, you mean?

[Mr. Pauly]

Yes.

[Miss Eames]

I see. What about the others?

[Mr. Pauly]

The others? Well, to be quite frank, I. I wouldn't mind if I never saw the others again.

[Miss Eames]

I mean, you asked them along. You didn't just ask me.

[Mr. Pauly]

Oh, my turn to confess now, Miss Eames, I think.

[Miss Eames]

Confess what?

[Mr. Pauly]

Well, the others. Their invitations are slightly different from yours.

[Miss Eames]

Are they?

[Mr. Pauly]

They give tomorrow as the date of this meeting.

[Miss Eames]

Tomorrow? Then. Then how could you expect.

[Mr. Pauly]

I didn't.

[Miss Eames]

You mean you knew they weren't coming from the start?

[Mr. Pauly]

Yes.

[Miss Eames]

But you knew I would?

[Mr. Pauly]

I hoped you would.

[Miss Eames]

Then why didn't you just ask me to come? Why did you have to go through all that?

[Mr. Pauly]

Would you have come if I'd asked?

[Miss Eames]

Right.

[Mr. Pauly]

Would you?

[Miss Eames]

No, I suppose not.

[Mr. Pauly]

You see, I had to do it this way.

[Miss Eames]

So you're having another meeting tomorrow, then? For the others?

[Mr. Pauly]

Yes.

[Miss Eames]

You must have worked all this out, then?

[Mr. Pauly]

Yes. It must seem fairly calculated.

[Miss Eames]

You're right about one thing, Mr. Ford, if you don't mind me saying so. You and I make a funny pair.

[Mr. Pauly]

Do we?

[Miss Eames]

We have to go all the way around the houses before we can say what we mean.

[Mr. Pauly]

But perhaps we are getting somewhere nevertheless.

[Miss Eames]

I don't know. Are we?

[Mr. Pauly]

I think so. I couldn't have spoken to you like this before this evening.

[Miss Eames]

Perhaps not.

[Mr. Pauly]

And you?

[Miss Eames]

Me?

[Mr. Pauly]

Would you feel more relaxed?

[Miss Eames]

I suppose I must do. My tongue seems to be running away with me.

[Mr. Pauly]

Oh, I wouldn't say that.

[Miss Eames]

But you know what I mean. I've never felt quite able to chat before. I don't know why have you wanted to? Yes. You always stood out from the rest of the group. So quiet and sensitive and so neat. And I couldn't help noticing.

[Mr. Pauly]

What?

[Miss Eames]

How often you seem to be looking in my direction.

[Mr. Pauly]

Was I?

[Miss Eames]

I thought you were. I could have imagined it, of course.

[Mr. Pauly]

No, no, no, no, you didn't imagine it.

[Miss Eames]

Oh, I'm rather glad.

[Mr. Pauly]

It seems. There's something I'd like you to hear without the others.

[Miss Eames]

Go ahead, Mr. Pooley.

[Mr. Pauly]

No, I mean a piece of music.

[Miss Eames]

Oh.

[Mr. Pauly]

It's rather special, you see. I don't think it would mean much to them.

[Miss Eames]

What is it?

[Mr. Pauly]

I was playing it as you came in, as a matter of fact.

[Miss Eames]

The French piece?

[Mr. Pauly]

No, no, it wasn't a French piece.

[Miss Eames]

I knew it. It was the Bach, wasn't it? The Sarabande?

[Mr. Pauly]

Yes.

[Miss Eames]

Yes, I was sure it was. I was so disappointed to think you might have been wrong.

[Mr. Pauly]

No, I knew it was the Sarabant.

[Miss Eames]

But, Mr. Pauly, why on earth should you pretend not to know it?

[Mr. Pauly]

You surprised me. And to be honest, I didn't think you were quite ready for it.

[Miss Eames]

Not ready?

[Mr. Pauly]

No.

[Miss Eames]

But you didn't know that. I knew it, didn't I? Well, how could you?

[Mr. Pauly]

I think it's a piece you'll have to face again sometime, Miss Eames.

[Miss Eames]

What do you mean, face again?

[Mr. Pauly]

You're worried that the recording might not match the actual performance. But believe me, the recording is very good. It catches everything.

[Miss Eames]

Well, maybe it does.

[Mr. Pauly]

And anyway, it's also something I've wanted to share with you for some time.

[Miss Eames]

Well, then why haven't you mentioned it before?

[Mr. Pauly]

Well, I didn't want to spring it on you. You can see that.

[Miss Eames]

I don't know what you mean.

[Mr. Pauly]

Don't you think that you owe it to James Wilson to make the effort, Miss Eames? You could make him live again. You might never find a better time.

[Miss Eames]

Will you stop it if I signal?

[Mr. Pauly]

You won't need to signal.

[Miss Eames]

But will you?

[Mr. Pauly]

Yes.

[Miss Eames]

All right, then. Play it.

[Mr. Pauly]

Good. Good. Relax, Miss Eames. Try to control it. Try to hold your breath. Ready? There. Did you hear that? What didn't you hear?

[Miss Eames]

Actually, Mr. Pauley, I'm finding it quite hard to listen. Why didn't you stop?

[Mr. Pauly]

Shouldn't be surprised, I suppose. Although it was clear after me. As clear as it was on the day itself.

[Miss Eames]

What day?

[Mr. Pauly]

The day of the recording in the fountain rooms, of course.

[Miss Eames]

But you weren't there.

[Mr. Pauly]

At least I was. I sat behind you. You wore a blue straw hat.

[Miss Eames]

Mr. Paulie. You said you didn't go to the concert.

[Mr. Pauly]

No, I didn't. I was there, all right. That's how I knew about you and this little group. I joined because I knew you belonged.

[Miss Eames]

I'm afraid I don't understand.

[Mr. Pauly]

Listen carefully and you will.

[Miss Eames]

What are you doing?

[Mr. Pauly]

Something else for you to listen to.

[Miss Eames]

I'm not sure I want to listen to anything else at the moment.

[Mr. Pauly]

Sit down, Miss. You. Please. It's not exactly music. It's a tape I've made myself. I went to a great deal of trouble with it and I'd like you to hear it.

[Miss Eames]

I'm sorry, Mr. Prawley. I'm getting muddled for you. First, you didn't know the Sarabande and now you say you do. Then you say you weren't at the concert and now you say you were.

[Mr. Pauly]

That's right. And I was less than honest about waiting for the others to turn up.

[Miss Eames]

But why?

[Mr. Pauly]

I hope that will become apparent. You'll understand a little better if you listen.

[Miss Eames]

But were you at the Thornton Rooms concert?

[Mr. Pauly]

Of course I was there. You think I'd miss it? James Wilson. I attended every concert it was possible for me to get to. Incidentally, the Spanish tour was when he was 24, not 22. Where did you get your information from? Obviously you didn't double check. Tell me, Miss Eames, which of Wilson's concerts was the best, in your opinion?

[Miss Eames]

The last. The last will always be special.

[Mr. Pauly]

Yes. There's really no doubt, is there? It was, as you said yourself, almost perfect. Almost.

[Miss Eames]

This isn't a proper recording. What's the matter with it?

[Mr. Pauly]

There's nothing the matter with the recording. It's just as I intended it to be.

[Miss Eames]

Please turn it off.

[Mr. Pauly]

Yes, it does great, doesn't it?

[Miss Eames]

Was that me?

[Mr. Pauly]

Oh, yes. Well, the cough was you. The loot was James Wilson.

[Miss Eames]

But this can't.

[Mr. Pauly]

Oh, don't be silly. Of course it can't.

[Miss Eames]

Mr. Pauly. I don't understand. Why are you playing all these tricks on me?

[Mr. Pauly]

Tricks? You think I'm the sort of person who plays tricks?

[Miss Eames]

You're beginning to frighten me.

[Mr. Pauly]

I said things would become more apparent once you'd heard the tape.

[Miss Eames]

Well, now that I have.

[Mr. Pauly]

Where are you going? Sit down.

[Miss Eames]

Touch him.

[Mr. Pauly]

Touch him. Now, calm down, Miss Eames. You're becoming irrational. It's most unlike you.

[Miss Eames]

I have to phone Mother. I always phone her when we break for coffee. You see. Otherwise she worries so.

[Mr. Pauly]

Well, that's something she'll have to get used to, isn't it?

[Miss Eames]

You're getting me all confused. What is it that you want.

[Mr. Pauly]

Well, I'll tell you what I don't want. I don't want to sit in any more drab, pokey church rooms while Maurice Pom poms his way through selections from Tchaikovsky. No, all I want is the chance to talk to that lady in the blue straw hat alone. Please.

[Miss Eames]

Please wait.

[Mr. Pauly]

I haven't finished. You see, I was most anxious to get hold of that recording to find out if they managed to get rid of that ugly little cough. As you've heard, they didn't. The recording captured everything. Everything, Miss Eames.

[Miss Eames]

But I couldn't.

[Mr. Pauly]

I wish you could. I think you could. Not that that matters anymore. There's nothing you can do about it now. The damage is done. All the swift now is the punishment. Yes, you begin to understand. Are you God?

[Miss Eames]

You can't do that.

[Mr. Pauly]

Well, that's a silly thing to say, Missines, because I am doing it. It's strange, but I have to listen to the recording now. I have no will in the matter. To begin with, I had to listen to see if the blemish was there. Then I had to listen to see if I could manage to ignore it. Then again and again and again. Each time waiting for the cough and hearing less and less of the music. Then just hearing the cough. You know, it seems to get worse each time. Louder, uglier, more beast like. Now I torture myself with it. I'm sure you don't realise this, but your cough can be heard five times on this recording. Five times. The music is, of course, ruined forever. No, no, no. Don't argue. Don't make excuses. I can never hear that music again without thinking of your cough. Even if Wilson were to rise from the grave and play it through to perfection, the ghost of that unnecessary blemish will cling to the piece. I know exactly where it comes. And if I don't hear it, I won't be able to prevent myself recreating it deep inside my head. You've destroyed something, Miss Eames. It must be made to pay for that.

[Miss Eames]

What are you going to do?

[Mr. Pauly]

Well, to begin with, I think we ought to hear the tape again, don't you?

[Miss Eames]

No, I don't want to hear.

[Mr. Pauly]

You have to face the music, Miss Eames. And I did say I'll get rid of that cough for you, didn't I?

[Nigel Anthony]

Well, that was a story which I'm sure all music lovers will find left a lump in their throats. Nigel Anthony played the man pursued by perfection and Prunella Scales, the lady killed by a Cough. The story was written by Nick Warburton and directed by Martin Jenkins.