Fear on Four 88-02-07 (06) Every Detail but One

Summary

Harold's Old Time Radio: Fear on Four “Every Detail but One” (1988-02-07)

Host: Harolds Old Time Radio
Episode Date: September 26, 2025
Original Airdate (Show): February 7, 1988
Summary by AI

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Overview

This episode of "Harold's Old Time Radio" features the chilling radio drama “Every Detail but One” from the classic BBC horror anthology series Fear on Four. The story centers on Jenny, a heavily pregnant woman, who begins to receive disturbing phone calls and ghostly visitations hinting at premonitions and psychic bonds. The tale weaves psychological horror with supernatural ambiguity, exploring telepathy, fate, and the lasting trauma of loss. The episode is both an intimate character drama and a meditation on the human need to find meaning in the inexplicable.

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Key Discussion Points & Story Progression

Radio Studio Framing: Setting the Paranormal Tone

[00:32] Edward d'Souza (The Man in Black):

• Introduces episode six and links the number to prophecy.
• Sets a foreboding mood: "Certainly today's story features that power and a very frightening prophecy."

Jenny’s Distress Begins

[01:47] – [03:40]:

• Jenny is established as the protagonist. She is pregnant and receives mundane phone messages from friends and her mother, interspersed with strange, breathy anonymous calls.
• First supernatural disturbance:
  • Phone call with only heavy breathing. Jenny tries to dismiss it, but unease grows.

Ghostly Encounters Intensify

[03:40] – [06:54]:

• Recurring voice calls for help, addressing Jenny by name (“Jenny, help me.”). Jenny expresses mounting distress to friend Leslie.
• Leslie attempts rationalization: Urges Jenny to dismiss the incident as crank calls, but Jenny is visibly shaken.

Exploring the Paranormal: Talk Show Segments

[01:47], [04:57], [05:23], [12:15]:

• Intermingled with narrative, “radio show” sequences feature Hazel Brown interviewing Jonathan Weiss about psychic phenomena (ghosts, telepathy, poltergeists).
• Weiss:
  • "I could quote you literally hundreds of cases of telepathy, divination, distant viewing, that sort of thing." [05:23]
  • On psychic experiences: "When someone has a psychic or paranormal experience, it often affects them very deeply. Their whole picture of the world is suddenly turned completely upside down." [14:33]

Jenny’s Crisis Escalates

[06:49] – [14:24]:

• Jenny’s distress escalates with repeated supernatural phenomena: voices calling from TVs, the feeling of a presence in her room.
• Leslie and others remain supportive but skeptical.
• Jenny’s mental state deteriorates; friends and family try to help her rest or rationalize the incidents.

The Prophecy and its Horrific Fulfillment

[19:01] – [21:35]:

• Jenny, left alone, makes another desperate attempt to communicate with the entity via electronics.
• The ghostly voice (“Danny?” “Are you my baby?”) confirms a psychic or maternal connection; Jenny is devastated when told it is “too late.”
• Jenny’s mental and emotional state collapses. She attempts suicide.
• Haunting imagery: The sense of a psychic link with her (unborn) child who is dying or seeking help from the beyond.

Aftermath: Grief, Guilt, and the Mystery of Fate

[22:34] – [25:45]:

• Jenny is found alive but dies in hospital; her baby is saved.
• Leslie, wracked with guilt, blames herself for leaving Jenny alone.
• The story interweaves another case of failed prophecy—a woman who seemingly predicts a space shuttle disaster, but her vision is a year too early.
• Jonathan Weiss: "She took it for granted that she was seeing the present, but she wasn't. She was seeing the future." [26:37]
• Hazel Brown (on Jenny): "When I broke in and found her... she said, 'my baby's dead', over and over again." [25:45]

Epilogue: The Persistence of Grief and New Life

[26:51] – End:

• Leslie and Tim contemplate adoption, realizing the baby left behind is “everything we've always wanted.”
• The story closes with an image of a tiny coffin in a churchyard, juxtaposed with hope for the new child as the circle of loss and prophecy closes.

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Notable Quotes & Memorable Moments

Thematic Quotes

• On Psychic Phenomena:
  "It's like a sort of occult recorded replay."
  —Jonathan Weiss [16:25]

• On Fate and Destiny:
  "And the concept of a fate or destiny that's mapped out for you... is something you find in the myths and legends of every race on Earth."
  —Jonathan Weiss [16:56]

• The Prophecy Twist:
  "Every detail but one. She took it for granted that she was seeing the present, but she wasn't. She was seeing the future."
  —Jonathan Weiss [26:37]

• Jenny’s Despair:
  "He's dead. My baby's dead. I killed him."
  —Jenny [21:35]

• Leslie's Guilt:
  "I should have realized the state she was in. I shouldn't have left her on her own."
  —Hazel Brown (Leslie) [23:52]

Memorable Dialogue

• The Ghostly Voice:
  "Jenny... help me." —Ghost/Spirit (Danny) [03:40, repeated through episode]

• Supernatural Maternal Bond:
  "Are you my baby?" – "Yes." – "What?" —Jenny and Ghost/Spirit [20:29]

Emotional Highlights

• Discovery of Jenny:
  "When I broke in and found her, I thought at first it was the baby, you know? Then I realized... She was still alive. She spoke to me..."
  —Hazel Brown (Leslie) [25:45]

• Bittersweet Hope:
  "She's everything we've always wanted. She's a beautiful, healthy baby."
  —Hazel Brown (re: Jenny’s baby) [27:05]

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Timestamps for Key Segments

• Introduction & Prophecy Theme: [00:32]
• First Disturbing Call: [03:40]
• Paranormal Definitions (Talk Show): [04:57]
• Ghost Calls Jenny by Name: [06:59]
• Police Involvement: [07:54]
• Further Supernatural Visitation: [13:29]
• Leslie Tries to Help Jenny: [14:22]
• Jonathan Weiss on the Trauma of the Paranormal: [14:33]
• Jenny Tries to Communicate with the Spirit: [19:22]
• Climax—Death of Unborn Child: [21:35]
• NASA Prophecy Anecdote: [22:16], [26:28]
• Hospital Scene—Jenny’s Death: [23:33], [24:08]
• Aftermath—Adoption Discussion: [25:19]
• Closing Reflection & Credits: [27:38]

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Tone and Atmosphere

• Language: Gentle, conversational, often resigned, with moments of gallows humor between friends.
• Mood: Gradually mounting dread; shifts from skepticism to sorrowful acceptance of tragedy and the unknown.

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Conclusion

This Fear on Four episode deftly combines ghost story conventions with psychological insight, using a web of conversations—real and spectral—to illuminate the ways in which people cope with loss, fate, and the inexplicable. The title, Every Detail but One, encapsulates the story’s meditation on prophecy: how even a perfect vision can miss a crucial fact or fail to avert destiny. Ultimately, the episode leaves listeners with a shiver and a sense of uncertainty that lingers long past its closing music.

Transcript

[Tim]

And Doug, here we have the limu emu in its natural habitat helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.

[Police Officer]

Limu is that guy with the binoculars watching us?

[Hazel Brown]

Cut the camera.

[Jonathan Weiss]

They see us.

[Tim]

Only pay for what you [e-mail] Liberty.

[Police Officer]

Liberty.

[Hazel Brown]

Liberty.

[Tim]

Liberty Savings vary unwritten by Liberty Mutual Insurance Company and affiliates Excludes Massachusetts.

[Edward d'Souza]

Ladies and gentlemen, once more welcome. Today's story is number six in the list. And I notice in my book of numerology that the number six is associated with the power of prophecy. Certainly today's story features that power and a very frightening prophecy.

[Jonathan Weiss]

It is.

[Edward d'Souza]

In a small churchyard beneath a perfect summer sky. Two people look down into an open grave six feet deep. One of them is crying. The other is beyond tears. This is the story of the one they mourn. I invite you then to listen to story number six and to consider every detail but one.

[Hazel Brown]

You're listening to chat9 with me, Hazel Brown and today's expert in the studio, Jonathan Weiss.

[Tim]

Hello.

[Hazel Brown]

He'll be talking to us about the paranormal psychic phenomena. Ghosties and ghoulies and things that go work. Oh, sorry, kiddo. Shouldn't be teaching you to swear. Well, not yet, anyway. Oh, we're home, Bass. Home again, home again. Jiggity jig, kettle. First store messages. Radio messages and kettle. Hello, Jenny, don't get excited. It's only Leslie. Just trying to remind you about lunch. Tomorrow. 1:30, usual place. Okay, see you. Bye. Bazaar. Hey, Jen. I bet he's a girl. Jennifer, this is your mother. And I hate this infernal contraption. I'm calling to remind you to watch that Esther Ransom program tomorrow on BBC1. She's been through it herself, so she knows what she's talking about. Yes, Mother. Don't stop tomorrow. I hope you're getting plenty of rest. The basil needs sleep. Goodbye for now, dear. Oh, your father sends his love. Okay, Mother, what have you forgotten? Oh, come on, Mom. There's always something. Beef tea. Eaten for two. Don't go out when there's a full moon. Oh, wonderful. It's an event, Buzz. Our first heavy breather. Listen, freak, you can moan as long as you like. See if we care.

[Jenny]

Come on, bud.

[Hazel Brown]

It's tea time.

[Ghost/Spirit (Danny)]

Jenny. Jenny, help me. Help me.

[Jonathan Weiss]

Well, it's important to sort out your definitions. If we're talking about a tangible manifestation of something with a clear and definite form.

[Hazel Brown]

A ghost.

[Ghost/Spirit (Danny)]

Ghost?

[Jonathan Weiss]

If you like. Well, then I'd have to say that that was pretty Rare. But there are lots of other things.

[Hazel Brown]

So was it a hell of a shock? No, not really. Well, yes, a bit, maybe. Jumpy? Yes. And you can do without that sort of thing. Particularly at the moment.

[Jenny]

Please.

[Hazel Brown]

Next thing, you'd be telling me to put my feet up and start eating for two. I seem to have hit a nerve. It's labeled Mother. Sorry, it's my envy showing. Oh, this? Oh, I'm all right. Tell me more about your heavy breather.

[Jenny]

Wow.

[Hazel Brown]

There wasn't really more. A horse whisperer? Come to think of it, I'm not even sure it was a he. God save us. Whatever happened to sisterly solidarity? Leslie, I think I preferred your wise old motherly advice. Act. Sorry. But listen, seriously. Seriously, Bolton, Listen. Sometimes that sort of thing can hit you harder than, you know, delayed shock. You'd be surprised. Look, I'm okay, and it's never going to happen again.

[Jonathan Weiss]

I could quote you literally hundreds of cases of telepathy, divination, distant viewing, that sort of thing.

[Hazel Brown]

Okay, thank you, Jonathan. We're covering everything from premonitions to poltergeist today. So whether you're a believer or a skeptic, keep listening. I got plenty of nothing. No offense, Baz. Kettle or. Oh. No messages. What did I tell you? Leslie? Good. Hello, this is Jenny Waterman. I can't come to the phone. Come on. But please record a message after the tone. And thanks for calling. Come on, Jen, don't get excited. It's only Leslie. Just wanted to say, I'll bet you my entire collection of Lady Penelope comics your whispering Wonder person hasn't rung again. Am I right or am I right? Hello? Les? Jenny, You're a fraud. You were there all the time. No, I'm not. This is just a cardboard replica. Goon show references. Now, who's showing their age? How are you, the two of you? We're fine. Mind you, one of us nearly jumped out of. Jen? Jenny, you there? Who's there? What? You got across line, Les. Can't you hear it? Jenny, what's wrong?

[Jenny]

Can't you.

[Hazel Brown]

I can't do anything. Other things.

[Ghost/Spirit (Danny)]

No.

[Hazel Brown]

What can you hear? Is it him again?

[Ghost/Spirit (Danny)]

Jenny?

[Jenny]

He knows my name, Les. He knows who I am.

[Ghost/Spirit (Danny)]

Help me. Jenny. Leslie?

[Hazel Brown]

I'm here, but I can't hear anyone. Jenny. Are they still there?

[Ghost/Spirit (Danny)]

You've got help.

[Hazel Brown]

What do you mean, help?

[Jenny]

You. Who are you?

[Hazel Brown]

Yes, yes, still there. Right. Now listen to me, whoever you are, if you are not off this line in 10 seconds dead, I'll have the law onto you faster than you can say Cagney. Lazy. You bastard.

[Ghost/Spirit (Danny)]

Go away.

[Jenny]

Leave me alone.

[Hazel Brown]

Jenny, hang up. Hang up.

[Jenny]

Scum.

[Hazel Brown]

Jen, you still there? Take your phone off the hook and sit tight. I'm coming round. Now, it seems to me that there could be a perfectly rational explanation for that one. Yes.

[Jonathan Weiss]

Yes, Hazel, I would think so. It's important to remember that 99% of all the cases we investigate turn out to be a complete.

[Police Officer]

Now, let me make sure I've got this straight. There's been two calls altogether, the same voice and the same words?

[Hazel Brown]

That's right. No, s. Not quite. No words the first time.

[Police Officer]

But it was the same man, same person?

[Hazel Brown]

Yes. Yes, it was. I'm sorry. You're sorry? Let the freak apologize. Please. It all seems a bit silly now. Just some sort of stupid joke.

[Police Officer]

Do you know anyone likely to play that sort of joke on you? Your husband, maybe?

[Hazel Brown]

I don't have a husband.

[Police Officer]

Ah, well, some friend, then.

[Hazel Brown]

This friend put the wind up good and proper. Now, what are you gonna do about it?

[Police Officer]

Well, I'm sorry, but there's not very much we can do.

[Hazel Brown]

Oh, great. Leslie. It's all right. Even if it does happen again, I can handle it.

[Police Officer]

Yeah, that's the way. Look, try leaving the answering machine on all the time, even when you're at home. If he persists, they might well put a stop to it. Other than that, the only advice I can give you is to have your number changed.

[Hazel Brown]

Oh, great. Three weeks wait and 50 quid on the bill. I'm sorry. Please ignore her.

[Police Officer]

My pleasure.

[Hazel Brown]

If this were Dixon of Doc Green, we'd have got a cup of tea at least.

[Police Officer]

Well, it isn't.

[Hazel Brown]

Thanks. Really. Come on, Les. Goodbye, officer.

[Police Officer]

Good evening. Oh.

[Hazel Brown]

You sure you're going to be all right now?

[Jenny]

Yes.

[Hazel Brown]

Stop fussing right now. Get yourself indoors, it's freezing. Yes, Mother. Bye. Bye. Bye. Basil. Idiot. And Les. That's me. Thanks.

[Jonathan Weiss]

Some of the best evidence we have is for poltergeist cases.

[Hazel Brown]

That's things flying around the room.

[Jonathan Weiss]

Well, that's one symptom. Or it could be unusual odours, coloured lights, changes in air temperature. In a few cases, even unexplained sounds.

[Hazel Brown]

So naturally, when you didn't answer, I didn't get your machine thing. I was worried. I'm sorry, Mum, I was out. I forgot to switch it on. Out where? With Leslie. Do I know him? Her. Leslie Pardita. Oh, college chum. So, everything's all right? Fine, fine. How are you?

[Jenny]

And dad?

[Hazel Brown]

I'm in perfect health. Your father. I'm Sorry to say, has regressed even further and is slumped in the corner, deeply immersed in the adventures of someone called Green Lantern. Well, give him my love.

[Ghost/Spirit (Danny)]

I shall.

[Hazel Brown]

And mine to you and Basil. Now go and put your feet up.

[Jenny]

I know.

[Hazel Brown]

Scoff if you like that sort of advice. Never did me any harm. You were a perfect baby. God knows how your father managed it. Bye, Mom. Thanks for calling. Goodbye, dear. And don't forget, Esther Ransom.

[Jenny]

How could I?

[Hazel Brown]

Bye. No, I'll leave you on the table. Okay, Baz. I'm a coward.

[Jenny]

Now.

[Hazel Brown]

Telly on. Feet up. Oh, damn.

[Ghost/Spirit (Danny)]

Kelly, help me.

[Jenny]

No. Please, no.

[Hazel Brown]

Am I going mad, Liz? No, of course not. Fear that, Buzz. We're not off to mother care for a maternity straight jacket after all. If I'm not going mad, then what the hell's happening to me? Simple, simple, simple. You've had a couple of damn stupid phone calls from some idiot man with the intelligence, intellectual capacity of a washing machine, and you quite naturally got upset. Then you fell asleep in front of the telly and your subconscious did the rest. You're saying I dreamt it? Got it in one? No. Yes, of course, yes. Has it happened again? No, not yet, Jenny. No, it hasn't. And it won't. Not if you tell yourself that everything's fine. So glib, Les. Yeah, I know. I'm lousy at giving advice. I think you're very good. Well, while you're in this mood, here's some more. When you get home tonight, do the both of you a favor and get some decent sleep. Go straight to bed. Give Crossroads a miss for once. God, you're a hard woman. Right, we will.

[Jonathan Weiss]

I could quote you several cases where people have seen an individual when he or she was actually miles away. Quite often, a distant person gives or tries to give some kind of important information. Sometimes a warning, some kind of disaster. It's been known. But sometimes a message is a more personal one. This sort of experience usually happens between people who are linked in some way. Twins.

[Ghost/Spirit (Danny)]

Say.

[Jenny]

You know, kiddo.

[Hazel Brown]

I think you should go on a diet. Never mind, Baz. Only five weeks and three days to go. Good night. Who's there? Who's there?

[Ghost/Spirit (Danny)]

Jenny.

[Hazel Brown]

Drink this. Careful, it's hot. Thanks. All right, now. Thanks for coming here. Forget it. Come on, let's get you back to bed. No, I'm not going back in that room. Jen, it was a dream, that's all. The old subconscious. I was awake. I heard that voice. Jenny, now be reasonable. A heavy breather. I can understand a crossed line. Fine. Okay. It Happens all the time. But. But a nighttime visitor who calls your name and then vanishes when you put the light on. It was a dream. Why won't you believe me?

[Ghost/Spirit (Danny)]

I'm telling the truth.

[Hazel Brown]

All right. We've had a hell of a shot. Come on. It's all right.

[Ghost/Spirit (Danny)]

Shh. Shh.

[Hazel Brown]

Come on. You're coming home with me.

[Jonathan Weiss]

When someone has a psychic or paranormal experience, it often affects them very deeply. Their whole picture of the world is suddenly turned completely upside down. Now, coming to terms of that is frequently more traumatic than the experience itself.

[Hazel Brown]

Do people come to terms with it?

[Jonathan Weiss]

Some do. Others refuse to recognize the nature of the experience in the first place. As a defense mechanism or out of simple ignorance. They just don't realize what's happening to them.

[Hazel Brown]

She's asleep at last.

[Tim]

Did she take the pills?

[Hazel Brown]

No. I knew she wouldn't.

[Tim]

Well, she should have done. She was in a hell of a state.

[Hazel Brown]

Does that to you, I'm told.

[Tim]

Come on, love.

[Hazel Brown]

I'm sorry.

[Tim]

What for?

[Hazel Brown]

Oh, everything. I really thought I'd come to terms with it, you know.

[Tim]

I know. Me too.

[Hazel Brown]

I've sort of been living through it with Jenny. And now she's practically about to have the thing.

[Tim]

Oh, sh. I wish there was something I could do.

[Hazel Brown]

There isn't.

[Tim]

Yeah, I know.

[Hazel Brown]

I'm so sorry, Tim.

[Tim]

Will you please stop saying that?

[Hazel Brown]

Bully. Let her apologize if she wants to.

[Jonathan Weiss]

Go right ahead and apologize, Jenny.

[Tim]

Don't mind me.

[Police Officer]

I'm only the man of the house.

[Hazel Brown]

How did you sleep? All right, I think.

[Tim]

No more problems.

[Hazel Brown]

Oh, will you listen to Mr. Tat? It's okay, Les. No, Tim. No problems and everything's all right. But. Oh, yes. Alive and well and kicking me to death. Sorry, Jonathan. I don't really understand about the time difference thing.

[Jonathan Weiss]

It's quite straightforward. There's a theory that when you see a ghost, you're actually seeing someone who was there in the past. And the same thing may well be true for other phenomena. It's like a sort of occult recorded replay.

[Hazel Brown]

So what's the verdict? Mother and offspring doing fine. Great. I knew it. X ray vision now, is it? Absolutely. I also leap tall buildings at a single bound. Excuse me while I say, slip into this telephone box.

[Jenny]

Idiot.

[Hazel Brown]

Let's go and have some lunch. But that's even harder to accept.

[Jonathan Weiss]

And funny, isn't it, that a subject which is itself more or less incredible should have some aspects which are tougher to take than others. But it's true. It's not even all that rare. And the concept of A fate or destiny that's mapped out for you. Whatever you try to do to change it is something you find in the myths and legends of every race on Earth.

[Hazel Brown]

You know, you look so much better. It's amazing what a couple of days of normal company can do to a person. Hang about, normal. I was being polite. Heavens, you have changed. You haven't. It's too late for that. And a lot of other things. Oh, God. Liz. Lord. I'm really sorry about all this. Oh, for goodness sake. The way I've been pushing myself down your throat? Crappies. It's not rubbish. I know how much having a family means to you and Tim. So wham, O, there I go. With all the tact of an expectant elephant taking over your lives day and night. Shut up, idiot. I'm glad we were there to help. So am I. Or rather, so are we. Aren't you, Baz? It's great the way you talk to him all the time. Any day now, he'll surprise you and answer back. Jem. Jem, wasn't it? What else the matter?

[Jenny]

Jenny, drive me home. I've got to get home.

[Hazel Brown]

I am not leaving you alone. Oh, yes, you are. You must just tell me what's happening. What's the matter with you? I'm sorry. I know I've not exactly been myself lately and I'm grateful for everything you've done, but please. I know what I'm doing and I know what I want. I want to be left here on my own. Please. Just a couple of days.

[Jenny]

Will you please get out?

[Hazel Brown]

If anything should happen to you.

[Jenny]

Go.

[Hazel Brown]

You can always ring if you just go.

[Jenny]

For God's sake. I don't want you here.

[Hazel Brown]

Okay, Jenny. Bye.

[Jonathan Weiss]

For some people, the intensity of a psychic experience, the feeling of unique insight, becomes desperately bound up with the fear that the link, whatever it is, is something amazingly fr. Fragile and tenuous. Something that could be irretrievably and permanently broken at any moment.

[Jenny]

Talk to me. Talk to me, damn you. Baz.

[Hazel Brown]

The phone.

[Jenny]

Come on.

[Hazel Brown]

I don't know what you need. You can use the TV like you did before. But I'm switching it on.

[Jenny]

There.

[Hazel Brown]

Like before.

[Ghost/Spirit (Danny)]

Now. Talk to me.

[Jenny]

What do you want?

[Hazel Brown]

Does it have to be dark like this?

[Jenny]

Is that it? Shall I shut my eyes? What?

[Ghost/Spirit (Danny)]

Who?

[Jenny]

Talk to me.

[Ghost/Spirit (Danny)]

Kenny. Yes.

[Jenny]

Yes, I'm here.

[Ghost/Spirit (Danny)]

I can hear you. Help me.

[Jenny]

How?

[Ghost/Spirit (Danny)]

Tell me. How. Is it? Is it really you? Are you my baby? Yes. What?

[Hazel Brown]

I can't hear you.

[Ghost/Spirit (Danny)]

Yes. Yes, go on. Dying. Oh, no. Dying.

[Hazel Brown]

You said I could help you said so.

[Jenny]

What can I do? Oh, tell me.

[Ghost/Spirit (Danny)]

Too late. Oh, no. Too late. Oh, no.

[Jenny]

Speak. Speak.

[Ghost/Spirit (Danny)]

Say something.

[Jenny]

You're fine. They said so.

[Hazel Brown]

It's my fault.

[Jenny]

My fault. Oh, please.

[Hazel Brown]

Please say something. A pass.

[Ghost/Spirit (Danny)]

Oh, my God.

[Hazel Brown]

Jen? Jenny, you there? Is everything all right? Jenny?

[Jenny]

He's dead. My baby's dead. I killed him.

[Ghost/Spirit (Danny)]

Jenny. I want to go.

[Jenny]

Jenny. Danny, where are you?

[Ghost/Spirit (Danny)]

Jen?

[Hazel Brown]

Jen? Jenny? Jen.

[Jonathan Weiss]

Have we got time for one last case?

[Hazel Brown]

Yes, I think so.

[Jonathan Weiss]

It's an interesting one, I think, and it sums up some of the things we've been talking about. NASA, the space people in America, had a series of phone calls from a woman who warned them that their next space shuttle flight was going to crash and everyone on board was going to be killed. She'd seen it in a vision.

[Hazel Brown]

My God, is she going to die?

[Doctor Evans]

There's no way to think this.

[Hazel Brown]

Please, I want to know.

[Doctor Evans]

Most likely she's lost an hour of.

[Hazel Brown]

A lot of blood.

[Doctor Evans]

We get people sometimes, you know, slash the wrists or whatever. But you can tell somehow they didn't really mean it.

[Hazel Brown]

She made it. What about the baby?

[Doctor Evans]

With the gear we've got in here, I can't tell for sure. But they'll be there in a couple of minutes.

[Jonathan Weiss]

NASA get a lot of crank calls, of course, but something about this woman stopped them from just dismissing her out of hand. She told them technical details that an ordinary member of the public shouldn't have known.

[Hazel Brown]

Dr. Evans to room 307, please. Dr. Evans to room 307,' please. Darling? Hello?

[Tim]

The traffic was appalling. What's happening?

[Jonathan Weiss]

How is she?

[Hazel Brown]

Jenny's dead.

[Tim]

Oh, God. Are you all right?

[Hazel Brown]

They're trying to save the baby.

[Tim]

Do they think they can?

[Hazel Brown]

They're trying. Oh, Tim. It's all my fault.

[Tim]

What the hell do you mean?

[Hazel Brown]

I should have realized the state she was in. I shouldn't have left her on her own.

[Tim]

Leslie, listen to me. It isn't your fault. You can't blame yourself.

[Police Officer]

Do you hear me?

[Hazel Brown]

Mrs. Parton? Is this your husband?

[Tim]

Yes. Hello.

[Hazel Brown]

How is he? The baby, she. Mrs. Partiter. What? A little girl. We got her in an incubator, of course, but all the signs are that she's going to be fine.

[Jonathan Weiss]

This woman's vision had apparently shown her one of the main fuel tanks on the shuttle are rupturing on takeoff.

[Hazel Brown]

That's incredible. That's exactly what happened.

[Jonathan Weiss]

No, it isn't.

[Ghost/Spirit (Danny)]

What?

[Jonathan Weiss]

They took us seriously enough to check the tank. It was in perfect condition. The shuttle lifted off with no problems and the flight was a textbook success.

[Tim]

Come to bed, love.

[Hazel Brown]

Yes.

[Tim]

That'S better. Are you all right? Oh, I'm sorry. That's a stupid question.

[Hazel Brown]

Yes, it is. She was still alive when I found her. Did you know that?

[Tim]

Blairs. Try to stop thinking about it.

[Hazel Brown]

I hope the baby's all right.

[Tim]

Yeah. I've been thinking.

[Hazel Brown]

Yes? About?

[Tim]

Well, we've never really talked about adopting.

[Hazel Brown]

No. Perhaps we should adopt.

[Tim]

Talk about it, at least. We ought to find out about the requirements. Do you think? No.

[Hazel Brown]

What?

[Tim]

We'll talk about it in the morning.

[Hazel Brown]

Jenny's baby.

[Tim]

In the morning.

[Hazel Brown]

Right. When I broke in and found her. When I found her, I thought at first it was the baby, you know? Then I realized what she'd done. She was still alive. She spoke to me. I had to get right down beside her to hear. Blood all over my dress. She said, my baby's dead, over and over again, my baby's dead, my baby's dead, my baby's dead. The flight was perfect. But wait a minute. When was this exactly?

[Jonathan Weiss]

Ah, now, that's the point. This woman's vision was in January 1985, a whole year before the shuttle disaster.

[Hazel Brown]

But she got it right in every detail.

[Jonathan Weiss]

Every detail but one. She took it for granted that she was seeing the present, but she wasn't. She was seeing the future.

[Hazel Brown]

You know, I never really thought it would happen. I still can't believe it.

[Tim]

She believes it. Don't you, eh?

[Hazel Brown]

I can see so much of Jen in her.

[Tim]

She's beautiful.

[Hazel Brown]

She certainly is. She's everything we've always wanted. She's a beautiful, healthy baby.

[Edward d'Souza]

In a small churchyard, beneath a perfect summer sky, two people look down into an open grave six feet deep. One of them is crying, the other is beyond tears. And the coffin is very, very small. In that sad little prophetic tale, Helena Brecht played poor Jenny and her mother was Diana Olsen. Leslie was played by Karen Archer, and her husband was John Sampson. The ambulance man was Anthony Jackson. Victoria Carling was the radio presenter, Paul Gregory the man being interviewed, and Brian Hewlett was the policeman. Every Detail But One was written by Bert Coombs and directed by Jerry Jones. My name is Edward d', Souza, the Man in Black. And I invite you to return next week for story number seven. A lucky number, it is said, for some.