Hall of Fantasy 47-02-13 (01) The Perfect Script

Summary

Podcast Summary: "Hall of Fantasy 47-02-13 (01) The Perfect Script"

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Episode: Hall of Fantasy 47-02-13 (01) The Perfect Script
• Release Date: February 4, 2025

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Introduction

In this gripping episode of "Harold's Old Time Radio," titled "The Perfect Script," listeners are transported to a suspenseful tale of ambition, manipulation, and horror. Presented by the Granite Furniture Company, this original radio drama by Bob Olsen delves into the dark side of creative inspiration and the supernatural forces that can influence the artistic process.

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Plot Overview

Setting: The story unfolds in a secluded beach house owned by Bob Olsen, the enigmatic host of the series. The tranquil yet eerie coastal setting becomes the backdrop for a series of unsettling events that blur the lines between reality and nightmare.

Characters:

• Bob Olsen (Mr. Marchand): The host and a mysterious figure who orchestrates the events within the story.
• Peter Schenck (Mr. Shank): An aspiring writer enticed by the promise of crafting the "perfect script."
• Trudy: The devoted housekeeper haunted by the disappearance of her husband, Pete.
• George: A menacing presence tied to the supernatural elements of the narrative.

Story Progression:

1. Invitation to a Perfect Opportunity:

   • Timestamp [02:31], Bob Olsen introduces Peter Schenck to the opportunity of writing a "perfect script." He emphasizes that this is a once-in-a-lifetime chance, stating, "Once you've written one, you'll know the answer to that." ([02:09])

2. Arrival at the Beach House:

   • Peter arrives at the beach house, greeted by Trudy, who is obsessively searching for her husband, believing he will return. Their interaction reveals the underlying tension and foreshadows the impending horror. Peter muses, "Every time I work one of these shows, I want a police escort to me home." ([02:33])

3. The Writing Process Begins:

   • As Peter settles into his room, the atmosphere becomes increasingly oppressive. Trudy shares unsettling details about her husband's disappearance and the eerie occurrences at the house. The tension peaks when Peter starts feeling watched, remarking, "I saw the shadow of a man diving behind that sand dune." ([09:15])

4. Supernatural Manipulation:

   • Bob Olsen reveals his sinister intentions. He equips Peter with a weapon, an "Army .45," and exerts control over him through psychological manipulation and hints of physical coercion. Peter begins to suspect that the promise of the perfect script comes with a deadly price. Olsen asserts, "This gun will keep you here until I'm through with you." ([13:42])

5. Descent into Madness:

   • Under the influence of a mysterious potion, Peter's willpower wanes, making him susceptible to Olsen's commands. The presence of George becomes more palpable, symbolizing the dark force driving the narrative forward. Peter confronts Olsen, declaring, "You engage me to write that script in the face of a torture and death from which you give me no chance to escape." ([15:18])

6. Climactic Confrontation:

   • The tension reaches its peak as George, influenced by Olsen's manipulation, becomes violent. Trudy, caught in the crossfire of supernatural and human malice, meets a tragic end. Peter witnesses the horrors unfold, feeling powerless to stop them. He reflects, "This is like a dream where you want to run and your legs won't move." ([19:45])

7. Conclusion of the Perfect Script:

   • Peter realizes he is trapped within the very script he was meant to write. The boundaries between creator and creation dissolve as Olsen's plan culminates in the deaths of those around Peter. In a haunting finale, Peter muses on the cost of the "perfect script," recognizing the irreversible damage inflicted by Olsen's machinations. He laments, "I'd at least leave a record of this thing so that all the world would know what a half hour of a perfect script had cost the lives of so many people." ([26:01])

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Notable Quotes with Timestamps

1. Bob Olsen on Inspiration:

   • "With a proper inspiration, anyone can write a perfect script. In this case, the inspiration is horror." ([00:30])

2. Peter Schenck's Doubt:

   • "I think I'll just follow her and see what happens. Jack." ([07:50])

3. Trudy's Hopelessness:

   • "She had walked away from three others. He'll come back someday." ([05:54])

4. Olsen's Control:

   • "This gun will keep you here until I'm through with you." ([13:42])

5. Peter's Realization:

   • "This is like a dream where you want to run and your legs won't move." ([19:45])

6. Final Reflection:

   • "I'd at least leave a record of this thing so that all the world would know what a half hour of a perfect script had cost the lives of so many people." ([26:01])

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Themes and Insights

1. The Dark Side of Ambition:

• The episode explores how unchecked ambition can lead individuals to make morally reprehensible decisions. Peter's desperate desire to write the perfect script makes him susceptible to Olsen's manipulation.

2. Supernatural Manipulation:

• The incorporation of supernatural elements, embodied by George, illustrates how unseen forces can exert control over human actions, leading to tragic outcomes.

3. Psychological Horror:

• The narrative delves deep into psychological terror, highlighting themes of helplessness, loss of control, and the fragility of the human mind under duress.

4. The Cost of Perfection:

• The pursuit of perfection, especially in creative endeavors, is portrayed as having dire consequences, raising questions about the ethical boundaries of artistic inspiration.

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Conclusion

"The Perfect Script" is a masterful blend of horror and psychological thriller elements, skillfully crafted to engage listeners in a tale of ambition gone awry. Through its intricate plot and well-developed characters, the episode underscores the perilous nature of seeking perfection at any cost. Notable quotes punctuate the narrative, adding depth and emotional resonance to the unfolding drama. For fans of the Golden Age of Radio and supernatural storytelling, this episode delivers a compelling and haunting experience that lingers long after the final words are spoken.

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Credits:

• Actors:
  • Richard Thorne as Marshawn
  • Carl Grayson as Shank
  • Beth Calder as Trudy
  • Nelson Hall as George
• Musical Background: Earl Donaldson
• Technical Supervisor: Nephi Sorensen
• Produced and Directed by: Richard Thorne

For more tales from the Golden Age of Radio, tune in to "Harold's Old Time Radio" and embark on another journey down the corridors of the Hall of Fantasy.

Transcript

[Advertiser]

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[Bob Olsen]

Ladies and gentlemen, the Granite Furniture Company, with stores in Sugar House, Murray and Provo, presents the hall of Fantasy. Welcome to the hall of Fantasy. Welcome to the series of radio dramas dedicated to the supernatural, the unusual and the unknown. Come with me, my friends. We shall descend to the world of the unknown and forbidden down to the depths where the veil of time is lifted and the supernatural reigns as king. Come with me and listen to the tale of the perfect strip. The Granite Furniture Company brings you the hall of Fantasy. Listen now to original tales of the imagination and some of the classics of the supernatural as we take you down the corridors of the hall of Fantasy to the mysterious realms of the unknown. These are stories of eerie and fantastic thrills brought to you by your friends at the Granite Furniture stores. Now for tonight's story, an original radio drama by Bob Olsen entitled the Perfect Scripts. It's inspiration, gentlemen. With a proper inspiration, anyone can write a perfect script. In this case, the inspiration is horror.

[John Marchant]

You have just listened to another in the series of dramas entitled the Perfect Script. A real as life story of horror produced by John Marchant. Be sure to listen again next week for another premiere of another perfect Script.

[Bob Olsen]

Well, that wraps up Another perfect Script.

[John Marchant]

Yeah, a little too perfect if you ask me. Every time I work one of these shows, I want a police escort to me home.

[Trudy]

There's a Mr. Shank to see you. Shall I send him in?

[Bob Olsen]

Shank? Oh, the new writer. Yes, send him in, please. Shank. I'm glad to see you. I'm glad you made it. Have a seat.

[Peter Schenck]

Thank you.

[Bob Olsen]

Mr. Marchant, did you decide to accept my terms?

[Peter Schenck]

Well, your shows are famous. Sounds like I'm starting at the top.

[Bob Olsen]

You are. You realize, of course, that this is a one time shot.

[Peter Schenck]

Yeah, so I understand. No one ever writes two perfect scripts. But why?

[Bob Olsen]

Once you've written one, you'll know the answer to that.

[Peter Schenck]

It's a queer setup, but too good a chance to miss. When do I start?

[Bob Olsen]

Immediately. I'll drive you out there myself.

[Peter Schenck]

Out where?

[Bob Olsen]

In the coast. A few miles to my beach house. You will find it perfect for writing your type of script.

[Peter Schenck]

Sounds okay to me.

[Bob Olsen]

Fine. I'll order the car. Mr. Main, call the garage and tell them to have my car ready in five minutes. I'll be up at my beach house. I am taking the new rider. Just call the garage. I won't be back today. Now, shall we go?

[Peter Schenck]

Sooner the better.

[Bob Olsen]

Hmm. Trudy must have taken a walk. Trudy's the housekeeper. She spends a lot of time just walking on the beach. She had a terrible shock, poor girl. But she's harmless. Well, it looks as if we'll have to let ourselves in. Trudy? Trudy, are you here?

[Trudy]

Here I am, Mr. Marchand.

[Bob Olsen]

I knocked. Where were you?

[Trudy]

I was down. I was asleep.

[Bob Olsen]

Well, no matter. This is Mr. Schenck. He'll be with us for a little while. I thought you were taking one of your walks.

[Trudy]

At first Tonight.

[Bob Olsen]

She's looking for her husband, Pete. He was a pilot and crashed in the sea close to here. Trudy thinks he'll show up.

[Trudy]

Oh, he will. Don't you think he will? Mr. Shank, that's enough.

[Bob Olsen]

Trudy, show Mr. Schenck to his room.

[Trudy]

Same room the others have?

[Bob Olsen]

Of course. Now hurry. Mr. Schenck probably wants to clean up a bit. He's going to start writing, so take some cold milk and sandwiches to him. What would you rather have, coffee?

[Peter Schenck]

No, milk would be fine.

[Bob Olsen]

Show him where to find the writing materials too. He has a big night ahead of him.

[Peter Schenck]

I'm. I'm sorry to hear about your husband.

[Trudy]

It was just a forced landing. He walked away from three others. He'll come back someday.

[Peter Schenck]

Yeah. Have you heard anything at all?

[Trudy]

Oh, yes. He sent me his ring. That's the signal we had to let me know he was coming home.

[Peter Schenck]

How did he send it, Foodie?

[Trudy]

The ocean brought it.

[Peter Schenck]

The ocean?

[Trudy]

Yes. A little boy found it on the beach.

[Peter Schenck]

You mean a ring was washed up on the beach?

[Trudy]

Some poor man was washed ashore. He had it on his hand. Probably a friend of Jack's. Many flyers were killed during the war, you know.

[Peter Schenck]

Yeah. Yeah, I know. So this flyer was washed ashore. Didn't they identify him? No.

[Trudy]

He was in the sea too long.

[Peter Schenck]

Did you see the body?

[Trudy]

They wouldn't let me. They said it was too horrible.

[Peter Schenck]

I can well imagine.

[Trudy]

This is your room, Mr. Schenck. They all use this room.

[Peter Schenck]

Who all used it?

[Trudy]

All the writers of John. Mr. Marchant scripts.

[Peter Schenck]

Well, it's a very nice room. Nice view of the ocean from here. I think I'll throw open this Window and get some fresh air.

[Trudy]

Here's the clean linen typewriter and paper. And here's the pitcher of milk.

[Peter Schenck]

Ah, thanks. Yep. This is sure a fine place to do a bit of writing, Mr. Shank. Yeah.

[Trudy]

Trudy, I'm sorry you came here, really.

[Peter Schenck]

Well, I'm sorry if you don't like me.

[Trudy]

Trudy, I do like you. That's why I'm sorry you came.

[Peter Schenck]

Nice folks. Well, if I can't write a script here, I can't write it anywhere. What more can a man ask? A little more of that, Trudy, and I wouldn't be able to write the date. Too bad, too. You're really not bad looking. Kind of pretty, in fact. When a mind cracks, there's nothing much anyone can do about it now. Now for the perfect script. February 16th. It's a good start. The Perfect Script by Peter Schenck. Yep, you're on your way. A Marchant production is a very auspicious beginning. The first inkling I had of any plot was when the deluded housekeeper told me that she wished I hadn't come. What has happened to the writers of the other perfect scripts, I wonder. If I had any sense, I'd scram out of here.

[Bob Olsen]

Jack. Jack.

[Peter Schenck]

That's Trudy. She's running down the beach looking for a dead husband. I think I'll just follow her and see what happens. Jack.

[Bob Olsen]

Jack. Jack.

[Peter Schenck]

Trudy.

[Trudy]

Jack.

[Peter Schenck]

No. No, Trudy. It isn't Jack.

[Trudy]

It isn't Jack.

[Peter Schenck]

Sorry, Trudy.

[Trudy]

But he will come someday, won't he?

[Bob Olsen]

Yeah.

[Peter Schenck]

Yeah, he will. Here, let's sit down a bit. This running in the sand is very tiring.

[Trudy]

Jack isn't dead, is he?

[Peter Schenck]

Certainly not in your thoughts, Trudy? Well, you watch the sea a lot, don't you?

[Trudy]

I must watch the sea. I wouldn't want to miss you.

[Peter Schenck]

Yeah. Yeah, I know. I spend a lot of time watching the sea myself. Mighty indifferent, the sea. Well, Trudy, shall we start back? Jack won't come tonight. Maybe tomorrow night. Yeah, maybe. Maybe the sea will give him to you tomorrow.

[Trudy]

You think so? Do you think he'll come back tomorrow? Tell me he'll come back tomorrow. Johnny said he'd never come back. Johnny lied, didn't he?

[Peter Schenck]

Johnny? Who's Johnny?

[Trudy]

He's.

[Bob Olsen]

Oh, here you are. Are you ready to get started on that script?

[Peter Schenck]

Where did you come from?

[Bob Olsen]

I say, shall we get started on that script?

[Peter Schenck]

Yeah. As a matter of fact, I've already started. Hey, what was that?

[Bob Olsen]

What was what?

[Peter Schenck]

I saw the shadow of a man diving behind that sand dune.

[Trudy]

Joe True.

[Bob Olsen]

Leave. Be quiet. Trudy always imagines she sees things at night. I think you're having the same troubleshank. That was just the moon shifting a new shadow across the sand. There's nobody around here closer than five miles.

[Peter Schenck]

No, it was a man.

[Bob Olsen]

It was a shadow, Shank. Nothing but a Shadow.

[Peter Schenck]

Okay, Shadow. Mr. Marchand, I don't think Trudy was very happy to see me come out here.

[Bob Olsen]

Why do you say that?

[Peter Schenck]

Well, she told me she wished I hadn't come. What she mean by that?

[Bob Olsen]

Mean? How do I know what she meant? Trudy's always afraid someone's going to take her away from here before she finds her husband. Pay no attention to it.

[Trudy]

There's George again. Oh, you're hurt.

[Bob Olsen]

I think we'd better get back to that script. Chink, are you ready?

[Peter Schenck]

You know, on second thought, Mr. Marshall, maybe I can't cut it. Maybe I better try some other show at first till I get good enough for the perfect script. Show?

[Bob Olsen]

Nonsense. You'll never be any more ready than you are right now.

[Peter Schenck]

Yeah, I know.

[Bob Olsen]

But the script, Mr. Schenck, will be perfect. And you will write it. You are listening to the perfect script by Bob Olsen in tonight's journey down the corridors of the hall of Fantasy. Presented by the Granite Furniture Company. With stores in Sugar House, Murray and Troevo. Now back to tonight's story entitled the Perfect Script.

[Peter Schenck]

Come in.

[Bob Olsen]

Now for that script.

[Peter Schenck]

Yeah. Better get started, huh?

[Bob Olsen]

I thought you told me you'd already started it.

[Peter Schenck]

Well, not. Not perfect enough. I tore it up.

[Bob Olsen]

You shouldn't have done that. I wanted to see it. Maybe I could have offered you some suggestions.

[Peter Schenck]

It wasn't any good. Just a false start.

[Bob Olsen]

I see. By the way, I noticed you were taking in the view from your window. Yeah.

[Peter Schenck]

I was fascinated by the way the moonlight topped those white caps. Very pretty.

[Bob Olsen]

I should think you'd have gotten enough of watching the ocean in 29 months.

[Peter Schenck]

Just a habit, Mr. Marchand. Just a habit.

[Bob Olsen]

Tell me, what else did you see?

[Peter Schenck]

See? Nothing.

[Bob Olsen]

You lie.

[Peter Schenck]

I do?

[Bob Olsen]

Never mind. It's of no consequence now. Let's get busy with that script.

[Peter Schenck]

Before we do, Mr. Marchant, I have a question to ask you.

[Bob Olsen]

Well, what is it?

[Peter Schenck]

Whatever happened to your other writers?

[Bob Olsen]

Why do you ask that?

[Peter Schenck]

Well, frankly, I've been thinking of my future.

[Bob Olsen]

Very practical, Shake.

[Peter Schenck]

Then what did happen to them?

[Bob Olsen]

I found a place for them.

[Peter Schenck]

A place? What sort of a place?

[Bob Olsen]

A very satisfactory place, Mr. Shake.

[Peter Schenck]

And you intend to find such a place for me?

[Bob Olsen]

Indeed, I do. Fear not, my Young friend, you shall have just such a place.

[Peter Schenck]

Marchand is gone. Cards are on the table. Yeah. He's even bolted the doors. For some strange reason, I can't budge the windows or even smash the panes. I know he plans to kill me to produce such a horror in this room that he'll have the actual, passionate record of a terrified and dying man. But just how he intends to bring it about, I don't quite know. I've just poured myself a glass of cold milk. But this I do know. This script is written by Peter Schenck, a very mediocre writer, but one with enough talent to find an enthusiastic audience in the Los Angeles Police Department.

[Bob Olsen]

Now, Mr. Schenck, you will begin your script in earnest.

[Peter Schenck]

And you seem to be collaborating in earnest. What's that in your hand? An army. 45?

[Bob Olsen]

I am not a ballistics expert, Mr. Schenck. I must confess my ignorance. All I know about this weapon is that it's very deadly.

[Peter Schenck]

Yeah, it's an army. 45. Very deadly piece of merchandise.

[Bob Olsen]

You find something amusing?

[Peter Schenck]

Yeah. I was just thinking, Mr. Marchant, what a dirty trick it'd be if I should let you kill me and make you write your own perfect script.

[Bob Olsen]

Oh, I don't intend to kill you, Mr. Schenk.

[Peter Schenck]

You don't? Then why the gun?

[Bob Olsen]

This gun will keep you here until I'm through with you.

[Peter Schenck]

I have no fear of any excess.

[Advertiser]

Big savings every day. All in the Fred Meyer app. Get juicy green seedless grapes for $1.99 a pound with your card and a digital coupon. Then find low prices on thousands of items like sparkling ice water, Kroger brand chips and more with your card. Shop these deals at your local Oregon Fred Meyer Today or click the screen now to download the Fred Meyer app to save big today. Fred Meyer Fresh for everyone. Prices and product availability subject to change restrictions apply. See site for details. Excess big savings every day. All in the Fred Meyer app. Get juicy green seedless grapes for 1.99 a pound with your card and a digital coupon. Then find low prices on thousands of items like sparkling ice water, Kroger brand chips and more with your card. Shop these deals at your local Oregon Fred Meyer Today or click the screen now to download the Fred Meyer app to save big today. Fred Meyer Fresh for everyone. Prices and product availability subject to change restrictions apply. See site for details.

[Peter Schenck]

Thing I can live through, Mr. Marchant.

[Bob Olsen]

Death is sometimes preferable. I have enough skill with this Army 45, as you call it, to make any movement on your Part. An extremely painful one. From there on, I have someone who might inspire the fear you spoke of.

[Peter Schenck]

You mean our shifting shadow George?

[Bob Olsen]

Exactly. George has a cozy little apartment below ground. I hope he doesn't disturb you.

[Peter Schenck]

So George is the inspiration for the horror you spoke of?

[Bob Olsen]

George is very.

[Peter Schenck]

You know, Marshal, you strike me as being rather stupid.

[Bob Olsen]

I'm sorry you think so.

[Peter Schenck]

You want a script written. A perfect script. You engage me to write that script in the face of a torture and death from which you give me no chance to escape. You know, you ought to put a bonus on this thing. Give me a little incentive.

[Bob Olsen]

That will not be necessary. I'm quite certain that in approximately five minutes you'll need no incentive.

[Peter Schenck]

Five minutes? What's that got to do with it?

[Bob Olsen]

You were observed pouring and drinking a glass of milk a few minutes ago. True?

[Peter Schenck]

Yeah. Yeah, I guess that's right. Wait.

[Bob Olsen]

You mean that you. Poison. No, Mr. Shank. Just a little potion to deaden the willpower. In exactly five. No, four and a half minutes, you will act only on the power of suggestion. Does that strike you as stupid, Mr. Schenck? A lying wait and see. Or have you something better to do?

[Peter Schenck]

I have, you filthy maniac. Why, in two minutes I could kill you. Yes, and by heaven, I intend back.

[Bob Olsen]

You wouldn't get two feet. This is no cap gum. Go ahead. As long as you're alive, you have a chance. Go ahead, commit suicide. See how much good it does.

[Peter Schenck]

Hey, you're lying, I tell you. Besides, I. I didn't have any of that milk.

[Bob Olsen]

Now, Shank, you know differently. Just relax. This isn't so bad. You'll even get a thrill out of it, believe me. Don't fight it. You only hurt yourself when you do.

[Peter Schenck]

I hope you. You're the craziest of the lot, Marchant. Your sister at least has some trace of feeling. You're just plain mad.

[Bob Olsen]

My sister? Who mentioned it to you?

[Peter Schenck]

Trudy did. Marchant or Johnny, if you prefer.

[Bob Olsen]

You are more shrewd than I thought.

[Peter Schenck]

Yeah, you're just careless. You depend too much on the discretion of the insane. They prattle without thinking.

[Bob Olsen]

Marsham, it doesn't matter. Think me insane if you like. Maybe I am. You'd be too, if you had to hide someone like George from the world. But it doesn't matter. As Petrudi, she's mad from heartbreak and shock. She could have been saved if.

[Peter Schenck]

Yeah, if you'd let her. But it serves your plans better if she isn't too bright.

[Bob Olsen]

She's bright enough. She likes milk. Too.

[Peter Schenck]

You don't mean to tell me that you deliberately keep her dope out?

[Bob Olsen]

No. She's insane. All right, but every once in a while I can't depend on it.

[Peter Schenck]

You hold a person's life a little value, don't you?

[Bob Olsen]

She's the only one who can handle George. She wouldn't do it of her own free will. So I just help her to make up her mind. But your time is up, Mr. Schenck. How do you feel? Your eyes are quite glassy. Soon you won't even be able to talk. Very effective. Very effective.

[Peter Schenck]

Yeah. Yeah. Very effective.

[Bob Olsen]

And now, Mr. Schenck, shall we start the script?

[Peter Schenck]

The script? Oh, yeah. The perfect script. Write it yourself, Marchant.

[Bob Olsen]

The typewriter. Mr. Schenck, you're just about to write the finest script read you ever knew.

[Peter Schenck]

Yeah. Yeah, that's right. I want to write. But what'll I write about?

[Bob Olsen]

Write just what you see. Explain it in detail. Everything you see and everything you think.

[Peter Schenck]

Yeah, but I don't see anything.

[Bob Olsen]

Don't you, Mr. Schenck? Then turn around.

[Peter Schenck]

Truly?

[Bob Olsen]

And George, Mr. Schenck, George is going to help us with this script. He's quite talented.

[Peter Schenck]

What's he gonna do?

[Bob Olsen]

A beautiful job of murder. Trudy, come with me.

[Peter Schenck]

Where you going?

[Bob Olsen]

We won't be far away. George doesn't like to have anyone in the family around to watch him. Do you, George?

[John Marchant]

Bad blood. Bad blood.

[Bob Olsen]

Write it down, Mr. Schenck. There's plenty of time. Be sure to get it all here. You might like some fresh air. I'll throw open this window. Special glass, you know. Strong as steel, but you won't need it now. You won't try to escape.

[Peter Schenck]

Yeah. Yeah. I'm in the room with this monster. Marchant did open the window. Easy escape yet. I can't move. I can't leave this chair. I can't even cry out. Write it down. Write it all down. How my brain works like a trip hammer and my body does the bidding of a madman. It can't be happening.

[Bob Olsen]

This is.

[Peter Schenck]

This is like a dream where you want to run and your legs won't move. George is just staring at me and muttering about bad blood. Yes, he's staring with those wild eyes as if he were waiting for a signal. Now he sees it. It's Trudy at the window, holding a knife with a blade that looks razor sharp. It's meant for me. I have no will for anything but to stay here and write this cursed script. Yeah, of course it's perfect. Why shouldn't it Be. It's a diary of a Monstrous Murder. I'll never get out of this chair. Will I experience pain? I don't know. Script couldn't be perfect if I didn't. I hope I do. I want to experience something. Something that hasn't been willed on me by that insane Marchand. Trudy's handing the knife to George now. She's pointing to me. George turns and faces me. He's walking toward me. Why can't I do something to protect myself?

[John Marchant]

Bad blood, Georgia. Bad blood. Everybody says, George have bad blood. George needs good blood. Then he be fine. No more bad blood.

[Peter Schenck]

Trudy's climbing in the window. There are tears in her eyes. She's watching George. Trudy feels just as I do. Her mind's working, but can't do anything about it. I don't know what it is that Marchant's given us, but it's really hypnotic.

[John Marchant]

George get good blood now. George need good blood. George need lots of good blood. Then he all ride. Then George like everybody else, and walk in the sunshine and swim in the ocean, just like everybody. And people say to George, hello, George, how you today? And George say, my blood very good today. George get good blood now.

[Peter Schenck]

Trudy's standing there, trying to say something to George. Tears are streaming down her cheeks. Trudy doesn't want me to die. I gave her false hope she'd find her husband. And now Trudy knows that if I die, that hope dies too. Oh, if Trudy only had the will to. What irony. The only person in this room with any power over his body is George. And he has no mind with which to control it. There's Marchand at the window. He looks horrified. Something going wrong with his plot.

[Bob Olsen]

Trudy. Trudy, get out of there. You know what George is when any of us watch him get out of there before it's too late.

[Peter Schenck]

George heard Marshawn. He's turning around, sees Trudy watching him, sees the tears. His face lights up with anger. He grabs Trudy by the wrist, slashes at her with a knife. Oh, please, please give me the strength to move. Give me the power to get out of this chair. Marchand's standing there. No.

[John Marchant]

No.

[Peter Schenck]

He's leaping through the window. I think he's gonna try to fight with George. He's rushing at the monster. George brushes him off. As he does, the sharp blade of the knife opens a deep wound in the side of Marchand's neck. Cutie's lying on the floor. She doesn't stir. Marchand falls and lays quite still. Pool of blood forms quickly from the gushing wound. Sight of the blood excites George. He kneels over Marchand. He oh, no. I. I can't write it. It's too horrible. I've never seen a more grotesque sight in my life. I. I'm gonna be sick. Now George is getting up. He's actually smiling. Sees Trudy on the floor. And he stoops to pick her up in his powerful arms. Strokes her hair just as he did on the beach. His hands leave rich red stains on her face and hair. Now he's setting Trudy down. Tenderly, he turns towards me.

[John Marchant]

Now, George got good blood. George got Johnny Blood. Johnny blood good blood. Now George, like everybody else, George blood Very good today.

[Peter Schenck]

I tried to say something but didn't have the power. Perhaps that's what saved my life. This time George had forgotten about me and his exhilaration over getting Marchant's good blood. Yeah, Trudy's dead. No doubt about that. Knife had sliced her from just above the ear to the corner of her mouth. Trudy's dead now. I can't help but think that now she'd find Jack at last. C isn't so indifferent after all. This night is interminable. The script soon will be finished, but Marchand will never produce it. Yeah, I had written it well. Couldn't help myself. Had to do it be Marchant's final triumph. The worst of all is the quiet description of this room after George had gone telling about the two bodies are going cold. My great fear is that George will come back before this potion wears off. I sat staring at the window now, letting in a chill breeze. Just about convinced myself that George wouldn't be back. When there he was. The thing I feared was happening. George did remember at last. But Trudy had told him to kill me. And I am still powerless to help myself. This was the story that Marchand designed for the script. Now he's about to get it. Get it too late to bring him any more of his precious fame.

[John Marchant]

George do bad things. George forget Trudy. George forget. George do bad thing.

[Peter Schenck]

Once more. I tried to move, but couldn't. All I can do is write. I'd at least leave a record of this thing so that all the world would know what a half hour of a perfect script had cost the lives of so many people. George is standing over me now. He's raising his arm. The knife blade catches a glint of light and my eyes are blinded momentarily by the brilliance. George shifts his weight a little to plot the knife. He pauses and you know, Suddenly, for no reason at all, I think of a road, a road that I walked along in Arizona just a week ago. Free, happy, glad to be alive, and then.

[John Marchant]

George Fine now.

[Bob Olsen]

So runs the tale of the Perfect Script. But remember to join us next week at the same time for another journey down the corridors of the hall of Fantasy to hear the tale of the cask of a Mono. Tonight's program was an original radio drama by Bob Olsen entitled the Perfect Script. Heard in tonight's program were Richard Thorne as Marshawn, Carl Grayson as Shank, Beth Calder as Trudy, and Nelson hall as George. Musical background was provided by Earl Donaldson. The technical supervisor was Nephi Sorensen. These programs are produced and directed by Richard Thorne. Remember, be with us again next Sunday night on call at 8:30pm when the Granite Furniture stores in Sugar House, Murray and Provo will take you on another journey down the corridors of the hall of Fantasy to hear the tale of the Cask of Amontillado.

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