On Stage 53-01-08 (02) Beirut by Sunrise

Summary

Podcast Summary: "On Stage 53-01-08 (02) Beirut by Sunrise"

Podcast Information:

• Title: Harold's Old Time Radio
• Host: Harolds Old Time Radio
• Description: Showcasing radio programs from the Golden Age of Radio, featuring classics like The Shadow, Abbott & Costello, Amos & Andy, Dragnet, and more.
• Episode: On Stage 53-01-08 (02) Beirut by Sunrise
• Release Date: May 5, 2025

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Introduction

The episode "Beirut by Sunrise," written by Richard Chandley, is a gripping spy thriller set against the backdrop of the Mediterranean Sea and the vibrant city of Beirut, Lebanon. Hosted by Frank Grady and Mildred Gideon, the program immerses listeners in a tale of mystery, espionage, and suspense, capturing the essence of old-time radio drama.

Plot Overview

Setting the Scene: The story begins with Frank Grady introducing his co-star, Kathy, and expressing gratitude for the positive reception of their previous show. Tonight's narrative, "Beirut by Sunrise," unfolds during a Mediterranean cruise departing from Beirut. The central character is Mildred Gideon, an American third-grade teacher from North Dakota.

Mildred's Experience: Mildred expresses her initial disappointment with the cruise, highlighting the dull company she's kept with Frank Grady's character. However, her perspective shifts when she meets Mr. Haroun, a charming Persian man who piques her interest. Frank introduces himself and Mildred to Mr. Haroun, setting the stage for their interactions.

The Mysterious Incident: At sunrise, Mildred experiences a serene moment on the deck, witnessing the breathtaking view of Beirut. Suddenly, her tranquility is shattered when she encounters a disoriented American sailor staggering toward the ship. Concerned, she approaches to help, only to discover the man has been stabbed—a knife embedded in his back ([05:05] Beirut Police Officer: Sultan).

Interaction with Authorities: Mildred reports the incident to a Beirut Police Officer, who dismisses her claims, suggesting the man was merely drunk. Despite her insistence, the officer remains skeptical, leading Mildred to feel isolated and determined to uncover the truth.

Exploration and Suspense: Later, during a guided tour, Mildred becomes suspicious of the Sultan's Turret, recalling the officer's vague directions. Ignoring official boundaries, she sneaks into the condemned museum area, discovering a cryptic note that reads "ship six." Her discovery intensifies the mystery, prompting an unexpected encounter with Mr. Haroun, who reveals his own secretive motives.

Climactic Confrontation: As tension escalates, Frank Grady's character reenters the narrative, exposing that he is a contact of the murdered sailor and accusing Mildred of interfering with a critical espionage operation. A dramatic confrontation ensues, culminating in the revelation that Mr. Haroun was not the murderer.

Resolution: The Beirut Police Officer clarifies that the murder occurred before Mildred's presence could impact the events significantly. Mr. Haroun departs, leaving Mildred safe and the mystery resolved as the ship prepares to sail away from Beirut.

Character Analysis

• Mildred Gideon: An American teacher whose curiosity and sense of justice drive her to uncover the truth behind the murder. Her journey from a passive traveler to an active investigator showcases her depth and resilience.

• Frank Grady: Mildred's initially uninteresting companion who is later revealed to be intricately involved in espionage activities. His dual role adds complexity to the narrative.

• Mr. Haroun: A Persian man whose enigmatic presence and eventual involvement in the espionage plot add layers of intrigue and suspense.

• Beirut Police Officer: Represents authority but initially fails to acknowledge Mildred's observations, heightening her sense of isolation and urgency.

Key Moments and Notable Quotes

1. Mildred's Realization of the Murder ([05:24] – [05:27]):

   • Beirut Police Officer: "Sultan's turret, 15th step. Tell it to tell."
   • This cryptic directive hints at the larger espionage plot, setting the stage for Mildred's investigation.

2. Mildred's Discovery of the Note ([14:13]):

   • Mildred Gideon: "There was writing. It said ship six. That's all."
   • The enigmatic message becomes a pivotal clue in unraveling the mystery.

3. Confrontation Between Mildred and Frank ([23:37] – [23:47]):

   • Frank Grady: "The film. Documents on film, teacher. Little white slip of paper tells place and time and you got it. You forget your act. Now forget mine."
   • This intense exchange reveals the underlying spy operations and Frank's antagonistic role.

4. Final Revelation and Departure ([24:43] – [25:40]):

   • Mr. Haroun: "It was imperative to find out which was the spy, Mr. Grady or you spy. Dealers in state documents collected and sold to the highest bidder."
   • The unraveling of the espionage network ties up the central conflict, leading to a satisfying resolution.

Themes and Insights

• Espionage and Deception: The narrative delves into the clandestine world of spies, highlighting themes of trust, betrayal, and the quest for truth.

• Isolation and Determination: Mildred's isolation in her pursuit of answers underscores the personal sacrifices involved in uncovering hidden truths.

• Cultural Contrast: The juxtaposition of American characters with the vibrant, historically rich setting of Beirut provides a rich cultural backdrop, enhancing the story's depth.

Conclusion

"Beirut by Sunrise" masterfully captures the essence of old-time radio drama, blending suspense, mystery, and cultural intrigue. Through vivid storytelling and compelling characters, the episode delivers an engaging narrative that keeps listeners enthralled from start to finish. Richard Chandley's writing, combined with the dynamic performances of Frank Grady and Mildred Gideon, ensures that this episode stands out as a memorable addition to Harold's Old Time Radio repertoire.

Listeners who enjoy classic radio dramas with intricate plots and rich character development will find "Beirut by Sunrise" both entertaining and thought-provoking.

Transcript

[Styles MacKenzie]

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[Mildred Gideon]

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[Wayfair]

Every style, every home.

[Frank Grady]

Good evening. May I present my wife, Kathy?

[Mildred Gideon]

Good evening, and thank you for the very nice letters and telegrams commenting on our opening show last week.

[Frank Grady]

Tonight, the new year being somewhat established, we're going to present a spy story.

[Mildred Gideon]

It's called Beirut by Sunrise. And it was written for us by a very fine new radio writer, Richard Chandley. My name in the play is Mildred.

[Frank Grady]

Gideon, and I'm Frank Grady. The background of our opening scene, the Mediterranean Sea. A ship is moving easily through the winter waters, sailing away from Beirut, Lebanon. Aboard are travelers of all types, all nationalities. The one of particular interest to us at the moment is a young lady, American, single. Her name is Mildred Gideon. And as we start our play, she's in her cabin writing a letter.

[Mildred Gideon]

Darling sister, as I told you last, this Mediterranean cruise just hasn't been what I expected. We've sailed from Beirut, but I'm still shaking after yesterday. Honestly, I was positive I'd never see this good old ship again. It's hard to believe my trip to the near east began as disappointingly as it did. That first stop at Port Said was dreadful. Not that I thought there'd be perfume nights, but I was hoping I'd feel a little of the. Well, the mystery of it all. When we left for Beirut, the only stimulating thing was the new dinner companion at our table, a Mr. Haroun. At least he looked interesting compared to that awfully dull Frank Grady I'd been forced to sit alone with until now.

[Frank Grady]

Frank Grady. Mr. Haroun. Mr. Grady, this is Miss Gideon. Mildred Gideon.

[Mr. Haroun]

How do you do, Miss Gideon? Charlie. You are both Americans?

[Mildred Gideon]

Yeah.

[Frank Grady]

Yeah, we're Americans. Akron, Ohio. Ms. Gideon's from North Dakota. Teaches school, third grade.

[Mr. Haroun]

Charming.

[Mildred Gideon]

Harun. That name's Persian. Yes, of course.

[Frank Grady]

They say Beirut's really something to see.

[Mr. Haroun]

One should see it at sunrise for the first time. A thrilling sight.

[Frank Grady]

Well, swell. We hit there in the night. How about a sunrise date, teacher?

[Mildred Gideon]

Well, I really hadn't planned on.

[Frank Grady]

All right, all right. Okay by me. Can't say I didn't offer. Well, Beirut, here we come.

[Mildred Gideon]

Beirut, here we come. Honestly, he just made me wince. Companions are half the fun. But really, you couldn't commune with anything with Frank Grady around. I simply couldn't share Beirut by sunrise with him. It was around 5 when I awoke. I felt a little thrill when I realized the engines had stopped and we were there. It was still black when I reached the deck. Just for a moment, I was afraid I'd have company. But I was alone. It was marvelously still, like everything holding its breath. Then just a crack of sunlight and spires of minarets began to appear. Then domes. Then the whole sweeping outline of the city rising out of the night. It was just pure Omar Khayyam. I floated with it, completely carried away by the sight that magic quiet. And then, wouldn't you know, something had to spoil it. Down on the dock below, some man had come stumbling out of one of the shadows. Honestly, just reeling. It was still pretty dark, but I could see he was a sailor, an American sailor coming toward the ship. He looked up. I saw his face. Then he swayed and fell, tried to drag himself. I don't know why I did it, but there just wasn't anyone else around any place. And, well, he was an American. And I felt sorry for him. What happened to you? May I help you, sir?

[Beirut Police Officer]

Sultan.

[Mildred Gideon]

Oh, dear. I'm afraid you've had too much to drink. Let me help you. Look.

[Mr. Haroun]

Listen.

[Beirut Police Officer]

Sultan's turret, 15th step. Tell it to tell.

[Mildred Gideon]

Then I saw it. A knife buried in his back. He just died. I backed away. It was horrible. I couldn't think what to do. I just turned and I ran. Oh, I'm terribly sorry. I didn't mean to run into you.

[Beirut Police Officer]

You're an American. What are you running from, madame?

[Mildred Gideon]

Down the street, back there on the dock. You're wearing a uniform. Are you police?

[Beirut Police Officer]

Oui, Madame. Beirut police. I presume you are from the passenger ship.

[Mildred Gideon]

Yes, that's right. On the dock. There's a dead man.

[Beirut Police Officer]

May I see your passport, please?

[Mildred Gideon]

What? Yes, it's right here.

[Beirut Police Officer]

Thank you. Ms. Mildred Gideon Perrot. It seems to be in order. Thank you. May I be of aid to you?

[Mildred Gideon]

Back there, A dead man. A sailor. There's a knife in his back.

[Beirut Police Officer]

Of course. Now, what is it you wish the police to do?

[Mildred Gideon]

Do? He's lying there dead.

[Beirut Police Officer]

Isn't it a little early for dead bodies, Ms. Gadillon? Sailor. Pardon? You're sure he's not just drunk?

[Mildred Gideon]

Drunk? I told you there was a knife in his back. Ah.

[Beirut Police Officer]

They told east America. Evien. Mrs. Gideon, I shall accompany you to the dead. I dare you.

[Mildred Gideon]

Well, do you see? There's the ship. I was standing right up there on the deck.

[Beirut Police Officer]

I see. Now. Where exactly?

[Mildred Gideon]

Just at the edge of those packing cases. I don't want to look. Please. I couldn't bear to see.

[Beirut Police Officer]

There is nothing here.

[Mildred Gideon]

What? What? But this is the exact place.

[Beirut Police Officer]

You are sure?

[Mildred Gideon]

I swear. They must have moved him.

[Beirut Police Officer]

They?

[Mildred Gideon]

Well, someone.

[Beirut Police Officer]

Ms. Gideon, when a man is drunk.

[Mildred Gideon]

He wasn't drunk, believe me. There was a knife a night.

[Beirut Police Officer]

Then there should be blood. There is no blood.

[Mildred Gideon]

Look.

[Beirut Police Officer]

I saw was dark, Ms. Gideon. Possibly the shadows.

[Mildred Gideon]

I swear to you, I saw it. He was dead.

[Beirut Police Officer]

Without a body, there is little we can do. You agree?

[Mildred Gideon]

Yes, but I. You don't believe I saw anything, do you?

[Beirut Police Officer]

Oh, something, yes. You know, Beirut is a modern city, but it still has charm. Sometimes a visitor is overwhelmed.

[Mildred Gideon]

I don't understand it. I'm not wearing my glasses. But it was so real.

[Beirut Police Officer]

The report will be filed. Now, if I may escort you back to the ship.

[Mildred Gideon]

All right. I'm terribly sorry to have bothered you. I felt absolutely ridiculous. The policeman couldn't help thinking I was only a giddy, excited tourist. Saying any more would just make it worse. I looked back at the place. It was daylight now and everything did look different. There wasn't anything to do except try and push it out of my mind if I was going to enjoy Beirut at all. When I got to my cabin, I put some cold water on my face and then I went up for breakfast.

[Frank Grady]

Hey, you late this morning, teacher? Overslept, huh?

[Mildred Gideon]

No, no, no. I was just buying some film for my camera at the ship store. Good morning, Mr. Haroun.

[Mr. Haroun]

Good morning.

[Frank Grady]

Well, there's Beirut. Here we are. See the sunrise, teacher? Thanks for the suggestion. Mr. Harron was really something.

[Mildred Gideon]

Did you see the sunrise, Mr. Grady?

[Frank Grady]

Why, sure. Through my porthole.

[Mildred Gideon]

Not from the deck?

[Frank Grady]

No, I just got out of bed, took a look, went back to sleep. Oh, yes, it looks like a pretty good town. A little on the gaudy side. You're signed up for the tour, aren't you?

[Mildred Gideon]

I haven't yet.

[Frank Grady]

Well, you better hurry.

[Mildred Gideon]

Are you going on the tour, Mr. Haroun?

[Mr. Haroun]

I am familiar with Beirut.

[Mildred Gideon]

Well, then you must know those little out of the way places that tourists ordinarily don't see some.

[Mr. Haroun]

The street of the Seven Nightingales.

[Mildred Gideon]

Oh, mercy. I'd adore seeing something like that. Well, tours are so commercial.

[Frank Grady]

You want to see some of that hoochie coochie stuff? Why, teach?

[Mildred Gideon]

That's not what I mean, Mr. Grady, if you were at all sensitive, you would. You understand, don't you, Mr. Harun?

[Mr. Haroun]

A touch of Omar Khayyam.

[Mildred Gideon]

That's it. That's it exactly. To be a part of it. To see and feel antiquity with someone who.

[Mr. Haroun]

I could show you, Miss Gideon.

[Mildred Gideon]

You must think I'm rather forward, but I.

[Mr. Haroun]

But unfortunately, I have business.

[Mildred Gideon]

Oh. Oh, I see.

[Mr. Haroun]

The tour is really excellent. It won't disappoint you. I've taken it myself.

[Frank Grady]

Yeah, sure. There's still time to sign up. We'll have a big time, just like Port Said.

[Mildred Gideon]

I guess I'd better go get my thing.

[Frank Grady]

Atta girl. I'll go put your name down.

[Mildred Gideon]

See you this evening, Mr. Haroom.

[Mr. Haroun]

You'll have a nice time, I'm sure.

[Mildred Gideon]

Yes. Well, goodbye.

[Frank Grady]

Meet you at the gangplank, teacher.

[Mr. Haroun]

Hurry up.

[Mildred Gideon]

You can't say I didn't try. I was sure it could have been just like the Rubaiyat with Mr. Haroun. But there wouldn't have been any sense in wandering about by myself if I started seeing things again like this morning. I wanted witnesses, and Frank Grady was just the person to keep my feet on the ground.

[Tour Guide]

The bazaar of the Hussat El Din. 300 years old. You will have a half hour to observe the interesting native handiwork and make purchases.

[Frank Grady]

Some joint. Just like a Hollywood set, eh, teacher?

[Mildred Gideon]

My name is Mildred, Mr. Graham.

[Frank Grady]

Yeah, sure. Hey, get a load of those shoes they're selling. Wouldn't you get the razz if you clumped around home in those?

[Mildred Gideon]

It's the style here.

[Frank Grady]

Well, sure, I realize that, but wouldn't you get the razz? I think I'll buy a pair. A sahib.

[Tour Guide]

The marketplace of Rash Amir. 500 years old. A former slave market. You will have a half hour to observe the interesting native handiwork and make purchases.

[Mildred Gideon]

Slave market?

[Frank Grady]

This dump doesn't look like the ones in the movies.

[Mildred Gideon]

Really, Mr. Grady, do you have to compare everything with home? Use your imagination. Let it come to you. The camel's coming in carrying new slaves for sale. And the slave dealers cracking whips. Can't you see it?

[Frank Grady]

Hey, that's pretty good. Did you read that somewhere?

[Mildred Gideon]

Forget it. Just forget it. I gave up after that. Frank Grady was going to be Frank Grady, and that's all there was to it. Just when I was ready to go back to the ship and find a good book to read.

[Tour Guide]

Point of interest is El Kasir, the Sultan's Turret.

[Mildred Gideon]

The Sultan's Turret seemed familiar. I was certain I'd heard the name before, but it didn't seem possible. Then I remembered the sailor. The dead sailor, he'd said. Sultan's turret, 15th step and I hadn't told the policeman it was a big stone tower broken down in places, but.

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[Mildred Gideon]

Was solid and real proof that I hadn't imagined that poor man. My heart was simply pounding. I couldn't wait to get inside.

[Tour Guide]

By Sultan Ahmed Kasir the upper half has been condemned as unsafe, but there is a museum of interest below.

[Mildred Gideon]

It was dark inside, just little lights near the showcases. I looked around the steps. In one of the corners I saw them curving upward. They were roped off. I edged away from the others, praying Frank Grady wouldn't see me. I slipped under the rope and started up. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15. It was pitch black. I waited. I had the feeling there was someone else there in the dark. Then a tiny white something caught my eye. A piece of paper. I reached down to pick it up. Something brushed against me. I saw a light above and ran up. Anything to get out of the dark. I looked at the paper in my hand. There was writing. It said ship six. That's all.

[Mr. Haroun]

Where Ms. Gideon?

[Mildred Gideon]

Mr. Haroun.

[Mr. Haroun]

I have been waiting for you.

[Mildred Gideon]

It had all happened so fast. I couldn't make myself think. That thing on the stairs. And now Mr. Haroun, just out of nowhere. Mr. Harun.

[Mr. Haroun]

I am sorry, Ms. Gideon. I really didn't mean to frighten you.

[Mildred Gideon]

Don't. Don't come near me, all right? What are you doing up here?

[Mr. Haroun]

The same reason you are. I too like forbidden places. I knew the tour would arrive here about this time. Fortunately, I finished my business Early. So I came to meet you. Is that so frightening?

[Mildred Gideon]

No. No, I guess not. I. Oh, just let me catch my breath.

[Mr. Haroun]

I thought you might like me to show you what I know of the city. You are all right now?

[Mildred Gideon]

Yes, I'm all right, Mr. Haroun. Was there anyone else up here just a minute ago?

[Mr. Haroun]

No. You and I are the only curious ones.

[Mildred Gideon]

Oh, no, no, no. There had to be someone. I got proof.

[Mr. Haroun]

Proof?

[Frank Grady]

Hey, Teacher. Mildred, where are you?

[Mr. Haroun]

Mr. Grady, please.

[Mildred Gideon]

Let's wait till they go.

[Mr. Haroun]

They'll think you're lost.

[Mildred Gideon]

Let them. I've got to talk to you, Mr. Haroun. Somebody. I've just got to.

[Mr. Haroun]

I know a charming place. We will talk there.

[Mildred Gideon]

We waited for the tour to leave. Then I took hold of Mr. Haroun's arm and we started down those awful stairs. It seemed like hours to go through the blackness, and I shuddered all the way to the bottom. Then we were out in the sunlight, and I felt like breathing again. We walked. Gave me a chance to pull myself together. Finally, we stopped in front of a little place. It didn't look like anything from the outside. Then Mr. Haroun opened the door and we went in.

[Mr. Haroun]

What do you think of it?

[Mildred Gideon]

Oh, it's just charming. All this garden. It's. It's the Arabian Nights. It must be very old.

[Mr. Haroun]

They say Omar Khayyam once visited here.

[Mildred Gideon]

You can tell. Come, fill the cup. And in the fire of spring, your winter garment of repentance, the bird of.

[Mr. Haroun]

Time has but a little way to flutter. And the bird is on the wing.

[Mildred Gideon]

You know, the rubiat.

[Mr. Haroun]

Some of it I remember.

[Mildred Gideon]

Ah. I'm dreaming again. It just can't be real.

[Mr. Haroun]

It is real, all right. Ms. Gideon. Back at the Sultan's turret.

[Mildred Gideon]

What?

[Mr. Haroun]

You said you wanted to tell me something.

[Mildred Gideon]

Oh, yes, that I. Well, it's been so strange all day. First I see beauty, then death. Then it was gone. And suddenly terror again. And now this beauty. All without warning. I want to remember this place without anything to spoil it. Please take me somewhere else.

[Mr. Haroun]

Aren't you carrying this romantic theme a little too far?

[Mildred Gideon]

I beg your pardon? What do you mean?

[Mr. Haroun]

I mean. All right. I will take you someplace a little less overwhelming.

[Mildred Gideon]

Look, it's almost sunset. That's funny. I didn't realize it was so late.

[Mr. Haroun]

Just this place. Place. And we will go back to the ship.

[Mildred Gideon]

Up these stairs, if you please. Oh, the view. Oh, there's the harbor. And there's our ship. We'll make it back in time, won't we?

[Mr. Haroun]

In here Miss Gideon.

[Mildred Gideon]

A nice room, but I. I don't. Oh, the view from the window. It's lovely. That what we came to see?

[Mr. Haroun]

Not exactly, Mr. Haroun.

[Mildred Gideon]

I don't know whether I'll be sad or glad to leave Beirut, but. But this time with you has.

[Mr. Haroun]

Ms. Gideon.

[Mildred Gideon]

Yes?

[Mr. Haroun]

Time is growing short. We must discontinue.

[Mildred Gideon]

I know it's growing short, Mr. Haroun. Short the time. But long my memory for that garden and the moments there.

[Mr. Haroun]

I am not sure whether you are extremely clever or extremely foolish.

[Mildred Gideon]

Foolish? Oh, Mr. Haroun, please. Not foolish. I thought you realized what I truly feel.

[Mr. Haroun]

This place is not romantic, Ms. Gideon. You can stop it now.

[Mildred Gideon]

Stop it.

[Mr. Haroun]

You have caused me a great deal of trouble. And we are through playing games.

[Mildred Gideon]

Mr. Harun.

[Mr. Haroun]

What happened on the stairs of the Sultan's turret? What time is the meeting?

[Mildred Gideon]

Meeting? I don't know what you're talking about.

[Mr. Haroun]

Death and terror. Ms. Gideon. Come here. You recognize this?

[Styles MacKenzie]

The sailor.

[Mildred Gideon]

The dead sailor. You murderer. You murderer. I ran. Just ran. The vision of the dead man on the floor of the room still in my eyes. And he was coming after me. He was going to kill me. I knew he was going to kill me. I didn't know where I was or how to get back to the ship. It got darker and darker and the streets twisted and turned in front of me. Shadow after shadow, growing bigger and bigger. I had to get to the ship and I didn't know how. Oh, my leg. I can't run. Who's there? Who's there in the dark? It was the native quarter. And a man, a dirty, fat, ugly man was coming toward me. I backed away from him. He slithered after me. And then I felt my back against a wall. Walls all around. There wasn't any way out. Then I saw a door. Just out of reach. I inched toward was a big room, dim and evil smelling. There were people, but they didn't pay any attention to me. They were watching a dancing girl weaving through a greasy yellow light. I saw another door, slid along the wall toward it. Keep away from me. Keep away.

[Frank Grady]

Mildred.

[Mildred Gideon]

What? Frank.

[Frank Grady]

Mildred. Hey, teacher.

[Mildred Gideon]

Frank.

[Wayfair]

Frank.

[Mildred Gideon]

Grady. Here.

[Frank Grady]

Over this way. That's it.

[Mildred Gideon]

Hey, Grady. Frank. I'm never so glad to see anybody in all my life.

[Frank Grady]

What happened to you? I've been looking all over.

[Mildred Gideon]

He was going to kill me. Kill me.

[Frank Grady]

Who is going to kill you?

[Mildred Gideon]

Horrible. Terrible. Mr. Haroun, let's get back to the ship. Hurry, please.

[Frank Grady]

No, no. Just a minute. I got to know what time that drop is. Drop the Message you got at the Sultan's turret. I know you got it or you wouldn't have ditched me.

[Mildred Gideon]

What?

[Frank Grady]

The film. Documents on film, teacher. Little white slip of paper tells place and time and you got it. You forget your act. Now forget mine.

[Mildred Gideon]

The sailor, he said tell it to.

[Frank Grady]

To Frank Grady. Sailor was my contact. You got in the way.

[Mildred Gideon]

No, no.

[Frank Grady]

Give me that paper.

[Mildred Gideon]

Let go.

[Frank Grady]

Look, teacher, give me the paper or I'll kill you now. I mean, it's.

[Mr. Haroun]

Ms. Gideon.

[Mildred Gideon]

Well. No, no. Don't touch me.

[Mr. Haroun]

It's all right. Everything is all right, I assure you.

[Mildred Gideon]

All right. Where am I?

[Beirut Police Officer]

A pilot's launch, Ms. Gideon. I'm escorting you back to the ship. Once more.

[Mildred Gideon]

The policeman.

[Beirut Police Officer]

We are so sorry you had to go through as much as you did.

[Mr. Haroun]

It was imperative to find out which was the spy, Mr. Grady or you spy. Dealers in state documents collected and sold to the highest bidder. We knew someone would meet the sailor.

[Mildred Gideon]

Oh, I see. Now then you didn't kill.

[Beirut Police Officer]

No, no, no. He was stabbed in a strange. Before he could reach the ship.

[Mr. Haroun]

Unfortunately, you complicated things too. For us as well as for Mr. Grady. I'm sorry I had to treat you roughly at the house on the hill.

[Mildred Gideon]

Because you thought I'd. And I thought you. Oh, Mr. Haroun, I'm so glad I was wrong about you.

[Beirut Police Officer]

They are closing with the ship. Can you walk, Miss Gideon?

[Mildred Gideon]

Yes, yes, I think so.

[Mr. Haroun]

I am staying here in Beirut. I wish you a pleasant trip and bon voyage.

[Mildred Gideon]

Perplexed no more With Human or Divine.

[Mr. Haroun]

And tomorrow's tangle Till the winds resign.

[Mildred Gideon]

Thank you, Mr. Haroun. Thank you so much. Tonight we would like to thank Edgar barrier, who was Mr. Haroun, Ben Wright, the police officer. And Byron Kane, the Lebanese guide.

[Frank Grady]

Yes, and again our thanks to Richard Chandley for an exciting story.

[Mildred Gideon]

Next week, the theater, not as it really is, but as it seemed to Richard Powell after he had seen his fill of a certain type of BE backstage story.

[Frank Grady]

And so next week, a new comedy called A Poetic Tragedy written for us by Richard Powell. Thank you for listening. We'll be back again next week. Good night.

[Mildred Gideon]

Good night.

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