Deedle Deedle Dumpling, My Son X-1 by Theater Five

Summary

Podcast Summary: "Deedle Deedle Dumpling, My Son X-1" by Theater Five

Release Date: June 16, 2025
Host/Author: RelicRadio.com
Podcast: Relic Radio Sci-Fi (Old Time Radio)

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Introduction

"Deedle Deedle Dumpling, My Son X-1" is a gripping science fiction narrative presented by Theater Five on Relic Radio Sci-Fi. This episode delves into themes of alien infiltration, parental paranoia, and the thin line between sanity and madness. Set against the backdrop of a seemingly ordinary family, the story unfolds with suspense and psychological tension, characteristic of old-time radio storytelling.

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Plot Overview

The story centers around Paul and Martha Ambler and their teenage son, John. Initially, the family dynamic appears normal, with typical teenage requests and parental concerns. However, Paul's perception of reality begins to unravel as he becomes convinced that extraterrestrial beings have transformed their son into a space station disguised as a human.

Initial Suspicion: Paul’s suspicion arises from a vivid memory of witnessing his son’s transformation:

• [01:21] Paul: "It was the faintest hum of the blue green glow that first drew me to the baby's room that night... they had transformed my sleeping son into a complex machine."

Despite Paul's alarming claims, Martha dismisses his fears, attributing them to stress and insisting that John is perfectly normal.

Rising Tension: The tension escalates when John requests to borrow the car at midnight, a seemingly innocent request that Paul denies, further fueling his belief that something is amiss:

• [03:16] John: "Yeah, we thought it would be fun to do after we got through studying."
• [04:00] Martha: "I think it's important that John be with the other children as much as possible."

Isolation of Belief: As Paul becomes increasingly obsessed, Martha attempts to rationalize his behavior, but Paul's convictions only grow stronger. He begins to observe peculiar behaviors in John, reinforcing his belief that his son is no longer human:

• [05:30] Paul: "He's not a human being at all. He's an outcast from outer space."
• [06:16] Paul: "I saw them that night working on him in his crib... he's old. Gears and wires and motors."

Confrontation and Revelation: The climax occurs when Paul confronts the reality of his fears as John seemingly transforms before his eyes. An alien presence, X Blix, reveals itself as the commander of Space Outpost X1, explaining their plan to infiltrate and eventually dominate humanity by using John as a covert space station:

• [14:27] X Blix: "X Blix, ion officer commanding Space Outpost X1. At your service, sir."
• [16:42] Paul: "The invasion."
• [16:43] X Blix: "The planet we come from is old and worn out... Unfortunately, it is already dominated by you semi-intelligent Earth creatures."

Climactic Action: In a desperate attempt to thwart the alien plan, Paul decides to take action:

• [19:44] Paul: "See that gasoline truck ahead?"
• [19:46] Paul: "We're going to ram it head on."

Despite his efforts, the immediate aftermath leaves John seemingly unharmed but under alien control, setting the stage for an uncertain future.

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Key Themes and Insights

1. Parental Fear and Obsession:

   • Paul’s descent into paranoia highlights how fear can distort reality, especially when tied to the safety of loved ones.
   • [06:16] Paul: "I've seen it. Or had I? Maybe I was losing my mind."

2. Alien Infiltration and Deception:

   • The concept of aliens disguising themselves within human society raises questions about trust and the unknown.
   • [15:16] X Blix: "We can build a computer that will duplicate the movements and reactions of any animal in the universe."

3. Sanity vs. Delusion:

   • The struggle between Paul and Martha emphasizes the fragility of sanity when faced with extraordinary claims.
   • [07:34] Paul: "What's that?"
   • [07:39] Martha: "What is it going to harm if he isn't hurting anybody."

4. Technology and Humanity:

   • The episode explores the intersection of advanced technology and human identity, questioning what it means to be truly human.
   • [15:11] Paul: "But John has always looked and moved and felt like a real boy."

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Notable Quotes

• [01:21] Paul: "They weren't much bigger than ants and glowed in the darkness of the room... during the night, they had transformed my sleeping son into a complex machine."

• [06:02] Martha: "We have got to sit down quietly and discuss this thing."

• [14:58] X Blix: "We are standing behind the windows of your son's eyes. They make excellent direct observation points."

• [16:37] X Blix: "Because you were the only one wise enough to see the direction of our plan."

• [19:37] Paul: "It will be worth a try."

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Conclusion

"Deedle Deedle Dumpling, My Son X-1" masterfully blends psychological drama with science fiction, creating a compelling narrative that keeps listeners engaged from start to finish. Through the lens of a family torn apart by otherworldly interference, the episode explores deep-seated fears of the unknown and the lengths one might go to protect what is dear. Theater Five's rendition is a stellar addition to Relic Radio Sci-Fi's collection, harking back to the golden age of radio storytelling with modern-day thematic depth.

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Additional Information

• Cast: Briana Rayburn, William Griffiths, William Mason, Peter Fernandez
• Audio Engineering: Neil Paltz, Marty Folia
• Sound Technician: Ed Blaney
• Script Editor: Jack C. Wilson
• Original Music: Alexander Vlasnatsenko Orchestra, conducted by Glenn Oster
• Executive Producer: Edward A. Byron

For more episodes and similar stories, visit relicradio.com.

Transcript

[Narrator]

Relic Radio.

[Host]

This is Relic Radio. Sci Fi Old Time Radio Science fiction stories from relicradio.com.

[Martha]

How would you like it if they wrote a story about your boy and called it Deedle Deedle dumpling my son x1? It's also dreadful that I don't want to believe it and I don't want to talk about it anymore. But you can hear it for yourself on theater 5. Deedle deedle dumplings my son x1.

[Paul]

It was the faintest hum of the blue green glow that first drew me to the baby's room that night. A glowing, shimmering aluminum clam shaped thing was parked outside the window. It had reached into the room with long metallic arms that had lifted the child up, turning it slowly as the creatures transformed it. They weren't much bigger than ants and glowed in the darkness of the room, making luminescent trails between the sleeping child and their mother ship. And I could see it was already too late. I could see the spidery glimmer of aluminum framework, the glint of chrome motors and gears, and the electronic tangle of wires and work lights winking inside the child's body. During the night. They had transformed my sleeping son into a complex machine. A space station hidden under human form. And it was then I started screaming. It was then they said that I had lost my mind.

[John]

Dad, can I have the car now?

[Paul]

Johnny, it's almost midnight.

[John]

I know.

[Martha]

Are you finished with your homework, son?

[John]

Yes, mother.

[Paul]

Well, what do you want the car for at this hour?

[John]

To get a hamburger.

[Paul]

Get a hamburger? If you're hungry, why don't you get something to eat from the kitchen?

[John]

Well, it isn't just that.

[Martha]

What is it, son?

[John]

Well, all the kids decide to meet at the Cozy Corner for a hamburger after we got our studying done.

[Paul]

At midnight?

[John]

Yeah, we thought it would be fun to do after we got through studying.

[Paul]

Well, the Cozy Corner's way out on the other side of town.

[John]

I know. That's why I need the car.

[Paul]

I'm afraid not, son.

[John]

What?

[Paul]

I said I'm afraid not.

[John]

But why not? All the other kids are going to be there. Their dads are going to let them take their cars.

[Paul]

I don't care what the other kids fathers are going to do. I don't feel that letting a 17 year old boy drive all the way across town at midnight for a hamburger is a reasonable request. Especially when tomorrow's a school day and especially not on the spur of the moment like this.

[John]

But all the other kids are going to be there.

[Paul]

You're going to have to resign yourself to the fact that all the other kids are going to be a lot of places that you're not going to be.

[John]

Oh, Mother.

[Martha]

John, I don't think it would hurt. Just this once.

[John]

All the other kids will be there.

[Paul]

I don't care what all the other kids are doing.

[X Blix]

Paul.

[Martha]

I think it's important that John be with the other children as much as possible.

[Paul]

Well, so do I. I don't think a teenager driving around at midnight is normal behavior.

[John]

All the other kids do.

[Paul]

I don't care what all the other kids do.

[Martha]

I don't think Johnny's request is unreasonable.

[Paul]

I do.

[Martha]

Whatever you may think, I believe you have to deal with it in a rational manner.

[Paul]

I am being rational.

[Martha]

Then stop raising your voice.

[Paul]

I am not raising my voice.

[John]

Please, dad.

[Paul]

No, no, no. How many times do I have to say it before the word becomes clear around here? What's that?

[Martha]

What's what?

[Paul]

Don't you hear it?

[Martha]

Hear what?

[John]

I don't hear anything.

[Martha]

Paul, sit down. You look as white as a sheet.

[John]

Dad, can I have the car tonight?

[Paul]

Yes, yes, go on, take it. I. I won't be using it.

[John]

Thanks, dad. I'll be back before.

[Martha]

Paul? Paul, where are you?

[Paul]

Over by the window.

[Martha]

What are you doing over there? Go back to bed.

[Paul]

He's out there.

[Martha]

Who?

[Paul]

Our son, John.

[Martha]

What's he doing?

[Paul]

He's just sitting out there, staring at the star.

[Martha]

Well, tell him to come in. It's after 2 in the morning. Shh.

[Paul]

He's been sitting in that same position for over an hour now.

[Martha]

Well, maybe he's fallen asleep.

[Paul]

No, no. He's got his eyes wide open staring up at the stars.

[Martha]

What do you suppose he's doing?

[Paul]

He's communicating with him again.

[Martha]

Oh, Paul, let's not start that.

[Paul]

His eyes are fixed wide open. His head is like a stone. His whole body is as immobile as a machine. Paul, I tell you, he isn't human.

[Martha]

Paul, come away from that window.

[Paul]

He's not a human being at all. He's an outcast from outer space.

[Martha]

Paul, do you hear me? Come away from that wind.

[Paul]

You don't believe me, do you?

[Martha]

Oh, Paul, we've been all through this.

[Paul]

You didn't believe me then and you don't believe me now.

[Martha]

Paul, it's all too fantastic, I tell you.

[Paul]

I saw them that night working on him in his crib. I saw how they'd taken him over and replaced portions with an interior of metal.

[Martha]

Paul, please.

[Paul]

I tell you, he's not a human being at all. Oh, I. I know he's Built to look and feel and grow like a normal boy on the outside. But on the inside, he's old. Gears and wires and motors.

[Martha]

Paul, please. We've been all through this before and you know it isn't true.

[Paul]

I saw it, Paul.

[Martha]

The first time this unpleasantness happened. I wasn't sure at first anything is possible. And I couldn't believe that any man, not even an insane man, would try to murder his own son in his crib.

[Paul]

But.

[Martha]

But I wasn't sure. So I took him to every pediatrician I could find. He was tested by specialists. He was X rayed, electroencephalographed. His blood was tested. He was measured by anthropologists and psychologists. He was found normal in every way. If you read the reports, you know it. Not a trace of metal was found. Not a wire, not an impurity, not a foreign substance of any kind. Even his chemical balance was perfect. Johnny was just a normal, healthy baby. And now he's grown into a normal, healthy boy.

[Paul]

What would you say if I told you that right now, right this very minute, he's sitting in the car with his head thrown back, his eyes fixed on the stars, and that right this very minute, there are two blue green rays of light coming from his eyes, probing the sky? Now, Paul, don't take my word for it. Come to the window and see for yourself.

[Martha]

Paul, please.

[Paul]

Come on. Right now.

[Martha]

Don't pull at me. Oh, all right.

[Paul]

There. Now, see? Look for yourself.

[Martha]

There's nothing out there.

[Paul]

What?

[Martha]

The car is not even there. It's parked in the garage.

[Paul]

Could it be? We would have heard the motor. Start the car, door slammed.

[Martha]

Paul, I think it's time we sat down and had a talk.

[Paul]

His room.

[Martha]

What?

[Paul]

His room. He couldn't possibly be in bed yet.

[Martha]

Oh, Paul, that's insane.

[Paul]

Come on, Paul.

[Martha]

Paul, don't do this.

[Paul]

This is time. Here.

[Martha]

You see? I told you.

[Paul]

Sleeping.

[Martha]

You wait here. I'm going to cover him up.

[Paul]

How could he get here? Nobody could move that fast.

[Martha]

Keep your voice down. Come on. We have to leave him alone. You and I have got to sit down quietly and discuss this thing.

[Paul]

But I saw him outside.

[Martha]

That's impossible.

[Paul]

I saw him outside in the car, Martha. I swear that I honestly saw him.

[Martha]

How could he possibly get the car into the garage without our hearing him? And upstairs into bed instantly.

[Paul]

I don't know.

[Martha]

I suppose you're going to say it's because he isn't human. Because he's really some kind of advanced space mechanism of some kind.

[Paul]

Yes.

[Martha]

Paul, look. Suppose everything you say is True. Suppose he really is nothing but a shell housing a space station with little creatures inside. What would be the harm in that? He's not hurting anybody.

[Paul]

Because the beings who took him over are hostile. They're going to invade us. If they can take him over, they can do it to anybody.

[Martha]

Oh, Paul, darling, I love you. I love you very much. But I can't afford to let this happen again. There's nothing wrong with Johnny. The last time you started talking like this, you tried to kill him in his crib. I don't want either of you hurt. There is nothing wrong with Johnny. But if I hear you mention or even suggest anything like this again, I'll have you committed again. Do you understand?

[Paul]

Yes, Martha. We'll return to our drama right after this message.

[Instructor]

Students today, students, we're going to talk about how to inhale a cigarette the way real smokers do. Now, watch me closely.

[X Blix]

That's good.

[Instructor]

Now, I hope you noticed I took a deep drag. When you take a shallow drag, you get some of the benefits. Yellow teeth, bad breath and stained fingers, for instance. But you're not giving yourself the real wallop. Why, a dedicated beginner inhaling properly and sticking at it can make himself sick to his stomach all day and acquire a blinding headache on top of it. Furthermore, if he continues to practice faithfully he can get so short of breath he can hardly breathe at all. That's a real smoker for you. Now, where did I put that cigarette? Well, I. See I just burned a big hole in my hat.

[Paul]

Other things can happen with cigarettes too. Ask your American Cancer Society.

[John]

Good morning.

[Martha]

You're late. You won't have time for breakfast.

[Paul]

That's all right. All I want is a cup of coffee this morning.

[John]

Hey, dad, you gonna have time to drive me to school?

[Paul]

Drive you to school? It's only 10 blocks. Why can't you walk? When I was your age.

[John]

Oh, I know, I know. Used to walk three miles to school both ways.

[Paul]

Young man, I will not tolerate rudeness.

[Martha]

Paul, John didn't mean it the way it sounded. Did you, John?

[John]

No, Mother.

[Martha]

Johnny knows it's out of your way to take him to school. But he's late this morning.

[Paul]

If he got up earlier, he wouldn't be late. Paul, I'm sorry.

[John]

Gee, if I had a car of my own, it wouldn't be any problem at all.

[Paul]

Well, now, that's strictly out of the question.

[John]

But all the other kids have cars.

[Paul]

I don't care if all the other kids are tattooing their faces green this year. A car of Your own is out of the question.

[Martha]

Paul, what is the matter with you this morning? Just because you don't want Johnny to have a car. Is no reason for you to lose your temper. You have to keep better control of yourself.

[Paul]

I. I don't know what's wrong with me this morning. Come on, Johnny boy. We're late. On the way out to the car, I tried to get my feelings under control. He seemed so normal that I couldn't believe what I had seen the night before. But I had seen it. Or had I? Maybe I was losing my mind.

[John]

You know, Jimmy Martin's dad is getting him a 1954 super convertible.

[Paul]

I've always admired Jimmy Martin's dad, myself.

[John]

And Billy Hodges is getting a 1959 Jeep.

[Paul]

Where is he getting the money?

[John]

His mother gave him $200 for his birthday. He's got to earn the rest.

[Paul]

Good for him. Wish somebody would give me $200 for my birthday.

[John]

If I earn the money myself, can I have a car?

[Paul]

No.

[John]

Why not?

[Paul]

Because it's been statistically proven that when a teenager gets a car, his grades automatically go down.

[John]

But I need it for my work.

[Paul]

What works?

[X Blix]

You know.

[John]

I heard you and Mother talking last night.

[Paul]

Well, could you? The door was closed. We were in our room.

[John]

I think you'd better turn left here. We have some things to discuss.

[Paul]

Well, I have to get to work.

[John]

You're not going to work today.

[Paul]

Don't tell me what I am and am not going to do. Before my eyes, a strange thing happened to my son John. All his natural motions stopped and his head turned toward me. Like a heavy machine rotating on its own axis. His eyes became fixed and glazed. And gave off a blue green glow. His jaw and mouth moved. His voice spoke, but the words he used were not his own.

[X Blix]

Good morning, Mr. Ambler. May I extend my congratulations on your powers of deduction?

[Paul]

Who are you?

[X Blix]

X Blix, ion officer commanding Space Outpost X1. At your service, sir. Please keep your eyes on your driving. It would not be expedient to have an automobile accident at this time.

[Paul]

You can see me?

[X Blix]

Oh, yes. Perfectly well. We are standing behind the windows of your son's eyes. They make excellent direct observation points. And are convenient to our center of operational control. Which is located in what used to be the area for your son's brain.

[Paul]

Then you have built a space station inside him.

[X Blix]

He is a space station. What you see of your son is only a thin plexoid. That to you, looks and feels like skin. It is difficult to maintain temperature differences. And reproduce sweat Gland activity, but not impossible.

[Paul]

But John has always looked and moved and felt like a real boy. There's been nothing mechanical about him.

[X Blix]

You forget, the technology of our society is light years in advance of yours. We can build a computer that will duplicate the movements and reactions of any animal in the universe. And still be small enough to fit inside the package of cigarettes in your shirt pocket. Strangely, our biggest problem has been how to deal with the large amounts of animal and vegetable material you people take in every day. You Homo sapiens have a most inefficient system for obtaining energy.

[Paul]

What is it like in there?

[X Blix]

We have a complete self supporting space system. We have our own factories, defense units, life support systems and other facilities. There are 2,000 of us in here now. Everything is highly complex, compartmentalized and efficient. However, we did not decide to reveal ourselves to you just to discuss the makeup of our space station.

[Paul]

Why did you reveal your presence?

[X Blix]

Because you're the only one who knows of our existence. You stumbled onto it quite by accident. But you acted rashly and your society took steps which removed you from us. This gave us time to organize our station and learn to make it grow at the same rate as normal human growth. The same rate of growth your son would normally have had.

[Paul]

But the tests.

[X Blix]

It is not hard to manipulate the crude instrumentations of measurements that you have here on Earth.

[Paul]

But why? Tell me?

[X Blix]

Because you were the only one wise enough to see the direction of our plan.

[Paul]

The invasion.

[X Blix]

The planet we come from is old and worn out. Yours is the first one we found that duplicates its original conditions exactly. Unfortunately, it is already dominated by you semi intelligent Earth creatures.

[Paul]

If your techniques technology is so far superior to ours, why don't you just wipe us out and take over?

[X Blix]

Because you have one element that we are extremely vulnerable to. We cannot reveal ourselves until we are ready to operate in strength. Until that time we will bore from within. Your son's form was the first human we took over. You or your wife will be next. Within 10 years, we will have infiltrated half the human population. At that time, we will destroy the remaining half. Discard these confining shells and build our own world.

[Paul]

You. You say we have something that can destroy you?

[X Blix]

Yes.

[Paul]

What? The atomic bomb?

[X Blix]

Oh no. Something far more elemental than that.

[Paul]

What would it be? Fire? Water?

[X Blix]

If I told you you could destroy us single handedly and we couldn't have that, could we?

[Paul]

No.

[X Blix]

We reveal ourselves to you now because you already know of our existence. You were scheduled to be the host for the second pioneer group which arrives Tonight. But if you wish, we can take your wife's body just as well.

[Paul]

Why do you offer me this choice?

[X Blix]

Because it occurred to us it might be valuable to have a free agent in the enemy camp.

[Paul]

Suppose I told others about you?

[X Blix]

Nobody would believe you. With your history of insanity.

[Paul]

What would I gain from this?

[X Blix]

Your life, for the length of its natural span.

[Paul]

Even after everyone else were killed off. If you wish, I would live the rest of my life with a wife and son that were nothing but empty shells.

[X Blix]

You'd never know the difference. We're extremely resourceful.

[Paul]

I let him talk. He was right. No one would believe me. If I tried to kill him and succeeded, I would be put away. If I tried to kill him and failed, he would find a way to kill me. Either way, I would lose. And after tonight, after Martha, there'd be nothing left.

[X Blix]

It was extremely clever of us. In order to overthrow a dominant species, you have to learn its weaknesses unobtrusively. We did it by taking over the body of one of its helpless young. That way, our unlettered computers could learn everything the way a child learns. Step by step, by trial and error. Unfortunately, the learning process is unbelievably slow in you earth creatures. 17 years is a long time.

[Paul]

I thought you might like to go for a ride.

[X Blix]

You don't think you can destroy us?

[Paul]

It will be worth a try.

[X Blix]

But you can't destroy us.

[Paul]

Then you have nothing to lose.

[X Blix]

But what are you going to do?

[Paul]

See that gasoline truck ahead?

[X Blix]

Gasoline?

[Paul]

We're going to ram it head on.

[X Blix]

No. No.

[Paul]

Goodbye, X1. No.

[X Blix]

No.

[Paul]

No. Try to get control of yourself, Mrs. Ambler. We'll be there in a few minutes. Consider yourself lucky to have one of them survive that crash.

[Martha]

Is he all right? He isn't burned or anything.

[Paul]

Not a scratch on him.

[X Blix]

It's miraculous.

[Paul]

He must have been thrown clear of the car, away from the fire.

[Martha]

But will I be able to talk to him?

[John]

Well, I don't know if he's conscious.

[Paul]

The doctor says he's suffering from shock. Here we are.

[Martha]

All right.

[Paul]

All right, let her through.

[Martha]

Darling. My darling, are you all right? It's all right. I'm here. I'll take care of you. Can you hear me? Can you answer me?

[John]

Hi, Mom. What's new?

[Narrator]

Theater 5 has presented Deedle Deedle Dumpling My Son X1, written by George Bamber and directed by Warren Somerville. In the cast, Briana Rayburn, William Griffiths, William Mason and Peter Fernandez. Audio engineers, Neil Paltz and Marty Folia. Sound technician, Ed Blaney. Script editor Jack C. Wilson. Original music by Alexander Vlasnatsenko Orchestra under the direction of Glenn Oster, Executive producer for Theater 5, Edward A. Byron. We invite your comments write to Theater 5 New York 23 New York.

[Host]

That's the show for this week, but don't forget there are thousands more like it at relicradio.com horror, strange tales, science fiction, crime. All available for free. Like donate to Relic Radio and help help keep it all free. You can do that through the website as well. Visit donate. Relicradio.com to find out more and to see the special downloadable sets that are available. My thanks to those who have donated and thanks for listening today. Talk to you again next week.