Out Of Sight by The CBS Radio Mystery Theater

Summary

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Relic Radio Sci-Fi – "Out Of Sight" (CBS Radio Mystery Theater)

Date: December 30, 2025
Host: RelicRadio.com
Starring: Julia Mead, Sidney Walker, Ira Lewis, Jack Grimes

Episode Overview

"Out Of Sight" revisits the golden age of radio sci-fi with a tense, psychological tale: the ill-fated flight of Diana 1, starring America’s first woman astronaut. What begins as a mission to Skylab quickly spirals into a surreal nightmare as three astronauts are abducted into the cosmic unknown and forced to confront both alien captors and each other’s darkest fears.

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Key Discussion Points & Episode Breakdown

1. Setup: The Doomed Launch

• [00:25] Host E.G. Marshall sets the tone of foreboding. Diana 1’s countdown is delayed due to computer trouble — another in a long series of ominous technical scrubs.
• There’s particular focus on Teresa (“Terry”) Webber, the first American woman astronaut, and her uneasy feeling about the flight:

  “Maybe today was an omen. Maybe I should cut out right now. I've got the strongest hunch this flight is jinxed and I'm the jinx.” (Terry, [04:34])

• Others try to reassure her, blending camaraderie and pressure. A sense of destiny and self-doubt pervades.
• When the mission is suddenly cleared for launch again, Terry steels herself, torn between fear and duty.

2. Lift-Off and Early Space Troubles

• [07:56] The crew — Gordon (commander and Terry’s husband), Luke (co-pilot), and Terry (physician) — enter orbit for what’s supposed to be a routine "milk run":

  “Let's check out the inertial guidance and the boosters again.” (Gordon, [08:34])

• The tension escalates when all communication with ground control suddenly ceases after strange interference.

  “Wouldn't it be awful if we did lose touch completely with Earth?” (Terry foreshadowing, [12:41]) “I can't raise a thing, Skipper... Everything's dead. Every frequency.” (Luke, [14:03])

• The astronauts try to keep calm but are increasingly aware they are "on their own."

3. Encounter with the Unknown

• Attempting manual docking with Skylab, the crew loses control; it feels as if the craft is being manipulated externally.

  “Someone else brought it into lock, not me.” (Gordon, [19:51])

• Suddenly, a disembodied voice introduces itself:

  “How do you do? I am Drakon. I have been waiting for you.” ([20:24])

• Drakon and the unseen presence are revealed as alien observers from Centauri 7. The astronauts are told that, as “specimens,” they will be studied and are essentially prisoners—guinea pigs for alien research.

  “We have selected you as... what is the word you use? Guinea pigs.” (Drakon, [24:43])

4. Alien Experimentation: Psychological and Physical Ordeals

• The trio is placed in a locked, Earth-like suite—no way out, no windows, only vents.
• The aliens test them first with heat and then cold, forcing the astronauts to improvise:

  “Where's that ever loving heat coming from?” (Luke, [27:04]) “This is Operation Cold Freeze.” (Gordon, [28:35])

• Terry, the doctor, recognizes their status:

  “We're guinea pigs. And as a laboratory animal... they're expendable.” (Terry, [28:13])

• They try to break out, using teamwork and intelligence, but their efforts only highlight their captivity.

5. Turning on Each Other: Alien Manipulation

• In a chilling test of psychological limits, the aliens provoke violence between the crew, specifically a confrontation between Luke and Gordon over Terry.
• The segment is tense and raw, with Luke trying to force himself on Terry, only to be interrupted and shamed back by her call for unity and recognition of the experiment:

  “Don't you see? This is just another test... They want to see how far they can provoke us, how much we can stand. They're the ones we have to fight. They're the ones we can't let win.” (Terry, [36:15])

• The humans regain composure, demonstrating self-sacrifice and cooperation instead of succumbing to base instincts.

6. Escape Attempt and Return to Reality

• Facing cyanide gas as the next lethal test, the astronauts try a desperate escape through an air duct, only to end up—cyclically—back where they started:

  “All that for nothing. Right back where we started.” (Luke, [42:10])

• The aliens, having finished their “external examination,” prepare for more invasive study. Terry and Gordon refuse to help, pledging their commitment to each other and to Luke:

  “I love you. And we both love you, Luke. One for all and all for one. I guess we bought it for good this time.” (Terry, Gordon, [43:27]-[43:34])

7. Restoration and Cosmic Judgment

• Abruptly, communication with Earth resumes as if nothing happened; only a few seconds have lapsed for those on the ground:

  “Funny thing. I had a local notion we all did down here. That we lost you for a couple of seconds. Not as far as I know.” (Capcom and crew, [43:44])

• The story closes with the aliens deliberating, ultimately judging the human species worthy of “one final chance”—a thousand-year reprieve—because of the astronauts’ capacity for self-sacrifice and love:

  “There is some hope for them then. We might allow them another millennium to better themselves.” (Ancient One and Drakon, [44:55])

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Notable Quotes & Memorable Moments

• Terry’s Premonition:

  "Maybe today was an omen... I should cut out right now. I've got the strongest hunch this flight is jinxed and I'm the jinx." (Terry, [04:34])

• First Contact, Alien Style:

  "My dear Earthling, I am not hiding. I ain't seen you yet. Nor will you. I am not made like you. Nor are you civilized enough to be able to imagine me." (Drakon, [20:25])

• Human Resilience, Even in Despair:

  "I love you. And we both love you, Luke. One for all and all for one. I guess we bought it for good this time." (Terry & Gordon, [43:27]-[43:34])

• Cosmic Judgment:

  “Observing them close at hand, particularly the female one, I have seen a capability for self-sacrifice and love. There is some hope for them then. We might allow them another millennium to better themselves.” (Drakon & Ancient One, [44:55])

• Twist Ending:

  "Can the eye of an earthling see a bullet? Can it follow the speed of light? They will not remember." (Drakon, [44:55])

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Timestamps for Key Segments

• Mission Scrubbed and Doubt: [00:25] – [04:51]
• Restored Countdown, Liftoff: [07:15] – [08:37]
• Loss of Contact with Earth: [12:14] – [14:38]
• Docking, Alien Interference Begins: [18:48] – [20:24]
• Drakon’s Arrival and Specimen Status: [20:24] – [24:43]
• Environmental Experiments (Heat/Cold): [26:31] – [28:33]
• Psychological Test (Luke’s Breakdown): [34:10] – [36:43]
• Cyanide Gas and Escape Attempt: [37:06] – [42:16]
• Return, Earth Unaware: [43:44] – [44:41]
• Alien Deliberation, Final Chance: [44:41] – [44:55]

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Tone and Style

The episode mixes claustrophobic dread, psychological complexity, brief humor, and classic “stranger in a strange land” motifs, all within the stately, ominous narration of E.G. Marshall. Interpersonal tension among the astronauts is as much a threat as any outer space danger, and the story leans into the existential horror of both human frailty and cosmic insignificance.

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For New Listeners

"Out Of Sight" is a must-listen if you enjoy classic, cerebral sci-fi with a Twilight Zone touch. It explores fears—both external and internal—while offering a faint glimmer of hope in the tested but resilient human spirit. The originality and starkness of the audio storytelling make this not only an engaging sci-fi yarn but also an interesting commentary on humanity’s place in the universe.

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Transcript

[A]

Relic radio.

[B]

This is Relic Radio.

[A]

Sci Fi Old time Radio. Science fiction stories from relicradio.com.

[B]

Foreign. Come in. Welcome. I'm Eg Marshall. Welcome to the world of terrifying imagination. The fear you can hear this time. A contemporary tale concerning the ill fated flight of the first American woman astronaut. The Flight of the Diana one. A tale of three astronauts who reached Skylab only to be literally snatched into the void. But before Diana1 ever left the ground, the aura of doom hovered around her as she stood poised on the launching pad. This is Diana Control. We've been holding a T minus 45 minutes while a faulty computer monitoring the loading of propellant has failed. This is a scrub. We will set back countdown to T minus 13 hours. McDonald or Capcom. Gordon, do you read me? I read you. I'm sorry for the bad news. It's a scrub. Roger. Tell Luke I'm sorry too. And what do I say to the doctor? Same thing. Same for all of us on the team. Yeah, but it's tougher on her. I mean, you know, the disappointment. First American woman into space and all. I'll tell you. Manage it. Don't you worry about her. Over and out, Roger. Only I do worry. Ships, whether they ride on air or water, just don't mix with women. Our mystery drama out of Sight was written especially for the Mystery theater by Ian Martin and stars Julia Mead. It is sponsored in part by Anheuser Busch Incorporated, brewers of Budweiser. I'll be back shortly with act one. It might have been far better if the scrub on the Diana one had been a total. This was only another in the long series of delays that had plagued the spaceship and haunted not only the astronauts themselves, but the ground crew as well. As returning to the compound from the launching, the most concerned of all was the first of our lady astronauts.

[A]

I don't mind admitting it, but I really feel like as bursting into tears.

[B]

Who doesn't?

[A]

Well, the difference is you're a man.

[B]

And I'm a woman. No doubt of that. Although I must say, I go for you a lot more as you are now than in the spacesuit. Down, boy. Back off, Marine. Hey, what are you getting so sore? You got her and I mean to keep her. Yes, sir, Captain. I mean, Commander. Hey, hey, don't pass my digs. Aren't we all having dinner together? Yeah, sure thing. But I want to get me a shower and a shave first. We were up on that. That rocket so long I practically grew a beard on my knees. Well, I'll see you. Good old Luke. I'm glad he's the third member of the team.

[A]

Oh no, the second. I'm the third wheel, Gordon.

[B]

And you know why I wanted to burst into tears like all of us? Disappointment? No, a lot more than that.

[A]

Gordon. Maybe today was an omen. Maybe I should cut out right now. I've got the strongest hunch this flight is jinxed and I'm the jinx.

[B]

Terry? Terry, where are you?

[A]

At the window. Gordon. I didn't mean to wake you.

[B]

It's okay. What's wrong? Terry?

[A]

Look, darling, the sky is filled with stars glistening like fish in a net. Hold me a minute.

[B]

Of course.

[A]

How many nights we've talked about this trip, Hope to make it together. All the long training and planning and now it's here at last. Or almost here. I'm not going.

[B]

What?

[A]

I'm not going, Gordon.

[B]

But you've got to. You can't back out now.

[A]

Lieutenant Nettles is backup for me. But she's not a doctor. She's a woman. That's the important thing. I wasn't picked for this trip primarily because I'm a doctor.

[B]

But why would you cut out now?

[A]

Because I'm scared.

[B]

Oh honey, everybody gets buck fever. You know. I had it my first time.

[A]

This is more than buck fever.

[B]

What is it then?

[A]

It's not me I'm scared for, it's you and Luke.

[B]

Why?

[A]

Because I'm a jinx?

[B]

Ah, you're not going to start him with the superstitions like Luke.

[A]

It's more than just superstition. Oh darling, I can't tell you, but I've been lying awake and getting the strongest ESP wave.

[B]

You were dreaming.

[A]

But I wasn't. I was wide awake.

[B]

Oh, for the love of Mike, don't do this to me.

[A]

But it's you I'm thinking of, darling. I want you safe and I honestly, for some reason I. I can't explain why I think if I go up there.

[B]

Damn it Terry, I never thought you'd do this to me.

[A]

And I never thought the first woman astronaut would be such a flop. Oh, I'm so ashamed.

[B]

You better answer that. Hello? Yes, sir. Did you reach Luke Strong? Good. Yes sir, we will within the hour. Oh no, I can drive. Yes sir. We'll go straight to the hospital unit. Thank you, sir. Good news for us too.

[A]

What is it?

[B]

Weather forecaster for quick changing conditions. That would ground us for two to three weeks until. Well, unless we get off tomorrow. They've restarted the countdown and it's go. We lift off in seven hours. I've Committed? You. Terry, if you don't go, it's a total scrub. Are you with me?

[A]

You know I'm always with you. For better or for worse. Not just as a wife. Ready, willing and able. Skipper, Astronaut Teresa Webber reporting aboard.

[B]

Pilot to Capcom. You read me? Yes, Commander, we read you. Are we still on countdown? Yeah. Got a T.5 and counting. A okay with you? All systems ago here. Check. Luke, everything reads good to me. Cabin pressure is holding at 6.1 pounds. Roger. We are T40 and counting. Looks good. All the way. Good. Keep me posted. Roger. Over and out. How do you feel, Terry?

[A]

Now that I'm here?

[B]

Great. Hang in. Lovely. You've only begun to live. What do you say, Luke? Let's get it all put together. Skylab, Skylab, here we come. That's the spirit. Let's check out the inertial guidance and the boosters again.

[A]

What do I do, Captain?

[B]

Just sit tight and get ready for the thrill of your life. This is Diana Control. The D1 countdown is a T minus 35 seconds and counting. All systems are reported in a go condition. Pilot, CO pilot and Dr. Weber are ready. The Diana spacecraft umbilical is cut. We have transferred to internal power. We are Counting down, starting now. 13, 12, 11, 10, 9. Ignition sequence starting. 5, 4. We have ignition. All engines are running. We have a liftoff. The clock is operating. We are underway. Roger. Read you loud and clear. We're smoothing out some now. Are you through Max Q? Through Max Q and smoothing out real fine. Sky looks very dark outside, cap. And pressure is holding at 6.1. Okay. Coming up on two minutes. Roger. Reading it loud and clear. Pitch 25 degrees. Your flight path looks very good. We're up on S4B stage burn. And I read it. Mark two minutes. Roger. You have 22 seconds to shut off. Roger. Read that. Luke, what do you rate your velocity? 25, 668ft per second. Roger. We confirm coming up to burn off. Six, five, four, three, two. There she blows. Gentlemen, you are in orbit. Hallelujah. We've achieved orbit, Skylab. Skylab, here we come. You are go for a dock. Roger. Ah, you'll be losing me now. I'll pass you on to Bermuda. Roger. I'll see you in a couple of hours. Have a happy. We'll give you a final okay on docking then. Roger. My buddy thanks you, my wife thanks you, and I thank you. Over and out. Okay, Terry, what do you think of space flight now?

[A]

Oh, it's marvelous. Wonderful. A rocking chair.

[B]

I don't know what was the matter with me. Well, whatever it was, as long as it's gone, let's put it out of our minds now. This is going to be a milk run.

[A]

A what?

[B]

I'll tell you, young man like me and young woman like you wouldn't dig that talk. It's from World War II, but I read about it. A milk run was like when you flew out to bomb and came back and knew old Hitler didn't have any more planes to bother you, and you were just as safe as if you were taking a ride in your grandmother's electric automobile.

[A]

A piece of cake.

[B]

Yeah, but the best piece of cake we got riding with little old Diana is the middle astronaut here. Okay, Luke, playtime's over. Let's run a full instrument check and give Terry a chance to start working on her medical reports. If I have to put up with wearing these electrodes like Frankenstein's monster, let's at least make it worthwhile. Can you boost your signal? Hawaii, do you read me?

[A]

Anything wrong, Gordon?

[B]

No, we just passed out of range of Hawaii. We should be picking up on Houston and Mac any moment. It's always kind of scary, though, isn't it? What? Anytime the tracking stations don't overlap and you lose contact. Ah, you're getting used to it. It's only for a few moments at most.

[A]

Wouldn't it be.

[B]

Wouldn't it be what, Terry?

[A]

Oh, that's just silly imagination.

[B]

No, you got me going. I want to hear what I was just thinking.

[A]

Wouldn't it be awful if we did lose touch completely with Earth?

[B]

Not possible. Too many backup systems, different frequencies, emergency equipment. Yeah, but just supposing, as long as Terry brought it up we did lose contact, what would happen then? Well, we can still fly the ship.

[A]

With no arrangement for splashdown. Where would we fly to?

[B]

We can always talk with Skylab and use their equipment. We don't need ground to make a dock. But if Skylab's equipment was out, it's just not possible. So forget it. I'm going to call in. Diana 1. This is Skycom. Do you read me? Roger. I sure do. Loud and clear. Good. We'll have half an hour's clear contact. During that, we'll give you coordinates with a doc. Roger. Now, let's synchronize our time. I'm coming up on 1032. That's 2232. Mark when I give you. Wow. Wow. Roger. I read you dead on the button. A. Okay, hear this, then. In order to achieve. Trent? Mac? Mac, you read me? Mac?

[A]

What is it?

[B]

A host. Let Me? Try another frequency. Mack. Mack. Capcom, this is Pilot Weber. Do you read me? Damn. Try another. Diana one to capcom. Capcom, do you read me? I can't raise a thing, Skipper. I've tracked over Bermuda to Africa. Everything's dead. Every frequency. I can't understand it. All other systems ago yet we've lost contact with ground.

[A]

That means we're. We're on our own.

[B]

Unless we turn up Australia, Hawaii or Mac back at Houston.

[A]

And if we don't, we head for Skylab.

[B]

Is that so terrible? Certainly. Its radio must be working.

[A]

And if it isn't?

[B]

That isn't anything I want to start thinking about right now.

[A]

Maybe we better because.

[B]

Because what, Terry?

[A]

You don't know. Luke, about my dream.

[B]

For God's sake, this is no time for dreams. Hello, this is Diana one calling.

[A]

That isn't going to do any good, Gordon. This is what I dreamed. That we'd lose contact. I remember that humming sound. You'll never get through it. Even if we make Skylab.

[B]

That's what mean it.

[A]

Thanks to me, the first woman, the jinx we lost. We are lost in space.

[B]

Can you imagine being condemned to wander in space till food and oxygen gave out? Or the orbiting vehicle you made your home, plunged through the friction of the atmosphere to roast you to ashes in fire and flame. The very thought of it makes my blood run cold. But perhaps you will prove to be made of sterner stuff when I return shortly with Act 2. Ever see a beer drinker pour his beer real easy down the side of the glass? Maybe you do it yourself. If so, the Budweiser brewmaster thinks you're missing something. Especially if you're a Budweiser drinker. You see, Bud is brew, so it will kick up a healthy head of foam. Exclusive beechwood aging and natural carbonation make it a lively brew. Well, anyway, pouring bud plunked down the middle of the glass helps bring out the best in that clean, white Budweiser foam and real beer aroma. It also helps you get the full benefit of a taste, smoothness and drinkability you'll find in no other beer at any price. Remember, brewing beer right does make a difference. Next time, pour that Budweiser right down the middle and see for yourself. Anheiser Busch, St. Louis. Who knows how to help you solve your shopping problems? The Better Business bureau. No, Wednesday, 10 o', clock, I'm back at the office working on the case when my secretary brings me the mail. Thanks, kid. The usual stuff. Then I see it. It's addressed to me. Resident inside a fake rabbit's foot. A pitch, A two dollar donation or send back the rabbit's foot. My problem. What to do about it? I'll help you with good advice from the Better Business Bureau. Oh, yeah? Spill it. If you receive unordered merchandise in the mail, you are under no obligation to return it or pay for it. Thanks, pal. You're okay. Just another consumer tip from your Better Business Bureau. For another full orbit. The Diana one circled the Earth. But it seemed that all communication was irretrievably gone. On all frequencies, on all tracking stations our astronauts tried to raise, they heard only that high oscillating hum. Now we've got to face it. We're clear out of touch. There's only one thing left to do. Make the dock ourselves. We've used up a critical amount of fuel out of tudinizing ourselves to try to pick up Capcom signals. I know. Do we go for a dock this time around or wait till next August? No, we've repositioned all the way around. This time we'll never be aligned more favorably with the tweak burn. We ought to have precise apogee and gain on her enough to lock onto target with with radar.

[A]

How soon will we see the land?

[B]

25 to 20 miles. We ought to have clear.

[A]

There she is, ahead and just a little bit above us.

[B]

She's right, Gordy. Okay, we'll intercept. We're on our own. We're going to have to chase for a while. But we're locked on by radar and fitting. Right on the money. Tight as an oyster. No thanks to me.

[A]

What do you mean, Gordon?

[B]

What is it, Skip? I don't know. You remember how we began to roll and swing over the Pacific?

[A]

I thought you were maneuvering for the lock.

[B]

I was trying to, but the ship just seemed to take over. We were rolling at 36 degrees a second. You pulled her out. It wasn't me. Don't you understand? I couldn't fly her at all. We were rolling so bad and yawing. I thought we were going to lose any control and go toppling end over end.

[A]

But we didn't, thanks to you and not me.

[B]

It felt like it was just like ground. Or someone took over and was flying the ship. Someone else brought it into lock, not me. So what's the difference? We came home. Shall I open up the hatch so we can get into Skylab? We ought to secure everything here. We're airtight. We can get that later. We've got to reach ground if we can't get in touch with capcom. Oh, I'M afraid you can't you see we have jammed it? How do you do? I am Drakon. I have been waiting for you.

[A]

Who said who?

[B]

I have said Drakon is my name before I ask the other questions. Where are you? I am here. Where's he hiding? Gordie, you know the setup here. But, my dear Earthling, I am not hiding. I ain't seen you yet. Nor will you. I am not mate like you. Nor are you civilized enough to be able to imagine me. Now, wait a minute. Hold it, Luke. Mr. Drakon, if I have your name right, the title is meaningless for me. And even the name is only an approximation in translation to your tongue. Call me then, Drakon. Very well, Drakon. Who are you?

[A]

I will try to simplify.

[B]

I am not of your galaxy. I am a Centauri 7, a quintillion of light years from your solar system. What's going on, Gordy?

[A]

It's the sort of thing I dreamed.

[B]

It would be easier if you had a. A presence, Drakon. We could talk more sensibly then. Ah, no. I believe to the contrary.

[A]

You could not conceive of me even if I could make some emanation before your eyes.

[B]

No. The voice must be enough. Then what is it you want?

[A]

For you to come with me.

[B]

Supposing we refuse? But there's no way you can. I am going to take you to.

[A]

Centauri 7, a quintillion years away.

[B]

Time is a relative factor. We shall go by time warp.

[A]

But even so, I am a doctor. I must face physiological facts. I don't know what your physiology may be, but if we Earthlings, as you call us, should pass a destination a quintillion years away, we wouldn't arrive as anything more than dust.

[B]

I have said that time is a relative factor. We must leave. Are you ready to go? Oh, the trip will be short and not unpleasant. All those quintillions of miles. The advantage of the fifth dimension. The time warp I mentioned.

[A]

But time is relative, as you said. Who's to say that your time won't destroy us?

[B]

How long will it take us? In your time, you would indeed be infinitesimal dust, as the doctor maintains in our time.

[A]

A millimeter of a second of which.

[B]

We have wasted quite enough. Shall we go? Here are your quarters. We have tried to construct them in appearance and solidity as those places you live on Earth. There are two bedrooms, one for the spouses and one for the drone. There will be food. You are welcome. We wish you to Live as you live on your planet. For how long? We must control that. You are free to do as you will in these areas. Two bedrooms, two baths, living room, dining area, fully equipped kitchen. That's upper class New York. Maybe 6, 700amonth. Furnished up to a grand, except for one thing. And that is at a window and outside of closets. And the rooms. Only one door out of here. Which unfortunately we must keep locked. Why? We have our own security. I think occasionally you Earthlings must have caught a glimpse of our machines. We have been observing you for some time. Why? For reasons of our own. Our saucers have even landed on occasions too. As you do in your flights to the moon, for example, to pick up informative material. We have even considered gathering some of you before this. But in the areas we landed, we did not consider the specimens quite satisfactory. We do very much consider you excellent representatives of your primitive culture. We have selected you as. What is a word you use? Guinea pigs.

[A]

You mean we're going to be locked up here like in a laboratory cage?

[B]

Yes, so we can study you. Now, I leave you to get adapted to your new surroundings. I have brought the earthlings, oh Ancient One. You did not pluck them from the planet itself? No, Ancient One. From the atmosphere. From one of their spaceships. Why did you pick be? One is a female. Our first opportunity to gather such a specimen without alerting the Earthlings. So be it. What is your wish now?

[A]

Permission to start the test?

[B]

As you wish.

[A]

Gordon. There's nothing in the big bedroom. It's just a box with some furniture. No openings anywhere. Any luck here?

[B]

The front door doesn't have a handle, let alone a lock. The only openings are that vent up there and one on the floor on the opposite side. Air vents, obviously. Otherwise we wouldn't be able to breathe. You find anything, Luke? You think it's okay to talk? No, but we might as well. I'm sure we're bugged and they hear everything we say. What did you find? Nothing. You? Neither of us. Except two air vents in this room. There was some way to. You hear a kind of hiss?

[A]

Yes, and it's getting stifling in here.

[B]

They've turned on some kind of heat.

[A]

Damn.

[B]

What are they trying to do? I've got to get this suit off. I'm sorry, Terry.

[A]

It's okay, Luke. Just forget I'm a woman.

[B]

That'll be a day for the old prowler. Have a. Let's strip down. Come on.

[A]

Nobody needs to have any hang ups. I can tell you as a doctor, we can stay in our thermals. It's safer if they try to roast us alive.

[B]

Where's that ever loving heat coming from? Probably the vent at floor level. Yes, come on, let's all stuff our suits against it. Maybe we can keep it out.

[A]

Good thinking, Charlie Brown Man, I tell.

[B]

You, this is no way to go. You rockless, stunning gun. Come on, fight fair and give us a chance.

[A]

Stop it, Luke.

[B]

I don't mind dying, but I want a chance to fight back.

[A]

Luke, it isn't doing any good. Don't give them the satisfaction of.

[B]

Gordon. Yes, Terry, you're right. I don't know if we're just blocking it or. Wait a minute. What is it?

[A]

He's checking to see if they've stopped it.

[B]

They've stopped feeding the heat. Thank God. I never could stand heat. I have a. I am scared witless of smothering to death or burning up in a fire. Who isn't? You all right, Terry?

[A]

I'm okay, darling, but we've got to get out of here.

[B]

How?

[A]

I don't know. I'll leave that up to you fellows. But we've got to get away.

[B]

To where?

[A]

Anywhere but here. This is only the beginning.

[B]

The beginning of what?

[A]

The tests. Don't you see it? We're guinea pigs. And as a laboratory animal, you know what all guinea pigs have in common.

[B]

You're the doctor, you tell us what they're expendable.

[A]

It's getting cooler. We passed the first one, but.

[B]

Oh, no.

[A]

What is it, Gordon?

[B]

The other vent. Can you hear it? We're starting the Turkish bath treatment again. Just the opposite this time. I think this is Operation Cold Freeze.

[A]

How can we get up to block that vent?

[B]

Luke, get on the other end of the table there and drag it open. Roger, Skip. Terry, bring the flight suits. That air is like dry ice. I can take this better than he. Here, Terry, I'll help. Now what, Skip? This is my weak spot. I can't stand cold. Get on table, Terry.

[A]

Yes, darling.

[B]

You get up. Luke Silvers, I. Then I. I passed flight suits to you. Blocked out cold air. There you go.

[A]

I'm okay. Hand me the suit.

[B]

I'm braced against the wall. Okay, Gordy.

[A]

It's all right. No need. They'd shut off the frieze. Here are the two.

[B]

I got him. Come on down, baby boy, you're something to have around. You imagine old Gordy or me getting on each other's shoulders.

[A]

I'm glad I'm of some use. Now it's a men's turn. What do you mean this is only the beginning? How much more of this can we go through? One exposure or another is going to be too much for one or all of us. Try to get out of here.

[B]

How? Only one way. The door. What we need is a prize of some kind. Oh, wait a minute. The table. It has metal legs. Help me turn it over, Luke. Sure. Yeah. Flange at the top and screws. Well, now, if we just had something.

[A]

Would you believe I just happen to have a nail pile?

[B]

Oh, baby, you are the most. Come on, let's have at it. Have we got the flange? Far enough. In between the jamf and the door this time. This looks like it. Ready?

[A]

If we do get the door open, then what, darling?

[B]

Well, first let's get it open, then we'll know. You ready, Luke? Roger. You too, Terry. Give us all the weight you can.

[A]

I'm ready.

[B]

And all together? Set. On the count of three. Three lost and desperate astronauts far beyond the stars. Should they succeed in opening this door, what can they hope to find? At best, another world and one apparently hostile to them. What infinitesimal chance do they have to return to landfall and splash down on old familiar Mother Earth? I'll return shortly with Act 3. An occasional heartburn or acid indigestion is combined with a gassy, foolish feeling. That's what we call gasid indigestion. Digel is made for gas at indigestion. Because Digel is different. It does more than plain antacids. Digel reduces excess acid while its patented thymethicone gets rid of trapped gas fast. Use only as directed. Digel. For gasid indigestion. No plain antacid can do what digel can. Morning, Mr. Green. Say, haven't seen this big guy in a spell. Nowadays, Caleb, we use our small car mostly. You know, this big engine might not be getting the exercise it needs. Exercise up to get rid of harmful engine deposits. Make sure you're using Quaker State motor oil. It's spotified to fight deposit buildup. Is Quaker State still available? Most places, yep. The people need it now more than ever. Is there any threat worse to sanity than the unknown? And yet, faced with the prospect of death by any factor of the known, which of us would not gamble and reach for the unknown as an alternative? Our three lost astronauts are no different. As they struggle to open a door on. On what? What kind of a world lies beyond it?

[A]

What?

[B]

Nothing.

[A]

There's nothing. Nothing outside but what it may look like nothing. But it's solid.

[B]

It might just as well be a Wall. For you it is for us on Centauri 7. It is our world, but not yours.

[A]

Are you now satisfied? But what do you intend to do with us? We must finish our tasks before we tell you that.

[B]

Now you are weary.

[A]

First you must rest. Terry.

[B]

Terry, wake up.

[A]

Hmm? What?

[B]

Why? Luke, don't.

[A]

Wait.

[B]

Gordie, I've got to talk to you.

[A]

Why? Don't leave.

[B]

Please. Come into my room. Okay.

[A]

Just a second till I find my shoe.

[B]

Come on. Come on.

[A]

I'm coming. What is it? I've got to talk to you, Terry.

[B]

We're all going to die here.

[A]

We don't know that.

[B]

Well, I do. And there's something I want before I do.

[A]

What are you.

[B]

No. I want you, Terry.

[A]

Luke, listen to me.

[B]

I'm not listening to anyone anymore. Just myself Now. Gordy stole you away from me, but just for once, I'm going to steal something away from him.

[A]

Gordy is your best friend.

[B]

Everything I ever wanted in life, I had to fight him for. First space flight. The commandership of this one. You. He always won.

[A]

Keep away from me.

[B]

Not this time. Not this one.

[A]

You can't. I won't. I'll scream for Gordon.

[B]

You do and you get this in your throat.

[A]

I can't have you.

[B]

He never will again.

[A]

Where did you get that knife?

[B]

From the table. Free him.

[A]

There. Okay, Terry, come here.

[B]

Get away from her. Luke. Dot he. Look out.

[A]

He has a knife.

[B]

So have I. All right, Luke. You wanted to use the knife. Come on. Try it on me. That suits me just great. You bought yourself a real donnybrook.

[A]

Stop it, Velvet. Both of you.

[B]

Stay out of this, Terry.

[A]

I won't stay out of it. And for the information of both of you, I have a knife, too. Okay, Luke, drop yours.

[B]

Let your lousy husband get me in the back. No, thanks. He stayed out of it, Harry. He's had this coming a long time.

[A]

Will you listen to me? Both of you? Don't you see this is just another test?

[B]

What?

[A]

Don't you remember? We're guinea pig. They're testing every kind of reaction in us. Luke, please. I know how you feel about me.

[B]

You love me. That's right, Terry.

[A]

But not that way. As a friend. As you love Gordon.

[B]

Love?

[A]

Yes, love. You weren't made for hate or frustration or violence any more than Gordon is. It's them. Drakon, or whoever they are. They're putting it all into your hands. They want to see how far they can provoke us, how much we can stand. They're the ones we have to fight. They're the ones we can't let win.

[B]

What am I doing with a knife? Oh, God. Terry. Gordy, forgive me. I didn't know what I was doing. Neither did I. I woke up choking with this black hace for the night. Where did I get this?

[A]

They put them on the table. It's just as I said, another of their tests. What's that smell?

[B]

It's coming from this lower vent.

[A]

It smells like bitter almonds. That's cyanide. Get away from there.

[B]

They sealed up the door again. We've got to get out of here.

[A]

The vents. No, no, no. They're louvered doors. It'll seep through. We've got to get away entirely.

[B]

Oh. Even if we could get the door open again.

[A]

I thought of it when the heat was coming in before. I think the COVID on that vent up there is loose. It's big enough to crawl through.

[B]

Get the other table, Luke. Drag it over.

[A]

I've got the table leg that we used on the door. Maybe I can pry it open with that.

[B]

Come on, Luke. Smell is getting heavier. I'm with you. Okay. Give Terry a hand up. There you go. Now open my shoulders. I got the table leg. All right. I give it to her and support her while she levers it. Okay, Terry?

[A]

Yes. I think I can. It's quite loose. I'm sure I can. Look out.

[B]

Can you scramble in there?

[A]

If I can just get your hands.

[B]

Under her left foot, Luke. Roger. I'll get mine under the other. Now lift. All right, Terry?

[A]

Yes? There's a duct. I can't see where it goes.

[B]

Is it big enough for all of us to get through?

[A]

Yes, but. But how?

[B]

You're smaller than I am. Luke, I'll give you a leg up and Terry can lift from above. What about you? I'll get a chair and you can haul me up from there. Come on, let's not waste any time. That smell is getting stronger. Terry. What?

[A]

Gordon?

[B]

Why are you stopping? Another turn.

[A]

No, it's a dead end.

[B]

Oh, no. Are you sure?

[A]

It's blossoming front and on both sides. Wait a minute.

[B]

What?

[A]

It's open above, like a chimney.

[B]

How wide is it?

[A]

Just a moment. It's round, about two. No, no. Maybe three feet in diameter.

[B]

Any light?

[A]

No. Just as dark in here.

[B]

It's no use. We'll have to go back. We can't go back. Not to that. Cyanide. Maybe they stop pumping it in. What else can we do? We can try what mountain climbers do. What? Terry?

[A]

Yes, Gordon?

[B]

Can you stand up? Where you are?

[A]

Yes. I think if I. Yes, I'm standing with my head in the chimney.

[B]

All right. Now listen carefully. Remember when we climbed Old Baldy?

[A]

Yes. A million years ago.

[B]

Hang in, baby. Don't you flake out on him.

[A]

I won't. You mean that guide that showed us how to chimney climb?

[B]

Yes. Now turn towards me and put your back against the wall. Now, can you get your feet up there on the other side?

[A]

Just about. Then I brace my back and I push up, right?

[B]

Right. Then slide your feet up an inch.

[A]

Or two and keep repeating Roger.

[B]

You'll have to go next. Luke, you get it? I get the idea. Supposing that thing's 30 or 40ft tall. We go as far as we can and we all fall and break our necks together.

[A]

Hold it.

[B]

What now?

[A]

It's getting wider, but I think it's another dead end.

[B]

Not another chimney. I couldn't make it.

[A]

This one goes down. There's a draft and.

[B]

Lord. What?

[A]

We only had a light.

[B]

I have only one match left. I've been saving it.

[A]

It's wider. You think you could come up here?

[B]

I'll try.

[A]

Watch it, darling. You're right at the edge. Where do you suppose this could go?

[B]

There's fresh air. Maybe outside.

[A]

Let's see.

[B]

Maybe we've gotten a break at last. That's only about a 30 degree pitch. Well, there goes the match.

[A]

But where goes the tunnel?

[B]

I'll let you know any moment. If anything happens to me, you and Luke can try going back. Oh, no, sir. Anyone tries the roller coaster. Oh, Luke gets to go first. No Luke. Here I go, feet first. Too bad I forgot my parachute. Geronimo. Luke. Luke, are you all right? I didn't break anything. Should we come ahead? Might as well. But you sure ain't gonna like it when you get.

[A]

Oh, all that for nothing. Right back where we started.

[B]

At least we don't have to bother about trying the lower vent. We know where it goes to. And at least there's none of that cyanide gas. Yeah, but now what? Now we have finished with our external examination. I am sorry to say that the continuation of our test program may be even more unpleasant. Now, look, if you let Captain Strong and my wife go, you can. Just a minute, old buddy. Same over here, Drake, Hunter, whatever your name is. Only I stay. I'm afraid not. Satisfactory. The female is essential for more reasons than one. Why? First of all, your physiology is quite different from the male. We will want to study that. Secondly, you are a doctor. We can use your expertise to dissect your male companions so that we may study how to work on you?

[A]

No. Absolutely not. I won't lift a finger to help you.

[B]

Suppose we were to offer to let your husband go? I'll answer that. No.

[A]

Let me. Darling, I'd gladly die for you, but I couldn't kill for you.

[B]

I wouldn't expect you to. I love you.

[A]

I love you. And we both love you, Luke.

[B]

One for all and all for one. I guess we bought it for good this time.

[A]

And wherever we go, we stick together.

[B]

Very well, Earthlings. I will give you your wish. You'll have to execute a turnaround. Hey, Diana Wonder, you read me? I read you loud and clear. Why? I don't know. Funny thing. I had a local notion we all did down here. That we lost you for a couple of seconds. Not as far as I know. You didn't notice a kind of a time lag. Hold it, Capcom. You hear him? Luke Mack? Yeah. I don't know what he's talking about. You tarry. I. Capcom to Diana1. Do you read me? I read you. We registered a sort of oscillator hum during that 2 second gap. How about you? I didn't hear it. I have a tech. You pick up anything on instruments, Luke? Or you're a sort of oscillator hump?

[A]

I did. Just like in my dream. Or I think I did.

[B]

And are you sure, Draca? The Earth people will know nothing of our interference, O Ancient One? In their time referenced they were missing but the blink of an eye. And the three who were here will not remember. Can the eye of an earthling see a bullet? Can it follow the speed of light? They will not remember. As to the planet itself, what is your recommendation? Observing them close at hand, particularly the female one, I have seen a capability for self sacrifice and love. There is some hope for them then. We might allow them another millennium to better themselves. So be it. We will allow, dear at length. One final chance. So there are no such things as flying saucers and strangers out of space. And man is the only creature to travel the roads among the stars. I wonder. Oh well. It may not be too much longer before we find out for sure. A thousand years. The millennium. Perhaps the one mentioned in the book of the Revelation. Or when the angel came down from heaven with the key to the bottomless pit and a great chain in his hand. And he bound the devil and cast him into the pit and sealed it so that he should deceive the nations no more. Not a bad idea. Not a bad idea at all. We could all begin with the devil in all of us. It might just be worth a try. Our cast included Julia Mead, Sidney Walker, Ira Lewis and Jack Grimes. The entire production was under the direction of Hyman Brown. And now, a preview of our next tale. I'm afraid I'm going to puncture that theory of yours about Hatcher being something of a time bomb ready to blow up. I'm. I'm certain that he's not dangerous. On what do you base your findings? Well, he's been under intense treatment and has begun to respond very rapidly. He's mild and cooperative. He's almost childlike. I see. I've reduced the guard to one eight hour shift, midnight to eight in the morning. And at all other times he is constantly in the hands of our nurses and therapists and other personnel. Well, you are something of a gambler, doctor, taking that kind of a risk. No, no, no, no, I don't think so. Doctor, has it occurred to you that this entire mild convalescence may have been programmed into the mind of this man to throw you off guard? Oh, nonsense. I know a harmless man when I see one. To leave him unguarded is taking chances with the lives of many people. Heaven only knows what has been fed into his receptive and willing mind. RADIO Mystery Theater was sponsored in part by the Kellogg Company, makers of Kellogg's Special K cereal. This is E. G. Marshall, inviting you to return to our Mystery Theater for another adventure in the macabre. Until next time, pleasant dreams, Sam.