The Insect by 2000 Plus

Summary

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Podcast Summary: Relic Radio Sci-Fi – "The Insect" (2000 Plus)

Date: June 15, 2026
Produced by: RelicRadio.com
Episode: "The Insect" from 2000 Plus (original old-time radio science fiction)

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Episode Overview

This episode of Relic Radio Sci-Fi presents the classic radio drama "The Insect" from the pioneering series 2000 Plus. The story revolves around George Martin—an ambitious scientist experimenting with a growth ray capable of enlarging insects—his anxious wife Betty, and a grocery boy named Bill. When a freak accident in George's home laboratory results in the creation of a giant moth, Betty and Bill are trapped in a room with monstrous creatures, fighting for their lives as they await rescue.

The drama explores themes of scientific ambition, fear of the unknown, and the unintended consequences of experimentation. It blends classic suspense, science fiction speculation, and an ironic twist as it builds toward its dramatic climax.

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Key Discussion Points and Insights

1. Introduction to the Characters and Research (00:32–04:57)

• George Martin excitedly tells his wife Betty that he’s been invited for a major university research appointment thanks to his work with a growth ray that makes insects larger than life.

• Tension arises: Betty is deeply unsettled by George’s experiments, especially her fear of insects. She is unwilling to even enter his laboratory:

  “I can't stand insects. That's why I stay out of your lab.” —Betty (01:59)

• George tries to lighten the mood:

  “Imagine a fly as big as a horse. That would be some horse fly!” —George (02:36)

2. Domestic Interlude and Rising Suspense (05:26–09:18)

• Betty’s interaction with Bill, the grocery boy, reveals both her discomfort and the curiosity George’s work stirs in others.
• Bill, eager to see the enlarged insects, persuades Betty to let him just peek inside George's laboratory.

3. The Accident and First Encounter With the Monster (09:18–13:51)

• Bill enters the lab, accidentally encountering not just George’s "pets" but something horrifying—a giant moth that has grown to monstrous proportions after exposure to the growth ray.

  “Looks like...like a moth. A giant moth.” —Bill (08:44)

• Panic sets in as Bill and Betty realize they're trapped inside the locked laboratory with the enormous creature, unable to escape through the windows or doors.

4. Science, Morality, and Dread (09:54–13:51)

• Concurrently, George is impressing the university dean with his scientific acumen and the theoretical underpinnings of his growth ray—unaware of the crisis at home.

• The conversation with the dean foreshadows the potential dangers and moral implications of such research:

  "Imagine an insect large enough to attack and devour a human being." —Dean (11:53)

• The story juxtaposes scientific ambition with the primal terror unfolding at home.

5. Survival and Paranoia (13:07–24:45)

• Betty and Bill barricade themselves as best as possible, describing their fear in vivid, panicked terms:

  “Most horrible thing I've ever seen...a giant moth.” —Betty (13:07)

• Psychological tension builds as their options for escape dwindle. The constant fear is compounded by inability to reach George by phone.

• The environment is chaotic: the giant spider (“Sam”) has escaped its cage after the moth knocks it over. The interplay of the two monstrous insects in the room is both terrifying and surreal.

• The episode explores the psychological toll of their ordeal, especially on Betty, facing the results of the work she never understood or supported:

  "A place with a room of terror. Why am I here? Why did things happen to trap me here? Was it because I hated George's work?" —Betty (16:08)

• Bill attempts a daring, risky escape, arming himself with a shoe.

6. Resolution: The Scientist Returns (24:01–29:12)

• George secures his university appointment and heads home, worried because Betty hasn’t answered his calls.

• He arrives to chaos: finds the lab in disarray, the moth dead, Bill injured but alive, and Betty traumatized.

• George explains the ironic, anticlimactic twist: The giant moth, despite its terrifying size, was utterly harmless:

  “...the adult moth doesn’t eat. It has no mouth...Tropa Tap sella, the clothes moth, is utterly harmless.” —George (28:50) “The reason it’s dead and why you could have waited without worrying is that a moth cannot live more than six hours in sunlight. You see, dear, all this horror was unnecessary.” —George (29:12)

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Notable Quotes & Memorable Moments

• George (scientific ambition):

  “With a long term appointment and a grant to amplify the growth ray, maybe I can really increase the size of the insect. Imagine a fly as big as a horse. That would be some horse fly!” (02:36)

• Betty (fear and dread):

  “I can't stand insects. That's why I stay out of your lab.” (01:59) “Most horrible thing I've ever seen. Six feet high—giant wings.” (13:07)

• Dean (moral implications):

  "Imagine an insect large enough to attack and devour a human being. Imagine this university needing lion cages to contain its giant insect." (11:53)

• George (final twist):

  “...the adult moth doesn’t eat. It has no mouth...Tropa Tap sella, the clothes moth, is utterly harmless.” (28:50) "The reason it’s dead and why you could have waited without worrying is that a moth cannot live more than six hours in sunlight. You see, dear, all this horror was unnecessary." (29:12)

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Key Timestamps

• 00:32 – Series introduction and setup of George’s research
• 02:36 – George jokes about giant horse flies
• 05:26 – Grocery boy Bill arrives; wants to see the insects
• 08:44 – First description of the giant moth
• 11:53 – Dean's ominous speculation about specimen dangers
• 13:07 - 17:59 – Betty and Bill trapped, psychological tension and monster encounters escalate
• 24:01 – George secures his appointment, grows worried about Betty
• 28:50 - 29:12 – George’s ironic reveal: the giant moth was harmless all along

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Tone and Atmosphere

• The drama masterfully combines scientific wonder with mounting horror, all delivered in classic, earnest 1950s radio style.
• Betty’s terror and George’s calm scientific reasoning create a tension that is only broken by the final, almost darkly comedic explanation.
• The episode makes clever use of sound design and dialogue to convey claustrophobia and panic.

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Conclusion

"The Insect" is a quintessentially mid-century cautionary science fiction tale. It raises questions about scientific discovery, the boundaries of human fear, and the misunderstanding between inventor and bystander. Ultimately, the story’s punchline is that all their horror was, in fact, unnecessary—showcasing the ironic gaps between perception, reality, and scientific knowledge.

Listeners are left with a wry reminder: in the world of science fiction, not every monster is as deadly as it appears.

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Transcript

[A]

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

[B]

I have received word of a strange invention. What it can do will amaze science and strike terror to the world. 2000 plus science fiction adventures from the World of Tomorrow the years beyond 2000 AD 2000 plus presents the insect. Oh, it's wonderful news, darling. It means I'll probably get that research appointment at the university.

[A]

Oh, I can hardly believe it, George.

[B]

Oh, here's the telegraph of the dean of science itself. I'll take the jet plane in about two hours and be there in plenty

[A]

of time for my meeting this afternoon. I know. I'll get a bottle of champagne and we'll celebrate.

[B]

A dinner tonight. Well, that's nice, but I'm not sure I'll be home for dinner. The meeting may go on. Maybe I'll have to stay overnight, Take the plane back in the morning.

[A]

Well, then we'll have champagne for breakfast. Well, let's not hope too much.

[B]

Hey, hey, hey. I've got to gather my papers and things. While I'm going to get to the airport in time, you'd better help me in your laboratory. Oh, now look, the wife of a budding scientific genius shouldn't act like that.

[A]

But George, I'm frightened when I go in there.

[B]

Nonsense, they won't hurt you.

[A]

No, I can't stand insect. That's why I stay out of your lab.

[B]

I've got to have help with these papers. What do you want me to do? Cancel the meeting because my wife is afraid of the work I do?

[A]

Oh, I'm sorry, darling. It's just.

[B]

All right, all right, I'll try to do it myself.

[A]

Oh, don't be angry, George. If they were ordinary insects, tiny ones were, maybe it was a different.

[B]

Even with what I've done to them, they're not so big. So I've taken a spider, a house fly and a wasp, and by means of my growth ray, I've made them larger. The spider still isn't any bigger than my fist. The housefly is about as large as a pack of cigarettes. The wasp no bigger than the golf ball.

[A]

They're not giant, but they look so, so horrible when they're even that big.

[B]

Easier to observe and study. That's why the university is interested in my work. With a long term appointment and a grant to amplify the growth rate, maybe I can really increase the size of the insect. Imagine a fly as big as a horse. That would be some horse fly. Hey, that's a joke.

[A]

All Right, George, I'll help you.

[B]

It's only the papers we're packing. You won't have to go near the insect. Now hand me those poison insects.

[A]

That one there.

[B]

Right.

[A]

Do you, do you have any pointed ones in here now?

[B]

Only Sam the spider. He's in the glass cage by those buns.

[A]

I don't want to look.

[B]

Maybe if you'd look you wouldn't have such ridiculous ideas. Sam is a nice guy. He just squats and stares. Looks like a wise old man.

[A]

Why look, I get sick. All those legs, hairs.

[B]

Okay, okay. Now the notebook please. Hey, hey, hey, hey. Be careful.

[A]

What's the matter?

[B]

That machine is very delicate. You almost touched it.

[A]

Oh, the grocery. Uh huh.

[B]

I don't want that running while I'm gone.

[A]

Don't worry. I can't wait to get out of here.

[B]

Let's see now. We got everything. Yep. Well, that does it.

[A]

Come on.

[B]

After you meet cheddar stricken beauty. You know, I hope when we get to the university, if I get the appointment, you'll keep your discussion of insects yourself. A wife is supposed to build up her husband's work. Faculty wives do that all the time.

[A]

Dad, don't argue with me now. I just can't help the way I feel.

[B]

Sam should really be fed while I'm gone.

[A]

Stop it. I'm not going in there. All right, all right.

[B]

What about Pete, the house fly? He's not poisonous.

[A]

You feed your insects when you get home. Now hurry up.

[B]

Dirge will be made sure.

[A]

Well, goodbye. Oh, George, I don't want you to leave when you're annoyed like that.

[B]

I'm sorry, darling. I really love you. But I love my insects too.

[A]

Just a minute. Coming.

[B]

Hello, Mrs. Martin. Here are the groceries you ordered. Oh, hello Bill.

[A]

Right in here.

[B]

Okay. On the table?

[A]

Uh huh.

[B]

Please.

[A]

Well, I hope the oranges are better this time than they were last.

[B]

Oh, Mr. Ginkelheimer said to tell you that these oranges are swelled.

[A]

Well, I'll know when I squeeze them for breakfast. Oh, thank you, bill.

[B]

Oh, is Mr. Martin home?

[A]

Mr. Martin? No he isn't, Bill. Why?

[B]

Well, he was going to show me his bugs. You don't want to look at them.

[A]

They're dreadful.

[B]

I find them very interesting. Mr. Martin said he'd take me into his lab today. That's why I delivered your order first. I was anxious to see them.

[A]

Oh, Mr. Martin was called away suddenly. He got a telegram and had to leave almost at once. But he'll be home tomorrow.

[B]

Tomorrow? I've got to work at the other store. The one in North Street.

[A]

Well, in a few days, then the bugs will still be here. Bill.

[B]

Mrs. Martin, would it be too much trouble if you let me peek at them?

[A]

I never go into Mr. Martin's laboratory.

[B]

I won't hurt anything, just pee. I was kind of looking forward to

[A]

seeing them in the horrid place. Still, that laboratory. You wait till Mr. Martin gets home.

[B]

Sure, Mrs. Martin, if you say so.

[A]

Well, those are drums. What you men see in those revolting creatures, I'll never know. They're scary. So freaky I feel funny when I look at them. Then Mr. Martin explains about science and stuff, and it's really interesting. Would you like to be a scientist, Bill?

[B]

I sure would.

[A]

Well, I suppose I ought to encourage that. I. I won't take you in, but you can. Peace. You know where the door is.

[B]

Oh, thanks, Mrs. Martin.

[A]

Thanks very much. But don't touch anything. I won't.

[B]

I better put these grocers away.

[A]

Misses martin. Help. Oh, no. Move. What? You are before.

[B]

Wasn't here the last time.

[A]

You don't know. What is it?

[B]

The eyes. The sealer is out in front.

[A]

What do you think? Wings. It touch wings. It can fly at us, kill us, eat us.

[B]

Get out of here.

[A]

We must get out of here. Yeah. Walk backwards.

[B]

Keep your eyes on it.

[A]

Looks like. Like a moth. A giant moth.

[B]

Watch it. If it flies, you open it.

[A]

Open it. Quick.

[B]

Open it.

[A]

Where's the key? In the other room. It isn't doing anything. Bill, what should we do?

[B]

I don't know.

[A]

Let's just move in the corner by that stair. You can crouch down behind. Now. And watch it.

[B]

Now, Mr. Martin, I'm very interested in your growth rate. As dean of Science, I want to be certain that this university encourages brilliant young scholars who are experimenting in new fields of research. I understand. At the same time, I must be satisfied that the research will be of fundamental value. Yes, sir. Now, suppose you thought for a while. Tell me about your work. Well, I have always been interested in the effective environment on organisms. I know the environmental practice for universal conditions applicable to all organisms. For example, for air, temperature, humidity, light and so forth. And then I approached each of these conditions from the point of view of its specific effects on organisms. I discovered that the presence or absence of light gave me the widest variance of reaction. Oh, excuse me. In what way? The widest variance? When the effect on physical growth change. Adaptation. You see, sir, because light is a general term, I broke its definition down into all known rays, infrared, ultraviolet, so forth, and studied reactions of organisms to Those rays in every conceivable combination. Now, after two years, I evolved the theory that if certain rays could be combined electronically and concentrated on living organisms for specified periods of time, their growth would be greatly stimulated. And you have constructed such a machine? Yes, I have. The electrodyna spectrum. The growth ray machine. What have you accomplished with it so far? I've multiplied the growth of certain insects many times. My present machine is small and homemade and its power is not too great. But so far I've increased the size of a fly to that of a pack of cigarettes. The size of a spider to that of my fist. What kind of spider? Tarantula. It's a very dangerous and poisonous insect to work with. Well, being a tropical spider, it might be more receptive to light. Its size has tripled. Tell me, Mr. Martin, what is the optimum increase in size that you've so far obtained? About eight times with the fly. The size increase varies with the insect. There's a lot of research yet to be done. So I can see. Your work certainly excites the imagination. Think of your having the kind of equipment that will permit a 20, 50, 100 or even a thousand fold increase in an insect size. Imagine an insect large enough to attack and devour a human being. Imagine this university needing lion cages to contain its giant insect. Well, there's no limit to what new things we could learn about all manner of organisms with the growth rate not. Not just insects. Yes, that's right. Mr. Martin, I'd like you to stay on another few hours so that we can talk some more. I'd be very happy. Perhaps you'd like to phone your wife that you'll be a bit late. Thank you, sir. You can use the phone in the other office. And Mr. Martin?

[A]

Yes?

[B]

When she asks you how everything's going, you tell her that it's going just fin. Still sitting there looking at us.

[A]

Most horrible thing I've ever seen. 60 high giant waves. How does it get here? Mrs. Martin, come out. The growth ray must have begun working. Keeps off its light glow. The moth must have smelled flown toward it. Must have seen us. Both eyes. Biggest dinner flight. Maybe it's with me. Then it will come toward us.

[B]

It'll try to kill us.

[A]

Edith, don't. Bill, don't say that. Crouch that floor. This chair protects us.

[B]

We've got to get out of here. The door's locked. But isn't there some other way out?

[A]

Only the window behind the log. Is the window locked? I can't see.

[B]

The shade is drawn. Yes.

[A]

Yes, the Window is locked. Gosh, if it would only fly to

[B]

the other corner of the room.

[A]

Then what would you do? Maybe I could run to the window,

[B]

pull up the shade, unlock the window,

[A]

get out and get help. And beat me alone with that horribly monstrous creature on the other.

[B]

What are we doing?

[A]

I don't know.

[B]

When will Mr. Martin come home?

[A]

This afternoon. Tonight? Maybe not until tomorrow. Listen, the phone.

[B]

Maybe that's Mr. Martin calling.

[A]

Yes.

[B]

When you don't answer, maybe he'll come home.

[A]

No, no.

[B]

He'll think I'm out shopping for a visit. Mrs. Martin, look.

[A]

The mortise. Stop moving. His wings.

[B]

Looking right at us. At this corner. I bet it. Here's the telephone. It scares me.

[A]

This is why I. This must be George calling home. Why doesn't he realize something has happened? Why doesn't he call the neighbors of the police? Why don't he come home?

[B]

Mrs. Martin, I think it's gonna fly.

[A]

What do we do? I don't know. It'll kill us. If it heard the phone. It'll hear us when it slides. Crouch down, Bill. Get as much protection from the chair as possible. And scream. Yell, anything to make noise. Okay?

[B]

Okay, Mr.

[A]

Horror. Oh, the way it just stairs. Maybe.

[B]

Maybe it won't fly.

[A]

What? The phone has stopped ringing. Yes, Theo. Yes, let's be quiet. Like a nightmare being here. Oh, George, darling. You know I hated these insects. Yet you built a Labrador.

[B]

You know, home.

[A]

A place with a room of terror. Why am I here? Why did things happen to trap me here? Was it because I hated George's work? Was it because I refused to help him with these repulsive creatures? I see them all. His body is like a worm. Every ripping grave. Dirty eyes, Darren throwing on fear. What am I going to do? No. Again. Make noise. Why are you against the wall, the ceiling, the fireplace, the window? He's going to cut the widow tray. It falls off. The sunlight's coming in. He's flying blindly crazy. Feel the glass cage. The glass cage with the spiders. The poisonous spider. I see it scouting across the floor. Reserved like a sofa. Giant marble sitting on the bookshelf. And on the floor like a thousand ball of death. The spider. The tarantula.

[B]

Well, Mr. Martin, I am delighted to see you. The dean phoned and said you were coming over. I think I am the last member of the faculty committee. I want you to see. Oh, sit down, won't you? Thank you. Professor Buckley? Yes. I think I all have to know from one appointment to the other. And all of us are happy to talk with you. The Dean is quite excited about your research, you know. Yes, I'm very pleased about that, Professor Butler. I hope you won't think me rude at the beginning of our meeting, but I wonder if I might use your phone. Of course, Mr. Martin.

[A]

Is something wrong?

[B]

No, I don't think so. But I phoned my wife several times to tell her I was staying on all afternoon and there's been no answer. Oh, I'm sure there's nothing wrong. By all means, call. The phone is right there. Thank you.

[A]

Number, please.

[B]

I'll let you 84572 and reverse the charges, please.

[A]

Thank you.

[B]

Still doesn't seem to be any answer. Well, let it ring a few more times.

[A]

Sorry, sir, there is no answer. Shall I keep trying?

[B]

Yes, operator, please keep trying.

[A]

I'll call you, sir.

[B]

Thank you. I can't understand it. Not like Betty to be away so long.

[A]

They're Both still there, Mrs. Martin?

[B]

Yeah, in there.

[A]

Saw the spider last week.

[B]

Biggest Mr. Martin's fist.

[A]

I looked into the glass cave. I could see the hair on its leg like bristles.

[B]

Mr. Martin showed me its mouth. Word bites and chitles with the poison.

[A]

Stop it, Bill. Stop, for heaven sake. Sorry, Martin.

[B]

I can't stop looking at them.

[A]

They don't fight with one life. That's why they're on the sofa.

[B]

But the whole room is flooded with sunlight since the shade went up.

[A]

I was going to behind this chair doesn't give us the protection we need.

[B]

Why, the moth is too big to get at us. Here.

[A]

What's the spider? It can scurry on the rock under the chair.

[B]

I'll take off my shoes. Something to hit it with if it comes. There. Now you take one of them.

[A]

Look, its wings are fluttering again. Going to fly again. But that's not the spider.

[B]

Am I here too?

[A]

I don't know. Here he comes. He's not the die. The spider. The spider. Where is he? I don't know. Somewhere. Somewhere in this room. Come on. It's not mine. Spider. Maybe it's near us. Oh, no. Can't you see where it is? There is still no answer, sir. Shall I keep trying?

[B]

I don't know. I'll call you back.

[A]

Ask for operator 34, sir. Thank you.

[B]

No answer yet? No, sir. Of course I did tell Betty that I might be late or even stay overnight. She may have gone to her mother's. It's a real pleasure finding a young man who cares that much for his wife. I suppose Mrs. Marshall feels the same way about you. Oh, Betty's wonderful. As I'M sure she is. After all, not many women would approve of their husbands inventing machines make insects larger. You've got a rare wife, Mr. Martin. One who doesn't object to giant insects in the house.

[A]

Keep the shoe tight in your hand, Bill. Do you see the spider? Hit it. Hit it hard.

[B]

Yes, ma', am, I will.

[A]

I can't stand what you look. My hands are trembling. I was crying.

[B]

Me too, Mrs. Martin. I think I've been interesting.

[A]

Oh, you mustn't, Bill. I could have a drink of water. Come on. Attacking strangely. Yeah.

[B]

Experience her color limp and

[A]

disgusting world like what lady all of a sudden droopy Its eyes.

[B]

They look different too. I don't know why, but somehow that.

[A]

Yes, yes, you're right. What's the matter? Oh, no, no.

[B]

With only the hem of your good touching my leg.

[A]

I thought it was a spider.

[B]

Well, Mr. Martin, are the terms satisfactory to you? Oh, yes, sir, very much so. Thank you, sir. It's going to be a great pleasure having you at the university. And I know that you find your association with us a real incentive to carrying on your work with a regroup rage. I'm sure of that. I'll do my very best to be accredited university and to scientific research. Well, my boy, it's time for you to leave. If you want to catch the 610 and be home to tell your wife. You just get home and you'll find that there's an explanation for why she didn't answer the phone all day. I'm sure you're right. Thank you again, Dean. Thank you very much. Feels better now, Mrs. Martin.

[A]

I guess so.

[B]

Bill.

[A]

I'm all cried out. I have my tear left. Look, Mrs. Martin, I'm going to try

[B]

to reach the window.

[A]

The window?

[B]

The moth is back on the couch.

[A]

I think I can make a run

[B]

for the window once I push the chair aside.

[A]

He might attack you or me.

[B]

Well, maybe he won't.

[A]

But he will. He will. The moth is so wonky. Six feet high. This would happen to either of us if he's attacked or we'd be eaten alive. Do they have tea?

[B]

Could it really kill us?

[A]

The mother eat all sorts of things. George would know exactly. I had a whole group of clothes ruined last year. So terribly dangerous. I'm Biden. Oh, Bill. I don't know what to say.

[B]

I'm going to try it. I'll crouch down, I'll push the chair out a little, squeeze by between the chair and the wall and make a dash for the window. Now chair is pushed aside now give me my shoes.

[A]

Okay.

[B]

That doesn't work.

[A]

All right, go. I'm here. I'll try to unlock the window. Look at it. The man's flagging at you. Get away. Get away. You get away. It's attacking me. It's trying to kill me. Are you all right? Bill? Answer me. Answer me. No one home.

[B]

Lights are off. Yeah, that's better. Where can Betty have gone?

[A]

Betty? Betty, you here?

[B]

Hey, where are you? Good lord. Lock.

[A]

Locked.

[B]

With a key. Here. Oh, my darling. Who's that?

[A]

Bill, the grocery boy. Kill. Kill My dad.

[B]

Look at that man. I can't believe it. It's dead. Belle. Belle. Bell. What? Mr. Mark. Mr. Mark.

[A]

You're fired. The glass book is on the phone.

[B]

Let's get out of here fast.

[A]

All right.

[B]

Sit down. Bell. For heaven's sake, what happened here? Sit down, darling. I'll get you a drink.

[A]

Here you are. Now.

[B]

Now tell me.

[A]

The laboratory door snapped behind us. The giant moss was there. He knocked over the glass cage with the spider. We thought we'd die. And I thought. I thought Bill was dead.

[B]

I'll find the spider and kill it. But as for the moth, darling, despite its size, you had nothing to fear. Here.

[A]

What?

[B]

Well, you see, darling, the adult moth doesn't eat. It has no mouth, Nothing to attack or kill with. Despite its size. Tropa Tap sella. The clothes moth is utterly harmless.

[A]

You mean you. You mean we could have just sh it away and open the window?

[B]

Of course, dear. The reason it's dead and why you could have waited without worrying is that a moth cannot live more than six hours in sunlight. You see, dear, all this horror was unnecessary. Next week, a strange drama of a silver rocket and an unseen visitor from space. Be sure to listen to 2000 Plus Radio's different series. 2000 plus is produced by Dreyer and Wynnelson Productions Incorporated. In today's cast, Joan Shea portrayed Petty. Larry Robinson was Bill. Ralph Bell was George. And Bill Griffith was the Dean. Music composed and played by Milton K. Sound Al April and George Cooney. Engineer Bob Albrecht. This is Ken Marvin speaking.