Big Ben by Arch Oboler’s Plays

Summary

Relic Radio Thrillers: Episode Summary - "Big Ben" by Arch Oboler’s Plays

Release Date: December 13, 2024

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Introduction

In this episode of Relic Radio Thrillers, hosted by RelicRadio.com, listeners are transported back to the golden age of Old Time Radio with the compelling play "Big Ben" by the renowned playwright Arch Oboler. Originally aired between 1939-1940 and later rebroadcasted in 1964, "Big Ben" stands out as a masterful blend of suspense, mystery, and supernatural intrigue set against the exotic backdrop of Africa.

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Overview of "Big Ben"

"Big Ben" weaves a tense narrative centered around Ann and Jeff, a couple residing in Africa, grappling with personal tragedies and eerie supernatural occurrences linked to an enigmatic clock named Big Ben.

Setting and Characters

• Ann and Jeff: The central couple dealing with the loss of their son, Bach.
• Mommy: A native chief whose son was killed three years prior, harboring deep resentment.
• Narrator: Provides context and transitions within the play.
• Military Officer: Introduces a subplot involving military operations.
• Little Ben: Represents the innocent child whose fate is intertwined with the supernatural elements of the story.

Plot Progression

The play opens with Ann and Jeff experiencing mundane household frustrations, such as Jeff struggling with a broken boot lace ([01:26]-[02:04]). Their interaction reveals underlying tensions and sets the stage for deeper emotional conflicts. The introduction of Big Ben, an old clock on the mantelpiece, becomes a focal point as its inexplicable behavior foreshadows impending doom.

As the story unfolds, Mommy, the native chief, confronts Ann about the tragic death of her son, Bach ([06:50]-[07:15]). This confrontation brings to light themes of guilt, grief, and cultural tensions. Mommy's insistence that Ann and Jeff are culpable for her son's death introduces a supernatural element where Big Ben, the clock, becomes a vessel for revenge.

The climax builds as Ann discovers a hidden gun within Big Ben ([15:00]-[17:00]), symbolizing her attempt to fight back against the impending threat. The narrative reaches a crescendo with intense dialogue and psychological turmoil as Ann struggles to save her baby, Little Ben, from the vengeful spirit tied to Big Ben.

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Key Themes and Discussions

1. Supernatural Retribution: Big Ben serves not just as a clock but as a malevolent entity seeking vengeance for the loss of Mommy's son. The clock's behavior mirrors the escalating tension and impending tragedy.

2. Guilt and Redemption: Ann's internal conflict over her perceived role in Bach's death drives the suspense. Her struggle to save her child reflects a desire for redemption and forgiveness.

3. Cultural Clashes: The interaction between Ann and Mommy highlights the cultural misunderstandings and tensions that exacerbate the supernatural conflict.

4. Time as a Symbol: The clock, Big Ben, symbolizes the relentless march of time and the inevitability of fate, heightening the play's suspenseful atmosphere.

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Notable Quotes with Timestamps

• Jeff's Frustration with the Clock

  • Jeff: "Big Ben and I. Sheer sentimentality. An old clock." ([02:54])

• Mommy's Accusation

  • Mommy: "Three years ago you killed my son." ([06:50])

• Ann's Desperation to Save Her Baby

  • Ann: "I'd got to do something, anything. Throw myself over the baby, let the knife." ([14:21])

• Supernatural Confrontation

  • Ann: "Because the God in Big Ben is angry at you." ([18:52])

• Final Plea

  • Ann: "Don't touch Big Ben. Don't let him touch it." ([19:17])

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Climactic Resolution

In the play's final moments, Ann confronts the supernatural forces embodied by Big Ben. Despite Mommy's relentless attempts to enforce her vengeance, Ann's determination to protect her child leads to a tense standoff. The clock ultimately stops, symbolizing the cessation of the supernatural threat. However, the resolution leaves listeners pondering the lingering effects of guilt and the complexities of forgiveness.

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Conclusion

"Big Ben" by Arch Oboler captivates listeners with its intricate plot, rich character development, and profound thematic elements. Relic Radio Thrillers successfully brings this classic Old Time Radio play to a modern audience, preserving its timeless appeal and delivering an unforgettable auditory experience. The play's masterful use of suspense and supernatural elements makes it a standout episode, echoing the enduring legacy of Arch Oboler's storytelling prowess.

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Additional Highlights

• Host's Commentary: The host provides insightful context about Arch Oboler's contributions to radio plays, enhancing the listener's appreciation of "Big Ben."

• Production Quality: The episode features stellar performances by Virginia Gregg, Charles Lamkin, and Ben Wright, whose portrayals add depth and authenticity to the narrative.

• Teaser for Future Plays: Arch Oboler hints at future works, including the intriguing "Rocket from Manhattan," promising listeners more captivating stories in upcoming episodes.

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For more captivating Old Time Radio adventures, visit RelicRadio.com and explore the extensive library of Relic Radio Thrillers. Support the series and stay tuned for upcoming episodes that continue to deliver the suspense and adventure that armchair enthusiasts crave.

Transcript

[Host]

Welcome back to Relic Radio Thrillers. Thanks for joining me. This week we're going to hear from Arch Obler's plays this time, the series that first aired from March of 1939 to March of 1940 over NBC stations. It returned in April of 1945 over mutual and aired there until October of the same year. In July to October of 1964, a series of rebroadcasts were aired. That's where today's episode comes from. August 30, 1964. It's titled Big Ben.

[Narrator]

Arch Obler's Plays. Stories of the Unusual.

[Arch Obler]

This is Arch Obler. I wrote the play you were about to hear while I was in Africa. And there isn't a gorilla or a crocodile or a leaping lion in it, but I think my typewriter and I can promise you a suspenseful time.

[Narrator]

And now to Africa and Arch Obler's play, Big Ben.

[Ann]

No.

[Jeff]

Blasted boot lace. Ann. I say, Ann.

[Ann]

Yes, Jeff?

[Jeff]

Infernal boot lace. I just broke it. You happen to know if there's another one in the house?

[Ann]

I'm sorry, Jeff, but I'm sure there isn't. Put a knot in the old one.

[Jeff]

No, not infernal country. Nothing says together. Nothing. Come to Africa and make your fortune. Come to Africa and lose your mind, that's what.

[Narrator]

I don't know.

[Ann]

Were you able to fix the Lady Fear?

[Jeff]

Yes, I fixed it. Now, where's my tobacco pouch? And what is so humorous all of a sudden?

[Ann]

Oh, you are, my darling. This is your I hate Africa week. You celebrate it twice a year, you know.

[Jeff]

Well, I say, now, that's because a man expresses an opinion. No, look, I haven't the time to argue. Where is my tobacco pouch anyway? And if that infernal mukosi is on.

[Ann]

The mantelpiece as always, dear, next to Big Ben.

[Jeff]

Oh.

[Arch Obler]

Oh.

[Mommy]

Well, how did you get there?

[Jeff]

Anne. I say, come here a moment.

[Ann]

Yes, Jeff, what is it?

[Jeff]

Would you look at this? This infernal clock of yours.

[Ann]

Clock? What's the matter?

[Jeff]

Well, look at it. 10 after 10. Why, I just reset it at dinnertime. It's gained a full hour. In three hours I'll reset. No, let me.

[Mommy]

Oh, no. This is the end.

[Jeff]

Now the infernal thing stops.

[Ann]

Perhaps it isn't wound.

[Jeff]

Wound it myself an hour ago.

[Ann]

I'll fix it. There. Well, of all we understand each other.

[Jeff]

Big Ben and I. Sheer sentimentality. An old clock.

[Ann]

How about you're getting a little sentimental?

[Mommy]

Oh, now, Ann, I. Well, I.

[Jeff]

How do you ever endure, Neil? Maybe it's love you sound like something out of an American cinema. Where is that infernal boy with the car?

[Arch Obler]

I.

[Jeff]

50 miles.

[Ann]

Hold still. Let me fix your shirt. Oh, all right.

[Jeff]

Why does George Mapes always have to break his leg or his generating plant at this hour?

[Ann]

That's a question.

[Jeff]

And why didn't that runner of his fall in the river, message and all? Now, where is that?

[Ann]

There's your car.

[Jeff]

Well, you're sure you'll be all right? Darling, I'll be back in a few hours.

[Ann]

Well, of course. Why shouldn't I be all right? I'm among friends.

[Jeff]

Yes, quite. And there's always Mukosi.

[Mommy]

No. That boy wake up the baby.

[Ann]

Goodbye, Anna. Goodbye, Jeff. And don't drive too fast. That man. Well, Big Ben, we've come through another crisis. You're welcome. But you know, you are getting to be a bit of a nuisance. Stopping at all hours, starting up for no reason at all. Can't you behave yourself? Oh, Little Ben. Now you. I'm coming. I'm coming. All right, mister, what is it? Oh, it's conversation. You want this out? Oh, no. No use. I won't pick you up. All right, all right. So I'm a weak character. Up you go. Is that you? Well, I distinctly heard the door. All right, Little Ben. We'd better go see. You hear the drum, Little Ben? I wonder why they are drumming tonight. There's no particular celebration that I know of. Makusi. Why didn't you answer me? What?

[Mommy]

John Bowl. Ms. Owens.

[Ann]

Mommy. Who let you in? Said Mukosi. No matter. It's good to see you. Won't you sit down?

[Mommy]

Deal.

[Ann]

Ms. O. It's been weeks since I've seen you. Is everything all right? Missouri. Sana, the baby says hello to you. Mommy. You know, Little Ben, you're having a very fortunate childhood. No matter what your father thinks. Here you are just past one and you're already speaking to King. No comments, Ensign. What can I do for you, Mwami? I'm sorry to have to tell you that you just missed the Bwana Kubra. He left just a few moments ago.

[Mommy]

Deal. I see. Juan go.

[Ann]

Oh, then you want to talk to me. Well, this is an occasion indeed. What is it, Mommy?

[Mommy]

Have son.

[Ann]

What? Have son. Oh, congratulations. How wonderful. I had no idea. Is it your youngest wife?

[Mommy]

Upon her. I know. Hob, son.

[Ann]

Well, I don't understand. Or maybe I do. You mean you had a son and now you have no son?

[Mommy]

Mm, dear. No son.

[Ann]

Yes, I know. It happened about three years ago, didn't it? Nwomi why the drums tonight? What's the occasion?

[Mommy]

Three years ago you killed my son.

[Ann]

I?

[Mommy]

On that table. This table. You killed. I know.

[Ann]

What are you talking about? I tried to save your son's life. He was choking to death. My husband, the Bwana. He and I tried to open his windpipe so the boy could breathe.

[Mommy]

You put knife and neck?

[Ann]

Yes, to save. Don't you understand? He was choking. If we could have opened his windpipe in time, he would have lived. He died. But you heard yourself. What the bwana doctor said when he got here the next day the boy would have died anyway. He was brought here too late. It's very shocking to me. I'm sure it will be to the bwana. Think that all these years you thought. Why did you wait all this time to tell me, Mommy? Do you understand? Why did you not tell me? Long, long time ago. Why did you wait?

[Mommy]

I wait for you to have man child.

[Ann]

What?

[Mommy]

I wait for man child to grow. To be just old like my son. I count day. Now is day. Toto, little Ben. Just all like my man child. Day or day.

[Ann]

What is that?

[Mommy]

Mommy?

[Ann]

You'd better go. Yes, now. Come back when the Guanamo Cubra is here. He'll talk to you. Mommy. You heard me. Go. Pacey. Pacey.

[Mommy]

No. My wife of only girl child. No. Mom.

[Ann]

Child.

[Mommy]

Your knife. Tahoe. My.

[Ann]

See, Mommy. I don't want to listen anymore. I tell you to go. Go. I've got to put the baby to bed. Please go now. Please.

[Mommy]

See knife. Ms. O.

[Ann]

My knife. The one God. I'd lost it.

[Mommy]

Same knife, same tape. Now you put mon child on table. Big Ben speak. Soon be same time. All safe. Two hans. Big Ben goes straight up. Like time long time ago. Knife go. Your manchild and spirit of my man child. Be free to come back. My sea. Put Monchal on table. Maison.

[Ann]

Then you have a nightmare. You dream that you're awake. You know you're not awake. It's just a dream. You know, if you could wake up, it would end. Is this a dream? Reality? I don't know. My baby's sleeping on the table. The savage is waiting. The knife. Mommy. Mommy. Listen. I've got to talk to you. What I did. It was to save your boy. The doctor. Buona doctor. You know him? We'll go to him. He'll tell you. Yes, we'll go there now. We'll walk. What day is it? I think this is the day. He'd be at Marlow. It's only 20 miles. We'd be there by morning you'd hear the truth from him. You'd know. Please go with me. Mommy. Why don't you answer me? Stop. Stop looking at that cock and answer me.

[Mommy]

Soon be time. Two hands. Big Ben goes straight up. Big Ben. Speak long. Then knife gold. Your manchild and spirit. My man child. Be free. Then I have my son Bach.

[Military Officer]

Well, men, tomorrow's the big day. We've been training for this for six months. But, well, accidents can happen. So get your papers in order and check the co owner or beneficiary designation on your United States Savings Bonds. That's it, men. Get a good night's sleep. We hit the Los Angeles freeway system at 6 tomorrow morning.

[Narrator]

And now back to Arch Obler's play. Big Ben. A child lies on a table and the knife in the hand of the native chief waits for the clock to strike as the thoughts in the child's mother swirl in agony.

[Ann]

Darling, if I. If I were to grab you up and run, open the door, get out into the brush and be a chance, that's what I'll do. Get up slowly. Slowly. His eyes are on the clock. Move to the table slowly. Will I be able to open the door before you? Don't think of that. Just move slowly. He's turned his head, looking at me.

[Mommy]

Do not touch Toto or kill Now.

[Ann]

I wasn't going to. Help. Oh, somebody help me. Help me. He's going to kill my baby. Help. Please help me.

[Mommy]

My people know.

[Ann]

He'S awake, smiling. He thinks it's very funny, not being in his own bed, being awake so late. Darling. Darling, if I could take you in my arms, hold you off when he struck, maybe the knife would. Jeff. Jeff. If only you hadn't gone away. But you can't help me now, can you? I've got to do it all myself or he'll be dead in a little while. A little while. I don't want to look and see how soon. But I've got to. Maybe if I know I'll be so afraid, I won't be afraid anymore. My head won't be full of little pinwheels. I'll think. I'll find a way. I will. Look at Big Bear. Dear God. There's only 10 minutes left. I can't sit here and let it happen. I've got to do something, anything. Throw myself over the baby, let the knife. But he'll kill me. And then he'll kill little Ben. But even if I die, I can't let anything happen to my baby. If I had something in my Hand to use something. The clock, Jeff. That little gun you gave me once, long ago. I was afraid of it. I put it there. I lied to you when you asked me where I kept it. Told you it was someplace where I could get it easily. Then I hid it and forgot it. It's in the clock in Big Ben. I've got to get it now. I've got to. Seven minutes left. I have to move quickly. Robin, listen. Can I go to the clock? Can I go around the table to Big Ben?

[Mommy]

Go, Big Ben?

[Ann]

Yes, please. No. No. Listen. I don't want to touch the baby. Not Little Ben, Big Ben. The clock. No, I don't mean the mantel where the clock is sitting. The Bible. Yes. See the Bible. It's up there. I want to get my Bible. Please. Please let me. You went to the missionary school. You understand. I want to read the Bible now, Mommy. Let me.

[Mommy]

Now, Big Ben. Hans. Soon be up.

[Ann]

The Bible. Let me get the Bible. Oh, thank you.

[Mommy]

How about it?

[Ann]

No. Why do you stop me? You said.

[Mommy]

Look, Big Ben.

[Ann]

No. It is midnight yet. You can't kill you. You sit down until midnight. Oh, you can't. You can't. You can.

[Mommy]

Big Ben. Stop.

[Ann]

Stop.

[Mommy]

Stopped, Big Ben. Stop.

[Ann]

Yes. And it isn't midnight.

[Mommy]

It isn't midnight, Big Ben. Stop.

[Ann]

Yes. And now I'm going to the mantle and get my Bible. And you won't stop me. You won't. Dear God, I suddenly remembered something. I can't go there and get the gun. I can't. If I touch the clock, it might start again. If it starts in three minutes, it'll be midnight and he'll.

[Mommy]

I can't go get the gun, Big Ben. Start soon again. I know.

[Ann]

No, it won't. It won't.

[Mommy]

Big Ben. Start. Talk soon.

[Ann]

No. No. No. It stopped. It stopped for good. You can't kill my baby. Big Ben won't let you.

[Mommy]

Oh, you know this? Tell me how you know this.

[Ann]

Because. Because the God in Big Ben is angry at you. Yes. What do you think makes him tick? The God inside of him. There's a God inside of everything. You know that. You believe that? And there's a God in Big Ben. And he'll never talk again because he's angry at you. So go. Go quickly before the God in Big Ben kills you. Go.

[Mommy]

Apana. I make God. Speak your word. I make.

[Ann]

No. Oh, no. Don't touch Big Ben. Don't. The fire will run from him through you. Burn you where you stand.

[Mommy]

Don't touch him or endow my sh.

[Ann]

What is he? He's praying. Praying to the clock. Oh, dear God. Don't let him get closer to it. Don't let him touch it. If he does, it'll start again. Don't let him touch it. Why don't you come home? If you'd only come now, you'd open the door and the sound would start. Big Ben Again in the night. Oh, no. Don't come home, Jeffrey. Don't come home. At the edge of the table, he falls down. Oh, Little Ben. Don't move. Don't move. Oh, please don't move. He stopped praying. He's turning toward me.

[Mommy]

Bible.

[Ann]

What? What did you say?

[Mommy]

Bible. Take.

[Ann]

Take the Bible. Why? Why the Bible?

[Mommy]

Missionaries say Bible. Hal's word of God. Take Bible. Make your word to God, Big Ben.

[Ann]

Oh, no.

[Mommy]

Take Bible.

[Ann]

I can't.

[Mommy]

Ah. Take it.

[Ann]

No, no. I will. I will. Let me.

[Mommy]

Pacey. Pacey, get quick.

[Ann]

I can't move any faster. My legs. Oh, Jeffrey. Jeffrey. I'm moving toward it. And when I touch the shelf, the clock will start and he. The gun inside the clock. If I open the clock, will I be able to get the gun before you?

[Mommy]

Take Bible. Make praise.

[Ann]

No. First I must kiss the God. Like this.

[Mommy]

Why, you. Big Ben. Top. Now I kill.

[Ann]

It's all right, Little Ben. It's all right.

[Arch Obler]

This is Arch Obler again. In answer to inquiries. Might I repeat that some of my plays have been recorded by Capital in a recording titled Drop Dead. Now, I'd like to thank the players in tonight's play Virginia Gregg, Charles Lamkin and Ben Wright. You know, long before excursions into outer space became a matter of international intrigue I wrote a play called Rocket to Manhattan. I'll tell you more about it after a short message from your announcer.

[Mommy]

This land is your land this land is my land this land was made.

[Announcer]

For you and me Shaker Village and Storyland at Glen Streets walked by Daniel Webster and Robert Frost the Concord coach and North Conway's Cranmore ski Mobile. In no other state perhaps are the old and the new so compatibly combined as in the Granite State. New Hampshire. The taciturn Yankee farmer is still there, of course but he's more apt to be smoking imported cigarettes than chewing the proverbial piece of straw. And the farmer's son has forsaken the cracker barrel down at the corners for Dartmouth and an occasional holiday abroad. This modernization, though, is built on an old and revered foundation. A foundation laid by men like John Paul Jones who sailed his ship Ranger from Badgers Island. A foundation laid by industry, boots and shoes and textiles, a foundation as solid as the granite beneath its soil. Built on as firm a base as patriotism, democracy, and free enterprise, New Hampshire today continues to modernize itself and to live free or die.

[Arch Obler]

Obler Again about the play Rocket From Manhattan There have been all sorts of space stories since I wrote my play over 20 years ago, but I want you to hear it because I think it's even more timely and exciting than the day I took it out of my typewriter. So meet me here next time for Rocket from Manhattan.

[Narrator]

Arch Obler's Plays Stories of the Unusual this is the United States Armed Forces Radio and Television Service.

[Announcer]

RA.

[Host]

That'S our thriller for this week. You can find more from Arch Obler's plays, Relic Radio Thrillers and all of the Relic radio podcasts@ Relic Radio.com our shoutcast stream is there with even more Old Time Radio, all available for free. Thanks to your support. If you'd like to help out, visit donate. Relicradio.com or click on one of the links on the website. Thanks to those who have helped out. Thanks for joining me this week. Be back tomorrow with the Horror and next Friday with our next episode of Relic Radio Thrillers.