Going Down by The Devil And Mr. O

Summary

Episode Summary: "Going Down" by The Devil and Mr. O

Podcast: The Horror! (Old Time Radio)
Host/Author: RelicRadio.com
Episode: Going Down by The Devil And Mr. O
Release Date: January 25, 2025

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Introduction

In this spine-tingling episode of The Horror! (Old Time Radio), titled "Going Down" from the classic series The Devil and Mr. O, listeners are transported into a shadowy underworld beneath the bustling city streets. This episode, originally aired between May and October of 1970 over WLS in Chicago, masterfully blends supernatural elements with psychological horror, ensuring an engaging and immersive experience for fans of old-time radio thrillers.

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Plot Summary

"Going Down" begins with Arnold and his wife, Irma, embarking on a journey through the extensive sub basements and tunnels that lie beneath the city's business district. Arnold, portrayed with a subtle edge of tension, invites Irma to explore this hidden subterranean world, a place seemingly abandoned and eerie in its silence.

As they delve deeper, the atmosphere thickens with suspense. The interplay between Arnold and Irma reveals underlying tensions and hints at darker intentions. Arnold's demeanor shifts unsettlingly, suggesting a transformation from a caring husband to someone grappling with internal demons. This tension culminates in a chilling revelation: Arnold intends to kill Irma and himself, driven by despair and madness.

Amidst their descent, a mysterious, blind, dinosaur-like creature lurks in the darkness, heightening the sense of impending doom. The creature’s presence symbolizes the unknown horrors that reside both externally and within Arnold himself. The episode reaches its harrowing climax as Arnold's plan unfolds, intertwining the supernatural threat with his psychological unraveling.

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Character Analysis

• Arnold: Initially appears as a normal husband, Arnold's character arc is one of the most compelling aspects of the episode. His gradual shift from warmth to menace encapsulates the theme of descent into madness. His interactions with Irma become increasingly erratic, revealing a deep-seated anguish and a desire for escape from his tormented existence.

• Irma: Representing sanity and rationality, Irma's character serves as a foil to Arnold. Her fear and confusion as she navigates the tunnels highlight the isolation and helplessness faced by those ensnared in such supernatural predicaments. Her attempts to reason with Arnold add emotional depth to the narrative.

• The Creature: The blind, dinosaur-like entity embodies the unknowable and uncontrollable aspects of fear. Its silent menace serves as a constant reminder of the lurking dangers both outside and within the human psyche.

• Mr. O: Acting as the narrator and a bridge between the story and the audience, Mr. O provides context and commentary that enrich the listener's understanding of the unfolding horror.

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Key Themes

1. Descent into Madness

Arnold's journey is as much psychological as it is physical. His transformation underscores the fragility of the human mind when confronted with extreme isolation and fear.

2. Supernatural vs. Psychological Horror

The episode expertly blurs the lines between external supernatural threats and internal psychological turmoil, creating a multifaceted horror experience.

3. Isolation and Entrapment

The labyrinthine tunnels symbolize a trap, both literally and metaphorically, emphasizing themes of confinement and the struggle for escape.

4. Good vs. Evil

The dynamic between Arnold and the creature highlights the classic struggle between darker impulses and the remnants of humanity striving to overcome them.

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Notable Quotes

The episode is peppered with memorable lines that enhance its eerie and suspenseful atmosphere. Here are some standout quotes with their respective timestamps:

• Mr. O (01:02):
  "We bring you stories of the supernatural and the supernormal, dramatizing the fantasies and the mysteries of the unknown."

• Arnold (08:27):
  "You can't get out of here."

• Irma (19:18):
  "It was a dinosaur."

• Arnold (24:09):
  "I brought you down here to kill you."

• Irma (25:14):
  "How slowly it moves."

• Arnold (25:24):
  "Don't make me a murderer."

These quotes not only heighten the tension but also provide critical insights into the characters' motivations and the unfolding horror.

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Production and Atmosphere

The success of "Going Down" lies in its exceptional production quality. The sound design immerses listeners in the dark, claustrophobic tunnels with subtle effects that evoke echoes, distant footsteps, and the ominous presence of the creature. The voice acting is compelling, with Arnold's descent into madness convincingly portrayed through his changing tone and pacing. Mr. O's narration ties the narrative together, offering both exposition and commentary that enhance the storytelling.

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Conclusion

"Going Down" stands out as a quintessential episode of The Devil and Mr. O, seamlessly blending psychological depth with supernatural horror. Its exploration of human fragility, the allure of the unknown, and the struggle between internal and external demons make it a timeless piece in the realm of old-time radio horror. Whether you're a long-time fan or new to the series, this episode offers a gripping and unforgettable experience that leaves a lasting impression.

For those eager to delve deeper into more such spine-chilling stories, The Horror! (Old Time Radio) continues to deliver enthralling episodes available here.

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Note: Advertisements, intros, outros, and non-content sections have been intentionally omitted to focus solely on the episode's narrative and thematic elements.

Transcript

[Arnold]

Oh, stories.

[Mr. O]

Weird stories. And murders too. Turn out your legs. Turn them out. Good evening. Come in, won't you? What's the matter? Surely you're not nervous. Perhaps you can't. By telling a story, we are meant.

[Narrator]

To call from out of the past. Stories strange, weird tales of mystery and.

[Arnold]

Terror by radio's masters of the macabre.

[Mr. O]

Stories of the supernatural, the supernova dramatized by fantasy. The mystery, the unknown. We tell you this, Franklin. So if you wish to avoid the excitement catching a beat magnet. We urge you our latest theory to turn off your radio.

[Arch Ovler]

Welcome back to the Horror Old fashioned fear since 2007 at relicradio.com new shows every Saturday. This week we're going to hear from The Devil and Mr. O. A series first heard over WLS in Chicago from May to October of 1970. 26 episodes in all. Our story today is from August 2, 1970. It's titled Going Down.

[Mr. O]

Lights out for the devil and Mr. O. It is later than you think. Turn out your lights now. We bring you stories of the supernatural and the supernormal, dramatizing the fantasies and the mysteries of the unknown. We tell you this frankly so that if you wish to avoid the excitement and tension of these imaginative plays, we urge you calmly but sincerely to turn off your radio now. This is Mr. O. Arch ovler. Some of you may not know this, but beneath many of our cities there's a sub world not only of subways, but sub sub basements and man made caverns where little trains run and deliver the goods to the department stores and the factories. Our industrial complex. Today we're going to some of those sub sub basements in a play I've written for you titled Going down. All beginning after this top of the world message.

[Advertisement Voice]

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[Mr. O]

And now, if you haven't already done so, turn off your lights now.

[Arnold]

But of course I can run an elevator.

[Irma]

I was just asking.

[Arnold]

And I told you. Well, here we are. All right, all right. Are you getting out?

[Irma]

I suppose so.

[Arnold]

Suppose so? For 10 years that's all I've heard. Where do you work? What do you do? Why don't you let me see you? Oh, I'm not angry. I'm just telling you. Come on this way.

[Irma]

Such a big basement.

[Arnold]

You don't know the half of it. It's like a whole city down here.

[Irma]

Person goes to a department store and doesn't know all this is underneath.

[Arnold]

Say that again.

[Irma]

And you're in charge of everything down here.

[Arnold]

That's another fact. Here, look at these.

[Irma]

What are they? Furnaces.

[Arnold]

Oil burning heats and air conditions. A whole building up above, 20 stories.

[Irma]

Where is everybody?

[Arnold]

Nothing but a watchman at this hour of the night. Everything's shut down. What's the matter with you?

[Irma]

Nothing.

[Arnold]

What did you do that for?

[Irma]

Why? I just wanted to hear my voice. It's like a big cave down here.

[Arnold]

Out like that. Won't you ever grow up?

[Irma]

Don't be angry, Arnie.

[Arnold]

All right. Come on.

[Irma]

Yes, honey.

[Arnold]

Come on in here.

[Irma]

Another elevator.

[Arnold]

Well, you want to see everything, don't you?

[Irma]

Yes. Yes, I do. Down some more.

[Arnold]

Yeah. All right.

[Irma]

Another basement.

[Arnold]

Yeah, go ahead. Plenty of light to see behind what's down here. Come on over here. I'll. I'll show you. There, in the wall.

[Irma]

Is it a tunnel?

[Arnold]

That's what it is.

[Irma]

But. But a tunnel. Down here.

[Arnold]

See those tracks?

[Irma]

Yes. Where do they go?

[Arnold]

How do you think all the merchandise is brought to all the stores here in the business section? Tunnel system, that's how. Right under the city streets. I had no idea mighty few people have trains run on those tracks. Bring the stuff right in.

[Irma]

Trains?

[Arnold]

You think all I've got to do is make jokes? You think the only kind of a train's a big one?

[Irma]

Well, I just don't know.

[Arnold]

These are little ones. They run on electric batteries just like they have down in the mines. Come on, I'll show you.

[Irma]

Where?

[Arnold]

In the tunnel.

[Irma]

But it's so dark.

[Arnold]

Lights every little ways. Come on.

[Irma]

I don't think so.

[Arnold]

What's the matter with you?

[Emma]

I'm afraid.

[Arnold]

Oh, for John's sake. For years you pestered me and pestered me to see you. Come along, honey. You understand all right.

[Emma]

Arnie.

[Irma]

This is far enough.

[Arnold]

For John's sake. What's the matter with you now?

[Irma]

I don't know.

[Arnold]

Come on. There's a one of the little engines parked down at the end of the tunnel. You might as well see it. Keep walking. I think I'd like down this way. You'll see the train.

[Irma]

Yes, but Arnie, the lights.

[Emma]

Honey, where are you?

[Arnold]

Right here.

[Irma]

What's the matter?

[Arnold]

Matter?

[Irma]

Why are you standing so close to me?

[Arnold]

I'm your husband.

[Irma]

Arnie.

[Arnold]

Don't be silly, Emma. I'm going to tell you something.

[Irma]

Arnie, what's the matter with you?

[Arnold]

Listen to me for the last time.

[Irma]

Last time. Arnie, what's the matter with you?

[Arnold]

Do you know that you can't get out of here?

[Irma]

What?

[Arnold]

You can't get out of here.

[Irma]

Arnie, what are you talking about? What are you talking about? Oh, honey, you haven't made a joke like that in years. The last time you tried to scare me was right after we were married. Remember? With that fur piece you made off was a dead animal that had gotten in the bedroom. You remember?

[Arnold]

I remember. Come along further, Irma.

[Irma]

Oh, as long as I know what you're up to, I don't mind. How far are we going?

[Arnold]

A long way.

[Irma]

All right, Andy. Anything you say.

[Arnold]

Don't I know it. All right.

[Irma]

All right. What?

[Arnold]

This is as far as we're going.

[Irma]

Oh, I. I feel funny. I've never been under the ground so far in so long. It was very nice of you, honey, to take me down here. So interesting. Very nice of you. Annie. Why don't you say something? Honey, Is something the matter? Arnie, really, you can't frighten me. Not now. You know, honey. Are we waiting for someone? If we are, I think I hear him.

[Arnold]

Hear him?

[Emma]

Well, yes.

[Irma]

Don't you?

[Arnold]

No. But I heard son tell you there's no one down.

[Irma]

All right, all right. If you say so, Anya.

[Arnold]

I say so. If I say so. If I say so. Can't you say something else but that even now? Yes, Irma. I'm glad.

[Irma]

There, I heard it again. What are their trains running this late at night?

[Arnold]

Train.

[Irma]

If it's a train, we ought to get out of here.

[Emma]

Tunnel so. Now, Arnie, please shut up.

[Arnold]

Let me listen.

[Irma]

Hear it.

[Arnold]

Will you shut up? Who's there? Who's there?

[Irma]

Isn't there supposed to be anyone?

[Arnold]

Of course not. I saw to it. Is that you? Is that you, Tom?

[Irma]

Who's Tom.

[Arnold]

Tom, are you down here?

[Irma]

One of the watchmen.

[Arnold]

I told him I'd pull these boxes tonight. I told him. Tom. Hey, Tom.

[Irma]

What's wrong?

[Arnold]

Tom, what's the matter with you? Come on out here. Do you hear me? Come out right away or I'm firing you. Tom.

[Irma]

Is he playing jokes too?

[Arnold]

Fool. I'll break his neck. Get my hands on that. No.

[Irma]

Arnie.

[Emma]

Don't leave me. Arnie. Where did you go? Arnie? It's so dark. The tunnel. Arnie, where are you? Oh, I know. Was that you, Arnold? It is you. Did you cry out? What?

[Arnold]

Stay back.

[Emma]

You.

[Irma]

That man. Who?

[Arnold]

From what's left of his face. I. I think it's Tom.

[Irma]

What? What?

[Emma]

Ha.

[Irma]

The train ran over him. Arnold. Anthony was it?

[Arnold]

Train? Now something's torn out his throat. Come on. Gotta get out of here.

[Emma]

Oh, yes.

[Arnold]

Something down here.

[Emma]

Honey. Honey, wait. I can't go so fast.

[Arnold]

Police. I'll get the police.

[Emma]

Honey, wait for me. Honey. What's the matter? Honey? Why is you standing there? Why don't you open the door?

[Arnold]

Door wasn't closed before.

[Listener]

We'll open.

[Arnold]

Won't open it. Won't we leave our the devil and.

[Mr. O]

Mr. O story of going down for a word?

[Listener]

See? See the leaf right here in my hand?

[Irma]

Oh, yes.

[Listener]

Isn't that a new leaf?

[Mr. O]

Yes, it is a new leaf.

[Listener]

Here, I'm going to turn over a new leaf.

[Emma]

Get it?

[Listener]

Leaf.

[Mr. O]

New.

[Arnold]

What does that mean, to turn over a new leaf?

[Listener]

Well, I'm serious. Means that you're gonna have a little change.

[Arnold]

From what to what?

[Listener]

From bad to good.

[Arnold]

Oh, really?

[Listener]

Yeah.

[Arnold]

Well, suppose somebody was crying.

[Listener]

They could switch from tears to a slap.

[Mr. O]

Suppose they were lonely.

[Listener]

They could go from loneliness to having somebody to play with.

[Arnold]

Well, suppose somebody wasn't loved. Could they turn over a new lease?

[Listener]

They could go from not loving somebody to loving somebody.

[Arnold]

How do they do that?

[Listener]

All they have to do is try to love somebody.

[Arnold]

Just try?

[Listener]

Yeah. It's easy to love people when you try.

[Mr. O]

Love makes all things new again.

[Arnold]

Hey, what was that?

[Listener]

Another sound of love from the Franciscans.

[Mr. O]

Let's go back to the Devil and Mr. O. Story of going down.

[Arnold]

All right, all right. We'll be there in a minute.

[Emma]

But are you sure?

[Arnold]

I tell you, it's an emergency exit. It's always kept open.

[Emma]

Why was that?

[Arnold]

Stop asking me that. I don't know.

[Emma]

And then.

[Arnold]

Watchman, stop talking, will you? I don't know anything.

[Emma]

I. Barney, why did you stop talking and why stop? You said the emergency exit.

[Arnold]

That's it?

[Emma]

What?

[Arnold]

Behind those timbers. It's blocked off. You understand? It's blocked off.

[Emma]

What do we do? We can't just stand here. Arnold. That man was killed. There's someone down here, I'm afraid. Oh, Arnold, get me out of here.

[Arnold]

Oh, wait a minute. Wait a minute. Gotta think.

[Emma]

Think.

[Arnold]

Oh. Whoever killed Tom. Not down here necessarily.

[Emma]

You don't think so?

[Arnold]

Why should he be? Nothing to steal down here. Tom was always borrowing money from people. Somebody he didn't pay back. Yeah, that's it. But the doors. Well, he got out and closed the doors. What of it? We can get out. Come on.

[Emma]

Where?

[Arnold]

I told you. These tunnels lead to the buildings all over the business section. Follow the tunnel to the next sub basement to the next building. We'll get out, that's all.

[Emma]

Honey, don't get too far ahead.

[Arnold]

I mean, just walk fast, will you?

[Emma]

Oh, honey, I look forward so very much to tonight. It had been so long since you'd even thought about me. I knew that. And tonight Anya called me up and told me to meet you here. And then when you started to play those crazy scary jokes before even then I.

[Arnold]

You see it too?

[Emma]

Is it after?

[Arnold]

Don't talk. Run.

[Emma]

Oh, my side. It's hurting.

[Arnold]

Well, that's too bad.

[Emma]

Honey. Don't leave me behind. Honey, I can't run any fast. Honey, wait. Honey. Honey. What? Oh, honey, I'm coming. Honey.

[Arnold]

You're late. Big. Broken. Broken.

[Emma]

Oh, Andy. Come on. Hold on to me. We'll man. No, no, I can't lie here. That thing.

[Arnold]

It's coming.

[Emma]

I don't know. I can't see it.

[Arnold]

I was running a rock under my foot.

[Emma]

Arnold, over here. A pile of boxes.

[Arnold]

What?

[Emma]

Hide behind them. If I help you, could you go over there?

[Arnold]

Hide. Hide. Give me your arm.

[Emma]

Yes, I will. Come on. Hold on to me. If you hold my arm tight.

[Arnold]

Come get over there.

[Emma]

Come on, I'll help you. Take it easy with you. That's good. We're getting there. Back here. There.

[Arnold]

Now help me down.

[Emma]

Yes, easy. Here you are. Oh, honey. Oh, we'll be all right.

[Arnold]

Can you. Can you see it?

[Irma]

No, no, it's gone. Just. Just don't do think about it, honey.

[Arnold]

What was it? Emma, do you hear me? What was it? You went to school? You studied things like that? That thing. What was it? Irma, didn't you hear me?

[Irma]

Yes, I heard you.

[Arnold]

What was it? What was it? Was. Was it a lizard? Some kind of a lizard. That's it. Lizard.

[Irma]

Some kind of a lizard.

[Arnold]

Why do you. Why do you Say it that way.

[Irma]

I saw it. Good, Arnie. Well, in school, one of the books, there was an animal like that.

[Arnold]

How did it get down here? Lizard. That big.

[Irma]

Oh, no, you. You don't understand. Geology book. The thing wasn't a lizard exactly.

[Arnold]

Huh?

[Irma]

It was a dinosaur.

[Arnold]

Are you crazy?

[Irma]

No, I'm telling you what I saw. It sort of sat up on its hind feet just like the picture in the book.

[Arnold]

What are you trying to do, make me crazy too? Why? Those things died millions of years ago. Arnie, look.

[Irma]

Way down the tunnel. By the light. It is a dinosaur.

[Arnold]

Don't move, Arnie.

[Emma]

It is the dinosaur.

[Irma]

Has it gone away?

[Arnold]

I don't know.

[Irma]

It's been so long.

[Arnold]

Just don't move.

[Irma]

It just looked at us.

[Arnold]

Yeah.

[Irma]

Why doesn't it come after us? Why?

[Arnold]

Maybe. Maybe it didn't see us.

[Irma]

What?

[Arnold]

Well, it was like something that had been in the dark for a long, long time.

[Irma]

Yes.

[Arnold]

Don't move around.

[Irma]

Oh, there's a little room back here.

[Arnold]

Oh, would you rather go out there?

[Irma]

Don't be angry with me, Renee.

[Arnold]

Angry? Why should I be angry? Irma. Irma, you went to school, you studied those things. You called it a dinosaur. Yeah. All these hours I've been thinking, how could a thing like that, which was supposed to have passed out of the world so many years ago, how could it be alive now?

[Irma]

I don't know, Irma.

[Arnold]

Listen, I know this tunnel under the business district. They were putting on an extension. Blasting in the rock. Maybe that thing came out from inside the earth.

[Irma]

Maybe.

[Arnold]

You're. You're not frightened, are you?

[Irma]

No.

[Arnold]

Why not?

[Irma]

Because I'm with you.

[Arnold]

If it came back, what could I do for you?

[Irma]

It's just being with you.

[Arnold]

Yeah.

[Irma]

I keep thinking then.

[Arnold]

What?

[Irma]

That poor watchman.

[Arnold]

Yeah. It'll really be something when it's morning and everyone finds out about it.

[Irma]

What do you think they'll do?

[Arnold]

They'll hunt it down. Police will get it soon enough.

[Irma]

Arnold.

[Arnold]

Yeah.

[Irma]

Arnold. What if it won't be here then, huh? It's been hours since we last saw it standing down there. What if it's gone back where it came from?

[Arnold]

It's all right with a means.

[Irma]

But what if they're not?

[Arnold]

They'll hunt it down. They'll find it.

[Irma]

Arnold. What's that?

[Arnold]

All right. Everything's all right. But what was 6:00? That was the bell. Back in the basement, the day engineer turned off one of the sprinkler alarms. Oh.

[Emma]

Oh, honey, come on.

[Irma]

Come on.

[Emma]

I'll help you.

[Arnold]

But you Said look over there.

[Emma]

Back.

[Irma]

It's back.

[Emma]

Help. Help.

[Arnold]

He's looking right at us. They didn't hear us, but it did. It's. It's starting this way. My leg. Oh, how slowly. It's moving as if it. As if it could hardly see. That's it, Emma. That's it. What? It's blind. That thing is blind. It's lived under the earth so long it can't see.

[Emma]

But it's still coming this way.

[Arnold]

Oh, honey, Come on.

[Emma]

Hold on to me.

[Arnold]

Leave me alone. Go ahead.

[Emma]

No.

[Irma]

Try.

[Emma]

I'll carry you.

[Arnold]

You can't carry me.

[Irma]

I will go ahead.

[Arnold]

I'mma go ahead. I can't go on. Don't stay here, I tell you. Go on.

[Emma]

Honey, please listen to me.

[Arnold]

You stay here with me. I wanted to kill you tonight. Hear me? I brought you down here to kiss. Oh, Arnie.

[Irma]

No.

[Arnold]

You're only saved. I'm telling you the truth. I brought you down here to kill you.

[Emma]

No, Arnie. I'll stay with you.

[Arnold]

Listen to me. I brought you down here to kill you. Now, that's the truth. Look at me and believe it, because it's the truth.

[Irma]

That's why you.

[Arnold]

That's why I suddenly got so wonderful. I was sick and tired of you. I was sick and tired of living. So I brought you down here to kill you. And then kill myself.

[Emma]

Army.

[Arnold]

Look at it out there feeling its way along. Well, he'll take care of me. But you. You've got to get out of here.

[Emma]

No.

[Arnold]

You've got to get out. I deserve to die. But, Irma, not you. You're so blasted good. I guess that's why I got tired of you. But that's no reason for you to die. Irma. Stop looking at me like that. You've got to get out. Run straight down the tunnel. Keep running and you'll get away. Erma. Just don't look at me. Get going.

[Emma]

No, Arnold.

[Arnold]

Why don't you say what you've always said to me all these years? Just as you say, Ani. Just as you say. Oh, Irma. Irma, will you get out of here?

[Irma]

How slowly it moves. Irma, it is blind you.

[Arnold]

Look, will you listen to me? Will you go. You've got to go. They'll think I've killed you.

[Irma]

No, they won't.

[Emma]

They won't.

[Arnold]

They will. I left a note back home for the police. I told them I had killed you. If that thing killed you and me, they'll still think I was the one who did it. Now, do you want me to be a murderer. Do you want that?

[Emma]

You left a note.

[Arnold]

Yes, yes. Don't you remember? I turned back after you went out the door on the dining room table. Irma, get out of here and get that note. Don't make them think I'd kill you. And I. I didn't. And I don't want to. You're such a good. You're too good for me. And I was tired and I. I was crazy. Don't make me a murderer. Irma.

[Irma]

Arnie. Goodbye.

[Arnold]

Goodbye. Yes, Irma. Yes. Hurry. Run fast. Straight ahead. He won't get you. I promise.

[Emma]

Arnold.

[Arnold]

All right, you blind thing, you.

[Irma]

Here I am. Here I am here. I'm not scared. Come and get me.

[Mr. O]

This is Mr. O. Arch Ovler. Let me tell you about a couple of letters I received from you listeners. One of them asked me the question. Mr. O. Do you believe in the sensitives who say they can feel the presence of ghosts in a house? I have a quick answer for that one. Unless that so called sensitive can materialize the ghost for me in broad daylight. Now that's the question. Why must the ghost always appear in the dark? As I say, unless the ghost can actually be materialized, I must remain among the skeptics. Extra sensory perception. Yes. Ghosts. Show me. The second letter asks me about my new book, House on Fire. And do I truly believe in the existence of devils on earth? Well, it all depends on your definition of the word devil. But I ask you, how else can one explain some of our today's madness? Speaking of devils and deviltry, let's talk about next week's play. The title is one fond to the CPAs and the bookkeepers of the World Balance Sheet. And let's talk about that after a word from your station.

[Project Hope Representative]

On a sun parched desert, in a humid tangled jungle, beneath the stars of a tropical seaport, these are the places that Hopis are found. Hopis, the people of Project Hope, sail to distant ports on a white hospital ship or take up residence in our own southwest with this common goal to help others become medically self sufficient. Project hope's mission is not treat and run. It's treat and teach. Hopis teach medical skills to professional counterparts who are eager to learn new methods. And they teach willing workers with limited education the skills that help them contribute to the well being of their own communities. Help HOPE live on. Contribute to Project HOPE HOPE room A.

[Mr. O]

Washington D.C. this is Mr. O again. I'm with you. I think that happiness is the most important thing in life. There are other people, of course, who live and die by other values. The Balance Sheet Profit and loss. That's what a very strange play I've written for you takes up next week. Its title Balance Sheet. It is later than you think.

[Narrator]

I started playing music in 26 was a settlement house. I was very young and very small and they gave me an E flat clarinet.

[Mr. O]

America's King of Swing, Benny Goodman for music in our schools.

[Narrator]

But I do think to have a knowledge of music does something very important for them, even if they don't use it as a profession, gives them a greater outlook on associated arts, whether it's painting, whether it's sculpture, nature, anything. And to have the pleasure of listening to music all through your life. One of the nicest things that can happen to somebody, but they take advantage of it.

[Mr. O]

Help all our children to take advantage of music. Support music in your schools A message from the Music Educators National Conference.

[Arnold]

Walter Matthau and Carol Burnett are Pete and Tilly.

[Narrator]

How about coming up to my place for a spot of heavy breath?

[Irma]

Honeymoon's over.

[Arnold]

It's time to get married.

[Irma]

Walter Matthau and Carol Burnett.

[Arnold]

So tender and touching in a very hilarious way.

[Narrator]

You're the kind who could go without a bra altogether, let alone folding your arms on top like an Indian.

[Arnold]

I have a feeling like like I'm being stripped for surgery. Walter Matthau and Carol Burnett are Pete and Tilly.

[Mr. O]

Rated pg.

[Arnold]

See Pete and Tilly held over at a specially selected theater near you. This is the grown up sound of.

[Mr. O]

Today where you hear the best sounds in radio.

[Arnold]

WVNJ62am Newark.

[Arch Ovler]

You can find more from the devil and Mr. O, the horror and all of the other Relic radio podcasts@ Relicradio.com. you'll also find our shoutcast stream there 24 hours a day, seven days a week of more old time radio. Lots to listen to, all made possible by your support. If you'd like to help out, visit donate. Relicradio.com got some downloadable sets for certain donation amounts, though any amount is always appreciated and helpful. Thanks again to those who have helped out. Thanks for joining me this week. Be back tomorrow with Strange Tales and next Saturday with our next episode of the Horror.