The Avenger and Ports Of Call

Summary

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Podcast Summary: The Relic Radio Show

Episode: The Avenger and Ports Of Call
Date: May 19, 2026
Podcast Host: RelicRadio.com

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Overview

This episode of The Relic Radio Show presents two vintage radio dramas from the golden age: “The Avenger and the Mystery of the Giant Brain”—a thrilling science fiction detective story—and a “Ports Of Call” segment exploring the grandeur, intrigue, and legacy of Vienna and the House of Habsburg. The episode moves from shadowy laboratories and robotic terrors to the ornate courts and musical heritage of imperial Austria, blending suspense with historical storytelling.

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Segment 1: The Avenger and the Mystery of the Giant Brain

(00:11 – 28:13)

Main Theme

Science meets horror in a race against time, as Jim Brandon, alias The Avenger, confronts a crazed scientist bent on creating a super-intelligent robot using stolen animal and human brains. Assisted by Fern Collier, The Avenger uncovers a grim threat in Midvale involving missing animals, murder, and mechanical monsters.

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Key Discussion Points and Plot Highlights

• Introduction to The Avenger (00:11, 02:14):
  Jim Brandon, biochemist and secret crusader against crime, uses his telepathic indicator and invisibility capsule to solve mysteries. Only his assistant Fern knows his secret.

• The Mad Professor Rodano (03:02 – 06:26):

  • Assistant Miss St. Clair tries to leave Rodano’s employ after learning he’s capturing animals for unethical experiments.
  • Rodano justifies his thefts, glorifies his creation of three robots, and dreams of giving them intelligence by transplanting “the brain.”
  • Quote:
    “Very soon I will no longer have to control those robots...They will have a mind and intelligence all their own.” – Prof. Rodano (05:04)

• Disappearance and Imprisonment (05:32 – 06:26):
  Rodano captures Miss St. Clair and reveals he has already imprisoned Dr. Giles, implying a sinister fate.

• Brandon’s Investigation (06:41 – 09:26):

  • Jim and Fern test the telepathic indicator, which picks up “thought impressions of violence surrounded by electricity, gray in color, high against the sky… probably a tower.” (07:15)
  • They connect these impressions with local reports of stolen zoo animals and foxes.

• Murder at the Farm (09:39 – 12:13):

  • On visiting Joe Iser’s farm, Jim and Fern witness aftermath of a murder—Joe killed by a “big man” impervious to bullets, described by simpleton Harry as an “iron monster.”
  • Quote:
    “Joe started to shoot at him, but the big man walked right through the bullets and hit Joe over the head with his big iron hand.” – Harry Sampler (11:00)

• The Hidden Laboratory & Fern's Peril (15:08 – 18:38):

  • Fern is captured by Rodano’s second robot when she goes to call the police.
  • Rodano reveals he wants to use Fern’s brain, alongside those of Dr. Giles and Miss St. Clair, for his ultimate robot.
  • The “giant brain” is shown—a grisly amalgam of 14 animal brains, soon to be joined by human ones.
  • Quote:
    “Tonight I add three human brains...Then the world will see a real man of iron—a man of unlimited power and superlative wisdom.” – Prof. Rodano (17:53)

• Final Confrontation (21:05 – 24:12):

  • Jim Brandon uses his invisibility capsule to infiltrate the lab and declares, “It’s the Avenger, Professor. Here to see that you’re brought to justice.” (22:58)
  • Chaos erupts. The robots damage the containment for the giant brain. In the commotion, Dr. Giles deactivates the robots, freeing the prisoners.
  • Quote:
    “No one could save him from his own creation. The Professor’s giant brain was just a boomerang.” – The Avenger (24:19)

• Wrap Up and Reflection (25:15 – 27:24):

  • Jim and Fern discuss the aftermath: the confiscated robots, the now lifeless giant brain, and Rodano’s tragic fall from respected scientist to madman.
  • The Avenger ends on a lighter note, promising Fern a well-earned duck dinner at Carlo’s.
  • Quote:
    “If I’d known how things were going to turn out, I could have done justice to that duckling.” – Fern Collier (27:14)

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Notable Quotes & Moments

• Science vs. Ethics:
  "You have become cruel and inhuman—the kind of man that has no place in the laboratory. These experiments and brain surgery you’re making now are horrible." – Miss St. Clair (03:54)
• Iron Monster Hysteria:
  "Even so, I’d prefer to have a better alibi for murder than an iron monster." – Jim Brandon (13:05)
• Poetic Justice:
  "No one could save him from his own creation." – The Avenger (24:19)

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Important Timestamps

• 02:14 — The Avenger’s backstory and inventions
• 05:04 — Rodano reveals his true ambition for the robots
• 09:39 — Jim and Fern arrive at the farm
• 15:08 — Return from program break: Fern’s peril in Rodano’s mansion
• 17:42 — The revelation of the living giant brain
• 22:58 — The Avenger confronts Rodano
• 24:19 — Rodano’s demise and aftermath

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Segment 2: Ports Of Call – Vienna, City of Music and History

(28:13 – 56:56)

Main Theme

The show pivots to a sweeping, evocative tour of Vienna and its history—from the origins of the House of Habsburg to the music-filled age of the Strausses. Through dramatized vignettes, we meet emperors and empresses, experience palace intrigue, and celebrate Austria’s musical legacy.

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Key Discussion Points and Plot Highlights

• Introduction to Vienna (28:13):

  • “Strange, fascinating lands beckon us…” as the narration winds along the Danube to Vienna, city of music and memory.

• The Rise of the Habsburgs (31:52 – 38:09):

  • Count Rudolf of Habsburg is excommunicated by the Pope during the 13th century for pillaging holy ground.
  • Despite condemnation, he leads a holy war, converts prisoners, and ultimately, his success leads to imperial election and the 700-year Habsburg dynasty.
  • Quote:
    “By my deeds I shall win absolution. I shall follow you, Rudolf.” – Rudolf's vassal (33:44)

• Maria Theresa’s Statecraft (38:09 – 41:34):

  • Facing the loss of her empire, the young queen uses her femininity as a strategic tool to win the sympathy and support of her council, preserving Austria against overwhelming odds.
  • Quote:
    “We have called you here tonight not as a queen calling her court, but as a woman, a mother... I am not a man. I am merely a woman who knows nothing of the complexities of state affairs. A mother who must depend upon your decision.” – Maria Theresa (40:19)

• Franz Joseph and Sisi—Imperial Romance (42:41 – 47:19):

  • Young Franz Joseph is pressured by his mother to court Helene, but falls in love with her playful sister Elizabeth (“Sisi”).
  • Their romance and marriage, in defiance of social expectations, becomes legendary.

• The Strauss Dynasty—Music in Vienna (47:19 – 54:39):

  • Johann Strauss II, against his father's wishes, becomes a celebrated composer and carries on Vienna’s musical tradition—even as his overbearing father’s jealousy persists until death.
  • Poignant Moment:
    On his deathbed, Johann Strauss I reconciles with his son who says, “It is your music that will live, not mine...” Strauss the Elder responds, “Your work will live, Johann. Your work will live.” (53:56)

• Vienna’s Enduring Spirit (54:39 – End):

  • The narrative concludes with a tribute:
    “We are not unmindful of the tragedy that war has brought to this once great land. But through her sadness, Austria smiles and her gay music loving heart beats with high courage. Auf Wiedersehen, Austria.” (54:43)

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Notable Quotes & Moments

• Vienna’s dual identity:
  “Gay, laughing, glittering Vienna has known much sadness since the World War. But in spite of... strife... some of the old Vienna still remains.” (28:13)
• Romantic wit:
  “It is a hot August day... but we didn’t promise not to have a good time on the way.” – Duke Max (44:31)
• Poignant Family Reconciliation:
  “Well, you are a good one. And I am proud. Your work will live, Johann.” – Johann Strauss I (54:30)

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Important Timestamps

• 31:52 — Rudolf of Habsburg excommunicated
• 38:09 — Maria Theresa’s crisis and stagecraft
• 42:41 — Empress Sophie and Franz Joseph’s arranged marriage
• 47:19 — The young Strauss’s musical debut
• 54:39 — A farewell to Vienna

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Tone & Style

The episode is atmospheric—shifting from melodramatic and suspenseful in “The Avenger” to elegant, historical, and occasionally sentimental in “Ports Of Call.” The dialogue is earnest, with classic radio drama theatricality and evocative sound design that transport listeners into each vividly-imagined world.

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In Summary

“The Avenger and Ports Of Call” showcase the best of radio’s storytelling: the thrill of pulp science fiction adventure, and the grandeur of world history enlivened by character and music. Whether in a perilous laboratory or an emperor’s court, these tales “stand the test of time”—an invitation to wonder, and a reminder of how imagination and memory intertwine on the airwaves.

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Transcript

[A]

This is the Relic Radio Show, Old Time Radio Entertainment still standing the test of time from relicradio.com. The Avenger the road to crime ends in a trap that justice sets. Crime does not pay.

[B]

Sam. Sa.

[A]

The Avenger, sworn enemy of evil is actually Jim Brandon, a famous biochemist. Through his numerous scientific experiments, Brandon has perfected two inventions to aid him in his crusade against crime as the Avenger. The telepathic indicator by which he is able to pick up thought flashes and the secret diffusion kettle which cloaks him in the black light of invisibility. Brandon's assistant, the beautiful Fern Collier, is the only one who shares his secrets and knows that he is the man the underworld fears as the Avenger. And now. The Avenger and the mystery of the Giant brain. Who is it? Who's there?

[B]

It's Ms. St. Clair. I want to speak to you, Professor Ridano.

[C]

Oh, all right, all right.

[A]

Come in. Why, Ms. St. Clair, where are you going with all that luggage?

[B]

I'm leaving, Professor.

[A]

Leaving?

[B]

Yes, and you needn't pretend to be surprised. You know why I'm going.

[A]

Oh yes, you were upset about those animals from the zoo, I believe.

[B]

Yes, that among other things, Ms. St.

[A]

Clair, it was absolutely necessary for me to have those animals. Our experiments have gone far beyond the stage of rabbits and mice. I must have animals of a little more cunning. Of course, I'm. I'm sorry to have to steal them from the zoo and neighboring farms, but that's the only way.

[B]

Well, I want no part of it. When I came here a year ago as your assistant, I thought you were a reputable scientist.

[A]

I am a great scientist, Ms. St. Clair, too great to allow the petty ethics perhaps.

[B]

You are a great professor, but you've become cruel and inhuman and the kind of man that has no place in the laboratory. These experiments and brain surgery you're making now are horrible.

[A]

You think so? Then perhaps you have decided to report me to the police.

[B]

No, I just want to get out of here and have nothing further to do with you.

[A]

You're a coward, Miss Stinkler. You're afraid of what the Great Rodano can accomplish. Why, Rodano's work is just beginning. Look, these three mechanical men, these robots I created, they're only in their infancy.

[B]

Yes, I know they are. Look at them lined up there. Three iron monsters, that's what they are.

[A]

You hate them because you fear them. In time my robots will accomplish all that man is too cowardly to attempt.

[B]

Professor, please don't go on with this. Destroy them now before it's too late.

[A]

Why, Ms. St. Clair, how can you talk like that? You helped perfect them.

[B]

I didn't understand what you were doing.

[A]

You will excuse me if I find that hard to believe.

[B]

It's true. Until a few weeks ago, these robots were merely harmless, servants of your will. Created, you assured me, merely to fetch and carry for you. Now you send them out to capture animals for you in the hope that in time you'll be able to create for them a brain.

[A]

Exactly. And that time is almost at hand. Just think, missing Clair, very soon I will no longer have to control those robots as I do now by the magneto electric batteries I have installed about the house. Ah. They will have a mind and intelligence all their own.

[B]

You're playing with madness and death, Professor.

[A]

Two marvelous experiments. Madness and death.

[B]

I see that there's no point in trying to reason with you. But there is one other thing I'd like to do before I go.

[A]

Yes?

[B]

I'd like to know what has happened to Dr. Giles.

[A]

I told you two weeks ago. I sent him away on business.

[B]

I don't believe you. I think he left you just as I'm doing, because he wanted nothing further to do with you and your robot.

[A]

Would you really like to know where Dr. Giles is now? Would you like to see him, Ms. Sinclair?

[B]

What do you mean?

[A]

Dr. Giles is in my secret basement laboratory? I had to lock him up in a little iron cage down there. Come, I'll show you.

[B]

No, no. You are mad. I'm going to sleep.

[A]

Robot one. Robot one. Stop. Ms. St. Clair.

[B]

No, no.

[A]

Let me go. Carry her to the basement laboratory, Lot one. No. You've always been curious about that secret lab in the same place. Now I let you see it.

[B]

Oh, help.

[A]

Help. I thank you.

[B]

Let me go, please.

[A]

Please.

[B]

Help.

[A]

All right, Fern, I'm ready to dictate. Now.

[B]

Let me see. This is experiment 2274, isn't it?

[A]

That's right.

[B]

Go ahead.

[A]

A power increase on the telepathic indicator data. Increase of 2amperes on direct current caused the headgear to blow. However, when current was changed to alternating, reception was not only maintained, but increased.

[B]

Oh, dear. You increased it. How wonderful.

[A]

I don't know exactly how much yet, but I think it's a matter of a few miles. Fern, we'll send out a crew tomorrow. Station them a quarter of a mile apart and experiment with their thought transmissions.

[B]

Good. I'll make all the arrangements.

[A]

Now for the data on the strongest thought impressions I picked up on the indicator today. Take this down for him. Thought waves received from A greater distance than before. Seem to have their origin in violence, but not death. Constant static interference might indicate that the thoughts were surrounded by electricity at their origin.

[B]

That's something new, isn't it, Jim?

[A]

Completely new. Vern, add these facts, will you? The color impression was gray. Gray with a background of blue, perhaps Something gray in color, high enough to be seen against the background of the sky. Either a tower or a plane. But since there was no indication of movement, I'm inclined to favor the tower.

[B]

Sounds as though we picked up the latent thought waves of a medieval maiden in distress.

[A]

There you go, letting your romantic notions run away with you again.

[B]

Well, nothing seems to be impossible with that indicate.

[A]

But if you'll review the facts, young lady, you'll realize that your medieval maiden could scarcely have been surrounded by electrical instruments of extremely high voltage.

[B]

No, I suppose not. Unless the tower was struck by lightning.

[A]

Give up, you win. But to get back to the facts, I'll make a note of it. Please. I also picked up an impression on the same thought wavelength of inarticulate suffering. Something that could have emanated from small children or animals. This impression was not as clear as the others.

[B]

That's a strange kind of impression.

[A]

Yes, and all the more interesting in view of a story that appeared in morning's paper. Here, paste this clipping in beside those notes.

[B]

What is it, Jim?

[A]

It's a story about some animals that were stolen recently from a zoo at Midvale. Also a raid on a fox farm near there.

[B]

What do you make of it, Jim?

[A]

Nothing yet. Fern, do we have a legend map that includes Midvale?

[B]

Well, we have one for this entire county. Will that do?

[A]

Fine. Yeah. Where is it?

[B]

On the bottom shelf behind you.

[A]

Now, let me see. Midvale's exactly 16 miles due east from here. Yes, that's within the radius of the indicator.

[B]

Oh, look, Jim. This footnote says that Midvale boasts of several mansions of great architectural beauty that date back to the early 1800s.

[A]

It also boasts of several well known silver fox bonds. All of which ties in pretty well with the things we already know. Fern, how long will it take you to pack?

[B]

15.

[A]

All right, let's get moving. You and I are going on a little trip to Midvales.

[B]

Jim, how much farther do you think it is to Mr. Isa's farm?

[A]

Oh, we should be coming to it soon. Bern, aren't you enjoying the walk?

[B]

Yes, only is farther than I expected. He must have walked at least two miles since we left Midvale.

[A]

Well, it can't be far enough.

[B]

Jim, why are you so anxious to

[A]

talk with Mr. Isa because Joe Iser has reported four foxes stolen from his farm within two weeks. And I think he may be able to give us a few leads off the record, of course. That must be Iser's barn just ahead there.

[B]

Somebody shooting us. Jim, run.

[A]

Heard. Wait, wait. Nobody's shooting at us. Those shots came from behind that barn.

[B]

Come on. Go ahead, Jim. I can't keep up. Look, there's a man running across the field.

[A]

I'll stop him.

[B]

Hey.

[A]

Hey, you. Wait a minute. Stop. Stop, I say. Oh, no.

[B]

I didn't do it. I didn't do it.

[A]

Stop running or I'll bring you down. Oh, yes. Say I killed him. But I didn't. I didn't. Sorry. I didn't kill my. I didn't do it, I tell you. Now, take it easy. I didn't say you killed anybody, but I couldn't let you run away. Sorry I had to knock you down. I. I was in the barn. I saw it all. But I didn't kill him. Kill who? Joe. Isa.

[B]

We've got him, Jim. Thank heaven.

[A]

The big man did it. The big man? Come on, show us where Isa is. Come this way. Here. Back at the bottom. Now, suppose you tell me exactly what you saw. Well, Joe caught the big man stealing two foxes. Joe shot him four times. But the bullets can't hurt the big man.

[B]

What in the world is he talking about, Jim?

[A]

Hang the final fern. There he is. There's Joe Eisen. See? He's dead. Have a look.

[B]

Well, Jim, he's dead, all right.

[A]

And four bullets have been fired from this gun he's holding. We've got to call the police. No, no, don't call the police. They'll say I did it. I'm going home. Oh, no, you're not. You've got a lot of questions answered. What's your name? Harry Sampler. Just what were you doing here anyway? And who's this big man you're talking about? Well, I live around the hill there in the shack. I come over here every day to help Joe with the chores, and he gives me food. Now, Joe is good to me. I wouldn't kill him. So today, while you were helping either, this big man appeared and stole two foxes. Yeah, that's right. Joe started to shoot at him, but the big man walked right through the bullets and hit Joe over the head with his big iron hand. He killed Joe? The big man did. Oh, this is getting us nowhere fast, Vern. I'm going to call a police.

[B]

I think we'd Better.

[A]

Come on, show me where Isa's telephone is, Harry. Well, Joe ain't got no phone.

[B]

What are we going to do, Jim?

[A]

Well, I've got to stay here on guard race until the police get here.

[B]

But how can we get word to them? That's the question.

[A]

I can't trust Harry to go. And it's getting too late for you to go alone.

[B]

Well, if I hurry, Jim, maybe I can make it into town before dark.

[A]

No, no, Fern. There's a killer loose around here somewhere. I think there's a phone over to the Great Towers. But I wouldn't go in there. Huh? Where's Gray Towers? Right around the bend and up the road a piece.

[B]

I'll go, Jim. I'm not afraid to go that far.

[A]

All right, but before you go, take a look at these footprints, Vern.

[B]

Oh, good heavens, they're months.

[A]

Yeah, and there are at least 5ft between the strides.

[B]

Jim, do you think there could possibly be anything to. This poor fellow's gone.

[A]

Well, it's fantastic, of course, but Isa was killed by a blow on the head, all right. He was struck by some kind of blunt instrument.

[B]

Grandma, I don't think we should trust him, Harry. Maybe he's not as harmless as he seemed. After all, he couldn't.

[A]

Don't worry, Fern. I'm not trusting. I'll keep Harry right here with me until you get back. Now, you run along, but don't lose any time. I'll expect you back here in less than half an hour.

[B]

Oh, thank you. So long.

[A]

So long. Yeah, I'm sure they got a phone up to Gray Towers. But I wouldn't go in there. I'd be afraid. Seems to me you're afraid of just about everything, Harry. You'd be afraid of the big iron men, too, if you saw them. Well, all I've got to say is that somebody had better see them, Harry, or your goose is cooked. Even so, I'd prefer to have a better alibi for murder than an iron monster.

[B]

It. Sa. It.

[A]

And now back to the Avenger and the mystery of the giant brain. Robot 2, open the door.

[B]

Excuse me. May I?

[A]

Oh, don't be frightened, my dear. This is just a mechanical man who acts as my servant. He's perfectly under control. Come in.

[B]

Oh, no. No, thank you. Never mind.

[A]

Seize her. Robot 2.

[B]

No, let me go.

[A]

Well done, Robot 2. Now close the door.

[B]

Tell this monster to put me down. Please. I just came to use the phone.

[A]

You were sent to call the police, were you not?

[B]

Oh, you don't understand. A man's been murdered. Well, perhaps you already knew that.

[A]

A very unfortunate incident, that that sort of thing is inevitable. Sometimes people are stupid. They don't understand the needs of science.

[B]

Please let me go. I'm expected back in town.

[A]

No, you are needed here.

[B]

I'm needed here? What for?

[A]

I need your brain for my great experiment. You arrive just in time.

[B]

My brain?

[A]

Yes. Now I'll have three. Three human brains. Bring her to the secret dietary robot too. Oh, no.

[B]

Put me down. Let me go.

[A]

No use struggle. The robot has his orders and he will obey them.

[B]

Oh, you are a murderer. You killed Isa.

[A]

He was just a little man who got in my robot's way. But yours is to be a greater honor than mere death. You will sacrifice your living brain to the great God science. A mere mortal could ask no greater privilege.

[B]

Oh, let me go. Let me go.

[A]

Let me go. Stand guard, ROBOT three. I'll open the cage. Robot too. You put the beautiful lady inside. Miss St Clair. Dr. Giles. I've brought you company. Why have you brought this strange girl here, Rodono? To share the fate I have in store for you and Ms. St. Clair, my worthy doctor.

[B]

What are you talking about, Professor? Just what do you intend to do with us?

[A]

Be patient a little longer, Ms. St. Clair. Come out and close the door. Robot 2. Now listen, all of you. Tonight, the mighty Rodano will perform the greatest operation in the history of surgery. I will add three human brains to the living animal brains I already have preserved. Wait, I'll show you. Remove the heavy cover from that table. Robot 2 Be careful not to break the glass case. Well, what do you think of it?

[B]

What is that horrible thing? It's moving.

[A]

Of course it's moving. It's alive. It's the composite living brain of 14 animals.

[B]

It's the most horrible thing I've ever seen. Even my worst suspicions didn't prepare me for anything like.

[A]

Like this. Hold on, Ms. St. Clair. We mustn't give up yet. Be silent and listen to me. Tonight I add three human brains to this. And then I'll place them all within a special robot I've constructed. Then the world will see a real man of iron. A man of unlimited power and superlative wisdom. The great Rodano will be worshipped as the creator of a new race.

[B]

Stop him. Stop him. I can't stand anymore.

[A]

Professor. Yes, what is it, Dr. Giles? Perhaps we, Ms. St. Clair and I, deserve whatever fate you have in store for us. Whether we meant to or not, we did help you create the robots. But this strange girl you brought here, she had nothing to do with it. Let her go free.

[B]

Yes, Professor. There's no need to make the innocent suffer too.

[A]

Ah, you two are coming? Yes. You know that if I set you free, the police will be here in five minutes. No, I tell you, I need you all. Science needs you. How much longer have we then? One hour. One hour yet to live. Robot 1 will bring you a fine dinner of roast duckling. We must observe the rules of death. Condemned should eat both well and heartily. Well, Harry, it was a lucky thing for us that truck happened by so we could get word to the police. The police come mighty fast, didn't they? Yes, and they want to question both of us later, Harry. I promised them we'd both come to police headquarters. As soon as I find out what's happened to Fern. They don't think I did it, do they? No. And if you promise me you'll tell them exactly what you saw, I'll give you a reward of $10. $10? Gee, I never saw that much money. Oh, say, Harry, is that Gray Towers? Yeah. Yeah, that's the place. That's where the professor and the big men live. Have you ever been inside the house, Harry? No, nobody's allowed inside. All the doors and windows has big boats. How do you know if you were never inside? Well, sometimes I climb up in that tree over there by the garden and look in the window. What did you see from there, Harry? That's how I first saw the big men. But nobody believed me. They said I made it up. I guess there's nothing for it then, but to try to get in by the front door. Come on, Harry. Oh, no, sir, not. Not me. I wouldn't go in there. The big men kill people. All right, you climb up in the tree then, and wait for me. Sure, I'll wait. You said I'm gonna get $10. That's right. I'll see you later. Yes, sir. Nobody will see me up in that street. Well, professor, you're gonna have a visitor. When that door opens, the Avenger will step inside and you'll be none the wiser because my diffusion capsule will render me invisible. The moment the door is opened, I'll break the capsule and enter. What's that noise? Who's out there? Who's out there? I think I'm sure I heard a peculiar noise just as the door opened. Who's there? Well, it must have gone away, whoever it was.

[C]

Robot 1.

[A]

Close the door and bolted. Now, follow me, Robot 1. Follow me closely, for in just a few minutes we begin our Great experiment.

[B]

Doctor Giles, the hour is almost up.

[A]

Yes, just a few minutes more.

[B]

Think of that. That maniac sending down all this food. As though any of us could touch it. Do you suppose that if we make all the noise we can, somebody might hear us?

[A]

There's not a chance of that, Ms. Kalya. This basement is soundproof.

[B]

Well, we certainly haven't anything to lose. We might as well try it.

[A]

Here.

[B]

Each one take a tin cup. Hit them against the bars as hard as you can.

[A]

Everybody shout at the same time say, help. We're in the basement.

[B]

Ready?

[A]

Go. Help. We're in the basement. Help. We're in the basement.

[C]

Listen.

[B]

It's the robots. It's too late for any help now.

[A]

Go ahead, scream your heads off. No one can hear you. And guard robots. I'm going to bring Dr. Giles out of the cage. Now, you kill him if he tries to get away. Come, Dr. Giles. Place him on the steel table, Robot 2. I'll fasten his hands and feet.

[B]

Oh, I can't look. He won't feel anything. None of us will know. Electricity will stun him instantly. It's the only way the brain can be removed and still remain alive.

[A]

Oh, don't stand aside, robots. They're in a line. That's right. Now you won't be in my way. Every split second counts in this operation. Now we're ready. I'll pull the switch and. No, you don't. Professor. Who spoke? Who's there? It's the avenger, Professor.

[B]

Thomas St. Clair went dang. Why? I don't understand. Where is he?

[A]

Where are you, Avenger? How did you get in here? You can't see me, but I'm here, Professor. Here to see that you're brought to justice. Find him, robots. Find the Avenger and kill him. Kill the Avenger. Find him, robots. Professor. Giles. Giles, the Avenger is here. You ruin my experiment. Professor. Set me free. I'll help you. Yes, Giles, you must help me. I'll set you free. Help me, Giles. Help me find the Avenger. Must kill him. He mustn't ruin my experiment.

[B]

Dr. Giles, be careful. The robot's a broken glass case. The giant brain is free.

[A]

No. No. You robot fools. Look what you've done.

[B]

The brain is moving to other professors.

[A]

No. Robot. Help me. Dr. Giles. Dr. Giles. There's a robot behind you. Move to the corner. Where's the battery that controls these robots? It's over here. I think I can reach it. Giles. Giles. Help me. Pull this monstrous brain away from me. Can you reach the battery? Giles, quick, quick. One of these robots will stand. Yes, yes, I've got it now. There. Are you all right, Giles?

[B]

Yes.

[A]

Then unlock that cage and get those women out of there. Professor. Put the keys on the desk here somewhere. Here they are.

[B]

Well, I never thought I'd get out of here alive. Neither did I. Is. Is the professor dead?

[A]

Yes, the professor is dead. No one could save him from his own creation. The Professor's giant brain was just a boomerang. Giles. Yes, Avenger? Call the police at once. And when they get here, demonstrate how these robots work. Otherwise they'll never believe your story. Right. Sa.

[B]

Sam. Well, Knidvale is one town I'm glad to leave behind me, Jim.

[A]

I don't blame you, Fern. You had a pretty narrow escape last night.

[B]

The Avengers saved Dr. Jar's life by a mere second.

[A]

Jim, I got the first moment I could. Fernando, when you didn't return to Iser's place, I naturally became worried. But frankly, I never expected to find anything as fantastic as the professor and his giant brain.

[B]

Well, we can't say Harry didn't try to once.

[A]

Yes, he certainly did. And for once, the police and everyone else in Midvale will have to admit that the truth in this case was more fantastic than any story poor Harry ever dreamed up.

[B]

Jim, what will happen to those robots now?

[A]

Well, they're just so much scrap iron without those control batteries. And the piece have confiscated those.

[B]

What about the giant brain? What will happen to that?

[A]

It's being removed to the state research laboratory. Naturally, the brain is dead now. Within five minutes of being exposed to the air, it lost all its living properties. That would have been a great disappointment to the Professor.

[B]

I'm glad it's dead. It was the most horrible thing I ever saw.

[A]

You know, Fern, at one time Professor Rodano was a well respected scientist. It's a shame that he went mad and used his genius in the wrong direction.

[B]

He was mad, all right. Jim. Did you know that he sent us a delicious dinner of roast duck last night just before he came down to kill us?

[A]

No. And I suppose the thing that's worrying you now is that you didn't eat it.

[B]

Well, if I'd known how things were going to turn out, I could have done justice to that duckling.

[A]

Well, don't you worry your pretty head on it, Fern. I'll take you to Carlo's for dinner tonight.

[B]

Oh, wonderful.

[A]

I'm sure Carlos roast duckling is just as good as Radona's. And he doesn't reserve it for such special occasions. All Characters, names, places and plots used in the Avenger program are fictitious. Any similarity to persons living or dead is pre coincidental. This is a pot. A pot. A pot. Remember, Listen for another adventure of the Avenger.

[C]

Hearts of call. Beyond blue horizons, far at the world's end, strange, fascinating lands beckon us, bid us revel in their exotic splendors. Come with us as we head for port of call. High up in the Swiss Alps. The eternal snows of the Matterhorn and the Jungfrau, melting under the warm embrace of the summer sun, trickle down rocky slopes toward the distant Black Sea. Rivulet joins brook, brook joins stream to form the mighty Danube, the blue Danube whose swelling breast carries our little riverboat south eastward toward Vienna. Heart and soul of Austria, our port of call. Vienna. Gay, laughing, glittering Vienna has known much sadness since the World War. But in spite of the marching brown ranks of the Heimwehr and the never ending strife between communist and socialists, some of the old Vienna still remains. Laughter still rings through the twilit streets and across the tiny squares comes the lilting strains of a waltz. And after the last red ray of the setting sun has slipped off the towering steeple of St. Stephen's the Ghosts of Vienna's glamorous past thread through her storied streets. The brilliantly uniformed officers, the beautiful women of the court, fleeting nostalgic memories of the Vienna of the Empire, the Vienna of the Habsburg. The name of Hapsburg has dominated Austria's history for 700 years. But back in the 13th century, the house of Habsburg was merely one of the many warring feudal houses which made central Europe a constant battleground. Count Rudolf Habsburg, impetuous young nobleman, but recently returned from a sortie against the city of Basle, is interrupted in the banquet hall of his castle by the arrival of a travel stained messenger. My liege, a messenger has but just arrived from His Holiness the Pope. From the Pope. Have him brought in.

[A]

Yes, Sire.

[C]

Greetings, friends. Welcome to the castle of Hobsburgh. May you be seated? It is wine for my own vineyards and the haunch of a wild boar. I shot myself. My message is to one with whom I refuse to break bread. What is that? His Holiness. Your master will hear of his lackey's insolence. His Holiness will be pleased. His Holiness has heard of a more grievous sin. Have this prattling fool thrown in the moat. A messenger from His Holiness. A lying daughter.

[A]

Stop.

[C]

Stop. Hold your ground, Count Rudolph. Here are my credentials. The signet ring of the Pope himself. It is so, Count Rudolph. During your attack on the city of baal, your soldiers, with your permission, did enter holy ground, did pillage and burn a nunnery. It was not with my permission violence. Count Rudolph, here in my hand I hold the papal bull excommunicating you from the Holy Church, excommunicating you and your family and all who give aid and assistance to you. Take it and read, read it. Let's see if the man is truthful. Yes, read it. Ay, ay, it is true. And if one of you joins me, you too are banned. And on this very night I had planned that we gather according to the command of the Church for a war against the hordes of barbarians in the north. The Holy Father himself hath called us to this gift of save such a cause. We may yet go.

[A]

Yea, we go.

[C]

We too will be excommunicated. Hear me, my friend. I solemnly vow that from this moment hence I shall work only to convert the barbarians to the Church. I shall fight in this war if I have to go alone. And by my deeds I shall win absolution. I shall follow you, Rudolph.

[A]

And I.

[C]

It is our sin to expiate also. Ay, so it is. We shall follow you. To the last man. Rudolph's knights and vassals follow him to the war. For months they fight valiantly. Then one day on the battlefield, Rudolph receives a knight into his tent. My Lord, on every side the barbarians are giving way. Our crossbowmen have driven their right flank beyond the river. How many have you captured? In today's battle, we have taken nearly 5,000 prisoners. Have they received the sacrament to the Church? Even now the bishop is baptizing them, my lord. That is well, Count Rudolph. For more than six months we have waged this holy war. 50,000 barbarians have we converted into many lands. Has the gospel been spread? Great wealth have we brought to the Church. And to what avail? You have brought wealth to yourselves too, have you not? Wealth? It is not for wealth, but for the salvation of our soul that we are fighting. It is not within my power to grant you absolution. We can but pray that His Holiness will heed our devotion to the Church and have mercy upon us. What is this turmoil? A company of knights approaches, my lord. Stand aside, Guard. Stand aside, Rudolph. And to my lords, you are welcome. We may be welcome, Count Rudolph, but you're no longer welcome. Because we trusted you and followed you into this war. Our lands are being confiscated, our wives and children disgraced. As long as you are leader, absolution for us is impossible. Therefore, Count Rudolph, we Have decided to make you our prisoner and to return you to Habsburg to seek refuge where you can find it. Are you men or are you old women to believe every tale you have? We shall all gain absolution. See what we've done for the Church. No use. Our minds are made up. Se him, men, and bind him well. Yeah. Hark. Hark. What's that? A company of horsemen. They're drawing nearer. They're from the Noble House. See their plumes and banners waving? What device is on their banner? Can you see? No. Wait. Now I can see. The holy saints preserve us. What is it?

[B]

Speak, man.

[C]

It is the banner of the cross. A cavalcade from the Pope. The banner of the cross. What does this mean? Will spit boat further. Else if it does, you shall pay with your life. Rudolph. An envoy from His Holiness the Pope to Rudolph, Count of Habsburg. Rudolph of Habsburg no longer leads us. I, Count Leopold, am in command here. His Eminence the Cardinal can give this message to none but Rudolph. Where is he? I am Count Rudolph. What means this? He cannot go before His Eminence bound. Lose him. Unbind his arms. Will it please you to follow me, Count Rudolph? His Eminence the Cardinal awaits. Rudolph of Habsburg. A Holy Father sends blessings. He is well pleased with your valiant struggle for the Mother Church and so is disposed to lift the ban of excommunication against you and your vassals. Tomorrow at dawn I will give you mass. Received back within the Holy Church. Rudolph carries the cross and the sword through all of Germany, subjugating and converting the barbarians and then conquering his rival feudal lords. Victory follows victory until worn out by the indefatigable activity of this tireless young warrior, the defeated barons elect him Emperor. When the crown of the Empire settled upon Count Rudolph's head, the House of Habsburg assumed the position of dominance which it was to hold through seven centuries of European history. In the 18th century, the proud line of Habsburg fails to produce a male descendant. And for the first time, a woman. Beautiful Maria Theresa sits upon the dual throne of Austria, Hungary. The problems which face this frail woman, scarcely more than a girl, seem insoluble. We find her alone in her rooms in the castle, weary, tired, frightened.

[B]

Who is it? Your Majesty. May I come in? Anna. Of course. You're just the person I want to see. You're the only real friend I've ever had. My poor Maria. You look tired. Yes, Anna, I am tired. No one must know it. I have to find a way out. I can't let them think I'm Weakening. Is it really so bad, then? Desperate. The Duke of Prussia has already seized the Duchy of Saintia. The Elector of Bavaria claiming practically all of our empire. And the King of Spain plans to take our Italian state. We're like a flock of sheep surrounded by wolves. What has Frederick suggested? Surely he has a plan. Frederick is the best of husbands, but he never has a plan. And your counsel? My counsel actually blames all of Austria's misfortune on the accident of my being born a woman. They won't listen to me. Every suggestion I make is met with. It's impossible. Impossible. Men are such fools. It's too bad you aren't the clinging vine. Please help me, kind sir sort of person. But Anna, why? What earthly good would I be if I were? Exactly. But no man will admit a woman is smarter than he without hating her just a little. Anna, you jewel. Of course, you've shown me the way. But your majesty, I do not understand. You will. I believe by being a woman instead of a queen, I can save Austria.

[C]

Maria Theresa summons her council. When they have convened, she makes her carefully rehearsed entrance. Tall candles placed on both sides of the throne illuminate with faint light the beautiful queen. As dressed in deepest black, her gorgeous blond hair girlishly coiled about her neck, and carrying her youngest child in her arms. She seats herself an 18th century Madonna. A helpless young mother, a frail woman appealing in every look and gesture, every word, for the sympathy of her subjects. It is one of history's superb performances. Each man in the brilliant assembly feels that this dependent young woman is appealing to him alone. As Maria speaks.

[B]

Gentlemen, my friends, my protectors. We have called you here tonight not as a queen calling her court, but as a woman, a mother. A mother who would rather see her precious little ones cold in death than see them go to manhood and womanhood serving any other country but Austria. We are forsaken, gentlemen. I am helpless. I confess that I need you. I need your counsel and your advice. I need the strength of a man to face our enemies. I have not that strength. I must depend on yours. Were I a man, I would tell you to think only of the empire, to fear no enemy. To go to every province and every village and gather an army. I would tell you not to yield an inch, to protect your wives and your children with the last drop of your life's blood for the last gentleman. I am not a man. I am merely a woman who knows nothing of the complexities of state affairs. A mother who must depend upon your decision.

[C]

Gentlemen, we must not fail our queen. I propose that we raise an army at once. We must defend Austria. Long live Maria Theresa. Long live the Queen.

[B]

Thank you, gentlemen. Thank you.

[C]

Thus, by statecraft and stagecraft, Maria Teresa saved her empire. Securely established herself as ruler. And Austria, Hungary as one of the great powers of Europe. Napoleon's imperial eagle overshadowed Austria for a brief few years. And then Prince Martinique re established her glory at the Congress of Vienna. And paved the way for the illustrious and long reign of the Emperor Franz Joseph. When the youthful prince was crowned in Vienna, he was a frivolous young man who, although he nominally ruled Austria and Hungary, was actually himself ruled by his autocratic mother, the Dowager Empress Sophie. Still unmarried at 23, Empress Franz Joseph discovers that his mother has everything planned for him.

[B]

My son, it has been arranged that one week from today, my sister Ludoveka and her daughter Helene will visit us here at Ischel. You are then to ask her father for the hand of Helene in marriage.

[C]

Will Uncle Max bring along his zither to play sweet music while I do it? I remember that state banquet when he.

[B]

Franz, you must be serious. Helene is a pious, good girl. Not at all like her father. She is like her mother. My family.

[C]

How about the little one, her young sister? Will she be here? The one who told me she wants to be a circus rider?

[B]

Franz, be serious. They all four will be here. And you must ask for Helene's hand with good grace. My sister says that your Uncle Max and Elizabeth have promised to be on their good behavior. And so must you.

[C]

All right, Mother. I'll do as you say. It is a hot August day, and the Archduchess Ludewaker and Archduke Max, together with Helene and their youngest daughter Elizabeth, are on their way to Ischel by coach. Elizabeth and Duke Max are enjoying every moment of the bumpy ride. While Helene and her mother are very seriously concerned that the important mission that is taking them to the summer home of the Empress Sophie.

[B]

Well, Father, they never would have watered the horses without our help, would they? But look, Henry, I'm so. A most disgusting performance. Daughter, if you continue to behave like a common Gypsy. Home you go, regardless of your father's wishes. Oh, why can't you be like your sister? She would never make such a spectacle of herself. Would you, Helene? No, Mama.

[C]

Helene is going to be an empress. She can't afford doing enjoy herself.

[B]

Well, I can. And I wish you'd let Poppy bring his visitors so we could sing. Is this her? Here. Your sister is about to make the most momentous decision of her life and you and your father wish for a zipper.

[C]

Now, Mama, we promised to behave ourselves when we got to Ishel. But we didn't promise not to have a good time on the way.

[B]

See that you do behave yourself when you get there. And, Elizabeth, remember, you are to remain in your room. I only brought her along because you insisted. But she is far too young to join in the festivities. I hope I shall never grow up enough to go to their stuffy dinners.

[C]

You're quite right, Elizabeth.

[B]

Just look, Poppy, at those two, Helene and Mama. Helene is going to be Empress of Austria. Look at her face. Wouldn't you think she'd just eaten sour pickles?

[C]

Yes, and I don't think they agreed with her. That evening at isl, the state dinner proceeds with deadly decorum. Every amenity leading up to the formal request for the hand of Helene is being observed. Franz Joseph sits at the head of the table, an uneasy, unwilling victim of his mother's plans. Helene eagerly watches his face, tries to meet his eyes. Duke Max is about to crack with boredom when he sees the banished Elizabeth watching the stuffy procedure from the balcony. He calls to her. Elizabeth. Elizabeth, come here a moment.

[B]

What is it, Poppy? Mama will be angry.

[C]

Oh, let her be angry.

[B]

What did you want?

[C]

Just to catch a glimpse of your happy face. A ray of light in all this gloom.

[B]

It must be nearly time for Franz to ask you about Helene. She looks like a frightened thing.

[C]

I wish he'd do it and get it over with so we could go to the stables to see that new stallion. What are you staring at, Fran?

[B]

He is handsome.

[C]

He's looking at you too. And it's time he. He's coming over this way. My dear cousin Elizabeth. Will you honor me by a walk in the garden? I'm sure you'll excuse

[B]

me, But, Fran, they will be very angry.

[C]

Do you care? Oh, Elizabeth, why didn't they tell me? You're so beautiful, so lovely. Let me hold your hand.

[B]

Maybe the gypsy was right.

[C]

What gypsy? Where?

[B]

No, Poppy and I were in the country. A gypsy told my fortune. And she described someone. Prince Charming, she called him. I dream of him sometimes.

[C]

Look at me, Elizabeth. Am I not the one she told you of?

[B]

Why, Miss, you are.

[C]

And so, Franz Josef, for almost the only time in his life, openly defied his mother. In spite of her threats, cajoling and tears. He married the lovely Elizabeth six months later. Vienna is famous for its beautiful women, for its renowned medical men. For Sigmund Freud and psychoanalysis, it has given the world an adjective. Viennese the quintessence of gaiety and charm and joie de vivre. But most important, it has given the world music. The music which flowed from the hearts of its sons has enriched the lives of millions. The leader of Schubert, the symphonies of Mozart and the waltzes of Strauss. Johann Strauss, the waltz king who has made generations happy with his beautiful music, failed in his life to make even his family happy. Johan, his eldest son, he forbade to study music and it was only due to his mother's subterfuge that the boy pursued a clandestine musical education. At last, when Johann the Elder definitely broke with his wife, young Johann is faced with the necessity of supporting his mother and two younger brothers. Mother, I've been thinking that perhaps I should start an orchestra of my own.

[B]

But Johann, you are so very young. Can't you wait another year or two?

[C]

I've thought about it for a long while. Mother, you have worked so hard just to make ends meet. You have nearly killed yourself so that I might have my lessons. That are my brothers Joseph and Edouard to be educated. I can't sit idly by and see you work. I must take the responsibility from you. I'm 19. Why? At 19 my father was already famous. Don't you understand, Mother?

[B]

Yes, my son. Perhaps you are right.

[C]

I shall begin rehearsals tomorrow. Dharmar's Casino, which had tried unsuccessfully to engage the elder Strauss's orchestra, was only too happy to engage that of his son. The announcement set all Vienna talking. The bitter feeling between father and son was well known and the father still reigned as Vienna's favorite musician. Everyone was asking whether young Johann would do honor or bring shame to his father's name. As a consequence, on the night of Johan's debut, the whole of Vienna streamed toward Dharmayer's casino. Many had been present at Air Johan's never to be forgotten debut some 18 years before and had not wavered in their homage to their musical idol. The air is charged with intense excitement. The orchestra is filing in, taking their places on the platform. Where is young Johan? He's a duplicate of his father.

[B]

Yes, he has plain blue eyes and curly hair and superb figures.

[C]

Ral, is he coming?

[B]

You may say. Conveniently so, I imagine.

[C]

He need have no fear. No one can match him.

[B]

Ah, but this Johan is young and brave.

[C]

Perhaps. Perhaps, but it is not likely. There he is now.

[B]

Sam,

[A]

This is the sun.

[C]

Why doesn't his father take lessons from him? Sit down and have a piece of wine.

[A]

You're very kind.

[B]

Sit down.

[C]

I cannot stay tonight.

[B]

Please join.

[C]

My mother is waiting.

[B]

For me.

[C]

And I promised I'd be home shortly after midnight.

[A]

Yes, thank you.

[C]

Some other time.

[A]

I shall be glad to eat and drink with you.

[C]

Good night, Edouard. Joseph. My brothers. It was good of you to wait. But why are the tears in your eyes? Did I fail? Oh, you were splendid. Splendid, Johann. You're famous, Johann. It will mean rest and pretty things for our mother. Now she will not have to sew until she can barely see. It is for her. I am happy.

[B]

My boy. My boy. I can see from your face that

[C]

you have good news. It was magnificent, Mother. They cheered and clapped and would not let him go.

[B]

His playing bewitched them. So glad. So happy for you, Johan.

[C]

While the years brought Johann Strauss the younger increasing wealth, graduation and honor, Johann Strauss the elder was plagued by jealousy and fear. Fear that his son would usurp his place in the hearts of the people. Everywhere he went, he heard the boy's praises. There was nothing that could reconcile the two. None who could bring them together. None but death. One day, Johan receives a note. His father is dying and calling for him. I am Johan. My father. Come right in. Your father has been asking for you. He is very ill. Father. That you. Your hunt. Come a little closer that I may see you. So you disobeyed me. You became a musician in spite of all my warnings, all of my beatings. Well, you are a good one. And I am proud. Your work will live, Johan. Your work will live. It is but a poor imitation of your music. Father. You have always been my inspiration. All my life I've wanted to compose and play as you do. It is your music that will live, not mine. Father. But, Herr Strauss, why do you weep? Your father has been but a name to you.

[A]

You have not lost a father or even a friend.

[C]

I am not weeping for my father. I am weeping because the world has lost its greatest musician. But now our bags are packed. We must say a reluctant goodbye to Austria. We are not unmindful of the tragedy that war has brought to this once great land. But through her sadness, Austria smiles and her gay music loving heart beats with high courage. Auf Wiedersehen, Austria.

[B]

It's.

[C]

We invite you to join us again next week at this time as we journey to another of the world's fascinating ports of call.

[B]

Ra.