19 Nocturne Boulevard

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Atomic Julie - Beyond The Yellow Fog (pt1 of 8) By Emmett McDowell Sep 09, 2021

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A new 8 part series!

Chapter 1 - Gavin Murdock gets himself a berth on a venusian slaver ship with a unique spacedrive. But what is his secret motivation?

19 Nocturne Boulevard - Jack. In the Box. - Reissue Sep 03, 2021

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[transcript below] Reissue episode of the week! Jack. In the Box. Shortly after WWII, a crate full of parts appears on a young divorcee's doorstep. Can she and her young son figure out what it is and what it's for? ...And how will this affect the fate of the world?. Cast List Jack/Unit X-14 - Greg Porter Trudy Garfunkel - Julie Hoverson Timmy Garfunkel - Reynaud LeBoeuf Mrs. MacGruder - Marge Lutton Susan - Melinda Mains Col. Chutney - Richard Haviland Mockam - Cole Hornaday Pockam - Kim Turner Additional voices on the radio - Diana Haviland, Joy Jackson, Pat McNally Music: Kevin MacLeod (Incompetech.com) and Jonathon Roberts (jmtr.com) Recorded in conjunction with ART (American Radio Theater) Editing and Sound: Julie Hoverson Cover Photo: Kalyana Sundaram (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's an aging bungalow court apartment, can't you tell?" ************************************************************* This was an early comedy romance episode I wrote specifically with A-R-T - American Radio Theater - in mind. This was recorded with A-R-T in Marge's dining room. I would like to point out that the title is not "jack-in-the-box" but Jack[period] in the box [period]. It's a subtle distinction, but it does make it mean something a bit different. I also want to point out right away that the whole Chinese suspicion subplot was meant to be silly and a clue to how disconnected from reality Mrs. McGruder is, not serious. Keep in mind this was written ten years ago and set in the 1940s. I have nothing but disgust for any frickinh racists who are currently, in real life, harassing people of Asian descent, particularly the elderly. The transcript is on the page here, and you will note that the first couple of "radio shows" heard in the background in this episode are in the main script, but after that, they got too complicated to write in between lines and I moved them to the end so they could be recorded "of a piece". The shows are clear parodies of The Shadow, I love a Mystery, and Flash Gordon. This also marks the first appearance of Tunis the Unstoppable, whom I later used in Bingo the Birthday Clown. I realized recently that I haven't yet included the full text of the opening sequence of 19 Nocturne Boulevard in any of my transcripts. My apologies, and it will follow. It originally started out much longer, but I whittled it down until it was just the right length. Platinum Death Ray Forever! ******************************************************** 19 Nocturne Boulevard Opening VOICE: 19 Nocturne Boulevard CABBIE: Nocturne Boulevard? Not far. When you hit Howard, hang a right. Howard meets Philip at a weird kind of angle, then you cross James and Poe. You can't miss Nocturne, it's just past the Automat. VOICE: 19 Nocturne Boulevard, your address for suspenseful stories of the speculative, strange, and supernatural. [VOICE, or OLIVIA] Tonight's story is [title] [also might include warning about violence or language here] OLIVIA: Yes. This is 19 Nocturne Boulevard, won't you step inside? What do you mean, what kind of a place is it? Why it's a [episode specific location] ***************************************************** JACK. IN THE BOX. Cast: Trudy Garfunkel (F/30ish), divorcee, single mom Timmy Garfunkel (M/10), her son MacGruder (F/50ish), landlady Colonel Chutney (M/70), retired WWI colonel Susan (F/20ish), Trudy's co-worker Jack (M), a robot Mockam (any), an alien Pockam (any), another alien ON THE RADIO: Announcer Horse voice Ralph The Spook Thug 1 Thug 2 Jake Mack Frenchy Snap Harper Amanda Cool Tunis the unstoppable OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a run-down bungalow apartment court, can't you tell? SCENE 1. MUSIC CREEPY SCI FI AMBIANCE VERY ALIEN POCKAM The interview will be conducted in the unit's assimilated language. MOCKAM Report, unit X-14. JACK [very robotic in all scenes with aliens] Report. Earth viability as target for invasion-- MUSIC BREAK OLIVIA Oops. My mistake. Here's that bungalow court... SCENE 2. MUSIC A BIT OF MELODRAMA - VERY 40s AMBIANCE OUTSIDE. TRAFFIC NEARBY SOUND FOOTSTEPS ON GRAVEL. DOOR OPENS SLIGHTLY OFF. MACGRUDER [slightly off] Trudy? Trudy! SOUND FOOTSTEPS STOP TRUDY [sigh] Mrs. MacGruder. SOUND FOOTSTEPS SWIVEL IN GRAVEL TRUDY I'll have the rent on-- MACGRUDER [slightly off] Oh, no this is ... When? TRUDY Friday. Um, what, then? MACGRUDER [coming on] You got a package! TRUDY What? I didn't-- MACGRUDER I was thinking just that. What's Trudy Garfunkel doing ordering stuff--? TRUDY I didn't! MACGRUDER On her little government salary, and I knew she-- I mean, you-- wouldn't, so then I wondered if maybe it wasn't that deadbeat man of yours-- TRUDY He's not mine- he hasn't been for a long time-- MACGRUDER --Might have sent something for the boy, so I figured no harm in letting the movers into your place - I hope you don't mind - but I wanted to let you know before you walk in and trip over it or anything. TRUDY Thank you for the warning. SOUND FOOTSTEPS - BOTH OF THEM TRUDY You don't have to-- MACGRUDER I better go come along and make sure, since if I let it into your place and it turned out to be something dangerous, well I'd never forgive myself. On the other hand, I was just thinking it might just be a vacuum cleaner, so I was just thinking if it was a vacuum cleaner, then I would knock a whole dollar off your rent - each week - if you just let me use it. [gasps] TRUDY The box is that big? I mean big enough for a vacuum? SOUND FOOTSTEPS STOP MACGRUDER Lands sakes! You just have to get a gander at it! [beat] Well? Open it. SOUND A COUPLE OF ALMOST HESITANT STEPS ON STONE, THEN KEY IN LOCK TRUDY Did the movers say anything when they--? MACGRUDER Say anything? Well, I expect they did, but they didn't really seem to speak much English. Didn't worry me much though - they were big Italian looking fellers, not Chinese at all. SOUND KNOB TURNS TRUDY Chinese? Why Chinese? MACGRUDER Oh, I heard it on the radio just the other day, about the Chinese. Not sure what they said, but I'll tell you, you better check your laundry reaaal good. TRUDY [dubious] All right. SOUND DOOR OPENS. A COUPLE FOOTSTEPS, THEN PULLED UP SHORT TRUDY [gasps] MACGRUDER Didn't I tell you? TRUDY You said a box - I didn't expect a crate! How'd they get it through the door? MACGRUDER Crate. Box. I said it was big enough for a vacuum. TRUDY [joking] Or some Chinese. MACGRUDER You think so, too? Well, you better open it now - maybe this is how they plan to invade or do whatever it was the radio was saying about them. I'll stay with you while you do it, so that I can run back and call the army if they come popping out of there. TRUDY I really doubt it's a box of Chinese people. MACGRUDER You better check! SOUND SCRABBLING AT WOOD. TAPPING - SOUNDS PRETTY SOLID. TRUDY I don't know how to open it. MACGRUDER Here, I'll go and get a hammer. We'd better get this done quickly! TRUDY Yes, I'd rather have this sorted out before Timmy gets home. MACGRUDER [going off] Oh, well, that too - I was thinking that "Love of a Generation" will be coming on the radio real soon. TRUDY The radio. Tsch. [almost chuckling] Chinese. SCENE 3. MUSIC SPACE AMBIANCE SPACE SHIP MOCKAM Status of Earth readiness to hold off an invasion fleet? JACK The earth is fully prepared to repel all invaders. POCKAM What? We have seen no evidence--! MOCKAM Explain. SCENE 4. MUSIC 40s MELODRAMA SOUND SQUEAK OF NAILS AS CRATE LID IS PRIED OFF MACGRUDER What is it? TRUDY Let me get the lid off before you go jumping in - you don't want the nails to get you. MACGRUDER [sniffs] Well, it doesn't smell Chinese. TRUDY [takes breath as if to say something, then sighs] No. SOUND HEAVY LID FALLS TO FLOOR MACGRUDER Well, someone sent you a box of excelsior - sure it wasn't your ex husband? He seems the type to be making a big deal out of nothing. SOUND ROOTING AROUND IN PAPER SHREDS TRUDY Every belonging he ever had wouldn't fill this darn thing. No, the only time he remembers to send us anything is the occasional model airplane for Timmy's birthday - and they're always late. MACGRUDER You're better off without him. Just like Ermintrude on Romances of the Great White Way. She dumped a crumb who would-- TRUDY I found something! SOUND METAL CLANG AS SOMETHING IS PULLED OUT OF PAPER SHREDS MACGRUDER Well... It could still be a vacuum cleaner. TRUDY Here - set this down somewhere. MACGRUDER Hmph. Well, I can't be standing around here all day, and if there's nothing more in there but scrap metal-- TRUDY Aha! Papers! MACGRUDER Instructions? SOUND RIFFLE OF MANY PAGES TRUDY Um... Maybe. I don't think it's in English. MACGRUDER Lessee. I knew it! Chinese! SOUND TAPS PAPER SCENE 5. MUSIC SPACE AMBIANCE SPACE SHIP MOCKAM Which country or continent has the largest potential resistance force? POCKAM Who do we capture first, in other words? JACK [strange stuttering noise] Uh, uh, The main army is not that of any surface nation, but a hidden underground force-- POCKAM Explain! Underground? JACK The minions of Tunis the Unstoppable are counted in the millions. SCENE 6. MUSIC 40s MELODRAMA SOUND [off] DOOR SLAMS OPEN, FEET RUNNING IN TIMMY Hey mom! I'm starvin-- TRUDY [absently] Close the door. SOUND PAGES TURN TIMMY Whoa! What in Hi-ho Silver is that? TRUDY Huh? [coming out of it] Oh! Young man, I should make you march right back outside and come back in like a civilized human being, and not like a-- a-- TIMMY Bucking bronco? TRUDY No, that was last week. Um, a-- TIMMY Crazy apeman? TRUDY Fine. Like a crazy apeman. But I happen to be busy. TIMMY If-- TRUDY Ask like a-- TOGETHER --civilized human being. TRUDY [swallows a chuckle] TIMMY What is it, then, mom? It looks -- well--? TRUDY Honestly, I'm not sure. Grab yourself an apple in the kitchen, and come and help me find a part that looks like this-- SCENE 7. MUSIC SPACE AMBIANCE SPACE SHIP POCKAM [worried] Of what nation is this Tunis the unstoppable? Has he no enemies on Earth? JACK [sounding slightly human] He is the secret master of the world. His armies are legion. SCENE 8. MUSIC 40s MELODRAMA SOUND SQUEAKY. METAL PIECES BEING PUT TOGETHER. FINALLY SNAPS IN TRUDY There! [pause, sigh, gasp] Goodness! Look at the time! It's nearly dinner! TIMMY Ah, bananas! I missed the start of Ralph Richardson, Thug Breaker! SOUND SCRAMBLE ACROSS THE FLOOR. RADIO TUNING IN TRUDY Don't wanna keep me company in here while I get set to feed you? SOUND RADIO CRACKLE, WARMING UP TIMMY Oh, c'mon mom! Ralph just found the smuggler's lakeside warehouse, and then they caught him and tied him to a piling and the tide's coming in! SOUND RADIO MUSIC ANNOUNCER [very tinny] ...that's why Alfalfa-bet is your best bet for breakfast. Ask any horse what he likes and he'll say-- HORSE VOICE Alfalfa-Bet! ANNOUNCER And now, hear the creaking of the piling? SOUND PILINGS CREAK ANNOUNCER Hear the lapping of the incoming tide? SOUND TIDE LAPS ANNOUNCER But can we still hear Ralph? RALPH [A couple of manly grunts] TIMMY C'mon Ralph! You can get loose! SCENE 9. MUSIC SPACE AMBIANCE SPACE SHIP MOCKAM [suspicious] We have seen no evidence of this Tunis the unstoppable. JACK He is said to be an ancient sorcerer, who is capable of hiding his every movement. POCKAM That's ludicrous! Explain this title of Sorcerer! JACK One who manipulates the ether and the world around him through mental abilities, rather than the use of devices or scientific artifices. MOCKAM AND POCKAM [gasp] SCENE 10. MUSIC 40s MELODRAMA SOUND RADIO BACKGROUND The SPOOK Of course you could not see me, for I have the cloak of ancient darkness to protect myself! THUG 1 Oh no! THUG 2 You said it. He's got us. There ain't no way out. SOUND MUSIC SWELLS SOUND CLICK. RADIO OFF TIMMY Well, that's a fine how d'you do! TRUDY It's time for bed, and we've nearly finished putting this... thing... together. TIMMY I still say it's a robot! Look, arms, legs - everything. TRUDY A robot would look as silly as anyone else without a head. Up, up! TIMMY [moving slowly off] You'll look through the shavings again, won't you? See if there's anything else in the box? TRUDY Aye, Aye, captain. Now scoot! SCENE 11. MUSIC SPACE AMBIANCE SPACE SHIP MOCKAM Is this planet Earth very populated with these... sorcerers? JACK From my research, they are few but very powerful. POCKAM Bah! Even such as these cannot withstand our platinum death ray! SCENE 12. MUSIC 40s MELODRAMA SOUND [off] DOOR SLAMS OPEN, FEET RUNNING DOWN STAIRS TIMMY [off] Mom? SOUND FEET STOP FOR A SECOND, THEN COME ON RAPIDLY TIMMY [panicky, coming on quickly] Mom! Where'd it go? SOUND FEET SLIDE ONTO KITCHEN TILES, THEN SKID TO A STOP TIMMY I- I'm -- Whoops! TRUDY [very amused] Timmy, you should join us for breakfast. I would like you to meet... [considers] Jack. Jack [searching for a name] Box- Bocscome - Boscome. Jack Boscome. TIMMY Sorry to break in like this, sir. Mom. Um, pleased... to meet you? TRUDY [almost laughing] Well, shake his hand! TIMMY [whispered] He's not moving - is he OK? TRUDY [finally breaks down and laughs] Jack here? Why he's just peachy. SOUND SLAP ON THE BACK. SFX WEIRD MECHANICAL NOISES BEGIN. VERY LOW TIMMY What'd you do? TRUDY I just - I must have pushed his switch or something. TIMMY Oh! He's-- Oh! He sure looks ... real with a head and all. SFX WHIRRING, ETC., GETS LOUDER, THEN OUT JACK [very mechanical sounding] I am unit X-14. I am at your service. TRUDY Well, he looks real, but he don't sound it. SOUND [off] KNOCKING AT FRONT DOOR TRUDY [sigh] That will be Mrs. MacGruder, about the vacuum cleaner. Or the Chinese. TIMMY What vacuum cleaner? Huh? JACK Explain. What is Chinese. SOUND RAPID FOOTSTEPS TIMMY [fading out under] Oh, Chinese are folks who come from across the ocean and don't talk like us, and they cook good food... TRUDY [calling back] Timmy, make sure and keep Jack in the kitchen. I don't know WHAT Mrs. MacGruder would make of him. SOUND DOOR. UNLOCKING CHAIN AND BOLT. DOOR OPENS MACGRUDER So? Did you -uh - manage to ... uh? TRUDY It's just... Well, apparently it's Ken's idea of a joke. MACGRUDER I thought you said he wouldn't-- TRUDY It was all filled with random pieces of metal, and when I got to the bottom, there was a note from him. Tsch. He said it was supposed to be some sort of .... um, furnace... but it didn't even have all the pieces. MACGRUDER [suspicious] Why would he send such a darn fool thing? Your furnace here is fine, isn't it? I can always get Bob in to-- TRUDY No, no! Um, it was just that... the last time he bothered to stop by, we--we were living in a place with a dicey furnace. MACGRUDER [after a long moment] Man like that, you're better rid of him. TRUDY I'll see about selling the bits for scrap or something. MACGRUDER Take your time - you can always burn the crate and the shavings. [joking, going off] Save on your furnace worries... TRUDY [agreeing noise] SOUND DOOR SHUTS QUICKLY BUT NOT QUITE SLAMMED TRUDY Whew. SOUND HEAVY FOOTSTEPS APPROACH JACK Explain. What is a "Ken". SCENE 13. MUSIC SPACE AMBIANCE SPACE SHIP MOCKAM [sotto] We may need to reconsider the invasion plans. POCKAM [sotto] I do not agree- MOCKAM If these sorcerers can withstand our invasion-- POCKAM I think the information unit is faulty. MOCKAM That is impossible - the unit must tell the truth. That is its function. POCKAM It may not know the truth. I say we wait until the other units have been retrieved. SCENE 14. MUSIC 40s MELODRAMA SOU…

Full show notes at the publisher

Atomic Julie - Run, Little Monster! (Part 2 of 2) by Chester S. Geier Aug 31, 2021

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In a future ravaged by atomic war, a girl growing up on a farm realizes she has something special.

TW: tense scenes that could (but don't) turn into sexual assault.

19 Nocturne Boulevard - Within The Walls of Eryx - Reissue Aug 26, 2021

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[Transcript below] Adapted by Julie Hoverson from the short story by H.P. Lovecraft and Kenneth Sterling When Kenton Stanfield takes a job on Venus hunting for power crystals, he finds the hazards of the job too much to handle. Cast List Kenton Stanfield - Reynaud LeBoeuf Frederick Dwight - Cole Hornaday Marshall Miller - Pat McNally Dana Manners - Julie Hoverson Supply Clerk - Marge Lutton Recorder - Beverly Poole Music: Kevin MacLeod (Incompetech.com) Recorded in Conjunction with ART (American Radio Theater) Editing and Sound: Julie Hoverson Cover Photo: Julie Hoverson "What kind of a place is it? Would you believe it's a mining colony on the steamy jungle planet we call Venus?" ___________________________________________________________________ Within the walls of Eryx Adapted by Julie Hoverson from the original story by H.P. Lovecraft and Kenneth Sterling. This was the second story I ever tried to adapt - the first one I did as an audio drama. I had previously adapted The Thing on the Doorstep into a short film script - which I much later rewrote into an audio drama, and that will come up when it comes up. This one was also one of the original ten episodes I put together for the series. You can see, I was starting with an easy writer to adapt.... H.P. Lovecraft. HAH! Since then, I have actually adapted a LOT of Lovecraft, and one of the reasons his writing is so hard to translate into other mediums is that much of his genius is in his actual use of words, and unless you quote his long descriptive passages word for word, you lose that. And if you do quote large chunks of it, you might as well just make an audio book. I try and walk a fine line. As an aside - I know the title of the story is actually "IN the Walls of Eryx", but that always bothered me as being incorrect - the RATS are IN the walls (in the story The Rats in the Walls). These guys are WITHIN the walls - between the actual walls, you know? In the Walls of Eryx was one of HPL's many collaborations and rewrites. Little is known of Kenneth Sterling, the high school student and aspiring writer who sought Lovecraft's help, but he was clearly a sci fi fan - Eryx is unusual among Lovecraft's works as being a pure scifi story, with very little horror or mythos or mythical background to it, even if Lovecraft is generally credited with a complete rewrite and expansion of Kenneth's original idea. In the 1930s, when this was written, a common sci fi trope was that Venus was a steamy jungle planet, often populated by some lizardy species, and it appears as such in this story. The other details are fairly unique to Eryx. Since the original story was all one man's report, technically written out, I had to pull scenes from his story and create them, and the characters in them, from whole cloth. Not to mention adding somebody - "Miss Manners" - he could report in to throughout the story, to add some audio texture when Kenton was technically out on his own, as well as the voice for his "recorder" unit, which also functions as a sort of encyclopedia, and helps break up the heavy data dump of "this is how Venus works". Perhaps the weirdest thing to try and portray in audio is the very "visual" presence - or absence - of the walls themselves. A maze of invisible walls. Or the native Venusians - whose weird cries were originally geese, if I remember correctly. I think I slowed them down and ran them backward, or something like that. I also chose to tell this story vastly out of order, to give a sense of foreboding from the very start, as the audience hears how bad Kenton is doing, winding down, but still without giving away how it will ultimately end. To make the time shifts clear, since they happen throughout the story, I created three different background ambiances for his log entries - since they have no other point of reference - each with his breather machinery getting a bit clunkier and running down. Beyond that, everything rested heavily on Reynaud LeBeouf, the actor playing Kenton, to create the stages of the character's downward spiral. We did record each set of scenes separately, out of order, essentially, so all the chatty beginnings were all at once and the weak and wearied end at the end. Rey is one of my core group of go-to actors, and you'll hear him a lot in 19 Nocturne Boulevard. This was also recorded with the help of A-R-T - American Radio Theater - and many of the actors in it were part of that group. A-R-T is a group of old time radio enthusiasts who focused on re-creating old episodes and working on the occasional newer play. Having been part of the group for years before I began 19 Nocturne Boulevard, I featured various actors from A-R-T in a number of my episodes. _______________________________________________________________ WITHIN THE WALLS OF ERYX Cast: Kenton J. Stanfield (M/25), space prospector Frederick N. Dwight (M/30), space prospector Marshall Miller (M/40), commander Dana Manners (F/30), contact at control Supply Clerk (any) Recorder, mechanical voice (any) OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Would you believe, it's a mining camp on the steamy jungle planet we call Venus? NOTE: "AMBIANCE" CUES ARE FOR BACKGROUND SOUNDS THAT CONTINUE THROUGHOUT EACH SCENE. THEY ARE DETAILED AT THE END OF THE SCRIPT MUSIC SCENE 1. KENTON'S LOG AMBIANCE LOG 5 KENTON [filter, weak] Venus month 6, day 14, nighttime. Kenton J. Stanfield. Perhaps my final report. [rasping bark of almost laughter] My fifth whole day. Canteen went dry at noon. Food tablets not dangerously low... yet. Chlorate cubes are my real worry. I feel...weak from my forced economy in oxygen, and from my constantly mounting thirst. MUSIC SCENE 2. MINING BASE SOUND TWO MEN WALK IN A FACILITY KENTON [hale & hearty] You're still using Carter oxygen units? But they're so darn heavy! MILLER Budget's god around here, kid. You'll see. We're not funded like the government. KENTON A Dubois mask isn't that much more, and does the job at half the weight. Saves on chlorate cubes, too. MILLER Just figure how much "not much more" IS when multiplied by over a hundred prospectors. If you last up here, you can always get yourself a Dubois. [chuckles] Once you start making the big bucks. KENTON The way you say that... MILLER Oh, it happens. Just not that often. MUSIC SCENE 3. KENTON'S LOG AMBIANCE LOG 5 KENTON [filter, weak] I do not know the time. It is dark. There is something damnable... something uncanny... about this labyrinth. I could swear that I had eliminated certain turns through charting, and yet each new trial belies some assumption I had thought established. Never before did I realize how lost we are without visual landmarks. MUSIC SCENE 4. JUNGLE SOUND SLIGHT, RHYTHMIC BEEPING CONTINUES UNDER ENTIRE SCENE [crystal detector] SOUND [FILTER] CRACKLE OF RADIO INTERFERENCE INTERMITTENT THROUGHOUT. DANA [filter] Hey greenhorn! This is your contact, Dana Manners, speaking. [chuckle] That's Miss Manners, to you. You got me for a glorious half hour. KENTON What? Why only--? DANA [filter] Don't none of you boys ever crack a manual? [quoting] "The company's only rebroadcast orbiter is a" - well, it's a dang fast critter - so it "provides a window for one half hour approximately every six hours for each sector." And that's your first five minutes. Care to waste some more, or you plan to make some kinda report? KENTON [chuckling] Sorry! OK, my coordinates-- SOUND different beeping [pocket recorder] DANA [filter] Good-Ness. Did you bring your blankie, too? All that boring info is sent up automatic-like. KENTON [worried] But... my log, too? DANA [filter] [pause, prolonging the agony] Nah, takes too much juice. This way, you get to edit out all your little personal comments and naughty little secrets before handing it over for archiving. KENTON [relieved] Oh. Good. DANA [filter] So you one of those boys who grew up just panting to work on Venus? KENTON Actually, I wanted to be a writer. Venus just pays better. Now it seems like I-- DANA [filter] --got hustled out of the base the minute your feet touched the sweet soggy ground? Y'ain't the first. "Here's your mask, grab your suit, what's yer hurry?" KENTON Pretty much. MUSIC SCENE 5. KENTON'S LOG AMBIANCE LOG 5 KENTON [filter, weak] ...Continued. The effect of all these fr-fruitless wanderings is one of profound discouragement. I can understand how poor Dwight must have felt. His corpse is now just a skeleton, and the sificlighs and farnoth-flies are gone. MUSIC SCENE 6. MINING BASE AMB CANTEEN, EATING MILLER It's all about the crystals, kid. You read the manual? KENTON Well... MILLER You had an entire rocket trip and--? KENTON [sheepish] Well... There was this poker game-- MILLER [oh lord!] Save me from greenhorns with less sense than kittens! That book could have saved your life, you know. KENTON Well, I figured there'd be time-- MILLER There's never enough time. Men who can withstand the strains of crystal hunting here on Venus are few and far between. Most - like yourself - last no more than three trips. KENTON What makes you think--? MILLER Prove me wrong. DWIGHT [off mike] Hey! Miller! MILLER See that? Now there's a guy who knows his beans. DWIGHT [coming closer, gloating] Miller! Read it and weep! SOUND paper FLOURISH. DWIGHT Twenty-three carats! MILLER Twenty-three? That's-- DWIGHT Right there in black and white. Beat that! MILLER [to Kenton] Kenton, this is Dwight - Fred Dwight, one of the brightest stars of the Terra Nova Corp. DWIGHT The brightest star. Ken, is it? Well, Ken, there ain't no one else out there's netted as many total lifetime karats as me. Over seven hundred. KENTON Oh. Um, I don't-- MILLER Kid skipped the manual. DWIGHT Pfah. OK, it takes about 20 karats to power, say the entire city of Chicago for a year. Shoot, by my calculations, I've kept the entire eastern seaboard lit for the last five! MUSIC SCENE 7. KENTON'S LOG AMBIANCE LOG 4 KENTON [filter, tired] Nightfall. There is nothing to do but persevere. Dwight would have got out if he had kept on a minute longer. It is just possible that somebody from Terra Nova will come looking for me before long, although this is only my fourth day out. MUSIC SCENE 8. SUPPLY OFFICE SOUND OBJECTS BEING BROUGHT OUT AND SET DOWN SUPPLY CLERK Suit fit OK? Last chance. KENTON Feels fine. MILLER With the tropical atmosphere out there, you better be sure - five days is a long damn time to chafe. KENTON [chuckles] I understand. I'm sure. So my tour is five days? MILLER To start with. You remember Dwight? Now there's a long-hauler. Does about 2 months - earth months, 60 days - on most trips. SUPPLY CLERK Food tablets. One week. SOUND BOX being set down. MILLER But then, he's been Cytherean for over a decade. KENTON Cytherean? MILLER Means "of Venus" to us long-timers. We feel "Venusian" sounds too damn silly after all the crummy movies. SUPPLY CLERK Breathing unit. SOUND larger box KENTON Cytherean. Got it. MILLER Dwight's practically one of the locals. You seen them yet? SUPPLY CLERK Chlorate cubes. One week. SOUND another box KENTON Only pictures - now THAT part of the manual I did look over. [shudder] Creepy little buggers, aren't they? MILLER Little? Ken, Ken, Ken. [sigh] You didn't look hard enough - on average, the lizard-men run seven feet tall! KENTON Holy--! SUPPLY CLERK Recording unit. SOUND box MILLER Don't worry too much. They're-- well, they're not harmless, not by a long chalk, but they're... manageable. KENTON So those...tentacles they've got for arms...? SUPPLY CLERK Crystal detector. SOUND box. MILLER Arms, legs, tongue, who knows what they are - Yup, four or five feet long on some of them. We call them lizard-men, what with the greenish, scaly skin and all, but they're not really like anything back home. KENTON [awe] Seven feet tall... SUPPLY CLERK Flame pistol. Fully charged. SOUND box. MUSIC SCENE 9. KENTON'S LOG AMBIANCE LOG 4 KENTON [filter, tired] Four days out. I think. I am resolved not to hasten matters as Dwight did. His grinning skull has just turned toward me, shifting by the groping of one of the scavengers that are picking him over. The ghoulish stare of its empty eye-sockets is worse than the tentacled onlookers that stand gloating around the invisible barrier laughing at me. Another day and I shall go mad, if I do not drop dead from exhaustion. MUSIC SCENE 10. JUNGLE SOUND strong, rhythmic beeping THROUGHOUT SCENE [crystal detector] KENTON You still there, Miss Manners? DANA [filter, very crackly throughout] Just another coupla minutes. What's your beef? KENTON I've got a reading on my crystal detector - looks like a big one. DANA [filter] Them things ain't reliable for size, just direction. Could be just an itty bitty one, real nearby. KENTON Well, what's the terrain like due, um... SOUND beeping gets slower, then picks up again AS HE TURNS KENTON North, I think, of my current position? DANA [filter] North? [prolonged crackle] --Erycinian highlands-- [crackle] --last known position of-- SOUND crackling. CLICK - radio turned off. KENTON Great. On my own again. Recorder? RECORDER [filter, mechanical voice] Ready. KENTON Erycinian highlands? RECORDER [filter] A plateau mapped by Matsugawa from the air fifty years ago. Designated 'Eryx' One of the few areas of any size on Venus noted for a lack of vegetation-- KENTON Off. Lack of vegetation? That'll be a relief. Anything to get out of those rubbery creepers and overhanging fronds. MUSIC SCENE 11. KENTON'S LOG AMBIANCE LOG 3 KENTON [filter, normal] Month 6, Day 12, my third day out. Afternoon. In less than an hour, I saw that the jungle growths were thinning out, and by five o'clock - after passing through a belt of tree-ferns with very little underbrush - I emerged on a broad plateau. My progress now became rapid, and I saw by the wavering of my detector-needle that I was getting closer to the crystal I sought. MUSIC SCENE 12. KENTON'S LOG AMBIANCE BAR - MAINLY MALE VOICES MILLER Some brainy types insist they're intelligent. DWIGHT The lizzies? [dismissive] Screwballs. KENTON Well, they build cities-- DWIGHT Anthills. Beehives. And we don't try to make treaties with bugs, do we? Hmm? KENTON But they talk... don't they? MILLER That's been debated for years. There seems to be some pattern to the tentacle movements-- DWIGHT Yeah, and bees dance. I've been out there longer than just about anyone, and they're nothing but a damn nuisance. MILLER A religious nuisance. DWIGHT So they worship the crystals. Big deal. They can't use 'em - don't even know they do anything more'n glow. If we wanna change things, we got about two real choices-- MILLER [ironic] Try and civilize them, like we did with everyone back home? DWIGHT Nah - they're way too primitive for that. I say we either gotta cage 'em up like the animals they are-- MILLER We've tried THAT one before, too. DWIGHT Or we can just blow em all away. Why not? They're not decorative, useful, or even edible. They don't do ANYTHING worth keeping 'em around. MUSIC SCENE 13. KENTON'S LOG AMBIANCE LOG 4 KENTON [filter, tired] Note to self. Um, day - fourth. Fourth day. I racked my brains with speculations regarding the material, origin, and purpose of the strange edifice. That the hands of men might have reared it, I could not for a moment believe. Human knowledge does not include any perfectly transparent, non-reflective solid such as the substance of this building. Did a forgotten race of highly-evol…

Full show notes at the publisher

Atomic Julie - Run, Little Monster! (part 1 of 2) by Chester S. Geier Aug 24, 2021

Show notes

In a future ravaged by atomic war, a girl growing up on a farm realizes she has something special.

TW: tense scenes that could (but don't) turn into sexual assault.

19 Nocturne Boulevard's THE THRICE TOLLED BELL - Reissue Aug 19, 2021

Show notes

Reissue of one of 19 Nocturne's earliest episodes (from October 2008). Includes notes from Julie about the history and making of 19 Nocturne Boulevard. (transcript below cast list) THE THRICE TOLLED BELL (TW: Insensitive archaic references and representations of people who might be in a "sanitarium".) An homage to classic Hammer films. Cast List Dracula - Bryan Hendrickson Van Helsing - Rick Lewis Wallace - Gene Thorkildsen Dr. Pettigrew - Michael Faigenblum Miranda Locksley - Rhys Torres-Miller Dr. Trevalian - Mathias Rebne-Morgan Mrs. Farge - Molly Tollefson Gorvi - Joel Harvey Britt - Julie Hoverson Nurse - Krystal Baker MUSIC All works composed by Harlan Glotzer (© 2008) [BMI] {harglo@gmail.com} Concertina - Harlan Glotzer Violoncello - Rachael Beaver & Tracy Hagen Toy Piano - Dana Wen & Roger Nelson Clavichord - Dana Wen Toy-Box Trio (http://www.myspace.cpm/toyboxtrio) toyboxtrio@gmail.com Voices recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound: Julie Hoverson Assistant Director: Reynaud LeBoeuf 19 Nocturne Theme Music: Kevin MacLeod (Incompetech.com) Cover Photo: Vickie Mathews (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's an Edwardian insane asylum, can't you tell?" __________________________________________________ THE THRICE TOLLED BELL intro This was one of the first ten episodes of 19 Nocturne Boulevard that I made and put out, back in late 2008. I can't recall, specifically, what order I made them in. I've mentioned previously that Brokensea audio hosted a new spooky episode every day in October for a big spooky month event, and several of my first batch of episodes debuted during that event. But this episode, in particular, is literally attributable to Bill Hollweg, the master of disaster of Brokensea, he who will ever be missed. In the couple of months leading up to the October event, he posted a challenge to all comers, to write him a script with the following parameters: It must be in the style of a Hammer Studios Dracula film (the 1960s-70s classics that starred the mesmerizing Christopher Lee); It may only include Dracula and Van Helsing (no other Hammer standard characters or monsters); and It must include a broken bell, a wooden leg, and use the line "It's never done that before!" ...To the best of my memory, anyway. So I sat down and wrote The Thrice Tolled Bell, but then didn't want to give the script up to anyone else! I don't recall if he had any other entries, but Bill took it all with a roaring laugh and loved what I made. I loved including the stock types of characters - the lunkheaded servant; the straight-laced housekeeper; and the sexy chick played by (in this case) my best Britt Eckland voice. I even snuck in an obviously semi-nude scene, just because I could, and it fit the genre. This was also my first attempt at commissioning music, since for once I couldn't find *quite* what I wanted among the massive catalog (even back then) of Kevin MacLeod of Incompetech.com, who I can never thank enough for what he makes available for beginning and not for profit storytellers of all kinds. I don't recall much of the process, but I got one piece of music that I used bits of throughout and it was quite effective. When I was casting this piece, I still had a limited pool to draw from, since I was trying to stay local and work mainly with people I could actually direct in the studio. One of my actors, Beverly Poole, was still in high school, and the doctors in this piece were some of her classmates. But I needed the right voice for Mrs. Farge, the irascible housekeeper. I was still seeking when I went to Beverly's school play Twelfth Night (which did a lot of gender cross casting, and Beverly played Malvolio to extreme hilarity), and the voice of Fabian (pretty sure that was the role) struck me and after the play I caught up with Beverly and shouted (well, not shouted, but it was excited and urgent) "Bring me that voice!" and Molly Tollefson was recruited, accent and all. I've never cared much for auditions. Either doing them or holding them. It's just me. I'd always rather grab an actor I've heard, or recruit someone from a show I like than have to evaluate from a bunch of recorded voices. Plus, I hate being "mean" and having to turn everyone else down. ____________________________________________________ SCRIPT THE THRICE TOLLED BELL (an homage to Hammer Studio horror films) TW: disrespectful references to sanitarium patients and a "halfwit" character, in keeping with the time the script is set as well as the general character types of the Hammer Films franchise. ...also nudity. Cast (All various British accents except Dracula): Dracula (M), immortal vampire Van Helsing (M), Vampire Hunter Dr. Michael Pettigrew (20s/M), new head of the asylum Miranda Locksley(20s/F), Pettigrew's nurse/fiancée Mrs. Farge (30s/F), housekeeper Gorvi (30s/M), trustee Wallace (40s/M), cheery orderly Dr. Trevalien (40s/M), rival Britt Mecklin (20s/F), hapless blonde Nurse (F any) OLIVIA What do you mean, what kind of a place is it? Why, it's an Edwardian asylum, can't you tell? MUSIC SOUND HEAVY DOOR CRASHES SHUT SOUND FOOTSTEPS - ONE SET LIMPS ODDLY WALLACE Right through here - sir, miss. Now this is one of the saddest cases we have, sir, truth be told. Once he was the finest psychiatric mind in Europe - perhaps even the world. MICHAEL Always tragic when a good mind snaps. The same fire that feeds genius also devours and leaves madness in its wake. WALLACE Yessir. MIRANDA What sort of madness does he suffer from? WALLACE Miss? I dunno that I should-- MICHAEL Go ahead, Wallace. Miss Locksley is not merely my fiancée, but a very competent and highly trained psychiatric nurse. We will be working in tandem to try and bring my late father's asylum into the 20th century. MIRANDA [sadly] From what I've seen, it will take quite some doing. WALLACE [stiff] Sir, I dunno 'bout that, but your father was a very good and brilliant man - though the last ten years or so, since your mother died, begging your pardon, sir, he seemed to lose interest in everything. MICHAEL Did he - not even treat the patients? WALLACE He left much of that in the hands of Dr. Trevalian. MICHAEL Why did he not send for me? I could have spent my residency here instead of in Budapest. I could certainly have learned as much from father as I did from Dr. Bulovic! WALLACE Sir, if you don't mind me speaking above me place, I think your father - well, he didn't want you to see him... like that. MICHAEL But I might have been able to help him! WALLACE I don't think naught could have helped him - not at the end, there. MICHAEL [British agony] He should have sent for me. MIRANDA Dearest. He did what he thought was best. I'm sure your father thought very highly of you - otherwise, why should he have left this institution under your care? MICHAEL Of course, you're right. [condescending] Always the practical one. MIRANDA One of us needs to be, and you must save your energy for the needs of the patients. MICHAEL Well, show us this paragon, Wallace. WALLACE Sir? MICHAEL The doctor you say was so sadly struck down. WALLACE Oh, yes sir - sad it is to see great men crumble. SOUND KNOCK ON HUGE IRON BOUND DOOR WALLACE Herr Doktor? Young Doctor Pettigrew wishes to speak with you. VAN HELSING [muffled, behind the door] Enter. WALLACE Ah. Here we go, then. SOUND OPENING LOCKS AND BARS ON DOOR WALLACE Dr. Pettigrew, Miss Locksley-- [ta-da!] Doctor Van Helsing. MUSIC GORVI Gorvi done mopping. Gorvi eat now? MRS. FARGE Tis not dinner time yet, ye pillock. Yer s'posed to muck out the barn t'make room for that motorcar the new head brought wi' 'im. GORVI Mo-to-cah? What is mo-to-cah? MRS. FARGE An engine of Satan. If god had wanted us to speed about in great smoking heaps of metal, he wouldn'a made horses. GORVI [wail] Gorvi hungry! MRS. FARGE Off wi' ye! I've no time for this today - must have everything ready for inspection by the new head. And here's hoping he doesna choose to sack us all. Shoo! SOUND GORVI LEAVES - HEAVY FOOTSTEPS, RICKETY DOOR OPENS, CLOSES AMBIANCE OUTSIDE BRITT [off, barely audible, singing] When that I was and a little tiny boy-- GORVI [leering chuckle] SOUND FOOTSTEPS ON GRASS SPEED UP GORVI Pretty pretty britty. Pretty... golden... BRITT With a hey-ho, the wind and the rain-- SOUND FINGERS SQUEAK ACROSS GLASS, TINY WINDOW SLIDES OPEN - SINGING IS NOW CLEAR, WITH SLOSHING OF WATER, BATHING GORVI Oh-ho! BRITT A foolish thing was but a toy, for the rain it raineth every day... GORVI [smothering his delighted chuckles] SOUND DRIPPING AS A LEG IS RAISED OUT THE WATER. BRUSH SCRUBS BRITT Hey-ho, the wind and the rain, for the rain it raineth every day... GORVI [Bursts out with a shriek of delight] BRITT What? [gasps] Oh no! SOUND HEAVY FOOTSTEPS RUNNING ON GRAVEL GORVI [breathing heavily] No scream, no scream. Gorvi not bad. No scream, pretty Britty. SOUND SHIFT TO INSIDE BRITT [screams piercingly] SOUND [INSIDE] DOOR OPENS, FEET RUSH IN NURSE What is it miss? BRITT Someone was looking at me! A man! NURSE [condescending, fading out] Of course. Don't you worry. We'll sort it all out... SOUND SHIFT TO OUTSIDE SOUND GORVI RUNNING GORVI [panting with exertion] SOUND OPENS HUGE OLD DOOR, RUNS IN MUSIC MICHAEL After Wallace's admonitions, this is hardly what I expected. VAN HELSING I am quite aware of my condition, my dear doctor Pettigrew. You're fortunate enough to catch me on a good day. MICHAEL Perhaps you would indulge me with your own diagnosis? VAN HELSING Simple, really. Bouts of severe depression, which, I am ashamed to admit, I... treat... unsuccessfully... with over-use of alcohol. MICHAEL Dipsomania? VAN HELSING I would consider it more a symptom than a core disease, but you understand how difficult it is to be objective. MICHAEL I appreciate your frankness. MIRANDA I trust you are comfortable here, doctor - this is hardly a typical cell. More like a suite in an expensive hotel. VAN HELSING Dr. Pettigrew - the elder - was very kind, and understood that reading... helps me to ...moderate... my humors. MICHAEL If only more patients could respond to such simple, constructive therapies. [chuckles] VAN HELSING [slight chuckle, indulgent] MIRANDA The human mind is a fabulous, complex organ. VAN HELSING It is amazing. MUSIC AMBIANCE ECHOEY ROOM - ABANDONED CHURCH GORVI [muttering] Pretty pretty. Gorvi likes pretty golden Britt. [heavy sigh] Britty no like Gorvi. Gorvi only look. DRACULA [creepy echoey voice] Do you want her? GORVI Who... is there? Please? DRACULA [creepy echoey voice] Help me, and I shall help you in return. GORVI Where are you? Gorvi is alone? DRACULA [creepy echoey voice] Return later and bring a shovel. I shall show myself. GORVI You - new doctor? DRACULA [creepy echoey voice] Do you want this pretty Britt you long for? GORVI Oh, want! [licks his lips] Yes. MUSIC AMBIANCE DINNER NOISES SOUND LARGE PLATTER SET DOWN MIRANDA [cold] Thank you, Mrs. Farge. SOUND FOOTSTEPS TAP AWAY MIRANDA [anxious] Are you certain you want to do this, Michael? I realize your father-- TREVALIAN They expect it, even look forward to it. Besides, they should be given the chance to meet the two of you. You needn't worry, it is only the most stable of the inmates. SOUND FEET RETURN MRS. FARGE [announcing] Miss Mecklin. TREVALIAN Miss Locksley, Dr. Pettigrew, may I present Miss Britt Mecklin. BRITT Pleased to meet you, Doctor. Miss Locksley. MICHAEL Charmed. MIRANDA Lovely. TREVALIAN Will you have a seat? SOUND CHAIRS SHIFT AS HE SEATS HER, THEN THEY SIT MIRANDA It would be somewhat indelicate to discuss cases during dinner. There will be time tomorrow to familiarize ourselves-- MICHAEL Of course. BRITT I have nothing to hide. I have come to realize that it is only in my subconscious that people watch me. Understanding it is all in my head does not stop it from frightening me, but makes it more bearable. MICHAEL [reassuring] We shall work on that. MUSIC AMBIANCE STORMY NIGHT OUTSIDE ECHOEY STONE ROOM SOUND SQUEAKY DOOR OPENS, GORVI'S FOOTSTEPS GORVI Gorvi brings shovel! DRACULA [creepy echoey voice] Have you light? GORVI Gorvi have a candle. DRACULA Do you see the bell? GORVI Bell? DRACULA The bell. You must move the bell. GORVI No bell. Gorvi see no bell. DRACULA It is metal. It is large. Move it, or I shall unleash the fires of hell upon you! GORVI Ahhhhh! SOUND SHOVEL CLATTERS TO FLOOR, FEET RUN, SLAM MUSIC SOUND WATER INTO METAL TUB. DISHES BEING WASHED SOUND DOOR SLAMS OPEN MRS. FARGE Don't you dare--! [surprised] Oh! Lucas! TREVALIAN Lena. I simply couldn't take it any more. Having to kow-tow to that ... boy doctor and his miserable cold fiancée. MRS. FARGE Lucas. You shoulda been put in charge! TREVALIAN I know. [snarl] Blood runs thick. MRS. FARGE Dr. Pettigrew shouldna've looked over yuir years o'loyalty - Yuir unstinting devotion! TREVALIAN There's no time for that now. We must bide and see what they decide to alter -- SOUND BACK DOOR SLAMS OPEN, GORVI RUNS IN MRS. FARGE What the divvil is wrong with ye, y'idiot? Running about in the rain like a madman! TREVALIAN Calm yourself, Lena. MRS. FARGE Tis easy for ye to be charitable. Ye dinna haveta squeeze work outta him like blood from a turnip. Turnip! That's what y'are! GORVI Gorvi not turnip. Gorvi scared. TREVALIAN What frightened you? MRS. FARGE [over her shoulder] Perhaps a slight breeze. TREVALIAN Shh. Gorvi, tell me everything. MUSIC SOUND VAN HELSING'S DOOR UNLOCKS, OPENS VAN HELSING Right on time. WALLACE 'Ave I ever missed? SOUND DOOR SHUTS, WOODEN LEG FOOTSTEPS WALLACE Were it a good idea, d'yer think, to tell them you was an alcoholic? VAN HELSING I needed a reason for my presence here that wouldn't require overmuch explanation. Speaking of spirits, have you--? WALLACE [chuckling] 'Course. Would I let yer down? SOUND SITS. ODD, HEAVY UNSCREWING NOISE VAN HELSING Your thoughts on the new administrators? WALLACE Well, 'e'll never 'ave an 'appy life, not wit' that one. She's cold, and no mistake. VAN HELSING Truer words were never said. WALLACE 'Ee seems... well-intentioned... but I don't see 'ow you'll be able to tell 'im much. Not wi'out proof. SOUND BOTTLE PULLED OUT OF WOODEN SHELL WALLACE And there y'are. Better use for me wooden leg, I'll never know. [hinting] 'Cept the one... SOUND BOTTLE OPENS VAN HELSING Care to stay for a game of chess before you strap it back on? WALLACE Don't mind if I do. MUSIC AMBIANCE STORMY NIGHT GORVI There door. Gorvi no go in again. TREVALIAN In the old chapel? Dr. Pettigrew always insisted it was on the verge of falling in. [sigh, to Gorvi] Not safe. No go in. GORVI He say Gorvi move bell. He yell at Gorvi. TREVALIAN Poor halfwit. TREVALIAN Run along back to the kitchen, Gorvi. No need to wait out here in the wet. GORVI Doctor be careful! TREVALIAN Of course. Go on. SOUND GORVI RUNS OFF SOUND SQUEAKY OLD DOOR OPENS TENTATIVELY TREVALIAN Hmm. Sounder than I expected. SOUND DOOR SHUTS, MUFFLES SOUND OF RAIN SOUND TAP ON WALL TREVALIAN Here's the shovel-- SOUND PICKS UP SHOVEL TREVALIAN And that must be the bell... SOUND SLOW FOOTSTEPS TREVALIAN That explains a lot - who's ever seen a huge bell sitting on the floor? Hardly even recognizable under all those cobwebs. Must have fallen... DRACULA [creepy distant whisper, piteous] Help me. TREVALIAN Hello? DRACULA Help. Please. The bell. It came down and trapped me. TREVALIAN I see. Hmm. [thinking] Wait, the cracks in the flags below it are... covered in dust - that bell fell ages ago! DRACULA Please. Help. TREVALIAN Where could that…

Full show notes at the publisher

Atomic Julie - Theft by Bill Venable Aug 17, 2021

Show notes

Tough question - keep drinking and writing, if your muse is little green men?

19 Nocturne Boulevard - MAKING BOOK - Reissue Aug 12, 2021

Show notes

Reissue of one of 19 Nocturne's earliest episodes (from October 2008). Includes notes from Julie about the history and making of 19 Nocturne Boulevard. MAKING BOOK [warning - mature language and violence] Retired safecracker Fay James has to do one last job, to save her brother Rusty from leg-breakers - but what they steal turns out to be dynamite! Cast List Fay James - Julie Hoverson Rusty James - Reynaud LeBoeuf Mr. Broadstreet - Cole Hornaday Jimmy - Jake Stratton Jordan - Greg Porter Gertie - Jody Montague Bank phone voice - Beverly Poole Music: Kevin MacLeod (Incompetech.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound: Julie Hoverson Cover Photo: Konrado Fedorczyko (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's a rich man's study - where else would you find...burglars?" TRANSCRIPTS Intro material then the full script MAKING BOOK with intro This was one of the first ten episodes of 19 Nocturne Boulevard that I made and put out, back in late 2008. I can't recall, specifically, what order I made them in, which may seem odd, but I was determined to have a bunch ready to go when I debuted the series - in October, naturally - to make sure they would come out on time, which would help me establish the series and its credibility. Even back then, shows came and went with the wind. By the time I was prepping to start, the wonderful and always missed Bill Hollweg of Brokensea audio announced that Brokensea was going to put out or host a new episode every day in October for a big spooky month event, so I volunteered 4 episodes to debut there (I think I actually ended up sharing 6 with them, but again - it was a while ago). BrokenSea was a big part of most audio drama fandom at the time, and it was a great way to quickly get 19 Nocturne Boulevard out to the audience they already reached. So these episodes first debuted in Brokensea's feed, then when I put them up myself, I was still piggybacking on the feed of The Unspeakable and Inhuman, which I will talk about in another intro. That's why my own libsyn listing doesn't have a full list, in order, for me to consult to recall precise dates. I warn that Making Book has "foul language", but the language in this episode is incredibly tame, compared to several other of my stories. This is because when I wrote it, I was still working with an old time radio mentality, and the language in this would be considered unbroadcastable, for the 1940s. While we recorded this - we were still working in Ryan's basement studio, with his excellent help, back in those early days - and the hardest thing to record was the screaming. Screaming is one way to quickly overpower a microphone, so it has to be carefully placed, gained, and modulated. I amazed everyone with the length and breadth of the screams I was able to produce. The main monster fx were mainly me making mouth noises, then playing with various ways to tweak the sound. I'm quite pleased with what I came up with in all that. This was very early days in my learning how to sound edit, and yet I managed some really good stuff. The hardest sound to find was the sound of the lights turning off in the bar. Go figure. The music in this episode is all from the amazing Kevin MacLeod of incompetech.com, including "Netherworld Shanty", the piece I adopted as the 19 Nocturne Boulevard theme song. Mike Flowers helped me with doing a bit of sound tuning and will be helping me with episodes for as long as he can put up with me! If you want to listen to this story without all this intro jibjab, the original is still available through the episodes page on my website at 19nocturneboulevard.com, or do a quick search on our libsyn page at nineteennocturne.libsyn.com The script of the episode follows. MAKING BOOK "This episode has some foul language and excessive violence and may not be suitable for all listeners. Please listen responsibly." Cast: Olivia [host, intro] Fay James (F/26), reformed safecracker and strip club dancer Rusty James (M/23), unreformed gambler Simeon Broadstreet (M/40s), spooky client Jimmy (M/40s), sleazy bartender/boss Jordan (M/30s), mysterious stranger Gertie (F/40), another dancer John (M/any) Bank Phone voice (any) Teacher (any) OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's a rich man's study, can't you tell? Where else would you find... a safecracker? SCENE 1. THE HEIST MUSIC MISSION IMPOSSIBLE STYLE CAPER MUSIC SOUND SILENCE. A COUPLE OF QUIET CLICKS [NOTE THEY WHISPER THROUGHOUT THIS SCENE.] RUSTY Fay! FAY [startled] Huh? Crap! Rusty, shut your pie-hole! You'll make me lose the damn-- RUSTY Don't swear, Fay. [note: while Fay is relatively foul-mouthed, I kept it low-key in this because I set the story in the 1940s, as a classic-style radio story.] FAY Rusty...! RUSTY A car just turned in! FAY Then cork it and let me finish this damn thing, or we can get the hell out right now. RUSTY [annoyed and disappointed] Fay! FAY Watch the damn window and freaking shut up! RUSTY Ok. SOUND CLICKS MUSIC SCENE 2. THE GETAWAY SOUND IN A CAR, DRIVING RUSTY [annoyed sigh] FAY [breaking an uncomfortable silence] Sorry. I get so tense when I'm working. RUSTY [sullen] I know. FAY I said I'm sorry. I should ... I should be more careful what I say. RUSTY You're never gonna do anything with your life if you don't start talking more nicer. [note: they both speak with the poor grammar of the "stereotypical gangster" and thus this is ironic] FAY [chuckles] Hey, who's the older sister here? RUSTY Not me - I don't got the parts. But seriously, sis - You always looked out for me, I'm just trying to return some. Besides, I get all clenched up inside when you start spouting off like that. FAY I'll work on it. Speaking of who's looking out for who - if this all comes off, you're clear, right? RUSTY [sheepish] Yeah. FAY You know I don't wanna do this again - I've mended my ways and all that bullsh-- all that ... bull. RUSTY Mr. Broadstreet's paying ten Gs. That should get me clear. FAY And then you stop. RUSTY Stop? FAY You know. RUSTY It's usually not that big a-- FAY Rusty. You need to stop. Just cut it out. Cold turkey. Don't you watch Dr. Phil? Gambling is an addiction - there are support groups and everything. RUSTY I guess. FAY Tell you what, maybe we both see if we can quit - me with the bad words, you with the bets. Just for a month. Whatya say? RUSTY [long sigh] Let me deal with this first, OK? FAY [sigh] Yeah. SOUND RATTLE OF PAPER WRAPPED PARCEL BEING TURNED OVER IN RUSTY'S HANDS RUSTY What do you think it is? SOUND SHAKES IT [no rattle] FAY Ten thousand dollars. RUSTY Really? SOUND TAPPING ON THE PARCEL - sounds like a book RUSTY Maybe we should open it? FAY Jeez, Rusty, sometimes I really think you're too stupid to live. RUSTY Fay! FAY I meant I think it's worth the ten thousand your wack job employer is going to pay for it. Undamaged. He said that. Undamaged. RUSTY But it won't hurt if I unwrap it, will it? SOUND PAPER TEARING FAY Do I haveta pull this car over? RUSTY A book? FAY What? RUSTY It's just a big old book. [sniffs, coughs] Gah, even smells old. Look, it's got a lock, like a diary. FAY What is it? RUSTY [slowly, "duh"] A book. FAY I mean the title. RUSTY Um... It's ain't in English. If that's even writing.... SOUND SCRATCHING ON BOOK LEATHER FAY So don't-- SOUND CREAK OF LEATHER FAY OK, that's it! SOUND JAMMING ON THE BRAKES RUSTY Gahh... FAY Give me that! RUSTY I was just seeing if it was really locked. FAY Did you not get the part about he wants it undamaged? You think prying open the lock or trying to snap the leather somehow don't count? RUSTY I was, I was just thinking, Fay, that why would someone pay a bunch of dough for a book? Maybe it just looks like a book, and it's really a box full of jewels or something. FAY You're willing to throw away a sure thing-- RUSTY You could probably pick that lock in a heartbeat, couldn't you, Fay? FAY Look, Rusty-- [softening, worried] This ain't the double down, li'l bear [little bear and sissy/sister bear are their childhood nicknames for each other] - the odds are - oh, I dunno, but it's pointless. This book, as is, will get you out of hock to the bad men. This time. You were damned lucky to find someone with that kind of dough to sling around - why screw it up? RUSTY But if there's any chance-- FAY No goddam way. This is the end. I'll drop you off on my way to Jimmy's, but I'm keeping this bad boy with me. RUSTY It'll get stolen! FAY By who? Crackheads don't read. RUSTY But, 10 grand'll just get me out, what'll I do for a stake? SOUND CAR GETS MOVING AGAIN FAY [said a million times] You could get a job. RUSTY You know I ain't no good at anything. Not like you. You just touch a lock and it-- FAY There are zillions of jobs that don't need you to be any good. You just gotta do what people tell you. RUSTY How can I go work for peanuts when I know I can win a fortune? FAY But you don't win, Rusty. Peanuts is better than a hole in the head. RUSTY [sullen] Is that what you tell yourself when you're dancing for sweaty old men? FAY [warning] Rusty. [deep breath, calms] So I'm doing whatever the hell it takes to get MY stake - to get some school and maybe a business of my own. I'm 100 percent legit. Finally. That's what counts. RUSTY But you could get what you need real easy-like. Just pull another job or two ... then go legit. FAY ...and just one more and just one more and just one more, right? No, Rusty. Cuz then I'd be you. SOUND CAR STOPS FAY [tight control] I'll call your guy and make all the arrangements for us to meet tomorrow. sound car door opens, shuts RUSTY Fay, I-- FAY Rusty. Next time you dig yourself in deep, you know what I'm gonna do? RUSTY What? FAY I'm gonna buy you some goddamn crutches. [because the guys he owes money to would break his legs] SOUND Car slams into gear, roars off. FAY "Just this one more time, Fay." "It's gonna change, Fay." Jeez, I'm such a shit-fer-brains. MUSIC FOR FLASHBACK SCENE 3. HOME, COOKING SOUND COOKING NOISES. Mixing, rinsing dishes, sizzling RUSTY Just this one more time, Fay. FAY No. RUSTY It'll be easy. FAY I'm done, Rusty. RUSTY But, but they'll-- [teary sniff] SOUND pause in the movement FAY [long beat, long sigh, then quietly] They'll what. RUSTY Nothing. [making a big deal out of sniffing] That sure smells good. I love your cooking, sissy bear. FAY [under her breath] ...bastard. RUSTY Hmm? FAY What will they do, Rusty? RUSTY Oh. Well, this is Mr. Capelli, and his guys - well, they don't kid around. FAY [tight] --and? RUSTY They'll hurt me real bad. FAY How much do you need? RUSTY Nothing! FAY Nothing? RUSTY That's the best part - I found this guy who is willing to cover everything-- FAY How much? RUSTY Ten large. FAY Ten? SOUND CLATTER LIKE DROPPED LID FAY How did you get in that far? RUSTY But this guy, see, he just wants us to get something, and I told him I might, you know, know someone. FAY Get something? RUSTY A package. MUSIC ends flashback. SCENE 4. IN CAR, STILL DRIVING FAY Yep. Shit. Fer. Brains. music transition fades into pounding hard rock, vastly distorted, then fades into background SCENE 5. STRIP CLUB sound on filter, phone rings FAY [to self] Come on, come on. sound on filter, phone picks up FAY [jumping in] Mr. Broadstreet? BROADSTREET Hello? What? Yes, this is-- FAY We got your package. I mean Rusty and me - I helped him. We've got it. BROADSTREET Unopened? FAY [gasp] Oh, yeah. It's fine. Look, we need to get the cash soonest. When can we meet? BROADSTREET It is vital that the ...package... remain closed. Can you guarantee that? FAY Yeah. I got it all safe and sound. You got the cash or not? BROADSTREET I have the cash. Come to my house--- FAY I'd really rather we do this somewhere a bit more neutral. You know. BROADSTREET [thinks a moment] There's a courtyard at the library downtown. You have to go through the rare books section to get there, so it's usually quite deserted. Can you find it? FAY Sure. BROADSTREET I expect to see you - both of you - with the package, tomorrow at noon. sound on filter, phone hangs up FAY Hey!! sound fay slams down receiver FAY You arrogant sonofab-- JIMMY [coming on] Fay! I don't pay you to gab on the phone all night! FAY [through gritted teeth] I'm on my break. JIMMY Well, I hope you made it to the can, too, since that was your last break before closing - now get out there and shake it. There's an old fart at table 5 who still got some green left. FAY Right, Jimmy. MUSIC rock music, for time PASSES, THEN cutS off or winds down - SOUND system IS SHUT OFF. SCENE 6. STRIP CLUB, CLOSING TIME sound light SWITCHES being thrown. GERTIE Hey, Fay, coming out for some grub? JOHN [in background] Hey babe, come on. FAY Nah, you go on - I'm waiting on a call. GERTIE Your brother. FAY Yeah. sound quick steps, jingle of bell on door. GERTIE [off] That deadbeat. [beat, remembering] Oh, crap! JOHN [still off] What's the deal, sweetheart? SOUND STEPS RETURN GERTIE Here's that catalog. FAY [down] Thanks. I don't think I -- GERTIE Take it. Read it. It's not too late. FAY I'm kinda in the middle of something. GERTIE You got a week to register for Fall. [waits, then] Winter, maybe? FAY Maybe. SOUND FOOTSTEPS RETREAT AGAIN GERTIE [moving away] You really don't want-- JOHN [off] Let's skip the food, babe and get right to the motel. GERTIE [off] --to end up like me. sound door closes behind gertie sound FAY's footsteps echo slightly, empty room. sound phone rings FAY Huh? sound walks quickly over, phone picked up FAY You're early. JORDAN [on filter, ominous voice] You have the book. FAY Broadstreet? Wait, no-- JORDAN Broadstreet must not get the book. FAY How'd you get this--? JORDAN Bring the book to me tomorrow at 2 pm. At the corner of central and 12th. FAY What the hell--? sound dial tone. FAY Great. sound hangs up phone sound fay's footsteps as she walks into changing room no music for scene SCENE 7. CHANGING ROOM sound door opens. sound serrated knife cutting leather - continues until noted FAY Jimmy! You bastard! What the-- No! JIMMY Back off babe. I'm just seeing what you got in your little diary, here-- sound knife ends, finishes the cut FAY You scumbag!!! sound book creaks open, pages flip. sound tentacles pop out of the book and grab jimmy JIMMY [screaming in fear and agony] FAY [screaming at the top of her lungs in terror] sound horrid ripping noise as Jimmy is torn asunder JIMMY [stops screaming suddenly] sound slurping noise as tentacles go back into the book. book slams shut. sound trickles of blood running down the walls. FAY [screaming winds down to gasps and sobs] sound phone rings and keep ringing FAY [shrieks once, then starts to almost laugh] sound hesitating footsteps. One slightly wet sounding one. FAY Ew! sound rubbing foot on floor, then running for phone sound phone picks up RUSTY [on filter] Hey. Sorry about earlier. FAY [laughs almost soundlessly, almost hysterical] RUSTY Fay? Wait, is this Fay? FAY Yeah, Rusty, it's -- it's me. [breathing, trying to calm down] RUSTY What's so funny? FAY Nothing. Oh, shit. L'il bear, I need your help with something. RUSTY Anything, sissy bear. You know it. FAY Come down to the club, and bring me some old clothes. Bring some for you too. music SCENE 8. CHANGING ROOM, LATER SOUND FAY SCRUBBING SOUND RUSTY ENTERS RUSTY Yikes! Was it a holdup? FAY Sure. A ho…

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