HOUDAY SERIES OF RADXO .SCNPTS
FOR JUNiOR AND SENIOR HIGH SCHOGU

Thesis for the. Degree of M. A.
MiCHiGAN STATE COtL’EGE
Flarence Ann Schabei

1950

 

This is to certify that the

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HOLIDAY SERIES OF RADIO SCRIPTS FOR JUNIOR

AND SENIOR HIGH SCHOOLS

By

Florence Ann Schabel
W

A THESIS

Submitted to the School of Graduate Studies of Michigan
State College of Agriculture and Applied Science
in partial fulfillment of the requirements
for the degree of
MASTER OF ARTS

Department of Speech and Dramatics, and Radio Education

1950

TH EFF-'9

 

ACKNOWLEDGMENTS

The author wishes to thank Dr. Wilson B. Paul,
Head of the Department of Speech, Dramatics and Radio
Education, for making possible the writing of this thesis.

My sincere gratitude and thanks are also expressed
to Mr. James B. Tintera for his untiring assistance and
supervision of the writing of the scripts; to Mr. Joe A.
Callaway for his valuable suggestions; and to Miss Lucia
Morgan for her assistance in the organization and form
used.

Special thanks are due Mrs. Dorothy L. Klock,
Program Supervisor of WNYE, New Ybrk, and Mr. Carl Dalrymple
of the Lansing Public Schools for their courtesy and
valuable information.

Appreciation is extended to the High School radio
teachers and coordinators who c00perated so fully in answer-
ing the questionnaires which gave the information necessary
in this study.

6H?-28H6*4H{-%SH&
W’Jéiéfiééfiéé‘fi
WHHi'W
*t‘ Q! 0' |‘
4936-56
*

ALL RIGHTS RESERVED

None of the material in this volume may be used in
any way Whatsoever without written permission from

the Copyright Owner.

TABLE OF CONTENTS
CHAPTER ' ’
I. THEPROBLEM.......

II. SCHOOLS STUDIED . . . . .
III. HOLIDAY SCRIPTS . . . . .
A Visit To Father Time.

Lincoln Lives Again . .

Grandma's Valentines. .

Tnuly A Soldier . . . .

HOISRisenoooooo

Respect To The Fallen Heroes.

Born To Be A Sailor . . . .

The Ilive GhOSto o o o o

The finsung Hero 0 o o o o o

ARCEIGif‘R-ooooooo

IV. PRODUCTION NOTES FOR THE SCRIPTS.

A Visit To Father Time.
Lincoln Lives Again . .
Orandma's Valentines. .
Truly A Soldier . . . .

He Is Risen . . . . . .

0

Respect To The Fallen Heroes.

PAGE

10
11
21
51
41
5O
61
70
83
97
111

125
124
126
128
129
130
152

PAGE
Born To Be A Sailor . . . . . . . . 154
The Live Ghost. . . . . . . . . . . 136
The Unsung Hero . . . . . . . . . . 137
A Real Gift . . . . . . . . . . . . 139

V. GIOSSARY OF RADIO TERMS . . . . . . . 141
BIBLIOGRAPHY. O O O O O O O O O O 0 O O O O O O O 144
APPENDIX. 0 O O O O 0 O O O O O O O O O O O O O O 146

BIOGRAPHY O O O O O O O O O O O O O O O O O O O O 149

 

CHAPTER I

THE PROBLEM

CHAPTER I
THE PROBLEM

The purpose of this study has been to write radio
scripts for holidays which may be used in Junior and Senior
High Schools. Holiday scripts was interpreted by the writer
of this thesis, to mean recognition of anniversaries. The
holidays selected were: New Year's Day, Lincoln's Birthday,
Valentine's Day, Washington's Birthday, Easter, Memorial
Day, Columbus Day, Halloween, Thanksgiving Day and Christmas.

Most public schools observe holidays in their school
programs or assemblies. On examining the script field,
there seemed to be a deficiency of holiday material. An
effort was made to write holiday scripts which would make
an historical contribution, as well as to integrate the
knowledge of facts.

The scripts were so designed that they might be used
in schools where there was limited equipment and/or facilities.
Adaptations might be made in the scripts to fit circumstances
where there was no radio equipment.

The radio scripts were all timed for fifteen minutes.
The page length of the scripts increased as they advanced
from the simple to the more difficult productions. This
provided for various age levels and abilities.

Allowances were made for vocabulary limitations and

voice qualities. Scripts were designed for a ninth-grade

level vocabulary. Mrs. Dorothy L. Klock states, "This will
be adequate for all age levels in the secondary schools."1
Both male and female characters were limited to below middle-
age. Many "contrasting voices" supplemented the minor roles.
Contrasting voices was interpreted as requiring only a con-
trast of voice quality to the opposite role.

Moods were suggested for the musical bridges or
transitions. Directions for the engineer were also in-
cluded.

In order to write radio scripts which were usuable,
the problems of Radio Education in the secondary schools
had to be surveyed. These problems included facilities,
personnel, equipment and availability of scripts.

The schools chosen were those who listed Radio

activities in their curriculum in the_ggRRICUIAR SPEECH'IN
2

 

MICHIGAN HIGH SCHOOLS for 1948-1949. The schools were:

 

Benton Harbor, Detroit, Flint, Hamtramck, Highland Park,
Jackson, Lansing, Muskegon, Pontiac and River Rouge.
Questionnaires were prepared and sent to the

Superintendents of Schools. In an accompanying letter, they

 

1
Program Supervisor for Station WNYE, New York

2
Published by the Michigan Association of Speech
Teachers

were asked to have a Junior and a Senior radio classroom
teacher or coordinator answer the questionnaires. The
results were compiled and tabulated.
In the light of the problems and limitations found
in the questionnaires, ten holiday scripts were written.
The following chapters present detailed description
of SCHOOLS STUDIED, SCRIPTS, PRODUCTION NOTES, GIDSSARY
OF RADIO TERMS and BIBLIOGRAPHY. The sources of the
historical incidents for each script have been listed in

the APPENDIX.

CHAPTER II

SCHOOLS STUDIED

CHAPTER II
SCHOOLS STUDIED

Of the ten Junior High Schools receiving
questionnaires, eight responded. Hamtramck, Highland Park
and River Rouge reported no radio program. Detroit, Flint,
Jackson, Lansing and Pontiac indicated that they did have
radio activities.

Of the ten Senior High Schools receiving
questionnaires, seven responded. Hamtramck reported no
radio program. Detroit, Flint, Highland Park, Lansing,
Pontiac and.River Rouge indicated that they did have radio
activities.

In the major problems, the teachers' Opinions fall
into five general divisions: (1) lack of public relations
(2) lack of c00peration among the faculty (3) lack of
trained personnel (4) a desire for better equipment and
facilities and (5) sources of script material.

(1) Due to‘a lack of public relations, the
administrators and school boards were not completely con-
vinced toward the introduction of Radio Education in the
curriculum. Even though the program was now in operation,
requested budgets for the coming year in these departments
have been curtailed or cancelled. They are Operating with

the minimum of equipment even at the present time.

(2) Teachers complained about the lack of
cooperation among the faculty. There was difficulty in
getting a schedule established in the curriculum for
air-listening time.

(5) The coordinators appealed for a need for
teacher training. They lack trained personnel. This was
especially true on the Junior High level. I

(4) The teachers expressed a desire for better
equipment and facilities. They lack studios. In many
cases the auditorium was their only available studio, yet
they produced and aired “live programs.”

Another equipment problem was the lack of adequate
music and soundreffect libraries. In many cases, the Music
department participated in the live programs for radio
shows, but this was not always convenient.

Coordinators indicated equipment which.would be
desirable to add to their present supply. Boom mikes were
most frequently mentioned.

(5) There was no agreement on questions on line
five and sikteen: "Are there suitable scripts available?"
and "Sources of scripts." 0n the Junior High level, four-
out of the five schools wrote their own scripts. On the
Senior High level, five of the six schools wrote their

own scripts. Very few sources were listed and one teacher

stated, "We write our own in most cases. We did purchase
one series from Ohio State University, and another from
Hollywood writers. The latter we edited considerably."

So far, the aired programs have followed set formats
of interpreting their school subject matter to the listening
audience by use of documentary and informative styles.

This necessitates original scripts. There was no indication
of the type of material used in the regular classroom
period.

Many of the teachers or coordinators supplemented
the questionnaire by indicating various methods used in
their procedures.

The first of these methods was given by a teacher
at River Rouge. Students of the River Rouge High School
Dramatic Club gave weekly fifteen-minute broadcasts over
station WJJW in Wyandotte. While participation in this
activity was not restricted to those in the Club, the
organization carried most of the responsibility and
produced.most of the shows.

In addition to producing a thirtybminute play for
air time once a month at Jackson Junior High School, the
radio class sponsors a ROVING REPORTER REPORT. Once a
week for one period, some member of the class gave a report

to the home room on some famous person who might be having

a birthday that week; school news; information concerning
local activities or special programs. For the monthly
play, notices of the date and.time were placed on the
bulletin board. Teachers signed if their room was to be
tuned in. Usually fifteen to twenty-five rooms were
listening. Once during the semester, a fifteen-minute
program "Athletics at West Intermediate" was broadcast as

a live program over the local commercial station, WIBM, on

 

THE SCHOOIS ARE YOURS series.

I Detroit has its own educational station, WDTR,
operated for and by the Detroit Public Schools with eighteen
Junior High and sixteen Senior High Schools participating

in the activities. Kathleen Lardie, Director, states,

"Some programs are broadcast from the-individual High
Schools, such.as Junior Town Meeting, and.are broadcast over
station WJR, the CBS outlet in Detroit, and WDTR, Detroit
Public Schools. Music programs are broadcast over WDTR and
over commercial stations on particular occasions." This

is likewise the procedure for other programs.

QUESTIONNAIRE CONCERNING RADIO EDUCATION IN YOUR
PARTICULAR SCHOOL SYSTEM
SCHOOL SYSTEM Person filling out form

 

JR. OR SR. HIGH SCHOOL Junior Position

1. Do you include radio classes in your curriculum?

I“ ls l:3
U)
A It Is

2. Is radio education an extra curriculum subject?
5. Are there sound-proof studios in each Junior

and Senior High School?

lo

La

4. Do you use remote lines to local commercial
stations?

5. Are there suitable scripts available?

6. Does music present a production problem?

7. Is there sufficient equipment for sound effects?

8. Do you air live broadcasts?

Is Im |° It Im
lo I» Is It. Is.

9. Do the broadcasts have a live studio
_ Sometimes
audience? 2

la-
In

10. There are a total of 6 & Detroit studios in our system.

11. Average number of pupils taking radio work in the school
system. 25-300

12. Of this total, about 12-150 are girls and 15-50
are boys.

13. What is the average size of the room used for a studio?
‘8112 - 9x12 I

14. List the equipment which you have.

 

15.

16.

17.
18.

19.

20.

Types of mikes most frequently used: Boom O

 

Table 1 Floor 1 Uni-directional l

 

 

Bi-directional 5 Non-directional l

 

 

Source of scripts WDTR, Originals (4), Series from
OSU, Series from Hollywood, Play Mggaéines, Listings
of Play:Catalogues, "Let's BroadcastK, lOO Non-royalty
Plays. 1 - .

Do you use live or recorded music? 5 - both

How much rehearsal time is usually allowed for a broad-

cast? lfi - 6 hrs.

 

f

 

 

How much program time do you have per week? 15-55 min.
per day
What are your major problems? (Use other side if neces-

391?)

Lack trained personnel, need teacher training, need

 

Speech text,,no sound-proof studios, mikes controlled

from officg, need equipment and facilities, COOperation

 

with administration on program, better record library,

 

interference with schedules for rehearsals.

CDESTIONNAIRE CONCERNING RADIO EDUCATION IN YOUR
' PARTICULAR SCHOOL SYSTEM

SCHOOL SYSTEM ‘ Person filling out form

JR. OR SR. HIGH SCHOOL Senior Position

2mm

1. Do you include radio classes in your curriculum? _§__ _g

2. Is radio education an extra curriculum subject?, .2L. _3.
5. Are there sound-proof studios in each Junior and

Senior High School? _g_ ‘_g

4. Do you use remote lines to local commercial
Stations?

5. Are there suitable scripts available?

6. Does music present a production problem?

7. Is there sufficient equipment for sound effects?

I“ It lo l°° It
It It Is lo Is

8. Do you air live broadcasts?

9. Do the broadcasts have a live studio
Sometimes

audience? 5 _g

I...

10. There are a total of 7 & Detroit_ studios in our system.

 

11. Average number of pupils taking radio work in the school
system 100-700

 

12. Of this total, about 55-150 are girls and 40-150 are
boys.
15. What is the average size of the room used for a studio?

‘ 8x12 - 20x30

 

14. List the equipment which you have.

 

15.

16.

17.

18.

19.

20.

Types of mikes most frequently used: Boom 2 Table l

 

 

Floor 1 Uni-directional 2 Bi-directional 5

Non-directional 3

 

Sources of scripts: Originals (5), Dept. of Radio Educa{g_
tion, WDTR, Companieg, Educational Stations,_Radio Play
Service.-

Do you use live or recorded music? 5-both l-recorded

 

How much rehearsal time is usually allowed for a broadcast?

13:6 hrs 0

 

 

How much program time do you have per week? 15 min. a week

- 55 min. per day,

 

What are your major problems? (Use other side if necessary)
Schedule interference, need for teacher training; equip-
ment, tyingLupgindividual schools to central_program, no
studio connections, lack of facilities, lack of coopera-

tion with administration and teachers.

 

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CHAPTER III

HOLIDAY SCRIPTS

A VISIT TO

Characters:
ANNOUNCER: . . . .
FATHER TIME: . . .
JANUARY;. . . . .
DECEMBER: . . . .
LUCY; . . . .
SALLY: . . . . . .
JIMMY: . . . . . .

I

'I

J‘R TIME

s5

7 A.

'79
F.

Dignified, stately voice
Sympathetic voice, older
Contrasting voice
Contrasting voice
Teen-age girl

Teen-age girl

Boy, age 18

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12
A VISIT TO FATHER TIME

 

. A VISIT TO FATHER TIME . .

 

Far, far away. . . near the horizons. . stands
a weather-beaten grey brick house with huge
This is the home of Father Time.
Tonight is New Year's Eve. . and a busy one
for Father Time as we hear him saying . . .

My book is getting heavier . . Hm . . it's

One more hour. . .
Oh, January, I'm glad you're here. In just
one hour you'll take December's place.
That's right, Father Time . . I'll bet
December will be ready for a reSt.

. but we all

I wouldn't wonder about that .

have ourwork to do. . his is almost finished

 

January, see who is there, please?

But, Father Time . . I don't go to work for

THEME: IN AND UNDER
ANNC'R: We present . . .
THEME: UP AND OUT
ANNC'R:

pillars.
F. TIME:
I I just eleven o'clock.
JANUARY: Oh, Father Time . . .
F. TIME:
JANUARY:
F. TIME:

for this year now.
SOUND: (KNOCK ON DOOR)
F. TIME:
JANUARY:

an hour yet. .
F. TIME:

Oh, all right . . that's what's the trouble

now days . . p60p1e are afraid of doing more

than their share. .

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JANUARY:
F. TIME:
SOUND:
F. TIME:
LUCY:
SOUND:
F. TIME:
LUCY:

F. TIME:
IUCY:
F. TIME:
IUCY:
F. TIME:

LUCY:

F. TIME:

LUCY:

F. TIME:

LUCY:

15
But. . Father Time . .
Never mind, I'm going . . I'll do it myself.
(DOOR OPENS) '
Geod evening. Won't you come in?
Thank you, Father Time. '
(DOOR CLOSES)
Here, sit down. . you look tired.
Yes, I've come a long way . . but you see. .
I wanted to come and talk to you Father
Time.
Talk to me? What is bothering you, my dear?
Tell me all about it.
Well, you know your big book . .
Yes, I keep one for each year.
That's what they told me . .
Was it this year you wanted to talk about?
Yes . . that's it . . please, Father Time,
tell me. . what was written in my recOrd?
YOu'll have to tell me your name first. I
Oh yes, of course . . how stupid of me . it's
Lucy Stone.
Lucy Stone . . let's see . . (PAUSE) Yes,
here is your page . . Hmmm. . .
Oh, Father Time, what is it. . tell me. .

please . . I have to know.

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F. TIME:

LUCY:

SALLY:
IUCY:
SALLY:

IUCY:
SALLY:

LUCY:

SALLY
IUCY:
SALLY:

LUCY:
SALLY:
LUCY:

14
My dear, there is a big black spot on this page.
(CRYING) Oh, that was what I was afraid of . .
you see, I couldn't help What I did . . I
wanted to belong to the gang . . you see it
was like this (FADE OUT)
Only our gang are going to thig party.
Does that let me out?
Well . . of course. . under certain
Circumstances. . . you might belong to the
gang.
What do you mean by that?
Well . . we have certain rules . . we try
you out . . . and if you pass . . well . .
you're in.
I really want to belong . . more than any
thing else in the world . . what do I have
to do? I
YOu're 3332 you want to belong?
I'm sure. '
O.K. then. . on your honor . . raise your
right hand . . and promise never to repeat
this.
I promise.
I, Lucy Stone . .

I, Lucy Stone . .

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SALLY:
LUCY:
SALLY:
LUCY:
SALLY:
LUCY:
SALLY:

LUCY:
SALLY:

LUCY:
SALLY:
LUCY:
SALLY:

15
Do solemnly swear. .
Do solemnly swear. .
Never to repeat nor reveal . .
Never to repeat nor reveal . .
These vows I take today.
These vows I take today.
All right now . . within one week's time,
you must go to a downtown store with one of
the members of the gang . .
Yes?
Keep still until I've finished. . you must
swipe one sweater . . and one piece of
jewelry without being seen. . bring them to
the meeting one week from today.
But Sally . .
Those are your orders:
But I can't do that.
Now don't be a fool . . you took your vows. .
You've been given your orders . . it's too
late now to change your mind. . you'll be
an outcast by our gang if you fail to show
up at the meeting with your things . . .
Besides, we have a way of checking . . you
do this or 2132 . you don't want to be marked

by all the kids in High School, do you?

ll.
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18.
:Lsa.
23C).
23]..
2323,
2325.
£341.
£355

IEUCY:
:SALLY:

LUCY:

F. TIME:

IUCY:
F. TIME:

LUCY:

F. TIME:
LUCY:
E. TIME:
LUCY:

E. TIME:

LUCY:
F. TIME:
LUCY:
P. TIME:

16

Oh. no . . not that. .
Well . . we 332 fix that, too . . you know . .
if you fail on your test . . now remember . .
(FADE OUT)

(FADE IN) So you see, Father Time,. I had to do
it to belong to the gang . . and the gang meant
so much to me then. . but now I've changed.my
mind.

I'm afraid it isn't that simple. I believe you
when you say yOu know now that it isn't what
you want . .

That's right . . that's right . .

But you should have refused right Ehgg.

But you see she didn't tell me until after I'd
promised.

That's what I mean . . you should have said no.
But I had promised.

It isn't shameful to break such promises as those.
I thought I just had to belong to the gang.

Some things come very expensive, Lucy. This was
one of them.

Yes. . I know now . . but is it too late?

Too late?
Yes. What can I do about that blot?

Lucy, what is done is done and we cannot change it.

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17

 

Wait in the next room, Lucy. I'll see who is

 

Geod evening, son. Won't you come in?

 

Is there something I can do for you?

Yes, Father Time . . It's New Year's Eve and
I've come to see my record in your big book.
NOt so fast, son . . not so fast . . here, let

me get you a chair. Doesn't it tire you to

Oh. . some . . but I don't mind that . . you
see I'm so glad I can walk again . .

It was a long struggle, wasn't it?

Yes . . yes, Father Time . . ‘

YOu EEE Jimmy Norton, aren't you?

Yes, that's right . . but how did you know . .
you must write about so many people . .

Oh, sure, Jimmy . . but when we get a special

one. . we don't forget it.

LUCY: But I'm really sorry.
F. TIME: I believe you, Lucy.
SOUND: (KNOCK ON DOOR)
F. TIME:
at the door.
SOUND: (DOOR OPENS)
F. TIME:
JIMMY: Thank you, Father Time.
SOUND: (DOOR CLOSES)
F. TIME:
JIMMY:
F. TIME:
stand?
JIMMY:
F. TIME:
JIMMY:
F. TIME:
JIMMY:
F. TIME:
JIMMY:

A special one?

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F. TIME:
JIMMY:
E. TIME:

JIMMY:

F. TIME:

JIMMY 3
F. TIME:

JIMMY:
E. TIME:
JIMMY:
F. TIME:
JIMMY:
E. TIME:
JIMMY:

F. TIME:

18
Yes, Jimmy . . a special one.
I don't think I know what you mean.
All the months in the hospital, Jimmy . .
all the hours of pain . . 1
Oh yes . . yes, Father . . that's right. .
Well, look on this page of my book . . this
is yggg page.
Why . . why . . there's nothing on it.
That's right. It means that you had a clean
record. Ybu believed in people, didn't you?
Sure . . sure . . but they were so good to I
me . .
PeOple return kindness . . you 5313 kindness .
you 322 kindness.
But I was helpless . . I had to be waited on
all the time.
That's right, Jimmy. . but you were so patient
. . and thoughtful.
But the nurses were so good to me.
Because you appreciated what they did for you,
Jimmy. Yes, I know . . and when they told you
that you would never walk again . .
Oh yes, they did tell me that, Father Time .
. . but I just Egg! I'd walk, . I just had to.

Yes, Jimmy you knew yOu would . . your (MORE)

 

 

 

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41

..Q1

IJLA

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19

 

(F. TIME): Determination mggg you walk again.

JIMMY: (LAUGHS) Well . . I did:

F. TIME: Yes, Jimmy, you did. But you did.more than
that . . you were patient and thoughtful of
others. That's why the record of Jimmy Norton
is a clean page.

MUSIC:‘ CHIME OF BELLS . . SOMETHING REVERENT

F. TIME: Come in now, Lucy. C C I

IUCY: Oh, Father Time, I couldn't help but hear
you and Jimmy talking.

F. TIME: I'm glad you did, my dear . . you see we need
more Jimmy Norton's in this world.

LUCY: But can't I have a chance to start over?

F. TIME: Yes, that is the chance everyone gets. '

LUCY: But how?

F. Time: In just ten seconds, January 19-- will be
here . . that means another new year . .
but Lucy, it also means another chance to
make a new record in the book.

LUCY: Do I get a clean page to start with?

F. TIME: Yes, just that . . and Lucy . . think of
Jimmy Norton all year. .Try and keep a clean
record on your page in 19--.

LUCY: Oh thank you, Father Time. I must go now.

' h 19-- will soon be here.

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Fe TILE:

20

Yes, here comes January now.

 

 

 

 

 

 

 

JANUARY: I'm ready, Father Time . . I'm ready for 19--.

F. TIME: And here is December . . good work, December.
YOu've earned your rest.

SOUND: (RINGING OF BELLS . . CROWD NOISE)

ALL: Happy New Year, everyone . . Happy New Year.

THEME: 'UP AND UNDER

ANNC'R: You have just listened to . . A VISIT TO
FATHER TIME . . written by FlorenCe Schabel
and produced by . Heard
in the cast were .
Sound effects were by and

was in charge of music. This

is your announcer .

THEME: UP TO FILL TIME AND OUT

 

LINCOLN

Characters:
ANNOUNCER: . . .
NARRATOR: . . .
ABE: . . . . . .
HANK: . . . . .
MASTER: . . . .
OFFUT: . . . . .
AUCTIONEER: . .

LIANs. O 0-. O O

LIVES

AGAIN

. Dignified, stately voice

. Confidential quality

. Friendly & sympathetic

. Contrasting, friendly voice
. Stern

. Older voice

. Persuasive voice

. Contrasting voice

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22

LINCOLN LIVES AGAIN

 

 

 

 

THEME: IN AND'UNDER

ANNC'R: We present . . . LINCOLN LIVES AGAIN . . .
THEME: UP AND OUT

SOUND: (BUGLE TAPS)

MUSIC: SNEAK ORGAN MUSIC IN AND UNDER

ANNC'R: To you, Abraham Lincoln, we dedicate this

program . . on the anniversary of your birth
date . . February 12, 1809 . . Lincoln belongs
to the ages . . Lincoln belongs to the people. .

Lincoln . . we salute you (FADE OUT)

MUSIC: UP AND OUT

 

NARRATOR: Abraham Lincoln was honest.

ABE:-' See those deer horns, Hank?

HANK: Yes . . they've been hanging over that door
of the school house for a long, long time . .

ABE: I've been wanting to do something for a long,

lOng time, too.

 

HANK: What?

ABE: Swing back and forth on those prongs.

HANK: But you're too heavy, Abe.

ABE: No, I don't think so look . . like this.
SOUND: (CRACK,_LIKE A STICK BREAKING)

HANK: Oh. . Abe: . now see what you've done . .
ABE: Yea . . it gig break, didn't it?

HANK: Wait until the schoolmaster hears of this.

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25

 

 

ABE: I'll tell the schoolmaster.

SOUND: (DOOR OPENS)

HANK: Here's the schoolmaster. Tell him, Abe.

ABE: The horns . . sir . . see . . the broken deer
horn. .

MASTER: What is the meaning of this? Who did this
mischief? ‘

ABE: I did. I did not mean to, but I hung on it,
and it broke.

MASTER: (SOFTLY) Abraham Lincoln, you are an honest
boy. CYOu did not Shirk the blame.

MUSIC: SOMETHING SUGGESTIVE OF TRIUMPH

NARRATOR: Abraham Lincoln was honest and trustworthy.

ABE: Hello, Benton Offut.

OFFUT: Abe . . so good to see you . .

ABE: What's on your mind?

OFFUT: Abe, I've got to get my crOps to market.

ABE: Where do you reckon to take 'em?

OFFUT: New Orleans. I

ABE: That's a long ways from Springfield. .

OFFUT: Yea, Abe . I know that . . but I figgered
we could float 'em down the river.

ABE: A flatboat would go down the Sangamon.

OFFUT: Yea, then to the Illinois River . .

ABE: And then down the Mississippi . .

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24

Sure, Offut . . but why don't you try it?

Wait a minute, son . . wait a minute , . it's

Sure a good idea . . and I don't doubt you

Abe . . I don't own a flatboat.

No? Well . . that's easy . . reckon my friend,
Abe . . you are truly a friend. .

Don't worry about a thing, Offut . . Hank

and I will get your pigs to market.

Corn . . pork . . and pigs . . away they go

 

ABE:‘

.OFFUT: Yea . . it's a long trip . .
ABE:
OFFUT: Can't spare the time . .
ABE: I'll help you.
OFFUT: But I can't leave here.
ABE:~ Would you trust me?
OFFUT: Abe, you 322! I would.
ABE: All right, then it's a deal.
OFFUT:

at all . .
ABE: Well . . then what?
OFFUT:
ABE:

John Hanks can fix that.
OFFUT:
ABE:4
OFFUT: Got corn and pork too.
ABE:'

to market. (FADE OUT)
SOUND: (DRIVING OF NAILS) '

(FADE IN)

There . . the last nail is driven.
Hank, do you know we've been four weeks

building this flatboat?

 

1‘5

h')

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Yea, didn't think we could do it that quick,

Just four weeks since we cut down those trees.
Good thing you can split rails, Abe.

Offut says we can load the corn and pork first
thing in the morning . . we pick up the pigs
down by New Salem . . down below the dam.

Fine . . I'll be ready and I'll be here early.

Make it daybreak, Hank . . we've a long trip.

 

The flatboat's pretty heavy, Hank.
Yea, it's still moving, though.

It will be heavier when we get the pigs loaded
You said that was below the dam when we picked

The water will be deeper there.

Doesn't seem like we're moving as fast as

Here . . hand.me one of those poles . .

HANK:

myself.
ABE:
HANK:
ABE:
HANK:
ABE:

(FADE OUT)
SOUND: (SPLASH OF WATER)
ABE:' (FADE IN)
HANK:
ABE:

on.
HANK:

them up.
ABE: That's right.
HANK:
ABEzl
HANK: No, it doesn't, does it?
ABE:-

let's push . .
HANK:

All right. . you take that side, I'll take this.

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Hank . . keep pushing . .
(HEAVY BREATHING) I can't . . Abe, we're

Hank . . it's deeper below the dam, isn't it?

If our load was lighter . . we could get over

I'll borrow a canoe . . we'll take the corn and

perk to shore . . get the Boat down over the

Abe . . you think of everything (FADE OUT)

 

There . . we've got the lead back on the boat.

Three hours, Hank . . but we made it . . you
know I promised Offut we'd get those things

ABE: (HEAVY BREATHING)
HANK:

grounded. .
ABE: Yea, looks that way . .
HANK: Abe, now what'll we do?
ABE:
HANK: Yea.
ABE:

the dam . .
HANK: Abe . . what are you talking about?
ABE: I'll swim . . then wade to shore .C.
HANK: But the load . . we're grounded.
ABE:

dam . . and then reload it again . .
HANK:
m: DEAD AIR DENOTING PASSING OF TIME
SOUND: (THREESTROKES'OP CLOCK)
nggfi: A ._ _. - - ..
ABE:
HANK: Must be about three hours we lost.
ABE:'

to market.
HANK:

Yea, but we've got those pigs to load yet.

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27

 

 

 

ABE: Yea, push the gangplank over there . . we can
load from there.

HANK: I'll drive them and coax them with this corn.

ABE: O.K. Let the gate Open.

SOUND: (SQUEALING PIGS IN BACKGROUND)

ABEs' Here. piggy. piggy. p12- A.

SOUND: (CLAP OF HANDS)

HANK: Doesn't look as if they will come.

ABE: Give me some more corn, Hank. . I'll try again.
(PAUSE) Here, piggy, piggy, pig.-

HANK: It's no use, Abe. . they don't budge.

ABE: 01639 the gate again, Hank. ’

HANK: What you gonna do?

ABE: I'll carry them. I

HANK: (LAUGHS) Abe, nothing stOps‘ygg, does it?

ABE:C These pigs are going to New Orleans with us.

MUSIC: SOMETHING SUGGESTIVE OF TRIUMPH

NARRATOR: Abrahan Lincoln vas honest, trustworthy

C C. A and sincsre.
SOUND: (HAMMER OF AUCTIONEEg;

 

AUCTIONEER:I How much‘ am'I offered . . look at these

Slaves. . peOple, here's your chance . . get
a bargain. . step right up and look them over.
going cheap today . . how much.am I offered?
(FADE OUT) I

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28

 

ABE: Hank, just look . . they are human beings . .
look how they are treated.

HANK Yea, standing on the bench for everyone to see.

ABE: Look . . just look at them . . how 353 they?
Why, they even look into their mouths . . just
like they do with horses . .

HANK They separate families.

ABE: Yes, even mothers and children. .

HANK: No . . no . . it isn't right . .

ABE: No . . it igglt_right . . (PAUSE) Hank, if I
ever get a chance to hit that thing, I'll hit
it hard, by the eternal God.

MUSIC: SOMETHING SUGGESTING REVERENCE

NARRATOR: Abraham Lincoln was honest, trustworthy, sincere
and capable.

ABE: If I could save the Union without freeing any
slave I would do it . . . and if I could save
it by freeing all the slaves I would do it.

MAN: Abe, it will be a hard decision to make.

ABE: I do not expect the Union to be dissolved.

MAN: No president of the United States would hardly
expect that.

ABE: But we must wipe out slavery.

MAN: This will mean war, I am afraid.

ABE:

we must become all one thing or all the other.
, (MORE)

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29

 

 

 

ABE: A house divided against itself cannot stand.

MAN: But the common peOple . .

ABE: God.must love the common peOple . . because
he made so many of them . . but he didn't
make them to become slaves.

MAN: It will surely mean war. (FADE OUT)

SOUND: (FIRING OF GUNS. . CONTINUE UNDEEQ ‘

MAN:V Four long years . . maybe the war will end
soon.

SOUND: (BRING GUNS FIRING, UP AND THEN OUT, FOLLOWED
BY BUGLE TAPS) ‘ C C ‘

ABE: On this day, January 1, 1865, and upon this
act . . sincerely believed to be an act of
justice . . warranted by the Constitution
upon military necessity . . I invoke the
considerate judgment of mankind . . and by
the gracious favor of Almighty God. . I
declare that all slaves are set free. (FADE OUT)

MAN: Lincoln is a shepherd of his peOple. . he fed I
the North with charity . . the South with
mercy . . and the whole land with peace.

HANK: I, John Hanks, am proud that I have known
such a great man. (FADE OUT)

ABE: (FADE IN) All men are created equal . that

they are endowed by their Creator with certain
(MORE)

50
inalienable rights. That among these are . .
Life . . Liberty . . and the pursuit of
happiness. (FADE OUT)

 

Abraham Lincoln. . you have handed down unto
the people . . the richest gift that man can

leave. . the memory of a good name.

 

Ybu have just listened to . . LINCOLN LIVES
AGAIN . . written by Florence Schabel and

produced by . Heard in the

 

(ABE):
THEME: IN AND UNDER
NARRATOR:
THEME: UP AND UNDER
ANNC'R:

cast were:

THEME 3

 

Sound effects were by and

was in charge of music.

 

This is your announcer .

 

UP TO FILL TIME AND OUT

GRANDMA'S

Characters:
ANNOUNCER:
BILLY: . .
SUSAN: . .
GRANDMA: .
lST HERALD:
2ND HERALD:
KING: . .
QUEEN: . .
VALENTINE:

VALENTINES

. . . Dignified, stately voice

. . . Child about eight years Old

. . . Child about ten years old

. . . Aged, but friendly voice

. . . Any voice

. . . Any voice

. . . Gruff, sharp, commanding voice
. . . Pleading voice'

. . . Soft, friendly voice

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THEME:
ANNC'R:
THEME:
BILLY:
GRANDMA:
SUSAN:
GRANDMA:
BILLY:

SUSAN:
BILLY:
SUSAN:
GRANDMA:

BILLY:

SUSAN:

GRANDMA:

BILLY:

GRANDMA:

SUSAN:
GRANDMA :

52
GRANDMA' S VALENTINES

‘UP AND UNDER
We present . . . GRANDMA'S VALENTINES. .
UP AND OUT
Grandma, when is Valentine's Day?
Next week, Billy. 1
Oh, that isn't far away, is it?
No, Susan, it isn't. ‘
Susan, you and I'll have to go down town soon,
and get our Valentines.
Yes, I've already started to make out my list.
I'm going to give everybody in my room one.
I'm not. I'm not going to give Jimmy Harris
one 'cause he teases me. D
Susan, Valentine's Day is a day when we mean
to be kind to everyOne.
But, Grandma, one Valentine I got last year
wasn't kind.
I've had some ugly ones too.
Those aren't Valentines, children. I am only
talking about £331 Valentines.
But this one ggid'Valentine on it.
Then people are foolish to buy them. Valentine's
Day wasn't meant to bring anyone unhappiness.
Who started Valentine's Day, Grandma?

It was named for Saint Valentine. YOu see a
(MORE)

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55

long, long time ago, Saint Valentine lived

 

 

(GRANDMA:)

I in Rome. (FADE OUT)
SOUND: (BLARE OF TRUMPETs)
1ST HERALD: The King enters. ‘
2ND HERALD: Make way for the King.
SOUND: " (FOOTSTEPs)
KING:

lST HERALD:
KING:
QUEEN:

KING:
QUEEN:
KING:

QUEEN:
KING:
QUEEN:
KING:
QUEEN:
KINGx'

QUEEN:

Herald . . bring me the papers about the
prisoner.

Yes, YOur Honor . . (PAUSE) Here they are,
Your Honor. I

Hmmm . . let's see . . it says here . .
Valentine sent gifts to his friends.

But, my husband, the King, what's wrong
with'that?

2.19.1. the one who should get gifts.

But you have so mggy now.

I'm the ggly one who should get gifts in
thig country.

But Valentine didn't give expensive gifts.
Nevertheless, they 3233 gifts.

He did it because he loved his friends. “
Those people should love mg, not Valentine.
Maybe you weren't as HERE as Valentine.

My Queen, are yCu hinting?

Not much, King. . but it sounds like you're
(MORE)

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34

 

 

(QUEEN): jealous.
KING: Bah: . . this Valentine must be put out of
thehway.
QUEEN: You don't intend to behead him, do you?
KING: (LAUGHS) Now, my Queen, what do you think,
QUEEN: But that isn't fair . . because people like
him. . and he returns their love . . by
doing kindness for them . . it isn't fair .
you can't . .
KING: I can't have anything but respect for their
ruler in thig country:
QUEEN: Ybu'll be sorry, King.
KING: Is my wife threating me?
QUEEN: No . . it's in your power to do anything.
KING: And that I shall . . . Herald, bring in the
prisoner.
2ND HERALD: Yes, YOur Highness.
SOUND: " (FOOTSTEPS, THEN DOOR OPENS AND CLOSES.
EOOTSTEPS AND SOUND OF CHAIN DRAGGING)
2ND HERALD: Hy King . . your priSOner.. .
KING: .- Prisoner Valentine . . kneel before me . .
kneel . . did you hear me?
VALENTINE: Yes, YOur Majesty. '
KING: Valentine, is it true that you gave gifts
to my peOple?

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VALENTINE:
KING:'V
VALENTINE:
KING:'
VALENTINE:
KING:

1ST HERALD:
2ND HERALD:

35
I gave gifts to my friends.
Then you gig give gifts.
Yes, YOur Majesty.
And you gave me none.
Ybur Majesty . .
Never mind . . arise to your feet. (PAUSE)
Valentine, you shall be held prisoner in
a cell all by yourself . . for one year . .
after that time you shall be beheaded.
(PAUSE) Heralds. . escort this prisoner
to his cell.
Yes, Ybur Highness.

Yes, Your Highness.

 

 

 

SOUND: (FOOTSTEPS, THEN CHAINS DRAGGING. DOOR
QEENS AND CLOSEs. ' ' ' ‘

MUSIC: SOMETHING MOURNEUL AND SAD
If only I could get oatsiae . . if only for

VALENTINE:

just a little while . . today is my birth-
day. . (LAUGHS) Valentine's birthday . .

it will Surely be different this year . .

my friends . . and I can't remember them. .
oh . . how I hate to miss sending my gifts.
This will be the first year I've missed . .

I was so happy when I could do things for
them. . but the King calls that Christianity.

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56

(VALENTINE):and throws me in prison . . it has

SOUND:
VALENTINE:

SOUND:

been almost a year now . . I haven't
much longer . . I long to see my loved
ones . . to send them a message of love. .
(TWEET SONG OF BIRD, IN AND'UNDER)

Oh . 3 it's a dove . . come here my
little feathered friend . . here . . hop
closer to the window . . what are you
bringing me? . . why . . it's a leaf .
and it's pointed at the end . . it

looks like a heart . . thanks, my deve . .
you are a welcome visitor . . here,

hop on to my hand . . there . . that's

it . . (LAUGHS) oh. . you want me to

have the leaf. . all right . . well,
thanks . . don't fly away, dove . . I
have a wonderful idea . . I'll tear this
leaf so that it really looks like a
heart . . here . . now take it in your
bill . . now fly away . . fly to my
friends . . sing them a beautiful song. .
that is the only way I can remember

them this year . . this heart and a

song in your heart.

 

(TWEET OF BIRD, THEN FADE OUT SIOWLY)

57

l. GRANDMA: Years after Valentine was beheaded, he was

2. . made a Saint because he had been so kind to
5. all people. Now every year on his birthday,
4. we remember our friends with Valentines.

5. SUSAN: Oh . . I think Saint Valentine must have

6. been a wonderful man.

7. BILLY: He must have been very kind.

8. SUSAN: Did you get Valentines when you were a little
9. girl in England, Grandma?

lO. GRANDMA: Yes, even though Saint Valentine lived in

11. . Rome, when the British peOple wanted to make
12. a holiday near this time, they chose the day
15. of Valentine's birthday. . and they called
14. it Saint Valentine's Day . . and we have

15. celebrated it ever since.

16. BILLY: Did Grandpa used to send you Valentines?

l7. GRANDMA: Oh, my yes. . he used to remember me always. .
18. O . ' all the years that he was living. A

19. BILLY: Did you keep Grandpa's Valentines?

20. GRANDMA: Oh yes . . I still have them. '

21. SUSAN: Where are they, Grandma, may we see them? '
22. BILLY: Oh, yes, Grandma . . let us see them. ’

25. GRANDMA: They are up in my trunk in the attic . . come
24. . I with me and we'll go up and see them.

25. SUSAN: Oh goody . . hurry Billy.

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58

 

MUSIC: SOMETHING SUGGESTIVE OF GAYIETY
GRANDMA: You See . . the earliest Valentines were of
- painted flowers . . those Valentines came

from England.

SUSAN: Oh look at this one . . isn't it pretty?
Billy . . listen, "I am thine, please be mine."

GRANDMA: The first Valentines were only those painted ‘
ones. They didn't have verses.

BILLY: Susan, look at this lacy one.

GRANDMA: Remember, children, these were all made by
hand.

SUSAN: Oh, that must have taken a lot of work.

GRANDMA: That's what I mean . . this was one way of
doing things for others . .

BILLY: Here's a Cupid. . with his bow and arrow.

SUSAN: This one has a dove.

BILLY: Yes . . remember the dove in Grandma's story.

GRANDMA: A dove stands for love.

SUSAN: We still have doves on £23 Valentines.
GRANDMA: Oh yes . . here's one of the first Valentine's
- we had in America . . Grandpa was so proud

when he gave me that . .
BILLY: It looks much like those from England.
GRANDMA: Yes, Billy. . it does . . here I wrote on

the back of this one . .

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124.
125.

BILLY:
GRANDMA:

SUSAN:

GRANDMA:

BILLY:

SUSAN:

GRAN DLIA :

SUSAN:
BILLY:
GRANDMA:

SUSAN:
BILLY:

SUSAN:

BILLY:
GRANDMA:

59
What does it say, Grandma?
The first Valentine in America was made by
Miss Howland, a college girl at Mt. Holyoke,
in 1849.
But Grandma, this one has a verse on it.
That's right. Miss Howland started that idea,
too.
She must have been kind . . like Saint Valentine.
I'll bet she made many people happy with.her
Valentines.
I'll bet she did, too. When I was a little
girl in England . . it was a custom for people
to call out "Good Morning, 'tis St. Valentine's
Day." ‘
“Good Morning, 'tis St. Valentine's Day."
fiGood.morning, 'tis St. Valentine's Day.'1
Yes . . and the one that said it firSt .‘.
expected a gift from the one to whom it was
said.
(LAUGHS) St. Valentine would have liked that.
Yes . . things were always pretty lively Ehat
day.
Look at the ones with red ribbons.
What's this, Grandma?

That's a sachet . . here, smell of it.

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4O
Mmmmmmmm . . that smells good.
Let me smell. (PAUSE) Oh . . I likg that.
Well . . that's all Of my Valentines,
children . . I'll always keep these . . .
especially those that Grandpa gave me.
I'll give you one this year to keep with

I'll make you one, Grandma. I'll show you
And thanks, for showing your Valentines to
Oh yes, and I think they are beautiful. . I

must hurry out now and buy mine.

I think I'll look for doves on my Valentines.

 

Ybu have just listened to . . GRANDMA'S
VALENTINES. . written by Florence Schabel

and.produced by ._ Heard

 

. Sound effects were by

 

and was in

 

charge of music. This is your announcer

 

BILLY:
SUSAN:
GRANDMA:
SUSAN:

the others.
BILLY:
'2- that I love you.
SUSAN:

us, Grandma.
BILLY:
SUSAN:
THEME: IN AND UNDER
ANNC'R:

in the cast were:
THEME:

 

UP TO FILL TIME AND OUT

Characters:
ANNOUNCER:
CAPTAIN: .
WASHINGTON:

LIEUTENANT:

lST SOLDIER:
2ND SOLDIER:

CORPORAL:

TRULY

SOLDIER

. . Dignified, stately voice

. . Commanding voice

. . Friendly, sympathetic

. . Commanding, contrasting voice
. . Contrasting voice

. . Contrasting voice

. . Sharp, sarcastic voice

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THEME:
ANNC'R:
THEME:
ANNC'R:

MUSIC:

42
TRULY A SOLDIER

IN AND UNDER
We present . . . TRULY A SOLDIER . . .
UP AND OUT '
Today we pay respect to the memory of a man
who was "a patriot before his country became
a nation“ . . to a statesman who conceived
independence . . and to a soldier who was
unable to admit defeat . . that man was George
Washington . . Father of our country . . a
man who showed his true greatness by his
simple acts of kindness . . as we shall see
from this story which has been handed down
through the ages to us . . from an unknown
author . . . George Washington . . first in
war . . first in peace . . and first in the
hearts of his countrymen.

DRUM AND BUGLE SUGGESTING WAR DAYS. UP AND OUT.

 

CAPTAIN:

WASHINGTON:

CAPTAIN:

WASH:

CAPT:

General Washington . ... why do you try to go .
to camp today?

But I must . . .

But it's bitter cold . . you shouldn't try. .
My men are out in the cold. It won't hurt me
if it doesn't hurt them.

But you . . General . . nothing must happen

to you . . .

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WASH:
CAPT:
WASH:

CAPT:
WASH:
CAPT:
WASH:
CAPT:

WASH:
CAPT:
WASH:
CAPT:
WASH:

CAPT:
WASH:
CAPT:
WASH:
CAPT:

WASH:

43
Nothing must happen to my men, either.
No, I suppose not. Will anyone go with you?
I shall go alone. ‘
Alone? . . General . . do you realize?
Yes, I realize. I want to see things for
myself.
But you ordered . .
Yes, I ordered the camp to be fortified . .
Then why . .
I want to see what my soldiers are doing.
May I suggest that you dress warm. It's bitter
cold outside.
So I shall . .
May I do anything for you?
Yes, reach me down my long overcoat, please.
Yes, sir.
(PAUSE) Thanks . . here . . hold it for
me . . .
Yes sir.
There . . this will keep me warm . .
That great cape will give you added warmth.
That it will . . my hat, please.
Yes sir.
(PAUSE)

Send for my horse and I'll be on

my way 0

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44

With your long overcoat

Good luck,

 

 

I want to

CAPT: Yes sir. (LAUGHS)
' and hat, General, it covers all but your face.

WASH: And.Ygu were wondering if I would be warm
enough.

CAPT: How far is camp?

WASH: About an hour's ride away.

CAPT: I'll get your horse right away.
General.

WASH: Thank you, Captain.

SOUND: (DOOR OPENS AND CLOSES)

WASH: Hmmm . . now I guess these papers will be all
I need.

MUSIC: SOMETHING SUGGESTIVE OF ADVENTURE

WASH: I'llleave my horse, Lieutenant.
walk around through the camp.

LT: Yes sir, General.

WASH: I'll be back after awhile.

Imzli May I suggest that you keep your collar up

2' around your neck. It's mighty cold, air.

WASH: Oh yes, I shall.

LT: (LAUGHS) Your overcoat covers up your
uniform.

WASH: That's right. But it keeps me warm.

LT: I'll go with you if you want me to.

WASH: No, I prefer not. Thank you.

I'll see you later.

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45

LT: Good luck, sir.
WASH: ' Thank you, Lieutenant.
SOUND: (DOOR OPENS AND CLOSES. SOUND OF EOOTSTEPS,

 

CONTINUE FOR 5 SECONDS)

 

1ST SOLDIER: Hmmm, see that tall man. . .

2ND SOLDIER: Yea . . wonder who he is . .

lST SOLDIER: Haven't ever seen him around here before.

2ND SOLDIER: Yea . . must be a stranger . .

CORPORAL: All right . . . soldiers . . come over
here . .

lST SOLDIER: Yes sir.

2ND SOLDIER: Yes sir.

CORP: See those logs?

lST SOLDIER: Yes sir. I

2ND SOLDIER: Yes sir.

CORP: h Those logs go over there . . over on
that breastwork.

lST SOLDIER: Yes sir.

2ND SOLDIER: Yes sir.

CORP: I Now get busy, soldiers . . and move it
over there . . all right . . you . . you
get on this end . . and you . . you come
over here . . no . . over on thig end . .
now . . ready . .'up . . up . . up . .

now bring it over here . .

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CORP:

(HEAVY BREATHING OF SOLDIERS.

46

CONTINUE)

now . . up . . up to the top . . heave ho. .

o o 0 all together 0 o

..upIsay.
SOUND: (FALL OF LOG)

CORP:

get h01d o o heave o o

..up...up.

SOUND: (FALL OF LOG)

CORP:

(SARCASTICALLY)

0 up With it o

. up with it .

..up..up..

Well.

.up.

I said up with it . . . now try again . .

. nice work, men .

. . if you let it drop many more times . .

we'll never get that breastwork built . .

now for the last time . . . get hold . . .

heave . . up . . raise it, I say . .

up . . . higher . . . higher . . up . .

hey . . . watch out .

SOUND:

(RUNNING FOOTSTEPS)

 

WASHINGTON: Here . . . I'll giVe you a lift, soldiers.

(PAUSE FOLLOWED BY HEAVY BREATHING)

There .

there, soldiers . . one more hand was all

you needed, wasn't it?

lST SOLDIER: Oh, thank you . . . stranger . . .

2ND SOLDIER: Oh yes, stranger . . . we had tried so

many times. .

All right a o a now 0 0 bring it Over here 0 o

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WASH:

CORP:

WASH:
CORP:
WASH:

CORP:

WASH:

CORP:

WASH:
CORP:

WASH:

CORP:

WASH:

47
You are very welcome, soldiers.
All right, soldiers . . . over to the next
log . . .
Corporal . . is there no word from you?
And why should I? '
Well . . . why dOn't you help your men with
this heavy lifting?
Mg? . . . why don't I?
Yes . . . why don't you?
Well, why don't I? . . . because . . . .
can't you see . .1.
Yes . . . I see . . .
.l happen to be a Corporal: . . that's
why . .
Indeed:
You don't need to take your coat off . .
I'm not going to fight with $22 over that,
And I'm not taking my coat off . . I'm just

unbuttoning it. . .

lST SOLDIER: (PAUSE) Look . . look, men . . why . .

2ND SOLDIER:

CORP:

Why 0 0 it's Washington 0 o 0 it's the
General . .

Why.ooWhyooSirooIdidn'tkDOWoo

lST SOLDIER: Ybu are . . you are the General, aren't

you?

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48

2ND SOLDIER: Tell us . . are you General Washington?

CORP: - I demand you to answer . . are you . .1
or are you not . . General George
Washington?

WASH: I am General George Washington . . .
Commander in Chief. .

CORP: (SURPRISED) General Washington:

lST SOLDIER: General George Washington: _

2ND SOLDIER: Commander - in - Chief!

WASH: - Yes, soldiers.

CORP: But . . . General . .

lST SOLDIER: Oh . . . General . . thanks . .

2ND SOLDIER: Oh . . yes . . many thanks . .

WASH: " That's quite all right, soldiers . .

and Corporal . . .

CORP: Yes sir:

WASH: There is just one thing to remember . .
CORP: Yes, General . .

WASH: Corporal, the next time you have a log

which is too heavy for your men to lift. .
. . send for me.

THEME: IN AND UNDER

 

ANNC'R: You have just listened to . . TRULY A
SOLDIER . . . written by Florence-

Schabel and produced by .

 

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49

 

 

 

and was in charge of

 

 

 

 

(ANNC'R): Heard in the cast were

Sound effects were by

music. This is your announcer
THEME: UP TO FILL TIME AND OUT

Characters:

ANNOUNCER:

MARY OF NAZARETH:

JOHN: . .

MARY MAGDALEN:
JOSEPH: '.‘

ANGEL: . .
lST VOICE:
2ND VOICE:

IS RISEN

. . . . Dignified, stately voice

. . . . Sweet and soft-spoken

. . . . A disciple

. . . . Younger than Mary of Nazareth
. . . . A disciple

. . . . Mysterious quality in voice

. . . . Contrasting voice I

o o o o Contrasting VOice

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51

HE IS RISEN

 

. HE IS RISEN . . .

 

Jesus of Nazareth spoke these words, "Father,
into your hands I commend.my'spirit."-. .
then bowing his head, Jesus died. It was
about four o'clock on Good Friday afternoon,
April the seventh . . . in the year of our
Lord . . . thirty . . and so it came to
(FADE OUT)

Oh John, I'm so glad you are here.

I had to come, Mary of Nazareth . . were
Yes . . Mary Magdalen stayed with me. .
Good.morning, Mary Magdalen.

I was worried about Mary of Nazareth. I
. we want no harm to come
to the Mother of Jesus.

Are the rest of the disciples with you?

I came alone.

THEME: IN AND UNDER
ANNC'R: We present . .
THEME: 'UP AND OUT
ANNC'R:

pass . .
MARY OF N:
JOHN:

you all right?
MARY OF N:

oh, here she is now.
JOHN:
MARY MAG: Good.morning, John.
JOHN:

had to come early.
MARY MAG: Yes, I know .
MARY OF N:
JOHN: No.
MARY OF N:

No wonder Jesus loved you so . . you're

so thoughtful.

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MARY OF N:
JOHN:

MARY OF N:

JOHN:

MARY MAG:
JOHN:

MARY OF N:
MARY MAG:
JOHN:
MARY MAG:

MARY OF N:

JOHN:
MARY OF N:

JOHN:

MARY'MAG:
JOHN:
MARY’MAG:

52
I didn't want you to be alone . . you know
there's been rioting in the city.
Rioting?
Yes . .'. and Pilate is dissatisfied.
Dissatisfied? Would he wish.more evil upon
your Master?'
He is sorry now because he gave Jesus ever
to the High Priest'sdemands.
But what . . what more can he do now?
He has given orders for the guards to be
more alert. . 4
But what about the tomb?
Yes . . is . . is the temb . .
It's safe.
I have not wished to go there since we laid
the Master in its darkness.
And when they rolled the stone before the
opening . .
Yes . . I know how you must have suffered.
Oh . . but John . . you see I understood.
Yes . . his mother wgglg. But do not fear .
that stone was so heavy . .
It would be difficult to move . .
And then there were the guards . .
I doubt if the enemies could take the body.

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MARY MAG:
JOHN:
MARY OF N:

MARY MAG:

JOHN:
MARY-MAG:

JOHN:

MARY OF N:
JOHN:

MARY OF N:
MARY MAG:
MARY OF N:
MARY MAG:
MARY OF N:

JOHN:

55
And the enemies will know we didn't harm
it...
Yes . . and the enemies know it is well
guarded, too.
I am so glad that my brother, Joseph, asked
Pilate for the guards.
Yes . . his closest disciples thought of many
things.
But there have been earth tremors, you know .
I doubt that the earthquakes have been severe
enough to roll away the stone.
At dawn I shall go to the tomb to see that
all is well.
I will go with you. Joseph will come and stay
with Mary of Nazareth.
Oh no . . I shall go too.
I shall watch over you . . Mary of Nazareth,
remember the words of Jesus?
Yes John. . . I remember. I
I shall take spices and rare ointments.
For Him?
‘Yes . .'to annoint Him.
But the stone . . how will you enter the
tomb?
We shall get Joseph.

 

 

00000000000000000000000000

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MARY MAG:

MARY OF N:
JOHN:

MARY OF N:

JOHN:

MARY OF N:
MARY'MAG:

JOHN:

MARY MAG:
MARY OF N:
MUSIC :

54
Yes, Joseph could get them to remove the
stone.
I am frightened . . that noise . . listen:
It is thunder . . it has been thundering
all night.
Yes . . and each time I hear it . . I am
frightened.
Tomorrow is the third day . . and they
have not yet harmed you . .
Yes, that's true.
Remember . . I shall stay with you . . we
shall go very early to the tomb.
I shall be back at dawn.

Farewell, John.

God be with you.

 

MARY MAG:
MARY OF N:
MARY MAG: '

MARY OF N:

MARY MAG:

SOMETHING SUGGESTIVE OF HEAVY, MOURNFUL
M992 . _ .
It Was a sudden storm after the thunder
last night, wasn't it?

And violent. I

The disciples should be here soon.

I hope so . . I am anxious to go to the
tomb.

I loved

Your sorrow is also mine . .

the Master . . .

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MARY
MARY
MARY

MARY
MARY

MARY
MARY
MARY
MARY

MARY
MARY

MARY

MARY
MARY
MARY
MARY

OF N:

OF N:

MAG:

OF N:

TAG:
OF N:
MAG:

OF N:

MAG:
OF N:

MAG:

OF N:
MAG:
OF N:

MAG:

MUSIC:

55
Yes I know . . .
And I loved his teachings. . .
How strange . . . the life of this man. .
my son . . yet . . the Son of God . .
He has shown us great and.marvelous things.
At His birth . . there was the star . .
and the shepherds . . . and the wise kings.
They were all worshipping.
Yes . . as a king . .
Even though he was born in a stable. .
And now . .
Yes . . now they crucify Him . . and the
earth trembles . . . it is as though the
storm and wind were angered too . .
Yet He said . . "I will come again."
Yes . . and we mast have faith. ‘
Look . . . the first light shows in the
sky . .
Yes . . . and isn't that John off yonder?
I do believe it. . and Joseph is with him.
They are walking fast .-. do you suppose?
Be brave, Mary of Nazareth . . we must I
hurry too . . if we will take the spices
to the tomb.

SOMETHING SUGGESTIVE OF ACTION

 

56

1. JOHN: Joseph and I are ready, Mary of Nazareth. .
2. bring your spices and ointments, Mary
5. 'Magdalen.

4. MARY OF N: We are ready, John.

 

5. SOUND: (FOOTSTEPS. HOLD'UNDERl
6. JOHN: I hear Judas Iscariot tried to return the
7. thirty pieces of silver . . .

8. MARY MAG: Oh really, John? To whom?
9. JOHN: To the chief priest and the elders.

10. MARY OF N: Then he did repent?

ll. JOSEPH: In his heart . . yes.

12. JOHN: But they refused to take the silver . .
15. JOSEPH: ThaiJudas went away . .

14. JOHN: And last night they found him . . he had
15. hung himself.

16. MARY OF N: Lo'. The wicked shall perish.

17. MARY MAG:I Who has claimed the body?

18. JOSEPH:. Nobody. I

19. MARY MAG: Then what?

20. JOHN: A The elders took the thirty pieces of

21. silver and bought a field.

22. MARY MAG: A field?

25. JOHN: A field where they can bury the homeless.
24. JOSEPH: And the friendless. .

25. JOHN: They will call it the Field of Blood. .

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57

 

JOSEPH: Some call it the potter's field.

JOHN: And that is where they will bury the
shamed body of Judas Iscariot.

MARY OF N: The wages of sin are death.

MARY MAG: Look . . look up ahead:

JOSEPH: Why . . . why . . where are the guards?

JOHN: It looks like an angel by the door of I
the tomb.

MARY OF N: The stone is rolled away.

SOUND: (RUNNING FOOTSTEPS, THEN OUT)

JOHN: (OUT OF BREATH) Yes . . yee’. . the
stone is rolled away.

MARY MAG: Oh . . where is my Master?

MARY OF N: Have they taken Him away?'

MARY'MAG:

Oh . . angel . . speak to us . . tell

 

us . .
ANGEL: He is not here . . . for He is risen . .
behold the place where they laid Him.
MARY OF N: He is risen . . . He is risen . .-
MUSIC: SOMETHING SUGGESTIVE OF GAYIETY AND
TRIUMPH ' ' ‘
JOHN: I was in the village this morning . .
JOSEPH: I suppose there was much excitement. .
JOHN: People were all talking about it . .
JOSEPH:

What did they say?

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JOHN:

lST

2ND
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lST

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MUSIC:

58
Oh . . they had many stories . . some
said . . (FADE OUT)
(FADE IN) They say that the body is not
in the tomb . .
It is gone . . .
Some say it is stolen . .
But there were guards . .
The smartest spies in Judea have been
hired . .
Hired to find the remains . .
Perhaps Pilate had the body removed . .
Pilate was too scared . .
Vhat would Pilate care about the corpse?
The Christians say He is risen . . l
Risen from the dead as He promised . .

The tomb is empty . .

The tomb is empty . .

 

MARY MAG:

JOHN:

MARY MAG 3

JOHN:

SOMETHING SUGGESTIVE OF ANTICIPATION Agp
EXCITEMENT ‘ ' '

 

Oh . . . John . . I've seen Him . . I've
seen Him . .

YOu mean Jesus of Nazareth?

Yes . . yes . . and He knew me . .
Oh . . Mary Magdalen . . tell me all

about it.

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MARY MAG:

JOHN:

MARY MAG:

JOHN:

MARY'MAG:

JOHN:
MARY’MAG:

JOHN:

MARY MAG:

JOHN:
MARY’MAG:
JOHN:
MARY MAG:

JOHN:

MARY MAG:

59
I went back to the tomb . . there was a
man standing there . . I thought he was
the gardener . .
Did he speak to you?
Oh yes . . he said . . "Woman, why weepest
thou?"
Was it the gardener?
Hearken . . until I tell you the rest . .
then he smiled and said . . "Mary" . . .

A .-

Then He kggw you. .

Yes . . then I looked . . and it E32

Jesus of Nazareth . .

But why didn't he come with you?

He said . . "Touch.me not . . fer I have

not yet ascended to my Father . .” . .

Then it ig like He promised . . I

Yes . . like He promised . .

Did He say anything more?

Yes . . He told me . . "Go to my brethren . .
and.aay unto them: . . t'I ascend unto my
Father and your Father . . to my God and

to your God" . .7.

And it was the third day . . just as He said.
Yes . . as He said . . the blessed day

has come. . .

60
It was truth that the enemies nailed to the

cross with Jesus . . and it was truth.that

But truth has risen again . . just as

Jesus of Nazareth is risen . .

 

You have just listened to . . HE IS RISEN. .
written by Florence Schabel and produced

by . Heard in

 

 

 

Sound effects were by

 

and was in

 

charge of music. This is your announcer

 

JOHN:

they buried. . .
MARY MAG:
THEME: IN AND UNDER
ANNC'R:

.the cast were:
THEME:

UP TO FILL TIME AND OUT

 

RESPECT TO THE FALLEN HEROES

Characters:
ANNOUNCER: . . . . . . Dignified, stately voice
LINCOLN: . . . . . . . Older and with much emotion
NARRATOR: . . . . . . Confidential quality
GREEK: . . . . . . . . With accent
ITALIAN: . . . . . . . With accent
AMERICAN: . . . . . . Any contrasting voice
lST VOICE: . . . . . . Any contrasting voice
2ND VOICE: . . . . . . Any contrasting voice
lST MAN: . . . . . . . Any contrasting voice
2ND MAN: . . . . . . . Any contrasting voice
MOTHER:I . . . . . . . Older, sympathetic voice
LOGAN: . . . . . . . . An army officer, softened

with grief.

 

.....

.......

.......

......

......

......

.......

........

........

 

 

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THEME:

62
RESPECT TO THE FALLEN HEROES

UP AND UNDER

 

ANNC'R:

THEME:

We present . . . RESPECT TO THE FALLEN HEROES . .

UP AND OUT

 

LINCOLN:

NARRATOR:

MUSIC:

Fourscore and seven years ago . . our fathers
brought forth on this continent . . a new
nation . . conceived in liberty . . and
dedicated to the pr0position that all men

are created equal . . (FADE OUT)

Having buried the heroes of war . . it is
natural that their memory shall long be
remembered . . respect shall be paid them . .
whether it be in this country . . or in

lands across the sea.

SOMETHING SUGGESTIVE OF THE COUNTRY OF GREECE

 

GREEK:

I am'a Greek. I have come to pay homage to the
loved ones who fought . . that I might be

free. It is our custom in our country, to
twine flowers on the monuments of those who
have fallen in battle and now sleep forever . .
a special Joy is theirs . . theirs because

they died for Greece . . so on their graves I
plant flowers and olives . . a symbol that

when these flowers give forth blooms . . then
the soul of the departed one has found his

place of happiness . . (PAUSE) To you,
(MORE)

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NARRATOR:

MUSIC:

65
my friend . . in memory of you who gave
All . . may these flowers bloom forever . .
as your deeds will live forever . . (FADE
OUT)

Respect shall be paid them . . whether it
be in this country . . or in lands across
the sea. A

SOMETHING SUGGESTIVE OF THE COUNTRY OF ITALY

 

ITALIAN:

NARRATOR:

My countrymen died for me . . heroes they .
were . . so shall I see that they have the
ceremony that heroes deserve . . over their
graves we hold "PARENTALIA" or what we also
call the day of the fathers . . for eight
days every February . . we close the

temples . . we gladly decorate the tombs . .
offerings and sacrifices are humbly given .
for nothing is too great for our heroic
countrymen . . memorial arches are built

to honor our dead . . and in a special
ceremony we cover the arches with flowers. .
living flowers . . that those gone on

ahead . . may live on in our memories.

(FADE OUT)

Respect shall be paid them . . whether it

be in this country . . or in lands across the sea.

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64

 

MUSIC: SUGGESTIVE OF AMERICAN SACRED MUSIC

AMERICAN: We in America are honoring our dead as a
public holiday . . Memorial Day . . it has
taken on deep meanings . . it will take on
even greater meaning . . for let us follow
back to the beginning of our Constitution.
(FADE OUT)

lST VOICE: It is our purpose to form a more perfect
Union.

2ND VOICE: The American Union took on new meaning . .
a vastly different thing after the War of
1812. '

lST VOICE: Daniel Webster's constitutional arguments
changed it‘s meaning also.

2ND VOICE: The Civil War showed us that a state cannot
leave the Union.

lST VOICE: We cannot continue half slave and half free.

lST MAN: We must fight:

2ND MAN: We must volunteer:

, CHORUS: We are coming . .-Father Abraham . . we are

coming . . we must fight for what we think
is right . .

lST VOICE: Then came empty chairs . .

2ND VOICE: Then came broken family circles . .

lST MAN: we must stay united . .

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2ND MAN:
MUSIC:

65

We shall pour out our blood . .

 

MOTHER:

MUSIC:

SOMETHING FROM TENSION TO QUIETJ SOFT

STRAINS. . IN AND'UNDER‘

 

I place these flowers on your grave, son. .
may you rest in peace . . somewhere MY

son sleeps . . maybe in Arlington

Cemetery . . maybe not . . only God knows . .
so to you, son, whoever you may be . . I
give my love . . that wherever my boy may
be . . he will know I'm thinking of him . .
may these flowers speak . . and say what

is in my heart . . to you, son . . sleep
on . . whether you wore the blue . . or
were the gray . . sleep on in peace . .

I shall watch over your grave.

UP AND OUT

 

LOGAN:

I, John A. Logan, Commander of the Grand
Army of the Republic, in the year 1868,
declare that henceforth we shall decorate
the graves of our dead soldiers at a fixed
date . . Therefore I am setting aside May
the thirtieth for "strewing with flowers . .
or otherwise decorating the graves of
comrades Who died in defense of their

country, and whose bodies now lie in almost
(MORE)

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66
every city, village, or hamlet church-

yard in the land." (PAUSE) The Grand

members to decorate the graves of their

fallen comrades with both flags and

 

And a salute shall be fired as a silent

 

(IOGAN):
Army of the Republic shall assign
flowers.

SOUND: (FIRING OF A SALUTE)

LOGAN:
testimony of respect.

MUSIC: BUGLE TAPS

NARRATOR:

lST VOICE:
2ND VOICE:
lST VOICE:

2ND VOICE:

lST VOICE:

Respect shall be paid them . . whether

it be in this country . . or in lands
across the sea . .

Not many soldiers left now, who wore

the blue and the gray.

No, but our boys in khaki have filled
the ranks. .
World War I . . hope I never live to

see another . .

It doesn't matter what color they wore. .
they all fought for freedom . . Civil
War and World War alike . . side by side
they marched for freedom for us.

World War . . brothers of all nations . .

side by side.

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MOTHER:

2ND VOICE:

67
These flowers I place on your grave,
dear boy. My boy may have fought side
by side with you. Ybu are all 233 boys.
May we never forget the cause for which
you gave your life.
As a soldier comrade of you who gave your
life, we carry the flag and.march today
in this parade. Not only as a tribute to
our fallen heroes, but a pledge that we
stand ready to serve our country in need

for freedom.

 

 

Respect shall be paid them . . whether it

be in this country . . or in lands across

SOUND: (FIRING A SALUTE)
MUSIC: BUGLE TAPS
NARRATOR:

the sea . .
MOTHER:

My husband fought in World War I . . then
my son in World War II . . I have my
husband . . but my son never returned . .
but he is not among the forgotten ones . .
for every year, his buddies will pay tribute
to their heroes. . Decoration Day . .
Memorial Day . . flowers . . the flag . .
and marching feet . . all remind us of

their deeds.

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lST VOICE:

NARRATOR:

lST VOICE:

2ND VOICE:

LINCOLN:

68
Will Carleton wrote:
" . . . So in our minds we will name them
once more,
So in our hearts we will cover them o'er;
Roses and lilies and violets blue
Bloom in our souls for the brave and.the
true.
Cover them over - yes, cover them over-
Parent and husband and brother and lover;
Think of those far-away heroes of ours,
And cover them over with beautiful flowers!"
Respect shall be paid them . . whether it
be in this country . . or in lands across
the sea . .
Look at the inscription on the Unknown
Soldier's grave. .
Yes . . and it reads . . "A solemn
inscription; a nation's promise that he
who lies there dead . . shall not have
died in vain. .
That we here highly resolve that these
dead shall not have died in vain . .
that this nation . . under God . . .
shall have a new birth of freedom . .

and that . . Government of the peOple. .
(MORE)

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(LINCOLN):

NARRATOR:

THEME:

69
by the peOple . . and for the people . .
shall not perish from the earth.
"The world has made the promise before; . .
all its unknown dead have died in that
faith . . and the promise has died with
them . . will it die again?
UP AND UNDER ‘

 

ANNC'R:

THEME 3

You have just listened to . . RESPECT
TO THE FALLEN HEROES . . written by

Florence Schabel and produced by

 

. Heard in the cast were:

 

 

Sound effects were by

 

and was in charge

 

of music. This is your announcer

 

 

 

UP TO FILL TIME AND 0U];

Characters:

ANNOUNCER:

COLUMBUS:

FATHER:

BART HO IO MES-J :

KING JOHN:

HERALD:

FERDINAND:

ISABELLA:
lST MAN:
2ND MAN:

0

BORN TO

BE A SAILOR

. . Dignified, stately voice

. . Courteous yet stern

. . Deeper voice

. . Contrasting voice to Columbus

. . Sly, tricky

. . Contrasting voice

. . Authoritative voice

. . Pleasant voice about middle aged
. . Contrasting voice

. . Contrasting voice

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71
BORN TO BE A SAILOR

 

 

THEME: UP AND UNDER

ANNC‘R: We present . . . BORN TO BE A SAILOR . .
THEME: UP AND OUT '

ANNC'R: There are deeds of many whom have helped to

write the pages of our history . . there
will still be many more . . but there was
only one man who made way for the develop-
ment of our country . . that man was
Christopher Columbus . . Over five hundred
years ago in the city of Genoa, Italy
lived a boy named Christopher Columbus . .
(FADE OUT)

CHRISTOPHER: Father, which star is that in the heavens?

FATHER: I'm not sure of that one, ChristOpher. Ask
your brother, Bartholomew. He brought home
a book today on stars. His friend loaned
him the book . . maybe the book will tell
you . .

CHRISTOPHER: Do you suppose the stars shine in all parts

I of the world as brightly as they do here?

FATHER: Christopher, you're always dreaming Of other
parts of the world.

CHRISTOPHER: Oh Father, those boats . . at the wharf . .
they've 2222 to all parts of the world. .

FATHER: YOur trade is to be a weaver.

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CHRISTOPHER:
FATHER:
CHRISTOPHER:
FATHER:
CHRISTOPHER:

FATHER:

CHRISTOPHER:

FATHER:

CHRISTOPHER:

FATHER:

CHRISTOPHER:

FATHER:

CHRISTOPHER:
FATHER:

72
But I don't want to be a weaver:
Your father and.his father were weavers.
But I gtill don't want to be a weaver.
You'll never amount to anything,
Christopher, unless you settle down . .
Oh, Father, I've told you so many times. .
I want to sail . .
You still hang around the wharves, don't
you? '
Oh. . but that salt air . . and the
sailors telling their tales. . there's
a mystery to the sea, Father .U. it calls
to me . . I
Still got your heart set on it . .
Yes, Father. Some day I want to be a
captain . . a great captain.e
But son, you're only fourteen:
That doesn't make any difference . . I'll
learn. . ‘
Yes, ChristOpher . . you'll learn the
ways of the ships . . you'll learn the
ways of the sea . . but what's more . .
you'll learn the ways of man . .
I want to learn all that, Father.

You're sure?

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73

 

CHRISTOPHER: Very sure, Father.

FATHER: All right, son. Guess I'll never make a
weaver out of you . . so I'll make a
sailor out of my son.

CHRISTOPHER: Oh Father . . really . . oh thanks . .
that's great . .

MUSIC: SOMETHING SUGGESTIVE OF EXCITEMENT AND
GAIETY

ANNC'R: ChristOpher Columbus did learn the ways
of the sea . . and the ways of man . .
his hair turned to snow white . . the
years passed on . . and in the year
1470 . . (FADE OUT)

CHRISTOPHER: Bartholomew Columbus:

BARTHOLOMEW: Well . . well . . if it isn't my brother
Christopher . . what ever brought you to
Portugal?

CHRISTOPHER: Oh . . plenty:

BARTHOLOMEW: What for instance?

CHRISTOPHER: One thing was to See you . .

BARTHOLOMEW: Well . . I'm glad to hear that . . here .

CHRISTOPHER:

let me lock you over . . my, how tall
you are . . and look at those muscles . .
I can hardly believe it . .

That's what a life at sea does for a man.

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BARTHO IO MEW :
CHRISTOPHER:
BARTHOLOMEW:
CHRISTOPHER:

BARTHOIOMEW:

CHRISTOPHER:

BARTHOLOMEW:

CHRISTOPHER:

BART HO IONDEW :

CHRISTOPHER:
BARTHOIOMEW:
CHRISTOPHER:
EARTHOIoMEw:

74
You can say that again . . you're proof
of it . . but your hair . .
Yes . . my hair has turned white . . I
know . .
Oh now . . don't let that bother you . .
(LAUGHS) It's still wavy. .
(LAUGHS) Yes, goes with my fair
complexion, I suppose.
I'm serious, Christopher . . you're a
sailor . . yet your manner is courteous .
I'm proud of you!
Thanks, Bartholomew . . but talking
about me, wasn't my reason for coming.
YOu ggig you came to see me.
Yes, I did . . but I have a plan, too.
I hear Prince Henry wants to find another
way to get to the East.
Yes, and he's spending his money to fit
out exploring expeditions.
What happened to the caravan trade?
The Turks broke that_up . . '
Hmmmmm . . that's bad. .
Yea, they conquered some of the land . .

and now they won't let the traders pass

through.

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CHRISTOPHER:

BARTHOLOMEW:
CHRISTOPHER:

BARTHOLOMEW:

CHRISTOPHER:

BARTHOIOMEW":

CHRISTOPHER:
BARTHOLOMEW:
CHRISTOPHER:

MUSIC:

75
Which way is Prince Henry sending his
expeditions?
To the south.
But he's wrong . . he'll never find it
EEEE way.
What do you mean?
There's a shorter way to China . . if
we sail due west across the Atlantic
Ocean. .
The Atlantic Ocean? . . why man, you're
out of your mind .'. the Atlantic Ocean
is unknown . . you'd never get a crew
of sailors to go with you . .
But I'm sure I'm right.
No. . . forget it, Christopher.
I'll do nothing of the sort . . I'll go
to Prince Henry . . no . . I'll even do
more than that . . I'll go to the King . .
yes . . I'll go to King John himself.

IN AND UNDER

 

KING JOHN:

Now listen . . you tell me you are a sailor
. . a captain you call yourself . . well,
you see these maps? . . a man named
ChristOpher Columbus loaned me these

plans . . now then, this is what you are
(MORE)

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76

 

 

 

(KING JOHN): to do . . and remember . . this is to
be a complete secret . . remember Eaaal
You take these plans . . and you get
your ship . . this is your route . .
you follow right here where he has it
marked . . this is to be a new route to
China . . and remember . . I'll reward
you greatly . . Bag not a word to any
one about it . . set sail at night .'.
and no one is to know yOur plans . .'
(LAUGHS) . . the glory and profits
will all be mine. . (FADES OUT LAUGHING)

MUSIC: ‘UP AND OUT '

SOUND: (BUGLE BLARE)

HERALD: Christopher Columbus to see His Majesty,

I King Ferdinand and Queen Isabella.

FERDINAND: Let him enter.

SOUND: (DOOR OPENS. FOOTSTEPS)

CHRISTOPHER: YOur Majesties, the King and Queen.

FERDINAND: Arise, sir . . and speak . .

CHRISTOPHER: I am Christopher Columbus. I have just
arrived from Portugal. .

FERDINAND: Yes?

CHRISTOPHER: You see, sir, I had.my maps . . my
sailing maps . .

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FERDINAND:

CHRISTOPHER:

FERDINAND:

CHRISTOPHER:

FERDINAND:

CHRISTOPHER:

FERDINAND:

CHRISTOPHER:

FERDINAND:
CHRISTOPHER:
FERDINAND:
CHRISTOPHER:

FERDINAND:

SOUND:

77
Yes . . well, where are they?
I loaned them to King John of Portugal. .
instead of giving them back to me . . he
secretly sent a Captain out on this route.
Another man?
Yes . . wichay plans . . but his scheme
failed . . the sailors became discouraged. .
they came home . .
What was your plan?
The map showed that by sailing west across
the Atlantic Ocean . . I could find a shorter
route to the West Indes.
They failed . . and yet you now want to try?
Yes . . I'll never trust King John again . .
but I 3223 that is the route . . so I
came to you.
What is it you are asking?
I need ships . . and sailOrs . .
But don't you understand? My country is
at war with the Moors. ‘
Yes, I understand . . but couldn't you spare
ships for this? I
I'm sorry, sir. NO. . Herald, lead this man
to the door.

(FOOTSTEPS. HEAVY DOOR OPENS SLOWLY AND CLOSES)

._

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78

 

ISABELLA: But my husband . . even if you are the King . .
and we aga at war . . don't yaa realize
what Eaaa would.mean to the country?

FERDINAND: I can't afford to do it now. .

ISABELLA: Very well . .

SOUND: (FOOTSTEPS. DOOR OPENS AND CLOSES)

ISABELLA: (CALLS IN DISTANCE) Columbus . . Christopher
Columbus:

CHRISTOPHER: (IN DISTANCE, THEN FADE IN) Yes, your Majesty,
the Queen. I

ISABELLA: The King will not send you on this trip . .

‘ but I will.

CHRISTOPHER: Oh, YOur Majesty.

ISABELLA: I'll sell my jewels . . I'll get you the
money for the ships . .

CHRISTOPHER: or course, but there are other things besides
ships.

ISABELLA: Beside ships?

CHRISTOPHER: Yes. I shall claim the title of Admiral.

ISABELLA: Admiral?

CHRISTOPHER: Yes, Admiral . . and the office of Governor
over the land that I shall discover.

ISABELLA: But . . Columbus. . isn't that a lot to ask?

CHRISTOPHER: NO, not for risking my life. . and not only,
that. I also demand one tenth of all the wealth

(MORE)

79

l. (CHRISTOPHER): I shall find.

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ISABELLA: Oh no. . I cannot send you on those
terms.

CHRISTOPHER: Very well. Good day.

SOUND: (FOOTSTEPs)

ISABELLA: (PAUSE, THEN IN DISTANCE) Wait . .
wait . . (FADE IN) All right . .
all right . . I consent to your terms.

MUSIC: IN AND UNDER

ANNC'R: And so it came about . . that on
August 3, 1492 . . three ships . .
the Pinta . . the Nina . . and the
Santa Maria . . set sail under the
command of Christopher Columbus.
(FADE OUT)

MUSIC: UP AND THEN'UNDER

lST MAN: COlumbus will make us go on:

2ND MAN: He won't let us turn back.

lST MAN: We'll never see our home again.

2ND MAN: Or our families.

1ST MAN: I fear him.

2ND MAN: Me too.

lST MAN: We'll break the Pinta's rudder.

2ND MAN: That's a good idea.

lST MAN: Yea, that's what we'll do . .

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8O

 

 

2ND MAN: Then he'll gala to turn back.
MUSIC: SOMETHING SUGGESTIVE OF UNREST
SOUND: (POUNDING OF STEEL AND BOARDs)
CHRISTOPHER: The boat will be ready in the morning.
We shall leave these Canary Islands and go
on. We shall set sail at dawn.
lST MAN:

Then we are to sail on?

 

 

CHRISTOPHER: Yes . . we sail on:

1ST MAN: How much longer will it take us to reach
the new land?

CHRISTOPHER: We do not knew . . but you men have no
reason to complain . . these Islands are
owned by Spain . . you have been treated
well.

lST MAN: (SOBS) Oh . . Ohhhhhhhh . .

CHRISTOPHER: Sail on: . . and on:

MUSIC: SNEAK IN SOMETHING SUGGESTING CALM WATER
IN THE BACKGROUND 9 '

lST MAN: It's been almost two months now.

2ND MAN: Yes, almost two months. .

lST MAN: This good weather can't keep up forever.

2ND MAN: Let's hOpe so.

lST MAN: Look . . look over there . .

2ND MAN: Why . . it's seaweed . .

lST MAN: And look at those fish jumping out of the water.

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2ND MAN:

lST MAN:

2ND MAN:

lST MAN:
2ND MAN:
MUSIC:

81
Why men . . look: It's a bush floating in
the water. I L
We 2222 be near land.
We spotted birds flying to the southwest
yesterday . . remember?
Yea . . yea . . go get Columbus . . quick:
Get him to steer in that direction.

U P AND UNDER

 

SOUND:

 

CHRISTOPHER:

lST MAN:

CHRISTOPHER:

lST MAN:
2ND MAN:

MUSIC:

(FOOTSTEPS)

Hmmm . . look at that bright light.

It looks like a torch.

But a torch would mean that someone was
carrying it.

Yea . . must be land.

(CALLS IN DISTANCE) Land . . land:

UP AND OUT'

 

lST MAN:
2ND MAN:
lST MAN:

2ND MAN:

CHRISTOPHER:

Look . . look . . Columbus is kneeling.
He kissed the ground.

Now he's got the banner.

Listen to what he is saying.

(FADE IN) In the name Of Queen Isabella of
Spain . . I plant this royal banner . . in

the name of Queen Isabella . . and in the name

of Spain . . I claim this land . . on this
twelveth day of October, 1492.

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THEME:

82

IN AND UNDER

 

ANNC'R:

THEME:

You have just listened to . . BORN TO
BE A SAILOR . . written by Florence
Schabel and produced by .

Heard in the cast were:

 

Sound effects were by

 

and was in charge of

music. This is your announcer .

 

 

UP TO FILL TIME AND OUT

Characters:
ANNOUNCER:
SALLY: . .
JANE: . .
JACK: . .

GHOST: . .

THE LIVE

GHOST

Dignified, stately voice
Teen-age girl
Teen-age girl
Teen-age boy

Low, wierd voice

 

 

 

 

 

 

 

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THEME:

84

THE LIVE GHOST

IN AND UNDER

 

ANNC'R

THEIYZE 3

We present . . . THE LIVE GHOST . .

UP AND OUT

 

SALLY:

JANE:
SALLY:
JANE:
SALLY:
JANE:
SALLY:
JANE:
SALLY:
JANE:
SALLY:
JANE:
SALLY:
JANE:
SALLY:

JANE:
SALLY:

JANE:

SALLY:

Oh, Jane . . . how do you like the invitations
for the Halloween party?

I think they're clever Myself, Sally

I like the big black witch . .

That white ink shows up well on the black.

But I had a hard time with the verse.

I didn't know you were a poet.

(LAUGHS)

You mean you can call me a poet?

(LAUGHS) Sure . . . it rhymes.

Yes . . and that's about all.

Oh no, Sally . . it says what you want it to say.
Well, I'll add the date and time . .

Do you want me to help?

You may if you like. A

How many invitations are you sending?

Twelve, unless somebody turns it down.

Don't worry, nobody will turn down HEEL
invitation . . not for Halloween.
If it weren't a couple affair . . I'd
invite thirteen.

You're really not superstitious, are you?

NO. I was just kidding.

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JANE:

SALLY:
JANE:

SALLY:

JANE:
SALLY:

JAE

t1

SALLY:
JANE:
SALLY:
JANE:
SALLY:

SALLY:

JANE:
SALLY:
JANE:

SALLY:

85
I think it'll be fun to be at a cottage for
Halloween.
I thought it would be fun, too.
It's super of your folks to chaperone us.
Jim's Dad is going to go along too . . he'll
drive his station wagon.
Oh, it sounds like fun . . I can hardly wait.
But now . . say! . . you were talking about
superstitions.
Yea, well what?
Superstitions gag thought of at Halloween time.
Guess you're right, Sally.
Why wouldn't that make good entertainment?
Entertainment? . . I don't follow you . .‘
Sure . . here, let me get this book . . listen
to this . . (READS) "There are many
superstitions connected with this custom."
You mean in different countries? -
Well I guess so . . here, take this book. .
see what you can find . . I'll get this
other one . .
O.K. . . what countries do you suppose had them?
I'll guess the Irish . . what do you think? I
I'll take England . . I

You're sure this is only a guess?

86

 

1. JANE: Positive:

2. SALLY: O.K. then . . and the first one to find

3. something about their country . . gets

4. the prize . .

5. JANE: And what might that be?

6. SALLY: Oh . . maybe a dance with a good looking

7. man. '

8. JANE: Ohhhhhh . . that's for me . . l . . 2. .

9. 5 . . go:

10. SALLY: (PAUSE) Wow: Mine didn't take long . .
11. here it is.

12. JANE: Oh really? . . say . . you're sure you

13. didn't plan all this . . and know right

14. where you could lay your hands on it . .
15. did you?

16. SALLY: (LAUGHS) No. I played it honest, Jane.
17. JANE: Well . . what did you find?
18. SALLY: Oh listen . . I'd like to play this one . .
19. (READS) A girl throws a ball of yarn out of
2D. the window . . holding the end of the thread .
21. JANE: Can't you imagine that . . at a cottage in
22. ' the woods? .

25. SALLY: Well . . I wouldn't throw it very far . . but
24. S then it goes on to say . . (READS) Then
25. ' rewind it . . and at the same time as a

(MORE

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(SALLY):
JANE:

SALLY:

JANE:

SALLY:

JANE :
SALLY:
JANE :
SALLY:
JANE:

SALLY:
JANE:

SALLY:

JANE:

87
verse . . backwards. .
Backwards?
Yes . . and after that you are supposed
to see your future mate . .
Golly, what we women won't do for a manl
Oh . . here's another one . . (READS)
wet the left sleeve of a shirt . . and
hand it on a chair . . before the fire . .
then go to bed . . but don't go to sleep.
Who wants to go to sleep Halloween night,
anyway?
About midnight . . expect your spouse-to-be
to enter the room . . and turn over the
drying sleeve . .
Oh no: I never heard that one before . .
Well . . that's enough about the Irish . .
did you find out anything about England?
I think it is right along here . . oh yes,
here it is . .
I'm ready . . read it.
Any maid.may find out the first initial of
her future husband . . by peeling an apple.
What does an apple have to do with it?
Well . . they take the paring . . swing it
over the head three times . . then let it fall.

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SALLY:

JANE:

SALLY:
JANE:
SALLY:

JANE:
SALLY:

JANE:
SALLY:

JANE:

SALLY:
JANE:
SALLY:

JANE:

SALLY:

88
You wouldn't have even the peeling if
you swung too hard . .
Nor a man. .
(LAUGHS) Guess you're right . . but go
on . .
Well . . the peeling will form the shape. .
of the initial of his name.
Oh, that sounds like fun . . let's use
that custom at g3; party.
Then there's always ducking for apples. .
Yea. . that's an old one . . we used to
do that at our parties. .
And how we'd get our hair wet . .
And a nose full of water. .
Here's another one we could use . . a girl
secretly gives a lover's name to each
hazelnut . .
Does it 2212 to be a hazel-nut?
Well . . it says hazel-nut in the book . .
All right . . then what?
She throws two of them in the fire . . if
one of the nuts bursts . . that lover is
unfaithful . .
Oh . . that wggld be fun . . what does it

mean if it burns?

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JANE:
SALLY:

JANE:

SALLY:

JANE:

SALLY:
JANE :

SALLY:
JANE:
SALLY:
JANE :

SALLY:

JANE:

SALLY:
JANE:

SALLY:

JANE:

89
Then her lover's faith is true . .
What if they both burned?
Sally, you've heard of triangles, haven't
you?
(LAUGHS) Jane, you're growing up fastl
Here's another one about an apple. . two out
apple-seeds are stuck on the lids of the eye . .
They're getting harder all the time . .
Oh no . . that wouldn't be hard . . listen . .
each seed is named after a lover ._. the seed
that drops first . . then that lover is not
true. .
YOu could help that one along . .
What do you mean?
By winking . . I
Oh, Sally . . that would be cheating . .
You think some girls wouldn't cheat for a
man?
That would spoil the fun of the game . .
I'll play it straight . . you can depend on
mg.
I wonder what other countries we can find that
celebrate Halloween customs?

Oh here is a Scottish custom . .

Let's hear it.

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JANE:

SALLY:

JANE:
SALLY:
JANE:

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SALLY:

JANE:

SALLY:
JANE:

SALLY:

90
Cabbage . . or kale . . is put in the
tradition for Halloween . . by pulling the
first one they find . . and then it is taken
to the house for inspection . .
What on earth is that for?
The shape . . straight . . crooked . . fat . .
or lean . . means the appearance of their
future husbands or wives.
Golly, that's a queer one.
I wonder how Halloween ever started, anyway?
Yea . . I wonder too . . ‘
Well, let's both look and see if we can find
it . .
Oh, here it is . . like so many other holidays
. . we have inherited Halloween from the
Pagan days.
Pagan days?
Yea . . it is a survival of the ancient
Briton's autumn festival . . in honor of
the sun-god.
Were there other versions?
Must be . . because it says . . other rites
and beliefs have been grafted on the
primitive custom . .

Such as?

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JANE:
SALLY:

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SALLY:

JANE:

91
Our Halloween is almost equally descended
from the Roman festival . .
Roman . . there's another country . .
Yea. . Roman . . in honor of Pomona . .
Oh, Pomona was the goddess of fruits and
vegetables. .
I suppose that's the reason for the apples
and nuts . .
Must be!
What else does it say?
Halloween is still regarded as the occasion
for those who live in darkness . . to have
visions about death . . love . . and
marriage . .
Say . . there E223 be a superstition about
a mirror . . I've heard them tell about that
one so much . .
Oh . . I know that one . . a girl looks into
a mirror while she eats an apple . .
An apple again . .
She is supposed to see the face of her future
husband in the mirror . . but she must not
turn around and face him . .
I wonder how we got witches and black cats

along with Halloween?

 

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92

 

 

SALLY: Oh, black cats are the witches companions.
JANE: Yea. . 'spose so . . and witches would be the
spirits . . Jack-O-lanterns come from
pumpkins . . that is part of the harvest.
SALLY: It begins to mean something to me now . .
all this . .
JANE: Yea, me too. . and I love spooks. .
SALLY: Well, I'm sure we'll keep the traditions and
customs on our party . . after reading this .
JANE: Yea . . we'll say your cottage is haunted.
SALLY: Jane, you talk as if you thought it were. .
JANE: Well . . . it's an idea . .
SALLY: Let's hurry and finish these invitations. .
. . I can hardly wait for the party . .
MUSIC: SOMETHING SUGGESTING WIERD ATMOSPHERE
SOUND: (SMALL CROWD IN BACKGROUND. HOLD UNDER)
SALLY: Jane, did Jack come in the statiOn wagon
with Jim?
JANE: I think So . . ask him . .
SALLY: No. . I was just wondering if we were all
here yet . .
JANE: We must be . . both cars are here . .
SALLY: Oh . . there's Jack . . Hi, Jack:
JACK: Hi, Sally. . oh, what a place for a Halloween

party . . it's perfect. .

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93

. and ghosts. .

 

JANE: It wouldn't take much to make me believe
that the cottage was haunted. .

SALLY: There you go again, Jane.

JANE: Well . . spooks . . witches .

SALLY: (LAUGHS) All right. . call them . . they
can play the games with us . . come on,
gang . . here are the nuts . . are you
ready to throw them into the fire?

JANE: YOu have to name them first. . '

JACK: Can't the boys play this game, too?

SALLY: Sure . . . just choose girl's names. .

JACK: O.K. . . here they go . .

GHOST: YOUUUUUUUUUUUUUUU YOUUUUUUUUUUUUUUUU

JACK: Golly, what noisy girls I have . .

SALLY: It sounds more like a ghost to me. .

JACK: A ghost?

JANE: Didn't you know this cottage was haunted?

JACK: (HESTITANTLY) Oh, sure . . sure . .

JANE: Remember, this is Halloween.

SOUND: (LOUD KNOCK ON DOOR)

GHOST: HEEEE HEEEEEE HEEEEEEEEEEEEEE

SOUND: (DOOR STARTS TO OPEN SIOWLY, SQUEAKS)

JACK: SOme one is trying to be funny . .

GHOST: Funnnnnnny?. . welllllll.....we'll seeee. .

SOUND: (CREAKING DOOR SLONLY OPENS)

 

ooooooooooooooooooooooooo

 

94

 

l. JANE: Oh . . look . . the door is Opening . .

2. SALLY: Jane . . don't be scared . .

5. JANE: Oh . . I'mmmmm . . notttt. . .

4. JACK: I'm not going to move . .

5. JANE: Oh . . look . . it is . . it's a ghost . .
6. SOUND: (GIRL SCREAMS)

7. SALLY: Oh, those spoOky stories haven't helped 0 .
8. GHOST: Noooooobodyyyyyyy moveeeeee . . I'mmmmmmm
9. comingggggggg closerrrrrrr . .

lO. SALLY: Jack, you're white . .

ll. JACK: Oh, it's the reflection from the ghost's
12. sheet . .

13. SALLY: Jane . . don't hold on so tight . .

l4. JANE: Ohhhh . . I'mmm scaredddddd . .

15. SALLY: But you're pinching . .
16. JANE: Sally. . I'm not holding on to you now. .
17. SOUND: (GIRL SCREAHS)

18. GHOST: YOu'reeeeeeee the boyyyyyy IIIIIIIIIIIIII
l9. wantttt . . commmmee withhhhhh meeeee . .
20. JACK: Oh, really. . ghost . . some other . . .
21. time . .
22. GHOST: IIIIII wanttttt noooo oneee else . . anddd
23. I IIIII . . wantttt youuuuuuu nowwwwww. . .
24. JACK: Ohhhhh . . really . . . . . .Ohhhhh

25. . really 0 o o o o

95

 

 

 

 

l. GHOST: Commmmeeeee withhhhhh meeeeee . . commmeeee
2. withhhhhh meeeee (LAUGHS) HEEEEEEEEEEE. .
5. HEEEiiEEE. . . HEEEEE. .
4. MUSIC: SOMETHING SUGGESTIVE OF EXCITEMENT CHANGING
5. To CALMNESS '
6. SALLY: , Oh, ane . . it's funny Egg . .
7. JANE:' The ghost certainly was real . .
8. SALLY: Daddy heard us planning the party . . and he
9. decided to have some fun himself . . but he
10. didn't let us in on the secret . .
ll. JANE: Big folks still enjoy Halloween, too.
12. SALLY: Yea. . it's a time of fun for all . .
15. JANE: Well . . what happened to Jack?
14. SALLY: Daddy put a pillowcase over his head . . led
15. him into the woods . . and made him find his
16. way back . .
17. JANE: Did Jack know Who the ghost was?
18. SALLY: No . . and he still doesn't know . .
l9. JANE: And because he laughed at us so . . we won't
20. tell him.
21. SALLY: (LAUGHS) No . . we'll lock the ghost up . .
22. in our memory closet . .
23. SOUND: (GIRLS LAUGHING)
24. THEME: IN AND'UNDER
25. ANNC'R: You have just listened to . . THE LIVE GHOST . .

(MORE)

 

   

 

 

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(ANNC'R):

THEME 3

96

written by Florence Schabel and

'produced by .

 

Heard in the cast were

 

 

Sound effects were by

 

and was in

 

charge of music. This is your announcer

 

UP TO FILL TIME AND OUT

 

Characters:

ANNOUNCER:

NARRATOR:

lST SAILOR:

2ND SAIIDR:

CAPTAIN:
BOY: . .
MAMA: .
PADRE: .
MERC HAN T :
SQUANTO:
STANDISH:

BRADFORD:

THE UNSUNG HERO

Stately, dignified voice
Confidential quality
Contrasting voice
Contrasting voice

Brusk, sharp voice

Child about eight years old
Motherly quality in voice
Gentle and soft-spoken
Kind and sympathetic
With broken accent
Authoritative yet gentle

Contrasting voice to StandiSh

 

 

‘1.
o I 0 v 0
VIN O O I O
O O O O
O O O O I
O I 0 C I O I I
o o 0 O O I
O O D I
C l l G O
I O O O I
O I 0 O O .

 

 

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THEME:
ANNC'R:

THEME:

98
THE UNSUNG HERO
IN AND UNDER
We present . . . THE UNSUNG HERO . .

UP AND OUT

 

NARRATOR:

SOUND:

lST SAILOR:

2ND SAILOR:

lST SAILOR:

2ND SAILOR:

lST SAILOR:

On an autumn day in New England . . over
three hundred years ago . . Indians and
White men together . . bowed their heads

in prayer . . gave thanks to the white man's
God . . and gave thanks to the Indian's
Great Spirit . . a special thanks for their
friends . . for their health . . and for
their harvest. Today, we to, bow our heads
in thanks and appreciation for a lone
Indian . . Squanto . . who made it possible
for the Pilgrim Fathers to hold Thanksgiving
Day . . This is a story of courage . . this
is a story of faith . . thig is the story
of Squanto. (FADE OUT)

(WIND AND WATER LASHING, FOG HORN)

Any idea how long before our boat will
land?

Soon . . I hope . .

Sure . . me to . . this sea is really
rough.

America's a long way from England. .

Yea . . and I don't aim to come again.

99

l. 2ND SAILOR: I think the Captain is getting anxious to
2. R see land, too.

3. lST SAILOR: Yea . . he doesn't say very much . .

4. 2ND SAILOR: He doesn't stay on deck very long either . .
5. lST SAILOR: Say . . there isn't anything wrong, is

6. there?

7. 2ND SAILOR: Hope not . . I want to see my wife and

8. , child again.

9. lST SAILOR: Why do you suppose he wanted to make this
10. trip?
11. 2ND SAILOR: Why . . . to trade with the Indians . .
12. of course .o. I
15. lST SAILOR: But he isn't getting anything out of this. .
l4. 2ND SAILOR: The £2332 he isn't . .

15. lST SAILOR: But the merchants . .
16. 2ND SAILOR: What the merchants don't know . . won't
l7. hurt them . .
18. lST SAILOR: YOu mean. .

19. 2ND SAILOR: Yea . . he does hi3 trading on the side . .
20. lST SAILOR: But if they find out . .
21. 2ND SAILOR: Remember . . we make a stOp in Spain before
22. we see the merchants . .

25. lST SAILOR: Do you suppose . .

24. 2ND SAILOR: Don't suppose anything . . shhh . . here

25. ' comes the Captain now .

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SOUND:

lOO

(FOOTSTEPS)

 

CAPTAIN:
lST SAILOR:
CAPTAIN:

lST SAILOR:

CAPTAIN:

2ND SAILOR:

CAPTAIN:

MUSIC:

lST SAILOR:

Sailor . . tie this rope tighter . .
Aye, aye, sir.

You idiot . . now watch those ropes with
this wind . . or we won't have any masts
left.

Aye, aye, sir.

And you . . over there . . get to your
posts . .

Aye, aye, air.

You blundering fools . . we'll never get
to America if this keeps up.

SEGUE FROM WIND AND WATER TO QUIET
PEACEFUL MUSIC. ESTABLISH AND THEN FADE

 

UNDER.

 

AhOy: Ahoy: Ship Ahoy:

 

2ND SAILOR: Land: Land:
MUSIC: UP AND OUT
lST SAILOR: See that Indian over there . .

2ND SAILOR:

lST SAILOR:
2ND SAILOR:

lST SAILOR:

That must be the one the Captain calls
Squanto . .

well . . see Squanto look at us . .
Watch him look at our trading goods . .
Look . . . Squanto has the OOpper kettle

in his hands . .

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2ND SAILOR:
lST SAILOR:
2ND SAIIDR :
CAPTAIN:

MUSIC:

NARRATOR:

101
He mgggg t0.E§EB that thing:
Look at him swing it over his head . .
No wonder the Captain had us polish it.
Sailors, quiet . . we must make them
understand . . bring the furs here . .
(PAUSE) There, now . . all of us motion
and point to these furs . . we want £2235
furs . . (PAUSE) now point to our
trading goods . . motion that they can
have these . . that's it . . yes . .
yes . . they understand . . see? . . they
leave now . . (LAUGHS) we will get their
furs . . their winter furs . . they are
worth a great deal of money.
SOMETHING SUGGESTIVE OF EXCITENENT
During the winter . . the Indians trapped
in the woods . . Spring would again bring
the big white bird on the sea . . and
again . . the pale faces . . Squanto led
all the rest . . he had the most furs . .
part of these he gave to his Mother . .
and part to the Indian girl, Morning Star. .
whom he had promised to marry . . the rest
he kept to trade with the white men . .

to exchange for trinkets from the pale faces.

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CAPTAIN:

SOUND:

102
Sailors . . go back to the ship . . .
bring more beads . . watch: . . see those
Indians over there . . wave that red
ribbon . . now show them that we want them
to help carry the furs to our ship . .
sailors. . motion to them . . point to
the furs . . then to the ship . . get
them to help carry the furs. . (PAUSE)
show them that we will give them more
gifts . . yea . . that's it . .

(FOOTSTEPS RUNNING)

 

CAPTAIN:

SOUND:

There they go . . follow them . . that's
it . . we have . . twelve. . fifteen . .
eighteen. . twenty . . twenty-one . .
twenty-two . . twenty-three braves. .
(LAUGHS) that's it . . hurry men . .

geod work . .‘my plan worked . . we have
Squanto too . . I saw to thggl (LAUGHS)
Quick: pull up the rope ladder . . now . .
be quick . . pull up anchors . . make
ready to sail at once. (LAUGHS HEARTILY)

(INDIANS HOLLERING IN BACKGROUND)

 

MUSIC:

SOMETHING SUGGESTIVE OF SORROW

 

NARRATOR:

Only Squanto showed no fear . . he even

gave courage to the other braves . .
(MORE)

OOOOOOOOOOOOOOOOOOOOOOOOO

 

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(NARRATOR):

BOY:
MAMA:
BOY:
MAMA:
BOY:
MAMA:

PADRE:

NARRATOR:

MERCHANT:

105
But all the Indians were tied with rcpes-
and held as prisoners until the white men
reached Spain . . there they were separated. .
and only by chance escaped being sold as
slaves . .(FADE OUT)
Oh, Mama . . look . .
Oh, The Padre . . the Padre . .
What the man say?
Hush . . hush . . the Padre will speak . .
Look . . Mama . . he holds up his cross . .
Shhhh . . he wants to speak . .
(GENTLY) This is not right . . men, you
should be ashamed . . these Indians shall
come with me ._. they shall not be_sold as
slaves . . I shall be their friend . . come,
my new friends . . follow me . .
The priest in his log robe, pushed his
way through the crowd. The twenty-three
Indians followed. One by one, through his
many friends, he helped them to escape
the country. Squanto wassent to London.
He went to live with a rich.merchant. (FADE
OUT)
It has been a good many years since you came

here, Squanto.

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SQUANTO:
MERC KANT 3
SQUANTO:

1le RC HANT :

SQUANTO:

$le RC HAN T :

MERCHANT:

SQUANTO:

I‘JIERC HAN T :

SQUANTO:

MERCHANT:
SQUANTO:
MERCHANT:
SQUANTO:

104
Yes . . you . . you very good to me. .
But you aren't happy, are you?
I miss my peOple . . I miss MOrning Star .
But I am a rich merchant . . I have money . .
I can buy you anything, Squanto . . look . .
now you wear the white man's clothes . .
and you speak our language.
Yes . . you very, very good to me.
Do you really want to go back to your
people? I thought you had forgotten them.
No: No: I haven't forgotten them. Every
night I pray to the Great Spirit. Great
Spirit knows what is in my heart.
Poor Squanto . . you really are lonely . .
I'll send you back to your peOple . .
Will you? . . will you?
Yes . . I have ships that sail to America
to get furs. I'll send you on the next
ship.
You have taught me how to say thanks . .
but I can't remember any of the words now.
You don't need to thank me, Squanto.
I know . . I know how to thank you . .
How?

When I get home again . . I will tell m
(MORE

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(SQUANTO):

MERCHANT:

SQUANTO:

MERCHANT:

MUSIC:

105
peOple that 123 are good . . all white
men aren't bad . .

No . . there are many kind men among

my people . .

And when I am hunting in the forests,

I will remember you . . when I sing and
dance with.my peOple . . I will remember
you . . and when I pray to the Great

Spirit . . I will remember you.

.You show me far better than words can

say it, Squanto, that you are thankful.
SOMETHING SUGGESTIVE OF SACRED CEREMONY

 

NARRATOR:

SQUANTO:

STANDISH:

Squanto returned to his country .A. but
not to his people . . for a great sickness
had come to the land of the Indians . .
came to Squanto's village . . and now the
village was silent . . only Squanto
remained of the Patuxet tribe. Squanto
went to live with Chief Massasoit's tribe
until the white men came on the Mayflower. .
Squanto went with his friend, SamOSet, to
visit the white men. (FADE OUT)

My heart tells me you are good, Captain
Standish.

Thank you, my friend.

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SQUANTO :

STANDISH:

SQUANTO:

SQUANTO :

STANDISH:

SQUANTO:

STANDISH:

SQUANTO :

STANDISH:

NARRATOR:

106
You will be my friend.
Thank you, my friend. YOu must really
mean it when you tell me that . . after
the way the white men treated you before.
But the Padre and the Merchant were my
friends, too.
Yes . . and.wg mean to be your friends,
too.
Great Chief Massasoit is near . . he come
to visit you.
Does he come alone?
No. He bring sixty braves.
Sixty braves? . . oh no. . tell him to
only bring twenty.
He is a great chief . . I give no orders
to Massasoit.
Very well . . you are right . . tell
Massasoit to come to our village . . we
wish to talk to him.
When the Indians and the white men met,
Squanto repeated the words first to the
white men . . and then to the Indians. .
thus a treaty was made between~the white
men and Massasoit's tribe. And then

Governor Bradford spoke. (FADE OUT)

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BRADFORD:
SQUANTO:
BRADFORD:
SQUANTO:
BRADFORD:

SQUANTo:
BRADFORD:

SQUANTO:

BRADFORD:

SQUANTO :

BRADFORD:

SQUANTO:

NARRATOR:

107
Squanto . .
Yes. . Chief of the white men . .
Samoset has tried to tell me as best he
could . . he tells me this was your old
village.
Yes. Once my people lived here. . we were
so happy.
What did you call your village?
Patuxet . . it means "Little Bay".
We call our village .J. Plymouth. It is
named after the town in England.where
we sailed from.
I not know that town in England.
Come and live with us, Squanto . . live
in the village of your people.
You are kind.
We need you, Squanto . . you do not need
to give me your answer now. I will go
home . . the door will be open.
I will stay . . I will stay in my village
with you . . yes . . I will stay with
you . . always. .
The Pilgrims were kind to Squanto . .
and Squanto taught them how to hunt and

fish . . and plant their corn.

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SQUANTO:

STANDISH:

SQUANTO:

STANDISH:
SQUANTO:
STANDISH:

SQUANTO:

STANDISH:

BRADFORD:

STANDISH:

NARRATOR:

108
Indian corn is new to you white men. .
You tell us how, Squanto, and we'll all
help.
Watch the oak leaves . . see? . . when
no bigger than squirrel's foOt . . time
to plant corn . . we get willow twigs .
fix a snare . . catch tiny fish in brook.
Why Squanto, what are we going to do with
fish . . they're too small to eat . .
Ground hungry now . . we must feed hungry
earth . . then grow good Indian corn.
YOu have taught us many things, Squanto.
You my friend.
You have taught us where to find the
sweetest berries . . isn't that right,
Governor Bradford?
Very right, Captain Standish. . and he
has taught us the secrets of the forest. .
and how to hunt.
And which plants to use for food . .
Yes, Squanto had lived with the white men
. . he had taught them many things . . things
which they were never to forget . . things
which they taught their children. . and they

in turn. . to their children. . . and then. .
(MORE)

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(NARRATOR):
BRADFORD:

SQUANTO :

BRADFORD:

SQUAI-ITO :

109
came fall . . and fall brought with
it . . the harvest . .

God has been good to us . . we must
thank Him for all our blessings . .
We thank Great Spirit, too.

Yes, we will thank Him for all the
blessings that He has given us . .
and Squanto we will thank Him for
giving us . . you . . I

Indian have dance . . to please the
Great Spirit.

Squanto, go and invite Massasoit and

his braves. We shall have a feast
This will be our very first Thanks-

God.has been good to us . . let us

bow our heads in thanks . . God gave

us Squanto . . without Squanto we

would have nothing . . he is our best. .
our dearest friend. . Squanto gave us
the harvest . . Squanto made it possible

to have our first Thanksgiving.

 

’BRADFORD:

and a dance.
STANDISH:

giving in America.
BRADFORE:
THEME: IN AND UNDER
ANNC'R:

You have just listened to . . .
(MORE)

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(ANNC'R):

THEME:

llO
Florence Schabel and produced by

. Heard in the cast

 

were:

Sound effects were by

 

and , was in

 

charge of music. This is your announcer

 

 

'UP TO FILL TIME AND OUT

A REAL GIFT

Characters:
ANNOUNCER: . . . . . . . Stately, dignified voice
MOTHER: . . . . . . . . Motherly
ROGER: . . . . . . . . . Teen-age boy
MRS. PARKER: . . . . . . Club-woman type
DAD: . . . . . . . . . . Sympathetic
MRS. SMITH: . . . . . . Soft-spoken

JUDY: o o o o o o o o o Teen-age girl

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25.

112

A REAL GIFT

 

We present . . . A REAL GIFT . .

 

(IN DISTANCE) Roger:

(FADE IN) Roger, I don't hear any music.
I'm not ready to practice yet.

Now Roger Stanton, I told you over an hour
ago to get busy and practice on that

saxophone. . well . . where is it?

You know what I'm talking about . . your

Oh golly, Mother . . why do I have to
practice? Why do I have to take lessons?
Roger: We aren't going through all that,
again. Now where is that sax?

(DISGUSTED) 0h . . it's upstairs . .
Well, march right up there this minute

Why can't I practice up there? It's quieter.

THEME: IN AND UNDER
ANNC'R:
THEME: ‘UP AND OUT
MOTHER:
ROGER: Yes, Mother.
MOTHER:
ROGER:
MOTHER:
ROGER: Where is what?
MO THER:

sax, of course.
ROGER: Oh . . my sax . .
MOTHER: Yes. Where is it?
ROGER: I
MOTHER:
ROGER:

in my room . .
MOTHER:

and get it.
ROGER:
MOTHER:

I'm afraid it would be too quiet. No music.

113

 

 

1. ROGER: I can't go Skating with the gang . . oh no . .
2. and when the gang wants to go bowling . . .

5. little Roger has to say (MIMICING) Sorry, I

4. have to practice Christmas carols.

5. MOTHER: Roger: That will be enough of that: Upstairs. .
6. right now:

7. ROGER: O.K. . . But darnit all, anyway.

8. SOUND: (DOORBELL RINGS)

9. ROGER: Oh . . the doorbell . . I'll go, Mother.
10. MOTHER: You'll go right'upstairs: I'll get the door.
11. SOUND: (DOOR OPENS)
l2. MOTHER: Oh hello, Mrs. Parker.

13. MRS. PARKER: Hello, Mrs. Stanton.

 

 

14. MOTHER: Won't you come in? . . It's been so long since
15. I've seen you. '

16. MRS. P: Thank you. I will.

17. SOUND: (DOOR CLOSES. FOOTSTEPS)

18. MOTHER: Come onin the living room.

19. SOUND: (FOOTSTEPS OUT;

20. MOTHER: Here, sit over by the fireplace. I think
21. you'll be more comfortable.

22. MRS. P: It i3_cold outside, isn't it?

23. MOTHER: Yes. I think it's going to Snow.

24. MRS. P: Oh, I hope so . . It doesn't seem like

25. Christmas without snow.

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MO T RER :

MOTHER:
MRS. P:

MOTHER:

MOTHER:

IVLRS o P:

MOTHER:

MRS. P:

MOTHER:

MP3. P:

114
Yes, that's right.
And I g9 love Christmas . . with all the
lighted trees . . and all the stores look
so gay . .
But it's a busy time.
Yes . . but a happy one.
I've been making my Christmas cookies
this week . . I wanted to get it out of
the way before I did.my shopping.
You are wise to plan early. . so you can
get everything done.
I always try to do that every year.
That's why I came over here today. I'm
chairman for the Christmas program for
the Woman's Club . . and I'd like to have
you on my committee.
Oh . . for December . . well . . I'd love
to do it, Nrs. Parker . . that is . . I
hope I can be of some help to you . .
Oh, I'm sure of that . . that's why I
thought of you . .
Well . . I'll surely try to do all I can.
I always say . . the Stanton's always try
and help where they can . .

0h thanks, Mrs. Stanton. I was sure you would.

 

0 I o O l 4 a 0 a n U u D I I I l s l
.l A . .
0
U O
D
O
I
J O
O
b a
l O
o I o
O
b
0 u
a O
I C
O I
Q
9
n
C
O
O I C
’ c
O

 

 

115

l. MOTHER: You just tell me what you want me to do.

2. MRS. P: Well . . I have some one who will give a

3. Christmas reading . .

4. MOTHER: Oh, that will be fine . . there are so many

5. lovely Christmas stories.

6. MRS. P: But I need some music . . Christmas music.

7. MOTHER: You mean Christmas carols?

8. MRS. P: Yes, that's it. ’

9. MOTHER: - Why don't we all sing Christmas carols? . .
10. the music teacher could lead us. ‘
11. MRS. P: Well . . I suppose that would be all right . .
12. but you see . . we meet at Mrs. Johnson's

13. . . and they don't have a piano.

l4. MOTHER: Of course, we really wouldn't need a piano . .
15. MRS. P: Well, I thought if we had an instrument solo
16. . . it would make it more impressive.
17. MOTHER: Yes, I think you're right.
18. MRS. P: But I don't know anyone who has an instrument.
19. MOTHER: Well . . Roger plays a sax0phone. .

20. MRS. P: Oh that would be lovely . . oh yes.

21. MOTHER: He doesn't like to practice very well . . but .
22. MRS. P: He's like all boys.

23. MOTHER: Maybe if he had a purpose . . maybe he'd
24. practice more. . this might be good for

25. him. 0 o

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116

 

 

Bring your sax down,

 

MRS. P: Oh that would be fine, Mrs. Stanton. . .
I'll plan on Roger then. .

MOTHER: Yes . . I know he can do it for you . .

MRS. P: Well . . I'll have to be going now. . .
thanks so much . . and I'll be calling you
if any thing changes our plans. .

SOUND: (FOOTSTEPS. DOOR OPENSL

MOTHER: Come again, Mrs. Parker.

MRS. P: Thank you . . and I'll see you and Roger~
at the meeting . . good-bye. .

MOTHER: Good-bye.

SOUND: (DOOR CIOSEs)

ROGER: (IN DISTANCE) Who was it, Mother?

MOTHER: (OFF MIKE AND LOUDER) I
Roger . . and I'll tell you all about it.

MUSIC: SOMETHING SUGGESTIVE OF TURMOIL

ROGER: And Dad, besides all that . . Mother promised
I'd play for her old Woman's Club . .

MOTHER: I was only trying to help them out . . and
besides . . I thought maybe it would help
Roger with his practicing . .

DAD: Ybu ought to be glad.some one would ask you.

ROGER: But they didn't ask mg:

MOTHER:

Let's forget all about it now . . and come

to supper . . it's all ready.

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117
Forget it . . yea . . that's easy to say . .

and I can practice . . and practice . .

Roger, I'm getting tired of hearing you
complain about practicing.

But Dad . . . it takes all my time.

fig; your time? Roger, aren't you
exaggerating just a little bit?

Well . . it gggg take all the time that I

want to be skating . . and doing things with
I'm through, Roger. . I'm not going to force
yOu to take lessons . . if you want lessons

from now on . . you'll have to earn the

(EXCITEDLY) Oh. . Dad . . you mean I can

Don't you think you're being hasty on your

No: I've heard this about long enough . .

 

ROGER:
and practice. .
DAD:
ROGER:
MOTHER:
ROGER:
the gang 0 o
DAD:
money yourself.
ROGE‘:
quit?
DAD: Yes . . you may quit.
MOTHER:
decision?
DAD:
now let's eat.
SOUND: (PHONE RINGSL
MOTHER: Now who could that be?

ROGER:

I'll answer . . I'll find out.

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DAD:

ROGER:

MOTHER:
ROGER:

MOTHER:

ROGER:
MOTHER:
ROGER:
DAD:

ROGER:

MOTHER:
ROGER:
M'SIC: ffi“_

SOUND:

 

118
That's usually the 2232 way to find out.
Hello . . yes this is Roger . . who? . .
oh yes . . Mrs. Smith . . our new neighbor
next door . . tonight? . . why sure .'. we're
just ready to eat now . . but I'll come right
over after that . . sure . . good-bye, Mrs.
Smith. . .
Mrs. Smith? . . is that Mrs. Smith next door?
That's what she said. I
They just brought their daughter home from
the hospital last week.
How old did you say she was?
She's your age, Roger. I
Is She good looking?
Oh now, Roger . . why don't you go over and see?
That's what I'm going to do . . right after
supper . . that's why her Mother called.
That's funny . . I wonder what she wanted?
Yes . . I wonder too . . I wonder (FADE CDT)
SOMETHING SUGGESTIVE OF SUSPENSE 5

(DOOR BELL. DOOR OPENs'L

 

MRS.GSMITH:

ROGER:

LIBS o S 3

Oh hello, Roger . . come in.
Hello, Mrs. Smith . . oh . . er . . you
called me. . .

Yes . . Judy wants to see you.

l.

2.

19.
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119

Yes . . that's our daughter . . we just

brought her home from the hospital last

That's what my mother said . . how is she?

Thanks 0
0h . . it was an automobile accident . .

Well . . come on in here . . Judy's

waiting for you . .

 

Roger, this is my daughter, Judy.

Ohhhhh . . hello . . Judyyyyyy.
Won't you sit down?

Golly . . . thanks . .

Roger . . you're staring at me:

But golly . . you're so pretty.
Ohhhh . . errr . . are you going to be

We don't know, Roger. The doctors can't

RO GER: Judy?
MRS . S : 1
week . .
ROGER:
MRS. S: Oh, much better.
ROGER: What was wrong?
MRS. S:
ROGER: That's too bad . .
Mrs. S:
SOUND: (FOOTSTEesl
MRS.TS:
JUDY: Hello, Roger.
ROGER:
JUDY:
ROGER:
JUDY:
ROGER:
JUDY: Thanks.
RO GER: _
in bed long?
MRS. S:
say.
JUDY:

Oh, Mother . . please hand me that gift?

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JUDY:

ROGER:

JUDY:

ROGER:
MRS. SS
ROGER:

MRS . S :

JUDY:

IVIRS o S 3

ROGER:

JUDY:

ROGER:
JUDY:
MRS. S:
ROGER:
JUDY:

ROGER:

120
Oh sure, darling . . (PAUSE) here.
Roger . . here is a small gift for you . .
it's Christmas you know. . .
A present . . for me?
(LAUGHS) Yes, Roger]. . for you . . I know
that I don't know you very well . . but you
see you've done so much for me . . well . .
I wanted to show you that I appreciated it.
Me? . . . what have I done?
You see . . Judy's hand was paralyzed.
Paralyzed? . . . oh golly . . that's too bad.
Yes . . and every day that you practiced . .
Judy would try and.move her hand . .
I'd keep time to the music with you . .
And it has helped her so much . . now she
can begin to move it . .
You mean you could hear me play?
Sure, Roger . . you see our houses are so
close.
Oh golly.
And Roger . . it was 39 beautiful. .
Judy likes those Christmas carols.
(MUMBLES) Oh yes . . those Christmas carols.
What did you say?

Oh I said. I just love to play Christmas carols.

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25.

JUDY:

ROGER:

MRS. S

121
I'm glad . . because then I'll hear more of
them . .
(LAUGHS) Oh . . oh sure . .
Oh, that will be nice. It passes so much
time for her . . and we g3 appreciate how

it's helped her hand.

 

ROGER: Gee . . I never thought anybody liked to
hear me play.

JUDY: Oh . . I do, ROger. Promise you'll practice
every day . . so I can hear you . .

ROGER: (GULPS) Oh sure . . I lggg to practice.

JUDY: And this gift says the words much better
than I can ever say them . .

ROGER: But Judy . . I don't have a gift for 192‘

JUDY: Oh, but you will, Roger . . just play my
favorite Christmas carol . . that is all
the gift I ask. .

ROGER: Oh sure. . I'll do it, Judy . . what's
your favorite carol?

JUDY: The one you've been practicing.

THEME: CHRISTMAS CAROL. IN AND'UNDER

ANNC 'R:

You have just listened to .~. A REAL GIFT . .
written by Florence Schabel and produced by

. Heard in the cast were:

 

 

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(ANNC'R):

122

Sound effects were by

 

and was in charge

 

of music. This is your announcer

 

'UP TO FILL TIME ND OUT

 

CHAPTER IV

PRO DUC TIO N NOTES

FOR THE SCRIPTS

124
A VISIT TO FATHER TIME
CASTING: Father Time must be carefully cast, as the
' entire plot revolves around this character.
Must be a deep, older voice and be very
sympathetic. Lucy calls for special attention;
as a professional cry and reading of lines
at the same time might be difficult. Suggest
you use pages 14 and 15 for reading, when
casting Lucy. Jimmy should have a friendly

quality in his voice.

'2'.

G PAGE 12 Line 9. Be sure Father Time's voice

ACTI
contrasts with the announcer.
Be ready to come in on line 9
without any delay. The dots
(. . .) are for a pause.
Line 25. Sound irritated.
PAGE 13 Line 2. Continue irritation.
Line 17. Must sound anxious.
PAGE 14 Line 5. See directions for FADE OUT.
Line 6. This entire scene to page 16,
I line 4 must be fast paced.
PAGE 15 Line 18. This speech must be stern.
PAGE 16 Line 5. See directions for FADE IN.
Line 9. Father Time must be very
sympathetic. Do not hurry

this scene.

PAGE 18 Line 150

Line 23.

PAG 19 Line 2.
Line 16 o

SOUND: No special problems.

MUSIC: No special problems.

125
This is an important line.
Make the most of it. Build
it up.
Delivered in a reminiscent
mood.
Defiantly.
Substitute the present

year. (19-“)

CASTING:

ACTING:

126

LINCOLN LIVES AGAIN
The Narrator appears throughout the entire
script. Therefore should have the quality to
keep the continuity of the story. Abraham
Lincoln should be very versatile to portray
the character. The Master should have a deep,

stern voice which is able to mellow at will.

PAGE 22 Line 6. Delivered with reverence.

Line 12. Contrast Narrator's voice
with Hank and Abe.
Line 25. Hurry this line after the

crash.

PAGE 25 Line 8. Do not hesitate on this line.

Line 15. Emphasize both "honest" and

"trustworthy".

PAGE 24 Line 21. Repeat words-"away they go"

§

so that no words are lost
on the fadeout. See directions
for FADE OUT.

Line 23. See directions for FADE IN.

PAGE 25 Line 2. Emphasize "myself".

Line 25. Increase tension in voice

to portray excitement.

PAGE 26 Line 1. Must be realistic. Slow.

Line 17. See directions for DEAD AIR.

Line 19. About 3 seconds panes.-

PAGE

Essa...

PAGE

PAGE

SOUND: PAGE

PAGE

PAGE

PAGE

PAGE

27
28

29

30

22

24

25

27

29

Line 210
Line 10.

Line 16.

127
Rapid pace.
Build up this scene and
mood. Must sound convincing.

This scene deserves time

- and sincerity.

Line 120
Line 240

'Line 5.

Line 4.

Line 22.
Line 11.
Line 5.

Line 7 o

Delivered as a speech.
Repeat the speech form.

This is the climax. Make

it so.

Must be used and then segue
to music. See directions for
SEGUE.

Must be realistic.

A record.may be used.

A record.may be used, but
add studio noise with it.
Must be typical of this age.

Realistic and.monitored.

MUSIC: Bugle taps may be used either on record or live.

Watch volume.

CASTING:

ACTING:

SOUND:

MUSIC:

128

GRANDMA'S VALENTINES

No special problems except that the children

should be realistic for their particular ages.

Contrast the voices of the King and Valentine.

PAGE 53

PAGE 54
w

w

m

PAGE 54

Line
Line
Line
Line
Line
Line
Line
Line

Line

Line
Line
Line
Line

6.
l7.

6.
2.
15.

19.

PAGE 52 Line 14. Grandma should be sincere and

not sound "preachy".

Emphasize the underlined words.
See directions for FADE OUT.
Hesitate on phrasing.-

Must sound irritated.

Sound teasingly.

Sound submissive.

Sternly.

Must be sincere. Deliver as
though these are his thoughts
Which he is pondering.

Build up this scene to show
excitement and enthusiasm.

Must be delivered as "reading".
Grandma is reading this information.
Delivered light and airy.

Real chains will be more realistic.

No special problems.

CASTING:

ACTING:

SOUND:

MUSIC:

129

TRULY A SOLDIER

The Corporal should be carefully chosen, as

this character requires a sudden change of

expressions which have to be relayed through

the voice.

Contrast the Lieutenant and the

Corporal's voice so there is no confusion.

45

PAG

46

PAGE

47

PAGE

48

PAGE

46

PAGE

42

PAGE

Line
Line
Line
Line
Line

Line

Line

Line

9.
ll.
20.
23.
7.

l.
6.

17.

PAGE 42 Line 21. Urgent and worried. Continue

this scene.

Surly and demanding. Sharp tone.
Must be very sarcastic.

Surprised and shocked.

Terrified.

Deliver as though he really hOped
that it weren't Washington under

these conditiOns.

Must be realistic.

Watch volume. Should be more
like a thud.

Fade in music and fade out,

when established.

CASTING:

ACTING:

150
HE IS RISEN

This is one of the more difficult scripts to
produce because of the characters and scenes.
Care should be taken that Mary of Nazareth
and Mary Magdalen are distinctly different in
voice qualities to avoid confusion. This is
also true for John and Joseph, the disciples.
The angel could be put on filter microphone
to add to the mysterious quality, if one is

available. The entire story is slow paced.

PAGE 51 Line 4. Reverent, to set the pace.

Line 10. See directions for FADE OUT.

PAGE 52 Line 25. Doubtfully.

PAGE 54 Line 5. Suspense and fright in voice.

Line 24. Sincere.

PAGE 55 Line 5. As though she is recalling

her thoughts. This is the
beginning of this scene.
Line 21. Frightened.

PAGE 57 Line 11. Difficult line as it must

be realistic, yet audible.

PAGE 58 Line 5. See directions for FADE IN.

Various voices should be paced

fast to build the scene.

PAGE 60 Line 1. Slow and sincere. This is the

climax.

 

151
SOUND: No special problems.
MUSIC: Music should be chosen on the heavy and reverent

theme, to coincide with the type of play.

CASTING:

ACTING:

152
RESPECT TO THE FALLEN HEROES

Characters should be carefully chosen as they
represent many countries and accents. The
Narrator plays an important part in keeping
continuity, and therefore should have a
confidential and sincere quality. Much emotion
is expressed in the lines and should be used

for casting the Mother, Lincoln and Logan.

PAGE 62 Line 8. See directions for FADE OUT.

Line 9. Slowly paced.
Line 15. With a Greek accent, if
possible.

PAGE 65 Line 5. As this line is repeated often,
it must be delivered with great
importance.

Line 9. With Italian accent, if possible.

PAGE 64 Line 8. Increase the pace of these lines.
Continue until page 65, line 2.

PAGE 65 Line 4. Delivered with much emotion.

Line 17. Reverent, yet softened with
grief and sorrow. Much emotion.

PAGE 66 Line 14. Thoughtful and sincere.

PAGE 67 Line 17. Very slowly paced. Must be care-

fully done.

PAGE 69 Line 6. Make this a challenge.

155
SOUND: No special problems.
MUSIC: Music should be chosen from the suggested
countries.
PAGE 65 Line 2. This is a segue. See directions

for SEGUE.

134
BORN TO BE A SAILOR

CASTING: As all the characters but one are male, care
should be taken to have contrasting voice
qualities. Suggest various parts of the script
be used for casting to be sure that at no time
is there confusion of characters.

ACTING: PAGE 71 Line 12. See directions for FADE OUT.

Line 15. ChristOpher is a young boy at
this particular time. Makes
the change to a man on Page 75,
line 14.

PAGE 74.Line l4. Jokingly.

Line 22. Thoughtfully.

PAGE 75 Line 4. Irritated.

Line 21. Suspiciously and tricky. Make
the character from the voice
quality and delivery of lines.

PAGE 76 Line 12. Must be well done to be
effective.

Line 20. Stern.

PAGE 78 Line 7. Must be "off micrOphone". See

' directions for OFF MIKE.

Line 16. Columbus is defiant and
demanding. He feels he is
already risking his life.

PAGE 79

PAGE 80

PAGE 81

PAGE 80
PAGE 80

Line

line

Line

Line
Line
Line
Line
Line

6.

7.
17.

15.
15.
21.
3.

17.

155
Queen Isabella is greedy
and cannot give up her plans
for self gain, so accepts
the plan.
See directions for FADE IN.
The next few lines are
paced very fast. Build up
excitement.
Must be realistic.
Delivered "off mike".
With much meaning. ‘
Try the real thing.
The music is sneaked
in slowly, then up.
See directions for SNEAK

IN.

CASTING:

ACTING:

SOUND:

MUSIC:

136

THE LIVE GHOST

This script offers no particular problems.

The whole story is light and with fun. The

pace is fast.

PAGE 86 Line
PAGE 91 Line
PAGE 92 Line

PAGE 93 Line

Line
Line
PAGE 94 Line
Line
Line

Contrast Jane and Sally's voice.

19.
15.
17.
13.

18.
22.
l.

15.
21.

Follow directions, "Reads".
Emphasize the word,-"mustfi.
Tension begins. A h
Must be spooky and wierd.
May use a filter microphone.
Pretending he is not scared.
Follow directions.
Frightened.

More frightened than ever.

Trying to be naive.

No specialeroblems.

No special problems.

CASTING:

ACTING:

SOUND:

137
THE UNSUNG HERO

The Narrator must be contrasted to the various
characters. Suggest try all instances so there
is no confusion at any time. The Captain is a
tricky character. The Padre and Merchant have
the same voice qualities; therefore they must
contrast. Squanto must pace his speech slowly
and.with a slight accent. Standish and Bradford
must be distinct characters. Choose the cast

carefully.

PAGE 98 Line 17. See directions for FADE OUT.

Line 19. Hopefully. These next lines
' are interruptions. Pick up

the clues rapidly.

PAGE 100 Line 16. "off mike". See directions.

PAGE 101 Line 4. This scene should be carefully

done to build up the scene.

Suspense is important.

PAGE 105 Line 12. Delivered gently.
PAGE 104 Line 16. Excitedly.

PAGE 109 Line 17. Make this an important speech.

It is the essence of the play.

Line 23. Emphasize the word "have".

PAGE 98 Line 18. This is a tricky segue. See

directions for SEGUE.

158
MUSIC: PAGE 100 Line 15. This is another segue.
See directions for

SEGUE.

CASTING:

AC TING :

A REAL GIFT

There are no special problems, except the

characters must be typical of an American

family with a teen—age boy.

voices of Mrs.

PAGE

113

23391....

116

PAGE

118

mm...

119

PAGE

120

121

PAGE

Line
Line
Line
Line
Line
Line
Line

Line
Line

Line

Line
Line

Line

Line

Stanton and Mrs.

PAGE 112 Line 1.

4.
6.
8.
25.
20.
17.

2.

19.
15.
1.

25.
25.

11.

20.

Contrast the
Parker.

Use a Christmas Carol for
the THEME.
"Off mike" See directions.
See directions for FADE IN.
Disgustingly.

With irony.

Make this scene very "chatty".
Very disgusted. . h
Frequent pauses to make it
realistic for a phone call.
See directions for FADE OUT.
Very confused.

Long enough pause for Judy to
receive the package.

Humble must be audible.

fake this line important.

It is a punch line.

Confused and excited.

The climax of the play.

140
SOUND: No special problems.
MUSIC: No special problems. Use a Christmas Carol
for the THEME. Be ready with the music right

after Line 20, PAGE 121.

CHAPTER V

GIDSSARY OF RADIO TERMS

BAG KGROUN D:
CONTINUITY:

CROSSFADE:

CUE:

DEAD AIR:

EFFECT:

FADE IN:
FADE OUT:

FIETER:

IN AND UNDER:
LINE:
MIKE:
MIX:

NARRATOR:

FACING:

SCRIPT:

142
GLOSSARY OF RADIO TERMS

Any effect used behind another effect.
Material read on the program.

To fade in, one effect while another is
faded out.

A signal, either written or by gesture.
Silence. A period when nothing is heard
over the air during the broadcast.

A result.

Moving gradually toward mike and/or increasing
volume.

Moving gradually away from the mike and/or
decreasing volume.

An electrical device used to alter tone
characteristics by eliminating or adding
various frequencies.

Sneak in and hold volume under during next
conversation or until script says "OUT".

A sentence read by one actor. -
MicrOphone.

The act of modulating or adjusting the
sounds being broadcast.

A commentator who describes an event or
material being broadcast.

The control of tempo of a performance.

A copy of the play. All actors and music and

sound effect men should have one; as well as

SEGUE:

SNEAK IN:

SOUND EFFECTS:

TIMGE:

TRANSITION:

UNDER:

UP AND OUT:

145
the director and engineer.
Musical transition, without a break from
one tempo or mood to another.
To introduce an effect in softly behind.
dialogue or narration before swelling to
full volume.
Sound.made to make the drama more
realistic and continue the action.
The music used at the beginning and ending
of a production.
The change from one scene to another.
Behind another effect.
A direction used to indicate that music
that has been supporting an effect should

increase in volume and fade quickly.

144
BIBLIOGRAPHY

ANDERSON, A. M., Squanto and the Pilgrims. Chicago: Rand
McNally and 00., I929. 247 pp.

 

CHAMBERS, R., Editor, The Book of Days. London: W. and R.
Chambers, 1869. 852 pp.

COE, FANNY E., Founders 2; Our Country. New York: American
BOOK CO.’ 1956. 528 pp. 1

 

COLOMBO, The Log g Christopher Columbus, Copied by
Bartholomew Las Casas. New York: William R. Scott,
1958. \

 

COWGILL, ROME, Fundamentals 2; Writing_for Radio. New York:
Rinehart and.Co. Inc., 1949. 295 pp.

 

 

 

DEEMS, EDWARD M., Compiler, Hol Dags and Holidays. New York:
Punk and.Wagnalls Co., 19I2. . 2 pp.

GIELGUD, VAL, The Right Way 23 Radio Playwriting. London:
The Rolls House Pufilishing 00., Ltd., 155 pp.

 

 

RARE, MILDRED AND NOEL McQUEEN, Special Pla s for Special
Days._ Boston, Mass: Plays Inc., 9 . 59? pp.

HAZELTINE, MARY E., Anniversaries and Holidays. Chicago:
American Library Association, I944. 516 pp.

 

HERRICK, CHEESMAN A., Outstanding Days. Philadelphia, Pa:
The Union Press, 1920. 282 pp.

 

HENRY, ROBERT D., and JAMES M. LYNCH, JR., History Makers.
New York: Row Peterson and Co., 1941. 92 pp.

 

HODGES, C. WALTER, Columbus Sails. New York: Coward McCann
. Inc., 1939. 217 pp.

 

KELLER, EVELYN, The Scri t Sho . Boston: The Christopher
--Publishing House, 44. 256 pp.

 

MALONEY, MARTIN, The Radio Pla . Evanston, Ill: Student
Book Exchange, 1919. 211 pp.

MCSPADDEN, J. WALKER The Book of Holida s. New York:
.Thomas Y. Crowell Co., 19177‘ 399 pp.

MEADOWCROFT, ENID LaMONTE, The First Year. New York:
,Thomas Y. Crowell 00., I911. 152 pp.

 

145

OURSLER, FULTON, The Greatest Story Ever Told. Garden City,
N.Y: Doubleday and Co. Inc., 1949. 299 pp.

PARKER, ARTHUR C., The Indian How Book. Garden City, N.Y:
Doubleday, Doran and Co., Inc., 1945. 555 pp.

 

PUMPHREY, MARGARET B., Pilgrim Stories. Chicago: Rand
McNally and Co., 1929. 247 pp.

SCHAUFFLER, ROBERT HAVEN, Compiler, TheD ays he Celebrate:
Vol. I, Celebrations for Christmas and Other Days.
New York: Dodd, Mead and 00., I940. 445 pp..

 

 

SCHAUFFLER, ROBERT HAVEN, Compiler, The Days Le Celebrate:
Vol. II, Celebrations for Festiva Is. New York: Dodd,
Mead and.COo, 19400 400 pp. .

 

 

SCHAUFFLER, ROBERT HAVEN, Compiler, The Days Le Celebrate:
Vol. III, Celebrations for Patriotic Days. New York:
Dodd, Mead and,Co.,_1940:' 597 pp.

 

 

SCHAUFFLER, ROBERT HAVEN, Compiler, The Da 3 g Celebrate:
Vol. IV, Celebrations for SpeciaIO Occa one. New York:
Dodd, Mead and Co., 1949: 591 pp.

 

 

SCHAUFFLER, ROBERT HAVEN, Halloween. New York: Dodd, Mead
and.Co., 19330 591 pp. .

 

THORNE, SYLVIA AND MARION NORRIS GLEASON, The Pied Pi er
Broadcasts. New York: H. W. Wilson 00., I945. 5 pp.

 

WYLIE, MAX, Radio and Televisigp Writipg. New York:
Rinehart and Co., Inc., 1950., 622 pp.

 

146

APPENDIX
References for the scripts.

A VISIT TO FATHER TIME:
None.
LINCOLN LIVES AGAIN:

-HERRICK, CHEESMAN A., Outstanding_Days. (Philadelphia,
Pa: The Union Press, 1950). pp. 45-52.

 

DEEMS, EDWARD M., Compiler,P H01 Days and Holidars.
(New York: Funk and Wagna s 00.,1E055.
pp. 468-476.

SCHAUFFLER, ROBERT HAVEN, Compiler, The Days We
Celebrate: Vol. III, Celebrations for Patriotic
Days. (New York: Dodd, Meaa'and 00., 1940).
pp. “45-58.

 

McSPADDEN, J. WALKER, The Book of Holida s.
(New York: Thomas“ Y. Croweil C0., 1%17).
p. 28.

GRANDMA'S VALENTINES:
SCHAUFFLER, ROBERT HAVEN, Compiler, The Da 8 We

pelebrate: Vol. I, Celebrations Torc i_Emag
and OEher Da 3. (New York: Dodd, Mead and Co.,

1d405. pp. 5-256.

TRULY.A SOLDIER:

 

SCHAUFFLER, ROBERT HAVEN, Compiler, The Days We
gglebrate: Vol. III, Celebrations for Pat.3i0I:?c
Days. (New York: Dodd;IMeaH'andICo., 1940).
pp. 97-103.

 

 

HE IS RISEN:

OURSLER, FUITON, The Greatest Story Ever Told.
(Garden City,NN.Yr:Dou51eday anaC 00., Inc.,
1949). pp. 285-299.

 

147

SCHAUFFLER, ROBERT HAVEN, Compiler, The Da 8 We

Cplebrate: Vol. I, Celebrations For C riEEmas
and Other Holidays. (New York: Dodd, Mead and
00., I946). pp. 559'437. .

 

 

 

HERRICK, CHEESMAN A., Outstanding Days. (Philadelphia,
Pa: The Union Press, 19207. pp. 95-107.

 

RESPECT TO THE FALLEN HEROES:

SCHAUFFLER, ROBERT HAVEN, Compiler, Th3 Days We
Celebrate: Vol. III, Celebrations for PaEFiotic
Days. (New York: Dodd, Mead and Co., I94OITR
pp. 350-555. .

 

 

HERRICK, CHEESMAN A., Outstandigg Days. (Philadelphia,
Pa: The Union Press, 1920;: pp. 127-136.

 

BORN TO BE A SAILOR:

HODGES, C. WALTER, Columbus Sails. (New York:
. Coward McCann Inc., 19397. p. 217.

 

McSPADDEN, J. WALKER, The Book of Holida s.
(New York: Thomas Y. CroweII Co., INIV).
pp. 215'251. -

COE, FANNY E., Founders g£_0ur Coungry. (New York:
American Book Co., 1950). pp. 7:36.

 

THE LIVE GHOST:

SCHAUFFLER, ROBERT HAVEN, Halloween. (New York:
Dodd, Mead and Co., 1953}. pp. ix-xvii and
pp. 3’15.

 

THE UNSUNG HERO:

ANDERSON, A. M., S uanto and the Pilgrims.
(Chicago: WhEQIEF‘TuBIIehing 00., 1949).
pp. 45-139.

PUMPHREY, MARGARET B., Pil rim Stories.
(Chicago: Rand NcNaIIy and 00., I929).
pp. 145-165.

MEADOWCROFT, ENID LaMONTE, The First Year.
(New York: Thomas Y. CrowelI 00., 1941)
pp. 69'141.

 

148

HERRICK, CHEESMAN A., Outstanding Days.
(Philadelphia, Pa: The Union Press, 1920).
pp. 249-264.

 

PARKER, ARTHUR 0., The Indian How Book. (Garden
City, N.Y: DouEleday, Doran and Co., Inc., 1945).
pp. 183-220..

 

MCSPADDEN, J. WALKER, The Book of Holida s.
‘(New YOrkzp Thomas Y. CroweII'Co., I9I7).
pp. 273-289.
A REAL GIFT:

None.

149
BIOGRAPHY

Florence Ann Laird Schabel was born August 30, 1910
at Chelsea, Michigan. She graduated from Chelsea high
School in 1927 and attended hichigan State Normal College
from 1927 to 1929 after which she received her Life
Certificate.

For five years she taught in the Grand Ledge Public
Schools, and then in the Lansing Public Schools for nine
years. She resigned to marry Lloyd Schabel.

As a contribution to the war effort, she took an
accounting position with Oldsmobile Division of General
Motors. However, with the conclusion of the war and a
shortage of teachers, she accepted a position in the East
Lansing schools and attended night classes at Michigan
State College.

Following a serious accident in 1948, she returned
to Michigan State full time and received.her Bachelor of
Arts degree in Education in December 1949.

She then entered the L‘rraduate School of Michigan
State College and.majored in Radio Education with a minor
in Audio~Visual Education. Upon finishing her academic
work for the Master of Arts degree, she accepted a position
as principal of Millett School. She received the Master of

Arts degree in March 1951.

4.; 22 ,53
- - . Nov7 5}
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