Bogart and Bacall Tribute

Part 1: To Have and Have Not

Written and produced by

John F. Barber

CC BY-NC-ND 4.0
(https://creativecommons.org/licenses/by-nc-nd/4.0/)
Creative Commons Attribution-Non-Commercial-NoDerivs 4.0 International

Re-Imagined Radio
Season 13, Episode 07

Final draft

BOGART AND BACALL TRIBUTE

Part 1: To Have and Have Not

Re-Imagined Radio
Season 13, Episode 07
Final Draft

Premier broadcast: July 21, 2005

Written, Produced, Hosted by John F. Barber

Sound design, Music composition, Post-production by Marc Rose

Graphics by Holly Slocum with Evan Leyden

Social Media and Announcing by Rylan Eisenhauer

Synopsis
Re-Imagined Radio offers this "Bogart and Bacall Tribute." It's the first of two parts. In Part 1 we focus on the 1946 Lux Radio Theatre adaptation of To Have and Have Not, a 1943 motion picture by Howard Hawks starring Humphrey Bogart and Lauren Bacall. The couple reprise their roles for this radio adaptation. Part 2 samples from Bold Venture, a short-lived radio series undertaken by Bogart and Bacall.

Credits
"To Have and Have Not." Lux Radio Theatre. Oct. 14, 1946. Episode #541. Starring Humphrey Bogart and Lauren Bacall.
Available at Internet Archive, https://archive.org/details/OTRR_Lux_Radio_Theater_Singles

Color Code
Yellow highlighted text = sound effect(s), either pre-recorded or created for episode. Pre-recorded audio is used as content in this episode.

Magenta highlighted text with strike through = text deleted for episode timing

MUSIC = pre-recorded

MUSIC = bespoke, created for this episode

COLD OPEN
SFX: SAMPLES FROM "TO HAVE AND HAVE NOT"
LAUREN BACALL
You know, Steve, you're not very hard to figure. Only at times. Most of the time I know exactly what you're going to say. The other times . . . The other times you're just a stinker . . . You know, you don't have to act with me, Steve. You don't have to say anything and you don't have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don't 'cha Steve? You just put your lips together and blow.
(SFX: DOOR CLOSES)
HUMPHREY BOGART
You just put your lips together and . . .
SFX: WOLF WHISTLE.
THEME AND ANNOUNCER
MUSIC: RIR THEME
ANNOUNCER
Welcome to Re-Imagined Radio, a program about sound-based storytelling. With each episode we explore how dialogue, sound effects, and music can engage your listening imagination and promote storytelling. Here to tell you about THIS episode is John Barber, producer and host.
HOST OPEN
HOST
Thank you, Rylan. Hello everyone. Welcome to Re-Imagined Radio. This episode is called "Bogart and Bacall Tribute." It's the first of two parts. We're focusing here on the 1946 Lux Radio Theatre adaptation of To Have and Have Not, a 1943 motion picture by Howard Hawks starring Humphrey Bogart and Lauren Bacall.
To Have and Have Not is a great success. Bogart and Bacall become a Hollywood power couple.
In 1946, Bogart and Bacall collaborate on a Lux Radio Theatre adaptation of their movie. This leads to a new radio series, Bold Venture, which is the focus of Part 2 of our Bogart and Bacall tribute.
For more information, and to follow along with the episode script, visit our website, reimaginedradio dot fm.
Thank you for listening as Re-Imagined Radio presents "Bogart and Bacall Tribute, Part 1: To Have and Have Not".
MUSIC: FOR TRANSITION
HOST
To Have and Have Not, the movie and radio adaptation, begins as a short novel published by American writer Ernest Hemingway, in 1937.
Hemingway positions the wealthy yacht owners visiting Key West, Florida, during the 1930s as the "Haves" and the local residents as the "Have Nots."
His commentary on Key West and Cuba during the Depression is influenced by Marxist ideology to which he is exposed through his involvement with the Spanish Civil War, and may contribute to the novel's mixed reception.
A handful of Hollywood writers, including newly-arrived author William Faulkner, turn Hemingway's novel into a movie script that follows the framework of Casablanca, Bogart's 1942 motion picture.
Then Lux Radio Theatre calls. For the weekly program, producers contract motion picture actors to voice roles from their current movies in front of live audiences.
On the twelfth anniversary of Lux Radio Theatre, October 14, 1942, Bogart and Bacall are onstage, ready to reprise their roles of "Steve" and "Slim."
Lux Radio Theatre host, (1945-1952), William Keighley, sets the scene.
MUSIC: FOR TRANSITION
ACT #1, HARRY MEETS MARIE
MUSIC: FOR SCENE OPENING
WILLIAM KEIGHLEY
In 1940, following the fall of France, the rule of the new Vichy government stretched to a group of islands due east and south of the tip of Florida. The French West Indies. Among them, the island of Martinique. It's early evening. At the little town on the Martinique coast, a boat has just come into port . . .
SFX: IDLING BOAT MOTOR
HARRY MORGAN
All right, Eddie, tie her up.
EDDY MARSHALL
That's what I'm doing, Harry. Tyin' 'er up good.
HARRY
Well, Mr. Johnson, wanna go out again in the morning?
JOHNSON
No, I'm fed up with this kind of fishing.
HARRY
Yeah, I can see how you would be. You hook a couple of marlin that any good fisherman would give his life to tie in when you lose them both.
EDDIE
(FROM THE BOW OF THE BOAT) Yeah, Mr. Johnson, you're just unlucky.
HARRY
Shut up, Eddie. Uh, about my bill. Sixteen days. Plus the rod and reel you lost overboard. 
JOHNSON
The fishing tackles your risk.
HARRY
Not when you lose it the way you did.
JOHNSON
I paid for the rate of it every day.
HARRY
How about if you hired a car and ran it over a cliff, you'd have to pay for it?
JOHNSON
Well, that's entirely different.
EDDIE
Not if you was in it. That's a good one, ehh Harry?
HARRY
That's a good one, Eddie.
JOHNSON
Now look, I'm not trying to . . .
HARRY
You lost that gear through carelessness. It cost me 275 bucks. And that's 16 days, that's thirty five a day, that's a total of eight hundred and thirty five bucks . . .
JOHNSON
I'll . . . I'll go to the bank in the morning.
HARRY
I was figuring you'd pay me off tonight.
JOHNSON
I don't keep cash like that at the hotel.
HARRY
Okay.
JOHNSON
Well, let's go up and have a drink. Well, why not?
MUSIC: FOR TRANSITION, DUCKS AND CONTINUES UNDER THE FOLLOWING.
CROSS FADE TO . . .
SFX: INTERIOR. HOTEL BAR, GENERAL WALLAH
GERARD
Well Monsieur, what luck today?
HARRY
Not so good, Frenchy.
JOHNSON
Couple of bourbons straight.
HARRY
What are you doing behind the bar, Frenchy?
GERARD
Ohh, a small hotel like this, Harry, the proprietor does a little bit of everything. So, ahh, the fish would not bite, eh? Maybe tomorrow you do better.
JOHNSON
Not me. I'm through. This is my last day.
GERARD
Oh, that's too bad, eh?
HARRY
Yeah.
JOHNSON
Well, here's to you. Ahh, I'm gonna wash up. Oh, that bill was eight hundred and, uh . . .
HARRY
Eight hundred and thirty-five bucks.
JOHNSON
Yeah, eight thirty-five.
HARRY
Oh, Johnson . . .
JOHNSON
Yeah?
HARRY
What time tomorrow morning?
JOHNSON
Oh, uh, after the bank opens, around ten-thirty.
HARRY
I'll be waiting.
GERARD
Harry, you are free after today. No more fishing parties?
HARRY
Why?
GERARD
There are some people who want to hire your boat.
HARRY
No, not a chance.
GERARD
They only want it for one night, Harry. It pay well.
HARRY
I can't afford to get mixed up in politics.
GERARD
I would not speak it if it were not important.
HARRY
Better not speak it at all. Company's coming.
GERARD
Company? Oh, good evening, mademoiselle.
MARIE
Anybody got a match?
HARRY
Oh, yeah. Here's a match.
SFX: MATCH STRIKE
MARIE
Thanks.
HARRY
Hey, who's that?
GERARD
She came in on the afternoon plane.
HARRY
Ehh. Well, about my boat. I know what your sympathies are, and it's all right for you, but I don't want any part of it.
GERARD
They are coming here tonight, Harry, to talk to you.
HARRY
Well, I'd get word to them. They'd be wasting their time.
GERARD
Oh, I am sorry.
HARRY
Yeah, me too.
MUSIC: UP AND OUT
(PAUSE)
SFX: INTERIOR. HOTEL BAR, GENERAL WALLAH.
GERARD
Harry, Harry, I've been looking all over for you.
HARRY
What's going on, Frenchy?
GERARD
Those men wanted to see you. I was unable to reach them.
HARRY
Well, tell 'em when they get here.
GERARD
It is dangerous for them to come here at all, but to come here for nothing. Oh, you don't even listen.
HARRY
Well, I'm looking at my client, Mr. Johnson. What's that dame doing with Johnson?
GERARD
Dame?
HARRY
The one who was out of matches.
GERARD
Oh, oh, she's been with Johnson all evening. Her name is Browning, Marie Browning. Oh, she's leaving.
HARRY
Yeah, so am I.
SFX: MUSIC FADES OUT. INTERIOR, FOOTSTEPS ON WOODEN FLOOR OF HOTEL HALLWAY
HARRY
How are ya?
MARIE
Who? . . . Oh, hello.
HARRY
Going someplace?
MARIE
Just to my room, if you don't mind.
HARRY
Oh, I don't mind, but mine's much closer. It's right here.
MARIE
Say, mister, what's got into you?
HARRY
Come on, let's have it.
MARIE
Have what?
HARRY
Johnson's wallet. I want that wallet, Slim.
MARIE
I'd rather you wouldn't call me Slim. You see, Steve, I'm a little too skinny to take it kindly.
HARRY
Ahh, quit the baby talk and hand it over.
MARIE
I didn't know you were a hotel detective.
HARRY
Johnson's my client.
MARIE
He didn't speak so well of you.
HARRY
Well, he's still my client.
MARIE
Here.
HARRY
That's more like it. Johnson owes me money. Now, you ought to pick on somebody to steal from who doesn't owe me money.
MARIE
He dropped his wallet, and I picked it up.
HARRY
And you were gonna give it back to him.
MARIE
No. No, I wasn't. I don't like him.
HARRY
Well, that's a pretty good reason.
MARIE
Besides, I need boat fare to get out of Martinique.
HARRY
That's another good reason.
MARIE
Well, what's in it?
HARRY
Sixty bucks? A plane ticket? And fourteen hundred dollars in Traveler's Cheques!
MARIE
Did you expect more?
HARRY
That bird owed me 835 bucks, and he said he'd have to go back to the bank tomorrow and all the time he's got a ticket and a plane leaving at daylight.
MARIE
Then I've done you a favor.
HARRY
That's right. I'm entitled to something. What do you think is fair, 50-50?
SFX: INTERIOR. HOTEL ROOM DOOR OPENS.
MARIE
Wellll, company.
GERARD
Please, Harry, I told him what you said, but they insisted on . . .
BEAUCLAIR
It is not Gerard's fault, Mr. Morgan. I am Jean Beauclair. Come in, boys. Close the door.
HARRY
I told Gerard I wasn't interested.
VOICE
Wait a minute. This girl.
MARIE
I better go.
HARRY
No, stick around. It's all right to talk in front of you. Isn't it, Slim?
MARIE
Go ahead. I don't mind.
BEAUCLAIR
We'll give you twenty five hundred francs. We'd offer you more, but we haven't got it.
HARRY
Sorry, my boat's not available.
VOICE
I thought all Americans were friendly to our side, Monsieur Morgan.
HARRY
Well, there's a rumor they put fellas on Devil's Island for doing what you're doing. I'm not that friendly to everybody.
EDDIE
(FROM OUTSIDE THE HOTEL ROOM, IN THE HALLWAY) Hey, Harry?
BEAUCLAIR
Who's that?
HARRY
Relax. In here, Eddie.
SFX: HOTEL ROOM DOOR OPENS.
EDDIE
Hiya, Harry. Say, I wanted to talk to you about the . . . Hey, who are these guys? I saw them hanging around the dock after you left.
BEAUCLAIR
For one who drinks, you have a good memory.
EDDIE
Drinking don't bother my memory. If it did, I wouldn't drink. Forget how good it was. Say, was you ever bit by a dead bee?
BEAUCLAIR
I have no memory of ever being bitten by any kind of bee.
MARIE
Were you, Eddie? Was I? Say, you're all right. You know, you gotta be careful of dead bees if you go around bare footed . . . Because if you step on 'em, they sting you just as bad as it they's alive. I bet I've been bit a hundred times that way.
MARIE
Why don't you bite them back?
EDDIE
That's what Harry always says. But I ain't got no stinger.
BEAUCLAIR
Please, must we listen to this?
HARRY
All right, Eddie. What do you want?
EDDIE
Oh, say, Harry, could you let me have a couple of . . .
HARRY
Here.
SFX: INTERIOR. DOOR OPENS.
EDDIE
(WALKING OUT THE DOOR) You're all right Harry. Well that's all.
SFX: INTERIOR. DOOR CLOSES.
HARRY
NOW Look, Beauclair. I don't care who runs France or Martinique or who wants to run it. You'll have to get somebody else's boat.
BEAUCLAIR
You're leaving?
HARRY
Yeah. Make yourselves at home.
MARIE
Good night, gentlemen.
HARRY
Sorry, Beauclair, but I got a client waiting downstairs. Come on, Slim. I want to see Johnson's face when you hand him back his wallet.
MUSIC: FOR SCENE CHANGE
MARIE
Well, there he is, still sitting at the same table.
JOHNSON
Hey, where ya been? I've been lookin' all over for you. You're a fine one, Morgan, running off with my girl.
HARRY
She's got something she wants to give you, Mr. Johnson. Go ahead, Slim. Hand it over.
JOHNSON
That's my . . . my wallet.
HARRY
Yeah.
JOHNSON
Where'd you get this?
MARIE
I stole it.
JOHNSON
Stole it? And just what are you going to do about it?
HARRY
The question is, what are YOU gonna do about it? Maybe you'd better look it over.
JOHNSON
Oh, uh, it's all right, I'm sure.
HARRY
Oh, you better be sure the plane ticket's still there.
BEAUCLAIR
(COMING UP) Goodbye, Mr. Morgan.
HARRY
You're not staying, huh?
BEAUCLAIR
No, we're not staying.
HARRY
Excuse the interruption Mr. Johnson.
JOHNSON
Now, look, I was going to pay you off.
HARRY
Sure, you were going to sign some of those travelers checks, weren't you?
JOHNSON
I wouldn't skip out on you.
HARRY
Yeah, well, here's a pen. Start signing.
JOHNSON
Ahh, Eight hundred and thirty-five.
HARRY
Eight hundred and thirty-five.
SFX: FROM THE STREET OUTSIDE THE BAR. POLICE WHISTLE
POLICE
Arrestez vous. Arrestez vous.
JOHNSON
What's that? What's going on there?
HARRY
Police.
MARIE
Look, Steve. Those men who were just in your room, they're after them.
HARRY
Pipe down baby and duck.
SFX: MULTIPLE GUNSHOTS FROM OUTSIDE THE BAR, CROSSFADE TO . . .
MUSIC: FOR DRAMATIC TENSION
GERARD
Harry, he's . . . he's dead. Mr. Johnson is dead.
HARRY
That's right, Frenchy. A stray bullet. Couldn't write any faster than he could duck. How do you feel, Slim?
MARIE
Oh, I'm fine, Steve. Just fine.
HARRY
Ahh, a minute and those Traveler's Cheques would have been good.
MARIE
Has it struck you it might be an idea to get out of here?
GERARD
Oh, it is no use. The Police are coming back.
HARRY
They were after your friends, huh, Beauclair?
GERARD
Yes.
LT. COYO
You, Gerard! Stay where you are!
GERARD
Remember, you know nothing.
HARRY
They're not regular cops.
GERARD
No, Securite Nationale.
HARRY
Gestapo?
GERARD
Yes, yes, quiet, now, quiet.
LT. COYO
What happened to this man on the floor?
GERARD
A stray bullet, monsieur. His name is Johnson, an American.
LT. COYO
Unfortunate. Take him away. Your attention, everyone. There is no cause for alarm. Inspector Renaud is only interested in those persons who have violated regulations. Monsieur Gérard.
GERARD
Ahh, Yes?
LT. COYO
Headquarters. For questioning. And you?
HARRY
Not nice to point, Lieutenant. The name's Morgan.
LT. COYO
Shut up. You, mademoiselle.
MARIE
Say, Steve, was you ever bit by a dead bee?
LT. COYO
You will come with us at once.
MUSIC: DRAMATIC, FOR TRANSITION
INSPECTOR RENARD
Now, then, you were saying, Monsieur Morgan, you did not know those men?
HARRY
That's right, Inspector.
INSPECTOR RENARD
What was your connection with the dead man, Monsieur Johnson?
HARRY
He chartered my boat.
INSPECTOR RENARD
But he was leaving Martinique in the morning, eh? Ah, his wallet here. There is no money in it, only Travelers' Cheques.
HARRY
Well, there was some money in it. Sixty bucks, I took it.
INSPECTOR RENARD
Why?
HARRY
Because he owed me over eight hundred.
INSPECTOR RENARD
You will surrender it, please?
HARRY
Oh, wait a minute.
INSPECTOR RENARD
And your passport? Do not be concerned. If your claim is just, it will be returned. That is all at the moment. Mademoiselle?
MARIE
Yes?
INSPECTOR RENARD
Mary Browning. American, age 22. How long have you been in the city?
MARIE
I arrived by plane this afternoon.
INSPECTOR RENARD
Residence?
MARIE
Hotel Marquis.
INSPECTOR RENARD
Where did you come from?
MARIE
Trinidad.
INSPECTOR RENARD
Alone?
MARIE
Yes.
INSPECTOR RENARD
Why did you get off here?
MARIE
To buy a new hat.
INSPECTOR RENARD
Why?
MARIE
To buy a new . . .
SFX: RENARD SLAPS MARIE'S FACE
MARIE
. . . hat. Read the label. Maybe you'll believe me then.
INSPECTOR RENARD
I never doubted you. It is your tone that is objectionable. I will ask you again.
MARIE
Because I didn't have money enough to go further.
INSPECTOR RENARD
Where were you when the shooting occurred?
MARIE
I was in . . .
HARRY
(JUMPING IN) You don't have to answer that stuff.
INSPECTOR RENARD
Shut up, you!
HARRY
Don't answer.
INSPECTOR RENARD
I told you to shut up!
HARRY
Go ahead, slap me.
INSPECTOR RENARD
Monsieur Morgan, we wish merely to get to the bottom of this affair.
HARRY
Well, you'll never do it by slapping people around. It's bad luck.
INSPECTOR RENARD
We shall see. If we need to question you further, you will be at the hotel?
HARRY
Well, you've got my dough and my passport. I'm stuck.
INSPECTOR RENARD
By the way, what are your sympathies?
HARRY
Minding my own business.
INSPECTOR RENARD
May I suggest that . . .
HARRY
I don't need any advice about continuing to do it either. Let's go, Slim.
MUSIC: FOR SCENE TRANSITION. CROSSFADE TO . . .
SFX: EXTERIOR. FOOTSTEPS ON STREET. BOAT WHISTLES IN BACKGROUND.
HARRY
Oh, how do you feel?
MARIE
I'm breathing fresh air again, but I don't understand all this. What's it about, Steve?
HARRY
Well, you see that character Renard works for Vichy. Ya, ya know what that is?
MARIE
Yeah, something you put in a drink, isn't it?
HARRY
Yeah. That's, ahh . . . close enough. Well, the other fellas, the ones they were shooting at in the hotel, they're Free French. Most of the people on the island are, but they haven't been able to do much about it.
MARIE
You know, I could use a drink.
HARRY
Well, there's a cafe across the street. But . . . Uh-oh. I forgot. No dough, those guys cleaned me out, remember?
MARIE
Maybe I can do something about that. Another Mr. Johnson maybe. Oh, uh, any objections?
HARRY
Well, if you're that thirsty, go ahead.
MARIE
You don't mind.
HARRY
I'll wait out here. If I get tired, I'll be back at the hotel.
MARIE
You're not sore, are you?
HARRY
Oh, why should I be?
MARIE
(GOING OFF) I won't be long.
MUSIC: FOR SCENE CHANGE AND TRANSITION. CROSSFADE TO . . .
SFX: INTERIOR. KNOCK ON HOTEL DOOR
HARRY
Come in.
MARIE
You didn't wait for me very long, did you?
HARRY
No.
MARIE
You're sore, aren't you?
HARRY
Why should I be sore?
MARIE
Oh, I didn't behave very well, did I?
HARRY
Heh, did all right. I see you got a bottle.
MARIE
There was a Naval officer. I asked for a bottle, and he gave it to me.
HARRY
Just like that?
MARIE
Yeah. He was feeling good. But you're not.
HARRY
Now, look, I don't give a . . .
MARIE
I know, I know. You don't give a hoot what I do. But when I do it you get sore. After all, you told me to, you know.
HARRY
I told you?
MARIE
Well, you said go ahead, didn't you?
HARRY
Yeah, that's right. I guess I did.
MARIE
Would you rather I wouldn't do things like that?
HARRY
Oh, why ask me?
MARIE
I'd like to know.
HARRY
Of all the screwy . . .
MARIE
All right, I won't do it anymore.
HARRY
Now, look, I didn't say . . .
MARIE
I know you didn't. Don't worry. I know what I'm doing.
HARRY
Yeah, well, as long as you do, sit down. How long you been away from home?
MARIE
This is about the time for it, isn't it? The story of my life.
HARRY
I got a pretty fair idea already.
MARIE
Who told you?
HARRY
You did. That slap you took from Renard, you hardly blinked an eye. It takes practice to be able to do that.
MARIE
The next time I get slapped, I'll be sure to do something about it.
SFX: INTERIOR. HOTEL DOOR OPENS.
HARRY
Hey, you forgot your bottle.
MARIE
I don't want it.
HARRY
Who's sore now?
MARIE
I am.
SFX: INTERIOR. HOTEL ROOM DOOR CLOSES.
SFX: INTERIOR. FOOTSTEPS ON HOTEL WOODEN FLOOR.
SFX: INTERIOR. KNOCKING ON HOTEL DOOR.
MARIE
Who is it?
HARRY
It's me.
MARIE
The door is unlocked.
HARRY
Here's your bottle.
MARIE
I said I didn't want it.
HARRY
You are sore, aren't you? I asked you a question and you didn't answer me. I said you're sore, aren't you?
MARIE
Look. I'm tired. I'd like to get some sleep.
HARRY
What's made you so mad?
MARIE
I've been mad ever since I met you.
HARRY
Most people are.
MARIE
One look and you made up your mind just what you wanted to think about me.
HARRY
Well, go ahead. Keep going.
MARIE
You don't know me at all, Steve. It doesn't work, Steve. I brought that bottle up here to make you feel cheap, and that didn't work either. Instead, I'm the one who feels cheap, and I . . . I've never felt that way before. I wanted to . . . Well, I thought that . . . Get out of here, will you, before I make a complete fool of myself.
HARRY
How long have you been away from home Slim?
MARIE
None of . . . Oh, about six months.
HARRY
Going back?
MARIE
How?
HARRY
Well, what are you going to do here?
MARIE
I don't know. Get a job, maybe.
HARRY
Jobs are hard to get. (PAUSE) Hmm . . . Nice perfume.
MARIE
Remind you of somebody, Steve?
HARRY
No, this is a brand new one to me. Would you go back if you could?
MARIE
I'd walk, if weren't for all that walk. Good night, Steve.
HARRY
Good night. Quit worrying. You'll get back all right.
SFX: INTERIOR. KNOCK ON HOTEL DOOR.
MARIE
Could I see you for a minute?
HARRY
What the . . . Oh, all right. Open the door.
MARIE
Here's that bottle again.
HARRY
Yeah, that bottle's getting to be quite a problem, isn't it? Well, you want a drink?
MARIE
No.
HARRY
I thought you were so tired.
MARIE
I am. But you gave me something to think about. You said you might be able to help me.
HARRY
That's right.
MARIE
You're going to take that job with those men Frenchy brought up here?
HARRY
Yeah, if I could find what's left of them, but don't get the idea I'd take that job just to help you. I need money, too.
MARIE
Wait a minute. Here, can you use this?
HARRY
Oh, now, that's great. She carries her dough in her shoe, and I thought you said you were broke. Oh, you're awful good, Slim. I'd walk home if it weren't for all that water.
MARIE
Who is the girl, Steve?
HARRY
Who is what girl?
MARIE
The one who left you with such a high opinion of women. You think I lied to you about this money, don't you? Well, there's thirty two dollars here. Not enough for boat fair or any other kind of fair. But you can have it if you want it.
HARRY
I'm sorry. I still say you're awful good, and I wouldn't . . .
MARIE
I know. You wouldn't take anything from anyone. You know, Steve . . . you're not very hard to figure. Only at times. Most of the time, I know exactly what you're going to say. The other times . . . The other times you're just a stinker.
HARRY
What'd you kiss me for?
MARIE
I've been wondering whether I'd like it.
HARRY
What's the decision?
MARIE
I don't know yet.
HARRY
Do you know now?
MARIE
Well, that was better. Uh, you're sure you won't change your mind about the money?
HARRY
Uh-huh.
MARIE
The money belongs to me, and so do my lips. I don't see any difference.
HARRY
Oh, I do.
MARIE
Okay. You know, you don't have to act with me, Steve. You don't have to say anything and you don't have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don't 'cha Steve? You just put your lips together and blow.
(SFX: INTERIOR. HOTEL DOOR CLOSES.)
HARRY
You just put your lips together and . . .
SFX: WOLF WHISTLE.
SFX: AUDIENCE APPLAUSE UP
HARRY
(LAUGHS AS APPLAUSE AND MUSIC COME UP)
MUSIC: UP FOR ENDING
THE FUSEBOX BREAK
HOST
This is John Barber. Thank you for listening to Re-Imagined Radio. I'd like to take a moment just now and tell you about "The Fusebox Show." If you're concerned with the state of current events and news, "The Fusebox Show" is definitely for you.
Produced by Marc Rose, Milt Kanes, Jeff Pollard, and Regina Carol, each episode features unique conversation and commentary. Here's a sample.
SFX: THE FUSEBOX SHOW TEASER
MUSIC: FUSEBOX THEME, FADE UNDER AND OUT FOR THE FOLLOWING
HOST
"The Fusebox Show" is also available as podcasts. Learn more at thefuseboxshow dot com.
MUSIC: RIR THEME, FADE UNDER AND OUT FOR THE FOLLOWING
HOST
You're listening to Re-Imagined Radio. Our episode is "Bogart and Bacall Tribute," the first of two parts. We're focusing on the 1946 Lux Radio Theatre adaptation of To Have and Have Not, a 1943 motion picture by Howard Hawks starring Humphrey Bogart and Lauren Bacall.
So far, Bogart, as Harry Morgan, and Bacall, as Marie Browning, have had their "meet cute." They've established nicknames for each other. Bogart is "Steve" and Bacall is "Slim."
These are the same nicknames film director Howard Hawks and his wife Nancy Keith call each other. Keith sees Bacall's photograph on the cover of Harper's Bazaar and tells "Steve" he should hire Bacall for his motion picture.
He does. Bogart and Bacall meet on the movie set. Sparks fly, both onscreen and off as the pair start a scandalous affair. Bogart is married. Bacall is a 18-year-old model. After she turns 19, she changes her name from Betty Perske to a variation of her mother's maiden name "Bacal." After the movie, and Bogart's divorce, Bogart and Bacall marry and remain married until Bogart's death in 1957.
The movie is well received, primarily for the chemistry between Bogart and Bacall. Bogart is already an American motion picture icon. Bacall is new, fresh, and with a voice and on-screen personality to match Bogart's. Together, they sizzle. On the twelfth anniversary of Lux Radio Theatre they reprise their roles of "Steve" and "Slim" and wow the audience once again. Let's listen now to Act 2 of "To Have and Have Not," starring Humphrey Bogart and Lauren Bacall.
ACT #2, HARRY AIDS FRENCH UNDERGROUND
MUSIC: FOR TRANSITION
WILLIAM KEILEY
Since escaping the Vichy police, Jean Beauclair of the French Underground has been hiding out on the outskirts of town, a bullet wound in his leg. It's early morning now and Beauclair has two visitors, Gerard, the hotel provider, and Harry Morgan.
BEAUCLAIR
Last night, Mr. Morgan, you definitely refused to have anything to do with us. Why have you changed your mind?
HARRY
I need the money. Last night I didn't. What's the job?
BEAUCLAIR
You will take your boat to Anguilla, about three kilometers from the point.
HARRY
The cove and little jetty?
BEAUCLAIR
You know it then?
HARRY
Yeah.
BEAUCLAIR
You will go at night. When you're off the jetty, flash a light. It will be answered. There will be two people to take aboard. I know the name of only one, Paul De Bursac.
HARRY
How about landing them back here?
GERARD
Oh, not here. You know Cape St. Pierre, Harry?
HARRY
Uh-huh.
GERARD
I will have a rowboat and we'll meet you there offshore.
HARRY
Okay, I'll leave around noon. With luck and no patrol boats, I'll be back at St. Pierre a little after midnight. Oh, I won't be carrying lights, Frenchy, so keep your eyes open.
BEAUCLAIR
If it weren't for this leg of mine . . . I'm glad you're on our side, Morgan.
HARRY
I'm not. I'm getting paid. Oh, uh, I'd like my money now.
BEAUCLAIR
There, that envelope.
HARRY
Thanks. How is the leg?
BEAUCLAIR
Please, I'd feel better if you were on your way.
HARRY
All right, good luck.
BEAUCLAIR
You need the luck now. You and De Bursac. Oh, that girl, Harry. The one you call Slim.
HARRY
She's leaving Martinique on the afternoon plane. We can both forget about her.
MUSIC: FOR TRANSITION
MARIE
Morning, Steve. Have some breakfast?
HARRY
I had mine two hours ago.
MARIE
What have you been doing?
HARRY
Arranging so you could get in the afternoon plane. Can you make it?
MARIE
Sure.
HARRY
Frenchy here'll see you get the ticket.
GERARD
Gladly, if you wish.
MARIE
You took that job, didn't you?
HARRY
Yeah. I figured this way you wouldn't get your feet wet.
MARIE
You want me to go, Steve?
HARRY
Yes. I want you to go.
MARIE
Okay.
HARRY
Uh, help her get on that plane, will you, Frenchy?
GERARD
Ehh . . .I will . . .
HARRY
Well, I've got to get down at the dock. I probably won't see you again. If I ever do get up your way, I'll...
MARIE
Yes, do that. I'll leave my address with Frenchy.
HARRY
Yeah. Maybe I'll know how to whistle by then.
MARIE
So long, Mr. Morgan. Well, it was nice while it lasted.
GERARD
Perhaps it is better this way, Miss Browning. A strange man. Very strange.
MARIE
Yeah.
MUSIC: FOR TRANSITION
CROSSFADE TO . . .
SFX: IDLING BOAT MOTOR, BOAT CABIN DOOR OPENS
HARRY
Come out of there, come on out of there before I . . . Eddie!
EDDIE
Put down the gun, Harry, it's just me.
HARRY
Well, how'd you get aboard? I thought I told ya . . .
EDDIE
I sneeked on at the dock while you was working on the engines.
HARRY
Well, if I thought you could swim, I'd dump you overboard.
EDDIE
You're an old joker, Harry. You and me's gotta stick together when there's trouble.
HARRY
How do you know there's trouble?
EDDIE
You can't fool me. Say, where are we going?
HARRY
Eddie, what would you do if somebody took a shot at you?
EDDIE
Took a shot at me? With a gun? Who's going to shoot at me?
HARRY
Well, if you're lucky, nobody.
EDDIE
Harry, where are we going?
HARRY
I'll tell you when the time comes. Oh, uh, put on a sweater, it's gettin' cold.
EDDIE
Say, what's going on? What's all the darn guns for? Two rifles and, ah . . .
HARRY
In case we run into a shark or something.
EDDIE
Hey, what do you mean, or something?
HARRY
We're going on a job. Can you shoot one of those things?
EDDIE
Anybody knows how to handle a rifle. All you gotta do is work the lever and pull the trigger. What do I gotta work a gun for?
HARRY
I just wondered if you could.
HARRY
Sometimes you act so stupid, Harry. Sometimes . . . Is it gonna be that bad?
HARRY
It all depends.
EDDIE
That's why you didn't want to carry me. You was afraid I'd get hurt. You was thinking of me. What are you laughing at?
HARRY
I was just wondering whether you're going to hold together or not.
EDDIE
I'm a good man, Harry. You know I am.
HARRY
Yeah, well, we're going to pick up a couple of guys, Eddie. Now take this gun and get aft. If there's any trouble, start shooting, but don't shoot me.
EDDIE
Yeah, but supposing something happens to you. What do I do then?
HARRY
How do I know? You invited yourself on this trip. We'll make our connection in about 30 minutes.
MUSIC: FOR TRANSITION
SFX: EXTERIOR. SHORELINE. IDLING BOAT MOTOR
EDDIE
There they are, Harry. Standing on the jetty. They shouldn't come out of the shadows.
HARRY
Turn off that flashlight.
PAUL DE BURSAC
Yes, monsieur.
HARRY
All right, get aboard. There's a strong tide here.
DE BURSAC
We are coming. Who are you, please?
HARRY
Beauclair sent me. My name's Morgan.
DE BURSAC
It's all right, Helene. Quickly now.
HARRY
Now wait a minute. Beauclair didn't say anything about a woman.
DE BURSAC
Permit me, Captain. This is my wife.
HELENE
How do you do?
HARRY
Now, what do you want to bring . . .? Well, its your funeral. All right, Eddie. Let's get out of here.
DE BURSAC
What's happened to Beauclair, Captain?
HARRY
We ran into a little trouble.
DE BURSAC
Monsieur Morgan, who are you?
HARRY
I own this boat. Beauclair hired me to pick you up.
DE BURSAC
You're on our side?
HARRY
No.
DE BURSAC
I don't understand.
HARRY
I don't understand what kind of a war you guys are fightin', lugging your wives around with you.
HELENE
You're being paid for this.
HARRY
That's what I said.
HELENE
Then I suggest you stop talking and get us to Martinique.
HARRY
That's just where we're going, sister.
MUSIC: FOR DRAMATIC TRANSITION
SFX: IDLING BOAT MOTOR
EDDIE
We'll hit the cape pretty soon, Harry. You want I should stow the rifles? I said you want me, I should stow . . .
HARRY
Shut up.
EDDIE
There you go again. I asked a . . .
HARRY
Turn the motors off.
EDDIE
Huh?
HARRY
Turn 'em off.
SFX: IDLING BOAT MOTOR DIES
HARRY
See anything? You hear anything?
EDDIE
No.
HARRY
Listen, there's a ship out there.
EDDIE
Patrol boat.
HARRY
Take the wheel, Eddie.
DE BURSAC
Why did you shut off your radio?
HARRY
Keep quiet.
HELENE
What is it?
EDDIE
It is a patrol boat, ain't it?
HARRY
Give me that gun.
EDDIE
You can't fight them guys.
HARRY
Oh, what's the matter, Eddie? This is where you ought to be telling me how good you are.
EDDIE
Well I can do it, what do you want me to do?
DE BURSAC
What does this mean, Monsieur Morgan?
HARRY
You and your wife get down on the deck. and stay there.
DE BURSAC
You try to resist them with a rifle?
HELENE
They've got a searchlight. They see us.
HARRY
Get down on the deck. You save France, I'm gonna save my boat.
PATROL BOAT
Stand by! Stand by or we'll fire!
EDDIE
Harry, get their searchlight! Shoot it out!
HARRY
Well, I can try anyway.
SFX: RIFLE SHOTS
EDDIE
You've got it, Harry! You want me to shoot too?
HARRY
Stay on that wheel. Full speed, Eddie. All she's got. Hurry!
SFX: BOAT MOTOR UP FULL, FROM THE PATROL BOAT, MACHINE GUN FIRE
HELENE
Oh! They're shooting at us!
DE BURSAC
Don't shoot! Don't shoot!
HARRY
Save your breath, mister.
DE BURSAC
They'll run us down, they'll sink us.
HARRY
Yeah, they might. That's a chance we'll have to take. Get down, down.
SFX: MORE MACHINE GUN FIRE FROM PATROL BOAT
DE BURSAC
Oh!
HELENE
Paul!
EDDIE
Got him, huh?
HARRY
Yeah.
EDDIE
He should've laid down.
HARRY
Well he's down now.
HELENE
Do something. Please, do something.
HARRY
I am, lady. I'm gettin' us out of here.
MUSIC: FOR SCENE CHANGE
EDDIE
We're comin' in on the cape, Harry
HARRY
Yeah. Take over for a while and . . . watch for Frenchy's boat . . . Well, how's your husband?
HELENE
Please, help me get him on the seat.
HARRY
Ah, we'll leave him where is his. It's just his arm. 'Sides, I don't want him bleeding all over my cushion.
HELENE
How can you be so heartless?
HARRY
That's something I ask myself at least once a day. Well, we'll be picking up Gerard any minute. He'll take care of both of you.
HELENE
Where will he take us?
HARRY
I don't know.
EDDIE
There he is, Harry!
HARRY
Okay, slow down and watch the drift.
EDDIE
Can't I get a drink now? Just one?
HARRY
Sorry, Eddie. I need one worse than you do.
MUSIC: FOR DRAMATIC TRANSITION
CROSSFADE TO . . .
SFX: INTERIOR. KNOCKING ON HOTEL ROOM DOOR
HARRY
Yeah?
MARIE
Hello, Steve.
HARRY
Ah . . . that all you've got to say? Now what's the idea, Slim? What happened to that plane?
MARIE
I missed it.
HARRY
Why? Didn't you like the accommodations, or didn't you . . .
MARIE
I just decided to stay.
HARRY
Well, now look, I've been . . .
MARIE
Well . . .
HARRY
I . . . I've been to a lot of trouble to get you out of here, and . . .
MARIE
That's why I didn't go. Not sore, are you?
HARRY
I'd be all right if I had any dough, but . . .
MARIE
I got a refund on the ticket. Here.
HARRY
Oh, that's going to help a lot.
MARIE
I'll be all right, Steve. I've got a job. Frenchy seems to think I can sing.
HARRY
Well, it's his place.
MARIE
Sometimes you make me so mad, I could . . .
GERARD
Harry . . .
HARRY
You could what?
GERARD
Harry . . . Harry. I need your help. De Bursac's badly wounded.
HARRY
Well, the bullet hit the gunwale first and was practically spent. All you gotta do is get somebody to take it out.
GERARD
We don't dare call a doctor. You could . . .
HARRY
Me? I'm hotter than any doctor right now. Don't you think they recognize my boat? All I gotta do is walk out of here.
GERARD
You don't have to go out of here. De Bursac is in the cellar.
HARRY
Oh, why didn't you put 'em in a goldfish bowl in the lobby?
GERARD
We had to do something. They're watching every road out of town.
HARRY
Well, Slim, you see what you got yourself into, sticking around here?
MARIE
I'm ready to leave any time you are.
GERARD
Oh, Harry! Please . . .
HARRY
Not a chance.
GERARD
Ah, uhh, Harry, my wife tells me your bill is overdue. 6,356 francs.
HARRY
Ohhh . . . .
GERARD
We will be glad to dismiss the bill if you will do this for us.
HARRY
You'll throw her bill in too, Slim's?
GERARD
Yes, hers too.
HARRY
Uh-huh. Okay, you'll find a medical kit inside, Slim. Bring it down to the cellar.
MARIE
Sure.
HARRY
And bring some boiling water, too.
HELENE
Get away from him. You're not touch my husband.
HARRY
It's all right with me.
GERARD
Oh, Harry, please. She's not herself.
HARRY
Now, look, lady, yes, I can't get a doctor without giving the whole show away.
HELENE
I won't let you do it.
HARRY
He's not badly hurt. He's unconscious because he's . . .
SFX: INTERIOR. CELLAR DOOR OPENS.
HARRY
Oh, come in, Slim.
MARIE
Hello.
HARRY
Miss Browning, this is Madame De Bursac.
HELENE
Who are you?
MARIE
Nobody, just another volunteer. What'll I do with this water, Steve?
HARRY
Drop these instruments in it. You'd better get out of here, Mrs. De Bursac. You're not like this.
HELENE
I'll be all right.
HARRY
Then hold this can of chloroform. If he comes to while I'm probing, pour some on this cotton and give him a whif. Uh, don't open it until I tell you to.
HELENE
His arm. Look at it. How can you . . .
SFX: SHE FAINTS AND FALLS TO THE FLOOR.
HARRY
Oh, fine, fine, she's out.
MARIE
Like a light.
GERARD
Madame, madame.
HARRY
No, no, let her alone, Frenchy. Slim, any chloroform left?
MARIE
Some, enough maybe.
HARRY
All right, fan those fumes away or we'll all be out. Hey, hey, wait a minute, not towards her . . . Well, keep your fingers crossed.
MUSIC: FOR PASSAGE OF TIME
HARRY
Let's have that dressing, Frenchy.
GERARD
Ah, here, Harry, here.
MARIE
Bandages?
HARRY
Ahh, you and Frenchy can do that. Adhesive tape in the box. I'm afraid the patient's going to recover. . . . Well, I'd better get Nursie up off the floor. She might catch cold.
GERARD
Oh, she's all right. Just fainted.
HARRY
(EFFORT) I've got her.
MARIE
What are you trying to do, guess her weight?
HARRY
Oh, she's heftier than you think.
MARIE
Maybe you'd better just look after her husband.
HARRY
He's not gonna run out on me.
MARIE
Neither is she.
HARRY
Yeah, when you're finished, go upstairs and get some sleep and thanks for your help.
MARIE
I'd rather stay here.
HARRY
You heard me.
SFX: HURRIED STEPS AWAY.
HARRY
Oh, for the love of . . .
SFX: DOOR SLAMS SHUT.
HARRY
Now what did I do?
GERARD
You know Harry, before I told Miss Browning you are a very strange man. Now I tell you, she is a very strange girl.
HARRY
Yeah.
GERARD
Funny. That is what she said. Yeah.
MUSIC: FOR SCENE CHANGE
HARRY
How do you feel now?
HELENE
Very stupid. I'm not in the habit of fainting.
HARRY
Ah . . . Your husband's okay, I just put him to sleep again with a pill.
HELENE
I . . . I'll stay here with him.
HARRY
Tell me, why did you tag along on a trip like this?
HELENE
I wanted to be with him.
HARRY
That's no reason.
HELENE
I was also told to come. They said no man was much good if he left someone behind for the Nazis to find and hold.
HARRY
Mm-hmm. Well, that makes sense.
HELENE
I told them I'd be no good, that I was afraid. I've made Paul that way, too. Now he's afraid.
HARRY
Well, he didn't invent it.
HELENE
Invent what?
HARRY
Being afraid.
HELENE
Thank you, Mr. Morgan. Mr. Morgan, I...
HELENE
You're not gonna faint again, are you?
HELENE
No. I'm just having a hard time trying to say something.
HARRY
Oh, I won't bite you.
HELENE
I'm sorry for the way I behaved.
HARRY
You're just sorry you made a fool of yourself.
HELENE
You don't make me angry when you say that. I don't think I'll ever be angry again with anything you say.
HARRY
Another screwy dame. Now, how can you . . .
MARIE
Hello. I hate to break this up, but I thought you'd want something to eat.
HELENE
Thank you.
MARIE
How's the patient, Doctor, or haven't you looked lately?
HARRY
He'll be all right.
MARIE
I hope you have everything you need here, Mrs. De Bursac. The eggs may be a little hard-boiled, but . . .
HELENE
Oh, they're fine. I like them that way.
MARIE
You're lucky, isn't she?
HARRY
Well, I'm going up and get some sleep. If you need me, tell Gerard.
MUSIC: FOR SCENE TRANSITION
MARIE
I followed you up here, Steve, do you mind.
HARRY
Ahh . . . Suit yourself.
MARIE
Thanks.
HARRY
For what?
MARIE
I'd like a match.
HARRY
Here.
MARIE
Now I need a cigarette.
HARRY
Help yourself.
MARIE
Thank you. Steve, aren't you hungry?
HARRY
No.
MARIE
Let me help you take your shoes off.
HARRY
I'll take my own shoes off. All I want to do is get some sleep.
MARIE
Then I'll fix you a nice hot bath. You'll sleep better.
HARRY
Look, Junior, I'm not hungry. I'll take my own shoes off and I don't want a nice hot bath.
MARIE
You mean there's nothing I can do?
HARRY
Uh-huh. You can get out.
MARIE
You know, Mr. Morgan, you don't make me angry when you say that. I don't think I'll ever be angry again at anything you say. How am I doing, Steve? Does it work a second time?
HARRY
Ahh . . . Look. You wanna do something for me don't you.
MARIE
Yes
HARRY
Okay, then, try this. Walk around me.
MARIE
Hhum?
HARRY
No go ahead. Walk around me.
MARIE
I don't get it.
HARRY
You find anything?
MARIE
(LAUGHS) No . . . No, Steve, there are not strings tied to you . . . Not yet.
HARRY
What'd ya mean, "Not Yet"? . . . Come 'ere.
MARIE
Uhmm . . . I like that. Except, ahh, except for the beard. Why don't you shave, Steve, and we'll try it again some time.
SFX: INTERIOR. KNOCK AT HOTEL ROOM DOOR, THEN IT OPENS.
GERARD
(COMING IN) Harry . . . Harry.
HARRY
Yeah, Frenchy.
GERARD
(AGGITATED) Inspector Renard . . . he's here. You better come right down.
HARRY
Oh no! Not now, Frenchy, I've gotta shave.
GERARD
He's got your man. He's got Eddie!
HARRY
He's got . . . Eddie!
GERARD
Yes. He's giving him whisky. He's asking questions.
HARRY
Well, I'll be right down then . . . No Slim, I've got no strings. Only a rope right around my neck.
MUSIC: UP FOR DRAMATIC ACT CHANGE
NARRATOR
It's a few moments later. In the corner of the hotel bar, Harry Morgan finds Inspector Renard and Lietenant Coyo of the Secret Police. Seated between them is Eddie.
CAPT. RENARD
We are buying your friend a drink, Captain Morgan.
LT. COYO
We find Mr. Eddie very entertaining when he drinks.
EDDIE
You hear that, Harry? He called me mister.
HARRY
Well, what were you boys talking about?
EDDIE
Yeah, I was telling him about the big marlin you and me hooked onto last night.
HARRY
Oh, yeah.
EDDIE
That fish was so big. Me and Harry could hardly budge 'im.
HARRY
Yeah, that's right.
EDDIE
Must have weighed a thousand pounds.
LT. COYO
Every time he takes a drink, the fish grows larger.
HARRY
Judging from what's . . . what's left in this bottle, he must have started with a mackerel.
INSPECTOR RENARD
And how did you finally manage to land such a great fish?
HARRY
Oh, didn't Eddie tell you? We didn't land him. We ran into a German submarine.
INSPECTOR RENARD
A German submarine?
HARRY
Well, whatever it was, it opened fire on us. I didn't stick around to find out.
INSPECTOR RENARD
I do not think anybody could give you more logical explanation for refusing to obey the challenge of our patrol boat.
HARRY
Patrol boat? Oh so that's what it was. Now Eddie kept saying it was a patrol boat but I wouldn't believe him.
INSPECTOR RENARD
Now we get down to business, aye Morgan. What about your passengers last night?
HARRY
What passengers?
LT. COYO
The ones you bought over from Anguilla? Would five hundred dollars refresh your memory?
HARRY
Oh, my memory's pretty good. For instance, I can remember you're the guy who lifted my passport and all my cash.
INSPECTOR RENARD
And if your passport, and the money were returned?
HARRY
Including the 835 dollars Johnson owed me?
INSPECTOR RENARD
Why not? Now, where are they, your passengers?
HARRY
Well, if these people are as important as you seem to think they are, they're going to be pretty hard for me to find.
INSPECTOR RENARD
For a man of your resourcefulness? Not too difficult. Think it over, let me know, Morgan. Come along, Coyo.
LT. COYO
Goodbye, Mr. Eddie. See me again when you get thirsty.
EDDIE
Them guys don't think that I'm wise, do they, Harry? They was trying to get me drunk. They don't know me, do they?
GERARD
(ENTERING) Wait, what happened?
HARRY
De Bursac.
GERARD
I heard you're arranging a deal. Renard thinks you will turn them in, eh?
HARRY
Well, that's what you want him to think, isn't it?
GERARD
What will happen?
HARRY
Well, Renard hasn't searched this hotel yet, has he?
GERARD
No, not yet. Well, here's your answer. Renard doesn't want just De Bursac and his wife. He wants the whole set-up.
GERARD
And what shall we do?
HARRY
Oh, it's not we. It's you, and you can't do anything until De Bursac is strong enough to move. How about some breakfast?
GERARD
Sure, sure.
MARIE
I thought you didn't want any breakfast.
HARRY
Oh, how are you, Slim?
MARIE
I asked you before if you were hungry.
HARRY
Sit down.
EDDIE
Hey, you know, Harry, them guys, they were trying to find out something. What do you suppose it is? (HICCUP)
HARRY
Well, you don't know?
EDDIE
No, I ain't got no idea. (HICCUP)
HARRY
Well, that's a good way to leave it. Say, uh, you got the hiccups.
EDDIE
Have I,Harry? (HICCUP) Oh, yeah.
MARIE
Don't you think you'd better take a drink of water?
HARRY
(CHUCKLES)
EDDIE
Water! I'm getting out of here. Don't you worry none about me, Harry.
HARRY
(CHUCKLES) Yeah, well, you stay away from the police. You know, they're not going to believe that story you told 'em a second time.
EDDIE
What story was that, Harry? I forgot.
HARRY
Well, just ahh . . . just beat it and keep out of sight.
EDDIE
Sure, Harry, sure.
MARIE
Well, I'm starting work tonight, Steve.
HARRY
You're a singer now, huh?
MARIE
I'd be interested to know what you think. Uh, will you be there?
HARRY
I don't know. Maybe.
(PAUSE FOR TIME PASSAGE)
SFX: INTERIOR. HOTEL BAR. MUSIC FADES UP, THEN DUCKS UNDER THE FOLLOWING.
MARIE
So you decided to drop in, huh?
HARRY
Yeah.
MARIE
I do my song in a few minutes, like my dress?
HARRY
Well, you won't have sing much in that outfit.
MARIE
You know, Steve, sometimes you make me so mad.
HARRY
That's why I do it. You haven't seen Eddie, have you?
MARIE
Not since noon. Why?
HARRY
Well, he left the boat and he hasn't come back.
MARIE
Anything wrong?
HARRY
Plenty. Say, don't look now, but there's a guy with the door up and following me. Keep an eye on him, will you? I'll be down in the cellar.
MARIE
Give Mrs. De Bursac my love.
HARRY
I'd give her my own if she had that dress on.
MARIE
How is your patient?
HARRY
That's what I'm going to find out.
SFX: MUSIC FADES OUT.
(PAUSE)
DE BURSAC
Much better, Harry, you see?
HELENE
There's been no bleeding all afternoon.
DE BURSAC
I am very grateful, Monsieur, believe me.
HARRY
Well, you won't need me anymore De Bursac. Ah, Frenchy I'm pulling out.
GERARD
Eh? When?
HARRY
Soon as I can find Eddie.
GERARD
Missing?
HARRY
Yeah.
DE BURSAC
You wouldn't go without him?
HARRY
No I don't think Eddie'd like that. Now look Frenchy, as soon as I'm gone Renard's going to turn this place upside down. You better start figuring how and where you're going to move our patient here.
DE BURSAC
It would be best if my wife and I went with you.
HARRY
I'm still trying to get out of the jam I got in bringing you here. Just why did you come in the first place?
DE BURSAC
Did you ever hear of Pierre Villemars?
HARRY
Villemars. Yeah. Hey, he was quite a guy. The Vichy got him, didn't he? Didn't they? Dead, isn't he?
DE BURSAC
No, monsieur, he's not dead. He's on Devil's Island. They sent me here to get him. He's a man whom an oppressed people will believe in and follow.
HARRY
And just how are you going to get him off Devil's Island?
DE BURSAC
You don't think much of me, do you, Monsieur Morgan? You are right. I am not a brave man.
HARRY
Well, I'd still like to know how you're going to spring Villemars.
DE BURSAC
We will find a way. If it fails, if I die, someone else will try again. There always will be someone else.
HARRY
Yeah.
DE BURSAC
Originally, we planned to do everything from here, but . . . now, because of my clumsiness, it is impossible. That's the reason we have to go with you.
HARRY
But they've got the docks covered. They're all over the place.
DE BURSAC
How will you go?
EDDIE
They're watching me to find you. As long as I haven't got you along, I can get on my boat. There'll be a fog tonight. I can drift out beyond the breakwater before I start my engines. I'll have trouble enough without you.
GERARD
Harry, if only you . . .
DE BURSAC
No, Morgan is right, Gerard. This is not his fight yet. Oh, Gerard told me of your refusing Renard's offer.
HARRY
How do you know I won't take it?
DE BURSAC
There are many things a man will do, monsieur. But betrayal for a price is not in your make-up.
HARRY
Well, good luck.
DE BURSAC
I hope you find your friend.
HARRY
Thanks. Well, I'll be around, Frenchy. There are a few things I want to talk to you about before I blow.
GERARD
I'll be up presently.
MUSIC: FOR SCENE TRANSITION.
CROSS FADE TO . . .
SFX: INTERIOR. HOTEL BAR. MUSIC AND CROWD WALLAH.
HARRY
Any sign of Eddie?
MARIE
No. Your friend's still at the door.
HARRY
Yeah, so I see. I've got a hunch the whole thing's gonna blow up and soon.
MARIE
Any plans, Steve?
HARRY
Few. We're gonna pull out of here tonight.
MARIE
We?!
HARRY
Yeah, as soon as I can find Eddie, and don't look so happy about it. It'll be rough. I'm broke. If we do get out, it'll be with a couple of hundred gallons of gas and a few francs, just enough to get us to Port-au-Prince, maybe.
MARIE
I've never been there.
HARRY
I don't know when you'll get back home. Could be a long time.
MARIE
Could be forever. Or is that what you're afraid of? I'm hard to get, Steve. All you have to do is ask me.
HARRY
How long it'll take you to  . . . Ah, now . . . Wait a minute . . . break it up we're being watched.
MARIE
I better give Oliver another song anyway I'll see you later on
MARIE
Yeah later on.
GERARD
(COMING UP) Harry . . . Harry, she wants to see you, Madame De Bursac.
HARRY
Now look Frenchy that's all over . . .
GERARD
I just took her to your room.
HARRY
You what!?
GERARD
Please, Harry. She has to talk to you.
HARRY
Okay. Tell Slim I'm.., ahh come to think of it, don't tell her anything.
MUSIC: FOR SCENE TRANSITION
HARRY
To come up here it's too much of a chance.
HELENE
I had to see you. It's about this jewelry. I'd like you to take these. They're all Paul and I have left. Save them until we can come for them.
HARRY
What if they get me before I get out?
HELENE
Then throw them overboard. At least they won't have them.
HARRY
Well, suppose I never see you again. Then let it be a part payment for all you've done for us . . .
SFX: INTERIOR. HOTEL ROOM DOOR OPENS.
HELENE
(SURPRISED) Miss Browning . . .
MARIE
I keep barging in, don't I? Renard just came in, Steve. He's on his way up.
HARRY
Did he see ya?
MARIE
I don't think so.
HARRY
All right, get in the other room. Both of you, go on, hurry.
MARIE
But, suppose he . . .
SFX: INTERIOR. BATHROOM DOOR OPENING.
HARRY
And keep quiet. As soon as I get rid of Renard take her back down to cellar.
MARIE
Okay, Steve.
SFX: INTERIOR. BATHROOM DOOR CLOSES. FOOTSTEPS ACROSS HOTEL ROOM TO DOOR.
HARRY
Are you looking for me, Renard?
INSPECTOR RENARD
Do you mind if we come in?
HARRY
No, not at all, and any friends of yours?
LT. COYO
Get up.
INSPECTOR RENARD
Search him.
LT. COYO
Keep your hands up, Morgan.
HARRY
Okay, relax. I don't carry guns. Ah, what's on your mind, Renard.
INSPECTOR RENARD
The whereabouts of Monsieur and Madame De Bursac?
HARRY
How would I know?
INSPECTOR RENARD
Well, I thought perhaps you . . . Hmm. Perfume. Very nice.
HARRY
You like it, huh?
INSPECTOR RENARD
Yes.
HARRY
So do I.
HARRY
All right, Slim, come on out.
SFX: INTERIOR. HOTEL BATHROOM DOOR OPENS.
MARIE
Good evening.
INSPECTOR RENARD
Mademoiselle. Well, now we are all here . . .
LT. COYO
 . . . except your friend, Monsieur Eddie.
HARRY
You got Eddie?
LT. COYO
Yes, we've got Eddie.
HARRY
What are you going to do with him?
LT. COYO
Well, if you will not give us the information we want, perhaps he will. We We made a mistake this morning of giving him liquor. This time we will withhold it.
HARRY
Oh, he couldn't stand that. He'd crack wide open.
LT. COYO
All of which you could prevent.
HARRY
Yeah. Yeah, I could. Um, you got a cigarette, Slim?
MARIE
Here.
HARRY
Thanks. Can't you make Eddie talk, Renard?
INSPECTOR RENARD
When necessary.
HARRY
Got a match, Slim?
MARIE
Sorry . . . I . . . Ahh . . .
HARRY
There's some over in that drawer.
INSPECTOR RENARD
You could save your friend a great deal of  . . . Ahh . . . Shall we say discomfort?
MARIE
I don't see any matches, Steve.
HARRY
Ahh . . . There's a whole box of 'em. Never mind. I'll get 'em. Ahh . . . How much money did you offer me, Renard? Eight thirty five and five hundred, wasn't it?
INSPECTOR RENARD
Except now I don't believe I will pay anything.
HARRY
Yeah. Hey, you're probably right. Eddie will talk. He'll have to talk. There's nothing else I can do but . . .
INSPECTOR RENARD
But what?
HARRY
But this.
LT. COYO
Look out! He's got the gun!
SFX: INTERIOR. HOTEL ROOM. GUN SHOT
LT. COYO
Ohhh . . .
SFX: INTERIOR. HOTEL ROOM. ANOTHER GUN SHOT 
HARRY
Sorry, Renard. Coyo shouldn't have shot first. When somebody shoots at you . . . You gotta shoot back. All right, Slim?
MARIE
Yes, Steve.
HARRY
You know, I'd forgotten all about the gun in the drawer. Thanks.
INSPECTOR RENARD
Listen to me, Morgan.
HARRY
I've listened to you long enough. Now get 'em up.
INSPECTOR RENARD
You forget we still have Eddie.
HARRY
So you were gonna drive Eddie nuts, picking on a poor old rummy that never . . . and slappin' girls around. That's right. Go for your gun, Renard. Your boy on the floor needs company.
GERARD
No, Harry, don't, don't.
HARRY
Get the gun, Frenchy.
GERARD
Yes, Harry, yes.
HARRY
Now get over to that couch, Renard, both of you.
GERARD
But Harry . . .
HARRY
Don't bother me, Frenchy. I'm getting mad. All right, Madame De Busac, come on out.
SFX: INTERIOR. HOTEL BATHROOM DOOR OPENS.
HARRY
Ah, let me introduce you fellas. This is Madame De Busac. The other one's down in the cellar, her husband. Take her down, Frenchy. Get some help. When they're both ready to leave on the boat then come back here. Slim, you pack. We're shoving off as soon as we get Eddie out.
INSPECTOR RENARD
And just how do you think you will get him out?
HARRY
Shut up! There's telephone in the hall, Renard. You're gonna tell someone to let Eddie out. Oh, yes, you are. One of you. 'Cause you're both gonna take a beating until someone gets on that phone. That means one of you is gonna take a beating for nothing. I don't care which one it is. But I'd like to start with you, Renard.
SFX: GUN STRIKING RENARD'S HEAD
INSPECTOR RENARD
Where . . . where is the phone?
HARRY
I'll show . . . I'll show it you just as soon as you tie up your partner here.
(PAUSE)
INSPECTOR RENARD
(FADING IN) Yes. Yes, you heard me. I said you'll release him immediately.
HARRY
Tell him you'll explain later.
INSPECTOR RENARD
I will explain it later. Do nothing till you hear from me. Then I will take the responsibility. Goodbye.
SFX: INTERIOR. HOTEL HALLWAY. TELEPHONE IS PLACED IN ITS CRADLE.
HARRY
Thanks, Renard. Now, back to my room. You've got some harbor passes to fill out.
MUSIC: FOR SCENE TRANSITION
GERARD
(FADING IN) Everything is ready, Harry. De Bursac and madame, they're waiting.
HARRY
Yeah, well, take 'em down to the wharf. Here, these passes will get 'em through the guards.
GERARD
Where will you take them, Harry?
HARRY
Well, maybe Devil's Island.
GERARD
Huh? What?
HARRY
Well, just a short stop to pick up your friend Villmars. He's still there, isn't he?
GERARD
Oh, Harry, do not joke.
HARRY
Well, that's what you wanted, wasn't it?
GERARD
Oh, Harry, SPEAKING FRENCH
HARRY
Oh, that's all right. Just . . . just don't kiss me.
GERARD
Oh, now, Harry. Why . . . why are you doing this, Harry?
HARRY
I don't know. Maybe because I like you . . and maybe because I don't like them. Oh, um, you'll have to take care of those guys, Renard and his pal are in my room.
GERARD
We will give you plenty of time.
HARRY
If you let 'em go, they'll come back here and burn this place down.
GERARD
It will be a very small fire. When Villmars comes back, we will start a bigger fire.
HARRY
Okay. I'll see you at the boat, Frenchy.
MUSIC: MUSIC FOR SCENE TRANSITION
CROSS FADE TO . . .
SFX: EXTERIOR. WHARF. IDLING BOAT MOTOR.
EDDIE
(COMING UP) Hey, Harry. It's me. It's Eddie. Say, how's everything been going, Harry.
HARRY
Everything is all right now.
EDDIE
You look glad to see me. You know, the funny thing . . .
HARRY
Yeah, I know.
EDDIE
 . . . the Police Station. I was at the Police Station.
HARRY
We're shovin' off Eddie. Ready Slim?
MARIE
All ready. They're down in your cabin.
EDDIE
Hey, what is this? She going with us?
HARRY
Yeah, looks like it. She and those people we picked up.
EDDIE
But, Harry, you mean . . . How was she gonna . . . Who are you?
MARIE
Was you ever bit by a dead bee?
EDDIE
Ehh, was you?
MARIE
Yeah. You know, you gotta be careful of dead bees. They can sting you just as bad as live ones. Especially if they was kind of mad when they got killed.
EDDIE
I feel like I was talking to myself.
MARIE
I bet I've been bit a hundred times that way.
EDDIE
Why don't you bite 'em back?
MARIE
I would, only I haven't got a stinger.
EDDIE
Now I remember you! You're all right. She can come, Harry. It's okay with me.
HARRY
Thanks.
EDDIE
Now, I'll have the two of you to take care of won't I?
HARRY
That's right, Eddie. Throw off that line.
EDDIE
(FROM A DISTANCE) Sure, Harry. All clear.
SFX: EXTERIOR. WHARF. IDLING BOAT MOTOR INCREASES.
HARRY
Well, here we go, Slim.
MARIE
Yes, here we go.
HARRY
You don't have to act with me. That's what you said, remember? You don't have to say anything, and you don't have to do anything.
SLIM
Oh, maybe just whistle.
HARRY
Well, I've been practicing.
MARIE
Oh?
HARRY
Listen . . .
SFX: EXTERIOR. BOAT WHISTLE, TWO BLASTS.
MUSIC: BEGINS TO FADE IN UNDER THE FOLLOWING.
HARRY
Feeling happy, Slim?
MARIE
What do you think?
MUSIC: FADE UP FULL
SFX: STUDIO AUDIENCE APPLAUSE JOINS. FADE OUT APPLAUSE.
MUSIC: RIR THEME FOR BREAK
THE RIR BREAK
MUSIC: RIR THEME. ESTABLISH, THEN FADE OUT UNDER THE FOLLOWING.
HOST
This is Re-Imagined Radio, a program about sound-based storytelling. Each episode explores how Voice, Music, and Sound Effects can engage your listening imagination and promote storytelling.
SFX: RE-IMAGINED RADIO AUDIO TRAILER
HOST
More information and listening opportunities are available at our website--reimaginedradio DOT fm.
MUSIC: RIR THEME, ESTABLISH, THEN DUCK UNDER THE FOLLOWING
HOST CREDITS
HOST
Well, that's it. Humphrey Bogart and Lauren Bacall reprising for Lux Radio Theatre their starring roles in To Have and Have Not, a 1943 movie by Howard Hawks.
After this radio adaptation, in 1946, Bogart and Bacall made three more motion pictures together, and started another radio series, Bold Venture. They're living in Havana, Cuba, where they maintain a boat and hotel, both of which are frequented by adventurers and pirates of all stripes. That's the subject of our next episode, "Bogart and Bacall Tribute, Part 2: Bold Venture." I hope you'll join us.
MUSIC: RIR THEME, DUCKS UNDER THE FOLLOWING.
HOST
It takes a village to produce these episodes. Support for Re-Imagined Radio comes from KXRW-FM (Vancouver, Washington), KXRY-FM (Portland, Oregon), KMWV-FM (Salem, Oregon), the Electronic Literature Lab at Washington State University Vancouver, and a growing following of listeners that share their thoughts with us.
We keep information about all our episodes, as well as lots of interesting EXTRA information about radio storytelling at our website. Visit us at reimaginedradio DOT FM.
Re-Imagined Radio podcasts are available from many distribution platforms. Subscribe and never miss an episode.
Original music composition, sound design, and post-production by Marc Rose.
Graphic design by Holly Slocum and Evan Leyden.
Announcing and social media by Rylan Eisenhauer.
Follow Re-Imagined Radio on social media -- Instagram, TikTok, Facebook, X, Blue Sky, LinkedIn -- and especially our YouTube channel . . . [at sign] reimaginedradio.
Re-Imagined Radio acknowledges the debt we owe to previous and contemporary radio artists and we hope our curation and stewardship of their artifacts and efforts demonstrates our sincerity.
This is John Barber. Thank you for listening.
MUSIC: RIR THEME UP, THEN DUCK UNDER THE FOLLOWING
ANNOUNCER CLOSE
ANNOUNCER
This is a production of Re-Imagined Radio. To learn more, visit our website, reimaginedradio (all one word, no punctuation) DOT fm. 
Please join us for another episode of Re-Imagined Radio as we continue our exploration of sound-based storytelling.
MUSIC: RIR THEME UP, AND TO END.