THE MYSTERIOUS TRAVELER

Doubly Strange and Terrifying

Adapted 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 12, Episode 01, January 15, 2024

Final draft

THE MYSTERIOUS TRAVELER

Doubly Strange and Terrifying

Re-Imagined Radio
Season 12, Episode 1
Final Draft

Premier broadcast: January 15, 2024 (scheduled), January 22, 2024 (actual)

Written, produced, hosted by John F. Barber

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

Graphics by Holly Slocum

Synopsis
Re-Imagined Radio adapts two episodes of The Mysterious Traveler, "The Man the Insects Hated" and "Behind the Locked Door." Each written and directed by David P. Kogan and Robert A. Arthur, Jr. A double feature. Double action and suspense. Double the fun. Doubly strange and terrifying. 

Credits
Samples from "The Man the Hated Insects." October 7, 1944, Episode #43, Not Available; July 27, 1947, Episode #114.
A scientist, John Hansen, working in the Louisiana swamps, is obsessed with the insects. He thinks they are trying to kill him. He invents the perfect insect killer, "Formula 397." The insects attack, and take away everything Hansen loves.

Samples from "Behind the Locked Door." May 24, 1949, Episode #205; November 6, 1951, Episode #329.
Professor Stephens and his assistant, Martin, mount an archaeological expedition near Arizona's Vermilion Cliffs. There, they find a cave that may contain Aztec treasures. Instead, the cave provides a bizarre history and a deadly legacy. Parallels to H.G. Wells' The Time Machine and an unexpected twist ending add to the appeal of this masterpiece of horror.

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: THE MYSTERIOUS TRAVELER OPENING, TRAIN SFX AND MAURICE TALPIN SPEAKING.
SFX: TRAIN SFX, ON SEPARATE "SFX" TRACK TO AUGMENT TRAIN AMBIENCE. DUCK UNDER TALPIN OPENING.
TRAVELER
This is The Mysterious Traveler, inviting you to join me on another journey into the strange and the terrifying. I hope you will enjoy the trip, that it will thrill you a little and chill you a little. So settle back, get a good grip on your nerves and be comfortable--if you can.
SFX: CROSSFADE TO . . .
THEME AND ANNOUNCER
MUSIC: RIR THEME
ANNOUNCER
Welcome to Re-Imagined Radio, a program about radio storytelling. I’m Jack Armstrong. With each episode we combine dialogue, sound effects, and music to engage your listening imagination. This episode is no different, and here to tell you about it is John Barber, producer and host.
HOST OPEN
HOST
Thank you Jack. Hello everyone. Thanks for joining us.
This episode celebrates a great radio storytelling series, The Mysterious Traveler.
Heard on the Mutual Broadcasting System, 1943 to 1952, The Mysterious Traveler shared an eclectic range of stories, fantasy, science fiction, crime, stories of mystery and suspense, and horror.
Of the 370 episodes produced, potentially 80 survive. We've selected two--"The Man the Insects Hated" and "Behind the Locked Door"--to provide an episode that is doubly strange and terrifying.
I hope you enjoy our The Mysterious Traveler double feature.
SFX: ORGAN SAMPLE, FROM "MAN THE INSECTS HATED" FOR TRANSITION
HOST INTRODUCTION
HOST
David P. Kogan and Robert A. Arthur, Jr., met in New York, during a radio writing class at Columbia University, in 1940.
Over the next decade, they wrote and produced episodes for several radio series. But their magnus opus was The Mysterious Traveler. 
Depending on the story genre, one or the other would write the episode. Kogan favored science fiction, and handled most of the directing. Arthur, based on his previous experience writing for the pulp magazine Weird Tales, took the horror episodes.
SFX: FADE IN TRAIN WHEELS RUNNING ON TRACKS . . . THE LOCOMOTIVE WHISTLE IS HEARD UNDER, MEDIUM DISTANCE. KEEP DUCKED UNDER THE FOLLOWING . . .
HOST
Episodes of The Mysterious Traveler begin with sound effects of a steam locomotive pulling a string of passenger cars, its whistle forging a path through the darkness ahead. 
You're aboard that train. The Mysterious Traveler takes the empty seat next to you and begins telling his story . . .
"THE MAN THE INSECTS HATED"
SFX: SAMPLES FROM "THE MAN THE INSECTS HATED"
SFX: TRAIN SOUNDS AND SWIRLING ORGAN EFFECTS UNDER THE FOLLOWING . . .
ANNOUNCER 
Mutual presents the mysterious traveler
TRAVELER
This is The Mysterious Traveler inviting you to join me on another journey into the realm of the strange and the terrifying. I hope you will enjoy the trip, that it will thrill you a little and chill you a little. So settle back, get a good grip on your nerves, and be comfortable--if you can.
TRAVELER
It's the end of July and rather warm, isn't it? There's probably an insect or two buzzing around in your living room right this moment, or banging against your screen trying to get in. Before we go any further, you better get rid of it. If you do, you'll breathe easier as you hear the unusual story I have for you today, the story I call . . . 
MUSIC: DRAMATIC ORGAN STINGER
TRAVELER
. . . "The Man the Insects Hated."
MUSIC: ORGAN FOR A TRANSITION, DUCKS UNDER THE FOLLOWING
TRAVELER
My story begins in a homemade laboratory, in a crumbling mansion on the edge of a bayou deep in the heart of the Louisiana swamps. Outside the air is filled with the strident hum buzz of insects, uncounted swarms of them crawling and hopping and flying in the hot lush atmosphere. Inside the laboratory the air is filled with the same sound as a small man with graying hair lifts a wire insect trap to a table.
PROF. HANSEN
Listen to them Mary. How they hate me. Every one of them. The flies, the bees, the hornets, the beetles, the locusts, the spiders . . . they all hate me.
MARY
Oh, John they don't hate you. They're just bugs. They can't hate you.
PROF. HANSEN
Yes, but listen to them hum and buzz when I come near. They know me and the reason they're so upset is that they know that we're enemies and that I'm going to destroy them. Destroy them utterly.
MARY
All right, John. (PAUSE) Ahh.
PROF. HANSEN
Oh, Mary, you look tired. This life we've been leading the last few months, it's very dreary for you, isn't it?
MARY
It's all right, John. It doesn't matter.
PROF. HANSEN
But it does! These swamps, they must seem like the last outpost of creation to you. You always did love the city and the lights, the movement, the gaiety.
MARY
I'm all right! You mustn't worry about me. It's only, it's such a struggle. If we had someone to help us it would be easier. But no one will come out here and work for us.
PROF. HANSEN
Yes, I know my darling, believe me I do, but it's only for a little while. Soon we'll be rich. I promise it.
MARY
All right, John. I'll be patient.
PROF. HANSEN
You do believe me, Mary. You know that I'm on the verge of success now, don't you? That last formula, you saw how quickly it killed every insect in the cage.
MARY
Yes, I know. It was wonderful, John.
PROF. HANSEN
You said you know yourself what it'll mean to the world. The perfect insect killer. Something much better than DDT. Why it will be tremendous! It will make the worst jungle livable. It'll cut down disease and increase the crops and . . .
SFX: KNOCK AT DOOR
MARY
There's someone at the door.
PROF. HANSEN
Yes. It's very odd. I wonder who it could be.
MARY
I'll see. Perhaps it's Dr. Guernsey or or Mr. Conway, the druggist. They promised to call.
SFX: DOOR OPENS
ANDREWS
Good morning is Professor Hansen in?
MARY
But, why yes he is. Come in quickly. There's so many flies.
ANDREWS
Yeah, seems like the air is full of bugs outside. Never saw so many in my life.
PROF. HANSEN
What is it, Mary?
MARY
It's someone to see YOU, John. I don't know who.
ANDREWS
Andrews is the name professor, Martin Andrews. Say, you really are out in the wilds here, aren't you? Thought I'd never find you.
PROF. HANSEN
Yes, we are rather isolated . . .But, ah . . .
ANDREWS
You're wondering who I am and what I want here. The truth is I was in Conway's Drugstore back in town and he told me you might be able to use a handyman.
PROF. HANSEN
Oh, a handyman.
MARY
Yes we can use a handyman. How much do you want?
ANDREWS
Oh not very much. I guess 25 bucks a week could do me . . .
MARY
We can manage that, I think.
ANDREWS
But, on second thought, I don't know, I'm not crazy about these swamps, or all these bugs around and . . .
MARY
Oh, please try it anyway, Mr. Andrews. My husband is engaged on some very important research and he needs help badly.
ANDREWS
Ohhhh . . . well when you put it like that Mrs. Hansen . . .
PROF. HANSEN
Then you will stay?
ANDREWS
Yeah, I'll stay. What have I got to lose? Maybe I'll like it better than I thought at first.
PROF. HANSEN
Excellent Mr. Andrews, excellent!
ANDREWS
Oh just call me Martin, professor.
PROF. HANSEN
Aye, yes Martin, yes. Now there are a lot of details that you can help me with. Uh now take this watch and  . . .
MARY
Lunch will be ready in a minute.
PROF. HANSEN
Oh, yes my dear, yes. Take this watch Martin and, uh, you see this wire trap full of insects.
ANDREWS
Yeah. There must be thousands of bugs in there.
PROF. HANSEN
There are. You see, I'm working to discover the perfect insect exterminator.
ANDREWS
Oh yeah, I see.
PROF. HANSEN
. . . and in this spray gun I have my latest solution, Formula 312, and I'm going to spray it just once at this trap full of insects and you are to time how long it takes them all to die.
ANDREWS
You're gonna kill all those bugs with just one squirt from that sprayer?
PROF. HANSEN
I hope so, and they know it too. Listen to them hum. How they hate me. They know I'm going to kill them and they wish they could get free to kill me.
ANDREWS
Huh?
PROF. HANSEN
Oh yes, yes they know me. Insects hate me. All insects. Just as I hate them. They'd kill me if they could but instead I'm going to kill them. Have you put your eye on the watch?
ANDREWS
What? Oh yeah. Yeah sure.
PROF. HANSEN
Then start timing.
SFX: PUMP OF SPRAY BOTTLE
PROF. HANSEN
Now, watch and listen.
ANDREWS
Say, that stuff really mows 'em down professor.
PROF. HANSEN
Yes. They're dying now. A few of them are still trying to crawl around but, uh, there they go. Now, how long did it take?
ANDREWS
Uh, 29 seconds.
PROF. HANSEN
It's good, but not quite good enough. But I'm sure I'm on the right track.
MARY
Lunch is ready, John.
PROF. HANSEN
Oh yes my dear, yes. We're coming. Well uh, Martin do you think you're going to like working here, helping me develop my new insect killer?
ANDREWS
Yes sir, Professor. I've got an idea it's gonna be a lot more interesting here than I ever imagined.
MUSIC: ORGAN, FOR TRANSITION
SFX: STIRRING COFFEE IN CUP
MARY
Some more coffee John?
PROF. HANSEN
Thank you my dear. No I want to go back to the lab to try a new formula and, um, while I'm mixing it why don't you show Martin around the place.
MARY
Why . . . I . . . right
ANDREWS
That's a swell idea professor. I'd like to get wise to just what you're doing here.
MARY
But, I'm sure that John could show you around and explain everything better than I could.
PROF. HANSEN
No no no not at all, Mary , and besides you know how I feel about going outdoors.
MARY
Well all right John, if you want me to.
PROF. HANSEN
Fine. I'll get started on the new mixture right away and uh, when you're through I'll have something for you to do, Martin.
ANDREWS
Okay professor. Well Mrs. Hansen, I'll be obliged to you if you'll give me the lowdown on everything.
MARY
Well, all right Martin. There are things that you really should know so . . .
MUSIC: ORGAN, SWIRLING, FOR TRANSITION
ANDREWS
So that's how it is, huh?
MARY
Um, huh.
ANDREWS
The professor is hipped on the subject of bugs and wants to rid the world of them. (LAUGHS) And he thinks they all know it and hate him. (LAUGHS) Oh, that's a hot one. (LAUGHS) The bees and the mosquitoes and the flies they all got it in for him. (LAUGHS)
MARY
You mustn't laugh. I know it's a strange quirk of his mind, but it's a harmless one, and you must pretend not to notice anything odd about it.
ANDREWS
Okay, Mrs. Hansen. If you say so.
MARY
You see, when he was a small boy, my husband was almost stung to death by a swarm of bees. That brought on his peculiar hatred of all insects and his belief that they hate him . . .
ANDREWS
I'm sure I can see how that'd be.
MARY
. . . and that's the reason why all his life he's been experimenting to find the perfect insect exterminator.
ANDREWS
It's screwy but if he does find this perfect bug killer it'll pay off big.
MARY
Oh, he WILL find it, I'm sure that . . . that's why I'm willing . . . I mean I'm sure he will.
ANDREWS
You were gonna say that's why you're willing to stay here in this swamp because you think you'll find this bug killer and make a lot of money from it huh? Well, that's the truth ain't it Mrs. Hansen?
MARY
You're being impertinent.
ANDREWS
The first time I looked at you I could see you weren't meant for a life like this. You were meant for pretty clothes and soft music, dancing, fun. Not for rotting away in a swamp that's only fit for bugs.
MARY
You mustn't talk like that. I've got to go back to the house.
ANDREWS
No no, not yet. Listen, the minute I stepped inside that house I knew you were eating your heart out all for fun and people and pretty things.
MARY
I don't know what you're talking about . . . let go of my wrist.
ANDREWS
Not yet. Listen, I'm no handyman. I know how to make money when I want to. It's just good luck that brought me here. My good luck. There's meant to be something between us. I knew that the second you opened the door this morning.
MARY
You're crazy. Let me go.
ANDREWS
Sure, I'll let you go. There. Well, why don't you run away from me now that you can?
MARY
You mustn't say things like that  . . . you mustn't.
ANDREWS
But I already have and I will again. You weren't meant to be married to a doddy old dodo like the professor. You were meant to live and I'm gonna hang around here until I prove it to you
MUSIC: ORGAN, FOR TRANSITION, DUCKS UNDER THE FOLLOWING . . .
TRAVELER
And so Martin Andrews joined the strange household in the swamps, the household where Professor Hansen plotted death for the insect world. Mary suggested to him that it had been a mistake to hire Martin so hastily without investigating his background but her husband pooh-poohed her arguments and she was silent knowing she could not explain that she was both frightened and fascinated by a man whom she'd seen for the first time that day.
So Martin stayed, and in the days that followed professor Hansen found him invaluable. With his help the work went much more quickly, and daily, as the work progressed, the number of insects swarming about the house increased, buzzing and humming ominously as though news of the professor's success was spreading throughout the whole swamp. Then one morning in the laboratory . . .
SFX: MUSIC FADES OUT
PROF. HANSEN
Time Martin.
ANDREWS
Exactly 15 seconds professor.
PROF. HANSEN
15 seconds and every insect in the trap is dead. We've done it Martin! Mary, Mary!
MARY
Yes John, what is it?
PROF. HANSEN
Mary we've done it! At last. I found the formula that will kill any insect known almost instantly.
MARY
Oh John. Oh I'm so glad!
PROF. HANSEN
Yes, Formula 397! See, here it is, just a few marks on this piece of paper but it's man's final victory over the insect world.
ANDREWS
Ah, listen to the bugs outside hum, professor. They sound almost like they know what you've done.
PROF. HANSEN
Oh yes, they do know, but they're helpless. They're beaten and they know it. Yes. Now I've got to write a note to Dr. Guernsey and Mr. Conway. Martin, wait here for me.
ANDREWS
Yeah, sure professor.
SFX: PAPER BEING FOLDED AND RUSTLED
MARY
Martin, what are you doing with that formula?
ANDREWS
Just putting it in my pocket where it will be safe. You know how the professor is always losing things.
MARY
Give it to me, please. I'll take care of it.
ANDREWS
Nah, I think I'd better hold on to it. But I have something else for you . . .
MARY
No, let me go. No . . . Don't hold on to me.
ANDREWS
Ever since that first day and I've been waiting till you know as well as I do that we were meant for each other.
MARY
You mustn't say such things . . .
ANDREWS
You do know it don't you?
MARY
No. No . . .
MARTIN
Maybe this will convince ya. [KISSES MARY]
MARY
Oh Martin! Oh Martin.
ANDREWS
Now you know it, don't ya?
MARY
Yes. Oh, I'm crazy, I suppose but I can't help it. You've got to go away Martin, now, today.
ANDREWS
You ARE crazy if you think I'm going without you. Oh, here comes the professor. We'll talk about it later.
PROF. HANSEN
Martin . . . Here's a note for Mr. Conway, the druggist. I've asked him to come out with Dr. Guernsey tomorrow night. Will you drive into town and deliver it to him please?
ANDREWS
Sure professor. I'd be glad to, right away.
MUSIC: ORGAN, FOR TRANSITION
SFX: DOOR OPENS
PROF. HANSEN
Come in Martin, quickly. Um my, your clothes are covered with insects. Here stand still a minute. I'll get rid of them.
SFX: SPRAY BOTTLE
PROF. HANSEN
There, it takes care of that. How in the world did so many get on you?
ANDREWS
When I got out to open the garage door they were crawling all over it. They dropped onto me and I couldn't knock them off.
MARY
John. Oh John!
PROF. HANSEN
Yes Mary.
MARY
John! John, there are ants in the kitchen, a whole swarm of giant black ants. They're monsters.
PROF. HANSEN
Giant ants in the kitchen. How did they get in?
MARY
I don't know but they're there and more coming all the time.
PROF. HANSEN
Well never mind. We'll take care of them. Come on, Martin bring the spray gun.
ANDREWS
Right!
PROF. HANSEN
They mustn't get into the house. I won't let them. They want to get at me but they're not going to.
MARY
There they are John. All over the floor.
PROF. HANSEN
These giant ants. The floor's black with them and look at them come this way toward me. They know who I am. Quick Martin, use the spray.
ANDREWS
Yes professor. Yeah, this'll fix them. Look at them turn up their toes. Yeah that finishes them.
PROF. HANSEN
But how in the world did they get in? I thought I'd made this house insect proof.
MARY
Here are some more coming through this hole in the woodwork.
ANDREWS
I'll take care of them.
SFX: SPAY GUN
ANDREWS
Now plug up the hole, no more'll come in that way.
MARY
They're such big ants! I've never seen any that big before.
PROF. HANSEN
And they were after me but we've taught them a lesson.
ANDREWS
Professor, you've almost convinced me you're right, about the bugs hating you, I mean.
MARY
What are you saying?
ANDREWS
It's the truth! You never saw so many bugs in your life as there are outside right now. When I got back from town I could hardly see the house for the beetles and the flies and the hornets that are buzzing around it. A couple of times the car ran over columns of ants so thick I thought they were going to clog the wheels. Columns heading this way.
PROF. HANSEN
Is that so? I must go over to the window and see for myself. Yes, good heavens the screen is so covered with insects I can't see out.
ANDREWS
I'll give them a dose of your bug killer. That'll make 'em move on.
SFX: SPRAY BOTTLE
ANDREWS
Yeah that cleared 'em off. Now, take a look outside professor. Did you ever see anything like that in your life?
MARY
Oh!
PROF. HANSEN
Good lord! The sky is black with insects. Look at that swarm over the trees. Flying beetles wasps bees locusts. I can't identify them all.
ANDREWS
Yeah, and just listen to them . . . listen to that song of hate.
MARY
Don't say that . . . It, it's just a natural phenomenon these swamps breed insects by the millions.
ANDREWS
Yeah, yeah I know and every one of those millions is headed right for this spot.
MARY
But that's ridiculous!
ANDREWS
No it's not! All the way to town I didn't see a single bug because they're all gathered right around here, right around this house.
MARY
You mustn't say that!
PROF. HANSEN
He's right. They know what's happening here and they want to stop me.
MARY
No John, no.
ANDREWS
If you want my advice the thing to do is make up all the Formula 397 we can. If those bugs ever get into this house we're gonna need it.
MUSIC: ORGAN, FOR TRANSITION,DUCKS UNDER THE FOLLOWING . . . 
TRAVELER
As the day wore on the clouds of insects surrounding the old mansion and the swamps grew steadily bigger. At times the house was almost hidden by the black swarms of tiny creatures flying and crawling over it as if they really were trying to force their way inside. But only a few did get into the house through unnoticed cracks. But as night came on . . .
SFX: SWARMING INSECTS, LIGHT SWITCH
MARY
John!
PROF. HANSEN
Yes.
MARY
John, the lights won't go on!
PROF. HANSEN
They won't?
MARY
No look.
SFX: LIGHT SWITCH
MARY
A fuse must have blown out.
ANDREWS
I'll go take a look professor. I have the flashlight.
PROF. HANSEN
Thank you, Martin.
ANDREWS
I'll only be a minute.
PROF. HANSEN
Listen to them, Mary, listen to them swarming about the house beating against the screens trying to get in at me.
MARY
Oh John, they're just insects. They don't hate you.
PROF. HANSEN
They don't, aye? Well then where do they come from? Why are they surrounding this house? Answer me that.
MARY
Oh I don't know.
PROF. HANSEN
Martin agrees with me. He said so this afternoon.
MARY
You mustn't pay any attention to Martin.
PROF. HANSEN
Listen to them. If they could get in we'd be dead in 15 minutes. There's death we hear humming and buzzing out there, Mary.
ANDREWS
Professor, professor.
PROF. HANSEN
Yes, what is it? Did you find the trouble?
ANDREWS
Yes, it's in the switchbox all right, all the fuses have blown out.
PROF. HANSEN
All of them! But how?
ANDREWS
The switch box is full of little beetles. I don't know where they came from but they caused a short circuit that blew out all the fuses.
PROF. HANSEN
They did it on purpose.
MARY
Oh John!
ANDREWS
Well anyway, we'll be using candles tonight. And there's another thing.
PROF. HANSEN
What, Martin.
ANDREWS
The cellar is full of little white ants. I couldn't find out where they're coming from.
MARY
White ants?
PROF. HANSEN
Not ants Martin, those are termites.
ANDREWS
Well termites then. They're all over everything.
PROF. HANSEN
(REALIZING THE PROBLEM) Termites! They can eat their way through wood. They can eat holes that the other insects can enter through.
ANDREWS
Yeah, that's right isn't it?
PROF. HANSEN
Martin come on. Get two insect sprays. we've got to get down there and destroy them before they destroy us.
MUSIC: ORGAN, FOR DRAMATIC TRANSITION
SFX: INSECTS, DUCKS UNDER THE FOLLOWING. . .
ANDREWS
Ah, listen to them. There must be billions of bugs out there. Crickets bees flies hornets wasps ants every kind of insect there is. It's a good thing you put tight screens on this house.
MARY
John!
PROF. HANSEN
What is it, Mary?
MARY
I thought I felt the house shake then.
ANDREWS
Ah, don't let your imagination get you. I didn't feel anything.
PROF. HANSEN
No no no you must keep control of your nerves.
MARY
I suppose I imagined it then. Oh John it's almost midnight. Are they ever going to go away?
ANDREWS
Maybe not. If the professor's right and they're after him they'll just hang around until we starve to death or until they get in and finish us off.
MARY
Oh Martin stop it.
PROF. HANSEN
Martin is right. We've used up all the Formula 397 and if they ever do get into the house we're doomed.
ANDREWS
I was just thinking that myself.
PROF. HANSEN
We have got to get help.
MARY
Go out of the house?
PROF. HANSEN
Yes.
MARY
Oh . . . oh no, John!
PROF. HANSEN
Not all of us, but maybe if I were to take the car and make a dash for town they might follow me.
MARY
John that's madness!
PROF. HANSEN
In the sedan with all the windows shut they couldn't get at me and in town I could get help.
ANDREWS
Yeah yeah, you could!
PROF. HANSEN
I could make up more Formula 397 at Conway's Drugstore and he and Dr. Guernsey can come back with me. And if we used a big pumper spray we could destroy every insect that's outside.
MARY
No! You mustn't try it!
ANDREWS
It sounds like a good idea to me. I'd go only I couldn't mix the formula.
MARY
No John, you mustn't go out.
PROF. HANSEN
Yes, I'm going to do it. If those ants ever get at the car they'd cut the tires to shreds and then we would be at their mercy. I've got to go for help while I can.
MARY
Then let's all go. We can all get in the car.
ANDREWS
It'd be safer to stay here. This house will hold them off for a good while yet. I think the professor's scheme is the best.
PROF. HANSEN
All right, Martin. Now I'll get ready and then you come downstairs and help me with the garage doors. And you're going to have to open and shut them awfully fast when I take the car out.
MUSIC: ORGAN, STINGER FOR TRANSITION, DUCKS UNDER THE FOLLOWING . . .
TRAVELER
Despite Mary's protests, professor Hansen carried out his plan. With the car tightly closed, the motor racing, Martin flung open the garage doors. The car shot out into the night, the headlights showing great swarms of flying insects in its path. Then Martin swiftly closed and bolted the door again and hurried upstairs.
MUSIC: FADE OUT
SFX: INSECTS, DUCK UNDER THE FOLLOWING . . .
ANDREWS
Well, he's gone.
MARY
Oh why did you let him go?
ANDREWS
That ought to be obvious.
MARY
What do you mean?
ANDREWS
I didn't let him go, I made him go. I put the whole idea in his mind so he'd go off and leave us alone here.
MARY
Oh no.
ANDREWS
Sure I did. I'm a bright boy. From now on it's going to be just you and me and fun.
MARY
What are you saying?
ANDREWS
John isn't going to come back from his little trip to town.
MARY
I don't understand.
ANDREWS
Then I'll make it simple. In the first place all those bugs outside don't mean a thing. When I was in town this morning Conway the druggist told me it happens out here every seven years or so. There's something about the way the wind blows that makes millions of bugs come out of the swamp to swarm around this house in certain years.
MARY
Oh, but then why did you pretend to believe John when he said it was because they were after him?
ANDREWS
Just so as he'd go to town for help. Those bugs are harmless. Soon as the wind shifts they'll be gone.
MARY
But then  . . .
ANDREWS
Right this minute John's driving to town as fast as he can go. And any second now the steering gear is gonna bust.
MARY
Martin. . . . No!
ANDREWS
Yes baby, because I fixed it to. And when that steering wheel goes it'll be curtains for John. The car will hit a tree and you'll be free to marry me. We'll have Formula 397 and all the dough it'll bring in.
MARY
That's murder.
ANDREWS
It isn't murder. It's being smart.
MARY
You've murdered John. I'm guilty too because I didn't make him send you away.
ANDREWS
Ah, you never really wanted me to go.
MARY
I, oughta loath you, and myself too, but . . . but I . . .
ANDREWS
But you don't.
MARY
No Martin. I don't.
ANDREWS
That's more like it baby. We'll always be together, always.
MARY
Forever, Martin, we . . .
SFX: HOUSE BEGINS TO SHAKE
MARY
Martin!?
ANDREWS
Huh?
MARY
Something's happening . . .
ANDREWS
What . . .?
MARY
The house . . . it's, it's shaking!
ANDREWS
Gotta get out of here. The house is caving in. It's barely clear. Grab hold of me. Come on now before . . . Look out!
MARY
[Screams as house collapses] Maaartinnnn!
MUSIC: ORGAN, FOR TRANSITION, CROSS FADE TO . . .
SFX: AUTOMOBILE RUNNING ON ROADWAY
PROF. HANSEN
Mr. Conway, can't you drive faster? We must get back to the house.
CONWAY
I'm driving as fast as I can professor.
DR. GUERNSEY
Professor, you must control yourself. That was a serious accident you were in. It's a miracle you weren't killed.
CONWAY
Sure was. Where your car hit that tree, well, I'm just glad it wasn't me.
PROF. HANSEN
Yes yes but please drive faster.
DR. GUERNSEY
No, I should never have allowed you to return to your home with us. You should be in a hospital.
PROF. HANSEN
But, Doctor, my wife and Martin . . . I've got to save them from those insects. . . they hate me they're out to destroy all of us. They'll kill my wife and Martin if we don't get there in time.
DR. GUERNSEY
Professor, you must calm yourself. I'm sure it isn't as serious as all that.
PROF. HANSEN
Oh, doctor, you're like everyone else. You don't know how dangerous the insect world is. But I know, and that's why they hate me and that's why they're out to destroy me and my wife and Martin.
CONWAY
Ah, we're almost there. The house is just around this bend in the road.
PROF. HANSEN
Yes, but please hurry. You mustn't slow down.
CONWAY
Professor, I gotta take this curve slow. After all we don't want no . . . good lord . . .
DR. GUERNSEY
Ahhh . . . The house it's collapsed.
PROF. HANSEN
They've wrecked it. The insects have wrecked it. I told you they were out to get me. 
SFX: AUTOMOBILE STOPS. ENGINE TURNED OFF. DOORS OPEN.
PROF. HANSEN
Now come quickly, we must find my wife and Martin.
DR. GUERNSEY
Come along Conway this looks bad.
CONWAY
Yes, doctor.
PROF. HANSEN
Mary? Mary, where are you. Mary answer me . . .
DR. GUERNSEY
Conway, you'd better start looking through the wreckage.
CONWAY
Okay, doctor.
PROF. HANSEN
Mary? Mary where are you?
DR. GUERNSEY
Oh lord, I've never seen so many bugs in all my life.
PROF. HANSEN
If we only had more of my Formula 397 we could kill all of them. All of them! But they won't get the better of me. They won't . . .
SFX: SPRAY GUN
DR. GUERNSEY
Oh professor what are you doing? There isn't any spray in that gun. It's empty.
PROF. HANSEN
I'll show them. I'll show them.
CONWAY
Doctor, I found them . . . they're under the wreckage of the house.
DR. GUERNSEY
Oh, oh you better take me to them, Conway. Perhaps we can . . .
CONWAY
It's too late doc, they're both dead.
PROF. HANSEN
Dead? They're dead?
CONWAY
Yes professor. They were killed by falling timbers when the house collapsed.
PROF. HANSEN
No. No. It wasn't the falling timbers that killed them. It was the insect world that killed them. They tried to destroy me. And instead they murdered Mary. And now they're trying to break me down. But I won't let them!
SFX: SPRAY GUN
PROF. HANSEN
I won't let them. My formula, Formula 397, this spray will destroy them all. Yes, yes they're dying left and right. They're dying . . . you see  . . .
CONWAY
Doc, what, what's wrong with him? That spray gun's empty.
DR. GUERNSEY
Yes, Conway I know. I'm afraid he's completely mad. The insect world has destroyed his mind.
MUSIC: ORGAN,FOR TRANSITION, CROSS FADE TO . . . RAILROAD TRAIN SOUNDS
MUSIC: SWIRLING ORGAN MIMICS INSECT SOUNDS, DUCKS UNDER THE FOLLOWING.
TRAVELER
This is The Mysterious Traveler again. And how did you enjoy our visit with the man the insects hated? Too bad about poor Professor Hansen wasn't it? Yes, they found he'd gone completely mad and in his madness had completely forgotten his newly discovered Formula 397 which would destroy all insects.
Oh, what happened to the copy of the formula which Martin had stolen? Well strangely enough when Martin's body was removed from the wreckage the formula was not in his pockets. Some people say that the insects . . . oh, you have to get off here, I'm sorry. But I'm sure we'll meet again. I take this same train every week at the same time.
SFX: TRAIN WHISTLE, CROSS FADE TO.
ANNOUNCER
You have just heard The Mysterious Traveler, a series of dramas of the strange and terrifying. In today's story the cast included Maurice Toplin, Eric Dressler, Helen Shields, and Robert Dryden. Original music was played by Gene Terazzo. The Mysterious Traveler is written produced and directed by Bob Arthur and David Kogan. The Mysterious Traveler has come to you from our New York studios. Carl Caruso speaking. This is the Mutual Broadcasting System.
MUSIC: TO ENDING
MUSIC: RIR THEME FOR BREAK
THE FUSEBOX BREAK
HOST
This is Re-Imagined Radio. I'm John Barber, producer and host. We'll return to The Mysterious Traveler in just a moment. But first, let me introduce you to The Fusebox Show. Produced by Marc Rose, it's a different kind of radio storytelling, full of quirky conversation, quick wit, and commentary about current day events and news. It's a radio show that'll withstand any bug spray you throw at it. Here's a sample.
SFX: THE FUSEBOX SHOW TEASER 
HOST 
Learn more, and subscribe to the podcast at The Fusebox Show website, thefuseboxshow dot com.
MUSIC: RIR THEME
HOST INTER-EPISODE TRANSITION
HOST
You're listening to Re-Imagined Radio. Our Mysterious Traveler double feature. We just heard "The Man the Insects Hated." Episode #114, broadcast July 27, 1947.
Eric Dressler voiced the part of Professor John Hanson. Helen Shields was Mary Hanson. And Robert Dryden was Martin Andrews. For lots more information and backstories about this episode, visit our website: reimagined radio DOT net.
HOST
Time now for our second feature from The Mysterious Traveler. With its genre crossing story lines, parallels to H.G. Wells' The Time Machine, Wylis Cooper's "The Thing on the Fourable Board," and an unexpected twist ending, it might be called the series "signature episode." Let's listen to "Behind the Locked Door."
"BEHIND THE LOCKED DOOR"
SFX: SAMPLES FROM "BEHIND THE LOCKED DOOR"
SFX: EERIE ORGAN, FOR TRANSITION, DUCKS UNDER AND OUT FOR THE FOLLOWING . . .
TRAVELER
Our story begins in the beautiful mountain region of Lake Mead, Arizona. A convertible car is speeding along a deserted road, which winds through the mountains. The car slows down, turns into a dirt road. A few minutes later, it comes to a stop before a small mountain lodge. Kathy Evans, an attractive girl in her early twenties gets out of the car and runs up the steps of the lodge to the front door. She knocks impatiently looking about anxiously.
SFX: KNOCKING ON DOOR. BIRDS IN BACKGROUND, KNOCKING REPEATS, HEAVY WOODEN DOOR OPENS SLOWLY WITH A LONG CREAK.
MARTIN
Yes?
KATHY
Martin.
MARTIN
Kathy.
KATHY
I thought I'd find you here. Aren't you going to ask me in?
MARTIN
Go way, Kathy.
KATHY
Martin, what's wrong?
MARTIN
Go away. Go away.
KATHY
Not until I find out what this is all about. Well, let me in.
SFX: KATHY ENTERS THE CABIN, BIRDS
KATHY
Are you alone?
MARTIN
Alone? . . . Yes . . .
KATHY
Darling, look at yourself. You haven't shaved in days. Martin, those deep gashes on your neck and face! How did you get them?
MARTIN
It doesn't matter.
KATHY
Darling, you must have lost a great deal of blood, and you're feverish.
MARTIN
Yes, I know.
KATHY
Is it true about Professor Stephens?
MARTIN
Yes.
KATHY
Why did you leave town so suddenly last night? The authorities are looking for you.
MARTIN
Good, they don't know I'm here.
KATHY
I know. How could they? It was intuition that brought me here.
MARTIN
They mustn't find me.
KATHY
Martin, nothing makes sense. You return from an expedition last night alone unexpected. You stay in town one hour and then vanish. Not even phoning me.
MARTIN
It's . . . It's best that way. Believe me, Kathy.
KATHY
You've got to tell me everything that's happened.
MARTIN
I can't, Kathy. I can't.
KATHY
I'm your fiance! I've got a right to know.
MARTIN
Kathy, go away. Please.
KATHY
I won't go away until you tell me what's happened.
MARTIN
If . . . If I do . . . then will you go?
KATHY
Yes.
MARTIN
I, I don't know where to begin. I suppose if you CAN say it had a beginning it . . . it was that day a little over two weeks ago in Professor Steven's office . . .
MUSIC: ORGAN, STINGER FOR TRANSITION
PROF. STEPHENS
Come in, Martin. Come in. Have a seat.
SFX: DOOR CLOSES
MARTIN
Thank you, Professor.
PROF. STEPHENS
Martin, how'd you like to go exploring with me for, say, 10 days, two weeks at the outside?
MARTIN
Exploring where?
PROF. STEPHENS
The Vermilion Cliffs along the Colorado River. I found some wonderful Aztec pieces there last summer. One large cave I stumbled on proved to be a veritable treasure trove.
MARTIN
Yes, yes, I've seen those Aztec pieces in the University Museum.
PROF. STEPHENS
Now the Vermilion Cliffs still remain largely unexplored. I'm sure that we could turn up many more objects of interest.
MARTIN
It certainly sounds intriguingly. The only reason I hesitate professor is because of Kathy.
PROF. STEPHENS
I'm sure she'd give you a two-week leave of absence.
MARTIN
Yes, I suppose so. How many of us would go?
PROF. STEPHENS
Well, it would just be you, myself, and an Indian guide, and three burros. I find that the fewer there are on an expedition, the better.
MARTIN
Um hum. When would we leave?
PROF. STEPHENS
Eh, what about the day after tomorrow?
MARTIN
All right, Professor, I'm with you.
MUSIC: ORGAN, FOR TRANSITION
SFX: HOOF BEATS AS THE EXPLORERS RIDE ALONG
MARTIN
So these are the Vermilion Cliffs professor?
PROF. STEPHENS
Yes . . . an awe-inspiring sight, aren't they?
MARTIN
They're as breathtaking as The Grand Canyon itself. I had no idea they towered so high.
PROF. STEPHENS
Yes, they make you realize just how insignificant man really is.
MARTIN
Yeah.
PROF. STEPHENS
This region is so desolate, Martin, that it's all but unexplored. That's why I'm drawn to it time and time again.
MARTIN
Yes, I can understand that. It represents the challenge of the unknown.
PROF. STEPHENS
(LAUGHS) Careful, Martin, you'll get the exploring bug.
MARTIN
Oh, I've already been bitten, Professor.
PROF. STEPHENS
Well, if you're going to be an explorer and an archaeologist, I'll have to start teaching you the fundamentals of the profession. (CALLS OUT) Sam . . . seems like a good spot we'll camp here for the night.
MUSIC: ORGAN, FOR TRANSITION
MARTIN
Whew! Well, it certainly is hot, professor. Exploring isn't as easy as I thought.
PROF. STEPHENS
Ehhh.
MARTIN
All right, Professor, what is it? For 20 minutes now, you've been sitting on that rock staring at that cliff.
PROF. STEPHENS
Ehhh. Note the boulders strewn over the face of that cliff.
MARTIN
What about it?
PROF. STEPHENS
And that's a very peculiar landslide. If you carefully study the formation of it.
MARTIN
What's peculiar about it?
PROF. STEPHENS
Many of the rocks look as though they'd been placed there by human hands.
MARTIN
But why, and by whom?
PROF. STEPHENS
Ehh, one of the ancient Aztec forms a punishment was to seal a person in a cave by means of a landslide, or just piling heavy rocks in front of the mouth of the cave.
MARTIN
That landslide . . . There must be hundreds of tons of rock there.
PROF. STEPHENS
Yesss. Well fortunately, we're prepared for it.
MARTIN
Is that why you brought the dynamite along?
PROF. STEPHENS
Yes. Probably all we'll find will be a skeleton. In that case, it'll have been a waste of dynamite. However, we'll chance it. Oh, Sam.
SAM
What you want?
PROF. STEPHENS
Get the case of dynamite, Sam. We're gonna blast that landslide.
SAM
Professor. Better leave it, same way it be.
PROF. STEPHENS
Why?
SAM
Evil spirit sleep in cave. Better not wake him up.
MARTIN
(LAUGHS) You really believe that?
PROF. STEPHENS
Martin, I wouldn't laugh. Sam may be uneducated. But he senses things that you and I can't even begin to comprehend.
MARTIN
Now wait a minute. You mean you believe what he said about evil being asleep in that cave?
PROF. STEPHENS
I wouldn't say that I believe it. But nevertheless, I respect Sam's opinion. But Sam, I still want to blast that landslide.
SAM
Hey, get dynamite.
MUSIC: ORGAN, FOR TRANSITION
PROF. STEPHENS
Keep your head down, Martin. When I set that dynamite off, there are going to be a great many rocks flying around.
MARTIN
Don't worry, Professor. I've got cover.
PROF. STEPHENS
Sam, you ready?
SAM
Yes Professor.
PROF. STEPHENS
All right. Here goes.
SFX: DYNAMITE EXPLODES, ROCKS FALL
PROF. STEPHENS
Keep your heads down.
SFX: EXPLOSION ENDS
PROF. STEPHENS
All right. It's safe now.
SFX: MARTIN CLIMBING ON ROCKS
MARTIN
Professor, I think you did it. I can see a small opening. It looks like the mouth of a cave.
PROF. STEPHENS
Yes, it is. Sam, let me have one of the flashlights. Martin, let me take the other. I'll lead the way in.
MARTIN
Just as you say, professor.
SFX: BOOTS CLAMBER OVER THE ROCK DEBRIS AND INTO THE CAVE.
PROF. STEPHENS
The air doesn't seem too bad in here. Yes, it's all right.
MARTIN
What's that noise?
PROF. STEPHENS
It's just rats, scurrying around.
MARTIN
Oh.
PROF. STEPHENS
Certainly a huge cavern. Look at that ceiling. Must be 200 feet high.
MARTIN
Look at the bats up there.
PROF. STEPHENS
Yes, huge ones.
SFX: FOOTSTEPS INSIDE CAVERN, WITH BATS SCREECHING OVERHEAD, RATS UNDERFOOT. ALL THESE CONTINUE UNDER THE FOLLOWING.
PROF. STEPHENS
I have a feeling that this cavern and others extend for miles underground.
MARTIN
Yeah, I . . . professor, look!
PROF. STEPHENS
. . . Skeleton.
MARTIN
Yes . . . There's . . . There's another one over there.
PROF. STEPHENS
Yeah. See what else there is . . .
SFX: FOOTSTEPS SCRAMBLING ON THE CAVERN FLOOR.
SAM
Wagon train!
PROF. STEPHENS
What? Good lord. Sam's right. It's a wagon train.
MARTIN
A wagon train?
PROF. STEPHENS
Yes.
SFX: MORE BOOTS SCRAMBLING OVER ROCKS IN THE CAVERN.
PROF. STEPHENS
There's at least 30 or 40 wagons in this cavern. Look, skeletons of horses.
MARTIN
Here's a skeleton with an arrow beside it.
PROF. STEPHENS
Let me see it. Ehh. Appears to be a Navajo arrow. What do you think, Sam?
SAM
Navajo.
MARTIN
Professor, this wagon train. What's it all mean?
PROF. STEPHENS
Hhhmm, many years ago, this wagon train was attacked by Indians. Wagon train retreated into this cavern, hoping to save themselves that way.
MARTIN
Then the Indian's caused the landslide, sealing them in.
PROF. STEPHENS
Yesss . . .
MARTIN
Poor devils.
PROF. STEPHENS
Notice that old gun lying there. A flintlock. Seems to suggest this wagon train must be at least a hundred years old.
MARTIN
Probably headed for the California Gold Rush of 1848.
PROF. STEPHENS
Yesss. Well, we'll come back tomorrow, search this wagon train, thoroughly. I'm sure we'll find many things of great interest.
MUSIC: FOR TRANSITION, DUCK UNDER AND CONTINUE
MARTIN
Next morning, after an early breakfast, Sam and I followed Professor Stevens back into the cavern. We spent the morning investigating the trunks and boxes we found on the wagons, and among the moldy clothing and 101 household articles, we found faded letters and newspapers which showed the wagon train and crossed the Mississippi in the summer of 1849. Headed west, for California, and gold.
MARTIN
(NARRATING) We finished rummaging among the effects of the wagons, and the professor suggested we explore the cavern. We followed him from  one cavern to another. Now, and then the professor would stop to mark our trail for the caverns were honeycombed with countless passage ways.
SFX: FADE IN BOOTS ON THE CAVERN FLOOR
MARTIN
How far do you think we've come, Professor?
PROF. STEPHENS
I should say we're about a mile from the wagon train.
MARTIN
Uh-huh.
PROF. STEPHENS
We'll go back a few more minutes.
SAM
We go back now. This place evil.
PROF. STEPHENS
Ahh, Sam, if there are ghosts here, they're only the ghosts of the people of the wagon train. They wouldn't harm us.
SAM
I tell you, evil. Feel it. All around. We go back.
PROF. STEPHENS
We'll go just a little further, then turn back.
SFX: SOUND OF RUNNING WATER FADES IN
MARTIN
Professor, wait a minute.
PROF. STEPHENS
What is it Martin?
MARTIN
I think I hear running water.
PROF. STEPHENS
Yes, you're right. Come along.
SFX: FOOTSTEPS, WATER SOUNDS GETTING CLOSER, CONTINUES UNDER THE FOLLOWING . . .
MARTIN
We seem to be getting closer.
PROF. MARTIN
Yes, ehh.
SAM
Evil, all around us.
SFX: RUNNING WATER
PROF. STEPHENS
It can't be much further.
SFX: FLOWING WATER NOW VERY CLOSE
MARTIN
Well, there it is. It's a small river. Look how swiftly it's flowing.
PROF. STEPHENS
Yes. It's probably flows for miles underground, and it empties into the Colorado River.
MARTIN
Say, Professor, here, all along the bank. It's a tremendous pile of fish bones.
PROF. STEPHENS
Yes, so there is.
MARTIN
Look, and there are even more on the other side of the river.
PROF. STEPHENS
Hhmmm.
MARTIN
What do these huge piles of fish bones mean?
PROF. STEPHENS
Hhmmm. . . It's very strange.
MARTIN
How do you account for it?
PROF. STEPHENS
I'm afraid that at the moment I can't. Sam, you have any ideas about it?
SAM
Evil all around us. Feel him strong.
MARTIN
Professor, he's trembling.
PROF. STEPHENS
Sam, there's nothing to be afraid of. Look, I'll shine my flashlight around.
SAM
We've been watched.
MARTIN
Watched? What are you talking about?
SAM
One stay here. I go!
SFX: FOOTSTEPS RUNNING AWAY
PROF. STEPHENS
Sam. Come back. You haven't even got a flashlight. Sam! Come on, Martin, we've got to catch him.
MUSIC: SUSPENSEFUL
SFX: RUNNING FOOTSTEPS ECHO IN THE CAVERN
PROF. STEPHENS
Sam! Wait for us.
MARTIN
I can still hear his footsteps.
PROF. STEPHENS
We've got to catch him. He'll do himself serious injury running in the dark like that. Sam! Wait for us! Wait . . .
SAM
[SCREAMS IN DISTANCE]
MARTIN
Professor! It's Sam, screaming.
PROF. STEPHENS
This way. That fool has probably broken his leg!
MARTIN
No, that sounds more like a fight.
PROF. STEPHENS
Fight? Who could he possibly be fighting with?
MARTIN
I don't know.
MARTIN
He stopped.
PROF. STEPHENS
Sam! Where are you? Keep shining the flashlight around. Can't be much further. Sam!
MARTIN
There he is!
SFX: RUNNING FOOTSTEPS STOP. HEAVY BREATING.
MARTIN
Heh . . . . Just, just sitting at that boulder with his head down.
PROF. STEPHENS
Sam. Sam. Give me a hand with him.
MARTIN
Good lord!
PROF. STEPHENS
Auggh! [BREATHES HEAVILY]
MARTIN
His face . . . Neck. . . . Who could have done this to him?
PROF. STEPHENS
[OUT OF BREATH] I don't know.
MARTIN
There has to be an explanation. There has to be.
SFX: RUNNING WATER DUCKS AND CONTINUES UNDER THE FOLLOWING.
PROF. STEPHENS
Martin, I have a theory. But it's so incredible. I can't bring myself to voice it . . .
MARTIN
Tell me!
PROF. STEPHENS
Why, you'll think I'm insane . . .
MARTIN
Tell me!
PROF. STEPHENS
What if the people of the wagon train, or rather descendants, are alive, here, in these huge caverns . . .
MARTIN
That's impossible!
PROF. STEPHENS
Why? Picture what happened the day the hundred and fifty people or so were sealed in this mountain by the Indians. What would have been the first thing they'd have done?
MARTIN
Try to dig their way out.
PROF. STEPHENS
Exactly. They start digging and find that a hundred ton boulder's blocking the entrance and they have no dynamite. They're forced to give up.
MARTIN
Yes . . .
PROF. STEPHENS
They spend days looking for another way out. Fail to find one. The day comes when all their food is gone. Starvation sets in.
MARTIN
All right. All right. Then that would mean they would all die.
PROF. STEPHENS
Not necessarily. The strongest of them stumble along in the darkness and find the underground river. They catch an abundance of fish and are able to survive.
MARTIN
The huge fish bone piles along the river!
PROF. STEPHENS
Right. The river was an everlasting supply of food. They continued to live by the river in the dark. Some, probably went insane, died. Others adjusted themselves to their new environment.
MARTIN
Professor, you . . . you think those hand-full of survivors had descendants who are alive today inside this mountain?
PROF. STEPHENS
Yes, Martin, and it was one of them who clawed Sam to death.
MARTIN
What can those descendants be like, being born and . . . and living in darkness?
PROF. STEPHENS
I can only guess. I should imagine they'd be blind, or near to it. But their other senses would be remarkably developed.
MARTIN
Their physical appearance?
PROF. STEPHENS
I don't know.
MARTIN
It's all like a nightmare. The nightmare you can't awaken from. What's . . . What's to prevent them from attacking us.
PROF. STEPHENS
Our flashlights for one thing. [Drops out at 43:18 I'm sure light frightens them.] Just as fire frightens animals. Fortunately, I have a revolver.
MARTIN
Well, we better move on. Wait a minute, what about Sam?
PROF. STEPHENS
Sam . . . nothing we can do for him now. Come along, Martin, we must find the trail I marked, so that we can get out of here.
MUSIC: FOR TRANSITION
SFX: BOOTS ON THE CAVE FLOOR, WALKING, TIRED
MARTIN
Ah, seems we've been searching days for the markings you left.
PROF. STEPHENS
Yes. Actually, been 10 hours. Listen.
MARTIN
The river.
PROF. STEPHENS
Yes, come along.
SFX: BOOTS, NOW RUNNING
PROF. STEPHENS
Once we reach the river, we'll be able to pick up the trail I marked.
MARTIN
Well, we're getting closer . . .
PROF. STEPHENS
There . . .
MARTIN
There it is.
SFX: SUPPLEMENTAL SFX OF RUNNING WATER FADES OUT UNDER THE FOLLOWING.
PROF. STEPHENS
Here we are. Look, Martin, that's my marking on a passage way. We found the trail. Martin. It's 2:00 AM. We better rest a few hours. We're both too exhausted to go on right now. One of us stands guard while the other sleeps.
MARTIN
All right. I'll sit up the first hour.
PROF. STEPHENS
Thank you, Martin. Keep your flashlight on.
MARTIN
Don't worry. I will.
MUSIC: ORGAN, SUSPENSEFUL STINGER, DUCKS UNDER THE FOLLOWING.
MARTIN
(NARRATING) In a matter of minutes, the professor fell asleep. I sat . . . sat on guard, flashing my light slowly around the huge cavern. I looked at my watch and the seconds seemed like minutes and the minutes like hours. My eyes grew heavy and I finally dozed off.
MUSIC: UP FOR EMPHASIS, THEN OUT
MARTIN
(NARRATING) Suddenly I awakened in the darkness to hear the professor screaming.
PROF. STEPHENS
(SHOUTING) Martin . . . Help me . . . Turn on the bright light . . .
MARTIN
(NARRATING) I looked frantically for my flashlight in the darkness but I couldn't find it. Then suddenly I heard shots.
SFX: SHOTS FROM A REVOLVER, PROFESSOR STRUGGLING
MARTIN
(NARRATING) From the flashes of the gun I could see the professor struggling with a huge dark, figure. Then suddenly, all was quiet. Except the professor's moans. As I crawled toward him in the darkness my hand suddenly struck the flashlight. I turned it on and there was the professor.
PROF. STEPHENS
(GROANS IN PAIN) Ahhhhh . . .Martin . . . I think I'm wounded . . .
MARTIN
You're bleeding badly. Let me stanch your wounds.
PROF. STEPHENS
Too late. Leave. At once. At once.
MARTIN
But what about you? Professor? Professor?
MUSIC: ORGAN, FOR A TRANSITION, DUCKS UNDER THE FOLLOWING . . .
MARTIN
(NARRATING) I felt his heart, but there was no beat. (CRYING) I staggered to my feet, shined my flashlight around until I found the professor's markings. I stumbled, wearily, along the marked passageway, trying not to remember my last glimpse of the professor's face. I hadn't gone more than a hundred yards, when suddenly my flashlight flickered, and went out. As I stood alone in the darkness, rats scampering past, I fought to keep from screaming. The darkness seemed to become heavier and more oppressive with each passing moment and I had the feeling something was silently approaching. I backed up against the passage wall, waited, my eyes straining in the dark, and then suddenly I was leaped upon by a wild fury.
SFX: SOUNDS OF A WILD CREATURE ATTACKING
MARTIN
(NARRATING) I threw my arms up as well as I could to protect my face and neck. Again and again I did what I could to protect myself but I could feel blood streaming down my face and neck. Then suddenly, the deathly clawing ceased and my attacker turned to ward off something in the dark. As I sank to my knees I was dimly aware of a fierce fight taking place and then consciousness left me.
MUSIC: ORGAN, FOR TRANSITION, DUCKS UNDER THE FOLLOWING.
SFX: SOUNDS OF THE UNDERGROUND RIVER, DUCKS UNDER THE FOLLOWING.
MARTIN
(NARRATING) Later, how much later I have no way of knowing, I became aware of a heavy, calloused hand washing my face and neck with water. I winced in pain as the water flowed into the deep cuts and then, suddenly I remembered it all. And remembering it all, became aware of the calloused hand washing my face and the presence of someone beside me in the darkness.
(SPEAKING, in cave) "Who . . . Who are you?" For a moment the hand hesitated, then resumed washing my neck.
"Well, can't you speak? Say something!"
SFX: HUMAN GUTTURAL VOCALIZATION, SOUNDS ANIMAL-LIKE.
MARTIN
(NARRATING) The noise . . . that came from the throat . . . it was more the noise of an animal's than a human being. "If I could only see you. Do you have a name?"
SFX: VOCALIZATION
MARTIN
(NARRATING) It spoke . . . Seemed to repeated the word "name" although I couldn't be sure. Faint from the loss of blood, I closed my eyes and fell asleep.
MUSIC: ORGAN, FOR TRANSITION, DUCKS UNDER THE FOLLOWING.
SFX: UNDERGROUND RIVER SOUNDS CONTINUE, UNDER THE FOLLOWING.
MARTIN
(NARRATING) When I awoke, my face and neck  . . . felt stiff and painful. It . . . seemed to sense I was awake for as I opened my eyes and stared into the darkness, it came to my side.
(SPEAKING, IN CAVE) "Can't, can't you understand anything at all? Don't my words make any sense to you? Why did you save my life?"
(NARRATING) My hand brushed against it's hand and I could feel sharp, claw-like fingers on it. I reached out into the darkness as I touched its face it bit my hand.
(EXCLAIMS) Aughh!
(NARRATING) I tried to get to my feet . . . but . . . it placed a strong hand on my shoulder and held me down.
At that moment I realized that not only was it my savior, but my jailer as well.
MUSIC: ORGAN, STINGER FOR SUSPENSE, DUCKS UNDER THE FOLLOWING . . .
MARTIN
(NARRATING) I lost all track of time. Now and then, it would leave me. I would cautiously get to my feet to steal off, but no sooner had taken more than a few steps and it would be there at my side forcing me to return to the bank of the river. I spent my every waking moment trying to think of a way to escape.
Then, when my despair was greatest an idea came to me. The professor had said that the underground river I lay beside emptied into the Colorado River. Although the odds were 100 to 1 against my surviving, I knew it was the only possible way of escape.
Slowly, I crawled the few remaining feet to the edge of the river, and leaning over, started to wash my face. I could sense that it was watching me. I leaned forward a few inches more and fell into the river.
SFX: SPLASH AND WATER SOUNDS
MARTIN
As I came up for air in the swift flowing water, I heard a splash beside me. A moment later I felt its arms around me.
The current swept us along at breath-taking speed and as we clung to each other I discovered that it couldn't swim.
For what seemed hours, the river swept us along in the darkness, and I felt myself loosing conscious as I attempted to keep the two of us above water.
MUSIC: UP FOR A SUSPENSEFUL STINGER
MARTIN
When I regained consciousness, Kathy, we were both lying on a sand bar in the Colorado River, and the sun was beating down on us.
KATHY
Darling, you're delirious from your wounds. You need a doctor.
MARTIN
I wish . . . I wish it were simple as all that.
KATHY
You're feverish. You need care.
MARTIN
Go, go away, Kathy. Go away.
KATHY
How can I? Leaving you alone like that?
MARTIN
Don't you understand? I'm NOT alone. SHE's here.
KATHY
She's here?
MARTIN
Yes! Didn't I tell you? Turned out to be a she.
KATHY
You're out of your mind. You don't know what you're saying.
MARTIN
When I first saw her . . . the first time . . . lying unconscious on that sandbar, my first instinct was to leave her there. But how could I? She'd saved my life in the cavern, and then jumped into the river when she thought I was drowning even when she couldn't swim herself.
KATHY
Martin, I want you to get a grip on yourself . . .
MARTIN
Just as I was dependent on her in the dark, she's dependent on me in the light. She's blind. She can't speak yet. She . . .
SFX: KATHY SLAPS MARTIN'S FACE.
KATHY
Stop talking like that!
MARTIN
You can't believe it's true, can you, Kathy? Neither could I at first.
KATHY
What are you staring at? Is there anyone in that bedroom? Well I'll soon find out.
SFX: KATHY'S FOOTSTEPS ACROSS THE WOODEN FLOOR OF THE CABIN.
SFX: KATHY RATTLES THE LOCKED DOOR.
KATHY
Why is the door locked?
MARTIN
(DEEPLY ANGUISHED) She's in there!
SFX: KATHY'S FOOTSTEPS RETURN ACROSS ROOM.
KATHY
Martin you're sick! You don't know what you are saying.
MARTIN
(LAUGHS)
KATHY
I'll prove to you there's no one in that room. It's just your imagination. Gimme the key to the door.
MARTIN
Kathy, Kathy, you're too late.
KATHY
Give it to me.
SFX: KEY PICKED UP FROM A WOODEN TABLE.
KATHY
Thank you.
SFX: KATHY WALKS BACK TO LOCKED DOOR, PUTS KEY IN LOCK.
KATHY
Perhaps when you see the room is empty you'll be willing to return to town for medical treatment.
SFX: KATHY UNLOCKS AND OPENS DOOR.
KATHY
There! I told you. (PAUSE, THEN BLOOD CURDLING SCREAM).
SFX: SCREAM, CROSS FADE TO . . .
MUSIC: SUSPENSEFUL CLOSE
SFX: RAILROAD LOCOMOTIVE SOUNDS, ESPECIALLY STEAM WHISTLE, DUCK UNDER THE FOLLOWING.
TRAVELER
This is The Mysterious Traveler again. Did you enjoy our trip? What's that madame? You want a description of what Kathy saw when she opened that bedroom door?
Well, you might ask Kathy. The only trouble is the poor girl gets hysterical when you question her about the occupant of that bedroom. I suggest you write a letter to the Museum of Horrors for a full description. They consider "The Woman of the Mountain" as their star exhibit because when she . . . (PAUSE) Oh, you have to get off here, I'm sorry. I'm sure we'll meet again. I take the same train every week at this same time.
SFX: TRAIN WHISTLE, SUSTAIN, THEN FADES OUT. CROSS FADE TO
MUSIC: FOR TRANSITION
ANNOUNCER
You have just heard The Mysterious Traveler. You may now enjoy other exciting adventures of The Mysterious Traveler in the current issues of The Mysterious Traveler magazine. Our cast, Laos Tuto, Anne Shepherd, and Robert Sudlow, with Maurice Talpin in the title role. Bill Tarkin speaking, this program came to you from New York.
MUSIC: RIR THEME FOR BREAK
THE RIR BREAK
MUSIC: RIR THEME. ESTABLISH, THEN FADE OUT UNDER THE FOLLOWING.
HOST
This is Re-Imagined Radio. I'm John Barber, producer and host. With each episode we explore radio storytelling  using voice, sound effects, and music. Here are some examples . . .
SFX: RE-IMAGINED RADIO AUDIO TRAILER
HOST
More information and listening opportunities are available at our website--reimaginedradio DOT net
Re-Imagined Radio is also available as podcasts. Subscribe, listen, like, and review wherever you get your podcasts, or, from our website.
MUSIC: RIR THEME, RETURN. FADES OUT AT ENDING.
SFX: RUMBLY BIT. ESTABLISH, THEN DUCK UNDER THE FOLLOWING.
HOST CONCLUSION
HOST
You just heard "Behind the Locked Door," Episode #329 of The Mysterious Traveler, broadcast November 6, 1951. And that concludes our Mysterious Traveler double feature episode.
The Mysterious Traveler radio series was written and directed by Robert Arthur and David Kogan. Heard on the Mutual Broadcasting System, 1943 to 1953, it's important for its unique storytelling across an eclectic range of genres. Fantasy, science fiction, crime, stories of mystery and suspense, and horror.
SFX: RUMBLY BIT FADES OUT
HOST
Each episode is narrated by the one consistent character in the series, The Mysterious Traveler himself, voiced by Maurice Talpin.
SFX: THE MYSTERIOUS TRAVELER OPENING. TRAIN SFX AT BEGINNING AND END.
TRAVELER
This is The Mysterious Traveler, inviting you to join me on another journey into the strange and the terrifying. I hope you will enjoy the trip, that it will thrill you a little and chill you a little. So settle back, get a good grip on your nerves and be comfortable--if you can.
SFX: ENDS WITH TRAIN WHISTLE FADING OUT.
HOST
The unusual timbre of Talpin's voice, along with its urgency, both challenges us to listen, and introduces the story world.
There, stories unfold along their skillfully written narrative arcs, just as the train follows its carefully engineered tracks.
The sound effects are top notch. The train whistle . . .
SFX: TRAIN WHISTLE, SUSTAIN, THEN FADES OUT UNDER THE FOLLOWING
HOST
. . . the buzz and hum of thousands of insects . . .
SFX: INSECTS BUZZING. DUCK UNDER THE FOLLOWING . . .
They're the work of Jack Amrhein (AM rhine) and other sound artists who worked on the series.
SFX: FADE OUT
HOST
The music, original compositions for the organ by Gene Terazzo and others, is like another character, and heightens our immersive experience.
SFX: ORGAN SAMPLE TO PROVE THE POINT, DUCK UNDER THE FOLLOWING AND THEN FADE OUT
HOST
For lots more information and backstories about this episode and others, visit our website: reimagined radio DOT net.
HOST CREDITS/CLOSE
MUSIC: RIR THEME, DUCKS UNDER THE FOLLOWING.
HOST
This episode of Re-Imagined Radio was written by John Barber.
Sound Design, music composition, and post-production by Marc Rose.
Graphic design by Holly Slocum and Sydney Nguyen.
Social media by Ben Peterson.
Our announcer is Jack Armstrong.
We produce Re-Imagined Radio with support from community radio stations KXRW-FM (Vancouver, Washington) and KXRY-FM (Portland, Oregon). Your contributions to either are tax deductible, and much appreciated.
We archive episodes of Re-Imagined Radio as podcasts at our website, reimaginedradio DOT net. You can listen or subscribe there. Podcasts are also available at the major distribution platforms.
This is John Barber, producer and host. Thank you for listening.
MUSIC: RIR THEME UP, THEN DUCK UNDER THE FOLLOWING
ANNOUNCER CLOSE
ANNOUNCER
This is a production of Re-Imagined Radio. Our radio broadcasts are heard on local, regional, and international community radio stations.
For on demand streaming, point your browsers to our website, reimaginedradio (that's all one word, no punctuation) DOT net. 
Thank you so much for listening, and please join us again for another episode of Re-Imagined Radio where we will continue our exploration of radio storytelling.
MUSIC: RIR THEME UP, AND TO END.