VOICE:

Tired of the everyday routine?
Ever dream of a life of romantic adventure?
Want to get away from it all?

ANNOUNCER:

We offer you -- ESCAPE!

MUSIC:

ACCENT ... THEN IN BG

ANNOUNCER:

ESCAPE, transcribed to free you from the four walls of today for a half hour of high adventure.

MUSIC:

ACCENT ... THEN IN BG

VOICE:

You are standing outside a room, horror gripping you, while before your eyes, seen through the transom window, the most beautiful girl in the world is about to die -- because of you.

MUSIC:

ACCENT ... THEN IN BG

ANNOUNCER:

Today we escape from reality with a fascinating story of a girl who lived a weird second life -- as John Jessel told it in his gripping story, "The Adaptive Ultimate."

MUSIC:

INTRO ... AND OUT SHARPLY

BACH:

No, Daniel, I can't do it. You have a very interesting theory--

DANIEL:

(INTERRUPTS) It's more than a theory, Dr. Bach. I've proved it! It works! I tried my serum on tubercular guinea pigs and it cured them. They adapted themselves to the tubercular bacillus and lived.

BACH:

(SKEPTICAL) Hm.

DANIEL:

I tried my serum on a dog with rabies; he adapted himself, too. I tried it on a cat with a broken spine; the cat instantly adapted itself to its injury so that the spine had time to knit and heal. Don't you see what a tremendous discovery this is?

BACH:

Yes, perhaps.

DANIEL:

But think what that would mean in accident cases. There'd be no further need for emergency surgery. Don't you see that?

BACH:

(NONCOMMITTAL) Huh.

DANIEL:

No matter what the condition, the injury to the body -- a mere injection of my serum would permit the patient instantly to adapt himself to his condition -- and live.

BACH:

(DOUBTFUL) No matter what his injury.

DANIEL:

Exactly.

BACH:

A serum made from insects.

DANIEL:

From a common fruit fly, the most adaptable of living organisms. Tear off a wing and it grows a new one. Tear off its head even, stick on a new head, and that, too, will adhere in time. Think of imparting that same adaptability to human beings.

BACH:

(CHUCKLES, DRY) To grow new heads? It has merit.

DANIEL:

Oh, now, please, Dr. Bach.

BACH:

All right, all right. No, seriously. I know this may be a great thing. But to permit you to experiment on a human being--

DANIEL:

(INTERRUPTS) The most hopeless case you can find, Dr. Bach. Someone already doomed.

BACH:

(THOUGHTFUL) Well, if someday I discover in the hospital a hopeless case-- Understand, it will be hopeless--

DANIEL:

I understand.

BACH:

--and if the patient shall consent, then you will have your human guinea pig.

MUSIC:

BRIDGE

BACH:

Well, Dr. Scott, you requisitioned for yourself a hopeless case. Permit me.

KYRA:

(MURMURS WEAKLY IN HER SLEEP ... THEN IN BG)

BACH:

Here is your guinea pig.

DANIEL:

What is it, Dr. Bach? TB?

BACH:

Yeah, final stage. A matter of hours at most. Hm, she might have been attractive once, but now -- hair like string, skinny like a skeleton, and flesh like wax.

DANIEL:

Dr. Bach, you call this a fair test? I said hopeless, but I didn't say a corpse.

KYRA:

(MURMURS AND BREATHES AS SHE SLOWLY WAKES ... IN BG)

BACH:

The lady is returning to life, such as it is. Well, Dr. Scott, I regret I have not a more palatable subject for your experiment, but this is what I promised -- a hopeless case.

DANIEL:

It's all right; I'll try it. Oh, what's her name?

BACH:

Let me see. It's on the chart here. (READS) "Zelas."

DANIEL:

What was that?

BACH:

Her name is Kyra Zelas.

DANIEL:

Oh.

BACH:

(TO KYRA) Young lady?

KYRA:

Hm?

BACH:

Permit me. I am Dr. Herman Bach, chief of the staff, and I would like to introduce one of our promising young doctors.

KYRA:

(WEAK, SULLEN) He wants a - a date, I suppose.

DANIEL:

Miss Zelas--?

KYRA:

Hello, Brown Eyes.

DANIEL:

What?

KYRA:

Your eyes are - brown, aren't they?

DANIEL:

Miss Zelas, you see, I've perfected a serum--

KYRA:

I like brown eyes.

DANIEL:

This, um-- This serum might help you, but it has never been tried on a human being before. Well, I thought if you have no objection--

KYRA:

What are the odds?

DANIEL:

Odds? Well, actually, you've everything to gain--

KYRA:

(BITTER) And nothing to lose.

DANIEL:

Well--

KYRA:

How right you are. (BEAT) Okay. I'm - I'm all yours, Brown Eyes. Go ahead, experiment away.

DANIEL:

Dr. Bach, prepare her arm.

MUSIC:

BRIDGE ... THEN IN BG FOR MEDICAL LOG MONTAGE--

BACH:

(DICTATES) Twenty-four hours and she is yet alive. I would have said yesterday it would be impossible she should survive the night.

MUSIC:

BRIEF TRANSITION ... THEN IN BG

BACH:

(DICTATES) So it is now forty-eight hours and she actually seems better. But miracles such as this have happened before, and without serums.

MUSIC:

BRIEF TRANSITION ... THEN IN BG

BACH:

(DICTATES) A week and she still lives. Each day she becomes better. It is miraculous: the spots on her lungs are disappearing; her coughing has stopped; there is no sign of bacillus in the culture. But even more amazing: her reaction to abrasion, skin punctures. Yesterday I took a blood specimen. Before I had one cc, the puncture in her skin had closed. Yes, in thirty seconds. The ordinary person, it takes a day, two days for it to heal. With Miss Kyra Zelas, thirty seconds. It is amazing.

MUSIC:

FOR A CONCLUSION ... AND OUT

BACH:

Dan, I will not dispute it. Your serum has worked a miracle. She is cured. And now I must discharge her from the hospital.

DANIEL:

But-- Well, Dr. Bach, I--

BACH:

You had forgotten that time must come sometime, hm? But, you see, I must. She is cured and we need the room.

DANIEL:

(FLUSTERED) Well, yes. Yes, I know, but-- Well-- Well, she should be under observation. We don't know what effects will show up--

BACH:

I think, Daniel, you have an extraordinary interest in Miss Zelas. So I have asked her to come here; she is outside. Shall we invite her in?

DANIEL:

Why, yes, of course.

SOUND:

CLICK! OF INTERCOM SWITCH

BACH:

Send in Miss Zelas, please.

SOUND:

CLICK! OF INTERCOM SWITCH

BACH:

Now, observe well your miracle.

SOUND:

OFFICE DOOR OPENS ... KYRA'S STEPS IN ... DOOR CLOSES BEHIND--

BACH:

Ah, Miss Zelas. Come in, come in, sit down.

KYRA:

(HEALTHY NOW, BUT STILL HARD, SULLEN, AND DRY) Thanks. (SEES DANIEL) Oh. Hello, Brown Eyes.

DANIEL:

Hello, Kyra.

BACH:

I have sent for you, Miss Zelas, because I have good news. Today I am discharging you from the hospital.

KYRA:

Oh?

BACH:

Yah. Today you are free to go. That pleases you?

KYRA:

Madly.

DANIEL:

Kyra, you have people perhaps? A family?

KYRA:

Aren't we all brothers and sisters -- under the skin?

BACH:

Miss Zelas, I will come to the point. I wish to make you a proposition. I mean purely a scientific proposition.

KYRA:

Yes, I know. An experiment.

BACH:

Precisely. We are interested, Dr. Scott and I, to observe the further effects of the serum he gave you.

KYRA:

Yes?

BACH:

I will pay you board and room, and thirty dollars a week. You will live at my house. I have a housekeeper, Mrs. Getz; she will look after you. Is that satisfactory?

KYRA:

Wouldn't I be a fool to say no?

BACH:

Excellent, excellent.

KYRA:

Does, uh, Brown Eyes live there, too?

BACH:

No, but Dr. Scott will continue to have a clinical interest in the experiment, Miss Zelas, have no fear.

KYRA:

Good.

BACH:

Yes. Well, it is now almost time for dinner. I will take you, Miss Zelas. You will join us, Dr. Scott?

DANIEL:

Why, yes, fine, Dr. Bach.

BACH:

Very well. We shall meet outside in -- what? -- ten minutes?

DANIEL:

That'll do me nicely.

BACH:

Miss Zelas, you wish to wait here or maybe outside? A little fresh air--?

KYRA:

I think I could use a little air.

BACH:

Good. There's a little park across the street. You will find benches there, to rest. We will meet at the front entrance in ten minutes.

MUSIC:

BRIDGE

SOUND:

EXCITED MURMURING CROWD, SLIGHTLY OFF ... POLICE SIREN APPROACHES

DANIEL:

Dr. Bach? Dr. Bach, what is it? What's the matter?

BACH:

Some sort of commotion across the street in the park. Where is Kyra?

DANIEL:

Well, I - I thought she'd be here with you.

BACH:

Perhaps she is still over there in the park.

DANIEL:

(PUZZLED) What do you suppose--? (URGENT) Come on!

SOUND:

THEIR RUNNING STEPS TO PARK ... CHATTERING CROWD GROWS LOUDER AS THEY PUSH THROUGH IT

DANIEL:

Dr. Bach, it is Kyra! (CALLS) Kyra! (PUSHES THROUGH CROWD) Let me through, please! (CALLS) Kyra! (TO CROWD) Let us through, please!

SOUND:

THEIR STEPS OUT ... CROWD CONTINUES IN BG

DANIEL:

Officer, what's happened? What is this? Why are you holding this lady?

OFFICER:

Do you know this woman?

DANIEL:

Yes, of course. What is it? What's the matter here?

OFFICER:

Plenty. Your lady friend here merely walks up to an old gent about sixty or so, picks up a nice hefty rock, and beats his brains out.

DANIEL:

Officer, there must be some awful mistake.

OFFICER:

Yeah, her mistake. Cold-blooded murder.

SOUND:

ANOTHER POLICE SIREN APPROACHES

OFFICER:

Come on, sister -- there's the wagon.

DANIEL:

But, officer--!

OFFICER:

Ah, you'd better come along, too, mister. Mona Lisa here don't seem to be much in the mood for talking. We'll need someone to tell the desk sergeant her name.

MUSIC:

GRIM BRIDGE

DANIEL:

(DISTRAUGHT) Kyra, this is terrible seeing you here like this. I - I've got to get you out of here, I've got to help you.

KYRA:

(QUIETLY MERRY AND CONFIDENT) Oh, jail's not so bad -- when you're here.

DANIEL:

Well, listen - listen, this is all a terrible mistake. If you'll tell me what--

KYRA:

(INTERRUPTS) Mistake?

DANIEL:

Why - why, yes, of course. You-- (REALIZES, UNEASY) Kyra, you - you didn't kill that man?

KYRA:

If I said yes, what would you do?

DANIEL:

Why - why, I - I'd tell them you weren't responsible. I'd tell them about the serum. I'd tell them it was my fault. That - that somehow the serum I gave you caused your mind to snap. Something-- That-- That would be the only explanation.

KYRA:

(AMUSED) You'd do this? -- ruin your career, no doubt -- just to save me?

DANIEL:

Well, yes, of course I would.

KYRA:

And what would they do to me?

DANIEL:

I - I don't know exactly. Put you away under observation. Something. Kyra--

KYRA:

(FIRM) Then my answer's no, I did not kill the man. (CASUAL) Oh, don't worry, I won't be convicted. I'll take care of myself very well. I'll -- as you say -- adapt myself to the situation.

MUSIC:

BRIDGE

SOUND:

MEMBERS OF COURTROOM CROWD COUGH AND STIR QUIETLY, IN BG

PROSECUTOR:

All right now, Mr. Salvatore, continue. Tell the court in your own words precisely what happened.

SALVATORE:

This old man, you see, he's-a buy circus peanuts from me every day. For months, every day. And this one day he pull out his-a pocketbook -- his-a billfold -- and I'm-a look, it's-a stuffed with-a bills. Big money. He say, "Salvatore, canna make a change for twenty dollars?" And I'm-a laugh. I'm-a say, "Mister, I'm a peanut man. You take-a the peanuts, you pay me tomorrow." He said, "Thank you very much," he turn around, and then here is this dame and she pick up a - oh, it's a great big stone - and-a conks him! It's-a murder!

SOUND:

COURTROOM CROWD MURMURS BRIEFLY

ATTORNEY:

I object, your honor!

JUDGE:

Objection sustained.

PROSECUTOR:

Continue, Mr. Salvatore.

SALVATORE:

Oh, should - should not be more to say. This-a dame, she bend over and she reach in his-a pocket to take-a the money. I'm-a grab her, people a-come, police a-come--

PROSECUTOR:

Mr. Salvatore, can you describe this young lady to us?

SALVATORE:

Oh, si. I remember her very well. She's-a-- She's-a skinny. She's ain't no beauty, you know. Got the black suit, the brown hair. Eyes? Er, don't know. Dark, you know. Maybe brown or blue--

PROSECUTOR:

Thank you, Mr. Salvatore. (TO ATTORNEY) Your witness.

SOUND:

COURTROOM CROWD MURMURS BRIEFLY

ATTORNEY:

Mr. Salvatore--

SALVATORE:

Si?

ATTORNEY:

--you say that the young lady -- the assailant -- had brown hair and dark eyes?

SALVATORE:

Si. Brown-a hair, dark-a blue eyes.

ATTORNEY:

And do you see the young lady in the courtroom?

SALVATORE:

Oh, si. She's-a sit-a right-- (TAKEN ABACK) Oh.

SOUND:

COURTROOM CROWD MURMURS BRIEFLY BEHIND--

ATTORNEY:

What's the matter, Mr. Salvatore? Are you pointing at Miss Zelas?

SALVATORE:

(WEAK, PUZZLED) Si.

ATTORNEY:

May I ask the defendant to rise, please? (BEAT) Miss Zelas, will you kindly remove your hat, please?

SOUND:

COURTROOM CROWD MURMURS BRIEFLY BEHIND--

SALVATORE:

(QUIETLY, TO HIMSELF) Mama Mia.

DANIEL:

Dr. Bach, look! Her hair. It's - it's become the color of aluminum.

ATTORNEY:

Your Honor, I submit that this defendant does not possess dark hair. Nor, if you will observe, dark eyes. I am prepared therefore to submit a lock of her hair to be tested by any chemist the court may appoint to prove that the pigmentation is entirely natural.

SOUND:

COURTROOM CROWD MURMURS BRIEFLY

ATTORNEY:

Now, Mr. Salvatore, do you still say that this is the young lady you saw in the park?

SALVATORE:

(UNCERTAIN) I'm-a think-a she's-a--

ATTORNEY:

Is she?!

SALVATORE:

(TO HIMSELF) Mama Mia. (UP, CERTAIN) No!

MUSIC:

BRIDGE

DANIEL:

Good lord, Dr. Bach. That hair of hers. Did you see it? It was the color of aluminum. She was beautiful.

BACH:

Yah, yah -- beautiful. And so she's been acquitted. They call her innocent. Daniel, I am a convert to your great principle of adaptability. But where will it end? You start with an ideal -- and you wake up to discover you have created a monster.

DANIEL:

But she was acquitted! It was all a mistake!

BACH:

Do you really believe that?

SOUND:

KNOCKING AT INNER DOOR, WHICH OPENS ... MRS. GETZ'S STEPS IN

GETZ:

(EXCITED) Dr. Bach!

BACH:

Yes, Mrs. Getz?

GETZ:

She is here, doctor.

BACH:

She?

GETZ:

That woman. In the newspaper.

BACH:

Ah.

DANIEL:

Kyra is here?

GETZ:

You said she was so poor; such a church mouse. Ah, you should see her.

DANIEL:

What do you mean, Mrs. Getz?

GETZ:

(INHALES) So fine, so great a lady.

DANIEL:

I'll, er-- I'll go and talk to her, Dr. Bach.

SOUND:

DANIEL'S STEPS THROUGH INNER DOOR, WHICH CLOSES, TO KYRA

KYRA:

(SEXIER THAN EVER) Hello, Brown Eyes.

DANIEL:

(UNEASY) Hello, Kyra.

KYRA:

Aren't you glad to see me?

DANIEL:

Oh, yes. Yes, of course. (BEAT) Well, congratulations on your acquittal today. We were there.

KYRA:

I know. I sensed it. I was hurt that you didn't come up and congratulate me.

DANIEL:

Well, there were photographers and-- (SURPRISED) Why-- Why, Kyra, your hair. It's black again.

KYRA:

Isn't it always? Don't you like it?

DANIEL:

Oh, yes. Yes, of course. It - it's beautiful.

KYRA:

(SEDUCTIVE) Am - I beautiful, Brown Eyes?

DANIEL:

(BEAT, QUIETLY) Very, very beautiful.

KYRA:

And are you happy to have me back?

DANIEL:

(BEAT, WHISPERS) Oh, yes.

KYRA:

(THEY KISS) Mmmm. I always did like brown eyes.

DANIEL:

Kyra--

KYRA:

Tell me, how do you like my new clothes? My gown--?

DANIEL:

Why, it's very nice.

KYRA:

Nice? It's exquisite. I have a whole new wardrobe: hat, shoes, suits--

DANIEL:

But how, Kyra? Where did you get the money?

KYRA:

Money?

DANIEL:

You only had three dollars when you left the hospital.

KYRA:

Oh? (CHUCKLE) So I did.

DANIEL:

(REALIZES) Kyra--? Kyra, you did take that wallet from the old man.

KYRA:

Why, naturally.

DANIEL:

You - you - you did murder him.

KYRA:

Certainly. (BEAT) Oh, come -- don't look so shocked. (SLIGHT YAWN) Oh. I'm tired, Brown Eyes. You'll excuse me if I appropriate Dr. Bach's room. Good night.

MUSIC:

BRIDGE

DANIEL:

Dr. Bach, we've got to do something.

BACH:

Yes, Daniel, we do.

DANIEL:

I haven't slept a wink all night trying to think of what we can do.

BACH:

I've been here in the laboratory all night. I think I know.

DANIEL:

What?

BACH:

This serum of yours. It has accomplished a miracle. Yah, it is the "adaptive ultimate." Changes that take the ordinary person days or months, she accomplishes instantly. She walks into the sunlight, she is tan; she walks out, she is pale again. When she is in danger, she adapts. She could survive the electric chair, the hangman's noose. She was in danger in the courtroom: she adapted, she changed her whole appearance - at will, so she could not be identified.

DANIEL:

Yes, I know, I know.

BACH:

You must not blame yourself. You could not know what you were creating. Now -- this morning, I operated on one of your guinea pigs. I found this: the pineal gland hypertrophied. That is what causes it.

DANIEL:

Well, then - then we could operate and - and maybe change her back.

BACH:

Yah, but she can adapt to anything, anesthesia included. How can we operate unless we get her consent?

DANIEL:

Well, perhaps--

BACH:

No, you are dreaming, Daniel. Do you really think she will consent now? Now that she has power? Perhaps more power than any human being ever possessed before. Power for evil. And she has already killed one man, remember.

DANIEL:

But if we watched her, doctor, kept her under guard--

BACH:

Again Pygmalion falls in love with his Galatea. No, Daniel, no. She must be destroyed. We must perform surgery at once.

DANIEL:

Well, she'll die.

BACH:

She will go back to what she was -- with but a few hours to live. It is best, Daniel.

DANIEL:

Yes, I suppose so.

SOUND:

PHONE RINGS ... BACH'S STEPS TO PHONE ... RECEIVER UP

BACH:

Yes? -- Yes, Mrs. Getz? -- Hm? -- (EXHALES UNHAPPILY) Danke.

SOUND:

RECEIVER DOWN ... BACH'S STEPS TO DANIEL

DANIEL:

What is it, Dr. Bach?

BACH:

And so perhaps she is also telepathic. She sensed what we were about to do -- and now it is too late.

DANIEL:

What do you mean?

BACH:

Miss Zelas is gone! Disappeared!

MUSIC:

BRIDGE

SOUND:

OFFICE DOOR OPENS ... DANIEL'S STEPS IN

DANIEL:

Dr. Bach, did you call for me?

BACH:

Well, Daniel, have you seen the evening paper yet?

DANIEL:

No, not yet.

BACH:

Then here. After two months there is news of our Miss Kyra Zelas.

DANIEL:

What? Let me see that?

SOUND:

RUSTLE OF NEWSPAPER

DANIEL:

Where--? Oh. (READS) "The surprise of the evening was the appearance of John Callan, ambassador-at-large, diplomat extraordinary, the man slated to head the forthcoming World Atomic Energy Control commission. Mr. Callan, one of Washington's confirmed bachelors, squired the - the gorgeous Kyra Zelas--"

BACH:

You see? She has become gorgeous, our drab little urchin.

DANIEL:

(READS) "Miss Zelas, the dazzling beauty who effects a dark wig by day and a white one at night--"

BACH:

A great power of adaptability, courtesy of Dr. Daniel Scott: dark by day, white by night.

DANIEL:

Well, what are we going to do doctor?

BACH:

Do?

DANIEL:

The World Atomic Energy Control, the one real hope of world peace-- Kyra isn't interested in peace!

BACH:

What can we do? Surgery I know, but politics? We must wait and see. We must wait and see how far your madwoman will go.

MUSIC:

ACCENT ... THEN IN BG

1ST COMMENTATOR:

Washington is agog with rumors about the romance between glamorous Kyra Zelas and John Callan, the newly appointed head of the World Atomic Energy Control, one of the most powerful political figures on the globe.

MUSIC:

ACCENT ... THEN IN BG

2ND COMMENTATOR:

John Callan leaves tomorrow for the crucial atomic energy conferences at Geneva, Switzerland. And sailing on the same boat is the exotic Miss Kyra Zelas with whom his name has been frequently linked. Rumor has it Miss Zelas acts as a sort of unofficial assistant to Mr. Callan, thus making her one of the most important women in the world.

MUSIC:

UP FOR A CONCLUSION ... AND OUT

BACH:

"Glamorous," "exotic" -- of such fragile stuff is world peace fashioned these days, Daniel.

DANIEL:

I wonder what she intends to--

SOUND:

DOORBELL RINGS

BACH:

Somebody calling at dinner time?

DANIEL:

Oh, sit still, Dr. Bach. I'll see who it is.

SOUND:

DANIEL'S STEPS TO FRONT DOOR, WHICH OPENS

DANIEL:

Yes? Er-- (STARTLED) Kyra!

KYRA:

Hello, Brown Eyes. May I come in?

DANIEL:

Why, yes, of course.

SOUND:

KYRA'S STEPS IN ... DOOR CLOSES

BACH:

Oh ho! Our exotic guinea pig, hmm?

KYRA:

(AMUSED) Good evening, Dr. Bach. I'm not intruding?

BACH:

Of course not.

KYRA:

You're very kind. John and I-- You've read about Mr. Callan?

BACH:

Oh, yes, yes.

KYRA:

We're leaving for Europe tomorrow for the conferences in Switzerland.

BACH:

Yes.

KYRA:

He had a series of meetings to attend tonight, so I told him I would stay here.

BACH:

You're staying here?

KYRA:

I took the liberty of saying you were my uncle, Dr. Bach.

BACH:

Oh.

KYRA:

John will call for me in the morning on his way to the airport. We're leaving at eight. I do hope I'm not too late for dinner.

BACH:

Not at all. In fact, we're very happy to have you here -- aren't we, Dr. Scott?

MUSIC:

BRIDGE

SOUND:

NOCTURNAL BACKGROUND (CRICKETS CHIRP, ET CETERA)

DANIEL:

Kyra--?

KYRA:

Hello, Brown Eyes.

DANIEL:

What are you doing out here in the garden?

KYRA:

Waiting for you.

DANIEL:

You knew I'd follow you?

KYRA:

Of course. Have you missed me?

DANIEL:

You know I have. Oh, Kyra, listen to me. Do you love this John Callan?

KYRA:

When I want love, I'll come to you, Brown Eyes.

DANIEL:

Well, then why--? What is it? Money?

KYRA:

Money? I don't need money any more. What does an empress need with money?

DANIEL:

Empress?

KYRA:

That's what you've made me -- the most powerful woman the world's ever known. (CHUCKLE) John Callan, he's supposed to be important, but in my hands he's clay -- to be molded as I wish. Do you see what that means?

DANIEL:

Yes, I see. You hold the fate of the world in your hands.

KYRA:

Exactly -- to do with as I want. And I shall. (MERRILY) Would you like to rule the world with me, Brown Eyes?

DANIEL:

Kyra, you're evil.

KYRA:

What is good? What's evil? (SEDUCTIVELY) Come here, Brown Eyes. Look at me. And forget such things.

MUSIC:

BRIDGE

DANIEL:

Are you asleep, Dr. Bach?

BACH:

Sleep? Who can sleep?

DANIEL:

Kyra's insane, doctor. Do you know what she's planning to do?

BACH:

I heard.

DANIEL:

Oh. Maybe - maybe we could get to this Callan.

BACH:

And then what?

DANIEL:

Well, if we could talk to him, tell him--

BACH:

Tell him? Tell him what? Didn't I talk to you? Would you listen?

DANIEL:

(EXHALES HELPLESSLY)

BACH:

Where is she?

DANIEL:

Oh, she's gone to sleep.

BACH:

I tell you, there's only one remedy: surgery. It is the only hope, Daniel.

DANIEL:

But she'll never consent to surgery, Dr. Bach, and she's probably immune to anesthesia.

BACH:

(THOUGHTFUL) Maybe not. Maybe not all anesthesia.

DANIEL:

What?

BACH:

Downstairs in my laboratory I have a tank of ethyl chloride.

DANIEL:

Do you mean -- operate here? Tonight?

BACH:

Yah. Tonight -- right here -- while she sleeps.

MUSIC:

BRIDGE

BACH:

(LOW) All right, Dan. Now, stop staring down at her. Pour the anesthesia onto the cone -- hurry.

SOUND:

ANESTHESIA POURED

DANIEL:

(EXHALES, LOW) That ought to be enough to anesthetize an elephant.

BACH:

(LOW) On to the face, quickly.

DANIEL:

(WITH EFFORT) All right.

SOUND:

CONE CLAMPED ON FACE ... DANIEL AND KYRA STRUGGLE, IN BG

KYRA:

(MOANS AND STRUGGLES IN BG)

BACH:

Dan, tightly -- hold it close.

DANIEL:

(WITH STRAIN) I'm trying. I'm trying! She's forcing my hands! I - I can't hold her! She's too strong! I--

SOUND:

DANIEL'S STEPS AS HE IS FORCED BACKWARDS ... STRUGGLE STOPS

KYRA:

Fools! Did you think you could make me unconscious? (REALIZES) You - you were going to operate on me? (AMUSED) Is that what you were planning? (GRIM) Or were you going to slit my throat with that scalpel? Look!

DANIEL:

Kyra, don't!

KYRA:

There! Do you see? I plunge your knife into my heart. (BEAT, HUSHED) I withdraw it. (BEAT) And the wound is healed. (BEAT, SIMPLY) Now -- go away, both of you. I want to sleep. John will be calling for me at eight.

MUSIC:

BRIDGE

SOUND:

HALL CLOCK CHIMES

BACH:

(MISERABLE) Half past five in the morning. Two and a half hours more and she will leave. And the world will be one step nearer chaos. We are scientists, Dan. We have a responsibility to civilization. We must find a way to destroy this creature--

DANIEL:

(SUDDENLY, AN INSPIRATION) Carbon dioxide.

BACH:

(BEAT, UNDERSTANDS) Carbon dioxide, of course!

DANIEL:

It's a fundamental biological law: no human can survive in its own waste product. Carbon dioxide is human waste.

BACH:

(EXHALES SHARPLY)

DANIEL:

Dr. Bach, if we could fill the room where she's sleeping with carbon dioxide, she'd become unconscious. You could operate and--

SOUND:

DURING ABOVE, BACH'S HURRIED STEPS TO PHONE ... RECEIVER UP ... PHONE DIALED, IN BG

DANIEL:

Who are you calling?

BACH:

The hospital. I will have them send over two tanks of carbon dioxide.

DANIEL:

You think it should work, then?

BACH:

We must try anything. (INTO PHONE) Hello, this is Dr. Bach. Let me talk to surgery. Hurry, it is an emergency.

MUSIC:

BRIDGE

BACH:

The tube is ready. You sealed the crack under the door?

DANIEL:

Yes.

BACH:

You closed the window?

DANIEL:

Yes.

BACH:

All right, let us start the gas.

SOUND:

KNOB TURNED ... QUIET HISS OF GAS FROM TANK ... CONTINUES IN BG UNTIL END OF SCENE

BACH:

Dan--? Through the transom above the bedroom door you will be able to observe her reactions.

SOUND:

DURING FOLLOWING, DANIEL MOVES CHAIR AND CLIMBS IT WITH EFFORT TO PEER THROUGH TRANSOM WINDOW--

BACH:

You placed the lighted candle inside the room?

DANIEL:

Yes, doctor. I left the candle on the table.

BACH:

Observe it carefully.

DANIEL:

All right.

BACH:

When it goes out, your Miss Kyra Zelas should be unconscious. (PAUSE) Dan, can you see inside the room from up there?

DANIEL:

Yes, doctor. Candle is flickering, doctor. Wait. No, it's still flickering. It - it's just gone out, doctor.

BACH:

Excellent. It means there is now a concentration of eight or ten percent carbon dioxide. The average person would long since be dead.

DANIEL:

(TENSE) Doctor--?

BACH:

Yah, Dan? What?

DANIEL:

Just a minute.

BACH:

Yes, yes?

DANIEL:

She's breathing much more quickly now. Convulsively.

BACH:

Uh huh, Cheyne-Stokes breathing.

DANIEL:

She-- She's opening her eyes now.

BACH:

(QUIETLY ALARMED) What?

DANIEL:

She's-- She's getting up.

BACH:

Getting up?

DANIEL:

She's - staggering. Holding her throat, doctor. She's gasping, she's--

BACH:

Yes?

DANIEL:

Moving toward the door.

SOUND:

RATTLE! OF LOCKED DOOR

DANIEL:

She's trying to unlock--

BACH:

(YES, YES) So. So.

SOUND:

DOOR STOPS RATTLING

DANIEL:

She's seen me. She - she's trying to--

BACH:

(BEAT) Well? Well?

DANIEL:

Trying--

BACH:

What is it?

DANIEL:

(BEAT, RELIEVED) She's collapsed. It's over.

MUSIC:

BRIDGE

SOUND:

KNOCKING AT FRONT DOOR ... BACH'S STEPS TO DOOR, WHICH OPENS

BACH:

Yes?

CALLAN:

How do you do, Dr. Bach? I'm John Callan.

BACH:

John Callan? Why, yes. Yes, of course. Come in.

SOUND:

STEPS IN AND DOOR CLOSES BEHIND--

CALLAN:

I haven't taken you away from anything?

BACH:

Oh, no. No. We were performing some surgery, my associate and I. I - I have a miniature surgery here for emergencies, and we have just finished.

CALLAN:

Is that the patient on the table?

BACH:

Yah, yes.

CALLAN:

Is she--?

BACH:

Yes. She is dead.

CALLAN:

Too bad. (BEAT) Seedy-looking creature, wasn't she?

BACH:

She was - a charity case.

CALLAN:

Well, I - I won't keep you. Is, uh, Kyra here?

BACH:

(FORCED LIGHTNESS) No. She - she changed her plans. She said there were some things she wished to do and she would meet you at the airport.

CALLAN:

(AMUSED) Well, that's a woman's prerogative, isn't it, changing plans?

BACH:

(CHUCKLES) Yes.

CALLAN:

I'd better get a move on then. Nice to see you, doctor. I - I hope we'll meet again when I return from Europe.

BACH:

Yes, that will be nice, Mr. Callan. And good luck on your mission.

CALLAN:

Thank you, sir. Goodbye.

BACH:

Yah, goodbye.

SOUND:

DURING ABOVE, CALLAN'S STEPS TO FRONT DOOR, WHICH OPENS AND SHUTS AS HE EXITS

BACH:

Well, Daniel, maybe we will get some sleep now, hm? (NO ANSWER) Dan?

DANIEL:

Huh? Oh, I'm - I'm sorry, doctor. I - I was daydreaming.

MUSIC:

SNEAKS IN ... TENDER, IN BG

DANIEL:

(PAUSE) She's lovely, isn't she?

BACH:

Lovely? (BEAT) Yah, Dan, lovely. May she always be -- in your memory.

MUSIC:

UP FOR CURTAIN ... AND OUT

ANNOUNCER:

ESCAPE is produced and directed by Norman Macdonnell.

MUSIC:

CLOSING THEME ... THEN IN BG

ANNOUNCER:

Today we have presented, transcribed, "The Adaptive Ultimate" by John Jessel, adapted for radio by Chet Spurgeon and Herb Futran with editorial supervision by John Dunkel, starring Edgar Barrier as Dr. Bach and Stacy Harris as Dan Scott. Featured in the cast were Elsie Holmes, Frank Gerstel, Larry Dobkin, Tom Charlesworth and Anne Morrison. Special music was arranged and played by Ivan Ditmars.

MUSIC:

ACCENT ... THEN IN BG

ANNOUNCER:

Next week--!

VOICE:

You are trapped in a dark empty house, a girl lying dead at your feet, and surrounding you, closing in on you, are the band of killers, deadly enemies of your country and yourself -- and they are intent on murdering you.

MUSIC:

ACCENT ... THEN IN BG

ANNOUNCER:

Next week, we escape with the famous story, "Confidential Agent" by Graham Greene. Be sure to tune in at this same time next week when once again we offer you - ESCAPE!

MUSIC:

CLOSING THEME ... THEN IN BG, UNTIL END--

ANNOUNCER:

This is Roy Rowan speaking for CBS, the Columbia Broadcasting System.