Jan. 19, 2025
Unknown Broadcast | "Mirage"
The episode, titled "Mirage," immerses listeners in a chilling tale narrated by Arch Oboler, emblematic of the show's series of unusual and unsettling narratives. The ambience is set with personal reflections on the reality of good fortune and the facade that can accompany it, leading the audience into a world where deception lurks beneath the surface of daily life.
As the story unfolds, we are introduced to the central characters, Carl and Linda, who are attending a social gathering at a coastal estate. The dialogue highlights the tension between Carl’s work-centric lifestyle and Linda's desire for deeper social connections. Their conversation meanders through various topics, blending mundane discussions about parties, societal expectations, and the changing seasons while juxtaposing a profound sense of unease as they take a walk on the beach. The calm ocean serves as a deceptive backdrop, contrasting with the inner turmoil of the characters as they confront their personal limitations and fears.
The narrative takes a turn when they encounter an old man sitting alone on the beach, writing names in the sand. The old man's actions provoke curiosity and fear in Carl and Linda. As the moonlight flickers in and out, the man writes names—including theirs—drawing them into a surreal and eerie experience. The tension escalates as Carl experiences dizziness and Linda feels a deep connection to the old man’s mysterious activity. Their reality bends as the man’s cryptic writings allude to their identities and maybe even their fates.
As the old man’s presence becomes more significant, Carl and Linda grapple with their own mortality and the weight of their choices. Linda's health fluctuates as they confront the possibility of their lives being tethered to the enigmatic names being inscribed in the sand. The surrealism intensifies when Carl and Linda come to believe that the old man's writing could predict their futures—sparking a dual exploration of existential dread and the search for meaning in their lives.
In a moment of hysteria and clarity, they contemplate their lives and the ephemerality of time. The narrative explores deeper philosophical themes around living fully and embracing the present, juxtaposing that against the weight of societal expectations and personal ambitions. As they begin to feel the burden of impending outcomes, Linda discovers a sense of liberation in knowing her potential timeline, illuminating a path to self-discovery and personal desires that had long been overshadowed by duties and conventions.
The conclusion of the story leaves listeners with a profound reflection on the nature of life, love, and the longing for freedom amidst constraints. Carl realizes that the mirage isn't just about the fleeting happiness of life but also about the false permanence of grief and dread many people believe in. The closing rates a poignant reminder to cherish the present and live life to its fullest, moving beyond the fears that often confine individuals to their own cages.
Through "Mirage," the episode artfully intertwines rich character development, poignant dialogue, and philosophical musings, crafting a hauntingly beautiful narrative that resonates long after the show concludes. The storytelling technique emphasizes the unique qualities of radio drama, drawing listeners into a visceral experience that reflects not just on the characters’ lives but also prompts introspection on their own realities.
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👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
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WEBVTT
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Ah, yes, yes, another night, another terror tale you've joined
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me for. I'm sure I'm happy that you decided to
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twiddle that radio knob until you found me. Please have
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a seat, have a seat. It's very very cold, Oh my, oh,
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why this has been a very cold winter already. Please
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have a seat. I of course have the chair ready
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and waiting for him meeting. I'll make a hot pot
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of tea eat. I think that sounds rather ex rax.
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Do you have a wonder if when things are good
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in life? Maybe maybe it's not reasonal, Maybe it's a facade,
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it's some kind of a ruise to fool you. I
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wonder that often, but I don't know it's true enough.
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But tonight's stories all about that kind of deception. It's
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called Mara. Now put up your phone too, and have
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something warm to drink.
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Arch Obler's lights out, everybody, It.
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Is later, then, you thing.
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This is arch Obler bringing you another in our series
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of stories of the unusual, And once again.
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We caution you.
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These lights out stories are definitely not for the timid soul.
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So we tell you calmly and very sincerely, if you
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fright me, easily turn off your radio.
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Now what you're going to hear now is pure radio
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now they play for a peticulars TV. It's radio about
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two people, one of whom may be you in miarage.
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I've been looking for you for you now luck Linda.
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In this party it's getting a little too much for me.
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It's a great night. How about little walk in the beach?
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All right, but.
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Quickly before someone changes my mind.
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It gets around now, I let them moon like me?
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Want that as good careful night.
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You know, I never could understand the hunters. They build
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this place here on the shore, and then when they
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give a party they see on the windows the medically
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to hear down this path. Yes, all that to breathe
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off the he is good, don't you think so?
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Thank you, Carl. I didn't come out here for the air.
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I'd been very anxious to talk to you day. That's
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flattering both of you when you hear why I want
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to talk to you, Carl.
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I've always liked you and are you like you?
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I've tried to understand you as you are, But must
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you be so antisocial?
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Antisocially?
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The Lenslas had a dinner party last night.
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Oh oh that the office. I couldn't take away.
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The carters were expecting you the night before last at
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the Linda.
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I'm a business, Car.
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You can't disappoint people continually and expect.
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Them to have any regard for my friends. Know I'm
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a busy man.
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You and I belong to a step that demands certain
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social obligations from us.
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I wonder if you know how pompous that sounds.
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Promison not is the truth? Oh Carl, you can't just
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ignore social obligations.
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I'm here, am I not ocean? Rather calm, isn't it?
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They were talking about you only last week at the
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Pages Pages.
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Hey, jab made a good thing out of international motors
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last week must have cleaned up a quarter of a million.
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Someone mentioned your name, and this other person laught and said,
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tell't about him unless you let him bring his stock chickens.
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Ida, man, I hear.
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The same about you wherever I go.
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Car.
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It isn't a man I know who spends as much
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time at work as you do.
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That's what I want. Why shouldn't I, Oh, Car, understand me.
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I appreciate the importance of the money, but after all,
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you could find time for your friends.
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When you last I just remembered I why I wanted
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to be alone with you. Well, I was going to
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lecture you. What lecture really I was? I was going
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to tell you that you've been burning the social candle
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at both ends, or words to that effect. Really you are,
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you know, bazaars and style shows and all that nonsense.
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But you took the offensive, so I forgot what I
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wanted to say, and that's remains.
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You're remembering a great number of things, don't you.
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Yep. One of the things was to tell you that
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you're looking very lovely tonight.
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The man's human.
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You're irritated with me, answered I am.
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Oh, Carl, you could be an utterly charming man if
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you'd forget your stocks and bombs and the benches and
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all the rest of that for a while and start enjoying.
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Linda, Now you've got me irritated just because my idea
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of living doesn't include a room full of jabbling idiots.
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No wait a minute, Linda, Oh Linda, let's call.
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It truth some this. After all, we're a couple of
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mature people.
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Let's act maturely and leave each other alone and enjoy
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the night, how about it.
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Oh you're hopeless, but.
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All right, good, we'll get off on safe subject to
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see the weather, the moon June, the number of days
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Christmas exactly.
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We'll start with the sea came.
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He walks the first cost.
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No, I forgot. The sand must be ruining your slippery,
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so we to check to heart.
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I'm quite all right, just don't walk too.
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Far right, fine place the hunters have here.
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They do have successful parties.
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Yeah, and they bought this place right for twenty nine.
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I understand they tried to unload it all through the depression,
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but couldn't get even enough to cover the land value.
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Did you hear about artists debut? Margaret naturally wanted to
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have it at the town. Margaret Town insisted on their
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country place.
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Well, that's understandable.
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Before time dropped enough and that amalgamated merger to make
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him ring in French all the way around. Amazing man
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of his experience, not knowing that you can't disturb the
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capital investment of an organization without jeopardize.
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Just a minute, mister Laughlin, if you're thinking of starting
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on capital investments again, i'd better remind you that this
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conversation is limited to remembosus June.
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Moon we have I'm always inconsiderate, Claud divers. Come what
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are you staring?
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It? Are you?
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I can't quite make up. Do you see anything down
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there near the water's dead?
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Well, yes, there is something there.
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It's so dad, call it it moved? I saw?
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Is it a dog?
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I'm not sure?
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Let's go curse it?
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No, Linda, wait, Linda, come back.
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Come, come quickly.
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What is it?
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Look it's it's someone sitting on the sand.
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Well who in the world?
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Oh, a drunk Just someone who's lost his way to
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the bar.
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Come on and then go wait for what I better
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see who it is and give him a hand?
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All right, you.
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Must pay the good tonight and go ahead. I say that, fella,
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What is a drunken food doing the eagle clam?
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I have to get closer, I say, there, old boy,
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want to get a little wet down when the tide
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comes in?
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Answer?
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Well, drunk and dumb.
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I guess you're right. No, no, no way, please. The
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moon will be out the minute. I want to see
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what he's doing. Wow, now we'll see why. It's an old.
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Man writing in the sand.
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What are you doing here?
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Guess he just won't talk.
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Well, how do you like riding in the sand with
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the point of his finger?
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Cor I, I don't like this at all.
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Come away?
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What is it? Nothing?
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Let it at all?
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If it's if the old man wants to see get
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in the dark in the sand letting, why does it conturn?
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What's you writing? I?
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Uh, I can't quite make a the.
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Moon went under car? Well, I'm sorry. I want to
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see what the man's writing. What are you writing? Old man?
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Old man? Don't you hear me talking to you?
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Then?
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Where's your curiosity? A deserted beach at the midnight? An
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old man writing heaven knows what in the sand? Aren't
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you interested in knowing?
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I'm not interested in maniacs? Who else but a psychopathic?
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Any? Wait? Wait, the moon's coming through the cars again.
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Now we'll see you see it too. He's writing names
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in the sand, names of people. What is it, Linda,
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it's it's face.
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What do you say, Fay, did you see you see?
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No?
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No, I didn't see it, Linda. What's the matter? See
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what about his face? There's any blasted close? I can't see?
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Yeah?
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Light again, there's nothing wrong with his face, sir, I thought,
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just no. Man must be a gardener writing names in
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the sand.
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I want to know who he is.
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Well, now, you're curious.
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I want to know who he is, Carl.
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And I'm certainly going to find out. Old man, we
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insist on knowing who you are?
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Do you hear me? Old man? We insist? Hm, No
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attention must be death.
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So'm covering the moon.
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See he's so green even in the night.
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Carl, I'm cool. Let's go in.
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If that isn't like a woman, one miniature curious in
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the next miniature, cold.
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Means bright. Now look, look you can see some of
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the names he's writing John.
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Barclay March second, nineteen thirty nine. But that's today. Well,
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how do you don't like that?
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He wiped the name up and he's writing another one, Jim.
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Ellison March second, nineteen thirty nine.
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Wipe that out, writing another one name after me? Why,
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old man? Can you hear me? Why? What?
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What would you say?
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He's certainly not drunk, I s so write so intent
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on his work? And what what did you say?
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He seems too busy?
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Linda?
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What is there about this old man that disturbed you?
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I think he's funny. Very little, unshaven old man crossed
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over writing names in the sand with a point of
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his finger. That's a serious career, A career for one's
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old age, the olderhead, no competition, no profit, Sit in
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the open air and right in the sands of time, Linda,
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I tell you, when I get to old the wall street,
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I think I'll join.
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This old Huh.
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Look your name, he's writing your name?
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Well, what do you know about the old fraud? Came here?
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Ah?
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Much overheard? You say, made.
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Your last name?
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He's writing it too, But that's impossible.
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Oh, hey, you.
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He doesn't know.
228
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Gee boy, I slowly formed each letter.
229
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How does he?
230
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No?
231
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Why does he ride? Come? God? What it is? I
232
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don't know. Let's just see. So don't don't let me see.
233
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Oh I love.
234
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You. I can't bring you home.
235
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I don't want you up. I help me, don't come.
236
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He's standing up again.
237
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Hey, I feel all right?
238
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What happened?
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
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12
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13
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61
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62
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63
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67
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68
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69
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71
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73
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78
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79
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80
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81
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82
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83
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84
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85
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86
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87
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88
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89
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90
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91
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92
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93
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94
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95
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96
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98
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99
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100
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101
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102
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103
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104
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105
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106
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107
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108
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109
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110
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111
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112
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113
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114
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115
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116
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117
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118
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119
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120
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121
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122
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123
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124
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125
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126
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127
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128
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129
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130
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131
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132
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133
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134
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135
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136
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137
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138
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139
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140
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141
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142
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143
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144
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145
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146
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147
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148
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149
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150
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151
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152
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153
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154
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155
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156
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157
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158
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159
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160
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161
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162
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163
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164
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165
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166
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167
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168
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169
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170
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171
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172
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173
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174
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175
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176
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177
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178
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179
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180
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181
00:10:03.840 --> 00:10:09.039
182
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183
00:10:11.679 --> 00:10:18.720
184
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185
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186
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187
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188
00:10:26.559 --> 00:10:29.039
189
00:10:28.919 --> 00:10:32.559
190
00:10:32.679 --> 00:10:34.000
191
00:10:35.799 --> 00:10:40.960
192
00:10:41.039 --> 00:10:42.279
193
00:10:43.480 --> 00:10:45.360
194
00:10:47.480 --> 00:10:51.320
195
00:10:54.000 --> 00:10:55.480
196
00:10:55.759 --> 00:10:58.240
197
00:10:58.320 --> 00:10:59.720
198
00:11:02.000 --> 00:11:06.720
199
00:11:06.720 --> 00:11:10.120
200
00:11:11.639 --> 00:11:21.159
201
00:11:21.320 --> 00:11:22.320
202
00:11:23.519 --> 00:11:28.120
203
00:11:29.759 --> 00:11:39.039
204
00:11:39.559 --> 00:11:46.080
205
00:11:47.080 --> 00:11:52.679
206
00:11:52.679 --> 00:11:53.720
207
00:11:54.200 --> 00:11:57.840
208
00:11:57.919 --> 00:12:02.679
209
00:12:04.279 --> 00:12:06.399
210
00:12:06.639 --> 00:12:07.000
211
00:12:07.039 --> 00:12:09.240
212
00:12:09.399 --> 00:12:12.840
213
00:12:12.879 --> 00:12:14.919
214
00:12:14.960 --> 00:12:18.679
215
00:12:18.720 --> 00:12:22.159
216
00:12:22.159 --> 00:12:24.279
217
00:12:24.799 --> 00:12:26.639
218
00:12:26.720 --> 00:12:27.679
219
00:12:27.559 --> 00:12:29.600
220
00:12:30.440 --> 00:12:36.360
221
00:12:38.320 --> 00:12:44.440
222
00:12:44.799 --> 00:12:45.200
223
00:12:46.039 --> 00:12:47.519
224
00:12:50.360 --> 00:12:51.080
225
00:12:52.000 --> 00:12:54.679
226
00:12:57.799 --> 00:13:02.639
227
00:13:04.240 --> 00:13:04.840
228
00:13:05.440 --> 00:13:10.879
229
00:13:11.960 --> 00:13:12.720
230
00:13:14.000 --> 00:13:14.039
231
00:13:15.720 --> 00:13:20.399
232
00:13:20.440 --> 00:13:25.759
233
00:13:26.559 --> 00:13:27.399
234
00:13:31.320 --> 00:13:34.840
235
00:13:35.720 --> 00:13:39.159
236
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237
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238
00:14:03.279 --> 00:14:04.000