WHAT’S THE FREQUENCY – EPISODE 4: YOU READ IT
INT. THE NOTHINGNESS –
CLICK
STATIC.
A music box opens and plays.
THE VOICE:
I remember… I remember that I can remember… a man. A voice. I remember a voice. Tethered to a man. A man tethered to a voice. A man tethered to a voice. I remember a man. I remember a man. I remember a man. I remember a man. Me a man. I remember what I remember… remember the flesh… remember the flesh… remember the flesh… remember the eyes… remember the eyes… remember the eyes… remember the eyes… the lips… the lips… the lips… the lips…
DISTORTION.
FEEDBACK.
STATIC.
INT. WALTER OFFICE APT. – DAY
WHITNEY:
(To herself)
Strange broadcast.
THE VOICE
(From the radio)
Remember the kiss… kiss… Remember the…Remember the kiss… Remember the kiss… the caress… the caress… the caress… the caress… Remember the blood… Remember the blood… Remember the blood… Remember the blood… remember the bone.
WHITNEY
(To herself)
Just some nutcase talking nonsense.
THE VOICE
-remember the bone…
WHITNEY
Someone must be messing with the signal-
Whitney turns off the radio and sits in Walter’s chair at the desk.
Walter barges in from his bedroom drying off his face.
WALTER
There we are! Good as new!
WHITNEY
You’re still walking with a hitch and you have slight wheeze on your exhale and have you been listening to the radio over the last few days?
WALTER
But sergeant I’m field ready. My country NEEDS me!
WHITNEY
Spare me Troubles. I know what I know and hear what I hear. Walter peruses through his liquor bottles. Which brings me back to… every station on the radio is static.
WALTER
It’s broken. Power of deduction!
WHITNEY
The radio in the car. The radio in office. The handheld you keep under your bed.
WALTER
Again… stay out of my personal belongs.
KNOCK at the door.
Pause.
Another KNOCK.
WHITNEY
I have it!
Whitney sprints to the door Walter pours a drink.
WALTER
Tell them we’re not taking any clients right now! She opens the door.
Lillian is on the other side.
WHITNEY
Lillian.
LILLIAN
Whitney.
WHITNEY
Come. The patient is this way.
WALTER
What’s this Whit? Behind my back?
LILLIAN
What a warm welcome.
WALTER
Is there something wrong with wanting your visits to be more… social and less business.
LILLIAN
If I charged you correctly it would be business. This will count as social for now.
Walter SIPS his drink.
LILLIAN (CONT’D)
And I will take that please.
He hands it over.
WALTER
Two mother hens. What every boy needs.
WHITNEY
I’m a bit worried. Because he’s wheezy when he exhales and he still has a hitch in walk.
LILLIAN
Okay. Let’s take a look.
(Pause)
Whitney you may want to recuse yourself. Unless something has changed and neither of you are guarding your modesty.
WHITNEY
Really Lillian… you can stop… Ew… I’m going now. Excuse me! She exits to the other room.
WALTER
Effective trick.
LILLIAN
Shirt. Off.
WALTER
Why doctor! I believe you have the wrong idea about me.
(Pause)
Shirt! Coming off!
LILLIAN
(Giggle)
You are clown. A clown!
WALTER
A private clown detective to you. Whoa! Are those your fingers?
She grabs his sides.
WALTER (CONT’D)
Aargh!!!
WHITNEY (O.S.)
GROSS!!!
LILLIAN
What?
WALTER
Icicles would be warmer.
LILLIAN
You had that coming.
WHITNEY (O.S.)
I can hear you!!!
WALTER
I still hurt… all over!
LILLIAN
Ssssh.
Lillian shushes Walter.
CLICK.
STATIC.
INT. THE NOTHINGNESS –
STATIC.
CLICK.
MISSY
So ladies, are we alone? Good. Now that it’s just us girls I can share my secret on looking this good everyday. What is that secret? I use Spishak’s specially formulated Age BeGone Vanishing cream. Like no other vanishing cream on the market, Age BeGone melts the wrinkles from your face. Just apply a thin layer around your entire face being careful to leave some distance from your eyes. Do you feel it tingling? Good. That means it working. In five minutes just wash it away. With Age BeGone women fretting over losing their looks when hitting the big two five will fret no more. The fine men of Spishak’s science department have made sure of that. So ladies give yourself and your husband the gift that keeps giving. Your eternal beauty.
INT. POLICE STATION EVIDENCE LOCKER – DAY
Officer Gans is showing a trainee Officer Miles, 20s, the ins and outs of evidence handling.
GANS
See Miles this might seem like the “wrong end of a stick” assignment for two capable, MORE than capable in fact, officers such as ourselves. That’s right. Look around. We are tasked with maintaining the very artifacts that will make or break a case.
MILES
I hadn’t thought of it like that.
GANS
Of course, no one ever does. No one ever suspects.
MILES
What’s that?
GANS
We’re gods Miles.
MILES
Gee.
GANS
We are gods. Welcome to the club.
KNOCK.
Barton pops his head into the room.
BARTON
Hey Gans?
GANS
(To Barton)
What can I do for you Barton?
Pause.
Barton takes note of the trainee.
BARTON
(To Miles)
Hey, rook… I think it’s break time.
MILES
Not for another…
(Long pause)
I… will… go take my break!
BARTON
No need to rush.
Miles exits.
GANS
He’s new.
BARTON
I hope so.
GANS
How can I help you?
BARTON
How long have we known each other?
GANS
Three years give or take.
BARTON
Right. I’d say we’re pretty close.
GANS
(Pause)
Why not?
BARTON
I need help with an investigation.
GANS
They put you back on the beat?
BARTON
No.
GANS
Oh.
BARTON
It’s dangerous.
GANS
Dangerous?
BARTON
Treacherous even!
GANS
What are you getting at?
BARTON
I came into possession of a ledger that has documented proof of bribes to city officials and the police force.
GANS
Why are you telling me this?
BARTON
I trust you.
GANS
Gosh, thanks.
BARTON
Call it a detective’s instinct.
GANS
But you’re not a detective.
BARTON
Soon. We crack open this walnut of corruption they’ll give us a key to the city.
GANS
So… wait. Was this what Troubles was helping you with?
BARTON
Yes.
GANS
Why not just leave it for him?
BARTON
Some things you just have to do yourself.
GANS
But this type of stuff is what he does. We’re-
BARTON
We’re cops Gans! Sworn to serve and protect. This isn’t Troubles problem! This is my problem!
(Beat)
Our problem.
Pause.
GANS
You seem a little… wound up.
BARTON
I’m fine. Sorry for snapping.
GANS
We both know that we have some cops around here who are less than honest. Crossing the blue line and betraying other cops… could be suicide.
BARTON
We’re not the ones who should be fearful.
GANS
Can I think about it?
BARTON
What is there to think about?
(Pause)
Say yes. I need someone I can trust.
GANS
I don’t know Barton. I’m flattered.
BARTON
My dad was murdered because of a dirty cop. Some dirty low life coward hiding behind a badge pretending to be a protector of the people beat him to death. All because he wouldn’t cough up a monthly protection fee.
GANS
I didn’t know.
BARTON
No one does. Cops never looked into it. It doesn’t take a genius to figure out why. We live in Chinatown. Who cares what happens there?
(Beat)
I do. I care Gans.
GANS
So this cop… is he still on the-
Silence.
BARTON
Dead. Killed off duty by a mugger… a mugger who conveniently died in cell after they picked him up.
GANS
I’ll do it!
BARTON
Great!
GANS
No secrets though. We need to promise never to lie to each other.
BARTON
Partners don’t lie.
INT. ELLS HOME STUDY – NIGHT
Carmen sits at Joseph’s desk as TRUDY, late 30s, places a small toolbox a top it.
TRUDY
So… you want me to break open Joseph’s desk drawer?
CARMEN
No Trudy, don’t break it.
TRUDY
Don’t break it.
(Pause)
What am I supposed to do again?
CARMEN
Can’t you pick it?
TRUDY
Pick it?
CARMEN
Like the movies. Pick it.
TRUDY
No. Why don’t you just ask Joe to open it?
CARMEN
I can’t.
Pause.
TRUDY
I shouldn’t get involved.
CARMEN
Please?
TRUDY
Carmen, you and Joseph have been really kind to me over the years. When Steven didn’t come back from… I’m handy. Leaks, hanging stuff, changing the oil…
CARMEN
Please?
TRUDY
No. I don’t know how to a pick lock.
CARMEN
It can’t be that hard.
TRUDY
Then you do it.
CARMEN
Damn it!
TRUDY
What is it? What’s going on?
CARMEN
He’s missing. I don’t know how to find him.
TRUDY
Oh… I’m sorry.
Trudy opens her toolbox and removes a flathead screwdriver. She wedges it between the drawer and desk.
CRACK.
The drawer flies open.
TRUDY
Sorry I broke your drawer… Joe’s drawer. I can fix it.
CARMEN
Thank you dear.
(Beat)
What’s inside? What do you see?
TRUDY
It’s a card.
CARMEN
Wha… what does it say?
Trudy removes the card.
TRUDY
(Reading)
I don’t understand.
(Beat)
You read it.
CARMEN
Fine. Let me look. It says-
(Reading)
I don’t understand.
(Pause)
You… read it.
(Pause)
I really don’t understand.
TRUDY
What just happened?
CARMEN
Would you like a drink?
INT. THE NOTHINGNESS –
CLICK.
STATIC.
Donald enters the front door.
DONALD
Honey, I’m home!
He closes the front door.
Donald enters the front door.
DONALD (CONT’D)
Honey, I’m home!
Louise is sitting at the couch reading.
LOUISE
(Distracted)
Welcome… home.
He closes the front door.
Donald enters the front door.
DONALD
Honey, I’m home!
He closes the front door.
Donald enters the front door.
DONALD (CONT’D)
Honey, I’m home!
He closes the front door.
LOUISE
(Distracted)
How was brunch?
DONALD
My brothers dead.
LOUISE
Darn.
(Beat)
Come sit.
DONALD
What is that?
LOUISE
This? It’s a book.
DONALD
Where did it come from?
LOUISE
The bookshelf.
DONALD
What does it do?
LOUISE
Don’t know yet.
DONALD
Would it be okay if I got a book from the shelf for myself?
LOUISE
Hmm. Better not. How about we just share this one?
DONALD
I don’t see as to why I should. There are an infinite number of books on our shelf.
LOUISE
Really? Infinite?
DONALD
Fine. Infinite plus the one you are holding.
LOUISE
Are you not capable of sharing?
DONALD
Of course I am!
LOUISE
Sit. Scoot closer you stick in the mud. He scoots closer.
DONALD
I don’t understand. Where are the words?
LOUISE
There aren’t any.
DONALD
Turn the page again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
(Pause)
Again.
LOUISE
Each page is the different but the same.
DONALD
It’s the sky.
LOUISE
Yes.
DONALD
Inside a book.
LOUISE
Yes.
DONALD
But it should be out there.
LOUISE
Out where?
DONALD
Up above.
LOUISE
The sky? Is…
DONALD
Outside these walls. Beyond that door.
LOUISE
Oh, look! There’s a door!
DONALD
Our front door.
LOUISE
And we can leave?
DONALD
Sure.
Donald gets up and walks to the door and tries to open it. It’s locked.
DONALD (CONT’D)
That’s… strange…
He jiggles the handle around.
DONALD (CONT’D)
How is this locked?
LOUISE
Are you using it right?
DONALD
Of course! Of course! Of course.
LOUISE
Then open it.
DONALD
I’m trying.
LOUISE
Open the door.
DONALD
I know how. I know how.
LOUISE
Open the door.
DONALD
I know how… right?
LOUISE
Open the door Donald!!!
DONALD
But I knew how!
LOUISE
OPEN THE DOOR!!!
STATIC.
CLICK.
DONALD
It won’t open!!!
LOUISE
OPEN IT OPEN IT OPEN IT!!!!
DONALD
IT WON”T OPEN! IT WON’T OOOOPPPEEEENNNN!!!!
LOUISE
OOOOOOPPPPPPEEEENNNNNNN!!!!!
EXT. BACK ALLEY EXIT OF YEE’S GRAND MARKET – DAY
Lillian steps out to the street from the market’s back door.
LILLIAN
I’m glad that the cream has done this well this quickly for your foot Mr. Yee. Thank you these tangerines they look delicious. Thank you.
Door SHUTS.
RIP, early 30s, KNOCKS into Lillian knocking the tangerines out of her hands.
The tangerines scatter across the alley.
LILLIAN (CONT’D)
Dang it!
RIP
Oh! Sorry! Are you okay miss?
LILLIAN
What is wrong with you?!?
RIP
Here, here, here… Let me help. Okay? I’m sorry
LILLIAN
Do you always walk down allies not watching where you’re going? I’m the only other living thing in the alley and you just happen to flatten me out?
RIP
Are you always this damn difficult to apologize to?
LILLIAN
Yeah.
RIP
Yeah?
(Pause)
Alright here is the last one.
LILLIAN
Yeah.
(She smiles)
Thanks for helping me pick these up.
RIP
Hey it was no bother to help you. The least I could do. Right?
LILLIAN
The least you could do is watch where you’re going next time.
RIP
Back to this?
LILLIAN
(Laughing)
Okay. I’m a jerk. Sorry.
RIP
My name is Rip.
LILLIAN
Lillian. Nice to meet you.
RIP
Say… where are you headed?
LILLIAN
Five blocks up from here.
RIP
Can I walk you? Not the safest of neighborhoods.
LILLIAN
Right. People could just run right into you at any moment. They begin walking.
RIP
Yeah… I guess you’re right.
(Beat)
So… yeah… you live around here?
LILLIAN
Like I said five blocks away.
RIP
Right… silly me. What’s it like living above a repair shop?
LILLIAN
I share the apartment with my brother… so it’s awful.
RIP
Is he there… uh… now?
LILLIAN
Maybe.
Silence.
LILLIAN (CONT’D)
Do we know each other?
RIP
I think I would remember a pretty woman like you.
LILLIAN
How did you know I lived above a repair shop?
RIP
Everybody lives somewhere… repair shop… market… police station.
LILLIAN
Thanks for walking me this far. Awfully nice of you.
RIP
I can see you the rest of the way. It’s perfectly fine.
LILLIAN
You must be needing to go off… to where ever it is that you were walking to in a random alley.
RIP
Couldn’t let you go now. Besides we’re almost there right?
Silence.
Rip CHUCKLES to himself.
RIP (CONT’D)
You know, I didn’t mean to insult you.
LILLIAN
What insult? You are fine.
They both stop walking.
Silence.
RIP
Now you insult me Ms. Wu.
LILLIAN
I don’t know what you want or what you think I have-
RIP
Your brother is Barton Wu correct? You may want to tell him he shouldn’t take things that aren’t his.
LILLIAN
Great… I’ll let him know. Are you done walking-
He pushes her up against the wall.
RIP
Hey! Why so rude? Haven’t I been a gentleman to you? Huh?!? Huh?!?
LILLIAN
Yeah. Thanks for your protection. You’ve been the perfect-
ELECTRICITY SURGES through him.
RIP
Aargh!
He slumps to concrete.
She gives the cattle prod another JOLT.
LILLIAN
I’ll walk myself the rest of the way.
(To herself)
Hm. Something Archie built that actually works the way it’s supposed to.
INT. FINE PUBLISHING’S BULLPEN – DAY
Walter and Whitney approach Melanie’s desk. She looks up and sets down her pen.
MELANIE
Oh… you’re back.
WHITNEY
It’s like we never left.
WALTER
Melanie is that you?!?
MELANIE
Uh… yeah?
WALTER
You look absolutely smashing. I thought they went and fired Melanie and put a model in her place.
MELANIE
Awww. Mr. Mix you’re so sweet.
WALTER
For a moment there I was really mad about this. Whatever you did keep doing it!
WHITNEY
So…Is Brick in the bullpen today?
MELANIE
(Beaming)
Yeah. Over there.
WHITNEY
Troubles…
WALTER
Till next time.
WHITNEY
…after you.
Walter and Whitney make their way to Bricks desk.
BRICK HOUSENER, mid 30s, very fit, is sitting at his desk scribbling on a scratch pad.
WHITNEY (CONT’D)
Anything interesting?
BRICK
Excuse me- Oh! Hello pretty lady.
Walter lets out a SNORT.
BRICK (CONT’D)
I’m Brick… Brick Housener. You are?
WHITNEY
Whitney and-
WALTER
(To Brick)
Hi I’m Walter. Pleasure is all yours. Truly.
(To Whitney)
Do you have the time?
BRICK
It’s one pm.
WALTER
Way to stay on top of things Brick!
(To Whitney)
You seem to have this part under control here. I’ll meet you downstairs. I have a phone to make.
WHITNEY
Really? Now?
WALTER
Look. He’s adorable. You’re adorable. You’ll get along great without me.
WHITNEY
That’s just… perfect.
WALTER
Downstairs in front of the building.
Walter exits.
BRICK
Is that your dad?
WHITNEY
Sure. He’s a real pill.
MELANIE (O.S.)
Bye Mr. Mix!
BRICK
Dad’s right? Mine rode me pretty hard.
WHITNEY
Right. Did Terry let you know we were coming?
BRICK
No. Terry is a pretty terrible boss.
WHITNEY
Troubles and I-
BRICK
Troubles?
WHITNEY
Oh… That is a sort of nickname…Mr. Mix and I were hired to find a former missing colleague of yours.
BRICK
Joe?
WHITNEY
Yeah. Have you heard from him?
BRICK
No. Not since he quit.
WHITNEY
Did you guys collaborate often?
BRICK
Care for a Enfield No. 2?
WHITNEY
Yuck.
BRICK
Suit yourself. I suppose they are after all made with a mans tastes in mind.
WHITNEY
I bet they are.
Brick lights the cigarette.
INHALES.
EXHALES.
Whitney COUGHS.
BRICK
Did we collaborate? Yes, sometimes… but I hated it.
WHITNEY
How so?
INHALES.
EXHALES.
Whitney COUGHS.
BRICK
He was a hack. I felt bad for guy so I’d throw him a bone from time to time.
WHITNEY
Any idea where he may be?
BRICK
What are you doing later?
WHITNEY
Looking for Mr. Ells.
BRICK
I mean after that.
WHITNEY
Thanks for taking the time to talk. If you’ll excuse me.
BRICK
Sure. You should talk to Joe’s brother. If anyone knows where he is it’d be him.
WHITNEY
He has a brother?
BRICK
Yeah. He showed up here all time. Always borrowing money from Joe.
WHITNEY
His name?
BRICK
Julian.
WHITNEY
Great. Thanks.
BRICK
Wait. Do you want to leave me your card? Incase I think of anything else?
WHITNEY
Gosh… I gave Melanie our last one. I’m sorry. Just ask her if you think of something.
Whitney walks over to Melanie’s desk.
WHITNEY (CONT’D)
Here’s our card Melanie. Call us if you guys can think of anything else or if Joe turns up.
MELANIE
Miss Whitney may I walk you to the elevator?
WHITNEY
Ok… yeah.
(Beat)
Why not?
Melanie rolls her chair out away from the desk. They walk awkwardly to the-
ELEVATOR HALLWAY –
Whitney presses the call button.
WHITNEY (CONT’D)
What’s on your mind?
MELANIE
Here. I wanted to say something when you were here last. I just… She hands over a stack of letters.
WHITNEY
What are they?
MELANIE
I was supposed to destroy those letters. Terry was worried about liability but I couldn’t… I knew something could happen.
WHITNEY
Slow down.
MELANIE
I have to get back. Could you tell Walter I’m free this Friday?
WHITNEY
No.
MELANIE
Maybe make it seem like it was his idea.
WHITNEY
Okay, I won’t.
Melanie quickly shuffles back to the office.
MELANIE
I didn’t give you those.
EXT. FINE PUBLISHING’S OFFICE BUILDING – DAY
Walter picks up the phone receiver.
He drops a coin in.
The phone RINGS.
WALTER
A bad time to not answer.
Continues to RING.
WALTER (CONT’D)
Damn it.
A car pulls up alongside and comes to a stop.
A cloth hood goes over Walter’s head.
WALTER (CONT’D)
Hey!
Walter gets dragged out of the phone booth.
Walter lands a few blind PUNCHES.
He is overpowered and shoved into a car trunk.
He BANGS away from the inside of the trunk.
The cars PEELS away.
OUTRO
What’s The Frequency? was written and created by James Oliva.
Production and sound design by Alexander Danner.
What’s The Frequency’s theme music composed by Kurt C Nelson.
We’d like to announce we now have an online store for show merchandise on the Big Cartel Which you can visit by going to whatsthefrequency.bigcartel.com.
If you really enjoy the show please consider contributing to our Patreon campaign at www.patreon.com/wtfrequency
For the month of January and February we are running a contest. For every person that signs up as a Patreon supporter at the $3 and up will be put in a raffle for a limited edition signed and numbered poster. In addition ANY Patreon support level you sign up for in those months will earn you free shipping on any order from our store.
We’d like to give special thanks to Jen and Chris Sugden of audio drama podcast Victoriocity, Richard Penner of audio drama podcast Infinite Now as well as Amanda McLoughlin and Julia Schifini of Spirits Podcast.
(James gets stuck on the names of Richard Penner and Julia Schifini. Exits the recording booth, still repeating the names, gets a drink. James makes his way back to the recording booth)
This episode contained audio from the Nancy Drew Reporter 1939 and new material by our composer Kurt C. Nelson. Additional music and sounds used from public domain and creative commons sources.
(James continues to repeat the names under the rest of the outro recording. Cracking himself up and doing funny voices)
We’d like to thank all the fans that voted for us in the Audio Verse Awards. We appreciate it more than you could know.
As always I’m James Oliva. Till next time.
What's The Frequency? 