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QP at UMDPC - Pt2

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wcme
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#1 - Quote - Permalink
Posted 10/17/07 - 11:55 AM:

Well, spam aside, lets continue.

I returned to day for about an hour. The majority of my time was spent reading the folder of LEGAL DISPUTE. Seems Earnest Chappel and Willis Cooper had a contractual agreement to share profits on QP 50/50. When Cooper died, and Emily cooper decided to sell off the scripts for money since nothing had been coming in for quite a while, she encountered ressistence in Willis. He demanded to be split in funds from any proceeds, and declaired himself the representitive of the franchise and was shopping it around.

indeed, Emily had to go get a lawyer, and the 3 parties spent over 2 years sending each other letters going back and forth with bitterness and dismay from "Chappie" and anger from Emily. Meanwhile, agents for Emily were trying to sell QUIET PLEASE to anyone as either the entire property ($60,000 lock stock and barrel) or selected scripts for ALFRED HITCHCOCK PRESENTS tv series (In fact, Hitchcock himself was presented many of the scripts for review and passed on them.)

Chapple reports to Emilys lawer that "I was will Bill until he aquired new management and when that manager left I reaquanted myself to him" and that "When they tried to turn Quiet Please into a tv series and tried to proceed without me, I declined and they called the series "VOLUMES 1 to 7" and the series had no Quiet Please content at all. In fact it had nothing to do with Quiet Please in execution, content, direction or tone. The title VOLUMES 1 to 7 is becasue I had bound the Quiet Please scripts into 7 books for myself."

There are desperate requests for scripts from Emily and Chappel to shop around because noone had copies. Requests for copies of the actual air broadcasts abound in these letters. Someone is mentioned as having them in storgae, which I think was the new agent Cooper had after QP went off the air. Chappel says that QP went off the air through no fault or action of his own.

The letters stop and no one budged. I dont know if there was a resolution.

Many times Emily or her new agent tries to adapt scripts for series. Chappel wanted to make a film series out of it. Cooper had adapted 7 scripts to tv form but the current lawyer\agent asks emily if she has them.

Interesting stuff.

I then went through some random scripts of QP that I had listened to for the first time ever this week. I noted again many cross out, line changes and additions on the spot. Any questions on spoecific scripts I would be happy to help you all. I am as interested as you.

lastly, to resolve the cliffhanger on the play: The "pop-pop" continues to talk to the girl and several more characters stop of the bench and interupt the meeting with his grandaughter, as did the sailors. An old woman with a toy dog, a young couple out for a stroll, and so on. The grandfather comments on how kind people are when you stop to talk to them. Then, as the time grows short for their visit, the cop returns with the old mans daughter and her husband. They refuse to leave him here, and demand he go home. He walks a bit, asks to be left for a few moments more alone, and says goodbye to the little girl, who is revealed to be a spirit. No big shocker at the end, no reveal on what happened, why this meetign is kept every year, and so on. In some way I was pulling for the girl to be alive and the pop-pop to be the actuall one that had died, but there you go.

more later, and Please ask questions.
MS
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#2 - Quote - Permalink
Posted 10/17/07 - 7:08 PM:

Very interesting.

Just so I'm clear on the LEGAL DISPUTE info:

1. What are the names of Emily's lawyer and the agent/manager that Cooper worked with after QP?

2. Who is the source for the story about Hitchcock reading and rejecting the scripts?

3. Chappell is saying that, because he bound his QP scripts into books, Cooper was inspired to name the TV series "Volume One"?

4. You mention a two-year period. What are the dates of the first and last letters?
_______________________

Okay, here we go with some relatively minor questions about specific scripts. Mostly, I'm hoping you can clarify some unclear dialogue. Also, feel free to mention anything about the scripts that strikes you as interesting or unusual.
_______________________

18 CAMERA OBSCURA

1. Could you confirm the spelling of the following characters' names?

a. Cy, the murderer-narrator.

b. Philip D. Vandervort, his victim.

c. "Harry Colin's bargain store" - mentioned just before the first dialogue exchange. One "L" or two?

2. In their first dialogue exchange, Cy the murderer is asked by the girl where he last saw Phil. Can you give us the correct spelling of the bracketed word below? Sounds like he's saying "P. E.":

GIRL: Where'd ya see him?

CY: Why, down at the [ P. E. ?] station, down the street. What's the matter, he run out on you?

3. What are Cy's last few lines at the very end of the story? Sounds like Chappell is saying:

CY: There was a long [?] of seaweed across my face! [?] And the taste of salt!
_______________________

07 INQUEST

More fill-in-the-blank for you:

1. What is Ross' response to the coroner's query about forgery? It sounds like:

CORONER: Was that when you forged her name, Mr. Ross?

ROSS: [Well, that's not what I told you. ?]

CORONER: Well, of course, I'm no judge, but you promised to speak the truth [remember. ?]

2. What does Eileen say in the exchange where she tries to order Ross out of the house? Sounds like:

EILEEN: Get out of here and never come back!

ROSS: Tried to throw me out of her house.

EILEEN: Not even a [?]

3. What is Ross' line about the jury in this exchange? Sounds like:

ROSS: Oh, yes. The jury. I thought there were only supposed to be six people on a coroner's jury. More than six people over there.

CORONER: Oh, yes.

ROSS: [All those ?] fellows in the masquerade costumes. Listen, coroner, what's the idea of all that? Looks awful phony to me.

4. What exactly are Arthur's lines in this exchange?

ARTHUR: [Eileen, dear. Don't. Don't cry. There'll be a way out somehow. We'll
work it out. He'll have to let you--]

EILEEN: Oh, but, Arthur! How can we? He's GOT to help us.

ARTHUR: [I know, I know, but-- Isn't there some way we can talk him into doing
something? He just can't do this to you.]
_______________________

45 CLARISSA

1. I'm mainly interested in finding out the name of the wine the characters drink. But the actor playing Heinz, the old man in the story, speaks quite a bit of German I can't make out. Maybe you can give us the correct dialogue for the bracketed text:

a. HEINZ'S VOICE: (THICK GERMAN ACCENT) Ich war im Rheinland geboren. [?] achtzehn hundert zwei und sechzig.

b. JESSE: ... I had lived there nearly a year. Heinz and I sat that first night alongside the fireplace. I remember he'd asked me to share a bottle of [Vin Costra Dacteur?] with him.

c. HEINZ: (CHUCKLES) I have not much left. This is from before the war when it was easier to get, you see, but, uh, now -- well, it is almost [the last.?]

d. HEINZ: Oh, no, no. Good wine always [spech besser?] when with a friend you drink it, nicht wahr? Eh, a little more?

e. HEINZ: It is cold for this time of the year.

CLARISSA: (SINGS)

JESSE: Uh, listen!

HEINZ: [What is--?]

CLARISSA: (SINGING STOPS)

f. HEINZ: (A TOAST) [My guest -- Schlaf Wohl!]

2. Jesse drifts off to sleep mumbling to himself. What's he mumbling? Sounds like he says:

"I was merely sleepy. The wine and the rain. The dark. [Clarissa ...?]"

3. More "fill-in-the-blank with Heinz":

a. ... I didn't even notice that I was humming a song under my breath.

(QUIETLY MUMBLES THE FIRST LINE OF "SUR LE PONT D'AVIGNON")

HEINZ: (INTERRUPTS) [... Clarissa's song, nicht?]

b. JESSE: And as I stepped out again toward the hallway, Heinz confronted me.

HEINZ: [?] sie, Jesse?

c. HEINZ: I'll take care of my own, mein herr! [?]

3. More German, from the final exchange between Jesse and Heinz:

HEINZ: Jesse, my friend.

JESSE: What's the matter, Heinz?

HEINZ: [?], Jesse. I am - dying.

JESSE: Why, Heinz!

HEINZ: It is finished now, Jesse. [?]
_______________________

Hope to have more, and better, questions for you soon, Wyatt. Many thanks.


Edited by MS on 10/17/07 - 7:15 PM
wcme
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#3 - Quote - Permalink
Posted 11/05/07 - 7:20 AM:

Sorry for the delay. Its been very busy here at the helpdesk! smiling face

Ok, lets answer some questions:

1. What are the names of Emily's lawyer and the agent/manager that Cooper worked with after QP?

A: Ted lloyd was Coopers new manager that made Chapple leave. Max L. Alpern was Coopers agent\lawer at the time of his death and Emily's lawyer afterwards trying to sell the QP scripts and sending letters to Chapple.

2. Who is the source for the story about Hitchcock reading and rejecting the scripts?

A: Max Alpern offered QP to both NBC and CBS for $50,000 and $60,000 lock stock and so on. Turned down. Bill Morewood of MCA offered QP in a "presentation" to the West coast of MCA and was turned down, and also to Hitchcock, and was turned down for the tv series.

3. Chappell is saying that, because he bound his QP scripts into books, Cooper was inspired to name the TV series "Volume One"?

A.: Thats how Chappell says it. becasue Chappell wouldnt budge and didnt want to deal with Ted Lloyd, Cooper could not move the series to tv as its logical continuation. The scripts made were from the source radio scripts, but dont bear any resemblence to how the radio show was because chappell had 50% ownership and it couldnt be "Quiet please" in any way shape or form, again Chappells words. And its tv show title is "Volumes One to Seven" (SIC) in the letters.

4. You mention a two-year period. What are the dates of the first and last letters?

The first letter is from Cooper while alive on July 20th 1954 to Ted LLoyd - Saying he refuses to sell QP scripts to be adapted for the "Whistler" program, as Chappell is an equal partner and QP needs to be its own thing. There are 8 or 9 tv scripts ready and some new scripts, but Chappel is an equal partner and wont budge.

On March 1 1955 Cooper writes that Chappel called him to say that Gil Ralston was "no longer interested" in Qp - and Cooper is astonished as he had no idea it was being shopped around, that he felt chappels price was amazingly too high, and that he knew Gil and thought gil would have liked it. Cooper is in desperate need of money, he has no ability to sell any new scripts due to poor health and and inability to get around NY city. "I am perfectly willing to relinquish all pmt in show - need to see a sale made. I would also be willing to allow chappel his 'pound of flesh' for this." There seem to be copies of the tv adaptions being sent to Ted: 'Mirror mirror on the wall', "Girl with the flaxon hair' 'light the lamp for me' and 'Three sides to a story' - described as "Tv adaptions in film form".

The contract that Chapple and Cooper had reads: "April 1, 1947 - Being the creator, writer and owner of a radio program tentivly called "Quiet please", I herewith assign you, as producer, 50% of my rights to this property..." which is the crux of the whole problem once cooper dies with his widow.

The last letter is Aug 6, 1958 and Emily seems to have given up.
_______________________

Script answers: * ...* = is the correct way its in the script. I also deleted any extra words or characters in the pasages below:
_______________________

18 CAMERA OBSCURA

1. Could you confirm the spelling of the following characters' names?

a. Cy, the murderer-narrator. = "SI"

b. Philip D. Vandervort, his victim. = "PHILIP D. VANDERVOORT"

c. "Harry Colin's bargain store" - mentioned just before the first dialogue exchange. One "L" or two? = "COWEN" no colin.

2. In their first dialogue exchange, Cy the murderer is asked by the girl where he last saw Phil. Can you give us the correct spelling of the bracketed word below? Sounds like he's saying "P. E.":

GIRL: Where'd *YOU* see him?

CY: Why, down at the [ P. E. ?] (Yes P.E.) station, down the street. *'S* the matter, *D'E* run out on you?

3. What are Cy's last few lines at the very end of the story? Sounds like Chappell is saying:

CY: There was a long *HORROR* of seaweed across my face! *AND DARKNESS* And the taste of salt!

NOTES ON THIS SCRIPT: TONS of paragrpahs of dialogue and chat crossed out. Some examples:

"One of these days she'll get a yen to walk into the police station and confess and up tot he time they top her at Folsom she'll never know why she did it" ... That woman in alameda....

and "Just goes to show you. I opened up the store that morning and swept out and sold a dollar ninety five green hedan shirt to a pascual, a little mexican who worked out at Will Rogers ranch, and then Harry came in and....." I went next door for a cup ...
_______________________

07 INQUEST

More fill-in-the-blank for you:

1. What is Ross' response to the coroner's query about forgery? It sounds like:

CORONER: Was that when you forged her name, Mr. Ross?

ROSS: *I DONT THINK THATS FORGERY!*

CORONER: Well, of course, I'm no judge, but you promised to speak the truth *,YOU KNOW, MR ROSS!*

2. What does Eileen say in the exchange where she tries to order Ross out of the house? Sounds like:

EILEEN: Get out of here and never come back!

ROSS: Tried to throw me out of her house.

EILEEN: Not even a *PLACE TO LIVE*

3. What is Ross' line about the jury in this exchange? Sounds like:

ROSS: Oh, yes. The jury. I thought there were only supposed to be six people on a coroner's jury. * THERES* More than six people over there.

CORONER: Oh, yes*, THEY - *

ROSS: * BESIDES* those fellows in the masquerade costumes. Listen, coroner, what's the idea of all that? Looks awful phony to me.

4. What exactly are Arthur's lines in this exchange?

ARTHUR: [Eileen, dear. Don't. Don't *DARLING* There'll be a way out somehow. We'll
work it out. He'll have to let you--]

EILEEN: Oh, but, Arthur! How can we? He's GOT to help us *, OR....*

ARTHUR: [I know, I know, but-- Isn't there some way we can talk him into doing
something? He just can't do this to you.]
_______________________

45 CLARISSA

1. I'm mainly interested in finding out the name of the wine the characters drink. But the actor playing Heinz, the old man in the story, speaks quite a bit of German I can't make out. Maybe you can give us the correct dialogue for the bracketed text:

a. HEINZ'S VOICE: (THICK GERMAN ACCENT) Ich war im Rheinland geboren. [?] achtzehn hundert zwei und sechzig.

* I COULD NOT LOCATE THAT IN THE SCRIPT *

b. JESSE: ... I had lived there nearly a year. Heinz and I sat that first night alongside the fireplace. I remember he'd asked me to share a bottle of *BERNKASKER DOKTOR* with him.

http://www.greatcorks.com/sku25845.html

http://www.wineloverspage.com/randysworld/classic.phtml

c. HEINZ: (CHUCKLES) I have not much left. This is from before the war when it was easier to get, you see, but, uh, now -- well, it is almost [the last.?] = yes thats the line.

d. HEINZ: Oh, no, no. Good wine always * SCHMECKT BESSER * when with a friend you drink it, nicht? little more?

e. HEINZ: It is cold for this time of the year.

CLARISSA: (SINGS)

JESSE: Uh, listen!

HEINZ: *WAS IST LOS?*

CLARISSA: (SINGING STOPS)

f. HEINZ: (A TOAST) * AND JEST - SCHLAF WOHL!*

2. Jesse drifts off to sleep mumbling to himself. What's he mumbling? Sounds like he says:

"I was *GETTING* sleepy. The wine. The rain. The dark. * AND I SLEPT*

3. More "fill-in-the-blank with Heinz":

a. ... I didn't even notice that I was humming a song under my breath.

(QUIETLY MUMBLES THE FIRST LINE OF "SUR LE PONT D'AVIGNON")

HEINZ: (INTERRUPTS) * YOU SING CLARRISA'S SONG, HEY? *

b. JESSE: And as I stepped out again toward the hallway, Heinz confronted me.

HEINZ: * WAS MECHEN SIE, JESSIE?

c. HEINZ: I'll take care of my own, mein *HEREIN!*

3. More German, from the final exchange between Jesse and Heinz:

HEINZ: Jesse, my friend.

JESSE: What's the matter, Heinz?

HEINZ: *NO MUCH MATTER*, Jesse. I am - dying.

JESSE: Why, Heinz!

HEINZ: * HANDWRITTEN = ALLES IST ? (KAPUT is crossed out = VORABER?) *

Hope this helps as a start. any others?

Edited by wcme on 11/05/07 - 7:23 AM
MS
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#4 - Quote - Permalink
Posted 11/05/07 - 7:57 PM:

Outstanding, Wyatt! Many, many thanks. No need to worry about any delay -- this kind of info is definitely worth the wait. More questions for you:

1. I have a copy of the script for THE MAN WHO STOLE A PLANET, which is marked No. 57. A few years ago, Astro1 posted the text to the script of MOTIVE and had it as No. 61. But the numbering seems to go awry somewhere between these two episodes. Could you look at the four intervening scripts (IT IS LATER THAN YOU THINK; THE THING ON THE FOURBLE BOARD; PRESTO CHANGE-O, I'M SURE; THREE THOUSAND WORDS) and tell us how they're numbered?

2. A few years ago, I obtained a list of script titles in the QP collection. The list included two scripts (one of them undated) with the title "Mirror, Mirror on the wall." I assumed that this was an error made by someone compiling the list. But maybe you should look to see if there really is an undated script with that title and if it's the same as the dated one?

And here are more queries about specific episodes:

-------------------------------
WHENCE CAME YOU?

1. Is there a question mark in the title?

2. More fill-in-the-blank requests.

a. From the first dialogue exchange with Abe:

AUSTIN: Well, you go out and dig holes out there for six months, lad, you'd
take off some of that fat, too.

ABE FELDMAN: Me? [Sand?]? Go 'way, you're kiddin'!

b. In the hotel bar with Abe:

"And there by the door stood the one most beautiful woman I have ever seen in all my life. [She was no Egyptian native.] She might have descended from one of the marvelously lifelike paintings of the Queen of the [Hap-Ho?] Dynasty that I'd seen on the walls of tombs two thousand years old."

c. Just before Austin dreams:

"No, I'm not gonna tell you that a beautiful Egyptian princess of the days of [Hixtos?] was waiting for me in the darkness."

d. Near the end, from the narration between the two dialogues with Martin Weaver:

"I saw Osiris with his hawk's head and the robe he wore and the [mitre?] on his hawk's head was the same as the mummy wore in the casket."

-------------------------------
SUMMER GOODBYE

1. Is there a comma between "summer" and "goodbye," in the title or elsewhere in the script?

2. Still more fill-in-the-blank requests.

a. From Noel's opening narrative:

"And I thought of the East Potrero Road that goes down to the Coast Road, finally leads [?] over to the sand dunes of Hueneme."

b. Madeleine's first line:

"Rainin' up in the [ridge rock?], Noel...."

c. From an exchange in the car, about halfway through, when Noel and Madeleine almost hit a deer:

MADELEINE: I know. That's why-- (SQUEAKS, STARTLED) What's that?

NOEL: (A LITTLE DERISIVE) A deer.

MADELEINE: [?]

NOEL: Deer all around here.

d. From an exchange, after they get out of the car and are searching for the house:

NOEL: (DISGUSTED) Oh, for the love of-- Here, give me that flashlight.

MADELEINE: [?]

NOEL: Give me the flashlight.

e. One of Noel's lines right after Madeleine is shot:

"And all I could hear in the dark was her [?] rasping breath and when I reached her..."

f. From Noel's final narrative:

"Down the twisting canyon trail the fire pursued us. I drove faster and faster. [On every side of the car?] the devastating fire was leaping at us. Down through the fields. Down to the sandy creek bottom. Fire always at our heels."
-------------------------------
THE THING ON THE FOURBLE BOARD

1. From Porky's opening lines:

"But last May, Pure Oil brought one in out in the [Natrona?] Valley in Wyoming at fourteen thousand three hundred and nine feet."

2. From the last part of the dialogue exchange with Ted:

POLICE OFFICER: Well, okay.

TED: Let's get rollin'. You got [steel up, Happy?!

[HAPPY: I'm all set!]

TED: All right, Porky. You go up on the fourble board.

PORKY: What? Not me, Ted.

-------------------------------
NORTHERN LIGHTS

Two exchanges from the first tape recording:

a. PAUL: [narrates, over the voices, urgently] Now, listen closely, please. It's
going to happen.

NORMAN: Yeah. Well, now, um, Mr. Paul [McGilligat?], that famous maaaad
scientist, is about to press the big ol' button and send his lighter into the
future.

b. PAUL: [narrates, over the voices] No, wait, friend. That's not the payoff yet.
Listen.

NORMAN: [?] you said, [?] in the future and--

-------------------------------
VERY UNIMPORTANT PERSON

a. From an early exchange:

RUTH: Oh, Tom.

TOM: Wait. ... I had Philadelphia but -- he stopped. ... Who's this?

[INDISTINCT VOICE: Pittsburgh.?]

TOM: (INTO THE MIKE) Pittsburgh, this is USAF nine-oh-nine-three-four-four.

b. From the exchange where the plane runs out of fuel:

TOM: Well, so long, honey. Don't think it hasn't been swell.

RUTH: [?] darling, no, no, I love you!

TOM: I love you, honey!

-------------------------------
OTHER SIDE OF THE STARS

1. Can you confirm the title of this episode? At the beginning, the announcer calls it "Other Side of the Stars" with only one "the." At the end, he calls it, "The Other Side of the Stars."

2. Near the end, the machine for communicating with the alien is turned on and it drowns out some of Esau's narration:

ESAU: The microphone is only [?]

I'll let you hear it through the machine now so you can hear - and you can
understand what it's saying.

Just a second, I'll turn on the machine.

Steve, move the microphone over here closer to the earphones. [Like so.?]

Now ...

-------------------------------
IN THE HOUSE WHERE I WAS BORN

Can you confirm the "names" of the characters in this episode? My best guess is that they are: CHAPPELL, BOY, MOTHER, LOVER, BROTHER and maybe (singing) COWBOY.

-------------------------------

I toast you, Wyatt, with a delicious, imaginary glass of BERNKASKER DOKTOR!

wcme
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#5 - Quote - Permalink
Posted 12/04/07 - 12:32 PM:

Will update tomorrow. Have answers to last round of questions. Been busy again!
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#6 - Quote - Permalink
Posted 12/05/07 - 8:53 AM:

Heres pt 1 of the answers. i have at least this much typed up. The rest is hand written. Just give me some time. smiling face

All, After quite a delay, and 2 holidays, and much decorations and christmas music, I had some time to go gather info on Last Friday. I have your answers.

It was hard to adjust back to Halloween, when I had closeure and am now deep in Christmas OTR. Quiet Please seems far away. wink

Answers:


1. I have a copy of the script for THE MAN WHO STOLE A PLANET, which is marked No. 57. A few years ago, Astro1 posted the text to the script of MOTIVE and had it as No. 61. But the numbering seems to go awry somewhere between these two episodes. Could you look at the four intervening scripts (IT IS LATER THAN YOU THINK; THE THING ON THE FOURBLE BOARD; PRESTO CHANGE-O, I'M SURE; THREE THOUSAND WORDS) and tell us how they're numbered?

57: PLANET Monday July 26th 1948
58: LATER Monday Aug 2 1948
59: FOURBLEBOARD Aug 9 1948
59(!): PRESTO Aug 16 1948
60: 3000 Words Aug 23 1948
Later on....
64 (#1 of series 2) (!) September 19 1948

So, Cooper himself duplicated the numbers, and they never catch up to itself. They never skip a number, ofr adjust. The 2nd series simply notes (#1) (64) and so on.

1.5: Chappell is saying that, because he bound his QP scripts into books, Cooper was inspired to name the TV series "Volume One"?

A.: Thats how Chappell says it. becasue Chappell wouldnt budge and didnt want to deal with Ted Lloyd, Cooper could not move the series to tv as its logical continuation. The scripts made were from the source radio scripts, but dont bear any resemblence to how the radio show was because chappell had 50% ownership and it couldnt be "Quiet please" in any way shape or form, again Chappells words. And its tv show title is "Volumes One to Seven" (SIC) in the letters.

So, go here and note the title: http://www.imdb.com/title/tt0041070/

Short lived (six weeks) show featuring horror and suspense stories.

BTW - did you know Cooper wrote the Mr Motto Films and Son of Frankenstien with Karloff for Universal?!?


2. A few years ago, I obtained a list of script titles in the QP collection. The list included two scripts (one of them undated) with the title "Mirror, Mirror on the wall." I assumed that this was an error made by someone compiling the list. But maybe you should look to see if there really is an undated script with that title and if it's the same as the dated one?

No undated scripts except the 3 noted. I would guess that was new material slated for the tv show VOLUME ONE. "'Mirror mirror on the wall', "Girl with the flaxon hair' 'light the lamp for me' and 'Three sides to a story' - described as "Tv adaptions in film form". were being sent to agents interested in the show.

Some random observations:

The script for LATER has these notations:

Don 551-10-****
Abby 066-07-****
Latenier? 124-01-***

I have to assume these are Social Security numbers? I did not include the final section in case this is true.

Also, folks curious in how these were rehersed prior to broadcast:

PLANET was rehersed on Monday July 26th 1948 from 2-5pm in Studio 2, then 8-9:30pm in Studio 15....and then Broadcast 9:30-9:55pm EDST the same day! So it seems the cast didnt know anything til that day, they learned it and felt it out and changed it all day, then did a final run through and tightned it up from 8-9:30 then did the show immediately!
MS
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#7 - Quote - Permalink
Posted 12/17/07 - 6:24 PM:

> Cooper himself duplicated the numbers, and they never catch up ...

That helps tremendously, thanks. I thought I was going crazy.

> BTW - did you know Cooper wrote the Mr Motto Films and Son of Frankenstien with Karloff for Universal?!?

They finally released the Moto films on DVD last year. The one for which Cooper is credited with co-writing the screenplay is THANK YOU, MR. MOTO which is probably the best of the series. Near the beginning of the film, a disguised Mr. Moto startles his trusted servant and greets him with, "Quiet, please!" That had me smiling.

> I have to assume these are Social Security numbers?

Sounds right. Maybe there's some info in the business papers about who paid the actors.

> ... am now deep in Christmas OTR. Quiet Please seems far away.

Uh oh. Well, maybe I'd better ask you about some holiday episodes of QP so you don't lose interest!:

_______________________

RAIN ON NEW YEAR'S EVE

1. Can you confirm the correct spelling of Ali Tharpe? Or Olly Tharp or whatever it really is? He's got no dialogue but is mentioned at least twice.

2. The usual fill-in the-blank requests. After Ramsey's first dialogue exchanges with Mary Lou, he narrates:

RAMSEY: There's an old book. It's called... No, I guess I won't tell you what it's called. Well, you don't want to take those old books too seriously-- [...?] So I kind o' swiped this monster out of the book.

3. Not long after:

MARY LOU: How many monsters now?

RAMSEY: We got four now - [I'd say.?] Including me.

4. After the dialogue exchange with Dody, there's a big gap in the recording -- what are we missing?:

RAMSEY: So I got a move on me. And if you think I disliked that guy up to now ...

[...?]

RAMSEY: ... pretty good to me the last two days.

5. Not long after the gap, Mary Lou reads from Ramsey's screenplay:

MARY LOU: [reads] From the top of the stairway [to the upstairs?], indistinct in the shadows, we sense, rather than see, the twisted, evil form of the monster as it peers over the balustrade.

6. After the exchange with Mary Lou:

RAMSEY: You know, I was a tired little fellow. I didn't have any Thanksgiving. I ate a [bent?] ham sandwich in my office that day because Mr. Dody had to have three new scenes Friday morning. He called me at the office to see how I was doing -- he'd just finished his Thanksgiving dinner, [you see.?]

7. Probably a page or two later:

MARY LOU: You poor thing.

RAMSEY: [I'll be out?] a couple hours. Hope I can take it.
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THE TIME OF THE BIG SNOW

1. More fill-in-the-blank. From near the beginning:

a. ... and Irving [Bower?] was Wattwamat the Indian.

b. ... and Mrs. [Mavity?] was so mad ...

c. What is Kate's line after Ted mentions Whittier's "Snow-Bound"?

d. ... When we got out of his road, Mr. Ditmer dashed on past [?] all bundled up. ...

2. This episode takes place in Cooper's home town of Pekin (the characters live on South Fifth Street) and there are a bunch of proper names mentioned -- perhaps his neighbors. Can you confirm the spellings?

KATIE: Well, there's Morris' house, then Walkmeyer's, then Reverend Bowman, then--

TEDDY: Then there's Bolanders and Willie Jensen and Judge Kearns. Only I don't know where I am.

KATIE: [?]

TEDDY: No. We ain't lost yet. But I want to know where we are.

KATIE: Let's go over to [?] and look and see.

3. After young Teddy bumps his nose on the tree:

a. I'll get some [?] or something from the people in the house.

b. ... only it's kind of early in the day for people to have oyster stew [?]

4. After they open the window to let out the feathers:

TED: ... They seemed to multiply and the air was full of white [?] in the [dust?] outside.

5. The old woman tells Teddy and Katie her many names:

OLD WOMAN: ... Up in the northland they call me [Freya?] and the Japanese people call me [Ameratsa?]. ...

6. More proper names. Near the end:

TED: It was almost midnight when they found us, Katie's father and mine, and the blacksmith Mr. Wright, and Arthur Donahue and his brother Harry.
_______________________


Once again, Wyatt, thanks for all the time you're taking on this. If I'm asking too many questions, just say so.

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