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CBSRMT Episode Information
Title:
Life Blood
Plot:
In this tale of revenge and deception, an embittered scientist creates a life-like robot whose sole purpose is to destroy the life of his old rival.
Episode:
1096
Air Dates:
First Run - June 23, 1980
Repeat - October 14, 1980
Writer:
Listen:
Rating:
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29 Responses to Episode 1096


(This takes the premise in the previously-reviewed "The men with the magic fingers" episode a bit further.) JOHN BEAL...that's the actor's name I couldn't remember, the guy who sounds like a kindly uncle in "The ruby lamp" and "Time and again". For those of you who recall the latter (one of the RMT's absolute finest, which I'm fixin' to listen to again here at work), Beal embodied the ability to be simultaneously kindly and devious in that episode, and he duplicates the effort here. He plays a brilliant and apparently wealthy scientist/inventor here. A young, handsome doctor friend of his has fallen in love with Beal's stunningly gorgeous niece, Amelia. The doctor tells the scientist he wants to marry Amelia, but Beal's character says (paraphrasing Elvis) "nix, nix." He says she's a robot, designed to be irresistible to men. When the doctor calls his bluff, Beal's character proves it by sticking a pin deep into Amelia's arm. She says it didn't hurt at all. The doctor says she could have been hypnotized. Beal's character says that could be but points to her unstained arm and asks, "If she's human, where's the blood?" Cue the RMT spooky music. Remember the title "Life Blood"...it plays a role here (as blood also played a crucial role in "Time and again"). Beal's character takes care of that particular detail about his creation in the future. He also tells the doctor of the scheme he's hatched..to get "Amelia" to lure a former scientific associate (who unethically did some damage to the inventor on a former project of some sort) to break off his engagement to another woman and marry her, whereupon at some grand moment Beal's character can expose the new bride as a robot and shame the former associate (played by Ralph Bell). The Elizabeth-Montgomery-in-her-younger-days-voiced Marion Seldes plays Amelia in a very good casting job. This original episode aired immediately before "You're going to like Rodney". Both were darkly memorable pieces of writing, even though there's a strange, hard-to-explain twist at the end of this one. Reply With Quote

A lot of (Rod Serling's original) "Twilight Zone" fans like the CBS RMT, the TWZ's "Lil' sis" in many ways. (Not the least of which, being in the CBS stable, they used much the same wonderful background music.) Some TWZ episodes made it to the CBS RMT, like Ambrose Bierce's "Occurrence at Owl Creek Bridge" and "The self-improvement of Salvatore Ross" (renamed "A bargain in blood" for the RMT). This particular episode is fascinating in that it was all but directly influenced by the memorable original-season Twilight Zone episode "The lonely"...yet it's told completely in REVERSE. A different setting (modern America for "Life Blood" vs. a prison asteroid on "The Lonely"), different people (Apparent Nobel-level physicists and physicians vs. a convicted murderer), the "plot twist" Darryl B. speaks of (won't give it away, but there was no such problem in "The lonely", and in fact, a different ending ostensibly resulted because of it) and most importantly, the timing of the surprise (in "The lonely" the protagonist, played by the enjoyable, late Jack Warden, learns his "lady's" secret immediately...in "Life Blood", the secret is the story). Troubling subplot: on first hearing the character of the wonderful John Beal, he sounds like a kind, loving uncle, but when you carefully listen to what he apparently has told his "niece", it seems all but evident that he's abusive. Not sexually, but emotionally. And as Gordon Gould's character in the play all but says: he created a lifelike, beautiful female android just for THIS?!?!

"Come on and be my party doll...come on and be my party doll..." - "Party doll", performed by Buddy Holly Correct me if I'm wrong, but wasn't that Buddy Knox that did "Party Doll"? I used to sing the song in a college band way too long ago and that sticks in my mind. And now back to the real discussion.

This one did closely resemble a Twilight Zone episode. I gave it a 4. I, too, enjoy the sci-fi element and thought that Burnett incorporated it nicely without being gratuitous. I wish it had been cast a little different. I've never much cared for Gordon Gould's voice. Nice pick!

It was an interesting and believable enough to be scary (as far as the thought of someone actually being able to do it). I need to relisten to the last act, though. I found myself waking up at the end and probably missed a few minutes of the story.

Okay, I definitely missed a lot of the last act including the end! It was rather disturbing and violent at the end there. I guess the "mad scientist" "had it coming" when he died while the robot was being destroyed.

BTW, I don't think the rules of marriage as they're being debated today would apply to this episode. This wasn't a question of whether a man could Well, like I said, I probably suffer from the emperor's new clothes syndrome and was reading too much into it. But it is strange how my mind flitted around a number of political/social issues while listening to this episode. Apart from the superior "The Assassination," (my favorite CBSRMT of all times), very few of the shows I've listened to so far have had this effect. Anyway, you've brought me back down to earth...

"The Primrose Path['s]" overt resemblence to the Patty Hearst situation is unmistakable. Talking about political correctness, Some of the things women say or are said about women would just be slammed today. One episode, I don't remember the title, a man and a woman go through some sort of of ordeal. At the end, the guy says "Good thing you thought to bring the lighter." She replies, in her most feminine voice, "Well, I'm ready to let you do all my thinking for me from now on."

Ladies and Gents: I was reminded in reading this of my reaction to a very fine CBSRMT episode, "Under Grave Suspicion", where Ralph Bell and Patricia Wheel have a "modern" relationship. It ends in betrayal and the rage carried in the dialog is, I think, unique to my experience with otr thus far. The role of the woman here is modern and liberated, where pretty much everything goes because she (and he?) are unprepared for a relationship that involves "commitment no matter what". Life does what it does, and this couple falls apart, but the wonderful insight of the show is the consequence of treating a spouse cheaply.........this one needs to be put up for a show of the week.

Heck, in "Life Blood" alone there were some lines that I just wouldn't expect todays scriptwriters to include: (Not verbatim, but pretty close as I've listened to this more than once now) (At a restaurant) HARRY WILKERSON: "Who is 'Amelia'? What is she? Where did she come from?" AMELIA: "I'm just a woman, Harry. Just a simple, predictable woman. We're in a time when such a line would be interpreted by many as an insult to femininity. (On a subnote, with "Amelia's" earlier reaction to the word "robot", one almost wonders how confused she was programmed to be on this subject.) I loved the voice of Marian Seldes. All the regular RMT female performers seemed to have the ability to have both a feminine voice and a tough feminine voice. Even when she was in the latter category, (as in a very interesting show I'm listening to now "The search for Myra", where she plays a housewife who was apparently married only for her money) she could always sound so vulnerable. In movies or the small screen that might not be as noticeable, but in radio it worked so well for her, IMO, as an actress. I just listened to "The Primrose path"...not a bad show. tremendous comparison! I remember "Under grave suspicion". It's funny you should mention that show, because I thought Ralph Bell in "Life Blood" basically played a reprise of that role...both in "Blood" and "Grave Suspicion" he was a well-educated "modern" who didn't care that much for the sanctity of marriage (remember, he said in "Life Blood" that he made a similar vow to his then-wife to be Nita Raven that they "wouldn't stop living" (a.k.a. sleeping around) in the same way that in "under grave suspicion" he and his wife agreed to have an "open" marriage.) In both shows, he comes to the realization that he wants one woman, and comes unhinged and then kills her. I'd thought of the similarities between these two shows before but had forgotten about it before you jarred my memory on this thread...

Ok, I see there have been several posts regarding this program and it's very tempting to read before I write. I'll just have to write quickly so I can enjoy the discussion. I enjoyed this program even though it felt dated to me. In fact, part of the reason it was fun to listen to was the fact that it was so campy. As a general comment, I find that the programs that were most 'cutting edge' for their time are the programs that really don't hold up very well. Anyway, back to the play at hand. Again, I liked the program but the story was certainly strange and it's hard to imagine that someone would go to such lengths to exact revenge. Further, I really didn't understand the purpose for the author tying the creator's blood (and life) to that of the robot. I'm hoping there are some comments to clarify this for me.

good question. Ever heard the saying: "Harboring bitterness is like drinking rat poison and expecting the rat to die?" I think summed it up best about the "blood" part you wondered about. (BTW, I did too, but scriptwriter Murray Burnett in fact had his "good guy" asking the same thing, then being promised by Dr. Moore that he'd tell him some day if he helped him with his scheme.) Dr. Moore was consumed by bitterness, which happens to so many if not all of us from time to time yet is an equally dangerous occurence for each of us. So often, when we harbor the bitterness which compels us to seek revenge of some sort all we do is hurt our own life. That happened here, to the extreme. I'd not thought of it 'til he said it, but U_N_T pretty much summarized this plot...Dr. Moore put so much of himself into seeking revenge that when it happened, it deeply and permanently affected not only his adversary (who went through extreme humiliation in breaking off his engagement) but also Dr. Moore himself.

Folks, Your comments are terrific. I missed so much about this program and I definitely have to listen again now that I've read your comments. I feel a bit guilty for not seeing some of the darker elements of this program but I guess this is exactly why I enjoy the show of the week. Your comments have completely changed my perspective and I think Kurt (Texas) deserves a great deal of credit for 1) selecting a terrific program for discussion purposes and 2) for leading us in a terrific dialogue. Great job everyone!

Ladies and gentlemen, We've talked before about the inspiration for certain episodes, and also the similarities between The Twilight Zone and the RMT, both being in the CBS stable. I'm certain that this particular episode was inspired by what some have written is one of the better episodes of TWZ, penned by Rod Serling himself, called "The lonely". It's told, however, as though the way events unfolded and the circumstances in which they occured were reversed, with an RMT twist at the end, of course. The woman above in the TWZ episode was named "Alicia" (the actress was Jean Marsh, pictured with the fine character actor Jack Warden as he was readying to hit her with a shovel), while the woman Marian Seldes plays in this RMT episode is named "Amelia". Maybe you'll think I've got ElspethEricitis (though this episode was penned by Henry Schlesser) but...this show was the second most haunting one to me after "Star Sapphire". At least no children were harmed in this episode - then again, it depends on the definition of "children". It's one I found myself wanting to listen to again to pick up script details, and I also think some of Ms. Seldes' most powerful lines are when she doesn't say a word...

I have not listened to the episode yet, but will do so post-haste. I only write this in advance because I was so amazed and delighted to see the photo of Jean Marsh. I had no idea she'd done American TV shows so early on, especially a classic like Twilight Zone. I remember her fondly, of course, as Rose the maid on "Upstairs, Downstairs." (I believe she wrote and produced at least some of that series, if not all of it.) She also played the evil Queen Bavmorda to perfection in Ron Howard's fantasy film "Willow" many years later. Both Jean and Marion Seldes are very similar types of actress and two of my favorites. I'm anxious to hear this episode!

Well, I listened to the RMT episode, then I read the Twilight Zone script. I have to say that, although they both involve female robots, the two stories are as different as day and night. The Lonely is a truly beautiful, sad, and compelling humanist tale that broke my heart. (I must admit to being choked up just reading it.) Its themes are concerned with loneliness, kindness, love, and, ultimately, loss. Life Blood, on the other hand, is about revenge, retribution, and deciet. I felt it to be very hollow, empty. In The Lonely, the robot technology serves to make a person's life better, more bearable, less lonely----Alicia becomes more than a mere machine, so her loss at the end of the story is truly cathartic. In Life Blood the robot is designed solely to ruin a person and never becomes anything more than an object. I much prefer the former. I would have given Life Blood a 2, but I'm so happy to have been introduced to The Lonely (a Twilight Zone I've never seen before) that I'm giving it a 3 instead. Thanks, Tex, for the extra effort you went to, providing the Twilight Zone info and link. I'm grateful for having been introduced to such a fine story, even if it didn't turn out to be the show episode.

This was a very enjoyable episode. I enjoy sci-fi a lot, but this one nicely brought the whole "robot" theme away from computers and space ships and put it nicely into everyday life. It was nice to accept her role as a robot without all the runaround of how she looked, acted, etc. But I did have a question and a couple of comments on the episode as it relates to the genre of "robots": First off, does anyone know if the voice of Gerald, the friend, is played by Ed Flanders? He's perhaps my favorite actor and the voice is astonishingly similar to his, so it wouldn't surprise me. Second, this is not the most original concept. It immediately reminded me of a Star Trek episode called, Requiem For Methuselah (Feb 14, 1969) written by Jerome Bixby, in which the gang is on a mission to find an antidote from a man named Flint. They arrive at his planet and meet his daughter, who eventually, Kirk begins to fall for. Of course, we find out later that she is indeed Flint's "creation" and this causes a caustic struggle between Kirk and Flint over the girl's affections. Star Trek: The Next Generation's character of Data is likely inspired by this kind of story as well. Also, Isaac Asimov's book called I, ROBOT (1950) laid the foundation from which sci-fi writer's used as a guide in creating stories about robots. He introduced the famous, THREE FAMOUS LAWS OF ROBOTS: 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm; 2. A robot must obey the orders given it by human beings except where such orders would conflict with the First Law; 3. A robot must protect its own existence as long as such protection does not conflict with the first two Laws. It seems that the writer of LIFE BLOOD may or may not have been aware of these "laws." I did wonder why she didn't defend herself against the fatal attack at the end... hmmm... (Further discussion on this topic might be better suited in the "Off the Air" room) Anyhow, thanks for another wonderful episode!! I give it a 4.3 overall. best wishes,

Yes, I agree----thematically Star Sapphire and Life Blood are the same. They both involve an abusive "father/daughter" relationship. Guess that's why I find them distasteful. Despite the ugliness of the situation, I'm glad that at the end of S.S. the orphan girl ends up with a mother and the "father" is out of the picture. Come to think of it, the nutty professor gets his in the end of L.B. too. Still such sad and wasteful situations though. They leave me a bit cold, and with a bad taste in my mouth.

For the record, according to the CBSRMT Guide, the character is Jarrell Thornton.

Alrighty. I've been away for awhile, stressed and busy with he demands of life. I've missed listening to OTR and CBSRMT quite a bit and have prescribed for myself a weekly dose of the Show of the Week to help out. I anticipated the selection since last night, worked today and eagerly found the choosen show. Upon listening I was immediately reminded of a Star Trek episode, "Requiem for Methuselah" which has a love struck Kirk fighting over a complex, multitalented, kind, intellegent and beautiful woman, who unfortunetly turns out to be a robot. (Come now, who could blame him!) Well, the similarities soon end here. Our woman, Amelia, in " Life Blood", subtly and not so mechanically played by Marian Seldes is more programable than Kirk's Rayna. Rayna, aside from the spare parts, was too human. Amelia is pure input! Thus, her programming reflects the mind, and more importantly the heart of her creator, Arthur Moore ( John Beale). What is programmed is carried out, and Moore wishes to avenge his ego against an offending fellow scientist who happens to also be a womanizer, Harry Burton played by the almost always wonderful Ralph Bell. In fact, Moore is so obsessed that he creates this robot for the sole purpose of hurting Burton. The analogy of the story surfaces when we discover that Moore has placed 10 yr worth of his own blood into Amelia to make her all the more real and consequently ruins himself. Thus, his hate and obsession for revenge robbed him of life....much like hypertension and heart disease might with those that continue to carry similar grudges against elements in life. :?: It's about ruination as a result of intentions that are destructive and self serving. As regards the acting, I find episodes with John Beal and Ralph Bell nearly consistantly good, because they are that good. When I hear Ralph, I feel like I'm with a friend :!: I had not ever listened to a show made so late in the series either, and was pleased to find that good episodes exist here too.

Wow! Though I don't want to read the comments until I listen to the program, looks like we have a lot of discussion going. Great job!

Note how Amelia, in one dinner outing with Ralph Bell's character, almost breaks down into tears (effectively almost humanizing her) when he says one particular thing. Note how he in turn almost breaks into laughter. Who is the emotionless, robotic one there? Up to that point, he seemed to show about as much emotion as her, and it was telling that his happiest moments were when she seemed to be the most hurt. It is an interesting thought. She must have learned and developed feelings at some level. Or it is an inconsistancy with the story? Still, I think she is less human the the Ralph Bell character...being a scum bag is an exclusively human quality. Don't know too many lower life forms that manipulate others for ego satisfaction. The scene gives vulnerability to Amelia and provides us with more reason to despise the greasy Harry Burton.

I must absolutely agree with you that Amelia was a pawn created to satisfy the doctor's pride. She actually didn't do anything wrong, as she was only doing as she was programmed to do. Maybe it's just that I feel that Alicia was perhaps a better programmed robot than Amelia. Alicia actually seemed to gain a certain humanity by the end of the story, whereas Amelia never had that chance due to the vengeful circumstances surrounding her creation. That is sad and disturbing. There are all sorts of stories, ranging from "Pinnocchio" to Mary Shelley's "Frankenstein" to Osamu Tezuka's "Astro Boy", to "2001, A Space Odyssey," that examine humankind's responsibility toward the creations it brings into this world. With the exception of Pinnocchio, the other three artificial intelligences listed above are initially cast out by their creators as abominations. But all of them must learn to survive in this world, despite being cast out. (Well, except for HAL in 2001, who becomes meglomaniacal and must be shut down.) Robots serve many roles in literature, one of the most important being that of a mirror held up to humanity. In fact, I would go so far as to say that the journey of the robot in fiction is a compelling metaphor for the ethical, moral, and spiritual struggles we all must tackle in life--they are looking to their creator for answers, answers that are not necessarily forthcoming. The various ways they cope often reflect the various ways we cope. The robot is a more palateable way for us to view our own human weaknesses impartially. It is also a warning that we must bear all responsibility for the creations we bring into this world, so we should think carefully before we act. Well, I've gotten a little stream-of-consciousness here, so I'll wrap it up. I guess I'm just trying to say that Amelia never becomes more than what she was created for, largely because she was created for the wrong reasons. She is a sad pawn created by a selfish "god", if you will----whereas Alicia does become "real" because of love. And that is an encouraging and beautiful message for us all.

First, let me post the conversation I referred to where Amelia seemed to nearly break down in tears. It takes place just as Harry is giving her a box containing an engagement ring: HARRY WILKERSON: "Open the box...well, do you like it?" AMELIA: "It's very nice." HARRY WILKERSON: "'Very nice'?" That's an engagement ring. I'm asking you to marry me." AMELIA:"I...realize." HARRY WILKERSON:"That's all you have to say? 'I realize'? I'll bet I'd get more reaction from a robot..." AMELIA:(obviously shaken)"Don't you ever say a thing like that! Never! That's disgusting!" HARRY WILKERSON:"Well, well, well, well, well...a reaction at last. You...you ARE exquisite." AMELIA: "Promise me you'll never use that word again." HARRY WILKERSON: "Ah, what's wrong with 'exquisite'?" AMELIA: (still distraught) "It's nothing to joke about...you KNOW the word I mean." HARRY WILKERSON: (Chuckling with amusement) "Ha ha ha...I can think of a LOT of words some ladies might object to but 'exquisite'... AMELIA: (pleading) "HARRY!" HARRY WILKERSON: (calms himself but still chuckling)j"All right, all right...ha ha ha...it will never pass my lips again." Then, (with Azimov's robot rules in mind vs. her creator's intentions)...this quote from Dr. Arthur Moore, at around the 38:03 mark of the program: DR. MOORE: "She was designed to be irresistable, and also controllable...only...by me. She was created to please men...and she has."

both "Amelia" and Star Sapphire's poor orphan girl Edna O'Reilly were pawns. (The latter possibly sexually, but more definitely as a means to kill an unwanted wife.) But here's where it's hit me...they were both abused. "Life Blood", like "Star Sapphire", is a tale of abuse. More specifically, they were subject to abuse from a father figure. Think of it. Moore, Amelia's creator, admits that she's designed to be controlled by him, and she has indeed brought men pleasure...most importantly, to HIM, by helping him exact vengeance on an old nemesis. However, that exchange with the ring is even more telling about his character. I'm ill at ease to use the term "self-loathing" because that phrase itself has been misused. However, here it's clear...Amelia HATES the thought, concept or however she "understood" it, of a "robot". Therefore, she apparently must have been disgusted, and probably filled with hatred of herself. And WHO was the only person that could have given her that programming? Her "uncle", who was essentially her "father". (Just as Fred Gwynne promised he might become to "Star Sapphire's" orphan girl.) (BTW, when you watch "The lonely" you'll see again how I said it's the reverse of "Life Blood"..."Alicia" came with a set of instructions, and she'd freely talk with her new owner about herself as a robot and the range of things she could feel. Also, it's interesting that both "Life Blood" and "Star Sapphire" came out in the same 1980 season.) Poor Amelia...she was caught between two men who would abuse her in one way or another, and was given just enough programming that she could apparently feel "hurt" at the thought of being a robot. Both she and "Sapphire's" orphan were indeed no more than instruments to achieve a goal. Wow...even for an essentially 45-minute play these RMT scripts were deep. They were some true gems.

Very well thought out, Texas. In fact, your comments seem to reinforce the theme presented in that episode of Star Trek I'd mentioned as well... the struggle for control by men who want her for their own lust/control/needs. Very interesting thread!

"Only by pride cometh contention." - Proverbs 13:10 "Come on and be my party doll...come on and be my party doll..." - "Party doll", performed by Buddy Holly The "Gerald" character was played by Gordon Gould. (Not to be confused with the man of the same name who apparently invented the LASER.) Gould was often a "second banana" character who was with the RMT from its first year (I heard him as a doctor in "Wave of terror" from 1974) to its last (he was co-lead character with Norman Rose in the very sullen "Sand Castles" (by Elspeth Eric) in 1982). In a similar role like this one, he played the recalcitrant scientist who helped Nat Polen find a deadly, flawed invisibility formula in the RMT's "I thought I saw a shadow." As for the "I, robot" rules, that's fascinating. The only problem was, Amelia was essentially an extension of her "uncle", Dr. Arthur Moore, who was playing by HIS own rule rather than Asimov's, and that rule was: "You (Amelia) will do what I want, when I want it, and HOW I want it." He was a very prideful man. Steve, I think we're alike in how we see things...I said that this and "Star Sapphire" haunted me the most of all the RMT episodes, and they both did leave somewhat a bitter taste in my mouth (and you've pretty much agreed with me on the latter point). With "Sapphire" the reason was obvious: the hints, in whatever form, of child abuse, and to a lesser extent of a husband who was ready to kill his wife. (Both sins were intertwined.) With "Life Blood" (which my then 11-year-old daughter tipped me off to) I had to listen to this a few times to get a clearer picture of why I was bothered. Respectfully said, in my reply above I said "Life Blood" was inspired by the TWZ "The Lonely" but was essentially reversed. (When you get to watch it you'll see what I mean. I can still remember Jack Warden's character, a convicted murderer, imploring his friend: "It was self defense"...and I believed him. And this was a tremendous TWZ episode. You felt for both Warden's and Jean Marsh's characters. In the end, the only sympathetic character in "Life Blood" seems to be Gordon Gould's Gerald, but... - Note how Amelia, in one dinner outing with Ralph Bell's character, almost breaks down into tears (effectively almost humanizing her) when he says one particular thing. Note how he in turn almost breaks into laughter. Who is the emotionless, robotic one there? Up to that point, he seemed to show about as much emotion as her, and it was telling that his happiest moments were when she seemed to be the most hurt. - Note how Dr. Arthur Moore (in conjunction with thoughts above) says Amelia's purpose is "to please men" (Precisely what "The Lonely's" "Alicia" was apparently created to do). Note how even when she's not doing something good, (as near story's end) she's STILL trying to please any man who asks her. - I also got to thinking back of the times how, when I was young, filled with hormones, unmarried and quite foolish, I would have LOVED to have hooked up with Amelia. - Note, last of all, how quiet Amelia is in her final moments on the show. Then I realized...that's exactly how quiet she was when Dr. Moore was showing Dr. Gerald the very thing which gave this RMT show its title. (BTW, here are shots (no pun intended) of "Alicia's" final moments in "The Lonely", where as I recall she was as quiet as "Amelia"): I personally don't think in our lifetimes (or ever) we'll ever have an Alicia, or an Amelia. I think women, and humans, are just too complex of God's creations to be duplicated. But even though I can't put it into words, yet, Steve, I think at the bottom of this what really got me was summarized by Gerald, when he was trying to calm Ralph Bell's character after the latter man was exploding into violent rage. "Don't get mad at her, she's just a robot." It was like when one sees someone about to fly into similar rage at a child or (no similar value intended) a pet when they've accidentally spilled something, wet on something, or whatever. You know the child or animal just made an innocent mistake but they're about to face some overly harsh wrath because of it. Then again...she did indeed start "dating other men", according to Gerald. More directly, Amelia seemed virtuous, but I tend to think, according to the script, that she did indeed end up spending some time alone with Bell's lecherous character at his friend's apartment after he gave her the ring she wanted. (And either she gave in to him only up to a point before their marriage, or she was one SERIOUSLY lifelike woman. Hmmmm...) Sorry for the long response, Steve. I think the "rage" paragraph above is really what ended up haunting me on this. That, and the fact that (according to this) there was so much promise in the creation of Amelia, but her creator just wasted it on his own prideful ambitions. She was, in the end, still just a pawn caught up between two prideful men, one lecherous and one vengeful. And while she did some things that weren't good, one wonders whether she had any more capability to judge and choose right and wrong that the machines we're typing on to post messages on this forum. BTW, John Beal was cool...

We've got a thread about the CBS RMT playwrights elsewhere...it's interesting to note that this episode's author Murray Burnett apparently wrote (and was handsomely compensated) the play which became the basis for "Casablanca." I listened to the show again this week to try and find the "stimuli" he put in the script which Marian Seldes' character responded to. It was interesting that she took the lead on a conversation pretty much only when the subject was about "Nita Raven" and Harry Wilkerson's breaking off the engagement to her. Otherwise, she seemed to be programmed to respond in 10 word sentences or less. Her favorite phrase seemed to be "very nice". (I think Dr. Moore said it once, too.) As I said, this was a fascinating one to relisten to. (BTW, - I think she was supposed to be lifelike...that's what fooled Jerrall. Now, I got the feeling that she spent some time (right after he gave her "Nita's" engagement ring) with the wolfish Dr. Wilkerson at his "friend's apartment", and whatever they did...well, apparently (as I said earlier) either she set some premarital limits or she was quite a replica of an actual woman. BTW, I don't think the rules of marriage as they're being debated today would apply to this episode. This wasn't a question of whether a man could marry a robot he fell in love with (as the fellow on the TWZ episode was pretty much ready to do) but of a man marrying a woman that he didn't know was a robot. Dr. Moore was quite aware of the eventual consequences...he told Jerrall that the latter "wouldn't want to marry her."

No problem...thanks for the "heads up" on that program. Actually (though this really should be for another thread) I think the RMT was ahead of its time on some issues. It was unfettered by political correctness of later decades. (Case in point: "The Twilight Zone" ran another episode: "The howling man", about some monks who'd imprisoned Satan and how a guest they took in overnight accidentally let him out. If you'll go to that page and scroll all the way to the bottom you'll see a cane-looking object (they called it "The staff of truth") locking the door. You'll also see the actor John Carradine, but I digress... The staff was what held Satan in. I read in a very good book on every TWZ episode that the director or someone had originally written for there to be a cross on the door, but that it was replaced by the "staff of truth" because someone was afraid other religions might be offended. And this was in the year [i:b704734432]1960[/i:b704734432]. Fast forward 21 years to the RMT's "The Raft", which aired in 1981. I counted no less than [i:b704734432]four[/i:b704734432] scripture references quoted in that episode, three by E.G. himself, including one directly mentioning Jesus' admonition to Peter "What doth it profit a man to gain the world but lose his soul?" If, in fact, I had a dollar for every time I've heard a biblical reference on the RMT, I believe I'd honestly have a couple hundred dollars in my pocket.) With that in mind, it was fascinating some of the subjects the RMT (with E.G. at the helm) tackled: - Islamic terrorism ("The terrorist") - Presidential candidates fathering out-of-wedlock children ("Guilty secret") - Homosexuality and licentious living ("Picture of Dorian Gray") - Abortion ("The phantom lullaby", "Wave of terror", even though the latter had some not-so-good elements as well) - Child abuse (The aforementioned "Star sapphire") - Celebrity misadventures (not a strong enough term) of the day ("The primrose path" appeared to be based on the Patty Hearst kidnapping/conversion) The writers seemed to look at these and other subjects through a totally different lens than so many of today's scriptwriters do...and they ended up looking at some issues more objectively. IMO, that's part of what made this so memorable.

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