Mutual Presents: Monday Matinee's Les Miserables- Part 4 #7.13(040526)

0:00Sunday Showcase, highlighting some of the best audio storytelling found anywhere. All right here on the Mutual Audio Network. The following audio drama is rated PG for parental guidance. Welcome back to Mutual Presents, I'm Jack Ward in this lucky 13th episode of season 7 in the year of our Lord 2026 brings back our Monday matinee feature from the Mutual Broadcasting system. Another than the immortal Orson Wells in his extended and exclusive series for Mutual War, Le Miserable. This week we're locking the auditorium on to episode 4 and Couset. Penny and I remain as always your faithful servants. So long as these problems are not solved, so long as ignorance and poverty remain on earth,

1:03these words cannot be useless. These are the words which preface the 4th of 7 broadcast based on Victor Hugo's great novel Le Miserable. WOR and the Mutual Network present Orson Wells, distinguished young author, actor and director, in an adaptation of the book which he has created especially for radio. Each episode portrays some development in the progress of Jean Valjean, a role played by Orson Wells who has also heard reading the narrative. Le Miserable, part 4, the episode which is called Couset. Jean Valjean, you are a hardened criminal and a second offender. You are charged with concealing your identity and changing your name. How do you plead? Guilty. You are so found by this court. Jean Valjean, you are sentenced to hard labor in the gallows under the double chain for the rest of your life.

2:10The notebook of Inspector Javier, July 1823. I have caught Jean Valjean in a whole lifetime of service with the police. There is no entry in this book which is occasionally so much satisfaction. I have caught Jean Valjean. I am affixing to this page and excerpt from a recent newspaper in Paris, here it is. The Paris Journal, July 25, 1823. An old convict has been brought to trial called Jean Valjean. The circumstances are extraordinary. In the District of Montreux, a gentleman called Monsieur Madeline, had in acknowledgment of his service has been appointed mayor. And as such, he was famed for his wisdom and his good works. But this man has been unmasked. The police authorities, thanks chiefly to the zeal of Inspector Javier, have disclosed the true identity of Monsieur Madeline. He has none other than the convict Jean Valjean. It appears that previous to us arrest this man had succeeded in withdrawing from his bank as some amounting to more than 500,000 francs, which he had deposited there and which it has said he had realized in his business.

3:12Since his return to the gallows, it has been impossible to discover where this money has been concealed. This is the end of the newspaper article. I think I can guess the motive of Jean Valjean concealing this money. His hope of escape, and there's another matter. But child, because that, the child of the woman faundine, it was this faundine whom I apprehended on the street and who Valjean in the character of the mayor protected from justice and in the compassion of one criminal for another, nursed through the illness from which he died. This child was abandoned at an early age to the care of some innkeeper. If I know Jean Valjean, the purpose of this money is the care of this child. I must find this cassette. November 17th, 1823. Here is an excerpt from the Toulon Journal yesterday. The convicted work on board, the gallowship orient, on his return from rescuing a sailor fell overboard and was drowned. His body has not been recovered.

4:12This man was registered under the number 9, 430, and his name is Jean Valjean. This finishes. The case is closed. Jean Valjean is dead. Tonight we are to consider the story of Cosset. Cosset. Fontine had left her at Morfemier, with some innkeepers called the Tannadees. The little Cosset, the child of Fontine. Jean Valjean had promised to care for Cosset. Javier never found her. Now who were these innkeepers? These Tannadees. This man and this woman were cunning and rage-married. A hideous and terrible pair. Cosset was between them, undergoing their double pressure.

5:14Like a creature who was at the same time bruised by a millstone and lacerated with pincers. The man and woman had each a different way. Cosset was beaten unmercifully. That came from the woman. She went barefoot in winter. That came from the man. A ferocious mistress. A malignant master. A rascal of the subdued order. Tannadees' code is an innkeeper. It is interesting. The duty of the innkeeper is to sell to the first comeer. Food, rest, light fire. Dirty linen, servants, fleas and smiles. To charge for the open window of the closed window. The chimney corner, the sofa, the chair, the stool, the bench, the feather bed, the mattress, the straw bed. To know how much the mirror is worn and to tax that. To make the travel of pay for everything. Even to the flies that his dog eats. Cosset was their only servant. And this child of eight did the work of a fourth staff. She brushed, scrubbed, swept.

6:14Ran errands, lifted heavy things, puny as she was. And the moment the poor girl weirded in her back breaking tasks. The huge figure of Madame Tannadee loomed above her, shrilling commands through the inn. Cossets! Cossets, all there you are. Well, what have you been doing? Nothing as usual? You know we need more wood for the kitchen. Get it? There, that'll teach you to waste time. Christmas Eve, 1823. Pretty windows, candy booths, toy stores, parties, and good things to eat. Little shoes of the fireplace for Father Christmas to fill. Christmas Eve, festivity in the little town of Morfemiel.

7:14Extra work at the inn, extra work for Cosset. You girl, have you wadded my horse? Oh, yes, Monsieur. He tried some old bucketful. Ah, that's a lie. He has a way of blowing off when he's not had water. But I know well enough. Get some more water, Cosset. Excuse me, ma'am. There is no water. Well, I'm going to get some. Where must she go for it? To the spring. But it's night. It's as black as a nothing. Yes, it would take you cat to go along this piece without a lantern tonight. She'll go. She can see. Hey, ma'am. I'll get a big glow for the bakers as you come back. There's 15 suits. Check me down. Now, get along with you. The child fled with her bucket, running as fast as she could. The night was cold and the spring was far away. Soon, the gleam from the town disappeared.

8:14And the darkness became thicker. It was no longer Morfemiel. It was open country. Dark, terrifying country. The child's heart pounded at her ribs. With her ghosts moving in the trees. Time after time she faltered and started back towards the inn. But always there appeared to her the more dreadful specter of Madame Tenerde. And she went back to her room. And she went back to her room. And she went back to her room. And she went back to her room. And she went back to her room. And she went on. At length she arrived at the spring. Cossette did not take time to breathe. She felt in the darkness for a young oak which bent over the spring. Found a branch, swung herself from it, bent down and plunged the bucket in the water. In that movement, she did not notice that her apron pocket emptied itself into the spring.

9:15The 15 soupies fell from her dress and dropped into the water. Cossette neither saw nor heard the coin fall. She was anxious to start back at once. But the effort of filling the bucket had been so great that it was impossible for her to take a step. For on this night this starless terrifying Christmas night. That bucket was heavier than ever before. The woods were blacker. The wind was colder. The child tugged at the stooping weight and managed a few steps. Terror gripped her. Terror. Terror of something she couldn't see. She began to count along. Two, two, three, four, five, six, seven, eight, nine, one, two, three.

10:17She had to go on. If only for a few steps at a time. She walked on, bending down like an old woman. The iron handle of the bucket was numbing and freezing her little wet hands. On and on. A step at a time. Madame would beat her. Madame would scream at her. Madame would whip her. All at once. The weight of the bucket was gone. A hand had caught the handle and was carrying it easily. She sat raised her head and saw a large dark form beside her in the gloom. And she was not afraid. Oh, thank you, Monsieur. My child, that's... That's a heavy bucket you're carrying there. Yes, Monsieur. Give it to me. I'll carry it for you.

11:17Here we are. It's very heavy indeed. You're a little girl for such a big bucket. How old are you? Eight years. Have you come far this way? From the spring in the woods. Are you going far? Oh, yes, Monsieur. A good quarter of an hour from here. Little girl. Yes, Monsieur. Have you no mother? I don't know, Monsieur. I don't think I have. Well, the rest have one. From my part, I have none. I don't believe I ever had any. What's your name? Jose. Where do you live? At Montfay, I may. Jose, is that where we're going? Yes, Monsieur. Who is it that sends you out to the woods? After water, at this time of night. Madame Tannardier. Oh. What does she do? Madame Tannardier. She is my mistress. She keeps the tavern. The tavern? Well.

12:17Well, I'm going there to lunch tonight. Show me the way. Monsieur, we are going there. Look around the main street. How far is the end? We are close by it. Monsieur, I'm out here for a bucket now. What for? Before the Madame Tannardier sees that if anybody else brought it for me, she will beat me. Oh. Oh, not on Christmas, my child. Is this Christmas, Monsieur? Oh. It's you, is it? Well, you've taken your time. Madame, here is the gentleman who's coming to last. What? Oh, Monsieur. Come in. Have you a room? Oh. My brave man, I'm sorry, but I have nothing. I'm sorry, but I'm sorry. I'm sorry, but I'm sorry, but I'm sorry. My brave man, I'm sorry, but I have nothing.

13:17Put me anywhere in the garage or in the stable. I would pay as if I had a room. Forty-two? Very well. Forty-two. In advance. I don't lodge poor people for less. I should want some supper. If you're prepared to pay this year, very well. Oh, I forgot the bread. Couset! Couset! Oh, Madame, the baker was close. You ought to have not... I did not, Madame. I'll find out tomorrow if that's true and if you're lying. Well, give me back the 15 soon. Come, don't you hear me? Have you lost anything you did to me? Well, I'm sorry. It's gone, Madame. Forgive me, please, Madame. Oh, so you lost. It must have slipped from my pocket at the spring. Oh, Madame, it won't ever happen again. I should say not. I'll teach you to lose my money. Well, that way. No, no, Madame, don't forgive me, please. Madame. Forgive me, Madame. Madame. I beg your pardon. But I just saw something fall out of the little girl's pocket and roll away. This may be it.

14:17Here it is. A twenty-sew piece? Yes. Isn't that what you gave her? Why? Yes. Yes, that's it. Couset, don't ever let that happen again. Get to work. Now, Miss you, let me show you to your own. I beg your pardon. Late that night, the stranger went to bed. Not in the stable as he had expected, but in the best room of the inn. This courtesy on the part of the Tanadeh's hat, as usual, a purpose behind it. A purpose which the irritable Madame Tanadeh could hardly understand. That fool! What was in his head to protect that little monster, Couset? To pretend he lost a twenty-sew piece.

15:19Big of that! That's what I wouldn't give ten super. It's very simple. It amused him. He has the right to do it if he can. K for it. Why interfere as long as he has money? No matter what you say, I'm not a kicker said out of doors tomorrow. You are indeed. Up so soon, Miss you! Are you leaving us already? Yes, Madame. I'm going away. Miss you're there and has no business in your family. No, no, I have not. Do you do a good business here, Madame? So, so, Miss you. It is a very little place, as you see, and we have so many expenses. I had a little girl eat this out of house and home. A court little girl? Why a little girl? You know Couset.

16:21Well, Madame, suppose you were relieved of her. Couset? Oh, Miss you're a taker, keeper, carrier, supper, drinker, eat that, be blessed by all the same. Agreed. Really? You will take her away? I will, immediately. Call the child. Couset? Where is my bill? How much is it? I hear it here, Miss you. You owe us 23 francs. Ah, and that day what news? He's going to take that bigger Couset off my hands. I shall go fetch her at once. Couset? 23 francs, you said. Here you are, Miss you. Father, Miss you, there is an extra charge for your candle. That'll be two francs more. Oh, thank you, Miss you. As to the little girl, I must have some talk with you about that. Well, your wife seems anxious enough to get rid of her. Eh, that may be, Miss you. But I must say that I adore the girl. What? You wish to take out a little Couset from us. I'm a famous here, I cannot consent to that. It is true the child costs us money. It is true the child has faults, but we love her. We must all do something for God.

17:22After all, one does not give his child to the first traveler. You understand? I do not even know your name. Now, if I were to see perhaps some paper you have, a passport perhaps? Eh, Miss Lieutenant Yeh. People do not take a passport to come five leagues from Paris. If I take Couset, I take her. That is all. You will not know my name or my abode. You will not know where she goes. And my intention is that she shall never see you again in all her life. Do you agree? Yes or no? In that case, Monsieur, I must have 1,500 francs. I was prepared for this, 1,500 francs. There it is. Come along, dear. You are not frightened of me, are you? Yes, she is, Monsieur. Wrap yourself up, child. It's gold, and we're going away. Wait, Monsieur, my money. I've given you 1,500 francs, Monsieur Tenergier. You have your money.

18:24Come, Couset. What luck, husband. He has taken the little rich, and we have 1,500. Ah, don't be a fool. We might have had thousands. Why did he come here for the ugly brat? Who is he? In heaven's name, who is that man? Who was that man? He was Jean-Balcha. In his fall overboard from the Orion. The sea had been kind to him. The sea had hit him from the galley guards. The sea which was supposed to have closed the case. In inspectors, notebook. Number 9. The sea had hit him from the galley guards. The sea which was supposed to have closed the case. In inspectors, notebook.

19:24Number 9.430 was very much alive. So Jean-Balcha took Couset away with him to Paris. Jean-Balcha had never loved anything. He had never been father, lover, husband or friend. Couset, and to watch her playing, was nearly all his life. Then he would talk to her about her mother and teach her to pray. It is very sweet. This grand and strange emotion of the heart in its first love. Poor old heart. So young. And for Couset, from the first day, everything that she felt in her being loved this kind old friend. She called him father and knew him by no other name. Now Jean-Balcha was cautious. He never left the house in Paris by day,

20:24keeping prudently to the infrequent side alleys of the neighborhood. He would walk sometimes an hour or two at nightfall. Now there was in that district an old beggar who sat crouched on the edge of a condemned will. Those who were envious of this poor creature said he was in the pay of the police. He was an old church beetle of 75, who was always mumbling prayers. Jean-Balcha never passed him without giving him a few pennies. One evening, toward the clothes of winter, as he was passing that way, he noticed this beggar crouched in his usual place under the street lamp. The man according to his customs seemed to be praying. It was bent over. Jean-Balcha walked up to him and put a piece of money in his hand. The beggar suddenly raised his eyes and stared into his face. Then he quickly dropped his head. It was over in a moment, but Jean-Balcha shuddered. It seemed to him that he had seen by the light of the street lamp,

21:26not the calm, sanctimonious face of the old beetle, but a terrible and well-known countenance. Some instinct kept Jean-Balcha from speaking. He gazed at the crouching figure. The same form, the same rags as on the other day. He told himself he was mad, and he hurried home. T-R-E-E. C-Z-B-R. In the tree. T-H-E. What is it, father? Quiet. It's someone in the hall, father. Who is it? I don't hear. I don't talk. He stopped, father. He's just outside the door.

22:26Father, why are you blowing out the light? Father. Little one. You must go to sleep. Yes, father. But what does he want now, please? Please, Corset. Yes, father.

23:36Is he gone? Is he out there, father? Has he gone away? Put on your clothes, Corset. Hurry. Yes, father. Where are we going? I don't know. I don't know. Are we going far? We're leaving Paris tonight. Is there something to do with that man and the whole father? Father, what was he doing? Peking in? Do you know him? I know him. What does his name, father? His name is Javier. Through the sleeping city, through the narrow silent streets, running, creeping, doubling, backing, describing a hundred slide patterns in the labyrinth of back courts and alleys and passageways, ran these two hunted beings. The old convict would be the mayor of a city. The little child would be a slave. Frightened, breathless, unspeaking,

24:38fleeing the terrible policeman, fleeing Javier. He came to a blind alley. There were high walls there, and to the left at the corner where a street began, Javier, Javier saw a sentinel. He felt as if caught by a chain that was slowly winding up. At this moment a muffled and regular sound began to make itself heard at some distance. Soldiers, Javier saw the gleam of their bayonets. They were coming towards him. They came slowly, stopping to examine the recesses of the walls to search the entrances of doors and alleys. Javier led the way. There was only one thing possible. In the prison ships, the old convict had learned a strange art. The art of climbing without ladders or ropes, of supporting himself by the back of his neck,

25:39his shoulders, his hips, and his knees. The art of raising himself straight up the right angle of a wall to the height of a six-story. Javier, Javier looked up the wall, and measured the distance with his eyes. About 18 feet, the difficulty was cassette. He needed a rope. Where could he find a rope? At midnight, on a deserted street. Then, Javier saw the street lamp. Not that time there were no gas lamps in the streets of Paris. The lamps were raised and lowered by cords. Traversing the street from one end to the other were these cords. The wheel on which the rope was wound was locked below the lantern and a little iron box. Javier saw spraying the bolt of this box, and an instant after was back at the side of cassette. He had a rope. A half-minute, and Javier was on the top of the wall. Another, and he pulled a cassette. The next instant, they were safe.

26:40Safe on the other side. He's got to be there. He can't set it. He can't set it. He's got to be there. He's got to be there. He's got to be there. He's got to be there. He's got to be there. He's got to be there. Father. Yes, cassette? Can I talk now? Yes, little one. Father, where are we? What is this place? I don't know my child. Father, how long will it be to Javier finds us here? He won't find us here. The notebook of Inspector Javier, January 9, 1818. This is the anniversary of Jean Valjean's escape.

27:40This is the date of my failure. This is the day when Jean Valjean eluded me and banished almost before my eyes. In a closed and guarded street to think that this man is free, alive, somewhere in the world, and laughing at justice. But give justice time. I can wait. I have waited before I can watch. Jean Valjean is my man. Someday I will catch him. W.O.R. and the mutual network have brought you part four of Victor Hugo's absorbing masterpiece, Lémi Zoroad, the episode which was called Cossette. Orson Wells, distinguished young author, actor, and director, played the role of Jean Valjean and was also heard reading the book

28:40of Jean Valjean, and was also heard reading the book of Jean Valjean, and was also heard reading the narrative passages which bound together the dramatic action. Assisting Mr. Wells, were Martin Gable as Javier, Estelle Levy as Cossette, Agnes Morehead, Ray Collins, William John Stone, and Hiram Sherman. Next Friday evening, at 10 o'clock Eastern Daylight Saving Time, we shall present Lémi Zoroad in its fifth phase, the episode which is called Marius. This is the Coast to Coast Network of the Mutual Broadcasting System.

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