Quiet Please - Whence Came You?

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2:27The Mutual Barcasting System presents Quiet Please, which is written and directed by Willis Cooper and which features Ernest Chattel. Quiet Please for tonight is called Wence Came You. I came from Jerusalem and I traveled knees to Good Deal in the last 20 odd years and I flat on myself that I know my way around. So when I got off the plane at Cairo I didn't start for the camp right away as a good storybook archaeologist would have done. I made a beeline for shepherds in the room I'd left a couple of days before when I went to Jerusalem. The bath, the gin and tonic and the large batch of mails in the States, what more can a man ask. The Cairo on a hot night? But of course it was too good to last.

3:29Just gonna run. Where you going? Hey Austin, wake up. I'll hold it. Hey, it's a felman. Hey, it's a felman. Hey, hi Austin. We got some Satan rattles. Well I'll be darned. Come on here. What are you doing here? What you got there? You're getting around, don't I? This is Gin and Tally, how are you? Well I'm fine but come in. Well sit down. Here are the last men in the world. Here, take a Gin and Tally before I drop it. Well, the time. The time and stayed, Dave. Fine, Gully, I'm glad to see you, boy. I'm glad to see you. I've been looking here for three days waiting for you to come back. Hey, that looks skinnier. Well you go out and dig holes out there for six months. You'll take off some of that fat dude. Give me fat the hog away you're kidding. Well, get your shirt out of here. Let's go see the town. Sit down. Come on, what you doing here? Business?

4:29What kind of business? Newspaper business, Nash. What's cooking in the Middle East and stuff? Say, how do you get more of these things? We'll get on the bar, I mean, if they're colder down there. Come on, come on, tell me about it. Well, you know, everything is going to be fine. Well, you know, Eddie Heffer can't just call me in and said, draw some dough and go eastern, send up some stuff for the Sunday Feature section. The trip's making a monkey out of us again. So I remember the dear old days on the midway, you and me, and you're around here, so let's go see the town, all right? I'll be done. When did you leave Chicago? Stay before yesterday. Oh, boy. Yep, the loot's still there. They still got the burly queue shows on South State Street. The Michigan Avenue bridge is always up. The cubs are in seventh place. Now? Now what? Now we go see the town? Come on, put on your pants. You've never been in Cairo before, have you? Me? Not me, why? Well, if your head you wouldn't care much about seeing up, my boy. Yeah? Yeah.

5:29But women? You had a good look at any of them? Have I? Oh, boy. What? The one that's waiting for you downstairs. Waiting for me? Wow. What are you talking about? I don't know any women in Cairo. There's one who knows you? Well, you're crazy. I'm telling you. How do you know? She's been waiting down there for three days. I've seen her. What she looked like? Oh, boy. Not a native. Leo, that's what. Is this one of your bum jokes, Ed? I'd give you my word of honor. I don't get it. Come on downstairs and you will. So we went downstairs, British Colonel's American Travelling Salesman, Egyptian Army Officers, the fee for two of the bevy of the ugliest women in the world. And I don't see any woman waiting for me. There, by the door to the bar.

6:31And I look. 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 life-light paintings of a queen of the half-hour dynasty that I've seen on the walls of Jones, 2000 years old. How can I describe her? Your eyes were black. Her hair was black and cut in the manner of the days of the shepherd kings that ruled the valley of the Nile a thousand years before the pyramids were built. Red lips that smiled at me slowly. I felt my niece tremble as she looked into my eyes. Come on, let's go ask if she's got a friend. Then when I look back at her. Where'd she go? It was midnight, then one o'clock and two and then three.

7:36We still walked the streets of Cairo. The waning moon was rising in the northeast behind our shoulders as we turned our steps back to the hotel. Twice, I thought I'd seen her and twice she, if she it was, disappeared into a narrow winding street where we couldn't follow. When it's time to scale your business, it's time for Shopify. Get everything you need to grow the way you want, like all the way. Stack more sales with the best converting checkout on the planet. Track your chichings from every channel, right in one spot, and turn real-time reporting into big-time opportunities. Take your business to a whole new level. Switch to Shopify. Start your free trial today. At QVC, shopping is more than just checking out. It's discovering something new every day. Start with today's special value.

8:37Then explore exciting finds across the brands and categories you love. From beauty and fashion to home, culinary and outdoor living. Shop now at QVC.com. It's fall in Jeep country, and during the driving to fall sales events, get a great deal on four-by-fours that refuse to be contained, like Jeep Wrangler. Confidence built into every drive with the most awarded SUV ever, Jeep Grand Cherokee, and freedom that can't be denied, with the open-air freedom in Jeep Gladiator. After 85 years, it's no surprise that Jeep became America's SUV brand. Get a great deal during the Jeep driving to fall sales event. Jeep is one more awards over its lifetime than any other SUV brand, even the Jeep Grille Rift, Strademarts, the CAUS LLC. No, I never followed women about the streets of a foreign city before, and not in all my life. Well, there's little enough of that in the life of an archaeologist. The women we followed died a thousand, ten thousand years before we were born.

9:40We know them only by the portraits painted on the walls of a musty tomb. By what we find in great, hermetically sealed stone cascets, wrapped in rust-colored linen, and smelling of the ghost of cinnamon and mure and spikein heart. I don't know why I had to this. I know. She wanted you to come after. That's ridiculous, Abe. I heard her asked for you. Before, but she wanted me. When is a pretty good usually one of a guy? Drinks? Something to eat? A good time? I should have had that for many, buddy. Yeah, me, for instance. But she wanted you, Austin. Why? Maybe she's a spy or something. A spy? Maybe she wanted to set you something. You know, you grave robbers. Maybe she knows where some old feroer somebody has planted. That could be, I suppose. Well, I'm for bed. I gotta get out of the digging's early. Fine night we have. Forget it. You got a room, huh? Alright, I'm the hall. Well, knock on my door when you get up.

10:40Alright. Good night. Night? Say they have this incense all the time around this place, huh? What do you mean? Don't you smell it? Smells like a funeral. I know. Oh. They're I suppose. Night? Not at all, Austin. I could have told him what the incense was. I smell cinnamon and miren spike and art too often not to recognize it instantly. When I opened the door to my room, the smell was almost overpowering, used as I am, to the funeral spices of Angel Egyptian tombs. No. No, I'm not gonna tell you what a beautiful Egyptian princess of the days of Hicksus was waiting for me on the darkness.

11:42This isn't a ghost story. It's a true story. There wasn't anyone in the room. I turned on the lights, opened the window. There wasn't anyone in the room. So I went to bed, rained about sailing on Lake Michigan. The storm came off in the thundercramp. And I was scared to death. Then I woke up and the thunder was the servant knocking on my door and thinking that my morning cup of tea. Abena, I got my jeep and rode out of the excavation. It's quite a distance from Cairo. I would never mind just where it is because that's my business, and the universities. That right rear tire went flat just as I've been expecting. I forgot to put air in the spare so we took quite a while getting it pumped up. And it was late afternoon when we got there.

12:45Abena, have you ever seen anything of this sort? The CA, these places are built one on top of another, almost every village in town in the east. Different periods of time, huh? That's right. There may be any number of cities built about the ruins of another. What we do is dig out the top when you see, recover everything we can, it's a historical importance. Then go on carefully down to the next. What do you do with the stuff that's on top? It has to be destroyed, naturally. Oh, gee, that's too bad, innit? Well, we make careful records, photographs. And then you just peel off the stuff and go on to the next. That's right. This is the fourth city from the top we're working on now. See those big pile of rubble over there? Yeah. That's the remains of the other three cities. Gee, that seems ashamed. All those years of work and living and everything. Well, we save artifacts, of course. Save what? Or things that people made, pop-charts, fragments of wall paintings, decorations, that sort of thing.

13:48What do you do with the people you find? People? Yeah. Well, mommy's the various things we read the inscriptions. Beside whether the fellow was important enough to investigate further, the Egyptian government has a great deal to say about the contents of tombs, you know. Find any gold? Not here so far, but we probably will. This part where we're standing was then a cropless of this particular city. The cemetery, you see. Oh, yeah. It's reasonable to suppose that there are other tombs under here. That's where you find the jewels and the golden stuff. Oh, generally, yes. Say, Austin, why don't you get a steam shovel in here? You'd move this stuff a lot quicker. You can probably smash them priceless inscriptions or paintings into bits. No, my boy, we do this gently. And you can read this stuff, Hi, O'Glifax. Hi, O'Glifax comes from two Greek words originally meaning carving by priest. Oh, okay, Professor. Can you read it?

14:48Yeah, of course. I can read a good deal of the later writings by Cycle and we get out of the real ancient stuff. That's a little more difficult. What does this say? What? This slab here. Let's see. Here was I, Hotepp, presented with, I guess you'd say, invested with, the working tools of those who build. In my hand, I Hotepp did take a took. The tools of the second grade of workman in stone, the, from the square and the... The level, huh? How'd you know? There were measles and mousse days. For sure. How do you think they did all this stone stuff? Hey, look at that. What's that there?

15:48It's a name, a, show them, it's probably Solomon. Yeah, this was in Solomon's time. Uh, right alongside the name. The middle, stone, of an arch, which is the secret. The keystone. These fellas didn't know how to build an arch. That's right, they didn't. Why is so excited about it, though? Hey. What? Look at that. This? Yeah, that's a very fine example of wall painting. Look how the colors are still bright. Look how they... Yeah. You see the same thing, I see. Don't you? You know what I saw. You know whose portrait was painted on the edge of the slab that came from the tomb that was old in the time of Augustus Caesar? Coincidence or not? Here was the face of the woman who waited for me the night before.

16:53In Cheppertotel. It's amazing how racial characteristics persist through centuries in Egypt. I have seen Egyptian men who might have been student common's own brother. I've seen women. But you wouldn't blame me for feeling my heckles rise a little at this uncanny resemblance to the woman who disappeared. I kept smelling mure and spiking art cinnamon. But I hadn't much time to think of it then, Martin Weaver, who was in charge of the actual excavation came up behind us. Well, I'm glad you're back, or I told you how we're doing. Stayed Felden, Martin Weaver. Oh, well, day before yesterday we broke through a place awesome that goes down to the city underneath this one. You did? Yeah, one of the workmen found a big sandstone slab and we cleared it away completely. I've got the big shears rigged over it now and I thought we'd wait till you got here to lift the slab. I want to do it tonight or what?

17:55Oh gosh, let's do it now, Austin. Well, what do you think? Getting dark. Let's have a look at it. Okay. I'm glad you're back. Bring anything to drink with you. We walked half a mile. There was a little clearing at one corner of the Necropolis and the beams of the shears stood stock against the darkened sky. There was something elemental, something definitely about them. It's not an archaeologist's job to be sentimental or superstitious. None of us would stand a job very long if we were. But the half-inch steel cable was attached to a block of stone. It was the only thing that separated us from something that happened perhaps 40 centuries ago. And there are times when a man's entitled to shiver a little in the wind that rises over the desert at sunset. Abe was beside himself at excitement. Let's pull it up, Austin. Go on, let's pull it up, huh?

18:56Go ahead, Martin. Okay. I'm glad we got the engine. That slab weighs about 70 tons. Go ahead. Little higher. Gosh. It's the air from top there. That area you're breathing, Abe, was breathed by Pharaoh's long before Moses, let his people out of this country. Gee. Okay, hold it, Martin. Right. You're going down there, Austin? Tomorrow. Oh, I'm not now. No, not late. Oh, gee, I'd like to go down there. We will in the morning. How is it? Let's take your flashlight. Yeah. Mommy case, some wall paintings. Let me see. Take the flashlight. Oh, boy, oh, boy. It isn't far down there. I'm going to jump down. No, no, wait. Don't do that. I'll be alright.

19:56I don't go running all over that place, tracking it up, Abe. I want to play. Stand down here. Get a ladder, Martin. Yeah, okay. You hear me, Abe? I hear you, Abe. Come here, Abe. Come here, flashlight. I'm going to, that's the last time you... Here. I'm staying still. I'm staying still. Hey, Austin. What? To the picture on the wall. What picture? Over here on the wall. Turn it. I dropped the light. Well, Stan still, Martin will be back in a minute with his light. What? What? What? There's something in here. I'll be careful. It might be a snake. No, it ain't a snake. Abe. Abe. Abe, what happened? Let's go, Austin. Look up the slammer. We worked all night long.

20:57Martin and I, splicing that steel cable and raising the heavy slab that had imprisoned Abe in that place of event. We had no hope with what could we do, a miracle might have happened. There might have been a chink between the slab and the opening of covering and opening through which a few breaths of air might have seeped into the tomb. The snake might have had a bitten, and he might have killed it. So we told each other, all through the night, the stubborn cable cut our hands and defied our every effort. The sun was just rising when we had last made it fast and Martin started the engine. And the fastened rope onto the cable, which swung a great stone slab aside, I was down in the kiln almost before it appeared the opening. It was too late. Finally, sickened as I called the Martin, he jumped onto me. Oh, my good. What happened to him?

21:58I thought it was a snake. No snake did that. No. I saw a pigeon once with a hawk had been at. We... We'd have been too late even if the slab hadn't fallen. Well... Awesome. Well, at Mummy Case, was the cover off it last night when you looked down here? No. Why, he couldn't have. That lid weighs ten tons. Then we looked down into the stone coffin. I hope I shall never see the mic at that again. Whoop. What is it? The mummy of a man. A tall man. And a robe of gold cloth. Not wrapped in women bindings, just a robe of gold cloth with strange symbols woven into the cloth. And his head.

23:00Not a man's head. The head of a hawk. No, not a mask. We look carefully. A man with a head of a hawk. And the hawk's beak. Paul dabbled with red. I didn't believe it either. It couldn't be. But it was. It was a father of all the Egyptian gods of Cyrus. Of Cyrus, the brother, husband of Isis, the founder of the world's first empire. Of Cyrus, who was murdered sixteen thousand years ago. And his body was hidden by Isis' wife with a blasting curse on any who might find his tomb. It was impossible. It couldn't be. But there it was. And Martin, and I. And a dead man.

24:00Where Aaron is tomb with him. And the curse pung heavy in the musty-error arms. And the first razor the sun reflected from something above a stone down into the tomb. And I saw the pictures on the wall. I saw a Cyrus with his hawk's head. And the roby war on the mighty run his hawk's head was the same as the mummy war in a casket. I saw Isis his wife, weeping over the body of her murder fist. And the beauty of the work of the long dead artist was unbelievable. And I saw another picture. There was the daughter of Isis and Osiris. Yes, of course I could read the inscriptions. Yes, of course I could recognize her face.

25:05I'd seen it before in the lobby of Shepard's hotel. In the inscriptions on the wall were terrifying. There were secrets there that men would give their lives to this yesterday. There were secrets there that we've only begun to imagine today. I'm a scientist, I know. Where do I? We forgot the thing in the coffin we... We forgot the thing on the floor. And a group darker and darker in the tomb. And I read on and on. I stood before the painting of the one who was Osiris daughter. Long black hair. Red lips that smiled at me. And my heart stopped at the inscription under the portrait.

26:06I read it over again. Be not afraid. Oh, Oostin carved into the living rock of the ancient heretic characters. Uncounted centuries ago. Not by the hand of the artist. I knew who would carve my name there. Be not afraid, Oostin. And I wasn't afraid at all when I discovered that the thing was making a doc down there. It was a great slab of sandstone. Slowly swinging around and down to imprison us all in the tomb at the wife of Osiris at Christmas. Martin Weaver was a very brave man. Martin Weaver didn't scream and cry in the heavy dark.

27:06Martin Weaver talked to me quietly. It'll be all right, Oostin. The workman will be here before long. They'll see the slab and he'd rather know how to run the engine. I hope so, Martin. I hope there'll be in time. He'll start the engine and pull the thing off all right. I hope so, Martin. Sure. They'll know that something's wrong. Where are you? Right here. Oostin still. I am standing still. I thought I heard you move. No. You afraid, Oostin? Are you not particularly? But I. Yes. The thing in the... Where are you going? I'll have a move. I thought I thought you were hand on my arm.

28:06No. Sit still, don't you set the air? Well, the bush is still. I tell you, I didn't move. Something's moving. It couldn't be. Oostin? What? Martin. Martin. Martin. Answer me, Martin. And there was nothing but silence. I had a different footstep. And I felt a hand on my arm and I screamed with terror. But it was a gentle hand and it let me jump you away from where I stood in the dark. And I followed. I hit my head on the solid stone wall. My feet dragged as I followed you over. It was through a door, but I knew it couldn't be there. And the voice breed in my ear.

29:07It smelled cinnamon and mermaids, spike in heart. And I followed on. And soon it was a grimning of light ahead of me. And I thought the hand released my arm and I walked on toward the light. Then, in a little while, I had another little room, you and out of the solid rock. And a light burning. A little bronze lamp at the head of a monocase of blackened painted wood. And a portrait image on the lid of the sarcophagus. The same face. The smile. And I came close to to read the inscription I knew would be there. An inscription put there so many, many years ago. I have freed you. Austin. Now free me. And my hand went to the fascinating of the lid when I looked up to the wall above.

30:10The portrait I can. But with a difference. The same costume. The same jewelry. The same head dress. With the head. With the head of a hawk. The head of a little Cyrus daughter. So I sit here. And a little bronze lamp is flickering low. No. I haven't opened the coffin. I'm afraid to. You have listened to quiet plays. Just written and directed by Willis Cooper.

31:12The man who spoke to you was Dennis Kemp. And the Murray Ford's played eight Feldman. Martin Weaver was Don Briggs. As he was the first to play the song. As usual, the original music for quiet plays is composed and played by Albert Bremond. Now for a word about next week's quiet plays. Here is my good friend. I write a director. Willis Cooper. I'm going to story for you next week called Put on the Deadman's Code. It's part of man I had an idea that wasn't good for him. We'll go down the Deadman's Code. The title of next week's quiet plays. And so until next week at this time.

32:12I am quiet for yours. I'm going to play this devil. Quiet plays come to you from New York. This is multiple broadcasting systems. At QVC, shopping is more than just checking out. It's discovering something new every day. Start with today's special value. It's a great deal on four by fours that refuse to be contained.

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