But the climax of The Perils of Patience is not there in the West Orange Switching Yards. It is at a secret town and castle in the Barrens of New Jersey, a castle of evil repute. In this place the enemies of Patience were assembling a gang of beaters (slack-faced fellows with their tongues cut out), and they were readying bloodhounds to hunt Patience down to her death. She somehow obtains a large wagon piled high with hay and pulled by six large and high-spirited horses. With this, she boldly drives, on a stormy night, into the secret town of her enemies and down that jagged road (there was a lightning storm going on that made everything seem jagged) at the end of which was the castle itself. The bloodhounds leap high at her as she passes, but they cannot pull her from the wagon.
But the Panther (Is he a Man? Is he a Beast?) has leapt onto her hay wagon behind her, and she does not see him. He comes closer behind her—
But Patience Palmer is already making her move. Driving unswervingly, carrying out her own intrepid plan, at that very moment she raises a key in her hand very high into the air. This draws the lightning down with a stunning flash, and the hay wagon is set ablaze. Patience leaps clear of the flaming hay wagon at the last possible moment, and the blazing, hurtling inferno crashes into the tall and evil castle to set it and its outbuildings and its whole town ablaze.
This is the flaming climax to one of the greatest chase dramas ever.
This final scene of The Perils will be met with often later. Due to the character of the “slow light” or selenium scenes, this vivid scene leaks out of its own framework and is superimposed, sometimes faintly, sometimes powerfully, as a ghost scene on all twelve of the subsequent dramas.
* * * *
2. Thirsty Daggers, a Murder Mystery. This is the second of the Aurelian Bentley television dramas of 1873. Clarinda Calliope, one of the most talented actresses of her time, played the part of Maud Trenchant, the Girl Detective. The actors Leslie Whitemansion, Kirbac Fouet, X. Paul McCoffin, Jaime del Diablo, Torres Malgre, Inspire Spectralski, and Hubert Saint Nicholas played powerful and menacing roles, but their identities and purposes cannot be set exactly. One must enter into the bloody and thrilling spirit of the drama without knowing the details.
More even than The Perils of Patience does Thirsty Daggers seem to be freed from the bonds of time and sequence. It is all one unfolding moment, growing always in intensity and intricacy, but not following a straight line of action. And this, accompanied by a deficiency of the libretto, leads to confusion.
The libretto cannot be read. It is darkened and stained. Chemical analysis has revealed that it is stained with human blood. It is our belief that Bentley sent the librettos to his clients decorated with fresh human blood to set a mood. But time has spread the stains, and almost nothing can be read. This is, however, a highly interesting drama, the earliest murder ever done for television.
It is nearly certain that Maud Trenchant, the Girl Detective, overcomes all the menaces and solves all the crimes, but the finer details of this are forever lost.
* * * *
3. The Great Bicycle Race, the third of the Bentley television dramas, has that versatile actress Clarinda Calliope playing the lead role of July Meadowbloom in this joyful and allegorical “journey into summertime.” It is in The Great Bicycle Race that sound makes its first appearance in the Bentley dramas. It is the sounds of all outdoors that are heard in this drama, faintly at first, and more and more as time goes on. These are country and village sounds; they are county-fair sounds. Though the sounds seem to be an accidental intrusion (another ghostly side-play of the selenium response magic), yet their quality lends belief to the evidence that the full and original title of this drama was The Great Bicycle Race, a Pastoral.
But there are other sounds, sometimes angry, sometimes imploring, sometimes arrogant and menacing—more about them in a bit.
Sheep and cattle sounds are all through the play; goat and horse and swine sounds; the rattle of ducks and geese; all the wonderful noises of the countryside. There are birds and grasshoppers, windmills and wagons, people calling and singing. There are the sounds of carnival barkers and the chants of gamblers and shills. There are the shrieks and giggles of young people.
And then there are those intrusive sounds of another sort, the separate overlay. These seem to be mostly indoor sounds, but sometimes they are outdoor grandstand sounds also, bristling talk in the reserved shadows of crowd noise and roaring.
“No, no, no. I’ll not be had. What sort of a girl do you think I am?”
“All these things I will give you, Clarie. No one else would give you so much. No one else would ever care so much. But now is the time for it. Now is the summer of our lives. Now we cut hay.”
“Let’s just see the price of a good hay barn first, Aurie. Let’s just get some things down on paper right now. We are talking about a summertime check that is as big as all summer. And we are talking about a much larger settlement to back up the other seasons and years.”
“Don’t you trust me, Clarie?”
“Of course I trust you, Bentie babe. I trust that you will get that trust fund that we are talking about down on paper today. I am a very trusting woman. I believe that we should have a trust fund to cover every condition and circumstance.”
Odd talk that, to be mixed in with the sounds of The Great Bicycle Race.
The race was in conjunction with the Tri-county Fair, which counties were Camden, Gloucester, and Atlantic. The bicycle racers rode their twenty-mile course every afternoon for five afternoons, and careful time was kept. There was betting on each day’s race, but there was bigger betting on the final winner with the lowest total time for the five days, and the kitty grew and grew. From the great fairground grandstand, one could see almost all of the twenty-mile course that the riders rode, or could follow it by the plumes of dust. The grandstand was on high ground and the whole countryside was spread out before it. Cattle and mules were paraded and judged in front of that grandstand, before and during and after that daily race; then the race (for the approximate hour that it took to run it) was the big thing. There were seven drivers in the race, and all of them were world famous:
1. Leslie Whitemansion drive on a Von Sauerbronn “Special” of fine German craftsmanship. This machine, popularly known as the “whizzer,” would get you there and it would bring you back. It was very road-worthy and surprisingly fast.
2. Kirbac Fouet was on an Ernest Michaux Magicien, a splendid machine. It had a socket into which a small sail might be fitted to give greater speed in a favorable wind.
3. X. Paul McCoffin was on a British Royal Velocipede. There are two things that may be remarked about the British Royal: it had solid rubber tires (the first rubber-tired bicycle ever), and it had class. It had that cluttered austerity of line that only the best of British products have.
4. Jaime del Diablo was on a Pierre Lallement “Boneshaker” with its iron-tired wooden wheels, the front one much larger than the rear.
5. Torres Malgre was on an American-built Richard Warren Sears Roadrunner, the first all-iron machine. “The only wood is in the heads of its detractors” was an advertising slogan used for the Roadrunner.
6. Inspiro Spectralski (Is he a Man? Is he a Cannon Ball?) was riding a McCracken’s Comet. This comet had won races at several other county fairs around the state.
7. Hubert Saint Nicholas had a machine such as no one in the state had ever seen before. It was a French bicyclette named the Supreme. The bicyclette had the pedals fixed to drive the back wheel by the ingenious use of a chain and sprocket wheel, and so was not, strictly speaking, a bicycle at all. The true bicycles of the other six racers had the pedals attached directly to the front wheels. There was one syndicate of bettors who said the bicyclette had a mechanical advantage, and that Hubert would win on it. But other persons made jokes about this rig whose back wheel would arrive before its front wheel and whose driver would not arrive before the next day.
It was on these great riders that all the six-shot ga
mblers around were wagering breath-taking sums. It was for them that sports came from as far away as New York City.
Clarinda Calliope played the role of Gloria Goldenfield, the beauty queen of the Tri-county Fair in this drama. But she also played the role of the “Masked Alternate Rider of Number Seven.” (All the racing riders had their alternates to ride in their places in case of emergency.) And Clarinda also played a third role, that of Rakesly Rivertown, the splurging gambler. Who would ever guess that the raffish Rakesly was being played by a woman? The author and director of The Great Bicycle Race did not know anything about Clarinda playing these latter two roles.
The grandstand, the bandstand, the pleasures of a country carnival in the summertime! And the “slow smells” of the selenium-directed matrix just becoming ripe and evocative now! Smell of sweet clover and timothy hay, or hot horses pulling buggies or working in the fields, smells of candy and sausage and summer squash at the eating places at the fair, smells of dusty roads and of green money being counted out and thumped down on betting tables for the bicycle race!
And then again there was the override of intrusive voices breaking in on the real summer drama by accident.
“Clarie, I will do handsomely by you in just a day or so. I have placed very, very heavy bets on the bicycle race, and I will win. I am betting against the wildest gambler in this part of the country, Rakesly Rivertown, and we will have the bet up to a cool million with one more raise. He is betting the field against number seven. And number seven will win.”
“I have heard that this Rakesly Rivertown is about the sharpest gambler anywhere, and that he has a fine figure and makes an extraordinary appearance.”
“A fine figure! Why, the fraud is shaped like a girl! Yes, he is a sharp gambler, but he doesn’t understand mechanics. Number seven, the Supreme, has a rear-wheel drive with a gear-ratio advantage. Hubert Saint Nicholas, who is riding number seven, is just toying with the other riders so far to get the bets higher, and he can win whenever he wants to. I will win a million dollars on the race, my love. And I will give it to you, if you act a little bit more like my love.”
“Surely your love for me should transcend any results of a bicycle race, Aurie. If you really loved me, and if you contemplated making such a gift to me, you would make it today. That would show that your appreciation and affection are above mere fortune. And, if you can’t lose, as you say that you cannot, you will have your money in the same amount won back in two days’ time, and you will have made me happy two days longer.”
“All right, I guess so then, Clarie. Yes, I’ll give it to you today. Right now. I’ll write you a check right now.”
“Oh, you are a treasure, Aurie. You are a double treasure. You can’t guess how double a treasure you are!”
The wonderful Tri-county Fair was near its end, and its Great Bicycle Race with it. It was the last day of the race. Hubert Saint Nicholas on number seven, the Supreme, the French bicyclette with the mechanical advantage, was leading the field by only one minute in total elapsed time going into that last day’s racing. There were those who said that Hubert could win any time he wanted to, and that he stayed so close only to keep the bets a-growing.
And the bets did grow. The mysterious gambler with the fine figure and the extraordinary appearance, Rakesly Rivertown, was still betting the field to win against number seven. And a still more mysterious gambler, working through agents, was betting on number seven to place, but not to win. These latter bets were quickly covered. Number seven would win, unless some terrible calamity overtook that entry; and, in the case of such terrible calamity, number seven would not finish second, would not finish at all most likely.
The seven intrepid racers were off on their final, mad, twenty-mile circuit. Interest was high, especially with the moneyed gamblers who followed the riders from the grandstand with their binoculars. At no place was the winding, circuit course more than four miles from the grandstand; and there were only three or four places, not more than three hundred yards in all, where the racers were out of sight of the higher tiers of the grandstand. One of those places was where Little Egg Creek went through Little Egg Meadow. Something mysterious happened near Little Egg Creek Crossing that neither the libretto nor the enacted drama itself makes clear.
Hubert Saint Nicholas, riding the French bicyclette, number seven, the Supreme, with the rear-wheel drive and the mechanical advantage, was unsaddled from his mount and knocked unconscious. The race master later and officially entered this incident as “A careless rider knocked off his bicycle by a tree branch,” though Hubert swore that there wasn’t a tree branch within a hundred yards of that place.
“I was slugged by a lurker in the weeds,” Hubert said. “It was a criminal and fraudulent assault and I know who did it.” Then he cried, “Oh, the perfidy of women!” This latter seemed to be an unconnected outcry; perhaps Hubert had suffered a concussion.
Fortunately (for whom?) the alternate rider for number seven, the Mysterious (though duly certified) Masked Rider, was in the vicinity of the accident and took control of the bicyclette, the Supreme, and continued the race. But number seven, though having a one-minute lead when the race began, did not win. Number seven did come in second though in total elapsed time.
The Great Bicycle Race is a quaint little drama, with not much plot, but with a pleasant and bucolic atmosphere that grows more pleasant every time the drama is played back. It is a thoroughly enjoyable “Journey into Summertime.”
And there were a few more seconds of those intrusive “ghost” voices breaking into the closing moments of the pastoral drama.
“Clarie, I have been took bad, for a big wad, and I don’t know how it happened. There is something funny about it all. There was something funny and familiar about that Masked Alternate Rider for number seven. (I swear that I know him from somewhere!) And there has always been something double funny and familiar about that gambler Rakesly Rivertown. [I swear and be damned if I don’t know him from somewhere!]”
“Don’t worry about it, Aurie. You are so smart that you will have all that money made back in no time at all.”
“Yes, that’s true, I will. But how can I write and produce and direct a drama and then get taken in it and not know what happened?”
“Don’t worry about it, Aurie.”
I myself doubt very much whether Aurelian Bentley knew about the “slow sounds” from nowhere-town that sometimes broke into the playing of his dramas, much less the “slow smells” which now began to give the dramas a character all their own.
* * * *
4. The Voyages of Captain Cook was the fourth of the Bentley-produced television dramas of the year 1873. In this, Clarinda Calliope played the role of Maria Masina, the Queen of Polynesia. If The Great Bicycle Race was a journey into summertime, The Voyages of Captain Cook was a journey into tropical paradise.
Hubert Saint Nicholas played Captain Cook. Inspiro Spectralski (Is he a Man? Is he a Fish?) played the Shark God. Leslie Whitemansion played the Missionary. X. Paul McCoffin played the Volcano God. Torres Malgre played the God of the Walking Dead. Jaime del Diablo played Kokomoko, the bronzed surf boy and lover boy who was always holding a huge red hibiscus bloom between his white teeth.
The people of the South Sea Islands of the Captain Cook drama were always eating possum and sweet potatoes and fried chicken (a misconception) and twanging on little banjoes (another misconception) and talking southern U. S. Darky Dialect (but these ghost voices were not intended to be heard on the television presentation).
The complete libretto for The Voyages of Captain Cook has survived, which makes us grateful for those that have not survived for several of the dramas. The story is replete. It is better to disregard the libretto with its simultaneous curses invoked by the Shark God, the Volcano God, and the God of the Walking Dead, and to give oneself over to the charm of the scenery, which is remarkable, considering that it was all “filmed,” or “selenium-matrixed,” in the salt swamps of New Jersey.
/> The anomalous intrusive voices are in this drama again, as they will be in all the subsequent dramas.
“A ‘South Sea bubble,’ yes, that’s what I want, Aurie, one that can’t burst. Use your imagination [you have so much of it] and your finances [you have so very much of those] and come up with something that will delight me.”
“I swear to you, Claire, as soon as my finances are in a little better order, I will buy any island or group of islands in the Pacific Ocean for you. Do you hear me, Clarie? I will give you any island or group you wish, Hawaii, Samoa, Fiji. Name it and it is yours.”
“So many things you promise! But you don’t promise them on paper, only on air. Maybe I will find a way to make the air retain the promises you make.”
“Not on paper, not on air, Clarie, but in real life. I will make you the real and living Queen of Polynesia.”
The essence of the South Sea appeal is just plain charm. It may be that this Bentley drama, The Voyages of Captain Cook, was the original charm bush whence so many things bloomed. No, in things of this sort, it is not necessary that a scion ever be in contact with its source or even know its source. Without the Voyages would there ever have been a Sadie Thompson, would there have been a Nellie Forbush? Would there have been a Nina, daughter of Almayer? Well, they wouldn’t have been as they were if Clarinda Calliope hadn’t, in a way, played them first. Would there have been a White Shadows of the South Seas if there hadn’t first been The Voyages of Captain Cook? No, of course there wouldn’t have been.
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