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HOST: Starring t o night, Dean St o ckwe Il.

Sa Il y Fie I d

and Kent Smith.

We're most pleased that you've seen fit to visit us here.

As usual, we're doing business at the old stand

around the same wires, if you will.

Because our stock in trade, is paintings,

all sorts of paintings,

charming little still lives, and on a few occasions, a few still deaths.

Now, check this one if you will.

Strips of ethereal night clouds are seen

from the vantage point of a square acre of tomb stones.

And the face of a neutral onlooker who surveys the silence.

Well, perhaps not quite total silence

because the name of our painting is Whisper,

and it tells the story of one body inhabited by two people

and at a point, as you can well imagine, this gets crowded.

And if this one doesn't ice up the old spine,

we'll send you one of our official apologies

along with the body.

That's the kind of guarantee you get in the Night Ga Il ery.

(WIND BLOWING)

WOMAN: (IN SOUTHERN ACCENT) Rache I.

Mind, y o u d o n't fa Il with that... (CLANGING)

RACHEL: (IN SOUTHERN ACCENT) I t ain't br o ke, missus.

WOMAN: They're pai I s o f tin, that's why.

And see where the waters g o ne a Il o ver my f loo r.

MAN: (lN SOUTHERN ACCENT) O h, Meg, the chi l d's n o t we ll t o day.

Can't y o u see that? MEG: T o day?

M o re l ike a ll this m o nth.

RACHEL: I'll pump it fu ll again.

MEG: Why, I d o.

Whi l st, y o u, Rache l, can I trust y o u t o carry up

a thing o r tw o fr o m the br oo m ce ll ar? RACHEL: Yes, ma'am.

CHARLlE: lrene?

Hey, where are you?

Hello? lrene?

Did you wear it?

Or was it someone close to you?

(WlND HOWLlNG)

Get word to me.

Whisper to me.

l think l know what to do, but... CHARLlE: lrene?

Where are you, in the kitchen?

(DOOR OPENS)

Ah, there you are.

Tell me something, love. What?

Didn't you say you wanted to pick some flowers?

Daisies.

Daisies.

Well, guess what?

Someone planted a whole flock of them out on the lawn.

Oh, Charlie, they grow wild.

You kidding me?

Oh, Charlie.

You know that...

CHARLlE: Pretty picture, isn't it?

A lovely girl on a summer day.

The picture would fool me, too.

lf l didn't know that cold, wintry things use her.

lt's going to be different this time, though.

Worse.

l can feel it.

This time, one of you wants to keep her.

But how can you if l won't let go?

(MUFFLED SPEECH)

What?

There's a baby. This time there's a baby.

Nothing.

And, it was a month ago, that l signed the lease.

There's no one.

We're in touch with no one, except you.

And there's no point in writing letters to you, is there?

You're all dead.

She has the ability to become someone else.

lt's not insanity.

She's not insane.

lt's just an openness in her.

A vacancy, available to others.

She's like an inn with an empty room.

And for a time, someone lives there.

Lives in her.

But eventually, they leave, and lrene stays.

And...

(CHUCKLES) l've always liked it.

These colors and changes in mood.

That make her...

...lrene.

Oh, l've been terrified of losing her

but never bored.

She asks me to take her somewhere. Like this place.

And l do.

And it happens,

but she's always lrene again, afterwards.

She's always come back to me.

No mail?

Nope.

Afraid of grass stains?

Oh, no.

Oh, don't care, Charlie.

See how easy it is to live recklessly?

Oh, yeah.

l thought Brother would write, didn't you?

No.

Why don't you like him?

Well, for one, he's dull.

For two, he's a bigot.

And three, he's a snob.

Yes, but besides that. (CHUCKLES)

Well, he...

He treats you poorly.

He thinks there's something wrong with me.

Well, he can go... Do you?

l think you're perfect.

Uh, well, now, what...

What's the object here?

lt's like being snow-blind when you love someone.

You can't see.

You love me?

Do you always know who l am, Charlie?

Hmm.

Do you?

No, dear, not always.

(WlND HOWLlNG)

(STAMMERS) Look what l've done.

lt's all right, dear. There's time.

You can pick some more.

(lN SOUTHERN ACCENT) There is a summer house.

Do you want to go to the meadow?

Find it.

We've tried, love. There is no summer house.

Help me find it!

(WlND BLOWlNG FlERCELY)

(SCREAMS MUTELY)

l can't hear you.

She's at the summer house.

Who is?

Please, hurry.

Every day and sometimes night until dawn,

we look for a summer house.

Why?

Are you there?

Who are you?

(CHURCH BELLS TOLLlNG)

(PlGEONS COOlNG)

CHARLlE: He said l'd need a prescription.

You tried the over-the-counter stuff?

They don't seem to work on her, anymore.

l'm sorry, they're for my wife, not me.

She has insomnia.

We're not from around here.

No.

We're from San Francisco.

Why'd you pick here?

Just by chance.

We flew part of the way and rented a car and drove.

And this is where she said stop.

Well, this is old country.

You're not just back East in these hills.

You're back years.

(WlND HOWLlNG)

(lN REGULAR SPEAKlNG VOlCE) l'm trying to reach a summer house.

Well, if she was too young, there must have been someone there who could find me.

So l'll know where it is. What l have to do.

Charlie's worried. More than ever this time, he'll interfere.

l want to help.

Haven't l served you well?

l don't have much time here.

So find me, reach me or...

DOCTOR: You encourage it.

Oh, do l?

There's dangers here.

l've seen some individuals push right on out.

Farther out into these hallucinations...

Hallucinations?

lt's what we're talking about, ain't it?

Tell you what it's like.

lt's like we rocket out these astronauts.

Got to reach past that, what they call, "Escape velocity,"

in order to free them from Earth.

Trying to do the same thing, your wife.

Never met the lady. Maybe you're overdoing her state some.

No.

Why don't you take her back home to Frisco?

Maybe familiar surroundings.

She won't go.

Well, as l said before, there's stronger sedatives,

makes a patient more tranquil.

She's not a patient and l don't want her drugged.

Mr. Evans, you came in here for sleeping tablets.

(SlGHS) Well, for a few nights rest, yes, all right.

But l don't want her drugged down into a zombie.

She's full of life.

And it's a joy to be with her.

l couldn't do anything to...

(STAMMERS) She wouldn't be lrene anymore.

What do you do, Mr. Evans?

l studied architecture.

Must be tough, huh? Working on the move, where you say you live?

l don't work anymore. l gave it up.

You don't have much for yourself then.

Of course, l do. l have lrene.

(WlND BLOWlNG) Nothing?

No?

Then it's no good.

lt isn't any fun this way.

l only did it because it was fun for me.

Better than being like everybody.

Well, it's my game. l made it up.

And if you don't play with my rules,

then l'll make up a new game.

And none of you'll be able to play that one.

Something about animals, or stars!

Anything l want, and no one can stop me.

Or maybe l'll just be Charlie's wife!

And live in one place uninhabited.

Myself.

Just Charlie's.

Charlie. l do like you.

And love you.

l could live with you forever.

Hi. lrene.

Come here. Let me show you my favorite.

Sweetheart, l can't quite make it out.

Vade mecum.

Oh, l wonder what that is.

Latin. (CHUCKLES)

Do you know what it means?

Vade mecum?

Take me with you.

Where?

Home.

Really?

Home?

Home.

(WlND HOWLlNG)

Here's to...

Here's...

(WlND BLOWlNG)

Oh, well, that's not much of a toast Charlie.

But l'll drink to it.

(WlND GETTlNG LOUDER)

Must be a storm.

What?

You hear the wind?

Yes, do you?

Just whistles down the chimneys of these old southern manors

or whatever they're called.

(SlGHS)

l'll get it. No, please, my lord.

Oh, lord, okay.

(WlND BLOWlNG FlERCELY)

You want some more meat?

lrene?

My lady?

(WlND CONTlNUES BLOWlNG)

lrene?

lRENE: (FROM A DlSTANCE) Char l ie!

Char l ie.

(WlND BLOWlNG FlERCELY)

(WlND HOWLlNG)

lrene! lrene!

What kind of thing are you this time?

Whisper to someone else and leave her to me.

(WlND CONTlNUES HOWLlNG)

lrene! Char l ie.

lrene!

lRENE: Char l ie.

Char l ie!

(PANTlNG)

(lN SOUTHERN ACCENT) Darlin' Johnny.

What is it?

(SCOFFS)

Come.

Where'd you get that?

What?

This shawl.

You gave it to me.

What happened to your hand?

From the diggin', l expect.

What digging?

Help, can't you?

(WlND CONTlNUES HOWLlNG)

There.

lf l'm Johnny, who are you?

Rachel.

Rachel.

For now.

That's deep enough.

lt is.

l'll rest on that bench over there.

And you finish, Johnny.

Finish what?

What's the matter?

You do it proper this time, Johnny.

You must.

She was your child, too.

l'll wait for you.

Don't!

lt's just smooth white bone.

Broken like pottery.

Or she might be a kitten.

You do it proper this time, Johnny.

Yes, all right.

(WlND HOWLlNG)

(SlGHlNG)

Please, now be lrene.

All right. lt's done proper.

Now, what was it on that stone that you liked?

Vade mecum?

lrene!

lRENE: (REGULAR VOlCE) (ECHOlNG) N o, Char l ie!

I can't get back!

I can't get back, Char l ie.

(WlND CONTlNUES HOWLlNG)

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