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22 heard the muffled buzzer in the study below, and looked at each other anxiously. Ina snatched up the extension receiver at her bedside and listened.

"Hospital speaking. I have a message for Mr. Holden."

It was the second message from the hospital. The first had told the hopeful news that Dr. Carlson had been successfully operated on, that hemorrhage had been checked, and that his heart had responded to stimulants.

Mr. Holden. at his desk, lifted the receiver.

"Mr. Holden speaking. Quick! What's your message?"

"Dr. Carlson slept until five minutes ago. Then he woke up suddenly and asked: 'Is Ina all right?' We told him that Miss Holden was safe at home, and he said: 'Thank God!' and went to sleep again."



'''T HAS been discovered that thrilling mystery or "spook" plays, of which there have been an unusual number lately, have a tendency to increase the temperature of those who witness them. Prof. Edward F. Miller of the Massachusetts Institute of Technology conducted a number of tests among various audiences and found this to be true. His assertions were substantiated by Chicago theatre managers, one of whom said:'''

"The excitement created by mystery plays starts the blood to circulating so quickly that heightened temperature is the result. I notice that the theatre warms up at the end of the first act, when the play is an exciting one. We have to watch the temperature of our theatres more closely when a play, that is exciting or has a great emotional appeal is being given."

The owner of a motion picture theatre disagreed with this, but said that a comedy film always means a rising temperature.

"Five minutes of laughing," he said, "will send the thermometer up, unless provisions is made to keep the temperature the same. The reactions of each audience are identical, and we know when an audience is going to laugh more than usual, and so I push the button on the thermostat that throws in more cool, washed air, and the audience does not feel the effect of the heat-producing laughter. Normally, there is a complete change of air every three minutes, but when the piece is particularly funny it is changed oftener. There is real activity when the theatre patron laughs, but when other emotions are aroused he sits quietly, and no excess energy is created."