Adventures in Odyssey

Chris: Hi, this is Chris. Welcome to Adventures in Odyssey.

John Avery Whittaker: Oh, hi there. I'm John Avery Whittaker, but you can call me Whit. We were just getting ready for a time of wonder, excitement, and discovery. You care to join us? You never know what'll happen next when you have an adventure in Odyssey.

Connie Kendall: Smitten.

Eugene Meltsner: Katrina, tell her hello for me.

Eugene Meltsner: My heart beats faster when I think about seeing you. Flowers and candy.

Connie Kendall: You like her more than as a friend.

John Avery Whittaker: This place gets more and more confusing all the time.

John Avery Whittaker: Connie, will you hold that garbage bag open for me, please?

Connie Kendall: Sure. What are you doing?

John Avery Whittaker: Oh, I just want to get rid of some of these old ice cream cartons. They're sticky and they're starting to make a mess around the freezer. Connie, hold the bag open, please.

Connie Kendall: Oh, sorry.

John Avery Whittaker: What's wrong? Are you waiting for somebody?

Connie Kendall: No, I was just watching for Eugene. He's late.

John Avery Whittaker: Late? He's upstairs.

Connie Kendall: I mean late to leave. Around 10 till 4:00, he comes racing through and says, "If my assistance is no longer required, I'll be saying good day." And then he takes off for the college.

John Avery Whittaker: So? You know he has evening classes.

Connie Kendall: He's not racing out of here for evening classes, Whit. He's going to the college library because a certain person finishes work there at 4:00.

John Avery Whittaker: I assume you're talking about Katrina Shanks.

Connie Kendall: Bingo. I was under the impression they were just friends. That's the impression Eugene wants you to have. He's smitten. Smitten. You can see it in that glazed expression of his. He likes her.

John Avery Whittaker: Oh, come on, Connie.

Connie Kendall: You watch. He'll come dashing through and— Wait, here he comes.

Eugene Meltsner: If my assistance is no longer required, I'll be saying good day to you both.

John Avery Whittaker: You okay, Eugene?

Connie Kendall: Where are you going, Eugene?

Eugene Meltsner: To the college, of course.

Connie Kendall: Tell her I said hello.

Eugene Meltsner: I beg your pardon?

Connie Kendall: Katrina. Tell her hello for me.

Eugene Meltsner: Well, if I run into her, I certainly will express your greetings.

Connie Kendall: If you run into her.

Eugene Meltsner: Miss Kendall, I detect a certain adolescent subtext to this conversation which, had I the time, might be worth clarifying. However, suffice it to say, Trina and I are just friends.

Connie Kendall: Trina, huh?

Eugene Meltsner: Yes. Now, as I was saying, good day to you both.

John Avery Whittaker: Bye, Eugene.

Connie Kendall: See what I mean?

John Avery Whittaker: No, he said they were only friends. Why shouldn't I believe him?

Connie Kendall: Whit, you're such a typical man. It's obvious there is something going on.

Eugene Meltsner: It had an enormous agricultural impact on the areas around London. Accessibility, etcetera. And it's my personal theory that the emergence of the motorway was a significant step in moving Britain from its postwar backwardness into the modern era, namely the '60s.

Katrina Shanks: But was it postwar backwardness or merely the effects of the depletion of the natural resources due to the war?

Eugene Meltsner: I believe the one led to the other.

Katrina Shanks: Fascinating. You deduced all this because of a one-line point of trivia in the newspaper?

Eugene Meltsner: Well, it was one of those "on this day in history" kinds of things. Oh, I've been rambling, haven't I?

Katrina Shanks: Not at all.

Eugene Meltsner: Oh, I have been. I'm sorry.

Katrina Shanks: Don't apologize, Trina. Our daily visits contain the most stimulating conversations I have anywhere, period and full stop. And it's a pleasure to speak with someone as— well, as—

Katrina Shanks: Eugene, are you blushing?

Eugene Meltsner: Am I? No, it's merely the heat in this cafe. It's always inappropriately set. A computerized thermostat would do wonders here.

Katrina Shanks: I thought it was quite cool in here.

Eugene Meltsner: Yes, well, my metabolism may be operating at a— never mind.

Katrina Shanks: Oh, you're cute, Eugene.

Eugene Meltsner: It's probably the lighting.

Katrina Shanks: I don't think so. But I have to leave now.

Eugene Meltsner: You have to leave?

Katrina Shanks: Yes, I have a 5:00 engagement, and I don't like to keep him waiting.

Eugene Meltsner: Oh, yes. Well, don't allow me to detain you.

Katrina Shanks: And maybe you better not meet me at the library when I get off anymore. I enjoy this time with you, but it makes me late. Okay?

Eugene Meltsner: Oh, whatever is most convenient for you.

Katrina Shanks: Thank you. I'll see you around.

Eugene Meltsner: Yes, I'm certain we'll bump into one another again. Bye. Farewell. She doesn't want to keep him waiting.

Eugene Meltsner: Now, that should correct your programming errors, my little display. Demonstrate for me what you can do. No! Don't tell me you cannot compute. I've double-checked everything.

Connie Kendall: Eugene?

Eugene Meltsner: Please, Miss Kendall, I'm in the midst of a crisis.

Connie Kendall: Yeah, I thought you were being a little irritable today.

Eugene Meltsner: I meant with this computer program. The lights inside this Tower of Babel display are supposed to run concurrently.

Connie Kendall: Oh, I figured something else was wrong. Even Whit noticed.

Eugene Meltsner: Mr. Whittaker said something?

Connie Kendall: Well, sort of. I said, "Don't you think Eugene's being awfully funny today?" and he said, "Oh, I suppose so."

Eugene Meltsner: Funny, Miss Kendall? What pray tell do you mean by funny?

Connie Kendall: Unusual. Quiet. Irritable. Like something happened.

Eugene Meltsner: For example?

Connie Kendall: Well, like maybe your class didn't go well last night, or you didn't sleep very well, or something went wrong with Katrina when you saw her yesterday afternoon.

Eugene Meltsner: Now, Miss Kendall, I told you—

Connie Kendall: I know, I know. Just friends. But I don't mind telling you that I don't believe a word of it. I know about these things, Eugene. You like her more than as a friend, and denying it won't change my mind.

Eugene Meltsner: Of course. Don't allow the facts to get in the way of your opinion.

Connie Kendall: You're going to deny it? Well?

Eugene Meltsner: I'd prefer that we didn't have this conversation.

Connie Kendall: Well, that's as good as admitting you like her. So I'm probably right about the rest of it. Now we're getting somewhere. You know, Eugene, your problem is that you don't make very good use of your available resources.

Eugene Meltsner: What available resources?

Connie Kendall: Me. You're a boy, which naturally means that you don't know the first thing about girls. I'm a girl, which—

Eugene Meltsner: Which naturally means that you know everything there is to know about boys and girls.

Connie Kendall: Right. So here we are. We've been working together for a long time, and now you like a girl, but things aren't going very well. And who better to help you than me?

Eugene Meltsner: I see. And if, theoretically, you are correct about any or all aspects of this discussion, what would you advise me to do?

Connie Kendall: Well, my advice is that we go somewhere private, like Whit's office, and you tell me what the problem is.

Connie Kendall: Okay, let me get this straight. You like her, but you're not sure she likes you the same way.

Eugene Meltsner: Correct.

Connie Kendall: And now you suspect she likes someone else.

Eugene Meltsner: Her request that we no longer meet so she can meet some other young man is a strong indicator, I would think.

Connie Kendall: Yeah. Okay, in that case, I think you should get her a gift.

Eugene Meltsner: A gift?

Connie Kendall: Sure. Something she'll appreciate. Girls love gifts from admirers.

Eugene Meltsner: A gift. Well then, if in your experience as a female you think a gift would be appropriate, I defer to your judgment. I will find something she will appreciate.

Connie Kendall: Good idea. Wait a minute. We better not leave anything to chance. How are you going to give it to her?

Eugene Meltsner: What do you mean?

Connie Kendall: Tell me how you'll give her the gift.

Eugene Meltsner: Well, I suppose I'll simply hand it to her and say, "This is a gift."

Connie Kendall: No, no, no, no, no. A girl doesn't want a package shoved in her face and told, "This is a gift."

Eugene Meltsner: I'd hardly shove it.

Connie Kendall: You need to warm up to it. You need to start with something sweet and romantic.

Eugene Meltsner: Sweet and romantic?

Connie Kendall: Practice on me. Pretend like I'm Katrina and you're giving me the gift.

Eugene Meltsner: If you insist. I believe it goes without saying that I've enjoyed our meeting—

Connie Kendall: Stop, stop, stop right there. "Goes without saying"? "Enjoyed our meetings"? Eugene, I said to be sweet and romantic, not submit a budget to your department head.

Eugene Meltsner: I thought it was a nice introductory touch.

Connie Kendall: Try.

Eugene Meltsner: I've been thinking about you all day. In fact, I've been trying to come up with the words to share how I feel, but they don't exist. All I know is that my heart beats faster when I think about seeing you, and I have something to give you as a token of my deep affection.

Connie Kendall: You just. She'll melt. Try it.

Eugene Meltsner: I admit to feeling slightly embarrassed by all of this.

Connie Kendall: Go on.

Eugene Meltsner: I have been thinking about you the entire day, nay, even through the night. My mind is racing with the words to articulate how I feel. Alas, they do not exist. All I know is that my heart beats faster when I think about seeing you and, well, please accept this gift as an unworthy token of my deep affection.

Connie Kendall: Oh, thank you, Eugene.

John Avery Whittaker: Excuse me.

Eugene Meltsner: Mr. Whittaker! How long have you been standing there?

John Avery Whittaker: Oh, I'm sorry. The door was open, and I didn't—

Eugene Meltsner: Oh, don't apologize.

Connie Kendall: We just needed your office for a minute to talk.

John Avery Whittaker: Oh, so I see. Well, I needed a book, that's all. I didn't mean to interrupt.

Eugene Meltsner: No interruption.

Connie Kendall: Really, it's just that we—

John Avery Whittaker: Well, you don't have to explain.

Eugene Meltsner: Perhaps we should resume our work, Miss Kendall.

Connie Kendall: Yeah, right. Okay, well, you can have your office back.

John Avery Whittaker: Really, I don't need to have— Right under my nose, and I didn't realize. But what about Katrina?

Katrina Shanks: Eugene! What are you doing here?

Eugene Meltsner: I just happened to be walking past and— actually, that isn't entirely true. I just happened to be walking past because I wanted to.

Katrina Shanks: I'm sorry, Eugene, but I really have to go.

Eugene Meltsner: Of course. But you see, I've been thinking and— no, wait. You see, all day and all night, I've been—

Katrina Shanks: Can we walk while we talk?

Eugene Meltsner: Yes, why not? My mind is racing, you see—

Katrina Shanks: Eugene, please.

Eugene Meltsner: —and alas, they do not exist.

Katrina Shanks: What doesn't exist?

Eugene Meltsner: My mind. I mean the words.

Katrina Shanks: What words?

Eugene Meltsner: The words of my mind that I'm trying to say.

Katrina Shanks: Eugene, please, I have to go.

Eugene Meltsner: Right. Well, please accept this token which you're unworthy of.

Katrina Shanks: Huh?

Eugene Meltsner: This is a gift. That's what I was going to say in the first place.

Katrina Shanks: Oh, well, thank you, Eugene. You shouldn't have. Do you want me to open it now?

Eugene Meltsner: If you wish.

Katrina Shanks: I'm late, but— Oh, how nice. A replica copy of Emerson's Essays.

Eugene Meltsner: The second series.

Katrina Shanks: That's kind of you, Eugene.

Eugene Meltsner: I thought you'd appreciate it more than anyone I know.

Katrina Shanks: I do, but you'll have to forgive me.

Eugene Meltsner: You have to go.

Katrina Shanks: Right. I don't like to keep him waiting.

Eugene Meltsner: So you've said. I only wish I understood who it is you don't like to keep waiting.

Katrina Shanks: Darren. You don't know him, but I've got to go. Thanks for the gift. Bye, Eugene.

Eugene Meltsner: Farewell. Give my best to Darren. Darren? Yes, Darren. And then she rushed off to meet him.

Connie Kendall: Well, no wonder. I'd rush off to meet another man too if the most romantic thing you could give me was a textbook.

Eugene Meltsner: It wasn't a textbook. It was a collection of essays.

Connie Kendall: Terrific. Emerson's Essays. Oh, that makes all the difference.

Eugene Meltsner: Of course.

Connie Kendall: Eugene, this doesn't make sense. She knows beyond a shadow of a doubt that you like her as more than a friend, but she—

Eugene Meltsner: What? Why are you looking at me like that?

Connie Kendall: Well, a small detail, but I wouldn't say that she knows beyond a shadow of a doubt.

Eugene Meltsner: Why wouldn't she?

Connie Kendall: You told her, right?

Eugene Meltsner: Actually, I haven't.

Connie Kendall: You haven't? You mean you never actually said you liked her?

Eugene Meltsner: Not in so many words.

Connie Kendall: Why not?

Eugene Meltsner: She never asked.

Connie Kendall: I don't believe it.

Eugene Meltsner: Well, naturally I assumed that my attentiveness would communicate a certain level of feeling.

Connie Kendall: Eugene, your actions communicate only that you're a walking encyclopedia, no more, no less.

Eugene Meltsner: Well, thank you.

Connie Kendall: Good grief. All right, we start from square one.

Eugene Meltsner: You're mixing your metaphors.

Connie Kendall: I don't care. You have to tell her, Eugene. And this time, give her something special. Raise your sights beyond textbooks, okay?

Eugene Meltsner: Okay. A fully equipped pocket calculator?

Connie Kendall: No! Girls like sentimentality. Candy. Flowers. That's it. Candy and flowers. There's no way Katrina could misunderstand if you give her something as romantic as candy and flowers.

Eugene Meltsner: Very well. Candy and flowers it is.

Connie Kendall: Real!

Eugene Meltsner: Morning, Trina.

Katrina Shanks: Eugene? Is something wrong?

Eugene Meltsner: No, not at all. It's a beautiful Saturday morning and I decided—

Katrina Shanks: What time is it?

Eugene Meltsner: Virtually 7:00 AM.

Katrina Shanks: Oh, my only morning to sleep in.

Eugene Meltsner: Worth the early wake-up call, I hope, since I brought you these.

Katrina Shanks: Oh, flowers. Carnations. Well—

Eugene Meltsner: And this box of candy.

Katrina Shanks: Thank you, Eugene.

Eugene Meltsner: May I come in?

Katrina Shanks: It isn't really a good time. My room's a mess and— Oh no.

Eugene Meltsner: Something wrong?

Katrina Shanks: I'm allergic to carnations.

Eugene Meltsner: Bless you. It isn't possible.

Katrina Shanks: It is. I'm sorry. Please take them back. I'm breaking out in hives.

Eugene Meltsner: Oh, I'm sorry, Katrina. I only wanted to do this to let you know that I've appreciated our friendship. Bless you. It had occurred to me that perhaps— bless you.

Katrina Shanks: I'm sorry, Eugene. I better go inside and take my allergy medicine.

Eugene Meltsner: But what I wanted to say—

Katrina Shanks: You better take the candy back too.

Eugene Meltsner: You're not allergic to candy as well, are you?

Katrina Shanks: No, but I don't eat it because of the high sugar content. I'm sorry. Bye.

Eugene Meltsner: Bless you. Go back inside, Katrina. Yeah, bye. Bless you.

Eugene Meltsner: More than you know, Miss Kendall. It's over.

Connie Kendall: What's wrong? Oh, the flowers and candy. Must be on your way to see Katrina.

Eugene Meltsner: I have already seen Katrina and, alas, found myself duly rejected.

Connie Kendall: Rejected? Wait a minute, it's still early. When did you go see her?

Eugene Meltsner: Earlier this morning. Timing was never one of my strong attributes, you see.

Connie Kendall: What time this morning?

Eugene Meltsner: Virtually 7:00 AM.

Connie Kendall: Eugene!

Eugene Meltsner: I was so excited, I couldn't wait.

Connie Kendall: Well, what did she say?

Eugene Meltsner: In between sneezing fits, not very much.

Connie Kendall: Sneezing fits?

Eugene Meltsner: She's allergic to carnations.

Connie Kendall: Oh no. And the candy?

Eugene Meltsner: Too high in sugar content.

Connie Kendall: Oh, Eugene, I'm sorry.

Eugene Meltsner: No doubt Darren will be far more astute at winning her over than I have been. He would certainly know better than to awaken her out of bed on a Saturday morning to deliver a fatal assortment of flowers and candy. I'm sure Darren is a much smarter rival than to make her break out in hives.

Connie Kendall: It'll be all right, Eugene. You'll see.

Eugene Meltsner: Oh yes, it'll be all right. Katrina will move on with her life and I, I will return to days filled with loneliness and despair.

Connie Kendall: Eugene, listen to me. This doesn't have to be the end. Relationships are dynamic. Anything can happen. Anything can change. You may think you lost her today, but tomorrow could be entirely different.

Eugene Meltsner: You're only saying this to cheer me up.

Connie Kendall: No, I'm serious. Don't give up.

Eugene Meltsner: Thank you. Thank you, Connie. And thank you for your help. I know you did your best on my behalf.

Connie Kendall: That's what friends are for, Eugene.

Eugene Meltsner: I hate for these flowers and candy to go to waste. Connie, would you honor me by accepting them as a mere token of esteem?

Connie Kendall: Of course. Thanks, Eugene.

John Avery Whittaker: Excuse me, you two.

Eugene Meltsner: Mr. Whittaker!

John Avery Whittaker: Oh, I'm sorry to interrupt, but I needed to get to the kitchen. Excuse me?

Eugene Meltsner: No need to apologize.

Connie Kendall: We were just talking.

John Avery Whittaker: I need to get some ice cream out of the freezer, that's all.

Eugene Meltsner: Certainly. Perhaps we should resume our work, Miss Kendall.

John Avery Whittaker: But you're not working today, Eugene.

Eugene Meltsner: Oh, well, perhaps since I'm here, I'll take a few moments to reprogram the display that was giving me so much—

John Avery Whittaker: Really, Eugene, you don't need to— Nice flowers, Connie. Eugene gave you those?

Connie Kendall: Yeah.

John Avery Whittaker: Connie?

Connie Kendall: Yeah, Whit?

John Avery Whittaker: I— oh, forget it. I'll be in the kitchen if you need me.

Connie Kendall: Sure.

John Avery Whittaker: This place gets more and more confusing all the time.

Katrina Shanks: Oh, Connie. Oh, hello, Katrina. Is Eugene here?

Connie Kendall: He might be.

Katrina Shanks: Good, someone's coming over here that I want him to meet.

Connie Kendall: How nice.

Katrina Shanks: Is something wrong?

Connie Kendall: No, not at all. What could be wrong? Who do you want Eugene to meet?

Katrina Shanks: His name is Darren.

Connie Kendall: Really? Isn't that a little cruel?

Katrina Shanks: Cruel?

Connie Kendall: I'm sure you know the meaning of the word. Or maybe you know the meaning but you don't understand how it feels. Like the word insensitive. Maybe you should look that one up.

Katrina Shanks: Connie, Darren is just—

Connie Kendall: You know, maybe Eugene doesn't want to meet this Darren guy. Maybe it might hurt Eugene to meet him.

Katrina Shanks: Hurt Eugene?

Connie Kendall: You know, I really liked you when we first met, but I'm having a hard time believing that you could do this to Eugene. He deserves better. Deep beneath that intellectual exterior beats the heart of a really nice guy. And you're making a big mistake if you let Eugene slip through your fingers because—

Katrina Shanks: Connie? What?

Katrina Shanks: I want to introduce you to Darren McGivs. Darren, this is Connie Kendall.

Darren McGivs: Hello, Connie. It's a pleasure to meet you.

Connie Kendall: Yeah, me too.

Katrina Shanks: Darren just moved here from England and his parents asked me to tutor him for a while to help him become acclimated to the United States.

Connie Kendall: Oh, really?

Katrina Shanks: Yes. Now, would you care to explain to me what that tirade was all about?

Connie Kendall: Tirade? It was nothing. Lines from a play I'm working on. It's called *The Large Foot Pushed Deep into the Mouth*. Katrina, why didn't you tell Eugene who Darren was?

Katrina Shanks: He didn't ask.

Connie Kendall: You two are made for each other. Look, I think there's a big misunderstanding going on. Eugene thinks Darren is your new boyfriend.

Katrina Shanks: Boyfriend? Oh no. That's quite amusing, come to think of it.

Connie Kendall: Amusing? Eugene's at the end of his rope.

Katrina Shanks: He's so sweet. Silly sometimes, but sweet.

Connie Kendall: Yeah, well, I think maybe you should go upstairs and talk to him.

Katrina Shanks: Perhaps Darren should.

Darren McGivs: Hello, you're Eugene Meltsner, aren't you?

Eugene Meltsner: I am indeed. May I help you?

Darren McGivs: Yes, I'm new to this country. I was told you would know some students at the college who might make good tutors.

Eugene Meltsner: Tutors?

Darren McGivs: Yes, for me. To help me with my studies.

Eugene Meltsner: I see. Do you know anyone who could help me?

Eugene Meltsner: Well, one person comes to mind. Her name is Katrina.

Darren McGivs: Katrina.

Eugene Meltsner: Yes, and she's very intelligent and very kind and, without question or doubt, I would recommend her services to you. I'd introduce her to you personally but, perhaps it would be better if I simply gave you her phone number.

Darren McGivs: Thanks, but I already have it. I know her.

Eugene Meltsner: You know Katrina? I'm not sure I understand.

Darren McGivs: My name is Darren McGivs. I think Katrina has mentioned my name to you. She's been tutoring me.

Eugene Meltsner: Darren? Darren? The Darren? Your rival, I think. Pardon me while I shrivel into profuse embarrassment.

Katrina Shanks: Eugene.

Eugene Meltsner: An amendment. Pardon me while I die of embarrassment.

Katrina Shanks: Don't die, Eugene. I spoke with Connie and I understand we're both the victims of a terrible misunderstanding. I'm just not quite sure how it happened.

Eugene Meltsner: I for my part have been operating under the assumption that you didn't want to spend time with me because of your interest in someone else, namely Darren.

Katrina Shanks: Well, I assumed that you knew how busy I was, what with studying, working at the library and tutoring, and would understand when I couldn't see you.

Eugene Meltsner: Which I should have understood, but didn't because I assumed you knew my true feelings and were responding in a negative fashion.

Katrina Shanks: Which explains why Connie rebuked me the way she did.

Eugene Meltsner: Did she? Well, obviously she made assumptions based on my assumptions and responded accordingly. Now I realize I shouldn't have assumed at all and should have worked harder at communicating directly with you.

Katrina Shanks: Of course, I shouldn't have assumed that you understood my feelings at all and should have made them much clearer.

Darren McGivs: Excuse me.

Eugene Meltsner: Yes?

Darren McGivs: Could the two of you assume that I don't know what you're talking about? Is this one of those American things I need to learn?

Eugene Meltsner: Perhaps you should write this down.

Darren McGivs: All right, I'm ready.

Eugene Meltsner: Never assume.

Katrina Shanks: Well, I'm sure glad we got all that sorted out.

Eugene Meltsner: Indeed, it's an important lesson to be learned.

Katrina Shanks: Consider that your first exam question, Darren.

Darren McGivs: Don't worry, I'll get it right.

Katrina Shanks: Good, and I suppose I should take you home now. See you later, Connie.

Eugene Meltsner: I don't want to seem presumptuous but, will you call me later, Eugene?

Eugene Meltsner: Absolutely, Trina.

Katrina Shanks: Great. Bye.

Eugene Meltsner: Bye. Nice to meet you. I'm certainly glad that's taken care of.

Connie Kendall: Me too.

John Avery Whittaker: Connie? Oh, I didn't realize you were both here.

Eugene Meltsner: Whit?

John Avery Whittaker: Oh, never mind. We can talk later.

Connie Kendall: Talk to me now. It's okay. What's up?

John Avery Whittaker: Well, I guess it's appropriate since it involves both of you, but you can stop me if it's none of my business.

Connie Kendall: None of your business?

Eugene Meltsner: What can happen around here that wouldn't be any part of your business?

John Avery Whittaker: Well, I'm not sure. I keep thinking about it and I can't figure out what's happening.

Connie Kendall: What do you mean?

John Avery Whittaker: Well, to be honest, I'm a little concerned about what sometimes happens when two friends start to sort of change their relationship, you know.

Connie Kendall: I don't get it. Change their relationship how?

John Avery Whittaker: Well, when two friends become boyfriend and girlfriend.

Connie Kendall: Oh, I know what you're talking about.

Eugene Meltsner: I take it you're referring to me. Have no fear, Mr. Whittaker. I think everything is now under control.

John Avery Whittaker: Is it? I wish I could be so sure. See, I've always doubted the wisdom of two co-workers getting involved that way.

Connie Kendall: Co-workers? But Eugene and Katrina aren't co-workers.

John Avery Whittaker: Eugene and Katrina? I'm talking about Eugene and you.

Connie Kendall: Huh?

Eugene Meltsner: Mr. Whittaker, what are you saying?

John Avery Whittaker: Well, it's not what I said, but what I heard you say to Connie in my office. It was pretty romantic. And then this morning I saw the candy and flowers. Naturally, I assumed that— her? What? What did I miss?

Chris: Like we saw in today's episode, making assumptions without knowing the whole truth is often the source of a lot of trouble. It's always a good idea to double-check your facts and talk honestly to the people involved before you draw any conclusions about what they think or feel.

That'll save you from a lot of problems and possible pain. And that's it for today's adventure. Tell me, what do you think of the relationship between Eugene and Katrina? Do you think they'll become boyfriend and girlfriend?

I'd love to hear from you. Just send your letter to Odyssey, Colorado Springs, Colorado, 80995. Or in Canada, write to Box 9800, Vancouver, BC, V6B 4G3. You may also want to ask how you can get your own copy of today's episode.

It's called "Naturally, I Assumed." That address again is Odyssey, Colorado Springs, Colorado, 80995. Adventures in Odyssey is a presentation of Focus on the Family. "Naturally, I Assumed" was written and directed by Paul McCusker.

Our production engineer was Dave Arnold, and our executive producer, Chuck Bolte. And I'm Chris, hoping you'll join us again next time for more adventures in Odyssey.