Latest / If You Please, Himan Brown’s Radio Mystery Theater / S1E4: No Hiding Place

Transcript

S1E4: No Hiding Place · If You Please, Himan Brown’s Radio Mystery Theater

0:01
>> Welcome to
0:01
"If You Please, Himan Brown's Radio Mystery Theater."
0:04
On this series,
0:06
we're offering rebroadcasts of a select group
0:08
of programs created by this legendary producer for CBS
0:12
between 1974 and 1982.
0:15
Brown re-imagined radio drama for contemporary times.
0:19
Our new series offers some of these exciting works again.
0:22
Before the play, commentator John Slavney
0:25
shares details about the cast, the writer, and the plot.
0:28
Your job -- listen.
0:31
"If You Please" is produced in loving memory
0:34
of Robert Isaacson.
0:35
♪♪
0:39
>> Hi, everyone.
0:42
I'm John Slaveney here offering up a tale first broadcast
0:43
on January 10, 1974 --
0:46
the tightly wound suspense thriller "No Hiding Place."
0:50
Fate has something in store
0:52
for rising corporate executive Charles Powell.
0:54
After blackmailer Clint Livitz
0:56
recognizes Charles as Robert Hagen,
0:58
an escaped convict once sentenced to life for murder,
1:01
Charles' carefully constructed life begins to crumble.
1:05
His engagement to Allison McCreaty,
1:06
daughter of the company president,
1:08
is suddenly threatened along with his
1:10
much anticipated promotion to the company's top post.
1:14
Larry Haines stars in the lead role of the escaped murderer,
1:17
and few actors play the slowly materializing desperation
1:20
of the American male more convincingly than Haines.
1:23
His nemesis is Clint Livitz,
1:26
a violent ex-con who served time alongside Hagen in the slammer
1:29
and who now threatens our flawed hero with blackmail.
1:33
Playing Livitz is a legendary radio actor, Jackson Beck,
1:36
known in the industry simply as The Voice.
1:39
"I'm an advertising man," Beck once said,
1:41
"and I treat my voice as a business."
1:44
Yet Beck also devoted much of his life
1:46
to supporting his colleagues through his work for AFTRA,
1:49
the union representing radio and television performers.
1:52
Also on board is well-known Broadway actor Anne Meacham,
1:55
who could be seen regularly in stage productions
1:57
of the 1950s and '60s.
2:00
Here Meacham plays Charles' love interest,
2:02
the boss' devoted
2:04
and decidedly cunning daughter, Allison.
2:06
Rounding out the cast is well-known character actor
2:08
of the period Sydney Walker,
2:10
along with New York stage actor Tom Keena,
2:13
here each playing two roles.
2:15
Later, in 1974, Keena received positive reviews
2:17
in the revival of Arthur Miller's "All My Sons,"
2:22
appearing alongside three other Radio Mystery Theater players
2:24
in that production.
2:26
The script is from Sidney Sloan.
2:28
A Chicago native, Sloan studied at Northwestern University
2:31
before joining Chicago's legendary Goodman Theatre,
2:34
and he was soon writing scripts for Broadway, TV and radio.
2:38
Among his early credits was a run on "The Shadow"
2:40
during Orson Welles' tenure in the title role.
2:43
This then sets the stage for this smart
2:45
and riveting radio noir story
2:47
recorded on November 19, 1973.
2:51
Enjoy!
2:53
♪♪
2:58
>> The CBS Radio Mystery Theater presents...
3:02
[ Door opens ]
3:03
[ Door creaking ]
3:10
[ Door closes ]
3:13
[ Dramatic music playing ]
3:18
>> Come in.
3:21
Welcome.
3:23
I am E.G. Marshall.
3:25
Welcome to the world of terrifying imagination.
3:30
Our story deals with fate.
3:32
Some call it luck.
3:35
Whatever it is, it works in the strangest ways
3:38
to reward us or defeat us.
3:41
Fate walked into Charles Powell's life
3:44
in the person of Clint Livitz.
3:46
>> Now, look, Clint, or whatever your name is, I don't like you
3:49
and I don't like your insinuations.
3:50
Now, if you don't get out of my office
3:52
and leave these premises immediately,
3:53
I'll have you put out.
3:55
>> You must be putting on an act,
3:56
Mr. Charles Powell.
4:00
Well, maybe this will jolt your memory.
4:03
3541063.
4:07
>> What?
4:10
>> Yeah. [ Chuckles ]
4:12
I thought that would do it, Charlie.
4:15
I thought that might help you remember.
4:18
[ Dramatic music playing ]
4:20
♪♪
4:24
>> Our mystery drama, "No Hiding Place,"
4:27
was written especially for the Mystery Theater by Sidney Sloan
4:31
and stars Larry Haines.
4:34
Act one.
4:36
♪♪
4:38
♪♪
4:47
Everything looked right to Charles Powell
4:50
that crisp September morning
4:52
when he walked into his executive office
4:53
at the J.P. McCreaty company.
4:55
And why shouldn't it?
4:57
Charlie Powell was a big shot there.
5:00
At 37, executive vice president
5:03
of one of the largest manufacturers
5:05
of heavy construction equipment in the country.
5:08
And he had done it all in less than 12 years.
5:11
It was a real-life Horatio Alger story.
5:14
Even to his being engaged
5:16
to J.P. McCreaty's daughter, Allison.
5:18
How could anything go wrong?
5:21
But it did...
5:23
the moment he walked into his private office.
5:25
[ Door closes, intercom buzzes ]
5:27
>> Yes, Elsie.
5:29
>> There's someone to see you. >> Appointment?
5:30
>> No, sir. But he says that you'll see him.
5:33
Mr. Powell, maybe I'd better come in and explain.
5:36
>> Yes. Alright, come in.
5:38
[ Door opens, closes ]
5:40
>> Sorry if I sounded strange,
5:42
but really, Mr. Powell, that man is kind of frightening.
5:45
>> Frightening?
5:47
>> Well, he just sits there and grins at me.
5:49
I told him you didn't see people without an appointment.
5:50
He said, "Oh, he'll see me.
5:52
Just tell him it's an old friend, Clint."
5:55
You know anybody by that name?
5:57
>> Clint? Clint?
5:59
No, it doesn't ring a bell.
6:02
Alright, send him in. I'll get rid of him.
6:03
>> Okay. Don't say I didn't warn you.
6:06
[ Door opens ]
6:07
Mr. Powell will see you.
6:09
[ Door closes ]
6:11
>> Nice of you to see me, Mr. Powell.
6:14
>> Well, I try to see everybody, Mr., uh...
6:17
>> Just Clint.
6:19
I don't think you ever knew me by anything but Clint.
6:22
You must remember, Mr. Powell.
6:25
>> Well, I'm sorry, but I don't.
6:27
>> Come on, give it a try. Give it a good try.
6:29
>> Now, look here, I'm busy,
6:31
and I have neither the time nor the patience.
6:32
>> You must be putting on an act, Mr. Charles Powell.
6:37
Oh, maybe this will jolt your memory.
6:41
3541063.
6:45
>> What?
6:48
>> Yeah. [ Chuckles ]
6:51
I thought that would do it, Charlie.
6:54
I thought that might help you remember.
7:01
[ Dinnerware clatters ]
7:03
>> Charles? >> Hmm?
7:05
Oh, I'm sorry, Mr. McCreaty, I guess I was daydreaming.
7:08
>> Something bothering you, young man?
7:10
>> Oh, no. No, no. >> I hope not.
7:13
Here, I take you to the best French restaurant in town,
7:15
you pick at your food, gaze into space,
7:18
send your dinner away hardly touched.
7:20
>> Oh, did I, uh, send all that good food back
7:23
without eating it? >> You did.
7:26
I, um, I particularly wanted to see you alone, Charles,
7:30
because, uh, I have a little news for you.
7:33
>> News?
7:35
What, uh, what kind of news, Mr. McCreaty?
7:37
>> And that's another thing.
7:39
You're so damned formal with me. "Mr. McCreaty."
7:43
Do you realize that in exactly five weeks,
7:46
you're going to be one of the family?
7:47
>> Yes, of course I realize.
7:49
How could I overlook it
7:51
when Allison keeps reminding me regularly?
7:52
>> Very well then.
7:54
Do you think it proper to call
7:56
your father-in-law-to-be Mr. McCreaty?
7:59
If you don't start calling me John --
8:01
>> Okay. "John" it'll be.
8:03
>> I'm, uh, I'm going to leak a little information to you.
8:07
>> Yes?
8:09
>> As you know, I've been thinking of stepping down
8:11
from the presidency of the company.
8:13
>> Yes, well, it has been rumored,
8:15
but I wish you'd reconsider. Now, sincerely,
8:18
the place wouldn't be the same without you.
8:19
>> Well, I'll still be there, Charlie.
8:21
I'm not giving up my stock.
8:23
The name of the company will still be J. P. McCreaty company.
8:27
The only difference will be that, uh,
8:29
you will be sitting at my desk.
8:33
>> Sitting at your desk?
8:36
Well, I thought Hedges was slated to take over
8:38
when you stepped down.
8:39
>> No.
8:41
Well, Tom was seriously considered,
8:44
but he's a bit too old for the job.
8:46
No, the company needs young blood.
8:48
>> Well, I am really bowled over.
8:52
>> I've watched you grow. Come up on merit, ability.
8:56
You're going to go far, my boy.
8:59
Of course, the board will have to vote on your appointment.
9:02
But that, as the saying goes, is in the bag.
9:07
>> Well, there's something you've omitted, John.
9:10
You haven't asked me if I wanted the job.
9:12
>> Is it necessary to ask?
9:15
I remember another lunch with you several years ago.
9:18
We got talking about ambitions,
9:20
and you said that you would never be satisfied
9:22
with second best.
9:24
It had to be the top job or you'd move on.
9:28
>> Yes, but that was before this morning.
9:32
>> Hmm? What?
9:33
>> Uh, nothing. Just mumbling.
9:36
>> I'd like to know how you feel about it, Charles.
9:38
>> Well, even to be considered for the position is an honor,
9:41
Mr. -- John.
9:42
>> And your answer?
9:45
>> Let me think it over.
9:47
I must think it over.
9:50
♪♪
9:52
♪♪
9:59
>> Trying to collect your life insurance, Charles?
10:02
>> Uh, what? >> The way you're driving.
10:05
Are you out to get me, yourself, or both of us?
10:07
>> Oh, I'm sorry, dear.
10:09
I guess I didn't realize how fast I was going.
10:10
This car has more power than it needs.
10:12
>> More than I need. >> I'm sorry.
10:15
>> At least it gave us a topic for conversation.
10:19
>> Hmm? What did? >> Your driving.
10:22
Darling, I'm the girl you asked to marry you.
10:25
Something is troubling you, something big.
10:28
>> [ Sighs ]
10:30
>> Allison, did your father tell you what he's planning?
10:31
>> Dad never tells me anything.
10:33
I have an idea he thinks of me as a birdbrain.
10:35
>> He wants me to take over the presidency of the company.
10:38
>> That's marvelous.
10:40
He couldn't have made a better choice.
10:41
>> Well, you're prejudiced.
10:43
>> But it's a nice kind of prejudice.
10:44
>> I, uh... I don't think I'll accept.
10:48
>> What?
10:49
But, darling, it's right for you.
10:52
You've worked toward that goal.
10:54
You're the right man for the job.
10:55
>> Am I?
10:57
>> What is this? Lack of confidence? Buck fever?
10:59
You're being ridiculous, darling.
11:01
>> No, I'm being practical and sensible.
11:04
My being president of the McCreaty company
11:06
would bring nothing but trouble.
11:07
>> What are you saying?
11:09
>> I'm even considering resigning my present job.
11:11
>> Why? >> Allison --
11:13
>> Tell me.
11:14
Whatever it is, I'll never stop loving you.
11:16
>> [ Sighs ]
11:17
I'll tell you...
11:19
when I get up enough courage.
11:21
Please, darling, be patient with me.
11:24
Just be patient. I love you, too.
11:27
♪♪
11:32
[ Dinnerware clatters ]
11:35
>> So you finally got here.
11:37
Thought you were going to forget our appointment.
11:39
>> Oh, you didn't really think that, Clint.
11:41
>> Oh, I knew you'd come. You wouldn't dare not to come.
11:46
>> Sit.
11:49
>> You got it with you?
11:50
>> Yes, I've got it. >> In small bills?
11:52
>> Fives, tens as specified.
11:54
>> Let's have it.
11:55
>> Here. >> Mm.
11:58
In a pretty manila envelope, too, nice and neat. Thanks.
12:02
>> Now, look, I don't know how much longer I can do this.
12:04
>> You'll do it as long as I say.
12:06
>> And if I run out of money?
12:08
>> You'll just have to scrounge around and find more.
12:10
>> Well, I'm thinking of quitting my job.
12:12
>> You wouldn't want to do that, Charlie.
12:13
>> Well, suppose --
12:16
suppose it gets too much for me, and I say, "Go ahead.
12:18
Spill what you know"? >> Oh, you wouldn't do that.
12:20
You're gonna marry a very rich girl.
12:23
A couple of extra yards ain't gonna change your manner of living.
12:26
Even a couple extra grand.
12:28
[ Charlie sighs ]
12:30
>> How long are you going to suck my blood?
12:34
>> I don't like the way you put that, Charlie.
12:38
I'd rather you'd think of it like it was sort of, uh,
12:41
sharing the wealth.
12:43
You got the bread and I got nothing.
12:46
This way, we both got something. I got a nice living, and you --
12:52
well, you got your freedom.
12:54
♪♪
13:02
[ Telephone rings ]
13:05
>> Hello. >> Charles?
13:07
>> Oh. Oh, yes. Mr. -- Er, yes, John.
13:10
>> Uh, sorry to bother you at this hour.
13:11
You weren't asleep, were you? >> At 10:15? No.
13:14
>> The, uh...
13:15
The reason I'm calling -- >> Yes.
13:18
>> Is something bothering you, my boy?
13:20
>> Well, I, uh --
13:22
I've had some things on my mind lately.
13:23
I'm sorry it was so noticeable.
13:25
>> Well, it occurred to me that a young man gets
13:27
a bit absent minded as the day of his wedding approaches.
13:30
Perhaps a bit frightened.
13:31
>> No, no, no, it isn't that, J.P.
13:33
[ Doorbell buzzes ] >> Oh! Uh, excuse me, John.
13:34
Someone's at my door. Hold on.
13:36
Just a moment.
13:38
[ Door opens ]
13:40
>> Forgive me for coming here -- >> Shh, shh, shh.
13:41
I've got your father on the phone. Come in, darling.
13:44
[ Door shuts ]
13:46
Hello, John, uh, it was just the porter with a package.
13:49
What were you saying?
13:51
>> Oh, nothing, really. I'm just concerned.
13:54
Whatever's troubling you can be taken care of.
13:56
I'm backing you all the way.
13:59
>> Well, I, uh, I appreciate your feelings, J.P.,
14:01
but there really is no cause for concern.
14:03
I'll snap out of this in a day or so.
14:05
>> Good.
14:06
It's reassuring to hear you say that.
14:08
Now, forgive me for disturbing you.
14:09
>> Oh, no, I wasn't disturbed.
14:11
Thanks for calling.
14:12
>> Good night. >> Good night, J.P.
14:15
>> Even Dad notices that something is wrong.
14:17
>> Yeah.
14:19
>> I haven't seen you in three days.
14:20
Are you trying to tell me something?
14:23
>> All I, uh --
14:25
all I want to tell you is that I love you very much.
14:28
>> From a distance. >> Hm?
14:30
>> I called you at your office twice this afternoon.
14:32
>> Allison...
14:35
Allison, I-I can't keep this from you.
14:37
I thought I could,
14:39
but every day, every hour, it grows bigger.
14:41
Until now, it feels as though it's going to engulf me
14:44
and you, our life, everything that has meaning for me.
14:47
>> Darling -- >> No, no, no. Hear me out.
14:50
And then if you want to go out that door quietly...
14:53
I won't say anything more.
14:55
And you can forget that you've ever known me.
14:56
>> And loved you.
14:58
Are you trying to say you don't want to marry me?
15:01
That you've stopped loving me?
15:03
>> Darling, it's because I love you that I'm going to tell you.
15:06
I considered keeping the whole matter from you,
15:08
riding out the trouble and probably overcoming it.
15:10
>> Darling, how little you know me.
15:12
No matter what the trouble is, I want to be with you.
15:14
If you want me.
15:17
[ Charles sighs ]
15:19
>> Allison -- I'm a fraud.
15:23
>> What? >> I'm not Charles Powell.
15:26
It's a name I assumed to hide my real identity.
15:32
Want me to go on?
15:34
>> Yes, darling. Go on.
15:36
>> [Sighs] At the age of 22,
15:39
I was charged and convicted of murder
15:44
and sent to San Quentin for life.
15:46
I was innocent. Evidence, circumstantial evidence,
15:48
court appointed attorney
15:50
who didn't know what to do or didn't care.
15:52
A weak effort to appeal,
15:53
which was refused, and...
15:56
...there I was at 22, in prison for life.
16:01
Chance of a parole only after serving 20 years.
16:04
I'd be old, all my young life confined in prison.
16:08
So when I had a chance to get out --
16:12
>> You escaped. >> And ran. For two years.
16:15
Do you know what it means to be hunted?
16:17
You can't get a job. You have no place to live.
16:18
You can't ever sleep for fear
16:20
someone will see you and turn you in.
16:21
>> Oh, darling!
16:22
>> I was ready to give myself up.
16:25
When I suddenly discovered that it wasn't
16:28
necessary to run any longer.
16:31
I picked up a two week old newspaper
16:33
and read a report of my death.
16:34
>> What? >> Yes, a man --
16:36
a man had been burned to death in a flophouse fire.
16:40
The only thing he had on him was something
16:41
that I had kept, my only possession,
16:44
a locket belonging to my mother.
16:47
It had a picture of her, taken when she married my father,
16:52
and it had been stolen from me
16:53
as I lay asleep in a freight car.
16:55
I guess the thief thought it was gold.
16:56
It was just cheap gold plate.
16:58
>> And the man was identified as you?
17:01
>> My mother and father's names were inscribed on the back.
17:06
The man was so badly burned that the locket was the only thing
17:08
that could possibly identify him.
17:10
And after two years of hunting,
17:12
the authorities were glad to close the file...
17:16
...on Robert Hagan.
17:20
>> Robert Hagan.
17:23
Sounds so strange.
17:25
The name doesn't fit you.
17:27
>> It sounds strange to me, too, now.
17:30
Darling, I'm innocent.
17:32
I never did it. It was all a mistake.
17:34
>> I don't doubt that for an instant, dearest.
17:36
I only wish you'd never told me.
17:38
>> I had to tell you. I --
17:42
You see, someone knows who I am.
17:47
He's -- blackmailing me.
17:50
♪♪
17:58
>> When you're being blackmailed,
18:00
you don't have many alternatives.
18:04
Charles Powell's whole life, his future,
18:08
the happiness of the woman he loves,
18:10
all hang by a very thin, flimsy thread.
18:15
I'll be back shortly with act two.
18:20
>> Like what you're hearing so far?
18:22
Are you curious about the history behind radio programs
18:25
just like this one,
18:26
and the dramatic genius who created them?
18:29
In the nine-part award-winning documentary, "Audio Maverick,"
18:32
we explore the golden age of radio
18:35
through the life of Himan Brown.
18:37
You'll hear the history of radio come to life
18:39
as we travel from the birth of audio drama
18:42
to the programs that brought millions of families
18:44
into their living rooms every night.
18:47
"Audio Maverick" is available anywhere you get your podcasts.
18:53
♪♪
18:58
♪♪
19:04
>> When Charles Powell chose to give in to his blackmailer,
19:08
he didn't envision the trouble that was building up for him.
19:11
"Just keep paying and I'll keep my mouth shut,"
19:14
His blackmailer assured him.
19:17
But then something happened that threatened
19:19
to destroy Charles' fragile security.
19:22
[ Intercom buzzes ]
19:24
>> Yes, Elsie?
19:25
>> Mr. Hamill is here to see you.
19:27
>> George Hamill?
19:28
Well, we're not playing tennis until tomorrow.
19:30
>> I know that, Charlie.
19:31
I've got something else to talk about.
19:33
Business. >> Business?
19:35
Yours or mine? >> Mine --
19:37
but it concerns you.
19:40
>> Okay. Come in, George.
19:43
>> Sorry to barge in on you.
19:45
I know you're busy.
19:47
>> Well, I'm never too busy to see George Hamill,
19:48
Rising young district attorney and next governor of the state.
19:51
>> Your humor creaks, Charlie.
19:54
Seriously, I've got something that sort of disturbs me.
19:57
>> Oh? What does?
19:59
>> Well, last night in a bar over on the west side,
20:03
a man was bashed over the head with a bottle.
20:05
He's in serious condition.
20:07
>> Well, what has that got to do with me?
20:10
>> Well, the man who did the bashing,
20:12
an ex-con by the name of Clinton Livitz.
20:14
>> Yes?
20:16
>> He's asking for you. Says you'll go as bail.
20:21
Now, what I want to know is,
20:23
how does a guy like you get mixed up with a Joe like that?
20:27
>> George, what did you think, that he and I were buddies or something?
20:30
>> I -- I didn't know what to think.
20:32
>> Well, I-I-I do know the man. He, uh...
20:35
He applied for a job with the company a week or so ago.
20:37
The foreman who interviewed him discovered he was an ex-con and, uh,
20:40
and, uh, he refused to hire him. It was brought to my attention
20:44
when one of the societies that helps ex-cons called me.
20:48
>> So you got him a job in the plant?
20:50
>> No, no. No, no. I couldn't. I mean --
20:52
I wouldn't go over the head of the foreman,
20:53
but I-I did see him and I, uh, you know,
20:56
handed him a couple of dollars. >> Couple of dollars?
20:59
You know how much money he had on him
21:01
when we brought him in?
21:02
$276.
21:04
>> Oh? Well, uh...
21:06
maybe he got lucky at the races with the money I gave him.
21:09
>> How much was it? >> Oh, gee, I don't remember.
21:11
Uh, 15. 20.
21:12
I just took it out of my pocket and handed it to him.
21:14
It was a, you know, a way of easing my conscience.
21:17
I felt bad about the way our foreman had treated him.
21:19
>> Well, take my word for it --
21:21
this Clint Livitz is a bad customer.
21:25
Stay away from him. >> Uh-huh.
21:27
Uh, what, uh, what will become of him?
21:31
>> Oh, he'll go back to the pen where he belongs.
21:33
>> Well, what's the bail set at? >> 5,000.
21:38
>> You're not seriously considering putting it up, are you?
21:40
>> No, I'm just asking. >> because if you are,
21:42
that's the last you'll see of your money.
21:44
And for that matter, Mr. Livitz. He'll jump bail --
21:46
>> Please, George. I'm a big boy now,
21:48
and I think I can make my own decisions.
21:50
>> Well -- [scoffs] -- who would have thought it?
21:54
Charles Powell, bleeding heart. >> Now, look --
21:57
We've been friends for over five years.
21:59
When you were running for DA,
22:01
I backed you with substantial contributions.
22:03
I like you, you're my friend.
22:05
Now, let's not kick that all out
22:07
because of some stupid disagreement.
22:08
>> No. Let's not kick it out.
22:12
I'm sorry, Charlie,
22:15
but I just can't understand what your connection
22:17
with that ex-con is.
22:20
♪♪
22:27
>> Mr. Powell, I hope you'll understand,
22:30
I accept Clinton Livitz's case with strong reservations.
22:32
>> Yes, I understand, Mr. --
22:34
>> As an attorney, I -- well, how shall I put it?
22:36
>> You, uh, you don't like your client.
22:39
>> Exactly.
22:40
However, I shall do my best to get him off.
22:42
Or at least get him a light sentence.
22:44
I'm extremely pessimistic about Mr. Livitz
22:46
even showing up for trial. >> Yes.
22:49
George Hamill also said he expected
22:51
that Livitz would jump his bail.
22:52
>> And you would forfeit $5,000. >> Yes, I know.
22:55
>> And that doesn't disturb you? >> No, no, I --
22:58
I don't believe he'll run.
23:00
>> I see. Do you want to speak with him?
23:03
He's been released.
23:04
He's waiting in the other office.
23:06
>> Uh, not particularly.
23:07
>> Well, he says he wants to see you.
23:09
>> Oh. Well, in that case, yes, I'll -- I'll see him.
23:14
>> Send Mr. Livitz in.
23:16
I'll leave you alone.
23:17
If you need me, I'll be in the other office.
23:19
[ Door opens ]
23:21
Now come in, Mr. Livitz. Mr. Powell will speak to you.
23:24
>> Thanks. >> I'll be back when you call.
23:26
Just flip the switch on the intercom.
23:27
>> Yes, I will. [ Door shuts ]
23:31
Well, you sure know how to complicate things, Clint.
23:34
>> Story of my life. >> Do you realize you could
23:37
go up for one to five years for what you've done?
23:39
>> No, it couldn't happen.
23:41
>> What do you mean it couldn't happen?
23:43
>> Because you wouldn't let it happen, Charlie.
23:45
>> Look, even with the best lawyer defending you,
23:47
he can't guarantee he'll win the case.
23:48
>> You won't let me go to prison.
23:50
>> I'm -- I'm doing my best for you.
23:52
But -- >> No buts.
23:55
I'm not going back to the pen.
23:57
>> Okay. Okay, you're not going back.
24:00
Now, suppose -- just suppose,
24:02
during the trial, if things look bad,
24:04
>> Yeah? >> We, uh...
24:06
We get you out of town and let you run for it.
24:07
Forfeit your bail. >> [ Laughs ]
24:10
Oh, you'd like that, wouldn't you?
24:12
I'd be outta your hair
24:14
and all it would cost you would be the five G's for the bail.
24:17
>> No, no, no, no, no. I-I'd give you a substantial sum.
24:20
>> No, Mr. Powell. No sale.
24:23
I'm too old to run.
24:24
>> Well, s-suppose I, uh, I --
24:26
I got you out of the country.
24:28
>> With a good hunk of bread stashed away for me?
24:30
>> Swiss bank account.
24:32
>> I don't know.
24:34
Why don't we, uh, play it by ear?
24:37
♪♪
24:45
[ Knocking at door ]
24:47
>> Come in. [ Door opens ]
24:50
>> You, uh, wanted to see me, J.P.?
24:53
>> Uh, yes. Er, can you spare a minute?
24:55
>> Yeah, sure. [ Door shuts ]
24:57
>> I've heard it on the grapevine that you were --
24:59
well, how shall I put it?
25:01
That you were aiding some ex-convict
25:03
in trouble with the police.
25:05
That true?
25:07
>> [Sighs] Yes, it's true, John.
25:09
And I think I know what kind of grapes grow on that grapevine.
25:13
>> All right. Now, George Hamill called --
25:16
>> Oh, that damn busybody.
25:17
Why can't he stick to his job and --
25:19
>> Now, George is a friend.
25:21
He tells me that the man you're, er, protecting
25:25
is a rather reprehensible character.
25:27
>> Will you let me explain?
25:30
It's -- it's just a matter of policy, my helping this man.
25:33
>> Policy? >> Well, yes, you, uh --
25:35
you did ask me a few days ago to consider taking
25:37
over the job of running this company.
25:39
>> You're going to accept? >> Well, I was, uh --
25:41
I was going to tell you today. >> Wonderful.
25:43
Wonderful news. Allison will be delighted.
25:46
I know she's been worried about your seeming reluctance.
25:49
>> Oh, no, no, not reluctant any longer.
25:51
In fact, I've got all sorts of ideas about what I want to do.
25:54
This business of giving a hand to ex-convicts
25:57
is just one of them. Do you realize what this would mean
25:59
in publicity for the company?
26:01
To take an interest in the rehabilitation
26:03
of men who would otherwise be lost, a burden to the taxpayer?
26:06
I'm going to hire a PR man.
26:08
We're gonna be the big corporation with a heart, J.P.
26:11
♪♪
26:16
Lies! Lies, lies, and more lies!
26:20
How can I keep all these phony stories straight, Allison?
26:23
It's like a long, dark tunnel with no ending.
26:25
>> It will end and it will all turn out all right.
26:27
Don't lose your courage now.
26:29
I love you and need you.
26:30
We'll worry this out together. >> You know --
26:32
you know what I've considered? >> What?
26:34
>> Going to the authorities and saying, "Look,
26:35
I'm Robert Hagan, the man you think died 13 years ago."
26:39
>> No, darling, they'd throw you back into prison.
26:41
>> Well, I'd hire the best lawyers.
26:43
>> No, no, Charles, don't. Please, don't take such a chance.
26:45
What would I do without you?
26:47
>> Darling --
26:50
darling, I don't know how much longer I can stand this pressure.
26:53
I've got to do something, something to free myself.
26:56
>> Why not give him a lot of money and ask him to go away,
26:58
promise to stay away forever?
27:00
>> In Hargrave's office, I suggested that he jump bail
27:03
and get out of the country.
27:04
>> What did he say?
27:05
>> Well, when I mentioned a big sum,
27:06
I didn't exactly say how much,
27:08
you know, a Swiss bank account, he was interested.
27:11
>> Did he say he would accept?
27:13
>> Well, we were interrupted and he didn't say definitely.
27:15
>> Offer him anything. Just get him to go.
27:17
>> Well, how would I get a large sum of money together?
27:20
I have some small investments, a fair bank account, but --
27:24
what he might want would be beyond me.
27:26
>> You forget you're marrying a very rich girl.
27:28
>> Oh, no. No, I wouldn't think of that.
27:30
>> Don't give me that male ego business.
27:32
I've got money.
27:34
Dad was nice enough to give me a big hunk when I was 21.
27:36
>> Now, look -- look, Allison --
27:38
>> With all my earthly goods, I thee endow.
27:40
>> We're not married yet.
27:42
>> You're not going to back out now.
27:43
Not after I've endowed you with all my earthly --
27:46
or is it worldly goods? [ Charles laughs ]
27:50
>> You know you are the nuttiest woman I've ever known.
27:53
>> See, I've got you laughing.
27:55
Darling, all our troubles are going to evaporate, vanish.
28:00
>> No. It won't work, Allison.
28:03
It'll never work.
28:04
>> But you said -- >> No.
28:06
Clint Livitz will never stick to any bargain.
28:09
He'll want more and he'll want more.
28:10
He'll never be satisfied.
28:11
>> If we got him out of the country --
28:13
>> What's to keep him from coming back when he's broke
28:15
or even threatening us from abroad?
28:18
I gave him a thousand dollars in cash only a few days ago.
28:21
When he was picked up in the bar,
28:23
he had only about 270 some dollars left.
28:25
In a matter of two days, he'd squandered over 700.
28:29
>> But if he were made to understand
28:31
that the sum agreed on was all he was going to get.
28:33
>> Can't I make you understand?
28:34
We're not dealing with a rational, honest man.
28:38
He'll agree to anything.
28:40
And then he'll --
28:42
When his money runs out or he decides he wants more, he'll --
28:45
he'll be right back.
28:47
>> What can you do?
28:52
>> There are only two things one can do about a blackmailer.
28:57
Keep on paying and paying forever...
29:00
>> And the other? >> And the other...
29:05
...kill him.
29:06
♪♪
29:11
>> Just two ways to deal with a blackmailer.
29:15
Charles now must face his conscience.
29:19
The thought that has been in the hidden recesses of his mind
29:22
has been spoken -- aloud.
29:25
We will be back shortly with act three.
29:28
♪♪
29:30
>> Like what you're hearing so far?
29:32
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29:35
just like this one,
29:37
and the dramatic genius who created them?
29:39
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29:43
we explore the golden age of radio
29:45
through the life of Himan Brown.
29:47
You'll hear the history of radio come to life as we travel,
29:50
from the birth of audio drama to the programs
29:53
that brought millions of families
29:55
into their living rooms every night.
29:57
"Audio Maverick" is available anywhere you get your podcasts.
30:01
♪♪
30:04
♪♪
30:09
♪♪
30:15
>> Charles Powell's life has reached a climax.
30:19
He must make a decision
30:21
to rid himself forever of his blackmailer,
30:25
and perhaps that very decision will destroy his life
30:28
and the life of the woman he loves.
30:31
The alternative was to keep paying and paying,
30:36
never feeling safe.
30:38
[ Doorbell buzzes ]
30:42
[ Door opens ]
30:44
>> Oh, Allison, I-I was, uh --
30:46
>> You were expecting him, weren't you?
30:48
>> Yes, yes. >> I gathered as much
30:50
when I called you at the office this afternoon.
30:53
Aren't you going to ask me in?
30:55
>> Uh -- yeah, come in.
30:58
[ Door shuts ]
31:00
>> You were so evasive. >> Well, he, uh...
31:03
...wanted to see me this evening. He, uh...
31:05
...wants more money.
31:06
>> And you're going to give it to him?
31:08
>> Well, I haven't many choices, have I?
31:09
>> You mentioned one. >> No.
31:12
No, Allison, I'm -- I'm sorry I let that slip out.
31:15
I didn't mean it. It --
31:17
I-I couldn't go through with that if I wanted to.
31:20
>> I could. >> What?
31:23
Honey, you don't know what you're saying.
31:24
>> I know very well what I'm saying.
31:27
How long do you think you can keep this business hidden?
31:29
>> Well, I don't know, I don't know, maybe forever.
31:31
Look -- look, he's not a young man.
31:33
All those years in prison, the kind of life he's led.
31:35
How many years do you think he has left?
31:37
He could die tomorrow. >> He could do something tomorrow
31:40
that would expose the whole game.
31:41
And then where would we be?
31:43
No, Charles, I love you.
31:45
I want us to marry and live a good, peaceful life.
31:48
How can we, with all that hanging over us?
31:50
>> Oh, Allison, darling.
31:52
Darling, you don't really know what you're suggesting.
31:55
Look, maybe if we could get him to leave the country.
31:57
>> You said there were only two ways to deal with a blackmailer.
32:01
To keep paying -- -No, no.
32:02
To murder him is unthinkable.
32:05
>> George Hamill asked me to stop by
32:07
at his office this afternoon.
32:08
>> Why? >> He's not stupid.
32:11
The story you gave my father about helping ex-convicts
32:13
as a public relations stunt didn't wash with him.
32:16
He wanted to know what I know.
32:17
>> Well, he was just fishing.
32:19
>> The best way would be to make it look like an accident.
32:22
>> Allison, we can't -- >> Hear me out.
32:24
A car accident. >> How?
32:28
If -- if I cracked up with Clint in the car,
32:30
I might be the one who gets it.
32:31
And what guarantee do we have that --
32:33
that he would die?
32:34
>> No, you can't be in the same car.
32:36
If he were in another car, and you were following him,
32:40
and if you raced ahead of him
32:42
and cut him off and forced him to crash off the road.
32:44
>> Ah, if, if, if! It's too iffy.
32:47
It -- It's so impossible.
32:49
It's so dreamlike.
32:50
>> It was a dream.
32:52
Last night, I dreamt you were in a car with me.
32:56
We saw Clint up ahead of us.
32:58
I said, "There's Clint ahead of us.
33:01
Cut him off and make him crash.
33:03
Faster, faster! We've nearly caught him.
33:07
Now we're alongside him. Force him over.
33:09
Cut in front of him!"
33:12
Then I woke up.
33:13
I was crawling out.
33:15
I was afraid someone had heard me.
33:17
>> Oh, my darling. >> It was all so real.
33:20
[ Doorbell buzzes ] >> Oh, that's Clint now.
33:22
Honey, you go out the back door. I'll phone you later.
33:25
>> I'm going to stay and meet him.
33:26
>> No-- >> I'm staying.
33:27
I've got something to say to him.
33:29
>> He won't like your being here.
33:30
[ Door opens ]
33:32
>> Well, it sure took long enough --
33:34
What's the idea, Powell?
33:36
>> Uh, this is my fiance, Allison McCreaty.
33:39
>> What's she doing here?
33:41
>> Will you come in and stop being childish? [ Door shuts ]
33:44
>> I ain't saying a thing. You got nothing on me.
33:47
And remember, Mr. Powell,
33:49
you got a lot more to lose than I have.
33:51
>> You're not going to lose anything, Mr. Livitz.
33:53
You're going to gain by my being here.
33:54
>> Yeah?
33:56
>> Mr. Powell has told me his story,
33:57
and I agree that it must not get out.
33:59
>> Go on. >> I have a lot more money than --
34:03
Let me put it this way.
34:05
Charles and I are going to be married.
34:08
We want you to leave the country.
34:10
>> [Laughing] Oh, I bet you do.
34:13
>> Look, Clint, you'll do better by accepting our proposition.
34:16
>> We intend to hand you $50,000.
34:19
>> And an airplane ticket, one way.
34:22
>> And never come back? >> And never come back.
34:25
>> Well -- [chuckles] I always wanted to travel. But --
34:31
>> What? >> 50 G's? Just chicken feed.
34:34
>> Well, that's all there is. >> Not enough.
34:36
I'm thinking around a quarter of a million.
34:38
>> Out of the question.
34:40
I'm not going to bargain with you.
34:41
I can raise 100,000.
34:43
>> No, Allison -- >> It's worth it, Charles,
34:45
if we can depend on Clint to wipe the whole matter
34:47
out of his memory and just go away.
34:49
>> Oh, you can depend on me.
34:51
I'll keep my bargain.
34:53
>> Then it's a deal?
34:55
>> A deal. >> Good.
34:57
It'll take about ten days to raise the money.
35:00
>> I ain't in no hurry. You are.
35:03
And, uh, speaking of money,
35:05
that was the reason I, uh, came tonight, Charlie.
35:09
>> Yeah. Here. That's 500.
35:11
>> What?! I said a G like the last --
35:14
>> That's all I could raise in a hurry.
35:16
When that runs out, I'll have more.
35:19
You went through that first thousand awfully fast.
35:21
>> Well, I got rolled in that bar where I had the trouble.
35:23
>> Oh, that reminds me,
35:25
your trial comes up in less than three weeks.
35:26
>> Yeah. Lawyer called me at my hotel,
35:30
to see if I was still around, I guess.
35:32
>> Our plan is for you to jump your bail.
35:34
>> I'll forfeit the 5,000 I put up for it.
35:36
>> And get you out of the country.
35:38
>> With a keister full of green.
35:41
Hey, wait. I ain't got a passport.
35:43
>> Oh, that can be arranged, Clint.
35:44
Just leave that to me.
35:47
>> Okay, friends, you got yourself a deal.
35:51
♪♪
35:58
>> Say, Charlie. >> Hm?
36:00
>> You're going to put this meal on your expense account, I hope.
36:03
>> [Laughs] Too rich for your blood, George?
36:05
>> Too rich for my pocketbook.
36:07
>> It's J.P.'s favorite French restaurant.
36:08
>> Oh, yeah. Nice to have wealthy,
36:10
high-paid executives for friends.
36:13
I'm a simple man.
36:15
I like simple things.
36:17
And I like simple answers.
36:20
>> Meaning? >> How long are you gonna cling
36:22
to that cockamamie story about your helping ex-cons
36:25
rehabilitate themselves?
36:26
>> Well, it's the McCoy, George.
36:28
>> That guy got something on you, Charles?
36:30
>> Pardon, monsieur, the telephone for you.
36:33
>> Oh! Er, yes, thank you. Where is it?
36:35
>> It is here, monsieur. I will plug it in for you.
36:39
>> Thank you. >> [Chuckles] Just like the movies.
36:41
>> Yeah.
36:42
>> Hello? >> Charles.
36:44
>> Oh! Yes, Allison.
36:46
>> I know George Hamill's with you.
36:47
Elsie told me you were lunching with him.
36:49
Listen to what I'm going to say, but don't let on to George.
36:52
>> Uh, yes. Yes, yes, dear. Uh, Allison says hello
36:55
and to remind you that in two and a half weeks,
36:57
she wants to see you at the church promptly at 11.
37:00
>> [Laughs] I'll try to remember.
37:02
>> Okay. He's all set, darling. Now, what's so important?
37:05
>> It's got to be tonight.
37:06
I'll have the house all to myself.
37:08
>> Uh, why is the color scheme so important?
37:11
>> The housekeeper and her husband are going into town
37:13
to see their 15-year-old son in the high school play.
37:16
>> Well, I don't see that that's such a problem.
37:18
Choose whatever color will make the bridesmaids happy.
37:21
>> Rent a car and let Clint take it to drive out
37:24
and be here promptly at nine.
37:26
Do not come together.
37:27
You come out in your own car,
37:29
but first report it broken down.
37:31
Have it picked up tomorrow morning.
37:33
You'll bring it back after it's all over.
37:35
Understand? We did not see each other.
37:38
You couldn't get here because your car was out of order.
37:41
>> Oh, yes, yes, I follow, dear, I follow. I'm not sure I agree.
37:46
>> I have a .22 target pistol. I know how to use it.
37:49
>> Yes, I --
37:50
I know you have to ask him to come, dear, but --
37:54
then what do we do with the unwelcome guest?
37:56
>> There's a spot about a hundred yards behind the house.
37:59
We get him out there in a wheelbarrow.
38:01
There's a hole, an old cesspool.
38:04
We drop him in -- quicklime. Gardener's got several bags.
38:08
>> But, uh, suppose the gardener wants to supply
38:11
some flowers for -- -He's been gone over a year, fired.
38:14
We didn't hire one after that.
38:16
As soon as it's all over, we'll take the rental car
38:18
and dump it over the edge of the road near town.
38:20
You know that bad place where there's no shoulder on the road
38:23
and only a flimsy guardrail? >> Mm-hm.
38:25
Yes, yes, I know, I know.
38:27
>> We dump the car there, let it smash up.
38:29
If it catches fire, so much the better.
38:31
Then you take me back to the house and rush back to the city.
38:35
Report the rental car stolen.
38:37
You've been in your apartment all evening.
38:40
Understand? >> Yes.
38:42
Uh, the color scheme suits me fine, dear.
38:45
You sure have it all planned. No baubles, uh,
38:48
no slip-ups? >> All planned.
38:51
>> Yes, I'll be in my office 'til late tonight.
38:53
Nine at least, if you want to reach me.
38:55
>> Good. That was for George's ears, wasn't it?
38:58
>> Yes, that's correct, Allison, I, uh --
39:01
Now, look, I have a report to get out.
39:03
If you've completed your instructions,
39:05
I'll get back to my lunch with George.
39:07
Goodbye, dear.
39:08
[ Telephone hangs up ]
39:09
>> Wow!
39:11
And that's only the beginning, Charlie.
39:14
Wait 'til she gets you signed on the dotted line.
39:17
♪♪
39:24
[ Door opens ] >> Mr. Powell!
39:26
Mr. Powell, something terrible's happened!
39:28
>> What is it, Elsie? >> There's been a terrible accident
39:30
on the late shift. A man's caught in a machine.
39:32
The big press, they said. >> Oh, good Lord.
39:34
Has the hospital been called? >> I don't know.
39:36
>> Well, call them on your phone. I've got to use this one.
39:38
>> Yes, sir. I'll call.
39:40
>> And then call down to the plant, tell them I'm coming down.
39:42
If it's what I think it is, the machine will
39:44
have to be partially dismantled.
39:45
>> Yes, sir.
39:47
[ Door shuts ] [ Line ringing ]
39:50
>> Hello? >> Allison, listen --
39:52
there's a change of plans.
39:53
>> Charles, where are you?
39:55
>> I'm still at the office. Something's happened.
39:56
>> It's -- it's 8:30. He'll be here at 9:00.
39:58
>> Yes, I know. He has the rental car.
39:59
I got it for him. >> When will you be here?
40:01
>> Well, there's been a bad accident on the night shift.
40:03
A man's caught in a big metal press.
40:04
I've got to help get him out.
40:05
>> But us? What about us?
40:06
>> Well, when he comes, stall him.
40:08
Just tell him what happened, why I'm delayed.
40:10
>> I haven't got the money, Charles.
40:11
>> Tell him I'm bringing the money, the airplane ticket,
40:13
and the passport. Just stall him.
40:15
>> I'll do my best, but hurry, he scares me.
40:17
♪♪
40:23
[ Bells tolling ]
40:27
>> 10:00. An hour late. I hope he's still there.
40:31
[ Tires screech ]
40:34
The lights are on here.
40:36
I'm not too late. He's still here.
40:40
He's still here. [ Knocking on door ]
40:41
Allison! Allison! Open up!
40:44
[ Car engine starting ] Clint!
40:46
Clint! Don't leave!
40:48
Clint, wait! Will you wait?
40:49
I'm here! Clint!
40:51
Clint! I gotta stop him.
40:53
I gotta catch him.
40:55
[ Car door slams ] [ Car engine rumbles ]
41:00
♪♪
41:09
>> There's Clint, ahead of us. Cut him off and make him crash.
41:14
Make him crash! Cut him off!
41:18
Faster!
41:20
We've nearly caught him.
41:22
You're alongside him! >> Clint!
41:24
Clint, will you stop?
41:26
I'll run you off the road!
41:27
>> Force him over!
41:29
Force him over!
41:33
You've cut him off!
41:35
You've done it!
41:37
[ Tires screeching ]
41:38
[ Vehicle crashes ]
41:41
>> Crashed and burning.
41:45
Let him.
41:47
Let him burn!
41:49
♪♪
41:58
Hello? Is this, uh, Arrow Car Rental Service?
42:02
Well, I rented a car from you people this morning.
42:05
No, no, no, no.
42:06
No, there's nothing wrong with the car.
42:09
I just want to report it stolen.
42:12
♪♪
42:18
City Foreign Car Service?
42:20
Look, I, uh, asked for my car to be picked up in my driveway.
42:23
It's still here, and I, I called --
42:25
or rather, my secretary called at ten this morning.
42:28
My name is Charles Powell.
42:30
♪♪
42:34
[ Telephone line ringing ]
42:37
Come on, come on...
42:40
Answer the phone.
42:41
[ Ringing continues ]
42:44
[ Doorbell buzzes ] Oh.
42:46
Yeah, er, just a moment.
42:49
Oh, George.
42:52
George, it's, uh, kind of late for a visit.
42:53
Come in. >> Thanks.
42:56
>> I, uh, I-I was just trying to phone Allison.
42:59
Boy, what a night this has been.
43:00
There was an accident at the plant.
43:02
Uh, Peterson. I hope they don't have to amputate.
43:04
>> I heard. >> Yes, and then, uh,
43:06
when I got outside, I had a date with Allison.
43:08
The car that I had rented this morning was, uh,
43:11
was missing. It was stolen.
43:12
>> What happened to that great big,
43:13
powerful foreign job of yours?
43:15
>> Oh, uh, it wouldn't start this morning.
43:17
I had Elsie call the service people,
43:18
but they haven't picked it up yet.
43:20
I just called them, they --
43:21
they, uh, have a night answering service.
43:24
>> You've had a busy evening. >> Yeah, very.
43:27
>> Well, I think I can clear up one of your puzzles, Charlie.
43:31
Your rental car was found with a thief in it.
43:33
>> You, uh, caught him?
43:36
>> Dead. Burned to a cinder. >> Oh.
43:39
>> Must have been going at a terrific speed.
43:41
Tire marks on the road as he went off.
43:43
Cracked up and burned. >> Yeah, yeah, yeah.
43:45
Some kid? >> No.
43:48
This may surprise you.
43:50
It's your protege, Clint Livitz.
43:53
We found enough of him to identify him.
43:55
And a slightly burnt
43:57
but still usable bank roll of sizable proportions.
44:01
>> Well, that, uh, closes his case, doesn't it?
44:06
>> And opens up several others.
44:10
Incidentally, where were you all evening?
44:14
>> Uh, home. I, uh, after I got back from the plant.
44:17
>> You didn't go out?
44:18
>> Well, I told you my rental car got stolen.
44:20
I came home by cab to change my clothes.
44:23
The, uh, the big car is out of commission.
44:26
>> I won't play games with you, Charlie.
44:29
I checked it in the driveway just before I came up.
44:32
The engine is still quite warm.
44:35
Do you want to explain that?
44:38
>> [Sighs] No, I -- don't want to explain.
44:44
>> Charlie, I'm arresting you for murder.
44:47
I must warn you -- >> Murder?
44:50
George, what are you talking about?
44:51
Are you accusing me of Clint Livitz's death?
44:53
>> No, no, that was obviously an accident.
44:57
I'm holding you for the murder of Allison McCreaty,
45:03
the girl you were going to marry.
45:04
♪♪
45:10
And in conclusion, ladies and gentlemen of the jury,
45:13
the evidence is conclusive.
45:16
Charles killed his lovely fiancee
45:18
because she discovered his real identity.
45:22
An escaped convict, a killer sentenced to life
45:25
for another murder.
45:27
The testimony of the housekeeper, Mrs. Francis,
45:29
cannot be doubted.
45:32
She did not leave the house as he thought.
45:35
She saw him run from the house, jump into his car and race away.
45:40
And then she discovered the body of Allison McCreaty
45:44
shot through the head.
45:45
♪♪
45:53
>> Your honor, may I --
45:57
may I make a statement before you pronounce sentence?
46:01
I did not kill Allison. I loved her.
46:06
To say anything more in my defense
46:09
is useless and unnecessary.
46:12
Allison is dead.
46:15
All I ask is that I be given the chance to follow her...
46:21
...swiftly and efficiently.
46:25
♪♪
46:30
>> And so a man is twice accused of murder
46:33
and twice sentenced for the crime.
46:36
A weary man who asks only to be allowed
46:39
to follow the woman he loved.
46:42
I'll be back shortly.
46:48
♪♪
46:53
♪♪
46:59
>> And there we have it.
47:00
Charles Powell's joust with fate.
47:04
what difference did it make that he knew
47:06
that Clint had murdered Allison?
47:09
They didn't believe him,
47:11
and he was too weary to try to make them believe.
47:17
Our cast included Larry Haines, Anne Meacham,
47:20
Jackson Beck, Sydney Walker, and Tom Keena.
47:24
The entire production was under the direction of Himan Brown.
47:31
This is E.G. Marshall inviting you to return to our
47:34
Mystery Theater for another adventure in the macabre.
47:39
Until next time... pleasant dreams?
47:43
[ Door creaking ]
47:49
[ Door shuts ]
47:51
♪♪
47:59
♪♪
48:08
♪♪
48:16
♪♪
48:25
>> "If You Please, Himan Brown's Radio Mystery Theater"
48:28
is produced and directed by Sarah Montague.
48:31
Our executive producers are Melina Brown and Sarah Montague.
48:35
CUNY TV's executive director is Chiqui Cartagena.
48:39
The director of production is Susan Iger.
48:41
The associate producer is Corinne Wallace,
48:44
and our audio production intern is Sophia Sedano.
48:48
Margo Avery is the voice of the series introduction and credits.
48:52
The program commentaries are by John Slaveney.
48:55
Our technical team at CUNY TV
48:58
includes senior audio engineer Richard Kim
49:01
and broadcast audio engineers Jackie Mitchell and Kevin Wolf.
49:06
Our staff photographer is Laura Fuchs.
49:08
Our archivists are David Rice and Catriona Schlosser.
49:12
Our closed caption coordinator is Amy Monte,
49:16
the "If You Please" program mix engineer is Lisa Gosselin Vincent.
49:20
Tink Media handles our publicity and marketing.
49:23
Our director of social media is Karen A. Brown
49:26
in collaboration with Stardust Blue PR.
49:30
"If You Please, Himan Brown's Radio Mystery Theater"
49:32
is a production of CUNY TV.
49:36
If you enjoyed the show and are curious about
49:39
the history of these radio programs,
49:40
listen to "Audio Maverick."
49:43
In this award-winning nine-part documentary,
49:45
we explore the golden age of radio
49:48
through the life of dramatic genius Himan Brown,
49:51
and then explore the work of contemporary audio dramatists
49:54
who are part of his legacy.
49:56
"Audio Maverick" is available anywhere you get your podcasts.