Latest / If You Please, Himan Brown’s Radio Mystery Theater / S1E5: Honeymoon With Death

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S1E5: Honeymoon With Death · If You Please, Himan Brown’s Radio Mystery Theater

0:00
>>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,
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Commentator John Slaveney shares details about the cast,
0:27
the writer, and the plot.
0:29
Your job? Listen.
0:31
If you please, is produced in loving memory
0:33
of Robert Isaacson.
0:35
♪♪
0:40
>>Hi, it's John Slaveney,
0:42
back for our fifth episode, "Honeymoon With Death,"
0:44
a brisk and effective psychological thriller
0:46
about a new bride
0:48
who finds her husband apparently murdered
0:49
in their New York City brownstone.
0:51
Lois Nettleton plays the recent bride, Jennifer Brady,
0:54
and in that role,
0:56
delivers a harrowing performance as a young artist
0:57
who may be losing her grip on reality,
0:59
whether she truly is going mad turns out to be the question
1:02
at the center of this drama.
1:04
Nettleton would go on to star
1:06
in six more radio mystery Theater shows,
1:08
but here offers what may be her best performance.
1:10
Fans of classic television might recall her appearance
1:13
in "The Midnight Sun,"
1:15
a 1961 episode of Rod Serling's "Twilight Zone,"
1:18
where she also plays a young artist facing an ordeal
1:20
in a New York City apartment.
1:22
Playing the role of Jennifer's new husband is Norman Rose,
1:25
whose unmistakable baritone earned him the nickname
1:28
"The Voice of God" in radio and film.
1:30
He also earned a place in this commentator's heart
1:33
as the narrator of the 1959 animated short
1:35
"Harold and the Purple Crayon,"
1:37
based on Crockett Johnson's beloved children's book
1:40
of the same name.
1:42
After this, Rose would go on to become an RMT series regular,
1:44
chalking up more than 100 credits
1:46
over the next nine years.
1:48
"Honeymoon With Death" also features the first appearance
1:51
of Tony Roberts,
1:53
an actor perhaps best known for his performances
1:55
in six Woody Allen films, including "Annie Hall."
1:58
Roberts was just hitting his stride in late 1973
2:01
with his latest film, "Serpico,"
2:03
with Al Pacino, opening eight days
2:05
after this episode was recorded,
2:07
Himan Brown considered Roberts one of his discoveries,
2:09
and Roberts, in turn,
2:10
said he loved the freedom
2:12
the RMT productions offered him. In "Honeymoon With Death,"
2:15
Roberts plays Ed Helmet,
2:17
a young patrolman who hears Jennifer screams
2:19
and begins to investigate.
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But finding no evidence of a crime,
2:23
he soon forgets his duties as a cop
2:25
and begins to take a personal interest
2:27
in the troubled young bride.
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Also in the mix is the accomplished actress Teri Keane,
2:32
playing Jennifer's older sister Maggie,
2:33
a woman determined to present herself as the calm
2:36
and rational center of this turbulent household.
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But Maggie is a woman with a dilemma, and it's this dilemma
2:42
that drives the action.
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Now settle in
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and put yourself in that New York City brownstone,
2:47
where one woman's brush with madness isn't all
2:49
it appears to be.
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"Honeymoon With Death" was written by George Lowther
2:53
and first aired on the CBS Radio Mystery Theater
2:55
on January 11th, 1974.
2:57
♪♪
3:02
>>The CBS Radio Mystery Theater presents...
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[ Door squeaks ]
3:14
♪♪
3:22
Come in. Welcome. I'm E.G. Marshall.
3:28
Welcome to "The Sound of Suspense."
3:31
To the fear you can hear.
3:35
A psychiatrist once said that the human brain is
3:37
like a spider's web.
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Together all the strands are strong.
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But taken one by one.
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Each can easily be broken and the web destroyed.
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There are countless cases of human brains broken
3:51
and smashed in just this way.
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Step by step, strand by strand.
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And I can't help wondering,
4:01
is this what happened to young Jennifer Brady?
4:04
>>Please, officer, I'm not out of my mind.
4:06
>>I didn't say you were.
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>>No, but everybody else does.
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And I'm not. I'm not.
4:11
>>I don't mean you're off crazy because you had a bad dream.
4:15
>>It was no dream. It happened. I tell you, it happened.
4:18
>>No, ma'am. It didn't. You see --
4:21
It couldn't have. A thing like that to happen...
4:25
impossible.
4:26
♪♪
4:33
>>Our mystery drama,
4:35
"Honeymoon with Death"
4:37
was written especially for the Radio Mystery Theater
4:39
by George Lowther and stars Lois Nettleton.
4:43
Act one.
4:44
♪♪
4:49
♪♪
4:55
What makes Jennifer Brady think she's going out of her mind?
5:00
What strange thing happened that couldn't have happened.
5:04
Perhaps we can find out together.
5:06
>>It was a wonderful honeymoon, Howard.
5:09
I can't tell you how much I enjoyed it.
5:11
Adored it.
5:14
But you know something, Howard?
5:17
Do you know something?
5:18
>>What? Jennifer. What?
5:20
>>It's wonderful to be back home. These last ten days
5:24
driving back from San Francisco.
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I kept thinking, when, oh,
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when will I be back in my own bedroom, in my own bed,
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in my own little old New York brownstone house.
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Oh, I shouldn't have said that, should I?
5:39
>>What? Said what, Jennifer?
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>>Am I bothering you with all my chatter, Howard>
5:44
>>Bothering me?
5:46
How could you possibly bother me, sweetheart.
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I'm just trying to catch up with all that mail
5:49
Margaret left on the living room table.
5:52
Oh, hey, I haven't seen that negligee before?
5:55
>>I saved it for a homecoming night.
5:58
Like? >>Mhm.
6:00
>>I can see a whole month of honeymooning
6:02
hasn't changed you a bit.
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>>When I've got a bride as beautiful and sexy as you,
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our whole life is going to be a honeymoon.
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Now tell me, what was it you shouldn't have said?
6:11
>>What? Oh. I've forgotten.
6:14
>>Something about your own little
6:15
old New York brownstone house.
6:17
>>Oh. Well, what I meant... It's not just mine anymore.
6:23
It's yours now, too.
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>>And your sister Maggie's.
6:26
You both inherited this old brownstone from your father.
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Though I must say, I think that you,
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I mean, we have the better of the bargain.
6:34
>>What do you mean?
6:36
>>I much prefer this top floor apartment, don't you?
6:37
>>Oh, yes.
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Luckily, Maggie always preferred the downstairs part.
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No climbing stairs.
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>>Stairs won't bother me.
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I'll take them two, three at a time.
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Knowing that you're waiting at the top of them.
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>>Oh, darling.
6:51
>>Well, you better finish brushing your hair.
6:53
I'll finish that mail in the living room.
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>>Howard? >>Yes?
6:57
>>About the car. >>What about it?
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>>Do you think it's safe?
7:00
Parked out in the street.
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>>One night won't hurt.
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>>I'd feel awful if anything happened to it.
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You know, sometimes on our honeymoon trip,
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I couldn't help wondering which you loved more.
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Your new car or me?
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Oh, well, I guess one night in the street is safe enough.
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You can find a garage tomorrow.
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Howard, you lock the car.
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You have the keys, haven't you, Howard?
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Howard, can't you hear me? I asked you.
7:31
Howard! Oh, my God.
7:36
Maggie! Maggie!
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Oh, my God! Maggie! Come up here.
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Howard's been murdered.
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Maggie! Howard's dead.
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He's got a knife sticking out of his chest and blood.
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Maggie! Maggie, where are you? Maggie!
7:55
Help me! Help me! Maggie! Where is she?
8:00
Where is she?
8:02
Where are you? I need help! I need help!
8:05
[ Breathing heavily ]
8:09
Help me! Somebody help me! Help! My husband's been murdered!
8:14
>>Jennifer! Jennifer! Stop it! Stop it!
8:18
>>Maggie!
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>>Will you come back in the house?
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Out in the street like this.
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In your nightgown screaming.
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>>Maggie, it's Howard.
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>>Jennifer, come back into the house!
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>>No! No! He's dead.
8:32
He's up there sitting in a chair with a knife in his chest.
8:36
>>Jennifer, please. Now stop it, stop it! Come back in now!
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Come on. Come on. I'll phone. I'll phone
8:42
Doctor Sullivan.
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>>I don't need Doctor Sullivan, I tell you.
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Howard... Howard.
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>>All right.
8:49
Well, I hope the neighbors haven't heard or seen anything.
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Now, look, Jen, you sit here on the couch and try to hold on.
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I'll phone Doctor Sullivan.
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>>Maggie... Howard is dead.
9:03
He's up there in our apartment dead.
9:07
>>Jennifer, please. Now, try to control yourself.
9:10
There's no one named Howard here.
9:13
>>What?
9:14
What do you mean, no one named Howard?
9:18
You know Howard Lansing, my husband,
9:21
the man I've been on a honeymoon with for a whole month and home
9:25
just a few hours ago.
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And stop looking at me like that!
9:29
>>All right, all right.
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Now, look, Jennifer, I'll tell you what I'm going to do.
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I'll go upstairs and I'll see if anybody's there.
9:41
>>Howard's there. >>All right, all right.
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If this Howard is there and if he's dead,
9:47
then I'll phone the police. >>All right. Yes.
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>>But if he isn't, then I'm going to phone Doctor Sullivan.
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Have him come right over.
9:54
How's that? Agreed. >>What's that?
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>>That's just the front door bell, Jennifer.
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[ Door opens ]
10:01
Oh, yes. Officer. >>Officer.
10:04
Helmets, ma'am. Uh, Ed. Helmet. Anything wrong?
10:07
>>No, no. >>What do you mean, no?
10:10
My husband's been murdered. He's upstairs
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dead. A knife in his chest. >>Jennifer, please.
10:14
Officer, there is no one upstairs
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dead or alive.
10:18
>>Well, then, what was all the screaming about?
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I'm walking the beat just up at the corner
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and I hear all this screaming.
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>>It's nothing, believe me.
10:24
It's nothing.
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>>Officer. Officer, will you do me a favor?
10:27
>>Oh, sure, if I can.
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>>Would you?
10:31
Would you go upstairs, please, and see for yourself?
10:33
>>Officer...
10:35
My sister is is, uh, a highly emotional woman.
10:38
>>Please? Would you please?
10:41
>>Sure.
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Make you feel any better.
10:45
Sure. >>Oh, Jen...
10:48
Jen, what am I going to do with you?
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You know what Doctor Sullivan said.
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He said if you had another one of these attacks,
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you were going to have to be -- >>I am not having an attack.
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I am as sane as you are.
11:01
Don't look at me like that, Maggie, I am well.
11:05
Well, officer.
11:07
>>Well, there's nobody up there, ma'am.
11:09
>>Nobody.
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But there is somebody. My husband, Howard.
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He's sitting in a chair with a knife in his chest.
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Blood all over.
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>>No, no. No, ma'am. >>But that's impossible.
11:23
Impossible? I tell you, it's impossible.
11:29
>>I couldn't...
11:30
>>Maybe you want to see for yourself.
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I'll go up with you.
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>>Officer, thank you very much, but there's no need.
11:36
>>I do want to see for myself.
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Will you?
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>>Sure. >>Uh, I'll come with you.
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Well, no.
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On second thought, what's the use?
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I mean, I'm, I'm really very tired of this sort of thing.
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>>What sort of thing?
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>>Never mind, officer, just you go ahead.
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>>Now, uh, is this the room where you, uh,
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thought that, uh...
12:01
Huh?
12:03
>>I can't believe it.
12:06
It's impossible.
12:08
>>Uh, you can see for yourself.
12:09
>>Five minutes ago. Five minutes ago.
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I tell you, in this chair, he was sitting back in this chair,
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and there was a knife sticking out of his chest.
12:21
The mail.
12:23
The mail was scattered all over the floor.
12:24
>>Mail?
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>>We'd just come back from our honeymoon.
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We'd only been in the house
12:27
a few hours, and Maggie had left all the mail
12:29
that had collected for a month on the table.
12:31
On this table. >>Well, you can see, ma'am.
12:33
Uh, no mail. >>And blood.
12:36
>>There was blood on the carpet.
12:37
Some in the mail.
12:39
>>Well, no mail, no blood. You don't mind me saying so?
12:43
I think you...
12:45
Well, maybe you had a dream, a nightmare, huh?
12:48
>>Please. I'm not out of my mind.
12:51
>>I didn't say you were.
12:53
>>No, but everybody else does.
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And I'm not. I'm not.
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>>It don't mean you're off your -- out of your mind
12:58
because you had a bad dream.
13:00
>>It was no dream. It happened. I tell you, it happened.
13:05
Howard was here in the living room reading the mail.
13:07
I was talking to him from the bedroom.
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I had just taken a bath and I was brushing my hair and --
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Wait. I know, I know. I hadn't emptied the tub.
13:19
The water's still there. It must be.
13:20
I'll show you.
13:25
I don't understand it.
13:27
>>Tub's bone dry, ma'am. Hasn't been used.
13:30
No, not, not tonight anyway.
13:32
>>His clothes. Howard's clothes.
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He'd empty his suitcases and put his clothes in the closet.
13:38
Here's his suitcases, too.
13:42
>>Just ladies clothes. Yours, ma'am?
13:47
>>Yes.
13:49
>>Uh. Now, hey, now. Hey, look.
13:51
Don't cry. I, uh. Hey, look, look.
13:55
This dream you had. >>It was no dream.
13:58
>>Okay, okay. So maybe you imagined.
14:01
>>I didn't imagine anything.
14:05
Do you imagine a husband you imagine a month long honeymoon?
14:11
Do you imagine a man in a chair with a knife in his chest?
14:15
>>I got to admit, you.
14:17
You'd have to have a darn strong imagination to --
14:21
But, uh, they tell me that's what artists got.
14:26
>>Artists.
14:27
>>Oh, you are an artist, aren't you?
14:29
That painting there on the easel.
14:32
>>Oh, that that's just a hobby.
14:35
I haven't touched that since I left on my honeymoon.
14:39
>>No.
14:41
>>What do you mean? >>Uh...
14:44
How long does it take paint to dry.
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>>Oh, a day, thereabouts. >>Oh, this paint's still wet.
14:50
Plenty wet. Look at my finger. Oh, no.
14:55
Don't. Don't start crying again. A woman crying.
14:58
It makes me feel awful.
14:59
>>I'm sorry. >>Look, um.
15:02
When are you dreamed it or imagined it?
15:05
>>I didn't, I didn't.
15:07
>>Yeah. Well.
15:09
>>Um, I know, I know, I've had spells.
15:14
>>Spells? Uh, what? What kind of spells?
15:17
>>Oh, I've always been high strung.
15:22
Nervous, you know.
15:24
>>I don't know if I know. I mean, uh, me.
15:27
Well, I'm the other way.
15:28
I haven't got a nerve in my whole body.
15:30
>>I envy you.
15:33
You've never been to a psychiatrist?
15:35
>>A shrink?
15:37
No, no. Me? No, me? You ask me.
15:39
Anybody who goes to a shrink ought to have his head examined.
15:42
That's a -- that's a joke. You get it?
15:45
>>Yes. >>Well, then,
15:47
then laugh a little bit.
15:48
Come on. Do you good.
15:50
>>I, I can't.
15:52
>>No, of course you can't. I'm sorry.
15:54
I'm sorry.
15:56
I should have known better than to even try and make a joke.
15:58
Um. You go to a psychiatrist, huh?
16:01
>>Yes. Not regularly. Sometimes.
16:06
>>What times? >>Oh,
16:10
when I sort of get all keyed up and start having crying spells
16:15
and feeling so sad.
16:18
So sad I could die.
16:20
>>Well, what's to feel sad about?
16:23
Chick like, I mean -- Excuse me. A pretty girl like you
16:27
with everything in life to live for.
16:29
What's to be sad? >>I don't know.
16:33
Some people feel sad for no reason at all.
16:36
They just suffer from depressions.
16:39
>>Excuse me.
16:41
>>Oh. Yes, ma'am. >>Jennifer.
16:44
Doctor Sullivan is on his way over.
16:45
I just phoned him. All right?
16:49
And, officer, thank you very much for trying to help.
16:52
>>Oh, not at all, ma'am.
16:54
Not at all. Glad to do what I could.
16:56
>>I'll show you out. >>Oh. That's okay.
16:57
>>No, no, that's all right. I'll come with you.
16:59
I'll be just a minute, Jen.
17:02
Officer? I, uh, I wanted to ask you.
17:05
You don't have to say anything about this, do you?
17:07
I mean, put it in your report or anything.
17:09
>>Oh, no. No, no.
17:11
There's been no damage or anything like that.
17:13
She get this way often? Your sister?
17:15
>>Well, often enough, she hallucinates, you see?
17:19
>>Huh? Come again? >>Hallucinates.
17:22
It means. Well, just what you saw.
17:25
She was totally convinced there was a murdered man up there.
17:29
Her husband, no less. Well, you saw for yourself.
17:34
Husband?
17:36
Jennifer's never even had a boyfriend.
17:37
>>A cute doll.
17:39
I mean, uh, a pretty girl like that?
17:41
>>Well, it's all part of her condition.
17:43
She's afraid of people. Men especially.
17:47
I wish she could become less afraid, more outgoing.
17:51
If these spells of hers get any worse,
17:52
she may lose her mind altogether.
17:54
>>Oh, say, I hope not. A sweet kid like that.
17:58
I sure hope not.
18:00
>>I know, so do I. Well, looks like we've had a little shower.
18:06
Streets wet.
18:08
>>It was drizzling a little when I came in.
18:10
Well, good night, ma'am, and if you need.
18:13
>>Wait, wait. The car. The car.
18:15
>>Car? >>What car?
18:17
Howard's the little red sports car.
18:19
He was so fond of it. It isn't there.
18:23
But it was. I know it was. >>Officer.
18:28
Thanks again and good night.
18:30
>>Good night, ladies.
18:33
>>Jen, dear. Until Doctor Sullivan gets here,
18:36
I think you should lie down and rest.
18:39
>>I don't want to lie down.
18:41
>>Well, then just stretch out on the couch
18:42
and I'll make some tea for us.
18:44
[ Doorbell rings ]
18:45
Oh, that's probably Doctor Sullivan now.
18:49
Oh, yes? >>Excuse me, ma'am,
18:53
I just wanted to get something straight.
18:54
>>Yes. >>Uh, your sister, did she say?
18:57
Oh, ma'am. >>Yes, officer.
19:00
>>Did you say that car was a little sports car?
19:02
>>Yes.
19:04
Why? >>Well, nothing.
19:06
Only there was one parked out there in the street.
19:09
>>What do you mean?
19:10
>>Well, we've had a shower,
19:13
see, and I happen to notice, uh, the street's dry in one spot.
19:16
There must have been a car standing there
19:18
while it was raining.
19:19
A small car.
19:21
>>Officer, please don't make things worse for me
19:22
or for my sister.
19:24
I mean, there's nothing unusual about a car
19:25
being parked in the street.
19:26
>>No. Only --
19:28
>>Good night. Officer. >>Funny, though...
19:32
Funny.
19:34
♪♪
19:37
>>What exactly is it that strikes Officer Helmut as funny.
19:42
Perhaps we'll know when I return shortly with act two.
19:47
>>Like what you're hearing so far?
19:49
Are you curious about the history behind radio programs
19:52
just like this one,
19:54
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20:00
we explore the golden age of radio
20:02
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20:04
You'll hear the history of radio come to life as we travel,
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from the birth of audio drama to the programs
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that brought millions of families
20:12
into their living rooms every night.
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"Audio Maverick" is available anywhere you get your podcasts.
20:17
♪♪
20:24
♪♪
20:32
>>Has a horrible murder been done?
20:35
Or is Jennifer Brady losing her mind?
20:39
Did she find the body of her husband, Howard Lansing,
20:42
seated in the living room with a knife in his chest?
20:45
Or did she imagine the frightful scene?
20:48
Is she married? Was there a honeymoon?
20:52
Oh, here's young Patrolman Ed Helmet at the front door
20:55
of the brownstone house
20:57
where Jennifer and her sister Maggie live.
20:59
And it's the following morning.
21:00
[ Doorbell rings ]
21:05
>>Oh. It's you? >>Yeah.
21:09
>>Uh, well, won't you come in?
21:12
>>Thanks.
21:14
[ Door closes ]
21:16
>>Thank you for what you did last night.
21:19
>>Oh, just doing my job, miss.
21:21
Uh. Uh, Mrs., uh, I don't know what to call you.
21:26
>>I don't know what to call myself.
21:29
I don't know if I'm Mrs. Howard Lansing or Miss Jennifer Brady.
21:34
Not after last night.
21:36
>>Well, um, I suppose I just call you Jennifer.
21:39
Um, you can call me Ed. Ed Helmet.
21:45
>>What -- What are you doing here?
21:48
>>Well, uh, I'm off duty. See, I'm --
21:51
I'm on the four to midnight beat,
21:53
and I just thought I'd drop around
21:55
and see how you were doing.
21:57
>>Oh, well, I'm all right.
22:00
>>You mind if I ask you a couple of questions, Jennifer?
22:03
>>No. It's your job, isn't it? >>Well, uh, yes and no.
22:08
Yes and no. Uh, a fact. Being off duty now.
22:12
I'm kind of asking these questions on my own.
22:14
Uh, you know what I mean?
22:17
>>Uh, I don't. Not really.
22:21
>>Well, I tell you, that car of your husband's.
22:25
>>If I didn't just imagine a husband.
22:28
>>Yeah, well, if you didn't.
22:30
That car of his, that little red sports car you mentioned.
22:34
Well, there was a car parked out front last night
22:38
and it was a little sports car.
22:41
>>If it wasn't there when you left.
22:42
>>Well, the space it left, it rained.
22:45
Remember?
22:47
While the car was standing at the curb?
22:48
>>Oh, yes.
22:50
>>So at least you were right about there being a car.
22:53
I mean, you didn't dream that up.
22:56
>>It could have been anyone's car.
22:59
As Maggie said. >>Oh, that's for sure.
23:01
Still, though,
23:03
it could have been a car belonging to a guy named
23:05
Howard Lansing, couldn't it?
23:09
Couldn't it? >>What? Why are you doing this?
23:13
>>Come again?
23:14
>>Well, you know that I'm not well.
23:18
That all my life I've had nervous problems.
23:20
That -- that. Oh, I can't believe it.
23:24
But I must have dreamed it all up.
23:28
Howard Lansing, marrying him,
23:30
going on a honeymoon across country and back.
23:32
Coming home last night, finding him murdered.
23:35
I must have imagined it all.
23:38
Maggie says, I did. Doctor Sullivan says I did.
23:41
So why are you...
23:42
Why are you... >>You know something, I --
23:44
I don't know, maybe it's because, uh --
23:48
Well, uh.
23:50
>>Well, what.
23:52
>>I, um, I kind of like you, and, uh.
23:57
Well, uh, me, I didn't get much sleep either last night,
24:00
thinking about this whole thing, thinking about you, and, uh.
24:05
Well, I'm kind of wishing I could straighten
24:06
things out for you.
24:08
>>That's very sweet of you, officer. But...
24:13
>>Call me Ed.
24:15
>>Ed, it's sweet of you,
24:19
but you, you're wasting your time.
24:23
I'm mentally. I'm mentally -- >>Oh, come on now.
24:26
Come on now. Don't cry.
24:28
You had a bad dream,
24:30
that's all a nightmare. >>Oh, it was more than that.
24:33
Much more than that. When you dream something,
24:36
you wake up and you know it was a dream.
24:38
I'm still living it.
24:41
I remember the ceremony, the hotels we stayed at,
24:44
the things we did.
24:47
Even Howard fussing, constantly fussing with his new car.
24:51
>>Yeah, there's. There's that car again.
24:54
What do you mean, fussing with it?
24:56
>>Oh, just, um, just that he was always polishing it.
25:01
Checking this and that, fussing. That's all.
25:05
>>And you remember all about the ceremony
25:07
and the hotels and like that?
25:10
>>It's all as vivid as if it had actually happened.
25:15
>>Tell me -- Tell me about the wedding.
25:18
Um. Who married you? >>Nobody married me.
25:21
Ed, I imagined.
25:22
>>Okay, okay.
25:23
So where did you imagine you got married?
25:28
>>A little town in Jersey by a justice of the peace.
25:32
>>What little town?
25:34
What JP? >>I don't know.
25:36
It was night and we just pulled off the Garden State Parkway.
25:39
Howard had said he knew a place.
25:41
A justice of the peace.
25:42
>>Okay, okay. What about hotels?
25:47
>>Well.
25:50
I remember we stayed at the Ambassador in Chicago
25:52
and the Statler in Saint Louis, the Beverly in Los Angeles.
25:56
And... Oh, that you, Maggie? >>Yes, Jen.
26:01
>>Honey calls. Well, I. Oh. >>Uh, hello, Miss Brady.
26:07
>>Aren't you the policeman who was here last night?
26:09
>>Yeah. That's right.
26:11
You're wondering what I'm doing here now, huh?
26:12
>>Well, yes, I am.
26:14
>>I just dropped in to see how Jen was doing.
26:16
That's all.
26:17
>>Jen. >>Uh, I mean, excuse me.
26:20
Uh, Miss Brady.
26:22
I was never much for being formal.
26:23
>>Yes, obviously. Have you been here long?
26:26
>>No. Uh, ten minutes or so.
26:28
>>Well, I don't mean to hurry you, officer,
26:30
but Jennifer and I have an appointment in one hour
26:32
with her psychiatrist, Doctor Sullivan, say.
26:34
>>Would that be Doctor Martin Sullivan on Park Avenue?
26:38
>>No.
26:39
Doctor Arnold Sullivan on East 82nd.
26:41
>>Oh.
26:43
>>You seem terribly interested in Jennifer's psychiatrist.
26:45
>>Me? Oh, no. No. I just ask a lot of questions.
26:49
I trained myself.
26:51
>>You trained yourself. >>You're going to laugh.
26:54
I know you're going to laugh,
26:56
but would you believe I want to be a detective someday?
27:00
>>Of course I'd believe it.
27:02
Why shouldn't I. >>Ask my sergeant?
27:05
He thinks I'm something else.
27:07
Wanting to be a detective. Laughs himself.
27:08
Silly.
27:10
>>Well, I certainly wouldn't laugh.
27:11
I think it's commendable.
27:13
>>You think I can make a detective?
27:15
>>Of course you could.
27:17
>>Well, say, that's a real shot in the arm.
27:20
I mean, someone like you thinking that.
27:21
Someone like me.
27:23
Just a cop and a new on the force at that.
27:26
>>As I said, officer, I don't like to hurry you,
27:28
but I'm going.
27:30
>>Going. Miss Brady going right now.
27:31
Nice seeing you again.
27:33
>>I'll show you out. >>No. That's okay.
27:36
Some detective I'd make if I couldn't find the front door.
27:40
Why?
27:41
>>Jennifer, would you answer that, please?
27:43
Of course. >>Oh, my God.
27:47
>>Jennifer! What is it? >>Help me!
27:50
Oh my God! Maggie! And help me! What?
27:53
He's there at the front door.
27:55
He's there. Howard. >>I'm sorry.
27:59
Is something. What's all the trouble?
28:01
>>You are dead. Murdered. >>What?
28:04
>>Last night, after we got home from our honeymoon.
28:06
I found you in your chair. Stabbed to death last night.
28:09
>>Honey, stab. Maggie, what is this?
28:11
>>Jen's having another one of her spells, Howard.
28:13
That's all.
28:15
>>Oh, I see. >>What do you mean, you see?
28:16
You see what? Well, just. >>Excuse me.
28:19
Who are you?
28:20
>>Uh, my name is, uh, Ed Helmet.
28:22
Officer Ed helmet.
28:23
I'm a cop.
28:24
>>A cop? >>Uh, Howard.
28:25
I'll explain later what went on here last night.
28:27
>>I don't understand this. I don't understand it.
28:30
You're talking to Howard as if nothing had happened.
28:32
>>Jennifer. >>Nothing did. He exists.
28:34
He's standing right here. He exists.
28:38
And last night, you acted as if you'd never heard of him.
28:40
As if there was no such person as Howard Lansing.
28:43
You did, you did, you did.
28:46
>>Stop it now! Stop it! Control yourself.
28:50
Officer. You were leaving?
28:52
>>Uh, well, uh, there's some questions
28:54
I'd better get the answers to.
28:56
>>Officer, this is a private matter.
28:57
It's a family affair.
28:59
>>Well, now, that depends on how you look at it.
29:03
Are you Howard Lansing?
29:04
>>Of course I'm Howard Lansing.
29:06
Why do you ask such a question, Howard?
29:08
>>Jen had one of her her mental lapses last night.
29:12
She imagined that you and she were married.
29:15
>>We were. >>We were.
29:17
You just come back from your honeymoon?
29:18
>>Oh. Good lord.
29:20
>>And then during this hallucination,
29:22
she thought she had found you with a a knife in your chest.
29:25
Dead. >>Oh, no. Poor little Jenny.
29:27
>>She ran screaming into the street.
29:29
Luckily, I got her back into the house
29:30
before she caused a disturbance.
29:32
Although this officer did hear the screams
29:33
and came to investigate.
29:34
>>Did you call Doctor Sullivan?
29:35
>>Of course, of course I did.
29:37
He came over, but there wasn't much he could do
29:38
except order some new sleeping pills.
29:40
And we're seeing him in his office at 11 this morning.
29:43
>>Just one more question, Mr. Lansing.
29:45
Yes. Just where do you fit in here?
29:48
I mean, who are you to the family?
29:51
I mean.
29:54
>>I miss Brady's fiance, a Margaret, not Jennifer.
29:55
>>Oh, I see.
29:58
>>Uh, no, no, I'm afraid you don't see.
30:01
Not all of it. Look, since we've gone this far,
30:04
you might as well know the rest of it.
30:07
Jennifer has always had a well, a thing for Howard.
30:12
She's not jealous that he's going to marry me and not her.
30:14
Don't think that.
30:16
But the whole situation has been a a severe strain on her.
30:19
A very severe strain, almost certainly.
30:21
>>That's why her hallucination last night took the form
30:23
that it did, thinking she'd been married to me
30:25
and all the rest of it.
30:27
>>Yeah, that makes sense.
30:29
Well, um, I'll be on my way.
30:35
Hey, hey, hey, hey. Now, you you take it easy,
30:38
you know? And me?
30:40
If it's okay with you. I'm going to be in touch.
30:44
I'll, uh. I'll see my way out. Hey!
30:50
Hey. Mr. Lansing, you have got a little red sports car.
30:55
>>Well, yes. That's it. Parked at the curb.
30:57
Why? >>Well, Jen, uh, Miss Brady,
31:01
she seemed to make a big thing out of it on the honeymoon.
31:04
That didn't happen. I mean, big thing.
31:08
Well, what?
31:10
I mean, uh, she said you were always fussing with it.
31:12
Polishing it, and like that. Sure looks as if you do.
31:15
>>Well, I do.
31:17
I'm a sports car buff, if you want to know.
31:18
>>I wish I could own a car like that,
31:20
but on a cop's salary.
31:22
Uh, you had it long. >>2 or 3 months.
31:25
>>Oh. How many miles you put on.
31:28
>>You ask a lot of questions.
31:29
>>Just interested, that's all.
31:31
>>Close to 10,000, I think.
31:33
>>Well, that's a lot of miles in three months.
31:35
>>I do a lot of driving.
31:37
>>You a business man? >>Huh? No, I don't work.
31:39
Don't have to. Just like to drive.
31:42
Short trips, but they add up.
31:44
>>Oh, well, if I had a car like that,
31:46
I'd go for long trips like, uh, cross country.
31:50
>>Well, maybe someday I will,
31:52
but so far, I haven't had the interest.
31:53
>>Yeah, well.
31:56
>>See you. Bye.
32:01
Where is she? >>Upstairs.
32:03
Changing for appointment with Sullivan.
32:05
>>I don't like this, Maggie.
32:07
>>You don't like it? You don't like it?
32:10
Well, the stupid things walking in here when that cop was here.
32:12
>>How did I know he was here? It comes to that.
32:15
Why did you let her run screaming
32:16
into the street last night?
32:18
>>Howard, come to your senses. Was there any other way?
32:20
>>No, I guess there wasn't.
32:22
>>I'm afraid we're going to have to move
32:23
faster than we planned.
32:24
>>Why?
32:26
>>That young cop's pretty nosey.
32:29
Come over here to the window.
32:34
>>What?
32:36
>>Look down there.
32:40
>>What the hell is he doing?
32:43
>>He's measuring the size of your car
32:44
from front to back wheels.
32:46
>>What's he doing that for?
32:48
>>I don't know. He's doing it. I don't like it.
32:52
No, Howard, we're. We won't commit Jennifer now.
32:55
>>Well, if we if we don't commit her,
32:57
what will we do with her?
33:00
>>Kill her.
33:01
♪♪
33:09
>>Clearly, Maggie and Howard faked his murder.
33:13
But how could they have managed it?
33:16
And how will they kill Jennifer?
33:18
We'll return shortly with act three.
33:23
>>Like what you're hearing so far?
33:25
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33:28
just like this one and the dramatic genius
33:31
who created them?
33:33
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33:36
we explore the golden age of radio
33:38
through the life of Himan Brown.
33:40
You'll hear the history of radio come to life as we travel,
33:43
from the birth of audio drama to the programs
33:46
that brought millions of families
33:47
into their living rooms every night.
33:50
"Audio Maverick" is available anywhere you get your podcasts.
33:54
♪♪
34:00
♪♪
34:06
>>Were you as shocked as I to discover
34:09
that Howard Lansing is very much alive?
34:12
I can't fathom it. Can you?
34:15
No more than well,
34:17
ten minutes could have passed between the time
34:19
Jennifer saw him slumped in that chair with a knife in his chest.
34:23
Blood all over everything and the time.
34:26
Officer Helmut entered the room to find no body,
34:29
no blood, nothing to indicate that a murder had taken place.
34:33
It would have been impossible
34:35
for Howard Lansing and Margaret Brady
34:37
to restore perfect order to that room in so short a time.
34:41
Even to Howard's clothes and luggage
34:43
no longer in the closet, a bone dry bathtub.
34:46
And the rest of it got me puzzled.
34:50
Well, we'll soon have the answer as we rejoin Maggie and Howard.
34:55
>>Kill her.
34:56
>>There's nothing else we can do.
34:58
>>Well, we can do what we planned originally.
35:00
Commit her. >>It won't work. Not now.
35:01
>>Why not?
35:03
>>Your answer is right out there in the street.
35:05
The cop who's just finished measuring your car.
35:07
>>Oh, now, what's he doing?
35:10
>>Quite obviously getting into your car.
35:13
>>I think I better get out there and see what he's up to.
35:15
>>I was just about to suggest it.
35:17
Howard.
35:21
>>Officer, what are you doing in my car?
35:23
>>Oh.
35:25
Say, uh, Mr. Lansing, say, I hope you don't mind.
35:27
Uh, like I told you,
35:29
I want to own a little sports car like this myself someday.
35:31
And, uh.
35:33
Well, I just couldn't help, uh, sitting behind the wheel.
35:35
Say, I hope you don't mind.
35:36
>>As a matter of fact, I do mind.
35:37
>>Oh. Well, say, uh,
35:38
please excuse me,
35:40
I just kind of flip over a car like this, that's all.
35:41
>>Is that why you were measuring the wheelbase?
35:44
>>Measuring... Oh, that?
35:47
>>Yes, that. I saw you from the window.
35:49
>>Yeah, well, now I tell you,
35:51
I want to get to be a detective someday.
35:52
See? And I'm --
35:53
I'm studying like, uh,
35:55
fingerprints and stains and like that.
35:58
And, uh, measuring, not measuring things is important.
36:01
Very important.
36:03
You'd be surprised how important measuring things is.
36:06
So I take every opportunity to measure things.
36:09
>>Yes. >>Well, like last night.
36:11
Were you here last night?
36:13
>>No, I was not here last night.
36:14
>>Funny.
36:15
>>What's funny?
36:16
>>Well. Last night. Uh, Jennifer.
36:18
Uh, miss Brady, she said a car parked your car
36:23
was parked outside here, only it wasn't.
36:26
I mean, when we looked. No car. >>Well, I just told you.
36:29
>>Yeah, but there had been a car.
36:32
You see, it had rained,
36:33
and the car was standing out here during the rain
36:36
and left a dry space in the street.
36:39
And I measured that, too. Couldn't help myself.
36:42
It's become a habit, you know.
36:43
>>Well, I fail to see what this has to do with --
36:45
>>Identical.
36:47
Same wheelbase. That car and this one.
36:50
>>Look, there are probably thousands
36:51
of sports cars in New York.
36:53
>>I'm not saying it was the same car.
36:55
Oh, no, nothing like that.
36:57
I'm only saying the wheelbase was the same.
36:59
>>It's very interesting, I'm sure, but if you don't mind.
37:01
Now, I'm --
37:02
>>Just leaving when you came out.
37:04
I apologize if I upset you getting in behind the wheel
37:05
without permission. >>Oh, that's all right.
37:08
>>Well, goodbye.
37:11
Oh, by the way.
37:13
>>Now what?
37:15
>>You got 11,243 and 9/10 miles on the speedometer.
37:21
A thousand or so more than you said you had.
37:24
I just thought you'd like to know.
37:25
>>Thank you.
37:27
I'm deeply grateful for that information.
37:28
♪♪
37:34
[ Door closes ]
37:36
He is up to something, Maggie.
37:37
>>What else is new?
37:39
>>He checked the mileage on the car.
37:40
>>What of it? >>Over 11,000 miles.
37:43
I could easily have driven from here to LA
37:44
and back, which I did.
37:46
>>Mileage shows only how far a car went.
37:48
Not where. I'm not worried about your car.
37:51
I'm worried about him nosing around.
37:53
The quicker we kill Jennifer, the better.
37:55
>>Look, I didn't bargain for anything like murder.
37:57
>>Neither did I, but that's the way it is.
38:01
>>How will you do it?
38:02
>>How will we do it? Sleeping pills.
38:06
An overdose. That's the simplest.
38:09
>>When? >>Well, tonight. Why wait?
38:14
Oh, Jennifer.
38:17
Ready for our appointment with Doctor Sullivan, I see.
38:20
Yes. I'll just get my coat. >>Howard.
38:24
>>Yes, Jennifer.
38:26
>>I'm sorry if I if I've caused you any trouble.
38:30
>>Oh, no. >>I'm losing my mind, Howard.
38:33
I must be. Marrying you.
38:36
Or a honeymoon trip across country.
38:38
Returning last night, finding you dead.
38:43
It was all so real. So real.
38:47
And yet it wasn't.
38:49
It never happened. It...
38:54
Oh, Howard, I just can't go on like this much longer.
38:59
>>You won't. Jennifer. Believe me, you won't.
39:02
♪♪
39:09
>>Are you sure of that?
39:11
Did you check all marriage license applications?
39:14
And there's no Howard Lansing and Jennifer Brady, huh?
39:18
>>...at Beverly Hotel Los Angeles.
39:19
>>Uh, right there.
39:21
Okay. Sorry I troubled you. Thanks.
39:27
Hello? Yeah. Yeah.
39:29
How far back did you check your guest register?
39:33
And there's no Mr. and Mrs. Howard Lansing.
39:36
>>They had another one, the ambassador in Chicago.
39:38
You're going on a trip or something, man?
39:40
>>Thanks, officer. Ed Helmet.
39:43
Yeah, I think I can tell you what you're going to tell me
39:45
before you tell me.
39:47
Uh, no record of a Mr. and Mrs. Howard Lansing.
39:51
Yeah. Well, thanks.
39:56
Hmm. There's gotta be a clue.
39:59
There's gotta be.
40:01
♪♪
40:10
>>Well. >>She's asleep.
40:13
>>How many pills did you give her?
40:15
>>Enough. What's the matter, Howard?
40:18
Why, that look on your face?
40:21
>>I'm a murderer.
40:23
I'm just beginning to realize it.
40:25
I am a murderer.
40:27
>>Not yet. Howard. She won't be dead for a while.
40:30
>>How can you be so calm? You frighten me, Maggie.
40:34
I've never seen this side of you before.
40:36
>>You've got to be kidding.
40:37
All the time we spent planning this.
40:38
>>To commit her, not murder her.
40:40
>>What's the difference?
40:41
You're not doing all this for peanuts.
40:43
You know, we inherited a million and a half dollars
40:46
from my father, Jennifer and I.
40:48
You and I will have all of it once she --
40:50
Who could that be?
40:51
>>I'll see. >>Wait. No.
40:54
I guess we can't pretend no one's at home.
40:55
The lights are all on.
40:57
>>And my car is parked out front.
40:59
[ Door opens ]
41:01
Oh. It's you.
41:02
>>Okay if I come in, Mr. Lansing?
41:04
>>Oh, well, now I -- >>Thanks.
41:07
Rotten night out there. Just plain rotten.
41:10
>>It's, uh. It's officer Helmet, Maggie.
41:12
>>Yes. So I see.
41:15
Getting to be a regular visitor, aren't you?
41:17
>>To be honest with you, Miss Brady, it's a real nasty night.
41:20
And walking a beat.
41:22
I didn't think you'd mind if I came in for a few minutes.
41:24
Also, I wanted to see how Jen's getting along.
41:26
>>Jen is getting along very well.
41:28
If it's any concern of yours, which it is not.
41:30
>>Oh, well, I --
41:32
>>Officer Helmet circumstances beyond my control
41:34
brought you into this house last night,
41:36
but I do control whether you'll keep coming here like this.
41:38
Please leave.
41:40
>>Oh, well, now, wait a minute, Miss Brady.
41:41
I like your sister.
41:43
And I have reason to think she likes me.
41:45
Uh, now, now, now, wait. Now, wait a second.
41:46
Just wait a second.
41:48
I also think she needs somebody like me.
41:50
Somebody to lean on to protect her.
41:53
And further than that, I'm here on official business.
41:56
>>Official business?
41:58
>>I'm placing you both under arrest on a charge of --
42:00
Where is Jen?
42:02
>>That's no business of yours.
42:03
What's all this about?
42:04
>>Where is she?
42:06
>>She is upstairs asleep, if you must know.
42:07
>>Asleep at 8:00 at night?
42:09
>>She took a couple of sleeping pills.
42:10
>>Where are you going?
42:12
How dare you go up there?
42:14
>>Maggie! Maggie! >>My God, don't lose it now.
42:15
>>But he'll know.
42:17
>>He'll know she took an overdose.
42:18
That's all he will know.
42:19
>>He will know that we gave it to her.
42:21
He's arresting us. >>For what? On what charge?
42:24
Whatever it is, he'll never make it stick.
42:26
We've covered our tracks too well for the law to --
42:29
He's carrying her down.
42:32
>>It's all right, baby. It's going to be all right.
42:34
>>[ Groaning ]
42:40
Operator, this is Officer Ed Helmet.
42:43
I want an ambulance sent to 127 Brockhurst and fast.
42:47
>>An ambulance?
42:48
Why an ambulance?
42:50
>>An overdose of sleeping pills >>She took --
42:52
>>She didn't take them, Buster.
42:54
They were given to her, shoved down her throat.
42:56
You ask me.
42:58
I'm changing the charge against you two.
42:59
I'm booking you for attempted murder.
43:01
>>You must be out of your mind.
43:03
You're as crazy as my sister.
43:04
>>Who isn't crazy at all.
43:06
That was a real far out scene you two tried to pull.
43:09
I gotta hand it to you two. You planned it.
43:11
So careful. So good.
43:13
There wasn't a loophole in it except one.
43:15
>>I don't know what you're talking about.
43:17
>>You don't? Huh? Then let me explain.
43:20
You set the whole thing up. The two of you.
43:22
The marriage, the honeymoon trip across country and back,
43:24
the fake murder and the whole bit.
43:27
Oh, and you played it smart.
43:28
Very smart. Not a clue.
43:30
I checked the marriage license bureau.
43:32
No license. Easy enough.
43:34
You could have bribed a clerk to destroy it.
43:36
>>Now, look -- >>I checked a few hotels.
43:38
The big ones.
43:40
Like the ambassador, the Beverly in Los Angeles.
43:42
No. Mr. and Mrs. Howard Lansing listed a piece of cake.
43:46
When you registered, you gave a different name.
43:47
>>You're making yourself look like a fool.
43:49
What you're saying is you could find no evidence.
43:51
>>Oh, but I did.
43:54
One little clue that neither of you thought about. The car,
43:57
Mr. Lansing, your pretty little red sports car.
44:00
>>I don't follow.
44:02
>>You will.
44:04
I told you I found that dry space out in the street
44:06
last night because a car,
44:07
a little sports car like yours
44:10
had been standing there during the rain.
44:11
>>Well, it could have been anyone's car.
44:13
>>Sure.
44:14
Same size as yours, same wheelbase.
44:16
But I agree it could have been anyone's.
44:19
Only it wasn't. It was yours. You want to know how I know?
44:24
>>We'd be enthralled. >>I know,
44:27
because last night that car wasn't parked
44:30
outside this house,
44:32
but the one next door. I got to wondering about that.
44:36
I kept saying to myself, if it was his car,
44:39
why did he park outside the house next door?
44:42
I came up with the answer today when I entered that house.
44:45
Nobody there
44:47
and found fake blood all over the upstairs room.
44:50
A gag knife, the kind you attach so it looks like you're stabbed.
44:56
Even your clothes and your luggage in the closet,
45:00
Mr. Lansing. >>Oh, God.
45:03
>>So, you see, if it hadn't been for your car.
45:05
I'd never have realized that brownstone houses in a row
45:08
like these are identical.
45:10
You bought this place or leased it while Jen
45:13
and him were on their honeymoon, didn't you, Miss Brady?
45:15
> I...
45:17
Last night when Jen went screaming into the street,
45:19
you'd deliberately let her run into the street
45:21
so you could bring her back to the house next door.
45:24
This house in her state wound up tight like she was.
45:28
She never realized what you were doing as you knew she wouldn't.
45:32
>>You'll have to prove these accusations.
45:33
>>I will, I can,
45:36
with the one little clue that nails it all
45:38
down at all four corners.
45:41
The little red sports car again. >>What about it?
45:44
>>Well, you told me you'd never driven across country.
45:46
>>I never have.
45:47
If you're thinking of the mileage on the car,
45:48
that proves nothing.
45:50
>>Well, not the mileage, Mr. Lansing.
45:52
The servicing.
45:53
>>Servicing?
45:56
>>You had it serviced at the Beverly Hotel in Los Angeles.
45:58
A lube job, oil change, new filter, the works.
46:02
And like they do at all service stations,
46:04
they slapped a little sticker on the door jamb.
46:07
That little sticker that carries the name and address
46:09
of the service station.
46:11
That little sticker that practically nobody ever notices.
46:14
Anyhow you didn't.
46:16
And it says Beverly Hotel service Station,
46:20
Los Angeles, California.
46:23
Date and all.
46:26
>>Um. Oh. >>Easy, easy.
46:27
[ Police siren blares, Jennifer groans ]
46:30
Easy, Jen. Easy.
46:33
You're going to be okay. From here on in,
46:37
you're going to be just fine.
46:39
♪♪
46:45
>>Must have been a costly business.
46:47
Buying or leasing that identical brownstone house
46:51
and furnishing it exactly like the one next door.
46:55
But then Maggie had all the money in the world.
46:59
Or thought she did. I'll return shortly.
47:02
♪♪
47:08
♪♪
47:13
Yes. Like a spider's web. So strong and yet so weak.
47:18
The human brain can be broken.
47:21
But happily, again,
47:23
like the spider's web, it can be repaired.
47:26
As good as new.
47:28
Our cast included Lois Nettleton, Tony Roberts,
47:31
Teri Keane, and Norman Rose.
47:34
The entire production was under the direction of Himan Brown.
47:41
This is, E.G. Marshall inviting you to return
47:43
to our mystery theater
47:44
for another adventure in the macabre.
47:47
Until next time. Pleasant dreams.
47:52
♪♪
48:02
♪♪
48:12
♪♪
48:22
♪♪
48:28
♪♪
48:33
>>"If You Please,
48:35
Himan Brown's Radio Mystery Theater" is produced
48:37
and directed by Sarah Montague.
48:39
Our executive producers are Melina Brown and Sarah Montague.
48:44
CUNY TV's executive director is Chiqui Cartagena.
48:47
The director of production is Susan Iger.
48:50
The associate producer is Corinne Wallace,
48:52
and our audio production intern is Sofia Cedeno.
48:56
Margo Avery is the voice of the series.
48:58
Introduction and credits.
49:01
The program commentaries are by John Slaveney.
49:04
Our technical team at CUNY TV
49:06
includes senior audio engineer Richard Kim
49:10
and broadcast audio engineers Jackie Mitchell and Kevin Wolf.
49:15
Our staff photographer is Laura Fuchs.
49:17
Our archivists are David Rice and Katrina Schlosser.
49:21
Our closed caption coordinator is Amy Monte,
49:24
the "If You Please" program mix engineer
49:26
is Lisa Gosselin-Vincent.
49:28
Tink media handles our publicity and marketing.
49:32
Our director of social media is Karen A Brown.
49:35
In collaboration with Stardust Blue PR,
49:38
"If You Please, Himan Brown's Radio
49:40
Mystery Theater" is a production of CUNY TV.
49:45
If you enjoyed the show
49:47
and are curious about the history of these radio programs,
49:49
listen to "Audio Maverick."
49:51
In this award winning nine-part documentary,
49:54
we explore the golden age of radio
49:56
through the life of dramatic genius Himan Brown,
49:59
and then explore the work of contemporary audio dramatists
50:03
who are part of his legacy.
50:05
"Audio Maverick" is available anywhere you get your podcasts.