Latest / If You Please, Himan Brown’s Radio Mystery Theater / S1E3: The Bullet

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S1E3: The Bullet · If You Please, Himan Brown’s Radio Mystery Theater

0:00
>> Welcome to "If You Please...
0:02
Himan Brown's Radio Mystery Theater."
0:04
On this series, we're offering rebroadcasts
0:07
of a select group of programs
0:08
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 Slaveney
0:25
shares details about the cast, the writer, and the plot.
0:28
Your job -- listen.
0:31
"If You Please..." is produced
0:33
in loving memory of Robert Isaacson.
0:35
♪♪
0:41
>> Hi, everyone. I'm John Slaveney,
0:43
returning to introduce the third episode
0:45
of the CBS Radio Mystery Theater.
0:47
Recorded in mid-November 1973,
0:50
a hard-hitting supernatural tale entitled "The Bullet."
0:54
With this play, Himan Brown made good
0:56
on his intention to take on topical subjects.
0:59
The story focuses on Jerry Price,
1:01
a Vietnam War veteran haunted by the combat death
1:04
of his friend Paul Gardner.
1:06
Nine years earlier, Paul had volunteered
1:08
to take Jerry's place on patrol,
1:10
and then and there he took the bullet meant for Jerry --
1:12
or so Paul's ghost now claims.
1:15
Playing Jerry is the remarkable Larry Haines,
1:18
delivering here the first of nearly 80 performances
1:20
on Radio Mystery Theater, in a run that spanned
1:23
all nine years of the series.
1:26
Haines was a talented New York-based actor,
1:29
twice nominated for a Tony Award for his work on Broadway.
1:32
Notably, he appeared alongside Jason Robards
1:35
and future Mystery Theater player Sandy Dennis
1:38
in the original 1962 stage production of A Thousand Clowns.
1:42
Haines' most recent film, The Seven-Ups,
1:45
a quintessential piece of gritty 1970s New York City cinema,
1:49
would open to strong reviews just three weeks after
1:51
this episode was recorded.
1:53
Also here, making his only appearance
1:55
in a Radio Mystery Theater show,
1:57
is Martin Newman, an actor who had a long
2:00
and lively career in New York-based theater,
2:02
television, and films.
2:03
In this episode, he plays Paul's ghost
2:05
with an unsettling air of fondness for his old friend.
2:08
But his ghost is also determined to restore the cosmic balance
2:12
and claim what he's owed,
2:13
a claim that includes Jerry's wife.
2:15
"The Bullet" had a large cast,
2:17
including Evie Juster and Ralph Bell
2:19
here making their Mystery Theater debuts.
2:22
These two skilled actors would become favorites of both fans
2:25
and of director Himan Brown.
2:27
The script is the work of Sam Dann,
2:30
the first of more than 400 episodes
2:31
he would write for the Radio Mystery Theater,
2:34
and one of his best.
2:35
When not scripting for the series,
2:37
Dann taught dramatic writing as an adjunct professor
2:39
at NYU's Tisch School of the Arts.
2:42
Now, I invite you to settle in
2:45
or take a leisurely stroll somewhere not too dark
2:48
and enjoy this quietly effective thriller with its cast
2:51
of talented actors at the top of their game.
2:53
"The Bullet" was first broadcast on Tuesday, January 8, 1974.
3:03
>> The CBS Radio Mystery Theater presents...
3:06
[ Door unlatches, creaks ]
3:15
[ Dramatic music plays ]
3:17
♪♪
3:22
>> Come in.
3:25
Welcome.
3:27
I'm E.G. Marshall.
3:29
Welcome to the sound of suspense,
3:31
to the fear you can hear.
3:35
For the next 52 minutes,
3:36
I shall be your guide on a journey over a strange terrain.
3:41
Some people find their names printed
3:43
in the most unusual places.
3:46
Let me tell you about a man who is convinced
3:48
that his was written on a bullet.
3:52
[ Gunfire ] [ Leaves rustling ]
3:55
>> Halt! Give the password.
3:57
>> It's me, Jerry. It's me. Don't shoot.
4:01
>> Paul?
4:02
>> Yes, Jerry. It's Paul.
4:05
>> Paul!
4:07
Paul, you're dead. How -- How can you...?
4:08
>> Yes, Jerry. I'm dead.
4:11
But I shouldn't be.
4:14
I took your bullet.
4:17
♪♪
4:25
>> Our mystery drama, "The Bullet,"
4:28
was written especially for the CBS Radio Mystery Theater
4:31
by Sam Dann, and stars Larry Haines.
4:35
Act one.
4:36
[ Dramatic music plays ]
4:38
♪♪
4:47
>> It's a quiet little bar, Paddy Noonan's,
4:51
and Jerry Price stops there every evening
4:53
on his way home from work.
4:56
He's not looking for anything special
4:58
in the way of atmosphere, adventure, companionship,
5:02
and he has no intention of getting drunk.
5:05
Just a couple of beers, perhaps,
5:07
to bridge a busy day,
5:09
to ease the fatigue,
5:11
the strain on his nerves.
5:14
In the comfortable half-light of Paddy Noonan's,
5:16
the world outside becomes vague, distant,
5:20
especially when Old Man O'Rourke is holding forth.
5:24
>> And he lay there, his head against the barricade,
5:30
and the blood from him falling soft upon the pavement.
5:34
I looked in his face,
5:36
and I could see his death was upon him.
5:40
"'Tis a bitter thing," I said, "to die at 17."
5:45
And for a moment his darkening eyes held mine,
5:49
and with his last strength he said,
5:53
"'Tis a sweet thing to die for Ireland."
5:57
>> Sweet indeed, Mr. O'Rourke.
5:59
And it calls for one on the house.
6:01
>> I thank you, Paddy Noonan.
6:03
>> Ah, I see Jerry Price. Excuse me.
6:07
Good evening, Jerry. >> Hi.
6:08
>> I didn't notice you come in.
6:10
>> Well, when Old Man O'Rourke's in form,
6:12
you don't see anybody, Paddy.
6:14
>> The old man there, he carries his war.
6:16
I know I carry mine.
6:18
You ever think of yours, Jerry?
6:19
>> No. No. Never.
6:20
>> Never? >> No.
6:22
The day I came home from Vietnam, I put away the uniform.
6:25
I also put away everything that went with it.
6:27
The army, the war.
6:28
Like a snake sheds its skin.
6:31
No, the past is gone, Paddy.
6:33
It's dead. So you forget it. You go on to other things.
6:35
>> Hey, what's everybody drinking?
6:37
This round's on me. Set 'em up, Paddy.
6:40
>> Mr. Edward Clark himself. And what's the occasion?
6:43
>> Hey, I got a little announcement.
6:45
Guess what the old lady tells me this morning.
6:47
[ Chuckles ] Number ten is on its way.
6:49
>> Oh, in that event, the round must be on the house, Mr. Clark.
6:52
>> Just a quick one, Paddy. Hey, I got the truck outside.
6:55
>> What are you hoping for this time, Ed -- boy or girl?
6:57
>> Let's see. What do I got now?
6:59
Four boys and five...
7:01
No, no, no. I got five boys and four...
7:04
Ah! Who can keep 'em straight?
7:06
All I know is I'm always tripping over somebody.
7:09
Yeah. 10 kids in 12 years.
7:13
>> Well, you can't tell me it isn't exciting
7:14
to hear there's going to be a new baby.
7:16
>> Oh, yeah. Yeah. I know it's going to be a kid
7:19
that'll wet its pants and keep me up half the night.
7:21
That's another mouth I gotta feed.
7:23
Yeah, well, guys, I gotta ride.
7:25
I'll see you tomorrow.
7:27
>> [ Chuckles ]
7:29
You know, Paddy, it's funny.
7:31
People who don't want kids, can't stand kids,
7:33
can't afford them, can't raise them --
7:35
they can't help getting kids, whereas...
7:40
Oh, well. [ Clears throat ]
7:41
I guess there just isn't any justice in this world.
7:43
>> Well, there may be no justice, Jerry,
7:45
but there's always hope.
7:47
How long have you been married?
7:49
>> Oh, right after I got out of the army.
7:50
It'll be, uh, nine years.
7:52
>> A fella used to come in here, and they were married 15 years
7:55
before they had their first.
7:57
>> Am I really out of the army nine years?
8:00
Tell me, Paddy, you're an old philosopher.
8:02
Where does it go, huh?
8:04
>> Down the hatch and try another.
8:05
>> Yeah. Don't mind if I do.
8:08
Oh, wait on a paying customer first.
8:12
>> Where?
8:15
>> The fella standing at the end of the bar.
8:18
>> What are you saying, Jerry?
8:19
There's nobody standing at the end of the...
8:21
>> In the brown hat and raincoat.
8:24
>> Now, Jerry, what are you saying?
8:26
>> I know him.
8:28
That-- that's Paul.
8:31
>> Tell me what's the matter, Jerry?
8:32
>> Paul! >> Jerry, listen to me.
8:34
There's nobody... >> Paul.
8:35
Paul...
8:37
Hey, he was just standing here. Where'd he go?
8:39
Where is he?
8:41
>> Jerry? Where is who?
8:43
Are you all right, Jerry?
8:45
>> Yeah.
8:46
Yeah, yeah, I'm all right.
8:49
But I saw him.
8:50
>> Who?
8:52
>> Oh, uh, a guy I was in the army with.
8:55
>> The two of you, were you close?
8:58
>> He was my buddy.
9:00
>> Well, when was the last time you saw him in -- in person?
9:04
>> The night he was killed.
9:06
>> Have you... Have you ever seen him again?
9:09
Like you thought you did just now?
9:11
>> No. No, this is the first time.
9:14
>> Well, maybe you need a rest, Jerry.
9:16
>> Paddy, why now? Why tonight, after all these years?
9:19
>> Well, you say you saw him last
9:20
the night he died in battle.
9:23
Well, the sight of him dead must have stayed with you always.
9:26
>> But that's not how I just saw him, Paddy.
9:28
He wasn't in uniform. He was in civilian clothes.
9:31
>> You might have pictured him as he looked at a happier time.
9:34
>> I never saw him in civilian clothes.
9:37
We met in the army.
9:39
And Paddy, I...
9:41
I didn't see him as he was then.
9:43
We were both kids, about 20.
9:46
I saw him the way he'd look today, about 30.
9:49
His face was more mature.
9:51
>> Jerry, are you sure he's dead?
9:54
>> He is dead, Paddy. I just saw him.
9:58
I know I saw him.
10:00
♪♪
10:08
[ Clock chiming ]
10:11
>> Jerry? It's after midnight.
10:13
>> [ Sighing ] Oh, I'm not finished, honey.
10:15
I have to clean up these reports, Marge.
10:18
>> Honey, a new rule has just been passed in this house.
10:22
All paperwork shall be done in the daytime.
10:24
>> Marge, I have to call on customers.
10:26
Be reasonable, huh?
10:28
>> Am I the kind of wife who makes idle criticism?
10:30
No, indeed.
10:32
Constructive suggestions. That's my motto.
10:35
Northeast Distributors can solve all your paperwork problems
10:38
by hiring a girl.
10:39
>> Honey, I'm lucky to have the job.
10:41
>> No, Jerry, you're not lucky.
10:44
They're lucky.
10:46
Well, everybody knows you're a terrific salesman.
10:49
You could get another job tomorrow.
10:51
More money, less headache.
10:53
>> Honey, I couldn't walk out on Joe Keller.
10:55
>> Why not?
10:56
>> Well, I'll never forget what that man did for me.
10:58
I came home from the army, a kid with no experience.
11:01
I needed a job. He took a chance with me.
11:03
Now he needs me. >> [ Sighs ]
11:05
Well, I'm -- I'm just worried about you, Jerry.
11:09
You look so tired all the time.
11:10
>> No, I'm in great shape.
11:13
>> Will you go see Doc Steiner?
11:15
>> I did today.
11:17
>> Oh. Well, it's about time. You needed a checkup.
11:20
>> Well, I, uh -- I didn't just go for the checkup, honey.
11:23
I, uh...
11:25
I went for the -- for the other thing.
11:27
>> Jerry... >> Well, he said some people,
11:30
men --
11:31
well, they're okay in every way,
11:34
but it just doesn't work out for them.
11:36
>> Jerry. It's all right.
11:38
>> No, no, no, honey, it's all my fault.
11:41
>> Oh, honey. >> It's...
11:43
Well, it's just unlikely
11:45
there can ever be any kids.
11:48
He said unlikely. What he meant was impossible.
11:52
>> We've got each other. >> Yeah.
11:55
If only you didn't want a child so badly.
11:57
>> Now we'll definitely think about adopting.
12:01
Okay? >> Yeah, okay.
12:03
>> Sometimes that works out even better.
12:07
Come on, honey, let me see you smile.
12:10
>> [ Chuckles ]
12:11
Marge, Marge, Marge.
12:13
I don't know what I'd do without you.
12:14
>>[ Chuckles ] Well, that makes us even.
12:18
I don't know what I'd do without you.
12:21
Come on. Get to bed.
12:22
>> Yeah, I'll, uh, just have a cigarette, huh?
12:24
[ Romantic music playing ]
12:26
Uh, honey, why'd you turn on the music?
12:29
>> To make sure you don't try to sneak in some work.
12:32
I know you can't concentrate with the music going.
12:35
>> I'll just be a couple of minutes, honey.
12:37
♪♪
12:40
[ Gunfire ]
12:43
[ Leaves rustling ]
12:48
>> Halt! Let's hear that password.
12:50
>> Paul, is that you?
12:51
>> Jerry! Hey!
12:53
Climb down the hole. Make yourself at home.
12:58
>> Man, I'm so beat,
12:59
I can't even remember the password.
13:01
>> That's all right. I don't even know what it is.
13:03
>> Yeah. Got a cigarette?
13:05
>> What did they want back at the CP, Jerry?
13:07
>> A patrol. >> Are you going?
13:09
>> Yep. >> But you went out yesterday.
13:11
>> Well, maybe I better write to my congressman, huh?
13:14
>> I don't have any more cigarettes.
13:15
Here, finish this one.
13:17
>> Paul...
13:18
Paul, I don't know if I can go out again.
13:20
We're being relieved tomorrow. We were promised a rest.
13:23
I just don't know if I can go out again.
13:24
>> But you ain't going out, Jerry.
13:27
Didn't you hear? I'm going.
13:29
>> Oh, no. No.
13:30
>> I'll say you and I made a trade.
13:32
>> No, Paul, I can't let some other guy do...
13:34
>> But I'm not some other guy.
13:36
I'm your buddy.
13:38
What's the matter, Jerry? You never did it for me?
13:42
[ Gunfire, explosions in distance ]
13:45
♪♪
13:52
Can I have a drag on that butt, Jerry?
13:55
>> Paul?
13:57
Paul. You're alive.
13:58
>> I'm alive, Jerry.
14:00
I'm here with you in your living room.
14:03
>> No, you can't be here. I went out afterward.
14:05
I found your body. I carried it back.
14:08
M-Maybe it wasn't you. >> It was me.
14:10
>> But you were dead. You were killed.
14:12
>> Yes, Jerry, I was killed. >> [ Door opens ]
14:16
>> Jerry, will you turn that radio off and come to bed?
14:19
>> Marge. He's here. >> Who's here?
14:22
>> Can't you see him?
14:23
>> Jerry, I don't see anyone.
14:26
>> Paul, why can't she see you?
14:28
>> She will. They all will.
14:30
>> When? >> Later.
14:33
I have to go now, Jerry.
14:35
>> No, no. Paul. Paul, tell her! >> Jerry...
14:37
>> She'll think I'm crazy, Paul.
14:39
Paul...
14:41
He's gone, Marge. He's gone.
14:44
>> Jerry? Honey, w-what's going on here?
14:46
>> Marge, he -- he was here.
14:47
He was right here. >> Who?
14:49
>> Now, you've got to believe that.
14:50
I'm not drunk and I'm not crazy!
14:51
>> I-I believe you. I believe you, Jerry.
14:53
Now, here. Uh, j-just sit down.
14:56
Don't do anything. Don't say anything.
14:59
>> [ Telephone dialing ]
15:05
♪♪
15:14
>> And we know who she's calling.
15:16
But can a doctor help what ails Jerry?
15:20
In a moment, we'll return to Jerry and Marge and Paul
15:25
when we listen to act two.
15:29
>> Like what you're hearing so far?
15:32
Are you curious about the history behind radio programs
15:34
just like this one,
15:36
and the dramatic genius who created them?
15:38
In the nine-part, award-winning documentary "Audio Maverick,"
15:42
we explore the golden age of radio
15:44
through the life of Himan Brown.
15:47
You'll hear the history of radio come to life as we travel
15:50
from the birth of audio drama to the programs
15:52
that brought millions of families
15:54
into their living rooms every night.
15:56
"Audio Maverick" is available anywhere you get your podcasts.
16:04
♪♪
16:09
♪♪
16:15
>> And now, act two of "The Bullet."
16:19
Let us trace the path of the bullet.
16:22
We have a worried Marge, a concerned Doctor Steiner,
16:26
and a distracted Jerry.
16:28
>> Tell me about this man, uh...
16:29
Paul you called him, Jerry.
16:31
>> I said we were buddies, doctor. That tells it all.
16:33
>> Jerry, please don't be so hostile.
16:36
Doctor Steiner's only trying to help.
16:38
>> You were buddies.
16:39
You came back alive, and he didn't.
16:41
>> Yeah.
16:43
>> There's an extensive medical literature on the subject.
16:46
>> Oh, I'm sure there is. >> Jerry...
16:47
>> I'm not being hostile, Marge.
16:49
I know I saw him.
16:51
>> Of course you saw him.
16:52
>> Well, finally.
16:53
>> But that doesn't mean he was there.
16:55
You see, Jerry,
16:57
the death of a wartime comrade remains an eternal reproach.
17:01
All who survive are sentenced forever to feelings of guilt.
17:04
>> Oh, no. No, doctor.
17:06
The wars are fought by kids in foxholes.
17:08
The literature is written by doctors and officers.
17:09
>> That's hardly fair, Jerry.
17:11
>> I'm the authority on war, doctor,
17:12
because I was a kid in a foxhole,
17:14
and I don't feel guilty about -- about my buddy.
17:17
>> You don't? >> No.
17:19
>> Tell me why.
17:21
>> Oh, you wouldn't believe it.
17:23
>> Try me.
17:25
>> All right.
17:27
You see, there's a bullet,
17:29
and it's designed especially for you.
17:32
And if it's your bullet,
17:34
it'll find you no matter where you are.
17:36
You can't evade it. You can't avoid it.
17:37
It was meant for you. It was meant to be.
17:40
You and the bullet.
17:42
Both of you were dust originally.
17:44
You were dust because the Bible says so.
17:47
And the bullet was also just dust in the ground.
17:51
Well, that bullet was mined and refined and cast into metal.
17:54
It was shaped into a slug and joined with a shell.
17:56
It was one of billions of bullets.
17:58
But it was yours. All yours.
18:01
And at the right time, at the right time,
18:03
there'd be a tremendous explosion of gases
18:05
in a narrow chamber
18:07
and the bullet would be torn loose from the shell case
18:08
and spun around the grooves of a gun barrel
18:10
and hurled through space.
18:12
This is the bullet you don't hear.
18:15
You don't hear it, Doctor. You don't hear it
18:17
whine past your ear or ping off a rock or thwack against a tree.
18:20
That's because it's your very own bullet.
18:23
It's coming to meet you or you're going to meet it.
18:26
It's been arranged.
18:28
You see, it's an appointment that can never be broken.
18:30
The dust that had become the bullet would encounter the dust
18:33
that had become you.
18:35
And after a while, after a while,
18:37
both of you would become dust once again
18:40
and return to the ground.
18:42
Your original home.
18:45
>> Jerry, I know you're overworked.
18:48
You're overwrought. You're overtired.
18:49
>> I keep telling him to slow down.
18:52
>> Okay, okay. I know I'm under a strain.
18:55
I know I'm working too hard, but what can I do?
18:57
>> Jerry, try to understand.
18:59
Right now, you're having what is popularly known
19:02
as a nervous breakdown.
19:04
This alleged visitor from another world --
19:07
I say he's an illusion. >> Oh.
19:10
>> I say you have subconscious feelings about him
19:13
which you're not aware of.
19:14
And I say they burst through
19:16
because of heavy pressure on your nervous system.
19:18
>> Yeah, I knew you'd say that.
19:19
>> Prove me wrong. >> How?
19:21
>> Go away. Get out from under.
19:24
Rest a while. Relax.
19:26
♪♪
19:31
♪♪
19:37
>> Oh, honey, this looks like a good spot.
19:40
You want to stop here and try for some fish?
19:42
>> Oh, Marge. Uh, I think I'd like to go back
19:44
and play nine holes this afternoon.
19:46
>> Great. I need more practice with my irons.
19:49
>> Oh, honey.
19:51
Honey, you know, uh, you've been getting a lot of sun.
19:53
Maybe you better take it easy for a few hours, huh?
19:55
>> And besides, you have an appointment with, uh...
19:57
Oh, what's that name? Uh, Biscayne Appliances.
20:01
See, Jerry,
20:03
I wasn't sleeping when you called that number this morning.
20:05
>> Now, Marge, I've been good all month.
20:07
I was just getting restless, that's all.
20:09
Look, they're a big chain down here.
20:11
If I can open them up, I'll justify the trip.
20:13
>> Justify? To whom? Why?
20:16
Why do you have to justify anything?
20:19
Isn't your health important enough?
20:21
>> Honey, Joe Keller was very nice about it.
20:23
>> Joe Keller had no choice.
20:25
>> Marge...
20:28
Honey, Steiner was right.
20:31
I was beat.
20:32
I don't know how I managed to drag myself along.
20:35
So I did, I did the right thing. I chucked it all.
20:38
Now I'm fit. See?
20:39
I never felt better in my life.
20:41
And I'm raring to go. >> Great.
20:43
In a month or two, we may think about going back.
20:46
>> I'm not used to being idle, honey.
20:48
>> Neither am I, but I am learning to love it.
20:51
>> [ Chuckles ] Oh, Marge.
20:54
Why didn't I meet you when I was young?
20:56
>> Young? Jerry, you weren't even 21.
20:59
>> No, I was already made when we met.
21:02
I had already become what I was going to be.
21:06
You know, I've got a certain amount of ability.
21:08
>> A tremendous amount, Jerry.
21:10
>> But I'm not confident, honey, I doubt myself.
21:14
I guess I didn't have very much encouragement when I was a kid.
21:18
You know, my brother was a great athlete.
21:19
My sister was a great beauty.
21:21
I, I was kind of clumsy and funny-looking.
21:25
Anyway, Frank and Alice were sent to college.
21:28
When my turn came, the money had run out.
21:32
Or maybe they thought I wasn't worth the effort.
21:35
That's why I enlisted when I was 18.
21:37
I had to get away from the house and my father.
21:41
There was no place else to go.
21:43
>> You never told me this, honey.
21:45
>> I decided if I ever had a kid,
21:49
I'd never make jokes at his expense
21:52
or tear him down in any way.
21:56
I know how these things cut inside where it doesn't show.
21:59
I would do everything to build him up and give him confidence.
22:05
I will never, never have any real confidence, Marge.
22:09
>> Oh, yes, you will.
22:11
>> No, no, baby, you won't get it from a pep talk.
22:15
I think we can go back home now, Marge.
22:18
>> All right, on one condition.
22:21
You'll just have to slow down.
22:23
>> I promise.
22:25
>> And, honey, there's only one way you can really slow down.
22:28
And that's to get a partnership from Joe Keller.
22:30
>> Now, Marge... >> Don't you deserve it?
22:32
>> Of course I do.
22:34
>> Well, we're -- we're going to adopt a child.
22:36
Which means I'll quit my job
22:38
and you're not going to spend time on the road.
22:42
That kid will need both of us, won't he?
22:46
>> Yes. Yes, honey. He will.
22:50
>> Then we need that partnership, don't we?
22:53
♪♪
23:02
>> Jerry! Jerry, baby!
23:05
[ Laughs ] You look like a million bucks.
23:09
Less 2% for cash, of course.
23:11
>> Joe... >> Hold it, hold it.
23:13
Ramona! No calls. I'm in a meeting.
23:15
I can't be disturbed.
23:17
>> Well, anyhow, Joe, hello.
23:20
>> I want you to take it easy for a while, you hear?
23:22
>> Yeah. I'm ready for action, Joe.
23:24
>> Oh, you think you're ready?
23:26
Now, listen, I know you had a lot of expenses.
23:28
I want you to take this little check.
23:29
It's only 500.
23:30
I'm strapped for cash this week.
23:32
I had to pop for a whole new computer setup.
23:34
But anyway, I decided to increase your bonus to 5%.
23:37
That'll amount to a pretty sweet raise, huh?
23:39
>> Now, Joe... >> Don't -- don't thank me, kid.
23:41
You're entitled to it.
23:42
We gotta make sure you don't get sick again.
23:43
>> Joe. I have to talk with you.
23:46
>> Well, sure, kid. What about?
23:47
>> Well, it's, uh, personal and important.
23:50
>> Well, let me buy you lunch.
23:52
♪♪
23:58
Well, Jerry, what are we going to talk about?
24:01
I'm fresh out of polite conversation.
24:02
>> Joe...
24:04
[ Indistinct conversations ]
24:06
Joe, I want a partnership.
24:09
>> No, you don't, Jerry. >> But, Joe...
24:11
>> No, no, no. Don't interrupt.
24:14
You don't want one.
24:15
You'd like one.
24:17
Two different things. >> Ah, don't nitpick, Joe.
24:19
>> You'd like a partnership.
24:22
Which means it would be swell, great if you had it.
24:26
But "want" is something else.
24:28
It means lack.
24:30
It means need.
24:32
I know you'd like to own a business,
24:33
but you're not cut out to be an owner.
24:36
>> Why?
24:37
>> Because an owner is an officer,
24:41
and in your heart, you'll always be an enlisted man.
24:44
Tell me, could you ever fire a guy
24:46
because you could get someone else cheaper?
24:48
If an old customer, a good friend,
24:50
was getting slow paying bills, could you cut him off?
24:55
Thousands of guys like you go bankrupt every year.
24:59
You're nice, sweet, big hearted.
25:04
But you don't have the guts business needs.
25:06
>> Well, I'd like to remind you of the volume I sell.
25:08
>> I know it to the penny, Jerry.
25:10
And you're well paid for it. >> Well, I'm worth more now.
25:12
>> You are.
25:14
You got a sweet raise this morning, Joe.
25:15
>> Joe... Joe, don't...
25:17
Don't think I'm not grateful.
25:19
You gave me my first break.
25:21
But I think I can do better elsewhere.
25:23
>> Where? >> Anywhere.
25:24
Consolidated. Freeman and Singer.
25:26
Should I go down the list?
25:27
>> Oh, they'd love to have you, Jerry.
25:29
What do they pay?
25:31
They handle the nationally advertised brands.
25:34
What will you be, their glorified order taker?
25:37
They don't need your full selling ability,
25:38
so they don't have to pay you full price for it.
25:42
Sure, with me, you push out all the schlock.
25:44
It's rough, but you get top dollar.
25:48
There's 20 outfits like mine.
25:49
They'd grab you tomorrow. But where's the improvement?
25:52
They won't pay you more.
25:54
At least here, you got nine years' equity
25:57
and a pension plan.
25:59
You and me are used to each other.
26:03
Besides, I really like you.
26:06
Yeah.
26:07
Sometimes I feel like a father to you, Jerry.
26:10
♪♪
26:17
>> It was a fiasco, Paddy. A fiasco.
26:20
And how do I break it to Marge?
26:22
>> Oh, what's it all about, Jerry?
26:24
>> Well, at least I don't have to put up with Ed Clark tonight.
26:27
I think I'd punch him right in the mouth.
26:28
>> We'll be deprived of his wonderful company
26:30
the next two weeks.
26:32
He's tooling that trailer into the southwest.
26:35
>> Hello, Jerry. >> What?
26:36
[ Suspenseful music playing ]
26:38
Paddy?
26:40
Paddy, is someone standing behind me?
26:43
>> No, Jerry.
26:45
>> Paul, will you tell me why?
26:47
>> I'll tell you everything, Jerry.
26:49
>> When? >> Soon.
26:52
I think maybe tonight.
26:54
>> Paul, why do you keep popping in like this?
26:57
>> I don't know, buddy. I can't control that.
27:00
>> Yeah, but Paul...
27:01
P-Paul?
27:03
Paul?
27:05
Paddy, don't you see anyone? >> No, Jerry.
27:08
>> And you didn't hear anyone talking to me either?
27:10
>> No.
27:11
>> Paddy. Paddy, do you think I'm crazy?
27:13
>> Maybe you should see a doctor.
27:15
>> I saw a doctor.
27:17
>> Well, how about one of them psychiatrist fellas?
27:20
>> I never even told my wife.
27:22
I did see a psychiatrist.
27:25
But after a while, I figured, why pay him 50 bucks an hour
27:27
when I can come in here and talk to you for nothing?
27:29
>> Well, there must be more to them fellas than that.
27:32
>> Oh, sure.
27:33
He said that the roots of my problem
27:35
go back to my unhappy childhood.
27:40
But, Paddy, I have a brother, Frank,
27:42
who feels terribly insecure.
27:44
He goes to a psychiatrist, too.
27:46
Why? He had a happy childhood.
27:48
>> Well, put it this way.
27:49
If you see someone and I don't,
27:51
the flaw can be in me and not in you.
27:55
Drink? >> No, no.
27:58
I'd better go home and face the music.
28:01
♪♪
28:06
♪♪
28:13
>> Jerry. >> What?
28:14
[ Car horn honks ]
28:16
Paul.
28:18
>> Let's go someplace and talk.
28:20
>> Where?
28:22
>> Let's go to the parking lot and sit in your car.
28:25
>> It's cold.
28:27
But that won't bother you, will it?
28:30
>> Not yet.
28:31
Turn the heater on for yourself.
28:33
>> When will everyone else be able to see you, Paul?
28:37
>> In two weeks. >> Oh. That's great.
28:40
>> No. It ain't.
28:43
>> Why not?
28:46
>> Because you'll be dead.
28:49
[ Dramatic music plays ]
28:55
>> "Because you'll be dead."
28:58
Cold words from a warm friend.
29:02
The chill inside the car becomes intense.
29:05
But Jerry knows there's no point in turning on the heater.
29:09
We'll rejoin these two friends
29:11
when I return shortly with act three.
29:16
>> Like what you're hearing so far?
29:18
Are you curious about the history behind radio programs
29:21
just like this one,
29:23
and the dramatic genius who created them?
29:25
In the nine-part, award-winning documentary "Audio Maverick,"
29:29
we explore the golden age of radio
29:31
through the life of Himan Brown.
29:34
You'll hear the history of radio come to life as we travel
29:37
from the birth of audio drama to the programs
29:39
that brought millions of families
29:41
into their living rooms every night.
29:43
"Audio Maverick" is available anywhere you get your podcasts.
29:49
♪♪
29:54
♪♪
30:01
>> And now we return to the final act of "The Bullet,"
30:05
and a reunion of two war buddies
30:08
who haven't seen each other in almost nine years --
30:12
Jerry Price, who is alive,
30:14
and Paul Gardner, who is dead.
30:19
>> The heater in this car doesn't do much good.
30:22
You're shivering.
30:23
>> Why am I going to be dead, Paul?
30:25
>> Remember the night I went out on the patrol?
30:27
>> Yeah, I'll remember that night as long as I live.
30:30
>> I completed my job. I was headed back.
30:34
And then I felt something smash against my head.
30:37
And I knew.
30:39
I knew I just met...the bullet.
30:43
You know, the bullet we used to talk about?
30:45
I bet you don't remember. >> No, I remember, I remember.
30:48
>> I felt it slam into me
30:50
and then I didn't know anything anymore.
30:54
>> Yeah, well, when the guys told me,
30:55
I went out to get you, Paul.
30:56
>> Yeah, I might have known you would.
30:58
One minute I was moving through a rice paddy,
31:03
and the next minute I'm sitting in an office,
31:07
and I knew a lot of time had gone by.
31:09
Don't don't ask me how.
31:10
I knew. That's all.
31:12
A man was talking to me.
31:14
>> What? What kind of man? >> You know the type,
31:18
that's a clerk in the government or a big corporation.
31:21
Fussy, self-important.
31:23
Everything's got to be in the right place.
31:25
He doesn't even look at me. He's got a piece of paper.
31:27
He says, "Paul Gardner,
31:31
you're going back.
31:33
You should not have died that night.
31:36
The computation was for you to survive.
31:39
The plan was for you to marry a girl
31:44
named Marjorie Stone."
31:47
>> I married Marjorie Stone! >> Yeah.
31:50
I told the guy, I want no part of it.
31:53
And he gives me a look, this clerk does,
31:55
like he couldn't care less about me
31:56
or you or anybody else.
31:59
And he says, "Come with me."
32:02
He leads me to a door.
32:04
It opens, and all I can hear is a hum and a click,
32:08
and all I can see is a computer.
32:11
I mean, there's no end to the thing.
32:13
That's all you can see, is computer.
32:15
And he says, "There it is, friend.
32:17
City Hall. Go fight it."
32:20
By this time, I'm shaking.
32:22
That machine scared the pants off me.
32:24
You couldn't see the top nor the bottom of it.
32:26
There was no end to it.
32:27
Just machine wherever the eye could see.
32:30
>> Well, uh, then what happened?
32:33
>> This clerk, he tells me there's a plan,
32:37
a capital-P plan.
32:40
It calls for me to come home, not you.
32:45
>> Yeah, well, maybe that's fair.
32:46
Paul, you were always the better man.
32:48
>> No, you got more on the ball.
32:51
You never got a break, that's all.
32:53
I had the chance to go to school,
32:55
become somebody.
32:56
I could have gone into the old man's business,
32:58
become the biggest hardware dealer in Atlanta.
33:01
You and me, we both run away to join the army.
33:05
You because you had nothing,
33:07
me because I had everything.
33:08
>> But why are you coming back?
33:11
>> Because Marge and I are supposed to have a boy.
33:15
A certain kind of a boy.
33:17
He'll grow up, I don't know, discover something,
33:20
create something, or be somebody
33:23
the world needs real bad.
33:25
They wouldn't tell me what.
33:27
Anyhow, 40, 50 years from now, he has to be here.
33:31
And of all the millions of men and women,
33:34
he could only be born to me and Marge.
33:38
>> When? When am I leaving?
33:42
>> I told you. In two weeks.
33:45
>> How?
33:48
>> 9:00 at night.
33:50
A trailer truck will go past Paddy Noonan's saloon
33:54
just as you're crossing the street.
33:58
>> Now, why does it have to be like that?
34:00
>> Because...
34:02
you don't know how careful these things are figured.
34:05
You could get killed a million ways.
34:07
But the plan calls for a truck
34:10
driven by a guy named Ed Clark.
34:12
>> Oh, yeah, I know Ed Clark.
34:14
>> He doesn't have a good record,
34:16
so it'll be easy to prove he's a careless driver.
34:18
He works for a big outfit, so Marge will have
34:20
a good settlement. >> But why?
34:22
I still don't understand. >> She'll need the money.
34:24
You see, I won't be a good father.
34:27
Not as good as you, for sure.
34:29
Oh, I'll love the kid,
34:30
I'll love Marge, but...
34:32
I won't be there a lot.
34:34
You know me. I have to keep moving.
34:37
>> But if you know how important it is for the kid...
34:40
>> I won't know.
34:41
Once I'm alive, I won't remember any of this.
34:45
>> Now, you say it's all figured out.
34:46
Maybe not. The human element.
34:48
How can the machine predict Marge would go for you?
34:51
Huh?
34:52
>> With all due respect, Jerry...
34:55
did I ever have any trouble landing any dame
34:57
I had my sights on?
34:59
>> With all due respect,
35:00
I can't see Marge falling for your line of chatter.
35:03
>> She will, Jerry.
35:05
I'll be there when she's having a bad time.
35:07
She'll be all alone. She'll need somebody.
35:11
Things will take their natural course.
35:14
Sure, she'll see through my line,
35:16
but after a while, she'll get to like it.
35:19
I'm different.
35:21
You're quiet. I raise hell.
35:23
You let things eat at your insides.
35:25
Not me. I pop off.
35:28
Maybe my way is no better in the long run.
35:31
And she's married to you.
35:32
And she loves you.
35:34
But deep in her heart,
35:37
she loves my way better.
35:39
She'll fall in love with me.
35:42
Jerry, you have to believe I don't want to do this.
35:45
But it was your bullet, not mine.
35:50
♪♪
35:57
>> Jerry? >> Mm?
35:59
>> What are you thinking about?
36:01
>> Oh, a guy downstate wants to cancel
36:03
a carload of refrigerators, so I'm figuring an approach.
36:08
>> Didn't we agree, no more work at home?
36:10
>> Yeah, well, honey, this is just thinking.
36:13
>> Did you talk to Joe Keller about the partnership?
36:15
>> Yeah. >> And?
36:16
>> He said no.
36:18
>> Did you give him notice? >> No. He gave me a raise.
36:20
>> Oh. Okay.
36:22
>> Marge... >> Why don't you mix us a drink?
36:25
>> Honey, aren't you going to say anything?
36:26
>> Mm-hmm. Don't put in too much ice.
36:28
>> Marge, please. You don't understand.
36:30
>> I understand.
36:32
I married a certain kind of man.
36:34
>> And you're stuck with him. >> No.
36:36
I'll stick by him because I love him.
36:39
>> Would you have wanted a guy
36:41
who'd barge into Joe Keller's office and say, "Joe,
36:43
either give me half the joint or I'll open up across the street
36:45
and run you out of business"? >> Oh, come on, Jerry.
36:48
>> Answer me, Marge. I have to know.
36:49
>> Well...maybe I did.
36:52
>> Why didn't you marry him?
36:54
>> He never showed up.
36:56
>> So you settled for me.
36:57
>> That's what's known as falling in love.
37:00
Come on, honey, take me to the movies.
37:02
>> No, no, I don't want to take you to the movies.
37:04
Let's go downtown and see a play.
37:06
>> But that's a lot of money.
37:08
>> Are you gonna worry about money?
37:10
Now, look, this weekend, would you like to fly out to, uh, say,
37:13
Snow Valley and ski?
37:14
Yeah. Or how about Las Vegas? Huh?
37:16
>> Jerry, what's gotten into you?
37:18
>> Honey, we're gonna have two weeks of the most fantastic fun.
37:22
>> Why? Why two weeks?
37:24
What-- What's so special?
37:26
>> You. Me.
37:31
I just want to spend
37:33
the rest of my life
37:35
having a ball with you.
37:37
♪♪
37:44
>> Well, hello, stranger! >> Hi, Paddy.
37:46
>> Haven't seen you... Why, it must be weeks.
37:49
Where have you been?
37:50
>> Oh, uh, giving Marge a good time.
37:52
>> Well, I must say, it's done wonders for you.
37:54
You look so calm.
37:56
>> Do I?
37:58
>> Do you ever see the little guy who wasn't there?
38:02
>> Uh, no. >> Well, that's good.
38:03
Let's drink to it.
38:05
Uh, Jerry, if I'm not being forward...
38:09
what did he want from you?
38:11
>> You wouldn't believe it, Paddy.
38:13
>> Do you believe it?
38:15
>> Well, I, uh, just dropped in
38:16
to say hello, Paddy, and goodbye.
38:18
>> Jerry. >> Yeah?
38:20
>> Something's the matter with you.
38:22
>> Well, I, uh...
38:24
I understand Ed Clark is due back here tonight.
38:26
I don't want to run into him.
38:28
I just don't want to talk to him.
38:30
>> Well, if that's how you feel, I'll bar him from the joint.
38:33
Now, Jerry, something's wrong with you.
38:35
>> No, no. Nothing, Paddy.
38:37
>> Now, look, I'm an old soldier, Jerry.
38:38
I can tell. >> No, it's really nothing.
38:40
>> Really, is it?
38:42
No, Jerry, you've got a look on your face.
38:44
>> What kind of look?
38:46
>> I've seen it before, in the war.
38:48
I've seen it on men who go out on the impossible mission.
38:51
The look of men who know they're not coming back.
38:55
The resigned look.
38:57
What are you resigned to, Jerry?
38:59
>> You have a vivid imagination.
39:00
>> I have an imagination.
39:02
Jerry, whatever it is, don't be resigned to it.
39:05
Fight it. >> You can't fight City Hall.
39:07
>> I knew it! You're in a fight, Jerry.
39:10
Well, you can fight anybody.
39:12
You're an ex combat soldier, and you weren't afraid of anything
39:16
when you were out there.
39:18
You faced up to death, hunger, despair.
39:20
What happened to you, Jerry?
39:22
Where did you lose it?
39:24
Face up to it now.
39:26
Whoever he is, spit in his eye.
39:29
>> Paddy, I can't do anything.
39:31
>> Jerry, I'm gonna throw you out of here for your own good.
39:34
Now, leave. Leave town. Go far away for a while.
39:37
Fight it, Jerry. Fight it! >> Paddy.
39:38
Paddy, wherever I go... >> Listen to old Paddy.
39:40
Just take off.
39:42
>> Don't you see there's a plan?
39:43
>> Who cares? Put up a fight.
39:45
>> Why are you so upset, Paddy? Huh?
39:47
>> I don't know, but listen to me.
39:49
Fight. Now.
39:51
Now, get out of here.
39:53
♪♪
40:04
[ Bell dings ]
40:06
[ Telephone dialing ]
40:14
[ Line ringing ]
40:17
Paddy Noonan's.
40:18
>> Paddy, it's Jerry.
40:20
I've decided to fight it. >> Good boy, Jerry.
40:23
>> You know, Paddy, there's something about your place.
40:25
I don't know how to say it, but I feel stronger,
40:27
better away from it. >> I don't mind.
40:29
>> So I'm gonna fight. What have I got to lose, huh?
40:31
Why should I do what he tells me?
40:33
Why should I believe him?
40:34
>> I don't know what it is, but I agree.
40:37
>> I'll see you around, Paddy.
40:39
>> Universal Airlines flight number three
40:41
for Los Angeles and Mexico City, now boarding at gate 17.
40:45
[ Telephone dialing ]
40:47
>> Who are you calling, Jerry?
40:48
>> Marge. I have to tell her.
40:50
Oh...
40:51
>> Jerry, don't do it this way.
40:55
There'll be a hundred other people on that plane.
40:57
Do it the way it has to be done.
40:59
>> Paul, I have to fight you.
41:00
>> Why? >> Because it isn't fair.
41:02
>> Was it fair for me to stop your bullet?
41:05
Come on, Jerry.
41:07
Ed Clark will be tooling by Paddy's in less than an hour.
41:09
>> Paul, I... I don't know if I have the nerve.
41:12
>> I'll help you, buddy. I'll help you.
41:15
Come on.
41:17
>> Hello?
41:18
Hello?
41:20
♪♪
41:26
What is it, Mr. Noonan? >> I called you,
41:28
and I hope it wasn't out of turn, Mrs. Price.
41:31
It's about Jerry.
41:32
>> What about Jerry?
41:34
>> He's sitting back there in a booth.
41:36
Now, wait. Don't go to him yet. He's in trouble.
41:39
>> Why, it can't be.
41:41
We -- we've had such a glorious two weeks.
41:42
>> He's in trouble.
41:44
>> What kind of trouble? >> I don't know.
41:47
We have to help him somehow.
41:48
>> Is it that buddy? >> I think so.
41:52
>> Well, the time has come to lay that nonsense to rest
41:55
once and for all, and I'm going to...
41:56
>> That won't work.
41:58
Agree with him.
41:59
Show him anything he wants is okay with you.
42:03
Don't fight him.
42:05
All we can give him is love.
42:09
>> Hi, honey. >> Hi.
42:11
>> Buy me a drink? >> Oh, sure.
42:14
You know, I never knew you had
42:16
those little gold highlights in your hair.
42:18
>> Oh, I'm using a different bottle this week.
42:21
>> I love you.
42:22
>> I love you, too.
42:24
And I want you to be with me always.
42:27
>> Come on, Jerry, let's start.
42:29
>> No. Not yet.
42:31
>> Are you talking to me?
42:33
>> The plan calls for it.
42:34
>> How do I know there is a plan?
42:36
>> Ask anybody. Ask Marge.
42:39
>> Jerry, what are you talking about?
42:41
>> Marge...
42:43
Marge, do you believe there's a plan
42:45
that determines the actions of everybody in the whole world?
42:47
>> No.
42:49
>> You sure? >> I'm sure.
42:51
>> Well, then how do you think things work out?
42:53
>> Oh, every which way.
42:56
>> Come on, Jerry. It's time.
42:58
>> No. No, I won't go.
43:00
>> Where won't you go?
43:01
>> Then, Marge,
43:03
as far as you're concerned, there isn't any plan.
43:06
>> Well... Well, I...
43:08
Well, what do you think, Jerry?
43:10
>> No, that's not important. What do you think?
43:11
>> Well, uh...
43:13
Yes. Yes, there is a plan.
43:15
I can prove it.
43:17
>> You can? >> Yes.
43:19
You started me thinking there has to be a plan.
43:22
Otherwise, you and I, we just never would have met.
43:26
Remember that day? >> Yeah, yeah.
43:28
You were taking cash at Ryman's drugstore.
43:30
That's the only reason I walked in there.
43:32
>> Well, I'd already given notice.
43:35
I was going to leave.
43:37
And then you walked in and asked Doc if you could open a charge.
43:41
Then and there, I decided to stay.
43:43
>> And where...
43:45
Where were you going?
43:46
>> Oh, away. Pull up stakes. >> Why?
43:50
>> Well, my folks were gone.
43:52
My friends were married. The neighborhood had changed.
43:56
A girl I went to school with had a father,
43:59
a construction engineer.
44:01
He'd been transferred.
44:02
Well, she took a job in his new office,
44:04
and she wrote and said she found a nice crowd.
44:06
They needed secretaries down there.
44:08
She could fix it up.
44:10
Well, why not?
44:12
I was set to go.
44:14
But it was not to be.
44:17
You came wandering into Ryman's.
44:20
Obviously, there is a master plan
44:22
that rules our lives.
44:24
>> And where was this wonderful place
44:27
you almost went to?
44:28
>> Atlanta. >> Atlanta?!
44:30
>> Well, what's so remarkable about that, Jerry?
44:33
>> It was definite you were going?
44:35
>> Well, sure. >> And only because I...
44:38
Only because you met me...
44:41
>> Only because I met you.
44:44
Otherwise, I'd have gone to Atlanta
44:46
and married a Southern millionaire.
44:48
But evidently, something had been planned for me.
44:52
Aren't you flattered?
44:53
I met you,
44:55
and it changed my whole life.
44:58
>> Are you ready to go now, Jerry?
45:01
>> Marge, will you come with me?
45:02
>> Yes, Jerry. Where do you want to go?
45:05
>> Well, I have to do something.
45:07
>> I'll come with you. >> No, no. Wait here.
45:09
Darling, please.
45:11
>> It's time, buddy.
45:13
Just like going out on a patrol.
45:17
>> [ Door opens ] >> Jerry, where are you going?
45:19
>> It's all right, Paddy. It's all right.
45:20
>> I didn't want this, buddy.
45:22
>> I know, I know.
45:23
I don't want you to take my bullet, either.
45:26
>> Goodbye, Jerry. >> Yeah. Goodbye, Paul.
45:28
Take care of her for me, huh?
45:30
>> You know I will.
45:31
[ Vehicle approaching ]
45:32
[ Horn honking ]
45:34
>> Jerry! >> [ Tires squeal ]
45:36
>> Jerry! Jerry! >> [ Indistinct shouting ]
45:39
>> Hey, call -- call the police! Get an ambulance!
45:42
>> [ Sobbing ] Oh, Jerry...
45:45
He...
45:47
He's dead!
45:48
>> Here, miss.
45:50
Here. You're cold. >> [ Sobbing ] Jerry!
45:51
>> Let me throw this coat over you.
45:53
>> [ Sobbing ] >> She's going to faint.
45:55
>> It's all right. I've got her.
45:57
>> We'll bring her into that bar where it's warm.
46:00
Give her a little stimulant.
46:02
It's all right.
46:04
Everything will be alright. >> [ Sirens wailing ]
46:07
>> Everything will be...
46:09
It'll be all right.
46:10
♪♪
46:16
>> So many people preface what they believe with.
46:19
"it is written."
46:21
It is written in the stars.
46:22
It is written on the wind.
46:25
And for so many, like Jerry,
46:27
it is written on the bullet.
46:30
I'll be back shortly.
46:35
♪♪
46:40
♪♪
46:47
I remember an old soldier once told me
46:51
he wasn't worried about the bullet
46:53
that had his name on it.
46:55
What really bothered him was the bullet marked
46:58
"to whom it may concern."
47:02
Our concern is mystery, excitement, suspense,
47:06
thrills and chills.
47:09
Our cast included Larry Haines, Evie Juster,
47:13
Martin Newman, Ralph Bell, Leon Janney, and Danny Ocko.
47:18
The entire production was under the direction of Himan Brown.
47:26
This is E.G. Marshall, inviting you to return
47:28
to our Mystery Theater
47:30
for another adventure in the macabre.
47:33
Until next time, pleasant dreams.
47:38
[ Door creaking ]
47:44
[ Door closes ]
47:45
♪♪
47:55
♪♪
48:04
♪♪
48:14
♪♪
48:24
>> "If You Please... Himan Brown's Radio Mystery Theater"
48:27
is produced and directed by Sarah Montague.
48:30
Our executive producers are Melina Brown and Sarah Montague.
48:34
CUNY TV's executive director is Chiqui Cartagena.
48:38
The director of production is Susan Iger.
48:41
The associate producer is Corinne Wallace,
48:43
and our audio production intern is Sofia Cedeno.
48:46
Margot Avery is the voice of the series,
48:49
introduction, and credits.
48:51
The program commentaries are by John Slaveney.
48:54
Our technical team at CUNY TV
48:57
includes senior audio engineer Richard Kim
49:00
and broadcast audio engineers Jackie Mitchell and Kevin Wolfe.
49:05
Our staff photographer is Laura Fuchs.
49:07
Our archivists are David Rice and Catriona Schlosser.
49:11
Our closed caption coordinator is Amy Monte.
49:14
The "If You Please..." program mix engineer
49:17
is Lisa Gosselin-Vincent.
49:19
Tink Media handles our publicity and marketing.
49:22
Our director of social media is Karen A. Brown
49:25
in collaboration with StardustBlue PR.
49:29
"If You Please... Himan Brown's Radio Mystery Theater"
49:31
is a production of CUNY TV.
49:35
If you enjoyed the show
49:37
and are curious about the history of these radio programs,
49:39
listen to "Audio Maverick."
49:42
In this award-winning, nine-part documentary,
49:44
we explore the golden age of radio
49:47
through the life of dramatic genius Himan Brown,
49:50
and then explore the work of contemporary audio dramatists
49:53
who are part of his legacy.
49:55
"Audio Maverick" is available anywhere you get your podcasts.