Latest / If You Please, Himan Brown’s Radio Mystery Theater / S1E12: A Very Old Man

Transcript

S1E12: A Very Old Man · If You Please, Himan Brown’s Radio Mystery Theater

0:00
-Welcome to "If You Please...
0:02
Himan Brown's Radio Mystery Theater."
0:05
On this series, we're offering rebroadcasts of a select group
0:08
of programs created by this legendary producer for CBS
0:11
between 1974 and 1982.
0:15
Brown reimagined radio drama for contemporary times.
0:19
Our new series offers some of these exciting works again.
0:22
Before the play, commentator John Slavney
0:25
shares details about the cast, the writer, and the plot.
0:29
Your job, listen.
0:31
"If You Please..."
0:33
is produced in loving memory of Robert Isaacson.
0:35
♪♪
0:42
-It was a dark and stormy night.
0:44
The rain fell in torrents
0:46
is the infamous opening line from an Edward Bulwer-Lytton
0:49
novel, and it's indeed an apt description
0:51
of the opening setting of our present episode
0:53
of the "CBS Radio Mystery Theater",
0:56
a spooky tale of psychic healing entitled "A Very Old Man".
1:00
Hi, everyone. I'm John Slavney here to bring you this tale,
1:03
which also begins in the middle of a storm,
1:05
the 12th episode in the first season of this podcast.
1:08
The story is about an old man,
1:10
indeed, a very old man who is able to look
1:12
through people's bodies as if they were transparent,
1:15
seeing the ailment within, and then curing it with nothing
1:17
but the heat of his hands.
1:19
The action takes place in a small village
1:21
somewhere in Middle Europe, it seems,
1:23
and at some indefinite time in the past,
1:25
Santos Ortega stars as the old man of the title Stefan,
1:28
and he fully commits to the role,
1:30
although nothing in his performance here suggests it.
1:33
Ortega began his career in vaudeville.
1:35
He later made his way to the Broadway stage,
1:37
then migrated to radio,
1:39
where he starred for Himan Brown in "Bulldog Drummond",
1:41
"The Adventures Of Nero Wolfe",
1:43
and "The Affairs Of Peter Salem."
1:45
The versatile Bryna Raeburn does double duty
1:47
as Stefan's devoted daughter, Bertha, and as the Widow Halder,
1:50
a woman who suffers an affliction
1:52
that keeps her confined to the big house
1:54
she maintains in the village.
1:56
Norman Rose plays Bertha's husband,
1:58
Doctor Manfred Gottlieb, a man of science
2:01
who begins to resent Stefan's ability to diagnose
2:03
his patients better than he can himself.
2:06
Also in the cast is the charming William Redfield,
2:08
playing Otto Krauss, a young man who witnesses Stefan's
2:11
healing powers firsthand.
2:13
A native of Manhattan,
2:15
Redfield made his Broadway debut in 1936 at the age of nine
2:18
and played many memorable roles, including a featured part in
2:21
"One Flew Over the Cuckoo's Nest".
2:23
On TV, Redfield appeared in "The Odd Couple"
2:26
as Felix's brother Floyd Unger,
2:29
and in "The Bob Newhart Show" as Howard Borden's brother,
2:31
Warden Gordon Borden.
2:32
He also had a featured role
2:34
in one of my favorite films of the 1960s,
2:36
"Fantastic Voyage", alongside Edmond O'Brien and Raquel Welch.
2:40
Redfield was also a talented writer.
2:42
His 1966 book, "Letters From An Actor",
2:45
documents the rehearsals for the landmark 1964 "Hamlet",
2:48
directed by John Gielgud and starring Richard Burton.
2:51
It's a fascinating first-hand account
2:53
of the working life of an actor.
2:55
Elspeth Eric wrote the script of "A Very Old Man".
2:58
Born in Chicago and educated at Wellesley,
3:01
she moved to New York in the 1930s
3:03
and contributed more than 100 scripts
3:05
for "Radio Mystery Theater".
3:06
She was also a voracious reader with an interest
3:08
in esoteric subjects,
3:10
including the subject of this very episode.
3:12
Director Himan Brown in the cast
3:14
recorded "A Very Old Man" on Tuesday, December 4th, 1973,
3:18
and it was first broadcast on Tuesday, January 22nd, 1974.
3:22
I hope you enjoy listening, rain or shine.
3:25
♪♪
3:32
-The "CBS Radio Mystery Theater" presents...
3:35
[ Door opens ]
3:37
[ Creaking slowly ]
3:44
♪♪
3:52
Come in. Welcome.
3:57
I'm E.G. Marshall.
3:59
Welcome to the sound of suspense,
4:02
to the fear you can hear.
4:05
Welcome to the world of terrifying imagination.
4:10
Our story is about a very old man
4:13
living just outside a tiny village.
4:17
A very old man
4:18
whose long life has been lived close to the soil
4:22
and close to the people he loved.
4:25
People still living
4:27
and people long dead.
4:29
[ Thunder rumbles ]
4:34
-Lie still. Lie still, girl. -I-Is it very bad?
4:39
-I don't know. -She's very dear to me.
4:41
-If I should lose her-- -She's trying to raise her head.
4:44
-She knows I want to help her. -Do you think you can?
4:47
Young man, I never said I was a doctor.
4:51
-But I thought -- I mean, the way you--
4:54
-I am just an old man, a very old man.
4:59
♪♪
5:06
-Our mystery drama, "A Very Old Man",
5:09
was written especially for the Mystery Theatre by Elspeth Eric
5:13
and stars Santos Ortega.
5:15
I'll be back shortly with act one.
5:18
♪♪
5:27
♪♪
5:36
Look long and carefully at the face of a tiny baby.
5:41
Look carefully and long into the face of someone who is very old.
5:47
Do you see the wisdom in both?
5:50
The very young and the very old have wisdom.
5:55
In between, there is only accumulated information.
6:01
-[ Thunder rumbles ] -[ Door opens ]
6:04
-Oh, you're home. Good. -Well, he's done it again.
6:07
-Who's done what?
6:09
Are you talking about my father?
6:11
-You know I am.
6:13
I warned him, I said, "Stefan, if it ever gets around,
6:15
you'll ruin my medical practice. People won't believe in me.
6:18
-They'll only be--" -Manfred, come sit down.
6:20
[ Sighs ] Now, what's he done?
6:23
-Well, the same thing. Where is he? Isn't he home?
6:25
-Not yet.
6:27
He went to the cemetery as usual.
6:30
But you still haven't told me what happened.
6:32
-Well, Anna Brandt came to see me about a month ago.
6:34
Severe attacks of pain in the upper abdomen.
6:36
All the symptoms indicated appendicitis.
6:39
I sent her to Carl Weiss for the operation.
6:41
Of course, he examined her, too.
6:43
And he agreed with me. No doubt about it.
6:44
Inflamed appendix, had to come out.
6:46
Well, he operated the next day.
6:48
And that night, that same night, she had another attack.
6:52
-So it wasn't--
6:53
-How could she have had another appendicitis attack
6:55
when he'd just taken her appendix out?
6:57
Well, he was as flabbergasted as I was.
6:59
-Yes, but what's it all got to do with my father?
7:02
-Stefan happened to be in my office the day
7:04
Anna Brandt first came to see me.
7:06
You know how he loves to hang around the office.
7:08
Anna Brandt wasn't 10 feet out of the office when he told me
7:11
there's nothing wrong with her appendix.
7:13
-Oh, not again.
7:14
-I can't have my father-in-law,
7:16
who's been a farmer all his life,
7:17
telling me, a doctor with a reputation
7:19
that I don't know what's wrong with my own patients.
7:21
-Of course, you can't. -For a minute, I --
7:24
I did think back to that boy, the one with the asthma,
7:27
what seemed to be asthma anyway.
7:29
-The Rothberg boy.
7:31
Father was right about him.
7:32
-I know. I know. He made a lucky guess.
7:35
-Father went to see him every day.
7:37
Talked to him, rubbed his chest, his throat.
7:41
In two weeks the boy was all right.
7:43
-The boy was hysterical, over-aspirated, nothing more.
7:47
But this business with Anna Brandt,
7:49
the day she came to see me,
7:51
Stefan was asleep in the waiting room.
7:53
I was explaining to Anna that I couldn't perform the operation,
7:56
simple as it is, because of my hands, my arthritis.
7:59
But I would send her to Carl Weiss.
8:00
Well, she accepted that.
8:02
Everybody knows about my arthritis,
8:03
and she said something pleasant to Stefan.
8:05
That was the first I knew that he wasn't asleep.
8:08
Well, he didn't answer her.
8:10
He just stared at her as though he'd never seen her before.
8:12
I reached for the phone to call Carl Weiss.
8:16
Stefan got up, came over to the desk,
8:18
and took the receiver out of my hand.
8:20
-Manfred. -Stefan, don't.
8:23
-It's not so, not so.
8:25
-Have you had a bad dream, old man?
8:27
-It's not so what you said to Anna Brandt.
8:30
There's nothing wrong with Anna Brandt's appendix.
8:32
-Stefan, don't start diagnosing again.
8:33
-You're not a doctor. -There's nothing wrong.
8:36
-We had enough trouble after you diagnosed the Rothberg boy.
8:38
-The Rothberg boy never had asthma.
8:41
-Alright, it turned out that he didn't.
8:42
But that was a lucky guess.
8:44
And it didn't do my reputation any good when word went around
8:46
that you'd been right.
8:48
-I never told anybody. -Yes, but the boy did.
8:51
And his mother did.
8:53
And people started coming to the house, coming here,
8:55
-all of them wanting to see you. -But I told them to go away.
8:59
It's not always that I can help.
9:01
-I keep hoping, expecting God knows what miracles.
9:04
Now, are you going to start
9:06
the whole thing up again with Anna Brandt?
9:07
-There are three of them.
9:09
-Come on now. Get your coat, Stefan.
9:11
-They're dark, brown or black, and hard...hard.
9:17
-It's getting late. -They're the size of olive pits.
9:20
-Are you talking about Anna Brandt?
9:22
-I saw them close together.
9:26
They were high in her body, about here.
9:30
-Three of them. -You saw them, hmm?
9:33
-Three of them, the size of olive pits.
9:37
Lying here above the stomach. About here.
9:42
-Have you got X-ray eyes, Stefan, is that it?
9:45
-No. No, my eyes are like everybody's.
9:48
-Well, then...
9:50
what do you mean you -- you -- you saw them?
9:52
-Her body was transparent.
9:55
I could see right through it
9:58
as though the skin had been removed.
10:01
I could see everything.
10:04
♪♪
10:08
-Carl Weiss was as confident as I was before the operation,
10:12
and he was as confused as I was after.
10:15
I swear I don't know what made me say it, but I said it.
10:18
I said, Carl Weiss, could it be a stone?
10:21
A gallstone, perhaps?
10:24
Well, he was taken aback a little,
10:25
but he couldn't deny a possibility.
10:27
Maybe a remote one, but a possibility.
10:29
I felt like a fool,
10:31
but I told him I thought he should go ahead.
10:32
And he did, this morning.
10:35
-And he found? -Gallstones.
10:39
-Three of them, the size of olive pits.
10:43
♪♪
10:50
[ Thunder rumbling ]
10:54
-Lie still, girl. -Is it very bad?
10:56
-I don't know. -She -- She's very dear to me.
11:00
-She's trying to raise her head.
11:01
-She -- She's trying to tell you something.
11:04
-She knows I want to help her. -Do you think you can, doctor?
11:07
-Young man, I never said I was a doctor.
11:11
-Well, but the way you--
11:12
-I'm just an old man, a very old man.
11:16
-Why I took it for granted the --the way you spoke.
11:19
-My son-in-law is a doctor, Manfred Gottlieb.
11:23
I live with him and my daughter Bertha.
11:24
-Oh, then -- then you know something?
11:26
You've -- You've learned things from him.
11:28
-No, I know nothing.
11:29
Only what I see, what I feel.
11:32
-When I passed you by the cemetery,
11:36
what were you doing?
11:37
-My wife is buried there.
11:40
-Did I harm her? -No, no.
11:44
I even think she's a little better.
11:47
Her eyes, they -- they look brighter.
11:50
Not so full of pain.
11:52
[ Thunder rumbles ]
11:54
You did nothing but touch her,
11:56
stroke her little, and talk to her.
11:59
Let me look at your hands.
12:02
No, they're -- they're just hands.
12:05
-What should they be?
12:07
-Now let me -- Well, your hands are warm.
12:11
On a night like this, more than warm.
12:14
Hot, very hot as though they were burning,
12:19
burning from inside.
12:21
♪♪
12:26
♪♪
12:29
[ Thunder rumbles ]
12:32
-If it should get around about Anna Brandt.
12:34
-You don't think I'd tell anyone?
12:36
-These things have a way of leaking out.
12:39
-Look, you're not going to tell father, are you,
12:41
that -- that Carl Weiss found the three stones?
12:44
-You think I shouldn't? He wouldn't tell anyone.
12:46
He didn't tell anyone about the Rothberg boy.
12:49
It was the boy's mother who shouted it from the housetops.
12:51
-And look what happened. People showing up here.
12:54
When he saw them, he -- he hid in his room.
12:57
And when they left, he went to the cemetery,
13:00
sat by my mother's grave.
13:02
-Do you think that he's there now?
13:04
-I suppose. Sometimes he stays for hours.
13:08
I wish he'd get home before the rain starts.
13:11
♪♪
13:16
-Amelie, my dear, come now, Amelie, my precious. I need you.
13:24
You are my strength. I can do nothing without you.
13:29
Come to me, my darling.
13:32
Come to me, my darling.
13:35
♪♪
13:40
♪♪
13:44
-Manfred, I -- I don't want him to start thinking
13:46
that any of this is real.
13:49
He mustn't think that he has some -- some magical power.
13:53
Listen, if you treat him as though he were possessed
13:55
in some way, he might begin to believe it.
13:57
And then his mind. Who knows what might happen?
14:00
-Bertha, have you thought that?
14:02
Well, that perhaps it's already happened.
14:04
-No. -That he is deranged.
14:06
-I won't believe that. He's my father.
14:08
I love him. He's -- He's old and childish,
14:11
-and sometimes I'm impatient. -I am too, often.
14:14
-But only the way I'd be with a child.
14:18
In many ways, he is my child.
14:21
The only child I have.
14:23
-My dear, I thought you'd stopped brooding about that.
14:26
-Oh, I have. I have.
14:27
I stopped last year when I turned 40, but that's why.
14:32
Because I have no child, he's -- he's twice as precious to me.
14:35
-I understand. I do understand.
14:38
-You know that I'm fond of him. -Then let's leave him as he is.
14:42
Don't -- Don't let him think he's different
14:44
-from other people. -Whatever you say.
14:46
-You know the Widow Halder has been asking for him.
14:49
-The Widow Halder? Why?
14:52
-They keep telling me in the village that she has
14:53
this great swelling on her head, big as an egg.
14:57
-Yes, I've heard about it.
14:58
-And she's afraid of doctors.
15:00
-Bertha, you don't suppose...
15:01
[ Thunder rumbles ]
15:03
-The rain, it's started.
15:05
-It's coming down like crazy. -[ Groans ]
15:09
-[ Door clicks ] -Oh, Father!
15:11
-Oh, thank goodness! -[ Door closes ]
15:14
-I made it, just in time.
15:17
-You shouldn't take such chances.
15:19
Why weren't you home for dinner?
15:20
-Where have you been?
15:22
-I kept something hot for you. -Thank you, thank you.
15:24
-Give me your coat. That's it. Oh.
15:28
Where were you all this time?
15:30
-Didn't Bertha tell you? At the cemetery.
15:33
-You didn't go to see anybody?
15:35
-No, I didn't go to see anybody.
15:37
-Oh, here's a plate for you, Father.
15:39
-Nice pot roast and potatoes. -Oh, thank you, Bertha.
15:42
I'm sorry I wasn't here for dinner.
15:44
I lost track of the time.
15:46
I ran into somebody. We talked a little.
15:48
-Oh. Manfred, let's go up to bed.
15:51
-Huh?
15:52
-Father, you -- you'll be all right?
15:54
-Of course, I'll be all right. Go to bed.
15:57
-Good night. -Good night, Doctor.
15:58
-Good night, Stefan.
15:59
-Oh, uh, Manfred. -Yeah?
16:02
-How is Anna Brandt? -Anna Brandt?
16:06
-I thought about it tonight in the cemetery.
16:10
-Is she all right? -Well, yes, she's fine.
16:13
-I thought she was. I had a feeling.
16:17
-Good night. Enjoy your dinner.
16:18
-Good night. -[ Footsteps depart ]
16:21
-His asking about Anna Brandt?
16:24
He hasn't even mentioned her since that day in the office.
16:26
Bertha, could he have heard about Carl Weiss
16:29
finding the gallstones?
16:31
-Oh, he'd have said so.
16:33
He always says precisely what's on his mind.
16:35
-There are times when I wish he didn't.
16:36
-Amelie. -Listen.
16:38
-Amelie.
16:40
Listen, he's -- he's talking to himself in the kitchen.
16:43
-Amelie.
16:45
-It sounds as though he's calling someone.
16:46
-Manfred, he's an old man. Leave him be.
16:49
Oh, please, close the door. Come to bed.
16:51
Amelie.
16:52
-It -- It sounds like -- like Amelie.
16:55
-What? -Amelie.
16:57
-Did you say, Amelie?
17:00
-Wasn't that your mother's name?
17:03
-No. No, it was my sister's.
17:04
-Bertha, I-I never knew you had a sister. You never told me.
17:07
-It was so long ago, before I was born.
17:11
Their first child. She only lived an hour.
17:16
My mother told me they'd just agreed on a name.
17:20
Father leaned over the crib to kiss her, and she was dead.
17:26
But that -- that was 45 years ago.
17:30
All these years, he's never mentioned her.
17:32
-What was that? -The door opened downstairs.
17:34
-Well, he's gone out. -In this rain!
17:35
-Where would he have gone?
17:37
-There's only one place. He's gone to the...the cemetery.
17:40
♪♪
17:48
-When those around us cannot understand.
17:52
Where do we turn?
17:54
When the world is dark, where do we go?
17:58
To the unknown or to the once familiar?
18:02
The once well-known. The once well-loved.
18:07
To those who have left the dark earth,
18:10
and moved into light.
18:13
I'll be back shortly with act two.
18:17
-Like what you're hearing so far?
18:19
Are you curious about the history behind radio programs
18:22
just like this one,
18:23
and the dramatic genius who created them?
18:26
In the nine-part, award-winning documentary "Audio Maverick",
18:29
we explore the golden age of radio
18:32
through the life of Himan Brown.
18:34
You'll hear the history of radio come to life as we travel,
18:37
from the birth of audio drama to the programs
18:39
that brought millions of families
18:41
into their living rooms every night.
18:43
"Audio Maverick" is available anywhere you get your podcasts.
18:47
♪♪
18:54
♪♪
19:01
-Now, come back with me to the story of "A Very Old Man",
19:05
and the people who loved him and could not comprehend him.
19:09
Or could not comprehend him because they loved him,
19:13
or because they tried too hard.
19:18
-Breakfast's on the table, Manfred.
19:19
-All right, darling. -[ Sighs ]
19:22
-Well, did you talk to him? -He's still asleep.
19:25
-Oh, let him sleep. After last night...
19:28
-Yes, we're lucky if he doesn't come down with pneumonia.
19:30
He was drenched, Bertha, soaked clear through.
19:35
Lying across your mother's grave
19:36
with the rain beating down on him,
19:39
crying, "Amelie, Amelie," as though his heart was broken.
19:44
-Amelie is buried next to Mother.
19:47
-Bertha, are you going to ask him about her?
19:50
-Oh, it's been so long, 45 years.
19:54
You know, in all that time, I've never heard him say her name.
19:57
Naturally, I never mentioned it.
19:59
She died years before I was born.
20:01
-Your mother never talked about her?
20:03
-Oh, just that once
20:05
when she told me she wanted to be buried near her.
20:08
And how she died.
20:11
Manfred, she was only one hour old.
20:13
-Yes. Crib deaths, they happen. We don't know why.
20:16
-Well, they -- they thought of naming me Amelie at first,
20:20
-my mother said. -Mm, it's a pretty name.
20:22
-[ Knock on door ] -Now who's that?
20:23
-So early in the morning? -Yes?
20:26
-Uh, is this the Gottlieb house? -Yes, it is.
20:29
-And you're, uh, Manfred Gottlieb, Dr. Gottlieb?
20:31
-Yes, I am, but I don't see patients at home.
20:34
-My office is-- -Oh, no, no no, no.
20:36
I'm not a patient. The, uh, the patient's outside.
20:38
-Well, bring the patient to my office in about an hour.
20:40
-No, there's no need. She's quite well, completely cured.
20:43
-Well, then what's the point of--
20:44
-I hoped I could see the old man.
20:45
Your, uh, your father-in-law, is he?
20:48
-Stefan? -What's this about my father?
20:50
-Madame. Good morning. Beautiful morning, isn't it?
20:52
After last night, all that rain.
20:55
-You -- You wanted to see my father?
20:56
-If I may? -What about?
20:58
-He's asleep. -Oh. Oh, I'm sorry.
21:02
Well, um, when he does wake up,
21:04
would you tell him the patient recovered
21:06
and is better than ever?
21:08
Lively, frisky, enjoying life to the full, romping in the fields.
21:12
-Well, what patient is this? -You said she's outside?
21:15
-Yes, right there. Look. Look, the picture of health.
21:17
-Huh? I don't see any--
21:19
-You don't mean -- Well, not the horse?
21:22
-Yes. My prize mare. My favorite.
21:25
I thought I might have to have her put away.
21:27
But your father, madame, oh, yes, it's all due to him.
21:29
-Well, when was this? When did you meet Stefan?
21:32
-Last night just before the rain started.
21:34
-Didn't he tell you? -Oh, well.
21:36
Come inside, huh, have some coffee with us.
21:38
-Oh. Thank you, thank you. -[ Door closes ]
21:41
-Sit down. Manfred, get another cup.
21:43
-Uh, may I introduce myself? Otto Krause.
21:46
-Well, I-I'm Bertha Gottlieb. This is my husband.
21:49
Oh, but then my father must have told you he lives with us.
21:52
-Your father is quite a man.
21:55
-Your coffee. -Oh. Thank you, thank you.
21:58
Mm. Yes.
22:00
You see, I was returning to the village,
22:02
and I was passing the cemetery.
22:05
Suddenly, the mare sank to her knees.
22:07
Her legs seemed to give way completely,
22:10
and there she lay on her side in the middle of the road.
22:12
I-I was frantic. I-I thought perhaps a stone bruise,
22:16
but -- but I looked at all four hooves, nothing.
22:20
And there I was, half a mile from home.
22:22
My precious horse stretched out on the road
22:24
and a storm coming up.
22:26
And then I heard a sound coming from the cemetery.
22:30
Someone calling a name.
22:31
-Was it Amelie? -Ame-- Yes.
22:35
Yes, yes, yes, something like that.
22:37
I shouted for help.
22:39
In a minute, an old man appeared.
22:41
-Stefan. -My father?
22:43
-Yes. I asked him to help me,
22:44
but I wasn't sure he even heard.
22:46
He seemed very distraught.
22:48
He went straight to the mare,
22:50
knelt down, and took her foreleg in his hands
22:54
and started rubbing it very gently.
22:56
He knew which one was hurting her.
23:00
And after a while, the pain went out of her eyes.
23:04
Couldn't understand it. It --
23:06
It was something about the way he -- he touched her. I --
23:10
I asked to see his hands and he held them out,
23:14
and even before I touched them
23:16
I could feel the heat spreading out from them.
23:20
-Heat? -What heat?
23:22
-Haven't you ever noticed
23:24
the extraordinary heat from his hands?
23:26
-I can't say that I have.
23:28
-Oh, but it's true. His hands give off a warmth.
23:32
I -- I can't believe you've never noticed it.
23:34
-Well, it could have been on such a wet, cold night,
23:37
it only seemed that way to you. You imagined it.
23:40
-Oh, I suppose that's possible.
23:42
But I didn't imagine it when the mare got to her feet.
23:45
-Well, she was all right?
23:47
-I walked her home. I couldn't quite believe it all.
23:50
I bedded her down.
23:52
And this morning, all I could think was,
23:53
I must tell the old man about it.
23:56
-There are stories going around about him in the village.
23:58
Perhaps you've heard some of them.
24:00
-Well, I'm only here on a visit to see my aunt.
24:03
I-I don't live here.
24:05
-Well, he doesn't really do anything.
24:07
He's just around. And people love him.
24:10
They like to think because he's such a sweet old man
24:12
that he can do things doctors can't do.
24:15
-And because he's such a very old man,
24:17
we wouldn't want him to start thinking
24:19
that there was anything miraculous about,
24:21
well, about anything that happened quite naturally.
24:24
-Well, you think it might -- might affect him,
24:27
might -- might -- might affect his mind in some way?
24:29
-He's a very old man. It -- It could happen.
24:33
-Well, I suppose it's possible she wasn't really lame.
24:37
-Of course it's possible. -Only ask him, will you?
24:41
About his hands, those amazing hands.
24:43
-Yes, yes, we'll ask him.
24:45
-I mean, giving off that heat, I -- I felt it, you know.
24:49
Well, I-I'll be getting along.
24:52
My -- My aunt's expecting me.
24:53
-Well, we'll tell him you stopped by.
24:55
-Yes, yes, I wish you would.
24:57
Tell him, and -- and please tell him thanks.
25:00
-We'll tell him. -[ Door closes ]
25:01
Do you think we should wake him?
25:02
-Come on, it's time. -Yes.
25:04
-We have to tell him about the young man.
25:06
-And the horse.
25:08
-But we won't make anything out of it.
25:09
-Nothing at all.
25:11
-Just say that he dropped by. -To say thanks. Yes.
25:13
[Knock on door] Father?
25:15
-[ Door opens ] -Stefan? Are you awake?
25:19
-What time is it? -Oh, it's almost 9:00.
25:23
-Well, why aren't you at your office?
25:26
-Well, it, uh,
25:28
it seems that a young man stopped by to see us, Stefan.
25:31
-Well, actually, Father, he wanted to see you,
25:33
but we told him you were sleeping.
25:35
-Why me?
25:38
-Well, it seems he met you on the road last night.
25:40
-He had a horse, a mare, it was. -That's right.
25:43
-The horse had a swelling.
25:46
-Do you feel well enough to get up now, Father?
25:47
-I think so. -You're sure, after last night?
25:51
-I'm all right.
25:52
-All right, now, just let me help you out of bed, Stefan.
25:55
-Oh, yeah. I can manage. -Give me your hand. Come on.
25:58
-That's it. -[ Grunts ] Yeah.
26:01
-Here are your slippers.
26:03
-I'll go splash some water on my face.
26:06
-And then you'll have breakfast.
26:08
-Bertha. Bertha, his hands are as cold as mine, colder.
26:13
-That young man did imagine it about his hands.
26:16
-Well, you know how it is.
26:18
If your hands are cold, anyone's feel warmer.
26:19
Even if they're only a little warmer than your own.
26:21
-And he'd been riding back from the village on horseback.
26:24
-Yeah, so, of course, his hands were very cold.
26:26
-Of course, of course.
26:28
-My head is clearing a little. -Oh, good.
26:30
I'll go down and have some coffee ready for you.
26:32
-Thank you, Manfred. -And two eggs, four minutes.
26:34
-Your clothes are on the bed, Father.
26:36
-Thank you. Bertha. -Uh, Father.
26:39
Last night, when Manfred and I came up to bed
26:42
and you were eating your supper --
26:44
Anyway, that's what we thought you were doing.
26:46
-That's what I was doing.
26:47
-Well, we heard you talking.
26:51
-Was I talking?
26:53
-Well, you kept saying -- We heard you say Amelie.
26:57
-I said what? -Over and over.
27:00
Father, were you talking to Amelie?
27:04
-What do you know about Amelie? -Only what Mother told me.
27:07
-What did your mother tell you?
27:09
-That Amelie died. That she only lived an hour.
27:14
-She was our first child.
27:16
-45 years ago, Father! -She died in the crib.
27:20
I remember her so well.
27:22
-Why do you talk to her now, Father? Why do you call to her?
27:25
-Because -- Because she comes back to me when I call her.
27:28
-Father, you don't mean that. -She comes back to me.
27:31
To me. Not to anyone else. Only to me when I call her.
27:35
-You don't believe in ghosts. -Amelie is not a ghost.
27:39
Her spirit comes back to me when I call.
27:42
-Father, you can't believe.
27:43
-I am the only person left on earth she remembers.
27:46
Her mother is dead. The midwife is dead.
27:49
When I am dead, there will be no one for her to come back to.
27:53
-No reason to come back. -You can't believe what you're--
27:56
-I don't have to believe or not believe.
27:58
-I know. -I won't let you.
28:00
-You have nothing to say about it. Nothing.
28:05
I will not stay in this house and listen to you
28:07
tell me that my Amelie will not come when I call.
28:10
I'm going to her now.
28:12
-Father, wait! Father, come back!
28:14
-Stefan, what's the matter? -Get out of my way!
28:17
-Stefan! -Father!
28:20
[ Sobbing ] Oh, Father!
28:22
-He came tearing down the stairs.
28:24
He brushed right past me. What's the matter with him?
28:25
-I talked to him about Amelie. I made him angry.
28:28
-Where's he gone? Do you know?
28:30
-To her, to Amelie.
28:33
♪♪
28:42
-Amelie, I need you, darling.
28:47
Come be with me, my darling.
28:50
Your father needs you. I need you, my sweet Amelie.
28:56
-Old man. -Oh, my, Amelie.
28:58
-Is it Stefan? -Amelie.
29:01
-Stefan, can I help you, old man?
29:04
-No. No. -You remember me, don't you?
29:06
From last night.
29:08
-You're the man, the young man with the mare.
29:11
-She was lame. -Haha. You should see her now.
29:14
-They told me she's better.
29:16
-Better than better. Come, come have a look.
29:18
Please. Please come.
29:21
Look there. Look. Look at her.
29:25
-Isn't that fine? Not a sign of lameness.
29:28
-I came to your house a little while ago.
29:30
You -- You were sleeping.
29:32
-They told me you were there to say thanks.
29:33
There was no need for that.
29:35
-Oh, I'd like to do more than just leave my thanks.
29:37
I'd like to invite you to my aunt's place.
29:39
-Oh, no, no, I couldn't.
29:41
-No, no, I'd like you to meet my aunt, please.
29:43
-Your aunt won't mind?
29:45
-No, not a bit. Come on. We'll both ride the mare.
29:47
-Here. I'll give you a leg up.
29:50
-You're sure about your aunt now?
29:53
-Oh, she'll be delighted.
29:54
She doesn't get out much these days.
29:57
-Is she very old?
30:00
-Well, she's not young, but that's not why she stays home.
30:03
She has this, uh, disfiguring growth on her head.
30:05
-It makes her shy. -Well, she should see a doctor.
30:08
-No, no. She won't. Absolutely refuses.
30:10
Won't hear of it. Hates them all.
30:12
-Oh, that's very wrong. -Oh, yes, yes.
30:15
All the money in the world and won't go to a doctor.
30:17
So she sits in her parlor and reads her Bible.
30:20
Ah, there, there's the house.
30:23
-Oh, yes, the big stone house.
30:26
-You know the house?
30:27
-I've admired it since I was a boy.
30:30
-My aunt bought it when my uncle died.
30:32
My uncle was Fritz Halder. You've heard of him?
30:34
-The manufacturer? -I don't think so.
30:37
-Around here, I understand, my aunt is known as
30:40
the Widow Halder.
30:42
♪♪
30:49
-Some folks are afraid of one thing.
30:52
Some are afraid of another.
30:54
Everyone who's afraid wants to run and hide.
30:58
It's natural, most natural thing in the world.
31:01
But what may be hiding in the hiding place?
31:05
That's the question.
31:08
It could be something else to be afraid of.
31:12
I'll be back shortly with act three.
31:17
-Like what you're hearing so far?
31:19
Are you curious about the history behind radio programs
31:22
just like this one?
31:24
And the dramatic genius who created them?
31:26
In the nine-part, award-winning documentary "Audio Maverick",
31:29
we explore the golden age of radio
31:32
through the life of Himan Brown.
31:34
You'll hear the history of radio come to life as we travel
31:37
from the birth of audio drama to the programs
31:40
that brought millions of families
31:41
into their living rooms every night.
31:44
"Audio Maverick" is available anywhere you get your podcasts.
31:47
♪♪
31:55
♪♪
32:02
-A very old man is mounting the steps of a big stone house
32:07
in the company of a very young man
32:09
whose aunt is known to the village as the Widow Halder.
32:14
-Listen now. -[ Knock on door ]
32:16
-My -- My aunt is in there. -Otto?
32:18
-Ah, there you are just where I knew you'd be.
32:20
Come in, come in, Stefan. [ Door closes ]
32:23
-Where have you been all morning, Otto?
32:24
I missed you at breakfast and --
32:27
Oh, you -- you brought someone with you?
32:29
-Yes. This is the very wonderful man
32:32
I met near the cemetery last night when my mare went lame.
32:35
Stefan, this is my aunt, Mrs. Halder.
32:38
-How good of you to come by.
32:41
-Madam. -I don't have many visitors.
32:44
Not anymore.
32:46
And I seldom go out because of this on my head.
32:51
I-I don't like to be seen, I-I hope it doesn't offend you.
32:56
-No. No. Doesn't offend me at all.
33:01
-Well, it offends me.
33:03
Perhaps I'm too sensitive, but that's the way I am.
33:07
So I sit here and read my Bible.
33:10
-And that Bible's too heavy for you to hold in your lap all day.
33:14
-But it's the family Bible.
33:16
It's the one I'm used to. I love this Bible.
33:19
-All right, all right, sit down, Stefan.
33:21
-I'm all right. I'll stand.
33:23
-Both of you. Sit down.
33:25
And, Otto, you tell me where you've been all morning
33:29
and why you weren't at breakfast.
33:31
-Now, I told you last night how the mare went lame.
33:34
And how I met Stefan near the cemetery.
33:36
Well, this morning I let her out of her stall
33:38
and she was dancing on her toes. I couldn't believe it.
33:42
Stefan hadn't done a thing but rub her pastern a bit.
33:46
-Is that really all you did?
33:49
-I did nothing.
33:50
-Well, he talked to her,
33:52
rubbed her foreleg, and talked to her.
33:54
-How remarkable. You're a remarkable man.
33:58
-No, no. -You're -- You're staring at me.
34:03
-Oh, I -- I apologize.
34:05
-It's this awful growth.
34:06
Otto, fetch me my shawl. I'll cover my head.
34:09
-No, no, no. Please. Please!
34:11
-It's in my bedroom.
34:13
-I-I am not offended. I-I give you my word.
34:15
-Otto, don't go. -No, no, it's all right.
34:17
-I'll be right back. -Mrs. Halder, I am not offended.
34:20
I am sorry I stared so. I will not stare again.
34:25
-Please forgive me. -It's quite all right.
34:28
-Please be calm. Sit down. -I can't.
34:32
-Otto mentioned that you live with your daughter.
34:36
-Is that right? -My daughter Bertha.
34:38
-And your son-in-law. -Manfred.
34:41
-They have children? -No children.
34:44
-How sad.
34:45
Oh, here comes Otto with my scarf.
34:47
-Mrs. Halder, forgive me, but I must take the Bible from you.
34:52
-Oh!
34:53
-Stefan. Stefan, have you gone mad?
34:55
-Forgive me. I could not help myself.
34:57
-Aunt. Aunt, are you all right? -I -- I think so.
35:00
-I saw him take the Bible off your lap. Stefan!
35:03
-He hit me with it.
35:05
He -- He brought it down on my head with all his strength.
35:09
-Forgive me. I didn't know what I was doing.
35:12
I wouldn't hurt you, Mrs. Halder.
35:14
I wouldn't hurt anybody.
35:17
When I feel this way...
35:18
I see things.
35:20
I feel things.
35:22
The Bible seemed to put itself in my hands.
35:25
I didn't think what I was doing. I -- I could not think.
35:28
The feeling was so great that I must smash this --
35:31
this thing on your head.
35:33
That's all I wanted to do, Mrs. Halder,
35:35
to get rid of it.
35:37
-And it looks to me as though you've done that, Stefan.
35:39
Aunt, go look in the mirror.
35:42
-I know I am not always in control of myself.
35:44
I do things. I-I-I-I don't know why.
35:47
I see things. I don't know why.
35:50
But I would never hurt anyone.
35:52
-Uh, it's -- it's unbelievable.
35:57
-The growth is gone. -Will you forgive me?
36:00
-And...there's no blood. No blood at all.
36:05
-All the same, I'm going to get you to a doctor.
36:07
-No doctors. No.
36:08
-No, a blow on the head like that, Aunt--
36:10
-No, no, I'm all right. My -- my -- my head is clearing now.
36:14
It was just the shock.
36:16
And that awful, ugly thing is gone.
36:21
[Chuckles] I don't need a doctor.
36:23
-Let me take you to my son-in-law.
36:25
He's a fine doctor, a nice man.
36:27
Maybe you've heard of him. Manfred Gottlieb.
36:31
-Gottlieb. Gottlieb? -You would like him.
36:35
-Manfred Gottlieb is your son-in-law?
36:38
-A wonderful man, a good doctor.
36:41
-But you must be Bertha Gottlieb's father!
36:44
You -- You cured the Rothberg boy.
36:47
And I've heard talk about Anna Brandt.
36:50
Look what you did for Otto's mare.
36:53
Look what you've done for me. Oh.
36:57
Why you're the man I've been trying to find.
37:01
I've been asking for you.
37:03
It was God's hand led you here.
37:05
-Let me take you to Manfred's office.
37:07
-I -- I don't need him.
37:10
I only need you.
37:13
♪♪
37:22
-If I've hurt your aunt in any way...
37:25
-We'll soon know.
37:27
-Otto, I don't want these spells that I have.
37:33
I don't ask for them.
37:36
Only sometimes the pain gets so great.
37:38
-What pain? -Why, the pain of living.
37:42
When it seems more than I can bear,
37:44
I go to the grave of my wife and my baby daughter, my Amelie.
37:47
And I call to her, my little one,
37:50
who only had one hour of life.
37:53
And she comes to me and gives me comfort,
37:55
and courage, and belief.
37:58
I believe that even though I can do nothing
38:00
about the great pain of living,
38:02
there are other pains and I can do something about them.
38:07
I know I'm not quite myself when I'm like that.
38:11
I know I'm not really strong or courageous,
38:14
but when the spell is on me, the people in pain,
38:19
they become transparent.
38:21
-You -- You mean you can see through them?
38:26
-I do see through them.
38:29
-How do you explain your hands?
38:30
-I -- They are just hands.
38:33
-Oh, no, no, no. The night you massaged the mare.
38:37
I took hold of your hands and they gave off a glow,
38:40
a sort of radiating warmth. I know I felt it.
38:43
They -- They burned like a steady flame.
38:47
-Perhaps I grow feverish when Amelie is with me.
38:52
-Now you go home and rest, Mrs. Halder.
38:54
Come back in a few days and I'll change the bandage.
38:56
-Or you can do it yourself. -I'll do it myself.
38:59
-She's all right, Doctor? -Right as rain.
39:00
-Well, what -- what was it? I mean, the growth on her head.
39:03
-It was a wen. A common ordinary wen.
39:06
A hardened cyst.
39:08
If you'd come to see me, Mrs. Halder.
39:10
I might have recommended that you have it removed by surgery.
39:11
-Oh, no.
39:13
-On the other hand,
39:14
I might have done precisely what my father-in-law did.
39:17
Broken it with some heavy object.
39:18
Probably not the Bible.
39:20
-[ Chuckles ] Come, Aunt, I'll take you home.
39:23
-And thank you, Dr. Gottlieb.
39:25
-You may get more of these growths,
39:27
these wens on your head, Mrs. Halder,
39:29
or someplace else on your body.
39:31
Now, if you do, call me, and I'll--
39:32
-Oh, no. No, thank you.
39:35
I know whom to call.
39:38
And you'll come, won't you, Stefan?
39:41
Of course you will.
39:43
No offense, Doctor, but I put my faith in Stefan.
39:48
-Goodbye. -Goodbye.
39:49
-Goodbye. Thank you.
39:52
-Goodbye, Stefan. -[ Door closes ]
39:54
-"No offense, Doctor, but I put my faith in Stefan."
39:58
Why did I bother to become a doctor at all?
40:00
Why all those years at school?
40:02
Why did I take examinations, get my license?
40:04
What good is it if everyone would rather put
40:05
their faith in a farmer?
40:07
-Manfred. I'll never do it again.
40:10
-[ Knock on door ] -Come in. The door's open.
40:12
-Oh, you again? -Doctor, those pains are back.
40:15
-Well, of course, those pains are back
40:17
because you've been drunk day and night.
40:18
What do you expect?
40:20
-Can't you do something, Doctor?
40:21
-No, I can't. Only you can.
40:24
Stop drinking.
40:25
You've been drinking steadily for 30 years
40:26
and you have cirrhosis of the liver.
40:28
-But -- But the pains are awful.
40:30
-Stop drinking for a month and then come back and see me.
40:33
-And don't come back before. -[ Door closes ]
40:35
Silly old fool.
40:36
Hasn't been sober for 10 minutes since he was 16.
40:39
-I can't help him if he won't-- -Manfred.
40:41
Manfred, he has a -- an obstruction of some kind.
40:44
-He has a diseased liver.
40:46
-But he has an obstruction in the intestines.
40:48
-Look, you're not starting all over again, are you?
40:50
-I saw. I could see it.
40:52
It's getting to be more than I can take, Stefan.
40:54
-You're interfering. -I saw.
40:56
He was standing in the doorway, and I saw.
41:00
His body was transparent. I could see everything.
41:03
In his intestines, there is an obstruction.
41:06
-And that's what gives him pain. -Stop it, Stefan!
41:08
-I'm warning you! -It's all so clear! I know!
41:12
-You're going to stop it if I have to--
41:13
[ Grunting ]
41:15
You're choking... You're choking...
41:19
Manfred, take your hands off my throat.
41:21
-No, no, no. -Oh, Stefan.
41:24
Oh, Stefan, I'm -- I'm sorry.
41:26
I didn't mean to do -- Stefan.
41:30
-I'm all right.
41:31
I'm a lot better.
41:34
-I'm all right. -Let me loosen your shirt.
41:36
Oh, Stefan, I -- I don't know what possessed me.
41:39
I lost control.
41:40
-It's all right.
41:43
Stef-- Stef-- Stefan, look.
41:48
Look at my hands.
41:49
Look how they move, my fingers.
41:53
-No pain from the arthritis. -What? What does it mean?
41:57
-It means...
41:59
Well, it must mean the arthritis is better.
42:02
-It's gone, perhaps. -Oh, Manfred.
42:04
-The way I unbuttoned your shirt so fast.
42:08
-No trouble, no pain. -Is it possible?
42:11
-It's true. Look.
42:13
Look how I can move them, Stefan.
42:16
-The way you used to.
42:18
-Stefan. Stefan, I --
42:21
I felt the warmth Otto was talking about.
42:26
The heat from your hands.
42:29
When you were trying to tear my hands from your throat,
42:32
I felt it, a warm glow.
42:36
-You really felt it?
42:39
-Yes. A glow, a radiance.
42:43
Stefan, give me your hands.
42:47
There it is.
42:49
It's a fire.
42:51
A fire!
42:53
♪♪
43:00
-Bertha! Bertha! -Manfred, please.
43:02
-I think you're wrong. -No, how can I be wrong?
43:05
Look at these fingers. Look how they move.
43:07
Watch me unbutton my coat. Oh, Stefan.
43:09
I had to lose my temper.
43:11
Try to choke you in order to touch you.
43:12
-I might have killed you. -Oh, you wouldn't have.
43:14
-Bertha. Bertha! -Manfred, you're excited.
43:16
-Excited? I'm delirious. I can go back to surgery.
43:19
We'll be rich again. Our lives will change.
43:21
-Yours too.
43:22
I don't want my life changed, Manfred.
43:24
If it means my daughter thinks me mad, deranged.
43:28
-No, she won't.
43:29
-It's only when my Amelie is with me, my little one,
43:31
that I seem -- It's Amelie who gives me the power.
43:35
-Bertha. Bertha, where are you? Are you upstairs?
43:37
-I'm nothing without Amelie.
43:39
It's her innocent soul that enters into me.
43:41
-What are you doing home at this hour?
43:43
-Bertha, where -- where were you?
43:45
-Oh, I -- I was taking a nap.
43:46
-Bertha. Bertha, look! My hands!
43:50
-Look! Look how my fingers move. -What happened?
43:54
-Your father. Your father happened.
43:57
His wonderful hands.
43:59
Bertha, you remember the young man with the mare?
44:02
How Stefan put his hands on the mare's foreleg
44:03
and the mare got up and walked.
44:05
-We don't know that. -It's true. It's true!
44:07
-You haven't seen the mare! -It happened to me.
44:09
-To me. Believe me! -I can't!
44:11
-I didn't believe it either.
44:13
But -- But then Mrs. Halder came to the office.
44:14
-Mrs. Halder? -Yes.
44:17
She's the aunt of the young man with the mare.
44:18
-Stefan went to see Mrs. Halder. -He didn't!
44:21
-Her nephew took him there, Bertha.
44:23
And Stefan broke the wen on her head with a big Bible.
44:26
-Oh, no. -He did right, Bertha.
44:28
Right. It was only a wen, and he was right.
44:31
He didn't know what he was doing, and he was right.
44:32
-Manfred -- Manfred, you must stop this -- this talk.
44:35
-Bertha. Bertha.
44:37
After Mrs. Halder left, an old patient of mine came in.
44:41
The man has been a drunk for years.
44:43
I was sure his liver was enlarged, diseased.
44:46
I sent him away.
44:48
And then your father said, "Manfred, you are wrong.
44:51
The man has an obstruction. His intestines are blocked."
44:54
-You believed him? -No, I didn't believe him.
44:57
I was out of my mind with rage that he would dare to tell me
44:59
that I was wrong, and I --
45:01
Well, Bertha, I took him by the throat.
45:03
He tried to tear my hands away, and it was then.
45:06
Bertha, it was -- it was then that I felt the heat,
45:10
the blessed heat from his hands entering into mine.
45:15
And now look. Look!
45:17
-Bertha, if he can use his hands, be happy.
45:23
-Father, how long will it last? -How can I know?
45:29
-Your moods, your spells. They bewitched us all.
45:33
-I never meant harm.
45:34
-Well, they've got to stop.
45:36
I -- I want you to stay away from the cemetery.
45:39
-I'll stay away.
45:40
-I'll watch you every minute.
45:42
-If you like.
45:43
-I won't let you out of my sight.
45:44
I'll treat you like a child.
45:46
-As you will. -Because you are a child.
45:49
-I am a very old man.
45:51
-From now on, you're my child. -No.
45:56
From now on, you will have your own child.
46:01
-A real child, not me. -What?
46:06
-I can see the child is growing inside you.
46:11
Soon you'll know it yourself.
46:14
Next spring you will bear your child.
46:17
And it will be beautiful, a little girl.
46:22
and you will...
46:25
I hope you will give her the beautiful name of Amelie.
46:30
-Father!
46:32
Then my Amelie can rest.
46:37
I won't have to call her any more.
46:41
She can rest.
46:43
♪♪
46:49
-Did you believe our story?
46:51
For that matter, did I?
46:54
Now, really, what difference does it make if you believe it,
46:58
or if I do?
46:59
For the truth is, that none of us
47:02
knows what transpires in the mind and heart
47:05
of a very old man.
47:08
I'll be back shortly.
47:10
♪♪
47:18
♪♪
47:27
Ever happened to look up the word murder in the dictionary?
47:32
No? Then I'll tell you how the dictionary defines it.
47:36
To kill with premeditated malice.
47:39
The wrongful,
47:41
intentional slaying of one human being by another.
47:45
But don't let a wee bit of murder upset you, friends.
47:49
The people on "Mystery Theater" don't mind being killed.
47:52
Not a bit.
47:53
Because every one of them is a deadhead.
47:58
Our cast included Santos Ortega, Norman Rose,
48:01
Bryna Raeburn, and Billy Redfield.
48:04
The entire production was under the direction of Himan Brown.
48:07
This is E.G. Marshall inviting you to return
48:10
to our "Mystery Theater"
48:11
for another adventure in the macabre.
48:14
Until next time. Pleasant dreams?
48:19
[ Door creaking ]
48:25
[ Door closes ]
48:27
♪♪
48:37
♪♪
48:47
♪♪
48:55
♪♪
49:00
-"If You Please... Himan Brown's
49:01
Radio Mystery Theater"
49:03
is produced and directed by Sarah Montague.
49:06
Our executive producers are Melina Brown and Sarah Montague.
49:10
CUNY TV's executive director is Chiqui Cartagena.
49:14
The director of production is Susan Iger.
49:16
The associate producer is Corinne Wallace,
49:19
and our audio production intern is Sofia Cedeno.
49:23
Margo Avery is the voice of the series introduction and credits.
49:27
The program commentaries are by John Slavney.
49:30
Our technical team at CUNY TV
49:32
includes senior audio engineer Richard Kim
49:36
and broadcast audio engineers Jackie Mitchell and Kevin Wolf.
49:41
Our staff photographer is Laura Fuchs.
49:43
Our archivists are David Rice and Catriona Schlosser.
49:47
Our closed caption coordinator is Amy Monte,
49:50
the "If You Please..." program mix engineer
49:53
is Lisa Gosselin-Vincent.
49:55
Tink Media handles our publicity and marketing.
49:58
Our director of social media is Karen A. Brown.
50:01
In collaboration with Stardust Blu PR.
50:04
"If You Please... Himan Brown's
50:06
Radio Mystery Theater" is a production
50:08
of CUNY TV and Radio Drama Network.
50:13
If you enjoyed the show
50:14
and are curious about the history of these radio programs,
50:17
listen to "Audio Maverick".
50:19
In this award-winning, nine-part documentary,
50:22
we explore the golden age of radio
50:24
through the life of dramatic genius Himan Brown,
50:27
and then explore the work of contemporary audio dramatists
50:30
who are part of his legacy.
50:32
"Audio Maverick" is available anywhere you get your podcasts.