Latest / If You Please, Himan Brown’s Radio Mystery Theater / S1E13: And Nothing but the Truth

Transcript

S1E13: And Nothing but the Truth · 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,
0:06
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.
0:36
♪♪
0:41
-Hello, everyone, I'm John Slavney here
0:43
with the 13th episode of our podcast
0:45
and the last of our first season of "If You Please..."
0:48
It's been a pleasure to bring you this entirely new
0:50
and fully authorized version of the "CBS Radio Mystery Theater",
0:54
presented by the Radio Drama Network and CUNY TV.
0:57
In this episode "And Nothing But The Truth",
0:59
we have a tale of a father and a son facing
1:02
or not facing the consequences.
1:04
The father, Grant Williams, is a respected college professor,
1:07
but he's also carried on a series of affairs
1:09
with his female students,
1:11
behavior that has taken a toll on his wife, Marion.
1:14
His son, David,
1:16
is a young man viewing his father from the other side
1:17
of the generation gap.
1:18
And as our story opens,
1:20
he is close to winning a full scholarship to Harvard.
1:23
But one rainy morning, everything changes for David.
1:25
He's driving the family's expensive sports car,
1:28
a Harley 584, and he's drunk.
1:30
Suddenly he strikes a man, flees the scene, and in an instant,
1:34
the would-be Ivy Leaguer becomes the perpetrator
1:36
of a hit-and-run.
1:38
Arriving home in a near panic,
1:39
David seeks his father's counsel.
1:41
Grant offers to take the fall for his son,
1:43
warning that such a mistake would spoil David's chances
1:46
at Harvard and likely his entire future.
1:48
David insists he should own up
1:50
and face the consequences of his actions.
1:52
But ultimately the professor prevails.
1:55
The wonderful Arnold Moss plays Professor Williams,
1:57
and Kristoffer Tabori is cast as young David.
2:00
Moss here making his first appearance
2:02
on "Radio Mystery Theater"
2:03
was a respected stage actor and scholar,
2:06
winning high praise for his work in the plays
2:07
of Shakespeare and Shaw,
2:09
and in Stephen Sondheim's musical theater productions.
2:12
Best known for his aristocratic bearing and his precise
2:15
and resonant voice,
2:16
he had a deft touch in comic roles as well.
2:18
Kristoffer Tabori was just 22 when this episode was recorded.
2:22
He had a busy career in films and television
2:24
before turning to directing in the 1990s.
2:26
In all, Tabori appeared in 49 episodes of the series,
2:29
and this is his first.
2:31
Ralph Bell turns in a restrained performance
2:33
as local police lieutenant Klamath
2:35
and also voices radio DJ Long Jack,
2:38
playing two roles, a convention of radio theater called doubling
2:41
and a skill Himan Brown prized in his actors.
2:43
On the air, Long Jack spins acid rock
2:46
loud enough to blow your mind as one character observes.
2:49
William Redfield is back at the mike as Detective Ritzo,
2:52
a man who thinks he has the professor's number.
2:54
He's one of the new breed of cop, young,
2:56
college educated, and schooled in psychology.
2:59
And here in the relationship with his boss,
3:01
Lieutenant Klamath, he enacts the same troubled
3:03
generation gap father and son dynamic
3:06
we see played out between the professor and David.
3:08
Clarice Blackburn is cast as Professor Williams' wife
3:11
and David's mother, Marion.
3:13
Blackburn was a versatile actress
3:14
who worked with producer Himan Brown
3:16
on just a handful of our empty episodes in 1974 and '75.
3:20
Born in San Francisco, she began her career on the stage
3:23
where she is perhaps best remembered for her performance
3:26
in Truman Capote's "The Grass Harp".
3:28
And fans of gothic horror will remember her
3:30
recurring roles in the TV cult classic "Dark Shadows".
3:33
The script is by Ian Martin,
3:34
who here shows off his ear for the hip talk
3:36
of the Me Generation.
3:38
It's based on his earlier radio play for ABC's Theater Five
3:41
on "True Confession", which aired in 1965.
3:44
Now it's time to settle in and buckle up as we take a listen to
3:47
"And Nothing But The Truth".
3:49
It was taped on Monday, December 10, 1973,
3:52
and first broadcast on Wednesday, January 23, 1974.
3:56
Enjoy.
3:57
♪♪
4:02
-The CBS Radio Mystery Theater presents...
4:06
[ Door creaks open slowly ]
4:14
♪♪
4:22
-Come in.
4:25
Welcome.
4:27
I'm E.G. Marshall.
4:29
Welcome to the world of terrifying imagination.
4:34
Of all the great killers of history,
4:38
perhaps the deadliest and most terrifying is the automobile.
4:43
Nero, Attila the Hun, Lorenzo de Medici,
4:48
Bluebeard, even artillery fire,
4:51
and the ultimate, the atom bomb at least have a purpose,
4:56
a reason, a rationale.
5:00
But the automobile maims or kills mindlessly, senselessly.
5:07
For example...
5:08
♪♪
5:14
-This is ole Long Jack here in the studio on a lonesome--
5:18
-I better watch out. I must be crazy.
5:22
-If you're on wheels, be real careful tonight.
5:24
-It's heavy, man, heavy. -Oh, shut up, you fool.
5:27
-If you just let Big Daddy help you out, all you--
5:30
-[ Radio clicks ] -You can't help me, Big Daddy.
5:32
Oh, I must have hit something, somebody.
5:36
Split. I gotta split.
5:38
[ Engine revs ]
5:43
♪♪
5:51
-Our mystery drama, "And Nothing But The Truth"
5:55
was written especially for the "Mystery Theater" by Ian Martin
5:59
and stars Arnold Moss.
6:02
I'll be back shortly with Act One.
6:05
♪♪
6:14
♪♪
6:23
-Was the accident we heard a few minutes ago,
6:26
another statistic of the road?
6:29
An innocent victim, a careless driver,
6:34
the victim's family broken and lost.
6:37
A young man whose carelessness had blighted
6:39
a bright new manhood, and a promising career.
6:43
Or was the driver lucky this time?
6:46
Lucky in a way far beyond his hope or expectation?
6:51
We're about to find out with David, the young driver,
6:55
as he paces his living room floor,
6:57
waiting for his father to come home.
7:00
-[ Door opens ] -Dad!
7:01
-Da-- David.
7:04
David, what are you doing up at this hour?
7:06
-I didn't hear you come in.
7:08
I thought you'd never get home. Where have you been?
7:11
-Well, now, do I have to start answering to you
7:13
for my whereabouts? -What? What?
7:15
-Oh, you mean like mother? -Yes, yes, like your mother.
7:18
-I'm sorry. Dad.
7:19
-Well, for your information,
7:21
I was working, correcting term papers.
7:24
It wasn't that I...
7:27
David, I-I'm -- I'm very tired.
7:30
-Are you all right, Dad?
7:32
You look like you had an attack or something.
7:34
-Well, don't be silly. I said I was tired.
7:36
What?
7:38
What's wrong with you?
7:40
You've been drinking.
7:42
-I -- Yes, I wish I hadn't, but I did.
7:45
-Oh, oh. Okay, son, take it easy.
7:48
Whatever it is, we'll -- we'll work it out.
7:52
Where's your sports car? Didn't you have it out tonight?
7:55
-Yes. I left it parked on the street.
7:58
-Well, you better put it away.
7:59
There's no sense in leaving it out in this rain.
8:01
-Dad, I've got to talk to you.
8:03
It's about the car.
8:05
-What about the car?
8:08
-I didn't know what to do.
8:10
I hit the panic button. I ran.
8:13
-But what else did you hit?
8:15
-Someone, a man, I'm pretty sure.
8:17
Down near the railroad.
8:19
You know where the big curve comes around
8:21
by the station opposite Franny's place?
8:23
I think it was one of those old winos that hang around there.
8:26
Dad, I swear I never saw him with all that rain and the fog.
8:29
-Was there anyone else around?
8:33
-I didn't see anyone.
8:34
I should have stopped, but all I could think of
8:37
was that I'd been drinking and the scholarship coming up.
8:39
And if anything happened, it would kill Mom.
8:42
And before I knew it, I was running away.
8:45
I've been going crazy waiting for you to get home.
8:47
I'm scared too.
8:49
But I guess I ought to go to the police.
8:50
-Does your mother know about this?
8:52
-No, no! -Okay. When did it happen?
8:56
-2:00, almost on the nose. -2:00 this morning?
9:00
-Yeah. -By the railroad, you say?
9:03
-Yeah, I just came off Strathfield
9:05
and I took the corner into the Big Bend on Hill's Point.
9:07
-I-I get the picture. Okay.
9:10
Now go in the kitchen and wait for me.
9:12
And no matter what, don't let your mother get involved.
9:15
-Where are you going?
9:16
-I'm going to have a look at your car.
9:18
-[ Door opens ] -Well, I'll come with you.
9:19
-You'll do as I say from here on in.
9:21
Now you go to the kitchen. I'll be right back.
9:24
-[ Rain pouring ] -What are you gonna do?
9:25
-I'm not sure yet, but just --
9:29
Well, maybe there's a way to get off the spot.
9:31
♪♪
9:36
[ Door opens, closes ]
9:39
Is your mother still asleep?
9:41
-I guess so. She hasn't been down.
9:43
-There's a dent in your front right fender.
9:47
-Was that there before tonight? -No.
9:49
-You sure?
9:51
-Yeah. I simonized the car yesterday.
9:53
-Does it look bad? -Well, not to --
9:56
Well, it must have been a -- a glancing blow.
9:59
-You mean maybe it's going to be all right?
10:00
-Maybe.
10:02
-Oh, I don't think I could've hurt him too bad.
10:04
And a night like tonight, you know, who'd be hanging around?
10:06
-It isn't going to be all that easy, David.
10:09
They might be able to trace the car.
10:11
-How?
10:13
You're missing a front right hubcap.
10:16
There aren't that many Harley 584s in this town.
10:20
-So I'll have to give myself up.
10:21
-No, no, no. Let's figure this out.
10:25
Now, was your mother up when you went out tonight?
10:28
-I don't know if she was asleep,
10:30
but she wasn't downstairs.
10:32
-Well, then she didn't see what car you took?
10:33
-No. -Did she see me leave?
10:36
I mean, did she look out of the window or anything?
10:39
-No. She was -- She was just sitting in the big chair
10:42
by the fireplace, crying. -Crying?
10:46
-You know, the usual.
10:48
-That I was off once again to the arms of another woman, hmm?
10:53
-Like that.
10:54
-Well, you don't believe all that talk, do you?
10:56
-Look, Dad, we've been down this road before.
10:58
I'm not making any judgments.
11:00
-I'm not asking you to sit in judgment on me!
11:02
I asked for a simple reaction between a father and his son.
11:05
I-I -- I'm sorry, David, I-I-I didn't mean to blow up.
11:13
-I guess we're both a little shook tonight,
11:15
but you ought to know by now where I stand.
11:17
It's just -- Well, I know Mom gets a lot of screwy notions,
11:20
but all the same, I'm sorry for her.
11:23
She's so lost and -- Well, I'm always afraid
11:26
that any little thing might push her right over the edge.
11:29
Like tonight. Oh, Dad, what am I going to do?
11:32
-That's what we're going to figure out right now.
11:35
I got a few more questions.
11:37
You -- You say the accident happened at 2:00 or so, right?
11:42
-Just as I said, almost exactly. -Now, how do you know that?
11:46
-I was listening to Long Jack, and he was just going into
11:49
a last commercial before he went off the air.
11:51
The disc he was spinning was just ending, and,
11:54
-well, when I hit the guy. -What was the record?
11:59
-An oldie, "Easy To Love".
12:01
-And you hit this man just
12:04
after you turned off Strathfield into Hills Point?
12:08
-Yeah. -He suddenly --
12:09
-He stepped off the curb. -Like out of nowhere.
12:11
-How fast were you going? -Gee, Dad, I don't--
12:14
Come on. Come on. Don't pussyfoot with me.
12:16
-Too fast, I took the corner pretty wide.
12:18
-Did you skid? -Yeah.
12:20
It was pretty slick from the rain.
12:22
-And there was no one else around?
12:23
-No. -You're sure?
12:24
-Yeah. I opened the door to look out.
12:25
There was no one.
12:27
That's why I lost my nerve and cut out.
12:29
Well, I'd better get down and find out.
12:31
-You stay right where you are. -It's after 4:00.
12:34
The longer I wait, the worse it will be for me.
12:36
-You're not going to be involved in this at all, David.
12:40
-What do you mean?
12:42
-I mean, you were driving the station wagon tonight.
12:45
I was the one who was driving the sports car.
12:48
And I'm going to the precinct house right now to report
12:50
that I hit a man and left the scene of the accident.
12:54
-Dad, I can't let you do that.
12:55
-Don't be a fool.
12:58
I'm not on the verge of getting a full scholarship to Harvard.
13:01
I haven't been drinking.
13:03
I'm not a teenager with two strikes against him
13:05
as a driver to begin with.
13:08
I'm a full college professor with a distinguished record
13:11
who was coming home on a foul night
13:12
with visibility almost zero,
13:14
dead tired after correcting 200 term papers.
13:17
I can stand the gaff.
13:19
And you can't.
13:20
-No, sir, Dad. I thank you, and I admire you.
13:24
But I hope to God I'm enough of a man
13:25
not to hide behind my father's pants.
13:28
-You'd better think of it as your mother's skirts.
13:31
Your mother couldn't care less what happens to me.
13:33
But you're a different story.
13:35
You get in big trouble over this, and it could kill her.
13:38
Worse still, drive her over that edge we both worry about.
13:43
-But, Dad, I-- -Don't argue.
13:46
This is the way it's going to be.
13:48
Now, you just let me handle it
13:50
and you keep your mouth shut no matter what happens.
13:53
-I don't know what to say.
13:55
-I'll tell you what you're going to say.
13:58
Nothing.
14:00
-Nothing to anyone. -But Mom--
14:02
-Least of all to your mother.
14:06
-Okay, Dad, if that's the way you want it.
14:10
Oh, how can I thank you? You're some kind of a guy.
14:13
-Oh, no, no, no, David,
14:17
just the most sensible way out of a bad situation.
14:21
I'd better get down to the police.
14:22
-Don't wait up. I may be a while.
14:25
-[ Door opens ] -[ Rain pouring ]
14:27
It's still raining. Oh, uh, have you got the keys?
14:31
-Sorry. Right here. And thanks, Dad, for everything.
14:35
-This will all work out for the best.
14:38
Uh-oh, I-I think I hear your mother moving about.
14:42
-If she comes down, what do I say?
14:44
-What we've agreed on is the truth.
14:48
That I've gone to the precinct house to report
14:50
that I'm a hit-and-run driver, right?
14:52
-Right.
14:54
I'll never forget what you're doing for me.
14:56
-And for your mother.
14:58
-For all of us. -[ Door closes ]
15:01
-Grant, is that you?
15:03
-No, Mom, it's me, David.
15:05
-Oh, I thought I heard your father come home
15:07
a little while ago.
15:09
What are you doing at the front door?
15:11
-Well, I, uh...
15:13
-I better come down.
15:15
What's going on?
15:18
I heard voices. Angry voices.
15:22
-That was Dad and me, not angry.
15:24
We were just discussing something.
15:27
-Then where's Grant now? Did --
15:30
Yes, I heard a door slam. Did he go out again?
15:33
-Yes.
15:35
-Not another woman, not two in one night.
15:39
-Why don't you give him a break once?
15:41
He was at the college correcting papers.
15:44
-Then where is he off to now?
15:47
-Mom? It's kind of damp in the hall.
15:49
Let's go into the living room and sit down.
15:51
-Don't tell me he's finally taken off for good
15:54
-with one of his bed partners. -Oh, mother, have a heart.
15:57
Why can't you see what a right guy Dad is?
16:00
-Maybe I've known him too long.
16:03
So what errand took him out of the house again
16:05
at 4:20 in the morning?
16:09
-He's gone to the local precinct to --
16:12
to confess to a hit-and-run.
16:15
♪♪
16:21
[ Typing, bell dinging ]
16:23
-Yes, madam, I understand.
16:25
I'll have some officers on the way immediately.
16:29
Well, these are experts in the bomb squad.
16:33
Oh, yes, ma'am, all the latest equipment.
16:35
Thank you, ma'am.
16:37
We do our best at the police department.
16:39
-Full moon time again, huh, Lieutenant?
16:41
-Oh, yeah, Ritzo.
16:43
The crazies are out on the broom tonight.
16:45
That was some ding-a-ling just saw a UFO land in her backyard.
16:49
-How was your hit-and-run? -Oh, no sweat.
16:51
Some old wino stumbled off the curb, got his rear end creased.
16:54
They took him to Saint Elizabeth's.
16:56
Anything on the general bulletin?
16:58
-Nah, it's small stuff.
17:00
Mugging in the second precinct.
17:02
There's a gas station holdup in the fifth.
17:04
-I want to hear something new. -[ Bell ringing ]
17:06
That's at 12th. Nah, nothing. I called to see the man.
17:12
Some citizen reports a smell of gas in his apartment house.
17:14
Possible suicide.
17:16
There's nothing worth our brains.
17:18
-What's that in your hand? -Oh, it's a hubcap.
17:21
A clue from the scene of the hit and run.
17:22
-Let me have a look, then. Mm-hmm. Mm, English make.
17:27
Probably from a Harley,
17:29
or, uh, some sport car like that
17:31
-Found on the scene? -Uh-huh. About 75 yards away.
17:34
No proof it had anything to do with the hit-and-run.
17:37
-How's the victim?
17:39
-Condition fair when the ambulance picked him up.
17:40
He only got struck a glancing blow.
17:43
-Well, that still don't make no never mind.
17:44
The perpetrator cut out.
17:47
-I want him brought in. -Oh, oh, so do I.
17:49
But it may be a little rough.
17:50
Even if we find the car this belongs to,
17:52
it doesn't prove it was lost hitting the victim.
17:55
It could have been loose and just, uh, fallen off.
17:57
-So you think we don't make the guy, huh?
17:59
-My educated guess is that the odds are not so hot.
18:04
-Yeah, Brady, what is it?
18:06
You don't say.
18:09
Right with you now, huh?
18:12
Well, how about that?
18:15
Yeah, yeah. Bring him right in. Educated guess, huh?
18:19
-I was wrong. -Couldn't be wronger.
18:22
A guy named Williams just came to the desk
18:24
and confessed to making the hit-and-run.
18:26
He's on the way in.
18:29
You and he should get on together just dandy.
18:32
Guy's a college professor.
18:33
♪♪
18:39
-Your father hit someone with the sports car tonight?
18:43
But that's impossible.
18:44
-How can you say that, Mom?
18:46
-Because he wasn't driving that car tonight.
18:49
-How do you know? You didn't see him leave.
18:51
-No, but I was awake when he drove in, and I could swear.
18:55
I know he was driving the station wagon.
18:58
♪♪
19:03
-A father's sacrifice for his son.
19:08
Surely a noble, if perhaps misguided gesture.
19:13
The question, of course, is, should a young man
19:16
or anyone be encouraged to evade responsibility?
19:21
And will this simple act of altruism remain just that?
19:26
We'll find out shortly when we return with Act Two.
19:31
-Like what you're hearing so far?
19:34
Are you curious about the history behind radio programs
19:36
just like this one,
19:38
and the dramatic genius who created them?
19:41
In the nine-part, award-winning documentary "Audio Maverick",
19:44
we explore the golden age of radio
19:46
through the life of Himan Brown.
19:49
You'll hear the history of radio come to life as we travel,
19:52
from the birth of audio drama to the programs
19:55
that brought millions of families
19:56
into their living rooms every night.
19:58
"Audio Maverick" is available anywhere you get your podcasts.
20:02
♪♪
20:09
♪♪
20:16
-A precinct house in a large city, even at the best of times,
20:21
is never the most prepossessing spot in the world.
20:25
In the dog hours of the morning,
20:28
dusty, dingy, tired paint peeling from the walls,
20:32
half-empty coffee containers with cigar and cigarette
20:35
butts floating in them.
20:37
It is certainly one of the most depressing,
20:41
or so Grant feels as he dictates his false confession.
20:44
[ Keys clacking ]
20:46
-It was only when I was putting the car away
20:48
in the garage, and I noticed a dent in the fender
20:51
and found that one of the hubcaps was missing,
20:54
that I began to realize with horror
20:55
that I might have hit an animal, an opossum or something.
21:00
It never occurred to me that it might have been a human being.
21:03
Well, I-I would have returned right away.
21:05
But my wife, who has not been well recently.
21:09
Well, she -- she -- she was up. She was waiting for me.
21:12
And I-I didn't want to alarm her.
21:14
And so I-I coaxed her back to bed and to sleep.
21:17
And I came here just as soon as I could.
21:20
-And this was, uh. What time, professor?
21:23
-Almost exactly 2:00.
21:26
-And you can fix the time,
21:28
because you were listening to Long Jack on the car radio
21:29
and he was signing off.
21:31
-Uh, you like, uh, acid rock, Mr. Williams?
21:34
-I beg your pardon?
21:36
-You know, the big, hard beat, loud enough to blow your mind?
21:38
-Oh, no, no, no, I don't.
21:40
-Uh, why? -Well, that's Long Jack's bag.
21:43
It's most of what he plays, you know.
21:45
I didn't figure you'd, uh, dig his scene.
21:48
-Yeah. Well, I-I-I didn't.
21:50
I turned on the radio to keep me awake.
21:52
-Not for music appreciation. -Uh-huh.
21:56
As a matter of fact, I remember the last number
21:57
he was playing just before he signed off was "Easy To Love",
22:01
and I wouldn't call that exactly contemporary.
22:05
-The main point is that you made the turn at 2:00.
22:08
You felt a jarring feeling,
22:10
which jives with our information, right, Ritzo?
22:12
-Right, Lieutenant.
22:15
I see your victim left Frannie's Restaurant,
22:17
518 Hill's Point Road
22:19
at approximately two minutes to 2:00 a.m.
22:22
Because victim was discovered by George Bates,
22:25
post office employee... [ Clears throat ]
22:27
...some two minutes later, he heard a car drive away,
22:30
but due to adverse weather conditions,
22:32
could not see it or make any identification.
22:35
Victim was Dominic Cappello, unemployed, 61 years old.
22:39
-Well, I-I hope he's all right.
22:41
-He's at the hospital.
22:43
We don't know the extent of the, uh, injuries yet.
22:45
-I-I feel terrible. That poor old man.
22:47
-Uh, Professor Williams, let me point out something.
22:51
From your story and our evidence,
22:53
there is no clear-cut evidence that you did hit this man.
22:56
Now, if I were you, before I went any further,
22:58
I'd get a lawyer.
22:59
-Oh, there's no need for a lawyer.
23:01
I'm quite willing to face my responsibilities.
23:04
If you'll prepare a statement for me,
23:05
-I'd be very glad to sign it. -All right.
23:09
I'll leave you here with Patrolman Foster,
23:10
who will type up a statement.
23:12
You just check it over when he's finished.
23:14
And then if you still want to, you can sign.
23:16
I'll be right back.
23:17
-Uh, Lieutenant, uh, see you a minute outside?
23:19
-Okay. -[ Door opens ]
23:22
-[ Keys clacking ] -[ Door closes ]
23:24
All right, Ritzo, what's biting you?
23:26
-I think the guy's lying.
23:28
-About what, for Pete's sake? Why would he lie?
23:31
-To cover up. -Cover up who?
23:33
-How do I know? His daughter, son, wife.
23:35
-Now, why would he want to take the rap for them?
23:37
-Ah, that's what'll take some digging to find out.
23:40
-Oh, boy.
23:42
15 precincts in this city, 4 detective divisions,
23:45
and I have to get stuck with you.
23:47
You want to make a federal case out of one stinking, little
23:49
hit-and-run, where the guy comes in like a good citizen
23:51
and confesses, and just for once make the job easy?
23:54
What do you got to do, go looking for trouble?
23:56
-Now, Lieutenant, it isn't just the few small discrepancies,
23:58
it's the whole psychology of the man.
24:00
-Psychology? That's all I need! The new breed.
24:05
Now, look, Ritzo, will you for once,
24:07
just forget the college education and get back in there
24:09
and have that statement signed, sealed, and delivered?
24:11
And stop making waves!
24:12
♪♪
24:19
-Mother, please, will you let well enough alone?
24:23
-I've kept quiet about too many things for far too long.
24:26
But I can't let this go.
24:28
I know your father wasn't driving the sports car tonight.
24:32
-Okay. Okay, so he wasn't. So you know what that means.
24:37
-Oh, my darling-- -You want to get me locked up?
24:39
-No, of course not. But why should it come to that?
24:42
You don't know yet if you really hit anyone or hurt them.
24:46
-I'm not kidding myself.
24:47
When I pulled away,
24:49
I tried to tell myself nothing had happened.
24:50
But now it's all on the table.
24:52
And I know that guy got hurt, and I'm scared.
24:55
I'm scared of what they could do to me.
24:57
-Darling, there's nothing to be scared of in being honest.
25:01
Owning up. It was an accident. David, please!
25:05
-Will you let me go?
25:07
-I'm only trying to help.
25:08
-Oh, sure. Some help you are.
25:11
I don't understand you, Mother.
25:12
Look what Dad's willing to do for me.
25:15
And all you want is for me to turn myself in.
25:17
-I want you to be honest. -This is for laughs.
25:21
I mean, uh, look, Dad went down there to take the blame
25:25
so he could protect you as well as me.
25:27
-Protect me?
25:29
-Yes, he...
25:32
He said it would kill you if anything happened to me.
25:35
-Grant was worried about me?
25:38
-Yes! -Don't you ever believe it.
25:42
-Mom, how can you be so bitter?
25:43
Look what he's done for me.
25:46
-He's got to have an angle. -That's unfair.
25:49
I know you and Dad have problems.
25:50
I'm not going to try to make any judgments about--
25:52
-Oh, but you do.
25:53
You make them every day in spite of yourself,
25:56
and always against me.
25:58
-Mother, I've had just about as much of this as I can take.
26:01
-You know, the curious thing is
26:03
that I know you love me in spite of everything.
26:06
Just give me a moment.
26:08
-What is it?
26:10
-I don't stand much chance, do I?
26:12
I spend so much time upstairs with --
26:15
with myself.
26:17
Very lonely with just yourself.
26:21
I'm a woman not quite able to cope.
26:24
A woman with hallucinations, is it?
26:27
It's something out of Dickens.
26:29
Living among cobwebs of near insanity.
26:32
And the ghosts of what never was.
26:34
-Mother. -Look, it's time I told you.
26:38
Time I try to tell somebody.
26:41
I am a prisoner with a life sentence because I-I...
26:49
Because I can't stop loving.
26:52
To everyone else, I'm the ghost.
26:55
But the truth is that the real corruption lies rotting in --
26:59
in the very man we both love.
27:03
David, I don't want to ever see you become like him.
27:07
I would rather see you dead.
27:10
That's why I want you to take your own troubles
27:12
on your own shoulders.
27:14
-Mom, don't you think you ought to lie down?
27:17
I mean, you're not--
27:18
-It's easy, isn't it, to find a scapegoat,
27:20
to make someone else responsible?
27:22
Poor, mad, wasted Marion Williams,
27:26
married to that intelligent, handsome man,
27:29
respected by his faculty,
27:32
worshiped by his students, particularly the girls.
27:36
Oh, yes, particularly the girls.
27:39
-Oh, Mother, for Pete's sake.
27:41
-No, this time you don't stop me.
27:43
I loved him so much, I forgave all those early affairs,
27:46
the young children invaded, cheapened.
27:48
I saved him!
27:50
I went to those girls. I begged them off.
27:52
And after you came, the pattern continued.
27:54
I began to retreat farther and farther.
27:57
I had the money. That's why I could always keep him.
27:59
And I couldn't stop loving him.
28:01
That was the saddest part, wasn't it, David?
28:03
-What? -I was the one who ruined him.
28:06
Without me to cover for him,
28:07
he'd have been found out long ago.
28:09
So you see--
28:10
-I don't know what you mean, Mom.
28:12
I can't discuss what you've been talking about.
28:14
But -- But that has nothing to do with what Dad is doing
28:17
at this moment. I'd been drinking.
28:20
I-I couldn't have gone to the police.
28:23
Dad can handle this. Please leave it alone.
28:25
-And let you spoil yourself just as he did?
28:29
The rot spread so fast, David.
28:31
♪♪
28:37
-The incident was totally minor in mind till I returned home
28:41
and found that there was a dent in my front fender.
28:45
-Yeah, well, I've read this through, Lieutenant,
28:47
and there's nothing here that is incontinent with my, uh,
28:50
-my earlier confession. -It's a formality, Professor.
28:54
I prefer to have you read it aloud
28:56
-before you sign the statement. -If you insist.
28:58
-It's better, Professor Williams.
29:00
There is much more. Go ahead.
29:02
-It's quite evident that I must have been responsible
29:03
for striking with my automobile one Dominic Capello, 61,
29:06
at approximately 2:00 a.m. on the above date.
29:08
This statement is a true and unsolicited confession
29:11
-of my responsibility and-- -Uh, excuse me, Lieutenant.
29:14
Have you warned the professor again
29:16
that he should have legal representation?
29:18
-No, I-I don't need a lawyer.
29:20
-I have to warn you, sir, that you may.
29:22
The man who was hit just died in the hospital
29:24
without regaining consciousness.
29:26
It isn't just an accident anymore.
29:28
-It could be homicide.
29:30
-Oh, come on, Ritzo, manslaughter.
29:34
But it does change things, Professor, if you sign this,
29:36
I'll have to book you.
29:38
You should have a lawyer before you sign.
29:40
-Well, nonsense, I-I want to sign.
29:42
Let's not waste any more time. And then I'll call my lawyer.
29:46
-All right. Detective Ritzo, will you witness this?
29:49
-Yeah.
29:51
-You'll have to be fingerprinted, Professor.
29:53
-Whatever you say, Lieutenant.
29:55
Foster will take you to a phone first
29:56
-to call your lawyer about bail. -Thank you.
29:58
-And thank you, Detective Ritzo. -Don't mention it.
30:02
[ Door opens, closes ]
30:03
-All right, now, Ritzo, don't say it.
30:05
-I've got to. Something's out of kilter.
30:07
I never saw a man so anxious to get arrested in my life!
30:10
-He just wants to get it over with and get back to bed.
30:13
-Now who does this? -It's wrong, Lieutenant.
30:15
It's wrong. A cool, collected individual like that
30:18
doesn't go around hitting panic buttons
30:20
and taking a powder out of a bad situation.
30:22
-Now, Joe, drop it. Lay off.
30:25
Don't give me any more of the psychology.
30:28
I'm just a plain flatfoot who came up through the ranks
30:30
by sticking to one thing, facts.
30:33
Let's give the guy a vote of thanks for coming in.
30:36
My psychology is, we leave it lay, huh?
30:40
You got any other hunches? Save them for the ponies.
30:43
-Okay? -Okay.
30:45
♪♪
30:51
[ Keys clacking, bell dinging ]
30:53
-What's on the bulletin, Ritzo?
30:54
-Oh, same old noise. Nothing special.
30:56
They picked up that mugger in the second, a repeater.
31:00
-What's happening with Professor Williams?
31:01
-Profess-- Huh? -Williams.
31:03
Williams, the professor.
31:04
You remember the guy we spent most of the night with?
31:05
-Oh, yeah, yeah.
31:07
Well, he got fingerprinted and his lawyer sprung him.
31:09
He's going home. Hey, uh, look at this, Lieutenant.
31:12
-What? -That code two.
31:14
See the man in the 12th?
31:16
That suicide was no false alarm.
31:18
There was a DOA, only now it looks like homicide.
31:22
They figure the girl was strangled
31:24
before the gas was turned on.
31:26
-Oh, why do I care about some dame in the 12th?
31:28
The seventh is my baby.
31:30
Let the 12th worry about their headaches.
31:31
I'm taking off.
31:32
♪♪
31:39
-Marion, for the last time, you stay out of this or I'll--
31:41
-You'll what, Grant? Kill me? You did that a long time ago.
31:46
The only reason I clung
31:48
to any shred of life was because of David.
31:50
-And a fine little mama's boy you made out of him.
31:53
The moment my back is turned, he runs to you.
31:55
-He blurts out the whole thing. -Oh, no, he didn't.
31:58
I figured out what happened myself.
32:00
I saw you drive away in the station wagon.
32:02
-Oh, why can't you mind your own business?!
32:04
-Because I don't trust you.
32:07
And I want David to be a man and stand on his own feet.
32:10
-Will you get something through that bird brain of yours?
32:14
The man who was hit is dead. David had been drinking.
32:19
You won't be emancipating your son.
32:20
You'll be burying him in jail. Is that what you want?
32:23
-You're hurting me, Grant. -Is that what you want?
32:27
Or will you keep your mouth shut
32:28
and allow me to do something for my own son?
32:30
-Please, let me go.
32:32
-Not until I get your promise to leave things as they are.
32:35
-I-I don't want David to go to jail.
32:38
-[ Sighs ] All right then.
32:41
I can trust you.
32:44
-Yes. I only wish I trusted you.
32:48
You've never done one unselfish thing in your life, Grant.
32:51
I only wish I knew what it is you expect to gain this time.
32:56
♪♪
33:04
-A torturing dilemma for a mother and father.
33:07
Is the father right to protect his son,
33:11
or the mother to feel it would be better
33:13
for him to take his medicine?
33:16
So many other questions pose themselves.
33:19
Questions, which will be answered
33:22
when I return shortly with Act Three.
33:27
-Like what you're hearing so far?
33:29
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33:31
just like this one,
33:33
and the dramatic genius who created them?
33:35
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33:39
we explore the golden age of radio
33:41
through the life of Himan Brown.
33:43
You'll hear the history of radio come to life as we travel,
33:47
from the birth of audio drama to the programs
33:49
that brought millions of families
33:51
into their living rooms every night.
33:53
"Audio Maverick" is available anywhere you get your podcasts.
33:56
♪♪
34:03
♪♪
34:10
-Those questions I mentioned...
34:13
Of course, Marion Williams would feel herself hurt
34:16
by her husband's interest in other women.
34:20
Or is that all in her mind, a figment fantasized
34:24
by her obviously shaky mental stability?
34:27
But then there is also the doubts
34:30
of Detective Sergeant Ritzo. Let's follow him for a moment.
34:35
[ Doorbell ringing ]
34:39
[ Footsteps approaching ]
34:41
-[ Door opens ] -Yes?
34:43
-Uh, is Professor Williams at home?
34:45
-No. He has classes this morning at the university.
34:47
-Oh, yeah, yeah, that's right, that's right.
34:50
-Excuse me, I'm Detective Ritzo. This is my shield.
34:53
I wonder if I could talk to, uh, Mrs. Williams for a moment?
34:56
-Uh, I'm sorry, but -- but my mother, she's still asleep.
35:00
She's kind of an invalid.
35:01
-Oh. Oh, well, and I wouldn't think of disturbing her.
35:04
You're, uh, Professor Williams' son, huh?
35:07
-Yes.
35:08
-Well, then how about you take the chain off the door
35:10
and I step in and ask you a couple of questions?
35:12
-Uh, have you got a warrant? -Have -- A warrant?
35:16
[ Chuckles ] No. What would I want a warrant for?
35:18
Look, don't let me being a cop scare you.
35:20
-Oh, I'm not scared.
35:22
-You, uh, always keep a chain on when you open the front door?
35:24
-No, uh, look, uh, I'm sorry. You're wasting your time.
35:30
My father told me not to answer any questions.
35:32
-Oh. Oh, then you, uh,
35:34
you know about the accident last night, huh?
35:37
-I...Yes, but I'm sorry. I've got to close the door.
35:40
-Uh, you drive, kid. -Sir, your foot's in the way.
35:43
-Oh, yeah. Yeah, so it is.
35:45
Anyway, I figure you drive since you got a license.
35:48
I looked it up in the bureau.
35:50
-Would you move your foot, please?
35:52
-Uh, hold it just a minute. Here's your newspaper, huh?
35:56
You might want to read about the accident, page four.
35:58
You know, check out the details.
36:00
-Thanks for the paper. -Sure. Here.
36:03
-Will you let it go, please?
36:05
-You, uh, weren't out driving yourself last night, were you?
36:09
-I'll take the paper. -[ Door closes ]
36:12
-Yeah. And now I know my hunch is right.
36:15
♪♪
36:23
-Come on, come on.
36:26
-Where are you? -[ Phone ringing ]
36:30
-Hello? -David. David, where were you?
36:33
-Oh, I'm sorry,
36:34
I was just bringing down Mother's lunch tray.
36:36
-But you never answer the phone. Any mail? Any phone calls?
36:39
-Uh, just a couple of ads. No phone call.
36:41
Oh. There was, uh, well, we had a visitor.
36:45
-Who? -A Detective Ritzo.
36:48
-What did he want?
36:50
-He said he wanted to talk to you.
36:52
Then when I said you weren't home, he wanted to talk to Mom.
36:54
-Well, you didn't let him? -No, no, she was asleep.
36:57
So...he said he wanted to ask me some questions.
37:01
-Good Lord. -It's all right.
37:03
I didn't let him in, and I didn't tell him anything.
37:05
-Well, I hope you didn't. He had no right.
37:07
No, no, no, no right to.
37:09
David, David, you're sure you didn't?
37:12
-No, no, I didn't say anything, but I'm scared.
37:16
I think he knows. I think he's guessed that I--
37:18
-No. Now, listen to me, David.
37:20
I don't care what he knows or what he suspects.
37:22
He can't prove anything if we just stick to our story.
37:26
Now, you get this straight, David.
37:28
I'll kill you if you let me down.
37:32
No, no, I-I-I-I didn't mean that.
37:35
I-I -- I'm just thinking about you.
37:37
I-I don't want your life spoiled before it begins.
37:40
Now, you just remember, a man has been killed.
37:44
The real truth comes out, you're in trouble.
37:47
-Bad trouble. -I know.
37:50
-Just so you remember both you and your mother.
37:53
-Okay, but supposing that detective turns up again.
37:57
-He won't. You just leave that to me.
38:00
-Just leave everything to me. -I will.
38:04
And don't think I'm not grateful.
38:06
Oh, I don't know how I can ever pay you back.
38:08
-You just sit tight and stick to our story.
38:10
-That's all the payment I need. -[ Phone hangs up ]
38:14
♪♪
38:20
-I quite understand, Professor.
38:21
Detective Ritzo exceeded his orders.
38:24
I promise you, he won't bother your family again.
38:26
-I'm sorry if I lost my temper, Lieutenant.
38:28
-I don't blame you, sir.
38:30
You'd feel better if you could get a load of
38:32
how I'm going to lose mine. Good afternoon, Professor.
38:34
[ Phone hangs up ]
38:36
Detective Ritzo check in yet?
38:38
All right, tell him to lug his rear end here on the double.
38:42
I ought to bust him right down to patrolman.
38:44
-You, uh, looking for me, Lieutenant?
38:45
-Yeah. Come on in and close the door.
38:48
-Uh, Jarvis on the desk tells me the Williams guy was
38:51
on the phone having a fit.
38:53
-Didn't I tell you to stop making waves?
38:54
-Well, yes, Lieutenant.
38:56
-Did I tell you the Williams case was closed?
38:58
-It can't be closed as long as there's a charge.
39:00
-That's up to the judge!
39:02
Now we've done our part.
39:04
We have a statement and a confession.
39:06
That's all we're supposed to provide.
39:07
-Uh-huh. A phony confession.
39:10
-What does that mean?
39:12
-Now, look, that professor has a kid around 17-18, huh?
39:15
I talked to him today.
39:16
I'll lay you dollars to donuts,
39:18
he was the one driving the car when that accident--
39:20
-Do you have any proof of that?
39:22
-No, but give me an hour with that kid
39:23
and I'll crack this case!
39:24
-Why Detective Ritzo,
39:26
strong-arm methods from a member of the new breed?
39:30
I thought today's young cop was exchanging the third degree
39:33
for a college degree.
39:34
-You know, I didn't mean anything like that.
39:36
But if you just give me a chance to get to the--
39:38
-Why? Why would a respected college professor,
39:41
a guy as prominent in this town as he is?
39:44
Why would he risk his reputation
39:46
to cover up something his son did?
39:47
-I don't know. -I mean, this guy's a teacher.
39:50
The last thing in the world
39:52
he'd do is let his son run out on a responsibility.
39:53
-Yeah, that's the way I see it.
39:55
-Psychologically. -Oh, psychologically?
39:59
Now, let's not get tangled up with that bull again, huh?
40:02
We have a confession, Detective Ritzo.
40:05
-Lieutenant, give me a break.
40:06
I got the strongest hunch!
40:08
-It isn't any stronger than mine.
40:10
And mine is, if you don't let this lay like I told you,
40:14
you're going to be back in your boon dockers,
40:16
walking a beat as far uptown as these city limits stretch.
40:20
Okay, Detective Second Grade, is this case closed?
40:25
-Well, like you say, the case is closed.
40:29
♪♪
40:35
-David.
40:37
-In the study, Mom. You all right?
40:40
-I-I just want to talk a minute. What are you doing?
40:43
-Just catching up on some homework.
40:45
-Oh, David, that -- that man,
40:47
that detective you said came here,
40:49
are you sure all he asked you about was the accident?
40:53
-Look, Mom, that's --
40:56
I mean, I promised Dad I wasn't going to talk about it anymore.
40:59
So did you. It's a closed book.
41:01
-We're going to have to open it again.
41:03
Did he ask you about anything else than the accident?
41:05
-No, but, uh-- -Look, David.
41:07
You have got to go to the police and tell them the truth.
41:10
-Now, I promised Dad. -David, don't make me go.
41:13
-You promised him too. -You don't understand.
41:15
Everything's changed. He has to be stopped.
41:19
There must be some justice.
41:21
-Mom, why don't you go upstairs?
41:22
-Look, don't -- don't treat me like an invalid
41:24
or worse, a halfwit.
41:26
Have you read the newspaper that you brought up to me today?
41:29
-No.
41:32
-Do you know a girl named Susan Rowland?
41:36
-Susan? Yeah, yeah. Kind of.
41:38
I mean, she was a class ahead of me at school.
41:41
I guess I rapped with her here and there,
41:43
but we never dated or anything like that.
41:47
-That her picture?
41:49
-Yes. Front page. What happened?
41:53
-Read the story and find out carefully.
41:57
Then you'll know why your father is so anxious to keep you quiet.
42:03
David, you're...
42:05
You're going to find out why the truth has to be told.
42:08
♪♪
42:13
-Lieutenant Klamath here.
42:15
How's everything with the 12th, John?
42:17
-Uh, you know how it goes with lieutenants
42:18
in the police department from bad to worse.
42:21
-A little favor, George. -Name it. You got it.
42:23
-You see the DOA we had on the bulletin,
42:25
possible suicide, now definitely homicide.
42:28
-The picture in the morning paper?
42:29
-Yeah, that's the one.
42:31
Susan Rowland, 19-year-old, college student.
42:34
We're running a routine check on all her acquaintances.
42:37
-You gotta make on anyone.
42:38
-No. Fingerprints all over the place.
42:41
-But not even a warm lead. -Uh-huh, well, what can I do?
42:44
-Uh, well, I'm running down blind alleys.
42:47
Like in her address book is the name of a guy,
42:50
Grant Williams, domiciled your precinct.
42:53
She seemed to have been in one of his classes
42:55
at the university.
42:57
Could you spare a man to check it out?
42:58
-John, I don't even have to.
43:01
I'll close one lead for you.
43:03
What time did your little student get strangled?
43:05
-Uh, well, M.E. puts it at around 2:00.
43:09
At 1:55, she called her mother to say she was pregnant.
43:12
And the guy who did it was with her.
43:14
She started to give his name. The connection was broken.
43:17
At 2:15, a prowl car responded
43:20
to a code two, suspicion of suicide by gas.
43:22
They broke in, turned off the gas,
43:25
but the girl had already been dead 10 or 15 minutes.
43:27
-So. Ahem. 2:00. -2:00, eh?
43:31
Well, that lets out Grant Williams.
43:33
2:00, our side of town, 45 minutes away.
43:37
He was involved in a traffic accident.
43:40
He's already booked.
43:42
-Oh, one down. How many to go?
43:44
Thanks, George. Sorry to bother you.
43:47
♪♪
43:55
-How long ago did he leave?
43:57
-Too late for you to stop him.
43:58
-I ought to kill you for this.
44:00
-Like you did that poor little girl.
44:02
-No, no, no. I-I-I didn't mean to.
44:05
The -- The little idiot refused to have an abortion.
44:08
She wanted me to marry her. Marry her, for heaven's sake.
44:11
-Oh, and divorce your meal ticket.
44:13
-Marion. Marion, please. Please, help me!
44:15
-No, not anymore.
44:17
Anyway, I couldn't even if I wanted to.
44:18
-But, David, maybe I can still stop David.
44:22
-If you could, you'd still have to stop me.
44:25
♪♪
44:32
-And everything my father testified to
44:34
in his statement was true, except that it was me
44:38
who was driving the car, not my father.
44:40
I hit that man, panicked, and drove off.
44:43
-Well, don't look at me, Lieutenant.
44:45
I have nothing to say.
44:47
-You wouldn't have to, Ritzo.
44:50
I know the boy is telling the truth.
44:53
Yeah, you were right all along.
44:56
I had a phone call about a half an hour--
44:58
-I demand to see my son.
44:59
-It's all right, Sergeant. Let him in.
45:02
-[ Door closes ] -[ Footsteps approach ]
45:04
What is it, Professor Williams?
45:06
-David, I don't want you to say one word
45:08
until I've talked to you, and we can get legal advice.
45:10
-It's too late, Dad.
45:11
I've said everything I have to say.
45:13
-You don't know what you're doing!
45:14
-For the first time in my life, I do.
45:17
I'm taking care of myself.
45:19
Oh, how could you do it, Dad, to a nice kid like Susan?
45:23
-I don't know what you're talking about.
45:25
-I can clear that up, Professor.
45:28
We're booking you for the murder of Susan Rowland.
45:30
-Oh, you can't. I have an alibi.
45:33
-Correction. You had an alibi. -But I'm not guilty.
45:37
And you can't prove it.
45:39
-We will, with your help.
45:42
-Well, what do you mean?
45:44
-It's ironic, isn't it?
45:46
If you hadn't walked in here and made a false confession,
45:49
we might never have had your fingerprints.
45:52
That's what's going to nail you.
45:54
You provided us with a whole set to match up.
45:59
You were just a little too clever.
46:02
You managed to hang yourself.
46:05
All right. Take him out and book him, Jarvis.
46:07
-Dad, I...
46:09
-Let him go, kid, huh? Let him go.
46:12
There's nothing you can do for him.
46:15
Now, you go on with Foster.
46:16
Let him type up your statement, huh?
46:19
-What's going to happen to him?
46:22
-He'll be found guilty as he ought to.
46:25
-And me?
46:27
-You've taken a beating here already.
46:30
It's an accident. Won't be too tough.
46:34
And things should be looking up from now on,
46:36
for both you and your mother.
46:39
Go on, kid.
46:41
-Okay, Lieutenant. -[ Door opens ]
46:44
-[ Footsteps depart ] -[ Door closes ]
46:47
-Well, I guess I ought to start to eat my hat, Ritzo, huh?
46:52
But I'd rather just say I'm sorry.
46:54
-Oh, no. Me, too, Lieutenant.
46:57
This is one time I wish I could just have been...wrong.
47:02
-When you're a cop as long as I've been,
47:04
there'll be a lot more.
47:07
I wish I could say you get used to it.
47:10
Come on, let's try the squad room coffee.
47:13
-All right.
47:15
-Bad as it is, it's better than the taste
47:17
I got in my mouth right now.
47:18
♪♪
47:23
-So Marion's intuition was right, along with Ritzo's.
47:28
And David made the first long stride towards being a man.
47:34
Something else I'd like to say about that, uh,
47:38
but I'll return shortly.
47:40
♪♪
47:48
♪♪
47:56
Not every story must have a moral.
47:59
But I believe this one has.
48:02
Not that crime doesn't pay.
48:05
That's obvious.
48:06
But that the acceptance of responsibility
48:10
is a cornerstone of life.
48:13
The Apostle John has saved us Jesus' words,
48:17
"You shall know the truth, and the truth shall set you free."
48:24
Our cast included Arnold Moss, Ralph Bell, Clarissa Blackburn,
48:29
Billy Redfield, and Kristoffer Tabori.
48:33
The entire production was under the direction of Himan Brown.
48:40
This is E.G. Marshall inviting you to return
48:43
to our "Mystery Theater"
48:45
for another adventure in the macabre.
48:48
-Until next time. -[ Door creaks ]
48:51
Pleasant dreams?
48:54
[ Loud creaking continues ]
48:59
[ Door closes ]
49:00
♪♪
49:10
♪♪
49:20
♪♪
49:29
♪♪
49:36
-"If You Please...
49:37
Himan Brown's Radio Mystery Theater"
49:39
is produced and directed by Sarah Montague.
49:42
Our executive producers are Melina Brown and Sarah Montague.
49:46
CUNY TV's executive director is Chiqui Cartagena.
49:50
The director of production is Susan Iger.
49:53
The associate producer is Corinne Wallace,
49:55
and our audio production intern is Sofia Cedeno.
49:59
Margo Avery is the voice of the series
50:01
introduction and credits.
50:03
The program commentaries are by John Slavney.
50:06
Our technical team at CUNY TV
50:09
includes senior audio engineer Richard Kim
50:12
and broadcast audio engineers Jackie Mitchell and Kevin Wolfe.
50:17
Our staff photographer is Laura Fuchs.
50:19
Our archivists are David Rice and Catriona Schlosser.
50:23
Our closed caption coordinator is Amy Monte,
50:27
The "If You Please..." program mix engineer
50:29
is Lisa Gosselin-Vincent.
50:31
Tink Media handles our publicity and marketing.
50:34
Our director of social media is Karen A. Brown.
50:37
In collaboration with Stardust Blu PR.
50:41
"If You Please... Himan Brown's Radio Mystery Theater"
50:43
is a production of CUNY TV and Radio Drama Network.
50:49
If you enjoyed the show and are curious about
50:51
the history of these radio programs,
50:53
listen to "Audio Maverick".
50:55
In this award-winning, nine-part documentary,
50:58
we explore the golden age of radio
51:00
through the life of dramatic genius Himan Brown,
51:03
and then explore the work of contemporary audio dramatists
51:07
who are part of his legacy.
51:09
"Audio Maverick" is available anywhere you get your podcasts.