Latest / If You Please, Himan Brown’s Radio Mystery Theater / S2E9: The Lady was a Tiger

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S2E9: The Lady was a Tiger · If You Please, Himan Brown’s Radio Mystery Theater

0:00
>> Welcome to the second season of "If You Please,
0:03
Himan Brown's Radio Mystery Theater."
0:05
On this series,
0:07
we are offering rebroadcasts of a select group
0:08
of programs created by this legendary producer for CBS
0:12
between 1974 and 1982.
0:15
Brown reimagined radio drama for contemporary times.
0:19
Our new series offers some of these exciting works again.
0:22
In season one,
0:24
we delivered riveting tales of foul play, betrayal,
0:26
greed, and misguided love.
0:28
We foiled a murder, considered reincarnation,
0:31
pondered the nature of guilt, and traveled through time.
0:34
We heard Himan Brown's troupe of seasoned audio actors
0:37
embody a wide range of characters
0:40
and deliver thrills time and again.
0:42
And for season two,
0:44
they are all set to keep our headsets on
0:46
and our fingers tapping play. Before each program,
0:49
commentator John Slavny shares details about the cast,
0:53
the writer, and the plot.
0:54
Your job -- listen.
0:56
"If You Please" is produced in loving memory
0:58
of Robert Isaacson.
1:00
♪♪
1:07
>> The mid '70s were a good time for spy and conspiracy
1:10
thrillers at the movies and on the radio,
1:12
too, like the play we'll hear in this intriguing episode of
1:16
"If You Please," "The Lady Was a Tiger."
1:18
Hi, everyone. I'm John Slavny.
1:20
Glad to be back with you again.
1:21
In a minute, we'll meet Larry Fielding,
1:23
a young reporter who gets drawn into
1:25
a Cold War intelligence operation
1:27
he doesn't fully understand.
1:29
Newly fired from his newspaper job,
1:31
Larry is mugged in the middle of a New York City park
1:34
and rescued by Dave Wilson,
1:36
a friendly stranger who claims to be a World War II veteran
1:39
sitting on a fortune in jewels looted by the Nazis.
1:42
Wilson offers Larry a trip to Paris
1:45
and a cut of the finder's fee
1:47
just for running a simple errand --
1:48
track down an old professor
1:50
who holds the only map to the buried jewels.
1:53
It's a pitch that sounds too good to be true,
1:55
and Larry is skeptical at first,
1:57
but before long he finds himself in a famous Left Bank café
2:00
in the "City of Light,"
2:02
and that's where his adventure really begins.
2:04
The script is by Murray Burnett, who, as we've noted before,
2:07
is best known as a co-author of the play
2:09
that became the film "Casablanca."
2:12
He brings the same romantic mood to this story --
2:14
an American abroad,
2:16
a beautiful woman, a nosy inspector from the Paris sûreté.
2:19
together with a gang of Russian agents,
2:20
double agents, and apparatchiks.
2:23
William Redfield stars as the reporter, bringing intelligence
2:26
and a self-deprecating wit to the role.
2:29
Before his untimely death at 49,
2:31
Redfield enjoyed an active career on stage, radio,
2:34
television, and film.
2:35
He was born in New York City,
2:37
where his father was a musical conductor for the stage
2:40
and his mother a chorus girl with the Ziegfeld Follies.
2:43
Redfield was also a founding member
2:45
of the legendary theater workshop, The Actor's Studio.
2:48
Here, his polished delivery lends a timeless quality
2:51
to our play that complements the subject matter perfectly.
2:54
Joan Lorring plays the American woman in Paris,
2:57
the tiger of the title.
2:59
She was one of Himan Brown's favorite femme fatale,
3:01
and her silken voice is always a welcome addition
3:03
to a "CBS RMT" production.
3:06
Lowering would go on to appear in more than 20
3:08
"Radio Mystery Theater" episodes,
3:09
mostly in 1974 and '75.
3:12
The ever-interesting Roger de Koven plays
3:14
both the friendly American Wilson
3:16
and the coolly professional Russian Dr. Rodzanski.
3:19
Like many actors who worked on "Radio Mystery Theater,"
3:21
de Koven built up serious theater credentials,
3:24
mostly in the 1930s and '40s.
3:26
In the 1970s, he was a regular
3:29
on daytime television stalwarts
3:30
like "Days of Our Lives" and "The Guiding Light."
3:33
Also playing two parts is the protean Ian Martin,
3:36
both as the French police inspector
3:38
and as a man named LeClerc.
3:40
Completing the cast is a fine character actor Chris Gampel,
3:43
whose face you might recognize from films
3:45
like "Annie Hall" and "Death Wish."
3:47
He also clocked dozens of television appearances
3:49
in the 1950s and '60s.
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He recorded only one other "RMT" episode later in 1974.
3:56
One last note -- the two Paris cafés
3:58
that serve as key settings in this episode,
4:01
Les Deux Magots and the Café de la Rotonde are real,
4:04
and each has stood at its present location
4:06
for more than a century.
4:08
I see it's getting a bit crowded in here,
4:10
so I hope you can find a seat at a table or a spot at the Seine
4:13
and enjoy this fast-moving Cold War thriller.
4:17
"The Lady Was a Tiger" was recorded
4:19
on Wednesday, January 2, 1974,
4:21
and broadcast a little more than a month later
4:24
on Tuesday, February 5th.
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♪♪
4:32
>> The "CBS Radio Mystery Theater" presents...
4:36
[ Door opens ]
4:38
[ Door creaking ]
4:45
♪♪
4:52
Come in.
4:55
Welcome.
4:57
I'm E.G. Marshall.
4:59
Welcome to the fear you can hear.
5:03
Welcome to the world of your own terrifying imagination.
5:08
The art of the double cross, unfortunately,
5:12
has become part of the fabric of our lives.
5:15
In espionage, however, it is almost a lifestyle.
5:20
In the world of spies, for the left hand
5:23
ever to know what the right is doing is unthinkable.
5:27
For the next hour,
5:29
imagine that you are Larry Fielding,
5:32
a 32-year-old newspaper man caught in a dizzying web
5:36
of circumstances seemingly beyond his control.
5:40
>> Larry, please change your mind and come with me.
5:42
>> Not until you tell me who you are
5:44
and why you sneaked into my hotel room.
5:46
>> You're a fool, Larry.
5:48
You must know that the police are looking for you,
5:50
and they'll be here any minute.
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>> Oh, well, you're here now,
5:53
and I still want to know who you are.
5:55
>> If that's so important, my name is Carol Johnson.
5:58
And when I tell you I know all about the murder of Dave Wilson,
6:01
maybe you'll believe that I'm here to help you.
6:04
♪♪
6:12
>> Our mystery drama,
6:14
"The Lady Was a Tiger,"
6:16
written especially for the "Mystery Theater"
6:18
by Murray Burnett, stars William Redfield.
6:21
I'll be back shortly with act one.
6:24
♪♪
6:32
♪♪
6:40
Walking is great exercise, and with good weather
6:44
can also be great fun,
6:47
but not when you've just been fired by the editor
6:50
of the newspaper
6:52
for which you've worked happily for five years.
6:55
Larry Fielding has been walking aimlessly for two hours
6:59
trying to figure out why Horace Finley, the editor and his boss,
7:04
had refused to give him any reason for his dismissal.
7:08
Tormented by his frustrating thoughts and tired,
7:12
Larry sits down on a park bench to think.
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He is so deep in thought he is unaware of three men
7:21
who suddenly surround him.
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Larry has only to look at them to know that he is in trouble.
7:27
He tries to get up but is pushed back down
7:30
and the men start to beat him up.
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[ Punches landing ] >> No, take --
7:34
take my money and leave me alone, will you?
7:37
Look, if -- if you want money, I --
7:39
I told you, you -- you can have it.
7:41
Help! Help!
7:47
>> Calling for help when you're being mugged in a big city park
7:50
is sometimes as helpful as trying to catch hold
7:54
of a windowsill in a 30 story fall.
7:58
But this time, there was a miracle.
8:01
A stranger has seen the attack and rushes to help.
8:05
[ Men grunting, punches landing ]
8:06
>> Hang in there, young man. Here comes help.
8:10
That's a nice jaw you have there, fella.
8:12
You need a lesson in kicking.
8:14
[ Men grunt ]
8:16
Oh, that took care of them. They're gone.
8:20
>> Oh, thanks. >> Let me help you up.
8:24
>> Thanks, mister. Thanks a lot.
8:25
I tell you, I was in real trouble.
8:29
>> My pleasure. Did they get your wallet?
8:31
>> I don't know. I -- No, no, no.
8:33
I got a lot of bruises, but they didn't get a thing.
8:35
Say, you're a pretty good scrapper for a --
8:38
for a guy my age.
8:40
>> Well, yeah. Yeah.
8:43
>> Hey, what are you, a karate expert?
8:45
>> Oh, just keep myself in shape.
8:47
>> You sure do.
8:48
Listen, can I do something for you
8:50
to show you I r-really meant thanks?
8:52
>> You certainly can. How about coffee?
8:55
>> Oh, sure, sure, but -- but that's nothing.
8:56
What I meant was, uh -- >> I know what you meant.
8:59
My name's Dave Wilson.
9:00
>> Oh, good. I'm, uh -- I'm Larry Fielding.
9:03
>> Oh, come on, Larry, let's have a cup of coffee.
9:06
♪♪
9:14
>> You know, I still can't get over the way
9:15
you tore into those guys.
9:17
>> I was a commando in World War II.
9:19
>> World War II? >> [ Chuckles ]
9:22
Did you think I was in the Civil War?
9:23
>> No. No, I didn't mean that. It's just that --
9:25
>> Well, to a young fellow like you,
9:27
World War II might as well have been in the last century.
9:30
It was only 30 some odd years ago, you know.
9:32
>> Oh, I know, I know.
9:34
After all, I was in the newspaper business.
9:35
>> Yeah, yeah.
9:37
That's tough, what you told me about losing your job.
9:39
What are you going to do? >> Oh, I don't know.
9:41
Look around for another one.
9:43
What bothers me is the way my editor let me go.
9:45
No explanations. You know, we were friends.
9:47
You'd think he'd at least tell me why he fired me.
9:50
>> Those things happen. >> [ Groans ]
9:51
>> Stop torturing yourself and begin making plans.
9:53
>> No, not until I get this thing
9:55
straightened out in my own mind.
9:57
I think I'll call my editor at home tonight and --
9:59
>> I've got a better idea.
10:00
>> [ Chuckles ] Go out and get drunk, huh?
10:03
>> Nope. How about a trip to Paris?
10:07
>> [ Chuckling ] Are you putting me on?
10:09
>> I'm serious. >> Well, what are you,
10:11
a scout for contestants for some kind of TV quiz show?
10:14
>> [ Chuckles ] No, I'm a man sitting
10:17
on a couple of hundred thousand dollars...
10:19
>> What? >> ...and I need a guy
10:21
just like you.
10:22
>> Now, look, look, I'm a newspaper man.
10:25
Anytime a stranger starts talking about a trip to Paris
10:27
and a couple of hundred thousand dollars, I, uh --
10:29
>> Walk away without even listening?
10:31
>> Yeah. >> Even if the man just happened
10:33
to maybe save you from being mugged, robbed, and beaten up.
10:36
>> Okay. Alright, I'll listen. But believe me, that'll be it.
10:40
>> Fair enough. First, here's my card.
10:44
>> Oh, uh, David Wilson, Calridge Imports.
10:48
I never heard of them.
10:49
>> You can call and check me out.
10:51
I told you I was in World War II.
10:53
>> Oh, look, I'm grateful to you,
10:55
but you're wasting your time.
10:57
>> Why don't you shut up and listen?
11:00
You've probably heard about the millions of dollars
11:02
in artworks and precious jewels
11:04
that the GI's liberated during the last days of the war.
11:08
>> Liberated? Sure. Yeah, well, I've heard stories.
11:10
>> Well, most of them are true.
11:13
One that I know in particular certainly is.
11:16
Did you ever hear the Lancere collection?
11:18
>> Lancere? Lancere? No, no.
11:20
>> Count Lancere came from an old French family,
11:23
and the Lancere collection is a fabulous assortment of diamonds,
11:27
rubies, emeralds, and other precious stones
11:31
which were seized by the Nazis
11:33
when they swept through France in 1940.
11:36
A pal of mine, not a commando,
11:39
happened to come upon the collection
11:41
when the Americans were driving the Germans back in '44.
11:43
>> Wait a minute, wait a minute. And he liberated it?
11:46
>> Exactly.
11:48
He had a distinguished Frenchman named Henri Thiele.
11:50
>> Huh? Professor Henri Thiele? the archaeologist?
11:54
>> That's the man.
11:56
>> Oh, come on, he wouldn't, uh --
11:58
>> You were saying something? >> No, nothing.
12:02
>> You were about to say he wouldn't get involved
12:05
in anything crooked, weren't you?
12:07
>> Yeah, something like that.
12:09
>> You're right, he wouldn't.
12:11
But he was younger.
12:13
The world was quite different then.
12:15
And my GI pal was a most persuasive guy.
12:19
They decided to bury the Lancere collection.
12:23
They did. They drew a map,
12:26
and today, Professor Thiele is the only possessor
12:30
of that map. >> Uh-huh.
12:31
And, uh, what happened to your nameless friend?
12:34
>> He's dead.
12:36
Professor Thiele wants to return the jewels.
12:39
>> [ Chuckles ] That's easy, isn't it?
12:41
>> Not if the professor doesn't want embarrassing questions
12:44
asked about how he came by the map in the first place.
12:47
>> Oh, I see. What about you?
12:50
>> Calridge Imports is a highly respected
12:52
and reputable importing firm.
12:54
I want to keep it that way.
12:56
>> Oh, so do I, even though I've just been fired.
12:59
>> You haven't heard what I'm asking you to do.
13:02
>> Well, what? >> Come with me to Paris.
13:06
You're writing a story on Professor Thiele.
13:08
He's good material, you'll grant me that.
13:10
>> Yes, yes.
13:12
>> You'll interview him, naturally.
13:14
During the course of that interview,
13:15
he'll give you a slip of paper,
13:17
which is a map showing the location of the jewels.
13:20
You'll later deliver it to me.
13:23
That's all you have to do.
13:25
>> You, um, mentioned something about sitting
13:28
on hundreds of thousands of dollars.
13:31
>> That's right.
13:32
The Lancere collection is worth that and more.
13:34
I'm sitting on it.
13:36
I intend to return the jewels and collect a reward.
13:41
If you want a share in that, you deserve it.
13:47
This is Wilson. The report is positive.
13:50
Fielding has agreed to go to Paris with me.
13:53
He bought the story about picking up a map showing
13:55
the location of the Lancere collection.
13:57
Operation successful.
13:59
♪♪
14:05
You'd better be on your way, Larry.
14:07
You're due at Professor Thiele's in 10 minutes.
14:09
>> I suppose it's, uh, too late to back out, huh?
14:12
>> You can always back out, Larry,
14:14
but I don't think you will.
14:15
There's really nothing to it.
14:17
Make it look like a normal interview.
14:18
Take notes.
14:20
The professor will give you the map.
14:22
Slip it in with your notes. Bring it back to me here.
14:25
I'll be waiting. >> [ Sighs ] Okay.
14:29
>> Larry. >> Yes.
14:31
>> Relax. >> [ Chuckles ] Sure thing.
14:34
I'll see you.
14:35
♪♪
14:41
>> Would monsieur mind if I join him?
14:43
>> I wouldn't mind at all, but I don't think
14:44
I'm what you're looking for.
14:46
>> Oh, but monsieur is exactly what I seek. Exactly.
14:49
>> And just what is it you're seeking?
14:51
>> To warn you that you are in grave danger.
14:54
>> Why don't you come off it with that phony accent?
14:56
If you've got something to say to me, say it.
14:58
>> Would monsieur buy me a Pinot?
15:00
>> Sure. Garcon, pinot, please.
15:04
>> Monsieur, it is very difficult for me.
15:06
I do play a role, as you have guessed.
15:08
And I am not here by chance.
15:11
You must leave -- and quickly.
15:13
>> Uh, your Pinot, monsieur.
15:14
>> Not for me. It's for the lady.
15:16
>> And, uh, for you I have a knife.
15:20
>> [ Gasps ]
15:22
But he's going to die.
15:24
>> If you do as I say, there'll be no problem.
15:27
You simply put his head down gently on the table,
15:30
so, and people will see another drunken tourist.
15:38
>> Your name is Larry Fielding.
15:41
You're 28 years old, and you're feeling marvelous.
15:45
You have just completed a fascinating interview
15:47
with Professor Henri Thiele, and you have the paper
15:51
that you're going to hand over to your friend
15:52
who's waiting at Les Deux Magots.
15:55
You see him at the table where you left him.
15:57
His head is down, but you're not concerned.
16:00
>> Dave, Dave, wake up. I saw the professor.
16:03
What? >> Monsieur, what has happened?
16:06
>> Well, I don't know. I-I came back to meet my friend.
16:08
He -- I-I-I guess he's passed out.
16:11
>> One moment, monsieur.
16:12
Look, this man has been murdered.
16:14
>> What? >> Stabbed to death.
16:18
You will wait here for the police.
16:20
>> I will -- I will not. I'm getting out of here.
16:23
♪♪
16:28
[ Knock on door ]
16:30
>> Who is there?
16:31
>> It is I. Open up.
16:33
[ Door opens ] >> What's the matter?
16:36
What happened?
16:37
>> The other American. The young one.
16:40
He got away.
16:41
>> You let him go?
16:42
>> He panicked. Ran. >> Now what?
16:45
>> He'll probably go back to his room at the Dauphiné.
16:47
You'll check.
16:48
>> But aren't the police looking for him?
16:49
>> I hope so.
16:50
I gave them a complete description.
16:52
>> And what do I say to them if they find me in his room?
16:54
>> Ah, a beautiful young lady like yourself.
16:58
Get to him and find out where the paper is.
17:01
♪♪
17:06
[ Tapping ]
17:08
[ Door unlocks, opens ]
17:13
>> [ Muffled grunting ] >> [ Grunting ] Alright.
17:14
>> Alright. Who are you? >> [ Muffled grunting ]
17:17
>> If I take my hand away, you promise not to scream?
17:20
>> [ Muffled grunting ] >> Right? Right? Okay.
17:23
Now, why have you picked the lock in my room?
17:26
>> Never mind. You have to get out of here.
17:29
>> Not until you tell me who you are.
17:31
>> If that matters, my name is Carol Johnson.
17:34
I've been sent here to help you. >> Oh, sure.
17:36
>> I know about the murder of your friend.
17:38
>> Wait a minute, wait a minute. Sent by whom?
17:41
>> I'll answer your questions while we're on the way.
17:44
>> On the way to where?
17:45
>> Safety. >> I don't need to run.
17:47
I didn't kill anybody.
17:49
I'm not about to take off with a strange girl,
17:51
particularly not one who's equipped with skeleton keys.
17:53
>> Oh. Suit yourself. Goodbye.
18:00
[ Knock on door ]
18:02
>> Come in. [ Door opens ]
18:05
>> Monsieur Lawrence Fielding?
18:07
>> Yes? >> Inspector Victor...
18:10
Sûreté. >> Oh.
18:11
>> You will please come with me.
18:13
>> [ Scoffs ] What for?
18:15
>> Suspicion of murder of another American,
18:18
Monsieur David Wilson.
18:24
>> Inspector, listen.
18:26
Why would I kill Dave? I've already told you
18:29
I had an appointment to meet Dave at the café.
18:30
He was waiting for me.
18:32
Would I have walked up to a man I just killed
18:34
and shake him so that he'd fall down and make a big scene.
18:36
>> That is your explanation.
18:39
There is nothing to support it.
18:40
>> Well, there's nothing against it either.
18:42
>> There is the word of Louis [indistinct]
18:44
>> Louis -- Who's he?
18:46
The waiter who attended the table
18:48
at which Monsieur Wilson and you sat.
18:50
>> [ Sighs ] >> The only reason
18:52
that you are not, as of this moment,
18:54
charged with murder is because you did return.
18:57
That much the waiter's testimony supports.
19:01
Only he says that Monsieur Wilson
19:03
might very well have been dead
19:05
shortly after you returned, and that you had time to kill him.
19:10
>> That's a lie.
19:11
>> So you say.
19:12
>> Ah, just check with Professor Thiele.
19:14
He'll tell you what time I arrived, what time I left.
19:16
>> We have been trying, and there has been no answer.
19:20
[ Buzzer ] Ah.
19:22
we may have him on the telephone now.
19:23
[ Receiver clicks ] Hello?
19:26
Hey.
19:27
Ah.
19:29
That so?
19:30
Oui, bien. Merci. [ Receiver clicks ]
19:33
>> Alright. Well, what did he say?
19:35
>> That was not Professor Thiele.
19:37
That was his apartment.
19:40
And his servant.
19:41
>> His servant?
19:43
Th-There was nobody there when I saw him.
19:45
>> Don't you mean if you saw him, monsieur?
19:49
>> Oh. >> According to the servant,
19:51
Professor Thiele left for an extended holiday
19:54
early this morning,
19:56
and it is not known when he is expected back.
19:59
♪♪
20:05
>> Your name is Larry Fielding.
20:07
You're 32 years old, and you find yourself in prison
20:11
in Paris, accused of murder.
20:15
You know you've been had and you're dealing with forces
20:18
that seem beyond your control.
20:20
You have a million questions,
20:22
and the only man who could answer them is the man
20:26
you're accused of killing.
20:28
We'll be back shortly with act two.
20:32
>> Like what you're hearing so far?
20:35
Are you curious about the history behind radio programs
20:37
just like this one
20:39
and the dramatic genius who created them?
20:41
In the nine-part award-winning documentary "Audio Maverick,"
20:45
we explore the golden age of radio
20:47
through the life of Himan Brown.
20:50
You'll hear the history of radio come to life as we travel
20:53
from the birth of audio drama to the programs
20:55
that brought millions of families
20:57
into their living rooms every night.
20:59
"Audio Maverick" is available anywhere you get your podcasts.
21:03
♪♪
21:10
♪♪
21:17
>> To many Americans, Paris means visits to the Louvre,
21:21
strolls along the Seine, or fine food.
21:24
But to Larry Fielding,
21:26
It means the inside of a prison cell,
21:29
where he sits accused of a murder he didn't commit.
21:34
Fielding knows he's been caught up in something
21:36
that involves more than the recovery of some stolen jewels.
21:40
However, what he doesn't realize is that he's the key pawn
21:45
in a deadly game,
21:47
and the players are about to make some moves.
21:50
[ Knock on door ]
21:52
>> Come.
21:53
[ Door opens ]
21:55
>> I don't think it's smart to have me come here so often.
21:57
[ Door closes ]
21:59
>> I would not have sent for you if it were not necessary.
22:02
Do you still believe that Fielding knows nothing
22:04
about the operation? >> I do.
22:06
>> Then where's the document?
22:08
>> Well, we don't know he ever had it, do we?
22:10
>> We know he visited Thiele.
22:13
We know that Wilson waited for him at Les Deux Magots.
22:16
We know he came back there.
22:18
I think it is safe to assume that he was carrying the plans.
22:21
>> And he didn't have it on him when he was arrested.
22:24
>> Roger arranged to be there
22:26
when Fielding was brought in and searched.
22:28
He says there was nothing on him.
22:30
>> But he wasn't picked up right away.
22:32
>> Exactly.
22:34
He eventually went back to his hotel room, as you know.
22:37
I believe he has the paper
22:39
and that he has somehow managed to hide it.
22:41
>> Ah. >> It does us no good in prison.
22:43
We shall have to arrange to have him released.
22:45
>> And how do we do that?
22:47
>> We don't. You do.
22:50
♪♪
22:58
>> Sit down, mademoiselle.
23:01
Your passport says Carol Johnson.
23:04
>> That's right, Inspector.
23:06
>> And I am told you are in my office
23:07
because of the unfortunate incident
23:10
in the café Les Deux Magots. >> Yes, Inspector,
23:13
I -- I-I just had to come here to tell you
23:16
you -- you have the wrong man.
23:17
>> Ah? And how do you know that?
23:20
>> I'm studying at the Sorbonne.
23:22
I visit Les Deux Magots all the time.
23:24
I was sitting right there when that man was murdered.
23:27
>> [ Speaks French ]
23:29
You saw a man murdered, and you did nothing?
23:33
>> Oh, at the time, I didn't know it was a murder.
23:35
I just thought the man had too much to drink or was ill.
23:39
But the reason I know that you've arrested the wrong man
23:42
is that the murdered man was dead
23:43
before this young American, Fields or -- or --
23:46
>> Uh, Fielding. >> Yes, well,
23:48
the man was dead before Fielding ever got to the table.
23:52
Fielding came and shook him,
23:54
and that was when it was discovered that he was dead.
23:57
I'm prepared to swear to that, Inspector.
23:59
>> Of course you are prepared to swear to this, uh, story
24:02
that you have just told me.
24:04
>> Why not? It's the truth. >> Of course, mademoiselle.
24:08
Why would a beautiful young lady like yourself
24:10
lie to an inspector of the sûreté?
24:14
>> I'm not sure that I like the way you say that, Inspector.
24:18
But everything will be alright if you release young Fielding.
24:22
>> You have told me you will swear to this statement
24:24
of yours in court.
24:26
Therefore I have very little choice.
24:29
>> Ah, good.
24:30
>> But, mademoiselle,
24:32
I have been a police officer for 20 years.
24:35
Long enough to know that witnesses
24:37
who appear late with an alibi for accused murderer
24:41
often have reasons for -- >> Oh. That's ridiculous.
24:43
>> And I also wish to warn you, mademoiselle,
24:47
that the sûreté considers this a very much open case.
24:51
>> [ Chuckles ] That is the business of the sûreté.
24:55
Au revoir, Inspector.
24:56
[ Door opens, footsteps ]
24:59
[ Door closes ] >> Hm.
25:00
[ Receiver clicks ]
25:01
Gerard, you will follow the young lady
25:04
who just left my office.
25:05
And do not lose her.
25:07
♪♪
25:14
>> Hello, there. >> Oh. It's you.
25:17
>> [ Chuckles ] Want to give me a lift?
25:18
>> Well, I suppose I owe you something
25:20
for getting me out of jail.
25:22
Taxi! Taxi! [ Vehicle approaching ]
25:24
Yeah, yeah, we got one. [ Tires screeching ]
25:26
Hop in. [ Vehicle door opens ]
25:28
>> Oh. [ Chuckles ] Thanks.
25:30
>> Uh, driver... [ Vehicle door closes ]
25:31
...Hôtel Dauphine.
25:33
[ Vehicle departing ]
25:35
>> Well, you look pretty good for a jailbird.
25:38
>> You look pretty good yourself for...
25:41
Come to think of it, what are you?
25:43
>> An American girl in Paris trying to make a living.
25:46
What are you? >> An American in Paris
25:48
in need of a bath, a drink, and some food.
25:53
>> You know, you're not bad-looking.
25:56
>> Oh, thanks.
25:58
While we seem to be exchanging compliments,
26:00
can I say you're about the best-looking girl
26:02
I've seen since I've been here?
26:04
>> [ Laughs ]
26:06
Thank you.
26:08
Now that we like each other so much,
26:10
don't you think it's time
26:12
we started telling each other the truth?
26:13
>> Mm...y-yes, I'll buy that.
26:16
[ Suspenseful music plays ]
26:22
[ Speaks French ]
26:23
Opérateur...
26:25
Well, never -- You speak Eng--
26:27
Okay, well, look, I phoned the desk about an hour ago
26:29
to get this room straightened up,
26:30
and so far, nothing's happened.
26:32
Now, can you please just send someone up
26:34
so I can sleep here tonight? Huh?
26:35
>> Oh, while you're at it, where's our food?
26:37
>> [ Stammers ] Wait a minute. That's a different department.
26:39
>> Oh. [ Receiver clicks ]
26:40
>> I'll have to call room service again.
26:42
[ Knock on door ]
26:43
>> Oh. Maybe you won't have to bother.
26:45
>> Ah. Uh...entrez. [ Door opens ]
26:47
>> Your dinner, Monsieur.
26:49
Madame. >> Ah. Merci.
26:52
>> Monsieur would you like me to serve?
26:54
>> No. No, thanks. No. I think I can handle it myself.
26:56
>> As monsieur wishes.
26:58
>> Wait a minute. Don't I know you?
27:00
>> I think not, Monsieur. >> Now, wait.
27:02
I've seen you before. I'm sure I've seen you.
27:04
>> Uh, Paris is a large city, Monsieur.
27:06
One passes people on the streets and...
27:07
>> The streets! The streets! That's it.
27:09
You're the same guy who was at the Café Les Deux Magots.
27:13
>> Monsieur is mistaken. [ Door closes ]
27:14
>> What? Hey, wait a minute! Come back here!
27:16
I want to talk to you. >> Oh, now,
27:17
don't go chasing him down the hall.
27:19
>> Why not?
27:20
Listen, Carol, I'm positive he's the same waiter...
27:22
>> He'll just deny it and you can't prove it.
27:24
>> But... >> Even if you could,
27:26
what do you think it means?
27:28
>> Well, it mean-- It means...
27:30
Well, I don't know.
27:32
But if I could get him to talk, maybe I'd find out something.
27:36
>> I thought you were going to clue me in.
27:38
>> Oh, yeah. Yeah.
27:40
Listen, have you ever heard of the Lancere collection?
27:44
>> Of course. It's in the Louvre.
27:46
>> Oh. >> The family
27:47
of Comte de Lancere gave it to the museum
27:49
after it was recovered when the Nazis fled Paris.
27:53
>> What?!
27:56
>> Well, why does that shake you up so much?
27:58
>> Because it can't be true. >> [ Chuckles ]
28:01
Come with me to the Louvre and I'll show it to you.
28:03
>> Well, that changes everything.
28:04
Come on! >> Where are we going?
28:06
>> To the American consul.
28:08
[ Dramatic music plays ]
28:13
[ Door opens, closes ] >> Well?
28:16
>> Unbelievable. >> What?
28:18
>> Simply unbelievable.
28:20
Do you know what the consul told me?
28:23
>> Ah. I predicted it, didn't I?
28:25
>> Yeah. That's right. >> Mm-hmm.
28:27
>> He didn't want to hear about it at all.
28:29
Just advised me to [French accent] "forget
28:30
the whole thing" and leave France.
28:31
Incredible!
28:33
>> Well, not really, when you understand
28:36
that he doesn't know what you're talking about,
28:38
>> But you do. >> Some of it.
28:40
>> Okay, take me back to the hotel.
28:41
>> Any reason?
28:43
>> I'm taking the consul's advice.
28:44
If nobody's interested, I'll go back to the States.
28:48
[ Dramatic music plays ]
28:52
>> Well, now that they've cleaned up the room so nicely,
28:54
you're leaving.
28:56
>> [ Laughing ] Well, do you have a better idea?
28:59
>> More than one.
29:01
>> Uh, I think I'll take them one at a time.
29:03
>> [ Chuckles ]
29:05
Number one --
29:07
Give me the paper Professor Thiele gave you.
29:11
>> Well!
29:12
It looks like we're finally going to level.
29:15
>> Where is it?
29:17
>> Well, first you tell me something --
29:18
What is it? >> I don't know.
29:20
>> End of conversation.
29:22
>> Larry, listen to me. I work for Colonel Blake,
29:25
Military Intelligence.
29:26
I was assigned to this operation.
29:29
>> What operation?
29:30
>> All I was told was that Dave Wilson,
29:32
who also works for us, was coming over here with you,
29:35
and that you were to get something from Professor Thiele
29:37
and give it to Dave.
29:39
>> Thiele worked with you, too?
29:41
>> He did.
29:43
But now his cover is blown, and I don't know where he is.
29:45
>> Who killed Wilson? >> I don't know.
29:47
It could have been any one of three or four foreign powers.
29:51
>> And the only reason I'm alive is
29:52
because somebody wants the paper?
29:54
>> That's right.
29:55
>> And if I give it to you,
29:57
then there's really no reason not to kill me.
29:58
>> Oh, give it to me!
30:00
I'll get it to Colonel Blake
30:02
and we'll get you safely out of the country.
30:03
>> Now, hold on, hold on. I got a better idea.
30:05
I'll go with you to Colonel Blake,
30:07
and we'll give it to him together.
30:09
>> No, that would be too dangerous.
30:10
>> To whom!? >> Will you please trust me?
30:13
>> Give me a reason. >> Please.
30:15
Where's the paper? >> I... I burned it.
30:22
>> You expect me to believe that?
30:24
>> Why not?
30:25
You expect me to believe everything you tell me?
30:27
>> You admit you had the paper.
30:30
And somehow, between the time you ran from Les Deux Magots,
30:33
you managed to hide it in a place
30:34
where experts have been unable to find it.
30:36
>> I told you I burned it.
30:38
>> And you know, that's a fairy tale that no one will believe.
30:41
>> I don't care whether you believe it or not.
30:42
Now you're coming with me. >> Where?
30:44
>> To talk to your Colonel Blake.
30:45
>> He won't see you.
30:47
>> Oh, I think he will. Goodbye, Carol.
30:48
It was nice knowing you. I think --
30:50
>> You will kindly step back into your room,
30:52
Mr. Feeling. >> Now, wait a minute.
30:56
>> Let me introduce myself. I am Major Simonovich.
30:59
>> Oh! Of the [speaks French] or the NKVD?
31:02
>> It does not really matter.
31:04
What matters is that you and I have something to discuss.
31:08
>> I warned you.
31:10
>> Yeah, sure you did. Just like a rattlesnake does.
31:12
>> I do so dislike dealing with amateurs.
31:14
This is strictly a business.
31:16
>> You mean you want to make a deal with me?
31:18
>> Correction.
31:19
I mean, you would find it wise
31:21
if you wanted to make a deal with us.
31:23
>> For the paper? >> Exactly.
31:25
Where is it? >> No, no, not so fast.
31:27
Not so fast. You spoke about a deal.
31:30
>> You give us the paper, we give you your life.
31:34
>> You must really believe I'm an idiot.
31:39
You people murdered Wilson.
31:41
That paper is the only thing that's keeping me alive.
31:44
>> You have my word. >> No deal.
31:45
>> Do you really believe you have a choice?
31:48
Carol, Call Rodzanski. Make the usual arrangements.
31:53
We will wait here.
31:54
[ Telephone clacks ]
31:56
>> [ Speaking in French ]
32:00
>> Carol? >> Yes.
32:02
>> Tell me something, um.
32:04
Will I like Rodzanski?
32:06
♪♪
32:13
>> By this time, Larry Fielding realizes that he's been used,
32:18
that he was never supposed to bring Dave Wilson a paper
32:21
telling the location of the Lancere jewel collection.
32:24
But his discoveries have only added to his dilemma.
32:28
He was quick witted enough to realize
32:30
that his only hope was to hide the paper,
32:33
because that slip of paper is his last resort.
32:37
We'll be back shortly with act three.
32:42
>> Like what you're hearing so far?
32:44
Are you curious about the history behind radio programs
32:47
just like this one,
32:49
and the dramatic genius who created them?
32:51
In the nine-part award-winning documentary "Audio Maverick",
32:55
we explore the golden age of radio
32:57
through the life of Himan Brown.
32:59
You'll hear the history of radio come to life as we travel,
33:02
from the birth of audio drama to the programs
33:05
that brought millions of families
33:07
into their living rooms every night.
33:09
"Audio Maverick" is available anywhere you get your podcasts.
33:12
♪♪
33:21
♪♪
33:26
>> Newspaper man Larry Fielding sits waiting
33:29
in his Paris hotel room,
33:32
closely guarded by three members of the Russian secret police
33:36
and the beautiful American girl, Carol Johnson.
33:40
They are waiting for a man named Rodzanski,
33:42
who might very well be,
33:45
for all Fielding knows, his executioner.
33:48
>> You know we mean to obtain the paper.
33:50
Rodzanski is a doctor and a chemist.
33:53
He'll be here shortly.
33:55
You'll be put to sleep painlessly.
33:57
You'll be taken from here in an ambulance to a safe place.
34:01
And there you'll be injected with sodium pentothal.
34:04
Fielding, you will tell us.
34:06
>> Look, I don't suppose you'll tell me what's so important
34:09
about this piece of paper?
34:11
>> You have heard of the SAM six missiles,
34:14
the surface to air weapons with deadly accuracy
34:17
that we have developed
34:19
and which were used so successfully in minor wars
34:20
in Asia and the Middle East. >> Yes, yes, I've heard of them.
34:23
>> Good.
34:25
We learned that someone whose identity we still seek
34:27
has invented a jamming device
34:30
which would render the SAM six almost worthless.
34:33
>> Ah.
34:35
>> We don't believe that any such system can be invented.
34:37
But we do not take chances.
34:40
We have reason to believe that the piece of paper
34:42
that you carried away from Professor Thiele
34:45
has the information for building such a device.
34:48
[ Knock on door ]
34:49
Ah, that will be Rodzanski. Carol, admit him.
34:52
>> Of course.
34:54
[ Door opens ]
34:56
Come in, Doctor. This is the patient.
34:59
>> Now, look, I really don't think this is necessary.
35:02
>> It will be easier if you don't force, young man.
35:04
>> I don't intend to make --
35:05
>> Hold him.
35:06
Hold out his arm.
35:08
Hold it still. >> You brought a stretcher?
35:13
>> Of course. Yeah.
35:15
He'll be under in a moment so we can leave.
35:18
♪♪
35:26
What is this? [Speaks global language]
35:27
>> It has nothing to do with us.
35:28
We are taking a sick man to the hospital.
35:30
Put this stretcher into the ambulance quickly.
35:33
>> Hey, mister.
35:35
But we received a report from the hotel concierge
35:38
that there was a dead man here.
35:40
>> Absurd, Inspector. This is Doctor Rodzanski.
35:43
The doctor will explain this to you, Inspector.
35:46
>> This man became suddenly quite ill.
35:49
I gave him a sedative to quiet him.
35:51
And we're now taking him to the Lefebvre nursing home.
35:54
As you can see by the ambulance. >> You see, he is alive.
35:57
>> Very much so. See for yourself.
36:00
>> Ah. Mon Dieu! I know this man.
36:03
>> Inspector, he must receive medical attention.
36:06
>> Oh, of course, of course.
36:08
But I suggest that instead of taking him to the nursing home,
36:11
he go instead to the police hospital.
36:12
>> That's ridiculous. He's my patient.
36:14
>> I am afraid I must insist. This young man has
36:17
most recently been released from jail,
36:20
where we were holding him on a charge of murder.
36:22
>> If he has been released -- >> Released?
36:24
yes, but he has not been completely cleared.
36:27
So... [ Speaks French ]
36:31
Take this man to the police hospital.
36:33
♪♪
36:41
>> Did you get a report?
36:42
>> Yes. >> And?
36:44
>> He'll be conscious in an hour.
36:46
>> And he will talk. >> I am sure of that.
36:47
>> He will scream to see Colonel Blake.
36:49
And then your cover is blown and the whole operation goes
36:52
phooey. >> What do we do?
36:53
>> Silence him.
36:55
>> But what about the papers?
36:56
>> We will be faulted for that, of course.
36:58
But if we do not have it,
37:00
neither do the Americans.
37:03
Who do we have in the police hospital?
37:05
>> Only LeClerc. >> A weakling.
37:07
But he can admit Rodzanski. >> Rodzanski's a doctor.
37:10
He doesn't need LeClerc to admit him.
37:12
He can visit his patient openly.
37:13
>> Thank you, my dear.
37:15
I visit Fielding and he dies shortly thereafter.
37:18
That idea does not appeal to me. >> We have to do something.
37:21
>> You are both right. Carol.
37:23
You will be his first visitor when he regains consciousness.
37:26
>> No. >> Yes, Carol.
37:28
Rodzanski, give her your hypodermic kit.
37:31
>> I don't have to do this, and I won't.
37:33
>> You would prefer that in my report
37:36
I mention your failure with Fielding
37:38
when you had some hours alone with him?
37:43
>> I'll go.
37:44
>> It is wise. Rodzanski, give her the syringe.
37:47
Here, quickly. The car is waiting.
37:50
And, Carol,
37:52
if you should decide or even think about changing sides,
37:57
it would be most unwise.
38:00
You know the French police are still most interested
38:03
in the person who murdered Wilson.
38:05
♪♪
38:13
>> You awake now, Larry?
38:14
>> [ Groans ] I...
38:18
Oh, no. No.
38:20
>> Wake up and listen to me, Larry.
38:22
>> What? >> You've got to listen.
38:25
Try to understand me.
38:28
>> Wait a minute, wait a minute, wait a minute.
38:29
What kind of a place is this?
38:31
>> You're safe. It's a police hospital.
38:33
>> But how did you get in here?
38:35
Where's, uh, what's, uh, Rodzanski?
38:37
>> Look, I can understand how you feel
38:39
and why you don't trust me,
38:41
but the truth really is that I am a double agent.
38:45
>> Ah...
38:47
>> Do you understand what a double agent is?
38:48
>> As near as I can figure out,
38:50
a double agent is somebody working for two different sides.
38:54
>> Yes. >> And neither side trusts them.
38:57
You know, that fits you to a T.
38:59
You might just be telling the truth.
39:01
>> I am. I really work for Colonel Blake
39:04
as I told you. The Russians know it.
39:07
They think I've infiltrated the U.S.
39:09
military intelligence.
39:11
But in fact. >> Yes, yes, I know.
39:13
You've really done just the opposite.
39:15
Worked your way into the Russian apparatus?
39:18
>> Exactly. Oh, Larry. How can I make you believe me?
39:23
>> You can't.
39:26
>> Listen, you were deliberately recruited.
39:29
The reason you lost your job was
39:31
because we got in touch with your boss.
39:33
He agreed to go along.
39:35
The men who jumped you were part of the setup
39:37
so that Wilson could save you.
39:39
>> Hey, now, wait a minute, wait a minute.
39:41
But that -- that doesn't prove a thing.
39:43
You could have learned all that working for Blake
39:45
and still be with the other side.
39:47
And... >> Oh.
39:48
>> And wait.
39:49
Now, speaking of Wilson,
39:50
how about getting him killed?
39:52
>> I tried to warn him,
39:54
but there wasn't enough time.
39:56
It was either go along with that
39:58
or blow my cover and endanger the whole operation.
40:02
>> And when I wanted to give the plans to Blake, you objected.
40:05
>> Same problem.
40:07
If I went with you to Blake or you went to him
40:09
after we had talked, my cover was blown.
40:10
Alright.
40:12
Now, and suppose I had given you the plans.
40:14
How would that have changed the situation?
40:16
>> We would have had a phony copy
40:18
that I would have delivered to Igor,
40:20
and everything would have been fine.
40:21
>> Huh?
40:23
>> And there's still time for me to do that,
40:25
if you will just believe me and tell me where the plans are.
40:31
>> I'd like to believe you. I really, I really would.
40:35
>> Please.
40:37
Where are they, Larry? >> Get me to Blake.
40:39
>> It's too dangerous. Look, you see this?
40:44
>> Yeah, it's a hypodermic. >> It's death.
40:48
Igor sent me here with this to kill you.
40:53
Now, do you believe me? >> Wait. Wait a minute.
40:56
If you don't kill me and I guess you don't intend to,
40:59
what will Igor and his friends think?
41:01
Isn't your cover blown then, anyway?
41:02
>> Could be.
41:04
But if I come back with the plans
41:06
and say that I got them out of you without having to kill you,
41:08
there's a chance they'll believe me.
41:11
>> Aha!
41:13
>> Well. >> I'm thinking.
41:17
[ Door opens ]
41:18
Who are you?
41:21
>> One of the hospital guards, monsieur.
41:22
Mademoiselle, you have been here some time.
41:24
How is the patient?
41:26
>> Guard! >> Yes, monsieur.
41:28
>> Call Colonel Blake at U.S. military intelligence.
41:30
Tell him I've got to see him right away on a matter
41:33
of the utmost urgency. >> Colonel Blake?
41:35
>> Colonel Blake. >> I will inform my superiors.
41:39
>> Now, you don't have to inform anyone.
41:42
Just call him.
41:44
>> Yes, monsieur. The major will be disappointed
41:46
you have not followed instructions.
41:47
>> You are a fool.
41:49
>> I would have had the information
41:50
if you hadn't come in when you did.
41:52
>> I know what you were ordered to do.
41:54
>> What? What's this?
41:55
>> The moment of truth, I'm afraid, Larry.
41:58
>> Oh, I know how highly the major regards you, mademoiselle.
42:00
But I also know what he thinks of me.
42:02
Tonight we'll change that. Give me that syringe.
42:05
>> Here, right in your arm!
42:07
-[ Groans ] Oh, you -- You traitor!
42:09
I...
42:13
>> Carol, you -- You were telling me the truth.
42:17
>> Yes. Yes, I was.
42:23
And I had to kill him to make you see it.
42:28
Where is the paper, please?
42:33
>> In my hotel room. >> Oh.
42:36
Aren't you ever going to stop playing games?
42:38
You know, your room was searched.
42:40
>> Let me get dressed and I'll show you.
42:43
♪♪
42:48
[ Door opens ]
42:51
>> If it's not here, there's going to be the devil to pay.
42:54
>> Don't worry. It's here.
42:56
>> Now, I'm the one who has to be shown.
42:58
Trained operatives from two special branches
43:01
went over this room with everything
43:03
except Geiger counters.
43:04
>> Okay, okay. >> Where are we going?
43:06
>> The bathroom.
43:08
>> That was searched, too.
43:09
>> Oh, I don't doubt it.
43:12
>> Oh, we went through that cabin.
43:14
>> Did you now? What do you see?
43:17
>> Towels, paper tissues, some of your toilet articles.
43:20
We took your razor apart.
43:22
>> Aha! Aha. And what else? >> A roll of toilet tissue.
43:27
Unopened.
43:29
>> And as the French say, mademoiselle.
43:30
Voila! >> Oh.
43:32
>> And now we unroll this toilet tissue and keep on rolling it.
43:36
And... >> Oh, my God.
43:39
Where did you learn to open a package and reseal it like that?
43:43
>> [ Laughs ]
43:44
When I was a kid, I was
43:46
the best clerk in Roscoe's shipping department.
43:48
>> Oh.
43:50
Thanks.
43:52
It was nice knowing you.
43:56
I really mean that, Larry.
43:58
>> Hey, wait a minute, wait a minute.
44:00
Surely I've earned the right to buy you dinner.
44:02
>> I'd like to.
44:04
>> Well, you'd better, or I'll start doing some talking.
44:06
>> Blackmail?
44:08
>> You said it.
44:10
>> [ Chuckles ]
44:13
Alright.
44:14
I'll meet you at Les Deux Magots at 10:30.
44:17
>> No way. Let's try the right bank.
44:19
La Rotonde. >> That's a date. I'll see you.
44:23
>> You better be there.
44:24
♪♪
44:29
>> Shirts, ties? Yes. I think that's everything.
44:32
[ Knock on door ]
44:33
Come.
44:36
Oh, it's -- it's you, Rodzanski.
44:38
Are you coming with me?
44:39
>> I am staying.
44:40
>> Then we shall say goodbye.
44:42
I do not have much time. The plane for Moscow leaves --
44:44
>> I do not think you'll be taking the plane.
44:46
>> Are you insane? You know I've been recalled.
44:49
>> Not precisely.
44:51
>> What do you mean, not precisely?
44:53
>> Moscow feels you have bungled badly.
44:56
>> So? It's not the first time
44:58
that an operation has been --
44:59
>> First, you were duped by the American girl.
45:02
You know she was a double agent? >> I know now.
45:06
>> Did you know before she killed LeClerc?
45:08
>> I was not in charge at that time.
45:11
>> At that time,
45:13
now there are two murders that cannot be hushed up.
45:15
The French police must have a murderer to satisfy the public.
45:19
>> Then give them Carol.
45:21
>> I only wish that we could. They want you.
45:24
You have been chosen to be the murderer.
45:26
I am replacing you as the head of this section.
45:29
>> Ridiculous. I won't remain quiet.
45:32
I have a lot I could and will say to the authorities
45:35
if Moscow abandons me.
45:36
Now you listen to me, Rodzanski.
45:37
>> I have no time to listen.
45:39
>> Rodzanski, wait!
45:40
-The hypodermic! Don't.
45:42
[ Body thuds ]
45:44
>> Igor, you should be pleased to know
45:47
that your dying will serve a good cause.
45:50
♪♪
45:58
>> I'm sorry I'm late, but... >> But?
46:00
>> There were loose ends that had to be cleared up.
46:02
>> Well, I thought maybe you decided against coming.
46:05
after all, your job here is finished.
46:08
>> Well, yes. >> Sit down, sit down.
46:10
Now that the Russians know you, there's nothing for you to do.
46:12
It would be suicide to try to, huh?
46:15
>> Oh, well, there are other things for me.
46:17
>> Sure.
46:19
Like getting married to a love sick newspaperman,
46:20
settling down, raising a family.
46:23
>> Oh. [ Chuckles ] Oh, I...
46:28
I take it I'm your first Mata Hari?
46:30
>> Mm-hmm. First and only. >> Mm.
46:33
Well, Larry, we're very different
46:35
from other women.
46:36
In our business, you pay dues
46:39
and they're heavy payments.
46:40
>> Hmm. I don't get it.
46:43
>> I'm talking about sitting at another café
46:45
on the left bank, sitting and knowing
46:48
that an agent named Wilson was going to be killed.
46:51
Clumsily trying to warn him and finally deciding
46:56
that his death was the way it had to be.
47:00
Larry, that's a big payment.
47:02
>> You can forget about it now.
47:03
It wasn't your fault.
47:04
>> No, forget about that.
47:05
And forget about LeClerc.
47:07
>> Well, you had...
47:09
>> You see, it's even hard for you to say...
47:14
I had to kill him.
47:18
No, Larry, I have to keep on to justify those things.
47:21
>> But, Carol, listen --
47:22
>> Bye, Larry, thanks for the champagne.
47:24
>> But our dinner. I've ordered dinner.
47:26
At least have dinner with me.
47:27
>> Oh, we both know what I have to do.
47:31
If I ever change my mind, I promise I'll come running.
47:36
♪♪
47:41
>> Larry Fielding sat in La Rotonde
47:45
and watched her walk away.
47:48
He knew she was walking out of his life.
47:51
For a moment, he toyed with the idea of running after her
47:55
and joining her world of spies. He flirted with the idea
48:00
that he might even be some sort of an American James Bond.
48:04
But then the waiter brought the dinner,
48:08
and to his surprise, he was hungry.
48:12
And that realization made him wonder about
48:14
whether or not he was truly in love.
48:18
I'll be back shortly.
48:19
♪♪
48:28
♪♪
48:36
Back in New York, Larry Fielding returned to his old job.
48:41
An old friend and boss, Horace Finley,
48:43
who was curious about what had happened in Paris.
48:47
Finley kept pressing Larry to tell him
48:49
about his Parisian adventure.
48:51
Finally, Larry said, "I'll tell you, Horace.
48:55
In Paris, the food was good."
49:00
Our cast included William Redfield, Joan Lorring,
49:03
Roger De Koven, Ian Martin and Chris Gampel.
49:08
The entire production was under the direction of Himan Brown.
49:11
This is E.G. Marshall inviting you to return
49:13
to our "Radio Mystery Theater"
49:15
for another adventure in the macabre.
49:19
Until next time. Pleasant dreams.
49:24
[ Door creaking ]
49:28
[ Door closes ]
49:30
♪♪
49:40
♪♪
49:48
♪♪
49:54
♪♪
50:03
>> "If You Please,
50:05
Himan Brown's Radio Mystery Theater" is produced
50:07
and directed by Sarah Montague.
50:09
Our executive producers are Melina Brown and Sarah Montague.
50:14
CUNY TV's executive director is Chiqui Cartagena.
50:17
The director of production is Susan Iger.
50:20
The associate producer is Corinne Wallace,
50:22
and our audio production intern is Sofia Cedeno.
50:26
Margot Avery is the voice of the series
50:28
introduction and credits.
50:30
The program commentaries are by John Slavny.
50:34
Our technical team at CUNY TV
50:36
includes senior audio engineer Richard Kim
50:39
and broadcast audio engineers Jackie Mitchell and Kevin Wolfe.
50:44
Our staff photographer is Laura Fuchs.
50:47
Our archivists are David Rice and Catriona Schlosser.
50:50
Our closed caption coordinator is Amy Monte.
50:54
The "If You Please" program mix engineer
50:56
is Lisa Gosselin-Vincent.
50:58
Tink Media handles our publicity and marketing.
51:02
Our director of social media is Karen A. Brown
51:04
In collaboration with StardustBlue PR.
51:08
"If You Please, Himon Brown's Radio.
51:10
Mystery Theater" is a production
51:11
of CUNY TV and Radio Drama Network.
51:16
If you enjoyed the show
51:18
and are curious about the history of these radio programs,
51:20
listen to "Audio Maverick."
51:23
In this award-winning nine-part documentary,
51:25
we explore the golden age of radio
51:28
through the life of dramatic genius Himan Brown,
51:31
and then explore the work of contemporary audio dramatists
51:34
who are part of his legacy.
51:36
"Audio Maverick" is available anywhere you get your podcasts.