Latest / If You Please, Himan Brown’s Radio Mystery Theater / S1E8: You Can Die Again | If You Please

Transcript

S1E8: You Can Die Again | If You Please · If You Please, Himan Brown’s Radio Mystery Theater

0:00
>> Welcome to "If You Please... Himan Brown's Radio Mystery Theater."
0:04
On this series,
0:06
we're offering rebroadcasts of a select group
0:08
of programs created by this legendary producer for CBS
0:12
between 1974 and 1982.
0:15
Brown re-imagined radio drama for contemporary times.
0:19
Our new series offers some of these exciting works again.
0:22
Before the play,
0:24
commentator John Slavney shares details about the cast,
0:27
the writer, and the plot.
0:28
Your job? Listen.
0:31
"If You Please" is produced
0:33
in loving memory of Robert Isaacson.
0:41
>> Hi, everyone, I'm John Slaveney,
0:43
here to present the eighth episode of our podcast,
0:45
a psychological thriller entitled "You Can Die Again."
0:49
It's a story about a man struggling with the question
0:52
of his proper place in time.
0:54
We begin in the then present day -- let's say 1974 --
0:58
but our story also drifts back to the early 1950s,
1:01
when our hero, Spencer Chadwick, was a young man.
1:04
He had just married the boss's daughter, Margaret Wainwright,
1:07
played in this episode by an incandescent Marian Seldes.
1:11
It seems Spencer had a bright future ahead of him --
1:13
back then, anyway --
1:15
but today, as our story begins,
1:17
that future has become a bleak present.
1:19
Spencer has just confessed that he's killed Margaret,
1:22
and he has a motive.
1:24
He's been carrying on an affair with a girl named Peggy.
1:26
Here, scripter Sam Dann is working with a theme
1:29
frequently explored in "Radio Mystery Theater" --
1:32
the challenges confronting the aging American male.
1:34
Women's lib, the generation gap,
1:37
the sexual revolution,
1:38
and the rise of computers all seem to be conspiring
1:41
against the man of 1974,
1:44
a man who yearned for simpler times
1:46
but sensed his own approaching obsolescence.
1:49
Dann also explores here the decline
1:51
of the old establishment.
1:53
Men like Spencer expect to be believed and obeyed,
1:55
but in this story nobody's doing either.
1:58
Richard Mulligan stars as Spencer Chadwick.
2:00
Mulligan, born in New York City,
2:02
made his start on the New York stage,
2:04
eventually making his way to Broadway, TV, and films,
2:07
including a notable turn as General George Armstrong Custer
2:11
in 1970's "Little Big Man" alongside Dustin Hoffman.
2:14
This is the first of Mulligan's
2:16
two performances for Himan Brown.
2:18
He would return the following year in "The Oblong Box"
2:21
during a week featuring a set of Brown's
2:23
well received adaptations of Edgar Allan Poe.
2:26
Spencer's friend and the city's chief police inspector,
2:28
Martin Faraday, is played by Mandel Kramer
2:31
in his first role on "RMT."
2:33
Kramer, well known in radio, was one of Brown's favorites
2:36
and made the most of his velvety baritone,
2:38
voicing a wide variety of characters
2:40
across more than 100 episodes.
2:42
Bryna Raeburn is on hand
2:44
to play police sergeant Melrose, no first name.
2:47
The role was intended
2:49
for the established character actor Sydney Walker,
2:51
but when Walker bowed out, Brown,
2:52
who had been standing up for women
2:53
in male-dominated professions
2:56
since his work in golden age radio, cast Raeburn instead.
2:59
As noted, Marian Seldes plays Spencer's wife.
3:02
We met her earlier in the season in her "RMT" debut role
3:05
in "Return of the Moresbys,"
3:07
and here she sparkles in one of her best performances.
3:10
It's a role that asks more of her than first appears,
3:12
and it won't be the last episode to make such demands of her.
3:16
Now it's time to settle into a sturdy chair
3:18
or a firmly planted bed --
3:20
something solid enough to keep you anchored to this story's
3:23
sudden shifts of time --
3:25
and listen to this episode committed to tape
3:26
on Tuesday, November 20th, 1973,
3:29
and first airing on Thursday, January 17th, 1974.
3:33
♪♪
3:38
>> The "CBS Radio Mystery Theater" presents...
3:41
[ Door opens, creaks ]
3:50
♪♪
3:57
Come in.
4:00
Welcome. I am E.G. Marshall.
4:04
Welcome to the sound of suspense,
4:07
to the fear you can hear.
4:09
For the next 52 minutes,
4:12
I'll be your companion on a journey to a place in the past.
4:15
It used to be that only the mystics
4:17
believed you could go back, relive your life.
4:21
But didn't so eminent a scientist as Albert Einstein
4:25
say that the past, the present, and the future
4:29
are all intermingled somehow?
4:32
Then why should we question a gentleman named Spencer Chadwick
4:36
who is asking a very vital question?
4:39
>> Inspector, do you believe a person can do it again?
4:44
>> Do what again?
4:46
>> Go back. >> Where?
4:49
>> To that point in his life
4:51
where it went wrong, it turned sour, and correct it.
4:56
>> No. No, I don't believe it's possible.
5:00
>> Well, I'm doing it, Inspector.
5:02
I'm doing it. I'm changing it. I've gone back.
5:06
Inspector, I've gone back.
5:10
♪♪
5:16
>> Our mystery drama "You Can Die Again"
5:20
was especially written for the "CBS Mystery Theater"
5:22
by Sam Dann and stars Richard Mulligan.
5:25
Act one.
5:26
♪♪
5:32
♪♪
5:37
This evening we're concerned with bright young men --
5:42
that is, those who began as bright young men
5:46
like Spencer Chadwick.
5:48
Bright young Spencer Chadwick married his boss's daughter.
5:52
But that was 23 years ago.
5:55
And today, young Spencer has arrived
5:58
at comfortable middle age.
6:00
This morning, he will pick up his phone
6:02
and dial the private number of a highly placed friend.
6:06
[ Phone ringing ]
6:11
>> Chief Inspector Faraday's office.
6:12
Sergeant Melrose speaking.
6:14
>> Sergeant, this is Spencer Chadwick.
6:16
>> Good morning, Mr. Chadwick. Connect you right away.
6:20
>> Spence, I hope you're not calling to cancel our golf date.
6:22
>> No, no, Martin, I'm...
6:24
I'm calling to tell you... I murdered my wife.
6:28
♪♪
6:31
>> I won't believe it, Spence.
6:33
I can't believe it.
6:34
>> Marty, look at her. She's dead.
6:36
>> I see she's dead.
6:37
But I won't believe you killed her.
6:39
>> She's been stabbed, Inspector.
6:41
>> Yes, Sergeant. Yes. And that's the knife, Marty.
6:43
>> Spencer --
6:44
>> You'll surely find my fingerprints on it.
6:46
>> What's that bruise on your head?
6:47
>> We had a fight. She hit me with a candlestick.
6:51
>> Inspector, a glass door here leads to a terrace.
6:53
It's been broken.
6:54
>> Spence -- an intruder, a thief?
6:57
Did he slug you and kill Margaret?
6:59
>> No, no. I killed Margaret.
7:01
>> But that broken door. >> She tried to get away.
7:03
I dragged her back into the room.
7:04
>> Whose place is this? >> Mine.
7:07
>> I didn't know you had an apartment downtown.
7:10
>> I've been staying with a girl.
7:12
>> Spence, you're talking to me,
7:13
your closest friend -- Marty Faraday.
7:15
>> Excuse me, Inspector. Shall I start the routine?
7:17
>> Yes, of course, Sergeant.
7:19
>> Are you going to arrest me, Marty?
7:20
>> I have to.
7:22
>> I'm ready to go now.
7:23
>> But I'm not ready to go.
7:25
Look, I can't believe what you're telling me.
7:27
I can't even believe you were cheating on Margaret.
7:29
How can I believe you killed her?
7:30
>> You've been a policeman for 25 years, Marty.
7:32
Do you still have illusions, faith, ideals?
7:35
>> If I do, it was because of people like you and Margaret.
7:39
>> I'm sorry, Marty.
7:41
>> Look, Spence, is this the way it happened?
7:43
You were having an affair. Margaret found out about it.
7:46
She came here, confronted you.
7:47
One thing led to another and you killed her.
7:49
Now, is that the -- the story?
7:51
>> Yes. Yes. Yeah. That's it. >> Well, where's the girl?
7:55
>> I suppose she's dead, too. >> You suppose?
8:00
>> Yes. Yes, we can say she's dead.
8:02
>> Well, how did she die? >> I killed her.
8:05
>> What? When?
8:08
>> Oh, a long, long time ago.
8:11
>> A long time --
8:13
Spence, you're not making any sense.
8:15
How could you have killed her a long time ago
8:16
if Margaret confronted the two of you here today?
8:18
>> I don't know. I don't -- I don't know.
8:21
Now just arrest me and don't ask me any more questions.
8:24
>> I have to ask, Spence.
8:25
I can't accept what you're telling me.
8:27
Now think.
8:29
How could you have killed her a long time ago?
8:31
>> Or did she kill me?
8:34
>> Spence? Please tell me what happened.
8:36
>> It doesn't matter.
8:38
>> I want to help you, Spence. I'm your friend.
8:40
>> You -- You won't believe me. >> Try me. Just try me.
8:43
>> It's even hard for me to believe it.
8:44
But it's true.
8:45
>> Spence sit down, will you?
8:47
Will you just sit down and try to pull things together?
8:48
Tell me what happened.
8:51
>> What happened?
8:53
It started one morning.
8:57
It was three months ago.
9:01
I came downstairs.
9:03
Margaret was at the breakfast table.
9:07
>> Morning, darling.
9:09
Coffee? >> Uh, thanks. Yes.
9:11
Any -- Any mail, Margaret?
9:13
>> Nothing worth delaying breakfast.
9:15
Card from my brother, >> Ah. Where is he now?
9:18
>> He had to put in for repairs at "Paygo Paygo."
9:20
>> That's Pago Pago. Uh, when is he coming home?
9:23
>> Oh, next year, maybe. Or the year after.
9:26
When he gets bored or tired or needs money
9:29
or decides to get a new girlfriend or another boat.
9:33
>> And he's 38 years old.
9:35
>> And he'll never get anywhere. >> Don't say that.
9:38
It seems to me he goes everywhere.
9:40
>> Oh! His life and yours, darling?
9:42
A study in opposites.
9:44
You were born poor and you wound up rich.
9:46
He was born rich, wound up poor.
9:50
Um, dinner tonight with the Satterfields.
9:54
>> What for? >> What for?
9:57
[ Laughing ] Oh, my God.
9:59
I practiced for almost five minutes before you came down,
10:01
tossing off what I just said in an offhand, casual way.
10:05
Dinner with the Satterfields.
10:07
This is the coup of the century!
10:09
A dinner party at the home of Senator Satterfield.
10:13
Ask me how I did it. >> Why?
10:16
Why do we want to have dinner with Senator Satterfield?
10:19
>> Spence! You asked me to arrange for the invitation.
10:22
>> I disagree completely with the man's principles.
10:25
>> Oh, we understand all that.
10:27
But you're the one who decided to give politics a whirl.
10:30
>> When did I decide to do that?
10:33
>> Well [chuckles]
10:35
they say the sign of a really solid marriage is
10:38
if the wife can accept jokes at breakfast.
10:41
Shall I remind you of that Chinese or Indian saying
10:45
that you've been spouting lately?
10:48
A man spends his first 20 years living for himself,
10:51
his next 20 living for his family,
10:54
and his next 20 living for his country.
10:58
It was you who decided. Dinner's at 7:30.
11:02
Black-tie. So be home early, hmm?
11:06
Spence?
11:08
You're not listening.
11:11
[ Chuckling ] Darling.
11:13
Why are you looking at me like that?
11:15
Is -- Is there something wrong?
11:19
>> Who -- Who are you?
11:23
>> What did you say?
11:25
>> I...
11:27
I said, who are you? Tell me.
11:29
>> Spencer... >> What are you doing here?
11:31
>> Now, look, darling, if this is --
11:32
>> Oh, no. Or -- Or what am I doing here?
11:35
>> If this is a joke, It's not in the best of taste.
11:37
>> I'm afraid -- I'm afraid I don't know where I am
11:41
or, uh, who you are.
11:43
>> Do you know who you are?
11:45
>> Yes. Yes, I think I know who I am.
11:48
I'm -- I'm Spencer Chadwick.
11:49
>> All right, now, listen. Sit quietly for just a minute.
11:51
I'm going to call Dr. Berger.
11:52
>> Oh, please.
11:54
Please, I don't want to put you to any trouble.
11:55
>> Don't get up, Spencer. Please don't get --
11:57
[ Door opens ] Where are you going?
12:00
>> Home. >> This is your home, Spencer.
12:03
>> Please, don't be alarmed. Please.
12:05
I hope I haven't frightened you. I'll -- I'll leave this minute.
12:08
♪♪
12:14
>> You mean that after 23 years of marriage,
12:16
you look at your wife one morning
12:18
and you don't know who she is.
12:20
>> Yes, Martin.
12:22
>> All right. You walked out of the house.
12:25
Now, where did you go?
12:27
>> I hailed a cab.
12:31
[ Horn honking ]
12:33
>> Where to, pal?
12:35
>> I don't know. >> It's all right.
12:38
None of us knows where we're going.
12:40
Just answer this. What do you want me to take you?
12:43
>> Just drive. >> Okay, you're the doctor.
12:46
[ Vehicle departs ]
12:49
What do you think, the Redskins got
12:51
any kind of chance this year?
12:55
All right, let's try politics.
12:56
You think Satterfield's gonna run again?
13:00
Well, as my old man would have put it,
13:02
you wasn't exactly vaccinated with a phonograph needle.
13:05
>> Driver, why are you headed north?
13:06
>> Well, you said to drive.
13:08
>> The Chadwick Building is down on Jefferson Square.
13:09
I distinctly told you --
13:11
>> You distinctly told me nothing.
13:13
>> What would I be doing in your cab at 9:00 in the morning
13:15
if I didn't intend to go to my office?
13:17
[ Tires screech ] >> Yes, sir.
13:19
♪♪
13:25
[ Footsteps, typewriter clacking ]
13:27
>> Good morning. Rose.
13:29
>> Oh, good morning, Mr. Chadwick.
13:30
Uh, there's a Dr. Berger sitting in your office.
13:33
>> Dr. Berger?
13:34
>> Yes, Dr. Berger.
13:36
Come in here, Spence. I don't have all day.
13:38
[ Footsteps ] Well, come in and shut the door.
13:42
[ Door closes ] >> May I remind you that this is my office?
13:45
>> 15 minutes ago, I received a call from Margaret.
13:48
>> Margaret? Is she all right?
13:49
>> About you. >> Me?
13:52
>> I thought it important enough
13:53
for me to stop off here on my way downtown.
13:55
Hold out your wrist.
13:57
>> Wait. Why did Margaret call you?
13:58
>> She told me about that little episode.
14:02
>> What? What little episode?
14:04
>> You don't remember saying certain things?
14:06
>> Paul, please. What is this all about?
14:08
>> Pulse seems to be a little fast.
14:10
>> What am I supposed to have said to Margaret?
14:12
>> I, uh, want you to report to the hospital right now.
14:16
>> You can't just walk into my office and tell me
14:19
report to the hospital.
14:20
>> Who says I can't?
14:22
>> But what's the matter with me?
14:23
>> I don't know.
14:25
That's why I'm putting you into the hospital.
14:27
>> What did Margaret tell you?
14:29
>> That you didn't know who she was.
14:32
>> Well [chuckling] how could I not know who she was?
14:36
>> Have you had moments when you didn't know people,
14:40
or you didn't know where you were
14:42
or what you were doing there?
14:43
>> Well, certainly not.
14:45
>> Now, level with me, Spencer.
14:47
>> Listen, those things, they happen sometimes to everybody.
14:51
>> How often do they happen to you?
14:53
>> Well -- >> The incident with Margaret, was it the only one?
14:57
>> Well -- >> Spencer, I'll see you at the hospital in 30 minutes.
15:01
♪♪
15:08
Well, you did it. You're here, Spence.
15:11
>> Of course I'm here.
15:13
>> I won't keep you an hour longer than necessary.
15:14
Probably get you out by the end of the day.
15:16
>> Paul, you do what's necessary.
15:18
>> That's a good attitude.
15:19
Most of you high-powered business types
15:21
are so self-important.
15:23
>> You don't start to lecture me.
15:24
I'm here. I agree I need some help.
15:26
Now -- Now, what's holding us up?
15:29
>> I am. I'm talking to you, and I should be arranging for tests.
15:32
Now, you just relax. Listen to some music, read, take a nap.
15:37
I'll see you.
15:39
[ Footsteps ]
15:40
[ Door opens and closes ]
15:43
[ Telephone rings ]
15:46
>> Hello? >> Spencer?
15:50
>> Peg-- Peggy?
15:51
>> Is everything all right, Spence?
15:53
>> Peggy. Peggy, where are you?
15:55
>> I'm at the apartment.
15:57
Where else would I be?
15:58
Tell me, are you all right?
16:00
>> Oh, yes. Oh, yes. I'm certainly all right now.
16:06
Oh, Peggy, Peggy. I almost lost you.
16:10
>> How could you lose me?
16:12
>> It could happen. >> How?
16:13
>> Dr. Berger. Dr. Berger.
16:16
He could -- He could make it happen.
16:18
But not now. No, not anymore. Do you know why?
16:22
>> Why, Spence? >> You called me just in time.
16:26
You warned me just in time.
16:30
And I'm getting out of here this minute.
16:32
♪♪
16:40
>> Mr. Chadwick.
16:41
>> Yes, Ruth.
16:43
>> Aren't you supposed to be at the hospital?
16:45
>> I'm not supposed to be anywhere except in my office
16:48
during the business day.
16:49
>> Oh. Yes, sir.
16:50
Uh, this Dr. Berger,
16:52
he's been calling just about every five minutes.
16:54
And your wife. Well, shall I get them for you?
16:56
>> No, no.
16:58
I left Dr. Berger a note saying I changed my mind
17:00
about the necessity for what we were discussing.
17:04
Now tell him I have nothing to add.
17:05
>> Oh. Yes, sir.
17:07
>> Oh, uh, call my wife
17:09
and remind her we have a dinner date with Senator Satterfield.
17:11
And no calls. No calls. I don't want to talk to anyone.
17:13
>> Yes, sir. >> Except...
17:16
Except a-a young lady.
17:18
She'll call herself...Peggy.
17:22
♪♪
17:28
>> Well, for 23 years you hum the same tune.
17:32
And then suddenly one morning,
17:35
you hear the music of a different drummer --
17:38
a drummer named Peggy.
17:41
Or is she a piper named Peggy who will have to be paid?
17:47
We shall return shortly with act two.
17:51
>> Like what you're hearing so far?
17:53
Are you curious about the history behind radio programs
17:56
just like this one
17:58
and the dramatic genius who created them?
18:00
In the nine-part award-winning documentary "Audio Maverick,"
18:03
we explore the golden age of radio
18:06
through the life of Himan Brown.
18:08
You'll hear the history of radio come to life as we travel
18:11
from the birth of audio drama to the programs
18:14
that brought millions of families
18:15
into their living rooms every night.
18:18
"Audio Maverick" is available anywhere you get your podcasts.
18:21
♪♪
18:28
♪♪
18:35
>> And so we have Spencer Chadwick
18:37
in complete command,
18:39
ready to take hold of his life and run it his own way,
18:43
starting with his wife.
18:46
>> Spencer, is that you?
18:48
>> There's no problem. No problem.
18:49
It's not even a quarter of 7:00
18:51
I can be dressed and ready to leave in 20 minutes.
18:52
>> Spencer, there is a problem.
18:55
You made Dr. Berger look like a fool today.
18:58
>> He read my note. It explained everything.
18:59
>> You made yourself look like a fool.
19:01
You were admitted to the hospital,
19:03
and less than an hour later, you sneaked out.
19:05
>> I did not sneak out.
19:07
I got dressed, went to the desk and said, "I'm leaving.
19:10
Send me the bill." >> But, Spence, you're not well.
19:12
>> I've never felt better.
19:13
>> You should be in the hospital.
19:15
>> Margaret, please stop running my life.
19:20
>> What did you say just now, Spence?
19:23
>> I'm sure you heard me.
19:25
>> I wasn't aware that I was "running your life."
19:30
Spencer, would you be good enough to explain?
19:33
Can you show me how?
19:34
>> You did say this thing was black-tie?
19:37
>> Spencer, I -- I'm entitled to an explanation of that remark.
19:40
>> Margaret, if you can't understand what I'm saying,
19:43
how can I explain it?
19:45
♪♪
19:52
>> [ Chuckles ]
19:54
Quite a man, this husband of yours, Miss Chadwick.
19:56
Some brandy? >> Yes. Thank you, Senator.
19:59
>> We need men like you in public life, Spence.
20:02
Fellows with their head screwed on straight.
20:06
You know, I have an opportunity to recommend a man
20:10
for a presidential advisory commission on --
20:12
>> I -- I don't think I'd be interested, Senator.
20:15
>> I like your style, Chadwick.
20:18
You play hard to get, but you do it convincingly.
20:22
The public eats that up.
20:24
>> No. No, Senator, it's not a pose.
20:27
You see, sir, it seems to me
20:29
that I've spent all my life working for other people.
20:32
>> Serving others is the most richly rewarding profession
20:36
a man can follow.
20:38
>> Ah, that's if he happens to be a selfless person.
20:40
But I never saw myself as a manufacturer of farm equipment.
20:45
I wanted to study languages,
20:47
the basic structures of human communication.
20:50
>> An admirable calling.
20:52
>> Margaret and I were going to leave for Tibet on our honeymoon,
20:54
but my father-in-law became seriously ill.
20:56
Somebody had to look after his affairs
20:59
till he could get on his feet again.
21:01
That was 23 years ago.
21:03
He never did get back on his feet,
21:05
and I never did get out of his office.
21:08
>> But you transformed that little factory
21:10
into the third-largest enterprise --
21:13
>> I know, Senator. I know, I know.
21:15
I did it for my wife, my in-laws,
21:17
my employees, the stockholders.
21:19
But now, finally, at length and at last,
21:22
I'm going into business for myself.
21:24
>> What sort of business?
21:26
>> The Spencer Chadwick business.
21:28
The "let's please and amuse and excite and develop,
21:31
enhance Spencer Chadwick."
21:33
Thank you for your offer, Senator,
21:35
but there are many others who are more worthy,
21:38
not to mention more willing.
21:40
♪♪
21:46
[ Vehicle engine running ]
21:48
>> Spencer, when did you decide you were no longer interested
21:53
in public service?
21:54
>> Oh, it's been building for a while.
21:57
>> We'll have to talk.
21:59
>> Oh. About what? >> About what?
22:03
I don't know if this is a pose or --
22:05
>> Margaret, I'm sure I can explain.
22:07
Now, let's drop in somewhere for a nightcap.
22:10
>> No. Let's get home.
22:13
Now, do you remember what you said to me this morning?
22:16
>> No.
22:18
>> You looked at me this morning and you said, "Who are you?"
22:22
You said it with sincerity and conviction.
22:25
You meant it.
22:26
>> Look, I-I don't -- I may have been --
22:28
>> You may have been what? >> Daydreaming.
22:31
>> No, it was not daydreaming. It was wishful thinking.
22:36
>> Oh, Margaret, what are you saying?
22:38
>> Spencer, you're having an affair.
22:43
>> What? >> Please don't deny it.
22:46
>> But I'm -- I'm not.
22:48
>> It fits in with what Dr. Berger told me.
22:50
>> About what?
22:52
>> When you say to me, "Who are you?"
22:54
it means you no longer want to know me.
22:58
You're trying to wish me out of your life.
23:01
>> Oh, Margaret, Margaret, I can tell you --
23:03
>> Now, listen, Spencer, don't try to insult my intelligence
23:05
or yours.
23:08
And then what just happened at Senator Satterfield's.
23:10
>> What just happened?
23:12
>> Well, suddenly you're no longer interested in public service.
23:15
Why?
23:16
>> If you heard me talking to him,
23:18
you'd know that finally I want to do things for me.
23:21
>> But he as much as offered you a post
23:23
that you dreamed about, a sensitive post,
23:27
and you could become an important man nationally.
23:29
You've spoken about it a dozen times.
23:31
>> Margaret, Margaret, I no longer care about it.
23:33
>> Well, of course not,
23:35
because you'd become controversial, make enemies,
23:37
and then they'd try to get something on you.
23:40
And now that you're having an affair,
23:42
you're vulnerable to scandal.
23:43
>> But I am not having --
23:45
>> Oh, don't lie to me. [ Sobs ] That just makes it worse.
23:49
♪♪
23:55
>> But you were lying to us, Spence.
23:57
We know you were lying. We know about Peggy.
24:00
[ Door opens ] >> Inspector.
24:02
>> Yes, Sergeant.
24:03
>> If you'll come into the bedroom, Inspector.
24:05
I didn't want to move anything. >> All right.
24:08
>> Now, sir, here are these pictures.
24:09
Are these Peggy?
24:12
>> Are they, Spence? >> Yes.
24:15
>> Well, sir,
24:17
if you look at the hairstyle, that went out 25 years ago.
24:19
>> Hmm.
24:20
I'm no expert,
24:21
but these don't look like pictures
24:23
that were taken recently.
24:24
>> The clothes in the closet --
24:25
skirts, blouses, dresses -- are these Peggy's?
24:29
>> Are they, Spence? >> Yes.
24:33
>> The styles are about 25 years old.
24:35
Now, here's a label in a skirt. It's a Lydia Carter.
24:38
She was a designer who was fashionable 30 years ago.
24:42
>> Well, Spence, tell us.
24:45
>> I...can't. >> Why can't you?
24:48
>> I don't think I know how.
24:49
>> Never mind how it sounds. Just tell it.
24:53
>> Martin, did you ever think
24:56
you could somehow get a second chance?
25:00
>> To do what?
25:02
>> To live your life over.
25:04
>> To answer your question, no.
25:07
>> Did you ever think you could go back to a point in time
25:11
when you made a decision which changed everything for you,
25:14
where you crossed your own particular Rubicon and --
25:17
and if you could go back,
25:19
start again, and do the thing you really wanted to do?
25:23
>> To answer your question again, no.
25:26
>> That's because you never regretted
25:29
the course of your life.
25:30
>> And you did?
25:32
Are you trying to tell me that you did?
25:35
>> Every day for 23 years.
25:39
>> All right, Spence, I won't press you.
25:41
>> No, no. No, Marty.
25:43
Don't put that sympathetic tone in your voice, as if...
25:46
as if you think I'm some kind of nut.
25:48
>> Look, you could plead insanity.
25:49
>> Once again, Marty. Marty, I'm not crazy.
25:52
>> Temporary insanity. >> Not for one minute.
25:54
I asked you a question. Can you go back?
25:58
Can you live your life over again?
25:59
>> And I gave you my answer. No.
26:01
>> But you can. You can do it.
26:04
I did go back. Not for long, but I did go back.
26:11
>> All right. All right, Spence, you did go back.
26:15
>> And if I hadn't lost my head,
26:19
if only I hadn't killed Margaret,
26:22
I could have stayed.
26:24
I could have started over.
26:26
♪♪
26:33
Peggy, want to go to a movie?
26:35
>> No. >> I missed the news broadcast.
26:38
Anything happening?
26:39
>> They think a war just started.
26:41
>> Oh, come on, Peggy. Come on.
26:44
There aren't going to be any more wars.
26:45
Everybody knows that.
26:47
People may be crazy, but they're not insane.
26:50
Where? >> I think the man said Korea.
26:53
Someplace like that.
26:54
But maybe I didn't hear it right.
26:57
>> Hey, if you don't want to go to the movies,
26:59
what do you want to do.
27:00
>> Sit home and just listen to you.
27:05
Tell me about the trip you're planning.
27:07
>> Well, first, uh, don't call it a trip.
27:10
We may never come back. It may take all our lives.
27:13
>> Fine with me.
27:15
>> And we may never find it.
27:16
>> Great. What are we looking for?
27:18
>> The origin of language.
27:21
For instance, we say "brother" in English.
27:24
German, Dutch, Scandinavian, so on,
27:26
say a form of "bruder."
27:28
Same basic word.
27:29
Latin, Greek -- "frater." The b-r becomes f-r.
27:32
Russian -- "brat."
27:34
The differences are all in pronunciation.
27:36
>> Okay.
27:38
>> How did this one language spread so far and wide
27:41
to cover so many different kinds of people?
27:43
>> I'll bite. How?
27:45
>> That's what I want to find out.
27:47
And we will travel and study and research.
27:50
And one day, maybe...
27:52
>> Maybe what?
27:53
>> This Indo-European language --
27:55
it's only one of 30 language families --
27:58
at one time was there one single language,
28:01
the mother of all?
28:03
>> Was there?
28:05
>> I don't know. One day I hope to find out.
28:08
Yeah, you're sure you won't mind scrounging
28:11
around Europe and Asia?
28:12
>> Oh, I've been to Europe and Asia.
28:14
>> Ah. But not with a backpack, not with a sleeping bag.
28:17
>> I'm gonna love it!
28:18
>> Uh, now, one thing must be clearly understood.
28:21
At no time,
28:23
regardless of the bind we may find ourselves in,
28:25
shall we ever, ever, under any circumstances
28:28
wire your father for money.
28:30
>> [ Laughs ] >> Promise?
28:31
>> I promise.
28:34
♪♪
28:38
[ Door opens ]
28:40
[ Footsteps ]
28:42
>> Hello, Margaret. >> Where have you been, Spencer?
28:46
Oh, excuse me. I hope that doesn't sound shrewish.
28:51
>> Well, no, no, it doesn't.
28:53
>> Or as if I'm trying to run your life.
28:55
>> Please, Margaret, cut it out.
28:57
>> The reason I ask is because I had prepared dinner.
29:00
>> I know. Didn't you get my message?
29:01
>> Yes, I did. I got it at 8:00.
29:04
Meanwhile, at 7:00,
29:06
the Millers, the Brownsteins and the Gladwells arrived.
29:08
No, no, the Gladwells were here at 6:30.
29:10
>> But why?
29:12
>> You had asked me to invite them to dinner.
29:15
And these are your friends, Spencer.
29:18
>> I'm sorry, Margaret. I'm sorry.
29:20
>> Yes.
29:22
Well, if they were people I like,
29:23
I would have been humiliated.
29:25
This way I was merely embarrassed.
29:27
Well, I got through the evening. Somehow.
29:32
Spencer, tell me -- Who is she?
29:37
>> Margaret, Margaret, believe me, there is no --
29:41
>> I start with the premise that it's my fault.
29:42
Somewhere I must have failed you. I've gone wrong.
29:45
But I don't know where, and I don't know how.
29:49
Tell me, Spence. Tell me. >> Margaret, please, Margaret.
29:53
>> "Please, Margaret" what?
29:55
Oh, Spencer.
29:56
I've been happy. You've been happy.
30:01
Our marriage,
30:03
it's been the envy of so many of our friends.
30:06
Oh, darling, has it been a lie?
30:08
Have we been living a lie all these years?
30:11
>> Do you want the answer?
30:13
>> I demand an answer.
30:15
>> The answer is yes. Yes. It's been a lie.
30:20
>> Who is she, Spence. Who is she?
30:24
♪♪
30:31
>> Who is she, Spencer? Who is Peggy?
30:33
>> I won't tell you, Martin.
30:35
>> I should say, who was Peggy?
30:36
>> Inspector, do you remember some time ago
30:39
you saw Mrs. Chadwick?
30:40
It was on business, I remember.
30:42
>> Oh, yes. Yes, yes, I do.
30:44
It had to do with a burglary, Spence.
30:45
A burglary in your house.
30:47
♪♪
30:52
Believe me, Margaret, this is no bother at all.
30:54
>> You see, I felt if I called the local precinct,
30:56
I'd have police traipsing all about the place.
30:58
It just isn't worth it.
31:00
>> Well, what happened? >> Well, it's silly, but...
31:02
Well, you know us. We never throw anything out.
31:04
It's a sound idea.
31:06
The worthless junk of yesterday
31:08
has suddenly become expensive antiques.
31:09
It's incredible.
31:10
>> Yes, Margaret.
31:12
>> All right, I'll be brief. [ Chuckles ]
31:14
We have a storage space where we keep old things,
31:16
clothes, knickknacks -- you know,
31:18
stuff that you say you'll throw out sometime.
31:20
You never get around to it. You never do.
31:22
>> And? >> Well, it's all been stolen.
31:25
>> Stolen? >> It's missing.
31:27
Well, it must have been stolen.
31:28
I don't care about it,
31:30
but it's just unnerving to consider
31:32
that the house has been broken into.
31:34
>> Mm. Well, send a list of the stuff to Sergeant Melrose.
31:36
>> It's not important, but --
31:38
but I feel that since a crime has been committed,
31:40
it should be reported.
31:41
Did I do the right thing?
31:43
>> Of course. Of course you did, Margaret.
31:45
♪♪
31:48
That list. I gave you that list, Sergeant.
31:51
>> It's on my desk, sir.
31:53
I'm sure most of the items in this closet were on it.
31:55
>> Spencer, you were the burglar.
31:58
>> Technically, yes.
32:02
She needed clothes, Marty. >> That girl, she's a fantasy.
32:04
>> No. No. Not Peggy.
32:07
>> All right, look, for reasons that I may never understand,
32:09
you feel you wasted your life.
32:11
So you fantasized a way to go back, to start over.
32:14
>> It was no fantasy.
32:16
[ Telephone rings ]
32:18
>> Sergeant Melrose. >> The hell it wasn't.
32:19
You were sorry you married Margaret,
32:21
which all by itself proves that you're insane, Spence.
32:24
You created this Peggy,
32:25
and you had to dress her in the period of 25 years ago.
32:27
There is no Peggy.
32:29
This whole thing happened in your mind!
32:30
>> Thank you, Lieutenant. >> Yes, Sergeant.
32:32
>> Sir, that was from the lab.
32:35
They scraped some grass samples from a skirt in the closet,
32:38
and it's been identified as Duke of Wentworth fescue.
32:42
>> All right. >> It's a new kind of seed.
32:43
Just been planted for the first time.
32:45
>> When? >> Well, about a month ago.
32:46
Which means somebody's wearing this skirt
32:48
was sitting in the grass in Benton Park very recently.
32:52
♪♪
32:55
>> You figure if a man's been married for 23 years,
32:59
he may have a tendency to fantasize a bit.
33:02
But Spencer Chadwick has created more than an illusion.
33:07
He has brought forth flesh and blood -- particularly blood.
33:12
We'll be back shortly with act three.
33:17
>> Like what you're hearing so far?
33:19
Are you curious about the history behind radio programs
33:22
just like this one,
33:24
and the dramatic genius who created them?
33:26
In the nine-part award-winning documentary "Audio Maverick,"
33:30
we explore the golden age of radio
33:32
through the life of Himan Brown.
33:34
You'll hear the history of radio come to life as we travel,
33:37
from the birth of audio drama to the programs
33:40
that brought millions of families
33:41
into their living rooms every night.
33:44
"Audio Maverick" is available anywhere you get your podcasts.
33:47
♪♪
33:54
♪♪
34:01
>> It was all right
34:02
while Peggy was only an illusion.
34:03
She was Spencer Chadwick's private affair.
34:06
But a living Peggy --
34:08
or even a dead Peggy -- is a serious matter
34:12
for Police Chief Inspector Faraday.
34:14
>> Spence, make it easy for all of us.
34:16
Tell me, who is Peggy? Or who was Peggy?
34:21
We can find out, Spence.
34:22
We can check with the neighbors, the janitor,
34:24
circulate your picture in the neighborhood,
34:26
ask people if they've seen you around with a girl.
34:28
>> You'll never find her. >> Don't say that.
34:30
It's virtually impossible
34:32
for a person to disappear without a trace.
34:34
>> I still say you'll never find her.
34:37
>> Damn it, Spence, I can't get used to it.
34:39
You and Margaret, and then you and this Peggy.
34:41
How could you live with both of them?
34:42
Didn't things get rough at home? >> Yes.
34:45
>> Well, what brought on the showdown?
34:47
>> Well, after a while,
34:49
we couldn't go anywhere without Margaret seeing her.
34:52
♪♪
34:55
Yeah! Come on, Rockabye!
34:58
[ Horses galloping, crowd cheering ]
34:59
>> Spencer? >> What?
35:00
>> Is that the girl?
35:02
>> What? Who? >> That girl.
35:03
She's been looking at you all afternoon.
35:05
>> Oh, Margaret, Margaret, believe me.
35:07
>> Why don't you invite her down here?
35:08
She'll have a better view from our box.
35:10
>> Oh, Margaret.
35:12
>> No reason we shouldn't all behave in a civilized manner.
35:13
>> Introduce us.
35:15
>> Margaret, I never saw that girl before in my life.
35:17
♪♪
35:25
Margaret, You're staring. >> No. Not me.
35:29
That girl's been staring at you all evening.
35:32
>> Margaret, Margaret, believe me.
35:39
Wherever we'd go, there'd be no peace.
35:42
She always suspected somebody.
35:44
Last week it even happened when we were playing golf
35:47
with you and Henrietta.
35:51
You're up, Margaret.
35:52
>> I'd use a 3-wood on this hole, Margaret.
35:54
>> All right.
35:56
[ Club knocks ]
35:57
>> Oh. Too bad.
35:59
>> Well, you go up there and show me how, Marty.
36:01
>> You rushed the shot. You lifted your head.
36:03
>> I really don't care about golf.
36:06
>> You made the date with Marty and Henrietta.
36:08
>> Oh, we simply can't drop out of circulation.
36:11
Spencer, that girl in the foursome behind us.
36:14
>> Margaret, Margaret, she's not the one.
36:16
♪♪
36:21
>> Spencer, where were you? >> I had a meeting.
36:24
>> Oh, well, we progress. [ Chuckles ]
36:27
Used to be you didn't know, you couldn't remember.
36:30
And now at least you're courteous enough to lie to me.
36:33
>> You've been drinking, Margaret.
36:35
>> Yes, yes. That's true. I have been drinking.
36:36
Margaret, it's not good for you.
36:38
>> Oh, I don't know. Let's consider that.
36:41
Drinking is not good for me.
36:43
I-I won't fight that.
36:45
However, what you're doing, that's good for me? Mm?
36:51
Although I must say you're treating me nicer these days.
36:53
You started off by asking, "Who are you?"
36:56
as if you didn't know me, and now at least you don't ask.
37:01
The phone rang today,
37:03
and I answered it and the line was dead.
37:06
What's going to happen, Spence?
37:09
>> I intend to go away with her.
37:12
>> Well, finally, you've admitted it.
37:16
You are having an affair. >> Yes.
37:18
>> Who's the woman?
37:20
>> Who? >> Yes, who?
37:21
>> I'm not sure you'd want to know.
37:24
>> I have a right to know.
37:26
>> Well, perhaps you do.
37:28
>> Who is she, Spencer?
37:32
>> She's you.
37:34
>> Me?
37:36
>> Yes, Margaret. The girl is you.
37:41
>> What kind of nonsense -- >> No, no, no, no, no.
37:43
That's not quite right. She -- She isn't you.
37:45
>> Then what were you trying to say?
37:46
>> She was you.
37:48
She isn't Margaret Chadwick. She was Peggy Wainwright.
37:53
>> Spencer, don't look at me like that. I'm scared.
37:57
>> Do you want me to prove it to you?
37:59
Come with me. Come with me right now.
38:03
>> This is what Dr. Berger was concerned about.
38:06
Spence, it's no disgrace to have a breakdown.
38:08
It's no shame to need psychiatric help.
38:11
>> No, no. We're past all that, Margaret.
38:15
Come with me. I want you to meet Peggy.
38:19
Come with me.
38:21
>> No, Spencer, you come with me.
38:22
You come with me to Dr. Berger.
38:25
>> You know, Margaret, people like you have one answer.
38:29
Whenever you're up against something you don't understand,
38:32
you have one answer.
38:34
Whenever you're faced with something
38:36
that's beyond your experience, you have one answer --
38:39
See a doctor.
38:40
That solves everything. That takes care of everybody.
38:44
And it never occurs to you
38:46
that yours might just possibly be the wrong answer.
38:51
Now, why are you so sure of yourself, Margaret?
38:54
Why are you so sure that I'm the one who's wrong?
38:59
Come with me, Margaret. I want you to meet Peggy.
39:06
Or are you afraid?
39:07
♪♪
39:13
[ Engine idling ]
39:15
Does it look familiar, Margaret?
39:16
>> Spence. This is 32 Benton Boulevard.
39:20
It's our first address. I remember.
39:23
>> Do you remember the apartment number?
39:26
>> 3. 3A.
39:28
Oh, don't tell me it's still there.
39:31
>> See for yourself.
39:32
♪♪
39:36
[ Door opens, footsteps ]
39:39
>> Spence! Oh!
39:42
Where did you -- how did you...
39:44
Our first table. And this bronze candlestick.
39:48
Our very first wedding present, from my brother.
39:51
[ Door opens ]
39:54
These clothes. My clothes. How did they get there?
39:58
>> They're here because they're Peggy's clothes.
40:02
>> Oh, look, Spence. The Lydia Carter skirt.
40:04
Oh, you loved me in that.
40:06
Do you know that style's come back?
40:08
I want to put it on.
40:09
>> Do you remember what we used to do?
40:13
>> We'd go for a walk.
40:15
>> In the park.
40:16
>> Dinner at Luigi's.
40:17
>> We never had dinner at Luigi's.
40:19
>> Oh, that's right. We couldn't afford it.
40:22
>> And by the time we could, we weren't living here anymore.
40:25
>> We stopped at the burger shop.
40:27
What's tonight? >> Thursday.
40:30
>> That means there's a free concert in the park.
40:32
>> And then free dancing.
40:34
>> Oh, let's go, Spence! Let's do it all again.
40:37
♪♪
40:44
[ Big-band music playing ]
40:45
♪♪
40:52
I never realized how much fun we had in those days.
40:57
>> They were -- They were great days, Peggy.
41:01
>> Peggy. [ Chuckles ]
41:04
I always liked Peggy better.
41:07
Somewhere along the line, you stopped calling me Peggy.
41:10
When exactly did you stop calling me Peggy?
41:14
>> When you became Margaret.
41:17
>> I always wondered about that.
41:19
How did I become Margaret?
41:21
Why?
41:23
>> Take a look around.
41:26
See, Peggy? All the bags. The trunk.
41:30
We're packed for the trip.
41:32
>> The trip? >> The trip to Tibet.
41:35
>> Oh! Oh, yes. >> We were all set to go.
41:39
>> Yes.
41:40
>> You remember? >> Yes.
41:43
>> As a matter of fact,
41:45
you were a little bit sick from the shots, remember?
41:50
Remember? >> Yes.
41:54
>> And then the telephone rang.
41:58
>> The phone?
42:00
>> Yes, yes. The phone rang. It was -- It was...
42:04
>> It -- It was my mother.
42:06
>> Yes, yes, it was your mother.
42:08
[ Telephone rings ] >> I remember.
42:10
>> Answer the phone. Go ahead, go ahead, answer it.
42:14
You answered it that night.
42:16
[ Picks up phone ]
42:17
>> Hello? Yes. Yes, Mother.
42:22
Oh, no.
42:25
Oh, all right, all right. We'll go there right away.
42:28
[ Hangs up phone ] >> What is it, Peggy?
42:30
>> My dad. He's had a stroke.
42:32
>> How bad? >> Well, they don't know yet.
42:34
Oh. [ Sniffles ]
42:36
Oh, Spence, I don't think we can...
42:37
I mean, I-I can't leave Mother alone right now.
42:41
>> No. We won't.
42:43
>> Oh, Spence. I knew you'd understand.
42:48
>> That's when you became Margaret.
42:50
That's when you were no longer my wife
42:52
but your father's daughter.
42:54
Take off the skirt. Leave it here.
42:57
Go home. It belongs to Peggy.
42:59
>> Spence, what's the matter with you? I'm Peggy.
43:02
>> That night was the start of it.
43:03
>> The start of what?
43:05
>> The start of the campaign
43:06
to mold me into the kind of man you had in mind.
43:10
The man who would enjoy the kind of existence
43:13
you always had and always wanted.
43:15
Safe, comfortable, secure.
43:17
>> All you were asked to do was to help my father,
43:19
who was deathly ill.
43:21
Who else could have done it? My brother?
43:23
It was supposed to just be a temporary arrangement.
43:26
But it suited you, Spence.
43:28
>> It suited you.
43:29
I started making the kind of money
43:31
your folks never dreamed of.
43:33
I built an empire. I never wanted it.
43:36
You -- You wanted it.
43:38
You wanted it so badly, you stopped being Peggy.
43:42
You went somewhere else. You -- You became lost.
43:45
But not me. I'm -- I'm -- I'm not lost.
43:48
I found my way back.
43:50
And when I got there, I found Peggy again.
43:55
Now take off that skirt! And give it back to Peggy.
44:00
>> Spencer, I listened to you. Now you listen to me.
44:04
>> I've been listening to you for 23 years,
44:09
and now we've come to the end.
44:11
The bags are packed, and it's not too late.
44:14
We're leaving for Tibet. Peggy and me.
44:19
Peggy? Peggy?
44:23
>> Yes, Spencer darling.
44:25
>> Spence, get this straight. I'm Peggy.
44:28
>> Don't listen to her, Spence.
44:30
She was always out to destroy you.
44:32
She almost did till you came back to me.
44:35
>> I'm Peggy. The only Peggy you have.
44:38
>> She's lying!
44:40
She's trying to stop you.
44:42
We are going to Tibet.
44:44
>> Fat chance.
44:46
You'll take that appointment from Satterfield.
44:48
That refusal was just a ploy.
44:49
You know it. He knows it. >> Shut up! Margaret.
44:52
>> Shut her up, Spencer. Shut her up!
44:56
>> I didn't destroy you.
44:57
You destroyed me.
45:00
>> You'll have to kill her, Spence.
45:02
>> Go ahead, live with this fantasy of yours,
45:06
this Peggy who rewrites history.
45:09
She's all yours.
45:11
>> I want my skirt.
45:14
>> Take off that skirt. >> It's mine.
45:17
It's all I want from you for 23 years of marriage.
45:21
>> Don't let her out of here.
45:23
She'll tell everybody about us.
45:26
They'll put you away, Spence.
45:28
>> Get away from that door! >> No!
45:29
>> Spence, keep away from me!
45:32
[ Grunting and clattering ]
45:33
>> You won't get out that way.
45:35
>> Spence, I warn you! I'll hit you with this.
45:38
>> [ Grunting ] Now you asked for it.
45:40
You asked for it!
45:42
>> Use a knife, Spence. Use a knife.
45:46
>> No! Oh!
45:49
[ Body thuds ]
45:51
>> [ Panting ] Peggy. Peggy.
45:55
Peggy, where are you? Peggy?
45:59
>> [ Breathing heavily ] You...
46:03
you -- you killed us both, Spence.
46:07
[ Groans ]
46:09
>> [ Panting ] Margaret. Oh!
46:13
[ Crying ] Margaret. Margaret.
46:19
[ Telephone dialing ]
46:26
[ Line ringing ]
46:29
>> Chief Inspector Faraday's office. Melrose speaking.
46:34
>> Sergeant... this is Spencer Chadwick.
46:40
I...
46:42
I just...murdered my wife.
46:46
♪♪
46:51
>> Well, as they say, all of us are two people.
46:55
One is the person we think we are
46:58
and the other is the person we really are.
47:01
And the secret of a long, happy life
47:04
is to make sure the twain never meet.
47:08
I'll be back shortly.
47:09
♪♪
47:18
♪♪
47:26
Well, the jury's still out.
47:29
Oh, not on Spencer Chadwick. With him, it was open and shut.
47:33
But on the basic idea -- Can you go back?
47:37
Can you do it again?
47:40
Well, to end on a non-controversial note,
47:43
here is something everybody can do again.
47:46
Tune in again for more suspense and excitement.
47:50
Our cast included Richard Mulligan, Mandel Kramer,
47:54
Marian Seldes, Bryna Raeburn, and Gil Mack.
47:59
The entire production was under the direction of Himan Brown.
48:02
This is E.G. Marshall inviting you
48:05
to return to our "Mystery Theater"
48:07
for another adventure in the macabre.
48:10
Until next time, pleasant dreams.
48:13
[ Door creaking ]
48:22
[ Door closes ]
48:24
♪♪
48:34
♪♪
48:44
♪♪
48:54
♪♪
49:04
>> "If You Please... Himan Brown's Radio Mystery Theater"
49:06
is produced and directed by Sarah Montague.
49:10
Our executive producers are Melina Brown and Sarah Montague.
49:14
CUNY TV's executive director is Chiqui Cartagena.
49:18
The director of production is Susan Iger.
49:20
The associate producer is Corinne Wallace,
49:22
and our audio production intern is Sofia Cedeno.
49:26
Margot Avery is the voice of the series,
49:28
Introduction, and credits.
49:30
The program commentaries are by John Slaveney.
49:34
Our technical team at CUNY TV
49:36
includes senior audio engineer Richard Kim
49:41
and broadcast audio engineers Jackie Mitchell and Kevin Wolfe.
49:44
Our staff photographer is Laura Fuchs.
49:47
Our archivists are David Rice and Catriona Schlosser.
49:51
Our closed caption coordinator is Amy Monte.
49:54
The "If You Please" program mix engineer
49:57
is Lisa Gosselin-Vincent.
49:59
Tink Media handles our publicity and marketing.
50:02
Our director of social media is Karen A. Brown
50:05
in collaboration with StardustBlue PR,
50:08
"If You Please... Himan Brown's Radio Mystery Theater"
50:11
is a production of CUNY TV.
50:15
If you enjoyed the show
50:17
and are curious about the history of these radio programs,
50:19
listen to "Audio Maverick."
50:21
In this award-winning nine-part documentary,
50:24
we explore the golden age of radio
50:26
through the life of dramatic genius Himan Brown
50:29
and then explore the work of contemporary audio dramatists
50:33
who are part of his legacy.
50:34
"Audio Maverick" is available anywhere you get your podcasts.