S2E7: Dead Ringer

>> Welcome to the second season of "If You Please, Himan Brown's Radio Mystery Theater." On this series, we are offering rebroadcasts of a select group of programs created by this legendary producer for CBS between 1974 and 1982. Brown reimagined radio drama for contemporary times. Our new series offers some of these exciting works again.

In Season 1, we delivered riveting tales of foul play, betrayal, greed, and misguided love. We foiled a murder, considered reincarnation, pondered the nature of guilt, and traveled through time. We heard Himan Brown's troupe of seasoned audio actors embody a wide range of characters and deliver thrills time and again.

And for Season 2, they are all set to keep our headsets on and our fingers tapping play. Before each program, Commentator John Slavney shares details about the cast, the writer, and the plot. Your job -- listen. "If You Please" is produced in loving memory of Robert Isaacson. ♪♪ >> Hello, everyone, and welcome to the latest episode of our podcast, a psychological thriller with a supernatural twist entitled "The Man Who Heard Voices."

I'm John Slavney. I hear voices all the time, and you do too. You're hearing my voice right now, and ordinarily it's nothing to be alarmed about. But when the voices you hear are the unspoken thoughts of other people, a certain degree of alarm might be in order. Our protagonist here is 42-year- old George Wesley Sanderson, a successful lawyer in a big-time Manhattan law firm.

Fifteen years ago, George's wife, Margaret, developed a strange illness that left her bedridden and dependent on pills. Into the mix drops the lively and beautiful Sally Cartwright, his boss's daughter, who sets her sights on George, wife or not. George wants to be a good husband and an honest man, but he finds himself falling for Sally and soon forgetting his marriage vows.

He also begins to hear voices -- voices from the past, the present, and the future, even his own voice. And this weird talent only complicates matters more. The great Larry Haines stars as our beleaguered attorney Sanderson. His film "The Seven-Ups" had opened in theaters just five days before this recording session.

On Broadway, he was nominated in 1969 for a Tony for his work as Dr. Dreyfuss in "Promises, Promises," a production that also featured "RMT" players Jerry Orbach and later Tony Roberts. California-born Augusta Dabney voices George's unfortunate wife, Margaret. A graduate of U.C. Berkeley, she moved to New York to attend the American Academy of Dramatic Arts and was soon appearing on Broadway stages.

In the early 1950s, Dabney frequently appeared in early TV anthology series including "Studio One," "Kraft Television Theatre," and "The Philco Television Playhouse." Later, she could be seen on a variety of New York-based soap operas, and at the time of this recording, she was appearing on the daytime drama "As the World Turns" on CBS.

Swiss-born Suzanne Grossman, an actress and playwright who made her Broadway debut in the original 1966 production of "The Lion in Winter," plays fiery Sally Cartwright. Grossman earned her bachelor's degree at McGill University in Quebec and, along with "RMT" colleague Paul Hecht, was among the first graduates of the National Theatre School of Canada in 1963.

Gravel-voiced Leon Janney, whom we've heard in two previous episodes, doubles capably as George's boss, Mr. Cartwright, and as the Sanderson family doctor. Also in the cast, as sharp-eared listeners may notice, is "Radio Mystery Theater" producer/director Himan Brown in the small role of the minister who officiates at George and Margaret's wedding.

Over the years, Brown appeared in numerous episodes of "Mystery Theater," always in smaller roles, and he clearly seems to enjoy stepping in front of the mic now and again. It was his first appearance on his own show. Our show was recorded on Wednesday, December 19, 1973, and it aired just six weeks later, on January 29, 1974.

Now I hope you enjoy hearing the voices of our "RMT" actors in "The Man Who Heard Voices." ♪♪ >> "The CBS Radio Mystery Theater" presents... [ Door opens, hinges creaking ] ♪♪ >> Come in. Welcome. I am E.G. Marshall, and I have a ghost story to tell you. But a most unusual ghost story, since it violates all the established rules.

You know the rules for a ghost story. It must be set on some desolate, windswept moor or perhaps in a ruined, isolated mansion or a lonely, deserted castle. However, this spine-tingling tale actually takes place in a modern luxury high-rise apartment building -- and in broad daylight. >> I...don't want to die, George.

Please. I don't want to die! >> Margaret, darling, listen to me. >> No. No! >> Margaret, it would be better. >> Better for who? >> For you, dear. For you. >> I have...very little left, George. Please. Just let me live a little longer. >> Margaret, life means nothing to you now. >> I know, but...just let me live a little bit longer.

>> I can't, Margaret. >> [ Gasps ] >> I can't! ♪♪ >> Our mystery drama, "The Man Who Heard Voices," was written especially for the "Mystery Theater" by Sam Dann and stars Larry Haines. I'll be back shortly with Act 1. ♪♪ ♪♪ At 42, George Wesley Sanderson is handsome, intelligent, and wealthy. He is married to a most beautiful woman.

He is a partner in a prestigious law firm. He has a host of friends because he is gracious, considerate, sensitive, and obliging. And so you look at him, sipping his morning coffee in his luxurious apartment in New York City, and you say to yourself, "Here indeed is one of fortune's favorites." How wonderful life must be for George Wesley Sanderson.

But we have invaded his privacy. We have caught him alone and off guard. And so we see a look of terror in his eyes. And no wonder. Because George Wesley Sanderson hears a voice -- a woman's voice. >> [ Voice echoing ] It's time for my pills, George. >> The voice is clear and distinct. >> May I have my pills, George?

>> But George is alone in the room. >> My pills! George? >> Not only is George Wesley Sanderson alone in the room, but the voice belongs to a woman 10 years dead. ♪♪ >> Margaret. Margaret. >> George... you must give me my pills. >> Oh, no. No, no. >> George! [ Inhales deeply ] George... I understand.

I forgive you...George. I forgive you. [ Telephone ringing ] [ Receiver rattles, ringing stops ] >> Hello. >> Georgie? Get on the 10:00 plane and come down. Georgie? George, are you there? >> Uh, yes. Yes, I'm, uh, I'm here, Sally. >> We all decided that you should be down here. >> Well, I, uh... >> Well you what?

Are you all right, George? >> Y-Yes. I'm fine. >> Good. Get on the plane. >> W-Well, darling, somebody has to work. >> Oh, come on. That silly place runs itself. >> Goodbye, dear. >> [ Sighs ] Georgie. Are you sure you're all right? >> Y-Yes. Yes, I'm -- I'm fine. And, uh, really, I-I have to get to the office.

>> I notice you'd rather get to the office than fly to me. >> Darling, it's not what I'd rather do. It's what I have to do. >> My next husband will be a man with absolutely no ethics at all. Goodbye. [ Click, receiver rattles ] >> My name, as you know, is George Wesley Sanderson. And I must talk to somebody, unburden myself.

But there is nobody. Oh, my wife loves me. My father-in-law is most understanding. I have good friends. I could confess to a priest... visit a psychiatrist. But you see, each, in its own way, would fail me because no one would accept the basic point of my problem. No one would ever believe that... that I'm a man who hears voices.

There are times when I can hear what people think or what they're going to think. And there are times when I can hear people who are miles away or...or even dead. It started, oh...15 years ago. I was married to my first wife then. Her name was Margaret. She was 23 years old, vivacious, active, loved sports.

She could even beat me in tennis. But she did it with such charm. I didn't mind it a bit. [ Racket thuds ] >> That's out! >> Oh, that looked in to me. >> Okay! [ Laughs ] If you want the point, you can have the point. You should have a handicap anyhow. >> Okay. Just look out for this ace! [ Racket thuds ] Ha! An ace.

How'd you like that, huh? [ Birds chirping ] I say! How'd you like that? Margaret? Margaret, is something wrong? >> No. I'm fine. >> Well, you had a funny look on your face. >> Did I? [ Chuckles weakly ] It's just... >> Just what? >> Nothing, nothing I-I... [ Inhales sharply ] I just had a funny little twinge in my back.

But it's gone now. Your serve. Then and there, I heard a voice. It was the voice of our doctor. >> [ Voice echoing ] You both should know the truth. We don't know what's wrong with Margaret. She won't be able to walk. She'll have to stay in bed -- for a while, anyway. These pills will keep her alive.

♪♪ >> Exactly one year later, the doctor spoke those very words to us in the hospital. ♪♪ [ Knock on door ] [ Door opens, footsteps approaching ] [ Door closes ] You, uh, sent for me, Mr. Cartwright? >> Yes, George. Sit down. >> Thank you, sir. >> George, I, uh, I read your brief on the Hollingsworth case.

Brilliant. Is that what you'd like to specialize in -- criminal law? >> Yes, sir. >> Good. This firm could use a crackerjack trial lawyer. Uh, let's have dinner one night this week and start making some plans for you. >> Well, sir, I, uh, really can't go out much at night. >> No? >> No. You see, uh, my -- my wife is, uh, bedridden.

>> Oh. Well, I'm -- I'm sorry to hear that. >> We, uh, we don't even know what it is. One of those, uh, mysterious ailments. Anyhow, she has to have constant attention. I have a woman who stays with her during the day, but at night, I can't leave her alone. >> Mm. Well, that's too bad. We'll arrange for lunch, perhaps.

>> Then I heard his voice, his silent voice. But to me, it was crystal clear. >> [ Voice echoing ] Too bad. We may have to forget about George. It's a tragedy. But if he wants to be an eight-hour-a-day man, he'll remain in an eight-hour-a-day job. ♪♪ That's, uh... that's all for now, George. I just wanted to let you know how pleased I am with your work.

And the other partners are, too. >> Well, thank you, sir. [ Door opens ] >> Hi, Dad. Your secretary said you were busy, but I'll only be a minute. >> [ Chuckles ] >> Well, hello. Who is this? >> Uh, this is one of our new young attorneys -- George Wesley Sanderson. My daughter, Sally. >> How do you do?

>> George Wesley Sanderson. Even sounds like a great lawyer. >> [ Chuckles ] >> Now, dear. Save that ravishing smile for where it'll do you some good. George Sanderson is a married man. ♪♪ >> Then, once again... I heard a voice. Sally's voice. >> [ Voice echoing ] I don't care if he is married. I want him. I never believed it.

But now I know it's absolutely true. There is such a thing as love at first sight. I love him. ♪♪ [ Utensils clattering ] >> Oh, thank you, dear. But I don't want any more. It's time for my pill. >> Oh, yes. So it is. I'll, uh, I'll get it for you. >> Those pills, they're like a lifeline. >> Well, let's be thankful they work.

>> Poor George. You've become a full-time nurse. And in addition, you've got a full-time job. You really don't get much sleep, darling. You have to set an alarm every two hours to give me my pill. >> Darling, we stood up together, and we took a vow -- for richer or for poorer, for better or for worse, in sickness and health...

>> Till death do us part. >> Let's, uh, change the subject, huh? >> Okay. Well, how'd it go at work today? >> Oh, everybody flipped for the way I handled the Hollingsworth case. >> Ah. Will it mean a promotion? >> Well, maybe. But more important is the additional money. >> Oh, George. >> Now what? If you become important, we'll be expected to entertain and -- >> Oh, no. No. Nothing of the sort.

I'm gonna run my business the way I want. I intend to do my work during the day, in the office. I don't have to socialize with people. Merit, ability -- That's what should count. ♪♪ And for the third time that day... I heard a voice, this time, Margaret's. >> [ Voice echoing ] Oh, Lord. I want to live.

I'm not much use. I can't do a thing. I'm a drag on the man I love. I'm good for absolutely nothing. But I want to live! ♪♪ >> And we have a clear precedent here. When Theodore Roosevelt was, uh, police commissioner of the city of New York, the question of injury incurred while making a citizen's arrest -- >> Do you always talk to yourself?

>> Oh, I happen to be dictating into this recorder. How did you get in here? >> [ Chuckles ] Being the boss's daughter ought to give a girl certain privileges. I came by hoping you might have pity on me. >> Pity? >> I'm famished! You might take me to lunch. >> Well, uh... >> Well what? It wouldn't hurt you with the chief.

Might even pave the way to a promotion. >> Well, on the other hand, it might backfire. >> How? >> Well, how does your father regard married male employees who take his daughter to lunch? >> I don't know. It's never happened before. As you legal types might say, there are no precedents. Come on. Take a chance. Live dangerously.

>> I'll get my hat. ♪♪ [ Alarm clock ringing ] Mm. [ Groans ] [ Ringing stops ] >> Darling, I'm sorry. I need my pill. >> No. It's okay. It's okay, darling. [ Sighs ] [ Footsteps approaching ] Here you are, dear. >> Thank you. >> There. Now, just let me set the alarm again. [ Dial clicking ] >> You must be exhausted.

>> No, no, no. Not really. Are you, uh, feeling any better? >> Yes, a little. I was so tired when you came home, though. We couldn't even talk. And I look forward to our talks so much. Anything interesting happen today? >> Uh, no. No. Just, uh, a lot of routine. >> What did you have for lunch? >> Lunch?

Uh, lunch. Let's see. Uh, I just had a sandwich at the desk. >> Oh, George. You should go out. >> No. No, dear. No, I shouldn't. ♪♪ But I did. She would drop by two, three times a week, and it just became... well, a-a thing we did. We were friends. That's all. I knew she was in love with me, but I was discovering something else, something very unsettling, very disturbing.

I was falling in love with her, too. I tried to fight it. [ Engine humming ] How about right here? >> Okay. [ Engine decelerates, stops ] >> There. Well, now that, uh, we've scared away every fish between here and Europe... >> [ Laughs ] I wouldn't know what to do with a fish if I caught one. >> Well, uh, let's just drift for a bit, huh?

>> [ Chuckles softly ] You didn't have to say that. >> Say what? >> "Drift." Haven't we been doing just that since the day we met? >> [ Sighs ] Yes. Yes, I suppose we have. >> What are we gonna do, George? >> I, uh, I don't know. >> I'm willing to settle. >> Settle? >> For half a loaf. >> Oh, no. No, no.

That -- That wouldn't work. After a while, you'd get to hate me. >> No, George, I wouldn't. >> Well, I'd hate myself. >> Do you still love her? >> No. [ Water lapping ] No. It's a terrible thing, but I... I don't love her anymore. You know, that happens to people. Just as they can fall in love, they can also fall out of love.

It's -- It's just that the timing and the circumstances are bad for Margaret and for me. >> But if you no longer love her... >> Well, how could I ever divorce her? [ Engine starts ] Hey! Hey, where are we going? >> I don't know. But the one thing I can't do is just to stand still. [ Engine revving ] ♪♪ >> Nothing and no one in this world ever really stands still.

Wheels are always turning. Gears are shifting. Minds are changing, perhaps slowly, imperceptibly, subtly. Even a marriage vow contains the seeds of its own dissolution. For it says "Until death do us part." We'll be back shortly with Act 2. ♪♪ >> Like what you're hearing so far? Are you curious about the history behind radio programs just like this one and the dramatic genius who created them?

In the nine-part award-winning documentary "Audio Maverick," we explore the golden age of radio through the life of Himan Brown. You'll hear the history of radio come to life as we travel from the birth of audio drama to the programs that brought millions of families into their living rooms every night.

"Audio Maverick" is available anywhere you get your podcasts. ♪♪ ♪♪ >> George Wesley Sanderson is in a motorboat just off Long Island on a beautiful day with a beautiful woman who loves him. And to make it perfect, he also loves her. However, there's a complication. George Wesley Sanderson is married, and he takes his vow seriously.

[ Engine humming ] >> W-We'll do something, Sally. >> You'll have to do something, George. People don't stand still. >> Yes, I know. >> You can't freeze a relationship. It grows better every day or it becomes worse. You fall in love because another person has something you need, and sometimes... it's the terrible truth -- When that person loses what attracted you in the first place, love also goes with it. >> I know. I know.

>> So many people can't face up to it. They're unable to end a thing that really no longer exists. >> I love you, Sally. >> I love you, George, but...I'm human. If I can't have you, sooner or later I'll face it, and then...I'll make other arrangements for my life. >> Sally, wait for me. >> Oh, I'll wait, George.

But I can't promise to wait forever. ♪♪ >> Just then, I heard another voice. It was a voice I'd never heard before, but there was n-no mistaking who it could be and what the meaning was. >> [ Voice echoing ] And do you, George, take Sally for your lawful wedded wife, to have and to hold... [ Engine humming ] >> Oh, Sally, darling, don't ask me how or when or why.

>> George, look out! You'll upset the boat! >> Who cares? Sally, it's gonna happen. >> What's going to happen? >> You and me. We're gonna happen. We're gonna be married. >> But -- >> No buts. Just believe me. >> I believe you, George. I believe you. ♪♪ [ Silverware clanking ] >> Mm. That was good. I was so hungry.

>> Oh, Margaret, that's a good sign. >> Oh, I don't know. Sometimes I just wish... >> What? What do you wish? >> Oh...nothing. Nothing. [ Chuckles ] I don't want to talk about it. Well, now, you must have had an interesting morning. >> Oh, just so-so. >> Well, what was it? What did you have to do at the office?

You never did tell me. >> No. No, I didn't. Well, uh, we had to take a deposition. >> Oh? >> And, uh, we just spent the morning listening to witnesses and, uh... Margaret? Margaret? >> [ Sighs ] What? Oh, dear. What is it, George? >> Don't close your eyes yet. It's time for your pill. Here. Take it down with some juice.

That's all we'd have to do -- just forget one pill. >> Oh, George. Darling... maybe we'd both be better off. ♪♪ [ Door closes, footsteps approaching ] >> Good morning. George. >> Good morning, sir. >> Sit down. >> Thank you. >> Now, George, I, uh... I want you to go to Washington. I know you have personal problems.

>> Yes, sir. >> I want you to argue the Stilwell case before the Court of Appeals. >> Well, sir -- >> You can win this case for us. You're a natural. Lawyers like you come along once in a generation. >> Yes, but, Mr. Cartwright -- >> The trial date is in six weeks. Now, I'm sure you can find a way to, uh, resolve your problem.

You can buy nursing care while you're gone. >> Sir, it's more than that. >> I'm sure it is. Now, I don't want to intrude in your personal affairs, although I understand I'm indirectly affected. My daughter evidently is, uh, quite taken with you. Well, that's between the two of you. >> I assure you -- >> Of what?

The two of you are in love. It's a very difficult situation. But it's your situation. For my part, I need you for the Stillwell trial in Washington. Now, don't -- don't give me your answer right now. ♪♪ >> And then...I heard a voice. And this voice I knew very well, because it was my own voice, and I could hear myself say...

[ Voice echoing ] If it please the court, the prosecution claims that the defendant, Captain Stillwell, has committed the crime of high treason against the government of the United States. ♪♪ >> George? >> Mm? >> George! >> Uh, w-what? What? What? >> Well, that's what I want to ask you -- What happened?

You turned pale. Is, uh, is everything all right? >> Oh. Y-Yes, sir. Yes, sir. Everything's fine. Just fine. I, uh... I mean, I-I b-believe that I will be able to plead the Stillwell case after all. ♪♪ >> Has she been taking these pills regularly? >> Oh, religiously, Doctor. The woman we have here in the daytime is absolutely trustworthy.

And, of course, I'm here all night. >> And he's a tyrant about it, Doctor. >> Well, he should be. >> Uh, Doctor, what about Margaret? >> Well, for the first time since -- since this thing struck, I have good news. >> Uh, good news? >> I say good. These words, "good" and "bad," are relative. >> Yes, but what do you mean by "good"?

>> Well, for the first time, I can detect no further signs of deterioration. >> I see. >> Unless some other complication occurs, Margaret can live on indefinitely, provided she takes her pills on a regular basis. >> Oh, we'll -- we'll see to that, Doctor. We'll see to that. >> Well, keep in touch if anything unusual happens.

And I'll be here again next week. >> Yes. I'll see you to the door, Doctor. >> Goodbye, Margaret. >> Goodbye, Doctor. [ Footsteps receding ] >> Oh, a lovely day, isn't it, George? [ Door opens ] >> Uh, yes. Yes. >> Oh, uh, about those pills, George -- Make sure you never run out. And she must have one every two hours.

♪♪ >> That's what his speaking voice was saying to me -- the little amenities, the weather, "Don't forget her pills," and so on. But there was another voice -- his inner voice. And I could hear it so clearly, so plainly. >> [ Voice echoing ] Poor kids. I'm glad I don't have to decide. She's in such terrible pain constantly.

Well, that's between the two of them. Or maybe it's up to him. I only know I wouldn't want to be in his shoes for all the money in the world. ♪♪ Goodbye, George. >> Goodbye, Doctor. And, uh, thank you for everything. [ Door closes ] >> George? George? >> Uh, yes, dear? >> I like a pillow. >> Yes, dear. I'm coming. [ Footsteps approaching ] Here we are.

Now...does that feel more comfortable? >> Mm-hmm. I think so. >> Margaret? Look at me. >> I'm looking at you, darling. ♪♪ >> I wanted to hear her voice -- not her speaking voice, but her thinking voice, her feeling voice, the way I'd heard it once before. But this -- this ability, this -- this gift, this talent -- call it what you will -- doesn't work at my command.

It comes and goes of its own accord. I wanted to know how she felt, what she really wished for. But try as I might, I...I simply couldn't hear her inner voice. And I knew that the decision, one way or another, would have to be mine -- all mine, mine alone. ♪♪ >> I'm looking at you, darling. >> Margaret, are you in pain? >> Oh.

It doesn't matter really. The pill takes care of it. Oh, it's such a miraculous pill. It takes care of everything. Oh, I think I'd better sleep for a while, George. I...I...I just want to sleep. >> Margaret, what do you mean? Please tell me. What -- What do you mean by -- by "sleep"? Margaret? [ Telephone ringing ] Oh. Here. I'll get that. [ Receiver rattles ] Uh, hello?

>> George? >> Oh, yes, Mr. Cartwright. >> Can you arrange to fly to Washington a week from Friday? >> Uh, a week from Friday? >> Yes. For a pretrial on the Stilwell case. >> Well, sir, I hadn't expected to -- >> Well, uh, you told me just yesterday in the office that you'd handle it. >> Well, yes, sir, but that was, uh, because I-I thought I had six more weeks.

>> Well, you do. This will just involve you down there for a day or two this time. >> I understand. >> I'll have Miss Gordon book your flight. >> Well, a-a week from Friday. That's, uh, that's about 10 days, isn't it? >> We'll have all the papers for you at the office tomorrow. And I'm taking you off everything else.

Just remember, we want this case. >> Yes, sir. >> Goodbye, George. >> Goodbye, sir. [ Receiver rattles ] >> George? >> Hm? Oh. Oh, darling. I thought you were asleep. >> The ringing of the phone woke me. I thought it was the alarm for my pill. >> Oh, no. No. We still have another hour for that. >> Now, what's supposed to happen a week from Friday?

>> Mm? Oh. Oh, uh, just a lunch date with Mr. C-Cartwright and, uh, a client. >> He must like you a lot, doesn't he? >> Well, I'm not really a bad lawyer. >> Oh, George, I wish I could be of help to you. I wish there was something I could do. ♪♪ >> Here I am, George. >> Oh, hi. I'm sorry I'm late. >> Dad tells me how busy you are.

I ordered you your extra dry gimlet. >> Thanks. I could use it. >> Dad also tells me you're going to Washington. >> Yes. Uh, that is, I think so. >> You think so? I understand the plans are all set. >> Well, the fact is, I, uh, know I'll be going, but, uh... >> But what? >> Oh, nothing. >> Once the trial begins, there's no telling how long it may run.

These government things can go on for months. >> Yes, I know. >> How about -- >> How about Margaret? >> Yes. Margaret. >> Let's not talk about Margaret. >> But, George -- >> Please. >> I said I'd be satisfied with half a loaf. >> Right now, I don't want to talk about it. >> But, George, I'm entitled -- >> There are things I must decide.

>> I want to help you. >> No, no, no. >> But when people are in love, there should be no barriers, nothing held back. >> Sally... Sally, you have a lot to learn about love. >> George, I won't be spoken to like -- >> Please, Sally, don't press me. Don't push me, huh? I don't care who you are or how deeply you love.

There are certain things... I must decide on my own. ♪♪ >> George Wesley Sanderson is faced with a decision. And it's a decision a man doesn't make lightly. Nor does he make it every day. Because what George must decide is whether or not to kill his wife. We shall return shortly with Act 3. ♪♪ >> Like what you're hearing so far?

Are you curious about the history behind radio programs just like this one and the dramatic genius who created them? In the nine-part award-winning documentary "Audio Maverick," we explore the golden age of radio through the life of Himan Brown. You'll hear the history of radio come to life as we travel from the birth of audio drama to the programs that brought millions of families into their living rooms every night.

"Audio Maverick" is available anywhere you get your podcasts. ♪♪ ♪♪ >> It is one minute before 2 in the morning in the apartment of George Wesley Sanderson. An alarm clock is set to go off exactly on the hour. It must awaken George so that he can give his wife, Margaret, a pill -- a pill she takes every two hours.

Without her regular pill, Margaret will die. [ Alarm clock clicking, ringing ] >> George? George, wake up. >> Hm? >> George? >> Wha-- Oh. [ Coughs ] Oh. Wait a minute. >> Oh. >> Wait a minute. >> I was afraid for a minute the clock wouldn't wake you. >> Yes. I'm sorry. I was sleeping pretty soundly. >> Poor George. You never get any rest.

>> It's all right. It's all right. Here, darling. Take a pill. >> Oh. [ Pill rattling ] Thank you, darling. Thank you. And now go -- go back to sleep. >> Well, I better reset the alarm. >> You're so good to me, George. >> There. There it is. I've set it for 4. Good night, darling. >> Good night. ♪♪ >> I turned to look at her.

Her eyes were closed. She was only 28, but her face was lined. Her skin was drawn and flushed, and she looked old. Old. Where was the pert, vivacious Margaret who only a few months before had been bursting with life? Wasn't she as good or as bad as dead already? Wasn't it a mercy to end her suffering?

Wasn't her living merely a sham and a pretense? Suppose I... I would somehow forget to give her the next pill. What would I be ending? And then, once again, I heard the voices. But these were voices from the past -- the recent past. >> [ Voice echoing ] This firm could use a crackerjack criminal lawyer.

>> [ Voice echoing ] I love you, George. I love you. >> [ Voice echoing ] We have plans for you. >> [ Voice echoing ] I'll wait for you, darling. But I can't promise to wait forever. >> [ Voice echoing ] We're all pleased with your work. >> [ Voice echoing ] Why hold on to a relationship that no longer exists?

>> [ Voice echoing ] I can't do a thing. I'm absolutely useless. But I want to live. I want to live. [ Alarm clock ringing ] >> George? George, the alarm. George, wake up. George, It's time for my pill. George, wake up. You must wake up! George? [ Ringing stops ] ♪♪ >> [ Voice echoing ] I heard the alarm, Margaret.

I heard it. >> George...you must wake up. >> Believe me, Margaret. I'm doing it for you. >> George... George, I must have my pills. George, wake up! >> Believe me, Margaret. Please believe me. It isn't Sally or the job. I admit they both tempt me. But I don't want to see you suffer any more. >> Aren't you going to give me my pills...George?

Let me live... just a little longer, please. >> And I'm...so tired, Margaret. So tired. >> George! George, please. >> It's all so mixed up. >> George, don't pretend to be asleep. >> I'm doing it for you, Margaret. Maybe for me too, but mostly for you. >> [ Weakly ] Oh, George! Darling...I forgive you.

I forgive you. ♪♪ >> Sit down, George. Sit down. Now, you didn't have to come into the office today. >> Yes, I know, sir, but...she's been dead a week, and, uh...well, things go on. I'm due to leave for Washington tomorrow. >> Yes. Uh, we, uh... Well, we wondered whether under the circumstances to ask for a delay.

>> There's no point to that, sir. What I need now is lots of work. >> Well...[ Chuckles ] ...we have lots of work around here. [ Door opens ] >> George, I've been trying to reach you to tell you how sorry -- >> Sally, it's all right. >> Now, there is a possibility that you people have something to discuss.

Excuse me for a moment. [ Footsteps receding, door closes ] >> [ Exhales deeply ] Well, Sally...here we are. >> Yes. How did it happen, George? >> Well, it's something that could have happened at any time. She just, uh, fell asleep, and, uh... and she didn't wake up. [ Sighs ] >> And now what, George? >> And now...

we can be married. That is, if you'll still have me. >> Oh, darling. >> I have to go to Washington. >> I'll go with you. And you know, of course, what Dad's been talking about. >> Well, actually, I don't. >> Well...we're fairly direct people, all of us. Dad was saying that since you and I would be married, there'd be a partnership in the firm as well.

>> Mm. Well, as long as we're fairly direct people, I may as well tell you that I deserve it. [ Both chuckle ] >> Darling, do you know that this is the first time I've ever seen you smile? >> Oh, I smile all the time. >> You listen to me, George Wesley Sanderson. You're going to live. You're going to travel.

You're going to mingle with all the people worth knowing in government, politics, the theater, art -- >> Wait, wait, wait. Now, when do I work? >> Oh, you can work as hard as you like -- as long as you remember you have to play hard too. >> When do we start? >> Right now. ♪♪ >> That was, uh, what, 15 years ago?

I was 30. She was 25. And the years haven't changed either of us. Well, not very much, anyhow. Life has been full of excitement, zest, and, of course, satisfaction, because I've won some very well-publicized cases, and there's talk of a judgeship, but that's all for the future. The important thing is that for almost 15 years since she died... I haven't heard voices.

You know, those voices. Until...Until last week. And it happened when I was alone, in the morning, at breakfast. >> [ Voice echoing ] May I have my pills, George? My pills. I want to live. Please, George. My pills. ♪♪ >> And I've kept hearing them. I don't know what to make of it, because after all, she did say...she's forgiven me.

Why should I hear her now? Why? I don't understand it. Why now? ♪♪ In the case of Delay vs International Power... [ Door opens, footsteps approaching ] ...the precedent is clearly stated -- Sally! Sally, what are you doing here? >> I'm here to tell you about a precedent which is going to be established right now.

>> I thought you were in London. >> I was. And then I decided to come back here for some litigation. >> Litigation? With whom? >> With you. >> Oh? What, uh, what kind of litigation? >> I want to review the basis for our marriage. It is rooted in the factors of common interests. We're both alive. We like to do things, go places.

Do you agree? >> Surely. >> So why aren't we going and doing? >> Well, we -- >> Well we what? Do you realize that for the past year, you've been working day and night? >> Well, darling, it so happens we have some crucial cases. >> Do you want our relationship to change permanently? Do you want us to drift apart? >> Do you know you're a nut?

>> Darling. A long time ago, we talked about this. Nothing, no one ever stands still. People change. And if they do, so does the basis of their relationship. >> All right. We'll go skiing. >> Turn your work over to the bright, young eager beavers and let's you and I start having fun again. ♪♪ >> And we did. We traveled. We played.

We danced. We enjoyed ourselves. And I even managed to get some good work done, too. We were never so happy. There was, of course, one small dark cloud for me. I could hear Margaret's voice. >> [ Voice echoing ] I need my pills, George. Aren't you going to give me my pills? Please. >> Penny for your thoughts, George.

>> Hm? Oh. Well, you couldn't buy my high- priced thoughts for a penny. >> You seem to be in a state of reverie. >> I was? >> As if you were listening to something. >> Oh. Must be your imagination. >> Why, as if... you were listening to voices. >> Voices? Are you sure you're all right? >> It's positively spooky. >> Spooky?

Here in our apartment, in the bright sunlight? Oh, no. You've got to look for your spooks in the dead of night. >> Well, I know what we both need. >> All right. Tell me. >> A good hard hour of tennis. >> Oh, now, darling, I have to be at the office. >> You don't have to be anywhere except with me. >> Okay. You're on -- for one hour.

>> Ha. ♪♪ [ Birds chirping ] >> Ha. That's out. >> [ Laughs ] This set has one more game. Your luck won't hold forever. >> Oh, no. I don't need luck. I happen to be good! [ Racket thuds, George groans ] >> Oh! That was definitely out! I think I'm gonna break your service. >> Oh. [ Exhales deeply ] [ Birds chirping ] >> Well? >> [ Exhales deeply ] >> George, what's the matter? >> It's nothing, dear.

>> Well, I'm waiting! Serve! >> Oh. [ Exhales deeply ] >> What is it, George? Is something wrong? >> [ Weakly ] No, no. No. No. I'm fine. >> You have a funny look on your face. >> Have I? >> Are you sure you're all right? >> Yes. Yes. I'm sure. It's -- It's just... >> Just what? >> Oh, it's nothing. I, uh...I just had this... little twinge in my back.

But it's -- it's gone now. ♪♪ But it wasn't gone. It wasn't much, but it didn't go away. And so that afternoon, instead of going to the office, I went to the doctor. >> I can't see anything. Could be a muscle strain. Try a little heat at home. If it persists, we'll give you some physiotherapy. >> Doctor, it's nothing serious, would you say?

>> Well, right now it doesn't look serious. ♪♪ >> I looked very hard at the doctor. I tried to listen for another voice -- his inner voice... perhaps...perhaps a voice he didn't even know he had... ...the voice I'd heard 15 years before with Margaret, when he predicted... But no, there was nothing. I sighed with relief.

♪♪ [ Cup and saucer rattling ] >> Pour me a cup of that coffee. >> Yeah. Sure thing. >> How's the back this morning? >> Fine. Just fine. >> How about some tennis? >> If you'd like. >> Sure your back's okay? >> I said so, honey. >> I found out you'd seen the doctor the other day. >> Oh? Well, it was, uh, just a check-up.

>> And the back? >> Oh, a twinge now and then. >> Oh. Everybody gets a twinge now and then. Dinner tonight at the Caswells'. I'd better call her. Then we'll try a few sets. Do you love me? >> I think so. >> I think I love you, too. [ Footsteps receding ] >> She left the room. I was all alone. For a week now, I've been hearing Margaret's voice.

♪♪ But now there wasn't a sound. I listened, but as mysteriously as it had begun... ...perhaps it was coming to an end. Maybe I was losing this -- this ear I had for voices. And then I heard it -- a voice. It was very indistinct at first, but I recognized it. It was my own voice, but I couldn't believe what it was saying.

I didn't want to believe what it was saying. ♪♪ [ Voice echoing ] Sally. Oh, please, Sally. Sally, give me my pills, please. Sally, I-I must have my pills. Sally, aren't you gonna give me my pills? Sally, don't kill me. I don't want to die. Sally, my pills. >> George. George, what's wrong? >> [ Exhales deeply ] Sally...

Sally, it's my back. >> I'll call the doctor. >> Yes, Sally. Quickly. The pain is terrible. Sally, please. [ Telephone dialing ] You won't kill me, will you? >> What are you talking about? >> When -- When the time comes, you won't kill me. You won't -- You won't, Sally. Or will you? Will you? ♪♪ >> Who knows?

George and Margaret, that's one story. George and Sally, that's another. Yes, we often think, many of us, how wonderful if we could only hear voices from the future, voices that could predict our fate. But maybe it's not such a good idea after all. Maybe it's better never to know. I'll be back in a moment.

♪♪ ♪♪ Voices. What are the voices we think we hear in the night? Are they merely dreams, fantasies, or our own wishes? Or are they real? And why shouldn't they be real? After all, reality is what we think it is. Our cast included Larry Haines, Augusta Dabney, Leon Janney, and Suzanne Grossman. The entire production was under the direction of Himan Brown.

>> This is E.G. Marshall inviting you to return to our "Mystery Theater" for another adventure in the macabre. Until next time, pleasant dreams. ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> "If You Please, Himan Brown's Radio Mystery Theater" is produced and directed by Sarah Montague. Our executive producers are Melina Brown and Sarah Montague.

CUNY TV's executive director is Chiqui Cartagena. The director of production is Susan Iger. The associate producer is Corinne Wallace, and our audio production intern is Sofia Cedeño. Margot Avery is the voice of the series introduction and credits. The program commentaries are by John Slavney. Our technical team at CUNY TV includes senior audio engineer Richard Kim and broadcast audio engineers Jackie Mitchell and Kevin Wolfe.

Our staff photographer is Laura Fuchs. Our archivists are David Rice and Catriona Schlosser. Our closed caption coordinator is Amy Monte. The "If You Please" program mix engineer is Lisa Gosselin-Vincent. Tink Media handles our publicity and marketing. Our director of social media is Karen A. Brown In collaboration with StardustBlue PR.

"If You Please, Himan Brown's Radio Mystery Theater" is a production of CUNY TV and Radio Drama Network. ♪♪ If you enjoyed the show and are curious about the history of these radio programs, listen to "Audio Maverick." In this award-winning nine-part documentary, we explore the golden age of radio through the life of dramatic genius Himan Brown and then explore the work of contemporary audio dramatists who are part of his legacy.

"Audio Maverick" is available anywhere you get your podcasts.

S2E7: Dead Ringer

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