S2E8: Here Goes the Bride

>> 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 one, 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 two, 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. ♪♪ >> Hi, everybody, I'm John Slavney.

We're getting close to the end of the second season of "If You Please." This time we turn to "Here Goes the Bride", a gothic thriller that takes place in a rather modern setting. Our play opens on a drive along the California coast, where we're headed to Bon-Repos, a large estate perched on a cliff overlooking the Pacific Ocean.

It's here that Richard Morgan, a fading but still famous movie star, is bringing his new bride, Jenny. She's clearly a bit intimidated. The high walls, the barbed wire, the massive iron gates at the front entrance. It's like a fortress, she says. But as Richard explains, the security measures are the price of privacy.

The estate is also the home Richard shared with his first wife, April, an acclaimed beauty who died mysteriously a year earlier and whose presence still haunts every room. Even her likeness remains painted on a fresco in the entrance hall. This is April's house, Jenny realizes, in April may not be entirely finished with it.

Ian Martin's script is plainly indebted to Daphne du Maurier's 1938 novel "Rebecca." Better known to most people from Alfred Hitchcock's 1940 film of the same name, Ruby Dee returns to Radio Mystery Theater in the leading role of Jenny. She and her husband, actor Ossie Davis, were also about to launch the "Ruby Dee & Ossie Davis Story Hour", a weekly cultural radio program distributed through the National Black Network.

She would return to "RMT" in 1975 to star in two additional "RMT" episodes. Playing Richard is Michael Wager, best known as a New York stage actor. Here in his second radio role for Hi Brown. Wager was also a close friend of the composer and conductor Leonard Bernstein, and was his upstairs neighbor at the Dakota, the famous New York City apartment building we mentioned in an earlier episode of this podcast.

Another close friend of Wager's was the playwright Terrence McNally, whose 1985 play "Lisbon Traviata" features a callous, obsessed opera fan named Mendy, a character generally said to be modeled on Wager. Nathan Lane played the role in the New York production of that play. Also in the cast is Teri Keane as Richard's sister, Lisa.

At the time of this recording, Keane could be seen in the CBS daytime serial "The Edge of Night" in the role of Martha Spears Marceau, a role she had played since October of 1963. Bryna Raeburn can be heard as the estate's housekeeper, Conchita, whose loyalty to April makes her slow to accept Jenny as the new mistress of the house.

Raeburn's accent isn't just an actor's approximation. As a girl growing up in Jersey City, across the river from the CBS radio studios, she learned to speak Spanish fluently under the tutelage of her aunt. Our scriptwriter, Ian Martin, completes the cast as Juan, the caretaker and Conchita's husband.

His accent is another matter. Our actors in Himan Brown's staff committed the script to tape on Thursday, January 10th, 1974, and the result was first broadcast less than a month later on February 4th. Now make yourself at home. Be sure to mind the edge of that cliff and enjoy our exclusive presentation of this original recording.

♪♪ >> The "CBS Radio Mystery Theater" presents... [ Door creaking open ] ♪♪ Come in. Welcome. I'm E.G. Marshall. Welcome to the sound of suspense. To the fear you can hear. This time around, we're involved in the supernatural. Any dictionary will give you several definitions. Supernatural. Above and beyond the natural order of events.

Of or related to ghosts, behavior caused by the intervention or by the action of a God on earthly affairs. Choose your own definition for this tale we are about to relate. >> No, they don't want me here. Someone. Something doesn't want me here. Who? Who? Richard. Not Richard. April. April is still in his mind.

April. No. I don't believe in ghosts. I won't, I won't -- [ Door opens ] No! Who's there? Who's there? >> Why? Why don't you go away? You don't belong. Foolish girl. Go away! >> April, you're not dead. [ Screams ] ♪♪ >> Our mystery drama, "Here Goes The Bride", was written especially for the "Mystery Theater" by Ian Martin and stars Ruby Dee and Michael Wager.

I'll be back shortly with act one. ♪♪ ♪♪ ♪♪ The supernatural doesn't always have to presuppose something totally beyond this earth. There are those among us who hover somewhere between earth and sky, the stars who light up our theater marquees or movie screens. All the human beings who have become, by extension, a little larger than life.

This is the shocking tale about two of those. >> Richard. >> Yes, Jenny. >> It's such a lovely day. Can't we put the top down? >> Well, I don't want to take a chance on being recognized. >> Nobody will recognize me. >> Just do as I say, please. I'm sorry to make you do the driving, darling, but that's why I had Juan leave my sister Lisa's car in Monterey.

The damn snoop should know by now not to pay any attention to it. >> Does your sister look like me, Richard? >> Enough from a distance. Same colored hair. But not really. He's attractive enough, I suppose. No, actually, she is very plain. And you? >> [ Chuckles ] Yes. >> You're the most beautiful woman I've ever known.

>> And I thought you only married me for my money. >> Look, don't say that. >> But, darling, I was only joking. Did you really mean what you said about me? >> Every word. >> But she was so beautiful. How could you? >> April was April. She isn't in my world or anyone else's anymore. She's dead. >> I'm sorry, darling.

I shouldn't have brought her up. I... Oh, we're here already. So I'm about to see Richard Morgan's folly at last. >> Don't let the walls spoil it for you. >> Oh, but it's like a fortress. Barbed wire, broken glass. And the gate looks as though you borrowed it from the Bastille. Does it all have to be so high?

>> The price of privacy. What little we could ever get. The fans considered April and myself public property, but we could forget that once we're inside. From there, looking out, you can't even see the walls. Open the gate. >> I don't think I could even budge it if I knew how. >> Not manually. You see the little box on the visor?

It's an electric gizmo. Just press the button on it. [ Gate opens ] >> It's a magic castle. >> Enter, Your Majesty, and long live the Queen. [ Engine revving ] Pull over to the gatehouse. Stop a minute. [ Dogs barking ] >> What are those? The hound of the Baskervilles? >> They are our guardian angels.

They patrol the grounds at night. Juan, amigo. [ Speaks Spanish ] >> They know you are back in casa, mi patron. They will not be tranquil till they see you for themselves. Bienvenida casa, senor Morgan. >> Muchas gracias. Viejo, amigo. Darling, this is Juan El Senor Aguilar. Juan. [ Speaking Spanish ] Mi esposa.

>> Senora Morgan. >> Juan, put the tarp down for the senora. I'll get the dogs quiet! >> Oh, it's good to get some fresh air. Well, my husband didn't have any trouble quieting down the dogs. They're not really as savage as they sound. Are they, Juan? >> They are trained to kill, senora. Anyone who does not belong here.

>> Oh, goodness. I hope they get to know me soon then. >> If they learn to know you belong, you have nothing to fear. >> You've been here a long time. >> Since the house was first built. >> Then you were here from the beginning with Richard's -- with Richard's first wife, April. >> Sí. >> A terrible tragedy for all of you.

You must have loved her. >> She was la senora de la casa. >> I hope you won't blame me for trying to take her place. >> There is no one to take her place. ♪♪ >> Conchita. >> Si, senorita. >> Here in the hall? >> Yes, Senorita Morgan. >> You didn't take her portrait down. >> La Senora? April? That is her place.

>> I don't think my brother is going to agree with you. He is bringing home a new bride, you know. >> I know. >> Didn't he suggest it might be a sensible idea to clear away all the portraits and memories of April from around the house? >> The portrait here in the hall is painted on plaster. It cannot be removed any more than her memory can be removed. So it stays.

This is her place. No one can take it. >> A fresco. Funny, I never realized that. Because it's framed, I suppose. >> It was el patron's idea for the wedding present. His way of saying here is my love which will never die, as it will never die for any of us. >> Except for my brother Richard. >> Maybe he thinks so. Maybe not.

But once he returns again, I think he will know there is only one la senora. ♪♪ >> Now you're really going to see Bon-Repos is all about. I'm going to drive slow so you can drink it in. Look. >> Oh! It's breathtaking. That's Bon-Repos. >> Not only the house, but the cliffs and that wild leap off into the Pacific and all the way to the horizon.

Oh, I love it. >> I hope you'll be able to. >> But I do already. Except... >> Except what? >> Well, the rest of it is all so vast that suddenly the house seems small. Now, the closer we get, I realize how huge it is. >> Well, it's -- it's rambling. Started from small beginnings and then just kept on growing.

>> Looking at that main house, it wasn't all that small. >> Well, for its day it was. Big families then. All that's left of mine I see clustered on the porch. My sister. >> And the lady with her? >> That's our housekeeper, Conchita Aguilar. She's Juan's wife. >> I have no one. But at least you have a sister.

It makes me feel a lot less like an orphan. And the house is so lovely. I hope I've come home. >> I told you when we came back to America, that would be your decision. Jenny, For many reasons, it -- Well, it's not going to be an easy one, but just give it a chance. >> I'll welcome it, Richard. If only it will welcome me.

♪♪ [ Clattering ] >> We flew straight from Japan to San Francisco, then drove down to Monterey to pick up the car. >> Well, it's so good to see you. Your bride is lovely, but you could have let us know about the wedding. >> Lisa, I wanted to keep it private, so we just sneaked off. >> [ Chuckles ] More coffee, Jenny? >> Mnh-mnh.

>> Richard? >> No. I think I'll have some brandy. How about you girls? >> Not for me. >> I pass. >> Oh, it's a magnificent night. There's going to be a full moon. Damn dogs are all stirred up again. Jenny. >> Yes, Richard. >> Want to walk down with me and start making friends with them? >> Well, I'm a little tired tonight.

I bet I'd make a better dog pal by daylight. Well, why don't you go ahead while I go up and get ready for bed? Well, you're the one they're calling for anyway. >> I've missed them, and it's nice to be missed. Would you mind? I won't be over a half hour. >> I'll be waiting for you when you get back. >> I'll close the French windows.

Don't forget to lock them, Lisa. >> No, no. Leave them open. The breeze is wonderful. >> I'll see they get closed, Ritchie. I've been taking care of that for the last year. >> Take care of my bride to, Lisa. Good night to you, Lisa. [ Dogs barking ] I'll see you later, Jenny. >> Well, a very sexy goodbye.

>> Your brother is a very sexy man. Or hadn't you noticed? >> Well, why should I be the only woman in the northern hemisphere to have it escape me? >> Oh, Lisa. It's what makes my blood run cold sometimes. That and April. >> She can scarcely run you much competition anymore. >> Because she's dead. >> She is.

>> Well, not really. In so many ways, I'm -- I'm terribly naive. Growing up in Japan, knowing so little of my native country. I was always aware that Richard Morgan was a star. After all, he was in Japan to make a movie, and I knew he'd been married for many years to April Sanders. But it was only after I'd married Richard and come back to America that I began to realize I'd married into royalty.

Not only that, but I'd rushed blindly into marrying the king without seeing that the queen is not dead. >> Oh, Jenny, don't be silly. The queen is very dead. >> Not in most people's memories. How did it happen, Lisa? How could that vibrant, overwhelmingly wonderful woman have met her death? >> Want to take a little walk, Jenny?

>> I could use some air. Which way do we go? >> Oh, towards the sea. There's enough moonlight to light the way. Are you cold? >> Lord, no. I welcome the breeze. Well, where are you taking me? >> To the end of the world. >> What? >> Well, we're April ended hers. You wanted to know how it happened, didn't you?

♪♪ >> I think I've gone far enough, Lisa. >> Only a few steps. >> What? What is this path? I mean, somebody cut it out of solid rock. >> It's called the Seven Steps to Heaven. It's more like 70. Richard had them cut for April on their seventh anniversary. You'll see why now as we come out on the ledge.

It's windier tonight than I thought. Most days it's calm up here. The sun pours down. You can lie out here on the ledge with the sea 400ft below and drenched in the sun, as though you were the only person in the world. April treated this as a shrine. She was inveterate sun worshipper. >> But it's sheer heaven bathed in moonlight.

>> If you look up. >> I can't see too much of the shadows looking down. >> The rocks are as jagged as teeth. 400ft straight down. This is right where she fell. Spread eagled on the rocks, broken and mangled, but speared by the sharp edges. So even the restless sea couldn't wash her away. >> Oh, my God, Lisa! How?

How could she have gone close enough to fall? >> She didn't fall. >> But the paper said she -- >> That's the story that was given out. Conchita believes it. Richie claims he does. Others are not so sure. Come on. This place gives me the heebie jeebies. Let's get back to the house before Richie sets those damn dogs loose.

♪♪ [ Door opens ] >> Oh. Excuse me, I was just turning down the bed. >> Which I'm sure you're quite ready to roll into, Jenny. >> Good night, dear. Welcome home. Such as it is. >> Good night, Lisa. >> See you whenever. Don't feel there's anything to get up for. >> Will there be anything else, madam? >> No, thanks, Conchita.

>> Then I will say buenos noches, madam. >> Wait a minute. >> Sí, madam? >> Madam is not a Spanish word. Why do you call me that? >> What would you have me call you? >> Well, since I -- I am Richard's wife. Shouldn't it be senora? >> In this house, there was only one senora. >> But she's dead. >> [ Speaks Spanish ] Never in the heart for anyone who knew her.

Buenas noches, madame. ♪♪ >> [ Gasps ] Richard? [ Roster crowing ] Richard, are you awake? >> Huh? >> [ Wailing ] >> It's her. It's -- It's April. Oh, my God. Stay away. Stay away. Richard, wake up! >> [ Gasps ] >> Help me! >> What's happened? >> Help! >> Jenny, Jenny, what is it? >> Listen, listen. Don't you hear?

[ Wailing continues ] >> Hear what? [ Wailing stops ] There's nothing. >> But there was -- It -- I -- I... >> What is it, darling? You look as though you'd seen a ghost. >> Not seen, I heard. It was her. April, your wife. >> Be quiet! You're my wife. April is dead. >> But she still doesn't want me here.

Nobody does. ♪♪ >> Not a very auspicious housewarming for poor Jenny at Bon-Repos. A reasonable translation of the French is sweet dreams. But there will be few sweet dreams for Jenny, at least this night. As for others, we'll find out when we return shortly with act two. >> 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. ♪♪ ♪♪ >> By the fresh light of a clear morning with the wind stilled and the sunlight flooding all the dark corners, Bon-Repos is a little more worthy of its name, but Richard Morgan is having a difficult time selling that to his still shaken bride.

>> Let a little light in. You'll feel better, Jenny. >> Um, no. No, Richard, I -- I'm still not over last night. Who was it? >> Darling, it wasn't anybody. >> You still say you didn't hear it that awful sobbing. >> It was -- It was nothing but the wind. Sometimes it's sighs and moans all around the house and you'd swear it was a human voice.

But -- but look. Not a whisper this morning. Even the ocean's like glass. Today you'll understand why I love this house so much. >> Richard, come here beside me on the bed. [ Footsteps ] >> All right, darling. >> I know you love Bon-Repos. But... >> But why? >> Richard, please, I-I don't want to live here.

>> Why not? >> Darling, try to understand. I don't feel I belong here. I know Juan and Conchita seem to resent me. >> Have they said anything? >> No, no, not in so many words. It's just a feeling I get. I'm not wanted. >> That isn't true. >> Richard, don't you see? It's her house. It was her family's house to begin with.

She's here still. She'll never leave it. She'll haunt me every minute I'm in it. Please take me away from here. >> All right. If that's what you want, I'll sell the damn place. Tear it apart stone by stone. >> Richard! >> Oh. Oh, Jenny, my darling, look, it's -- It's just the time lag. The long flight from Japan.

Days and nights turned upside down. I'm going to have Conchita bring us a breakfast up to the room. We'll have it out on the veranda. Give you a chance to get a good look at Juan's landscaping. All that riot of color. Bougainvillea, poinsettia, camellia against the green. Maybe that'll change your mind about poor old Bon-Repos.

>> Darling, I know how much you love it, but -- >> Come on, Jenny, give it a chance. A few more days, a week. Give it a chance to cast its own peculiar spell. >> All right, darling. Go get us some breakfast. I'll wash up and -- and brush my teeth and get rid of some cobwebs while you're gone. >> Jenny? >> Yes.

>> I love you, Mrs. Morgan. >> [ Chuckles ] That's who I am. And I love you, my husband. [ Door closes ] >> Conchita. >> Sí, patron? >> Come over here in the alcove. What the hell happened last night? >> I couldn't help it. She woke up, started to scream, and then to sob. You heard? >> The whole house must have heard.

Why didn't you stop her? >> I did as soon as I could. >> You know, I don't want my wife to know about her being here. >> I know. >> Then keep her quiet! You've got sedatives. That's your job. And I want my new wife made welcome. >> That is not my job. >> Then I'll find someone else for it. >> You would drive Juan and me from this house?

>> We'll, uh, we'll talk about this later. For now, bring breakfast to the veranda for the senora and me. >> Sí, senor. >> Where's my sister? >> In her room, I think. >> Muy bien. [ Knock on door ] >> Come in. It's open. [ Door opens ] Richard. I didn't expect to see you this morning. >> Why not? >> Well, after all, brother mine, a new bridegroom.

>> I'm an old bridegroom by now. >> Yes. Maybe she is a touch young for you. >> Damn you. I didn't mean that. >> I didn't mean what I said either. I was only teasing you. She's a lovely girl. She's sunny and free and unspoiled. >> I want to keep her that way. What the devil am I going to do about her?

Upstairs there. You heard her last night. >> Well, you know my feelings on the subject. Get rid of her for good. >> I can't. After all, it's partly her house. God, why won't she die? >> It would be a neat solution to it all, wouldn't it? But it seems she just won't. I'm afraid you're stuck with her. As long as your conscience holds you back.

>> Please, for God's sake, don't tell Jenny about her. >> Just how long do you think you can keep her secret? >> I don't know, all I need is a few days, a week. By then, one way or another, it won't matter. ♪♪ >> Are you going to start country hopping again, or are you going to stay home and make some nice, solid American movies?

>> Well, that depends on my negotiations in the next week or ten days. >> Jenny, you're not eating your steak. Want it on the fire a little more? >> No, thanks. I-I really ate too much of that wonderful salad. I-I don't think I could eat another thing. >> Conchita. >> Sí, senor? >> I think you can clear the table.

You want dessert, dear? >> I don't think so. Lisa, please forgive me, but I'm so full of sand, sea, air and scouring the property that I'm really bushed. Would you excuse me? >> Of course, Jenny. Get a good sleep. >> I'll see you upstairs, darling. Shall I have Conchita bring us some coffee? >> Oh, no.

No, I just want to sleep and sleep and make up for the last few days. You don't have to come up. >> Try and keep me away. Good night, Lisa. >> Night. >> See you tomorrow. I feel like such a party pooper. >> Lisa'll forgive us. I'm bushed myself. Darling, you're -- you're positively weaving. >> Well, I feel -- I feel a little high or low or something.

>> Oh, here. How about my arm for support? >> I'd love it. >> No good? >> No. Fine. I -- I was just. She was so lovely, Richard. >> Huh? Oh. Oh. April, the -- the fresco. That damned thing. I wish I'd never dreamed it up. I promise you, it'll be removed or covered or something. >> Oh, no, darling, it's -- it's too lovely to destroy.

Besides, no matter what you do or anyone tries to do, the memory of April Sanders in our time can never be wiped out or erased. It's -- It's something we both have to live with. >> She was like Jean Harlow, Marilyn Monroe, Elizabeth Taylor. She belonged to the public. >> But you had her painted to endure forever.

♪♪ >> But are you sure the dog was poisoned? >> That's enough, you two! Silencio! [ Door opens ] >> What was all that arguing about? >> Nothing, nothing, nothing. Trouble with one of the dogs. Come on, Jenny, let's have some morning coffee and juice and get back to normalcy. >> Well, what's the matter with the dog?

>> Here's your juice. Oh, it's, uh... It's what I've been trying to steel myself to weed out. He's a maverick or was. >> What do you mean? >> Well, some dogs take to training, some don't. This one, well, just never did. He's unpredictable. A natural born scavenger. He picked up something from the garbage with a botulism, I guess.

Anyway, he died this morning. >> But what could a dog -- >> Now look, don't take on about it. I'm going down to bring up some eggs and bacon. Why don't you set the table for us on the veranda? >> Of course, darling. [ Door closes ] The steak. I didn't eat... Is that what poisoned him? Oh, God, help me to know what to do.

I love my husband, but every instinct in me tells me to run. Run for my life. ♪♪ >> Yeah. Yeah, sure, J.B. No, I don't like it. But if it's the only way, I'll be there. Yes, yes. Right away. No, no. I'll -- I'll -- I'll drive down. It's almost dark already, so I'm not taking much of a chance. What? Well, yes. Thanks. Yes.

I'll stay with you overnight and come right back. >> You're going to Los Angeles. >> Just overnight, darling. >> Well, take me with you. >> Oh, Jenny, I can't. This is all strictly business. >> And I stay here alone? >> Not alone. Lisa's with you. >> Thank God for that. >> You have nothing to worry about.

>> Of course I haven't. Go do what you have to do and come back to me safe. >> And you stay safe for me to come back to. ♪♪ ♪♪ >> Well, wouldn't you know, the moment my brother cuts out, the local electricity has to fail. Here's your candle, Jenny. Want me to come in with you? >> No. I'm fine. >> There are plenty of others in the candelabra.

They can burn all night. >> I won't need them. That good night drink we had is curdle my brains. >> I know, me to. I don't know about you, but I'm sailing. Maybe there was something in Conchita's arroz con pollo, but I'm positively lightheaded. >> Well, whatever it was, thank God for small favors. I'll sleep sound tonight if I can just find the bed.

Oh, I'm really high as a kite and no reason for it. Whatever it is, don't let Conchita see me like this. See me to bed, Lisa. ♪♪ ♪♪ No. No, they don't want me here. Someone, something. But who? Conchita? Juan? Richard? No. Please. Please not Richard. But April. April is still in his mind. April? No, no. I don't believe in ghosts.

I -- I won't. [ Door opens ] No! Who's there? Who's there? [ Wind blowing ] >> Why don't you go away? You don't belong here. Foolish girl. Go away! >> April, you're not dead! You're not... [ Hyperventilating ] [ Screams ] ♪♪ >> Moving towards the bed was the dead woman, April Morgan. But what a travesty of that beautiful woman.

A face gaunt and haggard, the eyes staring blankly from the desiccated skin. A hellish ghoul raised from the year-old grave. No wonder Jenny mercifully passed out. We'll return shortly with act three. >> 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. ♪♪ ♪♪ >> The spectral figure that hovers over Jenny, motionless under the covers, stands as still as the girl lies in the bed. Is her presence as malign as Jenny deems it to be, or as benign as it seems to be? >> Hush, child! Hush! I mean you no harm.

>> But you are... How you must hate me. >> Her? >> April, his wife. >> Oh, no, no, I'm not April. April is dead. She died, you know? >> I thought I did. Then who? >> I'm her mother. April was my daughter. >> You live here? >> Yes. Up there. >> Then you're the one I heard the other night sobbing. >> Was I? Perhaps I was.

I'm very sad, you know. >> Because your daughter died. >> Because my daughter was killed. >> Killed? >> What did April have to die for? She had everything to live for. She'd -- She'd never commit suicide. >> But -- But it was an accident, wasn't it? >> Oh, April was as graceful as a fawn. She was a dancer, you know, she had an incredible sense of balance.

She could never have lost it. >> Are you suggesting she -- she was pushed? >> Why do you think I'm locked up there in my room on the third floor with Conchita as my jailer? >> The housekeeper. >> Conchita is a practical nurse, and I am a prisoner. Half the time under sedation, living in limbo. The -- The shut-in to end all shut-ins.

>> But why? >> To keep me from crying it to the skies. To keep the truth buried. Like. Like me and my daughter. Except that I am on the third floor and April is six feet deep. He was jealous of her. He couldn't stand the fact that she was the talent. She held it all together. She made the legends. And when the truth was coming out that he meant nothing, that she was the star.

He had to drag her out of the skies. Destroy her, kill her. >> Who? >> Your new husband, Richard Morgan. That's why I came to warn you. Get out while you can. [ Knock on door ] >> Senora, are you all right? >> What is it he wants to take from you. >> Senora Morgan. Open the door! >> I'm coming, Juan. What do you want?

>> Are you rich? >> Yes. >> Are you coming, senora? >> Then run like the wind. He will kill you just as he did April. ♪♪ >> Are you all right, Jenny? Are you all right? I-I do, the lights are on again. >> Yes. >> What happened to -- to April's mother? >> Juan has taken her back to her room. She's mad, you know? She's quite mad.

>> She -- She accused Richard of killing April. >> It's her obsession. She should be institutionalized. But, Richie, well, he could never hurt a fly. >> But I don't understand why. [ Dogs barking ] Now what? >> Headlights coming up the drive. Must be Richie. I better go down and let him in. ♪♪ >> For God's sake, don't be terrified of me, Jenny.

>> Well, I don't mean to be. I don't know what's the matter with me. >> Look, April's mother must have shaken you. >> Well, why would you have kept it a secret? >> Look, I'm -- I'm -- I'm exhausted. And you're -- you're tired. Must we go through it tonight? >> I don't think we can go through any other night if we don't.

>> Okay. It all has to do with a living legend. April was a star. A sex symbol developed by the studios. I was a stage actor with a gift of reasonable looks and an unusual voice. Separately, we had great success. But together, when we did get together, and particularly after our marriage, we became something not only wildly larger than life, but larger than even just plain stardom.

Our own lives disappeared, replaced by a storybook romance that our careers had to conform to, despite the fact that we had learned, oh well, not to hate each other, but... That we had no love left. >> You didn't love April? >> Jenny, I couldn't stand her. She was selfish, avaricious, demanding, petty.

An impossible woman. >> So you -- so you got rid of her? >> You don't believe that? >> No. Oh, no, Richard. >> But how did April really die? >> I wasn't asking that. >> You don't have to. Half the world has speculated on that. Her mother thought I killed her. Still thinks so. Conchita and Juan? know it was an accident.

Lisa? Lisa has her own theory. Something to do with April's star complex and the wild winds that sometimes blow across the headlands. >> And you? >> I think she committed suicide. ♪♪ Buenos dias, Conchita. >> Buenos dias, senor. >> You can serve breakfast for all of us. And where's Juan? >> In the south garden.

>> Will you tell my wife when she comes down where I am? >> Sí, senor. Patron? >> Yes. >> Will you close up the house? >> If I'm going to save my new marriage, I think I must. I'm not going to argue the facts, but it's quite clear that Jenny doesn't fit here. >> I'll have some juice and coffee, Conchita? >> Sí, senorita.

>> Oh, and for Senora Morgan too. >> Sí, senorita. Morning, Jenny. >> Good morning, Lisa. >> Oh, heavenly day. Breakfast is on the way. >> Where's Richard? >> Oh, off on the ground somewhere. Want to go look for him? >> I would like to get some air. >> Well, then let's go. Did you, uh, finally get some sleep?

>> Yes. >> Well, with the new day, if you're smart, you'll make up your mind to get out of here and have Richard all to yourself. [ Door opens, birds chirping ] >> But what will you and Conchita and Juan and Mrs... Isn't that terrible? I don't even know April's mother's name. Well, what will all of you do?

>> Oh, life goes on. We'll manage and adjust. We might even be able to do it here in time. >> Oh, no, Lisa, I never could. This isn't my place. It's April's. >> It wasn't hers either. >> But I thought it was originally her family's. That's why her mother is still. >> It was a run down, no account mess.

The stucco peeling, the plumbing, antediluvian, the gardens, a shamble. Richie cured all that. He's marvelous with his hands, and his imagination knows no bounds. He made Bon-Repos what it is. It's all his. >> I can appreciate that, Lisa. And I know how beautiful it is, but it's dark and sinister to me.

Nothing will ever change that. I remember that first evening when you took me to Seventh Heaven. >> Yes. >> That was the mark of what was wrong here. Such free wild beauty. But somehow it was evil and destructive. >> Oh, Jenny, that's not fair. You went by moonlight. You knew a tragedy had occurred there.

But Seventh Heaven is just what its name implies. Especially on a day like today, with no wind and the sun riding high. Come on, let me show you. >> No, thanks. >> Jenny, you hold a lot of fates in your hand. Among them mine. I don't want to leave here. Give me a chance to show you. Cobwebs cleared away.

It's not such a bad place to live. ♪♪ >> Conchita. >> Sí, senor? >> Where is the senorita? >> They went out in the garden towards the water. >> They? >> Your sister and your wife? >> Didn't they know breakfast was ready? >> I think, but the Senorita Morgan seemed to want to take the senora to the water.

I should not say this, but I have a sensation. You should go quickly after them. ♪♪ [ Wind blowing ] >> I really don't know why you insisted on me coming up here. I won't change my mind, Lisa. >> Even now, looking out here at that incredible view. >> I told you I didn't like heights. >> You know, Jenny, you're a little person with no stature.

>> Well, I wouldn't quite -- >> Like April, really. For all her cheap beauty, she just couldn't measure up. And I had to sit by and take the fact that she had cheated and stolen Richie away from me. >> What? >> My brother. Oh, does that shock you? I've loved Richie longer and deeper than all of you. How much have I gotten in return?

Do you have any notion how I hated that smug, superior super adulated April? Would you be very surprised to find out that she didn't fall or stumble or take her life when she blew off here into eternity? She was hastened, Jenny. Pushed, shoved by me, just as you're going to be. >> Why? Even allowing for what you confess, how can you hate me?

>> Because you are far worse than April. He really didn't love her. They were a team. He was trapped. He had to stick with her. But you, no, you're different. >> Because he loves me? >> Because with you, there's no chance for me. There's no chance at all. >> How could there ever be? >> I don't have to share his bed.

Only his life. I could have been the one to care for him. To console him. To love him. Love him, damn you! It'll never be you! Never anyone! >> Lisa! Wait, wait. Be reasonable. >> You can't stand against me any more than April could. You are going over. Down the rocks. >> Put that grass rake down. >> It's a marvelous weapon.

Hang on to it if you want to, take it with you. But you're going! >> Jenny! Jenny, you up there? >> Yes! >> It's too late! >> Richard, hurry! >> If I cannot have you, nobody can. >> Oh, for God's sake, Lisa, what are you doing? Give me that rake! >> Oh, no! >> [ Screaming ] >> Oh, my God! No! >> Oh. Oh, my God.

What can I say? >> Nothing. Nothing. >> But your sister. >> I loved my sister. Neither more or less than my first wife. I can't mourn either one of them. Jenny, it's too important to celebrate you. It'll take some time to straighten out my -- my affairs. But once we do, you and I are going to enjoy our private life.

>> You'll still be public property. >> No. My new deal is a director. I'll never act again. >> Not even for me? >> For you? For you, I'll be whatever you desire. This affair is finally beginning and will end only the same way. Finally. Which is forever. >> I love you forever. >> That's what I just said.

♪♪ >> The walls still stand about more Bon-Repos, but the barbed wire and broken glass are gone from the parapets. The gates stand invitingly open and the dogs are gone. In the bright sunshine, the dark memories too are fading. And the clean winds from the sea have washed away the cobwebs. Once again the old house lives up to its name.

I'll be back shortly. ♪♪ ♪♪ So again, we return full circle to our definition of the supernatural as it applies to tonight's tale of or related to ghosts, behavior caused by the intervention or by the action of a God on earthly affairs. Well, April Sanders was both ghost and by our modern standards, goddess.

But her reign is over, and so is our up-to-date fable of Richard and Jenny. Our cast included Ruby Dee, Michael Wager, Teri Keene, Bryna Raeburn, and Ian Martin. 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? [ Door creaking ] [ Door closes ] ♪♪ ♪♪ ♪♪ ♪♪ >> "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 Cedano. 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 Stardust Blue 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.

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