S2E9: The Lady was a Tiger

>> 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 Slavny shares details about the cast, the writer, and the plot. Your job -- listen. "If You Please" is produced in loving memory of Robert Isaacson. ♪♪ >> The mid '70s were a good time for spy and conspiracy thrillers at the movies and on the radio, too, like the play we'll hear in this intriguing episode of "If You Please," "The Lady Was a Tiger."

Hi, everyone. I'm John Slavny. Glad to be back with you again. In a minute, we'll meet Larry Fielding, a young reporter who gets drawn into a Cold War intelligence operation he doesn't fully understand. Newly fired from his newspaper job, Larry is mugged in the middle of a New York City park and rescued by Dave Wilson, a friendly stranger who claims to be a World War II veteran sitting on a fortune in jewels looted by the Nazis.

Wilson offers Larry a trip to Paris and a cut of the finder's fee just for running a simple errand -- track down an old professor who holds the only map to the buried jewels. It's a pitch that sounds too good to be true, and Larry is skeptical at first, but before long he finds himself in a famous Left Bank café in the "City of Light," and that's where his adventure really begins.

The script is by Murray Burnett, who, as we've noted before, is best known as a co-author of the play that became the film "Casablanca." He brings the same romantic mood to this story -- an American abroad, a beautiful woman, a nosy inspector from the Paris sûreté. together with a gang of Russian agents, double agents, and apparatchiks.

William Redfield stars as the reporter, bringing intelligence and a self-deprecating wit to the role. Before his untimely death at 49, Redfield enjoyed an active career on stage, radio, television, and film. He was born in New York City, where his father was a musical conductor for the stage and his mother a chorus girl with the Ziegfeld Follies.

Redfield was also a founding member of the legendary theater workshop, The Actor's Studio. Here, his polished delivery lends a timeless quality to our play that complements the subject matter perfectly. Joan Lorring plays the American woman in Paris, the tiger of the title. She was one of Himan Brown's favorite femme fatale, and her silken voice is always a welcome addition to a "CBS RMT" production.

Lowering would go on to appear in more than 20 "Radio Mystery Theater" episodes, mostly in 1974 and '75. The ever-interesting Roger de Koven plays both the friendly American Wilson and the coolly professional Russian Dr. Rodzanski. Like many actors who worked on "Radio Mystery Theater," de Koven built up serious theater credentials, mostly in the 1930s and '40s.

In the 1970s, he was a regular on daytime television stalwarts like "Days of Our Lives" and "The Guiding Light." Also playing two parts is the protean Ian Martin, both as the French police inspector and as a man named LeClerc. Completing the cast is a fine character actor Chris Gampel, whose face you might recognize from films like "Annie Hall" and "Death Wish."

He also clocked dozens of television appearances in the 1950s and '60s. He recorded only one other "RMT" episode later in 1974. One last note -- the two Paris cafés that serve as key settings in this episode, Les Deux Magots and the Café de la Rotonde are real, and each has stood at its present location for more than a century.

I see it's getting a bit crowded in here, so I hope you can find a seat at a table or a spot at the Seine and enjoy this fast-moving Cold War thriller. "The Lady Was a Tiger" was recorded on Wednesday, January 2, 1974, and broadcast a little more than a month later on Tuesday, February 5th. ♪♪ >> The "CBS Radio Mystery Theater" presents...

[ Door opens ] [ Door creaking ] ♪♪ Come in. Welcome. I'm E.G. Marshall. Welcome to the fear you can hear. Welcome to the world of your own terrifying imagination. The art of the double cross, unfortunately, has become part of the fabric of our lives. In espionage, however, it is almost a lifestyle. In the world of spies, for the left hand ever to know what the right is doing is unthinkable.

For the next hour, imagine that you are Larry Fielding, a 32-year-old newspaper man caught in a dizzying web of circumstances seemingly beyond his control. >> Larry, please change your mind and come with me. >> Not until you tell me who you are and why you sneaked into my hotel room. >> You're a fool, Larry.

You must know that the police are looking for you, and they'll be here any minute. >> Oh, well, you're here now, and I still want to know who you are. >> If that's so important, my name is Carol Johnson. And when I tell you I know all about the murder of Dave Wilson, maybe you'll believe that I'm here to help you.

♪♪ >> Our mystery drama, "The Lady Was a Tiger," written especially for the "Mystery Theater" by Murray Burnett, stars William Redfield. I'll be back shortly with act one. ♪♪ ♪♪ Walking is great exercise, and with good weather can also be great fun, but not when you've just been fired by the editor of the newspaper for which you've worked happily for five years.

Larry Fielding has been walking aimlessly for two hours trying to figure out why Horace Finley, the editor and his boss, had refused to give him any reason for his dismissal. Tormented by his frustrating thoughts and tired, Larry sits down on a park bench to think. He is so deep in thought he is unaware of three men who suddenly surround him.

Larry has only to look at them to know that he is in trouble. He tries to get up but is pushed back down and the men start to beat him up. [ Punches landing ] >> No, take -- take my money and leave me alone, will you? Look, if -- if you want money, I -- I told you, you -- you can have it. Help! Help!

>> Calling for help when you're being mugged in a big city park is sometimes as helpful as trying to catch hold of a windowsill in a 30 story fall. But this time, there was a miracle. A stranger has seen the attack and rushes to help. [ Men grunting, punches landing ] >> Hang in there, young man. Here comes help.

That's a nice jaw you have there, fella. You need a lesson in kicking. [ Men grunt ] Oh, that took care of them. They're gone. >> Oh, thanks. >> Let me help you up. >> Thanks, mister. Thanks a lot. I tell you, I was in real trouble. >> My pleasure. Did they get your wallet? >> I don't know. I -- No, no, no.

I got a lot of bruises, but they didn't get a thing. Say, you're a pretty good scrapper for a -- for a guy my age. >> Well, yeah. Yeah. >> Hey, what are you, a karate expert? >> Oh, just keep myself in shape. >> You sure do. Listen, can I do something for you to show you I r-really meant thanks? >> You certainly can. How about coffee?

>> Oh, sure, sure, but -- but that's nothing. What I meant was, uh -- >> I know what you meant. My name's Dave Wilson. >> Oh, good. I'm, uh -- I'm Larry Fielding. >> Oh, come on, Larry, let's have a cup of coffee. ♪♪ >> You know, I still can't get over the way you tore into those guys. >> I was a commando in World War II.

>> World War II? >> [ Chuckles ] Did you think I was in the Civil War? >> No. No, I didn't mean that. It's just that -- >> Well, to a young fellow like you, World War II might as well have been in the last century. It was only 30 some odd years ago, you know. >> Oh, I know, I know. After all, I was in the newspaper business.

>> Yeah, yeah. That's tough, what you told me about losing your job. What are you going to do? >> Oh, I don't know. Look around for another one. What bothers me is the way my editor let me go. No explanations. You know, we were friends. You'd think he'd at least tell me why he fired me. >> Those things happen. >> [ Groans ] >> Stop torturing yourself and begin making plans.

>> No, not until I get this thing straightened out in my own mind. I think I'll call my editor at home tonight and -- >> I've got a better idea. >> [ Chuckles ] Go out and get drunk, huh? >> Nope. How about a trip to Paris? >> [ Chuckling ] Are you putting me on? >> I'm serious. >> Well, what are you, a scout for contestants for some kind of TV quiz show?

>> [ Chuckles ] No, I'm a man sitting on a couple of hundred thousand dollars... >> What? >> ...and I need a guy just like you. >> Now, look, look, I'm a newspaper man. Anytime a stranger starts talking about a trip to Paris and a couple of hundred thousand dollars, I, uh -- >> Walk away without even listening?

>> Yeah. >> Even if the man just happened to maybe save you from being mugged, robbed, and beaten up. >> Okay. Alright, I'll listen. But believe me, that'll be it. >> Fair enough. First, here's my card. >> Oh, uh, David Wilson, Calridge Imports. I never heard of them. >> You can call and check me out.

I told you I was in World War II. >> Oh, look, I'm grateful to you, but you're wasting your time. >> Why don't you shut up and listen? You've probably heard about the millions of dollars in artworks and precious jewels that the GI's liberated during the last days of the war. >> Liberated? Sure. Yeah, well, I've heard stories.

>> Well, most of them are true. One that I know in particular certainly is. Did you ever hear the Lancere collection? >> Lancere? Lancere? No, no. >> Count Lancere came from an old French family, and the Lancere collection is a fabulous assortment of diamonds, rubies, emeralds, and other precious stones which were seized by the Nazis when they swept through France in 1940.

A pal of mine, not a commando, happened to come upon the collection when the Americans were driving the Germans back in '44. >> Wait a minute, wait a minute. And he liberated it? >> Exactly. He had a distinguished Frenchman named Henri Thiele. >> Huh? Professor Henri Thiele? the archaeologist? >> That's the man.

>> Oh, come on, he wouldn't, uh -- >> You were saying something? >> No, nothing. >> You were about to say he wouldn't get involved in anything crooked, weren't you? >> Yeah, something like that. >> You're right, he wouldn't. But he was younger. The world was quite different then. And my GI pal was a most persuasive guy.

They decided to bury the Lancere collection. They did. They drew a map, and today, Professor Thiele is the only possessor of that map. >> Uh-huh. And, uh, what happened to your nameless friend? >> He's dead. Professor Thiele wants to return the jewels. >> [ Chuckles ] That's easy, isn't it? >> Not if the professor doesn't want embarrassing questions asked about how he came by the map in the first place.

>> Oh, I see. What about you? >> Calridge Imports is a highly respected and reputable importing firm. I want to keep it that way. >> Oh, so do I, even though I've just been fired. >> You haven't heard what I'm asking you to do. >> Well, what? >> Come with me to Paris. You're writing a story on Professor Thiele.

He's good material, you'll grant me that. >> Yes, yes. >> You'll interview him, naturally. During the course of that interview, he'll give you a slip of paper, which is a map showing the location of the jewels. You'll later deliver it to me. That's all you have to do. >> You, um, mentioned something about sitting on hundreds of thousands of dollars.

>> That's right. The Lancere collection is worth that and more. I'm sitting on it. I intend to return the jewels and collect a reward. If you want a share in that, you deserve it. This is Wilson. The report is positive. Fielding has agreed to go to Paris with me. He bought the story about picking up a map showing the location of the Lancere collection.

Operation successful. ♪♪ You'd better be on your way, Larry. You're due at Professor Thiele's in 10 minutes. >> I suppose it's, uh, too late to back out, huh? >> You can always back out, Larry, but I don't think you will. There's really nothing to it. Make it look like a normal interview. Take notes.

The professor will give you the map. Slip it in with your notes. Bring it back to me here. I'll be waiting. >> [ Sighs ] Okay. >> Larry. >> Yes. >> Relax. >> [ Chuckles ] Sure thing. I'll see you. ♪♪ >> Would monsieur mind if I join him? >> I wouldn't mind at all, but I don't think I'm what you're looking for.

>> Oh, but monsieur is exactly what I seek. Exactly. >> And just what is it you're seeking? >> To warn you that you are in grave danger. >> Why don't you come off it with that phony accent? If you've got something to say to me, say it. >> Would monsieur buy me a Pinot? >> Sure. Garcon, pinot, please.

>> Monsieur, it is very difficult for me. I do play a role, as you have guessed. And I am not here by chance. You must leave -- and quickly. >> Uh, your Pinot, monsieur. >> Not for me. It's for the lady. >> And, uh, for you I have a knife. >> [ Gasps ] But he's going to die. >> If you do as I say, there'll be no problem.

You simply put his head down gently on the table, so, and people will see another drunken tourist. >> Your name is Larry Fielding. You're 28 years old, and you're feeling marvelous. You have just completed a fascinating interview with Professor Henri Thiele, and you have the paper that you're going to hand over to your friend who's waiting at Les Deux Magots.

You see him at the table where you left him. His head is down, but you're not concerned. >> Dave, Dave, wake up. I saw the professor. What? >> Monsieur, what has happened? >> Well, I don't know. I-I came back to meet my friend. He -- I-I-I guess he's passed out. >> One moment, monsieur. Look, this man has been murdered.

>> What? >> Stabbed to death. You will wait here for the police. >> I will -- I will not. I'm getting out of here. ♪♪ [ Knock on door ] >> Who is there? >> It is I. Open up. [ Door opens ] >> What's the matter? What happened? >> The other American. The young one. He got away. >> You let him go? >> He panicked. Ran. >> Now what?

>> He'll probably go back to his room at the Dauphiné. You'll check. >> But aren't the police looking for him? >> I hope so. I gave them a complete description. >> And what do I say to them if they find me in his room? >> Ah, a beautiful young lady like yourself. Get to him and find out where the paper is.

♪♪ [ Tapping ] [ Door unlocks, opens ] >> [ Muffled grunting ] >> [ Grunting ] Alright. >> Alright. Who are you? >> [ Muffled grunting ] >> If I take my hand away, you promise not to scream? >> [ Muffled grunting ] >> Right? Right? Okay. Now, why have you picked the lock in my room? >> Never mind. You have to get out of here.

>> Not until you tell me who you are. >> If that matters, my name is Carol Johnson. I've been sent here to help you. >> Oh, sure. >> I know about the murder of your friend. >> Wait a minute, wait a minute. Sent by whom? >> I'll answer your questions while we're on the way. >> On the way to where? >> Safety. >> I don't need to run.

I didn't kill anybody. I'm not about to take off with a strange girl, particularly not one who's equipped with skeleton keys. >> Oh. Suit yourself. Goodbye. [ Knock on door ] >> Come in. [ Door opens ] >> Monsieur Lawrence Fielding? >> Yes? >> Inspector Victor... Sûreté. >> Oh. >> You will please come with me.

>> [ Scoffs ] What for? >> Suspicion of murder of another American, Monsieur David Wilson. >> Inspector, listen. Why would I kill Dave? I've already told you I had an appointment to meet Dave at the café. He was waiting for me. Would I have walked up to a man I just killed and shake him so that he'd fall down and make a big scene.

>> That is your explanation. There is nothing to support it. >> Well, there's nothing against it either. >> There is the word of Louis [indistinct] >> Louis -- Who's he? The waiter who attended the table at which Monsieur Wilson and you sat. >> [ Sighs ] >> The only reason that you are not, as of this moment, charged with murder is because you did return.

That much the waiter's testimony supports. Only he says that Monsieur Wilson might very well have been dead shortly after you returned, and that you had time to kill him. >> That's a lie. >> So you say. >> Ah, just check with Professor Thiele. He'll tell you what time I arrived, what time I left. >> We have been trying, and there has been no answer.

[ Buzzer ] Ah. we may have him on the telephone now. [ Receiver clicks ] Hello? Hey. Ah. That so? Oui, bien. Merci. [ Receiver clicks ] >> Alright. Well, what did he say? >> That was not Professor Thiele. That was his apartment. And his servant. >> His servant? Th-There was nobody there when I saw him.

>> Don't you mean if you saw him, monsieur? >> Oh. >> According to the servant, Professor Thiele left for an extended holiday early this morning, and it is not known when he is expected back. ♪♪ >> Your name is Larry Fielding. You're 32 years old, and you find yourself in prison in Paris, accused of murder.

You know you've been had and you're dealing with forces that seem beyond your control. You have a million questions, and the only man who could answer them is the man you're accused of killing. We'll be back 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. ♪♪ ♪♪ >> To many Americans, Paris means visits to the Louvre, strolls along the Seine, or fine food. But to Larry Fielding, It means the inside of a prison cell, where he sits accused of a murder he didn't commit. Fielding knows he's been caught up in something that involves more than the recovery of some stolen jewels.

However, what he doesn't realize is that he's the key pawn in a deadly game, and the players are about to make some moves. [ Knock on door ] >> Come. [ Door opens ] >> I don't think it's smart to have me come here so often. [ Door closes ] >> I would not have sent for you if it were not necessary. Do you still believe that Fielding knows nothing about the operation? >> I do.

>> Then where's the document? >> Well, we don't know he ever had it, do we? >> We know he visited Thiele. We know that Wilson waited for him at Les Deux Magots. We know he came back there. I think it is safe to assume that he was carrying the plans. >> And he didn't have it on him when he was arrested.

>> Roger arranged to be there when Fielding was brought in and searched. He says there was nothing on him. >> But he wasn't picked up right away. >> Exactly. He eventually went back to his hotel room, as you know. I believe he has the paper and that he has somehow managed to hide it. >> Ah. >> It does us no good in prison.

We shall have to arrange to have him released. >> And how do we do that? >> We don't. You do. ♪♪ >> Sit down, mademoiselle. Your passport says Carol Johnson. >> That's right, Inspector. >> And I am told you are in my office because of the unfortunate incident in the café Les Deux Magots. >> Yes, Inspector, I -- I-I just had to come here to tell you you -- you have the wrong man.

>> Ah? And how do you know that? >> I'm studying at the Sorbonne. I visit Les Deux Magots all the time. I was sitting right there when that man was murdered. >> [ Speaks French ] You saw a man murdered, and you did nothing? >> Oh, at the time, I didn't know it was a murder. I just thought the man had too much to drink or was ill.

But the reason I know that you've arrested the wrong man is that the murdered man was dead before this young American, Fields or -- or -- >> Uh, Fielding. >> Yes, well, the man was dead before Fielding ever got to the table. Fielding came and shook him, and that was when it was discovered that he was dead.

I'm prepared to swear to that, Inspector. >> Of course you are prepared to swear to this, uh, story that you have just told me. >> Why not? It's the truth. >> Of course, mademoiselle. Why would a beautiful young lady like yourself lie to an inspector of the sûreté? >> I'm not sure that I like the way you say that, Inspector.

But everything will be alright if you release young Fielding. >> You have told me you will swear to this statement of yours in court. Therefore I have very little choice. >> Ah, good. >> But, mademoiselle, I have been a police officer for 20 years. Long enough to know that witnesses who appear late with an alibi for accused murderer often have reasons for -- >> Oh. That's ridiculous.

>> And I also wish to warn you, mademoiselle, that the sûreté considers this a very much open case. >> [ Chuckles ] That is the business of the sûreté. Au revoir, Inspector. [ Door opens, footsteps ] [ Door closes ] >> Hm. [ Receiver clicks ] Gerard, you will follow the young lady who just left my office.

And do not lose her. ♪♪ >> Hello, there. >> Oh. It's you. >> [ Chuckles ] Want to give me a lift? >> Well, I suppose I owe you something for getting me out of jail. Taxi! Taxi! [ Vehicle approaching ] Yeah, yeah, we got one. [ Tires screeching ] Hop in. [ Vehicle door opens ] >> Oh. [ Chuckles ] Thanks.

>> Uh, driver... [ Vehicle door closes ] ...Hôtel Dauphine. [ Vehicle departing ] >> Well, you look pretty good for a jailbird. >> You look pretty good yourself for... Come to think of it, what are you? >> An American girl in Paris trying to make a living. What are you? >> An American in Paris in need of a bath, a drink, and some food.

>> You know, you're not bad-looking. >> Oh, thanks. While we seem to be exchanging compliments, can I say you're about the best-looking girl I've seen since I've been here? >> [ Laughs ] Thank you. Now that we like each other so much, don't you think it's time we started telling each other the truth?

>> Mm...y-yes, I'll buy that. [ Suspenseful music plays ] [ Speaks French ] Opérateur... Well, never -- You speak Eng-- Okay, well, look, I phoned the desk about an hour ago to get this room straightened up, and so far, nothing's happened. Now, can you please just send someone up so I can sleep here tonight? Huh?

>> Oh, while you're at it, where's our food? >> [ Stammers ] Wait a minute. That's a different department. >> Oh. [ Receiver clicks ] >> I'll have to call room service again. [ Knock on door ] >> Oh. Maybe you won't have to bother. >> Ah. Uh...entrez. [ Door opens ] >> Your dinner, Monsieur. Madame. >> Ah. Merci.

>> Monsieur would you like me to serve? >> No. No, thanks. No. I think I can handle it myself. >> As monsieur wishes. >> Wait a minute. Don't I know you? >> I think not, Monsieur. >> Now, wait. I've seen you before. I'm sure I've seen you. >> Uh, Paris is a large city, Monsieur. One passes people on the streets and...

>> The streets! The streets! That's it. You're the same guy who was at the Café Les Deux Magots. >> Monsieur is mistaken. [ Door closes ] >> What? Hey, wait a minute! Come back here! I want to talk to you. >> Oh, now, don't go chasing him down the hall. >> Why not? Listen, Carol, I'm positive he's the same waiter...

>> He'll just deny it and you can't prove it. >> But... >> Even if you could, what do you think it means? >> Well, it mean-- It means... Well, I don't know. But if I could get him to talk, maybe I'd find out something. >> I thought you were going to clue me in. >> Oh, yeah. Yeah. Listen, have you ever heard of the Lancere collection?

>> Of course. It's in the Louvre. >> Oh. >> The family of Comte de Lancere gave it to the museum after it was recovered when the Nazis fled Paris. >> What?! >> Well, why does that shake you up so much? >> Because it can't be true. >> [ Chuckles ] Come with me to the Louvre and I'll show it to you. >> Well, that changes everything.

Come on! >> Where are we going? >> To the American consul. [ Dramatic music plays ] [ Door opens, closes ] >> Well? >> Unbelievable. >> What? >> Simply unbelievable. Do you know what the consul told me? >> Ah. I predicted it, didn't I? >> Yeah. That's right. >> Mm-hmm. >> He didn't want to hear about it at all.

Just advised me to [French accent] "forget the whole thing" and leave France. Incredible! >> Well, not really, when you understand that he doesn't know what you're talking about, >> But you do. >> Some of it. >> Okay, take me back to the hotel. >> Any reason? >> I'm taking the consul's advice. If nobody's interested, I'll go back to the States.

[ Dramatic music plays ] >> Well, now that they've cleaned up the room so nicely, you're leaving. >> [ Laughing ] Well, do you have a better idea? >> More than one. >> Uh, I think I'll take them one at a time. >> [ Chuckles ] Number one -- Give me the paper Professor Thiele gave you. >> Well! It looks like we're finally going to level.

>> Where is it? >> Well, first you tell me something -- What is it? >> I don't know. >> End of conversation. >> Larry, listen to me. I work for Colonel Blake, Military Intelligence. I was assigned to this operation. >> What operation? >> All I was told was that Dave Wilson, who also works for us, was coming over here with you, and that you were to get something from Professor Thiele and give it to Dave.

>> Thiele worked with you, too? >> He did. But now his cover is blown, and I don't know where he is. >> Who killed Wilson? >> I don't know. It could have been any one of three or four foreign powers. >> And the only reason I'm alive is because somebody wants the paper? >> That's right. >> And if I give it to you, then there's really no reason not to kill me.

>> Oh, give it to me! I'll get it to Colonel Blake and we'll get you safely out of the country. >> Now, hold on, hold on. I got a better idea. I'll go with you to Colonel Blake, and we'll give it to him together. >> No, that would be too dangerous. >> To whom!? >> Will you please trust me? >> Give me a reason. >> Please.

Where's the paper? >> I... I burned it. >> You expect me to believe that? >> Why not? You expect me to believe everything you tell me? >> You admit you had the paper. And somehow, between the time you ran from Les Deux Magots, you managed to hide it in a place where experts have been unable to find it.

>> I told you I burned it. >> And you know, that's a fairy tale that no one will believe. >> I don't care whether you believe it or not. Now you're coming with me. >> Where? >> To talk to your Colonel Blake. >> He won't see you. >> Oh, I think he will. Goodbye, Carol. It was nice knowing you. I think -- >> You will kindly step back into your room, Mr. Feeling. >> Now, wait a minute.

>> Let me introduce myself. I am Major Simonovich. >> Oh! Of the [speaks French] or the NKVD? >> It does not really matter. What matters is that you and I have something to discuss. >> I warned you. >> Yeah, sure you did. Just like a rattlesnake does. >> I do so dislike dealing with amateurs. This is strictly a business.

>> You mean you want to make a deal with me? >> Correction. I mean, you would find it wise if you wanted to make a deal with us. >> For the paper? >> Exactly. Where is it? >> No, no, not so fast. Not so fast. You spoke about a deal. >> You give us the paper, we give you your life. >> You must really believe I'm an idiot.

You people murdered Wilson. That paper is the only thing that's keeping me alive. >> You have my word. >> No deal. >> Do you really believe you have a choice? Carol, Call Rodzanski. Make the usual arrangements. We will wait here. [ Telephone clacks ] >> [ Speaking in French ] >> Carol? >> Yes. >> Tell me something, um.

Will I like Rodzanski? ♪♪ >> By this time, Larry Fielding realizes that he's been used, that he was never supposed to bring Dave Wilson a paper telling the location of the Lancere jewel collection. But his discoveries have only added to his dilemma. He was quick witted enough to realize that his only hope was to hide the paper, because that slip of paper is his last resort.

We'll be back 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. ♪♪ ♪♪ >> Newspaper man Larry Fielding sits waiting in his Paris hotel room, closely guarded by three members of the Russian secret police and the beautiful American girl, Carol Johnson.

They are waiting for a man named Rodzanski, who might very well be, for all Fielding knows, his executioner. >> You know we mean to obtain the paper. Rodzanski is a doctor and a chemist. He'll be here shortly. You'll be put to sleep painlessly. You'll be taken from here in an ambulance to a safe place.

And there you'll be injected with sodium pentothal. Fielding, you will tell us. >> Look, I don't suppose you'll tell me what's so important about this piece of paper? >> You have heard of the SAM six missiles, the surface to air weapons with deadly accuracy that we have developed and which were used so successfully in minor wars in Asia and the Middle East. >> Yes, yes, I've heard of them.

>> Good. We learned that someone whose identity we still seek has invented a jamming device which would render the SAM six almost worthless. >> Ah. >> We don't believe that any such system can be invented. But we do not take chances. We have reason to believe that the piece of paper that you carried away from Professor Thiele has the information for building such a device.

[ Knock on door ] Ah, that will be Rodzanski. Carol, admit him. >> Of course. [ Door opens ] Come in, Doctor. This is the patient. >> Now, look, I really don't think this is necessary. >> It will be easier if you don't force, young man. >> I don't intend to make -- >> Hold him. Hold out his arm. Hold it still. >> You brought a stretcher?

>> Of course. Yeah. He'll be under in a moment so we can leave. ♪♪ What is this? [Speaks global language] >> It has nothing to do with us. We are taking a sick man to the hospital. Put this stretcher into the ambulance quickly. >> Hey, mister. But we received a report from the hotel concierge that there was a dead man here.

>> Absurd, Inspector. This is Doctor Rodzanski. The doctor will explain this to you, Inspector. >> This man became suddenly quite ill. I gave him a sedative to quiet him. And we're now taking him to the Lefebvre nursing home. As you can see by the ambulance. >> You see, he is alive. >> Very much so. See for yourself.

>> Ah. Mon Dieu! I know this man. >> Inspector, he must receive medical attention. >> Oh, of course, of course. But I suggest that instead of taking him to the nursing home, he go instead to the police hospital. >> That's ridiculous. He's my patient. >> I am afraid I must insist. This young man has most recently been released from jail, where we were holding him on a charge of murder.

>> If he has been released -- >> Released? yes, but he has not been completely cleared. So... [ Speaks French ] Take this man to the police hospital. ♪♪ >> Did you get a report? >> Yes. >> And? >> He'll be conscious in an hour. >> And he will talk. >> I am sure of that. >> He will scream to see Colonel Blake.

And then your cover is blown and the whole operation goes phooey. >> What do we do? >> Silence him. >> But what about the papers? >> We will be faulted for that, of course. But if we do not have it, neither do the Americans. Who do we have in the police hospital? >> Only LeClerc. >> A weakling. But he can admit Rodzanski. >> Rodzanski's a doctor.

He doesn't need LeClerc to admit him. He can visit his patient openly. >> Thank you, my dear. I visit Fielding and he dies shortly thereafter. That idea does not appeal to me. >> We have to do something. >> You are both right. Carol. You will be his first visitor when he regains consciousness. >> No. >> Yes, Carol.

Rodzanski, give her your hypodermic kit. >> I don't have to do this, and I won't. >> You would prefer that in my report I mention your failure with Fielding when you had some hours alone with him? >> I'll go. >> It is wise. Rodzanski, give her the syringe. Here, quickly. The car is waiting. And, Carol, if you should decide or even think about changing sides, it would be most unwise.

You know the French police are still most interested in the person who murdered Wilson. ♪♪ >> You awake now, Larry? >> [ Groans ] I... Oh, no. No. >> Wake up and listen to me, Larry. >> What? >> You've got to listen. Try to understand me. >> Wait a minute, wait a minute, wait a minute. What kind of a place is this?

>> You're safe. It's a police hospital. >> But how did you get in here? Where's, uh, what's, uh, Rodzanski? >> Look, I can understand how you feel and why you don't trust me, but the truth really is that I am a double agent. >> Ah... >> Do you understand what a double agent is? >> As near as I can figure out, a double agent is somebody working for two different sides.

>> Yes. >> And neither side trusts them. You know, that fits you to a T. You might just be telling the truth. >> I am. I really work for Colonel Blake as I told you. The Russians know it. They think I've infiltrated the U.S. military intelligence. But in fact. >> Yes, yes, I know. You've really done just the opposite.

Worked your way into the Russian apparatus? >> Exactly. Oh, Larry. How can I make you believe me? >> You can't. >> Listen, you were deliberately recruited. The reason you lost your job was because we got in touch with your boss. He agreed to go along. The men who jumped you were part of the setup so that Wilson could save you.

>> Hey, now, wait a minute, wait a minute. But that -- that doesn't prove a thing. You could have learned all that working for Blake and still be with the other side. And... >> Oh. >> And wait. Now, speaking of Wilson, how about getting him killed? >> I tried to warn him, but there wasn't enough time.

It was either go along with that or blow my cover and endanger the whole operation. >> And when I wanted to give the plans to Blake, you objected. >> Same problem. If I went with you to Blake or you went to him after we had talked, my cover was blown. Alright. Now, and suppose I had given you the plans.

How would that have changed the situation? >> We would have had a phony copy that I would have delivered to Igor, and everything would have been fine. >> Huh? >> And there's still time for me to do that, if you will just believe me and tell me where the plans are. >> I'd like to believe you. I really, I really would.

>> Please. Where are they, Larry? >> Get me to Blake. >> It's too dangerous. Look, you see this? >> Yeah, it's a hypodermic. >> It's death. Igor sent me here with this to kill you. Now, do you believe me? >> Wait. Wait a minute. If you don't kill me and I guess you don't intend to, what will Igor and his friends think?

Isn't your cover blown then, anyway? >> Could be. But if I come back with the plans and say that I got them out of you without having to kill you, there's a chance they'll believe me. >> Aha! >> Well. >> I'm thinking. [ Door opens ] Who are you? >> One of the hospital guards, monsieur. Mademoiselle, you have been here some time.

How is the patient? >> Guard! >> Yes, monsieur. >> Call Colonel Blake at U.S. military intelligence. Tell him I've got to see him right away on a matter of the utmost urgency. >> Colonel Blake? >> Colonel Blake. >> I will inform my superiors. >> Now, you don't have to inform anyone. Just call him. >> Yes, monsieur. The major will be disappointed you have not followed instructions.

>> You are a fool. >> I would have had the information if you hadn't come in when you did. >> I know what you were ordered to do. >> What? What's this? >> The moment of truth, I'm afraid, Larry. >> Oh, I know how highly the major regards you, mademoiselle. But I also know what he thinks of me. Tonight we'll change that. Give me that syringe.

>> Here, right in your arm! [ Groans ] Oh, you -- You traitor! I... >> Carol, you -- You were telling me the truth. >> Yes. Yes, I was. And I had to kill him to make you see it. Where is the paper, please? >> In my hotel room. >> Oh. Aren't you ever going to stop playing games? You know, your room was searched.

>> Let me get dressed and I'll show you. ♪♪ [ Door opens ] >> If it's not here, there's going to be the devil to pay. >> Don't worry. It's here. >> Now, I'm the one who has to be shown. Trained operatives from two special branches went over this room with everything except Geiger counters. >> Okay, okay. >> Where are we going?

>> The bathroom. >> That was searched, too. >> Oh, I don't doubt it. >> Oh, we went through that cabin. >> Did you now? What do you see? >> Towels, paper tissues, some of your toilet articles. We took your razor apart. >> Aha! Aha. And what else? >> A roll of toilet tissue. Unopened. >> And as the French say, mademoiselle.

Voila! >> Oh. >> And now we unroll this toilet tissue and keep on rolling it. And... >> Oh, my God. Where did you learn to open a package and reseal it like that? >> [ Laughs ] When I was a kid, I was the best clerk in Roscoe's shipping department. >> Oh. Thanks. It was nice knowing you. I really mean that, Larry.

>> Hey, wait a minute, wait a minute. Surely I've earned the right to buy you dinner. >> I'd like to. >> Well, you'd better, or I'll start doing some talking. >> Blackmail? >> You said it. >> [ Chuckles ] Alright. I'll meet you at Les Deux Magots at 10:30. >> No way. Let's try the right bank. La Rotonde. >> That's a date. I'll see you.

>> You better be there. ♪♪ >> Shirts, ties? Yes. I think that's everything. [ Knock on door ] Come. Oh, it's -- it's you, Rodzanski. Are you coming with me? >> I am staying. >> Then we shall say goodbye. I do not have much time. The plane for Moscow leaves -- >> I do not think you'll be taking the plane.

>> Are you insane? You know I've been recalled. >> Not precisely. >> What do you mean, not precisely? >> Moscow feels you have bungled badly. >> So? It's not the first time that an operation has been -- >> First, you were duped by the American girl. You know she was a double agent? >> I know now. >> Did you know before she killed LeClerc?

>> I was not in charge at that time. >> At that time, now there are two murders that cannot be hushed up. The French police must have a murderer to satisfy the public. >> Then give them Carol. >> I only wish that we could. They want you. You have been chosen to be the murderer. I am replacing you as the head of this section.

>> Ridiculous. I won't remain quiet. I have a lot I could and will say to the authorities if Moscow abandons me. Now you listen to me, Rodzanski. >> I have no time to listen. >> Rodzanski, wait! The hypodermic! Don't. [ Body thuds ] >> Igor, you should be pleased to know that your dying will serve a good cause.

♪♪ >> I'm sorry I'm late, but... >> But? >> There were loose ends that had to be cleared up. >> Well, I thought maybe you decided against coming. after all, your job here is finished. >> Well, yes. >> Sit down, sit down. Now that the Russians know you, there's nothing for you to do. It would be suicide to try to, huh?

>> Oh, well, there are other things for me. >> Sure. Like getting married to a love sick newspaperman, settling down, raising a family. >> Oh. [ Chuckles ] Oh, I... I take it I'm your first Mata Hari? >> Mm-hmm. First and only. >> Mm. Well, Larry, we're very different from other women. In our business, you pay dues and they're heavy payments.

>> Hmm. I don't get it. >> I'm talking about sitting at another café on the left bank, sitting and knowing that an agent named Wilson was going to be killed. Clumsily trying to warn him and finally deciding that his death was the way it had to be. Larry, that's a big payment. >> You can forget about it now.

It wasn't your fault. >> No, forget about that. And forget about LeClerc. >> Well, you had... >> You see, it's even hard for you to say... I had to kill him. No, Larry, I have to keep on to justify those things. >> But, Carol, listen -- >> Bye, Larry, thanks for the champagne. >> But our dinner. I've ordered dinner.

At least have dinner with me. >> Oh, we both know what I have to do. If I ever change my mind, I promise I'll come running. ♪♪ >> Larry Fielding sat in La Rotonde and watched her walk away. He knew she was walking out of his life. For a moment, he toyed with the idea of running after her and joining her world of spies. He flirted with the idea that he might even be some sort of an American James Bond.

But then the waiter brought the dinner, and to his surprise, he was hungry. And that realization made him wonder about whether or not he was truly in love. I'll be back shortly. ♪♪ ♪♪ Back in New York, Larry Fielding returned to his old job. An old friend and boss, Horace Finley, who was curious about what had happened in Paris.

Finley kept pressing Larry to tell him about his Parisian adventure. Finally, Larry said, "I'll tell you, Horace. In Paris, the food was good." Our cast included William Redfield, Joan Lorring, Roger De Koven, Ian Martin and Chris Gampel. The entire production was under the direction of Himan Brown. This is E.G. Marshall inviting you to return to our "Radio 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 Cedeno. Margot Avery is the voice of the series introduction and credits. The program commentaries are by John Slavny. 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, Himon 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.

S2E9: The Lady was a Tiger

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