Lux Radio Theatre - Undercurrent

Summary

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Podcast Summary: Lux Radio Theatre – “Undercurrent”

Podcast: Harold's Old Time Radio
Date: July 20, 2026
Episode: An audio dramatization of Undercurrent (originally from Lux Radio Theatre) starring Joan Fontaine as Anne Garraway and Mel Ferrer as Alan Garraway.
Theme: Suspicion, secrets, and psychological tension unravel a young woman’s marriage as she becomes haunted by her mysterious brother-in-law's absence.

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Episode Theme & Purpose

This episode presents the radio adaptation of Undercurrent, a story steeped in psychological suspense. Joan Fontaine and Mel Ferrer star as Anne and Alan Garraway—a newlywed couple whose marriage is unsettled by secrets, rivalry, and speculations surrounding Alan's estranged brother Michael. The drama explores trust, obsession, and the destructive power of unspoken truths in post-war American society.

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Key Discussion Points & Story Progression

1. Introductions and Scene Setting (00:32 – 01:00)

• Producer Irving Cummings introduces the play as a "taut, suspenseful story" about how a husband's mysterious hatred for his brother threatens his marriage.

2. Anne’s Insecurity & Social Awkwardness (02:07 – 04:54)

• Anne, out of place among Alan's wealthy circle, feels incapable, awkward, and overpowered by her husband's confidence.
• Alan reassures her—though ominously underscores possessiveness ("If you do, I'll kill you... just tell me one thing. Who do you belong to? You. That's all that matters." – Alan, 03:09)

3. The Shadow of Michael Garraway (05:08 – 07:43)

• Anne learns Alan has a brother, Michael, who is the family favorite.
• Alan recounts Michael’s betrayal ("Mike must have thought I was an imbecile... it was just like putting his hand in the cash register." – Alan, 05:40), Michael's disappearance, and the unresolved, bitter feelings between them.

4. Marriage, Class, and Identity (07:53 – 13:32)

• Anne tries to integrate into Alan's world, hosting dinner parties and quoting poetry.
• A poem from a book marked "Galloway" leads to tension—it's revealed to belong to Michael, not Alan. Alan erupts, feeling threatened by Michael's memory.

5. Middleburg & Seeds of Doubt

(14:47 – 17:14, 18:04 – 19:26)

• In Middleburg, Anne questions the history Alan tells her—George the caretaker contradicts Alan’s account about his mother’s death.
• Subtle cues point to Alan’s strained relationship with his past and truth.

6. Suspicion Deepens in San Francisco

(23:57 – 31:36)

• At a company dinner, Anne hears whispers about Michael.
• Anne visits Michael’s old ranch under the guise of curiosity, meeting a caretaker (actually Michael himself). The encounter is heavy with subtext ("You can’t always see that undercurrent, but it’s there." – Michael, 29:49).

7. Fracture and Paranoia in the Marriage

(32:42 – 34:12)

• Anne and Alan’s marriage frays amid accusations and confessions. Anne suspects Alan married her as a project—someone to re-mold, just like his invention.
• Alan pleads for trust: “Try to keep a little old fashioned trust and blind faith in our marriage.” (Alan, 34:10)

8. Confrontations and Revelations

(36:49 – 44:55)

• Anne confronts Alan's old flame Sylvia, learning that Michael may be dead—and Alan implicated.
• Alan and Michael meet at night: Michael claims Alan stole both an invention and his life, hinting Steuer’s murder and blackmail ("The distance controller was mine." – Alan / "It was Steuer's—and it made millions for you. Has the money been worth it, Alan? Has it been worth killing for?" – Michael, 42:22).
• Anne, plagued by guilt and suspicion, confesses she had believed Alan a murderer.

9. Jealousy Unleashed

(45:09 – 46:58)

• Alan torments Anne, accusing her of being infatuated with Michael's shadow ("You're in love with him, aren't you?" – Alan, 45:23).
• Their emotional standoff reveals Alan’s desperate psychological hold on Anne.

10. Deadly Climax

(46:09 – 49:26)

• Alan, cracking, isolates Anne and arranges a dangerous horse ride near a cliff. He tries to push her over the edge but is fatally injured himself ("I'm going to kill you, Anne. They'll think you broke your stupid little neck..." – Alan, 49:15).
• Mrs. Foster reports the death: “His stallion must have gone crazy, kicked him to death.” (49:26)

11. Denouement and Healing

(49:52 – 52:24)

• Anne, recovering in a wheelchair, meets Michael at last. Discussion of Alan’s legacy and Steuer's invention—“It belongs to someone who’s dead now. Carl Steuer. His heirs, possibly.” (Michael, 51:17)—and mutual confessions restore Anne’s sense of peace.
• The story ends with Anne admitting she did love Alan once, but that love was poisoned by secrets and obsession.

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Notable Quotes & Memorable Moments

• Possessive Love:
  Alan Garraway: “If you do, I'll kill you. Just tell me one thing. Who do you belong to? … That's all that matters.” (03:09)

• On Michael’s Disappearance:
  Alan: "Mike must have thought I was an imbecile to do it the way he did. It was just like putting his hand in the cash register." (05:40)

• On the “Undercurrent”:
  Michael: “You can't always see that undercurrent, but it's there.” (29:49)

• Final Confrontation:
  Michael to Alan: “The distance controller was mine.”
  Alan: “It was Steuer's—and it made millions for you. Has the money been worth it, Alan? Has it been worth killing for?” (42:22)

• Anne’s Realization:
  Anne: "I wanted to know you. Now that you do, I'm happy to know you, Michael." (51:27)

• Alan’s Breakdown:
  Alan: “I'm going to kill you, Anne. They'll think you broke your stupid little neck when you're h. Get away. Get away from me.” (49:15)

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Timestamps for Key Segments

• Producer’s Introduction: 00:32
• Anne’s Social Discomfort: 02:08–03:45
• Alan’s Story of Michael: 05:13–06:27
• Anne Recites the Poem: 10:46–11:24
• Dinner Party Tensions: 11:54–13:32
• First Visit to Middleburg House: 14:47–17:25
• Anne’s Growing Doubts: 18:04–19:26
• Factory Photo & Discovery: 26:16–27:39
• On Michael’s Ranch: 28:01–29:49
• Marital Breakdown: 32:42–34:12
• Alan/Michael Night Encounter: 41:04–43:52
• Climax: Alan’s Violent Attack: 46:58–49:26
• Aftermath & Michael’s Confession: 51:06–52:24

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Tone & Style

The episode is heavy with psychological unease, driven by intense, vulnerable performances. The dialogue blends class-conscious subtlety with bursts of raw emotion—reflecting the artful, suspenseful tone of classic radio drama. Scenes alternate between intimate confessions, sharp accusations, and moments of fragile tenderness.

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Summary Statement

This broadcast masterfully adapts Undercurrent for radio, using voice, sound effects, and music to evoke the era’s suspense and melodrama. Through Anne’s journey from insecurity to self-knowledge, the episode explores how secrets and obsession corrode love—and how confronting truth, at great emotional cost, brings ultimate freedom.

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Transcript

[Narrator]

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[Alan Garraway]

Refreshers contain caffeine.

[Narrator]

From Hollywood. The Hollywood Radio Theater, Starring Joan Fontaine and Mel Ferrer in Undercurrent. Ladies and gentlemen, your producer, Mr. Irving Comey.

[Producer Irving Cummings]

Greetings from Hollywood, ladies and gents. Our play tonight is the taut, suspenseful story of a young bride who soon discovers her husband's mysterious hatred for his brother can bring complete disaster to her marriage. Undercurrent was one of Metro Golden Mayor's most successful dramas. And as our stars, we have invited one of our most popular actresses, Joan Fontaine, who co stars with Mel Ferrer. High on the list of artistic, distinguished actors. Now Act 1 of Undercurrent, starring Joan Fontaine as. As Anne and Mel Ferrer as Alan Garraway. It was a marriage no one would have predicted. Anne Hamilton, reserved, unaspiring, and Alan Garraway, the wealthy, celebrated inventor of the Garaway distance control. Garraway brought his bride to Washington their first night there. He displayed her before a large, select group of friends. When the friends had departed and.

[Alan Garraway]

Darling, what is it?

[Anne Garraway]

I thought they'd never go. Alan. Oh, you shouldn't have. You shouldn't have what, darling?

[Alan Garraway]

I shouldn't have what?

[Anne Garraway]

You shouldn't have married me. Your friends asked and they know it was a mistake.

[Alan Garraway]

And.

[Anne Garraway]

Oh, I can't help it. I. I don't even know what they were talking about. And they were laughing at me, Alan. I know they were.

[Alan Garraway]

And I was so proud of you tonight.

[Anne Garraway]

I was last among them. Oh, what they must have thought. I mean, well, good grief. I don't even know how to dress.

[Alan Garraway]

Is that all that's worrying you?

[Anne Garraway]

I'm gonna take this dress off and never see it again.

[Alan Garraway]

Darling, it's a perfectly nice dress.

[Anne Garraway]

Nice dress? It's eight inches too short and it's only two weeks old. Oh, Alan, you're stuck with a wife who doesn't know anything about clothes. She doesn't even know how to behave.

[Alan Garraway]

I'll tell you what. We'll go shopping tomorrow.

[Anne Garraway]

It won't do any good. Oh, I'm sorry. I'm sorry to be such a boob. I want so much to be right for you.

[Alan Garraway]

Will you shut up?

[Anne Garraway]

I'll learn. I really will. I'll learn. To talk like your friends. I'll learn to be like them. I don't know how the heck I'll do it, but I'll do it.

[Alan Garraway]

If you do, I'll kill you. Darling, just tell me one thing. Who do you belong to? You.

[Michael Garraway]

That's all.

[Alan Garraway]

That's all that matters.

[Anne Garraway]

Is it, Alan? Is it?

[Alan Garraway]

And if you ever forget that, you'll be very sorry.

[Anne Garraway]

Now, if madame does not mind waiting, I will arrange to have some hats model for her right away.

[Alan Garraway]

Well, darling, of course.

[Anne Garraway]

I don't believe any part of this. A mink coat, a fever jacket, 14 gowns and 12 pairs of shoes.

[Alan Garraway]

I. Relax.

[Anne Garraway]

If I relax, I'll drop dead. Oh, Alan, how could you let me wear that brown horror last night?

[Alan Garraway]

I'm in love with you, darling. I didn't even notice.

[Anne Garraway]

Oh, but you must have. Oh, don't be afraid of hurting me. I don't know much about these things.

[Mrs. Foster]

Alan Garraway.

[Alan Garraway]

Hello, Mrs. Foster. Ann is a neighbor of ours from Virginia. An old friend of my mother's. Mrs. Foster, my wife.

[Mrs. Foster]

How do you do? I'm delighted to meet you, my dear. When are you coming down to Middleburg?

[Alan Garraway]

Well, if business eases up next month, I hope.

[Mrs. Foster]

Well, Alan, she looks like a fine, honest girl. You ride, of course?

[Anne Garraway]

I'm afraid I'm not very good at it.

[Mrs. Foster]

We're raised on horses in Middleburg, aren't we, Alan?

[Alan Garraway]

Oh, but definitely.

[Mrs. Foster]

Alan's not a bad rider, my dear. But his brother Michael's the boy with a light hand. By the way, Alan, how is Michael?

[Alan Garraway]

Michael is always Michael. I hope you'll excuse us, Mrs. Foster. We were just going to.

[Anne Garraway]

Of course.

[Mrs. Foster]

I'm late for an appointment myself. I'll be looking for you in Middlebury.

[Anne Garraway]

Goodbye, Mrs. Foster. Ellen, you didn't tell me you had a brother.

[Alan Garraway]

I haven't had time to tell you a lot of things, darling.

[Producer Irving Cummings]

Look, you.

[Alan Garraway]

You pick out your hat, then I'll wait out front and get the maid.

[Anne Garraway]

Alan, what's wrong, darling? You seem so troubled since we came back from shopping.

[Alan Garraway]

You were surprised to learn I have a brother.

[Anne Garraway]

But what a nice surprise. Where is he, dear?

[Alan Garraway]

He spoiled my first day alone with you. It's so typical. Good old Mike. I meant to tell you about him and I've been putting it off. But one of these days we'll have to go to San Francisco. Our factory's there. You'll meet people who know Mike, who adore him. He does that to people. My mother adored him. He was her favorite.

[Anne Garraway]

Oh, Ellen, please. If you'd drive him.

[Alan Garraway]

When my father died, Mike and I took over the business. I was the engineer. That's when I started working on my distance control. We'd been making plenty of money when suddenly we began to run out of funds. Mike must have thought I was an imbecile to do it the way he did. It was just like putting his hand in the cash register.

[Anne Garraway]

He was stealing from you? Your own brother?

[Alan Garraway]

Yes. Mike had bought a ranch in the country. Spent most of his time there. Anyway, I drove out to see him. When I told him what I'd found out, he said I'd never do anything about it. Not while Mother was alive. And I didn't. Mother was an invalid. She died the next spring.

[Anne Garraway]

Please, Alan, don't.

[Alan Garraway]

Not much more to tell. After she died, Mike just disappeared. Last I heard, he was in the army. It was over three years ago.

[Anne Garraway]

Disappeared because he was afraid of what you might do to him.

[Alan Garraway]

Well, maybe Mike's not afraid of me. And I keep thinking he's alive somewhere and hating me the way he must. I even felt I didn't have the right to marry him.

[Anne Garraway]

Oh, Alan, don't. Don't say that. He can't hurt us if we never let him come between us.

[Alan Garraway]

Why should he? What's Mike got to do with us?

[Sylvia Burton]

Nothing.

[Anne Garraway]

Nothing.

[Alan Garraway]

We'll never think about him or speak about him again.

[Anne Garraway]

But if anything ever does come up, you'll tell me. You let me know.

[Alan Garraway]

Nothing ever will.

[Anne Garraway]

Darling, I'm so deeply sorry for you. But I'm glad you've told me because it means you're not as sure of yourself as I thought you were. You need me. Even if it's only to help you forget.

[Alan Garraway]

I need you very much.

[Anne Garraway]

You may have a no good brother, but you're going to have an awfully good wife. Oh, I'm so grateful to you for so many things. It's as though you led me by the hand into a strange and wonderful world. A world to dream of.

[Alan Garraway]

Why dream? You're here an in your mind. And I love you.

[Anne Garraway]

Good afternoon, Mrs. Gallay. Did you have a nice afternoon? Shopping? Oh, yes, Mrs. Hildebrand. Any messages? No messages, Madame. That means that all your invitations for

[Sylvia Burton]

tonight have been accepted.

[Anne Garraway]

I don't know what I'd do without you, Mrs. Hildebrand. The perfect housekeeper. How many dinner parties have we given this month? Is it 210 or 211? This is your sixth, madame. Would you mind looking at the table? I took the liberty of arranging the place cards. You know Such a strange thing happened this afternoon at the bookshop. Mr. Galloway left a book there months ago to be rebound. He must have forgotten all about it. It's a volume of English poems. Oh, I'm so glad I found it. Yes, madam. Oh, you'll notice I put Judge Putnam on your right. Oh, yes. Who is this one? Mrs. Hildebrand, who is Mr. Henry Gilson? A new congressman from the Midwest. I wondered why you placed him in the doorway.

[Sylvia Burton]

He's no one important.

[Anne Garraway]

Ah, that explains it. If that is all, madame, I had better go to see about the ordinary. I'm sorry, Henry Gilson. You're just not important. Poor guy. We have something in common, the two of us. Well, I think you are important, Henry. You and Mr. Justice Putnam are changing places. There. Now, tell me, Congressman Gilson, just what part of the Midwest do you come from? What part of the Midwest do you come from?

[Narrator]

Iowa.

[Anne Garraway]

Oh, I love Iowa. It's so big and so full of corn, isn't it?

[Producer Irving Cummings]

Yes, ma'.

[Alan Garraway]

Am.

[Producer Irving Cummings]

Yes, it certainly is.

[Anne Garraway]

Excuse me for a moment. Shall we go into the other room for coffee?

[Mrs. Foster]

It was such a lovely dinner, Mrs. Garraway.

[Anne Garraway]

Thank you, Mrs. Postgate.

[Sylvia Burton]

My dear, your gown.

[Anne Garraway]

What exquisite taste do you have? I will thank you, Madame Lefebvre.

[Alan Garraway]

Oh, and just a minute.

[Anne Garraway]

Thank you. Mr. Garraway. Yes, darling?

[Alan Garraway]

And are you trying to be rude to Judge Putnam? Why on earth did you have to seat him in the doorway?

[Anne Garraway]

I thought the draft might do him good. He seemed so stuffy.

[Alan Garraway]

I invited him here for a reason. You know that.

[Anne Garraway]

Oh, I'm sorry, dear. I don't know what got into me. I'll make it up to him right away.

[Alan Garraway]

I believe you.

[Producer Irving Cummings]

Your wife bewitched me, Garraway. Why, I haven't talked so much about myself in years.

[Alan Garraway]

Please don't stop now.

[Anne Garraway]

Judge Putnam, now, when you're telling us about your home. Charleston must be beautiful this time of year.

[Producer Irving Cummings]

It is, but I won't see it. Sometimes I feel it really belongs to the people who take care of it much more than it does to me.

[Alan Garraway]

That's a very generous attitude, sir.

[Anne Garraway]

My father always says how foolish we are to think that we really possess anything in life.

[Alan Garraway]

Why would he say that?

[Anne Garraway]

Well, I think Judge Putnam understands. No one ever really owns anything. All we have is a temporary use of it. Just isn't true to say my this or my that.

[Alan Garraway]

Not even my wife.

[Anne Garraway]

Oh, well, that's different. You know, I. I read something today which says what I mean better than anything I've ever Heard. And I'm ashamed to say I memorized it.

[Producer Irving Cummings]

I'd love to hear it, my dear.

[Anne Garraway]

Well, I found it in an old book of poems. This particular poem was marked. And I thought to myself, the man who marked this poem is someone I understand and someone who understands me. Remember it, Alan.

[Alan Garraway]

Remember what?

[Anne Garraway]

My house, I say, the talk to the sunny doves that make my roof the arena of their love. Our house, they say, and mine the cat declares and spreads his golden fleece upon the stairs. And mine the dog, and rises stiff with wrath as any alien foot profane the fires.

[Producer Irving Cummings]

That's charming, Mrs. Galloway.

[Anne Garraway]

Well, I may have left out a line or two, but that's the general idea.

[Alan Garraway]

And I. I think Dr. Fort would like another brandy.

[Anne Garraway]

Of course. You see, Judge Putnam, poetry is one of Allen's hidden vices.

[Producer Irving Cummings]

That's a wonderful girl, Gallery.

[Alan Garraway]

Yes. Yes, she is. I'm a very lucky man.

[Anne Garraway]

Oh, Alan. It was a nice party, wasn't it?

[Alan Garraway]

Yes, it went beautifully. Diane, how about driving down to Middleburg tomorrow for a few days?

[Anne Garraway]

Oh, Alan, could we? The house where you were born, the house where you grew up, The poem came from.

[Alan Garraway]

That's not my book.

[Anne Garraway]

But it is, darling. You sent it to be rebound, remember?

[Alan Garraway]

I'm afraid it's a mistake.

[Anne Garraway]

But they had the name Galloway. Middleburg, Virginia.

[Alan Garraway]

No, it's a mistake. Anne. We'll leave right after breakfast. Maybe a little isolated for you down there, you know there's no telephone.

[Anne Garraway]

Oh, no telephone. It sounds like Kevin. Alan, will you hate being cooped up with me for days?

[Alan Garraway]

Give me a kiss and tell me why you asked that.

[Anne Garraway]

Because I love you. And I can't help noticing when we're alone, House, how a lot of the glow you have with people sort of

[Alan Garraway]

goes out of you and. What's the matter?

[Anne Garraway]

I don't know. Nothing. I just wanted to be reassured, I guess.

[Alan Garraway]

Well, consider yourself reassured about this book.

[Anne Garraway]

If it's a mistake, I suppose I'll have to return it. But I hate to. What's the penalty for stealing book?

[Alan Garraway]

Will you stop shoving that book at me? Can't you see I don't want to discuss it? Don't you know by now whose book it is? You even memorized the poem he marked. I told you it wasn't mine.

[Anne Garraway]

It's him. It's Michael.

[Alan Garraway]

He got you, didn't he, Ann? The sweet, gentle boy who loved poetry. He understands you. Isn't that what you said?

[Anne Garraway]

I memorized it only because I thought it was yours.

[Alan Garraway]

Yes, of course you did. Now, Ann, that was very unfair of me. I. I shouldn't take it out on you the way I feel about Mike. Please. Please forgive me.

[Anne Garraway]

I forgive you, Ellen.

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[Alan Garraway]

Well, this is it, Anne. This is Middleburg.

[Anne Garraway]

Oh, what a lovely old house. Oh, it's a dream.

[Alan Garraway]

George, we're here.

[George (Caretaker)]

George.

[Anne Garraway]

George.

[Alan Garraway]

Just the caretaker, darling. Back there, the stables. Orchards on the other side. You know that Mrs. Foster you met? Well, she lives beyond that stretch of woods there.

[Anne Garraway]

Alan, you have a dog.

[Alan Garraway]

Yeah, that's Bait. Don't think Bait likes me very much. Dogs and horses never do. Kind of bad character, I guess. Hello, Bait.

[Anne Garraway]

Come here, boy. Hey, now don't you back away from me. You're supposed to be glad to see me.

[George (Caretaker)]

Come here, dog. What you playing on like that for? Come back. Mr. Allen. Well, I'm sure glad to see you, sir. Oh, it's all right, ma'. Am. Everything used to strange.

[Alan Garraway]

George, this is Mrs. Galloway.

[Anne Garraway]

I'm glad to know you, George.

[Alan Garraway]

Place looks fine.

[Anne Garraway]

Oh, it's just beautiful.

[George (Caretaker)]

Thank you, ma'.

[Alan Garraway]

Am. You can get the bags out of the car, George. I'll show Mrs. Garraway. Well, I've saved the living room for the last, Dan. Well, here it is.

[Anne Garraway]

Oh, how charming.

[Alan Garraway]

I suppose it could be a little grim right now.

[Anne Garraway]

Oh, not grim, darling. A little lonely perhaps. A little unused. Alan, I've been looking for pictures. I'd like so much to see a Picture of your mother.

[George (Caretaker)]

Everything all right, sir?

[Alan Garraway]

Oh, yes, George. Come in.

[Anne Garraway]

Isn't there a picture of your mother somewhere?

[George (Caretaker)]

Well, they used to be, ma'. Am.

[Alan Garraway]

I. I took them down and I've stored away most of the personal stuff. Would you like to drive over to Mrs. Forster's? No, not if you're tired, dear. But I want to speak to her about buying a section of those woods we passed.

[Anne Garraway]

Well, you run along, darling. I'll unpack while you're gone.

[Alan Garraway]

I'll be back by dinner time.

[Anne Garraway]

George.

[George (Caretaker)]

Yes, ma'. Am.

[Anne Garraway]

Mr. Galloway, has he come home yet?

[George (Caretaker)]

No, ma'. Am. Did you have a nice walk?

[Anne Garraway]

I just came back from the stables. There was someone there. He. He just about scared me to death.

[George (Caretaker)]

A colored man. A big and fat. Yes, I'll keep that. Old Ben.

[Anne Garraway]

No, it's all right, George. He went away, Ben.

[George (Caretaker)]

He plum out his head, ma'. Am. He don't mean no harm. I chased him off and he just keeps coming back.

[Anne Garraway]

He kept talking about the horses in the stable.

[Michael Garraway]

I'll fix you a nice cup of tea, ma'.

[Alan Garraway]

Am.

[Anne Garraway]

George, wait. He warned me about the black stallion.

[George (Caretaker)]

Oh, yes, ma'.

[Alan Garraway]

Am.

[George (Caretaker)]

That horse ain't no good. Please don't go near him.

[Anne Garraway]

He's Mr. Michael Toss, Ben said.

[George (Caretaker)]

Yes, Mamie, he was.

[Anne Garraway]

I think I will have a cup of tea. Good and strong, George. That would be Mr. Garraway.

[George (Caretaker)]

I'll go, ma'. Am.

[Anne Garraway]

I'm in here, darling.

[Alan Garraway]

Who was it, Anne, who was just playing that piano?

[Anne Garraway]

Oh, why, darling, what's the matter?

[Alan Garraway]

Who was playing that?

[Anne Garraway]

Why, I was.

[Producer Irving Cummings]

You.

[Alan Garraway]

Why did you play that piece?

[Anne Garraway]

Well, I don't know. I. I play it often. Father taught it to me.

[Alan Garraway]

Your father taught you that? Yes. Yes, he does play the piano.

[Michael Garraway]

I'd forgotten.

[Alan Garraway]

What? That's a piece anyone might play, mightn't play.

[Anne Garraway]

Alan, your eyes cold. Oh, tell me what's wrong.

[Alan Garraway]

My mother. My mother died sitting at that piano playing that piece. You see, Middelburg is not all happy memories to me.

[Anne Garraway]

Well, Alan, I'm so sorry.

[Alan Garraway]

I didn't mean to upset you.

[Anne Garraway]

Darling, I wish I could have known your mother. But finding out that she loved that piece too makes me know her a little, doesn't it? That's a bond between us we didn't know about.

[Alan Garraway]

Yes, I. I guess dinner will be ready soon. Oh, bring them in there, George.

[George (Caretaker)]

I'll fix the cocktails, ma'. Am.

[Anne Garraway]

Oh, thank you, George. Mrs. Galloway must have been a wonderful woman.

[George (Caretaker)]

Yes, ma', am. She was.

[Anne Garraway]

She was an invalid for A number of years, wasn't she?

[George (Caretaker)]

Yes, ma'. Am. But she laid up there in her bed, never complaining, always smiling.

[Anne Garraway]

This piano must have been a great comfort to her when she did get up.

[George (Caretaker)]

Piano, ma'?

[Alan Garraway]

Am?

[George (Caretaker)]

Ms. Garrain never played no piano.

[Anne Garraway]

She didn't? But she died sitting at that piano, didn't she?

[George (Caretaker)]

Oh, no, ma'. Am. She died upstairs in her room, ma'. Am. All right.

[Alan Garraway]

Can serve dinner anytime it's ready.

[George (Caretaker)]

Yes, sir.

[Alan Garraway]

I'm starving.

[George (Caretaker)]

Be ready in just a minute, sir.

[Alan Garraway]

Ah, cocktails. Well, we can use these, huh, dear? George's cocktails are the best. Almost good enough for you. Well, to us, darling.

[Anne Garraway]

Yes, Alan, to us.

[Narrator]

We'll continue with Act 2 of Undercurrent in just a few moments. Make a friend and you make an ally. There's a thought for you to keep in mind, as many another American has. Not too long ago, a request was received by the United States State Department for help in setting up a modern medical system in Thailand. The man selected for the job was Dr. Ben Eisenman of St. Louis, whose work went far beyond the limits of his three month job in Thailand. He discovered that 17 million people living in the interior were being treated by only 700 doctors who were sadly ignorant of modern surgical techniques. At every turn, he fought against strong, strong native superstitions to accomplish his work. With his small supply of instruments, he removed a ruptured appendix from a young Thai girl and performed a successful operation on the hair lip of another. He did plastic surgery and worked with skin grafts, putting in from 15 to 20 hours a day. In the evenings, he completed two medical textbooks which were translated into the Thai language and were given free to any doctors or technicians who asked for them. Through Dr. Eisman's efforts and with American medical aid, a program was set up to raise the standards of health and medical education in Thailand and nearby countries. Thanks to Dr. Eisman, America has won herself more grateful allies. In recognition of his works, US envoy Edwin Stanton wrote, These words to Dr. Are one of the greatest ambassadors of goodwill America has ever sent abroad. Thus, Dr. Eisenman had the personal satisfaction of knowing that by helping others, you help your country. And now, our producer, Mr. Cummings.

[Producer Irving Cummings]

Act two of Undercurrent, starring Joan Fontaine as Anne and Mel Ferrera's Alice. It's been a strange and troubled 24 hours for Anne Garraway. Crashing against the peace and loveliness of Middleburg are the tormenting doubts of what Alan has told her, his brother Michael, his mother. It's after dinner now, Alan. Has to drive to the village as soon as he's gone. Anne has a plan.

[Alan Garraway]

Sure you don't want to go to the village with me? Anne?

[Anne Garraway]

Do you mind, darling? I am tired.

[Alan Garraway]

That telegram this afternoon from Jonas Swarmsley. He's in charge of the San Francisco plant. Be meeting him soon.

[Anne Garraway]

Oh, Alan.

[Alan Garraway]

I'm sorry, dear. If you'd rather stay on here.

[Anne Garraway]

Oh, no. If you're going to San Francisco, so am I.

[Alan Garraway]

You'll like San Francisco. Well, I won't be long. If you need anything, just call Joy.

[Mrs. Foster]

All right, George.

[Anne Garraway]

What is it, Ms. Garway? I said, what is it, George?

[George (Caretaker)]

Nothing, ma'.

[Anne Garraway]

Am.

[George (Caretaker)]

Nothing.

[Anne Garraway]

What were you afraid of just now? You knew I was in here.

[George (Caretaker)]

No, ma'.

[Alan Garraway]

Am.

[George (Caretaker)]

I hear the car drive off and I thought you'd gone, too. No lights turned on in here?

[Anne Garraway]

I turned them off. Who did you think was in here, George? Who used to sit at this piano and play that piece?

[George (Caretaker)]

Oh, please, ma'.

[Alan Garraway]

Am.

[George (Caretaker)]

You are nobody.

[Anne Garraway]

Ma', am, that's not true. Who did you think it was? Did you think it was Michael?

[George (Caretaker)]

No, ma'.

[Mrs. Foster]

Am.

[Anne Garraway]

Did Michael say this? He did, didn't he?

[George (Caretaker)]

Ms. Garrett, please. Please don't tell Mr. Allen I was talking about Mr. Michael.

[Anne Garraway]

I won't tell him. George, Mr. Allen has been terribly hurt. We've got to find a way to help him.

[George (Caretaker)]

Just. Just tell me what I could do. No.

[Anne Garraway]

There's not much you can do, George, is there? He'll be leaving soon for San Francisco. What has to be done? I must try to be my friend.

[Alan Garraway]

Well, I'm a prize dope fan. Of all the places to take you. Your first night in San Francisco. Another nightclub.

[Anne Garraway]

But you said Mr. Walmsley was to meet you here.

[Alan Garraway]

Yes, I know, Alan, who was.

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[Anne Garraway]

Wayfair. Every style, every home. That girl. The girl you spoke to as we came in here.

[Alan Garraway]

An old friend. Sylvia Britton.

[Anne Garraway]

Just an old friend?

[Alan Garraway]

Well, sort of. Jealous?

[Anne Garraway]

You bet. She's far too lovely for an old friend.

[Alan Garraway]

Want to know something? You've got it all over Sylvia. In every way. People wouldn't even notice her with you in the room.

[Anne Garraway]

Oh, darling, you're wonderful. Cardy about every other woman.

[George (Caretaker)]

Good evening.

[Alan Garraway]

Oh, hello, Wansley. May I present Mrs. Garraway?

[Mrs. Foster]

How do you do?

[Producer Irving Cummings]

I'm very glad to meet you, Ms. Garraway.

[Alan Garraway]

Well, pull up a chair. How things going?

[Producer Irving Cummings]

Oh, very well, J. Things are really breaking in Seattle. I suggest you fly up there as soon as you can.

[Alan Garraway]

Or.

[Producer Irving Cummings]

Anyway, I brought some contracts along. You care to look them over?

[Alan Garraway]

Do you mind, darling?

[Anne Garraway]

Oh, no, you go ahead and look them over.

[Mrs. Foster]

I'll.

[Anne Garraway]

I'll run in the powder room for a moment.

[Producer Irving Cummings]

I. I just saw Ms. Burton.

[Alan Garraway]

Did you.

[Producer Irving Cummings]

Has your wife met her yet?

[Alan Garraway]

Those contracts warns me. Let me have them.

[Sylvia Burton]

Oh, hello, Mrs. Garraway.

[Anne Garraway]

Oh, Miss Britain.

[Sylvia Burton]

How do you like San Francisco?

[Anne Garraway]

Oh, it's wonderful. So many bridges.

[Sylvia Burton]

Yes, so many to cross.

[Anne Garraway]

I beg your pardon? What do you hear from Michael? Oh, nothing much.

[Sylvia Burton]

Did you ever meet him, Mrs. No,

[Anne Garraway]

I haven't, But I'm looking forward to it.

[Sylvia Burton]

You know, there have been some pretty unpleasant rumors about Michael.

[Anne Garraway]

Well, whatever they are, I'm sure they're not true. Sorry.

[Sylvia Burton]

You know, it's strange, but I was beginning to have a funny feeling that Michael might be dead.

[Anne Garraway]

No, I'm sure Alan would know. Yes, I suppose he would. You know, Ms. Burton, when I saw you before, I wondered who it was you reminded me of. It's me. Not your features exactly. It's just something intangible. Have you noticed it?

[Sylvia Burton]

No. Oh, is that your glove on the floor?

[Anne Garraway]

Door. Oh, thanks. Maybe it's the way we dress or walk or something. Maybe it's Ms. Burton. Ms. Burton? That's funny. Why should she just walk out like that?

[Producer Irving Cummings]

Well, what do you think of our plan, Mrs. Galloway?

[Anne Garraway]

Oh, I'm very impressed, Mr. Walmsley. I only wish Alan were here to see how impressed I really am.

[Producer Irving Cummings]

I imagine he's in Seattle by now. Is there anything else around here you care to see?

[Anne Garraway]

Yes, I'd. I'd like to see some photographs.

[Alan Garraway]

Photographs?

[Anne Garraway]

It's silly of me, isn't it? But it's such a big plant now, and so impersonal. What was it like when it started, Mr. Walmsley? The plant, the employers who was here in the beginning.

[Producer Irving Cummings]

Well, there's a picture on that wall behind you, Mrs. Garraway.

[Anne Garraway]

Oh, yes, that's what I mean. Why, there's Alan. Alan and overall. And you too, Mr. Walmsley. Yes, but those other three men, two

[Producer Irving Cummings]

of them are still with us. The other one is there who was he. Mr. Walmsley, his name was Carl Stoian.

[Anne Garraway]

Wasn't my husband's brother working here then? Why isn't he in the picture?

[Producer Irving Cummings]

He was at his ranch the day Sagan.

[Anne Garraway]

His ranch? Oh, yes. What happened to the ranch? Well, Mr. Garraway took it over. Alan owns it, you see. I'd like to see that ranch.

[Producer Irving Cummings]

Well, I'm afraid that's not very practical.

[Michael Garraway]

It's quite remote. Fog is bad this time of the year.

[Anne Garraway]

There is a care, but I'd like to spend the day in the country. You could give me the keys, Mr. Walmsley.

[Producer Irving Cummings]

I'll send them to your hotel in the morning.

[Anne Garraway]

Oh, and the directions how to get there.

[Producer Irving Cummings]

I'll enclose a map with the keys.

[Anne Garraway]

You've been very kind. Thank you, Mr. Walmsley.

[Producer Irving Cummings]

Good day, Ms. Garraway.

[George (Caretaker)]

You're looking for someone, miss?

[Anne Garraway]

Oh, hello. I'm Mrs. Allen Garraway.

[Michael Garraway]

How do you do?

[Anne Garraway]

You're the caretaker?

[Michael Garraway]

Why, yes. Yes, I am.

[Anne Garraway]

I've just been inspecting the house.

[Michael Garraway]

Well, I was just about to leave, but if there's anything I can do for you.

[Anne Garraway]

Tell me, did you know Michael Garraway?

[Michael Garraway]

Oh, yes, I did. I'm a close neighbor up the road.

[Anne Garraway]

He left here very suddenly, didn't he?

[Michael Garraway]

Yes.

[Anne Garraway]

I guess he was a rather unpredictable person. Well, anyway, I think this is one of the most ch. Charming houses I've ever seen. Has dignity. Doesn't look as though it's been shut up at all, does it?

[Producer Irving Cummings]

No, no, no, no, it doesn't.

[Anne Garraway]

It looks, well, as though it were waiting for someone.

[Michael Garraway]

Waiting for someone?

[Anne Garraway]

You probably think that's foolish. I suppose it is. Is that surf I hear? Are we that close to the ocean?

[Michael Garraway]

If you'd like, I'll show it to you. It's none of my business, Mrs. Garraway, but did you have any special reason to come out here?

[Anne Garraway]

Well, it was such a nice day, and I thought I. No, no. I came to learn more about Michael Garraway.

[George (Caretaker)]

You.

[Michael Garraway]

You'd better watch the path. It's sort of rocky here.

[Anne Garraway]

Everyone seems to be so vague about him. Except my husband, of course. I don't know why I'm bothering you with all this.

[Michael Garraway]

Well, there's the ocean, Mrs. Garraway.

[Anne Garraway]

Beautiful, isn't it? You know, it's amazing. Michael had so much. Why do people do the things they do to themselves? Why doesn't someone step in and stop them? Help them?

[Michael Garraway]

What about those people who refuse to be helped? Useless to even try.

[Anne Garraway]

Oh, no, it's not it's never useless.

[Michael Garraway]

You feel quite deeply about it, don't you?

[Anne Garraway]

You bet I do. That sea isn't you. Is there good swimming?

[Michael Garraway]

No, no. There's a rip tie.

[Anne Garraway]

Oh, but he looks so calm.

[Michael Garraway]

You can't always see that undercurrent, but it's there.

[Anne Garraway]

Light.

[Mrs. Foster]

Light.

[Michael Garraway]

That's right. Fog's starting to roll in. It'll be getting dark soon. You going back to the house?

[Anne Garraway]

Yes, in a moment. You go ahead. Thanks for taking me around, and forgive my philosophical outlook.

[Michael Garraway]

Oh, don't apologize for that. I think it's been very well said. Goodbye, Mrs. Garrett.

[Anne Garraway]

His house. Michael's house. Just as he left us. With the walls, can't talk. And the books, the chairs.

[Alan Garraway]

What are you doing here?

[Anne Garraway]

Alan.

[Alan Garraway]

What are you doing here?

[Anne Garraway]

Alan, you frightened me so I came

[Alan Garraway]

here looking for something. I asked you not to pry. I asked you to forget about Mike.

[Anne Garraway]

Alan, you didn't leave Seattle.

[Alan Garraway]

Just because Walmsley telephoned me. He said you'd asked him for the keys. Yes. I thought it was important that I come. You're my wife, Ann. You've never even seen Mike, and yet he's managed to get a hold on you and make trouble between.

[Anne Garraway]

Oh, darling, I'm only sorry.

[Alan Garraway]

He had a diabolic cleverness about pushing people around. He always knew how to get his own way.

[Anne Garraway]

You keep saying had.

[Sylvia Burton]

And you.

[Anne Garraway]

Is he dead?

[Alan Garraway]

How should I know if he's dead? I hope he is.

[Anne Garraway]

Alan, how can you?

[Alan Garraway]

How much do you think I can stand? He's got you sneaking around corners trying to find out things about him. What have you discovered? I'm here to help. Let's find out everything we can about him. A man who likes music and books, wouldn't you say? The strong, silent, philosophical type. He'd have read your poetry and told you whimsical stories about his neighbors. You'd have fallen for that, wouldn't you, Anne?

[Anne Garraway]

Oh, Alan, I'm sorry.

[Alan Garraway]

I know you're sorry, but that doesn't help. Why couldn't you do as I ask? If there's anything else you want to know, ask me now. Don't ask Wansley or the natives or the bellboys at the hotel. Ask me. I'll tell you anything if you'll only stop bringing him into our life.

[Anne Garraway]

I was wrong to come here if you didn't want me to. But for you to shout at me and treat me as though I were a criminal. Alan, whatever I did, I did for us. To try to find out why it is he comes between us. Because of him, Our life together. He's hurting our marriage and I. I want our marriage read.

[Alan Garraway]

We better start back to town. You want to go up to our rooms, Anne, or would you rather have dinner first?

[Anne Garraway]

I'd rather go up, if you don't mind. I'd like. Alan, wait.

[Alan Garraway]

What's the matter?

[Anne Garraway]

Listen, that woman over there.

[Mrs. Foster]

All right. His staff was all set for reconversion.

[Sylvia Burton]

Yeah, Ain't no sort of buttery conversion. Did you ever see his wife and.

[Michael Garraway]

Please.

[Anne Garraway]

No, I want to listen.

[Mrs. Foster]

I saw in Washington the day they arrived. She couldn't have looked out here. Course the poor girl had. On a Sunday. That's for ran.

[Anne Garraway]

We can go up now, Alan.

[Alan Garraway]

What are you thinking about, Anne? Those women in the lobby. You going to let a couple of gossips throw you?

[Anne Garraway]

I'm thrown by the truth. I was rather dowdy that first night in Washington. You expected me to be, didn't you?

[Alan Garraway]

I what?

[Anne Garraway]

You could have waited for me to meet your friends. But the truth is, if no one saw the before, you wouldn't get credit for the after, would you?

[Alan Garraway]

Why should I want to do a thing like that?

[Anne Garraway]

So you could exhibit me as your own invention. Like the Garraway distance control.

[Alan Garraway]

What do you mean by that?

[Anne Garraway]

You know, Alan, I think I have a glimmering now of why you married me.

[Alan Garraway]

I want to know what you meant about the distance control.

[Anne Garraway]

I meant nothing by it.

[Alan Garraway]

All right. What else do you think? Why did I marry you?

[Anne Garraway]

You wanted another girl, but she fell in love with someone else. I happened to remind you of her. Only I was so terribly admiring of you. You thought if you could make me outshine you.

[Alan Garraway]

Why, you're mad.

[Anne Garraway]

Yes, Ellen, I sometimes think I am. I have a feeling as though I were living in a dream. Haunted by your obsession. Your hatred for your brother all around us.

[Alan Garraway]

Anne. Anne, Things between us look pretty black right now. Now, it's hard to talk. But I do want to tell you that I love you. The way I acted at the ranch was unforgivable. I'll never speak that way to you again. I'll have to go back to Seattle. You'll have a couple of days to think. But when you do, try to keep a little old fashioned trust and blind faith in our marriage. I want our marriage too, Anne. It's very important to me. Please try.

[Anne Garraway]

Yes, Alan, I'll try.

[Narrator]

Make a friend and you make an ally. There's a thought for you to keep in mind. As many another American has. In 1864, Clara Barton gave up a successful job in the patent office in Washington and devoted the rest of her life to bringing physical and mental aid to the wounded and dying on the battlefield. At first it was the soldiers of the American Civil War, but when the war ended, she was forced to go abroad to recuperate from nervous exhaustion. While she was in Switzerland, Napoleon declared war on Prussia. Clara Barton was urged to return to her own country, but she refused. She felt it was her duty to remain in Europe and help the wounded of this new war. It didn't make any difference to her if they were French or Prussian. She didn't ask the nationality of the sufferer when she stopped the flow of blood from a soldier's wound. In spite of many inconveniences and hardships, she traveled across the rugged German countryside to reach the Prussian front lines. But there she was told that the only way she could be allowed into a frontline camp would be as a prisoner of war. Clara Barton agreed. And as a prisoner until the end of the war, she continued to do her work with the wounded Prussian soldiers. After the war, she remained in Europe to help the defeated French. When she sailed for home in 1873, grateful Europeans bestowed on her many medals of honor, including the Gold Cross of Remembrance, the jewel of the Red Cross, and the Iron Cross of Merit. Once again, an unselfish American had discovered that by helping others, you help your country. We pause now for station identification.

[Producer Irving Cummings]

The curtain rises on Act 3 of Undercurrent, starring Joan Fontaine as Anne and Mel Ferrer as Alan. It's the following morning with Alan back in Seattle. Anne is making an uninvited call on Sylvia Burton.

[Anne Garraway]

Very nice of you to see me, Ms. Burton.

[Sylvia Burton]

You have a reason for coming here, I suppose?

[Anne Garraway]

There are some questions I'm trying to find the answers to.

[Sylvia Burton]

I'm rather curious about a few things myself. As far as Alan is concerned, I despise him. Does that answer one of your questions?

[Anne Garraway]

Not quite. I love him. It's not Alan I want to know about, It's Michael.

[Sylvia Burton]

I can imagine.

[Anne Garraway]

All I know is that he and Alan had a terrible fight and Michael disappeared. But he seems to be coming up more and more in our lives, wherever we go, whatever we do. I've got to know more about him. My marriage, my happiness, my future seem to depend on it.

[Sylvia Burton]

And you'd like to know how close Mike and I were. Well, we weren't. I tried, but Mike wouldn't have it. I used to think it was because he had some sort of funny sense of loyalty. Since I'd met Him through Allen. He was that thing you have to look for with a microscope. A gentleman. And that's the man your husband spread those lies about stealing money.

[Anne Garraway]

I believe my husband, Ms. Burton.

[Sylvia Burton]

Nonsense. You think he's lying, and I know he is.

[Anne Garraway]

Why?

[Sylvia Burton]

Because I'd been through this myself when Mike disappeared. I went crazy trying to find out

[Anne Garraway]

what happened to him. And did you find out?

[Sylvia Burton]

Only that he'd been at his ranch. That was the last anyone saw of him. Except your husband. You see, I still think Mike is dead.

[Anne Garraway]

You mean he was killed in the war?

[Sylvia Burton]

No, I don't mean he was killed in the war. Why hasn't he written to someone? Lots of us would like to know what happened at that last meeting, Mrs. Garraway. Ask your husband what kind of a fight was it. And what happened to Mike.

[Anne Garraway]

How dare you speak to me this way. I should never have come here.

[Sylvia Burton]

It isn't such a shocking idea, Mrs. Garraway. Not when you've lived with it for a while.

[Anne Garraway]

Hello? Mrs. Allen Garraway? Yes. One moment, please. Seattle calling. Here's your party, sir.

[Alan Garraway]

Hello, Anne.

[Anne Garraway]

Yes, Alan?

[Alan Garraway]

I miss you so, darling. I miss you very much. I haven't been able to think or concentrate on anything but you.

[Anne Garraway]

Oh, I'm so glad you said that. I. I'm so confused. I.

[Alan Garraway]

Don't, darling. Don't. Anne. I have to leave for Baltimore in the morning. I can't very well get out of it.

[Anne Garraway]

That's all right, Alan.

[Alan Garraway]

But I think it could work out well for us. If you like, you could go on to Middleburg, take the train. By the time you get there, I'll be through in Baltimore and can join you.

[Anne Garraway]

Yes, Alan. Yes?

[Alan Garraway]

I'm going to devote the next few weeks to us. We'll have a real honeymoon in Middleburg. You wait and see. I love you, Anne. I love you.

[George (Caretaker)]

I wish I'd known you'd come into Middleburg, Miss Galloway. I wish you'd told me.

[Anne Garraway]

By George, I don't think you're glad to see me.

[George (Caretaker)]

Oh, no, ma'. Am. I'm real pleased. When'll Mr. Allen be here?

[Anne Garraway]

He'll be here later tonight, George. Why do you wish I'd let you know?

[George (Caretaker)]

Just. Just so that I had a little time to fix things up.

[Anne Garraway]

Such as? Out there, George. Out there by the stables. A little time to tell whoever it is out there to go away, Miss Garway.

[George (Caretaker)]

There ain't Nobody out there, Ms. Garway.

[Anne Garraway]

I don't mean old Ben, either. Just now, when I was walking the Dog saw him, Bates him. Bait was all excited, jumping up and down and wagging his tail.

[George (Caretaker)]

But you didn't see nobody, ma'?

[Anne Garraway]

Am? No. No, I didn't. It was too dark and I was frightened. I suppose I came straight back here.

[George (Caretaker)]

Oh, let it pass. Please, Miss Garraway, let it pass.

[Anne Garraway]

I can't, George. I'm not frightened now. I'm going back to the stables and look for my. Fate.

[Sylvia Burton]

Fate?

[Anne Garraway]

Come here, boy. Come here. There's no one here now, is there? Faith. He was here. And you saw him, didn't you? You saw Michael. He's alive, isn't he? I thought that Sylvia Burton was right, that Alan had killed him. But everything that Alan said about him is true. Michael's here and he's hiding. That's why George. Oh, Alan. Alan.

[Mrs. Foster]

How could I?

[Anne Garraway]

How could I?

[Alan Garraway]

It's all right, Bait. You can stop barking. Hey, that's no way to welcome me home.

[Narrator]

Hello, Alan.

[Alan Garraway]

Mike.

[Michael Garraway]

Take it easy. Better keep our voices down. Your wife's in the house.

[Alan Garraway]

You've seen my wife?

[Michael Garraway]

Don't worry. She didn't see me.

[Alan Garraway]

Why did you come back?

[Michael Garraway]

Wouldn't you rather know why I went away? I didn't steal any money. Alan.

[Alan Garraway]

You've been a long time denying it.

[Michael Garraway]

Be kind of tough to prove. You have the books pretty well rigged. But that's not what kept me away. It was Carl Steuer.

[Alan Garraway]

Steuer's dead.

[Michael Garraway]

Yes, dead and buried. Just a nice old German refugee who lived for one thing only, to get back at the Nazis. Do you remember that invention he was working on?

[Alan Garraway]

Every man at the plant was working on an invention of some kind or another.

[Michael Garraway]

That's right. But only Steuer died. The coroner said it was an accident. He fell down the cellar steps.

[Alan Garraway]

And what's that got to do with me?

[Michael Garraway]

Got a lot to do with you. Steuer had a pet name for that invention of his. His Fern, he called it. He used to say, my fern will fix the Nazis. You, your brother and me, we know someday my fan will pay them back. Fan? Fan. I couldn't figure it out until it dawned on me that fan is a German word. It means distance fan, stirring long distance control. That's why Steuer died. He was murdered by somebody who wanted his invention.

[Alan Garraway]

The distance controller was mine.

[Producer Irving Cummings]

It was Steuer's.

[Michael Garraway]

And it made millions for you. Well, has the money been worth it, Alan? Has it been worth killing for?

[Alan Garraway]

You can't prove any of this.

[Michael Garraway]

Maybe not. Is Wormsley the only other one who guessed? Because you're paying him off, aren't you? Well, anyway, I wanted to get out of the whole mess. That's why I disappeared. But it seems it has to be faced. After all, I have met your wife here.

[Alan Garraway]

Today?

[Michael Garraway]

No, the ranch. She thought I was the caretaker. She's a fine girl, Ellen. But she doesn't know about Steuer, does she? Well, I'm here to make sure she finds out.

[Alan Garraway]

If you think I killed Steuer, what makes you think I wouldn't kill you?

[Michael Garraway]

I believe you're capable of trying.

[Alan Garraway]

No. Once I could have killed you, but not now. I can't kill you any more than I can give Anna. I'm gonna keep her, Mike, for as long as I can. A minute, an hour, as long as I can.

[Michael Garraway]

How can you think you have a right to her?

[Alan Garraway]

What gives a man a right? There's love. Because I love her. You can take everything else, but not her, Mike. Not her. I never thought I would, but I'm crawling to you. She loves me. She's helping me. I've got a chance now. I can be all right. I never could before.

[Michael Garraway]

What chances does she have, Alan?

[Alan Garraway]

I'll tell her. Well, I'll have to do it my own time. Just. Just a little time. That's all I'm asking. Until I'm sure of her.

[Michael Garraway]

I think you can be sure of her.

[Alan Garraway]

Anne. Anne, darling. Wake up, dear. I'm back.

[Anne Garraway]

No. Oh, forgive me, darling. Forgive me.

[Alan Garraway]

Forgive you?

[Anne Garraway]

I've been so wrong. I've got to tell you something and I'm so deeply ashamed. I thought such crazy things about you. I thought that. I thought you killed your brother. No, darling, listen to me. I thought that and I was going away and never see you again.

[Alan Garraway]

You were going to leave me.

[Anne Garraway]

I couldn't have stayed. I couldn't have endured.

[Alan Garraway]

I couldn't have endured living with a murderer.

[Anne Garraway]

But it's all over. I know he's alive. I'm able to breathe again.

[Alan Garraway]

Yes, Anne, it is. It is over. And no one will ever come between us again.

[Anne Garraway]

Oh, Alan. I want you to listen to me. You remember that I once told you that my Michael was your obsession?

[Alan Garraway]

Yes.

[Anne Garraway]

I was wrong. I think he's my obsession. I want to drive him away. But there's something unfinished somehow. I think if I could see him, hear him speak, then I'd know him the way you do. As a man. Not a shadow. Someone who was cruel and wrong and has hurt you. Oh, I was so wrong about him. Everyone was.

[Alan Garraway]

Everyone. Whom did you speak to about Mike?

[Anne Garraway]

Sylvia Burton. She thought you killed Him.

[Alan Garraway]

And you believed her? Were you glad she was wrong?

[Anne Garraway]

Glad? Yes. Alan. Yes.

[Alan Garraway]

Then why are you unhappy?

[Anne Garraway]

You still fear in my mind. Somehow you help me. I don't understand it. Do you understand?

[Alan Garraway]

Yes. Yes, I think I do. You're in love with him.

[Mrs. Foster]

No.

[Alan Garraway]

You're in love with him, aren't you?

[Anne Garraway]

No. No. How could I be in love with someone that I've never seen?

[Alan Garraway]

Oh, but you've seen a lot of Mike. A book, a poem, his house, a girl who once loved him. Aren't you jealous of Sylvia Burton? Why did you go to her? What did you really want to know?

[Anne Garraway]

Alan, please.

[Alan Garraway]

Go. To anyone who could talk about Mike. You wanted to believe what they had to tell you. You never believed me. You don't believe me now.

[Anne Garraway]

Stop it, Alan. Stop it.

[Alan Garraway]

It wasn't my happiness. Our happiness. You were trying to find it with him.

[Anne Garraway]

It's not true.

[Alan Garraway]

He was so relieved just now. Not because I hadn't killed him, but because he was alive. You'll go on looking for him, won't you, Anne? And after you find him, then what? Will you leave me, Alan? Don't you see what you've done? You'll never leave me, Anne. Never.

[Anne Garraway]

George. George.

[Alan Garraway]

Good morning, Anne. And you're up early. Didn't you sleep well?

[Anne Garraway]

George.

[Alan Garraway]

George is gone. I sent him into town. He won't be back until evening.

[Anne Garraway]

Alan, no. Alan, No.

[Alan Garraway]

I thought I'd go for a ride. That stallion, he'll break down the stall unless he gets some exercise. I thought we could. Why are you trembling, Anne? Sit down. Here, have some coffee. Don't be afraid, Anne. Fear is no good. I know. But now I'm finally free. Drink your coffee, Dan. Your hand shaking? You're not going on being afraid the rest of your life, are you? An are you?

[Producer Irving Cummings]

Why?

[Alan Garraway]

Run to your room. You can't lock yourself in. I've got the key. Anne.

[Mrs. Foster]

Hey there. Anyone else?

[Alan Garraway]

Oh, hello, Mrs. Foster. Come in.

[Anne Garraway]

Hello, Alan.

[Mrs. Foster]

Your wife up yet?

[Alan Garraway]

Yes, I think so. Shall I call her?

[Mrs. Foster]

Well, it's a fine morning for a ride.

[Alan Garraway]

Yes. Yes, it is.

[Mrs. Foster]

You must have had the same idea. You dressed for.

[Alan Garraway]

Why, yes, I. Oh, there you are.

[Mrs. Foster]

Welcome home, my dear. How about coming over for breakfast and a ride?

[Anne Garraway]

I. I'd like to very much.

[Mrs. Foster]

Wonderful. I'll expect you in half an hour. How's that?

[Anne Garraway]

Oh, but I can be ready in just a moment.

[Alan Garraway]

Well, biscuits for breakfast, Mrs. Forster?

[Mrs. Foster]

With my own two hands.

[Alan Garraway]

And just wait till you taste them. Nothing like them in the whole world.

[Anne Garraway]

Mrs. Foster. There's something I must tell you. I must speak to you.

[Mrs. Foster]

Oh, that's fine, dear. We'll have a leisurely breakfast and all morning to get acquainted in. See you soon, dear.

[Alan Garraway]

I'll walk out with you, Mrs. Foster. I'll have to saddle up the horses.

[Mrs. Foster]

What's the matter with the bride, Alan? A quarrel?

[Alan Garraway]

Oh, not a quarrel exactly.

[Mrs. Foster]

Oh, don't worry. It's natural the first year getting acquainted. What horse are you going to ride by?

[Alan Garraway]

The stallion, naturally.

[Mrs. Foster]

Just make sure you don't give him to her. He's a mean one.

[Anne Garraway]

That's Alan. Alan, do we have to come this way?

[Alan Garraway]

Can't you handle your horse? I gave you the mare, but I'm

[Anne Garraway]

not a good rider. Alan, this cliff.

[Alan Garraway]

I thought if we took the trail along the cliff, you'd enjoy the view. It is beautiful, isn't it?

[Anne Garraway]

Alan, Keep your horseback, please.

[Alan Garraway]

That's easy to say. I can't hold him in, but there's

[Anne Garraway]

not room for both of us.

[Alan Garraway]

The path is narrow, isn't it? Quite a drop to the gorge, Ann. 200ft.

[Anne Garraway]

Alan, you're pushing me.

[Alan Garraway]

Then use your spurs. Go on ahead.

[Sylvia Burton]

Alan.

[Anne Garraway]

Alan, please don't. Please don't.

[Alan Garraway]

Please to leave me an. Don't you. You want to go to Michael? I'll send you to him now.

[Anne Garraway]

Alan. No. No.

[Alan Garraway]

You little fool. Go on, run away. See how far you'll get.

[George (Caretaker)]

And.

[Alan Garraway]

And what happened? Did your horse throw you? That's quite a bruise on your head. Or did you hit a low branch? It hurts, doesn't it, Ann? Nothing's going to hurt you anymore. I'm going to kill you, Anne. They'll think you broke your stupid little neck when you're h. Get away. Get away from me.

[Mrs. Foster]

Hello? Hello, Doctor. Doctor, this is Mrs. Foster. There's been a terrible accident. Alan Garraway. He's dead. That stallion of his must have gone crazy or something, kicked him to death. It looks like you'd better come right out, doctor. His wife's been badly hurt, too. That music is beautiful, Anne. Who's playing?

[Anne Garraway]

My father. He always does well by Chopin.

[Mrs. Foster]

I like your father, Anne. I'm so glad he was able to come down here.

[Anne Garraway]

So am I, Mrs. Foster.

[Mrs. Foster]

You're all right staying on here at Middleburg all these weeks, doing your getting well, here. It took courage to face it out. Most people would have run away.

[Anne Garraway]

Hard to run away in a wheelchair.

[Mrs. Foster]

Dr. Hill says by next week.

[Anne Garraway]

That's really why I stayed. Not because I've courage. I haven't.

[Alan Garraway]

Here you are, darling. One Of George's priceless eggnogs.

[Anne Garraway]

Father. Well, who's playing the piano? I thought you were.

[Alan Garraway]

You have a visitor.

[Anne Garraway]

Oh, no, I. I can't see him. I'm not ready yet. I can't.

[Alan Garraway]

You sent for him, Anne?

[Anne Garraway]

Yes. Yes, I sent for him.

[Alan Garraway]

I'll wheel you in.

[Anne Garraway]

I can manage alone. You're Michael, aren't you?

[Michael Garraway]

Yes. I'm sorry, Ann. I should have told you that day at the ranch.

[Anne Garraway]

I think I knew. Not at the ranch, but afterwards. I think I knew.

[Michael Garraway]

You sent for me?

[Anne Garraway]

Yes.

[Michael Garraway]

I think I'd have come in any case. I was just waiting until you were. Well.

[Anne Garraway]

It seems that now I'm a very rich woman.

[Michael Garraway]

Yes.

[Anne Garraway]

It's wrong for me to have it. It belongs to you.

[Michael Garraway]

No. No. It belongs to someone who's dead now. Carl Steuer. His heirs, possibly.

[Anne Garraway]

They must have it. Then I'm a bad liar, Michael. I didn't send for you because of the money. The lawyers could have handled that. I wanted to know you. Now that you do, I'm happy to know you, Michael.

[Michael Garraway]

Thank you.

[Anne Garraway]

There are other things I must tell you.

[Producer Irving Cummings]

Of course.

[Anne Garraway]

I won't forget Alan. I loved him very much. Not at the end. It was gone then. But I did love him.

[Michael Garraway]

I know. Anna. I almost got you killed. I was here the night before. I saw Alan, talked to him. I should never have left.

[Anne Garraway]

I looked for you, Michael.

[Michael Garraway]

I went away that night because. Because I was full of guilt about my feelings for you. I. I had no business to feel the way of about you that I did. My. My brother's wife. I won't talk about it now. But someday.

[Anne Garraway]

Yes. My God.

[Narrator]

In a moment. Our stars will return. The town of Kotzebue, Alaska, had very little defense against the fire which raced through it on a winter's night. In a few hours, houses, stores and other buildings had burned to the ground. And many people were homeless. But a unit from the 11th Air Division stationed nearby took charge and made space for the people to stay overnight. Set up temporary shelters and mess tents. And the next day they set to work to rebuild the town on off duty hours. Throughout the next few, they worked as carpenters, painters, bricklayers, plumbers, and electricians. And from their example, the people of Kotzebue took heart. As the town was rebuilt, so their hope for the future was rekindled. Such acts by you and your friends today are shaping our world of tomorrow. Now, Mr. Cummings, with our star.

[Producer Irving Cummings]

And here they are, stepping forward to the footlights. Joel Fontaine and Mel Ferrez.

[Alan Garraway]

Mr. Cummings, what about next week's play?

[Producer Irving Cummings]

It's a highly dramatic story filled with suspense that will keep you right on the edge of your chair. It's 20th Century Fox's man on a Tightrope. The exciting adventure of a circus owner who makes a wild dash for freedom in a foolhardy attempt to escape from terror and oppression. As our stars, one of the finest actors of stage or screen, Edward G. Robinson. And co starring in the part of his lovely daughter will be Terry Moore.

[Anne Garraway]

Oh, we'll be looking forward to that, Irving. Good night.

[Alan Garraway]

Good night.

[Producer Irving Cummings]

Good night. This is an exciting evening.

[Narrator]

The Hollywood Radio Theater is produced by Mr. Irving Cummings. Our orchestra is under the direction of Rudy Schrager. This is Ken Carpenter inviting you to join us next week at this same time for another presentation of the Hollywood Radio Theater. Hollywood Radio Theater is a presentation of the United States Armed forces radio and television servants.

[Michael Garraway]

Sam.