Lux Radio Theatre - Goodbye My Fancy

Summary

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Lux Radio Theatre - Goodbye, My Fancy

Podcast: Harold's Old Time Radio
Date: July 23, 2026
Host: Harolds Old Time Radio
Starring: Rosalind Russell (Agatha Reed), Robert Young (Jim Merrill)
Original Air Date (of Play): [Implied 1950-1951]
Episode Summary by AI

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Episode Overview

This episode of Harold's Old Time Radio presents a radio adaptation of the stage (and film) comedy-drama “Goodbye, My Fancy,” as performed by Lux Radio Theatre. The story, set in 1950, centers on Congresswoman Agatha Reed's return to her alma mater, Good Hope College, to receive an honorary degree. What should be a triumphant, sentimental return becomes a dramatic reckoning with her romantic past, her expulsion from college, academic politics, generational changes, and the battle for intellectual integrity on campus. The episode's main themes include confronting the past, integrity in education, courage, reconciliation, and the evolving role of women during the era.

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Key Discussion Points & Insights

1. Agatha Reed’s Return to Good Hope College

• Setup: Honorable Agatha Reed, a well-respected U.S. congresswoman, receives an invitation to her alma mater for an honorary degree.
• Personal Ties: Good Hope holds special significance for Agatha; she once attended and was expelled for breaking the rules, which still haunts her personally and institutionally.

Notable Quote:

• (Agatha reflects on the invitation)

  "Good Hope has always been close to me and nothing short of a congressional crisis will keep me away." — Agatha Reed (02:10)

2. Academic Politics and Old Wounds

• Controversy: Board Chair Claude Griswold objects to honoring Agatha due to her past expulsion and the potential for scandal.
• Rationale: Jim Merrill, the college president and Agatha’s former love interest, defends her achievements, advocating for forgiveness and progress.

Notable Quote:

• "We're giving an honorary degree to a woman who was once expelled... Why? Well, Good Hope meted out some pretty harsh punishment. I think it's time we told her we were sorry." — Jim Merrill (03:26)

3. Reunion with Jim Merrill and Lingering Feelings

• Old Romance Rekindled: Agatha and Jim's unresolved feelings resurface; painful memories of their separation, their almost-marriage, and Agatha’s sacrifice.
• Barriers: Social conventions and Jim’s subsequent marriage stood in their way.

Notable Quote:

• "We were a nice snapshot, but never a family portrait." — Agatha Reed (07:41)

• Heartfelt Moment:

  "Agatha, if I were to ask you again, is there any chance your answer might be the same?" — Jim Merrill (27:31)
  "Oh, always on second proposals." — Agatha Reed (27:39)

4. Generational Clash and Educational Integrity

• Modernization vs. Tradition: Dr. Pitt, an outspoken professor, hints at friction within the faculty and academic freedom vs. trustee control.
• Student Perspective: Jim’s daughter, Ginny, struggles to see her father’s courage and laments administrative timidity.

Notable Quote:

• "A college is where the future of the world begins. And professors aren't intellectual babysitters. It's their job to bring some light into this muddled world, and you've put a stop to that." — Agatha Reed to Griswold (37:47)

5. The Motion Picture Controversy

• Censorship: Agatha's documentary film, depicting the dangers of losing freedom, is targeted for cancellation by the board.
• Stakes: The debate conjures anxieties of McCarthy-era restrictions and the post-war reckoning with fascism and censorship.

Notable Dialogue:

• "How they burned the books. How they hang the teachers by their feet because they dare to teach the truth. Do you think I want to see that happen here?" — Agatha Reed (33:27)

• Agatha uses her knowledge of the past and political savvy to “blackmail” Jim into allowing the screening, stating:

  "I'll give you my personal guarantee that the article in Real Magazine won't even hint at the colorful events leading up to my expulsion... I'm willing to take a chance on you. I know now that you're afraid. And with a man who's afraid, it's just a question of the lesser of two evils." — Agatha Reed (40:38)

6. Confronting Truths and Reconciliation

• Jim’s Change: Jim ultimately finds the courage to stand up to the trustees and permit the film’s showing, then tenders his resignation, rediscovering his integrity.
• Agatha’s Realization: Agatha acknowledges the futility of running from hard choices and the need to accept change.
• Ginny’s Faith: Ginny thanks her father for his honesty and the gift of the film—even though the decision was coerced—rekindling their strained relationship.

Memorable Exchange:

• "I just wanted you to be honest with me and with yourself." — Ginny Merrill, to her father (47:54)

7. Closing Encounters & New Beginnings

• Love Triangle Resolved: While Jim admits his enduring love for Agatha, she chooses to move forward with Matt Cole (the photographer and old flame), acknowledging missed years but hoping for the future.
• Final Reflection: The play closes on themes of personal and institutional change, the value of facing the present, and the bittersweetness of reunion and farewell.

Final Words:

• "Oh, Matt, you were right. We have missed six wonderful years. I've been so blind. Now why on earth didn't you make me see?" — Agatha Reed (53:38)

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Notable Quotes & Moments (with Timestamps)

• On Returning to Good Hope:

  "My dear Jim, I can't tell you how happy I was to receive your gracious invitation to return to Good Hope for an honorary degree. Good Hope has always been close to me..." — Agatha (02:38)

• On Past Romance:

  "We were a nice snapshot, but never a family portrait." — Agatha to Matt (07:41)

• On Academic Cowardice:

  "My father's a coward, Ms. Reed. He's so afraid of losing his job, he's lost everything he ever believed in." — Ginny Merrill (34:12)

• On Education’s Purpose:

  "You're not protecting them, Mr. Griswold. You're destroying them. A college is where the future of the world begins." — Agatha Reed (37:47)

• Agatha Forces Jim to Act:

  "I'm willing to take a chance on you. I know now that you're afraid..." — Agatha Reed (41:14)

• Admission and Reconciliation:

  "I had the movie shown only because Ms. Reed forced me to. She gave me an alternative that left me no choice. That's the truth, and I want you to know it." — Jim Merrill (47:37)

• Agatha’s Realization:

  "Oh, Matt, you were right. We have missed six wonderful years. I've been so blind. Now why on earth didn't you make me see?" — Agatha to Matt (53:38)

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Important Segments & Timestamps

• Main Theme Introduction (01:20)
• Agatha Accepts Invitation, Ties Revealed (02:10–03:26)
• Confrontation Over Agatha’s Past (03:26–05:03)
• Agatha & Matt Reunite (05:54–07:47)
• Agatha & Jim: Old Feelings Resurface (14:13–17:19)
• Faculty Reception & Dr. Pitt’s Dissent (25:33–26:51)
• Proposal Redux at the Amphitheater (27:31–28:14)
• Film Controversy Unfolds (32:14–38:45)
• Confrontation Over Integrity (39:10–41:18)
• Resolution — Film is Shown, Jim Resigns (44:11–49:08)
• Agatha Makes Her Choice, Epilogue (53:38–end)

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Tone & Language

• Tone: Warmly nostalgic, emotionally candid, laced with wit and humor but also deeply earnest about ideals and personal regret.
• Language: Reflects the era’s formal yet lively dialogue; includes sharp banter, impassioned speeches, and moments of vulnerability—particularly from Agatha.

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Additional Notes

• Cultural Significance: The play's discussion of academic freedom, the role of women, and institutional courage has enduring modern resonance, paralleling ongoing debates about censorship and the politics of higher education.
• Performance: Rosalind Russell’s Agatha is both formidable and vulnerable; Robert Young’s Jim is conflicted but ultimately principled.
• Memorable Moment: The shared recitation of Walt Whitman’s "Goodbye, My Fancy" as a symbol of bittersweet farewells and hopeful beginnings (27:53).

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This summary captures the plot, emotional arcs, and intellectual substance of Lux Radio Theatre’s “Goodbye, My Fancy” as adapted and performed in classic radio drama tradition.

Transcript

[Narrator/Announcer]

This episode sponsored by She's Birdie. You lock the hotel room door, then check it again and maybe one more time. Because even the nicest room can feel unfamiliar at night. That's why She's Birdie created birdiebox. With She's Birdie, you can bring peace of mind with you. BirdieBox is a portable travel door alarm for hotels, dorms, Airbnbs, and anywhere you stay away from home. Just attach it to the door frame, switch it on, and if someone opens the door, Birdie Box blasts a loud siren and flashing alarm to alert you and everyone nearby. Because the best part of travel isn't worrying, it's sleeping soundly. Birdie Box from She's locking in peace of mind wherever you stay for safer, more confident travel visit. She'sbirdie.com that's S-H-E-S-B I-R-I E.com From Hollywood,

[Producer/Announcer]

the Hollywood Radio Theater, Starring Rosalind Russell and Robert Young in Goodbye, My Fancy. Ladies and gentlemen, your producer, Mr. Irving Cummings.

[Jim Merrill]

Greetings from Hollywood, ladies and gentlemen. Right now, let's introduce tonight's play, Goodbye, My Fancy. It's a scintillating comedy from Warner Brothers with glamorous Rosalind Russell and that distinguished actor, Robert Young. Now act one of Goodbye, My Fancy, starring Rosalind Russell as Agatha Reed and Robert Young as Jim Merrill. It's 1950. Among the members of the United States Congress, few are more widely respected, and certainly none is more attractive than the Honorable Agatha Reed. Ms. Reed has just returned to her office, slightly battle worn, after another harrowing day in the cause of better government.

[Agatha Reed]

All right, Woody, what's the mail? Another thousand or so letters. Make another speech like that last one and you'll get the post office out of the red. What's this one? Oh, invitation. It's from Good Hope College. You know, I haven't time to. Why, it's from Good Hope. Yeah, that's what I said. Then you said moody. They. They want to give me an honorary degree. Well, what's so special about that? You turn down Wellesley without blinking an eye. You don't understand. I. I went to Good Hope.

[Jim Merrill]

Oh, pardon me.

[Agatha Reed]

Take a letter. Shall I type it on parchment? Special delivery. To Dr. James Merrill, President, Good Hope College, Good Hope, Massachusetts. My dear Jim, I can't tell you how. No, no, no, no. You better make that. Dear Dr. Merrill, I can't tell you how happy I was to receive your gracious invitation to return to Good Hope for an honorary degree. Good Hope has always been close to me and nothing short of a congressional crisis will keep me away. And if I may be sentimental, it would give me great pleasure to be able to stay in my old room. Sincerely, Agatha Reed. Oh, good morning, Mr. Griswold.

[Jim Merrill]

Is he in, Dr. Merrill? In his office.

[Agatha Reed]

I. I believe he's alone. Mr. Griswold, perhaps I can.

[Jim Merrill]

Never mind. I'm going in. Jim. I gotta talk to you, Claude. Well, sit down, won't you? Last night I wrote a letter to Agatha Reed. As chairman of the Board of Trustees, I thought it would be nice to let her know how happy we all are that she accepted your invitation. Well, that was very thoughtful. And 10 minutes after the letter was mailed, my wife told me. Your wife told you what? That she used to be Agatha Reed's classmate? That Agatha Reid was expelled for staying out all night? Yes. Yes, she was. We're giving an honorary degree to a woman who was once expelled. Now look, Jim, we're going to call the whole thing off. I'm afraid it's too late for that, Claude. I've given the announcement to the papers, and Real Magazine is sending a man up to cover the commencement. Real man? That's great. If they ever find out about her being expelled, we'll all wind up on the COVID There were a dozen women to choose from, but you've got to pick a hot potato like Agatha Reed. Why? Well, Good Hope meted out some pretty harsh punishment. I think it's time we told her we were sorry. What's more, she's one of the most outstanding women in the nation. A woman who's won recognition as a columnist, war correspondent and author. We've got to go through with it, huh? Yes, and stop worrying. Then it's entirely in your hands, dear. She's your baby. Till after commencement. Thank you, Claude. I find the prospect very interesting.

[Agatha Reed]

You may as well go on home, Woody. Our train doesn't leave until midnight. Or you can meet me at the station. Oh, oh, what about my warm milk? Room service is sending it up. Maybe I should tell him to put it in a baby bottle. Meaning what? This trip back to the cradle, a crowded calendar, two important bills coming out of committee, election month only four months away, and we're off to braid a daisy chain at some college. Now look, Woody, I am going to enjoy this weekend. I am going to be sentimental. I am going to cry. I am going to walk barefoot down memory lane with ivy entwined in my hair. And if you don't like it, you don't have to. Look, I'll bring My dark glasses do that. Oh, well, leave that door unlocked there for room service, will you? The door's open. Just put the milk on the table, please.

[Jim Merrill]

Just milk today. No butter.

[Agatha Reed]

Eggs.

[Jim Merrill]

Yummy. Yogurt.

[Agatha Reed]

Matt? That's right, Maggie.

[Jim Merrill]

Real magazine's favorite photographer.

[Agatha Reed]

And yours, Matt.

[Jim Merrill]

You just said that the usual greeting after five years is, well, this is a surprise.

[Agatha Reed]

I'm sorry, but you caught me off guard.

[Jim Merrill]

I didn't think that was possible.

[Agatha Reed]

I see you haven't changed.

[Jim Merrill]

No. Neither of you. A little more dignified, perhaps. A little more, shall we say, rapine? Just as attractive as ever.

[Agatha Reed]

I. I thought you were in Europe.

[Jim Merrill]

I got back this afternoon. I thought I'd find out about that date we had in Paris. When you didn't show up for five years, I began to wonder, is it on or off?

[Agatha Reed]

I'm sure you didn't come up here to dig all that up.

[Jim Merrill]

Do you mind telling me why you didn't show up?

[Agatha Reed]

Well, does it matter now?

[Jim Merrill]

Yes, it matters. When a woman runs out on a man, he ought to know why. Help them the next time.

[Agatha Reed]

I suppose it never occurred to you that I might have been in love with someone else.

[Jim Merrill]

It occurred to me when I rejected it.

[Agatha Reed]

Really? Why?

[Jim Merrill]

Because I've kept tabs on you, Aggie. That hasn't been hard, not for the congresswoman. Congratulations. You're doing a great job.

[Agatha Reed]

What about before I was a congresswoman?

[Jim Merrill]

Well, those were my years.

[Agatha Reed]

And the years before that.

[Jim Merrill]

Well, why haven't you done something about the guy?

[Agatha Reed]

Well, maybe I will. Now, do you mind that I'm in the midst of packing and I want you to leave.

[Jim Merrill]

Say, did you ever get those pictures I sent you from China?

[Agatha Reed]

Yes. Yes, I did.

[Jim Merrill]

Did you like the one yourself? The one on the Orient Express, nearing Paris?

[Agatha Reed]

No, I didn't like it.

[Jim Merrill]

Why not?

[Agatha Reed]

Well, the one time you don't expect to be photographed is asleep in a train compartment. Besides, the occasion was exactly not the kind of thing I wanted recorded for posterity.

[Jim Merrill]

That's funny. I thought it had the makings of one of the big moments in history. Come to think of it, you did too.

[Agatha Reed]

Matt, please. It was fun, but war has a way of making little moments seem big at the time.

[Jim Merrill]

Very penetrating. May I quote you sometime?

[Agatha Reed]

Well, I'm sorry if I said it badly, but it's true.

[Jim Merrill]

We were.

[Agatha Reed]

Well, we were a nice snapshot, but never a family portrait.

[Jim Merrill]

Yeah, I get it. It's subtle, but I get it.

[Agatha Reed]

Well, now you've got to go now. I have to catch the new Yorker at midnight.

[Jim Merrill]

The New Yorker.

[Agatha Reed]

Yes, yes, and I haven't packed a thing.

[Jim Merrill]

A New Yorker. Here I've been holding you up with idle chit chat. And all the time we're gonna be

[Agatha Reed]

traveling companions, you're going to be on that train.

[Jim Merrill]

Happy, happy coincidence. Just like the good old Orient Express.

[Agatha Reed]

Don't be ridiculous.

[Jim Merrill]

Oh, I know what trains do to some people. So long, Aggie. I'll see you on the New Yorker.

[Agatha Reed]

Western Union, please. This is Agatha Reed. Oh, yes, I want to send a Straightight wire to Dr. James Amero, Good Hope College, Good Hope, Massachusetts. Oh, have you got that? Please don't have anyone meet me at train. Have decided to come by plane. Sign it Agatha Reed. Thank you. Yes?

[Jim Merrill]

Room service, Ms. Reed.

[Agatha Reed]

Oh, come in.

[Jim Merrill]

You're warm milk, Ms. Reed.

[Agatha Reed]

I've changed my mind. Just. Just bring a double brandy. So this is it, huh? Dear old school days. Woody. Woody, just look. Oh, this wonderful, wonderful dormitory. My old rooms. The same furniture, the same pictures. Everything just as it was. Looks fierce, doesn't it? You know what those girls told me? They moved all these things up from the basement. Just. Oh, I haven't cried in years. It feels wonderful. If you're such a big shot, how come nobody bothered to meet you? Because I purposely stopped the taxi two blocks away. That was memory lane we walked through. That alfalfa field is memory lane. Oh, I'm sorry for you, Moody. I really am. If you don't have something to remember like this. Come in. I'm sorry to bother you, Ms. Reed. Oh, I'm the one who should be sorry, dear, putting you out of your rooms like this. Oh, no, no. Mary Nell and I think it's the greatest honor we've ever known. It's this, Ms. Reed. Your book, Women in the Vanguard. If you'll pardon me, Agatha, I'll run out and tear down some ivy for my hair. A wreath, you know, Woody, Really? Oh, now. Now, what about the book? Well, Dr. Pitt said we all ought to read it. Your political science teacher? No, physics. Well, in his classes you learn about everything. Sounds as if I'd like to know him. I was wondering if you'd autograph it for me. Well, I'd love to. Now, what name do I write? Virginia. Oh, Would you make it Ginny? Ginny Merrill. Ginny Merrill. Will your parents be here for commencement? Well, there's just my father. Mother died a few years ago.

[Jim Merrill]

Oh.

[Agatha Reed]

Does your father have to come very far? Oh, no.

[Narrator/Announcer]

This episode sponsored by. She's Birdie. You lock the hotel room door, then Check it again. And maybe one more time. Because even the nicest room can feel unfamiliar at night. That's why She's Birdie created birdiebox with She's Birdie. You can bring peace of mind with you. BirdieBox is a portable travel door alarm for hotels, dorms, Airbnbs, and anywhere you stay away from home. Just attach it to the door frame, switch it on, and if someone opens the door, Birdie Box blasts a loud siren and flashing alarm to alert you and everyone nearby. Because the best part of travel isn't worrying, it's sleeping soundly. Birdiebox from she's locking in peace of mind wherever you stay. For safer, more confident travel visit she'sbirdie.com that's S-H-E-S-B I-R-I E.com this episode sponsored by She's Bertie. Every woman knows that feeling. And she's Bertie knows it, too. The just in case feeling. Just in case I hear something. Just in case someone tries the door, just in case I need to wake up fast. It's not fear, it's awareness. And Birdie Box from She's Birdie was made for exactly that. Birdie Box is a portable travel door alarm designed by She's Bertie for hotels, dorms, Airbnbs, and anywhere you're staying away from home. It installs in seconds on the door frame, and if the door is opened, it activates a loud siren and flashing strobe to help draw attention instantly. She's because peace of mind should check in with you. Birdie Box by She's birdie visit she's birdie.com that's S-E-S-B-I-R-I-E.com and order your Birdie box before your next day away from home.

[Agatha Reed]

Matter of fact, you're Jim Merrill's daughter, aren't you? Why, yes, I might have known. I knew your father very well. He was my favorite professor. What was he like, Ms. Reed? Oh, he was very handsome. All the girls were in love with him. They still are. That's not what I meant. Was he a good teacher? He was a wonderful teacher. I wish he were still a teacher. Oh, Is being president of a college so bad? Well, it's different. Different? I better be going. Ms. Reed. Is it all right if I tell my father you're here? I'm sure he must be anxious to see you. Well, perhaps I better walk over to his office. Oh, no, no. He'll want to call on you. And thanks again, Ms. Reed. Oh, excuse me. That's all right. That's all right. We just had a phone call. Real Magazine. They're covering your weekend here. Oh, how nice. Oh, it's better than that. They're sending Matt Cole. Who did you say? Matt Cole, the war photographer. You're joking. Why should they send him here? This isn't his type of thing at all. Yeah, but why the blood pressure? Get Real Magazine on the phone immediately. I'll put a stop to this right now. Why bother? Don't bother and don't argue. Okay. Hello. Get me New York. Yeah, Real Magazine. I want to speak to Mr. Bronson personally. Make that person to prison. To Mr. Bronson? That's right. He owns the magazine. Is this a matter of life and death? I asked you not to argue. Just get Bronson on that phone. I can't. The circuits are busy. Give me the phone. Hello? Hello, this is Agatha Reid. Now on that call to Real Magazine. It's most important. This is a crisis. I'd appreciate it, please, if you'd get everything you possibly can do. I can. Come in, Jim.

[Jim Merrill]

It's been a long time, Agatha.

[Agatha Reed]

20 years.

[Jim Merrill]

I. I'm taking advantage of my position. The entire college is waiting to meet you.

[Agatha Reed]

I'm overcome. I. I mean it, Jim.

[Jim Merrill]

My daughter mentioned your secretary was with you.

[Agatha Reed]

Woody's downstairs with the telephone operator. There's an important call I'm trying to put through.

[Jim Merrill]

I'm glad we're alone. Well, you're looking very well, Agatha.

[Agatha Reed]

Thank you, Tim.

[Jim Merrill]

I suppose you realize you're in for quite a weekend.

[Agatha Reed]

Yes, I. I've seen the agenda.

[Jim Merrill]

We start in an hour with your official reception. I. I can turn my back if you'd like to escape.

[Agatha Reed]

I wouldn't think of it. Vanity, I guess. I suppose everyone dreams of coming back for an honorary degree. That's a popular ambition, like. Well, like wanting a mink coat.

[Jim Merrill]

Yeah. Or to be president. Yes.

[Agatha Reed]

How does it feel?

[Jim Merrill]

Well, it's never dull. The face has changed so often and with so much youth around, you actually get the feeling you're preserving your own.

[Agatha Reed]

Well, your daughter should keep you young. She's a lovely child. No, no, that's. That's wrong. She's not a child. What are we at that age, Jim? That wonderful, terrible in between age. You've seen so many of us.

[Jim Merrill]

Tell me about yourself, Agatha. Have you been happy?

[Agatha Reed]

Well, I. I've been busy.

[Jim Merrill]

Yes, I followed your career very closely.

[Agatha Reed]

Well, in that case, I won't have to bring you up to date on the past 20 years?

[Jim Merrill]

No, only the first year. I've never quite caught up with that first year. I. I wondered what happened. Why, you just disappeared.

[Agatha Reed]

It was very stupid of me to get caught climbing in my window at 5 in the morning. I hope the girls are more expert now.

[Jim Merrill]

I wouldn't know. I'm not up on the statistics.

[Agatha Reed]

Listen, Jim, it would have made no difference to the trustees that you were the man that we were planning to be married. I would have been kicked out anyway. Only you would have been kicked out with me.

[Jim Merrill]

I thought we decided to take that chance.

[Agatha Reed]

I couldn't let you do it. They were already eyeing you for the presidency.

[Jim Merrill]

Well, where did you go? My letters came back. When I phoned your home, they said they didn't know where you were.

[Agatha Reed]

Yes, I. I made them promise. Once I weakened and started to write you a letter, I never did finish it. And later on I read about your marriage.

[Jim Merrill]

Did Jenny tell you anything about her mother? No. She was a wonderful woman. We had a lot of things in common that helped to balance the things we didn't have. She died four years ago.

[Agatha Reed]

Why did you feel that you had to tell me that?

[Jim Merrill]

I don't know exactly. I suppose I.

[Agatha Reed]

What are you trying to say, Jim?

[Jim Merrill]

You came up here this weekend. Why?

[Agatha Reed]

Well, don't you remember? You. You invited me.

[Jim Merrill]

I carried that invitation around for two years before I sent it.

[Agatha Reed]

Oh, that was silly, Jim. I answered it as soon as I got it. Bronson's in Chicago. I just. Oh, sorry if I interrupted.

[Producer/Announcer]

That's quite all right.

[Jim Merrill]

I was just leaving.

[Agatha Reed]

Dr. Merrill, my secretary and my right arm, Ms. Woods.

[Jim Merrill]

How do you do?

[Agatha Reed]

How do you do, Ms. Reed?

[Jim Merrill]

Did I tell you it's wonderful to have you back?

[Agatha Reed]

Yes, Dr. Nero, but it's good to hear it again.

[Jim Merrill]

I'll see you at the reception. There'll be a committee calling for you at 4:00'.

[Agatha Reed]

Clock.

[Jim Merrill]

Oh, it's nice to have you here too, Ms. Wood.

[Agatha Reed]

Thank you. Prexi is nice looking, isn't he? Yes. Looked mighty cozy just now, talking over old history exams. You know what's wrong with you? You're so used to having your thumb in every Washington pie that you can't stop filibustering. All right, Woody. It's so. What? So just what you're thinking. Oh, he's the first man I ever loved. He. He's what? Maybe the only one. The truth is I'd marry him tomorrow if he asked me. You're kidding, aren't you? What's the matter? Are you against marriage too? Of Course not. But you're smack in the middle of an election campaign and a hundred other things. Your life is too busy. There's quite a difference between a busy life and a full one. I thought you'd be happy for me. Well, what do you expect? I don't even know the guy. Well, I know him. Now, this isn't just a whim, Woody. This is something I waited for and thought about for 20 years. Maybe the most important thing in my whole life. That's why I don't want anything to spoil it. That's why I said. What about that phone call? Phone call? Yeah, Bronson Real magazine. Oh, that. They're expecting him back at his hotel.

[Jim Merrill]

Anything I can do?

[Agatha Reed]

Oh, all right. Matt, come in. Now, what do you think you're doing here?

[Jim Merrill]

My job. I'm a photographer.

[Agatha Reed]

Don't expect me to believe they picked you for an assignment like this, do you?

[Jim Merrill]

As a matter of fact, I asked for it. I had a great idea for a layout. The Honorable Agatha Reed and how she grew.

[Agatha Reed]

Now, don't try anything. I am warning you. Matt, this is my secretary, Ms. Woods. Hi.

[Jim Merrill]

Real pleasure. Oh, would you mind directing me to the president's office?

[Agatha Reed]

Why?

[Jim Merrill]

I'm supposed to check in with the old codger.

[Agatha Reed]

You'll probably find the old codger in the administration building.

[Jim Merrill]

And where might that be, woody?

[Agatha Reed]

Let's go, Mr. Cole. Thanks, woody. I wouldn't want him to get lost.

[Jim Merrill]

If I do, I'll send up a flare.

[Agatha Reed]

I'll get it. Hello? Oh, yes, Mr. Bronson. We've been trying all over to find you. I mean. Well, say something. We just wanted to tell you. We. We decided to renew our subscription. You can tell me something, Mr. Cole. Why was the honorable so upset about you coming up here?

[Jim Merrill]

She thinks I'm in the employ of a foreign government.

[Agatha Reed]

Oh, come on, give. You're about as innocent as a rattlesnake.

[Jim Merrill]

All right. I'm here because I think she's on the verge of making a big mistake.

[Agatha Reed]

What kind of mistake?

[Jim Merrill]

For a man. There's only one kind of mistake a woman can make. Another man.

[Agatha Reed]

Why should that bother you?

[Jim Merrill]

That shouldn't be hard for a smart girl like you to figure out.

[Agatha Reed]

Oh, no. Now I know who you are. You're up here to make trouble, that's who you are. Well, no fisticuffs when we get there. This is supposed to be a happy

[Jim Merrill]

weekend when we get there. Wait a minute. Don't tell me he's the president of this seminary.

[Agatha Reed]

I. I thought you knew.

[Jim Merrill]

Thanks for you tricked me.

[Agatha Reed]

Wild horses wouldn't have dragged that out on her.

[Jim Merrill]

Forget it. What am I worried about? If I can't take her away from some old Mr. Chips, I'll quit the business.

[Agatha Reed]

Ha.

[Jim Merrill]

What does that mean?

[Agatha Reed]

Get out that flare, Mr. Cole. You're gonna need it.

[Jim Merrill]

Actu.

[Producer/Announcer]

I'll goodbye my fancy in a moment. You know, I guess just about the most popular sport in the world, everywhere in the world, is fishing. You hear a lot of discussion among American sportsmen. Which is better, the dry fly or the wet fly? Still fishing or trolling? Lake, stream or ocean? Everyone has his own ideas about this sport of fishing, and he goes after it in his own way. Well, that's true all over the world. As our servicemen have observed, there are a lot of different ways of catching fish. In Borneo, for example, the natives crush the berries of a certain shrub and the juice poisons the fish of a river without spoiling them as food. In Africa, South America and Alaska, the spear or harpoon is used. In Japan, trained birds called cormorants are sent diving down into the water to bring up fish. In some Pacific islands, nets are used. In others, the bow and arrow is the favorite method of getting fish for supper. Well, what's true about fishing is true about other customs and traditions around the world. The way of doing things may be different, but the ideals are the same. No one way is right or wrong. It's just what suits the individuals best. These customs are important to the people who follow them. And our servicemen are helping to maintain goodwill by observing the customs of other people in other lands.

[Jim Merrill]

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[Agatha Reed]

Play anytime. Play anywhere.

[Jim Merrill]

Play on the train. Play at the store.

[Producer/Announcer]

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[Jim Merrill]

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[Producer/Announcer]

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[Jim Merrill]

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[Narrator/Announcer]

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[Agatha Reed]

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[Narrator/Announcer]

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[Agatha Reed]

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[Narrator/Announcer]

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[Agatha Reed]

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[Jim Merrill]

21 plus terms and conditions apply.

[Producer/Announcer]

Now, our producer, Mr. Cummings.

[Jim Merrill]

Act 2 of Goodbye My Fancy, starring Rosalind Russell as Agatha and Robert Young as Jim, with Whitfield Connor as Matt. The faculty reception in honor of Agatha Reed is in full progress. Among those present are Matt Cole and a professor of physics named Dr. Pitt. Care for a cup of punch, Mr. Cole? Oh, thanks. You. You have to go through this every year? Occupational hazard. Well, I'm rather enjoying it. You mean it can be worse than this? It's just that this is my last faculty reception. Good Hope and I will soon be going our separate ways. I haven't been exactly happy under the present management, Dr. Merrill. Oh, no. Todd Griswold, our illustrious chairman of the board, mean. Now, Mr. Cole, let's drink for Saturday morning. What's for Saturday morning? That's when I'll be asked to resign. I shall take my departure in a blaze of futile glory. You gonna blow up the physics building? Not exactly. Exactly. But there will be an explosion of a kind. What kind, Dr. Pitt? That's my little secret, Mr. Cole. Punch. Not very stimulating, is it? You're wrong, Dr. Pitt. I feel a noticeable lift, as a matter of fact. Something wrong, Mr. Cole? Seems our guest of honor has disappeared. If I'm not mistaken, I saw Ms. Reed and Dr. Merrill walk out there on the terrace just a moment ago. Well, now, that should make a change. Charming picture for the magazine. Excuse me, Doctor. I suppose I had no right to take you out here, Agatha. But there won't be many opportunities to be alone. And there's so much I want to say.

[Agatha Reed]

We had the same problem 20 years ago, Jim. Until we discovered the amphitheater, remember?

[Jim Merrill]

I was just about to suggest it. The usual time? The reception will be over by then.

[Agatha Reed]

The usual time? Thank you for remembering.

[Jim Merrill]

How could I ever. Oh, Mr. Cole. I bust out of you, Doctor, but the layout wouldn't be complete without a picture of the president and his number one graduate. Well, it might have been a better picture if you'd given us a little warning.

[Agatha Reed]

Mr. Cole specializes in catching people off guard.

[Jim Merrill]

Oh, there you are, Jim. Now, look, I've been working on Jeff. He's just about ready to walk. He's just about ready to. Just about ready to walk. He's just about ready to walk over for the new library. I'll talk to him in the morning, Claude. Take my word for it and do it now.

[Agatha Reed]

I'll be all right, Tim. Oh, Mr. Griswold, your wife was telling me that you just gave the college a projection room and motion picture equipment.

[Jim Merrill]

I don't mind saying it cost me a young fortune. Claude's one of the Best friends this college ever had.

[Agatha Reed]

I'm honored, Mr. Griswold. You see, Ms. Shackleford was saying that my film will be the first to be shown.

[Jim Merrill]

Your film?

[Agatha Reed]

Oh, it's just something I assembled a couple of years ago to illustrate a lecture. Ms. Shackelford thought it might interest some of the students.

[Jim Merrill]

Sounds fine, Mr. Reid, fine. Well, Jim. Yes, of course. We mustn't let Mr. Barnes cool off. Heavy odor of orange blossoms in the air.

[Agatha Reed]

You haven't wasted a minute, have you?

[Jim Merrill]

Matt Merrill must be quite a guy to keep a woman like you on the hook for 220 years.

[Agatha Reed]

Yes, he is quite a guy.

[Jim Merrill]

Or else you must be getting tired.

[Agatha Reed]

Now, what does that mean?

[Jim Merrill]

This overwhelming desire to return to the past? Girlhood memories, old rooms and dormitories, old furniture. Old sweetheart, old hat.

[Agatha Reed]

You've been on the war fronts for so long that a decent atmosphere is bound to seem a little incongruous.

[Jim Merrill]

Were you kidding, Aggie? Take a good look around. This is a lost world up here. And Merrows a pretty perfect president for it.

[Agatha Reed]

That penetrating analysis of Jim Merrill is based on one. How do you do?

[Jim Merrill]

Is it? You used to be a good reporter. Talk to some of the teachers. Dr. Pit, for example. You might get an earful. The old amphitheater, Agatha. It looks just the same, doesn't it?

[Agatha Reed]

Just the same.

[Jim Merrill]

I was late, wasn't I? A little on my way. Dr. Pitt stopped me. He said you had quite a talk with him.

[Agatha Reed]

Oh, Jim, I'm sorry. I was meddling. I had no right to.

[Jim Merrill]

In this case, you had every right.

[Agatha Reed]

What did you tell him? Is he going to resign?

[Jim Merrill]

No, I asked him to remain here. That's what you expected, isn't it?

[Agatha Reed]

That's what I hoped for. But what about Mr. Griswold?

[Jim Merrill]

Well, I imagine there'll be some tearing of hair. But I'm sure I can manage the situation so that both sides appear to win. Jim, remember the last time we were here? We were very young, very much in

[Agatha Reed]

love, and you proposed to me.

[Jim Merrill]

Agatha, if I were to ask you again, is there any chance your answer might be the same?

[Agatha Reed]

Oh, always on second proposals.

[Jim Merrill]

This time you won't run away?

[Agatha Reed]

No.

[Jim Merrill]

Then I can tear this up. It's the note you left for me.

[Agatha Reed]

You kept it.

[Jim Merrill]

I've never quite forgiven myself for introducing you to the beauties of Walt Whitman. Goodbye, my fancy. Farewell, dear mate, dear love.

[Agatha Reed]

The note. May I have it? Thank you. Hello, my fancy.

[Jim Merrill]

Agatha. Aggie.

[Agatha Reed]

What is the name?

[Jim Merrill]

Oh, Jill.

[Agatha Reed]

That's the answer I Always.

[Jim Merrill]

Get well. I'll stick it out for a couple hours longer. If she doesn't show up by morning, I'm leaving.

[Agatha Reed]

Got it bad, haven't you? Look, I'm not being nosy. I think Aggie's making a mistake, too. I don't just work for this woman. I like her. I care what happens to her.

[Jim Merrill]

So do I.

[Agatha Reed]

What was it with you and Aggie, anyway?

[Jim Merrill]

Well, I hadn't seen her since the day Paris was liberated. Before that, not for months. I was going to ask her to marry me. We made a date for that night. I rustled up eight red roses, bottle of champagne and a ring. I tore the petals off the roses and sprinkled them in the doorway. Put the ring at the bottom of the glass. She'd drink the champagne, see the ring, catch on that I was proposing. Nice idea, wasn't it?

[Agatha Reed]

Yes, very.

[Jim Merrill]

Only Aggie never showed up. Well, the evening wasn't entirely wasted. I learned something that's been invaluable to me ever since. Do you know it only takes three hours for roses to turn brown around the edges?

[Agatha Reed]

Cold. I'm sorry, Cole.

[Jim Merrill]

What are you sorry about? Now that I've seen her dreamboat in action, I'm not worried. He's a memory. Something she pressed in a book through the years. Like an old rose.

[Agatha Reed]

You're expecting an awful lot of her in one short weekend.

[Jim Merrill]

That's why I'm gonna give her a little help. Right before your very eyes. I'm gonna turn that memory into a man.

[Agatha Reed]

Very clever, if it works.

[Jim Merrill]

You leaving?

[Agatha Reed]

Wouldn't you rather I hear the approach of food, familiar footsteps?

[Jim Merrill]

Well, good evening. I was just about to put a light in the window.

[Agatha Reed]

Well, I'm glad you didn't bother. I know exactly where I'm going. Good night, Matt.

[Jim Merrill]

I want to talk to you, Aggie.

[Agatha Reed]

Oh, yes, yes, of course. About Dr. Pitt. You'll be very unhappy to hear that any difference of opinion is now a thing of the past. Dr. Pitt will remain here.

[Jim Merrill]

Well, there's one thing to be said in our Prexi's favor. He doesn't want to lose you. I don't blame him.

[Agatha Reed]

He's not going to lose me.

[Jim Merrill]

Then it's all set?

[Agatha Reed]

All set.

[Jim Merrill]

Oh, congratulations.

[Agatha Reed]

Oh, you just can't take it, can you, Matt? That he could be more exciting, more desirable than you?

[Jim Merrill]

That's right. I'm as vain as the next guy. Since you've gone in for collecting memories, here's another one. Sorry if I smeared your lipstick.

[Agatha Reed]

Good night, Aggie. Quiet, Mr. Cole. Do come in, Mr. Cole.

[Jim Merrill]

Good morning, Miss Shackleburn.

[Agatha Reed]

They'll be taking pictures. I suppose.

[Jim Merrill]

That's what I wanted to see you about. Now you're the student advisor. I just want to be sure that I'm at the right place at the right time. Now, let's see. Tomorrow's Saturday night.

[Agatha Reed]

Oh, but tonight. Tonight's the prom and a step sing at Griswold Hall.

[Jim Merrill]

Step? Single? Oh, yeah, yeah. They sing on the steps. Uh huh. But tomorrow morning. I believe Dr. Pitt mentioned something for 11 o'. Clock.

[Agatha Reed]

Oh, yes. The film showing. Ms. Reed's film.

[Jim Merrill]

No, I don't mean that. Isn't there something else on tap?

[Agatha Reed]

Why no, nothing.

[Jim Merrill]

Well now there must be.

[Agatha Reed]

Mr. Cole, there will be nothing at 11 o' clock tomorrow but Ms. Reed's motion picture.

[Jim Merrill]

Anyone seen it yet?

[Agatha Reed]

No, I don't think so. Oh yes, Dr. Pitt. It was in his suggestion that I sent for it.

[Jim Merrill]

Dr. Pitt. Oh, fine. Ms. Shackelford, where can I find Mr. Griswold?

[Agatha Reed]

Mr. Griswold? Well, I'll be glad to show you, Mr. Cole. Now you just come with me.

[Jim Merrill]

I would have stopped by sooner, Agatha, but something came up. I just wanted to remind you about the prom tonight.

[Agatha Reed]

Jim, are you sure that's all?

[Jim Merrill]

No, I just couldn't wait that long to see you.

[Agatha Reed]

Did Griswold reach you? He phoned here some time ago.

[Jim Merrill]

I. I've just come from his house.

[Agatha Reed]

He asked about that film of mine. He seemed a little concerned.

[Jim Merrill]

Well, yes, a little. I. I'm terribly sorry, darling, but I forgot to ask you anything about the picture.

[Agatha Reed]

Do you think I'd have brought anything here?

[Jim Merrill]

Unsuitable wagatha? Of course not, Jim.

[Agatha Reed]

I spent five years in Europe. I saw what happened in those countries where freedom was destroyed. That's what the film's about. Actual newsreel shots of some of the dreadful things that have happened in our time. From taco night in Tulum to sushi in Tokyo.

[Producer/Announcer]

Make every bite rewarding with gold from Amex.

[Agatha Reed]

Wherever you dine four times.

[Producer/Announcer]

Membership rewards points at restaurants worldwide are piling up. Learn [e-mail] Explore Gold terms and points cap apply.

[Jim Merrill]

Hey, it's Ryan Reynolds here for Mint Mobile. Now, I was looking for fun ways to tell you that Mint's offer of unlimited Premium Wireless for $15 a month is back. So I thought it would be fun if we made $15 bills, but it turns out that's very illegal. So there goes my big idea for the commercial. Give it a [e-mail] Switch upfront payment

[Narrator/Announcer]

of $45 for 3 months, $90 for 6 months or $180 for 12 month

[Agatha Reed]

Plan required $15 per month equivalent taxes and fees.

[Narrator/Announcer]

Extra initial plan term only greater than 50 gigabytes. Me slow when network is busy. See terms.

[Agatha Reed]

How they burned the books. How they hang the teachers by thy feet because they dare to teach the truth. Do you think I want to see that happen here?

[Jim Merrill]

I'm not questioning it at all. It's just that these are touchy times. So Claude feels we ought to have a look at it. It's a shame Mr. Cole had to bring it up.

[Agatha Reed]

Cole?

[Jim Merrill]

Why, yes. Claude said that Cole had stopped by to take a picture. He happened to mention the film to Claude.

[Agatha Reed]

Well, what does he say about it?

[Jim Merrill]

He praised it very highly. But when he said that Dr. Pitt had liked it too, well, Claude got a little worried.

[Agatha Reed]

It's funny. It's really funny.

[Jim Merrill]

Oh, darling, believe me, we'll straighten it out. I don't need to see the picture. I know it's all right. Besides, there's something the matter with my eyes. Oh, I can't seem to see anything but you. About the prom. Wait for me here, dear. I'll pick you up.

[Agatha Reed]

Yes, Tim. Of course. It's Ginny, Ms. Reed. May I come in, Ginny? Of course, dear. Well, shouldn't you be getting dressed for the prom, Ms. Reed? Is it a good picture, the one they're showing tomorrow? Well, naturally, I'd think so. Why? Well, they're having a meeting about it at my father's house. What are you trying to tell me, Ginny? Well, some people think the president of a college has the right to make decisions on things, but he doesn't. He has to check everything with the trustees. Whatever he may feel himself just doesn't matter. You mean they may not run the films? My father's done wonderful things for the school. Seven new buildings in 10 years. Isn't that something to be proud of? I'm so proud I could. It's all right, Jenny. It's all right. Oh, I'm so ashamed. My father's a coward, mister. He's so afraid of losing his job, he's lost everything he ever believed in. How do you know he isn't fighting them on this? Because he's forgotten how to fight. Oh, Ms. Reed, you just don't understand. I want to tell you something, Jenny. Something I'm sure you don't know. I was expelled from this college. You were what? Expelled. Because I stayed out all night with A man. We were very much in love and planning to be married. But I ran away so I wouldn't hurt his chances of becoming president. He had strength and integrity and courage. He still has. So let's not turn away from him now, just when he needs us most. Ms. Reed. Oh, I should have known. Whenever he talked about you, he was different. And I never really gave him up. I just needed someone else to believe in him, too. Now, you better go and get dressed for the prom. Oh, thank you, Ms. Reed. Thank you.

[Jim Merrill]

Agatha, you. You look beautiful.

[Agatha Reed]

Thank you. And what's more, I'm already surprised.

[Jim Merrill]

Your arm, Miss Reed.

[Agatha Reed]

Oh. Oh, Jim. Imagine going to a prom again.

[Jim Merrill]

Claude and Ellen stopped by. They thought we might as well make it a force.

[Agatha Reed]

Of course.

[Jim Merrill]

They're downstairs. Hey.

[Agatha Reed]

Oh, it's just like old times, isn't it, Ellie? Hello, Ellie. Oh, good evening, Mr. Griswold.

[Jim Merrill]

Now, that's what I call a charming couple. Ellie, you didn't forget my pills. My stomach's murdering me.

[Agatha Reed]

Oh, I knew it. If you hadn't got so upset at the movie, you wouldn't have had to call the meeting and. Oh, that's too bad, Mr. Griswold. Sounds like it's all my fault. Oh, I. I didn't mean that, Ag. It's just that we were late for dinner and Claude just gulped. How did you like the movie, Mr. Griswold?

[Jim Merrill]

Well, it's no Abbott and Costello there, Claude. Agatha, Claude realizes what you tried to accomplish with the film. Sure I do. Why show college kids this kind of stuff? Time enough to start worrying when they're out of college.

[Agatha Reed]

That's a very interesting theory of education, Mr. Griswold. Is it yours?

[Jim Merrill]

I leave theories to experts here, like Jim. All I care about, frankly, is protecting the minds of the young people.

[Agatha Reed]

You're not protecting them, Mr. Griswold. You're destroying them. A college is where the future of the world begins. And professors aren't intellectual babysitters. It's their job to bring some light into this muddled world, and you've put a stop to that. The result is the girls who graduate tomorrow aren't prepared for the world they'll have to face. Yet you're content to hand it to them and say, fight for it, die for it, but don't attempt to understand it.

[Jim Merrill]

Ms. Reed, I think we know what's best for our school. Claude, please, let me handle this. There's no handling to it, Jim. And we might as well tell her now. Ms. Reed, we've canceled the Showing of the film.

[Agatha Reed]

I see.

[Jim Merrill]

And Dr. Merrill, did he agree on vital issues? The president and the trustees always agree. Now, suppose we get over to the prom. Claude, you and Ellen go ahead. I'd like to speak to Ms. Reed alone. Don't be too long. It wouldn't look well if you were late.

[Agatha Reed]

Oh. Oh, dear.

[Jim Merrill]

Forget it, Ellie. Now she knows just how we feel when Jim turns on the old charm. Excuse me. Have you seen Ms. Reed? The man from the magazine, isn't it? That's right. Ms. Reed's inside. But I don't think you'd better disturb her right now. Come along, Ellie. Thanks a lot. I'll just wait for her here. I know how you must feel, Agatha, but you must give me a chance to explain.

[Agatha Reed]

Tim. Jim. Did you see the film?

[Jim Merrill]

Yes.

[Agatha Reed]

Well, do you think it's wrong for your students to see it? Now, be honest with me.

[Jim Merrill]

No.

[Agatha Reed]

And you didn't stand up and say that.

[Jim Merrill]

Agatha, I'm just asking you to try to see my position. There are times when I have to bow to Claude Griswold. You're exaggerating Claude's importance in this whole affair.

[Agatha Reed]

Am I? When he and not you seem to be the real judge of what should be taught at this college.

[Jim Merrill]

He's a businessman. He gives money. He wants his sake. It's as simple as that. Why do you look so shocked?

[Agatha Reed]

I'm not shocked. Just frightened that you can stand here and say that and accept it.

[Jim Merrill]

Good heavens, Agatha, I have to run this school. That means getting buildings, endowments is part of the job. Suppose I fought Griswold on this to a showdown. It would be a heroic gesture, and I'd be out of here tomorrow.

[Agatha Reed]

Would you? I used to love a fight like that.

[Jim Merrill]

Well, things are quite different now. I. I have Ginny to think about.

[Agatha Reed]

Oh, there's no need to lie to me. I've talked to Ginny, and if you're not careful, you're going to lose her. I don't know how important that is to you, but I suspect it's very important.

[Jim Merrill]

What have you been telling her?

[Agatha Reed]

Oh, dreadful things. That you have courage, integrity and. I didn't just say it, Jim. I believe it. Stand up to Griswold. Not for me, not even for Ginny, but for yourself. All right, Jim. I know when I'm beaten. I'm going to offer you a deal. A business deal. That's more in your line.

[Jim Merrill]

What are you talking about?

[Agatha Reed]

A few minutes ago, I assured your daughter that you'd run that film tomorrow. So I'm afraid you're going to do it with or without Mr. Griswold's consent.

[Jim Merrill]

Is this your idea of a joke?

[Agatha Reed]

No. No. And in exchange for that small service, I'll give you my personal guarantee that the article in Real magazine won't even hint at the colorful events later leading up to my expulsion from this seat of higher learning. I. I can't believe. Why not? You see, Jim, I'm willing to take a chance on you. I know now that you're afraid. And with a man who's afraid, it's just a question of the lesser of two evils. Whether you risk being removed from here by running the film or whether you accept the certainty of being removed after this story breaks.

[Jim Merrill]

You'd. You'd really do a thing like that?

[Agatha Reed]

Oh, you'll learn all kinds of tricks. The most important one being never to play fair unless you respect the men you're dealing with.

[Jim Merrill]

I'd never believe this could happen. Not after last night.

[Agatha Reed]

Last night was 20 years ago. Listen. They're playing the Alma mater. Very appropriate, isn't it? Look how long. Jim, we'll be late for the Promise.

[Jim Merrill]

In just a few moments now, we'll hear Act 3 of Goodbye, My Fancy.

[Producer/Announcer]

You know, every once in a while, the sounds of war yield to a nicer note. Such a one came from Korea, from the 27th Regiment of the 25th Infantry Division. It's an outfit of superb combat soldiers who built a legendary reputation in the Korean fighting. But they built something else along with it. When they were stationed in Osaka, Japan, in 1949, they learned that a small orphanage was in bad shape. Poor buildings, little clothing, and no assurance from day to day that there would even be enough food for the more than 150 kids who called it home. Well, the regiment adopted that orphanage. They began to take up collections. They contributed food and medicine and clothing. And when the regiment moved to the Korean battlefront, the work went.

[Jim Merrill]

On.

[Producer/Announcer]

Their first payday in combat, those guys deducted a half million yen and sent it back to Japan for their orphanage. You can bet those kids have never forgotten the men of the 27th. Such acts by you and your friends today are shaping our world of tomorrow. We pause now for station identification.

[Jim Merrill]

The curtain rises on Act 3 of Goodbye, My Fancy, starring Rosalind Russell as Agatha and Robert Young as Jim, with Whitfield Connor as Matt. It's the following morning, and the motion picture theater at Good Hope College is rapidly filling with students and faculty in front of the theater. Matt Cole has just walked over to the student advisor, Ms. Shackelford. My, you look just radiant this morning, Ms. Shackeloord.

[Agatha Reed]

Oh, why, Mr. Cole.

[Jim Merrill]

So you're showing the movie, huh? Sort of a flexible program you run up here, isn't it?

[Agatha Reed]

It's completely beyond me. Last night Dr. Merrill tells me to cancel the film, and this morning he says to go ahead.

[Jim Merrill]

Dr. Merrill ordered the film shown?

[Agatha Reed]

Well, it's not my responsibility. Oh, I'll certainly be glad when this weekend's over.

[Jim Merrill]

Why, you all alone, Woody? Isn't the honorable gonna show up? Film's about to begin.

[Agatha Reed]

Now, listen. Out of focus. Meryl came through, didn't he? They're running her picture, aren't they? You know what that does to your chances. Oh, well, then what are you so happy about?

[Jim Merrill]

Oh, I'm not happy. I'm sad. You gotta be philosophical about it. You gotta take the bad with the good. See? You're up, you're down, you're punched.

[Agatha Reed]

Right coming in?

[Jim Merrill]

No, I've seen the picture. I think I'll take one last happy look at Good Hope. I might run into an old friend. You know, a man can wear himself up walking around this campus looking for someone.

[Agatha Reed]

What are you doing here, Matt?

[Jim Merrill]

What are you doing here? Agatha?

[Agatha Reed]

I happen to like the amphitheater.

[Jim Merrill]

Well, they're showing your film.

[Agatha Reed]

I know.

[Jim Merrill]

Well, aren't you glad?

[Agatha Reed]

Yes. Yes, of course.

[Jim Merrill]

Well, it seems I was wrong about Meryl.

[Agatha Reed]

Fine. But there's no need to call anyone about Crow.

[Jim Merrill]

No, I don't mind. I don't have any pride where you're concerned. Aggie. You ought to know that.

[Agatha Reed]

We've been all through this, Matt.

[Jim Merrill]

You've got nothing to say to me.

[Agatha Reed]

It's all been said.

[Jim Merrill]

Yeah, well, I'm stupid. I gotta have it spelled out. He's a great guy. He's everything you ever hoped for, dreamed about all these years. And you're gonna marry him, is that it?

[Agatha Reed]

I don't want to talk about it.

[Jim Merrill]

Okay. I'll go down and congratulate Dr. Merrill. No, you couldn't face that, could you? As you know, it's a lie. You threw away six years we could have had together. Six wonderful, beautiful years, all because of a lie. But you haven't got honesty enough to admit it to me or to yourself. Got to hang on to your precious ego. Well, you can have it, sister. I'm a big boy now. I got bigger and better things to do. And don't worry, I'll stay away from Merrill. Agatha.

[Agatha Reed]

Come in, Jim.

[Jim Merrill]

You're not packing.

[Agatha Reed]

That's right. Jim, I'm leaving. My commencement speech is there on the waistback. If I had to stand up there this afternoon and say it, I'd choke on every word. Don't you realize that I was taken ill? That I was called back to Washington? Anything?

[Jim Merrill]

Just like 20 years ago, isn't it? Running away again, Jim?

[Agatha Reed]

I was wrong about last night. Expecting you to be the same man I remembered. And I was wrong to think that I could. Well, could help you win your daughter back. I can't blackmail you for the rest of my life. It's better that she know the truth now while she's young.

[Jim Merrill]

Would you tell Ginny that. That I ordered your film shown? Because if I didn't.

[Agatha Reed]

If I had to, yes, I'd tell her. Who is it? It's Jenny, Ms. Reed.

[Jim Merrill]

Come in, Ginny.

[Agatha Reed]

I went to your office, Father. They told me you'd come here. We just saw your picture, Ms. Reed. Oh, it was wonderful. I wish you'd been there, Father. I'm sure none of us will ever forget it. It was the best graduation present you could have given the senior class. And me. Well, I just wanted to thank you.

[Jim Merrill]

Jenny, don't go. Yes, you kissed me just now. Jenny, you haven't done that in a long time. I'm very grateful, but I can't accept it under false pretenses.

[Agatha Reed]

False pretenses? Jim, no, don't.

[Jim Merrill]

I had the movie shown only because Ms. Reed forced me to. She gave me an alternative that left me no choice. That's the truth, and I want you to know it. I haven't been much of a father for quite a while. I'm sorry, Ginny. I didn't tell you all this to hurt you.

[Agatha Reed]

You've forgotten a lot of things about me, haven't you? But I don't cry. Only when I'm sad. But I cry just as much when I'm happy. I don't care why you showed the film. I just wanted you to be honest with me and with yourself. Oh, so this is where you are. Ellie, do you mind?

[Jim Merrill]

It's all right. Come in, Ellen.

[Agatha Reed]

Now, what is all this nonsense? Jim? Claude's terribly upset. The whole board's upset. First when they heard about the movie. And then right out of the blue, this. This resignation. Resignation? Oh, it was just beautiful, Jim. Especially that part about self respect. Just about made me cry. Jim, why did you do it?

[Jim Merrill]

I stood in back of the theater a little while ago and watched them looking at the picture. Suddenly I realized I had almost not let them see it. That's when I knew that everything you said last night was true. That I had no right to be the president of a.

[Agatha Reed]

Why, Aggie, how could you say such a thing? Why, you should hear them all shouting back there at home about how much good you've done for the school and what a row the students would raise if they heard about it. Wouldn't they, Jimmy? They'd raise a heck of a row, Mrs. Griswold. Why, I. I'd even resign as alumnae president.

[Jim Merrill]

Thank you, Ellen.

[Agatha Reed]

Oh, my goodness, Jimmy. Now what are you doing here? You forget it's commenced, ma'.

[Jim Merrill]

Am.

[Agatha Reed]

I'm going, Mrs. Griswold. I always wondered why they called it commencement. Now I know. Well, I'd better be leaving too. I just wanted to ask you to reconsider, Jim. Oh, you won't mention this to Claude, will you? He'll like thinking it was his own idea. It's very important to a man like Claude, you know, to think everything's his own idea.

[Jim Merrill]

I'm afraid I've been underestimating you, Ellen.

[Agatha Reed]

You forget I was once a student in your history class. 10. See you later, Ivy. I'm overwhelmed, Jim. I never expected this.

[Jim Merrill]

We're even. Neither did I.

[Agatha Reed]

Will you reconsider? I think it's very important to Good Hope that you stay on.

[Jim Merrill]

When I came in here, I wanted to tell you again how much I love you. That I didn't have much hope for it after last night. But that somehow today I know we're different than we were 20 years ago. I know that a lot of things have changed. But I wouldn't want to go through the rest of my life feeling I hadn't tried. Do I have a chance?

[Agatha Reed]

You might have had a very good chance, Jim. Except that. Well, you see, we only met today. Just now, really. And there's someone who has a few years start on you.

[Jim Merrill]

He's lucky.

[Agatha Reed]

Thank you.

[Jim Merrill]

You will stay, won't you? For commencement, I mean.

[Agatha Reed]

Yes. Yes, I'll stay.

[Jim Merrill]

Thank you. Agatha.

[Agatha Reed]

Well, hello.

[Producer/Announcer]

Hello.

[Agatha Reed]

I mean, Agatha. Well, where have you been? Where have I been? Where have you been? Straightening out my life. Well, now I know. What arrangements did you make for getting us out of here? Getting us out? Not by plane, Woody. Tonight you better phone Washington. Tell him to set up that committee meeting for 10 tomorrow morning. Oh, and call Senator McElroy. Tell him he was right. I'll make a swing through the whole state before election. And close your mouth. You look like a fish. I thought you and Meryl. Now get on that phone I've got to go change my shoes. Hello, this is Ms. Woods. Would you get me the airport, please?

[Jim Merrill]

All right, woody, where's the Hon.

[Agatha Reed]

Oh, look, Cole, would you mind telling me something? What's going on? All right, I'll hold on. Mara runs the film, you're philosophical. And she straightens out her life. I. I don't get it.

[Jim Merrill]

You will.

[Agatha Reed]

Oh, Woody, my black shoes. Where on earth did you put. Well, I thought you were on your way to bigger and better things.

[Jim Merrill]

I've got some news for you. Leave us alone, Woody. But I. I said leave us alone.

[Agatha Reed]

Oh, I'll call you later.

[Jim Merrill]

You're not going to do it, Aggie. You're not going to marry him.

[Agatha Reed]

Oh, really?

[Jim Merrill]

Now, look, I'm not asking you to fall into my arms. I wouldn't even catch you if you did. One thing I found out this weekend, I don't like women.

[Agatha Reed]

Well, then why all the bother?

[Jim Merrill]

Because I'm neat. I straighten pictures. I put the tops on toothpaste tubes. I don't like unfinished things lying around. Now, you're not going to go through with this and throw away your life.

[Agatha Reed]

Aren't you being a little overconfident?

[Jim Merrill]

I don't think so. I'm offering you a deal. A business deal. And in exchange for such a small service, I'm giving you my personal guarantee that the article in Real Magazine won't even hint at the colorful event leading up to your expulsion from this seat of higher learning. Why, you see pictures on opposite page.

[Agatha Reed]

Oh, you're an eavesdropper, too, among all your other economists.

[Jim Merrill]

You learn a lot of cute tricks in my work, too.

[Agatha Reed]

Well, it seems I have no choice, have I, Woody? Yes, ma'. Am. There's been a change of plans, Woody. We're leaving. Good Hope tonight, huh? You better phone Washington. They can set up that committee meeting for tomorrow at 10. Oh, and call Senator McElroy. Them I'll make a swing through the entire state before election. But you just told me. I know, but there's been a change in plans. Oh, a change in plans. Ms. Reed. Ms. Reed, are you ready? Jenny, the ceremonies are going to begin. I. I guess I'm ready. Your speech. Have you got your speech? I left it right here on the desk. What did you do with it? I never touched it. I just think to remember.

[Jim Merrill]

What's that in a waste basket?

[Agatha Reed]

Oh, we had no file. Yeah, that's right. That's right. Now, come on, let's go. Ginny. Ginny, where are you? Oh, one weekend. Could a woman Go crazy in one weekend.

[Jim Merrill]

What's so crazy about changing her mind?

[Agatha Reed]

Changing her mind? She told me the same thing five minutes ago.

[Jim Merrill]

She what? She what?

[Agatha Reed]

What are they putting the food around here anyway? Now, what's got into you?

[Jim Merrill]

Sweetheart, don't even try to understand it. Just relax and enjoy it.

[Agatha Reed]

What kept you? Oh, Matt, you were right. We have missed six wonderful years. I've been so blind. Now why on earth didn't you make me see?

[Jim Merrill]

Why didn't I? You. You politic.

[Producer/Announcer]

In a moment our stars will return. Make a friend and you make an ally. There's a thought for you to keep in mind. As many another American has ever heard of Billy Brown. Well, for over a year now, young Billy, a high school senior of Yorktown Heights, New York has broadcast a 15 minute program over the Voice of America every Friday. In answer to some letter from a pen pal he talks about such varied subjects as sports, stamps, religious freedom and American jazz. The program is repeated in Urdu, a language spoken in India and Pakistan and beamed to Asia. In one month, Billy answered 627 letters from 35 countries. When one pen pal asked about student government in American high schools Billy tape recorded a five minute student meeting in his school. For a while it looked as if Billy's program might be discontinued. But it had become so successful that the local Rotary Club set up a special committee to raise funds for its continuation and for the purchase of postage and stationery so Billy could continue to correspond personally with his overseas pen pals. Recently, Pakistan's ambassador to the US and his family visited Billy at his home for a weekend. And later the envoy invited the Brown family to Washington where Billy received a reward for his, as the citation read, contribution to the growing spirit of brotherhood between the youth of America and the youth of Pakistan. Although Billy Brown plans to enter law school, he hopes to continue with his radio program. For like so many other Americans, he's discovered that by helping others you help your country. Now here's Mr. Cummings with our stars.

[Jim Merrill]

And here they are Rosalind Russell and Robert Young. Now, Irene, tell us about your plans. One of the most beautiful love stories of all time. The world famous novel by Emily Bronte which Samuel Goldwyn turned into an artistic triumph as a great motion picture. Wuthering Heights. And we are proud to announce that lovely Merle Oberon will recreate a well remembered portrayal of Kathy. Well, that will certainly get you off to a great start. Good night.

[Agatha Reed]

Good night.

[Jim Merrill]

Good night.

[Producer/Announcer]

Her tonight cast tonight were Joan Banks as Woody Norma Jean Nilson as Ginny herb Butterfield as Mr. Griswold, Fred MacKay as Dr. Pitt, Pauline Drake as Ellen, Gail Bonney as Ms. Shackelford and Eddie Marr. 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.

[Jim Merrill]

Sam?

[Producer/Announcer]

Hollywood Radio Theater is a presentation of the United States Armed Forces Radio and Television Service,

[Jim Merrill]

Ra.