Lux Radio Theatre - Undercurrent

Summary

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Harold's Old Time Radio – Lux Radio Theatre: "Undercurrent"

Date: July 11, 2026
Starring: Katharine Hepburn (as Anne Hamilton/Garraway), Robert Taylor (as Alan Garraway)
Host: William Keeley (Producer/Narrator)

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Episode Overview

This episode transports listeners back to the Golden Age of Radio, presenting a dramatization of the suspenseful film "Undercurrent." With movie legends Katharine Hepburn and Robert Taylor in the leading roles, the Lux Radio Theatre offers a tale of love, suspicion, obsession, and deception among the upper class. The story follows Anne, a sheltered woman swept into marriage with charismatic inventor Alan Garraway, only to be haunted by whispers about his estranged brother, Michael. As Anne delves into Alan's past, the marriage is tested by secrets that threaten her happiness and safety.

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Key Discussion Points & Insights

1. Opening Remarks & Introduction

• [00:31–01:02] The announcer sets the glamorous Hollywood scene and introduces the night’s stars. Producer William Keeley acknowledges Hepburn’s rare radio appearance and the audience’s excitement, drawing a humorous comparison between the anticipation for the episode and the devotion to Lux Flakes (“And your loyalty to our product enables us to bring you such exciting fare…”).

2. Anne and Alan’s Marriage – Discomfort and Vulnerability

• [02:41–04:00] Anne’s unease among Alan’s elite friends is established, voicing her insecurity over “how to dress” and belonging in Alan’s world.
  • Quote [03:24], Anne: “What must they have thought? I mean. Well, good grief. I don't even know how to dress.”
• [04:00–04:04], Alan: “If you do [become like them], I’ll kill you. Darling, just tell me one thing. Who do you belong to?”
• Their dynamic is immediately fraught with Alan’s controlling reassurance and Anne’s eagerness to please.

3. The Shadow of Michael Garraway

• [05:12–07:29] Anne learns of Alan’s brother, Michael, for the first time.
  • Alan claims Michael stole from the family business and then disappeared after their mother died.
  • Anne vows not to let Michael “come between us,” but the dark undercurrent is set.
  • Quote [07:41], Anne: “You may have a no good brother, but you’re going to have an awful good wife.”

4. Anne’s Attempts to Belong

• [08:00–10:16] At a dinner party, Anne attempts to fit in but missteps in seating a guest. Her self-deprecating humor and charm win over the company, but she still feels an outsider.
• Poetry becomes a motif representing Anne’s longing for connection.
  • Quote [11:14–11:26], Anne (reciting poetry): “My house, I say. But hark to the sunny doves that make my roof the arena of their loves...”
  • The poem, which she found in a book Alan denies owning, symbolizes the enigma of Michael's presence.

5. Middleburg: The Garraway Ancestral Home

• [13:47–17:21] The couple travels to Alan’s boyhood home.
  • Anne is drawn to the place, but still senses secrets.
  • Conflicting stories about Alan’s mother (Where did she die? Who played the piano?) further unsettle Anne.
  • Quote [19:02], Anne: “This piano must have been a great comfort to her when she did get up.”
  • [19:05], George the Caretaker, contradicts: “Ms. Garway ain’t never played no piano.”

6. Deepening Mystery & the Search for Michael

• [23:16–32:19] Anne is plagued by Alan’s odd behavior.
  • In San Francisco, she follows clues about Michael, questioning workers and seeking out the ranch he owned.
  • Her meeting with a caretaker (actually Michael in disguise) at the ranch is haunting and philosophical:
    • Quote [32:02], Michael: “You can't always see the undercurrent, but it's there.”
  • Alan’s paranoia grows as Anne seeks answers, resulting in tension and confrontation.
  • Quote [32:44], Alan, accusing: “You're my wife, Anne. You've never even seen Mike, and yet he's managed to get a hold on you and make trouble between us.”

7. Sylvia Burton: Michael’s Defender

• [39:32–41:11] Anne visits Sylvia Burton, an old friend of Michael's, seeking the truth.
  • Sylvia defends Michael’s character and hints Alan is not truthful about the alleged theft.
    • Quote [40:11], Sylvia: “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.”

8. Confrontation and Revelation

• [44:48–46:53] Michael, now revealed, confronts Alan.
  • Michael accuses Alan of having killed Carl Steuer to steal the invention that made Alan’s fortune.
  • Alan’s guilt and desperation emerge; his chilling dependence on Anne for redemption is clear.
    • Quote [48:15], Alan to Michael: “What gives a man a right? Does love. Because I love her. You can take everything else, but not her, Mike.”

9. Climactic Showdown

• [53:03–54:01] Alan, threatened by Anne’s discoveries and his own fear of losing her, attempts to murder Anne by staging a horse accident along a dangerous cliff.
• In poetic justice, Alan is the one killed in a riding accident, saving Anne's life but leaving her physically (and emotionally) scarred.
  • Quote [54:01], Mrs. Foster (calling the doctor): “Alan Garraway is dead. That stallion of his must have gone crazy or something. Kicked him to death. It looks like you better come right out, Doctor. His wife's been badly hurt, too.”

10. Resolution and Healing

• [55:03–57:17] Anne, in recovery, reflects on her experiences.
  • She finally meets Michael, discussing the moral consequences of Alan's actions and the inheritance now rightfully belonging to Carl Steuer's heirs, not herself.
  • An unspoken romantic possibility lingers between Anne and Michael but is tempered by grief, guilt, and wisdom.
    • Quote [56:13], Anne: “Now that you do [know you], I'm happy to know you, Michael.”
    • Quote [56:19], Anne: “I won't forget Alan. I loved him very much. Not at the end. It was gone then. But I did love him.”

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Memorable Quotes

• Anne (to Alan, early in the marriage) [03:45]: “Oh, I'm sorry to be such a boob, but I want so much to be right for you.”
• Alan (controlling, foreshadowing) [04:00]: “If you do [become like them], I'll kill you.”
• Michael (on the motif of ‘undercurrent’) [32:02]: “You can't always see the undercurrent, but it's there.”
• Sylvia (on Michael’s character) [40:11]: “He was that thing you have to look for with a microscope. A gentleman.”
• Alan (to Michael, tormented) [48:15]: “What gives a man a right? Does love. Because I love her. You can take everything else, but not her, Mike.”
• Mrs. Foster (on Alan’s death) [54:01]: “That stallion of his must have gone crazy or something. Kicked him to death.”
• Anne (on love and loss) [56:19]: “I won't forget Alan. I loved him very much. Not at the end. It was gone then. But I did love him.”

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Important Timestamps

• [02:41–07:41] — The Garraway marriage and first mention of the estranged brother, Michael.
• [13:47–21:20] — Exploration of Alan’s family home, uncovering secrets.
• [23:16–33:40] — Anne’s investigation into Michael’s past and Alan's increasing paranoia.
• [39:32–41:11] — Anne confronts Sylvia Burton for answers about Michael.
• [44:48–46:53] — Michael and Alan’s confrontation exposes the family's deepest lie.
• [53:03–54:01] — Alan’s attempt to kill Anne and his own accidental death.
• [55:03–57:17] — Anne’s recovery, admission of feelings, and new understanding with Michael.

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Tone & Style

The episode is imbued with classic radio drama atmosphere: heightened emotions, shifting tension, and eloquent, mid-century dialogue. Hepburn’s Anne is earnest, wry, and vulnerable; Taylor’s Alan exudes charm, but his possessiveness tips into menace. The script’s poetic interludes, philosophical asides, and fraught confrontations are typical of the period’s intense, melodramatic storytelling.

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Conclusion

This broadcast of "Undercurrent" is a showcase of vintage radio's capacity for psychological suspense, romance, and moral inquiry. Hepburn and Taylor anchor the drama with nuanced performances, and the supporting cast (particularly Sylvia Burton and Michael) deepen the mystery. The themes of obsession, truth, and self-realization wind through a richly detailed plot, finally resolving in Anne’s painful growth and tentative hope for the future.

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Transcript

[NHTSA Traffic Safety Announcer]

This weekend, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home, and they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by nhtsa. Now back to your podcast.

[Lux Radio Theater Announcer]

Lux presents Hollywood. Lieber Brothers Company. The makers of Lux Flakes bring you the Lux Radio Theater, starring Katharine Hepburn and Robert Taylor in undercurrent. Ladies and gentlemen, your producer, Mr. William Keeley.

[William Keeley (Producer/Narrator)]

Greetings from Hollywood, ladies and gentlemen. From time to time, as we pass each other on the narrow drive that leads to our respective homes, I scrape fenders with one of my most charming neighbors, Katharine Hepburn. But in spite of our frequent and more friendly contacts, I found Katharine very difficult to lure before a microphone. Her radio appearances are rare indeed. So that it's something of a triumph to present her here tonight co starred with another of Hollywood's outstanding stars, Robert Taylor, in his first green role since serving with the Navy Air Corps. Together, Bob and Catherine bring you Metro Golden Mare's thrilling screen hit, Undercurrent. Last Monday night, when we announced tonight's screenplay and stars, the audience response was, well, to say the least, terrific. And I might say that the same is true of audience reaction when it comes to luxe flakes. Hundreds of listeners who've used luxe flakes to care for precious fabrics have written us their appreciation. I only wish I had time to answer them in person. But I'm sure that the help which Luxe Flakes offer is an answer in itself. And your loyalty to our product enables us to bring you such exciting fare as Undercurrent with such brilliant stars as Katharine Hepburn and Robert Taylor. They appear, respectively, as Anne Hamilton and Alan Garraway. As the curtain rises on our first

[Narrator/Storyteller]

act,

[William Keeley (Producer/Narrator)]

It was a marriage no one ever would have predicted. And Anne Hamilton reserved, unaspiring, and Alan Garraway, the wealthy, celebrated inventor of the Garraway 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.

[Alan Garraway]

Oh, Ann, darling, what is it?

[Anne Garraway]

I thought they'd never go. Well, I know. 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. Ask them. They know it was a mistake.

[Alan Garraway]

Anne, please.

[Anne Garraway]

Darling, I can't. I didn't even know what they were talking about. They were laughing at me, Alan. I know they were.

[Anne Garraway (Alternate or emotional tone)]

But I was proud of you, Alan. I was so lost among them.

[Anne Garraway]

What must they 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 (Alternate or emotional tone)]

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

[Alan Garraway]

Darling, it's a perfectly nice dress.

[Anne Garraway (Alternate or emotional tone)]

Nice dress?

It's eight inches too short, and it's

[Anne Garraway]

only two weeks old. Alan, you're stuck with a wife who doesn't know how to dress. She doesn't even know how to behave.

[Alan Garraway]

We'll go shopping tomorrow. Darling.

[Anne Garraway]

It won't do any good.

[Alan Garraway]

By tomorrow night, you'll be the best dressed woman in Washington. You're already the loveliest.

[Anne Garraway]

Oh, I'm. I'm sorry to be such a boob, but I want so much to be right for you.

[Alan Garraway]

Will you shut up?

[Anne Garraway (Alternate or emotional tone)]

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?

[Anne Garraway (Alternate or emotional tone)]

You.

[Michael Garraway]

That's all.

[Alan Garraway]

That's all that matters.

[Anne Garraway (Alternate or emotional tone)]

Is it, Alan?

Is it?

[Michael Garraway]

Mm.

[Alan Garraway]

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

[Sylvia Burton]

Now, if madame does not mind waiting,

[Anne Garraway (Alternate or emotional tone)]

I will arrange to have some hats

[Sylvia Burton]

modeled for her right away.

[Alan Garraway]

Well, darling, of course.

[Anne Garraway (Alternate or emotional tone)]

I just don't believe any part of this. A mink coat, a beaver jacket, 14 gowns, 12 pair of shoes.

[Alan Garraway]

Relax, will you?

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

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

[Mrs. Foster]

Alan Garraway. Is that you, Alan?

[Alan Garraway]

Oh, hello, Mrs. Foster. Anne, this is a neighbor of ours from Virginia, an old friend of my mother's. Mrs. Foster, my wife.

[Anne Garraway (Alternate or emotional tone)]

How do you do?

[Mrs. Foster]

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 (Alternate or emotional tone)]

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

[Mrs. Foster]

We're raised on horses at Middleburg.

[Alan Garraway]

Aren't we, Alan? Oh, definitely.

[Mrs. Foster]

Alan's not a bad rider, my dear. But his brother Michael's the boy with the light hands. Now there's a real horseman. 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.

[William Keeley (Producer/Narrator)]

Of course.

[Mrs. Foster]

I'm late for an appointment myself. I'll be looking for you in Middleburg, my dear.

[Anne Garraway (Alternate or emotional tone)]

Goodbye, Mrs. Foster. Alan, she's nice. You didn't tell me you had a brother.

[Alan Garraway]

Well, I haven't had time to tell you a lot of things. Darling, you. You pick out your hats. Ann. I'll wait out front and get some air.

[Anne Garraway (Alternate or emotional tone)]

But I won't. Alan, what's wrong, darling? You've seemed so troubled since we came back from shopping.

[Alan Garraway]

You were surprised to learn I have a brother.

[Anne Garraway (Alternate or emotional tone)]

But what a nice surprise. Where is he?

[Mrs. Foster]

Alan?

[Alan Garraway]

Spoiled my first day alone with you. 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, and 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 (Alternate or emotional tone)]

Alan, please, if you drive.

[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. First I couldn't figure out why. 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 (Alternate or emotional tone)]

He was stealing from you, Your own brother?

[Michael Garraway]

Yes.

[Alan Garraway]

Mike had bought a ranch in the country. He'd spend a lot of time there, like to give parties. Anyway, I drove out to see him. Fortunately, he was alone. When I told him what I'd found out, he said that 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 (Alternate or emotional tone)]

Please don't, Alan.

[Alan Garraway]

There's not much more to tell. After she died, Mike just disappeared. Last I heard, he was in the army. That was over three years ago.

[Anne Garraway (Alternate or emotional tone)]

He disappeared because he was afraid of

what you might do to him.

[Alan Garraway]

Maybe. But Mike's not afraid of me. 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 you.

[Anne Garraway (Alternate or emotional tone)]

Don't say that, Alan.

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?

[Anne Garraway (Alternate or emotional tone)]

Nothing, Alan, nothing.

[Alan Garraway]

So we'll never think or speak about him again.

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

Nothing ever will.

[Anne Garraway (Alternate or emotional tone)]

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]

Yes, I do need you, Ann.

[Anne Garraway (Alternate or emotional tone)]

You may have a no good brother, but you're going to have an awful good wife.

I'm so grateful to you for so many things. It's as though you'd led me by

[Anne Garraway]

the hand into a strange and wonderful world.

[Anne Garraway (Alternate or emotional tone)]

A world to dream of.

[Alan Garraway]

Why dream? You're here, Anne. You're mine. And I love you.

[Mrs. Hildebrand (Housekeeper)]

Well, good afternoon, Mrs. Garraway. Did you have a nice afternoon shopping?

[Anne Garraway (Alternate or emotional tone)]

Oh, yes, Mrs. Hildebrand. Any messages?

[Mrs. Hildebrand (Housekeeper)]

No messages, madam. That means all your invitations for tonight have been accepted.

[Anne Garraway (Alternate or emotional tone)]

Mrs. Hildebrand. I don't know what I'd do without you. The perfect housekeeper. How many dinner parties have we given this month? Is it 210 or 211?

[Mrs. Hildebrand (Housekeeper)]

This is your sixth, madam.

[Anne Garraway (Alternate or emotional tone)]

Oh, I beg your pardon.

[Mrs. Hildebrand (Housekeeper)]

Would you mind looking at the table? I took the liberty of arranging the place card.

[Anne Garraway]

You know.

[Anne Garraway (Alternate or emotional tone)]

You know, a strange thing happened this

afternoon at a bookshop.

Mr. Garraway left a book there months ago to be rebound. He must have forgotten all about it. It's a volume of English poems. I'm glad I found it.

[Mrs. Hildebrand (Housekeeper)]

Yes, madam. Oh, you'll notice I put Judge Putnam on your right.

[Anne Garraway]

What?

[Anne Garraway (Alternate or emotional tone)]

Oh. Oh, yes.

And who's this one? Mrs. Hildebrand, who is Mr. Henry Gilson?

[Mrs. Hildebrand (Housekeeper)]

A new congressman from the Midwest, madam.

[Anne Garraway (Alternate or emotional tone)]

I wondered why you placed him in the doorway.

[Mrs. Hildebrand (Housekeeper)]

He's no unimportant, Mrs. Garraway.

[Anne Garraway (Alternate or emotional tone)]

Ah, that explains it.

[Mrs. Hildebrand (Housekeeper)]

If that is all, madam, I'd better see to the orders.

[Anne Garraway (Alternate or emotional tone)]

Sorry. Henry Gilson. You're just not important. Poor guy. We have something in common, you and I. Now, me, 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? Just what part of the Midwest do you come from?

[Alan Garraway]

Ioway.

[Anne Garraway (Alternate or emotional tone)]

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

[William Keeley (Producer/Narrator)]

Yes, ma'.

[George (Caretaker)]

Am.

[William Keeley (Producer/Narrator)]

Yes, it certainly is.

[Anne Garraway (Alternate or emotional tone)]

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

[Sylvia Burton]

It was such a lovely dinner, Mrs. Galloway.

[Anne Garraway (Alternate or emotional tone)]

Thank you, Mrs. Poster. Oh, my cherry.

[Sylvia Burton]

Your gown. What exquisite taste you have.

[Anne Garraway (Alternate or emotional tone)]

Thank you, Madame Lefebvre oh, and just a minute. Thank you. Mr. Giggle. Yes, darling?

[Alan Garraway]

Well, are you trying to be rude to Judge Putnam? Why on earth did you seat him practically in the doorway?

[Anne Garraway (Alternate or emotional tone)]

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 (Alternate or emotional tone)]

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

[Narrator/Storyteller]

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

[Alan Garraway]

Please don't stop now, Judge Putnam.

[Anne Garraway (Alternate or emotional tone)]

Now, when you're telling us about your home. Charleston must be beautiful at this time of year.

[Narrator/Storyteller]

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 (Alternate or emotional tone)]

Not only generous, I think, but wise. My father always says how foolish we are to think that we ever really possess anything in life.

[Alan Garraway]

What do you mean, Anne?

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

Not even my wife.

[Anne Garraway (Alternate or emotional tone)]

Oh, hey, that's different. No, but. But you know, I read something today which says what I mean better than anything I've ever heard. I'm ashamed to say I memorized it.

[Narrator/Storyteller]

I'd love to hear it, my dear.

[Anne Garraway (Alternate or emotional tone)]

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 who understands me. Remember it, Alan.

[Alan Garraway]

Remember what?

[Anne Garraway (Alternate or emotional tone)]

My house, I say. But hark to the sunny doves that make my roof the arena of their loves. Our house, they say. And mine the cat declares and spreads his golden fleece upon the chairs and.

[Anne Garraway]

And mine the dog.

[Anne Garraway (Alternate or emotional tone)]

And rises stiff with wrath if any alien foot profane the path.

[Narrator/Storyteller]

That's charming, Mrs. Getaway.

[Anne Garraway (Alternate or emotional tone)]

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]

Hmm?

[Anne Garraway (Alternate or emotional tone)]

Oh, of course. You see, Judge Putnam, poetry is one of Alan's hidden vices.

Excuse me.

[Narrator/Storyteller]

It's a wonderful girl, Caraway.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Oh, Alan.

It was a nice party, wasn't it?

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Alan, could we?

The house where you were born. The house where you grew up.

[Alan Garraway]

Well, we can get an early start.

[Anne Garraway (Alternate or emotional tone)]

Oh, Alan. Here's your book.

[Alan Garraway]

Book?

[Anne Garraway (Alternate or emotional tone)]

The book the poem came from.

[Alan Garraway]

Well, that's not my book.

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

I'm afraid it's a mistake.

[Anne Garraway (Alternate or emotional tone)]

But they had the name Garraway. Middleburg, Virginia.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

No telephone. Sounds like heaven. Alan, will you hate being cooped up with me for days?

[Alan Garraway]

Give me a kiss and then tell me why you ask that.

[Anne Garraway (Alternate or emotional tone)]

Because I love you.

And I can't help noticing when how

a lot of the glow you have

with people sort of goes out of you.

[Alan Garraway]

Anne, what's the matter?

[Anne Garraway (Alternate or emotional tone)]

Oh.

Oh, I don't know.

[Anne Garraway]

Nothing.

[Anne Garraway (Alternate or emotional tone)]

I just want to be reassured, I guess.

[Alan Garraway]

Consider yourself reassured.

[Anne Garraway (Alternate or emotional tone)]

About this book. If it is a mistake, I suppose

I'll have to return it.

But I hate to. What's the penalty for stealing books?

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

It's. It's his. It's Michael's.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

I only memorized it because I thought it was yours.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

I forgive you, Ellen.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

George, we're here.

[George (Caretaker)]

George.

[Anne Garraway (Alternate or emotional tone)]

George.

[Alan Garraway]

Just a caretaker, darling. Well, aren't you going to get out of the car? Now, back there are the stables, and the orchard's on the other side. And that Mrs. Foster you met, she lives beyond that stretch of woods there.

[Anne Garraway (Alternate or emotional tone)]

Alan, you have a dog.

[Alan Garraway]

Yes, that's Bait. I don't think Bait likes me very much. Dogs and horses never do. A sign of bad character, I guess. Hello, Bait.

[Anne Garraway (Alternate or emotional tone)]

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 carrying on like that for?

[Narrator/Storyteller]

Come back.

[George (Caretaker)]

Well, Mr. Allen. Well, I'm sure glad to see you, sir. Bates all right, ma'? Am? Just ain't used to strangers, that's all.

[Alan Garraway]

George, this is Mrs. Garraway.

[George (Caretaker)]

Well, I'm glad to know.

[Anne Garraway (Alternate or emotional tone)]

Glad to know you, George.

[Alan Garraway]

Place looks fine.

[Anne Garraway (Alternate or emotional tone)]

George, it's beautifully kept. So neat.

[George (Caretaker)]

Thank you, ma'.

[Alan Garraway]

Am. You can get the bags out of the car, George. I'll show Mrs. Garraway through the house this weekend.

[NHTSA Traffic Safety Announcer]

Someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by nhtsa. Now back to your podcast.

[Lux Radio Theater Announcer]

All new drinks are now at McDonald's with refreshers like the Strawberry Watermelon Refresher

[Anne Garraway (Alternate or emotional tone)]

and the Mango Pineapple Refresher with Popping Boba.

[Lux Radio Theater Announcer]

To crafted sodas like the Sprite Berry Blast with berry flavors and cold foam.

[Narrator/Storyteller]

Who knew ice cold drinks could be so fire six?

[Anne Garraway (Alternate or emotional tone)]

All new drinks are here now at McDonald's.

[Alan Garraway]

Refreshers contain caffeine. I've saved the living room for the last annoying. Well, here it is.

[Anne Garraway (Alternate or emotional tone)]

How charming.

[Alan Garraway]

I suppose it could be it's a little grim right now.

[Anne Garraway (Alternate or emotional tone)]

Not grim, darling. A little lonely, perhaps. A little unused. I'll open a shutter. 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 (Alternate or emotional tone)]

Isn't there a picture of your mother somewhere?

[George (Caretaker)]

Well, there used to be many.

[Alan Garraway]

I took them down, Ann. I've stored away most of the personal stuff.

[Anne Garraway (Alternate or emotional tone)]

Oh, I just.

[Alan Garraway]

Would you like to drive over to Mrs. Foster's?

[Anne Garraway]

No.

[Alan Garraway]

Well, not if you're tired, dear. But I wanted to speak to her about buying a section of those woods we passed.

[Anne Garraway (Alternate or emotional tone)]

You go ahead, darling. I'll unpack while you're going.

[Alan Garraway]

All right. I'll be back by dinner time.

[Anne Garraway]

George.

[George (Caretaker)]

Yes?

[Anne Garraway (Alternate or emotional tone)]

Mr. Galloway hasn't returned yet?

[George (Caretaker)]

No, ma'.

[Michael Garraway]

Am.

[George (Caretaker)]

Well, did you have a nice walk, George?

[Anne Garraway (Alternate or emotional tone)]

I just came from the stables.

There was someone there.

He just about scared me to death.

[George (Caretaker)]

A colored man, ma'? Am. Vegan. Fat. Yes, I'll teach that old Ben.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

He's plumb out his head, ma'.

[Anne Garraway]

Am.

[George (Caretaker)]

He don't mean no harm. I chase him off, but just keeps on coming right on back.

[Anne Garraway (Alternate or emotional tone)]

He kept talking about the horses in the stable.

[George (Caretaker)]

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

[Anne Garraway]

Am.

[Anne Garraway (Alternate or emotional tone)]

No, no, George, wait.

He warned me about the black stallion.

[George (Caretaker)]

Oh, yes, ma'.

[Mrs. Foster]

Am.

[George (Caretaker)]

He's a devil, that horse. Please don't go near.

[Anne Garraway (Alternate or emotional tone)]

He's Mr. Michael's horse, Ben said.

[George (Caretaker)]

Yes, ma'.

[Anne Garraway]

Am.

[Narrator/Storyteller]

He.

[George (Caretaker)]

He was.

[Anne Garraway (Alternate or emotional tone)]

I. I think I will have that cup of tea, George.

[Sylvia Burton]

Good.

[Anne Garraway]

And.

[Anne Garraway (Alternate or emotional tone)]

George, that must be Mr. Garraway.

[George (Caretaker)]

I'll go, ma'. Am.

[Anne Garraway (Alternate or emotional tone)]

I'm in here, darling.

[Alan Garraway]

Who was it?

[Michael Garraway]

Anne?

[Alan Garraway]

Who was just playing that piano?

[Libby (Fashion Commentator)]

Alan.

[Anne Garraway (Alternate or emotional tone)]

What, darling?

[Anne Garraway]

What's the matter?

[Alan Garraway]

Who was playing that?

[Anne Garraway (Alternate or emotional tone)]

Well, I was.

[Michael Garraway]

You?

[Alan Garraway]

Why did you play that piece?

[Anne Garraway]

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

[Michael Garraway]

Your father taught you that? Yes.

[Alan Garraway]

He does play the piano. I'd forgotten. That's a piece that anyone might play, mightn't they?

[Anne Garraway]

Alan, you're ice cold.

[Anne Garraway (Alternate or emotional tone)]

Tell me what's wrong.

[Alan Garraway]

My mother died sitting at that piano playing that piece. You see, Ann Middleburg is not all happy memories for me.

[Anne Garraway (Alternate or emotional tone)]

Alan, I'm so sorry.

[Alan Garraway]

I didn't mean to upset you, darling.

[Anne Garraway (Alternate or emotional tone)]

That's all right.

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.

[Narrator/Storyteller]

Yes.

[Alan Garraway]

Well, I. I guess dinner will be ready soon. I'll go clean up a bit. Oh, bring them in there. George.

[George (Caretaker)]

Yes, sir. Fix the cocktails, ma'.

[Mrs. Hildebrand (Housekeeper)]

Am.

[Anne Garraway (Alternate or emotional tone)]

Thank you,

George.

[George (Caretaker)]

Yes.

[Anne Garraway (Alternate or emotional tone)]

Mrs. Garraway must have been a wonderful woman.

[George (Caretaker)]

Yes, she was.

[Anne Garraway (Alternate or emotional tone)]

She was an invalid for a number

of years, wasn't she?

[George (Caretaker)]

Yes. Laid up there in her bed, never complaining, always smiling.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

Piano, ma'?

[Michael Garraway]

Am?

[George (Caretaker)]

Ms. Garway ain't never played no piano.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

No, she died upstairs in her room, ma'. Am.

[Alan Garraway]

George, you can serve dinner anytime it's ready.

[George (Caretaker)]

Yes, sir.

[Alan Garraway]

I'm starving.

[George (Caretaker)]

Be ready. Just in a minute, sir.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Yes, Alan, to us.

[Lux Radio Theater Announcer]

Our stars will return in Act 2 of Vonderkurant in a moment. Libby, you look positively dreamy eyed. What Prince Charming are you thinking about now?

[Libby (Fashion Commentator)]

Oh, not a prince, but a king. Charles II of England.

[Lux Radio Theater Announcer]

Hasn't he been dead since 1685?

[Libby (Fashion Commentator)]

Yes, but Douglas Fairbanks Jr. Makes his romantic and adventurous exile really come alive in Universal International's new picture, the Exile. Douglas not only stars, but he wrote and produced the picture too. He had his hair dyed dark for his role as King Charles. And my, he's handsome.

[Lux Radio Theater Announcer]

Athletic as ever.

[Libby (Fashion Commentator)]

Oh, yes, indeed, John. You know, he's one of the few Hollywood stars who performs his own stunts for the camera. He had a very narrow escape during the filming when he fell 19ft to the ground from a windmill. Hmm.

[Lux Radio Theater Announcer]

I understand there are some beautiful women in the exile, too.

[Libby (Fashion Commentator)]

Oh, but definitely there's Ms. Maria Montez as the beautiful countess in her most dramatic role to date. And Douglas own discovery, an absolutely lovely blonde, Ms. Paul Croisset. Quite a cosmopolitan pair.

[Lux Radio Theater Announcer]

Maria Montez was born in the Dominican Republic, wasn't she?

[Libby (Fashion Commentator)]

Yes. Mm. And Paul Croce in Tahiti. She's also lived all over Europe and the Far East. There was a lot of travel talk the day I was visiting them and a lot of chatter about one thing. How to live out of a suitcase. You'll be interested in this. John Paul told Maria and me her favorite traveling trick. She always had her maid tuck a box of Lux Flakes into her suitcase.

[Lux Radio Theater Announcer]

A tip to any traveler who wants to look fresh from tip to toe,

[Libby (Fashion Commentator)]

especially down to her stocking toes. Luxing stockings at night is so easy, and nylons dry so quickly, they're ready to put on again in the morning. Fresh and smooth fitting by luxing stockings. Frequently, a girl doesn't need to carry so many extras or own so many either.

[Lux Radio Theater Announcer]

That's right, Libby. Because scientific strain tests prove that nylons last twice as long with luxury. That's just like getting an extra pair every time you buy a pair of stockings. It was really amazing how much more quickly stockings went into runs when they were washed with a strong soap or rubbed with cake soap.

[Libby (Fashion Commentator)]

Another thing girls like about luxe is the way it keeps nylon stocking colors fresh looking longer. That's important with the new dark shades that are so smart now, right, Libby?

[Lux Radio Theater Announcer]

It's no wonder that so many girls count on luxe flakes to keep stockings lovely longer. Here's William Keeley, your producer, at the microphone.

[William Keeley (Producer/Narrator)]

Intermission's over, and it's time for Act 2 of Undercurrent, starring Katharine Hepburn as Ann Hamilton and Robert Taylor as Alan Garraway.

[NHTSA Traffic Safety Announcer]

This weekend, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by nhtsa. Now back to your podcast.

[Commercial Announcer]

You can't predict the future, but you can prepare for it. Arizona State University is building degrees for what's ahead, taught by world class faculty who are shaping our future. Explore over 350 programs offered online at ASUonline. ASU. EDU.

[William Keeley (Producer/Narrator)]

It's been a strange and troubled 24 hours for Anne Garraway. Clashing 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. And when he's gone, Anne has a plan.

[Alan Garraway]

You sure you don't want to come to the village with me, Ann?

[Anne Garraway (Alternate or emotional tone)]

Do mind, darling.

I am tired.

[Alan Garraway]

That telegram this afternoon. It was from John Warmsley. He's in charge of the San Francisco plant. You'll be meeting him soon.

[Anne Garraway (Alternate or emotional tone)]

Oh, Alan.

[Alan Garraway]

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

[Anne Garraway]

Oh, no.

[Anne Garraway (Alternate or emotional tone)]

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 Jordan.

[Anne Garraway (Alternate or emotional tone)]

All right.

[Anne Garraway]

George.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

Nothing, ma'.

[Anne Garraway]

Am. Nothing.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

No, ma'.

[Commercial Announcer]

Am.

[George (Caretaker)]

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

[Anne Garraway (Alternate or emotional tone)]

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, miss. Ma'.

[Michael Garraway]

Am.

[George (Caretaker)]

It wasn't nobody, ma'.

[Lux Radio Theater Announcer]

Am.

[Anne Garraway (Alternate or emotional tone)]

That's not true.

Who did you think it was?

Did you think it was Michael?

[George (Caretaker)]

No, ma'.

[Anne Garraway]

Am.

[Anne Garraway (Alternate or emotional tone)]

But Michael did play that piece, didn't he?

[George (Caretaker)]

Oh, Miss Galway. Please don't tell Mr. Allen I was talking about Mr. Michael.

[Anne Garraway (Alternate or emotional tone)]

I won't tell him, George. How he must hate him. He's tried to take every reminder of

Michael out of this house. Erase him completely.

No pictures, nothing. George.

[George (Caretaker)]

Yes, sir.

[Anne Garraway (Alternate or emotional tone)]

Mr. Allen has been terribly hurt. We've got to find a way to help him.

[George (Caretaker)]

Just. Just tell me what I can do.

[Anne Garraway (Alternate or emotional tone)]

There's not much you can do, George.

We'll be leaving soon for San Francisco.

What has to be done? I must try to do my.

[Alan Garraway]

I'm a prize dope. And of all the places to take you. Your first night in San Francisco. Another nightclub.

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

Oh, well, I know.

[Anne Garraway (Alternate or emotional tone)]

Alan, who is that girl? The girl you spoke to as we came in here.

[Alan Garraway]

Sylvia Burton. An old friend.

[Anne Garraway (Alternate or emotional tone)]

Just an old friend?

[Alan Garraway]

Well, sort of. You jealous?

[Anne Garraway (Alternate or emotional tone)]

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

[Alan Garraway]

You want to know something?

[Anne Garraway (Alternate or emotional tone)]

Yeah.

[Alan Garraway]

You've got it all over Sylvia in every way. People wouldn't even notice her with.

[Anne Garraway (Alternate or emotional tone)]

Darling, you're wonderful catty about every other woman.

[Narrator/Storyteller]

Good evening.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

How do you do?

[Narrator/Storyteller]

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

[Alan Garraway]

Pull up a chair. How are things going?

[Narrator/Storyteller]

Very well, sir. Things are really breaking in Seattle. I suggest you fly up there as soon as you can.

[Alan Garraway]

What's the matter with Henderson? Can't he handle the new business?

[Narrator/Storyteller]

There's not much he can do without real authority, sir.

[Alan Garraway]

He has as much authority as you have. Not quite, sir.

[Narrator/Storyteller]

Anyway, I brought some contracts along, if you care to look them over.

[Alan Garraway]

Do you mind, darling?

[Anne Garraway (Alternate or emotional tone)]

No, you go ahead and look them over. I'll run into the powder room for a moment.

[Narrator/Storyteller]

I. I just saw Miss Burton. Did you. Has your wife met her yet?

[Alan Garraway]

Those contracts, Warmsley. Let me have them.

[Sylvia Burton]

Oh, hello, Mrs. Garraway.

[Anne Garraway (Alternate or emotional tone)]

Oh, Ms. Burton.

[Sylvia Burton]

How do you like San Francisco?

[Anne Garraway (Alternate or emotional tone)]

It's wonderful. So many bridges.

[Sylvia Burton]

Yes, so many to cross.

[Anne Garraway (Alternate or emotional tone)]

I beg your pardon?

[Sylvia Burton]

What do you hear from Michael?

[Anne Garraway (Alternate or emotional tone)]

Oh, nothing much.

[Sylvia Burton]

Did you ever meet him, Mrs. Garraway?

[Anne Garraway (Alternate or emotional tone)]

No, 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 (Alternate or emotional tone)]

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

[Sylvia Burton]

Sorry. It's strange, but I was beginning to have a funny feeling that Michael might be dead.

[Anne Garraway]

Oh, no, I'm.

[Anne Garraway (Alternate or emotional tone)]

I'm sure Alan would know.

[Sylvia Burton]

Yes, I suppose he would.

[Anne Garraway (Alternate or emotional tone)]

You know, Ms. Burton, when I saw you before, I. I wondered who it

was you reminded me of. It's me. Not our features exactly. Just something intangible. Have you noticed it?

[Libby (Fashion Commentator)]

No.

[Sylvia Burton]

Is that your glove on the floor there?

[Anne Garraway (Alternate or emotional tone)]

Oh, thanks. Maybe it's the way we dress or walk or something. Or maybe Miss Burton.

Miss Burton? Why, that's funny. Why should she just walk out like that?

[Narrator/Storyteller]

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

[Anne Garraway (Alternate or emotional tone)]

I'm very impressed, Mr. Walmsley.

[Narrator/Storyteller]

Well, I imagine your husband's in Seattle by now. Is there anything else around here you'd care to see?

[Anne Garraway (Alternate or emotional tone)]

Yes, I'd like to see some photographs.

[Narrator/Storyteller]

Photographs?

[Anne Garraway (Alternate or emotional tone)]

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 employees. Who was here at the beginning?

[Narrator/Storyteller]

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

[Anne Garraway (Alternate or emotional tone)]

Oh, yeah, yeah, that's what I mean. Oh, there's Alan.

[Libby (Fashion Commentator)]

Alan in the overalls.

[Anne Garraway (Alternate or emotional tone)]

And you, Mr. Walmsley.

Yes, but those other three men.

[Narrator/Storyteller]

Well, two of them are still with us. The other one is dead.

[Anne Garraway (Alternate or emotional tone)]

Who was he, Mr. Walmsley?

[Narrator/Storyteller]

His name was Carl Steuer.

[Anne Garraway (Alternate or emotional tone)]

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

[Narrator/Storyteller]

He was at his ranch the day it was taken.

[Anne Garraway (Alternate or emotional tone)]

His ranch?

Oh.

Oh, yes.

What's happened to the ranch?

[Narrator/Storyteller]

Well, Mr. Garraway took it over.

[Anne Garraway (Alternate or emotional tone)]

Alan owns it, you know. I'd like to see that place.

[Narrator/Storyteller]

I'm afraid that's not very practical. It's quite remote. Fog is bad this time of year. There is a caretaker.

[Anne Garraway (Alternate or emotional tone)]

But I'd.

I'd like to spend the day in the country.

Could you give me the keys, Mr. Walmsley?

[Narrator/Storyteller]

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

[Anne Garraway (Alternate or emotional tone)]

And would it be possible to draw me a sort of map as to how to get there?

[Narrator/Storyteller]

I'll enclose a map with the keys.

[Anne Garraway (Alternate or emotional tone)]

You've been very kind, Mr. Walmsley.

Thank you.

[Narrator/Storyteller]

Good day, Mrs. Garraway.

[Michael Garraway]

Looking for someone, miss?

[Anne Garraway (Alternate or emotional tone)]

Oh. Oh, hello.

I'm Mrs. Allen Garraway.

[Michael Garraway]

How do you do?

[Anne Garraway (Alternate or emotional tone)]

Are you the caretaker?

[Michael Garraway]

Why, yes. Yes.

[Anne Garraway (Alternate or emotional tone)]

I've just been inspecting the house.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Tell me.

Did you know Michael Garraway?

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

He left here very suddenly, didn't he?

[Michael Garraway]

Yes.

[Anne Garraway (Alternate or emotional tone)]

I guess he was a rather unpredictable person.

[Mrs. Foster]

Well.

[Anne Garraway (Alternate or emotional tone)]

Well, anyway, I. I think this is

one of the most charming houses I've ever seen.

It has, well, dignity. It doesn't look as though it had been shut up at all, does it?

[Michael Garraway]

No. No, it doesn't.

[Anne Garraway (Alternate or emotional tone)]

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

I had a feeling coming in here that time was standing still.

[Michael Garraway]

Time doesn't stand still anywhere, does it?

[Anne Garraway (Alternate or emotional tone)]

Oh, yes, it does. Haven't you ever had a feeling of complete peace and contentment? That's what I felt when I came in here. Nothing to fear, nothing. Nothing to think about. This was, well, peaceful. And time stands still. You probably think that's foolish. I suppose it is.

[Michael Garraway]

No, I don't think so. I agree with you about the house.

[Anne Garraway (Alternate or emotional tone)]

It is peaceful, is that surf I hear. Are we that close to the ocean?

[Michael Garraway]

Yes. If you 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 (Alternate or emotional tone)]

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

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

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]

There's the ocean, Mrs. Garraway.

[Anne Garraway (Alternate or emotional tone)]

Golly.

Golly, it's beautiful, isn't it? You know. 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 (Alternate or emotional tone)]

Oh, no, it's not. It's never useless. Not if your chance of helping them is one in a million.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

You bet I do. Why, that, sir, the sea is near. Is there good swimming?

[Michael Garraway]

No, there's a. There's a riptide.

[Anne Garraway (Alternate or emotional tone)]

But it looks so calm.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Like life.

[Michael Garraway]

Yes, that's right. Only fog's starting to roll in. Be getting dark soon. You going back to the house?

[Anne Garraway (Alternate or emotional tone)]

Yes, in a minute. You go ahead. Thanks for taking me around. And forgive my philosophic outburst.

[Michael Garraway]

Don't apologize for that. I think it was very well said. Goodbye, Mrs. Garraway.

[Anne Garraway (Alternate or emotional tone)]

His house.

Michael's house.

Just as he left it. But walls. Can't talk. And books. And chairs.

[Alan Garraway]

What are you doing here?

[Anne Garraway]

Alan?

[Alan Garraway]

What are you doing here?

[Anne Garraway (Alternate or emotional tone)]

Alan?

[Alan Garraway]

You frightened me, so I came here looking for something. I asked you not to pry. I asked you to forget about Mike.

[Anne Garraway (Alternate or emotional tone)]

Alan, you didn't leave Seattle.

[Alan Garraway]

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

[Anne Garraway]

Darling, I'm only trying.

[Alan Garraway]

Diabolic cleverness about pushing people around. Always knew how to get his own way.

[Anne Garraway (Alternate or emotional tone)]

You keep saying had and knew. Alan. Is he dead?

[Alan Garraway]

How should I know if he's dead? I hope he is. How much do you think I can stand? He's got you sneaking around corners trying to find out things about him. Well, 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 (Alternate or emotional tone)]

Alan, I'm sorry.

[Alan Garraway]

I know you're sorry, but that doesn't help. Why couldn't you do as I asked? If there's anything else you want to know, ask me now. Don't ask Wormsley 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 (Alternate or emotional tone)]

I was wrong to come here, Alan,

[Anne Garraway]

if you didn't want me to.

[Anne Garraway (Alternate or emotional tone)]

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 what it is that comes between us because of him.

[Anne Garraway]

Alan, it's our life together that he's hurting.

[Anne Garraway (Alternate or emotional tone)]

Our marriage.

[Anne Garraway]

And I want our marriage.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

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

[Libby (Fashion Commentator)]

Alan Wade.

[Alan Garraway]

What's the matter?

[Anne Garraway (Alternate or emotional tone)]

Listen.

Oh, Garraway.

[Sylvia Burton]

Shrewd, all right. His plan was all set for reconversion.

[Mrs. Hildebrand (Housekeeper)]

Garraway knows all about reconversion. Did you ever see his wife?

[Narrator/Storyteller]

Please.

[Anne Garraway]

No.

[Anne Garraway (Alternate or emotional tone)]

I want to listen.

[Sylvia Burton]

I saw her in Washington the day they arrived. She couldn't have looked do course, the poor girl had on her Sunday best.

[Anne Garraway (Alternate or emotional tone)]

But really, we can go up now. Alan.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

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 (Alternate or emotional tone)]

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

[Alan Garraway]

Why should I want to do a thing like that?

[Anne Garraway (Alternate or emotional tone)]

So you could exhibit me as your

very own invention, like the Garraway distance control.

[Alan Garraway]

What do you mean by that?

[Anne Garraway (Alternate or emotional tone)]

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 (Alternate or emotional tone)]

I meant nothing about it.

[Michael Garraway]

All right.

[Alan Garraway]

What else do you think? Why did I marry you?

[Anne Garraway (Alternate or emotional tone)]

He 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. And you thought if you could make me outshine her.

[Alan Garraway]

You're mad, Anne.

[Anne Garraway (Alternate or emotional tone)]

Yes, Alan. I think sometimes I am.

[Anne Garraway]

I have a feeling as though I were living in a dream.

[Anne Garraway (Alternate or emotional tone)]

Haunted by your obsession, your hatred for your brother all around us.

[Michael Garraway]

Anne.

[Alan Garraway]

Anne. Things between us look pretty black right now. It's hard to talk. But I 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 have to go back to Seattle. You'll have a couple of days to think. And 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 (Alternate or emotional tone)]

Yes, Alan. I'll try.

[Lux Radio Theater Announcer]

We pause now for station identification. This is cbs, the Columbia Broadcasting System.

[William Keeley (Producer/Narrator)]

In a moment, we'll return with Act 3 of Undercurrent. The role of a script girl in producing a great picture is seldom fully appreciated by the public. Her meticulous attention to detail is of the utmost importance to a successful production. Our guest tonight is one of those unsung heroines. She's Ms. Isla Jacobus, Script girl for Clarence Brown, producer, director of Song of Love. Metro Golden Mare's romantic love story of Clara and Robert Schumann, starring Katharine Hepburn. It must have been a fascinating picture to work on, Mr. Kovis.

[Isla Jacobus (Script Girl)]

It certainly was, Mr. Keeley. I learned so much about the life of Schumann. And the music in the picture is so thrilling.

[William Keeley (Producer/Narrator)]

With Paul Henry to interpret, the sensitive and celebrated composer Robert Walker as Johannes Brahms, Henry Daniel as Franz Liszt, and a brilliant supporting cast. It's bound to be a superb picture,

[Isla Jacobus (Script Girl)]

especially with Katharine Hepburn as Schumann's devoted wife, who inspired some of his greatest music.

[William Keeley (Producer/Narrator)]

Well, Catherine brings glamour and rare ability to every role. Her performance here tonight confirms that.

[Isla Jacobus (Script Girl)]

She looks stunning, too. In Song of Love, in clara Schumann's romantic 19th century costumes. And Mr. Kennedy would certainly have been impressed with the gentle care those costumes got.

[Lux Radio Theater Announcer]

You mean luxe care? Of course, Mr. Kobus.

[Isla Jacobus (Script Girl)]

Naturally, replacing one of those costumes would have meant a lot of time and expense. So when a garment had to be freshened for retakes, they always used luxe flakes. And the studio wardrobe mistress told me that kept replacements down to a minimum.

[Lux Radio Theater Announcer]

You must learn a lot of interesting things in the course of your work,

[Isla Jacobus (Script Girl)]

Mr. Kobus, but none more important than clothes care, Mr. Kennedy. Important to any girl. I mean, I wouldn't trust my own blouses and nice washables. To anything but luxe. I figure when experts choose luxe flakes, it's wise to follow their advice.

[Lux Radio Theater Announcer]

Yes, the experts know how much longer luxe care keeps washables lovely. Actual tests have proved that wrong. Washing methods fade colors discouragingly. Soon, lux care kept them lovely up to three times as long.

[Isla Jacobus (Script Girl)]

That's important to any girl these days, when prices of new things are so high.

[Lux Radio Theater Announcer]

Today, more than ever, luxe care is thrifty care. Thank you for coming tonight, Ms. Isla Jacobus. Back now to our producer, William Keeley.

[William Keeley (Producer/Narrator)]

We continue with Act 3 of Undercurrent. Starring Katharine Hepburn as Anne and Robert Taylor as Alan. It's the following morning with Alan back in Seattle. Ann is making an uninvited call on Sylvia Burton.

[Anne Garraway (Alternate or emotional tone)]

It's very nice of you to see me, Ms. Burton.

[Sylvia Burton]

You have a reason for coming here?

[Anne Garraway (Alternate or emotional tone)]

There are some questions I'm trying to find the answer 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 (Alternate or emotional tone)]

Not quite.

I love him. But it's not Alan I want to know about. It's Michael.

[Sylvia Burton]

I can imagine.

[Anne Garraway (Alternate or emotional tone)]

All I know is that he and Alan had a terrible fight. 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?

[Mrs. Foster]

Well, we weren't.

[Sylvia Burton]

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 Alan. 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 (Alternate or emotional tone)]

I believe my husband, Ms. Burton.

[Sylvia Burton]

Nonsense. You think he's lying? I know he is.

[Libby (Fashion Commentator)]

Why?

[Sylvia Burton]

Because I've been through this myself. When Mike disappeared, I went crazy trying to find out what had happened to him.

[Anne Garraway (Alternate or emotional tone)]

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 (Alternate or emotional tone)]

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? His friends at the plant, his neighbors at the ranch? Or a hundred other people he knows? 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, Ms. Burton. I should never have come here. Forgive me.

[Sylvia Burton]

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

[NHTSA Traffic Safety Announcer]

This weekend, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA. Now back to your podcast.

[Commercial Announcer]

On the under $3 menu at McDonald's, a McChicken is $2. Because when you're cr. Craving a McChicken, you deserve a McChicken. And now that McChicken is just $2.

[Lux Radio Theater Announcer]

With McValue limited time only, prices and participation may vary.

[Alan Garraway]

Prices may be higher for delivery.

[Anne Garraway]

Hello?

[Mrs. Foster]

Mrs. Allen Garraway?

[Anne Garraway (Alternate or emotional tone)]

Yes.

[Mrs. Foster]

One moment, please.

[Sylvia Burton]

Seattle is calling.

[Anne Garraway (Alternate or emotional tone)]

Here's your party, sir.

[Alan Garraway]

Anne.

[Anne Garraway (Alternate or emotional tone)]

Yes, Alan?

[Alan Garraway]

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

[Anne Garraway]

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

[Alan Garraway]

Don't, darling.

[Anne Garraway (Alternate or emotional tone)]

Don't.

[Michael Garraway]

Don't.

[Alan Garraway]

Ann, 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]

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, Sam. We'll have a real honeymoon in Middleburg. You wait and see. I love you, Ann. I love you.

[George (Caretaker)]

I wish I'd known you was coming to Middleburg, Ms. Garway. I wish you'd told me.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

Oh, no, ma'.

[Libby (Fashion Commentator)]

Am.

[George (Caretaker)]

No, no. I'm real pleased. When'll Mr. Allen be here?

[Anne Garraway (Alternate or emotional tone)]

He'll be here later tonight.

George, why do you wish I'd let you know I was coming here?

[George (Caretaker)]

Well, just so I'd have a little time to fix things up.

[Anne Garraway (Alternate or emotional tone)]

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

[George (Caretaker)]

Ms. Garraway, there's nobody out there. Ms. Garraway.

[Anne Garraway (Alternate or emotional tone)]

I don't mean old Ben, either.

Just now, when I was walking the dog, saw him, Bates on him. Bait was all excited, jumping up and

down and wagging his tail.

[George (Caretaker)]

But you didn't see nobody, miss?

[Anne Garraway (Alternate or emotional tone)]

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, Ms. Garway. Let it pass.

[Anne Garraway (Alternate or emotional tone)]

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

[Libby (Fashion Commentator)]

Babe.

[Anne Garraway (Alternate or emotional tone)]

Babe, come here.

[Anne Garraway]

Come here, boy.

[Anne Garraway (Alternate or emotional tone)]

Come here.

There's no one here now, is there? Their bait? But there was. 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 Allan said about him is true. Michael's here and he's hiding.

[Anne Garraway]

That's why George.

[Anne Garraway (Alternate or emotional tone)]

Oh, Alan. Alan, how could I? How could I?

[Alan Garraway]

It's all right, Bates. You can stop barking. There's no way to welcome me home.

[Michael Garraway]

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 had 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. You remember that invention he was working on?

[Alan Garraway]

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

[Michael Garraway]

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

[Alan Garraway]

What's that got to do with me?

[Michael Garraway]

It's got a lot to do with you. Steuer had a pet name for that invention of his. His fan, he called it. He used to say, my fan will fix the Nazis. Your brother and me, we know someday my fan will pay them back. Fern fan. I couldn't figure it out until it dawned on me that fan, Fern is a German word. It means distance fern, 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.

[Michael Garraway]

It was Steuer's. And it's 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? 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 today?

[Alan Garraway]

No.

[Michael Garraway]

At the ranch. She thought I was the caretaker. She's a fine girl, Alan. But she doesn't know about Stoja, does she? I'm here to make sure she finds out.

[Alan Garraway]

You think I killed Stoya. 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

[NHTSA Traffic Safety Announcer]

I can give Ann up this weekend. Someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by NHTSA now back to your podcast.

[Commercial Announcer]

This episode is brought to you by Progressive Insurance. Do you ever think about switching insurance companies to see if you could save some cash? Progressive makes it easy. Just drop in some details about yourself and see if you're eligible to save money. When you bundle your home and auto policies. The process only takes minutes and it could mean hundreds more in your pocket. Visit progressive.com after this episode to see if you could save Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states.

[Alan Garraway]

I'm going to 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?

[Alan Garraway]

What gives a man a right? Does love. Because I love her. You can take everything else, but not her, Mike.

[Anne Garraway]

Not her.

[Alan Garraway]

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 chance does she have, Alan?

[Alan Garraway]

I'll tell her. Only I. I'll have to do it in my own time. 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. Well, I. I guess there's nothing left for me to do. She'll go along with you. I'll stay out of it. But tell her, Ellen. Tell her. Because if you don't, I won't be able to stay out of it. I'm gonna see that she gets her chance too. And.

[Alan Garraway]

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

[Anne Garraway]

Alan. Oh, Alan. Alan. Oh, forgive me, darling. Forgive me.

[William Keeley (Producer/Narrator)]

Forgive you?

[Anne Garraway]

I've been so wrong. Alan, I've got to tell you something. And I'm so deeply ashamed. I. I thought such crazy things about you. I. I thought you'd killed your brother. No, darling, listen to me.

[Anne Garraway (Alternate or emotional tone)]

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]

You couldn't have endured living with a murderer.

[Anne Garraway (Alternate or emotional tone)]

But it's all over, Alan.

I know he's alive.

[Anne Garraway]

I'm able to breathe again.

[Alan Garraway]

Yes, Anne, it's over. No one will ever come between us again.

[Anne Garraway (Alternate or emotional tone)]

Alan, I want you to listen to me.

[Anne Garraway]

You remember that I once told you

[Anne Garraway (Alternate or emotional tone)]

that Michael was your obsession?

[Narrator/Storyteller]

Yes.

[Anne Garraway (Alternate or emotional tone)]

I was wrong.

[Anne Garraway]

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 is cruel and wrong and who has hurt you. Oh, I was so wrong about him. Everyone was.

[Alan Garraway]

Everyone. Who did you speak to about Mike?

[Anne Garraway (Alternate or emotional tone)]

Sylvia Burton. She thought you had killed him.

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Glad? Oh, yes, Alan.

[Anne Garraway]

Yes.

[Alan Garraway]

Then why are you unhappy?

[Anne Garraway]

Well, that's what I'm trying to tell you.

[Mrs. Foster]

He.

[Anne Garraway]

He's still here in my mind. Somehow you've got to help me, Alan. I don't understand it. Do you understand?

[Alan Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

No.

[Alan Garraway]

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

[Anne Garraway]

Oh, no. No.

[Anne Garraway (Alternate or emotional tone)]

How could I be in love with someone I've never seen?

[Alan Garraway]

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

[Anne Garraway]

Alan, please.

[Alan Garraway]

You'd 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 was him.

[Anne Garraway]

That's not true.

[Alan Garraway]

You were 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, Ann? And after you find him, then what Will you leave me?

[Anne Garraway (Alternate or emotional tone)]

Alan.

[Alan Garraway]

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.

[Anne Garraway (Alternate or emotional tone)]

You're up early, George.

[George (Caretaker)]

Sleep well?

[Alan Garraway]

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

[Grainger Commercial Announcer]

Alan.

[Mrs. Foster]

Alan.

[Isla Jacobus (Script Girl)]

Noel.

[Alan Garraway]

Oh, I thought I'd go for a ride. That stallion will break down the stall unless he gets some exercise. I thought we could. Why are you trembling? Here, sit down. Have some coffee. Don't be afraid, Anne. Fear is no good. I know, but now I'm finally free. Drink your coffee, Ann. Your hand's shaking. You're not going to be afraid the rest of your life, are you, Ann? Are you? Why? Run to your room. You can't lock yourself in. I've got the key.

[Anne Garraway]

Hey, there.

[Mrs. Foster]

Anyone up?

[Alan Garraway]

Oh, hello, Mrs. Foster. Come in.

[Mrs. Foster]

Hello, Alan. 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.

[Narrator/Storyteller]

Yes, it is.

[Mrs. Foster]

You must have had the same idea. You're dressed for it.

[Alan Garraway]

Yes, I. Oh, there you are.

[Mrs. Foster]

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

[Anne Garraway]

Oh, I'd like to very much.

[Mrs. Foster]

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

[Anne Garraway (Alternate or emotional tone)]

But I can be ready in just a moment.

[Alan Garraway]

Biscuits for breakfast, Mrs. Foster?

[Mrs. Foster]

With my own two hands.

[Alan Garraway]

And just wait till you taste them. There's nothing like them in the whole world.

[Anne Garraway (Alternate or emotional tone)]

Mrs. Foster, there's something I must tell you.

[Anne Garraway]

I must speak to you.

[Mrs. Foster]

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 along 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]

Not a quarrel exactly.

[Mrs. Foster]

Don't worry. It's natural the first year. Getting acquainted. What horse are you going to ride, Alan?

[Alan Garraway]

The stallion, naturally.

[Mrs. Foster]

Well, you just make sure you don't give him to her.

[Sylvia Burton]

He's a mean one, that brute.

[Anne Garraway]

Alan. Alan, did we have to come this way?

[Alan Garraway]

Can't you handle your horse? I gave you the mare.

[Anne Garraway]

But I. I'm 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's beautiful, isn't it?

[Anne Garraway]

Alan, keep your horse back, please.

[Alan Garraway]

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

[Anne Garraway]

no room for both of us.

[Alan Garraway]

That is narrow, isn't it?

[Lux Radio Theater Announcer]

Quite.

[Alan Garraway]

A drop to the gorge and 200ft.

[Anne Garraway]

Alan, you're pushing me.

[Narrator/Storyteller]

Use your spurs.

[Alan Garraway]

Go on ahead.

[Michael Garraway]

Alan.

[Mrs. Foster]

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

[Alan Garraway]

You want to leave me, Anne, don't you? You want to go to Michael? Well, I'll send you to him now, you little fool. Go on, run away. See how far you'll get. What happened? Did your horse throw you quite a bruise on your head? Or did you hit a low branch? Hurts, doesn't it, Ann? Nothing is going to hurt you anymore, Michael. I'm going to kill you, Anne. They'll think you broke your stupid little neck with your horse.

[Libby (Fashion Commentator)]

Hello?

[Mrs. Foster]

Hello, doctor. This is Mrs. Foster. There's been a terrible accident. Alan Garraway is dead. That stallion of his must have gone crazy or something. Kicked him to death. It looks like you better come right out, Doctor.

[Anne Garraway]

His wife's been badly hurt, too.

[Mrs. Foster]

That music's beautiful, Anne. Who's playing?

[Anne Garraway (Alternate or emotional tone)]

My father. He always does well by Chopin.

[Mrs. Foster]

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

[Anne Garraway (Alternate or emotional tone)]

So am I, Mrs. Foster.

[Mrs. Foster]

You're all right, Anne. 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 (Alternate or emotional tone)]

Hard to run away in a wheelchair.

[Mrs. Foster]

Dr. Hill says by next week you can burn that wheelchair. But that isn't what I mean.

[Anne Garraway (Alternate or emotional tone)]

That's not what I mean either.

No. I feel I have something to do and that I must do it here.

That's really why I stayed. Not because I have courage.

I haven't.

[Alan Garraway]

Here you are, darling.

[William Keeley (Producer/Narrator)]

One of George's priceless eggnogs.

[Anne Garraway (Alternate or emotional tone)]

Father.

Well, who's playing the piano?

[Alan Garraway]

You have a visitor.

[Anne Garraway]

Oh, no.

[Anne Garraway (Alternate or emotional tone)]

No, I can't see him now.

[Anne Garraway]

I'm not ready yet. I can't.

[William Keeley (Producer/Narrator)]

You sent for him, Anne?

[Anne Garraway (Alternate or emotional tone)]

Yes, I sent for him.

[Alan Garraway]

I'll wheel you in.

[Anne Garraway (Alternate or emotional tone)]

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 (Alternate or emotional tone)]

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

[Michael Garraway]

You sent for me?

[Anne Garraway (Alternate or emotional tone)]

Yes.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Well, it seems I'm a very rich woman. It's wrong for me to have it. It belongs to you, Michael.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

They must have it then. Michael, I'm a bad liar.

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 (Alternate or emotional tone)]

There are other things that I must tell you. I. I won't forget Alan. I. I loved him very much. Not at the end. It was gone then. But I. I did love him.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

I looked for you, Michael.

[Michael Garraway]

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

[Anne Garraway (Alternate or emotional tone)]

Yes, Michael.

[Lux Radio Theater Announcer]

Our stars will return for their curtain calls in a moment. Libby, have you any fashion tips for the ladies in our audience tonight?

[Libby (Fashion Commentator)]

One very important one, Mr. Kennedy. I've noticed that some girls who are wearing the new longer skirts think that lengthening their dresses is enough. Actually, they need longer slips, too. Otherwise the gap is often apparent and the skirts don't hang gracefully.

[Lux Radio Theater Announcer]

Are the makers of slips cutting them longer now?

[Libby (Fashion Commentator)]

Oh, yes, but you don't necessarily have to buy a whole new slip wardrobe. Why, imagine how annoyed luxe girls would be. After all, their luxe slips still have lots of good looks left in them.

[Lux Radio Theater Announcer]

Well, naturally. I know that luxe care keeps slips lovely longer. But how can it make them longer?

[Libby (Fashion Commentator)]

Well, it can't do that, John. But there are some simple tricks a clever girl can work. For instance, she can sew a deep lace ruffle on the bottom of a too short slip, gain a good two or three inches that way, or cut an even strip off the slip near the bottom and fill in with lace insertion or a contrasting color. Then stitch back the snipped off piece with a deep seam.

[Lux Radio Theater Announcer]

All that lace sounds pretty, Libby, but is it practical?

[Libby (Fashion Commentator)]

Why, of course. With luck's care, if careless girls wash a slip the wrong way, handle it roughly, or use strong soap or hot water, why, naturally, it'll be sad looking. In a short time, the color will fade and the lace is apt to tear. But after all, practically everybody knows that with lux care, undies stay lovely three times as long. Actual washing tests proved that.

[Lux Radio Theater Announcer]

As a matter of fact, Libby, lux girls can afford more new slips on their budget, too. Instead of replacing drab faded ones so often, they can use that money to buy extra new ones. Have three times as many slips without spending any more. Here's Mr. Keeley at the microphone.

[William Keeley (Producer/Narrator)]

I'm sure we never could have enough of stars like Katharine Hepburn and Robert Taylor and Here they are back at the footlights to receive our thanks for two superb performances. Katherine, I'm happy our efforts to bring you to this stage tonight have been so splendidly rewarded.

[Anne Garraway (Alternate or emotional tone)]

I'm glad you feel I didn't let a good neighbor down, Bill. And I'm certainly happy Bob got back from his hunting trip in time to join us.

[Alan Garraway]

Well, as much as I like hunting and fishing, I wouldn't have missed tonight's show.

[Anne Garraway (Alternate or emotional tone)]

Kate, Flying your own plane must be very handy in getting you to where the fish are biting, Bob.

[Alan Garraway]

That's a big help when your time is limited.

[William Keeley (Producer/Narrator)]

I understand, Katherine, that your newest picture is about to have its premiere in New York.

[Anne Garraway (Alternate or emotional tone)]

It opens at the Music hall on Thursday.

[Alan Garraway]

Bill, your pictures have always been favorites at the Music Hall, Kate.

[William Keeley (Producer/Narrator)]

And the advance critics here agree how wonderful you are in those concert sequences.

[Alan Garraway]

Yes, Barbara and I saw the picture at the studio and the scenes with you at the piano were really great.

[Anne Garraway (Alternate or emotional tone)]

Well, praise from Caesar's Praise, indeed.

[William Keeley (Producer/Narrator)]

That's right, Bob. You did used to be a musician, didn't you?

[Alan Garraway]

Well, I studied music at Pomona College until I got sidetracked into pictures.

[Anne Garraway (Alternate or emotional tone)]

From what the preview fans said about your new Metro Goldwyn Mayer picture, the High Wall, you were certainly sidetracked in the right direction.

[Alan Garraway]

I hope they like it.

[Anne Garraway (Alternate or emotional tone)]

On the subject of pictures, what's the news for next week, Bill?

[William Keeley (Producer/Narrator)]

Next Monday night, we usher in our 14th year on the air. And to celebrate, we're bringing our audience one of the greatest works of an author whose popularity has never been equaled. It's J. Arthur Ranks. Exciting production, Great Expectations.

[Alan Garraway]

Charles Dickens at his best. Bill, who do you have as stars?

[William Keeley (Producer/Narrator)]

Our stars are Robert Cummings, Ann Blythe, Howard De Silva and Lee J. Cobb. Great Expectations is a thrilling dramatic story that should hold the interest of our listeners of every age.

[Anne Garraway (Alternate or emotional tone)]

It should indeed, Bill, a play that nobody should miss. Congratulations and good night.

[Alan Garraway]

Good night, Bill.

[William Keeley (Producer/Narrator)]

Good night, Bob and Catherine. All our thanks. Lelever Brothers Company, the makers of Lux Lakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Robert Cummings, Ann Blythe, Howard De Silva and Lee J. Cox in Great Expectations. This is William Keeley saying good night to you from Hollywood.

[Lux Radio Theater Announcer]

This is Community Chess time, a time that unites Americans of all faiths and creeds behind the great work of the Community Chest. Experience has proved that this is the best way, the truly American way of providing help to the unfortunate in your community. Each year, your local Community Chest helps support vital services such as hospitals, clinics, homes for the aged, aid to the handicapped and youth organizations. The theme of this year's campaign is everybody benefits, everybody gives. So give generously all you can afford. When you're approached by one of your fellow citizens within the next few weeks, a contribution to your local community chest is an investment in the future of our nation. Katharine Hepburn and Robert Taylor appeared by arrangement with Metro Golden Mayer, producers of Green Dolphin street starring Lana Turner and Van Heflin. Heard in our cast tonight were Ira Groesel as Michael and Frances Robinson as Sylvia. This program is rebroadcast to our servicemen and women overseas through the worldwide facilities of the Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Great Expectations with Robert Cummings, Ann Blythe, Howard Da Silva and Lee J. Cobb.

[Anne Garraway]

Spry when you bake and fry Spry for your cake and pie Spry. It's your shortening pie Rely on Spry

[Alan Garraway]

for lighter, better tasting cakes try Spry, the pure, creamy, all vegetable shortening with the special cake making secret.

[William Keeley (Producer/Narrator)]

Hear them say, boy, what a cook.

[Anne Garraway (Alternate or emotional tone)]

Rely on spry S P R Y

[Lux Radio Theater Announcer]

Be sure to listen next Monday night to the Lux Radio Theater presentation of Great Expectations with Robert Cummings, Ann Blythe, Howard De Silva and Lee J. Cobb. Stay tuned to my friend Irma which follows immediately over most of these stations. This is cbs, the Columbia Broadcasting.

[NHTSA Traffic Safety Announcer]

This weekend, someone is walking their dog. Someone is crossing the street to their car. Someone's kid is riding a bike home. And they're counting on you to drive the speed limit. Speeding accounts for nearly 30% of traffic fatalities. And most of those crashes don't happen on the interstate. They happen on the streets where people live. Slow down. It's an act of care for the people around you. So remember, speeding catches up with you. Know the road and respect its limits. Presented by nhtsa. Now back to your podcast, Grainger Knows.

[Grainger Commercial Announcer]

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