Screen Guild Theater 52-06-01 Ep523 Mad About Music

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Screen Guild Theater 52-06-01 Ep523 Mad About Music
Date: January 3, 2026
Starring: William Powell (Richard Todd), Piper Laurie (Gloria), Alan Reed (Trips)
Host: Johnny Jacobs
Podcast Theme: Classic radio dramas from Hollywood's Golden Age

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Episode Overview

This episode features a spirited radio adaptation of the 1938 film Mad About Music, performed by leading stars of the era. The story centers on a lonely schoolgirl, Gloria, who invents an adventurous father to fit in at her Swiss boarding school. A comedy of errors unfolds when a visiting American composer, Richard Todd, is roped into playing the father she never knew, leading to touching, humorous, and heartfelt moments as the characters navigate the blurred lines between fantasy, affection, and reality.

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Key Discussion Points & Plot Highlights

The Setup: Gloria’s White Lie (01:20–04:00)

• Gloria (Piper Laurie), a young girl at a prestigious Swiss boarding school, narrates her life story. She hasn’t seen her mother, a Hollywood star (Gwen Taylor), since she was three, due to her mother's acting career and strict manager, Dusty Rhodes.

  • Quote: “It’s never lying if you have your fingers crossed.” – Gloria (01:22)

• Gloria, wanting to fit in with her peers, fabricates grand stories about her absent explorer father, sending herself exotic gifts to maintain the illusion.

Mistaken Identity: Meeting Richard Todd (04:45–08:15)

• Gloria, pressured by her peers, promises that her “father” will arrive on an incoming train. When Richard Todd (William Powell), an American composer, disembarks, Gloria impulsively claims him as her father.

  • Quote: “He was so handsome and distinguished looking. Just the type for a world explorer. So I rushed right up and threw my arms around him…” – Gloria (05:15)

• The comedic farce deepens as Todd reluctantly plays along with the ruse, and the school insists on hosting a luncheon in his honor.

The Luncheon: Elaborate Pretending (12:00–16:00)

• Richard Todd is welcomed at the Institute for Young Ladies, serving up tall tales of jungle adventures to entertain Gloria’s classmates and preserve her dignity.

  • Quote: “Well, yes, sometimes, but lions are generally a bit tough. Now giraffes are delicious. And especially the neck…” – Richard Todd, playacting as the explorer-father (14:10)

• The warmth of their improvised parent-child bond begins to grow.

Quiet Connection & Goodbyes (17:15–19:17)

• In a tender scene, Gloria shows Richard a photo of her real mother. Richard finds the photo strangely familiar, hinting at deeper connections.

  • Quote: “Well, she’s quite attractive... Strange, though, she looks so familiar, as if I’d met her somewhere.” — Richard Todd (18:35)

• The time comes for Todd to leave, but the charade has already left a mark on both their hearts.

The Chase to Paris: Seeking the Real Mother (20:07–22:49)

• Gloria, desperate to meet her mother, follows Richard to Paris. The themes of longing, identity, and belonging converge as she risks exposure of her secret.
  • Quote: “Daddy, where are you?” – Gloria, calling after Richard (20:40)
  • Quote: “Gloria, your mother is in Paris and you want to see her. But why couldn’t she come to Switzerland?” – Richard Todd (20:59)

Emotional Resolution: The Truth Comes Out (23:13–28:10)

• Gloria meets with her mother, Gwen Taylor, in Paris. The reunion is complicated by misunderstandings and the press, but ultimately leads to a genuine family moment. Richard, caught in the middle, helps bridge the distance.

  • Quote: “She’s not my mother. I never saw her before.” (Gloria, caught in the lie, then relents) (26:50)
  • Quote: “Oh, Mommy. I wasn’t going to tell… You see, Mommy, after that, it felt sort of natural to call him Daddy…” – Gloria (26:58)

• The family is finally, if briefly, united; both truth and affection win out.

Closing Remarks & Cast Sign-Off (28:15–29:05)

• Powell and Laurie return for a brief post-show thanks, highlighting the Motion Picture Relief Fund.
  • Quote: “That’s enough to tell you how wonderful it is to appear on this stage again and to do our bit for the greatest cause in our industry…” – William Powell (28:20)
  • Quote: “Golly, Mr. Powell, I’m not old enough to think…” – Piper Laurie (28:37)

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Memorable Moments & Notable Quotes

• “It’s never lying if you have your fingers crossed.” — Gloria (01:22)
• “Now, giraffes are delicious. And especially the neck. Yes, it’s quite the thing for dinner parties, you know.” — Richard Todd, spinning explorer tales (14:10)
• “I think it’s black magic. Five days ago I was a bachelor. No wife and no family. Now I have a daughter and somewhere, I dare say, a wife.” — Richard Todd (17:56)
• “She’s very poor and stopping at the Ritz.” — Gloria, about her glamorous mother (24:21)
• “Oh, Mommy. I wasn’t going to tell. I know you weren’t, darling. You didn’t have to see.” — Gloria and Gwen Taylor, the emotional reunion (26:58)
• “I should say so, Daddy, on both hands.” — Gloria, signifying the playful spirit is intact (27:50)

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Timed Segment Guide

• [01:20–04:00]: Gloria’s background, introduction of her mother and fabricated father.
• [04:45–08:15]: Gloria meets Richard Todd, invents connection on the spot.
• [12:00–16:00]: Comedic institute luncheon with explorer tales, growing bond.
• [17:15–19:17]: Tender moment, photograph scene, Richard says goodbye.
• [20:07–22:49]: Gloria chases Richard to Paris, desperate to meet her mother.
• [23:13–28:10]: Emotional climax: Gloria, Gwen, and Richard confront the truth and find connection.
• [28:15–29:05]: Cast sign-off, fundraising mention.

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Tone & Style

The episode features a blend of whimsical humor and gentle melodrama, typical of classic Hollywood radio adaptations. Dialogue is light and playful, but tinged with longing and the universal themes of family, belonging, and acceptance.

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What Makes This Episode Stand Out

• Impeccable comedic timing—William Powell’s reluctance and snappy retorts offset by Piper Laurie’s earnest curiosity.
• A warm, old-fashioned family story about the lies we tell to feel loved and the kindness of strangers who become family, if only for a moment.
• “I should say so, Daddy, on both hands.”—a perfect closing note that captures the show’s spirit of innocence and hope.

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Perfect for fans of:

• Nostalgic, golden-age radio dramas
• Family comedies with heart
• Classic Hollywood performances

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Transcript

[A]

There's nothing like the American Express Platinum card. Find out your welcome offer after you apply, which could be as high as 175,000 points. Learn more and find out your [e-mail] Explore Platinum terms apply Hollywood's greatest stars in Hollywood's greatest motion pictures. From the glamorous movie capital of the world, we bring you the Screen Gill Theater. Our play tonight, mad About Music. Our starring players, William Powell and Piper Laurie. Our stage in the heart of Hollywood. Good evening. This is Johnny Jacobs and welcome again to the Screen guild theater. In 30 minutes of transcribed Delight. It's a sprightly, whimsical comedy tonight. Laughter like June busting out all over to put us in a sunny summer mood. Starring Piper Laurie as Gloria and William Powell as Richard. With Alan Reed as Trips, the Screen Gill Theater is happy to bring you Universal International's merry confection, Mad About Music.

[B]

I. I suppose you could blame the whole thing on me, but honestly, I wasn't lying. It's never lying if you have your fingers crossed. You see, I was in school in Switzerland at Mademoiselle Annette's. I hadn't seen my mother since I was three. Oh, it wasn't her fault, you understand. It was more her manager, Mr. Dusty Rhodes.

[A]

How will I ever make you understand? You are Gwen Taylor. You're a Hollywood star.

[B]

Yes, Dusty, and I'm also a mother.

[A]

Not for publication, you're not. You think you'd ever get another young girl's part? The kind that's put you where you are? You'd be finished, through. You'd have to start all over.

[B]

All right, I'll start over. If I could only see her.

[A]

You can't.

[B]

If you'd even let me write to her.

[A]

Not a chance. Too dangerous. Look, kid, we've come a long way together since that morning you walked into my office. You were just a youngster yourself, a widow with a baby girl, remember?

[B]

I'm grateful for everything you've done.

[A]

Well, don't be grateful. Be smart. A few more pictures and you'll be fixed for life. Then you can go to Switzerland, climb the highest out, tell the whole darn world you're Mrs. Sarah Hawkinson and you got a daughter in her teens. Now, isn't that worth waiting for?

[B]

Oh, Dusty, you always sound so right.

[A]

Just plain common sense. Anything special in Gloria's letter?

[B]

Well, how did you know? She wrote.

[A]

Are you kidding? What she want us to send her this time?

[B]

Just an elephant tusk.

[A]

An elephant tusk? First a tiger skin, then a voodoo Mask. And now an elephant tusk.

[B]

And I think we're getting off rather easy. She might have asked for the whole elephant. That elephant tusk. I suppose I ought to explain about that. You see, the other girls always talked about their folks. So naturally I wanted to talk about mine. But I couldn't talk about my mother. And I didn't have any father, so, well, I just sort of made up one. And all the girls believed me too. All but Felice. Gloria, if your father's so rich and famous, why doesn't he ever telephone you? How could he phone? From the heart of the jungle, of course. Phones. And anyway, I'd rather have him write. His letters are so wonderful. All about tigers and lions and things. Anyone could make up letters like those. They could not. Yes, they could. Anyone. Even you. Me? Yes. How do we know you didn't write them? Because. Because? Well, you just wait till he gets here. Is he your father? Gloria. Coming here? When? I really hadn't meant to tell you. Maybe you aren't even sure. Yes, I am sure. I'm absolutely sure. But you don't know when. I do know. When? Tomorrow morning. Tomorrow? Tomorrow. On the Continental Express. Gloria. Yes, Mademoiselle Annette? Oh, Felice informed me that your father is coming. Why didn't you tell me, child? Well, I guess it was rather sudden. Oh, a secret. Yes, I understand. Of course, you'll meet him at the station. Oh, no. I mean, he'll only be here for an hour, and he's very busy, you see, and. Oh, nonsense. I couldn't let you disappoint him. Put on your best dress and take some flowers. Pierre will drive you down in my carriage. Oh, I wasn't lying, you understand. I had my fingers crossed. Only I wasn't the only one who went down to the station. All the other girls went down too. So I simply had to meet someone, you see. And then this man got off the train.

[A]

Careful, Porter, you'll scratch the luggage. But.

[B]

But he didn't look like an explorer at all. And then the other man got off.

[A]

Well, here we are at last.

[B]

And, oh, my heart stood still. He was so handsome and distinguished looking. Just the type for a world explorer. And so I rushed right up and threw my arms around him and I said, welcome to Switzerland. And he looked a little surprised. And then he looked at me and said, huh? And then the other man said, what? And then I gave him the flowers and I said, welcome to Brusselshouts. And he said, trips.

[A]

What do we do in a situation like this? Just say thank you. Sir. Thank you, little girl. We are all.

[B]

No, not at all. It's an old custom here we welcome the most distinguished looking visitor on every train.

[A]

Jolly. Shall I get a cab, sir?

[B]

Oh, no. I have a carriage waiting to show you the village. Take you where you're going. Please, you've got to. It's all arranged.

[A]

Oh, well, if it's all arranged. Thank you, young lady. Will you take my arm?

[B]

Hurry, Pierre. The Grand Hotel.

[A]

Don't say the grand, just say hotel. You know there is only one in town. Get up, Moonbeam. Well, we're off. Decidedly off, if I may say it, sir.

[B]

Oh, hello, Aga. Hello, Felice.

[A]

Ah, friends of yours?

[B]

My schoolmates. They came down to welcome you too.

[A]

Well, that's a very interesting custom. Are you Swiss?

[B]

Oh, no, I'm an American. I was born in Georgia.

[A]

Well, that's odd. A Democrat observing a Swiss custom to welcome a Republican. What's your name?

[B]

Gloria Harkinson.

[A]

Well, I'm Richard Todd.

[B]

I'm pleased to meet you. You Gloria. See you at school? Oh, yes, of course. See you at school. Mr. Todd. How long are you going to stay in Brussels, Hotz?

[A]

Five days.

[B]

Five days? Oh, that's awful.

[A]

I beg your pardon?

[B]

I mean. Well, I thought you were just passing through, maybe going to Lucerne. Lucerne is very nice. It's only 20 miles more.

[A]

Do you always welcome people to Brasselhautz by telling them how nice it is in Lucerne?

[B]

Oh, no, not at all. I just like Lucerne. It's lovely there.

[A]

It's lovely here.

[B]

Yes, but there isn't very much to see.

[A]

There isn't much I want to see. I came here to work. I'm a composer.

[B]

Composer? But don't you think you look something like an explorer?

[A]

Good heavens, whoever gave you that idea?

[B]

Oh, no one. I just. Well, you know how girls are, Mr. Todd.

[A]

Very frankly, I'm afraid I don't. Very frankly, I'm afraid you'll soon find out.

[B]

You are very nice, Pierre. Taking them to the hotel and everything. I appreciate it. You know that, don't you?

[A]

Yes. And also I know he is not your father.

[B]

No.

[A]

And he is not an explorer.

[B]

No.

[A]

And that is why you have borrowed my foreign postage stamp, eh? To put on those letters. He does not write, Pierre.

[B]

You wouldn't tell.

[A]

Maybe not, but Mademoiselle Lynette will find out. She asks where I take him. I say the hotel. Right away. She calls him on the telephone. She asks for Mr. Harkinson.

[B]

But there isn't any Mr. Harkinson.

[A]

So she finds out and she starts to wonder and she calls you in.

[B]

Wait. I know I've got a piercing. I'll tell her he's here incognito, naturally, with my fingers crossed.

[A]

But certainly the fingers crossed. Yes, that I am sure will fix everything. But mademoiselle, I assure you there is no Mr. Harkinson here. Besides myself, there is only Mr. Todd.

[B]

Yes, yes, I know Mr. Todd. You see, Gloria has told me everything.

[A]

Everything?

[B]

Yes, but I'm very broad minded in these things. I want to offer him lunch at the Institute.

[A]

What sort of.

[B]

Just the usual. Salad, soup perhaps?

[A]

What sort of institute?

[B]

For young ladies, of course.

[A]

Oh, oh, young ladies. Hard might like that, I think.

[B]

And it would be so wonderful for his daughter.

[A]

Yes, it could be quite a nice. His daughter?

[B]

She's a pupil at the institute, didn't you know? Oh dear, now I've told you. And it's supposed to be a confidence.

[A]

Mademoiselle, I am his confidential secretary. You may trust me even if he does not.

[B]

Oh, then I shall expect him at noon. Thank you and good day.

[A]

My AMEX Blue Cash Everyday card is my go to accessory. When I shop, I can earn 3% cash back on US online retail purchases. Try on the Blue Cash Everyday card. Learn [e-mail] Explore, BCE terms and cash back cap apply. My shopping style is more stay at home than try in store. So my AMEX Blue Cash Everyday card is my go to accessory. When I shop, it's easy to earn by getting 3% cash back on US online retail purchases. Each order brings me closer to more cash back. So go ahead, add the cart and shop the latest styles. Reinvent your look and reward yourself with Amex. And try on the Blue Cash every day card. Learn [e-mail] Explore, BCE terms and cash back cap apply. Fine state of affairs. A fine state indeed. I should quit. That's one. I should just step right up to him and say, Mr. Todd, I'm sorry, but I have to quit. Oh, now really, you don't mean that, Trips. Oh, but I do. I do mean it, Mr. Todd. I'm supposed to be your confidential secretary as well as your manservant. But am I? Oh no. You have secret daughters tucked away in secret institutions and you don't even bother to talk to me about. What are you talking? You know what I'm talking. It's you, sir. You were making such a racket I couldn't work. What's wrong? Oh, nothing, sir. Nothing at all. You were saying something about a child what was that? Just that she expects you for lunch at the Institute at noon. Trips. What on earth are you talking about? Only your daughter, Mr. Harkinson. Idiotic. Completely idiotic. Silly business. Ridiculous. Have to go in there and tell them that. Oh, it's you, Mr. Todd.

[B]

I've been waiting for you out here.

[A]

Yes, I expected you would be.

[B]

Please don't go inside. I can explain.

[A]

I am going inside and I'll explain.

[B]

But you can't spoil it now, not after I had to make you up.

[A]

You had to what?

[B]

Well, I have no father and I can't talk about my mother. And you just happened to come along and then you were it.

[A]

I was it? And what if I don't like to be it?

[B]

But you've got to be. It's a matter of life and death.

[A]

I'm very sorry, I'm sure, but.

[B]

But I'm an American and you're an American and America is my mother country.

[A]

That doesn't mean I have to be your father. Now, let's go in. There you are.

[B]

Welcome to our institute, Mr. Harkinson.

[A]

Mademoiselle, my name is not Harkinson.

[B]

Oh, I understand. I will respect your incognito, Mr. Todd. Young ladies, young ladies. Now just a minute. This is Glo, father. He is a very famous.

[A]

Excuse me, excuse me. But before you go any further, I think there's something you ought to know. When you do me this honor, you rather embarrass me. Please, you embarrass me.

[B]

Oh, please.

[A]

Well, until I realize that you are really paying honor to my daughter.

[B]

Oh, Daddy, Daddy.

[A]

Oh, now, now, now, there now, no tears, no tears. I've never liked too much salt with my food.

[B]

Pierre, you may remove the plates.

[A]

Now, we mightel. Have you finished, monsieur? Oh, yes, yes, quite finished, thank you.

[B]

Oh, I do hope the food was satisfactory. I. I didn't know exactly what explorers are used to eating.

[A]

Oh, penguins. Seal steaks.

[B]

Seal stakes.

[A]

Polar bear chops.

[B]

In Africa, polar bears. Oh, no. In Africa you have lion meat, don't you, Daddy?

[A]

Well, yes, sometimes, but lions are generally a bit tough. Now, giraffes are delicious. And especially the neck. Yes, it's quite the thing for dinner parties, you know. Why, 20 people can sit down with just one giraffe's neck. Yes, and all on one side of the table.

[B]

Would you tell us about the time you shot the rhinoceros?

[A]

Well, it was either me or the rhino. And I'm here and he sleeps in a lovely rhinoceros grave.

[B]

In a museum.

[A]

Oh, in a museum. Yes, naturally.

[B]

And what about the elephant?

[A]

The elephant? Oh, I just took my gun and.

[B]

No, Daddy, the one you captured.

[A]

Captured? Oh, yes, yes, yes, yes. Well, you see, I have a peculiar effect on elephants. I just look them in the eye.

[B]

In only one eye?

[A]

Yes, yes, it's rather a job to look an elephant in two eyes. You see, one is on one side, you understand, and then comes the trunk that's in between. And then the other eye is on the other side.

[B]

But how did you capture him? Single handed? Didn't you, Daddy?

[A]

Well, not quite. I used both hands.

[B]

You tracked him for days?

[A]

Oh, for days and days. Uphill and down dale. And then one morning, I met him face to face. He was having breakfast. He seemed rather cross.

[B]

What did you do?

[A]

But I stepped up, fixed my stare on one eye and said in my most decided fashion, elephant, I am your master. Well, he came toward me running. Stop, I said. His steps grew slower and slower and then his trunk reached down. He grabbed me around the waist. I'm so sorry, mademoiselle. I was just illustrating.

[B]

Go on, go on.

[A]

Well, he lifted me high in the air. I thought it was the end, but he dropped me gently on the back of his neck and looked up and smiled. Then he lifted his trunk and blasted out a joyful call and carried me off in the jungle to the. To the golden throne of the great White Princess.

[B]

The White Princess? You never wrote me about her.

[A]

Didn't I? Oh, well, that's. That's quite a story. You see. Pardon me, monsieur. I bring you a little something from our garden. A boutonniere for a great man. Oh, not really. Great Pierre.

[B]

Oh, yes, Daddy. Great Pierre says so himself.

[A]

And you see, monsieur, I know.

[B]

Mr. Todd changed everything for me. He was the nicest father I had ever made up. And I only wished he could stay forever. But he couldn't stay. He had to go to Paris. And that last afternoon, he came up to my room to talk to me and look at my trophies.

[A]

Tiger skin, voodoo mask, elephant tusk. I sent you all those.

[B]

Every one of them.

[A]

Well, I've made myself quite a hero, haven't I? Haven't you?

[B]

Oh, but I wasn't lying. I have my fingers crossed.

[A]

I think it's black magic. Five days ago I was a bachelor. No wife and no family. Now I have a daughter and somewhere, I dare say, a wife. Tell me, Gloria, she is nice as you please.

[B]

You mustn't ask me about my mother.

[A]

Only what she looks like and where she lives. Those questions come up sometimes, you know.

[B]

Well, I do have a picture here.

[A]

That would help, I imagine.

[B]

I keep it locked in this drawer. I've never shown it to anyone else, but I guess it's all right for you to see it.

[A]

Oh, certainly. We're closely related.

[B]

Here it is. It was taken a long time ago when I was a baby.

[A]

Well, she's quite attractive.

[B]

She's beautiful.

[A]

Strange, though, she. She looks so familiar, as if I'd met her somewhere.

[B]

Oh, I'm sure you haven't. May I put it back now?

[A]

Of course. What's her name?

[B]

Parkinson.

[A]

Oh, yes. Same as mine, isn't it? Well, I'm afraid I'll have to get along now. Tripps will be worried about missing the train. It's been a lot of fun being your father.

[B]

Thank you.

[A]

You are coming down to see me off?

[B]

Oh, yes. Mademoiselle told me I could.

[A]

Oh, that's fine. I'll see you later, then. Goodbye, daughter.

[B]

Goodbye, Daddy. Gloria, it's me. Come in Aga. Mr. Harkinson. I'd like to. Oh, he's gone. Just this very moment. And I went and got him a Paris paper. I thought if he was going to Paris, he'd. I saw the Paris papers in Paris, you know. Oh, well, we can read it ourselves. You know, sometimes they have the wickedest things. Exciting things, too. Like the story they have about Gwen Taylor. Gwen Taylor? The American motion picture star. She's in Paris for the Exposition and they say she's. What's the matter? Is anything wrong? Oh, no, nothing. Will you excuse me now, please? I have to hurry.

[A]

Well, we're moving, sir. Yes, Tripps, we're on our way. Your daughter didn't come down to say goodbye. She said goodbye at the school. Still, if I were your daughter, sir, you were going away with polar bears and all sorts of other animals. But I'm not going away with polar bears. I'm glad to hear that, sir. And you are not my daughter. Oh, just an example, sir. Mere simile. Another thing. Gloria is not my daughter either. Is that perfectly clear? Perfectly, sir. We're leaving Switzerland just as we came. With neither kith nor kin nor Mr. Todd.

[B]

Daddy, where are you?

[A]

Tripps, you may have to revise that statement. Come on. You have no ticket, young lady. Off you go.

[B]

You can't put me off. My father won't let you on this train.

[A]

I am the captain of the ship. And who says your father is even here? Who says he isn't?

[B]

Daddy, Daddy.

[A]

You, monsieur. You are the tell him trips. Yes, sir. Definitely, sir. I never doubted it for A moment, sir. He is of harbor. Yes. Yes, that much is clear. Gloria, your mother is in Paris and you want to see her. But why couldn't. Why couldn't she come to Switzerland?

[B]

Well, because she just can't, that's all. So I had to go to her on the train. It's a matter of life and death.

[A]

It's always life and death, isn't it?

[B]

Well, I won't be troubling you anymore. You won't be seeing me again.

[A]

I might.

[B]

No, I think you're going to disappear at the North Pole. Get lost. Really, I'm sorry to do it to you, but it seems the best way. Of course, I'll miss you a lot.

[A]

I'll miss you too. And since you're sending me to such a frigid doom, shouldn't you grant me one last request?

[B]

What?

[A]

Tea tomorrow afternoon in Paris.

[B]

Oh, that sounds nice.

[A]

And bring your mother.

[B]

My mother?

[A]

My wife. Remember? Mrs. Hawkinson?

[B]

Oh, yes, I will. I mean, well, anyway, I'll try.

[A]

Why, Gloria, we mustn't even let her know you're in Paris. If she ever had you in her arms for a minute, she'd never let you go again.

[B]

And that wouldn't be good, would it?

[A]

No, that would be very bad. You see, a big star like Gwen, she doesn't belong to you or me or any one person. She belongs to her fans. See? She's different. Almost like a princess in a fairy tale.

[B]

I see. And a princess in a fairy tale can't have a daughter as big as I am, can she?

[A]

Well, no. But next year she's gonna be with you all the time and, well, just for now, you better get right back to school. Just a minute.

[B]

Hello.

[A]

Well, Gloria. What a nice surprise. I hadn't expected you until this afternoon. Come in.

[B]

I'm sorry to bother you so much.

[A]

Bother? Oh, it'll be silly. Did you find your mother all right?

[B]

Yes, I did.

[A]

And did you have a nice time?

[B]

Mm. A very nice time. We. We.

[A]

Oh, my. Gloria. What's the matter? What is it, my dear? What's wrong?

[B]

Nothing.

[A]

Now, now, my dear. Please, you can tell me. Remember, I'm your father. You picked me out yourself. Now, that's better. Now, then, what's it all about?

[B]

Could you send me back to school tonight?

[A]

Tonight? What would your mother say?

[B]

She gave me the money to go, but I lost it.

[A]

Did you tell your mother you'd lost it?

[B]

No, I didn't think I should.

[A]

She's very poor and stopping at the Ritz.

[B]

Well, she's Very poor in a very rich way.

[A]

Oh, the new poor. But you. You had a good time?

[B]

Oh, yes, I had a lovely time. She was so glad to see me. She hugged me till she took my breath away.

[A]

And that Gloria. I see you have your hand behind you.

[B]

I do.

[A]

You couldn't possibly have your fingers crossed.

[B]

Just a little. Anyway, we talked and talked. And then I said I better go back to school because Mademoiselle didn't know I'd come. And Mama said I was right and gave me the money.

[A]

Excuse me. When you cross your ankles, does that count the same as fingers?

[B]

Well, sometimes, I guess.

[A]

Now, let's have the truth. You really want to go home?

[B]

Yes, please.

[A]

All right, then. You're going home to the Ritz Hotel.

[B]

The Ritz?

[A]

Yes. There was a picture in this morning's paper. The American screen star, Ms. Gwen Taylor. I've been wondering if she remembers a certain Mrs. Harkinson. You'll have to hurry, Gwen. Those reporters are due here in about five minutes.

[B]

Dusty, go out and meet them, will you? Keep them out in the hall. I'll call you.

[A]

Right. But make it snappy, will you?

[B]

That call. What if they put it through? Why should it take so long? Thank heaven. Hello? Yes, I'm ready. Hello, Mademoiselle Annette? This is Mrs. Hawkinson. I wanted to.

[A]

What?

[B]

In Paris? Who? Yes, I've got it. I'll call you back. Dusty. Dusty.

[A]

What's the matter, Gwen? What's up?

[B]

Gloria's here in Paris. She's been kidnapped.

[A]

Nonsense. She's on her way back to school right now.

[B]

How do you know?

[A]

I sent her back myself.

[B]

You sent her back alone? You. You did that to that baby?

[A]

She's not a baby anymore. Look, Gwen, you got to be sensible. If those reporters ever got wind of.

[B]

That kid, they're going to. I'll tell them myself. Now, Gwen, don't you understand? She's been kidnapped. That's the only way to find her. Put her on the front page, find that, that. That. Mr. Richard Todd.

[A]

I am Richard Todd. You.

[B]

What have you done with my child?

[A]

Something that possibly you should have done years ago. All right, Gloria, you may come to your mother.

[B]

No. No, please. This is all a mistake. She's not my mother. I never saw her before. Gloria. Oh, my baby. Your baby? You called me your. Oh, Mommy. Mommy. I wasn't going to tell. I know you weren't, darling. You didn't have to see. I was going to tell myself. You see, Mommy, after that, it felt sort of natural to call him Daddy. And when he said I had to come and see you. Well, he just isn't a kidnapper. Well, he couldn't be. He's a composer. That may be part of the reason you liked him so much. I've always been mad about music myself. I suppose I must expect you to take after me. Well, Mr. Todd told me he was hoping just this once that maybe you might take a little after me.

[A]

I told you what? My darling Gloria, do you have your fingers crossed?

[B]

I should say so, Daddy, on both hands.

[A]

I don't know why they called it mad about music. It left us all pretty happy, I'd say. Yes. And now to make us even happier, here are William Powell and Piper Laurie back on stage for a few final words. A very few words, Johnny. That's enough to tell you how wonderful it is to appear on this stage again and to do our bit for the greatest cause in our industry, the Motion Picture Relief Fund, which receives all the proceeds from this radio program. Piper, what do you think?

[B]

Golly, Mr. Powell, I'm not old enough to think. Think?

[A]

Well, if you were old enough to think, what do you think you'd be thinking right now?

[B]

Oh, that. Mr. Jacobs is waiting to announce next week's show. And maybe we ought to be running along.

[A]

Kids, they're wonderful. Good night, everybody, and thanks.

[B]

Thanks again. Good night.

[A]

Next week, another delightful half hour when the Screen Guild Theater brings you Christmas in July starring two of your very favorite performers, Eddie Bracken and Nancy Gates. Remember, next week, Eddie Bracken and Nancy Gates in Christmas in July. Be sure to listen. Mad About Music was presented through the courtesy of Universal International Pictures, now releasing Just across the Street. Co starring Ann Sheridan and John Lund. William Powell is appearing by arrangement with Metro Goldwyn Mayer, producers of the Technicolor picture Scaramouche, starring Stuart Granger, Eleanor Parker, Janet Lee and Mel Ferrer. Piper Laurie will soon be seen in Has Anybody Seen My Gal? A Universal International Technicolor production co starring Charles Coburn, Rock Hudson, Gigi Perrault and Lynn Berry. The Screen Gill Theater was transcribed in Hollywood. This is John Jacobs. And remember, be sure to listen to the Screen Guild Theater again next week at the same time. Hey, Sal. Hank. What's going on? We haven't worked a case in years. I just bought my car at Carvana and it was so easy. Too easy. Think something's up? You tell me. They got thousands of options, found a great car at a great price and it got delivered the next day. It sounds like Carvana just makes it easy to buy your car, Hank. Yeah, you're right. Case closed.

[B]

Buy your car today on Carvana. Delivery fees may apply.