Episode 396 - Ruth Hussey

Summary

Stars on Suspense (Old Time Radio) Episode 396 - Ruth Hussey Release Date: November 25, 2024

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Introduction

In Episode 396 of Stars on Suspense, hosted by Mean Streets Podcasts, listeners are treated to a captivating showcase of Ruth Hussey’s remarkable talents. Renowned for her Oscar-nominated role in The Philadelphia Story, Hussey delivers stellar performances in two distinct segments: the suspense-filled “Firing Run” and a recreated radio broadcast of The Philadelphia Story. This episode not only highlights her versatility as an actress but also immerses listeners in the thrilling atmosphere of old-time radio drama.

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1. "Firing Run" on Suspense

Plot Summary: “Firing Run” is a gripping tale that places Ruth Hussey in the role of the wife of an Air Force test pilot. The narrative unfolds with her husband, Mark, preparing to execute a precarious mission to shoot down a drone. Unbeknownst to him, his young son Petey and another child have clandestinely boarded the drone, turning what seems like a routine test flight into a life-and-death scenario.

Key Points:

• Tense Preparations: The episode begins with the family interacting over breakfast, subtly hinting at underlying tensions and the high stakes of Mark’s mission.

• Discovery of the Stowaways: As Mark heads to the flight line for the final firing run, Petey’s curiosity leads him and his friend Hap to explore the drone, inadvertently placing themselves in the crosshairs.

• Climactic Confrontation: Ruth Hussey’s character, Sue, desperately tries to communicate with Mark to abort the mission, leading to a heart-pounding sequence where the perilous situation reaches its peak.

Notable Quotes:

• Sue (Ruth Hussey):
  [12:20] "Enemy planes don't fly straight and levelly twist and turn and evade. We don't prove the rocket. If I shoot down a sitting duck just to look good."

• Mark:
  [17:27] "I could see the vapor trails now, high over the desert. The white track of the ancient bomber crawling across the sky."

• Petey:
  [22:38] "I want my father. I want my father. It's gonna be all right, Kathy."

• Climactic Decision:
  [26:31] Mark urges Sue to let him make an emotional decision to prevent the tragedy:
  "If I could find the courage."

Conclusion: The suspense reaches its zenith as Sue and Mark work against time to save the children. Ruth Hussey’s portrayal of a mother torn between duty and family adds profound emotional depth to the narrative, making “Firing Run” a standout episode that exemplifies the true essence of radio suspense.

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2. Recreated Radio Broadcast of "The Philadelphia Story"

Plot Summary: The second segment of the episode transports listeners back to 1942 with a recreated radio theater broadcast of The Philadelphia Story. Directed by the legendary Cecil B. DeMille, this adaptation features Ruth Hussey alongside Hollywood icons Cary Grant, Katharine Hepburn, and James Stewart. The narrative centers around high society, matrimonial tensions, and personal redemption, mirroring the complexities of the original film.

Key Points:

• Wedding Day Drama: The story unfolds on the eve of Tracy Lord’s wedding, where past relationships and misunderstandings threaten to overshadow the impending nuptials.

• Character Interactions: Ruth Hussey’s character, Elizabeth Embry, navigates familial pressures and romantic entanglements, providing a nuanced performance that captures the intricacies of high society relationships.

• Climactic Resolution: As tensions escalate, revelations and heartfelt conversations lead to a resolution that emphasizes forgiveness, understanding, and the true meaning of love.

Notable Quotes:

• Hap (Tracy’s Mother):
  [36:34] "Wait till you see your fiance. He's all shiny. What are you talking about? Brand new riding britches."

• William N. Robeson (Dexter Haven):
  [43:35] "I never considered you as that, nor myself."

• Hap:
  [51:02] "I told you, I never had the slightest recollection of doing any such thing."

• Final Affirmation:
  [84:05] "I love you, Father."
  [84:07] "I love you too, Tracy."

Conclusion: Ruth Hussey’s performance in The Philadelphia Story’s radio adaptation showcases her ability to embody complex characters with grace and depth. The expertly directed broadcast by Cecil B. DeMille seamlessly blends classic storytelling with emotional resonance, offering listeners a nostalgic yet fresh experience of this beloved narrative.

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Insights and Reflections

Episode 396 masterfully intertwines Ruth Hussey’s dramatic prowess with the timeless appeal of old-time radio. Through “Firing Run” and The Philadelphia Story, listeners are immersed in narratives that highlight themes of heroism, familial bonds, societal expectations, and personal growth. Notably, Hussey’s ability to convey profound emotional layers in both suspense and romantic drama underscores her enduring legacy in Hollywood.

The inclusion of notable quotes at precise timestamps allows listeners to revisit pivotal moments, enhancing the episode's engagement and providing memorable highlights that illustrate the essence of each story.

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Conclusion

Episode 396 of Stars on Suspense serves as a tribute to Ruth Hussey’s exceptional talent and her significant contributions to both film and radio. By presenting two distinct yet equally compelling narratives, Mean Streets Podcasts delivers an episode that is not only entertaining but also rich in historical and emotional depth. Whether you are a longtime fan of old-time radio or new to the genre, this episode promises to keep you enthralled with its blend of suspense, drama, and stellar performances.

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Notable Quote Example:

• Sue (Ruth Hussey):
  [12:20] "Enemy planes don't fly straight and levelly twist and turn and evade. We don't prove the rocket. If I shoot down a sitting duck just to look good."

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Transcript

[Ruth Hussey]

Would you hand me that, please? Thank you.

[William N. Robeson]

Now, let's see.

[Ruth Hussey]

Survey. Survive.

[Cecil B. DeMille]

Susanna.

[Ruth Hussey]

Suspect. Ah, here we are. Suspense. Meaning held in doubt, expressing doubt. The state of being uncertain, undecided or insecure. State of anxious expectation or waiting for information such as to keep one in suspense. Therefore delay acquainting him with what he is eager to know.

[Cecil B. DeMille]

Suspense.

[Narrator]

Hello and welcome to Stars on Suspense with another Hollywood legend in radio's outstanding theater of thrills. Our leading lady today is Ruth Hussey, who's perhaps best known for her Oscar nominated performance in the Philadelphia Story. It was her breakout role after a few years in Hollywood in smaller parts. Before she hit the big screen, she worked as a model and had a stint as a radio fashion commentator. She mostly moved away from films in the late 40s and early 50s as her career focused on Broadway and the small screen. But she still made some memorable film appearances. One of my favorites is her performance opposite Rain the Land in the Uninvited. But the role she's remembered best for is that of the cynical photographer who accompanies Jimmy Stewart on his undercover assignment to cover Katharine Hepburn's wedding. In the Philadelphia Story, Ruth Hussey made only one appearance on Suspense. It came in the late 50s, after her career had shifted mostly to television. But she made the most of that one episode as it's a classic suspense nail biter. Originally aired on CBS on November 3, 1957. It's Firing Run. We'll hear an Armed Forces Radio Service rebroadcast of the episode. Ruth Hussie plays the wife of a test pilot who's about to shoot down a drone, an unmanned plane operated remotely from the ground below. But unbeknownst to him, his son and another child have stowed away and are inside and in the crosshairs. And ground control is unable to make contact with the pilot as he zeroes in on his target. It's a story with a seemingly improbable premise, but it's convincingly sold by the performances, especially that of Ruth Hussey. And we'll close today with Ms. Hussey recreating her celebrated role in the Philadelphia Story in a Lux radio theater broadcast from July 20, 1942. She's joined by her co stars, Cary Grant, Katharine Hepburn, Jimmy Stewart and Virginia Wydler, introduced by Cecil B. DeMille. It's a special Victory Theater broadcast of the popular series A Star Studded Benefit to sell War Bonds. But first we're taking off with Ruth Hussie in Firing Run. That episode gets underway right after these Messages.

[Ruth Hussey]

There's a common phrase that's being kicked around in your house and mine more and more every day, and that is high cost of living. Sound familiar? I bet it does. I'm sure you've heard Mother and Dad mention it more often than once, and you will undoubtedly hear it many more times as the days go by. Now, just in case you're hazy on exactly what it means, let me give you a rough idea. It means that the cost of your clothes and food has gone up to a point where the family budget has become somewhat strained. Well, that's one of those things. And you can't be expected to increase the family income. But there are some things you can do to help. For instance, take better care of your clothes when you come home from school. Change into old clothes before you go out to play. Take care of your health because doctors and medicines are expensive. Eat well, but don't waste. Take your full share, but eat all you take. Try not to ask Mother and Dad to buy you things you don't actually need. Make the best of the most of what you've got. Try to be more than usually careful of your school equipment such as paper, pencils and so forth. Make them last and go as far as you possibly can. Remember that all members of a family must pull together at a time like this. So do your share. Looking for a good food buy? Then get Velveeta, Kraft's famous pasteurized processed cheese food. Velveeta is one of the best food buys you can make because Velveeta is not only delicious, but it's nourishing too. And you can use Velveeta so many ways in snacks, sandwiches and for a variety of economical hot main dishes. Melt Velveeta for a smooth golden cheese sauce to extend leftovers or to use in new made dishes. Make it your handy helper for all kinds of money saving hot meals. Get it tomorrow. Your best buy in cheese food Velveeta made only by crafts. Your best bet for hot breakfast is Quaker Oats. The giant of the cereals is Quaker Oats. Delicious, nutritious, makes you feel ambitious. The giant of the cereals is Quaker Oats. Yes, if you want to be a star in sports and school activities, make your hot cereal Quaker Oats. Cause Quaker Oats helps grow the stars of the future. You get more growth, more endurance from oatmeal than from any other whole grain cereal. Remember, Quaker and Mother's Oats are the same. And here's a word from RCA Victor. Last week the curtain went up on the 75th anniversary of the National Baseball League and the 50th anniversary of the American League. There's no better way to celebrate than by enjoying at firsthand the thrills and the clean sportsmanship of baseball today. Baseball today. It's the American way. Of course, the next best thing to a seat in the stands is a seat in front of a 19 inch RCA Victor television. RCA Victor's new Extra powerful picture pickup gives you the best possible reception everywhere. You know RCA Victor television is most in demand. But here's really important news. RCA Victor 19 inch television is available. It's on display now at dealer stores. So insist on the best. Insist on seeing 19 inch million proof television by RCA Victor. When you do, you'll agree. Inch for inch, your best buy in Television is RCA Victor 19 inch. And now a tale well calculated. To keep you in suspense. Sus and the producer of radio's outstanding theater of thrill and adventure, William N. Robeson. The story you are about to hear may require accessory equipment in addition to your radio set, especially if you're a parent. We suggest that you provide yourself with a glass of water to slake the dryness in your mouth and melt the lump in your throat. And also a handkerchief or some other suitably absorbent material to cope with your tears. It is a story of unpremeditated murder, the unwitting and unplanned killing of a little boy by his father. It is a story in which fate overtakes love and tragedy lurks in the blue empyrean. It is a story you will not soon forget. Listen. Listen. Then, as Ms. Ruth Hussey stars in Firing Run, which begins in exactly one minute. How can heroism be symbolized? One example is in the shape of a bronze cross with an eagle on the center and a scroll below the eagle bearing the inscription for valor. The ribbon is a broad band of blue, bordered on both sides by narrow white stripes and edged with red. This is the United States Army's Distinguished Service Cross, awarded to those soldiers who distinguish themselves by extraordinary heroism in connection with military operations against an armed enemy. It is worn on the left side above the breast pocket and is one of the outstanding accolades our country can bestow. Of the millions of men who have served in the armed forces of our country, only a comparative few have so conducted themselves that as to earn this valued award. The Distinguished Service Cross of the United States army stands as a model for dedicated service and heroism of a high order. It is one symbol of heroism which only the brave and determined may attain and now, Firing Run, starring Miss Ruth Hussein Fuzzy. A tale well calculated to keep you in suspense.

[Mark]

Some of them looked like killers, the aces of World War II and Korea. Others, like Mark, are gentle and won't talk of combat. Mark would never speak of war. But I know that what happened to him in the blue New Mexico sky that morning left a scar deeper than any he'd had in action. Mark had been an ace in Korea, and he's won more aerial gunnery meets than any other regular captain in the Air Force. He's so good that for years he's been the number one test pilot on guns and rockets and at desert proving grounds. A pleasant life for all four of us once I'd learned to get used to sand in the rugs and scorpions in the backyard. A settled life almost like a civilian's, until that horrible morning Mark had a rocket test flight. So the day started early with the four of us at breakfast.

[Ruth Hussey]

Hap, would you pass the cream, please?

[Hap]

Oh, sure.

[Mark]

Did Hap hold the handle toward your father?

[Petey]

I've told you, I forgot. Dad, can I watch the drone take off? Me too.

[Ruth Hussey]

What, big shot?

[Petey]

Watch the flying fortress take off.

[Ruth Hussey]

I don't want you kids cluttering up that flight line today. This is the last firing run of the series.

[Mark]

And there's also the small matter of school.

[Petey]

Sergeant Crenshaw said I should help him start the engines again.

[Ruth Hussey]

You sure he did?

[Petey]

Yeah, dad.

[Mark]

Honest.

[Ruth Hussey]

All right.

[Petey]

Daddy, are you gonna fly the big plane? Nobody flies the big plan. It flies itself, stupid.

[Mark]

Hap, I warned you about talking to your brother like that.

[Petey]

Yes, Mother. Look, Petey, Lieutenant Cameron, you know him? He flies the big plane. Only he flies it from the ground by radio. Then dad shoots it down with rockets from his jet, See? Like this.

[Mark]

Finish your breakfast.

[Petey]

I could fly the big plane. I'll bet I can too. Fly. I flew my scooter yesterday right over the px.

[Hap]

You're a liar, Hap.

[Mark]

I'll not warn you again.

[Petey]

Well, he is a liar.

[Mark]

He's just going through a stage. Now. What? Oh, Hi, Kathy.

[Petey]

Hello, Mrs. Stacy. Can hap come out and play?

[Mark]

Sure. Go play with your new conquest, the colonel's daughter. What a politician I am not. Your school bus is due in 20 minutes, so don't get lost.

[Hap]

My food too, Mommy.

[Mark]

You clear out too, then bang the door. Oh, honestly.

[Mrs. Stacy]

Never a dumb moment.

[Mark]

Is this the big day, darling?

[Ruth Hussey]

It sure is. Every brass hat in the Pentagon's waiting for the results.

[Mark]

Goodness. Don't miss.

[Ruth Hussey]

You sound like Don Cameron. He offered to make the drone fly straight and level so I couldn't miss.

[Mark]

Why don't you let him?

[Mrs. Stacy]

Oh, this is a test, Sue.

[Ruth Hussey]

Enemy planes don't fly straight and levelly twist and turn and evade. We don't prove the rocket. If I shoot down a sitting duck just to look good.

[Mark]

That's my boy.

[Ruth Hussey]

Well, I got a charge.

[Mark]

Will you be home for lunch?

[Ruth Hussey]

Yes.

[Hap]

Hap.

[Mark]

Petey, your father's leaving. Where are they?

[Ruth Hussey]

Skip it.

[Mrs. Stacy]

Probably heading for the flight line to.

[Ruth Hussey]

Drive the sergeant nuts. Don't worry.

[Mark]

Don't worry, he said, and I didn't. As I headed back for the dishes, my mind was on the day's marketing, not on Hap or Petey. If I'd only known where they were.

[Petey]

Hap. My father told me to stay off the field. It's okay, Kathy. Sergeant Crenshaw is my buddy. That's his drone on the Runway. Heck, he already started the engines. He said I could help. Well, come on. Let's go see him in the cockpit anyway. Golly, have my daddy shoot me.

[Hap]

Come on.

[Petey]

You ever been in a flying fortress?

[Hap]

No.

[Petey]

Come on, then. I want to come, too.

[Hap]

You go home. You're a fibber.

[Petey]

We don't want fibbers around. I am not. All right, Petey. I didn't mean it. But listen, you go home anyway. You might get hurt here. Come on. Kathy, do you think we ought to. Come on. Hang on to my hand. It's so windy. It's blowing my dress. It's just a prop blast. Stay down low like this. Okay. I don't like it. Half us go back. Aw, come on. We'll run through the Bombay. Here, help me up. It's spooky here. Follow me along the catwalk. Don't slip. Oh, boy. Here's the flight deck. Here's where the navigator sits. And up there's where path. What's wrong? He's not here. The sergeant's not here. Hap, I want to go. Yeah, come on.

[Ruth Hussey]

Rosic. The Bombay sergeant.

[Mrs. Stacy]

She's ready to row.

[Petey]

No, no, no.

[Hap]

Sergeant.

[Ruth Hussey]

He's up.

[Hap]

We're moving.

[Petey]

The plane's.

[Ruth Hussey]

The second act of suspense continues in one minute. Another visit with Joe and Daphne Forsyth.

[Petey]

Joe. Joseph.

[Cecil B. DeMille]

What? What, what?

[Petey]

Who is she?

[William N. Robeson]

Who's who?

[Petey]

Who were you dreaming about?

[Ruth Hussey]

Was I dreaming?

[Petey]

You were talking in your sleep and giggling.

[William N. Robeson]

How about that?

[Petey]

What were you giggling about?

[William N. Robeson]

I can't remember.

[Petey]

Joseph, you mentioned a girl's name.

[Ruth Hussey]

Oh, what name? Spice Spas.

[Petey]

Yes, spas. Candy spas. It sounded like a dancer or a striptease. Or something.

[William N. Robeson]

Oh.

[Petey]

Oh, what?

[Cecil B. DeMille]

Well, I must have said Candy Spots.

[William N. Robeson]

Candy Spots is a horse. I bet on him once.

[Petey]

You bet on a horse?

[Hap]

Yeah.

[William N. Robeson]

We had a pool.

[Ruth Hussey]

I could have won $3.

[Petey]

Well, you should have put the money into savings bonds. They're a much better investment.

[Ruth Hussey]

It was only 50 cents.

[Petey]

For 63 cents a day, you can buy a $25 bond a month. And one year's worth of bonds will bring $300 when they mature. What's more, they're guaranteed to be winners. The whole United States stands behind them.

[William N. Robeson]

Uh huh.

[Petey]

So don't waste money betting on horses. Put it in savings bonds.

[Ruth Hussey]

Okay. Can I still dream about horses, though?

[Petey]

If you do it quietly. Say, why were you giggling about a horse?

[Ruth Hussey]

And now we continue with Act 2 of Firing Run, starring Ms. Ruth Hussey, a tale well calculated to keep you in suspense.

[Petey]

Mommy, can I have a cookie? You just finished breakfast, Mama.

[Mark]

Oh, all right. Take one for Kathy and one for your brother and tell him it's time for the school bus.

[Petey]

They flew in airplane.

[Hap]

Hmm?

[Petey]

They flew away in the airplane.

[Mark]

I can't understand a word you say with your mouth full.

[Petey]

I said help, and Cassie flew away in the airplane.

[Mark]

Oh, Petey, don't fib like that.

[Petey]

He did.

[Mark]

Now, Petey, listen to me. Mommy knows you aren't really a fibber, but other people don't. So just try to say only what happens. What really and truly happens. All right?

[Petey]

All right.

[Mark]

Now go and tell Hap it's time for the bus.

[Petey]

He flew away in the airplane with Cassie.

[Hap]

P.T.

[Mark]

Stop that fibbing.

[Petey]

They did, Mommy really and truly. They got into his tummy and then they flew away.

[Mark]

What kind of an airplane?

[Petey]

The big one.

[Mark]

The drone. Oh, no, they couldn't have. Petey say help me. If you're lying, I. Come on.

[Ruth Hussey]

Air Force 647 from Ground Control. Air Force 647 from Ground control. How do you read me, 647? Ground Control from Air 4647. I read you badly, three by three.

[Mrs. Stacy]

Very garbled.

[Ruth Hussey]

Our transmitter's okay, Lieutenant. Must be his receiver. Yeah. Okay, Sergeant. Mark, you're coming in loud and clear. Trouble's at your end. Say again, Don, you're fading. Air Force 647 from ground control. We read you four square. I say again, we're going to worry about it now. When the drone reaches 12,000, I'll make my first firing run.

[Mrs. Stacy]

Air Force 647, over and out.

[Ruth Hussey]

What the. What's that dame doing here? Joe, tell her to get that cotton picking car off the flight line. Wait a minute. It's Captain Stacy's wife. See what she wants. Sergeant, Air Force 647. This is Ground control. I'm afraid you can't stay out here, Mrs. Stacy. We're running a firing test.

[Mark]

I know, I know, Sergeant. I'm not sure, of course, but I think. Well, it's possible that my boy is in the drone.

[Ruth Hussey]

What hap.

[Mark]

I think so. And Colonel Mazda's daughter.

[Ruth Hussey]

Oh, now, Mrs. Stacy, that couldn't be. It just couldn't.

[Mark]

I think they are.

[Ruth Hussey]

No, ma'am. I buttoned up that drone myself. I started the engines and lined her up on the Runway. And there's nobody in there.

[Mark]

Are you sure?

[Ruth Hussey]

Absolutely certain. Now, you just drive on home and I'll bet you'll find that young fellow robbing your icebox. Oh, hi there, Peony. Oh, Sergeant, I didn't see you in the backseat. Know where your brother is? Petey?

[Mark]

He says he saw them get in the plane.

[Ruth Hussey]

Oh, so that's it. Well, my little boy did the same thing when he was your age. But, Petey, we don't like storytellers in the Air Force.

[Petey]

They did too. Get in. I got in the back and you got out the front.

[Hap]

Oh, then you drove off.

[Ruth Hussey]

Drove up in what?

[Petey]

That jeep.

[Ruth Hussey]

What jeep? Which one?

[Petey]

The jeep with the red flag on it.

[Ruth Hussey]

He's right, Mrs. Stacy. He isn't telling a story. Act three of suspense follows. In one minute, we have together ample capacity and freedom to defend freedom. This is NATO, the North Atlantic Treaty Organization. NATO's many achievements are plates of the shield which it is forging to protect peace and freedom. But the shield is still thin and needs constant strengthening. True, NATO forces in Europe cause any potential aggressor to exercise caution. But these forces are insufficient to remove all threat of attack. As NATO forces grow, so do hopes of world peace. The United States of America is a part of NATO. You should be aware of and alert to the objectives and programs of the North Atlantic Treaty Organization. And now we continue with Act 3 of Firing Run, starring Ms. Ruth Hussey, a tale well calculated to keep you in suspense.

[Mark]

On the ground. It was horrible, with Don Cameron trying hopelessly to contact Mark and Mark's unheeding voice crackling from the radio.

[Ruth Hussey]

Jet647 from ground control. Mark, break off. Do not, repeat, do not make your run. Commencing first run. 10 seconds. Mark, break off. Abort your run.

[Mark]

I could see the vapor trails now, high over the desert. The white track of the ancient bomber crawling across the sky. Mark tracing a contrail swiftly and precisely above and behind it. Overtaking it. It was horrible on the ground. But when I thought of the terrified children in the cockpit, then it was unbearable.

[Petey]

I want my father. I want my father. It's gonna be all right, Kathy. Petey will tell him. The school bus must have gone by. Mom will ask Petey and he'll tell her.

[Hap]

Maybe.

[Petey]

Maybe they won't believe him. Yes. Yes, they will too. Cassie, look. There he is.

[Hap]

What?

[Petey]

Oh, my dad.

[Ruth Hussey]

Look.

[Petey]

See way high. See the contrail. Oh, half. I want my father. He's turning. Maybe he knows. He isn't coming toward us. He's just turning up there like he's waiting.

[Ruth Hussey]

Sue, it's no use. I can't contact him at all.

[Mark]

What are we gonna do, Don?

[Ruth Hussey]

I don't know. Pray that he misses. That guy doesn't miss. Lieutenant. Can't you dive her for the deck and land? I've that old racket. Pull the wings off it. Wait, wait. There he is again. Ground control from 647. I'm in position. Commencing my first run.

[Mrs. Stacy]

Angels 15.

[Mark]

Suddenly, it was not Mark at all. That cold, relentless voice chanting a song of death. It couldn't be Mark. It was the voice of a stranger. A killer stalking my little boy. Stop him.

[Hap]

Stop him. Stop him.

[Ruth Hussey]

So snap out of it. Hang on to yourself. Begin evasive action. Don, make it good. Make it good, he says. Now, look, Sue, I'll do my best. Just before he reaches his point of release, I'll try a high wing over. It'll shake up the kids. But if the wings stay on. There he goes, Lieutenant. There he goes.

[Mrs. Stacy]

Wait, wait.

[Ruth Hussey]

We've got to wait till the last second.

[Hap]

Go.

[Petey]

Cassie.

[Hap]

He's turning toward us.

[Petey]

He's coming at us. Oh, Daddy. Daddy. Daddy.

[Ruth Hussey]

No, no, don't shoot.

[Petey]

What's happening? We're turning.

[Hap]

We're falling.

[Petey]

Oh, we're almost upside down.

[Hap]

Oh, Daddy.

[William N. Robeson]

Daddy.

[Hap]

Daddy.

[Ruth Hussey]

Daddy. You can look, Sue.

[Mark]

No, no.

[Mrs. Stacy]

He missed.

[Ruth Hussey]

I can't hardly believe it. He missed you. Fox team Lieutenant this time. Very nice, Dan. Very nice. All right, I'll try the second solo.

[Mrs. Stacy]

I'll line up better this time.

[Mark]

Oh, darling, please.

[Ruth Hussey]

You won't miss twice, Lieutenant. You know that I'm in position, starting my second firing run. Commence your evasive action. If we can just do it again, Just once more. I'm on my run. Ah, this is a honey done. Lieutenant, you better start your wing over. He's ready to fire the contrail from.

[Mark]

The jet Reached swiftly, almost scornfully, for the lumbering bomber. Something in its purposeful track told us all that within seconds the drone would be a screaming, flaming pyre for the two children. And there was nothing, nothing that any of us could do to save them. I thought of Mark, cool and deadly at the work he did so well, only seconds from shattering his whole life. I felt darn tense at his control box, ready for a last, hopeless swerve of the clumsy ship. And then it came to me, the only way, the only chance it might cost my son his life. But I knew I must try it, for I knew Mark. If I could find the courage.

[Hap]

Don, don't.

[Ruth Hussey]

What do you mean? Let go.

[Mark]

No, no. Don't try to evade him. Make it a sitting duck.

[Ruth Hussey]

What do you mean? She's nuts, Lieutenant. He'll plaster it.

[Mark]

No, no, he won't. Let you make him look good. Give him an easy target, Don. He'll let it go.

[Ruth Hussey]

I suppose he doesn't.

[Mark]

I know him. Do it.

[Mrs. Stacy]

All right. Oh, no.

[Ruth Hussey]

Straight and level with that guy. He'll splatter it all over the sky. I'm approaching the release point. Are you evading?

[Mrs. Stacy]

Firing.

[Petey]

Oh, no.

[Hap]

What are you doing?

[Ruth Hussey]

Trying to make me look good? I'm holding fire. This is too easy.

[Hap]

Can't you maneuver?

[Cecil B. DeMille]

Something wrong.

[Mrs. Stacy]

Something's wrong.

[Ruth Hussey]

Start a gentle left turn. Left turn. Yes, sir. Yes, sir. Here we go. Roger. You're turning. Sliding in for a look. See him? He's right on the wing. Hey, there's somebody in the cockpit.

[Petey]

Yeah.

[Ruth Hussey]

Done. Boy, if you ever landed one of those things right. Do it now. Do it now.

[Mark]

Can you do it, Don? Can you?

[Ruth Hussey]

I've done it before, but never like this. Okay, Sergeant, watch my gauges. Easing off her power manifold pressure. 18 inches, sir. Grabbing her gear. Gear down, sir.

[Hap]

Cameron.

[Mrs. Stacy]

What?

[Ruth Hussey]

Sir?

[Mrs. Stacy]

Elspy, get that news down.

[Ruth Hussey]

I can do without that. Flaps down, Sergeant. Flaps down, sir.

[Mark]

It was minutes, but it seemed hours before the big plane lumbered into the pattern, wheels reaching awkwardly for the Runway. I closed my eyes and prayed. And then when the plane stopped, two very shaky children were helped out. All Petey said was, see. He did, too, fly the airplane, and to this day, he thinks his brother can fly. Mark's knees buckled when he climbed from his jet. He knelt on the flight line and held Hap and Kathy closely, very closely, for a long moment. When he looked into my eyes, I saw gratitude and faith. He still tests guns and rockets, but sometimes in the evening after a flight, I catch a distant look in his eye. Know that he's closing on that ancient flying fortress over New Mexico. And then I go to him and touch his lips and talk of other things.

[Ruth Hussey]

Suspense. In which Mithrus Hussey starred in William N. Robeson's production of Firing Run, written by Michael Frost. Supporting Ms. Hussy in firing Run were Dawn Bender, Eddie Firestone, Dick Beals, Sam Pierce and Ken Christie. Listen. Listen again next week when we return with another tale well calculated. To keep you in suspense, the United States of America presents the Victory Theater. The Victory Theater brings you Cary Grant, Katherine Hepburn, Lt. Jane Stewart, Ruth Hussey and Virginia Wydler in the Philadelphia Story. Ladies and gentlemen, speaking for the United States government, Mr. Cecil B. DeMille.

[Cecil B. DeMille]

Greetings from Hollywood. Ladies, ladies and gentlemen. This is a great moment in the American theater. The opening night of a great new theater dedicated to those principles for which free peoples are now fighting on the battlefields of the world. Dedicated above all to victory. Each Monday night, a popular Columbia Network program will donate an extra performance in the service of the United States. Speaking for the sponsor and staff of our theater, which you've heard on Mondays at this same time for many years, and speaking for myself, we are highly honored that the government has asked us to produce this first program. We've met this challenge with a four star premiere worthy of the star spangled purpose behind the Victory Theatre. Our play is Philip Barry's brilliant comedy, the Philadelphia Story. And our stars of the same famous quartet who played it on the screen. Harry Grant, Katherine Hepburn, James Stewart and Ruth Hussey. Incidentally, we used to borrow Jimmy Stewart from his picture studio. Tonight he was assigned to us by Uncle Sam. As you know, he's now a lieutenant in the United States Army Air Forces. Before it reached the screen, the Philadelphia Story ran for a year on Broadway with Ms. Hen as the star. Backstage one night I tried to persuade the lady to let me make the picture. She was very gracious. But another producer made the picture. However, all things come to him who waits, if he waits long enough. So tonight I raise the Curtain on the first act of the Philadelphia Story. Starring Cary Grant as C.K. dexter Haven. Katharine Hepburn as Tracy Lord, Lt. James Stewart as Mike Connor, Ruth Huffey as Elizabeth Embry and Virginia Widler as Dinah.

[Hap]

And don't bother to come back.

[Cecil B. DeMille]

Ladies and gentlemen. You've just been listening to the end of an ideal marriage. That was Mr. C.K. dexter Haven being invited out of his Happy home with Mrs. Tracy Lord Haven issuing the invitation. But all that was two years ago. Right now, Philadelphia society is seething with interest over the forthcoming second marriage. Of Tracy Lord. And the editor of the international magazine Spy is determined to spread it. Over six photographic pages of his scandal case. On the way to the editor's office are spies. Major writer and spies foremost photographer.

[Mrs. Stacy]

I'm not gonna do it, Liz. I'm gonna tell Sidney Kidd very plainly and simply. I'm a writer and no society snoop. I'll tell him just that.

[Hap]

Just that.

[Mrs. Stacy]

Let kids fire me. I'll start writing short stories again. I'm gonna tell him just that.

[Hap]

Just that.

[Cecil B. DeMille]

Come in. Oh, hello, Colonel.

[William N. Robeson]

Morning, Ms.

[Cecil B. DeMille]

Embrace.

[Mrs. Stacy]

Mr. Kidd, I don't think you're being fair to me.

[William N. Robeson]

No?

[Ruth Hussey]

No.

[Mrs. Stacy]

You're treating me like you treat all your other writers.

[Cecil B. DeMille]

You really hate me, don't you, Connor?

[Mrs. Stacy]

No. No, I don't like you very much, though.

[Cecil B. DeMille]

You hate me, I trust, Miss Embry?

[Hap]

No. I can't afford to hate anybody. I'm only a photographer.

[Cecil B. DeMille]

Your assignment will be Spy's most sensational achievement. Tracy's Samantha Lord. Big game hunting in Africa. Fox hunting in Pennsylvania. Why, I can see the layout now. The Philadelphia Story. Those were the portals of snobbish fox hunting.

[William N. Robeson]

No, no, no.

[Cecil B. DeMille]

Hunter of foxes is Spy magazine anyway. Presented for the first time, quote, a wedding day inside mainline society.

[Mrs. Stacy]

Or what the kitchen maid saw through the keyhole.

[Cecil B. DeMille]

Unquote. Go ahead, Connor. Writing's your job. I'm only the publisher.

[Mrs. Stacy]

All right, publisher. Take this quote. No hunter of buckshot in the rear is cagey, crafty Connor. Unquote. Closed paragraph.

[Hap]

Closed job. Closed bank account. But look, Mr. Kidd. How could we possibly get inside the Lord estate, let alone the house?

[William N. Robeson]

Just a moment, Miss Pauley.

[Hap]

Yes, sir?

[Cecil B. DeMille]

Ask the gentleman to come in.

[Hap]

Yes, sir.

[Cecil B. DeMille]

You'll find, Miss Embry, I haven't overlooked anything.

[William N. Robeson]

Come in, please, mister. Come in. Come in. I understand we understand each other. Yes, Mr. Kidd.

[Ruth Hussey]

Quite.

[Cecil B. DeMille]

Come out. This gentleman has been employed in our Buenos Aires office. I believe he can help us with our problem.

[Mrs. Stacy]

Aha.

[William N. Robeson]

Tell him, please. Well, Tracy Lord's brother Junius, is in the American Embassy down there. He's an old friend of mine. I'll introduce you to the Lords as intimate friends of Junius'dear.

[Mrs. Stacy]

Old Junius. Now, this Tracy Samantha Lord, does she know you?

[William N. Robeson]

You might say Miss Lord and I grew up together.

[Hap]

Yes. You might also say you were her first husband. Mr. C.K. dexter Haven.

[William N. Robeson]

Yes, you might.

[Mrs. Stacy]

Holy mackerel. What goes on here?

[Hap]

I remember your honeymoon very well. You and she on a little sailboat. The True Love, wasn't it?

[William N. Robeson]

Right how did you know?

[Hap]

I was the only photographer whose camera you didn't smash. Oh, you were terribly nice about. You threw it overboard.

[William N. Robeson]

Well, I had the strange idea that our honeymoon. Excuse me. Was our own private business.

[Cecil B. DeMille]

Now, what are the plans? Haven wedding, Saturday. They should spend tomorrow night as guests of the Lord.

[Mrs. Stacy]

Well, now, wait just a minute now. There's something screwy here. Now listen, Mr. Haven, why are you doing all this unless you. Oh, oh, you want to get even with your ex bride.

[William N. Robeson]

I don't think there's anything further to discuss. I'll have a car pick them up at noon tomorrow in North Philadelphia.

[Mrs. Stacy]

Why, that look.

[Hap]

Here, Mike, take my handkerchief. There's a little spit in your eye. It shows. Tracy. Tracy. Tracy.

[Cecil B. DeMille]

Ms. Dinah.

[Hap]

Edward, have you seen my sister?

[William N. Robeson]

Yes, Ms. Dinah. She's in the sitting room making a list of the wedding gifts.

[Petey]

Tracy.

[Hap]

Mother, how do you spell omelette? Oh, you. Why didn't you answer me? Omelette, Mother. Omelette. O, M, M, E, L, E, T. I thought that was another L. That's a funny wedding present. No, my dear. A silver dish. Dinah, bring some of that junk off the table. Is this a present? It stinks. Don't they stink, darling? If absolutely necessary, smells. But only if absolutely necessary. Mother, the cards on the presents have been changed again. There must be be a ghost loose in the house. Maybe the ghost of bridegroom number one. Dinah, don't talk about Dexter as though he were dead. He might just as well be for all Tracy cares. Right. If I never see Mr. C.K. dexter Haven again, I'll be. Mother, look at that lamp. Isn't it awful? Who sent it? They're friends of your father's. Wouldn't you know it? What are they, tap dancers or just musical comedy producers? They're hardly fair to your father's interest in art, Tracy. Art, my eye. The art of putting up $100,000 to display the shapely legs of Pina Mara. That will do, Tracy. Oh, I give up, Mother. But you just faced the facts squarely, as I did. Well, we both might face the fact that neither of us has proved to be a very great success as a wife. We just picked the wrong first husband, that's all. Well, let's argue about it. You wanted me to take a stand and I've taken it. The only stand a woman could take and keep her self respect. Yes, Tracy, I know. Now I have my self respect and no husband. Hey, it's better this way, really. You'll see. Let's forget about the past. We Both deserve some happiness now. Especially you, darling. Isn't George an angel? George is an angel. Is he handsome or is he not? George is handsome. I like Dexter better. Really? Why don't you postpone the wedding? Postpone it? How? At Smallpox. Don't put that idea in her head. What time is it? George isn't usually late. Oh, he's waiting for us at the stable. Waiting for us at the. Mother, if I don't choke her before Saturday. It'd postpone the wedding, wouldn't it? It would not. Be in the car when I get down, Dinah. She's so mean about Dexter. He was rather mean to her, my dear. Did he really sock her? Please, Dinah. Full of papers were full of anundo. Of what? Of a nundo. Cruelty and drunkenness, it said. Mother, why won't Tracy ask her own father to the wedding? Your sister has very definite opinions about certain things. But don't you think it's stinking not to want Father? Yes, darling. Between ourselves, I think it's good and stinky. Wait till you see your fiance. He's all shiny. What are you talking about? Brand new riding britches. See?

[William N. Robeson]

Hello, there.

[Hap]

Well, who's that terribly attractive man?

[William N. Robeson]

Hello, darling.

[Hap]

Hello, George.

[Ruth Hussey]

Well, how do you like me?

[Hap]

I adore you, but you look awful.

[Cecil B. DeMille]

Awful?

[Hap]

You look like something right out of a shop window.

[William N. Robeson]

Tracy, I.

[Hap]

Help me. Diner will rub a little dirt on those britches.

[William N. Robeson]

Hey, listen. Now, just a minute. No, no, no.

[Mrs. Stacy]

Stop.

[William N. Robeson]

Now, listen. These are new pants.

[Hap]

That's just it. They're new, but they're not going to be. There, that's better.

[William N. Robeson]

I don't get it.

[Mrs. Stacy]

When I was a coal miner, the.

[Ruth Hussey]

Idea was to get enough money to buy clean clothes.

[Hap]

And now that I'm general manager, what's happening? You were reading this.

[William N. Robeson]

Oh, I was just glancing through it. It's a copy of Spy.

[Hap]

Who takes it? Your cook? I love it. It's got pictures of everything. It certainly has.

[William N. Robeson]

I just wanted to see if there.

[Ruth Hussey]

Was anything in here about the wedding.

[Hap]

What do you mean?

[Ruth Hussey]

Well, I thought maybe, you being one.

[William N. Robeson]

Of the oldest families in Philadelphia.

[Ruth Hussey]

And me getting very important myself.

[William N. Robeson]

Luck, of course.

[Hap]

Let me have that thing.

[William N. Robeson]

What's the matter?

[Hap]

Look at this stuff. An average day in the life of a congressman. The congressman's wife. The kitchen, where he's prepared. One banana slice, two fried eggs. Of all the filthy ideas. Coming into a private house with a camera. Get on that horse, George Kittredge.

[William N. Robeson]

Tracy, what would happen if I took.

[Ruth Hussey]

It into my head someday to go into politics?

[Hap]

You be elected president.

[Ruth Hussey]

No, I mean about publicity.

[Hap]

Not in my home. Get on that horse.

[William N. Robeson]

Hey, where is everybody?

[Hap]

Dexter.

[Mrs. Stacy]

Dexter.

[William N. Robeson]

Hello, Dinah.

[Hap]

Dexter, you've come back.

[William N. Robeson]

Ah, Dinah, my dream girl.

[Hap]

Tracy, Dexter's here. Dexter, what in the name of.

[William N. Robeson]

Well, hello, Tracy. How are you?

[Hap]

Mother Lord Dexter, don't you know that tomorrow's the wedding?

[William N. Robeson]

Oh, no. That's right. So it is.

[Hap]

You can go right back where you came from.

[William N. Robeson]

Now, Red, look. You don't think I'd miss your wedding, do you?

[Hap]

When did you arrive? Tell us all about Junior.

[William N. Robeson]

Well, Junius is fine.

[Hap]

Oh, he should be here.

[William N. Robeson]

Well, he's heartbroken. I suggested representing him as best man.

[Hap]

I'm afraid George might prefer to have his best man sober. I wish you'd represent yours.

[William N. Robeson]

That's my loyal little girl, Dinah. Oh, you'll like the people Juniors did send. Though.

[Hap]

I'm sure you haven't switched from liquor to dope by any chance, have you, Dexter? People Junior did send?

[William N. Robeson]

Yes. You don't have to know a Macaulay Connor or an Elizabeth Embry, do you?

[Hap]

No, I don't.

[William N. Robeson]

Well, then you'd better come along and be introduced. You see, they're great friends of Junius's.

[Hap]

Do they expect to stay here over the wedding? I think it's very queer indeed. I think it's queerer than that. I think it's paranoia. You're lying, Dexter. I can always tell.

[William N. Robeson]

Can you, Red?

[Hap]

You went to work after the divorce, didn't you?

[William N. Robeson]

Well, yes, except for a brief interlude and a couple of alcoholic sanitariums.

[Hap]

But you took a job in South America. Who for?

[William N. Robeson]

A magazine.

[Hap]

And it wasn't by any chance Spy magazine?

[William N. Robeson]

You are a mass of intuition.

[Hap]

And I don't suppose that Junius's friends are photographers by any chance? So I knew you were low, but I never thought you'd think to anything. After I telephone Junius, I'm going to do planning.

[William N. Robeson]

No. Now, wait, Red. Wait, wait. I can't confess. You don't have to telephone Juniors.

[Hap]

So you confess.

[William N. Robeson]

No, no. You're slipping, Red. I used to be afraid of that look. The withering glance of the goddess.

[Hap]

Oh, shut up.

[William N. Robeson]

Now, look, Red, about this man Connor.

[Hap]

And I'll take care of them. Who do they think they are, barging in on peaceful people?

[William N. Robeson]

Sure, sure. They think you don't want them.

[Hap]

I want them out. And you too.

[William N. Robeson]

Yes, your majesty. But first, could I interest you in some small blackmail?

[Hap]

No. What do you mean, blackmail?

[William N. Robeson]

Well, it's an article, complete with snapshots, details and Insinuations. And it's ready for publication in Spy. It's about your father and that dancer in New York you see.

[Hap]

About father and Pina Mara.

[William N. Robeson]

Fire. Fire. Dinah may be listening, but they can't.

[Hap]

They even if it's true. Where'd you get this done?

[William N. Robeson]

One Sydney Kidd, the editor and publisher.

[Hap]

He's got to be sharp.

[William N. Robeson]

Well, he is temporarily. That is, if you'll allow those two to turn in a story on your wedding. And when Kid says a, he needs a story.

[Hap]

I'm going to be sick.

[William N. Robeson]

Yes, dear. An Intimate Day with a Society Bride.

[Hap]

I am sick.

[William N. Robeson]

Well, it's tough, but that's the way it seems to be.

[Hap]

So I'm to be examined, undressed and generally humiliated at 15 cents a coffee. And you, you. You're loving it.

[William N. Robeson]

Am I Red?

[Hap]

All right, I'll give them an interview. I'll give them a picture of Tracy Lord that'll stand their hair on end.

[Mrs. Stacy]

Look at this joint. Way.

[Hap]

What is this room? I forgot my comfort.

[Mrs. Stacy]

Well, this would be the south southwest parlor by living room. Say, what's this guy Haven up to?

[Hap]

DK Dexter. Haven?

[Mrs. Stacy]

Yeah. What kind of a name is that?

[Hap]

McCauley Connors? No, homespun tag my cat.

[Mrs. Stacy]

Yeah, well, just try calling me Macaulay.

[Hap]

I knew a plain Joe Smith one. He was only a clerk in a house hardware store, but he was an absolute rat. Bike take your feet off the paper?

[Mrs. Stacy]

Oh, no. Tell four footmen to call me for lunch, will you?

[Hap]

How do you do?

[Mrs. Stacy]

Oh, I'm sorry.

[Hap]

Don't bother to get up. I'm Tracy Lewis.

[Mrs. Stacy]

Oh, well, my name is.

[Hap]

It's so nice having you here. How did you leave Juniors?

[Mrs. Stacy]

Why, we left. Junior, this is.

[Hap]

Ms. Juniors is such a lamb, isn't he? Yes, isn't he? It's a pity that none of the male members of the family are going to be here to welcome you.

[Mrs. Stacy]

No. Well, there's. Well, where's your father?

[Hap]

Darling Papa, I do hope you'll stay for my wedding. We'd like to very much. I'm so glad that it occurred to you.

[Mrs. Stacy]

Your father's sex.

[Hap]

What a cunning little camera. I'm afraid I'm an awful nuisance with it. But you couldn't be. I hope you'll take loads of pictures. You're a kind of writer, aren't you, Mr. Connor?

[Mrs. Stacy]

Sort of.

[Hap]

Hmm. A book.

[Mrs. Stacy]

Yes. A book or book? A short story.

[Hap]

Under what name do you publish?

[Mrs. Stacy]

My own. Macaulay Connor.

[Hap]

What's the Macaulay for?

[Mrs. Stacy]

Well, my father taught English history. I Might to my friend.

[Hap]

Of whom you have many, I'm sure. English history's always fascinated me. Cromwell, Robin Hood, Jack the Ripper. Where did he teach? I mean your father?

[Mrs. Stacy]

Well, he taught in a little high school in South Bend, Indiana.

[Hap]

South Bend. It sounds like John thing, doesn't it? You must have had a most happy childhood there.

[Mrs. Stacy]

Oh, it was terrific.

[Hap]

I'm so glad.

[Mrs. Stacy]

Well, now, I didn't mean it that way.

[Hap]

I'm so sorry. Why?

[Mrs. Stacy]

Well, I don't know. Lack of wherewithal, I guess.

[Hap]

But that doesn't always cause unhappiness, does it? Are either of you married?

[Mrs. Stacy]

No.

[Hap]

No what? No. You mean you were, but now you're divorced?

[Mark]

Well, the fact is.

[Hap]

Come now, surely you're not ashamed of it. Of course I'm not ashamed of it.

[William N. Robeson]

Why?

[Hap]

Well, it was years ago. I was only a kid in Duluth. Heaven.

[Mrs. Stacy]

Good heavens, Liz, you never told me anything about this.

[Hap]

Well, you never asked me.

[Mrs. Stacy]

Well, I didn't ask you. Of course not.

[Hap]

Jones. Ms. Hardware.

[Mrs. Stacy]

How do you like it? You're the darndest girl.

[Hap]

I think I'm sweet. Duluth. That must be a lovely spot. It's west of here, isn't it? Sort of, but occasionally we get the breezes. And this is your first visit in Philadelphia? It's a quaint old place, don't you think? Filled with relics. Tell me something. Are you two going together?

[Mrs. Stacy]

Well, now, I.

[Hap]

Thank you. Odd question, I must say. I don't see why. I think it's very interesting. Don't you agree, Ms. Embrace, that if a man says he loves a girl, he ought to marry her?

[Mrs. Stacy]

Can she be human?

[Hap]

Please, Mr. Connor, I asked this young lady a question. Well, that depends. I. I'll see what's keeping Mama. You'll excuse me, won't you?

[Mrs. Stacy]

Who's doing the interviewing here?

[Hap]

You don't suppose she's caught on somehow?

[Mrs. Stacy]

Oh, no, she was born that way. But I've still got to get an interview.

[Hap]

Well, try the town library. You can probably dig up enough stuff to hang her whole family.

[William N. Robeson]

Book return, Ms. Bolt.

[Hap]

Just leave it, please.

[Mrs. Stacy]

Excuse me. Are you the librarian?

[Hap]

Yes. What does thee wish?

[Mrs. Stacy]

Well, I'm looking for a local. What'd you say?

[Hap]

What is zwick?

[Mrs. Stacy]

I'm looking for a local biography of history.

[Hap]

If he will consult with my colleague over there.

[Mrs. Stacy]

Uh huh. Dost thou have a washroom?

[Hap]

To the left.

[Mrs. Stacy]

Thank thee. Oh, you're reading.

[Hap]

Look, I know this is a public library, but I. Oh, hello.

[William N. Robeson]

What?

[Mrs. Stacy]

My book. Huh? Why couldn't you afford to buy a Copy?

[Hap]

The bookstore didn't have one.

[Mrs. Stacy]

Oh, well. You sure you're doing the right thing now? You know what happens to girls like you when the read books are like mine and begin to think. That's bad.

[Hap]

These stories are beautiful. Why, Connor, they're almost poetry.

[Mrs. Stacy]

Well, don't kid yourself. They are.

[Hap]

I can't make you out at all now, really. You talk so big and tough, and then you write like this. Which is rich.

[Mrs. Stacy]

Both, I guess.

[Hap]

No, I believe you put the toughness on to save your skin.

[Mrs. Stacy]

You think so?

[Hap]

I know a little about that.

[Mrs. Stacy]

Do you?

[Hap]

Quite a lot. He. Look, look. Let's get out of here. Want to swim?

[Mrs. Stacy]

All right.

[Hap]

Carltoner.

[Mrs. Stacy]

Yeah, thanks. Boy, you really got something here.

[Hap]

Where?

[Mrs. Stacy]

Well, I mean, all this garden, swimming pool. You could sail a small yacht in there.

[Hap]

Hey, what were we talking about?

[Mrs. Stacy]

Oh, my books.

[Hap]

Yeah. Tell me something, will you? When you can do a thing like that, Brooke, how can you possibly do anything else?

[Mrs. Stacy]

Well, you may not believe this, but there are people in this world that must earn their.

[Hap]

Heck, that's Dexter. Look, stand by me, will you? I don't want to be alone with him.

[Mrs. Stacy]

Well, certainly, if you like.

[William N. Robeson]

Thanks. Hello there, Red.

[Hap]

Well, fancy seeing you here.

[William N. Robeson]

Well, what's this you've been drinking?

[Mrs. Stacy]

Orange juice.

[William N. Robeson]

Thanks. I'd love some.

[Hap]

Don't tell me you've forsaken your beloved whiskey and whiskey.

[William N. Robeson]

Oh, no, no, no, no. I just changed their color, that's all. I go in for the pale pastel shades. Now. How about you, Mr. Connor? You drink, don't you?

[Mrs. Stacy]

A little.

[Hap]

A little.

[William N. Robeson]

And you're a writer? Dear me, dear me. I thought all writers drank to excess and beat their wives.

[Hap]

Dexter, would you mind doing something for me?

[William N. Robeson]

Anything. What?

[Hap]

Get the heck out of here.

[William N. Robeson]

Oh, my dear, dear Red. I couldn't do that. You need me too much.

[Hap]

Would you mind telling me just what it is you're hanging around for?

[Mrs. Stacy]

Look, I think I put.

[Hap]

No, no, no, no. Please don't go, miss.

[William N. Robeson]

No, no, no, no, please don't go, Mr. Connor. As a writer, this ought to be right up your street.

[Hap]

Don't miss a word.

[William N. Robeson]

Well, I never saw you looking better, Red. You're getting that fine tawny look.

[Hap]

Oh, we're going to talk about me, are we? Goody.

[William N. Robeson]

It's astonishing. Astonishing what money can do for people, Mr. Connor. Not too much, you know. Just more than enough. Now, take Tracy, for example. It's even changed her shape. She was a dumpy little thing at one time.

[Hap]

Only as it happens, I'm not interested in myself, for the moment.

[William N. Robeson]

You're not interested in yourself. You're fascinated. Red, you're far and away your favorite person in the world. Of course, Mr. Connor, she's a girl who's generous to a fault. Except to other people's faults. For instance, she never had any understanding of my deep and gorgeous thirst.

[Hap]

It was disgusting. It made you so unattractive.

[William N. Robeson]

Yes, a weakness, sure. And strength is her religion, Mr. Connor. She finds human imperfection unforgivable. And when I gradually discovered that my relationship to her was supposed to be not that of a loving husband and a good companion, but that of a kind of high priest to a goddess, well, then my drinks got deeper and more frequent.

[Hap]

I never considered you as that, nor myself.

[William N. Robeson]

You did without knowing it. And the night that you got drunk on champagne and climbed out on the roof and stood there in your night shirt with your arms out to the moon, wailing like a banshee.

[Hap]

I told you, I never had the slightest recollection of doing any such thing.

[William N. Robeson]

Well, I know you drew a blank. You wanted to. Mr. Connor, what would you. Oh, where did he go?

[Hap]

He's gone. I hope he heard what he. What you said, though, make a wonderful story for Spy.

[William N. Robeson]

Yeah. Well, it's too bad we can't supply photographs of you on the roof.

[Hap]

Dexter, what are you trying to make me out as?

[William N. Robeson]

Tracy, what do you fancy yourself as? When I read you were going to marry Kittredge, I couldn't believe it. That's why I'm here. How in the world can you even think of it?

[Hap]

Because he's everything you're not. He's been poor, he's had to work and he's had to fight for everything. And I love him as I never even began to love you.

[William N. Robeson]

Maybe so, but I doubt it. I think he's just a swing from me. But Kittredge is no great tower of strength, Tracy. He's just a tower.

[Hap]

You hardly know him.

[William N. Robeson]

Well, the Hardy know him is to know him well. Kittridge is not for you, Red.

[Hap]

You bet he's for me. He's a great man and a good man. Already he's of national importance.

[William N. Robeson]

Why, you sound like Spy magazine talking.

[Hap]

You seem quite contemptuous of me all of a sudden.

[William N. Robeson]

No, Red, not of you. I'm contemptuous of something inside you. Your so called strength. Your prejudice against weakness. Your blank intolerance.

[Hap]

Is that all?

[William N. Robeson]

Well, that's the gist of it. Because you'll never be a first class human being or a first class woman until you've learned to have some regard for human frailty. It's a pity your own foot can't slip a little sometime. But your sense of divinity wouldn't allow that. You're a special class of the American female. The married maidens.

[Hap]

So help me, Dexter, if you say another word, I'll.

[William N. Robeson]

Oh, I'm through, Red. For the moment, I've had my say. Oh, look. The tower of strength. I. I suppose I should object to this too, Samuel. That would be most objectionable. Well, anytime either of you want my advice, we'll give you a ring. Thanks. Do that, will you? Well, so long, Red. Oh, here's a little wedding present. Sorry I hadn't any ribbon to tie it up with. Well, so long, kid. So long. Should we open this, Tracy?

[Hap]

Go ahead. I must remember to send him a note along with the others. Well, what is it?

[William N. Robeson]

Look what your friend considers a wedding present.

[Hap]

Why, it's a model of the True Love.

[William N. Robeson]

The what?

[Hap]

The True Love. A boat he designed and built, practically. We sailed it on the coast of Maine and back the summer we were married. My, she was yaw.

[William N. Robeson]

Yaw? What's that mean?

[Hap]

It means. Oh, what does it mean? Easy to handle, quick to the helm, fast, bright. Everything a boat should be until she develops dry rot.

[William N. Robeson]

In a moment.

[Ruth Hussey]

Mr. DeMille presents Act 2 of the Philadelphia Story. Less than 20 minutes ago, a great many of you heard Cecil Brown say, and I quote exactly. In the Far East, American bombers brought new encouragement to the courageous Chinese. The Americans swooped down on Canton Airdrome in South China. And caught 60 Japanese aircraft massed on the field. The bomb bays opened, and most of those Japanese aircraft are no more. I wonder if you feel that you had anything to do with what happened there. Well, if you're a worker, perhaps the planes you worked on were in that fight. Perhaps someone in your family or one of your friends was fighting there. But how about you personally? Did you have anything to do with it? If you're buying government bonds, you did. Because your dollars were fighting there and doing their utmost. Everybody can send dollars fighting. I was at the post office the other day, and it took my breath away to see that people crowd up to get their bonds. Rich man, poor man, bringing stamps and cash for bonds. They could almost see their money go marching.

[William N. Robeson]

There was a satisfaction, a sense of.

[Ruth Hussey]

Belonging that just never comes to people that sit on the sidelines. And if you don't know that feeling, that glow, then you're missing something real. Maybe 10% of your income is tough, but do it. And if 10% is easy. Make it more. Are we going to win this war? President Roosevelt says we can.

[William N. Robeson]

We must. We will.

[Ruth Hussey]

You say that too. And then make it real by starting to put 10% of all you earn into war bonds. We pause now for station identification. This is The Columbia Broadcasting System 2.

[Cecil B. DeMille]

Of the Philadelphia Story. Starring Cary Grant, Katharine Hepburn, James Stewart, Ruth Hussey and Virginia Wydler. On the eve of Tracy Lord's wedding, her ex husband's presence is no comfort. No comfort either is Dinah, who rushes in with news of a new complication.

[Petey]

Tracy.

[Hap]

He came anyway. He's here right now. Who's here? Father.

[William N. Robeson]

Father.

[Cecil B. DeMille]

On the terrace, Tracy Lord faces her father and mother. In her eyes, there's nothing but scorn.

[Hap]

Now, Tracy, remember your Uncle Willie's guest of honor tonight. You mustn't be late.

[William N. Robeson]

I just saw that fiance of yours, Tracy. He roared out of here on two wheels. Does he, by any chance ever walk anywhere?

[Hap]

Plenty likes, I expect.

[William N. Robeson]

I have a feeling he'll take the ring tomorrow and go right through centre with it.

[Hap]

Seth, you idiot. Very amusing, I'm sure. Almost as amusing as the picture of you with your arm round.

[William N. Robeson]

Mother, I find very unamusing. The stupid, undignified spectacle we're making of ourselves. For the benefit of those two newspaper people, of course.

[Hap]

Inasmuch as you let us in for it in the first place.

[William N. Robeson]

Oh, do keep that note out of your voice, Tracey. It's most unattractive.

[Hap]

Oh, how does your dancer friend talk? Or does she purr? Tracy, you've got a heck of a nerve to come back here in your best head of the family manor and strike attitudes and criticize my fiance and give orders and mess things up generally. Stop. I can't help but it's sickening. As if he'd done nothing at all. Oh, anyway, it's not your affair, Tracy. If he concerns anyone. Well, actually, I don't know whom he concerns. Except your father.

[William N. Robeson]

That's very wise of you, Margaret.

[Cecil B. DeMille]

What most wives fail to realize is.

[William N. Robeson]

That their husband's philandering has nothing whatever to do with them.

[Hap]

Oh? Then what has it to do with?

[William N. Robeson]

A reluctance to grow old, I think. I suppose the best mainstay a man can have as he gets along in years is a daughter. The right kind of daughter.

[Hap]

How sweet.

[William N. Robeson]

Full of warmth. Full of foolish, unquestioning, uncritical affection.

[Hap]

None of which I've got.

[William N. Robeson]

None. You have a good mind, a pretty face. You have everything it takes to make a lovely woman, Tracy. Except the one essential. An understanding heart. Without It. You might just as well be made of bronze.

[Hap]

That's an awful thing to say to anyone.

[William N. Robeson]

Indeed it is.

[Hap]

So I'm to blame for Tina Mara, am I?

[William N. Robeson]

To some extent, I expect you are.

[Hap]

You coward. No.

[William N. Robeson]

But better to be one than a prig and a perennial spinster. However many marriages.

[Hap]

Seth, that's too much. What? What did you say I was?

[William N. Robeson]

You want me to repeat it?

[Hap]

A prig. And you mean you think I think I'm some kind of a goddess or something?

[Ruth Hussey]

If your ego wishes to call it that, yes.

[William N. Robeson]

Come along, Margaret. Crazy hem. To danced enough.

[Hap]

Fast enough.

[William N. Robeson]

You know what time it is? It's after four.

[Hap]

In China, it's later than that. In China, we'd be married by now. Or perhaps it's only yesterday.

[Ruth Hussey]

Tracy, I don't understand you tonight.

[William N. Robeson]

What's the matter?

[Petey]

What's the matter with everybody?

[William N. Robeson]

You never drink.

[Hap]

Tracy, you got that wrong. Briggs don't drink.

[William N. Robeson]

What?

[Hap]

Nor spinsters.

[William N. Robeson]

Tracy.

[Hap]

Nor goddesses of any variety.

[William N. Robeson]

Tracy, that's enough.

[Ruth Hussey]

I am.

[Mrs. Stacy]

I am Macaulay Connor of South Bend reporting through duty. May I continue?

[William N. Robeson]

Cut in. I'm sorry, Connor. We're going home after this.

[Mrs. Stacy]

D. Oh, now, you can't do that to me. Not an old friend of juniors.

[Hap]

I wish old juniors were here.

[Cecil B. DeMille]

Tracy.

[William N. Robeson]

I'll get your wraps.

[Mrs. Stacy]

I'll be right back.

[Hap]

He'll wrap me up.

[Mrs. Stacy]

How are you?

[Petey]

Hello.

[Mrs. Stacy]

Hey, you look fine.

[Hap]

I feel fine.

[Mrs. Stacy]

Good, good. What was I saying? Oh, let's have another drink.

[William N. Robeson]

Or.

[Mrs. Stacy]

Or would Kitridge splank?

[Hap]

That's not what you were saying?

[Mrs. Stacy]

No, of course it was. What was I saying? Oh, I know. Why do you wish your brother was here? Does he like Kitteridge?

[Hap]

Everybody likes Kittridge.

[Mrs. Stacy]

Everybody likes Kittridge. Everybody except C.K. dexter Haven. Huh?

[Hap]

C.K. dexter Haven.

[Mrs. Stacy]

Where is C.K. dexter Haven?

[Hap]

He didn't come. He's home.

[Mrs. Stacy]

He's home, huh? I think I'll go and have a little talk with him.

[Hap]

Come on, Connor. Let's have some wine.

[Mrs. Stacy]

Let's. Some wine.

[William N. Robeson]

Here, dear.

[Ruth Hussey]

Here's your wrap.

[Hap]

No, we're going to have just one more drink before.

[William N. Robeson]

Not you, I'm afraid, dear.

[Hap]

Why should you be afraid, George? You know wine never affects me. Not in the slightest. D.K.

[Cecil B. DeMille]

Dr. Hamilton. Hey, D.K.

[William N. Robeson]

Dexter.

[Cecil B. DeMille]

Come on out.

[William N. Robeson]

D.K.

[Hap]

Dexter.

[Cecil B. DeMille]

Hayward.

[Ruth Hussey]

Hello.

[William N. Robeson]

What's up?

[Mrs. Stacy]

You are?

[William N. Robeson]

Well, I only hope it's worth it. Come on in.

[Mrs. Stacy]

I bring you greetings and a bottle of champagne. Champagne is a great leveler. Leveler. Leveler. Leveler. It makes you my equal.

[William N. Robeson]

Oh, I wouldn't quite say that.

[Mrs. Stacy]

Well, almost my equal, anyway. CK Next to heaven. I would like to talk to you.

[William N. Robeson]

All right. Well, let's go in the talking room. Don't tell me the party's over so soon.

[Mrs. Stacy]

No, no. I just felt like talking to you.

[William N. Robeson]

Well, that's nice.

[Mrs. Stacy]

I wonder if I might boil a drink.

[William N. Robeson]

Certainly. Over the Newcastle. Here, here. Sit down. Sit down. Excuse me.

[Mrs. Stacy]

Huh?

[William N. Robeson]

Oh, nothing, nothing.

[Mrs. Stacy]

Listen, are you still in love with Tracy Lord?

[William N. Robeson]

What?

[Mrs. Stacy]

Or perhaps you consider that a very personal question.

[William N. Robeson]

Not at all.

[Mrs. Stacy]

Liz thinks you are. Liz thinks you are. But of course, women like to romanticize about things.

[William N. Robeson]

Yes, they do, don't they?

[Mrs. Stacy]

Yes, they do, don't they? You know, I can't understand how you can have been married to her and still know so little about her.

[William N. Robeson]

Can't you?

[Mrs. Stacy]

No, I can't you. I have the hiccup.

[William N. Robeson]

No.

[Mrs. Stacy]

I wonder if I might have another drink.

[William N. Robeson]

Certainly.

[Mrs. Stacy]

Thank you. You know, Tracy's no ordinary woman. And you said some things to her this afternoon that I resented.

[William N. Robeson]

Well, I apologize, Mr. Clark.

[Mrs. Stacy]

That's quite all right. That's quite all right. But when a girl is like Tracy, she's one in a million. She's sort of like a. Sort of like a.

[William N. Robeson]

A goddess.

[Mrs. Stacy]

No, no, no, no. You said that this afternoon. She's sort of like a queen. A radiant, glorious queen. And you can't treat her like other women.

[William N. Robeson]

No, I suppose not. But then I imagine Kittredge appreciates all that.

[Mrs. Stacy]

Oh, Kittredge. Kittredge appreciates Kittredge. That fake man of the people. That 5 cent edition of Sydney K.

[William N. Robeson]

I always thought Kid himself was a 5 cent kid.

[Mrs. Stacy]

You know, Kid's just using you like he uses everybody else. That guy's colossal. He's terrific. He's got everybody fooled.

[William N. Robeson]

Yes, yes. No mean Machiavelli is smiling, cynical Sydney Kid. The world's his oyster with an R in every month.

[Mrs. Stacy]

That's not bad. When did I say that?

[William N. Robeson]

You didn't. I did. Sorry.

[Mrs. Stacy]

I suppose you never heard of Kid's little arrangements in Kansas City.

[William N. Robeson]

Nope.

[Mrs. Stacy]

Or San Francisco. Well, let me tell you about the time he went to Boston. The true story of that little John would ruin him.

[William N. Robeson]

Oh, yes. Hey, look here, Okar. What would happen to you if I use that stuff?

[Mrs. Stacy]

Why?

[William N. Robeson]

Well, I might want to very much. You see, Kid is holding an article on Tracy's father. And this might stop him.

[Mrs. Stacy]

Well, blackmail, huh?

[William N. Robeson]

Well, look. Well, look. You just use it.

[Mrs. Stacy]

Use it with my blessings. I'm through anyway.

[Ruth Hussey]

All right.

[William N. Robeson]

Now, come On. Sit down there.

[Mrs. Stacy]

I gotta go back to.

[William N. Robeson]

Not yet. Not yet. Now, you dictate our right now shoot. Boston. Boston.

[Mrs. Stacy]

Oh, oh, the time. May 1938. The place. Boston. In a hotel. You know, Tracy, campaign's funny stuff. I. I'm used to whiskey. Whiskey's sort of a slap on the back. Champagne's heavy mist before my eyes.

[Hap]

It was nice of you to bring me home. I have a little mist too.

[Mrs. Stacy]

Hey, what's that?

[Hap]

Music. Dance. Uh, I tell you what. Let's have a quick swim to brighten this up. Dexter and I always swam after parties.

[Mrs. Stacy]

Uh, let's dip into some of the champagne.

[Hap]

Hello, you.

[Mrs. Stacy]

Hello.

[Hap]

You look fine.

[Mrs. Stacy]

I feel fine.

[Hap]

Did you enjoy the party?

[Mrs. Stacy]

Sure, sure. The prettiest sight in this fine, pretty world. Is the privileged class enjoying its privilege.

[Hap]

You're a snob, Gar.

[Mrs. Stacy]

No doubt. No doubt. Awash with champagne was Will Q. Tracy's pleasure dome. On the nuptial leave of Tracy's. Oh, now listen. You can't marry that guy George.

[Hap]

I'm going to. Why not?

[Mrs. Stacy]

Well, I don't know. I thought I'd be forward at first, but you just don't seem to match up.

[Hap]

Then the fault's with me.

[Mrs. Stacy]

Well, maybe so. But all the same. You're quite a girl, Tracy Law.

[Hap]

You think?

[Mrs. Stacy]

Yeah, I know.

[Hap]

Thank you, Professor. I don't think I'm exceptional.

[Mrs. Stacy]

Yeah, you are, though.

[Hap]

I know any number like me. You ought to get around more in the upper class.

[Mrs. Stacy]

No. No, thank you.

[Hap]

What of classes to do with it? George? Comes from the so called lower class. Extra from the upper. I'll take the lower, thanks.

[Mrs. Stacy]

If you can't get a drawing room.

[Hap]

What do you mean by that?

[Mrs. Stacy]

My mistake.

[Hap]

You're insulting.

[Mrs. Stacy]

I'm.

[Hap]

Oh, don't apologize.

[Mrs. Stacy]

Well, who is apologizing?

[Hap]

I never knew such a man.

[Mrs. Stacy]

Tracy.

[Hap]

What do you want?

[Mrs. Stacy]

You're wonderful. There's a magnificence in you, Tracy.

[Hap]

No, I'm getting self conscious. It's funny. I might let.

[Mrs. Stacy]

Yeah, let's play.

[Hap]

I don't know. Go up, I guess. It's late.

[Mrs. Stacy]

A magnificence that comes out of your eyes and your voice. And the way you stand there and the way you walk. You're lit from within, Tracy. You've got fires banked down in you. Hearth fires and holocaust.

[Hap]

I? I don't seem to. You made of bronze then?

[Mrs. Stacy]

No. You're made of flesh and blood. That's the blank, unholy surprise of it. You're the golden girl, Tracy. Full of life and warmth and Delight. And what goes on here? You've got tears in your eyes.

[Hap]

Shut up. Shut up. Oh, my. Keep talking. Keep talking. Talk, will you?

[Mrs. Stacy]

No, no, no. I've stopped.

[Hap]

Why? Has your mind taken hold again, dear Professor?

[Mrs. Stacy]

All right, now, lay off that professor stuff, you hear me?

[Hap]

Yes, Professor.

[Mrs. Stacy]

That's really all I am to you, is it?

[Hap]

Of course, Professor.

[Mrs. Stacy]

You sure? Come here.

[Hap]

What are you.

[Mrs. Stacy]

Professor, Are you sure?

[Hap]

Yes, of course. I'm. I'm. Oh, Tracy. Oh, golly. Golly Moses.

[Mrs. Stacy]

Tracy.

[Hap]

Mr. Connor. Mr. Connor.

[Mrs. Stacy]

Let me tell you something, Tracy.

[Hap]

No, don't. All of a sudden I've got the shape.

[Mrs. Stacy]

Can't be anything like love, can it?

[Hap]

No, no, it mustn't be. It can't.

[Mrs. Stacy]

Would it be inconvenient?

[Hap]

Terribly. Anyway, I know it isn't. Oh, Mike, we're out of our minds.

[Mrs. Stacy]

Right into our hearts.

[Hap]

That ought to have music.

[Mrs. Stacy]

It does, doesn't it? Oh, Tracy, you're so lonely.

[Hap]

Oh, it's as if my insteps were melting away. What is it? Have I got feet of clay or something?

[Ruth Hussey]

Tracy.

[Hap]

Mike, it's not part of the pool. It's just over the lawn and in the birch grove. It'll be lovely now.

[Mrs. Stacy]

Tracy, you're tremendous.

[Hap]

Put me in your pocket, Mike. Who's that out there?

[William N. Robeson]

Hello, Max.

[Cecil B. DeMille]

Well, it's you, Mr. Dexter.

[William N. Robeson]

Any prowlers around? No, no prowler, sir. Can I get in this way?

[Ruth Hussey]

If you can't, you can always go in the front, sir.

[William N. Robeson]

Yes. Well, thanks, Mac. Good night.

[Ruth Hussey]

Good night, sir.

[William N. Robeson]

Hey, is that you, Haven? Well, well, hello, Kittredge. Well, what are you doing here? Oh, I'm a friend of the families. Didn't you know? Just dropped in for a chat. Now, don't try to be funny. I asked you a question. I could ask you the same question. Well, I telephoned Tracy, and her phone didn't answer. I was worried, so I walked over from the gatehouse. I was worried too. About what? Well, what do you think of this fellow Connor? Or do you? Now, listen, if you're trying to insinuate. Oh, my dear chap, I wouldn't insinuate anything on the. Oh, listen. Who's that? Oh, that. Oh, well, come on. I'll walk you around the house and tell you all about it. Something's going on here, and I'm staying. So are you.

[Mrs. Stacy]

Why, that.

[Cecil B. DeMille]

It's that Connor.

[Ruth Hussey]

What's he doing with Tracy?

[William N. Robeson]

Ah, calm yourself. Just. He's carrying her in his arms. He's carrying. Tracing.

[Cecil B. DeMille]

Uh.

[Hap]

Oh, don't stop, Mikey. Keep Crooning.

[Mrs. Stacy]

Right here. Okay. Somewhere.

[William N. Robeson]

Now, what is this? Now, easy, Kittridge. She's not hurt, is she, Connor?

[Hap]

No, not wounded, sire, but dead.

[Mrs. Stacy]

Oh, it seems the minute she hit the water, the wine hit her.

[William N. Robeson]

Now, look here. Yeah, it's a likely story, Connor.

[Mrs. Stacy]

What'd you say?

[William N. Robeson]

I said, a likely story. Take her into the house. Now, listen, if you think that you'll be down directly.

[Mrs. Stacy]

Yes, if you want.

[William N. Robeson]

I want.

[Hap]

Hello, Dexter. Hello, George. Hello, Mike.

[William N. Robeson]

Second door to the right. Connor, mind you don't wake Dinah up.

[Mrs. Stacy]

I'll be right back. Directly.

[Hap]

My feet are made of clay. Made of clay. Did you know?

[Cecil B. DeMille]

Oh, this is horrible.

[William N. Robeson]

Yes, how are the mighty fallen. But if I know Tracy, she won't remember much of this. For the second time in her life, she'll draw quite a tidy blank. Oh, you don't believe her, do you? Believe what? Well, the. The implications of what you saw, let us say. Well, what else am I to believe? Well, that's entirely up to you. I've got eyes. I've got imagination, haven't I? I don't know. Have you? Oh, so you pretend not to believe it? Yes, I pretend not to. Then you don't know women. That's possible. Then you're a fool. Well, that's quite possible. Now, now, you won't be too hard on her, will you? I'll make up my own mind what I'll do. Well, we're all only human, you know. With your sophisticated ideas. Yes. Ain't it awful?

[Mrs. Stacy]

Well, I'm back. What do you want to do about it?

[William N. Robeson]

Why, you low, sneaky. Take care of this, kid.

[Mrs. Stacy]

Oh, please.

[William N. Robeson]

Listen, Haven, this is my affair. What right have you to a husband's. Now, till tomorrow. You can go now, Kittredge. I'll handle the rest of it too. I'll speak to you tomorrow, Hayden. Sure, sure. Well. Hey, Connor, Come on, wake up. Come on. How do you feel?

[Mrs. Stacy]

Now, look, if you think that.

[William N. Robeson]

I know, I know. I'm sorry, but I. I thought I'd better hit you before he did. He's in better shape than I am. Oh, yeah?

[Mrs. Stacy]

Well, you'll do.

[William N. Robeson]

Is there anything wrong, sir? No, not a thing, Mac. Just as quiet as a church.

[Ruth Hussey]

Who's that lying there?

[William N. Robeson]

That's Mr. Connor, Mac.

[Mrs. Stacy]

Oh, doggone.

[Ruth Hussey]

I thought it might have been Mr. Kidred.

[William N. Robeson]

Oh, well, now we can't have everything, Mac. Good night. Good night, Sheriff. After a brief intermission, you'll hear the.

[Ruth Hussey]

Third act of the Philadelphia Story. If you've started buying war bonds, perhaps you haven't figured that what you're doing for your country. Is working out to your own best interests, too.

[William N. Robeson]

But it is.

[Ruth Hussey]

And there's nothing unpatriotic about the fact that these bonds are a gilt edge investment, too, as Mrs. Brown here knows. Do you mind, Mrs. Brown, revealing your personal affairs?

[Hap]

No, I don't. Our income is $35 a week. It's quite a sacrifice to put 10% of that into war bonds. But I've told my husband that we'll save quite a bit of money.

[William N. Robeson]

Indeed you will.

[Ruth Hussey]

That's been carefully figured. 10% of $35 is $3.50 a week, 50 cents a day. If you buy stamps and bonds at that rate for five years. You'll have bonds worth at maturity over $1,200. That'll buy you the finest car you ever drove when the war is won.

[Hap]

And this is one of the safest investments in the world, isn't it?

[William N. Robeson]

Yes.

[Ruth Hussey]

These bonds are backed by the entire resources of the United States government. You're going to get back $4 cash for every $3 you put in.

[Hap]

That's a lot.

[William N. Robeson]

Yes.

[Ruth Hussey]

But there are a few people who are thinking up reasons to excuse themselves for not buying these bonds.

[William N. Robeson]

If you're one of them.

[Ruth Hussey]

Your soldiers ask you to stop figuring why you can't buy them. And start to find out how you can put 10% of your pay, every payday, into war bonds. Set your mind on victory and buy United States war bonds. Starting now.

[William N. Robeson]

Our producer, Mr. DeMille.

[Cecil B. DeMille]

The curtain rises on the third act of the Philadelphia Story. The wedding day has dawned bright and fair. And the events of the wedding eve are a thing of the past. Particularly for Tracy. She can't remember anything. She can't think of anything without propping her eyes open with her fingers. She can't even see anything. To comfort her. In this predicament comes the little old comforter, Dinah.

[Hap]

How do you feel, Tracy? Oh, fine. You look horrible. I know. Tracy, I hate you to get married and go away. I'll miss you, darling. I miss all of you. You know, I had the funniest dream about you last night. Did you? I dreamed I got up and went over to the window. And guess what I dreamed I saw coming out of the woods. I haven't the faintest idea. A skunk? Well. Well, sort of. It was Mr. Connor. Mr. Connor? Yes, with his both arms full of something. And guess what it turned out to be. What? You. Me? Me? Mr. Connor was carrying you, wasn't it? Funny, it looked sort of like you were coming from the pool. The pool? I'm going crazy. I'm standing here solidly on my own two hands and going crazy. Then what? Then after a while, I open my door crack and there he was in the hall, still coming along with you, puffing like a steam engine. His wind can't be very good. Then what? Well, then he. Yes? I couldn't possibly. Then he just sailed right into your room with you. And that scared me. So I got up and went to your door and peeked in to make sure you were all right. And guess what? What? You were. He was gone by then. Gone? Of course he was gone. He was never there. I know, Tracy. Well, I should certainly hope you did. It was just a dream, I guess, Tracy. Dexter says so too. Dexter? Dinah Lord, you little fiend. If you told Dexter. Oh, hello.

[Mrs. Stacy]

I'm testing the air. I like it. But it is like me. Well, hello, Donna.

[Hap]

How do you do, Mr. Connor? Did you have a good sleep?

[Mrs. Stacy]

Wonderful, wonderful. You?

[Hap]

Marvelous. Have you ever seen a handsomer day?

[Mrs. Stacy]

Never. Never. What did set you back?

[Hap]

I got it for nothing for being a good girl.

[Mrs. Stacy]

Well, Diana, how are you?

[Hap]

Don't worry. I'm going. Why should you? Well, I guess you must have things you wish to discuss. Only remember, it's getting late. She's always trying to make situations.

[Mrs. Stacy]

Well.

[Hap]

Well, what's the matter with your chin?

[Mrs. Stacy]

Oh, what does it show?

[Hap]

River a little. What happened?

[Mrs. Stacy]

Well, I guess I stuck it out too far.

[Hap]

Into a door in the dark?

[Mrs. Stacy]

Yes. Yes, that's it. Well, Tracy, what about you? You all right?

[Hap]

Me?

[Mrs. Stacy]

Yeah.

[Hap]

Oh, of course. Why shouldn't I be? I. I had a simply wonderful evening. I hope you enjoyed it too.

[Mrs. Stacy]

You're the last part of it.

[Hap]

Really? Why especially the last?

[Mrs. Stacy]

Tracy, you. You asking me?

[Hap]

Oh, you mean to swim. We did swim. And so for. Didn't we?

[Mrs. Stacy]

Yes.

[William N. Robeson]

Dead.

[Mrs. Stacy]

Oh, Tracy, darling.

[Hap]

Smite.

[Mrs. Stacy]

What can I say till you tell.

[Hap]

Me, darling, not anything. Don't say anything. And especially not darling.

[Mrs. Stacy]

Then you're going through with it, huh?

[Hap]

Through with what?

[Mrs. Stacy]

Well, the wedding.

[Hap]

Why shouldn't I? Well, you.

[Mrs. Stacy]

You said last night.

[Hap]

Oh, I said a lot of things last night, it seems.

[Mrs. Stacy]

Okay. No dice. Also, no regrets about last night, huh?

[Hap]

Why should I have? Well, you don't know what I mean. I'm asking you. Tell me straight out. Tell me the reason why I should have had. No, don't. Don't tell me anything.

[Mrs. Stacy]

All right.

[William N. Robeson]

Come on. Doctor's orders.

[Hap]

What is it?

[William N. Robeson]

Just reduce up a few flowers. It's a type of stinger remove the sting.

[Hap]

Oh, Dext, don't say that.

[William N. Robeson]

Well, why not, Red?

[Hap]

Nothing will. Nothing ever can. Oh, Dext, I've done the most terrible thing to you.

[William N. Robeson]

No, I doubt that. I doubt it very much. Dear.

[Hap]

Dext, what am I going to do?

[William N. Robeson]

Why ask me, darling? Where do I come into it anymore? Aren't you confusing me with someone else? A fellow named Kittredge or something?

[Hap]

George, I've got to tell him.

[William N. Robeson]

Tell him what, darling?

[Hap]

I've got to tell him.

[William N. Robeson]

Where have you got to tell? He's got to telemize about him. But if he's got any brains at all he'll realize by now what a fool he made of himself.

[Hap]

When?

[William N. Robeson]

Last night.

[Hap]

Was he here too?

[William N. Robeson]

Sure.

[Hap]

Good golly. Why didn't you sell tickets? Say something, Dext. Say anything.

[William N. Robeson]

No, no, you do.

[Hap]

Oh, Dext, I'm such an unholy mess of a girl.

[William N. Robeson]

No, no, that's no good. That's not even conversation.

[Hap]

But never in my life, not if I live to be a hundred. Will I ever forget how you tried to stand me on my feet again today.

[William N. Robeson]

Go on. You're in great shape. Tell me, what do you think of my wedding present? I like my presents at least acknowledged, you know.

[Hap]

It was beautiful. Yes, and sweet. Dex.

[William N. Robeson]

Yes. Yes, she was quite about the true love, wasn't she? My. She was? Yah.

[Hap]

She was. Yah. All right. I wasn't, was I?

[William N. Robeson]

Not very. You were good at the bright work, though.

[Hap]

I made her shine.

[William N. Robeson]

I'm designing another one now, along more practical lines.

[Hap]

What do you call her?

[William N. Robeson]

I thought the two loved seconds.

[Hap]

Dexter. If you call any boat that I promise you I'll blow you and Ed out of the water. I'll tell you what you can call her, if you like, in fond remembrance of me. That easy virtue.

[William N. Robeson]

Oh, no. Shut up, Red. Can't have you thinking things like that about yourself.

[Hap]

What am I supposed to think when I. Oh, I don't know. I don't know anything anymore.

[William N. Robeson]

Oh, well, now, that sounds very hopeful, Red. That sounds just fine.

[Hap]

Tracy, we're almost ready. Stand up, dear. Let me see your dress. Mother, I. George will be right over. Oh, here. I forgot. Here's a note he sent you this morning. A Note? Good morning, Mr. Donner. Hello, Ms. Embrace. Good morning. By the way, dexterity. Mr. Cindy Kidd telephoned. I was to tell you that you win. Whatever on earth does that mean?

[William N. Robeson]

Fine.

[Mrs. Stacy]

Well, I have a feeling it won't be so hard for me to resign now.

[Hap]

And belts will be worn tighter this winter.

[William N. Robeson]

Ah, well, Red, I. I'm afraid this is the deadline.

[Hap]

So is this. Listen, everybody. It's from George. My dear Tracy, I want you to know that you will always be my friend. But your conduct last night was so shocking to my ideas of womanhood that my attitude toward you and the prospect of a happy and beautiful life together has been changed materially. Oh, hello, George. Come and listen.

[William N. Robeson]

What of all these people?

[Hap]

It's only a letter from a friend. They're my friends too. Here's the last of it. Your breach of common decency certainly entitles me to a full explanation before going through with our proposed marriage. In the light of day, I am sure that you will agree with me. Yes, George, I quite agree with you.

[William N. Robeson]

That's all you have to say?

[Hap]

What else?

[William N. Robeson]

On the very eve of your wedding, an affair with another man.

[Mrs. Stacy]

Oh, now wait just a minute, Kedridge. It may interest you to know that this so called affair consisted of exactly two kisses on a rather late swim.

[Hap]

Thanks, Mike, but there's no need to defend.

[Mrs. Stacy]

After which I deposited Tracy in a room and promptly returned down here to you two, which doubtless you remember.

[William N. Robeson]

Doubtless, without a doubt. You. You mean to say that was all there was to it?

[Mrs. Stacy]

I do.

[Hap]

Why? Was I so unattractive, so distant, so forbidding or something that you.

[William N. Robeson]

Well, this is fine talk, too.

[Hap]

I'm asking a question.

[Mrs. Stacy]

You were extremely attractive, but you were also a little worse or better for wine. And there are rules about that.

[Hap]

Thank you, Mike. I think men are wonderful.

[Mark]

The little dears, then.

[William N. Robeson]

If it hadn't been for the drink last night, all this might not have happened.

[Hap]

Apparently nothing did. What made you think it had?

[William N. Robeson]

Well, I'm not going to quibble, Tracy. Let bygones be bygones. Now, what do you say?

[Hap]

Yes. And goodbye.

[Ruth Hussey]

George, I don't understand.

[Hap]

Please. Goodbye. You're too good for me, George. You're a hundred times too good.

[Ruth Hussey]

But I.

[Hap]

And I make you most unhappy. Most. That is. I do my best too.

[William N. Robeson]

All right. Possibly it's just as well. Yes, I thought you'd finally come to that conclusion. I have a feeling you had more to do with this than anyone. Possibly, but you were a great help. You and your rotten class. Oh, class, my eyes.

[Ruth Hussey]

You're on your way out, a lot of you, and good riddance.

[Mrs. Stacy]

Well, there goes George.

[Hap]

Hey, come on. They're waiting for you. Oh, my. Say, get on.

[William N. Robeson]

Well, don't just stand there. You better think of something.

[Hap]

Shut that door. Shut the door. Next. Did you see them out there? That welder of faces.

[William N. Robeson]

My, they look solemn.

[Hap]

What in the name of all that's holy am I to do?

[Mrs. Stacy]

Tracy.

[Hap]

Yes, Mike.

[Mrs. Stacy]

Now, look, I got you into this thing and I'll get you out of it. Will you marry me, Tracy?

[Hap]

No, Mike. Thanks, but nope.

[Mrs. Stacy]

Why not?

[Hap]

Because. Because I don't think Liz would like it. And I'm not sure you would. And I'm even a little doubtful about myself. But I am beholden to you, Mike. I'm most beholden.

[Mrs. Stacy]

But they're in there.

[William N. Robeson]

They're waiting.

[Hap]

Mike, don't get too conventional all at once, will you? There'll be a reaction.

[Ruth Hussey]

Come on.

[William N. Robeson]

Cheer up, Red. It'll be all right. You've been got out of James before.

[Hap]

Thank you, Mother. It's all right, dear. Your father will make a very simple announcement.

[William N. Robeson]

Is there anything special you want me to say, Tracy?

[Hap]

No, no, I'll say it. Whatever it is, I'll say it. I won't be got out of anything anymore. Thanks. Tell them to stop the music, Tracy. Listen, Dex, what can I say?

[William N. Robeson]

Just open that door and go ahead. I'll prompt you.

[Hap]

Ladies and gentlemen. DE well, Dex.

[William N. Robeson]

Ladies and gentlemen, two years ago I did you out of a wedding in this house by eloping to Maryland.

[Hap]

Two years ago you were invited to a wedding in this house. And then I did you out of it by eloping to Maryland.

[William N. Robeson]

Right. Which was very bad manners.

[Hap]

Which was very bad manners.

[William N. Robeson]

But I hope to make it up to you by going through with it now as originally planned.

[Hap]

But I hope to make it up to you by go. By going beautifully through with it now as originally and most beautifully planned.

[William N. Robeson]

Sophia, just keep your seat for a minute.

[Hap]

Sophia, just keep your seats a minute.

[William N. Robeson]

That's all.

[Hap]

That's all. Next. Are you sure?

[William N. Robeson]

Not the least, but I'll risk it. Will you?

[Hap]

You bet. You didn't do it just to soften the blood?

[William N. Robeson]

Oh, no, Tracy.

[Hap]

You want to save my face?

[William N. Robeson]

Oh, it's a nice little face.

[Hap]

Oh, Dex, I'll be your. Now, I'll promise to be yours.

[William N. Robeson]

You can be whatever you like. You're my redhead. Now, you're all set?

[Hap]

All set.

[William N. Robeson]

Now, will you be best man, Mike?

[Mrs. Stacy]

Honor.

[Ruth Hussey]

T.K.

[Hap]

Maid of honor? Live. Matron of honor. Remember Joseph? Oh, how did this ever happen?

[William N. Robeson]

Well, come on. Let's get in there. See you soon, Red.

[Hap]

See you soon, Dex.

[William N. Robeson]

Tracy, darling.

[Hap]

I love you, Father.

[William N. Robeson]

I love you too, Tracy.

[Hap]

Never in my life have I been so full of love before.

[William N. Robeson]

Come along. Come along.

[Hap]

Wait. How do I look?

[William N. Robeson]

Like a queen.

[Hap]

Like a Goddess. And you know how I feel.

[William N. Robeson]

How?

[Hap]

Like a human. Like a human being.

[Cecil B. DeMille]

And so all America applauded the Philadelphia Story and Cary Grant, Katherine Hepburn, James Stewart and Ruth Hussey each contributed time and talent to this radio effort to help win the war. And as we look out on the world tonight, we find that the war has indeed reached a crisis. Jimmy Stewart. I mean, Lieutenant Stewart. What's your personal slant on our part in the war?

[Mrs. Stacy]

Well, sir, in the army, we'd like to see everyone stop criticizing our allies in England. So the next time, stop before you talk and ask yourself, what have I done that gives me the right to criticize people who fought for three years as bravely as the English?

[Cecil B. DeMille]

You wouldn't. You wouldn't have to bring that up, Jimmy, if everyone realized that, above all, the enemy wants to see our side divided. Now, Cary Grant.

[William N. Robeson]

Well, Phoebe, if I could visit everyone listening tonight, I'd want to convince them of this one thing. That we've all got to win this war together. And by we, I mean the Russians, the Chinese, the English and the Americans. You know, a very wise American, Benjamin Franklin, once said, we must all hang together or assuredly we shall all hang separately.

[Cecil B. DeMille]

As true today as it was 160 years ago. Now, here's Katharine Hepburn.

[Hap]

I think I would like to ask every mother if she's heard of the crime of Lidice. That's the village in Czechoslovakia where every man was killed by the Nazis. I would ask her to imagine a knock at her door tonight. A knock and a door crashing in. A father and his sons dragged out to be shot. The girl and the mother scattered in cruel concentration camps, never to see each other again. I would say to that, mother, if our side doesn't win this war, you can cross out the name of Liditze and write in the name of Middletown, USA.

[Cecil B. DeMille]

That crime will be remembered. Catherine. Ms. Ruth, has it.

[Hap]

It must be clear by now to all Americans that you can't compromise with the men responsible for Legit Day. But I've heard people say that we'd be better off if we could make peace with Hitler now. Isn't it plain by now that we must win or surrender? And if we surrender, isn't it plain what we can expect?

[Cecil B. DeMille]

It's too plain. There can be no compromise. There is just one long fight. One united fight, shoulder to shoulder with each other and with our valiant allies. But at the end of the road, there's something worth fighting for. A world where you and your family can live in peace and freedom.

[William N. Robeson]

Yes, CB in the world we knew before and will know again. By the way, what is the Victory Theater planning for next week?

[Cecil B. DeMille]

Next week's Victory Theatre will come from New York. Carrie and one of the Columbia Network's most popular programs will take over for the evening. It's Hit Parade with Barry Wood, Joan Edwards, Mark Warno's orchestra and the Hit Paraders in the leading popular song Hit of the Week, the same show millions enjoy every Saturday night.

[Mrs. Stacy]

It's been a very great privilege for me to have a part on the first victory theater program. Mr. DeMille. Good night, sir.

[William N. Robeson]

Good night, sir.

[Hap]

Good night. Good night.

[Cecil B. DeMille]

Good night. Good night. This was a brilliant opening night. Good luck, Lieutenant. Our sponsor, the United States Government, joins me in inviting you to listen again next Monday night when the Victory Theater presents the Hit Parade with Barry Wood, Joan Edwards, Mark Warno's orchestra and the Hit Paraders. This is Cecil B. DeMille saying good night to you from Hollywood.

[Ruth Hussey]

Ladies and gentlemen, the Victory Theater is your theater, a rallying place where you can meet with your fellow Americans and with your government. Each Monday night we shall place certain true facts about the war before you. Each week we shall ask you to do something about those facts. And on what you do may depend the safety of your home and the lives of those you love. The United States government thanks the Columbia Broadcasting System and all who contributed their services to tonight's Victory Theater. Heard in tonight's play were Nicholas Joy as Seth, Janet Beecher as Margaret, Gail Gordon as George and Leo Cleary, Charles Seal, Norman Field, Verna Felton, Bruce Payne and Sandra Cole. Our music tonight was directed by Lewis Silbers. Your announcer has been John M. Kennedy. This is the Columbia Broadcasting System.

[Narrator]

We just heard Ruth Hussey in Firing Run and the Philadelphia Story. That will do it for this episode of Stars on Suspense. Thanks so much for joining me. I hope you'll be back next time for more old time radio thrillers. And until then, you can check out down these Mean Streets, my Old Time Radio Detective podcast. New episodes of that show are out on Sundays. If you like what you're hearing, don't be a stranger. You can rate and review the show on Apple Podcasts or wherever you listen. And if you'd like to lend support to the show, you can visit buymeacoffee.com meanstsotr now, good night until next time when we'll hear another Hollywood legend starring in tales well calculated to keep you in suspense.

[William N. Robeson]

Ladies and gentlemen, the chief hope of.

[Ruth Hussey]

Our enemies is to divide the United States along racial and religious lines and thereby conquer us. Let's not spread prejudice. A divided America is a weak America. Through our behavior, we encourage the respect of our children and make them better neighbors to all races and religions. Remind them that being good neighbors has helped make our country great and kept her free. Thank you.