Theatre Royal and The Silver Theater

Summary

Podcast Summary: The Relic Radio Show

Episode: Theatre Royal and The Silver Theater
Date: November 11, 2025
Host: Relic Radio Host (RelicRadio.com)

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Episode Overview

This episode of The Relic Radio Show dives into two gems from the golden age of radio:

• Theatre Royal featuring Orson Welles in "The Queen of Spades" (1953), introduced by Sir Laurence Olivier
• The Silver Theater production of "Stronger Than Steel" (1938), starring Frederick March and Loreen Tuttle

Both dramatizations transport listeners to a time when audio storytelling was at its height—mixing suspense, intrigue, romance, and wartime heroics. The host guides us effortlessly between these classic productions.

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Segment 1: Theatre Royal – "The Queen of Spades"

Starring Orson Welles, introduced by Sir Laurence Olivier
[00:53 – 29:32]

Main Theme

A tale of obsession and supernatural revenge, adapted from Alexander Pushkin’s "The Queen of Spades." At the heart: Hermann’s descent into madness as he seeks a supposedly infallible secret for winning at cards from the mysterious Countess.

Key Discussion Points / Plot Breakdown

• Laurence Olivier’s Introduction:

  • [00:56] Introduces the setting and guest, Orson Welles; shares the prestige of Theatre Royal Haymarket.

• The Card Party and the Seed of Obsession:

  • [02:53] Hermann, obsessed with the idea of learning the Countess’s card secret, is introduced.
  • [03:40] Friends discuss the legend of the Countess’ infallible gambling system.
  • Quote: "There is an infallible system, Herman, if you know it. And the Countess does know it." – Orson Welles as Tomsky [04:41]

• The Countess’s Legend and Family Secrets:

  • [05:10] Story unravels of how the Countess supposedly learned the cards in Paris.
  • [06:09] The Countess never touches cards again after learning the secret.

• Hermann’s Fixation and Seduction of Lizaveta:

  • [10:08] Hermann becomes obsessed, watches the Countess’s young ward, Lizaveta, and initiates contact, beginning a cat-and-mouse courtship.
  • [13:39] Lizaveta secretly arranges a midnight meeting, inadvertently enabling Hermann’s access to the Countess.

• The Confrontation and Tragedy:

  • [17:56] Hermann confronts the Countess in her bedroom, demanding the card secret.
  • Quote: "Tell me your secrets. If you have ever known what it is to be in love, if you have ever known human suffering...I beg you, tell me." – Lawrence Olivier as Hermann [19:03]
  • [19:34] In fear, the Countess dies, taking the secret with her.

• Guilt and Supernatural Consequences:

  • [22:32] Hermann attends the funeral, experiences psychological torment, and then a ghostly visitation.
  • [25:51] The Countess’s spirit returns:
    Quote: "3, 7, Ace will win for you if played in that order. But only on this condition. That you play them once and never play again..." – Orson Welles as the Countess’s ghost [25:51]

• The Deadly Game:

  • [27:14] Hermann goes to the gambling table, desperate. He wins twice by playing the 3 and 7, stakes it all on the third card, which he believes is the Ace—but is tricked by the Queen of Spades (the Countess’s revenge).

• Denouement:

  • [29:00] Hermann descends into madness, haunted by the cursed secret.
  • Quote: "It was the queen of spades. It is the cursed old woman." – Lawrence Olivier as Hermann [28:52]

• Olivier’s Closing:

  • [29:32] Thanks the cast and teases future episodes.

Memorable Moments & Quotes

• "So they say I’m mad, do they... I’m no more insane than you are." – Hermann, opening narration [02:53]
• "Just three cards. Three cards that were worth a fortune." – repeated refrain, underscoring obsession [21:36]
• Ghostly visitation and chilling terms:
  "I forgive you my death. But if you gamble more than once, I shall return." – The Countess’s ghost [26:28]

Timestamps

• [00:53] – Olivier introduction
• [02:53] – Story begins; Hermann’s narration
• [13:39] – Lizaveta’s letter; plot to enter the Countess’s room
• [17:56] – The confrontation and death of the Countess
• [22:32] – Funeral and after-effects
• [25:51] – Ghostly visitation and revelation of the cards
• [27:14] – Gambling table climax
• [29:32] – Outro and transition to next feature

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Segment 2: The Silver Theater – "Stronger Than Steel"

Starring Frederick March, Loreen Tuttle. Directed by Conrad Nagel
[30:20 – 57:07]

Main Theme

Set in wartime South China, this is a story of personal sacrifice, duty, and the things that really matter. Bart McGarrett, an American bridge builder, hides his heart behind steel—until war and love force a reckoning with his deepest values.

Key Discussion Points / Plot Breakdown

• Opening and Setting the Stage:

  • [32:27] South China, a railway bridge under construction by Bart McGarrett and his team, striving against time (and encroaching war).

• Arrival of Mary Shields:

  • [33:47] Mary, a missionary’s daughter, visits the camp, immediately clashing with Bart’s gruff exterior.
  • [34:14] Mary invites the crew for a Christmas Eve event at the mission.

• Christmas and First Softening:

  • [35:55] The Christmas party softens Bart, though he resists the camaraderie.
  • [37:06] Mary confronts Bart on his obsession with the bridge over people.

• Wartime Tension Mounts:

  • [39:04] Scenes shift as Mary and Bart discuss the bridge’s significance, the coming war, and their own personal losses.
  • Quote: "Why is that bridge really so important to you, or is it just that everything else is so unimportant?" – Mary Shields [37:11]
  • [41:36] Bart reveals he’s more comfortable building than connecting emotionally.

• Crisis and Sacrifice:

  • [46:49] War approaches; the bridge completion becomes urgent to enable refugees’ escape.
  • [49:22] Mary begs Bart for help evacuating refugees across the river; Bart initially refuses, showing single-mindedness.

• Conflict and Catharsis:

  • [50:24] Mary's emotional outburst exposes Bart's past and his inability to love anything but steel.
  • Quote: "You said once that you love steel. Well, I know why. It’s because you’re incapable of loving anything else." – Mary Shields [50:06]

• Bridge as Salvation:

  • [54:04] Refugee trains arrive; Bart’s true plan revealed—he had risked everything to finish the bridge in time for them to escape.
  • Quote: "Look at that bridge, Mary. You see how she looks at a train racing across her? Didn’t I tell you you could trust steel?" – Bart McGarrett [54:32]

• Resolution and Romantic Closure:

  • [56:07] Bart admits that Mary has become more important than the bridge itself.
  • [57:03] The couple’s future together is confirmed, with a touch of humor and tenderness.

Memorable Moments & Quotes

• "You’re just a woman with brains. That’s always a dangerous combination." – Bart McGarrett to Mary [54:36]
• "Goodbye… All right, Red. Let her go. Well, you wanted to get your refugees to safety, didn’t you?" – Final sacrifice of the bridge [56:29]
• "That bridge is the most important thing in the world to you... Yes, and I was a liar. It stopped being the most important the night I sat in a little mission on Christmas Eve and watched a certain young woman..." – Bart admits change of heart [55:46]

Timestamps

• [32:27] – South China construction camp; Mary arrives
• [35:55] – Christmas Eve party; Bart's resistance
• [41:36] – Bart's philosophy about steel and connection
• [46:49] – Battle moves closer, urgency mounts
• [49:22] – Mary pleads for help with refugees
• [54:04] – Bart reveals the bridge was finished for refugees, not war
• [56:29] – Final sacrifice and union of leads

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Notable Quotes and Moments

The Queen of Spades:

• "Three, seven, ace. Three, seven, queen." (Olivier, recurring—symbol of psychological descent) [01:15, throughout]
• "She has tricked me... The old woman. She has tricked me!" (Hermann’s realization of supernatural revenge) [29:00]

Stronger Than Steel:

• "Does the bridge—working on it yourself—does it really mean so much to you?" (Mary, challenging Bart’s worldview) [41:44]
• "I built that for passengers, not for armies. Let them build their own bridge." (Bart, as he sacrifices his masterpiece for people) [56:29]

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Tone and Style

• The Queen of Spades: Eerie, psychological, formal, suspenseful—richly performed with chilling narration and supernatural undertones.
• Stronger Than Steel: Brisk, romantic, patriotic—a blend of action and sensitive character study, with sharp banter and American optimism.

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For Newcomers

This episode is a tour de force of audio storytelling, giving modern listeners a front-row seat to classic performances from Orson Welles, Laurence Olivier, Frederick March, and Loreen Tuttle. The episode showcases the variety, excellence, and enduring power of radio drama—with one tale of supernatural obsession and downfall, and another of self-sacrifice and transformation in the crucible of war.

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Learn More

Explore more radio history and similar series at RelicRadio.com, where the classics are always in rotation.

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End of Summary

Transcript

[Relic Radio Host]

This is the relic radio show, Old time radio entertainment still standing the test of time from relicradio.com. welcome back to the relic radio show. Back this Tuesday with another 60 minutes of radio drama from the golden age of radio. Our first story comes from theater royal. We'll hear Orson Welles in the queen of spades, their first episode from October 4, 1953. After that, it's the silver theater and stronger than steel. That story aired October 2, 1938.

[Announcer]

The National Broadcasting company presents sir Lawrence.

[Lawrence Olivier]

Olivier, your host in theater royal. This is Lawrence Olivia. I'm speaking to you from the stage of the theatre royal haymarket in the heart of London's theatreland. This is one of London's oldest theaters, and it is appropriate that I should introduce the first of this new series of programs from here. I am at this time rehearsing a new play with my wife, Vivian Lee, and after a short tour, I shall be opening in London early next month. Because of this, although I shall be introducing the program each week, I am, for the first few of this new series, inviting some of my own good friends at the theatre to join me and appear in subjects of their own choice. My first guest is a very old friend of mine. A good few years ago, I had the pleasure of appearing as his guest on his own program from New York, and that is why it gives me particular pleasure to return the compliment and to reintroduce you this week to Orson Welles. Orson has chosen a famous story by Alexander Pushkin which you may know. It is a tale of excitement and suspense which I think you'll like. Here he is then, Orson Welles in the role of Hermann in the Queen of spades. Three, seven. Ace. Three, seven. Ace. 3, 7. Ace. 3 7. Queen.

[Mary Shields]

Queen.

[Lawrence Olivier]

So they say I'm mad, do they? They say I'm out of my mind hearing their book of hospital room number 17 just as though I were out of my mind. Listen, my friends, listen. I'm no more insane than you are. No more insane than I was that evening. That evening at naramoff's. Naramov of the horse gods. The night of the card party. And how did you make you in? Did you win? No, no, no, I lost.

[Announcer]

Just as I always do.

[Lawrence Olivier]

I always have been unlucky at cars. I play carefully, never raise the stakes, keep my head, never let myself be put out. Yet I always lose. And you've never been tempted into putting your winnings back onto a sequence? All on one card. Double on the second, double again on the third.

[Announcer]

Not to me.

[Lawrence Olivier]

I'm Afraid you surprise me. I wish I got your temperament. What about Herman here? He's never had a card in his hand in his life. Yet he sits here till five in the morning just watching us play. Why not? Play fascinates me just to watch.

[Announcer]

And you never want to join in and try your luck?

[Lawrence Olivier]

No, no, no. I'm in no position to throw away what I've got in the hope of winning more than I need. Well, if you never start gambling, I suppose you never acquire a taste for it. But you know, there's one person I can't understand. Oh, and who's that? My grandmother, the Countess Anna Fedor. She never touches a car. Your grandmother, the Countess? Uh huh. But why should she want to gamble? She's over eight years old. True, but that only shows you've never heard the story. No?

[Announcer]

What is her story then?

[Lawrence Olivier]

Come on, Tomsky, you cannot leave us.

[Announcer]

All in the air like that.

[Lawrence Olivier]

Well, it's very simple really.

[Orson Welles]

The Countess knows an infallible system.

[Lawrence Olivier]

She could win every time she played. Nonsense, my dear Tomsky. There's no such thing as an infallible system. There's always a chance of losing. That's why I always refuse to play. There is an infallible system, Herman, if you know it. And the Countess does know it. Now listen to this. About 60 years ago she was in Paris. Beautiful, rich, and she had a passion for cards. She had a run of bad luck.

[Orson Welles]

She lost every time she played.

[Lawrence Olivier]

And she ended up after one particularly bad evening by owing the Duke of Orleans a very tidy sum. Now you've heard of the Count Frangarmain, haven't you? Wasn't that the charlatan who said he was the Wandering Jew and pretended to have found the Elixir of Life? Well, he may have been a charlatan in some ways, but he had extraordinary powers. Supernatural powers, apparently. And he was the one who taught the Countess her infallible system. Nonsense. Nonsense, Tomsky. I tell you, there's no such thing. Very well then, how do you explain this? The Countess asked St. Germain to lend her the money.

[Orson Welles]

Instead, he told her the secret system.

[Lawrence Olivier]

She went back to Versailles that very.

[Orson Welles]

Night, and on just three cards, doubling.

[Lawrence Olivier]

And redoubling the stakes, she won back the fortune she had lost. But my dear fellow, that was just a lucky coincidence. If she had played again, she'd have lost her fortune again. Oh no, not when she knew which three cards to play. Nonsense. You see, it had been one of the conditions. By the way, I didn't tell you.

[Orson Welles]

That after she played Them just once.

[Lawrence Olivier]

She should never touch a card again in her life, and she never has. Done you mean to say you've a grandmother with a secret like that, which could make you millions, and you've never managed to wiggle it out of her?

[Orson Welles]

No.

[Lawrence Olivier]

Nobody ever has. Not even her own sons. Well, I wish the Countess would take pity on me sometime. 3 infallible cards like that and once would be enough. I should retire a wealthy man from that single game. Oh, I had scoffed at the tale, pretended to disbelieve it, but in my heart I knew it was true. There is such an infallible system. There are three cards that will always win. Every gambler knows that there are. Knows that there must be. Once in a lifetime, someone discovers the secret, and then their fortune is made. And it was just those three infallible cards that I had always been trying to discover, watching game after game, never playing, until I knew which the secret sequence really was. Well, now I know. All night long I have lain awake, thinking about the secret and the one old woman who knew it. Next morning, I took a walk through the streets of the city. I stopped before an imposing mansion. Excuse me, sir. Whose house is that over there on the corner? Yes. The Countess Fedatovna's a great lady, sir. The Countess? The Countess Anna Fedatovna? That's right, sir. The only one. She's an old lady now, sir. 87, they say. And who is the young lady? The young one sitting at the window. At the embroidery frame? Yes. Oh, that will be the Countess's young ward, Lizaveta Ivanovna. Thank you. Thank you, sir. Oh, the Countess has a pretty young lady to look after her, has she? Well. Well, maybe that will prove to be the answer. Yes, she was to be the answer, all right. Lisa Vett Ivanovna. Day after day I went back to the house, standing there in the street, gazing up at the figure in the window, wondering what went on between her and the Countess. Did she know the story of the old woman's secret? No, not until I finally told her. They talked about other things up there in the Countess's dressing room.

[Orson Welles]

What are you gazing out of the window for, child? Is it so interesting down in the street? I'm sorry. I wasn't thinking. Not thinking? You looked as though you were lost in thought. Maybe you find it far too dull reading to me. No, my lady. Shall I get the book that Prince Pavel sent you? No, no, I don't feel in the mood for being read to. All the novels they send me are a lot of ridiculous Nonsense. Is the carriage ready? Yes, my lady. It is waiting at the door. As you require. Then I shall get dressed and we will drive to the park. Please be ready to start when I undress. Yes, my lady. Natasha.

[Mary Shields]

Yes, mademoiselle?

[Orson Welles]

Do you know that man down there in the street? He's been standing there all the morning. The officer, mademoiselle? No, I never saw him before. What uniform is he wearing? Well, I am not sure, mademoiselle. But yes, he is a capital in the engineers. I think it is very handsome. The uniform, I mean. Yes, mademoiselle.

[Lawrence Olivier]

I knew that she had seen me standing there each morning. I had seen her blush and pretend to turn away to her embroidery. But always her eyes stole back to me and I knew that sooner or later I should succeed. And then one day, as she was helping the old Countess into her carriage, I slipped the mote into her hand. I saw her start of surprise, her indecision whether to throw it away or not. Then I saw her hide it in her glove as the carriage drove away.

[Orson Welles]

Know then I adored one that you are more to me than life itself. Though I have only had the exquisite happiness of gazing at you from afar. I live for the day when I shall hear your voice and when I should have the courage to declare myself your devoted slave. Hermann. But what am I to do? Whatever would the Countess say if ever she were to find out? A man is far too bold. I shall have to return his letter.

[Lawrence Olivier]

Yes. Yes, she returned my letter, just as I knew she would, with a brief note of her own, Sir. It said, I am sure that your intentions are honourable and that you have no wish to offend me, but I cannot begin an acquaintance in such an imprudent manner. I return your letter and trust you will never give me cause to complain of your disrespect. No, I would give her no cause to complain of disrespect. But neither would I give her cause to complain of neglect. For I had reason to believe that my boldness was not entirely unwelcome. Oh, Herman, you know Lizaveti Fanovna, do you? I know by sight. I hear of her occasionally through a mutual friend.

[Orson Welles]

And can you by any chance be.

[Lawrence Olivier]

The officer that she seems to be thinking about these days?

[Orson Welles]

I?

[Lawrence Olivier]

Of course not. No. No, we've never met. What made you think so? It was rather amusing.

[Orson Welles]

I was asking the Countess's permission to.

[Lawrence Olivier]

Present a friend of mine. A fellow officer, I called him. X rayed with Naramov. Then when Elizabeth and I are alone together, up she comes and whispers.

[Orson Welles]

Who is the officer you wish to.

[Lawrence Olivier]

Present to the Countess? Is he a captain in the Engineers? And Naramoff's in the cavalry? Of course he is. But who is the captain and the Engineers? That seem to be Elizabeth Ivanov's thoughts. How should I know? At least you can be sure it isn't me. Oh, yes, I was in her thoughts. I had every cause to be. For never a day went past now without my sending her another note smuggled into her. Sometimes one way, sometimes another.

[Orson Welles]

Please be good enough not to bring me any more letters. And tell the person who sent you that he. He ought to be ashamed of himself. But of course, mademoiselle, of course. Even though he is devoted to you.

[Lawrence Olivier]

Even though I was devoted to her. Day after day I begged her, implored her to let me visit her. And it was not long before I was receiving her replies, before she was telling me that she too was in love. Before she was ready to everything I asked of her. And then, at last, the letter for which I had been waiting was thrown down to me from the Countess's window. What a letter that was.

[Orson Welles]

This evening there is a ball at the German Embassy. The Countess will be there. This is our only chance of meeting again. As soon as the Countess and I have left for the ball, the servants will be going out and the porter will be in his lodge. Come to the house at half past eleven. Walk straight in. If anybody happens to stop you in the hall, go straight upstairs. If you meet anyone in the anteroom, ask for the Countess. They will say she is out. Then you will have to leave, but probably you will be seen901. If so, turn to the left. Through the anteroom you will reach the Countess's bedroom. There you will find two doors. The one on the right leads into a study which is never used.

[Lawrence Olivier]

The one on the left leads to.

[Orson Welles]

A corridor, at the end of which is a staircase. It leads to my room. I shall have returned by 2 o'. Clock.

[Lawrence Olivier]

No, there was nobody to challenge me. The porter was asleep in his lodge and the servants were not about. By half past eleven I was safely inside the Countess's apartments. But it was not the left hand door I opened. The one that led on to Ivanova's room. No. It was the door into the empty study next to the bedroom of the Countess. There I waited until 2 o', clock, and in my pocket there was a pistol.

[Announcer]

In a moment we shall return to Orson Welles in Alexander Pushkin's transcribed story the Queen of Spades and now we return to Orson Wellesley, starring in Alexander Pushkin's famous story, the Queen of Spades.

[Lawrence Olivier]

I waited for nearly three hours. I waited in the deserted study, Waited for the return of the countess and the chance to force the secret from her. The secret of the three cards. Three cards and the order in which to play them. Three cards that could not lose. It was half past two before she returned and I heard them enter the bedroom just beyond the door where I was hiding.

[Orson Welles]

Good night, my lady. Oh, so you are going to bed already, my dear? If you will excuse me, I am very tired. Very tired, she says. A girl of her age. And I tired as well. I thought that Natasha would be attending your ladyship. Oh, to be sure, to be sure. Don't bother about me, my dear. Nobody cares for an old woman like me. Go to bed then. If you are so tired. Why stand there arguing? I'm sorry, my lady. Good night. Good night, girl. Natasha, unlit me.

[Mary Shields]

Yes, your lady.

[Orson Welles]

Oh, be quick about it. Mademoiselle is not the only one who is tired at all.

[Lawrence Olivier]

I watched the old woman through a crack in the door. I watched the whole repulsive scene and wig, paint patches and every finery was stripped away. And the gaunt, unlovely features emerged that fashion and artistry had done so much to conceal. At last the maid retired.

[Orson Welles]

Does your ladyship wish to retire, or shall I place the chair by the window? The chair is well enough where it is. Take away the candles. I will have light enough on the icon lamp. Good night, my lady. Good night.

[Mary Shields]

Good night.

[Lawrence Olivier]

What a paltry affair it was tonight, the ball.

[Orson Welles]

It seems they have forgotten what social occasion was to be.

[Lawrence Olivier]

Just as the modern world has forgotten how to deport itself what day there used to be when Princess Darya Petrovna and I.

[Mary Shields]

Who are you?

[Lawrence Olivier]

Don't be alarmed, madam. Don't be alarmed. I am not going to harm you. I have come to ask you a favor.

[Orson Welles]

Who are you? What are you doing?

[Lawrence Olivier]

It does not matter who I am. But it is in your power to make me happy for life. And it will cost you nothing.

[Orson Welles]

What do you want, madam?

[Lawrence Olivier]

I know that you can name three cards. Three cards are to be played in sequence. Three cards that cannot fail to make the fortune of anyone who knows them.

[Orson Welles]

No.

[Mary Shields]

Not only a jest.

[Orson Welles]

I swear. Only a stupid jest.

[Lawrence Olivier]

It is no jest for me, madam. I want you to name those cards for me.

[Orson Welles]

I do not know any cards.

[Lawrence Olivier]

Why should you keep your secret so for? For your grandson, Stomsky. They are all Rich enough already. They don't need to know your secret. Besides, they have no idea of the value of money. They would squander it away in a year. With me. With me it will be different. I know the value of money. I live simply. I am not a gambler. I have never touched a pack of cards in my life. I will only touch three cards. Tell me which they are.

[Orson Welles]

I do not know any cards.

[Lawrence Olivier]

Madame, if you have any feelings at all, by all you hold dear in life, tell me your secrets. If you have ever known what it is to be in love, if you have ever known human suffering or sympathy or rapture, by all you have ever felt or longed for. I beg you, tell me.

[Orson Welles]

I do not know any cards.

[Lawrence Olivier]

You old witch. I'll make you answer. See, I have a pistol. Tell me. Tell me, you hag.

[Orson Welles]

Help me.

[Lawrence Olivier]

Unless you tell me those three cards, I shall. But she's dead. She's dead.

[Orson Welles]

Dead.

[Lawrence Olivier]

The secret is.

[Announcer]

No.

[Lawrence Olivier]

No.

[Relic Radio Host]

No.

[Lawrence Olivier]

It was only then that I remembered Lizaveta Ivanovna waiting for me in her room at the head of the little staircase down the corridor.

[Orson Welles]

Helena. Where have you been?

[Lawrence Olivier]

I've been in the Countess's bedroom. I've just left her. The old woman is dead. No. Yes.

[Mary Shields]

What are you saying?

[Lawrence Olivier]

I am saying the Countess is dead. What's more, I'm afraid that I was the cause of her death. Oh, no.

[Orson Welles]

What terrible thing has happened?

[Lawrence Olivier]

She died of fright. It was an accident. She had a secret that I had to know. Three cards. A secret that can make the fortune of anyone who knows it.

[Orson Welles]

But Helen.

[Lawrence Olivier]

That was all I wanted. Just three cards. I let myself in just as you told me. I hid myself in the study next to her bedroom. I waited till she had got undressed and dismissed her maid. And then I came out and rushed her.

[Mary Shields]

So that was why you wanted me.

[Orson Welles]

To let you into the house.

[Mary Shields]

And I thought, what have I done?

[Orson Welles]

What have I done, you fool?

[Lawrence Olivier]

I begged her to tell me. I begged her on my bended knees. But she refused to be reasonable. And what would it have cost her? Nothing. Nothing at all. But the old witch was obstinate. So I pulled out my pistol and threatened her with it.

[Orson Welles]

You monster.

[Lawrence Olivier]

Don't worry, I didn't intend to kill her. The pistol wasn't even loaded. It was an accident.

[Mary Shields]

A pure accident.

[Orson Welles]

But she died.

[Mary Shields]

She died.

[Lawrence Olivier]

That secret had died with her.

[Orson Welles]

Just three cards.

[Lawrence Olivier]

Three cards that would have made her fortune.

[Mary Shields]

What a fool I've been.

[Orson Welles]

What an utter fool.

[Mary Shields]

To believe all your life. To believe that you really love me that you were even interested.

[Lawrence Olivier]

Three cards. Three cards that were worth a fortune.

[Orson Welles]

Yes, three cards.

[Mary Shields]

And I was the one who was.

[Orson Welles]

Going to help you find them. What a fool I've been. What a wicked fool. But for me she would never have died. It was I who killed her eye. Her own war.

[Lawrence Olivier]

The old woman deserved to die. She didn't.

[Orson Welles]

She didn't.

[Mary Shields]

She was kind to me.

[Orson Welles]

I killed her.

[Lawrence Olivier]

Nobody killed her. The old woman died because she was.

[Announcer]

An obstinate old fool.

[Lawrence Olivier]

But it's far more important. Her secret tied with her. Three cards. Just three simple cards. I get out of the house. There seems little point in my staying any longer.

[Mary Shields]

I was going to show you down.

[Lawrence Olivier]

The secret staircase, man. Show me.

[Orson Welles]

It leads down from the Countess's bed.

[Announcer]

Well, come on, show me.

[Mary Shields]

No, I'm afraid. Afraid of seeing her there.

[Lawrence Olivier]

Then give me the key. Tell me what it is. I'll make my own way out. The old Countess was dead and her secret had died with her. Though I hated her for it, her death was on my hand. And those thoughts began to obsess me. She had died with hatred in her eyes. Hatred as well as fear. And who can say what hatred is liable to do even the hatred of the dead? Perhaps you will say that I am superstitious, for I have no faith. But suddenly I knew that I must pay my last respects to her and ask her for given a poor lady, she died two nights ago. She'd been to a ball at the German Embassy and excitement must have proved too much for her. She died in her bedroom, peacefully, in a chair beside her bed. I am sorry. Yes. I'm going to the funeral tomorrow at the Convent of Our Lady. What time is the funeral? Nine o' clock in the morning at the Convent of Our Lady. I shall be there. You are a good friend, Herman. Thank you. The church was full of mourners, for the old woman had many friends, many acquaintances. Anyone who had lived as long as she had must have had many acquaintances, even if they were only waiting for her to die. The coffin stood on a catapult under a velvet canopy. The body was laid within it, hands crossed upon the breast, wearing the lace cap and the satin gown. When her relatives had paid their last respects, I too approached the coffin. Forgive me, old woman. Forgive me. I meant you no harm. Say that I'm mad if you like. But the old woman's eyes were open and they were mocking me. I heard her chuckle, chuckle. Suddenly I was afraid of her. I fought my way out of the church and Hurried away to lose myself in the noise and bustle of the streets. All day I wandered about the town, trying to forget all that I'd seen. I dined alone, and when I got back to my room, I locked the door behind me. At last I fell asleep. When I woke up suddenly, the moonlight was coming through my window. It was three o' clock in the morning and I heard a distant clock chiming the hour. Who. Who is it? Who's there? Who is it? The Countess. Countess Petofnoda.

[Orson Welles]

I am here for no will of my own, young man. I am here because I have been told, compelled to Grant your request. 3, 7, 8 will win for you if played in that order. But only on this condition. That you play them once and never play again in your life.

[Lawrence Olivier]

Yes, yes. Countess. Countess. I beg your forgiveness.

[Orson Welles]

I forgive you my death. But if you gamble more than once, I shall return.

[Lawrence Olivier]

Yes, I. I accept the condition. Good evening, Count. I wish you luck at the table. Why, Herman, you here a chicken? Skeeter, you come here to watch the play as well? I have come to play, madam. To play? But I thought you never did play. I shall play this once. May I take a card, sir? But of course. Thank you. Well, congratulations on your fall from grace, my dear fellow.

[Announcer]

I shall watch this.

[Lawrence Olivier]

Oh, the best of luck to you. Thank you. This is my card. This is my stake. Pardon me, sir, but what is the stake? I cannot see quite what you've written. 47,000 rubles. That's a very high stakes. A great deal higher than usual. Well, you accept my card or not? Naturally. I must only point out that here we play only for cash. For my part, your word is more than sufficient. But my part? Where is the cash? Oh, thank you. If you are ready. The nine and the three. The three it is. I win. I will play again. And double my stake. And this is my card. As you will, sir. At your pleasure. The knave. And the seven. Seven is my card. I win again. You are remarkably lucky, sir. I will play once more while my luck holds. I stake everything, everything on this card. A queen and an ace. Her mate. The ace wins. Pardon me, sir. That card is not the ace. It's the queen. The queen. Your queen has lost for you.

[Orson Welles]

The queen. The queen of spades.

[Lawrence Olivier]

But it. It wasn't the queen that I played.

[Orson Welles]

It was.

[Lawrence Olivier]

It was the queen of spades. The queen of spades. It is the cursed old woman.

[Orson Welles]

The old woman. She has tricked me. Tricks me.

[Lawrence Olivier]

3, 7, 8.

[Orson Welles]

3, 7, 8, 3, 7.

[Lawrence Olivier]

This is Lawrence Olivier again. First I should like to thank Orson Welles for that fine performance in the Queen of Spades and the other members of the cast, who included Ellen Pollock as the Countess and Cecil Chevrer as Lizaveta. I'm looking forward to next month when I shall have the opportunity of appearing myself in the plays which we shall bring you each week. Until then, I will have the pleasure of introducing some more of my good friends at the theater, including in the weeks to to come, Michael Redgrave and next week, Ralph Richardson. Until then, au revoir and thank you.

[Announcer]

International Silver Company presents the Silver Theater. Starring Cedric Marsh in Stronger Than Steel. Brought to you in behalf of two of the greatest names in silverware, International sterling, world famous Solid Silver and 1847 Rogers Brothers, America's finest bill for plate. Once again, of course, our director is Conrad Nagel, who has worked with most of the great names of stage and screen and who has distinguished himself both as an actor and director. Here he is to welcome you to Silver Theater. Ladies and gentlemen, Conrad Nagel. Thank you, ladies and gentlemen. And John Carty, International Silver Company. On behalf of two of the greatest names in silverware, International sterling, world famous solid silver and America's finest silver plate, 1847 Rogers Brothers welcome you to the gala premiere of this season Silver Theater series.

[Lawrence Olivier]

In weeks to come, there'll be such stars as Margaret Sullivan, Cary Grant, Rosalind.

[Announcer]

Russell, James Stewart, Helen Hayes, Ginger Rogers, Bette Davis, Clark Gable, and others in stories by America's foremost authors. Today, we're proud to present the outstanding star, Frederick March, supported by the young radio actress Loreen Tuttle in an original story written especially for the Silver Theater by True boardman. And incidentally, Mr. March is not only.

[Lawrence Olivier]

A great actor, but a grand trooper.

[Announcer]

When he heard his friend William Powell had not recuperated from his recent illness.

[Lawrence Olivier]

Sufficiently to enable him to be with.

[Announcer]

Us today, Freddy very graciously offered to.

[Lawrence Olivier]

Pinch it for him.

[Announcer]

So we plan to have Mr. Powell.

[Lawrence Olivier]

With us later in the series.

[Announcer]

And now the lights are being dimmed and the silver curtain is rising on the first act of Stronger Than Steel. The scene is a construction camp in South China where Bart McGarrett, played by Frederick March, is building a railway bridge with the help of these American superintendents and a large native crew. Wait a minute. Wait a minute. What's this fella trying to.

[Lawrence Olivier]

Work?

[Announcer]

Train with supplies has arrived across river.

[Lawrence Olivier]

Do you wish his men to unload it at once?

[Announcer]

Tell him yes. Unload the cement first. It's been holding us up. Hey, Joe. Yes, boss? I want you To. What's this? Who told that gang to stop working?

[Lawrence Olivier]

The reason Mr. McGarrett would probably be there. Young American girl.

[Announcer]

American girl. Am I drunk, or do I see what I think I see? This is China, isn't it, boy? Who is she?

[Lawrence Olivier]

L. Daughter of head of mission on road to Chu Feng. Most of your coolies know her father. For that reason, they stopped working.

[Announcer]

Well, tell them to get back to work. We aren't holding up construction for distinguished visitors. Something you wanted?

[Mary Shields]

Yes, I wanted to see Bossman McGarrett.

[Announcer]

I'm Bart McGarrett.

[Mary Shields]

Yes, I suppose you were. How do you do? I'm Mary Shields. My father is a hero.

[Announcer]

I know about your father. It happens. I'm very busy getting a bridge built. Since your presence here seems to upset the coolies, I'd appreciate it very much.

[Mary Shields]

I know most of them from the mission.

[Announcer]

Hey, look out. Look out. Hurry it along. Construction camp is no place for a woman. You should know that.

[Mary Shields]

Well, excuse me, Mr. McGir. My father asked me to come and invite you and your crew to an entertainment we're giving as a mission on Christmas Eve. But I realize that you'll be much too busy on your bridge. Forgive me for disturbing you. Incidentally, I'm sure no one ever accused you of being a civil engineer. Bye.

[Announcer]

Goodbye. What's eating you? The only American Girl in 200 miles, the first one we've even seen in six months, and you blow up just because she tries to be friendly. Gosh, I'd like to go to that Christmas Eve shind. No, we're not going. Oh, boss, have a heart. Just because you want to be a hermit, don't make it tough on the rest of us. You have to go. Besides, they invited you. And you can't insult people. Can I, Joe? I don't know. I'd say I made a pretty good start. What's he telling? It seems that the missionary, Mr. Shields.

[Lawrence Olivier]

Would inform everyone that the entertainment is concluded and that gifts will be distributed by the white bearded one.

[Announcer]

Hey, boss, what's that white bearded one's business. Is that what we used to call Santa Claus? Come on, boys. Come on. Time for us to be on our way. Where's the fire? Boss?

[Mary Shields]

Mr. McGarry.

[Announcer]

Oh, hello.

[Mary Shields]

So you did come. I'm glad I am. I know I shouldn't be after your queen cordial welcome the other day, but since it's Christmas Eve, my bump of forgiveness is working overtime. You weren't going?

[Announcer]

Yes, we'll have to be getting on back to the camp. By the way, these are my assistants, Joe Thomas and Red Sullivan. How do you do?

[Mary Shields]

Oh, but you can't go yet. As soon as the presents are given to the children, there's going to be a party for the grown ups. I gave Dad a radio for Christmas, and he's going to try to bring in some American music and perhaps even the news from Manila.

[Announcer]

Well, thank you, Ms. Shields, that I came 7,000 miles to get away from American news and American music.

[Mary Shields]

Well, then, how about a real American supper? We're going to have baked Virginia ham, apple pie and ice cream.

[Announcer]

Baked Virginia ham, apple pie and ice cream. Hey, boss, we gotta stay. All right, all right. You. You men stay, then I'll go on.

[Mary Shields]

Good night, Mr. McGarras.

[Announcer]

Oh, don't mind him, miss. That's just the way he is.

[Mary Shields]

Oh, but. But he can't go like that, Mr. McGar.

[Announcer]

Well.

[Mary Shields]

Oh, please, please, please don't go so early. I'd like to have you meet my dad and, well, if you're angry because of anything I might have said at.

[Announcer]

The bridge, I've got a lot to do. I'm setting up schedules for tomorrow's work.

[Mary Shields]

But tomorrow, Christmas. Surely you're not going to work on Christmas.

[Announcer]

Good night, Michelle.

[Mary Shields]

Mr. McGarrett, what is it that that bridge is really so important to you or just that everything else is so unimportant?

[Announcer]

I don't know what you're talking about.

[Mary Shields]

Oh, yes, you do. Do you know why my dad invited you tonight even though you've never taken the trouble to come near the mission? I'll tell you. You were a decoy.

[Announcer]

Decoy?

[Mary Shields]

Mm, for the natives. The sure way of getting all the natives to come tonight was to tell them that boss man McGarrett would be here. You're the number one American in this part of China as far as they're concerned. They idolize you. And you, in turn, are still apparently idolize. A bridge?

[Lawrence Olivier]

Don't talk nonsense.

[Orson Welles]

Is it nonsense?

[Announcer]

How long since you've seen the bridge?

[Mary Shields]

Why, quite some time.

[Lawrence Olivier]

It.

[Mary Shields]

It's not since then.

[Announcer]

Well, you come down the first chance you get. I'll let my bridge talk for itself. Good night.

[Mary Shields]

Good night, and merry Christmas. Good evening, Mr. McGill.

[Announcer]

Oh, hello.

[Mary Shields]

Mr. Sullivan told me I'd find you somewhere out here, but he said you'd be making an inspection. Or is this the way you inspect?

[Announcer]

I finished. What was it you wanted?

[Mary Shields]

Well, if you remember, I had an invitation to meet your bridge.

[Announcer]

Oh, yeah, that's right. Well, there's no Better place than this for you to see it from. It's too bad you chose Sunday afternoon, though, and the crew's not at work.

[Mary Shields]

Oh, that was intentional. I still remember my last visit when.

[Orson Welles]

The crew was at work.

[Mary Shields]

Oh, you're right. This is the place to see it from. Just the perfect hour. Look at the color of that sky off the earth.

[Announcer]

Did you come to see the bridge or the sunset?

[Mary Shields]

Maybe I came to see both. You don't mind?

[Lawrence Olivier]

Oh, no, I don't mind.

[Mary Shields]

Oh, the river looks miles down below there. How far is it?

[Announcer]

318Ft from the center of the span, that is.

[Mary Shields]

Well, it still looks like miles. And how long will the bridge be when it's finished?

[Announcer]

1900Ft.

[Mary Shields]

You know, dad was saying just yesterday that this bridge was going to make a tremendous difference in this part of China.

[Announcer]

It will.

[Mary Shields]

Is it true that the railroad bed is already laid on both sides of the river and they're just waiting for you to finish the bridge to start a regular train service down through here from Chu thing?

[Lawrence Olivier]

That's right.

[Mary Shields]

That should mean a lot of traffic, too, with all the fighting going on up north, munitions and all that. Incidentally, Dad's been awfully concerned about the war. He's afraid they're not going to be satisfied with just taking Shanghai and peeping. Do you think there's really any danger that coming down into this problem?

[Announcer]

Well, as you already know, I. I don't think of anything except getting this bridge finished.

[Mary Shields]

You don't, do you?

[Announcer]

What are you doing in China? A girl with your background doesn't belong here?

[Mary Shields]

No, I'm here for a very good reason, Mr. McGareth. Just before I finished school, word came that my mother was ill out here. Dare you? I came as quickly as I could.

[Orson Welles]

But that was still not quick enough.

[Mary Shields]

Then dad needed my help and I have stayed on ever since. I see question for question, Mr. McGarrett.

[Lawrence Olivier]

Why not?

[Orson Welles]

What are you doing here?

[Announcer]

I'm building that bridge.

[Mary Shields]

Yes, I know that, but why in South China? You're a really big engineer. We all know that. You could be doing just as fine jobs in the States and without cutting.

[Announcer]

Yourself off from everything, couldn't build this bridge there. You realize that this is going to be the biggest bridge of its kind ever built. A cantilever with a span of 1900ft. Not a suspension, that'll be simple, but a cantilever. I've got a method of ribbing steel construction that increases its tensile strength by nearly 30%. Have you any idea what that Means?

[Mary Shields]

Yes, I think so. Building this particular bridge is a lot more than just another job to you. You've got a special reason for doing it.

[Announcer]

I got a lot of reasons.

[Mary Shields]

But it still seems strange to me that you should be doing the actual work itself. You're out of place somehow, as a kind of a glorified foreman. You're the kind of a man who belongs behind a mahogany desk in an office on Madison Avenue.

[Announcer]

Pushing buttons, eh? Running the job by remote control. Never getting closer than a blueprint to a piece of steel. Thanks, but I'm not interested.

[Mary Shields]

Does the bridge. I mean, working on it yourself, does it really mean so much to you?

[Lawrence Olivier]

Yes, it does.

[Mary Shields]

Tell me why. I still don't understand. And I'd like to.

[Lawrence Olivier]

That's not that difficult.

[Announcer]

You see, there's one thing in this world that I love. That's steel. It's been that way as long as.

[Lawrence Olivier]

I can remember, since I was 10.

[Announcer]

I wanted to build a bridge with my own hands. A bridge that no one else had ever been able to build. A bridge like that one out there.

[Lawrence Olivier]

Solid, secure.

[Announcer]

Something I'm sure I can trust and believe in.

[Mary Shields]

I see. Yes, I think now I. I do see. Well, I'll get along and. And leave the two of you alone.

[Lawrence Olivier]

What are you talking about?

[Mary Shields]

You and your bridge. Mr. McGath, I learned a long time ago that three is a crowd.

[Announcer]

Those nine girders will close the span. I want them in place by tomorrow night. Boss, have a hot.

[Lawrence Olivier]

No.

[Announcer]

That's four days work. I didn't ask you, Red. I said I wanted those girders in place. See that they are. Joe. Yes, sir. Stay on that wire. Hey, what's got into that guy? I don't know. My hunch is it's these reports I've been getting. What reports? About the war up north. Look, here's the first one I got day before yesterday. Sudden change in fighting front moves US facilities deeply into Yang province. Yang? Hey, that's this problem. And that's only the beginning. Fresh reports have been coming down from Chu Fang almost every hour. And the last one. Wait a minute. Defending forces in retreat. Southwood. Joel does another thing. Wait a minute. Of course. Fall of Chu Feng believed only matter of hours. Hey, Chu thing. Why, that's only 40 miles up the line here. If they change. Let me see that message. It looks bad, boss. Maybe we've just been building a bridge for. Yes, boss. I'm leaving camp. Maybe for a couple of hours, maybe for days. You'll be in charge and I Want work. Keep them at it straight through the night. And another thing. I want this war business kept quiet, you understand? If the natives get wind of it, I'll hold you responsible. Now remember that. Hey, boss, where are you going? To Cheng. You heard him, Cheng. And you know why? To hold the whole war back single handed. So they won't spoil his pretty bridge. And if you think I'm kidding, you're crazy. This is Conrad Nagel, ladies and gentlemen. And we come to the end of the first act of Stronger Than Steel, starring Frederick March. In just a few seconds, the curtain will rise on Act 2 of stronger than Steel. But right now I'd like to introduce or rather reintroduce you to a man.

[Lawrence Olivier]

Who will play a very important part.

[Announcer]

In these Silver Theater broadcasts. Our announcer, John Conti. Thank you, Conrad. Ladies and gentlemen, I'd like to take a very few seconds before our curtain rises on Act 2 to welcome you on behalf of International Silver Company to our old friends who gave such an enthusiastic welcome to our last series of Silver Theater broadcasts. We're going to try to make the new series even more memorable. To our new friends. We hope this will be but the first of many pleasant Sunday half hours to come. We hope that when you enjoy them, you will remember that these programs are brought to you by the makers of International Sterling, world famous Solid Silver and 1847 Rogers Brothers, America's finest silver plate. Later in the program, we have some exciting news about the solid silver. But right now I'd like to bring to your attention 1847 Rogers Brothers Silver plate pattern. First love. First love is something genuinely new in silver plate and sensationally beautiful. But go to your jewelers tomorrow and see first love yourself. Take one of the graceful spoons in your hand. Enjoy the richness of it, the truly exquisite beauty. It's a pattern you'll never forget. A pattern you'll long to own. 1847 Rogers brothers first Love. And now the curtain rises on the concluding act of Stronger Than Steel. The time, three days later. The scene the office of the bridge construction camp in South China, where Bart McGarrett, played by Frederick March, has his headquarters shields. What are you doing here, McGarrett?

[Mary Shields]

I've got to see him.

[Announcer]

Not here, ma'. Am. He's going up to Chupeng.

[Mary Shields]

Chuping? But there was a bombing raid in Chuping just a few hours ago. We heard of it on the radio.

[Announcer]

Yeah, I know. Casualties estimated at 600.

[Mary Shields]

Oh, you don't suppose.

[Announcer]

Don't even think of it. Bart McGarrett will never go out like that, ma'.

[Lawrence Olivier]

Am.

[Announcer]

There's nothing private about a bomb. He gets a lot of people at once. Ordinary dorks like Joe and me and that bunch of coolies out there. But when the old time comes for a guy like Bart McGarrett, he's a cinch for special attention.

[Mary Shields]

You're right. You must be right. Well, I've got to get back to the mission. Dad needs me. Please send up word when Ms. McGarrett gets back. It's terribly important.

[Lawrence Olivier]

Poor kid.

[Announcer]

She's worried about that bunch of converts. Where, dad, she's got a right to worry. Did you ever see a bunch of refugees running away from a war, Red? I did. In Shanghai, in 33, brother.

[Lawrence Olivier]

That got me.

[Announcer]

The women and the kids so scared they can't say anything.

[Lawrence Olivier]

They.

[Announcer]

They just look at you. Dumb, like as though they were animals. That's what that girl and her father will have on their hands. If Chu Feng is captured. Yeah, if Cheng is captured. Heavy artillery fire weakening defenses of city. Invading force reported entering suburbs of Chu Feng. Population in flight. Final report, Chu Feng fall of city imminent. Civilians in areas immediately south warned to flee. Good luck. Signing off. Hey, Joe. Joe. Look at him, though. It's here.

[Mary Shields]

He made it.

[Announcer]

Didn't I tell you? They save it, right? Save it. Joe, I left Chupeng two hours ago. What's happened since it's been taken? Boss, the operator up there gave up and signed off. Well, somebody will still be up at Maitard Junction. Keep in touch with him. Okay, boss.

[Lawrence Olivier]

Red.

[Announcer]

Yes, boss? How long since the night shift Quit work? 3 hours. Get him up and back on the job. From now on, we have no shifts. Every man works straight through till we finish the bridge. That should be by sundown tomorrow. Well, whatever you say, boss. Obert. Look, what's the use of it all? Why finish the thing if it's just going to end up in the middle of a battle and maybe or. Sweetheart, I didn't ask you for an argument. Get out of there and get him to work. Okay. But, Mr. McGah, what are you doing here?

[Mary Shields]

I'm so glad you're back. I need your help. I have three truckloads of Chinese out there. My father's converts. They're terrified. The fighting's coming nearer all the time. I've got to get them across the river and on southward out of the danger zone. That's where you come in.

[Announcer]

What do you mean?

[Mary Shields]

Well, the bridge is finished enough now to walk across, isn't it?

[Announcer]

What if it is.

[Mary Shields]

And I know there's an engine and two flat cars over there on the south side of the river. I saw them. We can walk these people across. Put them on that and get them as far south as we want to take them.

[Announcer]

What about my bridge crew?

[Mary Shields]

They can come, too.

[Announcer]

You don't understand me. I mean, what would they have to work with? Just happens that that engine and freight cars are my work train. I need them to haul girders and rails. To be very frank, Miss Shields, I don't care if you have 200 converts to play nursemaid to. I'm going to finish that bridge.

[Mary Shields]

If anyone else said that, I'd know he was joking. But you're not. The fact that there are women and children frightened and hungry out there doesn't mean anything to you. Nothing matters to you. You've got to finish your bridge. You said once that you love steel. Well, I know why. It's because you're incapable of loving anything else.

[Announcer]

Now, wait a minute.

[Mary Shields]

And I know, too, why you're cut off from the world in the middle of China. Mr. McGareth, you were in love with a girl and went away to a job in South America thinking she'd wait for you. But she married someone else. And ever since then, you haven't cared about anyone or anything except yourself.

[Announcer]

I think you've said enough.

[Mary Shields]

Oh, no, I haven't. I still haven't told you that I think you're the most contemptible man I've ever known in my life. I didn't think I could ever hate anyone. Well, I was wrong. And if you're the Chinese idea of the finest type of white man, then heaven help China.

[Announcer]

Red, you better take Miss Shields and lock her up somewhere till she quiets.

[Mary Shields]

Oh, no, he won't. Do you think I'd stay here? I'm going to get those people down south right now if they have to walk. And me with them.

[Announcer]

Just a minute, Miss Shields.

[Mary Shields]

Oh, you. Let go of me.

[Announcer]

You've had your say. It's time for mine. You're not going anywhere. Those coolie workers of mine saw your converts running for cover. How long do you suppose I could keep them on the job? Red. Yes, Horse? The men that are with me, Shields, you'll put to work. No one leaves this camp until we all do. And that won't be until after that bridge is finished. Red. Red. Yes, boss? How nearly are you through? Just about washed off. Look, there's still five rails to be laid. I'd say about 10 minutes. Do it in three, report to me in the office when she's finished. Okay? All right, Joe. Anything new come through? Not since the last I gave you. You think we'll make it for us? I don't know.

[Lawrence Olivier]

What?

[Announcer]

Yeah, what is it?

[Mary Shields]

Just came to tell you that all of my people are on the workplace and ready to go.

[Announcer]

Who told you to put them there?

[Mary Shields]

No one. You said that we'd go when the bridge was finished. Nearly finished now. Anyone can see that.

[Announcer]

Well, congratulations on your change of tactics. But once you use your head instead of your temper.

[Mary Shields]

Someone has to use his head. Mr. McGirt.

[Announcer]

Hey, boss, it's done. The last rail all in place. Great. That means we're set. Wait a minute, Ms. Shields. I didn't say anything about your leaving.

[Mary Shields]

But why not? Your precious bridge is finished. Why shouldn't we all?

[Announcer]

What about the other job I told you to do? All set.

[Mary Shields]

What's the matter with you? All of you.

[Announcer]

No danger of a slip up. Not a chat. Hey, boss, a message coming in. I think this is. Is here. Look at this. Thanks. That's perfect. All right, Red, get all the crew over on that work train. Everybody. Florence Nightingale here already has her pet to board, right?

[Mary Shields]

You mean we're really going to go? Oh, I can't believe.

[Announcer]

Red, when you've gotten everybody on that work train. Yeah, work. Then run it off on a sighting.

[Mary Shields]

Oh. Oh, boss. McGarrett, listen to me, please. What's the matter with you? Are you really insane? That train is loaded with people. Your crew, women and children from the mission. Can't you realize that?

[Lawrence Olivier]

Perfectly, Mary?

[Announcer]

Incidentally, it's time I called you Mary.

[Mary Shields]

Oh, look, if it's because of what I said, forget it. I was angry and afraid. Afraid for Dad's convert. I'm sorry. Oh, but don't. Don't be. Just because you're angled with me, don't endanger the lives of those people. Please. Oh, what do I have to do? What do I have to say to make you understand?

[Lawrence Olivier]

Nothing.

[Announcer]

Just listen, Mary. Listen.

[Mary Shields]

What is it, Joe?

[Announcer]

You're wired on the go ahead. Right, boss. The signals are open. I checked on it. Well, come on, Mary. Come on out to see something worth waiting for.

[Mary Shields]

What is it?

[Announcer]

Refugees. 7,000 refugees from Cheng. Those last three cars are a hospital unit.

[Mary Shields]

Why did they come this way? Why did.

[Announcer]

Every other train route was bombed out. This train has been waiting up the line three days to get across the river to the south. That's why I went to Cheng. They thought the bridge wouldn't be finished for Two weeks. But I promised them that if they'd hold things back till noon today, I'd get the train across.

[Mary Shields]

Why did.

[Announcer]

You were too busy telling me. Oh, no one could be told, Mary. The one chance for this kind of work was to keep the whole thing secret. Look at that bridge, Mary. You see how she looks at a train racing across her? Didn't I tell you you could trust steel?

[Mary Shields]

Oh, Bot, I've been so crazy.

[Announcer]

Oh, no, you haven't. You're just a woman with brains. That's always a dangerous combination. And now we. We will take that woman train. Come on, Mary. We're heading south. All right. Up you go.

[Mary Shields]

Thank you.

[Announcer]

Aren't you going to believe it or not this time? I'm going. All right. Up there. All aboard for points old. Don't worry. Nothing like the the back of a flat car for sightseeing through China, I always say. You know, if it. What? Hey, what's this? Tears? This is supposed to be an occasion for celebration, you know.

[Mary Shields]

You knew how ashamed I feel, the trouble I've caused you.

[Announcer]

Oh, forget it, Mary.

[Mary Shields]

Not only that. I know now how much it means to you to leave that bridge.

[Announcer]

You don't know what you're talking about.

[Mary Shields]

Oh, God. That bridge is the most important thing in the world to you. You told me this.

[Announcer]

Yes, and I was a liar. It stopped being the most important the night I sat in a little mission on Christmas Eve and watched a certain young woman with a turned up nose erect a bunch of kids in the Christmas.

[Mary Shields]

Boo. But now. Train isn't stopping.

[Announcer]

Hey, boss. You think this is far enough away for the switch? I think so, Red. Look at her, Mary. Look at her. A candle lover. 1900ft. The only one of a kind in the whole crazy world.

[Mary Shields]

Perfect, boss. Perfect.

[Announcer]

No, that's it. She's just a little too perfect. Better say goodbye to her, Mary.

[Mary Shields]

Goodbye.

[Announcer]

All right, Red. Let her go. Well, you wanted to get your refugees to safety, didn't you? And anyway, I built that for passengers, not for armies. Let them build their own bridge.

[Orson Welles]

All right.

[Mary Shields]

Up there.

[Announcer]

Here we go.

[Mary Shields]

Oh, my darling.

[Announcer]

Oh, Miss Shields. For a missionary's daughter, that strikes me as a very familiar way to address your latest convert. Then, of course, I don't know. I may be wrong. Come here. So I'm not a civil engineer. In just a few seconds, ladies and gentlemen, Frederick March is going to be with us in person. But before that, a young man comes before the Silver curtain for a brief appearance. John Conti. And my appearance, ladies and gentlemen, will only Be long enough to remind you that you have a standing date at the Silver Theater at the same time every Sunday. The theater brought to your home by International Silver Company. You remember a little earlier in the program I mentioned 1847, Rogers Brothers lovely silver plate pattern. Well, now, may I mention a lovely solid silver pattern? International Sterling's Enchantress. There are many things I could say about Enchantress. But suppose instead I just leave it at this. That enchantress is incredibly beautiful. The kind of beauty that words simply can't do justice to. You have to see enchantress to really appreciate it. And so that you may see it, International Sterling is making a special offer of a solid silver sugar spoon. Its regular price is $3.25, but it's yours now for only $1. We invite you to take advantage of this amazing offer and get your solid silver sugar spoon at the jewelers tomorrow. Just ask for International Sterling's Enchantress. And now back to Frederick March and Laureen Tuttle, who have just stepped from behind our silver curtain. Therehere you are, Ms. Tuttle. That wasn't so bad, was it?

[Mary Shields]

No, no, it was nice. When it comes to making a speech.

[Announcer]

I. Oh, you don't You. You needn't be afraid. Not when you're as good an actress as you are. You just step out before them, you smile and you start talking like this. Well, ladies and gentlemen, it's been very pleasant playing for you tonight. It seems that if you. I don't suppose any of you know what a really beautiful girl Joan Bennett is. Especially when she wears a black wig and is directed by Tay Garnett. She's wearing one now in a picture that we're making for Walter Wanger called Trade Winds. Beautiful girl. And Tay's a beautiful director. That isn't quite what I mean to say. He's. Conrad, what was that you were going to say? Well, we want to thank you and Ms. Tuttle for two superb performances tonight. Freddie.

[Mary Shields]

Thank you, Mr. Nagle.

[Announcer]

Thank you, Conrad. I'd like to congratulate International Silver Company on its performance. I've seen the patterns that John county spoke of, and they're beautiful. Well, thanks again, Freddie. We look forward to having you back with us again soon. Good night, Frederick March. You see, Ms. Duttle, how easy it was? Good night, everyone. You'll soon be able to see Frederick March with Virginia Bruce in There Goes My Heart, which he has just completed the How Roach Studios. Next week at the same time the Silver Theater is stars Margaret Sullivan with Conrad Nagel as director and original musical scores by Felix Mills. This is the Columbia Broadcasting System.

[Relic Radio Host]

Theater Royal aired over NBC stations from October of 1958 to September of 1954. The Silver Theater was a CBS series that ran for 10 years, 1937 to 1947. You can find more from both of those series@ Relicradio.com alongside more from the Relic Radio show and all of the Relic Radio podcasts. If you'd like to help support this and all of the shows, visit donate. Relicradio.com or click on one of the support links. You make it all possible. Thanks to those who have helped out. Thanks for joining me this Tuesday. I'll be back tomorrow with an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.