 The curtain rises on act two of Thank You Miranda, starring Philip Reed as Geoffrey Reynolds. Tonight is the first night of Geoffrey's play. Geoffrey, Miranda, and Stephen Barlow are seated together in one of the boxes. Just now, as the curtain comes slowly down on the last act, Geoffrey's expression is one of acute distress. Miranda's escort pole and Stephen's, though he tries to hide it, reveals a flicker of somber triumph. Miranda, this is awful, awful. It certainly is. I don't believe they're going to clap at all. You spoke too soon, Miranda. We're at least blessed with one clap. Geoffrey, isn't that that Irish typist of yours trying to stir them into a little enthusiasm? Yes, I believe it is. How very touching. Shall we join us, Stephen? Well, they seem to have forgotten the customary call of author. Author! Author! Once again, Miranda, you spoke too soon. Yes, that Irish girl again, I see. She must be in love with you, Geoffrey. Well, you ready to make a speech, Reynolds? With the audience already leaving your theatre. Don't be ridiculous, Stephen. Nothing could be more humiliating. If you're ready, I think I'd like to go. Stephen needed backstage, Geoffrey. Stephen, I feel sure, will be glad to drive me home. You're lucky. Here's a cup of tea for you, Geoffrey. You're ready for it, I'm sure. Well, thank you, Molly. But how did you guess? What kind of a fool do you take me for? Neglecting yourself these days. Nor because that silly public won't take to your play, the Egypts. That's what they are. Me, I thought it was the finest thing I ever seen. How many plays have you seen in your life, Molly? Well, once I was dragged to Shakespeare, which I didn't understand. And then to Eastland, which made me cry. But yours... Oh, Geoff, it made me laugh. And that's the truth I'm telling you. Oh, thank you, Molly. Thank you. You're a sweet kid. I'll have you know I'm a grown woman. I'm going to be 20 my next birthday. Well, Miranda. Please don't go, Miss Regan. I shan't be staying more than a moment or two myself. Since you speak of it, it wasn't in my mind to go, Miss Regan. Really? So, the play is closing, Geoffrey. Closing after a tremendous run of six days. Who told you? Stephen, of course. I happened to be with him when he got the news. I'm sorry, Geoffrey, but this is goodbye. I'm tired of waiting for you to be a success. I'm going to marry Stephen. Well, have you nothing to say? It doesn't seem as if I have, does it? What about you, Miss Regan? What business would it be of mine? None, but I thought you might like to make it so. Here's your chance to catch poor Geoffrey on the rebound. Why don't you make the most of us? Oh, she's just the sort of creature boys that nature did entail. Molly! Molly! Well, what's all this excitement? Is it good news you bring Geoffrey? Oh, yes, the very best. You remember the play I wrote soon after? Well, soon after Miranda, Mary, Stephen, Barlow? Do I remember it? Didn't I type it for you every word? But there's to be a production. Yes, yes. Rehearsal start next week. We're tentatively set to open in six weeks. Oh, I suppose I oughtn't feel as excited as I do not after what happened to my first play, but I can help myself. On your feet, Molly Regan. I want to dance to the brawl of the Gladson fight. Geoffrey, no. That's very unsubstantial furniture. Oh, Geoff, it's so good to see you happy. Oh, yes, happy. That I am. But it isn't the good news. As soon as I knew for certain about the production, I thought I must rush home and tell Molly. Knowing there was somebody to tell, somebody who would feel genuinely pleased, it was that which made me feel happy. And suppose there may be no good news to tell me. I would have come to tell you just the same. Knowing you'd be genuinely sorry. And there would have been happiness in that too, Molly. Oh, Molly, will you marry me if the play succeeds? Are you asking me to take you on the rebound, Geoffrey? So you haven't forgotten what Miranda said? Isn't a thing that a girl would forget that, isn't it? But it's six months since you said it. And I've had plenty of time to think since then. You know why she did say it, don't you? Yeah, I know. She didn't want you herself. She didn't want me to have you either. She's clever. I'd say that much for her. Oh, why shouldn't you take me on the rebound, darling? Why shouldn't you do that, especially when I've rebounded from something that I know now I never really wanted? Such a plausible tongue he has. He should have been an Irish man. Ah, you'll marry me then if the play succeeds. So fortune, Hunter, you think me is it? I'll marry you now or not. Oh, Molly. I'll share your anxiety while you wait. And I'll share your happiness if it succeeds. And if it fails, here I'll be like a good unfaithful wife to help you try again. Oh, Jeff, can't you see? It's love I have for you. Love and nothing else. Good evening, Mr. Reynolds. Good evening, Louis. This way, if you please, Monsieur. Thank you. Ah, our favorite table, I see. Oh, but yes, Monsieur, an anniversary, you say. An important anniversary, the fifth. And so, your favorite table in the quiet corner. Thank you, Louis. And oh, Louis, when my wife arrives, please give her these flowers. My pleasure, Monsieur, but yes, it's pleasure. Mr. Jeffery Reynolds, I presume. Well, Miranda. Mind if I sit down? Oh, no, no, don't get up. Formality between old friends would be ridiculous, darling. Well, must be at least five years since we met last. Five years and six months, to be precise. Somebody told me you were abroad. I was, until recently. I divorced Stephen last year. Did somebody tell you that, too? I know. How many plays have you written in the last five years, Jeffery? Five, one for each year. Oh, and they've all been brilliantly successful. Well, they've been successful at all events. I saw you latest the other night. It gave me two hours of sheer enjoyment. Really? Yes. You probably don't believe me. Not after the things I said about your first play. But there's no comparison between the two. You've hit the jackpot with your new one, Jeff. Uh, Jeff? Oh, I mean, Jeffery. I'm very glad you like my new play, Miranda. Jeffery, to change the subject and to be redundant. Do you think I've changed? No, I don't think so. You're something like Sir Rider Haggad Shee, Miranda. You don't change. Oh, do you still think I am beautiful? Very. You know, it isn't easy to say this, Jeffery. But I was an awful fool. I knew that as soon as I said my I'd do to Stephen. Believe it or not, it was you I was in love with. Was it, really? Have you missed me? Have you ever found it within your heart to forgive me? Forgive you, Miranda. Miranda, do you want me to let you have it? Oh, yes, yes, I do. I think I can take it. All right, then, since you've asked for it, I've missed you, Miranda, for exactly half a day, 12 hours. And then, you know, a very funny thing happened. I couldn't sleep. I was miserable, Miranda. In fact, I thought an atomic bomb had exploded on my private little world. I thought I was finished. I was done. If you remember, it was always my routine habit to start work at 10 o'clock in the morning. Habits aren't easy to break. And on the morning after, I went to work automatically, like a robot. I worked all day. What words I wrote, I don't know. When I was finished, Miranda, I lit a cigarette and started to think. And you know what my thoughts were? Go on. I thought... I thought of what an absolute jerk I was. That my whole soul and being was wrapped up in you. That all my inspiration to create and to build was based like Alexander's unconquering the world in order to give it to you on a silver platter. My love for you, Miranda, was the torch that lit the fuse of my ambition. It flared up like it was soaked in gasoline, and it nearly consumed me. You see, Miranda, you were the lodestone of my life. You kept me from drifting. You gave me aim and ambition and objective and entity to work toward. You gave me the start and the impetus that I needed so badly. Oh, I have a great deal of thank you for, my dear. And I do it now, humbly and from the bottom of my heart. When you stab a person, do you always twist the knife? What do you mean? Don't pretend such innocence, Jeffrey. You're relishing this little conversation, aren't you? You're being so, so noble and generous. Of course you can afford to be now. You're Jeffrey Reynolds, the famous playwright. And I'm the little fool who threw away what you wanted to give me. All right. I'll tell you the truth, Jeffrey. I lied to you about your play. I didn't like it. It was abominable. I found it frantically boring. Oh, Miranda, you haven't even seen the play. All right, sir, I haven't. You might find it quite interesting, Miranda. And profitable. You see, it's a revival of my first one, with the one exception of a title change. And do you know whose name is on the play bill? I'm not the slightest bit interested. You should be, because it's your name. What? I gave that play to you, Miranda, remember? And there's a nice account in your name at the First National Bank. What, Jeffrey? Yes. And it's only a small way of paying you back for what you did for me. You haven't known it, Miranda, but you gave me a world of happiness. And I'm very grateful. And as I said a long, long time ago, don't look now, but you're in show business. And you have brought me luck. Jeffrey, I... Excuse me. I've got to go. Thanks for everything. Hey, how are you doing, man? Oh, hello, darling. Sorry to be late. Happy anniversary to my favorite husband. And to you too, you beautiful mech. And now that the amenities are over, just who was that beautiful and tearful young lady that just left your table and dashed out like she was jet-propelled? A very unhappy and unfortunate girl I used to know. An old flame of mine, Molly. Well, that's burning a little low now. Oh, is that so? And strangely enough, the most important woman in my life. And just what exactly do you mean? Just what I said. She gave me you. She gave me all the happiness and success that I possess. Every day of my life and as long as I live, Molly. And every time I look at you, my heart will be saying, thank you, Miranda. The curtain falls in the final act of thank you, Miranda. Our star, Phillip Reed, will return for a curtain call after this timely message from Wendell Niles. Choose the career that offers all five. The U.S. Army offers you these five keys to a successful future. One, a career of service in the Army you will be on a team with a tradition of patriotic service to the nation. Two, the right job for you. Scientific aptitude tests determine the job you're best suited for. Three, continuous training for planned advancement. Specialized training and educational courses prepare you for that advancement. Then the Army's career plan assures you periodic promotions based on your skill and efficiency. Four, lifetime security. You as an Army man are guaranteed regular pay and sound retirement benefits. In sickness, your medical care is provided without cost, and your regular pay continues. Five, travel and recreation. In the Army, you'll enjoy the finest recreational facilities and opportunities for worldwide travel. Remember, you have 30 days' vacation with pay each year. Yes, choose the career that offers all five. Get full details at your nearest U.S. Army and U.S. Air Force recruiting station. Now back at the microphone, your host, C.P. McGregor and R. Starr Phillip Reid. R. Starr Phillip Reid is one of those successful actors who divides his time between Hollywood and the New York stage. You're fortunate in catching in between productions. Yeah, I've been hearing your shows regularly and all over the country too while I was on tour with Goodbye My Fancy. So I'm doubly glad to have had your invitation to appear. I'm glad you could finally make it. Thanks. I see we haven't much time, so I want to talk about your latest picture, Tripoli. You co-star with Marlena Harrow and John Payne. Yes, and it's really a fine story. The plot is based on historical fact, you know, the war between the United States and Tripoli in 185. I saw the preview and you were great. I know that the producers, Pine and Thomas, are happy and I know too that Paramount has a very fine picture to release soon. Our listeners must be sure and see it. I hope they will and I hope they like Tripoli. Well, C.P., let's get back to you. What's coming up next? Next week, Phillip, and ladies and gentlemen, our star will be Dennis Morgan with the title of our comedy, A Fool on Horseback. Well, that should make an excellent combination and a fine show. I'll be listening. So long, C.P. Goodbye, Phillip. Ladies and gentlemen, when Dennis Morgan stars in the comedy, A Fool on Horseback. Until next week then, this is C.P. McGregor saying thanks for listening and cheerio from Hollywood. Phillip Reid appeared to the courtesy of the Hollywood coordinator, The Betty, the terrain is for the appearance of all stars in this program. The script was by Kimbal S. Sant and music of Eddie Dunstaff. This program was transcribed in Hollywood for at least at this time. Wendell Niles speaking.