 From Hollywood, the screen director's playhouse. The director's playhouse star Joan Fontaine, production, the affairs of Susan, director William Citer. The actress presents some opinions on a lady. The motion picture romance, the affairs of Susan, starring Joan Fontaine in her original role. My name is Roger Burton. That's right, the Broadway producer. So you see, I should know a little about women. And I knew Susan. Greatest acting talent I ever discovered. As a matter of fact, I married her. I'm sorry to say we have since been divorced. I'm Bill Anthony, a writer. I didn't marry Susan. I don't believe in marriage. But to me, Susan was the essence of all women. Intelligent, brave, courageous, an understanding comrade, a kindred spirit. My quads are named Texas. That's right, oil well. I reckon I know Susan better than any of them. To me, she was just a real out-of-door girl at heart. All this New York nightclubbing and fancy living wasn't nothing but a substitute for the simple, backwoods life that she really wanted. We was kind of engaged, you know. Well, that's all very well, gentlemen. But I'm the man that's going to marry Susan, Richard Aitken. And to me, Susan is...she... Well, that's it. I'm confused. And that's why I've asked you to come here, gentlemen. Roger, Mike, Bill, I... I want you to tell me everything you know about Susan. What is this? A new version of Kiss and Tell? No, no, no. Of course not, Bill. But, uh, well, at midnight, Susan and I will be on the plane for California. We're being married at my mother's house in Pasadena, you know. And I'm worried. I'm beginning to think I don't really know the girl I'm marrying. I thought you respected Susan. I thought you loved her. Oh, I do, Mike. I do. But don't you see, gentlemen, each of you has described a...a different Susan. I've got to find the right one if I'm going to make her happy. You expect us to sit around here and prattle like a bunch of old ladies? Let's get out of here, Roger. No, wait a minute. I agree with the guy. The more he knows about Susan, the better. I'll sit down all of you and I'll tell you about the real Susan. I'd better start with a Susan I first met. A bandit, naive, truthful Susan. I was trying to get a play ready for production. Joan of Arc. I was fed up with Broadway. Everywhere I went, I ran into a million would-be actresses. So I went up to the most desolate spot I could find in Rhode Island. I rented a room from an old fellow named Jemmy out on an island a couple of miles offshore. It was perfect. No telephone, nothing but peace and quiet. I was washing up for dinner the first night when I heard it. A girl's voice. Hey, you! What are you doing here? Well, I live here with my Uncle Jemmy. Yeah? Yeah. My name's Susan. I was just setting the table for dinner. See. Okay, cut it. You're wasting your time. Thank you, pardon. I'm not doing any musicals this year. I'm afraid I don't understand. In fact, I'm not casting anything. Now do you get it? I'm afraid not. Well, look, whatever your name is. Susan. Susan, you know who I am, don't you? Of course, the new boarder. Your name is Roger Burton. You also know I'm a well-known producer? What do you produce? Plays. Oh, plays. What did you think? Rabbits out of a hat? No, but I thought maybe you produced something important, like queer or locomotives or something. Are you sure you don't know who I am? No, I don't. You would like to be an actress though, wouldn't you? Oh, I haven't got time for such foolishness. Foolishness? Now I've seen everything. Pretty girl who doesn't want to go on the stage. And I think I'm going to like this little island after all. And did you like it, Roger? Yes, Richard, that island was perfect. For a whole month I actually got some work done on my play. But Susan, well, she was different from any girl I'd ever known. She was strange, completely unsophisticated, so naive, and so innocent about everything. Almost like being around a child, except that Susan was no child. And at times it could be darn disconcerting. Are you working on your play, Roger? Oh, I thought you'd gone to bed. Well, I couldn't sleep. Well, I'd disturb you if I come in. But you're not dressed. Well, I've got my pajamas on. I'm not cold. Do me a favor. Favor? Oh, favor. What is it? Fix my clock. Well, it doesn't seem to know what time it is. Oh, I see, well, yes. Don't lean so close. You write my life. Oh, you see, the hands don't move. Yes, yes, I see. But look, don't sit here on the arm of the chair, will you? I'm sorry. Well, sit over there on the bench. I didn't know you didn't like for people to sit on the arm of your chair. Uncle Jimmy loves to have me sit on the arm of his chair. Your Uncle Jimmy's a very old man. Besides, he's your uncle. What do you mean by that? Nothing, nothing. Look, I can't fix this thing. I'm going to go out and get some air. Have I done something to make you angry? No, no, no, certainly not. I'm just going outside. Can I come with you? Dress like that? Well, wait, I'll get a coat. I thought I could help you get whatever was bothering you off your mind. Button your coat. It's cold. Yes, sir. Didn't it occur to you that I might be running away from you? But I thought you liked me. I do. Well, I don't understand. You know, I don't think you'd do with that. It's quiet, isn't it? Pretty night. Oh, pretty isn't a big enough word for the night. It's beautiful and mysterious and magnificent. I see what you mean. Now, those stars up there, a million voices calling out through a veil of tears. What's that? I'm just a lion that Joan of Arc was supposed to have used. She listened to the voices of the night and they called her a witch. I tried. They were fools not to know she was telling the truth. You can hear them. Yeah? The trees murmur and the ocean roars and bellows when the tide comes in and whispers when it goes out and they are saying things to one another and to us too if we'd only listened. And you understand? Of course. Susan, you got it. You got what? What I've been looking for, the voice, the quality, everything. You're going to play Joan of Arc. But, Roger, I don't want to be an actress. Don't argue with me. Well, don't shout at me. I don't want to be one. Listen, you little idiot. Do you realize you're getting a chance that any girl in the world would give her right arm for? I'm going to make you famous, a star on Broadway. I don't want to be an actress. I'll coach your line for line. I don't want to be an actress. I don't want to be an actress. Now, Susan, you're an actress. You're standing on a stage in a great theater. Now, put yourself in the mood. Oh, Roger, here on Uncle Jimmy's porch. But Susan, you're not here. Now, try and pretend. But I don't like to pretend, Roger. Look, Susan, to be an actress, you've got to pretend. You've got to adapt yourself. You've got to be many people, not just a simple little country girl. Now, come on, let's try it again. All right. Now, you're Joan of Arc, a saint. You're being burned at the stake. This is your last chance to tell them what you really feel. You see the torch, but you're not afraid. That's it. Head high. Now, pick it up in your very last speech. And so you do condemn to death a maid whose only fault was being true. Good, Susan. Whose only folly, that of listening to the voice of God. But the voices that I hear in the wind and the trees of my own beloved France are louder and clearer to me than all the rattling of your chains and crackling of your fires. You think you kill me. You give me life. Oh, Susan, you see, you could do it. You'll be wonderful as Joan. Will I, Roger? You'll be a celebrated woman. Dozens of men will fight over you. I don't want that. You never had a man in love with you, have you? Yes, I have. Oh. The mailman. Oh, that old geezer. Oh, not the new mailman. He's old with the old mailman. He was young. I used to try to kiss me all the time. Well, did you let him? Of course not. It was silly. Oh, I see. What's the matter? Did I see something wrong? Look, Susan, in a few days we're going to New York. I think I better tell you something right now. I'm in love with you. I love you too. Didn't you know that? I said I was in love with you. Oh, that's what I meant too. Will you marry me, Susan? I certainly will. Tommy, do you think it would be silly if I kissed her? Well, I'd have to try it first. Oh, that's nice. That's very nice. In fact, now I'm sorry about the mailman. You are listening to the screen director's playhouse production of The Affairs of Susan, starring Joan Fontaine. Well, Richard, you asked me to tell you everything about Susan. That's how she happened to become Mrs. Roger Burton. And you divorced her? Oh, no, no, no, Richard. She divorced me. Poor little Susan. That sweet, honest, truthful kid. Now, look, Mike, after all, you can carry that truthful stuff too far. But that's why you loved her, wasn't it? Well, I also loved her because she was a great actress. But when the play flopped, she started giving out truthful interviews to the press, like... Did you know that Mr. Burton's play isn't taking in enough money to pay the ushers? Well, Roger, was it making enough money to pay the ushers? Of course not, but you can't tell that to the newspapers. You destroyed her faith in man. And then I found Mona, an actress with a rich boyfriend named Cusp, who wanted to bring her into the play. Truthful Susan managed to have a heart-to-heart talk with Mr. Cusp. But really, Mr. Cusp, you'd be stupid to waste your money on Roger's play. Why, he told me himself that Mona didn't have enough to carry a spear. Oh, Susan, Susan, what have you done? Roger, I was only telling the truth. But do you always have to tell the truth? Everybody in New York's laughing at me. I think I'm pretty stupid. That telling the truth is being stupid. Well, if you want it that way, yes. You're too perfect to be human. Too perfect for any man to be married to. All right, Roger, then I'll... I'll get a divorce. Susan, when did you get back from Reno? Today. Still my producer, aren't you? Even though we're not married anymore. Of course, Susan. I was just closing a deal in the other office. A big oil man from Texas who wants to back a show. I want you to meet him. No, thanks. Frankly, Susan, if I'm going to keep this backer, you've got to be nice to him. You know I don't like backers, Roger. Well, you can pretend, can't you? What do you want me to do? Just don't antagonize him. That's all. You know, kind of adapt yourself to the situation. All right, Roger. I'll adapt myself. Just watch me. Now, wait. You don't have to overdo it. Lead on, Mr. Burton. Roger, it's about time you was getting back in your... Oh, excuse me. I didn't know you was with a lady. Well, Roger, aren't you going to introduce us? Mr. Ward, this is Susan Daryl, the star of my productions. Howdy, ma'am. Oh, I'm delighted to meet you, Mr. Ward. You all. I've heard so much about you. About me? Now that I see you, I know that every bit of it was true. Now, look here, Susan. What do you think you're doing anyway? Adapting myself, Roger, you know. Mr. Ward, I think it's awfully important for the back of a show and the leading lady to be good friends, don't you? Will you excuse us, Mike? Mike? Oh, you look as though your name should be Mike so big and strong and... Do you mind if I call you Mike? That's my name. Yes, yes. Listen, Susan, Mr. Ward and I have some business. But it's lunchtime. Would you mind taking me to lunch, Mike? Oh, well, why show her? But the conference. Oh, don't worry, Roger. I'll get him back by three. That is, if you promise you won't keep him long. And then, Mike, maybe this evening we could go dancing. You see, Richard, Susan was like that, friendly. Just the friendliest little thing you would ever want to meet. Tuck me out dancing at some club or other every single night from the first day I met her. Of course, she had to teach me, but I got to be kind of good at it. Gosh, Susan, this is great. You danced a lot better than you did a few weeks ago, Mike. At first, I thought you were wearing snowshoes. Susan, I never know how happy a man could be. But this ain't no life for a girl like you, Susan. You belong out of doors, out west. I mean that, um, um, what I'm trying to say is... Oh, please, Mike, I know what you're going to say, and you're a dear. If I were going to marry anybody, it'd be you, but... Uh, can I cut in? Roger. Hiya, Mike. Hello, Roger. Yeah, mind if I talk to Susan a minute? Well... I'll see you at the table, Mike. I'm sorry. Well, Roger... What's the matter with you, Susan? Are you losing your mind? Oh, I don't think so. Neglecting your word, chasing all over town till all hours of the morning. Why don't you stop pretending? Maybe I'm not pretending. Maybe I was pretending when I was that simple little country girl. Now, Susan, if you think you're making me jealous... Making you jealous? Why, you conceited? Did it ever occur to you that I might be in love with Mike? Yes, and when it did, I stayed up half the night, laughing. Well, that does it. I don't ever want to speak to you again, you egotist. Susan! Susan, it's me, Roger. It's past noon. Well, go away. Susan, I'm coming in. I've got to talk to you. How did you get in? You're maid wouldn't let me in, so I came up the back way. Look, Susan... Susan, I've been up all night thinking about you. What did you say? I said I've been up all night. Well, go home and go to bed! Look, Susan, maybe we've made a big mistake. You see, I... What? I said perhaps we made a mistake. Do you have to shout like that? Well, if you'd opened the door, I wouldn't have to. All right. But don't you dare step over that threshold. Why were you screaming at me through the door? Who made a mistake? Well, look, what I've been thinking is that... Come on up, Brad. Susan? Well, it's Mike. Oh, he would. Hey, what's going on up here? Well, Susan, you're not dressed. And Roger, you're in your bedroom. He is not in my bedroom. Well, practically. You heard her, Mike. I am not in her bedroom. And anyway, I'm her husband. You were my husband. Why, you... Now you keep out of this, Mike. You woman wrecker! Mike! Well, Richard, I didn't exactly kill him, as you can see, but... Well, I guess I just about done it for a little on my... Later, I tried to call Susan a couple of times, but she's always out. At least that's what the maid said. Then one day, I got a message from her. She wanted to see me and Roger right away. Roger, too? Yeah, mm-hmm. He had a way of popping back into the picture every now and then. So... Oh, we hold it, Mike. And as much as this next chapter seems to be entitled The Chronicles of William Anthony, you don't mind if I at least begin it myself? Go right ahead, ma'am. Thank you. Well, Richard, my meeting with Susan was very simple and most logical. We met in the park. She had read my book. Her ideas were a trifle adolescent at the beginning, but with intelligent dialectic guidance, she changed quite rapidly. Yes. When Mike and I got there, we could see she'd changed. Horn-rimmed glasses, hair parted in the middle, in a suit that looked as though it had been made to order for a librarian specializing in political science. Good afternoon, Michael. I'm glad to see you again. Oh, I'm glad to see you, Susan. I'm honored to. Hello, Roger. What are you made up for, Susan, a suffragette? You don't expect all women to dress frivolously, do you, Roger? Or were you thinking of the old Susan? May I ask a question? Of course. Who's the man? What man? The man you're adapting yourself for. There is a man who I'm interested in, but not for any commonplace reason that you could understand, but because of his great mind. I've asked you to come here because his latest book would make an excellent play. What's the name of the book, Susan? Man Has a Mission. By William Anthony? That's right. Have you read it? And how? The Poor Man's Kinsey Report. Hey, uh, ain't that the book that don't believe in marriage? Well, in a way. And you running around with a fellow that wrote it? I don't exactly know what you mean by running around, Michael. I think I better go have me a little talk with this fellow, Anthony. No, no, now wait, Mike, look. Looks like I'm gonna have to bust somebody in the nose. Mike! Mike doesn't want to see you make a fool of yourself, Susan. That Anthony guy's a phony. He happens to be brilliant. Has he ever mentioned the word marriage to you? Well, he... No, no, because he's a 100% 20-carat wolf. Why, he wouldn't marry you if you were Cleopatra. Oh, he wouldn't, eh? No, he wouldn't, eh? Why, you overbearing, arrogant... You'd have to get him looping drunk first. Well, thank you. That's an excellent idea. Are you sober? Yeah, yes, sir. Well, come on, get out. This is where the justice of the peace lives. Oh, Bill, be careful. Yes, sir, yes, sir. Oh, enough to want to marry me. Yes, sir. Oh, Bill, are you sure you know what you're doing? Yeah, yes, sir. You poor, trusting idiot. Well, you ring my bell. Are you, uh... Are you the justice of the peace? Something I can do for you. Um, would you, uh... Would you tell me the time? The time? It's four o'clock! Come on, Bill, I'm going to take you home. You mean Susan just took you home? Yes, that was it, Richard. Actually, I've been sorry ever since. She didn't take advantage of me and marry me. Even though it was against my principles. That's very interesting. And I want to thank you gentlemen, Bill, Roger, Mike, for your very great assistance in helping me to know the real Susan. We're being married at my mother's house in Pasadena, you know. And I just got time to pick up Susan and make the midnight plane. Well, I've got to be running along, too. Yes, hello, Mike. Me, too. Thanks, Bill. I can't drop you anywhere. Roger? No, thanks, Richard. We'll just run along by ourselves. Each is separate way. Bye, Bill. Bye, Mike. Got a hurry, you know. Good luck, Richard. Yeah, thanks. Richard! Oh, Susan, darling, I can't tell you how happy I am. I love you, I love you. Oh, I thank you. But if you don't let me go, we'll be late for our plane. Oh, now that I really know you, I'm sure I can make you happy. Now that you want? Susan, honey, I'm too late. Mike, what are you doing here? I want you to give me another chance, Susan. Why, Mike, you're proposing. I want you to come away with me. I'll get it. Oh, another one. Bill! Don't listen to them, Susan. You've got to marry me. Oh, but Bill, you don't believe in that. I'd rather have you than all my theories. Oh, thank you, Bill and Mike. I want you to know how flattered I am. I seem to have been nominated unanimously. Only there seems to be a delegate missing. Well, from what he told us of your fights, you could hardly expect him to come running with his heart in his hand. No, I guess I couldn't. Well, gentlemen, the answer is... Mike Darling? Yes? No. Oh. Bill? Sweetheart. Thank you so very much. I see. Richard? My dear. We just couldn't make a go of it, either, could we? Huh? Oh, as well, I was afraid of that. Mother will be terribly disappointed. Goodbye, Susan. Goodbye, Susan. Goodbye. Goodbye. Goodbye, all of you. Roger, where'd you come from? Back way. There'll be lots of competition out here. Oh, what do you want? Marry you. Oh, but what makes you think I ever would? Because you still love me. And what about Mike and Bill and Richard? Oh, they were just a phase in your development. The trouble with you was you never kissed the male man. What's that got to do with it? It's got a great deal to do with it. The girl I married was only a child, an adorable child. I was impatient. I didn't work hard enough at understanding. Oh, Roger. I waited a long time to hear you say that. Good to be in your arms again. You know, it makes me wonder. Why, you ever let me? No. About the male man. Joan Fontaine will return in just a moment. Next week, the Screen Directors Playhouse becomes a Screen Directors' Christmas party for Hollywood's underprivileged children. You're invited to join the youngsters in listening to one of the best-loved of all motion picture Christmas stories. Miracle on 34th Street. And recreating his original role will be the inimitable Edmund Gwen with Screen Director George Seaton. Now, here we get us tonight's star, Joan Fontaine. Thank you so much. If you think Susan's personality was a little confused, you should have met her on the movie set. You see, we had a wonderful director who knows picture-making backwards and forwards. And that's just how we made this one, backwards. Not even Susan knew which Susan she was supposed to be, but the director always knew. So, ladies and gentlemen, meet the man who rarely settled the affairs of Susan. The director of such fine films is up in Central Park and one touch of Venus, William Citer. Thanks, Joan, but Susan's character wasn't our main problem in the picture. Oh, what was, Bill? Remember the black dress you wore? The one with the ermined tails? Oh, do I? The producer decided that perhaps the ermined didn't look quite right. Then it began, meetings. Conferences. And finally, the big decision. Remove the tails. Remember how we laughed when we saw the result? Against a dark background, all we could see was your face. I looked like the missing part of the headless horseman. So it began all over. More meetings. More conferences. Another big decision. The tails. Put the tails back on. Hollywood triumphs again. Oh, Bill, it was wonderful. Somehow, in your 25 years behind the cameras, you discovered how to turn a magnificent directing job into a lot of fun. Joan, I think that's the nicest compliment I've ever received. Good night, Bill, and good night, everyone. Good night. And good night to you, Joan Fontaine and William Sykes. Remember, next week, Edmund Gwynn and screen director George Seaton will be hearing such stars as William Powell, Jimmy Stewart, Claudette Colbert, Carrie Grant, and Ginger Rogers, all on screen director's plate. The pairs of Susan was presented through the courtesy of Paramount Pictures, soon releasing the Hal Wallace production, Talma Jordan, starring Barbara Stanwyck and Wendell Torrey. Joan Fontaine will soon be seen with Joseph Cotton in September of fair, a Hal Wallace production for Paramount. William Sykes' latest production is Borderline, a Universal International release, starring Fred McMurray and Claire Trevor. Included in tonight's cast were Stephen Dennis-Roger, Willard Waterman, Barton Yarbrough, David Ellis, Willem Herbert, and Dan Riss. The affairs of Susan was adapted for radio by Warren Lewis, and original music was composed and conducted by William Lava. Screen director's playhouse is produced by Howard Wiley with dramatic direction by Bill Karn. This is Jimmy Wallington speaking and inviting you to listen again next week when we present... Screen director's playhouse, star Edmund Gwynn, production, Miracle on 34th Street, director George Seaton. What's on NBC Sunday? This Sunday you might win more than $26,000 worth of prizes on Hollywood Calling if you can name the film of fortune. What a wonderful Christmas present that would be for you and your family. So Sunday, stick close to your phone and your radio because Hollywood Calling might call you to win. Next, Shirley Temple visits the Sports News Rail on NBC.