 Lux presents Hollywood. The Lux Radio Theatre brings you Robert Young and Anne Baxter, in guest in the house. Ladies and gentlemen, your new producer, Mr. William Peely. Greetings from Hollywood, ladies and gentlemen. May I take this opportunity to thank you all for your many letters and wires of congratulations following my appointment as producer in this theatre. Your kind support and your helpful suggestions will be always welcome, and I hope that we can work together closely through the coming season. A few years ago, I directed a picture that you may remember, the man who came to dinner. It advanced the premise that guests are not always an undivided blessing and that hospitality is often direly rewarded. In a deeper and more serious vein, such is the premise of our play tonight. Hunt Stromberg's psychological thriller, Guest in the House, which came to the screen after 45 successful weeks on Broadway. Our host in tonight's play, whose affable manner would make anybody feel at home, is Robert Young. While the charming to look at visitor is Miss Anne Baxter playing her original screen role. The title, Guest in the House, suggests to most of us, I'm sure, an atmosphere of hospitality and warmth. An extra place at dinner, flowers in the spare room, and a fresh cake of luxe-toilet soap beside the guest house. For modern hostesses are well aware that a friendly cake of luxe-soap adds a cheerful note of welcome in the home, and not only helps to put a bright complexion on affairs in general, but also a lovely complexion on the guest in the house. However pleasant as these thoughts are, such is not the temper of our play, for ours is a drama of suspense and fear, the story of a great love in the shadow of a haunting terror. And now not to delay our curtain longer, here's the first act of Guest in the House, starring Robert Young as Douglas Proctor and Anne Baxter as Evelyn Heath, with Francis Robinson as Jane. These are strange events you're going to hear. They took place in the happiest house I ever knew. It always been laughter in that house, and love. Down under the cliff there's sea-pounds, but the house was safe above it, until suddenly the pounding sure seemed to rise like a wild and evil horse had engulfed us all. And so I committed a crime. If I had not, there would have been worse crime. And now as I walk these cliffs at night, I live over those roots in that last terrible moment. And this is the story I was telling, when I stand before the bar of judgment. It started on a pleasant summer afternoon. We were getting the house ready for them, for Dan, my nephew, and his fiance, Evelyn Heath, a girl we've never met. How do you feel, darling? It's plain so stuffy. Oh, Dan, forgive me. I'm always complaining, aren't I? You're going to be well, Evelyn. Remember that. I don't get well. At least I'm out of that horrible clinic. It's not a horrible clinic to me, dear. You're a doctor. It's different for you. Yes, I'm a doctor, finally. But I meant that if it weren't for the clinic, I might never have met you. I've been better off, gobbler. Darling. But I'm ill. You know how bad my heart is. What possible happiness can I bring you? Evelyn, we promised never to talk like that again. I'm sorry. Will you hand me my diary, dear? I think I'll write in my diary. A diary's not good for you, Evelyn. I told you that a dozen times. Dan, what could possibly be harmful about writing my thoughts in a diary? But it is harmful. A constant reminder of all the unhappy things in your life that you must forget. If you only knew what happened... All right, Dan, all right. Oh, please, please, you're getting upset. We'll talk about something else. Yes. Oh, Dan, I hope Dan liked me. But if they don't, after all, in England... They'll love you, darling, just as I love you. I'll try so hard, Dan. I will. Now let me see. Your family. First, there's Aunt Martha. Yes, but Aunt Martha doesn't live at the house. Oh, she doesn't? Well, she practically lives with us. She has a little place of her own close to the town. Oh. Well, there's your brother, Douglas, and his wife, Jane, and their little girl, Lee, age seven. Good. Then John Hill is a servant, and the Blake girl. She's still there, isn't she? Oh, yes, Douglas paints, and painters need models, and Miriam's a wonderful model, at least, some Aunt Martha writes. And that Mr. Hackett? Who did you say he was? Just an old family friend. He's a publisher. Oh. I have a hunch he used to be in love with Jane. Anyway, it's very nice. When he comes down for weekends... Then he'll be there today. I hope so. Now, who of our mists? Nobody. You're doing wonderfully, darling. Oh, it'll be so good for you out there. Like a new world. You're the happy new world. Don't you want to back room yet? I'm getting out. For eight years, I've had this room at Martha every weekend. High time you move. And I'm not a bit pleased about surrendering to the first-range girl who... Oh, grumble, grumble, grumble. Yeah, well, if you ask me, you're not too happy about it either. You'll stop talking like that this minute. Yes, ma'am. You can really understand. He'll be using his old room again over the garage. You call that smelly laboratory a room? I don't know why I'm bobbering about you. This isn't my house. Flowers. I never got flowers. You know, I've been thinking, wouldn't it be nice if you left a little present in the room for Evelyn? What present? Well, your portable photograph. Oh, now, Jane. Please, she loves music. Dan wrote us about it. And it seems her drunken father never would let her home. Jane, you don't have to tell her everything. It's nothing to be ashamed of, darling. She can't help it if she had an alcoholic father. Oh, please earn a letter, keep it. Oh, sure, sure. Give it to her. What else? Well, then be here soon. I'll go tidy up a bit. Jane. And Martha's worried and jealous. Oh, nonsense. She wants Dan to be happy, that's all. She's loved him like a son all his life. Well, let's go see if Doug's through working. Still on that magazine layer? Oh, sure. I've scarcely seen him for two days. You know how he hates to be interrupted when he's painting. Now, if you'd stayed in the publishing business and married your boss. We could spend our lives reading out loud to each other. Douglas, can we come in? All right. Hello, darling. Remember me? They agreed. And what are you staring at? Well, nothing, nothing. Hello, Miriam. Hello, Jane. Please tell the man to keep his whistles to himself. Hey, Doug, you call this work? Now, look, I am looking. I was assigned to illustrate a story. Can I help it if it calls for a girl and a sarong? Miriam, you're gorgeous. Relax and hand me my rope. Well, we're not through. Darling, we've a guest coming. Oh, she's here? Not yet, but any minute. And I've been thrown out of my room. Good. So I was thinking. Miriam, how about yours? No, no, I'll move. Well, hey, I'll pack it. You can barge in every weekend if you like. Poach on my wife's brain. Drink up my scotch. But stay clear of my model. I'm having trouble enough keeping her here. Yes. How beautiful you are in the outer world, Mr. Hackett. Oh, well, well, since you've been here, Dewey's captured Manila. Oh, no. Hey, hey. Well, excuse me. I'll go get dressed. But, Jane, are you sure you want them? Of course I do. The more of us there are, the more she'll feel at home. Now, Ernest, about drinking. Oh, wonderful idea. Can I get you one, too? Oh, please. So easy, huh? It'll only remind her of her father and what... Oh, are you sure, darling? Well, if we hurry, we can meet them at the gate. Oh, no, we mustn't gang up on her. Dan says the slightest excitement, and she just goes to pieces. Oh, come here, darling. We'll meet them in the classroom. For everybody? Well, well, here she is. I should say. Everyone, darling, the first one I want you to meet is... No, don't tell me, Dan. And please, don't move. Any of you. I want to remember this moment always. Dan's own people standing here to welcome me. Aunt Martha, I'd have known you anywhere. We've looked forward to this for a long time, my dear. Thank you. Jane, I hope we're going to be very good friends. I hope more. You're part of a family. That's what's so wonderful. I never had one, really. Oh, you can't be Douglas. Oh, my name is Hackett. Just a friend. How do you do? My name is Evelyn. Dan's big brother. We hope you're going to like us, Evelyn. I don't see how I can help you. Miss House, oh, why are people so good to me? Hilda. Hello, Hilda. And John. How do you do this? And Miriam Blake. That's right, Missy. Oh, please, call me, Evelyn. And Little Lee. Oh, but I didn't expect to see such a pretty little girl. You're beautiful. You're so quiet. No, no, don't touch me. Oh, I've been on that dirty train. Dan, could I go upstairs? Why, you must be tired out. It's not so much that. It's just that I've been with this for so long. I told myself I wouldn't act like a fool and go all the pieces. Just you come with me. I'm so sorry we haven't got a bedroom for you on the first floor. That's all I can. Well, isn't anybody going to say hello to me? Oh, I'm sorry. Fresh paper in the drawers, Evelyn. Mr. Halke just moved it. Oh. Oh, dear. Would you mind telling me if I ask Hilda to fumigate? Oh, you won't catch anything from Ernest, except maybe a grumpy disposition. Why, I know it seems silly. But when you're sick, you'll get for you what? Jane. A phonograph. May I play it? Of course. It's yours. Mine? For as long as you like. The record's true. Oh, look, Jane. Leave this job. Dream of love. It was always my favorite record until my father broke it. He broke it? Purpose, yes? He wasn't always himself. Oh, listen to it, Mike and Jane. You know, when you're ill and you lie alone, if you have music, it's not so bad. That's why Ernest wanted you to have it. That's very sweet. Well, can I help you unpack? Oh, no, no. Thank you. There's really... Oh. That's the matter, dear. Would you mind asking Daddy to come up? Please? Oh, of course. I'll send him right up. Darling, what are you... Give it back to me. Give it back to me. My diary. It isn't in my bag. You took it. Yes, I took it. You shouldn't have it. You promised this would be a fresh start. My diary, Dan. But those things you write, they upset you. You don't sleep. You don't... I told you it's not for you to decide what's bad for you. You must let me rule my own life. I have so little of it to count on. Oh, my darling, I'm sorry I'm a fool. Here, have your diary. Anything you want, only don't look at me that way. Oh, thank you. Now, please, dear, come down to dinner. I... I can't, Mom. Too sick. You'll feel better after eating something? If you like, I'll have something on a tray. A tray? All right, I'll bring it up to you. Can I sit next to her at dinner? Well, I'm afraid she's not coming down. Dan. Oh, the trip is too much for her, Jane. He'll be fixing a tray. Can I help, Uncle Dan? Sure, honey. Come along. That's just what I mean, Jane. She looks well enough, but she's really frail. You know, I can understand Dan's wanting to be sure of her practice, but isn't going a little too far to marry his first patient? Well, personally, I think she's swell. A little nervous, but who wouldn't be after what she's been through? Well, I've made up my mind. I'm going to do everything I can do to help her get well so that they can get married. Congratulations, Aunt Martha. Well, let's all have a drink on that. I swear she's played that record a dozen times tonight. Doesn't she know there are other records? I warned you, Aunt Martha. Dan's coming downstairs. Oh, got her all tucked in, Dan? Yeah, Dan. She'll get to sleep in a little while. You didn't forget to close her door, did you? No, she likes it that way, open. Oh. I'm sorry, Ernest. It's just that she has trouble getting to sleep and, well, music helps. All right, you've got a new roommate, Danny Boy. I'm moving in. Even the stench of your laboratory is better than that and it's 99th Revolution. Well, I'll walk you home as you want, Aunt Martha. No, dear. I think I'll make some chocolate and read the paper. Can I tempt any of you? No, I'm turning in. Me, too. Not at all. You've been stingy with your kisses since you got that new girl. You do like her. Yes, Dad. I do. I knew you would. Well, see you all the morning. Good night, Aunt Martha. Good night, Aunt Martha. I asked you a question. I asked you a question. I wanted to give you something. Give me something? Yeah. Why did I come back for you? Now I like you. Oh, come in, dear. Yes, you can have it for kids. I'm eating the cover-up. Oh, no! Don't take it away. Oh, please. No, no, no, please. I got it on there. Lee, what's wrong? What did you do? Evelyn, what is it? I got to get it away. Lee, take Skipper away. Put him outside somewhere. Go on. Aunt Martha, do you mind? Come on, me, darling. We'll put Skipper under the tree. Come on. Aunt Martha, what's the matter? I don't know. Get down. Will you, Jane? You'll know what to do. Yes, I think I've done it. Evelyn, dear, it's just a bird. It couldn't hurt anybody. I don't know what to think about. Well, even the word makes me call it nothing. A horrible, horrible poison is what I can't help. No, of course you can't. Don't even try. Dan will be here in a minute. Well, because birds frighten their deer, it's what they call a phobia. But what's that? Well, it's something you're afraid of, like you're afraid of snakes. But I'm not afraid of birds. Well, some people are, darling. Sometimes I'm scared of the dark. That's right. There's no real reason to be afraid, but you are. Only sometimes. Of course, Ipper. He was scared, too, and she yells. Oh, Dan, everything all right? All quiet, Doug. I gave her a sedative. Is a phobia better, Uncle Dan? Yes, dear. I'd no more wandering into her room at night. I'll put it to bed, Douglas. Come on, dear. Good night, Daddy. Good night, Uncle Dan. Good night, dear. Dan, look, fella. A girl as nervous as that. Don't you think we ought to call a specialist? I just brought her from a specialist. Oh, I didn't know. The main thing's her rest and no emotional excitement. These phobias of hers are nothing we can do except to void what causes them. By the way, Doug, she asked if you'd look in for a minute. Me? She's a little embarrassed. I think she wants to apologize. Oh, but holy cow, there's no need to apologize. Come on, Doug. Please forgive me. Now, don't even think about it. Just go to sleep. I'll never sleep, no. Of course you will. All anybody needs to go to sleep is to have a pretty picture in mind. I don't know any pretty pictures. Well, I'll show you one. Where do I find a pencil and paper? Here. Oh, wait a minute. What are you doing? Drawing a picture of you. The way you're going to look after a couple of weeks. Couldn't manage a smile, could you? Oh, all right. I'll put one in anyway. No more shadows under those eyes. Up goes that head. You know, you're terribly hunched over. Well, we'll fix that, too. Pure body lines that match that beautiful face. There. Isn't that a pretty picture? The trouble with me is I always have to remodel everything. Are you willing to be remodeled? Yes. If you'll help me. Good. Good night, Dr. You can close the door now if you want. That's the girl. Oh, Douglas. Yes? My diary. It's that book on the bureau. May I have it, please? Well, shouldn't you go to sleep? Just a minute. All right? Well, of course. Good night. Today it happened. Dan had last brought me to his heart. He's so easy to fool. So easy to handle. Why is it I like to control people? When I do, I hate them. Dan still believes I'm going to marry in the liberty of his family. I always look sorry for him. Sorry because I have a weak heart. But I'm easily frightened. And I'll show them I'm stronger than all of them. Oh, Douglas. Yes, Douglas. Today I think I met a man I really want. Here's act two of guest in the house starring Robert Young as Douglas and Anne Baxter as Evelyn with Francis Robinson as game. For five days, Evelyn Heath has remained in the confines of her room. But her presence, like the haunting strains of Leverstown, has penetrated every corner of the house. It's early morning now as Dan knocks on her bedroom door. Evelyn, dear, may I come? Evelyn, you're up in there. Darling, this is wonderful. Oh, darling, I want to take you in my arms. Oh, darling, you're crushing my house. Oh, that's new, isn't it? Jane made it more. But it was all Douglas' idea. He designed it. No wonder you want to get up and look at your coloring your cheeks. Why, you're beautiful. Oh, Evelyn, the phonograph. You mind the fire. Beautiful record, darling, but why must you play it so often? Because I like it. Dan, would we ever have a house like this? Well, that depends on how many appendages I take out. I hope so. Aren't you a little afraid I might get so beautiful you'd be jealous of me? I don't think so. I know how you are. Suppose I was unfaithful. Suppose you caught me sending a note to someone. Evelyn, I've asked you not to talk like this. You only make me believe. That's for her. Suppose I asked you to take the note to this other man. I wouldn't stand for it. There, you see, you are jealous. I could never be happy with you. Evelyn, please. Stop it! I only want to see how much you love me. Oh, Dan, why do we always quarrel like this? I don't know, Evelyn. I can't stand it like it is. I had no time. We said it would be different here. It's not, Dan. Maybe if we were apart a while, if we went away... And not see you? Until I really get better. Maybe if we didn't have these setbacks after not a month or two, and then when you came back, I'd be all well for you. You want me to go? I'll stay if you like, Dan. I know the hospital needs you. But do as you see best. I'm tired. Evelyn, if I go, you'll write to me every day? Oh, yes. And I'll talk to you every minute. I'll leave tonight. Dan, it's only because I want things to be perfect. Aren't we finally together? I know, darling. I understand. Douglas, it's Evelyn, Douglas. Well, up and about. This is marvelous, Evelyn. Hello, Evelyn. Here, sit down. Well, I guess Dan's back at work today. Shane, the hospital had to call him back. Yes. You know, I've never been in my studio before. Would it bother you if I look her on? Of course not. You'll need the rest anyway. You make her very beautiful in that painting. Well, she's pretty good to start with. I didn't know you cared, darling. How about a cigarette? We'll get some. Uh, show Evelyn around, will you? Well, Evelyn, these are the illustrations for that South Sea Island story. Over here? Here? Is new? One year. Is it very difficult to pose? Oh, it's three bucks an hour. It's not too difficult. I'd rather die. You're kidding. When you tell Douglas, I'll come back some other time. What's that? That's the last thing I want to write in my diary. Well, what's the matter with you? You should have heard her giving you the business because I posed in the farong. What did you expect? She thought you were a nice girl. Ella, where's your sense of humor? Okay. Only I can't make her out. You never know what she's thinking. I'd sure like to see that diary of hers. Now I know how Dan feels when he jumps. There, in front of Douglas, that bugger will move. How can she be so blind? Let me just tell you something. I could tell. She didn't listen to me. One day you look at me as a woman. Not as a model. I can't admit it from my head. I must get rid of me. Come in. Turn off the music. You can put it on again. Can I? Uncle Ernest, he'd never let me touch the phonograph. Here you are, Jimmy. You're waiting for someone. A man. A handsome person. Well, just now you said I'm the man. But you... You'd be like your father. You love your father, don't you, Jimmy? Oh, yeah. You wouldn't want someone bad to take him away from you. Oh, no, no! Someone wants you. Are you old enough to see him? Someone you can't work with. You're lying on the beach, see, and he's got his arms around you. No, not like that. His arms are around you, like this. Okay, like that. You're leaning back in his arms. Who's that? Someone's in the tree watching you. Well, it's Lee. Lee, what are you doing? You know you're never to climb trees. Now get down from there. Be careful. Oh, she's running and crying. I guess I heard her feelings. Yes, but not because of what she said. She saw her arms around you. Oh, for heaven's sake. Come on, get to work. I found her in the garden, Miss Martha. Crying her eyes out. Poor little Mike. Imagine, seeing such goons on with her own eye. Here's a real you, please. I'm telling you, that's what she's seen. Her own father and that woman. Hugging each other. Where's Mrs. Dr. Sutton on the porch? She and poor little Miss Heath. Now, I'm not blaming him so much. He'll be in an orphanage and all. If you get any loyalty, you won't think about it again. Above all, don't say anything to Mrs. Dr. I already did. Gilda. I most certainly did. I told her just what Lee told me. Somebody's got to warn her of what's been going on up there. That's enough. I'm surprised. I can tell. It's nothing, Gilda. But I can tell. I can't stand to see you look like that. So hurt. Oh, Gilda made a very stupid mistake. But I've no right to let it upset me like this. It wasn't anything I might have done. Darling. Well, I think I'll go up and right there. Oh, would you mind knocking on Doug's door? If he's not too busy, I'd like... I'm not busy. I'm definitely not busy. Darling, let's celebrate. I'm finished. Hi, Ellen. Jane, I finished the assignment. All done. Come on, let's roll up a rug, put on some records and dance the walls down. No thanks, Doug. Hey, Miriam. My wife won't dance with me. Will you dance with me? I'd rather take a nap. But I want to dance. Jane, what's the matter? Is something wrong? No. Nothing. Come on. What is it? Oh, Doug, it's stupid and ridiculous. This is me, remember, Doug? Well, darling, we have servants in this house. We have a child and an aunt and a guest. And Miriam. Doesn't it ever occur to you that you're... Well, your actions with Doug Well, your actions with Miriam might be misconstrued. Oh, now, Jane. You don't say that it lasts your jealous and be done with it. Oh, darling, don't look so serious. I'm sorry, Doug. Let's go for a swim. Well, I can't. I've got to get to the market. Why don't you go? I guess I will. Don't be late for lunch. Well, see you later. I'm hungry. Oh. Lee and Evelyn are taking a walk. Well, darling, it's fine because I want to talk to you. Doug, there's something going on around here. I've hurt somebody's feelings. I've done something. I try to talk to Lee and she runs away. She'll be glad that me and John just winks. I see. And Jane? I haven't seen Jane. She's been in her room. You know what? Your imagining things. I don't think so. I don't think you think so either. Maybe you change. A week's layoff would do us good. A week's layoff? Lady, I'm a working man. Look, I've got to get those canvases to the express office anyway, so let's drive down to the village. What we need is a drink. Yeah, I think you've got something there. Mr. Pocter and Perth? No, Hilda. They're not. It's after 8 p.m. How long am I supposed to hold dinner? If you ask me... I didn't ask you, Hilda, and that will be all. Oh. The place isn't it, Evelyn? Jane, well, that's what happens when you marry an artist. Goes out for lunch and doesn't come home for dinner. Jane, I didn't want to say this in front of Lee and Aunt Martha. But please believe me, dear. I understand and I'm so sorry for you. But Doug will come back to me. Senses and... Police? Well, at least we don't have to send the police. Jane, I'd rather not face them. I'm going upstairs. Oh, finally, will you? Don't let her come down. Hi, everybody. Oh, all alone, Jane? Hello, Doug. Maryam, maybe you'd like to freshen up a bit. Dinner's ready. Freshen up a little bit. Well, I don't know if I can make this there, but I'm sure it's going to try. Oh, I'm sorry, Jane. Are you? Oh, come on, honey. What are you looking so tragic for? I had a few drinks. I phoned the inn. You weren't there. You've been there, though. Everybody seemed to know that. Well, it was a good drive, sober up. You did a fine job of it, didn't you? Oh, Doug, don't you care what people think? No. All I care is what you think. Well, what do you expect me to think? I've tried desperately, not you, but you keep... What? Is there anything between you and Maryam? You shouldn't have asked that, Jane. I am asking you. Well, I wish you hadn't. I want an answer, Doug. Oh, you were in such a state, you wouldn't believe me, would you? I don't know. Well, let me know when you do. Maryam? Come in. What are you drinking now? There is pneumonia. You'll sober me up like that. What Jane just told me, you sobered me up much quicker. Mad, huh? Well, I don't blame her. It was all my fault. No, it isn't just this afternoon. Jane thinks something's going on between you and me. Well, that settles it. I told you this morning that something was cooking around here, but you wouldn't listen. What are you doing? Packing. I've been accused before, but never by anybody like Jane. Anybody else I don't give two cents for. But Jane, it's funny how you feel when a door gets slammed in your face. I'm sorry, Doug. You're sorry. I'm sorry. You don't blame Jane. I don't blame you. What the devil's happened to this house? Jane, is that you? Devlin. Oh, what are you doing down here? It's late. I thought I heard voices and a car leaving. I was Miriam's taxi. She's going back to Boston. Was anything wrong? Nice of you to pretend you don't know, but you have eyes and ears. Things around here are in somewhat of a state. Oh, yes. And I'm so worried for all of you. Oh, come on. You've got to get to sleep. Too bad you've had to see all this. I hope it won't sour you on married life. Never, Douglas. I'll never show it. I'm sure you won't. I can't afford to be jealous with my heart. Must be hard to keep so calm and peaceful. You learn about peace lying awake nights alone. Knowing it may calm at any moment. But it has helped you being here. You've done so much. Now I only wish I could help you and Jane to get back like you used to be. There was only some way of showing it. I don't think there's anything that you can do, thanks. And if I could help you out until you get another model of... You who have one? You didn't laugh when you do this? What's that? The sketch you did of me that first night. I'm an idiot. What's the matter with me? Why didn't I realize it before? Now I know why I've been sketching that face of yours all week. Oh, I've got this. It's settled. You've got a job starting tomorrow. Oh, thank you, Douglas. Said you'll be a lot more helped to you than you think. We continue with Act 3 A guest in the house starring Robert Young as Douglas and Anne Baxter as Evelyn with Frances Robinson as Jane. Five weeks have passed and the chill that's invaded the Proctor household is more than the touch of an early autumn. Dan's still in Boston. Miriam's disappeared. An earnest hack at the regular weekend guest hasn't been down for a month. But now, unannounced, he's walked in on Jane and Aunt Martha. And not a word from any of you. What's happened down here? But I did write, Ernest. A nice, long letter. Oh, sure, sure. A month ago. I let her with a PS. Funny how everybody puts the important thing in the PS. I don't remember. Well, I do. By the way, Ernest, would you mind skipping this next weekend? Let us still wait until I write again. End of quote. Well, you didn't read. And as far as I'm concerned, I'm glad. You, uh, you don't want to talk to your Jane. Well, you don't have to. I got the whole story yesterday. What? I'm going to Miriam. Oh, surely. You can't believe that Doug would... Ernest! I want my old job back. May I have it? Well, it would be wonderful. For me. But you'd turn your life upside down. You don't think my life is right side up now. My husband bringing himself into a stupor every night? Doug? Drinking? The only time he's sober is when he's at church. He's painting a mural. With Evelyn as Saint Cecilia. A donation. Lovely, isn't it? To what extremes a guilty conscience drives a man. Evelyn's feeling better, eh? Oh, calm down, dear. It's Uncle Ernest. Yes, Evelyn's much better, except for her nightmares. What kind of nightmares? Oh, phobia for birds. She hears wings beating in her room and... Why, Lee, dear, what are you doing in your room? Why, Lee, aren't you going to say hello? Lee, please come in here. All right, darling, I'll bring your dinner to you. How long has she been like that? Since the trouble about Miriam. Children's censorings. Oh, I've done everything to make her forget. Jane, Jane, can't you see she's aping Evelyn? Imitating an invalid. Think back. When did things start to go wrong? I don't know. About two months ago. How long has Evelyn been here? Two months. Exactly. Your trouble started the day you took that sweet little invalid into your heart. Oh, that's absurd. I won't believe you. Jane, you've got to get her out of your heart. I have a responsibility. Dan loves your only responsibility as toward your family. Let me take Evelyn for a fight. If Ernest is wrong, there's no harm done. All right, I'll speak. Douglas, come home with you. He's walking on the beach. He's upset. He doesn't like the Miriam. Well, Evelyn, how would you like a change? Art Mark has invited you to stay with her for a while. Oh, I'd rather not. Well, you'd be doing me a favor if you would. Lee hasn't been feeling very well, and since John and Hilda walked out, the housemaid still hasn't asked you to wait on me. I'm not home very much. Actually all day at the church. That's another thing. Douglas has to go back to his illustrating. We need the money. Is that how you're trying to get rid of me? Excellent. Please don't use that tone with me. I won't go to that hateful old woman. You want to get me away from Douglas. He comes to me when you've given him half-crazy. You hate me, don't you? You're jealous. What? You nasty little fool. You're in love with him. You're even jealous of his paintings. You hate it because it's always been his dream. And now I'm a part of it and I always will be. You little monster. You're leaving this house tonight. What's going on here? Douglas, he's trying to get rid of me. Jane. He hates me. He said horrible things. What is it now, Jane? Let me handle this, please. He said I was too much trouble. I'd try not to be any trouble. You know that. Jane, aren't you ashamed? The girls in love with you, Douglas. So, first it was Miriam. Now it's Evelyn. But she's just admitted it. Of course I love you. You've done everything for her. She hates me because you're painting me. She's jealous. I'd like to stick to you alone, Douglas. Go upstairs, Evelyn. Oh, why did Dan ever bring me here? I hope you see what you've done to her. She's not too sick that she can't ruin our lives. I'd examine myself about that if I were you. I have. I was wrong about Miriam. I know that. But you're not wrong about her. No, I'm not. Look, Douglas, can't you see she's dangerous? There's something terribly wrong with that girl, and I'm frightened. Oh, Jane. Don't you understand? She said she was in love with you. She said it in front of me. I never heard anything more innocent. You're hysterical, Jane. I can't stand by and see you wreck the health of a girl who hasn't done anything to you. Dan will never forgive you for this. Neither will I. Hello, Aunt Martha. Yes, dear? Aunt Martha, I'm leaving, Douglas. Is Ernest with you? Jane. Please, I... I can't talk now. I'm taking Lee with me. Jane, dear, well, it's late at night. It's storming something. Oh, no. I'm going, Aunt Martha. Will you ask Ernest to pick me up on his way to the station? Yes, dear. And Douglas? I don't know. I don't know where he is. Goodbye, Aunt Martha. Douglas, come in. You're so... What's the matter with the light? Oh, storm, I guess. I live this long. You're not frightened. Oh, no. No, I like it like this. All the violence outside. It's so peaceful in here. Where were you, Douglas? At the church again. Looking at my masterpiece. You're not fair to yourself. You've got too much on your mind. I'm sorry about that scene this afternoon. Jane didn't mean it. Of course not. I don't know what's got into everybody. Jane's on edge. Lee's sick. I can't paint. Something's wrong with everything. Not with me, Douglas. I'm well now. I'm strong because I'm so happy. Keep on being happy. That's what you're here for. Poor Douglas. But you'll find your way back. You will. Back to what? This house used to be fun. I was a guy that liked life. You can love it now. Because you can do what you want with it. Simple as that, huh? There's nothing standing in your way now. Wait a minute. I'm not Dan, you know. No, no, it's you. No one else but you. You must know that. I sent Dan away for you. And I don't want him ever to come back again. Are you out of your mind? Don't look at me like that. Are you afraid Dan will walk in? She won't. Because she's gone. For good. What are you talking about? It's true. She's gone. This is our house now. Yours and mine. Think what that means, Douglas. Evelyn. You can take me. And my love for you. You've made me strong so I could be like this. Little Saint Cecilia. No wonder I couldn't paint a saint. Get away from me. I'm gonna find Jane. No, Douglas. She's got to float. She's a good boy. Douglas, she's not worth it. Don't leave me. Train, is it left, Jess? Don't pull it out, Mr. Proctor. If you're looking for your measures in the little one, they're in the waiting room. In the... Oh, thanks. Thanks. You didn't go. You didn't. I just couldn't leave you. I couldn't go back to that house. Oh, here I am. There's something happening just now. I'm sorry I have to learn the truth from her. I wish I believed you. It doesn't matter, darling. Long to know. I love you. Look at her. She leaves fast asleep. Poor little girl. She just can't understand. Douglas, what are we going to do now? That's very simple. We're getting rid of Evelyn. What about Dan? We'll have to tell him the truth. Come, dear. We'd better take leave of Aunt Martha's there. It might be trouble tonight. Douglas, I knew you'd come back. I knew... Hello, Evelyn. Douglas. Listen carefully, Evelyn. We've a proposition. We're going to take care of you. We'll send you somewhere to the hospital. Sanitary. I won't go to a hospital. Not a hospital. A place where you can live and have people look after you. But only on one condition. You'll write to Dan, and very gently, bit by bit, you'll tell him you can't marry him. You're not in love with him. Is that all? Yes. You'd better go to your room now. Yes. Jane, you'd better get to bed too, darling. I'll be right out. The storm's over, Doug. Yes. The storm's over. Operator. Operator, I want to talk to Boston. Dr. Dan Proctor at the Presbyterian Hospital. Who is placing the call, please? Evelyn Heath. For Dr. Proctor. And hurry, please. Hurry. Aunt Martha, we had rather busy evening last night. Where is Evelyn now? Still in the room. She hasn't come down yet. Are we doing right, Aunt Martha? Of course you're doing right. After all, in the open and done with. Ah! How's more coffee? You know, this is the first breakfast we've had together since Miriam left. Well, I hope she'll come back. She will. Where did he go? To look for a bird. Poor Skipper, outdoors in his cage in that storm last night. Oh, she's coming now. Come in, dear. Bring the cage in. Oh, darling. Oh, poor little bird. He's dead. Dead? Oh, you see, dear. Skipper probably got tired of singing and wanted a good long rest. Jane, have you got a box or something? How does that get in there? We'll take him out of this cage like this. Will this do? Fine. We'll put him in this fine box and bury him in the garden. Leave the cage here, darling. Oh, I'll get it. I'll be out in a minute, dear. Where is she, Jane? Where's Evelyn? Twice. She's upstairs. Hello. Evelyn? I'm coming, dear. I'm coming. Evelyn, what's wrong? Last night on the phone, you said you had to see me. I know, dear. I don't want to talk about it now. Dan, you can be married right away and I'll go back with you. We don't have to wait any longer. Oh, darling, here I've been thinking that something awful has happened. Isn't someone going to congratulate us? Why, sir? Aren't you happy for us? Evelyn, are you sure you want to marry Dan? Oh, Dan, I'm sorry everyone has been such a strange mood this morning. We should all let me in on this. All right, Dan, but you won't like it. We didn't know exactly how to tell you. Maybe this will. Here, it's Evelyn's diary. Evelyn's diary? She left it down here last night. Come on. I don't have to read it. Douglas, I know every word. Evelyn even read it to me sometime. Do you know the things she says in there about you? Doesn't make any difference, Doug. I understand. But you don't know the things she said about me. Listen, I love Douglas more and more. Everything I ever wanted in a man. Yes, I wrote that, Dan. I told you on the phone there was a quarrel. That's what Jane and I quarreled about. But Douglas, you didn't read the last page. I left the diary deliberately, so you could. Will you please read the last page, Douglas? I've been a fool. I thought I loved Douglas, but I realized how wrong I was. I must go back to Dan and never leave him again. Dan, you don't believe that? Yes, I do. Douglas, Jane. Leave us alone, please. I'll speak to Dan. Come along, dear. We'll go out in the dark. What is it you want to say, Aunt Martha? I'll tell Dan without your help. Well, I won't listen. I'm taking Evelyn with me. What do you think, dear? In my room, I'm almost all packed. I'll finish for you. Stay here, dear. How can you do this to me? You can't love Dan. It's odd how sure you can be of today. It's so unsure of tomorrow. Today I love him very much. There's only one thing I regret. I would have liked this house. It's quite brilliant. Where is it? Where is it? Where is what? There. The cage is empty. The bird's not in it. No. Lee opened the cage so the bird could fly. In here? Yes. It was here just a moment ago. This room? Where is it? Oh, that's just Dan there. Where? You see it? Please, Aunt Martha, help me find it. Where are you going, Evelyn? Who knows what room it may be in? No, no, no. It flies, you know. It flies everywhere. Wait. I'll open the door. No, Evelyn. Hundreds of birds everywhere. Please, come outside. Yes, that's better. At least out of doors you can run away from them. It's hard, the cliff, Evelyn. Birds don't like the cliff. It's so cold and wild and... A moment later she lay crumpled on the ground. I knew she was dead. They said it was her heart. But I alone know that she was frightened to death. And that I had been her executioner. Isn't Evelyn ever coming back? No, dear, never. But why? Well, it's hard to understand, Leigh. But the world for some people is full of nothing but cruelty and confusion. They can't find their way. They get lost. Is Evelyn lost? She was, darling, but not anymore. She's found her way now. Found her way out. Evelyn, he must live with me now till the day I die. But as I walk these cliffs at night, the great weight on my soul seems to rise. For I feel happiness return to a house that I love. And joy again. And laughter. Can I see man wait? As come a dream. To fulfill his high destiny and the science of saving life. And I'm not afraid to stand before the bar and meet my judgment. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Ronald Coleman and Anne Harding in The Keys of the Kingdom. This is William Keely saying goodnight to you from Hollywood. A billion pounds of fat a year. That's what American industry used to import, much of it from the Philippines, Malaya and Java, for soaps and industrial oils. But we can't get them this year even though the war on the Pacific is over. The fine oils are needed for soaps, but industrial grease must come from the used fats in your home. They're so urgently needed that the government has authorized meat dealers to give you four ration points for every pound of used fat. So if you later want two-way stretch girdles, nylon stockings and your refrigerator or washing machine, it's up to you to help by continuing to save used kitchen fats. Your butcher will now give you four points and four cents for every pound you turn in. Don't throw a single drop away. Guest in the house was adapted from Kenny Pring's original screenplay. Robert Young appears with a courtesy of Metro Golden Mayor, producers of the Technicolor musical Yolanda and the Feet, and Baxter will next be seen in the 20th Century Fox production Smoky. Our music was directed by Lewis Silvers. This program is broadcast to our men and women overseas through cooperation with the Armed Forces Video Service. This is your announcer, John Milton Kennedy, reminding you that tune in again next Monday night to hear...