 dedicated to the strength of the nation. Proudly we hail. Yes, proudly we hail, starring Claude Jarman, Jr. in High House, a United States Army and United States Air Force presentation. And now here is our producer, the well-known Hollywood showman, C.P. McGregor. Thank you, thank you, and greetings from Hollywood, ladies and gentlemen. Welcome to your Theatre of Stars, where the greatest personalities from both stage and screen join us in plays we know you'll enjoy. Our star is that fast-rising popular young actor, Claude Jarman, Jr., whom we present in a play, High House, written especially for him, and one which brings his exceptional dramatic ability into full play. In just a moment, we'll have the curtain for act one of High House, but first, here's Wendell Niles with a few words of importance. Only the best can be aviation cadets. And now because your United States Air Force is planning for the future and wants the best young men, special consideration is being given to this year's college graduates who want careers as leaders in aviation, as officers in your United States Air Force. If you're graduating this June, apply now for aviation cadet training. As a college graduate, your application will be rushed so that you can begin training as soon as you graduate. Visit your U.S. Army and U.S. Air Force recruiting station today to make certain you're accepted for one of this summer's aviation cadet classes. Remember, only the best can be aviation cadets. And now once again, our producer. The curtain rises on act one of High House starring Claude Jarman Jr. as Robbie Stone. A half century ago, as you look down the valley from the Smoky Mountains in Tennessee to Martin Stone's place, you'd ordinarily have said, this is a picture farm indeed. Martin Stone many years before, least a store in town to move here. Delegant it is in green, furdened simplicity. Dividing the acreage is a creek, Chickasaw Creek, with a few inches of quiet water in it most any day. On the low side is Martin's home, and on the high side of the creek, directly opposite is another structure, a strange incongruous building which stands among the trees. The unpainted sun-bleached sides would have it a shed, but it's too large for that. Closer, you'll notice windows boarded over and a sagging porch. It's actually the shell of a house, High House. But the day our story begins is no ordinary day. Even the elements seem to trumpet and approaching climax to events, the enumered and human affairs. A principal in the drama to be unfolded heads through the rain for the backside towards High House. He is Martin's son, Robbie, and the little girl who so hesitantly follows him is Donna, from the next place over. Come along, Donna, we'll be soaked to the skin. What's got a hold of you? Didn't your pa say to stay out of High House? Sure he did. When I asked him why, he didn't give me no good reason. Just slapped me. Well, maybe it's been haunted, and your pa knows it. Oh, it ain't haunted. Here it is, Donna, my castle. Your castle has a squeaky door. Oh, it's music once you get to know it. Oh, oh, Robbie, what's that? Oh, that's only Boo, my pigeon, saying hello. See him there in the corner? Oh. Oh, he's just being friendly. Oh, pigeon won't hurt you anyway. I got a lot of friends here. I got my pigeon Boo, and I got a rabbit lives here in High House. I call him Pinky. He'll eat lettuce right from my hand, he will. You mean a wild rabbit? Pinky's wild as it come, but he's my friend. I ain't seen Pinky for quite a while. Hope no hawk didn't get him. Oh, that would be awful. I got a squirrel, too. He's got his home up there under that big eave. I call him Jump, because he's always jumping around for something. Oh, that's a funny name. Yeah. Oh, we like it here, Boo and Pinky and Jump myself. High House keeps us warm and dry when it's raining. And it's a place to be when paws riled up. That's why I come here today. Paw can get mighty ugly when it rains. I wonder why your paw never finished this house. No, no. Guess he didn't want to. He built it for your mom, didn't he? Folks say that. He wanted it for mom before she passed on. Donna? What? You're welcome to become one of us. Do tell. I'm grateful, Robbie. And someday, Donna, when we're all grown up and paw goes to Memphis and don't sit around here when it's raining, peering out the window in his face with a fearful look. Someday, Donna, when this place is mine, I'm going to make High House beautiful like it should be. Robbie. Through the window crack, Robbie. It's your paw. Yeah. Get out of the house and get off the floor. I'd better hustle paws born about something. Oh, you better. Wait here, spell paw. All right, Robbie. Calling me paw? I was. Well, paw? Stand for me, boy. Yes, sir. You're grown to man, ain't you, boy? Yes, sir. Why'd she act like a woman? What's wrong, paw? What'd I do? What you ain't done? All my life, I raised a boy that ain't a doer. And I'm going to strap some doing into you. Please, paw, tell me what's riling you. Give me a chance. Them fence rails out behind the shed. And after you a month to split them. But I've been splitting them just like you told me. Like I told you? Of course, paw. You said at least two of them rails a day. I've been splitting two each day, paw. Sometimes three. I'm going to teach you a lesson, boy. I'm going to teach you not to pair it everything. I don't have to be told everything to do. I'm going to pound some initiative into you. Oh, please, paw. Turn around with your back to me, boy, and pull your shirt up. I'm going to give you three, you'll remember. And if you want, I'm going to give you three extra. Can I go now, paw? You can go. Give me a strapping. Sit down here. Let me see your back. Oh. Oh, it's all right. Looks worse than it feels. But what did you do wrong? I don't know. I never know what I do makes paw boil up at me. My folks say it's a sin the way he treats you. Oh, he's been worse than he was today. Anyway, I always feel good when I cross that creek and get up here to high house. It is nice here, Robbie. Now you think so. Yes, Robbie. And someday, I know it will be beautiful. Yeah, Donna, it will be. Say, it stopped raining. I'm going to look for some fern. Fern? Who for? From Uncle Billy. He's riding up from town tomorrow. He's trying to build a new church and he wants paw to contribute. I like my Uncle Billy. Oh, sweetheart and pal, let me get down off this water. Yes, I can tie him right here. Sure, I've been looking for you all morning, Uncle Billy. Well, now I'm highly complimented. You know, you look more like your sweet mother Catherine every day. Yeah, what you got there? This fern. It's for you. Boy, it's not a pretty fern. The biggest one I could find on the whole hillside. Well, you might have thoughtful, boy. You part of home? No, sir. He rode into town. Oh? How's your new church coming, Uncle Billy? Well, now let me tell you, this little old church is going to be the prettiest little church this side of Memphis. And let me tell you, I'm going to get my oak roster after all solid oak. You don't say. Imagine, Robbie, for the first time in my life I can stand up before my congregation holding onto a solid piece of oak solid as the rock of ages itself. That's downright lovely. Ain't it, boy? I was hoping you poured me here. Knew if I can just pin him down, he'll help us mightily on the church. But, boy, how's it with you? How's it up at higher house? Everything's fine, except Pinky, my rabbit, ain't seen him for quite a spell. I'm hoping no hawk didn't get him. Well, I've got a minute or two. Let's walk up and take a look for Pinky. Sure, we can even walk directly up, pouring around. Pinky used to stay right under the porch here? That's right, Uncle Billy. Well, he ain't at this end, I'm sure. Well, let's take a look under the other here. Let me take a look under here. See anything that looks like a rabbit, Uncle Billy? Don't see nothing that looks like one rabbit. But do see something that looks like a dozen. What? Look over here. That little old rabbit of yours has got a family. Oh. Now, don't you frighten her. Let's leave her alone. Oh, Uncle Billy, I do thank you for finding Pinky. She wasn't lost in the first place, just out of sight. Now, come on, boy. I better be getting back to town. I'm going to put my arm around you, and we'll walk down. Please don't touch my back, Uncle Billy. Well, Pa strapped you again? He did. Robbie, you're remembering the story of Joseph, whose own brother sold him into bondage? I am, Uncle Billy. And you're remembering to keep our cup of tenderness full to the brim? As best I can, Uncle Billy. That's the good boy, Robbie. What do you strap you for? For initiative. Initiative you want, eh? All right, Robbie. You give it to him. Show your initiative with a little axe of kindness. Do something nice. Do something nice for him. Surprise him. All right, Uncle Billy. I'll do that. God bless you, son. Well, what do you think of this mantelpiece, Donna? Ain't it a beauty? Oh, it's more than that, Robbie. It's elegant. I've seen it here in Highhouse many a time. Never thought I'd partner with it until what Uncle Billy told me to do. Then I got to thinking. Pause fireplace in the house below is drab compared to this. I measured it, and this is going to fit perfect. Oh, but you can't put it up. It's hand carved from a hogany. Must weigh a ton. Oh, I didn't intend to put her up. Just carry her down so Pa'll get a nice surprise. Seeing it alongside the fireplace. Think we can carry her down to the house? Well, we can try. I got her free of nails. Come on, Donna. She's heavy, but maybe we can pull her with all our might. Well, there she is, Donna. Standing right up by the mantel. Declare. Never thought we'd make it. Here's a rag. The wood got wet in the rain. Let's try it on. All right. Pa is certain to get surprised, all right. Ain't it beautiful? Oh, yes. You don't think he'll mind knowing you was in Highhouse? Well, you can't mind that. Oh, mantelpiece up there doing nothing? You can't mind that. Well, I don't know. Your pa is so strict. There's Pa now. He's back from town. Oh, Robbie, he's coming in now. Well, what did you expect? But did we do the right thing, didn't we? We can't do wrong doing what Uncle Billy says. Well, but I don't know. I'm afraid, Robbie. I'm afraid. We pause briefly from our story, Highhouse, starring Claude Jarman Jr. to bring you an important message from our government. Ladies and gentlemen, our army and our Air Force are critically short of physicians and dentists. Over 2,000 volunteers from these two professions are urgently needed today to safeguard and care for the health of the men and women, whereas members of the United States Army and United States Air Force are serving you and me at home and overseas. Young physicians and dentists, particularly those who did not serve in the armed services during World War II, have been asked by their government to act now to volunteer for duty at once. If you are one of these young physicians or dentists, please write or wire either the Surgeon General of the United States Army or the Air Surgeon of the United States Air Force at once and volunteer your services. If you know one of these young physicians or dentists, please call his attention to this urgent message. Thank you. The curtain rises on Act II of Highhouse, starring Claude Jarman Jr. as Robbie Stone. The course of human affairs at Martin Stone's place at Chickasaw Creek is moving swiftly toward a climax, with the very elements themselves providing a fitting backdrop. At Martin's home, Robbie and the neighbor girl Donna wait breathlessly as Martin approaches the door. The carved mantelpiece from Highhouse stands alongside the heart. It's the first object that meets Martin's eye when he enters. Hello, Pa. The mantelpiece in here. I did, Pa. That is, Donna, help me. You better get on home, girl. Yes, sir. Goodbye, Donna. You got this mantelpiece out of Highhouse. That's right, Pa. I almost forgot it was up there. I thought the pretty up the fireplace, Pa. I thought only to surprise you. You give me a surprise all right, boy. I'd almost forgotten. Then you like it, Pa? You like it? Sure, I like it, boy. For firewood? Boy, you ain't going to burn that up. Into the fire it goes. No, Pa. Oh, you shouldn't have, Pa. Now you. Thought I told you to stay out of Highhouse. I brought it down only to please you, Pa. You've been going in Highhouse, haven't you? Guess what I told you? Only sometimes when it rains, Pa. Oh, it's a good thing I found out. And I want you up there. You are nobody. The place has got to come down. Oh, no, Pa. You ain't going to tear down Highhouse. Not tear down. That's too slow. I'm going to call them in. I'm going to burn it down. Oh, no, Pa. Pa, boy, you've got to give me time. Time for what? I've got to make sure that Boo and Jump and Pinky and their family, they've got to get away. They lived here a long time, Pa. What are you talking about? My pigeon, my squirrel, and my rabbit. What nonsense. All right, throw that bucket of kerosene. Please, Pa. Please, Pa. Let me go just to make sure Pinky has a family. Give me the torch. Look out, Pinky. Look out. There she goes. Oh, Pinky. Look out. Look out. Still burning a little. Just about all burnt out now. Yes, Robbie. Here was where Pinky and her family. You suppose they got away? Oh, sure. Rabbits, they know how to take good care no matter what. I hope so. Pa was in such a fury. He worked so fast. Well, anyway, Pa can't stop me from coming up here now. High house ain't no more. Don't feel bad, Robbie. Matter of fact, I was just thinking, you still have the foundation. Some end don't burn. What good's that? Well, we could take a conner and board her over for a roof. We could do that, couldn't we? We could slat up the open sides and you're good at fixing things that way. Say I couldn't. There'd be plenty of slats I know of. But what are we going to do for a door? Well, that's just it. My Pa took the shed door off and I declare, Robbie, the hinge sounds just like your old door here at High House. Yeah? Well, what are we waiting for? Well, that does her. Roof's on, sides and even a door. Do declare. She's kind of pretty. She's downright handsome. Anyway, it will be dry in the rain. Pa says these are the worst rains in 50 years. Yeah. Well, shall we try the door? Do declare we should. Now, ain't that beautiful? Well, now eat it. Uncle Billy. Hi, Uncle Billy. Hello, Robbie. And this is Donna, isn't it? Yes, sir. Well, I see there's been a few changes since ours last year. Pa, he burnt down High House. And so I've seen you. I brought down a mantelpiece. I thought to please him, like you said. Never mind, boy. Well, now, let me tell you, I do like your new place. You do? I most certainly do. This is one of the most charming little houses I ever didn't see anywhere. Well, now, that's nice of you to say. And what's more, Robbie? Your dear mother Catherine, she'd be proud of the way you're making the best of whatever comes along. Now, I've got to talk to your pa, but I'll be back. Martin, I could down here to talk to you about the new church. But there's something more immediate. The boy's been whining to you again. He hasn't been whining to me, Martin. You've been whining because I burnt down High House. Well, I should have burnt it down a long time ago. I'll men it for Catherine and nobody else. Robbie's looking more like Catherine every day. You see, you don't obey me like Catherine. But the day he drags down a manopiece from High House, one I carved myself for Catherine's room, one I'd most forgot. You can't blame Robbie. You never tell him about his mother. Besides, Martin, I was the one who suggested that Robbie do something to please you, to surprise you. Then it's your mistake for Midland. Martin, why are you so hard on the boy? I bring him up my own way. Martin, didn't you ever realize he's Catherine's boy, too? Well, if I am hard on him sometimes, it's that I can't help thinking. And I got him, I lost her. You're my own brother, Billy. You know what she meant to me? I know. And I prayed for you, Martin. But how can you ever blame that boy? Why, you, Martin, knew yourself. You left her. You went to Memphis. If you're laying blame, who knows what would have happened had Catherine not been forced to walk through the rain and mud five miles that night for help. I had business in Memphis I had to attend to. It was for her good as much as for mine, more. Martin, I'm tired talking. I'm a patient man. But I love that boy. Last week I was down here, that boy's shoulders and back were bleeding the day after you wept him. I warn you not to meddle, Billy. I am meddling. And I'm telling you, you better change the world, that boy, or I'm gonna take him from you. You're gonna take him from me, are you? How? I'll get me a coat order, Martin, declaring you unfit to have him. Well, you still here, Robbie? I was waiting for you. Donna had to go home because it's getting dark. Robbie, I want you to wait up here on the hill for a while. All right, Uncle Billy. You may be coming into town to live with me. But Pa, he'd never allow it. How could I? You've got to have authority, Robbie, from a judge. I think I can get that authority in short order. Now, if your Pa calls you, don't go home. Pa's riled up? A little. Don't you go home. You wait for me. I'll be back just as fast as I can. Donna! Thought you went home. Couldn't get home. The footbridge across Chickasaw Creek is washed out. It's raining all right. It's coming down. Robbie! Robbie, you get home, you hear me? But what's your Pa? He's calling you. Uncle Billy's coming to get me. He told me not to go home. Well, you can't get back now anyway with the footbridge out. Oh, but don't rain more. We could have a flood. Don't you hear me? Don't you hear me, Pa? Yeah, I never heard him yell like that. Robbie, boy, listen to me. Please, Robbie. Please, Robbie. Come on, he's in trouble. It's a fury. It is. Yes, Pa? Your Pa's up on the roof of your house. Robbie, listen to me, Pa. You listen to me. You hear me? I hear you, Pa. Robbie, you stay out of high ground, boy. Don't give me help. You'll have to hurry, boy. You'll have to hurry. I figure right about here. No use of digging for the body. Ain't no use, I guess. Well, Robbie, take off your hat. Yes, Uncle Billy. Let me get my Bible open. Our Father in Heaven will gather here in memory of the dear departed Martin Wilson Stone. A man whose will and determination brought him at least a share of those things we value on this side. Well, Robbie, pictures a little different than it was yesterday. Yes, it is, Uncle Billy. You've had to grow fast in a few hours. I see what you mean, Uncle Billy. Oh, I always felt kind of sorry for Pa. He never smiled much he didn't. Your Pa had his goodness. Well, Robbie, you're going to build up high house now the way you want it? I guess I am. I'm making plans that way. What you going to have there, Robbie? I'm going to have a place for Pinky so as he can come back and boo and jump and more, maybe. That ought to be nice. Donna's going to help me fix it. Then when we get the house up standing fine, I'm going to have a yard leveled and I'm going to plant an oak tree for my mother. Well, that's right, nice. And I think right beside it, I'm going to plant another oak tree for my Pa. Right up there at high house. Boy, now that's lovely of you. That's downright lovely. Right next to you, Ma. That's where he belonged, boy. Where he really belonged. The Curtain Falls and the Final Act of High House. Our star, Claude Jarman Jr., will return for a curtain call after this important message from Wendell Niles. This is important. This is urgent. Over 2,000 young physicians and dentists are needed as volunteers at once for service in the United States Army or United States Air Force. These physicians and dentists are required to safeguard the health of the men and women who are serving our country in the armed services. If you are a physician or a dentist, you are needed now. Right or wire the Surgeon General of the United States Army or the Air Surgeon of the United States Air Force at once, volunteering for active duty. Right or wire the Surgeon General of the United States Army or the Air Surgeon of the United States Air Force today or see your local U.S. Army and U.S. Air Force recruiting station. And all once again our producer and our star, Claude Jarman Jr. Claude, that was a fine job you did as Robbie. Thank you, sir. The part was unnatural for a Tennessee boy like yourself. You still go to school there, I understand. Yes, sir. I go to Montgomery Bell Academy in Nashville. That's a famous and very old school. I've heard a lot about it. How did you win that letter? In football, sir, junior university quarterback. What happens if you're in the middle of a picture and break an arm? Well, that's a chance I take. The studio isn't too keen about football. I can imagine. Well, how about your college plans? Well, I want to go to the University of Tennessee in Knoxville for agriculture. And someday you may have a plantation as big as the old Hickory Jackson Hermitage. Wow, I'd be happy with just a corner of it, Mr. McGregor. How about your school in Hollywood for taking a picture? Well, I go to school on the MGM lot out here, three hours a day. Well, everything stops for schooling and there's no getting out of it. Yes, sir, that's right. When we were making the yearling, the teacher went right along and my schoolwork had to be completed by four o'clock every day. Then, if you're working with a big cast, everybody stops while you go to school. They're pretty strict about it, Mr. McGregor. Well, I'm in favor of it. Do you have any recent pictures? Well, the last I did at MGM was the sun comes up and they loaned me to RKO for one that isn't released yet, a Western, roughshod. We'll be on the lookout for both of them, Claude, and come back and see us again, won't you? I'll be glad to, sir. And who's going to be your star next week? Next week, Claude and ladies and gentlemen, Ann Blythe joins us to star in an exciting drama of mystery and suspense titles, There's No Escape. who travels back to her home in an endeavor to uncover the mystery surrounding her mother's death. That should be good and I'll be listening. Goodbye, Mr. McGregor. Goodbye, Claude. Be sure to join us next week, ladies and gentlemen, when we bring you Ann Blythe in There's No Escape. Until then, thanks for listening and cheerio from Hollywood. Quad Jarman Jr. appeared to the courtesy of the Hollywood Coordinating Committee, and the stars on this program. The script was by Rich Hall with music under the direction of Eddie Skravanich. This program is transcribed in Hollywood for release at this time. Wendell Niles speaking.