 Lux presents Hollywood. Lever Brothers Company, the makers of Lux Flakes, bring you the Lux Radio Theatre, starring Catherine Hepburn and Robert Taylor in Undercurrent. Ladies and gentlemen, your producer, Mr. William Keely. Things from Hollywood, ladies and gentlemen. From time to time as we pass each other on the narrow drive that leads to our respective homes, I scrape fenders with one of my most charming neighbors, Catherine Hepburn. But in spite of our frequent and more friendly contacts, I found Catherine very difficult to lure before a microphone. Her radio appearances are rare indeed, so that it's something of a triumph to present her here tonight. Co-starred with another of Hollywood's outstanding stars, Robert Taylor, in his first green roll since serving with the Navy Air Corps. Together, Bob and Catherine bring you Metro Golden Mares thrilling screen hit, Undercurrent. Last Monday night when we announced tonight's screenplay and stars, the audience response was, to say the least, terrific. And I might say that the same is true of audience reaction when it comes to Lux Flakes. Hundreds of listeners who've used Lux Flakes to care for precious fabrics have written us their appreciation. I only wish I had time to answer them in person. But I'm sure that the help which Lux Flakes offer is an answer in itself. And your loyalty to our product enables us to bring you such exciting fare as Undercurrent with such brilliant stars as Catherine Hepburn and Robert Taylor. They appear, respectively, as Anne Hamilton and Alan Garaway as the curtain rises on our first act. It was a marriage no one ever would have predicted. Anne Hamilton, reserve, unaspiring, and Alan Garaway, the wealthy celebrated inventor of the Garaway Distance Control. Garaway brought his bride to Washington. Their first night there, he displayed her before a large select group of friends. When the friends had departed... Oh. Hand darling, what is it? I thought they'd never go Alan. Oh, you shouldn't have, you shouldn't have. What darling, I shouldn't have what? You shouldn't have married me. Your friends asked them. They know it was a mistake. Anne, please. Darling, I can't help it. I didn't even know what they were talking about. They were laughing at me, Alan. I know they were. Well, I was proud of you. Alan, I was so lost among them. What must they have thought? I mean, well, good grief. I don't even know how to dress. Is that all that's worrying you? I'm gonna take this dress off and never see it again. Darling, it's a perfectly nice dress. Nice dress. It's eight inches too short and it's only two weeks old. Alan, you're stuck with a wife who doesn't know how to dress. She doesn't even know how to behave. We'll go shopping tomorrow, darling. Won't do any good. By tomorrow night, you'll be the best dressed woman in Washington. You're already the loveliest. Oh, I'm sorry to be such a boob, but I want so much to be right for you. Will you shut up? I'll learn. I really will. I'll learn to talk like your friends. I'll learn to be like them. I don't know how the heck I'll do it, but I'll do it. If you do, I'll kill you. Darling, just tell me one thing. Who do you belong to? You. Well, that's all. That's all that matters. Is it, Alan? Is it? And if you ever forget that, you'll be very sorry. Now, if Madame does not mind waiting, I will arrange to have some hats modeled for her right away. Well, darling? Of course, I just don't believe any part of this. A mink coat, a beaver jacket, 14 gowns, 12 pair of shoes. Relax, will you? If I relax, I'll drop dead. Oh, Alan, how could you have let me wear that brown horror last night? I'm in love with you, darling. I didn't even notice. But you must have. Darling, don't be afraid of hurting me. I don't know much about these things. Alan Garroway, is that you, Alan? Oh, hello, Mrs. Foster. And this is a neighbor of ours from Virginia, an old friend of my mother's, Mrs. Foster, my wife. How do you do? I'm delighted to meet you, my dear. When are you coming down to Middleburg? Well, if business eases up next month, I hope. Well, Alan, she looks like a fine, honest girl. You, uh, ride, of course. I'm afraid I'm not very good at it. We're raised on horses at Middleburg, aren't we, Alan? Oh, definitely. Alan's not a bad rider, my dear. But his brother, Michael, is the boy with the light hands. Now, there's a real horseman. By the way, Alan, how is Michael? Michael is always Michael. I hope you'll excuse us, Mrs. Foster. We were just going to... Of course. I'm late for an appointment myself. I'll be looking for you in Middleburg, my dear. Goodbye, Mrs. Foster. Alan, she's nice. You didn't tell me you had a brother. Well, I haven't had time to tell you a lot of things, darling. You, uh, you pick out your hat, say, and I'll wait out front and get some air. But I won't... What's wrong, darling? You've seen so troubled since we came back from shopping. You were surprised to learn I have a brother. But what a nice surprise. Where is he, Alan? Spoiled my first day along with you. So typical. Good old Mike. I meant to tell you about him, man. I've been putting it off, but one of these days, we'll have to go to San Francisco. Our factory's there, and you'll meet people who know Mike, who adore him. He does that to people. My mother adored him. He was her favorite. Alan, please, if you'd rather... When my father died, Mike and I took over the business. I was the engineer. That's when I started working on my distance control. We'd been making plenty of money when suddenly we began to run out of funds. First, I couldn't figure out why. Mike must have thought I was an imbecile to do it the way he did. It was just like putting his hand in the cash register. He was stealing from you, your own brother? Yes. Mike had bought a ranch in the country. He'd spend a lot of time there. Like to give parties. Anyway, I drove out to see him. Fortunately, he was alone. When I told him what I'd found out, he said that I'd never do anything about it, not while mother was alive. And I didn't. Mother was an invalid. She died the next spring. Please don't, Alan. Well, there's not much more to tell. After she died, Mike just disappeared. Last I heard he was in the army. That was over three years ago. He disappeared because he was afraid of what you might do to him. Maybe, but Mike's not afraid of me. I keep thinking he's alive somewhere and hating me the way he must. I even felt I didn't have the right to marry you. Don't say that, Alan. He can't hurt us if we never let him come between us. Why should he? What's Mike got to do with us? Nothing, Alan, nothing. So we'll never think about him or speak about him again? But if anything ever does come up, you'll tell me, Alan, you'll let me know. Nothing ever will. Darling, I'm so deeply sorry for you. But I'm glad you've told me because it means you're not as sure of yourself as I thought you were. You need me even if it's only to help you forget. Yes, I do need you, Anne. You may have a no-good brother, but you're going to have an awful good wife. I'm so grateful to you for so many things. It's as though you'd led me by the hand into a strange and wonderful world, a world to dream of. Why dream? You're here, Anne. You're mine. And I love you. Good afternoon, Mrs. Garaway. Did you have a nice afternoon shopping? Oh, yes, Mrs. Hildebrand. Any messages? No messages, madam. That means all your invitations for tonight have been accepted. Mrs. Hildebrand, I don't know what I'd do without you. The perfect housekeeper. How many dinner parties have we given this month? Is it 210 or 211? This is your sixth, madam. Oh, I beg your pardon. Would you mind looking at the table? I took the liberty of arranging the place cards. You know, you know, a strange thing happened this afternoon at a bookshop. Mr. Garaway left a book there months ago to be rebound. He must have forgotten all about it. It's a volume of English poems. I'm glad I found it. Yes, madam. Or you'll notice I put Judge Putnam on your right. What? Oh, oh, yes. And who's this one, Mrs. Hildebrand? Who is Mr. Henry Gilson? A new congressman from the Midwest, madam. I wondered why you placed him in the doorway. He's no one important, Mrs. Garaway. Ah, that explains it. If that is all, madam, I'd better see to the order. Sorry, Henry Gilson. You're just not important, poor guy. We have something in common, you and I. Now, me, I think you are important. Henry, you and Mr. Justice Putnam are changing places. There. Now, tell me, Congressman Gilson, just what part of the Midwest do you come from? What part of the Midwest do you come from? Ioway. Oh, I love Ioway. So big and full of corn, isn't it? Yes, ma'am. Yes, it certainly is. Excuse me a moment. Shall we go into the other room for coffee? It was such a lovely dinner, Mrs. Garaway. Thank you, Mrs. Postcode. Oh, my cherries, you're gown. What exquisite taste you have. Thank you, Madame Lefebvre. Oh, and just a minute. Thank you, Mr. Gar... Uh-oh. Yes, darling, what? Ma'am, are you trying to be rude to Judge Putnam? Why on earth did you seat him practically in the doorway? I thought the draft might do him good. He seems so stuffy. I invited him here for a reason. You know that. Oh, I'm sorry, darling. I don't know what got into me. I'll make it up to him right away. Leave your wife's bewitch me, Garaway. Why, I haven't talked so much about myself in years. Please don't stop now, Judge Putnam. Not when you're telling us about your home. Charleston must be beautiful at this time of year. It is, but I won't see it. Sometimes I feel it really belongs to the people who take care of it, much more than it does to me. That's a very generous attitude, sir. Not only generous, I think, but wise. My father always says how foolish we are to think that we ever really possess anything in life. What do you mean, ma'am? Well, I think Judge Putnam understands. No one ever really owns anything. All we have is a temporary use of it. It just isn't true to say my this and my that. Not even my wife? Oh, hey. That's different. No, but you know, I've read something today which says what I mean better than anything I've ever heard. I'm ashamed to say I memorized it. I'd love to hear it, my dear. Well, I found it in an old book of poems. This particular poem was marked. And I thought to myself, the man who marked this poem is someone I understand and who understands me. Remember it, Alan? Remember what? My house, I say. But hark to the sunny doves that make my roof the arena of their loves. Our house, they say. And mine the cat declares and spreads his golden fleece upon the chairs. And mine the dog. And rises stiff with wrath if any alien foot profane the path. That's charming, Mrs. Getaway. Well, I may have left out a line or two, but that's the general idea. And I think Dr. Fort would like another brandy. Oh, of course. You see, Judge Putnam, poetry is one of Alan's hidden vices. Excuse me. It's a wonderful girl, Getaway. Yes, yes, she is. I'm a very lucky man. It was a nice party, wasn't it? Yes, it went beautifully. And how about driving down to Middleburg tomorrow for a few days? Alan, could we? The house where you were born, the house where you grew up. Well, we can get an early start. Oh, Alan, here's your book. Book? The book the poem came from. Well, that's not my book. But it is, darling. You send it in to be rebounded, remember? I'm afraid it's a mistake. But they had the name, Galloway Middleburg, Virginia. No, it's a mistake. We'll leave right after breakfast. Maybe a little isolated for you down there, darling. No telephone. No telephone. Sounds like heaven. Alan, will you hate being cooped up with me for days? Give me a kiss and then tell me why you ask that. Because I love you. And I can't help noticing when we're alone how a lot of the glow you have with people sort of goes out of you. And what's the matter? Oh, oh, I don't know. Nothing, I just want to be reassured, I guess. Well, consider yourself reassured. About this book, if it is a mistake, I suppose I'll have to return it. But I hate to. What's the penalty for stealing books? You stop shoving that book at me. Can't you see I don't want to discuss it? Alan. Don't you know by now whose book it is? You even memorized the poem he marked. I told you it wasn't mine. It's, it's his. It's Michael's. He got you, didn't he, Ann? The sweet gentle boy who loved poetry. He understands you, isn't that what you said? I only memorized it because I thought it was yours. Yes, of course you did. Ann, that was very unfair of me. I shouldn't take it out on you the way I feel about Mike. Please forgive me. I forgive you, Alan. Well, this is it, Ann. This is Middleburg. Alan, what a lovely old house. Oh, it's a dream. George, we're here, George. George? Just a caretaker, darling. Oh, oh. Well, aren't you going to get out of the car? Now, back there are the stables. And the orchard's on the other side. And that Mrs. Foster you met. She lives beyond that stretch of wood then. Alan, you have a dog. Yes, that's, that's Bate. I don't think Bate likes me very much. Dogs and horses never do it. Sign a bad carriage or I guess a little Bate. Come here, boy. Hey, now don't you back away from me. You're supposed to be glad to see me. Come here, dog. What you can't own like that, fool? Come back. Well, Mr. Alan, well, I'm so glad to see you, sir. I'm with Bates all right, ma'am. It just ain't used to strangers, that's all. George, this is Mrs. Garroway. Well, I'm glad to know you, George. Place looks fine, George. It's beautifully kept, so neat. Thank you, ma'am. You can get the bags out of the car, George. I'll show Mrs. Garroway through the house. I've saved the living room for the last, Ann. Well, here it is. How charming. I suppose it could be. It's a little grim right now. Not grim, darling. A little lonely, perhaps. A little unused. I'll open a shutter. I've been looking for pictures. I'd like so much to see a picture of your mother. Everything all right, sir? Oh, yes, George. Come in. Isn't there a picture of your mother somewhere? Well, there used to be, ma'am. I took them down, Ann. I've stored away most of the personal stuff. Oh, I just... Would you like to drive over to Mrs. Foster's? No. Well, not if you're tired, dear. But I wanted to speak to her about buying a section of those woods we passed. You go ahead, darling. I'll unpack while you're going. All right. I'll be back by dinner time. Mr. Galloway hasn't returned yet? No, ma'am. Where did you have a nice walk? George, I just came from the stables. There was someone there. He just about scared me to death. A colored man, ma'am? Big and fat? Yes. I'll teach that old Ben... No, no. It's all right, George. He went away. Ben, Ben, he's plummed out his head, ma'am. He don't mean no harm. I chased him off. He just keeps on coming right on back. He kept talking about the horses in the stable. I'll fix you a nice cup of tea, ma'am. No, no, George. Wait. He warned me about the black stallion. Oh, yes, ma'am. He's a devil, that horse. Please don't go near. He's... Mr. Michael's horse, Ben said. Yes, ma'am. He was. I think I will have that cup of tea, George. Good and strong, please. George, that must be Mr. Galloway. I'll go, ma'am. I'm in here, darling. Who was it, ma'am? Who was just playing that piano? Alan, what were... Darling, what's the matter? Who was playing that? Well, I was. You? Why did you play that piece? Well, I don't know. I play it often. Father taught it to me. Your father taught you that? Yes, he does play the piano. I'd forgotten. That's a piece that anyone might play mightily. Alan, you're ice cold. Tell me what's wrong. I... My mother died sitting at that piano playing that piece. You see, Ann, Middleburg is not all happy memories for me. Alan, I'm so sorry. I... I didn't mean to upset you, darling. That's all right. I wish I could have known your mother, but finding out that she loved that piece too makes me know her a little, doesn't it? That's a bond between us we didn't know about. Yes. Well, I... I guess dinner will be ready soon. I'll go clean up a bit. Oh, bring them in there, George. Yes, sir. I'll fix the cocktails, ma'am. Thank you. George. Yes, sir? Mrs. Garroway must have been a wonderful woman. Yes, ma'am, she was. She was an invalid for a number of years, wasn't she? Yes, ma'am. Layed up there in her bed, never complaining, always smiling. This piano must have been a great comfort to her when she did get up. Piano, ma'am? Well, Miss Garroway never played no piano. She didn't. But she died sitting at that piano, didn't she? No, ma'am. She died upstairs in the room, ma'am. George, you can serve dinner any time it's ready. Yes, sir. I'm starving. Be ready just a minute, sir. Cocktails. We can use these, huh, darling? George's cocktails are the best, almost good enough for you. Well, to us, darling. Yes, Alan. To us. We'll return in act two of Vondercurrent in a moment. Libby, you look positively dreamy-eyed. What Prince Charming are you thinking about now? Oh, not a prince, but a king. Charles II of England. Hasn't he been dead since 1685? Yes, but Douglas Fairbanks Jr. makes his romantic and adventurous exile really come alive in Universal International's new picture, The Exile. Douglas not only stars, but he wrote and produced the picture, too. He had his hair dyed dark for his role as King Charles, and my, he's handsome. Athletic as ever? Oh, yes, indeed, John. You know, he's one of the few Hollywood stars who performs his own stunts for the camera. He had a very narrow escape during the filming when he fell 19 feet to the ground from a windmill. Hmm. I understand there are some beautiful women in the exile, too. Oh, but definitely. There's Miss Maria Montez as the beautiful Countess in her most dramatic role to date. And Douglas's own discovery and absolutely lovely blonde, Miss Paul Croce. Quite a cosmopolitan pair. Maria Montez was born in the Dominican Republic, wasn't she? Yes, mm-hmm. And Paul Croce and Tahiti. She's also lived all over Europe and the Far East. There was a lot of travel talk the day I was visiting them and a lot of chatter about one thing, how to live out of a suitcase. You'll be interested in this, John. Paul told Maria and me her favorite traveling trick. She always had her maid tuck a box of luxe flakes into her suitcase. A tip to any traveler who wants to look fresh from tip to toe. Especially down to her stocking toes. Luxing stockings at night is so easy and nylons dry so quickly. They're ready to put on again in the morning fresh and smooth fitting. By luxing stockings frequently, a girl doesn't need to carry so many extras or own so many either. That's right, Libby, because scientific strain tests prove that nylons last twice as long with luxe. That's just like getting an extra pair every time you buy a pair of stockings. It was really amazing how much more quickly stockings went into runs when they were washed with a strong soap or rubbed with cake soap. Another thing girls like about luxe is the way it keeps nylon stocking colors fresh looking longer. That's important with the new dark shades that are so smart now. Right, Libby. It's no wonder that so many girls count on luxe flakes to keep stockings lovely longer. Here's William Keely, your producer at the microphone. Intermission's over and it's time for act two of undercurrents starring Catherine Hepburn as Anne Hamilton and Robert Taylor as Alan Garaway. It's been a strange and troubled 24 hours for Anne Garaway. Clashing against the peace and loveliness of Middleburg are the tormenting doubts of what Alan has told her. His brother, Michael, his mother. It's after dinner now. Alan has to drive to the village and when he's gone, Anne has a plan. You sure you don't want to come to the village with me, Anne? Do mind, darling. I am tired. That telegram this afternoon, it was from John Wormsley. He's in charge of the San Francisco plant. You'll be meeting him soon. Oh, Alan. I'm sorry, darling. If you'd rather stay on here... Oh, no. If you're going to San Francisco, so am I. You like San Francisco. Well, I won't be long if you need anything. Just call George. George, what is it? The scare way. I said, what is it, George? Nothing, ma'am. What were you afraid of just now? You knew I was in here. No, ma'am. I hear the car drive off and I thought you'd gone too. No lights on in the room here. I turned them off. Who did you think was in here, George? Who used to sit at this piano and play that piece? Oh, please, Miss Ma'am. It was nobody, ma'am. That's not true. Who did you think it was? Did you think it was Michael? No, ma'am. But Michael did play that piece, didn't he? Oh, Miss Gairdwood, please. Don't tell Mr. Allen I was talking about Mr. Michael. I won't tell him, George. How he must hate him. He's tried to take every reminder of Michael out of this house. Erase him completely. No pictures, nothing. George. Yes, ma'am. Mr. Allen has been terribly hurt. We've got to find a way to help him. Just...just tell me what I can do. There's not much you can do, George. We'll be leaving soon for San Francisco. What has to be done, I must try to do myself. Of all the places to take you your first night in San Francisco, another nightclub. But you said Mr. Wormsley was to meet you here. Oh, well, I know. Allen, who was that girl, the girl you spoke to as we came in here? Sylvia Burton, an old friend. Just an old friend? Well, sort of. You jealous? You bet. She's far too lovely for an old friend. You want to know something? Yeah. You've got it all over Sylvia in every way. People wouldn't even notice her with you in the room. Darling, you're wonderful. Catty about every other woman. Good evening. Oh, hello, Wormsley. May I present Mrs. Garroway? How do you do? I...I'm very glad to meet you, Mrs. Garroway. Pull up a chair. How are things going? Very well, sir. Things are really breaking in Seattle. I suggest you fly up there as soon as you can. It's a matter of Henderson. Can't he handle the new business? There's not much he can do without real authority, sir. He has as much authority as you have. Not quite, sir. Anyway, I brought some contracts along. You care to look them over? Do you mind, darling? No, you go ahead and look them over. I'll run into the powder room for a moment. I, um... I just saw Miss Burton. Did you? Has your wife met her yet? Those contracts, Wormsley. Let me have them. Mrs. Garroway. Oh, Miss Burton. How do you like San Francisco? It's wonderful. So many bridges. Yes. So many to cross. I beg your pardon. Um... What do you hear from Michael? Oh, nothing much. Did you ever meet him, Mrs. Garroway? No, I haven't. But I'm looking forward to it. You know there have been some pretty unpleasant rumors about Michael. Well, whatever they are, I'm sure they're not true. Sorry. It's strange, but I was beginning to have a funny feeling that Michael might be dead. Oh, no, I'm... I'm sure Alan would know. Yes, I suppose he would. You know, Miss Burton, when I saw you before, I... I wondered who it was you reminded me of. It's me. Not our features exactly, just something intangible. Have you noticed it? No. Is that your glove on the floor there? Oh, thanks. Maybe it's the way we dress or walk or something, or maybe it... Miss Burton. Miss Burton. Well, that's funny. Why should she just walk out like that? What do you think of our plant, Mrs. Garroway? I'm very impressed, Mr. Wormsley. Well, I imagine your husband's in Seattle, but now... Is there anything else around here you'd care to see? Yes, I'd like to see some photographs. Photograph? It's silly of me, isn't it? But it's such a big plant now and so impersonal. What was it like when it started, Mr. Wormsley, the plant, the employees? Who was here at the beginning? Well, there's a picture on that wall behind you, Mrs. Garroway. Oh, yeah, yeah, that's what I mean. Oh, there's Alan. Alan in the overalls. And you, Mr. Wormsley. Yes. But those other three men? Well, two of them are still with us. The other one is dead. Who was he, Mr. Wormsley? His name was Carl Stoyer. Wasn't my husband's brother working here then? Why isn't he in the picture? He was at his ranch the day it was taken. His ranch? Oh, oh, yes. What's happened to the ranch? Well, Mr. Garroway took it over. Alan owns it. You know, I'd like to see that place. I'm afraid that's not very practical. It's quite remote. Fog is bad this time of year. There is a caretaker. But I'd like to spend the day in the country. Could you give me the keys, Mr. Wormsley? I'll send them to your hotel in the morning. And would it be possible to draw me a sort of map as to how to get there? Alan, close the map with the keys. You've been very kind, Mr. Wormsley. Thank you. Good day, Mrs. Garroway. Looking for someone, Miss? Oh, oh. Hello. I'm Mrs. Alan Garroway. How do you do? Are you the caretaker? I, uh, yes, yes. I've just been inspecting the house. Well, I was just about to leave. But if there's anything I can do for you. Tell me, did you know Michael Garroway? Yes, I did. I'm a close neighbor up the road. He left here very suddenly, didn't he? Yes. I guess he was a rather unpredictable person. Well, well, anyway, I think this is one of the most charming houses I've ever seen. It has, well, dignity. Doesn't look as though it had been shut up at all, does it? Oh, no, it doesn't. It looks well as though it were waiting for someone. I had a feeling coming in here that time was standing still. Time doesn't stand still anywhere, does it? Oh, yes, it does. Haven't you ever had a feeling of complete peace and contentment? That's what I felt when I came in here. Nothing to fear, nothing to think about. This was, well, peaceful. And time stands still. You probably think that's foolish, I suppose it is. No, I don't think so. I agree with you about the house. It is peaceful. Is that so far here? Are we that close to the ocean? Yes, if you like, I'll show it to you. It's none of my business, Mrs. Garroway, but did you have any special reason to come out here? Well, it was such a nice day, and I thought I... No. I came out here to learn more about Michael Garroway. You better watch the path, it's sort of rocky here. Everyone seems to be so vague about him, except my husband, of course. I don't know why I'm bothering you with all this. There's the ocean, Mrs. Garroway. Gahley. Gahley, it's beautiful, isn't it? You know, you know, it's amazing. Michael had so much. Why do people do the things they do to themselves? Why doesn't someone step in and stop them, help them? What about those people who refuse to be helped? Useless to even try. Oh, no, it's not, it's never useless. Not if your chance of helping them is one in a million. You feel quite deeply about it, don't you? You bet I do. My, that sea is near. Is there good swimming? No, there's a... there's a riptide. But it looks so calm. You can't always see the undercurrent, but it's there. Like life. Yes, that's right. Oh, the fog's starting to roll in. You're getting dark soon. You going back to the house? Yes, in a minute. You go ahead. Thanks for taking me around and forgive my philosophic outburst. Don't apologize for that. I think it was very well said. Goodbye, Mrs. Garroway. His house. Michael's house. Just as he left it. But walls can't talk and books and chairs and... What are you doing here? Alan! What are you doing here? Alan, you frightened me so. You came here looking for something. I asked you not to pry. I asked you to forget about Mike. Alan, you didn't leave Seattle just because... He formally telephoned me. He said you'd asked him for the keys. Yes, I thought it was important that I come. You're my wife, Ann. You've never even seen Mike. Yet he's managed to get a hold on you and make trouble between us. Darling, I'm only trying... He had a diabolic cleverness about pushing people around. Always knew how to get his own way. You keep saying had and knew. Alan, is he dead? How should I know if he's dead? I hope he is. Alan, how can you? How much do you think I can stand? He's got you sneaking around corners trying to find out things about him. Well, what have you discovered? I'm here to help. Let's find out everything we can about him. A man who likes music and books, wouldn't you say? The strong, silent, philosophical type. He'd have read your poetry and told you whimsical stories about his neighbors. You'd have fallen for that, wouldn't you, Ann? Alan, I'm sorry. I know you're sorry, but that doesn't help. Why couldn't you do as I asked? There's anything else you want to know. Ask me now. Don't ask warmsly or the natives or the bellboys at the hotel. Ask me. I'll tell you anything if you'll only stop bringing him into our life. I was wrong to come here, Alan, if you didn't want me to. But for you to shout at me and treat me as though I were a criminal. Alan, whatever I did, I did for us. To try to find out what it is that comes between us because of him. Alan, it's our life together that he's hurting. Our marriage. And I want our marriage. We'd better start back to town. Do you want to go up to our rooms, Ann, or would you rather have dinner first? I'd rather go up if you don't mind. I'd like to. Alan, wait. What's the matter? Listen. Oh, Garaway shrewd all right. His patent is all set for reconversion. Garaway knows all about reconversion. Did you ever see his wife? Ann, please. No, I won't listen. I saw her in Washington the day they arrived. She couldn't have looked out of you. Of course, the poor girl had on her Sunday best, but really. We can go up now, Alan. Thinking about Ann, those two women in the lobby, you're going to let a couple of gossips throw you? I'm thrown by the truth. I was rather dowdy that first night in Washington. You expected me to be, didn't you? What? You could have waited to have me meet your friends. But the truth is, if no one saw the before, you wouldn't get the credit for the after, would you? Why should I want to do a thing like that? So you could exhibit me as your very own invention, like the Garaway distance control. What do you mean by that? You know, Alan, I think I have a glimmering now of why you married me. I want to know what you meant about the distance control. I meant nothing about it. All right. What else do you think? Why did I marry you? He wanted another girl, but she fell in love with someone else. I happened to remind you of her. Only I was so terribly admiring of you. And you thought if you could make me outshine her. You're mad, Ann. Yes, Alan. I think sometimes I am. I have a feeling, so I will living in a dream, haunted by your obsession, your hatred for your brother. All around us. Ann, Ann, things between us look pretty black right now. It's hard to talk, but I want to tell you that I love you. The way I acted at the ranch was unforgivable. I'll never speak that way to you again. I have to go back to Seattle. You'll have a couple of days to think. And when you do, try to keep a little old-fashioned trust and blind to faith in our marriage. I want our marriage too, Ann. It's very important to me. Please try. Yes, Alan. I'll try. Pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll return with Act III of Undercurrent. The role of a script girl in producing a great picture is seldom fully appreciated by the public. Her meticulous attention to detail is of the utmost importance to a successful production. Our guest tonight is one of those unsung heroines. She's Miss Isla Jacobus, script girl for Clarence Brown, producer and director of Song of Love, Metro Golden Mayor's romantic love story of Clara and Robert Schumann starring Catherine Hepburn. It must have been a fascinating picture to work on, Mr. Jacobus. It certainly was, Mr. Keely. I learned so much about the life of Schumann and the music in the picture is so thrilling. With Paul Henry to interpret the sensitive and celebrated composer, Robert Walker as Johannes Brahms, Henry Daniel as Franz Liszt, and a brilliant supporting cast, it's bound to be a superb picture. Especially with Catherine Hepburn as Schumann's devoted wife who inspired some of his greatest music. Well, Catherine brings glamour and rare ability to every role. Her performance here tonight confirms that. She looks stunning too in Song of Love in Clara Schumann's romantic 19th century costumes. And Mr. Kennedy would certainly have been impressed with the gentle care those costumes got. You mean luck's care, of course, Mr. Cobus. Naturally. Replacing one of those costumes would have meant a lot of time and expense. So when a garment had to be fresh and for retakes, they always used luck's flakes. And the studio wardrobe mistress told me that kept replacements down to a minimum. You must learn a lot of interesting things in the course of your work, Mr. Cobus. But none more important than clothes care, Mr. Kennedy. Important to any girl, I mean. I wouldn't trust my own blouses and nice washables to anything but luck's. I figure when experts choose luck's flakes, it's wise to follow their advice. Yes, the experts know how much longer luck's care keeps washables lovely. Actual tests have proved that wrong washing methods fade colors discouragingly soon. Luck's care kept them lovely up to three times as long. That's important to any girl these days when prices of new things are so high. Today, more than ever, luck's care is thrifty care. Thank you for coming tonight, Miss Isla Jacobus. Back now to our producer, William Keely. We continue with Act 3 of Undercurrent, starring Catherine Hepburn as Anne and Robert Taylor as Alan. It's the following morning with Alan back in Seattle and is making an uninvited call on Sylvia Burton. It's very nice of you to see me, Miss Burton. You have a reason for coming here. There are some questions I'm trying to find the answer to. I'm rather curious about a few things myself. As far as Alan is concerned, I despise him. Does that answer one of your questions? Not quite. I love him. But it's not Alan I want to know about. It's Michael. I can imagine. All I know is that he and Alan had a terrible fight. Michael disappeared. But he seems to be coming up more and more in our lives, wherever we go, whatever we do. I've got to know more about him. My marriage, my happiness, my future seem to depend on it. And you'd like to know how close Mike and I were. Well, we weren't. I tried, but Mike wouldn't have it. I used to think it was because he had some sort of funny sense of loyalty since I'd met him through Alan. He was that thing you have to look for with a microscope, a gentleman. And that's the man your husband spread those lies about stealing money. I believe my husband, Miss Burton. Nonsense. You think he's lying? I know he is. Why? Because I've been through this myself. When Mike disappeared, I went crazy trying to find out what had happened to him. And did you find out? Only that he'd been at his ranch. That was the last anyone saw of him except your husband. You see, I still think Mike is dead. You mean he was killed in the war? No, I don't mean he was killed in the war. Why hasn't he written to someone, his friends at the plant, his neighbors at the ranch, or a hundred other people he knows? Lots of us would like to know what happened at that last meeting, Mrs. Garroway. Ask your husband. What kind of a fight was it and what happened to Mike? How dare you speak to me this way, way, Miss Burton. I should never have come here. Forgive me. It isn't such a shocking idea, Mrs. Garroway. Not when you've lived with it for a while. Hello? Yes? What is calling? Yes, Alan? I'm so glad you said that, Alan. I'm so confused. Don't, darling, don't. That's all right, Alan. If I think it could, I'll be through in Baltimore and can join you. Yes, Alan, yes. But, Miss Garroway, I wish you'd told me. Why, George, I don't think you're very glad to see me. Oh, no, ma'am, no, no. I'm real pleased. When Mr. Alan be here? He'll be here later tonight. George, why do you wish I'd let you know I was coming here? Well, just so I'd have a little time to fix things up. Such is out there, George, out there by the stables. A little time to tell whoever it is out there to go away. Miss Garroway, there's nobody out there, Miss Garroway? I don't mean old Ben either. Just now, when I was walking, the dog saw him. Bait saw him. Bait was all excited, jumping up and down and wagging his tail. But you didn't see nobody, ma'am? No, no, I didn't. It was too dark and I was frightened, I suppose. I came straight back here. Oh, let it pass. Please, Miss Garroway, let it pass. I can't, George. I'm not frightened now. I'm going to go back to the stables and look for myself. Bait, Bait, come here. Come here, boy, come here. There's no one here now, is there, Bait? But there was, and you saw him, didn't you? You saw Michael. He's alive, isn't he? I thought that Sylvia Burton was right, that Alan had killed him. But everything that Alan said about him is true. Michael's here and he's hiding. That's why, George... Oh, Alan, Alan, how could I? How could I? Bait, Bait, you can stop barking. It's no way to welcome me home. Hello, Alan. Mike. Take it down, your wife's in the house. You've seen my wife. Don't worry, she didn't see me. Why did you come back? Wouldn't she rather know why I went away? I didn't steal any money, Alan. You've been a long time denying it. Be kind of tough to prove. You had the books pretty well read. But that's not what kept me away. It was Carl Stoyer. Stoyer's dead. Yes, dead and buried. Just a nice old German refugee who lived for one thing only. To get back at the Nazis. You remember that invention he was working on? Every man at the plant was working on an invention of some kind or other. That's right. But only Stoyer died. Coroner said it was an accident. He fell down the cellar steps. What's that got to do with me? He's got a lot to do with you. Stoyer had a pet name for that invention of his. His fan, he called it. He used to say, my fan will fix the Nazis. Your brother and me, we know. Someday my fan will pay them back. Fan. Fan, I couldn't figure it out until it dawned on me that fan is a German word. It means distance. Fan stirring. Long distance control. That's why Stoyer died. He was murdered by somebody who wanted his invention. The distance controller was mine. It was Stoyer's and it's made millions for you. Well, has the money been worth it, Alan? Has it been worth killing for? You can't prove any of this. Maybe not. Is Wumsley the only other one who guessed? Because you're paying him off, aren't you? Anyway, I wanted to get out of the whole mess. That's why I disappeared. It seems it has to be faced after all. I have met your wife. Here, today? No, at the ranch. She thought I was the cat-taker. She's a fine girl, Alan, but she doesn't know about Stoyer, does she? I'm here to make sure she finds out. You think I kill Stoyer. What makes you think I wouldn't kill you? I believe you're capable of trying. No. Once I could have killed you, but not now. I can't kill you any more than I can give Ann up. I'm going to keep her, Mike, for as long as I can. A minute, an hour, as long as I can. How can you think you have a right? What gives a man a right? Does love because I love her? You can take everything else, but not her, Mike, not her. I never thought I would, but I'm crawling to you. She loves me, she's helping me. I've got a chance now. I can be all right. I never could before. What chance does she have, Alan? I'll tell her. Only I'll have to do it in my own time, just a little time. That's all I'm asking, until I'm sure of her. I think you can be sure of her. Well, I guess there's nothing left for me to do. If she'll go along with you, I'll stay out of it. But tell her, Alan. Tell her because if you don't, I won't be able to stay out of it. I'm going to see that she gets her chance, too. Wake up, dear, I'm back. Alan. Oh, Alan. Alan, oh, forgive me, darling, forgive me. Forgive you? I've been so wrong, Alan. I've got to tell you something, and I'm so deeply ashamed. I thought such crazy things about you. I thought you'd killed your brother. No, darling, listen to me. I thought that. And I was going away and never see you again. You were going to leave me? I couldn't have stayed. I couldn't have endured. You couldn't have endured living with a murderer. But it's all over, Alan. I know he's alive. I'm able to breathe again. Yes, Ann, it's over. No one will ever come between us again. Alan, I want you to listen to me. You remember that I once told you that Michael was your obsession? Yes. I was wrong. I think he's my obsession. I want to drive him away. But there's something unfinished somehow. I think if I could see him, hear him speak, then I'd know him the way you do. As a man, not a shadow. Someone who is cruel and wrong and who has hurt you. Oh, I was so wrong about him, everyone was. Everyone? Who did you speak to about Mike? Sylvia Burton. She thought you had killed him. You believed her? Were you glad she was wrong? Glad, oh yes, Alan, yes. Then why are you unhappy? Well, that's what I'm trying to tell you. He's still here in my mind somehow. You got to help me, Alan. I don't understand it. Do you understand? Yes, I think I do. You're in love with him. No. You're in love with him, aren't you? Oh, no, no. How could I be in love with someone I've never seen? You've seen a lot of Mike. A book, a poem, his house. A girl who once loved him. Aren't you jealous, Anne of Sylvia Burton? Why did you go to her? What did you really want to know? Alan, please. You could go to anyone who could talk about Mike. You wanted to believe what they had to tell you. You never believed me, you don't believe me now. Stop it, Alan, stop it. It wasn't my happiness, our happiness. You were trying to find it was him. That's not true. You were so relieved just now, not because I hadn't killed him, but because he was alive. You'll go on looking for him, won't you, Anne? And after you find him, then what? Will you leave me? Alan, Alan. Don't you see what you've done? You'll never leave me, Anne. Never. George. Well, George is gone. I sent him into town. He won't be back until evening. Alan, Alan, no more. I thought I'd go for a ride. That's dang it. We'll break down the stall unless he gets some exercise. I thought we could, uh... Why are you trembling, Anne? Yeah, sit down. Have some coffee. Alan, I... Don't be afraid, Anne. Fear is no good. I know. But now I'm finally free. Drink your coffee, Anne. Your hand's shaking. You're not going to be afraid the rest of your life, are you, Anne? Are you? Why run to your room? You can't lock yourself in. I've got the key. Hey, there. Anyone up? Oh, hello, Mrs. Foster. Come in. Hello, Alan. Your wife up yet? Yes, I think so. Shall I call her? Well, it's a fine morning for a ride. Yes, it is. You must have had the same idea. You're dressed for it. Yes, I... Oh, there you are. Welcome home, my dear. How about coming over for breakfast and a ride? I'd like to, very much. Wonderful. I'll expect you in half an hour. How's that? But I can be ready in just a moment. Well, sure. This gets for breakfast, Mrs. Foster? With my own two hands. And just wait till you taste them. There's nothing like them in the whole world. Mrs. Foster, there's something I must tell you. I must speak to you. That's fine, dear. We'll have a leisurely breakfast and all morning to get acquainted in. See you soon, dear. I'll walk along with you, Mrs. Foster. I'll have to saddle up the horses. What's the matter with a bride, Alan? A quarrel? Not a quarrel, exactly. Oh, don't worry. It's natural the first year getting acquainted. What horse are you going to ride, Alan? A stallion, naturally. Well, you just make sure you don't give him to her. He's a mean one, that brute. Alan, Alan, did we have to come this way? Can't you handle your horse? I gave you the mare. But I'm not a good rider, Alan. This cliff. I thought if we took the trail along the cliff, you'd enjoy the view. It's beautiful, isn't it? Alan, keep your horse back. Please. It's easy to say. I can't hold him in. But there's no room for both of us. There's an arrow, isn't it? Quite a drop to the gorge, Anne. 250. Alan, you're pushing me. Use your spurs. Go on ahead. Alan. Did you hit a low branch? Oh. Hurts doesn't end. Nothing is going to hurt you anymore. Michael. Nothing is going to kill you, Anne. They'll think you broke your stupid little neck with your horses. This is Mrs. Foster. There's been a terrible accident. Alan Galloway is dead. That stallion of his must have gone crazy or something. Kicked him to death, it looks like. You better come right out, doctor. His wife's been badly hurt, too. That music's beautiful, Anne. Who's playing? My father. He always does well by Chopin. I like your father, Anne. I'm so glad he was able to come down here. So am I, Mrs. Foster. You're all right, Anne. Staying on here at Middleburg all these weeks, doing your getting well here, it took courage to face it out. Most people would have run away. Hard to run away in a wheelchair. Dr. Hill says by next week you can burn that wheelchair. But that isn't what I mean. That's not what I mean, either. No, I feel I have something to do and that I must do it here. That's really why I stayed. Not because I have courage. Here you are, darling. One of George's priceless eggnogs. Father. Well? Who's playing the piano? You have a visitor. Oh, no, no. I can't see him now. I'm not ready yet. I can't. You sent for him, Anne. Yes, I sent for him. I'll wheel you in. I can manage alone, thanks. Michael, aren't you? I'm sorry, Anne. I should have told you that day at the ranch. I think I knew. Not at the ranch, but afterwards. I think I knew. You sent for me? Yes. I think I'd have come in any case. I was just waiting until you were well. It seems I'm a very rich woman. Yes. It's wrong for me to have it. It belongs to you, Michael. No. No, it belongs to someone who's dead now. Carl Stoyer. He's as air as possible. They must have it then. Michael, I'm a bad liar. I didn't send for you because of the money. The lawyers could have handled that. I wanted to know you. Now that you do. I'm happy to know you, Michael. There are other things that I must tell you. I won't forget Alan. I loved him very much. Not at the end. It was gone then. But I did love him. I know. Anne, I almost got you killed. I was here the night before. I saw Alan talk to him. I should never have left. I looked for you, Michael. I went away that night because... because I was full of my guilt about my feelings for you. I had no business to feel the way I did about you, my brother's wife. I won't talk about it now, someday. Yes, Michael. Any fashion tips for the ladies in our audience tonight? One very important one, Mr. Kennedy. I've noticed that some girls who are wearing the new longer skirts think that lengthening their dresses is enough. Actually, they need longer slips, too. Otherwise, the gap is often apparent and the skirts don't hang gracefully. Are the makers of slips cutting them longer now? Oh, yes. But you don't necessarily have to buy a whole new slip wardrobe. Why, imagine how annoyed Lux girls would be. After all, their Lux slips still have lots of good looks left in them. Well, naturally, I know that Lux care keeps slips lovely longer, but how can it make them longer? Well, it can't do that, John. But there are some simple tricks a clever girl can work. For instance, she can sew a deep lace ruffle on the bottom of a two-short slip, gain a good two or three inches that way, or cut an even strip off the slip near the bottom and fill in with lace insertion or a contrasting color. Then stitch back the snipped-off piece with a deep seam. All that lace sounds pretty, Libby, but is it practical? If careless girls wash a slip the wrong way, handle it roughly or use strong soap or hot water, why, naturally, it'll be sad-looking in a short time. The color will fade and the lace is apt to tear. But after all, practically everybody knows that with Lux care, undies stay lovely three times as long. Actual washing tests prove that. As a matter of fact, Libby, Lux girls can afford more new slips on their budget, too. Instead of replacing drab-fated ones so often, they can use that money to buy extra new ones, have three times as many slips without spending any more. Here's Mr. Keely at the microphone. I'm sure we never could have enough of stars like Catherine Hepburn and Robert Taylor. And here they are, back at the Footlights, to receive our thanks for two superb performances. Catherine, I'm happy our efforts to bring you to this stage tonight have been so splendidly rewarded. I'm glad you feel I didn't let a good neighbor down, Bill, and I'm certainly happy Bob got back from his hunting trip in time to join us. Well, as much as I like hunting and fishing, I wouldn't have missed tonight's show, Kate. Fine, your own plane must be very handy in getting you to wear the fish-abiding, Bob. That's a big help when your time is limited. I understand, Catherine, that your newest picture is about to have its premiere in New York. It opens at the music hall on Thursday, Bill. Your pictures have always been favorites at the music hall, Kate. And the advanced critics here agree how wonderful you are with those concert sequences. Yes, Bob and I saw the picture at the studio and the scenes with you at the piano were really great. Well, praise from Caesar's praise, indeed. That's right. Bob, you did used to be a musician, didn't you? Well, I studied music at Pomona College until I got sidetracked into pictures. From what the preview fan said about your new Metro-Goldwyn-Mayer picture of the High Wall, you were certainly sidetracked in the right direction. I hope they like it. On the subject of pictures, what's the news for next week, Bill? Tonight we usher in our 14th year on the air. And to celebrate, we're bringing our audience one of the greatest works of an author whose popularity has never been equaled. It's J. Arthur Rank's exciting production, Great Expectations. Charles Dickens at his best, Bill. Who do you have as stars? Our stars are Robert Cummings and Blythe Howard de Silva and Lee J. Cobb. Great Expectations is a thrilling, dramatic story that should hold the interest of our listeners of every age. It should indeed, Bill, a play that nobody should miss. Congratulations and good night. Good night, Bob and Captain. All our thanks. Leave a brother's company, the makers of Lux Flakes. Join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Robert Cummings and Blythe Howard de Silva and Lee J. Cobb in Great Expectations. This is William Keely saying good night to you from Hollywood. This is Community Chest Time, a time that unites Americans of all faiths and creeds behind the great work of the Community Chest. Experience has proved that this is the best way, the truly American way of providing help to the unfortunate in your community. Each year your local Community Chest helps support vital services, such as hospitals, clinics, homes for the aged, aid to the handicapped and youth organizations. The theme of this year's campaign is everybody benefits, everybody gives. So give generously, all you can afford when you're approached by one of your fellow citizens within the next few weeks. A contribution to your local Community Chest is an investment in the future of our nation. Catherine Hepburn and Robert Taylor appeared by arrangement with Metro Golden Mayor, producers of Green Dolphin Street, starring Lana Turner and Van Heflin. Heard in our cast tonight were Ira Grossell as Michael and Francis Robinson as Sylvia. This program is rebroadcast to our servicemen and women overseas through the worldwide facilities of the Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear great expectations with Robert Cummings and Blythe Howard De Silva and Lee J. Cobb. I'm Sprite. For your cake and pie. Sprite. It's your shortening pie. Rely on Sprite. For lighter, better tasting cakes, try Sprite, the pure, creamy, all vegetable shortening with the special cake making secret. Hear them say, boy, what a cook. Rely on Sprite. Sprite. S-P-R-Y. Be sure to listen next Monday night to the Lux Radio Theatre presentation of Great Expectations with Robert Cummings and Blythe Howard De Silva and Lee J. Cobb. Stay tuned to My Friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.