Call It a Day By Dodie Smith

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Call It A Day by Dodie Smith Starring Alfred Lunt and Lynn Fontanne First broadcast by Theater Guild on the Air in 1946   Do you enjoy the variety on Oldtuberadio? Like, Share and Subscribe to be notified of our new shows #radio #crime #thriller #drama To Support this channel please visit https://www.buymeacoffee.com/oldtuberadio https://ko-fi.com/oldtuberadio98 https://www.patreon.com/oldtuberadio https://locals.com/Oldtuberadio

Transcript

00:00The End

00:30The End

01:00The End

01:29The End

02:00Dot, you know I object to all this. I must say, I think you ought to shake me yourself.

02:03No, no, certainly not. It gives me a headache. You always let Susan shake.

02:08Well, that was different. Susan's been with us for ages.

02:10Um, well, um, Dot, I do feel this isn't the sort of work you should delegate to others.

02:15It's such an unimportant hour. It makes me feel like an old fixture.

02:19What shall I do this morning, madam? Oh, just shake my husband and run the vacuum and clean her around.

02:26Wouldn't have done this when we were first married.

02:28Don't mind him, Allie. He's really impossible till he's had his shower and his breakfast.

02:33Open the curtains and let some sunlight him, will you?

02:35Just as you wish.

02:36Oh, oh, what a day. Look, it's dazzling.

02:40Treacherous, I call it.

02:42Hey, really does something to you, doesn't it? The first real spring day we had.

02:46Wonderful.

02:47Dangerous, I say.

02:48Dangerous? What are you talking about? It looks all right to me.

02:50Hmm, that's the trouble with it. It tempts people. There'll be a lot of pneumonia cases tomorrow.

02:55Oh, nonsense, Allie. It's a lovely morning.

02:57That's just it. On a day like this, people start leaving things off and then there's no knowing what'll happen.

03:02You mark my words, a day like this brings trouble.

03:06Anything else you need, ma'am?

03:07No, thank you, Allie.

03:08Well, then I'll be going.

03:09All right.

03:11So, we have a Cassandra now amidst a prophetess of doom. She doesn't trust spring.

03:15I wonder if she's right.

03:17Certainly makes me feel fine. Morning for a good, stiff, cold shower.

03:21That's what I'm going to do right now.

03:23Oh, oh, oh, oh, this is a great man.

03:24You should have wake me up an hour earlier this morning. I've taken a five-mile sprint before breakfast.

03:28Oh, oh, oh, yes.

03:29Oh, oh, yes, I would have.

03:30Might have been a good idea. Take that tummy down a bit.

03:33Why do you see a tummy? I have no tummy.

03:34How inconvenient.

03:36Besides, you women with this skinny complex are laying up a wretched old age for yourselves.

03:40Stringy, that's what you'll be.

03:42Thank you, old seven-chins-to-ball-pate. I consider myself...

03:45Modern and streamlined.

03:47Ha, ha. Streamlined. Streamlined women with wind resistance and the peel of a toothpick.

03:54I tell you, this streamlined ending is the abomination of our time.

03:57Streamlined bathrooms. Streamlined soaps. Streamlined doorknobs.

04:01Streamlined shower. No wonder modern man is secured.

04:04Not a darn thing he can lay his hands on.

04:06Roger, don't be vulgar, please. Get on with your shower.

04:09All right, what do you think I'm going to do?

04:10Oh, but I'm going to be vulgar.

04:15Yes?

04:17Oh, Mom.

04:17Oh, hello, Ann, darling.

04:19Catherine's got the bathroom first again.

04:21She'll be in there forever and I'll be late for school.

04:23I've got an algebra exam that's positively gruesome.

04:27Mom, can you think of any possible use for algebra in my afterlife?

04:30Afterlife?

04:31I mean, after school life. Especially since I'm going to be a poet.

04:35Oh, since when?

04:36Since I've been reading Edna St. Vincent Millay.

04:39Oh, Mom, she's the loveliest poet. I've been reading aloud since six this morning.

04:43Oh, darling, doesn't Cass object?

04:45Oh, she went out for a walk this morning about six.

04:47And then she came back and grabbed the bathroom first.

04:50Cass went for a walk at six. Is she all right?

04:52Oh, I guess so.

04:54Spring has broken out.

04:57Listen to Bob.

04:58Yes, he seems to have broken out too, doesn't he?

05:00Daddy, would you like to hurry up and lend me your bathroom?

05:04No, Ed.

05:05Would you? Would you?

05:06No!

05:07Oh, don't be a drip, Daddy.

05:09Cass's morning around with a new hairdo in our bathroom and I'm going to be years late for school.

05:14All right, well, wait till I get dry and get something on.

05:17You're a darling.

05:18Mommy, you don't mind if I'm first, do you?

05:20No, no, dear.

05:21Mommy, do you think I'm psychic?

05:24Psychic? Why?

05:26Well, I feel as if I can see things.

05:28I expect it's because I'm sensitive.

05:30I've got a sensitive mouth, haven't I, Mommy?

05:32I expect it's sensitive about that tooth inside.

05:34And you've got to see Dr. J.

05:36Mother.

05:37Just when I'm talking about important things, you shrivel me up.

05:40Oh, darling, I didn't mean to shrivel you up.

05:43But there really are times when I'm afraid you're getting morbid.

05:46Lots of great people have been morbid.

05:48Mommy, if I die, I'd rather you didn't cremate me.

05:51Oh, Ann, you're not to talk like that.

05:53It's not a bit funny to be morbid.

05:55You're not feeling ill, are you, darling?

05:57No, Mommy.

05:58Just kind of strange sometimes.

06:00I guess I've outgrown my strength.

06:02Silly baby.

06:03Here you are, Nelson.

06:04Thank you, Roger.

06:05You're not to call your father Roger.

06:07It's fashionable for children to treat their parents as if they were human.

06:11Now get along with you.

06:12Thanks!

06:13Roger, do you think that child's all right?

06:15Healthy as a horse.

06:16He's getting the most extraordinary ideas about death and poets.

06:19Oh, just a phase.

06:20You had it when we were engaged.

06:22I'm worried about calf, too.

06:23Oh, woman, you are a worrier.

06:25Ever since she started posing for her portrait with Paul, she's behaving very strangely.

06:29Getting up at six in the morning and spending forever in the bathroom.

06:33Roger, are you sure Paul Francis is all right?

06:36You know what his reputation is.

06:38Grossly exaggerated.

06:38You met his wife.

06:39You don't imagine that he'd possibly...

06:41You were making love to her.

06:42My dear woman, you're crazy.

06:43And even if he is a bit of a wolf, why, she'd be as safe with him as a maiden aunt.

06:46I've known him for 30 years.

06:47I was at school with him.

06:48Ah, but you weren't an attractive young girl at school.

06:50Oh, well, it's neither here nor there.

06:52Just worrying there's nothing wrong with a girl but temperament.

06:55Maybe a touch of the season.

06:57Oh, you mean spring is here for a season?

06:58I hope so.

06:59Say, where's that striped shirt?

07:00Striped shirt?

07:01Well, maybe Ellie was right.

07:02Cat up at six and talking about death.

07:04You bursting into song.

07:06I'll take it, dear.

07:08Another shirt gone to pieces.

07:10Hello?

07:10Dot?

07:11Yes?

07:12Look at that collar.

07:13Listen, dear.

07:13For our trip to town this afternoon, I want you to look absolutely raffishy.

07:16Good heavens, Muriel.

07:17What for?

07:18Looks like shredded wheat.

07:19Roger, roger.

07:19I've made it all to you on the way in.

07:21That brother of mine, he really has a problem.

07:23You've got to help me with it.

07:24Yeah.

07:25Now, I'm meeting him at the plaza for cocktails.

07:26But I thought we were going to a matinee.

07:28Corn cuffs and they've sharpened the collar.

07:30Shut up, shut up.

07:31Of course, darling.

07:31One for luck with Beatrice Gwynn.

07:33I've got the ticket.

07:33But I thought we'd make a whirl and do both.

07:35Oh, you've really got to help me with Frank.

07:37How?

07:38What do you mean?

07:38I'll see you on the train, darling.

07:40And look divine.

07:41I'll do my best.

07:42Bye, now.

07:44Muriel Weston and I are spending the day together.

07:46Well, I'm glad it's you, not me.

07:48Lord, how that woman talks.

07:49After the matinee, we're going to cocktails with her brother Frank.

07:52Is that that tennis-playing glamour boy who's been planting rubber in Brazil?

07:58Muriel says he's very conservative and shy, really.

08:01And her brother, that I will have to see.

08:03From his picture, he's tall and distinguished and very thin.

08:06Well, if he's fresh from the wilds of Brazil,

08:09he's probably looking for something a little more skittish than you two conservative females.

08:12Oh, Roger, really?

08:14What's the matinee?

08:15It's the new hit, One for Luck, with Beatrice Gwynn.

08:18Greatest...

08:19Well, that reminds me.

08:20She's supposed to see me about her income tax sometime today.

08:24You know, she got herself into a jam over her picture earnings,

08:26and her Hollywood agent asked me to straighten her out.

08:27Oh, you're pretty offhand about the glamorous Beatrice Gwynn.

08:31Oh, just another one of those streamlined young women, as far as I'm concerned.

08:34She either won't show up or she'll cancel her appointment at the last minute.

08:36Oh, Roger, here, come here.

08:38Let me have a good look at you.

08:39Are you wearing your handsome-est striped shirt?

08:42Oh, I've got to wear something.

08:43And your most distinguished cufflinks?

08:45Oh, sit down.

08:46Do I see a glint in your eye of interest in Miss Gwynn?

08:49Do I spy a greenish cast in yours?

08:52Yes, yes, yes.

08:54Nothing of the sort.

08:55If she does keep her appointment, don't forget to pull it in your stomach and hold up all those chins.

09:00She'll be less interested in my waistline than in her deductions.

09:05Roger.

09:06Roger.

09:07Tell me something.

09:09What?

09:09Well, what's all this deep thinking about?

09:11When you woke up this morning, you said something about feeling like a household fix.

09:14Sure, I did.

09:15I suppose everyone feels that way once in a while.

09:16I wonder if perhaps I feel that way, too.

09:18For example, Roger, what am I wearing?

09:22Uh, well, why?

09:24Well, it's something very becoming.

09:25No, I happen to be wearing the Valentina negligee you gave me for Christmas.

09:29Well, it's very becoming and very, very expensive, as I recall.

09:35You happen not to have kissed me this morning.

09:38Oh?

09:39Well, may I make a small correction, Mrs. Hilton?

09:43No, I don't think so.

09:43Well, um...

09:43Oh, come on.

09:44Perhaps.

09:44I think it's...

09:45Oh, Roger.

09:47Really, I...

09:48Very nice.

09:51Oh, this is delightful.

09:54This is delightful.

09:54Roger, Roger, Roger.

09:56Yeah, you're a household fix, you're feeling all good, huh?

09:59Well, darn, I think...

09:59Well, we'd better make sure.

10:02All right.

10:03Roger, darling, we aren't beginning to take each other for granted all.

10:07Well, I hope not.

10:08All right, put your beautiful necktie on.

10:10All right.

10:11Oh, this wonderful, peaceful moment of lingering over breakfast.

10:25Dan, get off school on time.

10:26I think so.

10:27Cass, are you sitting for your portrait today?

10:29Yes, all afternoon.

10:31Enjoying the sittings?

10:31Oh, I suppose so.

10:33Great fellow, Paul Francis.

10:34Fine artist, too.

10:35Will you excuse me?

10:36Cass, where are you going?

10:36Now, you come back and finish your eggs.

10:37I've had all I want.

10:39You haven't eaten a thing.

10:40Dot, make her eat some breakfast.

10:41Now, Cass, come and sit down, dear.

10:42Besides, I want to talk to you about something.

10:44Oh, Mother.

10:45Now, sit down, sit down.

10:46Will somebody please pass me the marmalade?

10:48Dear, dear, Cass, you really will have to be a little more considerate.

10:52Mother, please.

10:52You know, you took Anne's turn in the bathroom.

10:54Oh, heaven, just because I spend a few extra minutes, anyone would think we were at boarding school.

10:58Well, uh...

10:59Mother, Dad, will you let me have the spare room, please?

11:01Now, Cass, we've gone into that before.

11:03Can I tell you I'll move out when we have games?

11:05No, no, you'll always make a grievance of it and leave things behind.

11:08Guest tape-finding grubby bits of powder pass in the drawers.

11:10Now, I simply must keep the spare bedroom.

11:13Well, what's the matter with your room?

11:14Oh, Dad, after all, when you get to be 17 years old, it's time that you add some privacy.

11:18Is it Anne's early morning reading that I've sent you?

11:21That and her early evening prayers.

11:24She now says her prayers under a picture of Shelly.

11:27Say, uh, is this, is this all the sugar we have?

11:30It isn't only Anne, it's just that I want to be alone.

11:34But why, darling, why, I could understand if you were working or studying or something.

11:37Well, maybe I will take up something, if you'll give me the spare bedroom.

11:40No, no, Cass, I'm sorry, dear.

11:42Oh, you're not a bit sorry.

11:44You're the most un-understanding mother I've ever met.

11:46Oh, Charlie.

11:46How can anyone be so beastly on a lovely day when everything, everything...

11:50Cass, Cass, what's the matter with you?

11:51Well, you know, she didn't put much butter on this toast.

11:53Oh, nothing.

11:54Look here, Cass, I suppose Mr. Francis isn't, there's nothing...

11:59What's the matter with this new maid, anyway?

12:01Cass, did you hear what I said?

12:03No sugar, no cream.

12:04Cass!

12:05Stingy with the butter?

12:06Cass, is something wrong?

12:08What do you mean?

12:09Well, sometimes married men...

12:10Mother, how can you?

12:12I think you've got a thoroughly nasty mind.

12:14Oh, darling, why, I'm sorry.

12:15Oh, you're horrid, and I hate this whole rotten house and everyone in it.

12:18I hate it, I hate it, I hate it!

12:19Cass!

12:21Oh, leave her alone, let her be.

12:23Eat your breakfast, darling.

12:24Really, there must be something wrong with her.

12:26Just a phase.

12:27Did you call, ma'am?

12:28No, no, we're through, Ellie.

12:30Well, shall I clear off now?

12:31Yes, you may.

12:32I'm afraid Miss Catherine didn't eat much.

12:34Spring is here, all right, ma'am.

12:35Yes, it certainly is.

12:37Say, look at that tree over there.

12:38It's nearly out.

12:39Apple, isn't it?

12:40Yes, it is.

12:41They always come out first, more fools, them.

12:45Oh, now, come on, Ellie, a day like this does everyone good.

12:48Makes you feel young, makes you feel you can do anything in the world.

12:50Justy, it puts ideas into people's heads.

12:53Have you never heard the saying?

12:54What saying?

12:55The first spring day is in the devil's pay.

12:59The first spring day is...

13:01In the devil's pay.

13:03I'll answer.

13:05Hello?

13:05This is Elsie, Mr. Hilton.

13:07Yes, Elsie.

13:08I thought I'd better let you know that Miss Gwen called.

13:10Oh?

13:11To confirm her appointment for today.

13:13She'll be in right after her matinee.

13:14Right after matinee?

13:15Oh, very good.

13:16I'll be in the office as soon as I get through at court, Elsie.

13:18All right, Mr. Hilton.

13:19Goodbye.

13:20The first spring day is in the devil's pay.

13:24Hmm.

13:25Hmm.

13:27Hmm.

13:29Hmm.

13:30Hmm.

13:31Hmm.

13:32Hmm.

13:33Hmm.

13:34Hmm.

13:35Hmm.

13:36Hmm.

13:37Hmm.

13:38Hmm.

13:39Hmm.

13:40Hmm.

13:41Hmm.

13:42Hmm.

13:43Hmm.

13:44Hmm.

13:45Hmm.

13:47In a moment, we will continue with the second act of Call It a Day, produced by the Theater

13:52Guild on the Air and sponsored by the United States Steel Corporation.

13:56Here, speaking for United States Steel, is George Hicks.

13:59Good evening.

14:01We've all been reading and hearing about the exciting celebration that's going on in Detroit,

14:05Michigan.

14:06It's the golden jubilee of the automobile industry and marks its 50th great year of progress.

14:11Among the parades and other big events in the jubilee, one of the outstanding features

14:16is an antique automobile exposition in which the newest 1946 cars are on display against

14:22the background of early model, horseless carriages.

14:25The dramatic contrasts in these displays of new against old are the most eloquent tribute to the forward strides of the great American automobile industry,

14:34to its pioneers of yesterday and its workers in management of today.

14:38Perhaps most of all, it's a tribute to the men who design America's cars.

14:43Year after year, these designers, stimulated by the American system of free enterprise and free competition,

14:50have demanded better and more versatile materials in order to try to make their particular cars safer, more comfortable, and more beautiful.

14:57And I hardly need to tell you that the one material of which they have demanded and received ever greater results is steel.

15:05Yes, from the early days of the automobile, the designers have worked hand-in-hand with the men of the steel industry

15:11in the development of new and better steels.

15:14And today, for example, the United States Steel Corporation alone makes more than 100 different kinds of steel for automobiles.

15:23It took millions of dollars and countless hours in painstaking research to discover and develop these new steels.

15:31But looking at today's cars, I'm sure you'll agree it was worth it.

15:34For it was with these steels that the automotive engineers have transformed those horseless carriages into today's sleek beauties

15:42with their tremendous strength and extraordinary protection.

15:46So I hope all of you will join with me and the United States Steel Corporation

15:50as we send our congratulations to America's automobile industry and its Golden Jubilee celebration in Detroit.

15:58We pause now for station identification.

16:07Your station is KECA Los Angeles.

16:14You are listening to the Theater Guild on the Air,

16:17sponsored by the industrial family that serves the nation, United States Steel.

16:23Tonight's play, Dodie Smith's Gay Comedy of Family Life, Call It a Day,

16:26stars Lynn Fontan and Alfred Lunt as Dorothy and Roger Hilton.

16:32Now the curtain rises on the second act.

16:49In further explanation, at which point I refer you to my letter of March 18th on the Corporation reports.

16:56Sincerely yours and so forth.

16:58That's the last of the letters, Elsa.

16:59Yes, Mr. Hilton.

17:00Now let's see.

17:01When can we be expecting this, Miss Gwynn?

17:03About 5.30, she said.

17:05Yeah, she'll probably be in quite a fix.

17:07Won't know a thing about her tax deductions.

17:08These theater people never do.

17:10Oh, I know.

17:11Such a knockabout sort of life for a woman.

17:13Glad my girls haven't an artistic bone in their bodies.

17:15They take after their mother.

17:16Oh, your daughters are such lovely girls.

17:19Mrs. Hilton's a lucky woman.

17:21Yes, yes.

17:22Well, we both are.

17:23Oh, yes.

17:25Both girls.

17:26Nice, sensible girls, you know.

17:27Oh, I'm sure of it.

17:29Mrs. Hilton worries about them, but I say they never had a thought that they didn't tell her.

17:32Oh, I'm sure you're right, Mr. Hilton.

17:34By the way, Elsie, I think I'll take an hour off this afternoon, get a little exercise over at the club.

17:40I've been feeling a little stuffy around the middle lately.

17:43Yes, Mr. Hilton, it's this sudden spring weather.

17:47Always makes me feel sort of melancholy.

17:50So I've brought some flowers for your dad.

17:52Well.

17:53May I put this teeny little rosebud in your lapel?

17:56Why, thank you, Elsie.

17:57Why, that's very nice.

17:59Oh, it's nothing.

18:01My dear Kath, I want your face in repose when I'm painting.

18:13Now, just look serene.

18:14Oh, how can I?

18:15This horrible shawl smells disgusting.

18:17Nonsense.

18:20Oh, and you stick out your lip that way, you look like that Marchmont girl in Santa Fe.

18:24Hmm.

18:25I wonder what's happened to Lily.

18:27Oh.

18:27Probably dead.

18:28Lily who?

18:29Um, a model I used to have.

18:32Oh, Lord, wasn't she beautiful?

18:34Your figure isn't a patch on hers.

18:35I've got a very nice figure.

18:37Hmm.

18:38Hey, I've got an idea, Catherine.

18:39Put that shawl right over your head.

18:40I won't.

18:41This shawl's filthy.

18:42Oh, now, look.

18:43Here, young woman.

18:43I won't do it.

18:44You can't order me around that way.

18:45What is this?

18:46And what's more, I'll tear up this dirty old shawl.

18:48Just go to Santa Fe and find your old Lily Marchmont.

18:50I'm going home.

18:51All right.

18:52Oh, Paul.

18:54I wish I was dead.

18:55Oh, my dear child.

18:56It's been so awful, I can't even cry at night because of Ann hearing.

19:00Is it that you're tired of me just in a few weeks?

19:02Oh, for the Lord's sake, shut up, Catherine.

19:05You're talking as if something, as if something had, well, heavens, I haven't even kissed you.

19:09Or have I?

19:10No.

19:11But you were going to when that wretched old tramp came along.

19:14Bless him.

19:15Paul, that morning on Orchard Hill when it was all beginning.

19:18It isn't going to begin, Catherine.

19:19But why?

19:20Though I hate to stress the fact I really am married.

19:23I'm sorry about your wife, but she must be used to it by now.

19:26Huh?

19:27Oh, I know you make love to dozens of women.

19:29It's hateful.

19:30But it doesn't seem to make any difference.

19:32I was afraid it mightn't.

19:34That day on Orchard Hill.

19:35In my whole life, I've only once been on Orchard Hill at seven in the morning and you had to be there.

19:40Don't you think that was fate?

19:42I do not.

19:42I think it was the after effects of a party.

19:45Oh, Paul, Paul, you're just pretending.

19:47You couldn't have said those wonderful things if you didn't mean them.

19:49You're just trying to discourage me for my own good.

19:52Paul, please kiss me now.

19:54Catherine, for heaven's sake, let me go.

19:57Thank the Lord, saved by the bell.

19:59Paul, wait.

19:59Catherine, will you let me go?

20:01Paul.

20:02Come in.

20:03Yes?

20:04Hello.

20:06Mr. Francis, we only met once for a minute.

20:09I don't think you noticed me much.

20:10That was certainly an oversight.

20:13So you're Catherine's sister.

20:14Come in.

20:15And what do you want?

20:16Well, as a matter of fact, I want some money.

20:18It's a pleasure.

20:19How much?

20:19Oh, no, please.

20:20Kath's sure to have it.

20:22You see, coming home, I saw a special edition of Endless St. Vincent Millay in that little

20:26bookstore.

20:27It's only $3, and the man said it might be gone tomorrow.

20:30So I thought it's nearer to here than to home, and I didn't think Mr. Francis would mind,

20:33as it is all gone.

20:33Snap it up.

20:34It's a bargain.

20:35Kath, I'm going to make you run along with your sister.

20:37You're too tired to sit anymore.

20:39But I'm not tired.

20:40No, no, no.

20:40No, shop shut for today.

20:42This portrait's all wrong, anyhow.

20:43Not at all sure I shall go on with it.

20:45Oh.

20:46Perhaps I shall paint Ann instead.

20:48She's got a very interesting mouth.

20:50Rather morbid, isn't it?

20:52Hmm, wonderfully.

20:53Kath, go change your clothes and then go.

20:56Oh, very well.

20:58Oh, what a lot of fascinating things.

21:02Hmm.

21:03Oh.

21:04Oh, this little painting.

21:05Hmm?

21:05It isn't...

21:06Oh, it couldn't be.

21:07It's a portrait of Miss Millay.

21:09That's right.

21:10Did you do it?

21:11Oh, yes.

21:12It's a sketch I did of her some time ago.

21:14Oh.

21:14Say, like to have it?

21:16Oh, you couldn't...

21:17You couldn't possibly mean...

21:18Why, yes, I could.

21:19Why not?

21:20Oh, Mr. Francis.

21:22Ann, I'm ready to go.

21:24Look what he's done.

21:25He's given me a picture of Miss Millay.

21:27I...

21:27Oh, I...

21:29I think we must get it home carefully.

21:31Kath, do you suppose we could take a taxi home on account of the picture, can we?

21:36I'll pay you out of my allowance in weekly installments.

21:38All right, you go ahead and find a cab.

21:40I have to talk to Mr. Francis a moment about my next sitting.

21:44All right, I'll go.

21:45Mr. Francis, it's a pity I'm too old to hug you.

21:49Ah, a thousand pities.

21:50Goodbye.

21:51Bye.

21:53Paul, please.

21:54Uh-uh, uh-uh.

21:54Now, go away.

21:55Paul, please don't be angry, but would you meet me once more on Orchard Hill?

21:59I would not.

22:00Oh, tonight, please, please.

22:02No, we mustn't.

22:03Oh, Paul, you can't back out now.

22:04It's too cruel.

22:05Nine o'clock, please.

22:07Nine o'clock?

22:08Lord, I'm a lunatic.

22:09No, you're not.

22:10Oh, I'm so happy I could die.

22:12I'll go now.

22:13Goodbye.

22:14Goodbye, Paul.

22:15Oh, Dorothy, this is a divine martini.

22:30And these pastries.

22:31Here you are.

22:32How can you eat pastries with a martini?

22:34It's indecent.

22:34I know, but I'm on a marvelous new diet.

22:37You eat all you want between meals, and then you never want a really big meal.

22:40Doesn't it work with you?

22:41I get your meaning, and I don't like it, thank you.

22:44Well, after all those chocolates we had at the theater.

22:46Come now, we dropped over half of those.

22:47Oh, oh, don't mention it.

22:49When that box fell down and those chocolates rolled over, I thought I'd go right through

22:52the floor with embarrassment.

22:53Did you see that twin girl?

22:54She glared at us.

22:55Well, I don't blame her.

22:56You know, that girl was interesting.

22:59Oh, did I tell you Roger is looking after her income tax?

23:02What's that?

23:02That bundle of sex appeal?

23:04Now, Muriel, Roger is a staid married man.

23:07Listen, I'm suspicious of any married man who isn't actually in a wheelchair.

23:10That's how I feel about them.

23:12Oh, you're a bitter girl, aren't you?

23:14Now, about my brother Frank.

23:15Yes, what is this business about Frank?

23:17Well, I'll tell you.

23:18Now, oh, I wonder what's keeping him.

23:19He should be here.

23:20I've got to leave for my train in a minute.

23:22Oh, no, you don't.

23:23Come on now, tell me.

23:24Well, Frank is on leave again from his rubber plantation, and this time I'm determined to

23:27get him married off if I have to drag him to the altar.

23:30Doesn't Frank have the usual tropical reaction?

23:32My dear, he thinks women are on a higher plane.

23:35Oh, dear.

23:36Doesn't he know of your plan?

23:37Well, I've been paving the way in my letters for weeks.

23:39I think I'll pull it off if you'll help.

23:41Who's the girl?

23:42Dorothy Walton.

23:42Oh, no, no.

23:43Well, she's a bit short in the wind and long in the tooth, but she's still got most of

23:47her faculty.

23:47Oh, Muriel, you're revolting still if they both really like each other.

23:51Don't be funny.

23:51They haven't met us yet.

23:53Oh, I see.

23:53The point is to get the thing so settled in their minds before they meet that neither of

23:56them likes to back out.

23:58Not that Dolly will be doing any backing out.

24:00She's just had her roots touched up.

24:01She's a blonde now, you know.

24:02She's going right into battle.

24:04I never heard anything so cold-blooded.

24:07Now, they're both coming to spend the weekend.

24:08I'll bet you I have them engaged in a week.

24:10Are you sure Frank wouldn't rather see you alone this afternoon?

24:13Oh, mercy.

24:13No, I talked to him on the phone and he's dying for female companionship and he doesn't

24:17mean his sister.

24:18And that's where you come in.

24:19You ought to help with the skids under him by talking up marriage in the general sort

24:22of way.

24:23After all, you do approve of marriage as an institution, don't you?

24:26Oh, indeed I do.

24:27Of course I do.

24:28Well, that's all there is to it.

24:29You're part of the selling plan.

24:31Oh, I wish Frank would hurry.

24:32I simply got to go right now.

24:34Now, darling, no, don't go.

24:35Not until Frank comes, at least.

24:37Oh, there he is.

24:37Thank heaven.

24:38Frank.

24:38Muriel, I'm awfully sorry.

24:39Now, you're just in time.

24:41I'm just running.

24:41Goodbye.

24:42I don't have to introduce you to, do I?

24:43How do you do?

24:44How do you do?

24:45Oh, how darling of you, Frank.

24:46What beautiful spring flowers you bought.

24:48That really was sweet of you.

24:49Now, you sit down here and I'll take my packages.

24:51Doc's got lots of time.

24:52Now, just pile the flowers on top of my parcels, will you?

24:54And stick another one of those cakes in my mouth.

24:56Yes, there you are.

24:57The doorman will get me a cab.

24:59Goodbye.

24:59I'll see you on the weekend, Frank.

25:02What was that?

25:03I think she said she'd see you on the weekend.

25:05Oh, yes, of course.

25:06I've been looking forward to it.

25:08You'll enjoy it.

25:09Yes, I'm sure of it.

25:11The flowers were really for you.

25:13For me?

25:14How very nice of you.

25:16It's strange.

25:17Somehow, I feel as if I know you.

25:18Yes, I know.

25:19Isn't it wonderful?

25:21It is rather wonderful.

25:23I thought I was going to be awfully self-conscious.

25:26Did you?

25:27I think I am a bit.

25:28I rather like the sensation.

25:30Just throwing us together like this might have been extremely awkward.

25:33It might.

25:34Why?

25:34Well, we mightn't have liked each other.

25:37Well, that wouldn't have been very serious, would it?

25:38Besides, we do, don't we?

25:40Look here, I was wondering, are you fond of the theater?

25:43Oh, very.

25:44Muriel and I have just been to a matinee, a play called One for Luck.

25:47Oh, yes?

25:48Was it good?

25:48Well, not very convincing.

25:50Oh?

25:50Two people meeting for the first time and falling violently in love.

25:54It never happens, really, does it?

25:55Well, I think it might, under certain circumstances.

25:58Well, I think they'd have to be very special ones, wouldn't they?

26:01I don't suppose you feel like another show, do you?

26:03But couldn't we have dinner?

26:06I'm making an awful fool of myself.

26:08I'm really not always like this.

26:10I think it must be relief.

26:12What on earth?

26:12You mean?

26:13Well, you're the prettiest woman I've ever seen in my life.

26:16Oh, dear, dear.

26:17Let's shake hands, shall we?

26:18We haven't yet.

26:19How do you do, Mr. Hayden?

26:21Well, please.

26:23Frank, then.

26:25Am I allowed to call you Dolly?

26:28Dolly?

26:29No one ever calls me Dolly.

26:30Well, Muriel does.

26:31No, no, Dot or Dorothy.

26:33Oh.

26:34Well, I shall call you Dolly.

26:35Oh.

26:36Oh, what's the matter?

26:37You look so strange.

26:38Well, look, I shan't try to rush you anymore, but somehow it seems so hypocritical after Muriel's

26:43letters, and I wanted us to be friends as soon as possible.

26:46No, no, no.

26:46Have I offended you?

26:47No, no, it isn't that...

26:49I'm being all kinds of an eager fool.

26:52Look, I'll tell you what.

26:53Let's...

26:53No, no, please stop.

26:54I'm Dorothy Hilton, not Dorothy Walton.

26:58Oh, my Lord.

26:59I've got a husband and grown-up children.

27:00I kept trying to stop you.

27:02I'm terribly sorry.

27:02Look, I can't even start to apologize.

27:04Oh, no, it was my fault.

27:05I was so slow.

27:06Of course, it was a natural mistake.

27:07Dot Hilton, Dolly Walton on the telephone.

27:09Yes, well, please don't let it worry you.

27:10Of course, Dolly's a great friend of Muriel's.

27:12Naturally, you'd ask her.

27:13I know you think it's kinder to pretend I haven't made a fool of myself, but you see, nothing

27:17like this has ever happened to me.

27:19I guess I'm in love with you.

27:21You know it's just because you've been planning to fall in love, because you've been lonely.

27:26Yes, probably.

27:27Are you happily married?

27:28Oh, yes.

27:29Because if not...

27:30I am, my child.

27:31All right, I'll come and see you.

27:32I won't get underfoot.

27:33Half a loaf, you know.

27:34Well, there isn't even half a loaf.

27:35Well, then crumbs, my dear.

27:36I'd be grateful for anything I can get.

27:38But this is...

27:39When can I come?

27:39This is insane.

27:40Of course you can't come.

27:41You must go out to Muriel's and meet, darling.

27:43Can I come this evening?

27:44No, no.

27:44To see the grown-up children, the happy husband?

27:46And don't you see that I'm not in a normal state of mind?

27:49Any man would normally be groveling with embarrassment looking for you to go.

27:52Well, I am going anyhow.

27:53Oh, no, no, no.

27:54Please don't.

27:54Or let me come and see you.

27:56No, no.

27:56Let me work this thing out my own way.

27:57Where do you live?

27:58No.

27:58Oh, well, here's a pencil.

28:01It's a 46th Beech Tree Road in Scarsdale.

28:04You mustn't anyhow.

28:05Not until you've seen Dolly.

28:06Oh, no.

28:07Oh, poor Dolly.

28:08She's had her roots done.

28:10Her what?

28:12I know.

28:12It's awful.

28:13I can't help laughing.

28:17What am I laughing at?

28:18This is really no laughing matter.

28:21It's past six.

28:22I must go.

28:22Look, I'll put you on the train.

28:23No, no, no.

28:24And I'm coming this evening at nine o'clock.

28:26No, no.

28:2643 Beech Tree.

28:27No, no, 46th.

28:28No, really, we both are crazy.

28:31I'll think about it.

28:32I'll write you.

28:3346th Beech Tree Road tonight at nine.

28:35No, no.

28:45Yes?

28:45Miss Gwynn is here to see you, Mr. Hilton.

28:47Oh, well, send her in, Elsa.

28:50Yes, sir.

28:54Miss Gwynn, how do you do?

28:56Hello.

28:57I'm late.

28:57I ought to have called you and put it off.

28:58Well, I'm glad you didn't.

28:59This tax matter is getting urgent.

29:01Do you think I'll end in jail?

29:02Not if you pay up.

29:03Oh, I can't, you know.

29:04I haven't got it.

29:05You spend it?

29:06I suppose so.

29:06It's gone.

29:07You're a very extravagant young person.

29:09Look here.

29:09Do you mind cutting out the coy, fatherly stuff?

29:11I'm feeling irritable.

29:12Oh, I'm very sorry.

29:13I expect you're tired after your matinee.

29:15I'm not tired.

29:15Just bad-tempered.

29:17Well, let's get down to it.

29:20What do I have to do?

29:20Just answer a few questions to start with.

29:22What did you actually earn?

29:24Nearly $30,000.

29:26But that's so long ago, and it's all gone.

29:29It's not fair.

29:30I know, I know.

29:31I'm on your side entirely, but the government's against us.

29:36Now, let's see.

29:37That was in 1943.

29:39You've been...

29:40Well, they've been pretty patient, you know.

29:42Well, now, where were you living?

29:45Well, unless that got to do with you.

29:47You must have had a wretched matinee.

29:49Do they throw things at you?

29:51No, no.

29:51They clapped most politely.

29:53You know, there's a superb love scene in this play, a real one.

29:56I might just as well have been playing with a lamp post as play with Harold.

29:59Oh?

30:00Well, as a matter of fact, he wasn't so bad in the beginning.

30:03Oh?

30:04No, it was just at the opening of the third act.

30:06Uh-huh.

30:06Some cow of a woman upset a whole box of candy.

30:10They rolled all over the place.

30:11After that, Harold went to pizza.

30:13Oh.

30:13Everyone giggled and hushed and turned around.

30:17Do you wonder I was wild?

30:18No, no.

30:19Then Harold turned to stone.

30:22Oh, that must have been terrible for you.

30:24You don't know what I have to put up with.

30:26I think I'll stay home tonight and make my understudy happy.

30:29Shall we see if we can get something on these deductions if you feel up to it?

30:34You know, I like you here.

30:37You're not a bit.

30:38My idea of a corporation lawyer is terrific on taxes.

30:41Well, what is your idea?

30:42Old and doddery.

30:45Well, thank you.

30:47Now let's get on to expenses.

30:48In Hollywood, I suppose you lived in a hotel.

30:51Only for a bit.

30:52I had a house most of the time in Palm Springs.

30:54What was the rent?

30:55I don't know.

30:55I didn't pay it.

30:57I wanted to share it, but my boyfriend wouldn't let me.

30:59Boyfriend?

31:00The one who was paying the rent.

31:02Uh, well, I don't think we need to go into that for the tax inspector.

31:07Oh, please, don't bother to whitewash for me.

31:09Now, my good girl.

31:11Don't call me your good girl.

31:13Not suitable.

31:13Now look here, Miss Beatrice Gwynn with the flowers in your hat.

31:17The inspector doesn't give two hoots about your boyfriend in Palm Springs, and neither do I.

31:21So you can just stop trying to shock me.

31:23The inspector wants your money, and I want to save it for you.

31:26So let's get down to brass tacks and think up some expenses to deduct.

31:29Do you like my hat?

31:31Yes, charming.

31:32Do you like me?

31:34Uh, yes.

31:35Good.

31:36I like you.

31:37You know, I don't feel very much like concentrating on this stuff.

31:41Yeah, so I've noticed.

31:42Why not bring all the papers up to my apartment this evening?

31:46Am I being invited to come up and see you sometime?

31:50Yes.

31:52Are you trying to make a fool of me?

31:53No.

31:54No, I mean it.

31:55You know it's exactly five minutes since we met.

31:58Well, that's got nothing to do with it.

31:59I knew after three minutes.

32:01Less than that.

32:02Uh, what exactly did you know?

32:05Do I have to put it into words?

32:07Uh, no, no, no.

32:09I don't think we'd better.

32:10Do you know what I'm going to do?

32:12I'm going to hand you over to one of my partners, a very nice old gentleman with very long white whiskers.

32:19And I'll get him to telephone you tomorrow.

32:23You're not playing fair, you know.

32:24You let me see just now that you were interested.

32:27Interested?

32:28You ought to have snubbed me earlier.

32:30Good Lord, I'm not snubbing you, but I really don't know if I'm on my head or my heels.

32:35You know, this sort of thing's probably an everyday occurrence with you.

32:38No, it isn't.

32:39Not like this.

32:40Well, nothing even remotely like this ever happened to me.

32:43You might get used to it.

32:45My child, do you realize I'm just a stodgy, middle-aged, married man.

32:50I don't mind you being married.

32:51Well, that's extremely magnanimous of you, but no, no, no, no, no, my dear, it wouldn't do.

32:57I'll tell you why.

32:58Why?

32:59Uh, I've forgotten.

33:01Are you coming to see me tonight?

33:03Uh, yes, I am.

33:05Nine o'clock?

33:06Uh, do you know I've got a daughter nearly as old as you?

33:09Nice quiet girl?

33:10Well, I wouldn't call her that, though I can't see a...

33:12Throwing yourself at a man?

33:13Oh, don't you be too sure.

33:15Nine o'clock.

33:16Uh, yes?

33:18Shall I bring the letters in for you to sign, Mr. Hilton?

33:20Perhaps you better head, Alton.

33:23Uh, I think my secretary feels you should go.

33:27Nine o'clock?

33:28Now, look here, I don't think either of us is exactly sane.

33:31Nine o'clock?

33:32Uh, yes.

33:33Good.

33:34We can now compose our expressions for the entrance of your secretary.

33:39Don't you think you ought to look a little less intense?

33:42Ha, ha, ha.

33:46In a moment, we will continue with the third act of Call It A Day,

34:08produced by the Theatre Guild on the Air

34:10and sponsored by the United States Steel Corporation.

34:13Here again, speaking for United States Steel, is George Hicks.

34:17One day, back in March 1903,

34:19a steel plant at Lorain, Ohio, employed a new office boy.

34:23His name was Jones, George H. Jones.

34:26He went to work right after finishing the seventh grade

34:29because he had to help support his family.

34:31Today, that Lorain, Ohio, steel plant

34:33has become a part of the National Tube Company,

34:36one of the members of the United States steel family.

34:38And George Jones, well, the office boy who'd only finished the seventh grade,

34:43is now the chief engineer of the whole Lorain works,

34:47a very important and highly technical job.

34:50The story of how George got there

34:52is the story of an immense amount of hard work,

34:54a story of constant study and application.

34:57But it's also the story of opportunity

34:59because young Jones was able to get the education

35:02and training he had to have

35:03from courses sponsored by the National Tube Company.

35:06He was able to learn mechanical drawing

35:09and drafting and engineering in company classes.

35:12And as his knowledge and experience increased,

35:15he was promoted to pattern maker,

35:17to tracer, to draftsman, to engineer,

35:19and finally to chief engineer.

35:22George Jones reached this important position

35:24thanks to his own intelligence,

35:26his own hard work,

35:28and his company's employee training program.

35:31Giving employees the chance to get ahead

35:34by learning to do bigger and better jobs

35:36is part of the basic policy of all members

35:39of the industrial family that serves the nation,

35:43United States Steel.

35:45And now the curtain rises on the third act

35:47of Dodie Smith's gay comedy success,

35:49Call It a Day,

35:50produced by the Theatre Guild on the Air

35:52and sponsored by United States Steel.

35:54Starring Lynn Fontan and Alfred Lunt

35:56as Dorothy and Roger Hilton.

35:58Oh, Mommy, I feel terribly guilty

36:13about taking a taxi.

36:15But you know, when one's excited,

36:17one does things one's not quite responsible for,

36:19doesn't it?

36:20Yes, I think perhaps one does.

36:22And then you have to go on with them.

36:24Yes.

36:24Oh, Mommy, isn't the people sitting out here

36:28sort of friendly?

36:30What are you looking at?

36:31A star?

36:32Yes, there to the left of the chimney.

36:34Oh, I see it.

36:35The first star's awfully lucky, you know.

36:37Isn't everything clear and pale?

36:40Shelley talks about pale purple evening,

36:42but this isn't purple, is it?

36:43It's a sort of pearl.

36:45Isn't it nice of us being quiet here together?

36:48I wouldn't call you exactly quiet.

36:50Oh, I am inside.

36:52Would you excuse me now?

36:54Oh, I'm going to write a poem before dinner.

36:57All right, dear.

36:58I wish I could write like Edna Millet,

37:00or like Shelley.

37:02I arise from dreams of thee

37:04in the first sweet sleep of night,

37:06when the winds are breathing low

37:08and the stars are shining bright.

37:10Why, Mother, you know.

37:12Why not?

37:13When the winds are breathing low

37:15and the stars are shining bright,

37:17I arise from dreams of thee

37:19and the spirit in my feet hath led me,

37:22who knows how to buy chamber window seat.

37:26How beautiful.

37:28Hello, Don.

37:29Oh, I didn't hear you put the car away, dear.

37:32No, I've got to go out again.

37:34Tonight?

37:35Yes, yes, that girl,

37:35that Miss Gwynn, her affairs in an holy muddle.

37:38Let's straighten them out.

37:39I brought you some violets.

37:40Oh.

37:41Oh, it's not my birthday till next month.

37:45Oh, lovely.

37:46Lovely.

37:46Did we say you have to go back to the office?

37:48Uh, no, no, I'm going to see her.

37:49Doctor doesn't want her to play tonight,

37:51and since we didn't accomplish much this afternoon,

37:53I thought I'd finish up this evening.

37:54Um, by the way, uh, you saw her, didn't you?

37:57Uh, is she any good?

37:59Oh, yes, she's rather remarkable.

38:00Queer and spasmodic, but full of feeling.

38:04Did you like her?

38:05Oh, so-so, yes, seemed all right.

38:07Must you go and see her tonight?

38:08Frank Haynes is coming over.

38:10Who's Frank Haynes?

38:11You know, Muriel's brother, the rubber planter.

38:13We had cocktails with him today.

38:15Yeah?

38:16Must you go in town to see this Gwynn girl tonight?

38:18Good Lord, now, what's the matter with you?

38:20Do you think I'm smitten with her or something?

38:22Well, no, I hadn't thought of that before.

38:35Are you waiting for somebody, miss?

38:36Yes, officer.

38:37You've been here quite a while, haven't you?

38:39I don't know.

38:40I'm just waiting.

38:42No loitering, you know.

38:43I'm not loitering.

38:45Say, you're kind of young, aren't you?

38:47Hadn't you better go home?

38:48I'll wait a while, if you don't mind.

38:51Have it your own way.

38:52Why do you keep watching the door?

39:04You're not listening to a word I'm telling.

39:07Why, why, uh...

39:08Oh, yes, I do.

39:09Frank, it's just that I'm worried.

39:11Why didn't Cass come home?

39:12Why didn't Roger come home?

39:13Why do you want them to come home?

39:14Don't you understand what it means to me to be here alone with you?

39:17Don't you understand what I've been through all these years in Brazil?

39:19Well, of course I do.

39:20I've been really moved by what you told me.

39:23Have you really?

39:23Have you?

39:24Oh, of course I have.

39:25Perhaps that's why I keep watching the door.

39:27I'm afraid not just for them also, but for myself on this first day of spring.

39:31Well, then you do understand.

39:32Oh, come now, come now.

39:33If you knew how I've thought about you these last few hours and longed to talk to you and

39:37be with you and touch you and kiss you.

39:39Oh, I don't think that would be wise.

39:42There you go, watching the door again.

39:44It just feels so odd to have the house so quiet.

39:46I'm not used to it.

39:47It's almost as if they left us alone on purpose.

39:49Maybe they did.

39:50Maybe it's fate.

39:51Fate?

39:52I hadn't thought of that.

39:53Don't you see?

39:53I'm sure it was.

39:54Now, Frank, I do like you, really.

39:57I'm quite fond of you.

39:59But I...

40:00And I want very much for you to be happy and to be married to the person you love.

40:03But that's you.

40:04That's got to be you.

40:05Yes.

40:05No.

40:07Let me get you a cool glass of lemonade.

40:19Now, then, I think a deduction of 15% on item 4A would not be amiss.

40:25Now, let's put that down.

40:26How can you keep thinking about 15% and deductions and all that?

40:30My dear young lady, don't you think we'd better at least make a stab at finishing off this job?

40:35Oh, why don't you relax?

40:37Oh, I don't dare.

40:39Take your coat off.

40:40Uh, you think I should?

40:41You'll feel better.

40:43It's warm.

40:44Yeah, you may be right.

40:46More comfortable over here by me.

40:48Why don't you come and sit here?

40:50Uh, well, perhaps I could work more comfortably over there.

40:53Very well.

40:54Yeah, yeah, fine, then.

40:56Very comfortable.

40:56Yeah, yeah, much better.

40:58Well, what shall we talk about?

41:01What do we do?

41:02Do?

41:03Yes, do.

41:04Oh, oh, do.

41:06Oh, uh, do you want me to tell you?

41:09Yes.

41:09Would you like to know what I've been thinking, what's in my mind, what in my innermost thoughts

41:16I've been planning for you and me?

41:18Yes.

41:19Shall I tell you?

41:20Of course.

41:21Then this is what I thought we'd do, my sweet young thing.

41:25Take 4% of item 38, add to Schedule C, then subtract from 58 or 59B, whichever is the larger,

41:35and use the difference between...

41:36A beautiful evening like this was that sort of what when fate brought us together.

41:40Fate?

41:41I thought it was the Bureau of Internal Revenue.

41:43Cab, what's the matter?

41:59Why can't you mind your own business and go to sleep?

42:02It's midnight.

42:03Perhaps it'll make it easier if I tell you I've guessed what's wrong.

42:07I'm psychic, you know.

42:08You're in love with Mr. Francis.

42:10I'm not.

42:11Don't shout.

42:11They'll hear.

42:12It's not true.

42:13Don't you know he's a married man?

42:17Wait a minute.

42:17I'll come over to your bed.

42:20There.

42:21I'll wrap this around me.

42:23Aren't you shocked?

42:24You can't shock a person whose favorite king is Charles II.

42:29Has he ever kissed you?

42:31No.

42:32He nearly did once.

42:34Oh, he's been so mean to me.

42:36He promised to meet me tonight.

42:37Oh, Kath, what happened?

42:39He never came.

42:41I waited and waited nearly two hours.

42:44And a policeman came by and told me to go home.

42:47Oh, what am I to do?

42:49What am I to do?

42:50Children!

42:51Get back in your own bed quick.

42:52What on earth are you children chattering about?

42:56It must be midnight.

42:57I never can find this light switch.

42:59Oh, Mom, don't put the light on.

43:00You'll spoil everything.

43:02We were looking at the moon.

43:03It is lovely, isn't it?

43:05I thought you'd appreciate it.

43:08Kath, you might have come in to see Mr. Haynes when you came back from your walk.

43:13I was tired.

43:14There was a telephone message for you.

43:15Who from?

43:16Mrs. Francis.

43:17They're leaving tomorrow quite suddenly, joining friends in Santa Fe.

43:20But the picture isn't finished.

43:23She seemed doubtful if he'd ever finished it.

43:25I must say I thought it was pretty casual after all those sittings.

43:28Artists are like that.

43:29I do hope you don't mind, darling.

43:31Oh, no.

43:32No.

43:32Oh, the sittings were rather boring.

43:34Now, no more talking.

43:37Good night.

43:40Kath, don't.

43:41Please.

43:42It's a terrific compliment, really.

43:44He's gone away because of his conscience.

43:47To leave me without a word.

43:49Oh, if only I could die.

43:51Kath, please.

43:52Oh, gosh, they're knocking on the wall.

43:54Get back to bed.

43:55I'll die if Mother comes in again.

43:57Wouldn't it be awful if she found out?

43:59Kath, it must be funny to be old like that.

44:03And no, nothing exciting can ever happen to you.

44:06It must be peaceful.

44:07They happen to worry in the world.

44:20Talking like mad at this time of night.

44:22What?

44:23The children.

44:24Oh.

44:25My, it feels good to get into bed.

44:27Yeah, I'm kind of tired myself.

44:29It feels wonderful to stretch out.

44:31Want me to leave the light on a while?

44:32Want to read?

44:33Yeah, maybe, maybe.

44:35Kath doesn't seem to be at all upset about Francis going away and leaving her portrait unfinished.

44:40I've been to her age.

44:42Say, that, uh, what's-his-name stayed pretty late.

44:45Muriel's brother?

44:45Did he?

44:46I didn't notice.

44:47I must say, I think you might have come in for a minute instead of sneaking upstairs.

44:51Didn't she like it?

44:52Was he boring?

44:53No.

44:54He wasn't at all boring.

44:56How was your actress friend?

44:58Oh, all right.

44:59Was she nice?

45:00Who?

45:00Who, the Gwynn girl?

45:01Yes, who else?

45:02Oh, she's just an actress.

45:04Just an actress?

45:05Well, can't you leave her alone?

45:06You've been one mass of suspicions ever since I first mentioned her.

45:09Well, of all things, if you want to put ideas into my head.

45:12Well, can you honestly tell me that you haven't had your teeth in Beatrice Gwynn since the first minute you knew I was going to see her?

45:18Oh, certainly I can.

45:19I did think it was queer when you absolutely refused to cancel your appointment with her.

45:23Oh, you did.

45:24But I wasn't suspicious.

45:25I'm sorry if I gave you that impression.

45:27Oh, don't apologize.

45:28Oh, I don't know why you should get so savage about it unless...

45:31Unless there was something in it.

45:32Go on, say it.

45:33Stop putting words into my mouth.

45:35What's the matter with you?

45:36I've told you I'm sorry if I seem suspicious.

45:38I've never been suspicious before.

45:40Well, you've never had any cause before.

45:42Oh, I see.

45:44Then I have cause now.

45:46I see.

45:48Look, Dad, I've made an awful fool myself.

45:51Oh, you have.

45:54You want to tell me?

45:55Oh, I think so.

45:56Did she start it?

45:57Oh, well...

45:59Did she find the office stopped a flirtation and so asked you to her apartment?

46:02Yes, but it wasn't the flirtation.

46:05What do you mean, Roger?

46:06Roger?

46:07How dare you?

46:08Now, now, now, just stop jumping to conclusions.

46:10Roger, will you tell me at once what happened?

46:12Nothing happened, but it wasn't the flirtation.

46:15Then what do you mean?

46:15What was it?

46:16Oh, I don't know.

46:16I don't know.

46:17She's not a girl you can flirt with.

46:18There's something so ruthless about her.

46:20You know, I think she'll be a great actress one day.

46:21Well, now's that got to do with it?

46:22You say nothing happened?

46:23Well, you're taking it all so seriously.

46:26I see.

46:27You just want me to pat you on the back,

46:28be the sort of wife who's amused at her husband having affairs,

46:31who has affairs herself.

46:33Well, then, if you want to know, I also...

46:35What do you mean?

46:36If you want to know, I've had a...

46:38Well, I've had...

46:39I've had an offer.

46:41I've had an offer.

46:43I have.

46:44There's someone who, well, someone, you know, a man.

46:48Oh, has what's his name been holding your hand all evening?

46:52Nothing to laugh at.

46:53It's a very serious matter.

46:54I fell in love with you at first sight at first.

46:56It's an accident.

46:57He mistook me.

46:57For someone else, it's a very long and very sad story,

47:01and I haven't the slightest intention of telling you about it.

47:03Well, thank you very much.

47:04Is this Haynes proposing you should help him to enjoy his stay?

47:07No, it's nothing like that at all.

47:08He wants to marry me.

47:09The whole thing's on a different level from your rotten little intrigue.

47:12Oh, and...

47:13Quite high-handed.

47:16Yes, yes, it is.

47:16Yes, just proposing to break up a man's home.

47:20Not, I tell you.

47:21The whole thing's terribly sad.

47:22I sent him away.

47:23But, Merle, you could whistle him back.

47:25Let me tell you that if he ever sets foot in this house again...

47:28He's setting foot in it next Saturday.

47:30He's coming to dinner.

47:31Of all the outrageous women, what would you say if I asked Beatrice Gwynne here?

47:35What would anyone say of a man who brought his girlfriend into the house?

47:37Thank you, my girlfriend.

47:38I mean, he's not my boyfriend.

47:40You can laugh.

47:41Well, I've done nothing to be ashamed.

47:42The whole thing's a tragedy for Frank.

47:44And I'm going to do everything I can to help him.

47:47I want him to meet the children.

47:48Well, for utter indecency, give me the high-mindedness.

47:52I'm not indecency.

47:53Well, I'd like to know what is.

47:55Don't shout at me.

47:55I'd like to know who has a better right.

47:57Stop shouting.

47:58Stop shouting.

47:58I am not shouting.

48:00Are our children asking us to keep quiet?

48:06They might, I think.

48:07Uh, Dad, uh, this is a little silly, isn't it?

48:12Yes, it is.

48:13Uh, listen, reach over.

48:14Reach over and kiss me.

48:15Oh, Roger, dear.

48:17You can do what you like about the Gwynne girl.

48:20I'll just do the family knitting and sit in a chair like Whistler's mother.

48:24Oh, no, I don't want to do anything about that girl.

48:28I started by telling you that I'd made a fool of myself.

48:30Oh, if you want to go on with it, it's no use just forcing yourself to give her up.

48:34Oh, I'm not forcing myself?

48:36Well, what about Frank Haynes?

48:37Oh, I knew all the time he never really threatened you.

48:40And you think this girl really threatened you?

48:41I don't want to think about it.

48:43Darling, did, did we really drift to the point where we were taking each other for granted?

48:46I don't know, did we?

48:48Have we both become household fixtures?

48:50Dad, listen to me.

48:52All these years, living far away on my lonely rubber plantation, isolated from all feminine companionship,

49:01I've dreamed of finding someone like you.

49:03And now that I've found you, I know at first glance that I'm madly in love with you.

49:08Leave that stodgy husband of yours, that commuting suburbanite, and be mine.

49:14Are you sure you really love me?

49:15Oh, of course.

49:16Oh, it's not just the glamour you're after.

49:18So you don't want me because I'm a famous ballet dancer and the toast of kings.

49:22Oh, no, no, indeed.

49:24And it's not just because my legs are insured for three million dollars.

49:27Well...

49:28And I've had a navy blimp named after me because I'm the pin-up girl of Scarsdale.

49:33Oh, no.

49:34No, no, I love you because you're Dot, the girl I see every day, just pleasantly and glamorously on the skinny side.

49:43I don't love you for your rubber millions, but because you're Roger who has to be shaked in the morning.

49:48Will you always shake me yourself from now on?

49:50Yes, darling, I will.

49:52Shall we turn out the light?

49:54Yeah, turn it out.

49:55Where's that quilt?

49:56On the foot of your bed.

49:58Honey turning so cold after such a lovely day, isn't it?

50:02Oh, it was just a fluke.

50:04We'll be back to normal again tomorrow.

50:06Good night, sweet.

50:07Sweet?

50:09Good night.

50:10Roger.

50:18Good night.

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