The House of Squibb presents Academy Award. Every week Squibb brings you Hollywood's finest, the great picture plays, the great actors and actresses, techniques and skills chosen from the honor roll of those who have won or been nominated for the famous Golden Oscar of the Academy of Motion Picture Arts and Sciences. And now E.R. Squibb and Sons, manufacturing chemists to the medical profession since 1858, bring you Guest in the House, the thrilling drama which was nominated for a 1945 Academy Award. In our cast tonight you will hear three of Hollywood's most brilliant young stars, Anita Louise, Kirk Douglas and Joan Loring, who has best supporting actress of the year, was also nominated for the 1945 Academy Award. This is the story of a diseased personality, a neurotic girl whose physician fell in love with her and made the mistake of bringing her into the sanctuary of his New England family. Her name was Evelyn Heath. Before Dan brought her to the old house, there was innocence, love and gaiety there. There was Aunt Martha who more than worshiped Dan Proctor. We've looked forward to your coming, my dear, for a long time. Thank you, Aunt Martha. And you must be Anne. I hope we're going to be very good friends. I hope more family. Oh, that's the wonderful part of it. I never really had one. And you, you can't be Douglas. Yes, I'm Douglas, black sheep of the family. I'm the painter, that is, commercial artist. I illustrate some of those lurid tales you read in magazines. Oh, this is Miriam Blake, my beautiful model. Yes, Miss Heath. Please call me Evelyn Miriam. Evelyn. This is Lee, dear, Douglas and Anne's daughter. Oh, you're beautiful. You're so white. No, dear, don't touch me. I've been on that dirty train. Anne, could I go upstairs? Oh, of course. You must be very tired. The guests had arrived, so young, but so pale and sick. The family as one wanted to help her. But later in her room, there was a certain scene between her and Dan Proctor. Dan, give me my diary. Give it back to me. Evelyn, I took it because it shouldn't be around. It should be destroyed. Give it to me. It's mine, and you have no right. But we came here to forget about all that. You're going to get well, Evelyn. You see what you're doing to me, Dan? You see? Don't. Have your diary if you want, anything you want. Just, just don't look at me like that. Come on now, darling. Try to get up. They'll be waiting. Get ready. I won't be able to now. I'm too sick. Darling, you'll only make yourself worse. Please try and eat something. All right, then. If you like. I'll have something on a tray. On a? Yes, dear. I'll have it sent up to you right away. Yes, the family had been gay and innocent and happy. Now there was a guest in the house, Dan Proctor's girl. And suddenly, who could tell why? The laughter was still. And then in the night without warning. It's Evelyn. Come out, Anne. Something's happened. What is it? What on earth is it? Get some water, Mary. Oh, Daddy, I didn't mean to frighten her. I wanted to give her a present. Get it out. Get it out. Make her take it away. Evelyn, what is it? A bird. I hate birds. I'm afraid of birds. Make her take it away. Please make her take it away. Lee, take Skipper away. Put him outside somewhere. Come on, Lee. We'll put Skipper in the hothouse. I'll go with her, Anne. What's wrong with Evelyn, Aunt Martha? Is she sick? Is she going to die? Get Dan, sweetheart. He'll know what to do. Yes, I will. You better go back to your room, Miriam. I'll quiet her down. You still haven't told me why she yelled. Because, dear, birds frighten her. It's what they call a phobia. Can you catch it like chickenpox? No, darling. A phobia is an exaggerated fear. She's afraid of birds. Don't! Don't, Douglas, don't! I'm just opening the window to get a little air in here. I don't want you to. Don't you see those leaves? In the moonlight, they look like birds trying to get in. I was lying here thinking about it. That's what scared me so when the child came in. Now look, Evelyn, that's first class moonlight. Don't think bad things about it. Well, thanks, Douglas. I'll take over. It's all right, dear. You'll be yourself again in a minute. I'm so sorry, everybody. Now you just drink this. Dan, Dan, tell them that I don't do this very often. I'm so ashamed. Don't you even think about it, Evelyn. Oh, Ann, you know you've got a hat you'll have to get rid of. Oh, I don't mind them on hats. It's just the wings fluttering. They're horrible. I can't stand it. Doug, I think we better leave her to her doctor. Oh, of course. Good night now. Good night, Evelyn. Good night. Bless you. Well, good morning. Look who's here, Miriam. It's Evelyn. I wanted to see your studio and you at work, Douglas. Where's Dan? He had to go away, Douglas, to the city. The hospital called. Oh, I didn't know that. Well, sit right down there and say, I got an idea. What are you doing? Just sketching you. I'll show you how you're going to look after a couple of weeks here. You couldn't manage a smile, could you? Oh, all right. But it'll be there. And after a while, maybe even a dimple. No more shadows under those eyes. Then pure body lines to match that beautiful face. Now, there. Oh, Douglas. I'm beautiful. You've made me beautiful. Sure, I remodeled everything. Look what I've done to Miriam. This is a sketch of St. Cecilia I'm doing for the church down in the village. You see, once in a while, I turn real artists and try to do something good. Well, I got to get on with some other work. You can rest now, Miriam. Oh, show Ellen around the dump, will you? Sure. Well, Evelyn, you can see for yourself. There, his art with a capital A period. Over there, some work from a book he did. And I don't know what that junk is. Is it very difficult to pose? Well, it's three bucks an hour. It's not too difficult. This girl is nude. Have you ever had to pose like this? Sure. That's me. Five bucks an hour, not bad either. I think I'd rather die than do that. You're kidding. Will you tell Douglas I'll be back some other time? Hey, where are you going? I'm tired, Douglas. I think I'll go to my room. You're overdoing it. Your first day up. That's it, I guess. Well, let's go, Miriam. Feel like posing some more? Now, what's the matter with you? You should have seen her face when I told her that drawing was of me. Don't be too hard on her. OK, only Dan better be careful. He's apt to find himself married to something in armor. Well, let Dan worry about that. Now, what else is bothering you? That girl hates me, Doug. And I don't get it. I just realized how Dan feels when he's jealous. There in front of my Douglas, that vulgar woman, unashamed. I must get rid of her. I must, but how can I? How can I make her go away? How can I do that? How can I do that? Evelyn? Lee. Oh, you're more pretty than ever. Come in, dear. Daddy designed that gown for you, didn't he? Yes, child. When I get big, Daddy's going to draw things for me. He drew me a ballet costume already. Lee, you love your father, don't you? Oh, yes. Look at me. You love to feel his arms around you. You wouldn't want someone bad to take him away from you. No, no. Are you big enough to understand something if I tell you? Yes. And keep a secret? Yes. Come here. Closer. Well, why didn't you call me? Well, I've been waiting for that turpentine for two days. Now I'll drive right over. Can you imagine that? Doug, I want to talk to you. Something's going on around this house lately. Nothing's going on. No lunch, no work, no nothing. Have I hurt somebody's feelings? Haven't you noticed how the servants have been treating me and your daughter avoiding me? She won't even talk to me, but runs away. And now Ann. What about Ann? Well, I don't know, Doug. She's got a funny look in her eyes. Oh, you're bats. Maybe, but it all seemed to happen so sudden. Say, you know what you and I need is a ride over to town and a few drinks. We're not getting the work out anyway. We're stale. Come on, we'll have lunch at the inn. Get your mother Hubbard and I'll take you to the inn and I'll tell Ann to wait dinner. It's so quiet, isn't it, Aunt Martha? After a while, you get so you wouldn't live in any other place in the world. And yet, you always feel the sea out there, rough and cruel and mean. I know. You know, I've been living in a place that's been like this for a long time. But I'm not sure if I'm going to be able to get out of it. Oh, I'm sure you will. And I'm sure you will. I'm sure you will. I'm sure you will. I'm sure you will. I'm sure you will. But it isn't that cruel. It's meaty and mean. In the winter, it is. Oh, I wouldn't mind it that way. I'd like to hear it pounding. I like things to be like that. Things and people can't always be the same. Oh, that's right. Ann, what has happened to them? I don't know. They were to be back for dinner. Hilda says everything is ruined. It's after 8 30. What's the use of pretending? I can't stand this anymore. Well, what's come over you, Anne? These past few days, you've changed. I don't know. I just don't know. Oh, I'm sure that Douglas and Miriam will come home soon. You certainly can trust Douglas, Anne. I... Of course. What are you trying to say, Evelyn? There they are now. Hi, Anne. We got stuck in town, so we got high while waiting for a tire to be fixed. Boy, did we get high. Yes, sir, Ree. We sure got relaxed. Anne, your husband drinks too much. Douglas. Douglas, I want to speak to you privately. Sure, sure. Make an appointment with my secretary. Douglas, will you speak to me in here? Okay. Now, what are you looking so tragic for? I've been a little high before. Douglas, I phoned you at the inn and you weren't there. You'd been there, though. Everyone seemed to know it. Well, that's why we left. Took a drive to sober up. You did a fine job of it. Hey, this isn't like you, Anne. What's the matter with you? Douglas, I've tried to warn you, but you don't seem to care what people think. About what? What are you talking about? Oh, Douglas, let it go till morning. Well, let what go till morning? Look, Douglas, I don't really care what people think. It's what I think and I can't help it. I've tried not to, but I just can't live lies. Is there... Douglas, is there anything between you and Merriam? You shouldn't have asked that, Anne. I am asking it. I wish you hadn't. Let's leave for just a moment the tense charged atmosphere of the Proctor home. Let's climb in fancy to the peak of a snow-capped mountain where the air is clear as crystal, sharp with a clean spicy fragrance of evergreens, where the wind on your cheeks invigorates like the sting of an icy shower, how quickly it refreshes, like the sudden pleasant tingle you feel when you brush your teeth with Squibb Dental Cream. For Squibb Dental Cream is refreshingly different from any dentiface you have ever used before. Its cool minty tang, its brisk refreshing action, brings a sense of exhilaration that wakes up your whole mouth, leaves it feeling gloriously alive. And you'll soon come to notice a refreshing difference in your smile too. For the polishing agent in Squibb Dental Cream is just as effective as it is safe, one of the finest known to dental science. So for a brighter smile and a happier mouth, brush your teeth with Squibb Dental Cream, one of the great family of Squibb products. Taste, feel and see the refreshing difference. Before we continue with part two of Guest in the House, we want to thank Hunt Stromberg for making this story available. He is also the producer of The Strange Woman, starring Hedy Lamarr. And now the House of Squibb presents part two of Academy Award, with Joan Loring, Kirk Douglas and Anita Louise in Guest in the House. Douglas, it's me. Oh, hello Evelyn. Something you want? Why didn't you ring? I didn't want anything. I thought I heard voices and then I heard a car leave. Is anything wrong? No, Miriam had to go away, that's all. Well, things haven't been right here for quite a while. Look, Evelyn, it's nice of you to pretend you don't know, but well, you must have heard. Yes, I know, Douglas. I tried to stop Ann. She didn't talk to you about it. Well, not exactly talk, but I've seen her watching you. It worried me because of Lee. Lee? You know how impressionable children are. I've tried to keep her from finding out. Ann's been so good to me. I don't know what's gotten into her. Now I've only upset you more. No, I'm just sorry you have to go through this. I hope it won't sour you on married life. Never, Douglas. If ever I'm jealous of Dan, I'll never show him. I'm sure you wouldn't. I can't even afford to be jealous with my heart. Oh, yes, well, it must be hard to keep so calm and so peaceful. I have to be. You learn about peace, you know, lying awake nights alone, knowing that at any moment it may come. Douglas, what are you going to do about another model? Think about it tomorrow. Suppose she's like this with your next one. Well, she better not or there won't be a next one. You see, Douglas, you're bitter. And you mustn't be. She'll get over it if you give her a chance. I guess you're right. And if I could help you out until you get another model, I'd... You? Modeling? But say, why not? Say, I know now why that face of yours has haunted me. Of course. Say, look, Evelyn, starting tomorrow, I'm going to be painting on a wall. The church wall in the village. And you're going to be my Saint Cecilia. What is it, Aunt Martha? You look like you've seen a ghost. Anne, I have. I've been down to the church, standing in the dark, watching Douglas. You saw the mural? Anne, get a grip on yourself. This is going to be hard for you. Every time he paints her face on that wall, he paints the devil. Aunt Martha! Hear me out, Anne. I know you're fond of her. All of us are. Or were. And not the least, there's my boy, Dan. But think, Anne. Think back. When did things start to go wrong around here? About two weeks ago? How long has Evelyn been here? Two... two weeks. Exactly. Our troubles didn't start with Miriam. They started when we took in that terrible little neurotic. Evelyn, I want to talk to you. Aunt Martha has invited you to stay with her for a while. You're trying to get rid of me. You want to get me away from Douglas. You're jealous. Jealous? Of you? Yes, because he prefers me to you. You've lost your man. Why, you nasty little fool. You're jealous of me? Yes, because he prefers me to you. You've lost your man. You nasty little fool. You're in love with Douglas. He doesn't love you, how could he? Stop talking like that. You're going to get out of this house tonight. What's going on here? Oh, Douglas. Don't let her. She's trying to get rid of me. Anne, what have you done to her? Douglas, leave this to me. I know what I'm doing. What have you done to her? She's in love with you, Douglas. I told her I loved you. Of course I love you. Why shouldn't I? You've done everything for me. She hates me because she's jealous. Why did Dan ever bring me here? Why? Evelyn, go upstairs. Nobody's going to send you away. Nobody. Don't worry. Douglas. Douglas, one of us must go. Would you prefer it would be me? Do as you like. I've had enough. Oh, Douglas. You've come. I was so frightened. The lights went out. That's just the storm. It'll be all right. Yeah, where is everybody? Are you worried that Anne might have left you? Oh, she wouldn't do that. She talked about it. I heard her. No, I'm worried because of the storm. You go on up to bed, Evelyn. It's late, and I'll wait here till they come back. Don't send me away. I don't mind the storm here with you. It's rather nice with all the violence outside, and in here, it's so peaceful. If they don't come back soon, I'll drive down and get them. There's no car to drive down in. What? She said in her note that you could pick it up at the station tomorrow. What note? Douglas, she's gone. She's left you with me. No more unhappiness. You don't believe it yet, Douglas, but you will. This is our house now, just yours and mine. Think what that means, Douglas. Every morning, I'll come downstairs and fix the flowers, and the servants will be back again, and they'll say, yes, Mrs. Proctor. Only they'll say it to me the way they did to her. Don't look at me that way, Douglas. Evelyn, you're mad. Don't be frightened, Douglas. Kiss me. Douglas. Douglas, don't leave me. I'll die if you do, I'll die. I'll die, I'll die. Long distance, please. I want Baltimore, Dr. Dan Proctor at the center hospital. Ah, it's all right, Anne. The past is the past. Here you are, home again. Oh, yes, Doug, yes. Why, look. What? Every little thing you do, you're going to be a star. Every light in the house is burning. Oh, they must have come back on during the night. Well, darling, suppose she'd gotten out. Well, she didn't. I heard her moving around. And if she did, so what? We'd been rid of her all the sooner. Mother, Daddy, look. Skipper's dead. I did feed him yesterday. I really did. Well, honey, birds get old, too, and we've had them a long time. Do you think that's it? I did feed him yesterday. Well, he just got tired of singing and went somewhere else. Get a box, honey, and we'll bury him next to your cat in the garden. And then we'll... Where's Evelyn? Why, Dan, whatever brought you here? Evelyn is... Oh, Dan, you have come to me. I hope I know why you asked me to come. Because I've made up my mind, Dan. There's no reason why we should wait any longer. We can be married and I'll go back with you. Well, aren't you going to let them congratulate us? Why doesn't somebody say something? Oh, I'm sure Doug... Douglas will congratulate us. We're waiting, Douglas. Evelyn, are you quite sure you want to marry Dan? Is there any reason why I shouldn't? Dan, I'm sorry you found them in such a strange mood this morning. Dan, I'm about to do something that isn't very easy. But I have no other choice. This diary will explain. June 14th. Don't read it to me, Douglas. I know every word. Dan, I don't think you realize. You know what she said about you. But do you know what she said about me? June 14th. I love Douglas more and more. Yes, I wrote that, Dan. But, Douglas, you haven't read the last page. Read it. I have been a fool. I thought I loved Douglas, but now I see how wrong I was. Dan is the one I love. Dan knows I always tell the truth in this book. Yes. Yes, you do. Darling, will you get my things? Hurry. They're in my room. Sure. Too bad, Aunt Martha. You'll be lonely for a while, but you'll get used to it without Dan. I've been lonely all my life. There's only one regret. I would have liked this little house. I like the way it... Where is it? Where's what? The bird. It's not in the cage. Where is it? Lee let it out. In here? Yes. It was here just a moment ago. In this room? Where is it? Don't just sit there. Where? Do you see it? I'm not looking for it. I'm not afraid of birds. It's not in the dining room. It could be in there, too. Upstairs? What makes you think it's not up there? Birds fly, you know. They can go any place. The door. The door outside. I've got to get outside. There are thousands of birds outside. Everywhere. Everywhere but the cliff above the sea. No, no. Look. Look. They're coming at you. From everywhere. No. No, no. No, no. No, no. Evelyn. Evelyn. Evelyn. It's too late, Dan. Too late. Evelyn is gone. I don't understand. I don't... She's dead. Murdered by her own vice. Her own vicious fears. She... She fell into the sea. Dan. Dan. Ann saved you. She did it somehow. I don't quite know how, but she did. She saved you, Dan. And she saved us all. Making life miserable for others requires no special skill. In fact, we've just witnessed how easily it can be done. But making life a better thing, helping others to greater health and happiness, well, that's work for skilled hands, for keen exploring minds. Men and women with years of scientific training are carrying on such work in the Squibb Institute for Medical Research, pushing forward the boundaries of knowledge, making each discovery the stepping stone to another, helping to make possible today's great strides in medical progress. In the great Squibb manufacturing laboratories, other scientists, through constant research and testing, pursue a never-ending quest for perfection in the making of all Squibb products. The work of all these scientists, their outstanding skill, their painstaking study, is reflected in all products that bear the name Squibb. Life-saving new drugs and simple health essentials Squibb makes for your home use. So, when you buy, insist on Squibb quality. Ask for Squibb, a name you can trust. Next Wednesday, another great picture. Today's performance of Guest in the House was written for radio by Frank Wilson with an original musical score composed and conducted by Leith Stevens. Our producer director is Dee Engelbach. Joan Loring will soon be seen in the Warner Brothers production, The Verdict. Anita Louise appeared through the courtesy of Columbia Pictures and can soon be seen in the Columbia Pictures Shadow. Kirk Douglas can currently be seen in the Hal Wallace Paramount production, The Strange Love of Martha Ivers. This is Hugh Brundage bidding you good night until next Wednesday when you're invited to listen again to Academy Award presented by the House of Squibb, a name you can trust. This is CBS, the Columbia Broadcasting System.
