Two Against the World

You are listening to W.U.B.C., New York.

The orchestra gives us next their own individual arrangement

of one of the season's most refreshing novelties.

May we have it, maestro?

Its alright, its alright!

Well, Mr. Mills, did you find him?

Herman, to you.

Say, I can't find Mr. Scott anywhere.

Well, it's important.

The boss has been looking for him for an hour.

And you'd better find out where he is or there'll be a new boy in your place.

That's okay with me, sugar.

Where do I get my audition?

We'll go places.

Listen, squirt.

They're waiting for these in the control room. Get them there right away.

Yes, Miss Ross.

Hello.

Yes, Mr. White.

Oh, no.

He hasn't come in yet.

Hello.

Tell San Francisco that I haven't been able to reach Mr. Scott.

I'll have him call him when he gets back.

Mr. Mulligan wants Mr. Scott's okay on that Pepsin and toothpaste program.

Mr. Reynolds wants me to see Mr. Scott right away

about writing a ten-minute program for girlish figure corsets.

Well, put it on ice both of you till Mr. Scott gets back.

Oh, but Mr. Reynolds said at dinner last night it was very important.

Oh, I see.

I beg your pardon.

Forget it, Miss Latimer.

I didn't hire you.

But if I were you, I'd remember that it's Mr. Scott who runs U.B.C..

Mr. Reynolds only owns it.

I don't think you like me.

Well, I wouldn't let that worry me.

There are a lot of people around here I don't like.

Hey, why did Reynolds fire Bertie Hunter and hire that dame?

I thought Bertie was pretty good.

Oh, I don't know.

I suppose he thought she was a bit bow-legged.

Oh.

You see, Herman.

Miss Latimer's the type of girl who can vamp a sponsor into doing almost any program.

Oh, now I get it.

Then it's not because Sherry likes him that way personally.

I don't think he knows there is such a thing as a woman.

Yes?

Well, what about Mr. Scott?

I haven't been able to reach Mr. Scott.

We're waiting on him for an important conference.

Remember me? I'm your boss.

Hello, Mr. Scott.

That's better.

San Francisco returned your call and Mr. Reynolds wants to see you.

Oh, thanks. I'll talk to Frisco now.

Oh, Reynolds.

Yes?

Yes, yes. I just got back.

Please come into my office.

All right.

I'll be right in.

Get that San Francisco call for Mr. Scott.

I'll have it put in Reynolds' office.

You better get your notebook. I think we're in for a tough session.

Have that call transferred to Mr. Reynolds' office.

Yes, Mr. Reynolds.

Ah, there you are, Mr. Scott.

There are several things I've been waiting to take up with you.

Suppose we call Mr. Banning.

An important matter has come up.

Yes?

Oh, get Mr. Banning, Miss Ross.

I have San Francisco on the line.

Okay.

Yeah?

Now, Driscoll, you've got a news commentator who goes on every evening at 10 o'clock.

Fire him! You heard me. I said fire him.

And if he's your nephew, I'll fire you too.

Get yourself a boy with some punch in his voice.

That's all.

That's the thing I like about you, your drive.

You pleased me very much in the early days of our organization.

Oh, thank you, Mr. Reynolds. I'll frame those words.

But I think you have a tendency to be a trifle sarcastic, which isn't good for the company.

Oh, is that a request for my resignation?

Now, now, my boy. Now, don't let's be hasty.

I was merely asking for your, uh, your understanding and, uh... And increased business, is that it?

Well, uh, the salaries we're able to pay depend on

the number of people who listen in on our programs.

Our broadcasting demands a mixed audience.

We've got to remain the voice of the people.

And let our competitors cater to the intellectual members of the radio audience.

Oh, I see. But we can't afford to. Is that it?

The facts must be faced.

We're definitely losing our following.

Yes, I know. Our who-wrote-what opera contest was a flop.

Now, Tippy wants...

Uh, Tippy? Who's Tippy?

Tippy Mantis, our idea and special effects man.

He's got some kind of a crazy idea about a baby contest.

He wants to give a prize to the mother who gives birth to the heaviest baby.

Extremely interesting.

Now, that has a universal appeal.

Uh, you might give this Tippy person a slight raise in salary.

Now, wait a minute. That means another one of those baby contests.

I fear, Mr. Scott, that we've become slightly conventional.

I'm afraid you have a tendency to get on a pedestal above the radio audience.

I could sit on a toadstool and be above ours.

There you are, my boy.

Now, I believe we can raise our audience figures and at the same time treat sex,

uh, in a dignified manner.

All right, Mr. Reynolds.

You can Mark it down that I'm off my vacation.

U.B.C. goes back to its old ideals.

Splendid, Mr. Scott.

A fairly intelligent decision.

Ah, Mr. Banning.

Mr. Scott and I have just decided that our programs have lately been a bit too formal.

Yeah, we can afford to broadcast programs of more popular appeal.

Not that I'm trying to give you any advice, but I don't think we should try to

broadcast all the grand opera ever written.

Well, how about replacing the Sunday morning religious services with a jazz orchestra?

Gentlemen, please.

You underestimate the spiritual appeal.

We must have tone.

Yeah, I like tone, too, but couldn't we jazz it up a bit?

We'll not discuss it, please.

Oh, yes, that reminds me.

I was just discussing an idea for a series of playlets with Mr. Banning.

Now, this series would tell the inside story of the notorious Gloria Pembroke case.

Do you recall it, Mr. Scott?

Why, yes, I think I do.

I was a kid in short pants when it happened.

She shot some rich guy's son, didn't she?

That's right.

It might be a good idea to have Mr. Scott write the series himself.

Yes, and maybe play the studio organ between broadcasts.

This drama will certainly interest a new generation who never heard of the case.

You should get a good writer to work it up.

Didn't this Gloria Pembroke have a child after she was acquitted?

That's where the moral lies.

I think we might even get a minister to write it.

To sort of give it tone.

To give it what, Mr. Reynolds?

To give it tone.

Yes, dignity.

Hello, this is Scott.

Ask Dr. Leavenworth to step into this office immediately, will you?

You're getting a minister?

No, no, he's not a minister.

He broadcasts a program for us.

Oh, he's got the proper background for this job.

Excellent, Mr. Scott, excellent.

Perhaps uh ... perhaps we could work a quotation

from the good book into the continuity.

Ah ... let me see ... ah

Something about the sins of the mother.

Sins of the who?

The mother.

A mature man can look it up.

Yes, I think he'd better look it up.

How do you do, Miss Simmons?

Would you please announce me to Mr. Scott?

He requested my presence.

Dr. Leavenworth's outside.

Okay.

Mr. Scott's at Mr. Reynolds' office.

Thank you, my dear.

Thank you.

How do you do, Miss Burke?

You're looking most divine.

You, uh, sent for me, Mr. Scott?

Oh, yes, Dr. Leavenworth.

Come in.

This is Mr. Reynolds and over there is Mr. Banning.

How do you do?

Now, doctor, I've got a little job for you.

Do you remember the Gloria Pembroke shooting case about 15 years ago?

Oh, yes. Yes. A very dreadful murder.

She shot a fine, upright young man.

Well, the jury didn't seem to agree with you.

It was self-defense, I believe, wasn't it?

Oh, yes, of course.

Uh, just as you say, yes.

But it's the moral of the situation that we're interested in.

She committed a murder.

But notwithstanding the fact that it was justified, she was regarded as a, uh, a, uh...

As what, Dr. Leavenworth?

A woman of sin.

Exactly.

Now, doctor, here's what I want you to do.

I want you to write a play in 15 episodes based on that case.

Now, how long do you think that'll take you?

Well, uh, just long enough to refresh my memory.

And what'll we call it?

That's important.

I have just the title for it.

Sin Don't Pay.