Lux Radio Theatre: Burlesque

Hollywood, California, Monday, June 15th. The Lux Radio Theater from its new home on Hollywood Boulevard, Hollywood, California brings you Al Jolson and Ruby Keeler in Balesque. Lux presents Hollywood. Tonight you will meet such great personalities as Al Jolson, Ruby Keeler, Cecil B. DeMille, Daniel Bromen, George Barnes and many others.

Among the many distinguished guests in our brilliant audience tonight, I see from here one of Paramount's directors is to Chester Franklin and his wife. Mr. Franklin is the director of Sequoia, the picture now in production and also Catherine DeMille, Lloyd Plantages, Francis Langford, Eileen Pringle and Gloria Swanson. Welcome all of you.

This entertainment is presented by the makers of Luxe Toilets soap, the beauty soap used by nine out of ten screen stars and by attractive women everywhere. As producer of the Lux Radio Theatre tonight and each Monday from now on, we welcome back Hollywood's famous pioneer director, a man who has made 62 of America's great motion pictures and has started more

great stars on their careers than any other producer in Hollywood. Ladies and gentlemen, Mr. Cecil B. Demille. Things from Hollywood, ladies and gentlemen. Less than a decade ago, the movies were voiceless. Stars has celebrated as Wallace Reed, Rudolf Valentino, Theta Barra, Lillian Gish, and Francis X Bushman had millions of admirers who knew them only

as silent shadows. We spoke of our business as the silver screen, but its silence was golden for many an actor and director. Then a man came along who had been built on Broadway as the greatest entertainer in the world.

With his first film, The Jazz Singer, he not only made pictures talk, he made them sing. And he made me make museum pieces of my faithful old silent cameras that had ground out so many successful feet of film.

Then he made another picture called The Singing Fool. And then he fell in love. She was a charming little Irish girl. In three months, they were married. their marriage is one of which Hollywood is most proud.

They have each scored separately in the theater, on the screen and over radio. But we present them tonight for their first appearance together on the air. In lights above the entrance of the Lux Radio Theater is a glittering legend.

And excited crowds along Hollywood Boulevard tonight read the words, Al Joltzen and Ruby Keeler in Berlesque. And now for the first act of Berlesque, in which you'll hear Al Jolson as Skid Brown and Ruby Keeler as Bonnie Smith.

We're backstage at a burlesque show, playing a small town in the middle west. It's a few minutes after the opening, and left him more, the stage manager, standing in the wings, hurrying the chorus girls, onto the stage.

I'm going to go to the house. I'm going to go to the house. Come on, come on. The officer's almost over. Get a move on. You mean it? No, no, no. The race officer's got braids.

Now go on. Shut up and go on. You don't worry. Me, no. I'm a love that guy. I think you don't hear. All right, Joe, give him a house license. Okay. Best of the officers.

Oh, there you go. Big baby, aren't you? Big baby, aren't you? Let's see. Oh, what do you want, Bob? Let's get come in yet. No, no, not a sign. I've been in all of his hangouts, but I can't find him.

Did you try the pool rooms? I just sent you me. A nice spot skits put me in. The show started in my gym come again here. I ought to kill that bird. Ah, he'll turn up, Letty.

I've been working with skid for almost four years now, and I never know him to miss a cue. Yeah, I know, I know. But it's coming so close to him. It's in this turn, am I here, Grey?

You know, you want to do something about that guy, Bob? What? Well, we ain't under my business. But why don't you marry him and have it over with you? What are you stalling them for? He'd settle down if he was married to you.

You think so? Why sure, sure, skids and nuts about you. He'd do anything you'd tell him. Oh, I don't know. We're supposed to be engaged. We need to listen to me much now. How do I know he'll be any different later?

Hi, your folks. Well, if I think the wonderin' boy himself. Hi, you lefty. Hi, ya bunny. So, uh, you decided to come, huh? Sure, never keep the public waitin'. That's my motto. Well, now that's nice of you.

Go on, get in your clothes, will you? You're on in five minutes. Okay, lefty. Well, bunny, I had the kid. All right, I guess. Nice time to be showing up. What's the matter, you ain't sorry, are you?

What are doing, he good? I had a baby. Come on, you'll be late. You gotta change your clothes. Well, you know me, you scared the fireman's child. I can dress sliding down a pole. Where have you been?

Who me? I've been playing pool. I suppose you couldn't make a shot thinking of me eating all along. I told you after the matinee, I wasn't hungry tonight. That's thirsty, huh? Nah, no, I wasn't thirsty neither.

I just went out to get a little air. Oh, some nice pool room air. Ah, put it off, will ya, Bonnie? Did you have anything to eat? Yeah, I had a couple of hot dogs.

Well, that's fine, that is. How do you expect to be funny on hot dogs? I'm gonna send Jimmy out an in a mission for some soup. But I don't wanna know a soup. You'll eat it and like it.

All right, all right, I'll eat it and like it. You and your guests and your makeup? Come and let them see ya later, Bonnie. Okay. Come to my living, cuddle up and don't be blue.

Hey, amazing. I want to see the boyfriend got in all right. That day Marco was looking for him just before she went on. Again? Yeah. Why don't you take a poke? She's not worth it.

What do you want to see Skid about? Say goodbye, I guess. Goodbye, is she gone someplace? Say don't tell me ain't heard. Heard what? Marco's leaving the show tonight, going with a Manhattan folly. Oh Broadway huh?

Well that's a nice break. Yeah I could kill her. Well there's one consolation for me. She won't be around skid anymore. Alright girls, alright now make your change. Hurry up, will you please. Hey what am I supposed to be?

I'm afraid it's soundable walking out on the line. Look at her coming off the stage, putting on the dog already. I'm turning on the ad. Hello Miss Marko. Do you hear my number? No I was spared there.

Oh you're not jealous are you Maisie? Why you shrink I put me out of a swag up against the wall! Cut it out, Maisie! No fighting, do you hear? I wouldn't hear her, I just want to hear her yell.

Hey, what's going on here? Nothing, Bozo. Maisie's starting to scrap again? Of course not, Bozo. It's just a friendly argument. Sounded like the battle of the Mon. Where's Skid, Bonnie? Did he get in yet?

Uh-huh, downstairs, putting on the putty nose. Yeah, that's a break. I was afraid I was going to have to play his part too. Hey, Bonnie, you're cattle king is out front again. Oh, is he?

Yeah, he's a boy he is. This is the sixth time he's been in to see the show. He fell hard for you, Bonnie. I'll have to see him sometime. He's the only following I ever had.

When Marco, he was singing he. Hey, where did she go? Oh. Marco, she was standing here a second ago. Yeah, until she heard where Skid was. Probably downstairs by now gurgling her fawn farewell. Thank you, Marco.

I'm just putting on my makeup. Go out of here. How's the house, Marco? Well, a little cool. Oh, they'll warm up. Wait like it up there and take a few falls from. I don't know why it is, but the audience always likes to see a guy fall flat on his hand.

Funny, ain't it? Yeah. Oh, skid. What? You coming to see me off tonight? Say that's right. You're leaving, ain't you? Well... Gosh, I don't know, Marco. I'd like to go down to see you off, but I got to date with Bonnie after the show.

Oh, Bonnie. Skid. Why don't you get wise to yourself? What do you mean? That kid's no good for you. You've been teamed up with her for four years and where has it got you? No place.

Well, she's holding you back and you don't know it. Holding his back, I would say, don't you believe it, Marco? Bonnie's okay. Why anything? I am, I owe to her. And listen, when she says the word, we're going to get hitched.

Oh, yes? Well, it's your funeral, Skid. You're all wrong, Marco. Mine is the best thing that ever happened to me. Holy mackerel, that's me, Q. Hello, Michael. Try to see after the coat. Hurry up, Skip.

Come on, hurry up. What do you wrong? OK, maybe I'm a predicate. What's the boy? I think I'm the answer. Holy cats, that guy will kill himself, taking those fours. Come in, Maisie. Now what's on your mind?

Telegram just came for skid. Telegram? Yeah. Thought maybe you'd want to take care of it. Hand it over, Maisie. I'll get it to him later. Hmm. Wonder who's broke now. Maybe somebody's cashed in or an accident?

No, nothing's wrong. Telegrams for skid are only touches, but that one's heavy, it feels important. They're always important. The guy that sends them. See how skid takes those four? I'm glad that was his last one.

He'll be coming down in a minute. A couple more like that, and he'll come down through the ceiling. Well, say, do you hear about Marco? Something else? Yeah, she ain't singing her last number tonight.

Getting the earlier train. Why? Someone asked me, say, I'd better scram. I'm due for the baby number. Oh, hiya, man. Hiya, Megan. Tell me, why y'all have a minute? Sure. Skid, come in here a second.

Well, honey, you can give me panic, um, did you hear those laughs? Yeah, and I heard the balls too. Listen, I tell it. What are you limping for? Who me? I ain't limping. You hurt yourself, didn't you?

No. You're dead. Oh, skid, what are you gonna cut it out? What, what are you? Take a nose full. Very my routine, ain't they? That doesn't mean you have to break your back, does it?

Oh, Bonnie, you gotta make up your mind to one thing on my whole comic. Don't waste no time trying to clean me up, because I'd be a fluff. Say, when I was a baby, the first thing I'd reach for was a custard pot.

I'd see you as a kid in all your life. Ain't you never gonna be serious? Don't you wanna get ahead in this game? What do you mean, get ahead? We're working all the time, ain't we?

I ain't hanging around Broadway and they can touch us, am I? What do you mean, get ahead? I'm talking about you getting where you belong. Broadway! Boy, if I had your talent, why there ain't nothing could stop you if you decided to step out.

Say, how do you know I'd be so good? I could be a big flop too in a real show. Where's the tip off? You're scared, you're yellow. Say, how many times you wanna pull out what I'm doing.

How many times you're gonna make me? Come in. Honey folks. No, I'll see this fight ain't private. Yeah, I'm glad to hear it. What's the first? Ah, fun is riding me because I ain't got no ambition.

Yeah, and I'll leave it to you, lefty. Ain't he a step for sticking in burlesque? Shouldn't he be framing new stuff that'll get him somewhere? Yeah, shouldn't I be George White and have me own show and sit in a box of his?

I can't get steamed up over his Broadway stuff. You're a hit on Broadway, so what does it get you? It gets you a lot of Jack to begin with. But Barney's right, skids. It's time you were stepping out.

For instance, well, for instance, Earl Carroll had a scout up the same policy last week. Earl Carroll? Well, yeah, sure, he came back after the show and asked me all about you, skids. Hey, didn't you hear from him?

No, I ain't heard of tumble. Well, I guess you ain't. Oh, you'd have told me. But you'll hear from him, and when you do grab it, kid. Wait a minute. What's the matter? What telegram came for you here open it open it. All right. Take it easy. It's probably just another touch That'll set me back about 50 bucks. I remember one time

Well, what is it? Holy mackerel listen have a chance to place you when Manhattan father's opening next week stop Is there any way you can get out of your present engagement stop can get you five hundred dollars a week or maybe more stop leave salary to me stop Great chance. No comedy and short present. You'd have to be here by Sunday for rehearsal. Why am Max Levy max?

sleepy the big agent well I'll be well they are somebody's kidding me I guess somebody's kidding me you mean that's right say they didn't mention Bonnie left me what's the idea I guess I can answer that I know all the answers what's a matter of honey don't you dare call me honey hey what are you boron me out for

get out will you left me I want to speak to this guy alone okay say what's the idea all is temperamental stuff barn if the telegram in a fake it's a chance You're a chance to be in the same show with that little hypocrite you were nuts about when I was in the hospital in Des Moines.

You know, Don Wilhoo. Oh, you mean Marco. Yes, Marco, Marco, Marco. That's who I mean. Why you're crazy. Why this telegram got to do with Marco. And so you didn't know what show is Marco joining.

Why did you see that's right? It's the same show, ain't it? That's a coincidence. Yes, more than that. It's a conspiracy. What do you mean by that crack? I mean the whole thing's a frame up between you and Marco.

That's who you're beating it together, and neither one of you had the nerve to come clean. Oh, just tell them what they're surprised to me. You're crazy, do you think that? Yeah, a pleasant surprise.

Holy mackerel, will you take a tumbly yourself as a joke for you to be so jealous of that kid? Jealous? Have what? A bum comedian who ain't gonna laugh above his hips? Say, if you were to fall for a girl at many things, I'd wish you luck.

But that empty had a little brat. I ain't jealous, I'm insulted. Well, you can stop blowing off steam and cool off, because why? Because I ain't going. Who said you was, he goes. I said it and I've settled it.

Oh, it does. Since when does what you say, settle things. Well, it's settled this one. Oh, come on, Barney, let's forget it with you. We'll stick together, kid. And as soon as you say the word what, we'll take a walk over to the license bureau.

What do you say? That's us, I guess. Oh, specially, Barney. I know. Well. Skid. I'm sorry. What I said. I didn't mean it. Sure. Kiss me. Oh, honey. She will. I hold me tight. Tight. Good. It'll be a long time before we see what I'm going by. Oh, yes, you are. This is your big chance. You're not going to pass it up for me or anyone else.

What's funny? When you do not pass, get up here. Come on. Okay. Well it's about time. Come on, come on. When you get out there and do your stuff. Okay, let's see what's that buddy.

I'll be seeing out there. That's the last one. Get on the entrance. Yeah? Get some of the past gifts bag. Just leave it right after the show. Okay, I'll take care of it. Go and get out there, buddy.

Well, well, well, look who's here. Little Lucy Twinkle-dose. How are you, Miss Twinkle-dose? I beg your pardon. What for? What did you do? You think you're smart, don't you? Smart, when I was a little boy and a stool, I took the first prize.

Yeah, the teacher told me take it and she made me put it back. Oh boy, dad's digging up the old ones. Oh, did you ever hear about the man who liked Oxtail too? Oxtail, that's going too far back.

I hear you're going to a party tonight. Yeah, I'm going to a party tonight. We're going to come along. There'll be a million left. So we have a good time? I will. We're going to play kissing games.

I don't like kissing. Why? It breeds Jones. Come on lady, let's get sick. Have you played kissing games before? Sure, the last part I was doing, we played a game called Player Play. How do you play it?

Well, they blindfold the boy and it reaches out for the girls. The first one he catches either has to give him a kiss or a hank it is. How did you make that? Oh, this is a gillier.

I came home with a tablecloth. That's a faster gravy. Yesterday I heard a love of sigh. Goodbye. On me or my, seven times he got aboard his train. And seven times he heard back and took his love again.

And we're by two to two to three. Goodbye. Two to two to three. Don't cry. The little two to train. That takes me away from you. No words can tell outside it makes me kiss me to three.

And then do it over again. Yeah. Watch for the mail. I'll never fail. And if you don't get a letter then you know I'm in jail. Don't cry, tilly. Don't cry. Goodbye, tilly. Goodbye. Twing it, baby.

Try a cow. It should have been out front tonight. Keep Bonnie, you are swell. Never mind that now. Well, Lester? It's all fixed. Let's get you fired. Huh? Ken. What for? You're going to New York.

I got two guys packing your bags and I just phoned for a reservation. But wait a minute, I told Bonnie that I wasn't... Can't forget what you told me. I'm running this partnership. You're leaving for New York and you're leaving tonight.

It's a long time. You're right, won't you? Sure. Every day, Bonnie. I'll be off Alonston without you. Gee, I'll be an awful sap without you, kid. We've never been apart before.

As soon as the season's over, you're all come right on. Maybe I'll be a flop and I can come back soon. You can come back, you're fired. I didn't think of that. That ain't so good.

Forget it. It's sinker swim now. I don't like the way you said sink. Well, how do you like the way I say swim? Well, I guess that's me. Gee, I don't know how to say goodbye, baby.

I ain't never said goodbye to him. Just kiss me, skit. Oh, gosh, honey. Well, miss you, skit. I love you, skit. Oh, gosh, hum. Missed. I'm lost already without you, buddy. So long, darling. I'll wire and I'll write.

Every day, skid. Every day. Goodbye, buddy. Goodbye. Goodbye. As we pause in the Lux Radio Theatre's presentation of Balesque starring Al Jorzen and Rubik Keeler, I'm going to ask you to listen to a very interesting conversation.

In this brief interval, we want you to meet one of Hollywood's youngest and most charming stars, Corisue Collins. Here she is now. Miss Corisue Collins in person. Carasil, just how long have you been in Hollywood?

I don't believe I know many movie people who are eight. What do you do with your time? Well, I've got my dog, but D.F. I have to take care of her. Then there's Rusty. She's my dog. She's an Irish sinner.

And I train parakeets. Then I go horseback riding every day. But I do all that, only when I'm not making a picture. Yes, I suppose you're too busy then. You think you'll keep on making pictures?

Oh, yes. I want to be a grown up star someday. Well, I think when you are you're going to be a very pretty one Thank you. I hope so I'm taking care of my skin just like one upstairs do with Lux toilet soap I've used ever since I came to Hollywood just like my friends in John Crawford and John Blonde

That's only kind of soap we have at our house Mother lice and soda sister Sis won't even take a bath without it and either will be there yet That's very nice, Coracil, thank you. And you're right in saying that Hollywood stars must have lovely compactions.

They can't risk downness, tiny blemishes, enlarging pores. In other words, cosmetic skin. These Hollywood stars, like most girls, use rose and powdered. But they avoid dangerous pore choking by using lux toilet soap. The soap whose active lather goes deep into the pores removes every trace of dust, dirt, stale cosmetics.

Before you put on fresh makeup during the day, and always before you go to bed at night, use lux toilet soap, buy several cakes tomorrow. We return now to Berlesque, the story of Skid Brown, played by Al Jolson and Bonnie Smith, played by Ruby Keeler.

Several months have passed since Skid left to join the Manhattan Follies. Bonnie is still on tour with a Berlesque company. In her room in a small town hotel, she lies huddled on the bed, reading the morning paper.

Her friend Maisie enters. Good morning, dearie. You're kind of early, ain't you? Yeah, a little. What's the idea? I couldn't sleep. Any word from Skidya? Not a line. Gee, I'd like to brain that guy.

How long has it now since he wrote to you? I don't know. About six weeks, I guess. Just a big, broad way man. Boy success must have hit him right between the eye now, may you's getting the kind who got to get the swelled head It's it's something else this time the thing. I was afraid of

Marco. Yeah, I didn't kind of following him in the Broadway gossip columns. Yeah, get a load of this. Let's see Oh, yeah Skid brown a while is them each night at the Manhattan Follies is a while to Sylvia Marco of the same show They may be seen together every PM doing the hot spots along a main stem.

Well, that's that. Yeah. What are you going to do about it? Nothing. Nothing. What do you mean? You're still in love with a guy, ain't you? Sure. I guess I'll always be in love with him.

But if Skid don't want me, well, I ain't the clanging vine tag. Aw, but listen, Bonnie. Excuse me, will you? Hello? Oh, hello, Harvey. Pretty good. When? When? Well, all right, Harvey. Pick me up about 11.30.

Bye. Who was that? Remember the fellow we used to kid about the one we called the Caddling King? Yeah, sure. He used to sit in the front row every night. Well, that was him. Harvey Howell.

He's a swell guy, Maisie, and a real guy. He wants to marry me. Is he going to go? I guess so. He owns a couple of ranches. A couple of ranches, sure. Take me out after the show tonight. I promised him I'd give him my answer then.

You want to dance money? Thanks, Harvey. But, do you mind if I don't? I'm a little tired tonight. That's all right. Put in your time to be leaving anyway. Yeah. Money, did you think over what I asked you about? Getting married? I've been thinking about it, sure. Well, Harvey, I don't know how to say this, but, do you

I'm not waiting a little longer. I take all the time you want, Bonnie. I'm not an addict, right? It ain't that I'm trying to stall or anything, but the show's moving back East Harvey and...

I want to see Skid. Just once more. Okay, Bonnie. You understand, don't you? Sure, I understand. Well, thanks, Harvey. You're a grand guy. Hello, box office Manhattan police. I'm sorry. We're all sold out for tonight. Eight weeks in advance. Okay.

Hello there, Mr. Kent. Oh, hello, skid. What are you doing? Counting up the shackles? Yeah. They tell me you want to see me in this account. And do. Sit down, won't you, skid? What's on your mind?

You, skid. Skid, I'm going to tell you something straight from the shoulder. I've been managing Broadway shows for a long time, so you can take it from me. I know what I'm talking about. Skid, you got to cut out your drinking.

Oh, man. Don't get me that. You went on that stage last night, so I lived up. You couldn't even see. Those falls, you were taking them were on the level. They got laughs, didn't they?

Sure they did. That isn't the point. Skid you've got this whole business right in your lap. You can sing you can dance you can make them laugh You're a big hit But take it from an old-timer skid drinking and show business don't mix. That's all but mr. That's all skid. Oh good Good hello, Michael didn't end a secan. Yeah, what do you say nothing much?

So you won't talk to Alright, what are you doing after show tonight? I don't know. I kind of feel I get a little sleep for a change Oh, come on with us. We're getting up a party. Go to the hotspot. Oh, count me out, Michael I want to stay home and write a couple letters.

Oh, I see. Two, two. Well, Bonnie, for one. I ain't written to her all for such a long time. Honestly, I wouldn't blame her if she was sore as a boy like me. Listen, are you still thinking of that kid?

Sure, why not? I thought that was over long ago. I know. Well, it ought to be. What are you going to do after she's married? Still write a mash notes to her? After she's... What are you talking about?

She's going to be married to some rancher guy. Who said so? I got it from one of the girls in the troupe. She wrote me all about it. Mary. Oh, there must be some mistake or something.

There's no mistake. It's all set. Holy gee. Why didn't she tell me? Why didn't she let me know? God breaks up, skid. The world hasn't come to an end. Why, you're a skid brown, a big guy on Broadway. Why worry over a cheap little bird?

Shut up, Michael. What? I said shut up. Well, that's the way the wind blows. Yeah, that's the way the wind blows. Now get out of here. Let me alone. I want to think. I'll see if he's in.

I'll see if he's in. Hello operator. This is room 707. Did you get that number? Oh, thank you. Hello. Hello, window garden. I'd like to speak to skid Brown, please. Yes, I'll hold the wire.

Is there a bunny? They're going to look. I hope they don't find him. I can't understand why you're here. Skid? This is bunnies. See, I'm going to get a bunny. Hey, I'm going to get a bunny.

Here's the bunny. Oh, it's a bunny. I'm going to get a bunny. I'm going to get a bunny. I'm going to get a bunny. This is Bonnie. Yeah, Bonnie. Where am I? Why New York, of course.

Got in yesterday. Yes? I caught the show last night, kid. You were all right. I'm at the Carlton. You want to come over after the show tonight? All right, I'll see you then. Bye. It's coming, right? Yeah.

What's Harvey going to say? Harvey knows about it. He's coming too. It's gonna be a nice party. I can see that This kid now what me dance hard-hacking That Friday boy to meet Bonnie Smith the greatest little trooper in the business hello Bonnie. I didn't expect it to you I've been traveling around with this guy and he's got me all tired. Oh, get no left. He get no

Hello, kid. Ladies, I live and breathe. These are like old times. Wait a minute. Where's Jerry? Girl, I want you to meet the greatest old song right in the world. Jerry Evans. Nice to meet you.

Get over that, Janet. Jerry and show him what's what. Always drive the door. Play, friend. Where's a nice comfortable chair? I want to go to sleep. Try this one, left thing. Go to sleep. Say that's no way to start a party.

No. You let me alone. Oh, salty, huh? Well, Bonnie, let's take a look at you. Gosh, you're looking grand. I'm all right. Well, that's well. I... I hear you're getting married, Bonnie. Yeah. Who told you?

Oh, those things get around. I just want to tell you how glad I am. It's great, simply great. Why? What's the matter? Nothing. What do you look at me so funny for? I ain't said nothing wrong, have I?

Oh, cos' not. Well, what's a long draw about? Ain't a new guy treating you right? Sure, he's great. But what business is it of yours? of yours what business of mine say I suppose what happened to you is none of my business I suppose I'm gonna forget you're the only girl in the world I ever

gave a hoot about me and how many others I got tired of being a monster are you still with that Marco Dame or a she cold I'll lay off money I came here when you asked me to I'm thinking like that to see you I try to tell you the works and what do you do you start riding me I suppose you couldn't come alone what

was you afraid I do well you wouldn't have me shake these guys with you they've been with me ever since last night. Yeah, I suppose you're the king of the nightclubs now. Yeah, that's me.

I'm giving all the little girlies a great big hand. You better go home early and get some sleep. You look rotten. Ah, forget it, Bonnie. We only live once. Say, listen, Bonnie. When are you going to marry this millionaire, Yuri?

You didn't tell me. Some time in the fall, I guess? Well, what are you going to do till then? Going out to live in the ranch with him and his sister. You mean your Chuck and Scholl business?

Yeah. Any old partnerships broken up, huh? Don't leave me to struggle on alone. The rate you go, Derry, you won't have to struggle alone. The nightlife will land you right out in the alley with the rest of the husband.

Is that so? Yeah, that's so. Well, if I do get the gator out of the show, they always need comics, Derry, and as long as I can make them laugh, I'll be all right. Hey, Bunny, you ain't told me whether I'm good or rotten in the show.

Derry was then long before I got here, Skip. Gosh, this is funny. You were telling me for years what a riot I'd be if I got a chance. You pushed me to my chance, and I clicked.

And all the time I'm wishing that you were here to see me get away with it. You finally get here and see me and we don't even talk about it. I don't know. I'm wondering if planning for things so long don't take all the kick out of them.

I suppose nothing can be as good as well as good as you think it's going to be. No, I suppose not. Jerry, Jerry, play something lively. Hot dog, come on, Bonnie, let's pass. You and me, huh?

Come in. Hello, Harvey, come on in. Thanks. I didn't know you were having a party, Bonnie. Come on and join us. This is Jerry Evans. How do you do? How are you? And let the more you remember him.

Well sure. Sure. How are you, Mr. Howe? Oh sure. Sure glad to see you. And I know you've heard of Skid Brown. Oh, yes. How are you? I certainly enjoyed your show last night. I don't know when I laughed so much.

Thanks. Thanks. But I wasn't so good last night. That's what Bully said. But you seem good to me. It's awful hard to freeze bunny. You know that gag about my to various credit. Yeah, I've heard that one See I hope I didn't stop your music that once you go on mr. Evan, but sure what would you like?

Well, I don't know any of you songs my favorites are all oh like in the gloom Bunny saying that for me once come on sing it bunny. Yeah, Bonnie sing it sure It's so nice and gay say what do we celebrate anyway a wedding or a funeral shouldn't we be toastin a bride and sing and

Gee did it with the groom, scared. Hey, mister, I wouldn't have spoken about that if you haven't. The way of speaking on your successor, but I don't want to dwell on my good fortune, except to assure you that it will be my aim to make life happy for Bonnie.

And I'm sure you'll be glad to know that. Sure, I'm glad to know it. Why wouldn't I be glad to know that Bonnie is going to get along all right without me? But what I'm saying is why can't we be kidding about it?

Why can't we have the wedding march frayed with pepper and ginger? Why can't I be giving a bride away? Stop it, skin! Why, why'll I stop it? Who's got a better right to be giving a bride away?

It shows I know I'm feeling. Why do people get sore and cramped when they lose out? Why don't they join the festivities? Come on, Jerry, pray to win much and pray it fast. This happens when in folks watch my smoke, watch my smoke.

Here comes the bride, here comes the bride. 囌拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拐拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝拝�罼拝拝拝的拝� with a chance to be in their direction! Stop, you will now go! Oh, don't miss, sir! I'm leaving right now. Good bye, Bonnie. And a lot to luck.

Here. We pause for station identification. This is the Columbia Broadcasting System. This is Cecil B. DeMille speaking to you from Hollywood.

Al Joltzen has sked, and Ruby Keeler has Bonnie return in just a moment for the conclusion of the Lux Radio Theater production, Burlesque. In the meantime, I'm going to have you meet one of Hollywood's most famous cameramen.

Most people think of a cameraman As a fellow who puts his cap on backwards and grinds away at the crank of a camera, as a matter of fact, the first cameraman never touches the camera.

He's an artist who paints with lights and shadows, giving the screen depth and third dimension. The only cranks on a set today are the directors. The cameraman who will speak to you is Mr. George Barnes of Warner Brothers Studio.

He has photographed both of tonight's stars many times. Mr. Barnes, That's very gracious of UCB, but folks, we don't really think direct is a cranks. We think of them as fellow sufferers. You see a cameraman and his director are practically the only people who have to work every day if I'll a picture is shooting.

No actor appears in every scene. Mechanical crews can be changed, but the poor old cameraman, he just goes on and on until he drops, or the director does. As Mr. DeMille says, a cameraman's first job is lighting.

In more ways than one, he has to show the stars in the best possible light. And right along that line is a point that comes right home here to the Luxe Radio Theater. A camera on has to make a girl look absolutely perfect.

He has to take care of shadows, unusual contours, and other things that can't be helped. So believe me, we have no time for faults that can be helped, like a bad complexion. That's something the girls must take care of for themselves.

And the way nine out of 10 Hollywood stars do that is by using your Luxe toilet soap. It's the official soap at Mr. Deluxe Studio, Paramount, and other great studios in Hollywood. And if you want to see how it works at Warren's, Mr. De Niel, well, just take a look at Ruby Keeler.

Okay, George, have to find Fade Out. The lights go up for the third act of burlesque, starring Al Joltzner Skid and Ruby Keeler as Bonnie. Three weeks have passed, and we're in the office of Mr. Kent, the manager of the Manhattan Follies.

Skid showing the signs of dissipation and looking very tired is coming in the door. Hello, Mr. Kent. Oh, hello, skid. What is this, Mr. Kent? Another temperance lecture? No, not this time, boy. I gave you your last lecture about three weeks ago.

Well, what do you want to see me for? I'm writing you a cheque, skid. A cheque? I ain't supposed to be paid today. And no, you're getting a cheque anyway. Your last one was this outfit.

What? You heard me, skid. You mean I'm canned? That's right. I warned you boy. I told you what was coming. You wouldn't listen to me. I'm sorry. Well, there's your take. Can't I? All right. So what? I can get another job like that.

Wouldn't be so sure, skid. And I'll tell you this. You'll never find one hanging around in the hotspots. Lay off with you. I know what I'm doing. You didn't the other night when we picked you up singing the wedding march at the top of your lungs. Hey now, come out of here. Okay, skid.

It's none of my business. Just thought I might hand you a little advice. That's all. All right. I'm sorry, Mr. Candor. I guess I ain't myself these days. And I don't know what's gonna matter with me lately.

I'm just a little shot at pieces, I guess. But I'll catch on again, though. I want to do... I would like to see you, Mr. Cand. So long, skid, and lots of luck. Come on, girls. Come on. Come on. Swing it.

This is the rehearsal. Get her up, give her your give. Now, come on. Hey, lovely. Happy, lovely. Oh, what do you want? What do you want, folks? I know, but this is important. Get it here.

I want to see you. Skid. Where is he? Out of the things door. She looked terrible. Like he ain't have nothing in a week. I guess I better see him. All right, all right, girls.

That'll be all for a while. I'll be back in a couple of moments. Okay. Skid. Oh, lefty. See, lefty. How are you? What's happened to you, Skid? What's happened to you, Skiddin'? Where you been?

Oh, just knocking around. After I got canned, I kinda hit the chutes. Oh, boy, you sure look at it. Any prospects of a job? No, I'm looking around for a month, but I guess they don't want me, Leslie.

Then I heard you was put on a new show and my life. I come around to see you about it. You want a job with me? Yeah, that's right. In Berlesque, sure. What do you say, Lefty?

You got his spark funny? Oh, gee. I don't know, skid. Oh, please, Lefty. Give us a break, will you? I need a bed, honestly, off of bed. What about the liquor? The liquor, I say that's all over with Lefty.

That's finished. Yeah, well, it seems to me I've heard that before. I'm trying to level this time. Well, okay, skid. I'll give you a chance. Thanks, Lefty. Now, listen, we open in a week. Do you think you can get on your feet on that time?

Sure sure. All right then. All right now listen to me. Remember it. You gotta be here for every way hustle and you gotta be here on time. Don't worry Lasty. I'll be a new guy. Wait you see.

Those who did you find him? Yeah I got him. Where was he? The usual spot. Holy smokes. How is he? Oh bad. Three days before we opened and he pulls this one on me. Now it's going to be tough lefty. There's only one way out and I gotta take it. Watch the dope. Now look. I'll tell you what to do. Run

out and shoot a while a body tell her I need to tell her skit needs a but tell us she's got to get here right away okay let me sit down body sit down did I say it was great to see you yeah well it's more than that what's it all about skid

of course I know it was skid what's happened haven't you heard anything about him since she was here last nothing I read that he was out of the follows but that didn't surprise me he was heading for that when I saw him yeah yeah that afternoon he danced out of your room he danced himself right out of

show business he went on a grand bust and he played since I gave him a job but he's been handing me an awful ride here I am I'm open tomorrow night and up to now he had rehearsed half of this stuff I'm as Bonnie I don't know which way I know what's in your mind, Lefty, what you want me to do.

I'm going to save you the trouble of asking me. I'll do what I can. Oh, Gee, you're a nace. How long will you stay? So you get your show right and skid gets straight in.

Thanks, buddy. Thanks a lot. See, I don't know what I do with that, you? There he is now. Oh, gosh, look at him. Oh, that's good. Skid. Where is the first left here? Am I early?

Yeah. Yeah, yeah, for tomorrow you are. I was only... Kid. Who is that? Am I seeing things? Do you see her lefty? Sure. Sure I see her. Don't kid me. I've been seeing things lately.

Hi, you scared? It's really you. Oh, don't, kid. I'm all right. How are you kids? Let me have a look at you. You're looking great. But you've been crying. I know, I haven't. How are you thankful of me?

I've seen you cry too often. But what are you doing in this dump? Oh, come on. Why is Mr. Levley? Mr. Levley, the fox to get his rotten soul with me calling out of the grave?

I wasn't exactly the greatest. Don't waste a minute around here. I'll open my right. Nobody's got to worry about me. You know me, skid, the fireman, child. I'm always there. Sure you are. But you've got to take care of yourself, skid.

You've got to start taping off now. Okay, buddy. You're the only one I ever knew that had any sense. Oh, you're not ashamed of it, buddy. No, skid. I've been in office now. but don't ride me, will ya?

Bonnie, don't ride me. I'm all right, you scared. That's right, kid. I've listened to so many legends, honestly. I carry me on slides. Don't you think you better get some sleep, scared? Yeah, sleep. Ain't no bother, my sleep.

Oh, gee, Bonnie, it's great to see ya. I told ya I'd be an awful separate, aren't ya? Yeah, you never was, it's that scared. He got more brains than all of comics put together. You make mistakes, but who don't?

Well, after all, skid, fun, fun. Let these open in his first show tomorrow night without you here be some. He's been too good a friend of ours for you to throw him. She's burning. I don't think I could ever make it.

Sure you can make it. I'm all shagging it. No, you can come out of it. You think I can? I know it. You wouldn't kid me, would you, lady? I would if I couldn't miss two, what if I could.

Hey, where's your cattle rustler? Your memory got sore at me that day. Didn't you? I know. Sure he did. But singing. Here comes a bride. Remember? Yeah. Go to your bride. Yeah. So. Hey, Gee, who's this time?

I'll take care of him. Do you think? Finally, do you think I'd better postpone the opening? Let's try not to laugh. I'd hate to see you. You're my first opening. The wood looks so good but skid either.

Of course, skid. Oh, now that's all right. Bonnie, there, there, that's all right. I'm all right, left. You give me some water, will you? No, don't you think we better get them over to the hotel?

No, let him stay here, boy. OK, I'll do back in a second. All right. Kid, look at me. You'll be all right, honey. Nothing can stop you. You'll be all right. You'll knock him dead.

You ain't started yet. You'll be all right. You got him! How is he, Bonnie? All right. He got his way up for the Jesse room. Well, he's on next. Do you think he can do it?

I hope so. Well, he almost painted in his last routine. Are you left here? Oh, hi, yes, kid. You all said, baby? Sure. What is going to be my song? Yeah. Cut the open routine, skid.

No polls tonight. Go right into your number. Cut the poll, guy. OK, Bonnie. You're at the boards. You're right, kid. All right, say, folks, thanks. For a minute I thought I was back in Manhattan, Folly.

Let's eat swaying, I say, he's gonna fall. No, no, he's okay, Barney. What seriously, Paul? I'm glad to be here. And right now I'm gonna sing a little number for you. One, I like a lot.

A little music, eh, Professor? Take it easy, sir. I'll make it. Well, brag, people, folks, and consistently drink a toast through a place that a lot of them place at the top of the list.

Are they wrong? Are they right? Is there a reason for their delight? I must live in dark Till the day that I find out Is it true what they say about you? That the sun really shines all the time Till the sweet magnolia blossom That everybody's down, you folks need thinking possum Till they can't eat no more

Is it true what they say about wanting? Is it real by that stream so sublime? Do they laugh? Do they love like they say in every song? Is it true? That's where I belong Is it true what they say about to what is?

Is that dream by that stream so sublime? Do they laugh? Do they laugh like they say in every song? If it's true, that's where I belong. How'd I do it? Oh, schedule is well, I know you'd be.

How you feeling? Do you think you can go on? I can bunny if you stick my knees. Your skin. I'll stick. For good. Okay. Oh gee bunny. What about your cattle rancher? Oh it's alright. I explained it to him skin.

You see, when I left that, well I had an idea I was coming here to stay. Oh bunny, I'm crazy about you. I can't get along without you sweetheart. You don't even have to try.

So now on it's you and me together. But better? Off a word. Yeah. Better for me and worse for you. Ah, there you go. Always clowning. The Phil and Ruby will be back in just a moment.

We are honored tonight by the presence of Daniel Froman. D.F. as we call him, produced the first play that my father, N.R.C. DeMille and David Velasco ever wrote. It was called The Wife. When the play opened, it was a failure.

Nobody came. Naturally, Mr. Froman decided to close it. My father and Velasco had spent a year writing this play. All their savings were gone. They were desperate. So they went up to Mr. Froman's office.

One took him by the throat. The other took a heavy octagonal ruler from his desk and shook it in his face, saying they'd kill him if he took the play off. So Mr. Froman kept the play running.

He says they changed it to suit him. But in any case, it ran five years. Everyone in the theatrical world knows and respects this pioneer of the theater. We revere him as an artist, philanthropist, and gentlemen.

The 85-year-old dean of the American stage, Daniel Froman, says, you're a very kind. Now, I'm saying what I've told her since I was five years old. Well, that was when I used to chase you out of the box office for annoying the treasure.

Even now, it hardly seems possible that you're old enough to have a radio program of your own. Now, I am just starting in radio, DF. Do you remember when I was just starting as a young actor?

One of your companies. Yes, I remember paying you with fabulous salary of $40 a week. That included my wife's salary, too. And I was willing to work for any salary. For the man who started the baromos, Ethel, as I remember, was the first to join you, then Lionel, wasn't it?

Yes. And then the two of them in their little brother Jack, better more, to design our bill boosters. So why don't you, why don't you get him to design one for that big show you're producing on July 1st, the Actors Fund Benefit?

The F, it's been a privilege to have you here tonight. It's nice to be here, Cecil, and be part of your great enterprise for no theater. In history has reached so many people as your lux radio theater.

From your father and mother, you have inherited the highest traditions of the stage. And I know you are true to this trust. Thank you. And oh, gentlemen, I have just written an article for a national magazine.

the 10 greatest fools in history. Perhaps I should have made it 11 and included the singing fool. The character that Al Jolson made the most famous fool of all. For that picture, the singing fool broke every box office record of its day. And here they come. The singing fool is dancing white. Ladies and gentlemen, the Jolson's. Alan Ruby, you have enjoyed well,

fame and success. All the things most people dream about. Ah, but that's nothing Mr. DeMille compared to the thrill I got when little Al Jr. spoke his first word. And what do you think was the first word he ever said?

He said, Gary. Uh-huh, no Al. He said, Mama. Did he? Well, didn't he? If you said so, I guess he did. But all that kid. Good solid arms and back. Easy or fussy? What a baby.

Honestly, Mr. Demille, I don't like to exaggerate. But you've never seen tense, such wiggly little toe. The exact same thing, doesn't it? Twinkling toes of rubies. Well, but one way it takes after his daddy, great, big, strong knees, a born, mammy singer.

He's toes from his mother and his knees from his father. His good looks, I suppose, from Lux. Yes, sir, just like his mama. He's a Lux lady, aren't you, Rubies? Of course I am. Does a matter of fact, does a matter of fact, Lux's hope is what makes all us jokes and so handsome?

We've had countless requests for two things. A song by Al and a dance by Ruby. Unfortunately, we haven't time for both. So which shall it be? Oh, that very evening is gonna be allowed aside.

We're gonna have a dance by Ruby. Ah, just a minute, Al. I've decided you're gonna sing. Well, how are we gonna compromise? Al will sing. Well, that's how it is. I guess you can see now folks why they call me Al Keeler.

A pretty girl, like a melody, that haunts you night. And I'd write the strength of a haunting refrain. She'll start apart a marathon and run around your brain to satisfy. He's in your memory.

My boy, don't know, I could learn A pretty girl is just like a pretty girl A pretty girl is just like a melody That hunch you knife and a just like a strain Of a horn he'll refrain Kissed by a horn, a marathon And run around your brain This is your memory, my morning, night and night.

A pretty girl is just like a pretty girl. Thank you, Mr. Joseph. Ladies and gentlemen, this is your announcer, Melville Ruh. Mr. Demille returns in a moment to tell you about next week's play. The makers of Lux Toilet Soap wish to express their appreciation to our capable cast and to the great studios who have cooperated with us in presenting this broadcast.

Our cast tonight included Wally Mayer, Victor Rodman, Eddie Kane, Rita LaRoy, Inez C. Berry, Frank Nelson and Lou Merrell. Al Jolson and Ruby Keeler appeared through the courtesy of Warner Brothers as did George Barnes.

Our producer, Cecil B. DeMille, comes to us from Paramount. Lewis Silver's our musical director represents 20th Century Fox, and Mr. Daniel Froman is in Hollywood as producer of the actor's fun benefit. And now he's your producer, Mr. Cecil B. DeMille.

Next week, our play is The Dark Angel. A vital romance, laid against a background of war. A dramatic triumph on the Broadway stage and twice successful on the screen. This unforgettable drama will be presented on the air by the same stars who thrilled us in its most recent movie version, Merle Oberon and Herbert Marshall.

Our sponsors as well as Miss Oberon and Mr. Marshall and I cordially invite you to be our guests in the Lux Radio Theatre next Monday night. This is Cecil B. DeMille saying good night to you from Hollywood.

This is the Columbia Broadcasting System.