Lux Radio Theatre: Chained

Hollywood, California, Monday, July 27th. From its home on Hollywood Boulevard, the Lux Radio Theater presents Joan Crawford and French O'Tone in chain. Lux presents Hollywood. Tonight, the makers of Lux's toilet show, the beauty care used by nine out of ten screen stars and by attractive women everywhere.

It brings you another assembly to Hollywood's most distinguished citizens. Joan Crawford, French O'Tone, Gilbert Emory, Cecil B. DeMille, Oliver Hinsdale, Helen Burgess, Lewis Silvers, and many others. We are also proud to welcome as members of our audience a score of celebrated personalities.

Among them, Patsy Ruth Miller, Paula Stone, John McGuire, John Lee Mayan, who adapted tonight's play for the screen, Nina Baskett, Mary Alice Rice, and Rady Harris celebrated New York columnist to all of you, readings from Lux.

No man in motion pictures holds a record of achievement more enviable than that of our eminent director. He brings to radio just as he has brought to the screen the greatest plays and players in the world of entertainment.

Tonight he comes to the theatre direct from location dressed in riding breeches and boots and covered with the dust of the set. And here he is ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood ladies and gentlemen.

Many paths cross and many double cross in Hollywood. But this is my first professional contact with Joan Crawford and French O'Tone, but I know their history, perhaps better than they do. I can trace it back 150 years.

Their romance which began in 1933 was more than a courtship. It was a coincidence which had its beginnings in 1798, when an undersized Corsican named Bonaparte was lighting the fuse that was to explode all Europe.

an Irish patriot named Wolf Tone was enlisting French aid in a revolt against England. The sympathies of the French people were with Tone, the handsome Irish rebel. But like most Irish rebellions, here's with a glorious failure. He merely laid the groundwork for mutual admiration between the French and Irish, and French O' Tone, a descendant, and Lucille the Sir, a little

French girl took it up from there. You may never have heard of Lucille. Our first job was at the Kansas City Department store. After that she danced in a Broadway chorus and finally came to Hollywood from a Winter Garden show in New York. A magazine asked its readers to suggest a new name for her and from the name submitted the studio chose Joan Crawford. Today more than 200

babies whose last named range from Ginsburg to McKillicuddy are called Joan Crawford, which will give you some idea of the star's popularity. To all the world she symbolizes the American viewpoint in clothes and manner, and tonight the Lux Radio Theatre presents chained, starring Joan Crawford and Franco Told.

Tonight Miss Crawford plays the part of Diane Lovering, indispensable secretary of a middle but attractive steamship magnet Richard Field, who is deeply in love with her. Francia Tone is micro-bradley, young owner of a ranch in the Argentine.

The curtain rises on Field's private office in the Empire State Building. We hear him talking briskly on an interoffice telephone. Hello, Narnas. Yes? We're just field-dogging. I've decided to start the Caribbean on the coastal run out of Savannah.

That'll put the southern growth on the rear of Buenos Aires run, I was running until next December starting now. You can say, oh, Friday. What about the Lloyd mother? Lloyd mother. Well, listen, that's got to be handled with a kid's gloves.

Take maybe six weeks. But I'm not leaving this office until it's settled right our way. OK, Norris, goodbye. Whis it? Morning, darling. Ha, the end, it's you. Darling, I've just been through the Spanish Inquisition, and I came out a lot.

What did they say? Oh, doctors put me through the third degree, fluoroscope, metabolism, blood pressure, x-rays. the whole work. I felt like a murdered corpse being dissected by the Department of Justice. Yes, but what did they say? What's the verdict?

Organically, sound is a dollar. Healthy as a young cold. They claim I'm just run down that door, exhausted. They ordered me to take a long rest. Can you imagine my rest? Is the Lloyd the Fair is finished? Yes, I can. Young lady, right? See you soon.

Now listen, boss. Mr. Boss. Boss, darling. You're a strong man and you set a terrific pace, but I've got plenty of reserved power. We're going to finish that Lloyd deal together. I am coming up. You think I'm going to let you risk your health just for a business deal. After all we've been through together now that we both

realize how much we mean to each other. Oh you do love me don't you. How could I help that I keep asking myself am I worthy of Richard Field all the love and weaknesses in his heart and then you kiss me like that. So I guess I must be. I I keep asking myself, how can an old man like me...

Careful? Mention that subject to me again and I told you I'll make a scene. Alright, I'm a mere stripling of 46. Look here. What about this sudden command appearance? Anything wrong? Man, it's happened. You mean your wife?

Yes. Oh. She came into my room last night. She was very fine, no scene or anything like that. She simply told me that she knew about us and had known for some drama. In fact, she wanted to know what I was going to do.

Did you tell her? I told her the truth, that there was nothing between you and me, just that we loved each other. I tried to make her understand what a really fine person you are.

I don't know how successful I was. And then? I asked her for a divorce. Darling? She... She wouldn't give it to me, she doesn't believe in divorce. I... I even offered to let her keep the children.

Richard, you can't. You can't give up everything. I would. For you. Snow you. Richard. Diane, come here. No, please. There's only one thing to do now. Don't say it. Don't even think it. There is.

We can't go on without this. We can. And we will. We've got nothing to be ashamed of. And let's not give up hope that someday. She'll give me my freedom. But how... You know what you're going to do?

No. The Southern Graz, sales right. Everyone is at us. You're going aboard. You're going away on a little trip. You need a rest. It'll help you to forget. This had become. It's a little too nearest for the moment, but it's only temporary.

And when you come back, everything will be just as before. Will it? Will it? But you love me, don't you? Oh, yes, Richard. Well, then you run out and do your shopping and get yourself packed.

You haven't got much time. Both sales at 5.30 Friday. Lovely, both. I wish you were going along too. I want no cell on board. It'll be only six weeks. Besides, I have to give you a chance to know your own mind, haven't I?

It isn't my mind anymore, darling. If yours. Jard, where's the ambassador, sweet? This way must be. There you are. When we take the Southern Cross together, it'll be called the bridal sweet. Oh, Richard, look at those flowers.

You shouldn't have. They knew you were coming and grew overnight. Jard? Yes, sir? Mind now, this is a lovely ask for a water spot. You get it for? Yes, sir. Only the chef, sir. You feel the... you want any meal?

Emile? This is Miss Levering. She likes grapes, is that intended that you've ever made them before? And I know she'd like to pump it over that sauce. And corn beef hash, too, Emile. To perfect seal my voice.

And if you don't outdo yourself, I'll have you transferred to a banana boat. And I will deserve it, Miss Shiff. Now here's your bedroom, Diane. Oh, this is beautiful. and still not enough. Taking all the willpower I've got, not to chuck the whole loyed deal and come along with you.

You will come back, won't you? I promise, Richard. I'll need you. Always. I think I'd crack up without you now. Well, dear, we won't have time for our cocktail. The minute the ship leaves, you go to the barn order one.

I'll have one ashore. I'll think of you Richard. Goodbye darling. A sherry flip please. Yes madam. And I'll have the same thing and I hate sherry flips. How there I go, giving in already. Oh, say aren't you the young lady who always orders chicken salad?

We've met before, am I? No. My name is John Smith. Queen. How are you and who are you? No. Yes please. Please no. Oh, pretty please. The sugar on it. I won't be left alone.

Pretty please the sugar on it. I won't be left alone mister Smith it's a hard name to remember and I can take a hint. I'm off dressed for dinner and you'll be sorry when I'm gone I won't even know it. Who is it?

Where have you been? Oh In the bar now come on drop all that housework and come with me and see what I found she's gorgeous Congratulations, mr. Smith. Oh, no, no. They're not in order mr. Bradley. She was a little distant. I take it straight from the regions. Is she worth an expedition? From pole to pole. Don't stop to get dressed.

We'll start now. Lead on, guide. There. There she is over there. Give me the one sitting alone at the table. Yeah. And believe it or not, drinking a sherry flip. Can I pick them or can I pick them? Sometimes I actually have to face the new again, Johnny. Oh, I warned you. She's as cold as a sea lion's nose. And

the first thing for you to do is go over and apologize for your behavior. For me, I should say not it'd make me look weak. You don't understand tactics. It clears the next for future action go ahead i'll be over in a minute okay master i'll be charming lady after thinking over my rootness i've come to say that it didn't

leave after all but yes i've been gone a half an hour i hadn't noticed i've been watching you my friend you've been annoying women long enough why you know back talk now i know you're tight my man a half hour out you want to play frankenstein listen you're big i don't know who you are my friend but i

don't want to see your face on deck again until you can act like a gentleman You understand? Oh, you! Hey, Miss, whatever your name is, this is for later. Find out whether Zac up his bunks and lock him up to lease sober.

Yes, sir. Now please, sir. Come on. Hey, wait a minute. Go call me. Hey, wait a minute. I think you will. Thank you. I suppose he's really harmless. Allow me. An Irish uncle named me Mike Bradley.

Well, good for him. Thank you again, Mr. Bradley. Look here. You've been nervous, probably all unstrung over this attack on your privacy. How about another cocktail? Thank you, no. I've had my one in the evening.

Well, I'll see you dinner. I'm having dinner in my cabin. I'm turning in early. Then I'll see you around tomorrow in the swimming pool. For half? If I decide to go in. Good morning. Cole, I don't think you'd like it.

I'll soon find out. Say, what's the idea? Can't you keep on your own side of the pool? I'm not chasing you. I just turned up like an old cantaloupe Ryan. The ocean is full of them.

Hey, wait, wait! Maybe I'm the door to door brush man. Not today. not today. Special offer full full set of kitchen brushes and a set of Charles Dickens. I haven't got a kitchen. How about a set of Dickens without the brushes? I couldn't afford it. You see it's a contest man. The one that sells the most brushes gets sent away on a vacation.

And the more you sell the father they send you? That's right. Hey, give me all your God. Yeah. That's what comes at trying to swallow the whole pool. Yeah, let me slap you on the back. You know your eyes are very large and beautiful. Oh stop it. Even when their blood shot. Well you tell me what this is all about. I don't know but isn't it fun. Now look at

me really. I'm not such a boogeyman in my just an honest open face. A little too open maybe. What are you leading this old Mr Bradley. Going all the way to Buenos Aires. How far you go all the way to born a day this is a great diner.

Diner. Yes I know the passenger list called you Diane lovering but I call you a diner. I'm in heaven today. Why? I had a black face doll when I was about a year and a half old they called her a diner. I loved her very dearly. Couldn't go to sleep unless I had a seat. We took the way in a shoe box.

I'm afraid I don't see the comparison. Isn't any except Diane reminds me of Diana that's all. Oh. There you go getting panicky again. I'm out for last, I know that's all. Good. And you look pretty silly at a shoebox anyway.

Very silly. And I'm not a year and a half old anymore. Oh, I see you just backwards. Would it be forward of me to invite you to have a cocktail with me? Sorry, but I'm going to bed at six o'clock.

Without your dinner? I'm having a cent of my cabin. Okay? Then I'll meet you in the bar at six and we'll have dinner? Afterward. It's only a quarter of six. And I've got 15 minutes to get back to my cabin.

How about just one cocktail? Well, I'll have a sherry flip. Sherry flip? What's the matter, you see, Sig? No, not the least. But sherry flips is like water. No tang, no feeling, no roof to it.

I still like sherry flips. Okay, lady, I'll show you how I can take punishment too. Oh, Stuart, one sherry flip and a plain lemonade. Yes, sir. By the way, sir. I'm afraid you're a problem, girl. Answer, Donna.

What makes you think, sir? No, you're a problem to me. And something tells me you're full of problems yourself. What did you come on this trip for, the ride? Mm-hmm. Gone long ride. I wanted a long ride.

Who's the guy? What guy? Well, every now and then, your eyes are way out there on the horizon. There must be a guy behind a woman's eyes when they like that. No, you've listened to the conceited male.

Honest, now, you're not engaged to be married. Would that be one of my problems? Might be. You ever been engaged? No. Don't tell me you've lived in a cave all your life. Don't you remember? It was a shoebox.

You were a lemonade for the lady? The wire look is if I drink a sherry flip, a soldier. Well, here's to the two of us. Long may we wave. You came on this boat looking for trouble, didn't you, Mr. Bradley?

I admit it. You've dropped out of the sky. But I'm not trouble. I've just about decided that you're something distinctly different. Something I've always wanted to meet. And always thought was just a kid's foolish dream.

I'm afraid you're on the edge of saying something very silly, Mr. Bradley. It doesn't seem silly. And I've never been this close to the edge before. Let's forget you have a set of children. Alright.

Until the day I can make you remember it. Good cure for that sort of sentiment is walking. Do you like to walk? Listen, young lady, I'll walk you around the deck tomorrow until you're hollifing helpful.

Okay. 20 times around so far, how are you holding out? I haven't even started. And let's go a little faster. Football! There are a couple of long-legged old school moms that look as if they want a racist.

Oh, good morning. Miss Reeba and I are just about to start is that you two set the nicest face on the deck. We, uh, we like a rocker. So do we. I think we make a nice little squad.

You might say, we all have to do this every morning. Yeah, yeah, good idea. You just keep leading the way and we'll follow. What do we do? Poor fast one. You do it, I'm a lot of that.

All right, here goes. Oh, look at the wind. Where? Right alongside the ship there must be a hundred of them. No, there aren't any whales then Mr. Badam. But they do not know whales are you sure? Not a whale. Nothing but ocean. Gosh, you don't suppose not again.

There my poor dear Mr. Brad. What the heck are we here? Nothing you see yet. They told me a sea voyage would cure me. I won't go back to that place that you ever can't find me up in that room.

Yes. Ha ha ha ha ha. There you see, at work. That's what I call practical insanity. See, you always see a whale. Only when being followed by log-legged school moms. Sometimes I see the Southern Cross.

Really? If you come on the upper deck with me some night, I'll show it to you. Only you'll see it too. Will that mean we're both insane? I'm afraid that's too much to hope for.

I'm curious. Where's the southern cross? Right up there. Player? There. Right along the line of my finger. Oh, I see. You're telling me? We're looking at the southern cross, Mr. Bradley. You speak for yourself.

I'm going to do all the looking at you I can. Our last night on board ship. Are you coming out to my ranch in Buenos Aires? I... I'm afraid I won't have time. I've only two days and I've some shopping and things to do.

Where are you stopping? Uh, with some friends. Who are they? The, uh, the Wilson. Wilson's? I've never heard of them. I've lived there ten years, know everybody in town. Take another name. No, no, really. They moved down last winter.

I look here, Diana. What's behind all this? Are you still scared of me? Why should I be scared of you, Miss Red? I asked you, Diana. Oh, it's all wrong. We weren't meant to end this way.

We weren't ever meant for anything else. Goodbye, Mike Bread. I'll think of you often, then. Good luck. Alright. Shipboard friends and never see each other again, right? Right. I don't believe it. Over to, Maas.

I don't believe it. In just a moment, we'll go on with our luck's radio theatre presentation of Chane, starring Joan Crawford and French O'Tourne. But first, we take you to Hollywood's playground, Santa Monica Beach, Only 14 miles down lovely Wilshire Boulevard from Hollywood to the sea.

We're on the set at Famous Santa Monica Beach Club. There are two girls near us. Very much excited. Listen. Look, it's Carol Lombard. There? No, over there to the right. They say she's crazy about the water.

Swims beautifully. Doesn't she look slick in that bathing suit? Mm-hmm. Some low cup. Wish I could wear one like that. My back isn't smooth enough. I read in the movie magazine that Carol Lombard uses Luxe toilet soap as a bath soap too.

Gosh, that's an ideal right huh? Mmm hmm. It's almost a donut, that's why her back is so smooth. I don't have to give it a try. It certainly is Carol Lombard Luxe toilet soap care that keeps her skin so lovely.

And this beauty bath does other things too. Carol Lombard herself has told us. Often I come home from a long day before the camera so tired I can't bear even the thought of going out.

Then I try a lux toilet soap bath. Lie back a few moments completely relaxed. When I step out, I feel marvelously refreshed. And I love the delicate perfume lux toilet soap gives my skin. Lux toilet soap has an active lather that carries away from the pores, all foreign matter, every trace of dust and dirt.

It protects the emptiness. Lux toilet soap's perfume is a blend of 34 costly scents. But because so many millions of cakes are sold, The cost of this fine soap is brought way down, so that any girl shopping list can contain the words, six cakes of luxe toilet soap please.

And once again, Mr. DeMille. Chained, starring Joan Crawford and Prancho Tone continues. Good morning, and Diane thinks she has escaped from Mike by telling him she's visiting the Wilfson's, some non-existent friends. Outside her luxurious hotel, she waits for a groom to bring the horse she's ordered for a morning ride. Yes. I am Mr. Fartos assistant manager of the hotel.

It has been a slight delay about your horse. I shall fool the stable's again. Thank you, Mr. Fartos. The madame has been made comfortable, I hope. Oh, perfectly. The flowers in my room are gorgeous.

Mr. Field ordered them for you every day, madame. Oh, did he? Oh, Mr. Fartos, I shall want a guide today, someone who knows the city. I have already arranged for the guide, madame. Can he speak English?

But see, señorita, I was speak to English for 25 years. Allow me, señorita, to present myself. Señor, pancho, mike, bradly at your service. Mike, where did you bob up from? You scared me. Oh, still a boogie man, huh?

No, but how did you happen to be here? Well, I thought I'd drop around and say hello to the Wilson. Nice little cottage they have here. Lots of servants, guests. Are they home? No, but they left words for me to mourn the children.

I was taking the twins to see the executions on the plaza. Little Otis is tall for his age, isn't he? Or do they have him stretched? Mike, are you a blood hounder? Is this just accidental?

I'm a blood hounder who can read trunk checks when a lady carelessly leaves a trunk outside her stateroom. Besides, Mr. Ponto's here is a friend of mine, and he owes me money. Oh, so he told you I was going riding at 10 o'clock.

Exactly. So I thought you'd like to ride out on a Bradley ranch for horses or horses, not candidates for the bull ring. I'd love to, Mike. That's better than I hope. Let's go. Let's get off and rest a while.

I brought a couple of thermos bottles of cold tea in my saddle bag. I'm shipboard lemonade and sherry flips on the Pampus cold tea. I forgot the Oscar name of my horse. Chili Conconny. I'm glad to meet you, Chili.

Hey, you've got a cold wet nose. Killer, she shouldn't smell so nice, Chili. Where do we hit some till, Blader Grass? I'll just throw your reins over his head. He'll stand like a sentinel. Nothing like cold tea on a warm day on the panther.

A bunch of stirs, step you up, give you that relaxed feeling. Yes. Are you going to tell Lee Horsey? Not Shirley Concrani. She'll let Grandma once won the sweepstakes for me and save the mortgage.

Isn't it quiet out here? Not a human being or a house and site? Yes, quiet and harmless like a day nursery. And you had to lie and run away from me. I should think you could guess, Mike.

No, please. Let me go, Mike. Oh, my darling. No. Just then when you kissed me, you and I reached high above the earth. I don't know where, but we were all alone together where nobody else will ever be.

We're gonna settle down up there. Right in the sun, where we can feel it beating down into us. How are we, your spell at its love? What are your son? On the boat. Did you really know so soon?

I've known about somebody like you ever since I could think. Never thought about anybody like you. So I guess it must have been the minute I saw you. You're going to see me from now on, Mrs. Mike Bradley.

Oh, Mike. No, I know that's what I wanted to hear you say. But I've never dared let myself think about it. What happened? Dad, think about it. Everything? Your arms are on me? Everything except being Mrs. Bradley, because perhaps that... I'm that kind of a girl.

You're going to tell me about some dark silly past that doesn't concern you and me. That's so I hope you won't want me to start in. No. I'm going to tell you about the present.

There's no present except you and me. There's another man. I promise to marry him. That's the man I set was behind your eyes. Yes, but you don't see him then, I'll do. I can't just forget that way.

I know. But I've never, never really known anything until you put your arms around me. You see, I thought I loved him, Mike. He's gentle, honest, dear, and I owe him everything. This trip. I even owe him you?

Well, you've got to write him a letter right away. No. I've got to go back and tell him face to face. No. That's only an unnecessary ordeal. You wouldn't be fair if I didn't. You see, he didn't run out on me and I couldn't run out on him.

If I see him myself, I can make him understand. We couldn't be happy any other way, could we, might you? You've got to go back and tell him. But I am darling, please hurry back.

Yeah, let me look at you. That's almost worth letting you go away just for this moment.

Come on, let's get out of this crowd. I've got the car outside. What about the custom? Oh, I've attended to all that. You've got the courtesy of the thought. This way, darling. Yes. Dad, sometimes I had a strange terrible feeling of two wouldn't come back.

Well, did you have a good time? Yes. Nice crowd on the boat? What? Yes. You're tired, aren't you? No. Maybe a little excited about getting back. Well, I've... I've so many things to tell you. I...

I don't know where to begin. Considering that I'm never going to let you out of my sight again, you have the rest of your life to tell me everything. But Richard, I want to tell you something, well...

I... I don't want anything. Not till you've seen what I've got for you. What is it? You welcome home, President. If you're wedding me. Take a look this morning's paper and see what you think.

Listen, shipping magnet divorce. Mrs. Richard Ifield, wife of Field Line Head, now in Reno. Oh, no. No riches. True, dear. We had it all out shortly after you left. And she saw that it was the only way.

You can't do this. Oh, but it's all right. She recognizes there's nothing between her and me anymore. She's an honest person, Diane. So it's all settled. Darling, we can be together all right. be together always now always what's not that don't you believe it yet if just something I never counted on one time I never even that hope for it

you've given up your family your home and your children you must love me very much you're being away showed me I love you more than I ever knew every art empty couldn't do a thing down down just wondering about you and what you were We're doing waiting for you to come back.

Am I really that much of your world? You're all. My world. If I ever lost you now, I'd... Well, we don't even think of that. No. We mustn't think about that ever again. No. What was it you wanted to tell me?

Nothing. Nothing important. Richard. Yes, dear? When, uh... when are we going to be married? walk him till he cools off and no water till sundown. Susan, you wanna? Anything? Fine.

Hey, Johnny. Yeah? Mail coming yet? Yeah, sure. It's a letter from New York in small feminine handwriting. You know what looks awfully thin to me? Shut up and hand it over. It's a first letter.

Ha ha ha. Mike, what's the matter? Nothing really much. No. Really nothing at all. It just seems it was a first class chump in the eyes and teen. His name's Mike Bradley. You mean? I mean, that works. She's taken a run out powder. She's married that guy in New York.

Oh, gee, that's tough, Mike. It looks like all women are the same, doesn't it? Only most of them aren't so frank in admitting they're only out to make a sap out of them, man. I never dreamed it about her.

It's brutal. Sure. Everything seems brutal when you're on the losers, end of it. But I guess I'm well out of that one. No, how does a dame like that figure things anyway? Can't she recognize a real guy when she sees one?

It's not that point. She's got what she wants. She'll live up there in New York spending her days buying furs and diamonds to show off an evening at night clubs. Probably her husband's a good guy, too. Just another set. Only he doesn't know it yet.

Is there anything I can do about it, fella? Sure. If I ever go up to New York again, keep reminding me that Don Juan and Kazinova have the only real slant on women. women love on and leave them.

Wait please, Cass please Mr Brown. Good morning Mrs Field. We haven't seen you since you and Mr Field's return from your honeymoon. No, we've been on Long Island this fall, but we've been town all winter.

Anything I can do for you Mrs Field? I'm looking for a pair of skis. It's Field and I are going to like classed for a couple of weeks. You'll find them on the third floor Mrs Field.

Stay here, elevator straight ahead. Excuse me. Where's your gun to pop it? I want to buy you a right for a second. Mike. Thanks. Mike. Hello. Fancy meeting you in your own hometown. How are you Diane? This is a surprise.

Yes. How long have you been in New York? I don't know. Two or three weeks. Where are you, shopping? At the Westmoreland. I'm my car outside. Can I drop you anywhere? No thanks. I think I'll walk.

All right. How's Johnny? Been well and happy? Sure. You look pretty well. I can't complain. I'm glad, Mike. So am I. Now, what are you doing? Buying a store out? No, no, just winders shopping.

I'm afraid I've got to run along. I'm supposed to be at the club's divorce luncheon. Well, Diane, keep up the good luck, and I'll tell Johnny I saw you. Mike, can't. Couldn't we go some place and talk?

Sure. Providing you can break that date and have lunch with me. That's all right. Providing you let me pick the place. Anywhere you say, Mike. Yes, that's fair enough, isn't it? Oh, I'd do someone to talk to.

Sure. I know I need little joint just about a block away from here. Long term, it was an expensive. Excellent, Felix. And I like your little private dining room. A nice, intimate feature that New York should have borrowed from Paris long ago.

Quite so busy. Quiet, then, as you say, intimate. Liqueur, Madame? No, thank you. No? All right. Anything yet? No. Very good. This field? First time you called me that. Okay, it's the last. But while we're on it, how's it working out?

My splendidly. For you and for him, both, hmm? Of course. That's fine. How's his health? Why? Do I really deserve that much, Mike? I'm sorry. If I felt that was below the bell, I didn't mean it.

Skip it. You skipped. But I see you're still the same healthy girl, aren't you? Not a doctor's bill, not a dentist's appointment, not even. Not even the son. Hot Mike? The son. Don't you remember?

We went a little balmy under at once. We would be going to settle down on the Argentine for life or something. Right. Well, that's out. I don't blame it. But we blame ourselves if we didn't take an hour or two of it.

Now that they've stopped the clock for us. You don't mean that, Mike. You can't mean it. What's on that? Do you like to run away and be caught? Really, Mike, please. I've got to go. I don't know why I ever spoke to you.

Because you remembered something you missed? That's why. Because you're only out for thrills anyway. And I was once sappen after take you seriously. No, Mike. No. Give me, Diana. Diana, I waited so long to hear you say this.

Diana, why did you do it? Why? Why did you write that letter and let me spend a year thinking of you? You, I said. Well, I thought I owed you the truth, Mike. And like a poor, deaf-y kid, I believed it.

But only because I was counting the days, I guess. No, Mike, really. It was true then, and it's true now. Only this is true. You're here saying meaningless words while all the rest of you keeps telling me differently.

Every second. Mike, there are lots of people, men and women who are, well, drawn to each other, sort of a little spot that flashes up like a sky rocket every now and then. Well, you're trying to turn the sun.

Our sun into a firecracker? It can't be done, dana. No. I guess it can't be done. So that changes everything? Nothing's changed, Mike. There's Richard, and there always shall be. Why? Why didn't you tell him what...

Well, I couldn't let him down then. He's turned his whole world, his whole life over to me. I can't ask him to take it back now. It would disappear and he'd be alone. How about you? Me? What about us?

Grand and Barrett. Oh, no. Now that I know, do you think I'll stand here? Please, Mike. This can only meet one thing first. I think you'd rather love me than hate me. Now you don't hate me anymore.

And I thought I'd rather have you hate me than love me. Now I know I've spoke to you today. Because I hoped your eyes wouldn't be so hard. They were. But now they're not again.

This is the only way I could think about them and go on, Mike. Dina, you must stay. No. Then I've got to see you again tomorrow. We're going way tomorrow night. I'll be busy. Where are you going?

Goodbye, Mike. Mike, darling. Do you realize what you're doing? Yes. I'm keeping you locked in my heart where nobody else will ever be. We're only I can talk to you without ever seeing you again.

Listen for me and yours, Mike. Always. In case of identification, this is the Columbia Broadcasting System. The third act of chains starring Joan Crawford as Diane Lovering and French O'Tone as Mike Bradley will be heard shortly.

For the first time in 25 years, I've broken an ironclad rule. And given an important role to a person who has never been before a camera, the exception to the rule is Helen Burgess. I noticed her in the studio restaurant.

And so I thought with a distinct mark of genius. She had a contract with Paramount, but there was small chance of her ever appearing in an important part. And she had yet to see the inside of a studio soundstage.

I gave her the very important role of Louisa Cody, Buffalo Bill's young wife, and the Plainsman. I'm not going to prophesy whether or not she will be a great success. You can decide that when you see her.

She comes to the stage of the Lux Radio Theatre, direct from the set, in costume and makeup. And her weeks work with Miss Burgess has shown me that my confidence is justified. A little girl with a great talent, Helen Burgess.

I'm so grateful, ladies and gentlemen, for this marvelous chance to work under Mr. DeMille's direction. And if it's a thrill to be the discoverer of someone you, the screen, it's much more of a thrill to be discovered.

I'm sure that everyone in this audience wants to know something about you, Helen. And someone has said that there is nothing so interesting as a fact and nothing so vital as vital statistics. So what are yours?

I was born in Portland, Oregon. And next year I'll be able to vote. I also lived in Tacoma, Washington for a while before coming to Hollywood. I went to Hollywood High School like baby Daniels and so many other than the Mill Discovery.

One difference in your case is that you had never appeared on the screen at all. Most of the girls like baby Daniels and Gloria Swanson who finally found themselves in the the no bath tubs were bathing beauties to start with.

Well, I envy them whatever experience they've had. And I walked out on the set for the first time and met Gary Cooper and Gene Arthur, Charles Bickford, James Ellison, and the rest of the cast.

I was so nervous my fanny coats kept rustling. The man in charge of the microphone said it sounded just like a ton of coal going down the chute. Don't ever fear being nervous, my dear.

This is your first picture. It's my 63rd. I begin to get nervous a week before the starting date on every picture and don't get over it until the week after I finish. The first time I'm not nervous before starting a picture, it'll probably be a bad one.

Well, it wasn't nearly so terrifying walking onto the set, though, as it was seeing our first day's work on the screen. I was so afraid I hadn't lived up to expectations that I'd have run away but for Gary Cooper.

Gary said, well, don't be scared. Hell, I'm as acting as a cinch. I'm telling you, now you stole every scene. I happen to know that just about then, Gary's knees were knocking together so hard they sounded like Casa Nuts.

Well, the thing that makes me feel most of these is that everybody else in the cast is so much at home. Some of the players have been in every one of the 63 to mill film.

You'll find that the mill cast is not just a collection of players, it's a reunion. Well, I can think of only one bigger reunion in Hollywood. Get together all the pictures stars who use lux toilet soap, and then you'd have a reunion.

And there seems to be the same friendly spirit here in your lux radio theater, Mr. DeMille, and there isn't your cast, which is probably rather show as good as a soap. Good night. Good night, Starlox.

We continue the Lux Radio Theatre play chain, starring Joan Crawford and Francia Oton. It's the evening after Diane's unexpected meeting with Mike. She and her husband are at home, dressing for dinner. Jan? Yes, Richard?

All packed to go to Lake Prasad tomorrow? Almost, but don't worry. Amy never forgets the thing. Good gosh, I'm hungry. What's for dinner? I really don't know. Ah ha, be kidding to forget your wife Lydude is already eh?

Yes, I mean it won't happen again Richard. Get your skis today? Skis? Oh nah, nah, silly, I forgot all about them. So that's my girl with the efficient hit for remembering. Been talking about skis all week and then goes and forgets them.

I'll ask them to tent some up by express. Are you all through at the office? All cleaned up. Good. Then you sleep late in the morning and stay around the house with me until we leave for the train.

That's the board of governors meeting clubs. Long as I'm in town, I've got to attend. Richard. Yeah. I've got a marvelous idea. Name it. Let's not wait for that stuffy train trip tomorrow night. Let's get the bed early, get up early, take the open car and every fur robe in the house and motor up.

If we live by seven, we can make classes by six in the evening no matter how much snow. Mmm, pretty cold ride. Oh, we'll put the cobwebs out of our brain. See, what makes you so anxious to get away on our little holiday?

You. I make you exist. What's easy you anyway? You've been talking riddles ever since you came home today. Have I? Well, it's just that I want to be with you alone. Just us two together. Away from the whole world.

Oh, I can't explain what I mean. Why, Diane. I believe there tears me rise. Darling, I'm really touched. We can, motor up, can't we? I'll say we can. We'll run away from everybody and everything.

Oh, thank you, Richard. One game. Are we glad we're here, aren't we? It's very invigorating, sir. Is his field still out skiing? Yes, sir. Oh, sir, a gentleman flown by the name of Bradley. Bradley? Bradley? Don't know any Bradley, do you want me?

Yes, sir. I told him I never disturbed you when it came downstairs, sir. Then he asked for Mrs. Field. I told him she was out. And then, before I could ascertain his business, he said he was coming right over.

Right, over, where for him? From the village, I presume, sir. Hmm. Kidness, do you? Was this your noble idea, James? This is field-ordered itself. James, I'm a very fortunate man. Yes. If that's that fellow Bradley, show him right in.

Yes. I'm Michael Bradley. Is Mr. Field in? Yes. It's wait. Mr. Field is expecting you, sir. Mr. Field? Yeah. Mr. Bradley? Yes. Well, you look fresh from civilization. It came up on the night train.

Is it not, want to? Excuse me. I'll go right on with my breakfast. I'm going to go around with my breakfast. Don't write, James. Better wait, Mr. Badly. Have you had yours? Thanks. I think your rather this would be private, Mr. Field.

Well, I... Well, very well. James, I'll call you when I want to. Yes? Mr. Field is only one reason I felt I could come up here to see you. And that's because your wife told me you dealt with things pretty straight.

My wife? Oh, you dealt with Mr. Field. I'm in love with her. What? And she's in love with me. Are you insane? No, I met her on the boat last year. It was in the car, Mr. Field.

Only I couldn't get it. It was admitted. Until one day she came out to my ranch. Then I knew. We both knew. What is this? Some filthy black-mealing situation. No, no. Even then she was loyal to you.

If you've got anything else on your mind, forget it, because it isn't so. But you see, she came back to tell you about me only. She found out how much she meant to you and she couldn't let you down.

Well, I guess that about settled to the matter, doesn't it? It can only be settled one way, her way, which she's too unsophage to face. So I'm trying to face it for her. Oh. I suppose she asked you up here so that you might...

I called your Robison and learned you'd left for the Edirondacks earlier than you expected. I simply knew she'd run away from me. Bradley, you're kidding yourself. No, I'm not. You're in as good a position as I am, but no a man can't kill himself about a woman.

I think this talk is finished, Mr. Bradley. Not yet. Diane came through for you, didn't she? And now it's your turn to come through for somebody else. And what do you propose that I should do about it?

Give her up. Give her back to herself. Oh, I know, I'm getting a break, but there's nothing I can do to keep them on your side. And I know it's tough, but there's nothing you can do.

I could drop out a site and it wouldn't solve matters. Only a miracle in blood and body could change this picture field, and neither you nor I believe in miracles. Get out of here. Now, wait a minute, Mr. Field.

Get out of here. All right, then, get this. I'll take her away from you. away from it. I never tried but I can and now I will. Right past divorce courts and married certificates and all the rest of it and will be more openly and honestly and completely together than all of you heard me get out.

Right. And you love this man. No Richard. He said he could take you away if he wanted to. Is it true? No he couldn't. Look at me. You had no right to do this. I told This is my husband. He means everything to me.

Everything. Can't you understand? Can't you see what you're doing? No, Diana. I think she decided. No, she hasn't. All right, then I'll decide. Put down that gun. And get out of the way. Put down that gun, Richard. No, you can't, it's my...

I knew, Diana. I knew it, Mike. I just wanted to be sure. What are you going to do? Do my dear. We're going to settle this now, like, civilised people. Mr. I Sure, yes, I understand I think mr. Bradley straight. I don't when you're saving back to the Argentine mr. Bradley God next week perhaps next week

That Doesn't allow you much time You mean I mean that you'll be saving you my day Richard I I can't say anything. You're not supposed to. You're not to feel sorry for me. You've given me two years, Diane.

Two glorious years. I'm grateful for all that, ma'am. Please don't. Diane, please. I said you were not to feel sorry. You seem to have a simple problem. You versus well as a jealous age of middle age, you have your evil, Diana.

I want you to have it. You've been in your love with Mike. I don't deserve this. Yes, you do, Mike. You deserve anything. Anything that'll make her happy. Mike, it's glorious out here. Wanna go on?

No, let's just stay here. I want to drink it only. A moonlight, a pampus. There's a southern cross up there. Where? Just about where it used to be. Oh, it's more wonderful than ever. And so are you.

Chains are broken. Now a play comes to its close. A Joan Crawford and Prancho Tone will be back in a moment. in a moment for a curtain speech.

Two and a half million letters and postcards from movie fans are received at the studios each year. The bulk of this mail is addressed to the stars and asked the same question, how can I get into the movies?

Tonight, that question will be answered by the dramatic coach of Metro Gogwin Mayor Studios. Formerly director of the famous little theater of Dallas, Texas, he probably interviews more candidates for stardom than any man in Hollywood.

Ladies and gentlemen, Mr. Oliver Hinsdale. Well, Mr. DeMille, I think that even you must admit that that's a pretty big order. For, of course, in this case, how can I get into the movies means how can I act in the movies?

Acting is an art, and an art of any kind is a hard taskmaster. There's no formula, no open set to me into this land of make-believe, save that of work. Work, believe me. There is, in addition to this prime requisite of work, the requisite and the requirement of imagination, idealism, sincerity, a knowledge of life, true love of mankind and a good appearance.

These requirements are so essential and so seldom found in one person that when I came to Metro Golden Mayor, they told me that they would be well satisfied if I found even one promising actor.

In five years, well, we've been perhaps a little more fortunate than that. One must have more than a love for acting. You must be willing to leave all for it, even to go without food for it, to sink into live nothing but theatre.

It's not merely a place to show off a good voice, a good profile, a fine figure. We must be careful lest our urge for the art of the theatre is not confused with the desire for self-explanation.

When we have reached the stage in our thinking that we ask nothing of the theatre but are willing to give all to it, then we may know that the urge is real and cannot and will not be denied.

There's no one key that will open the gates, but a combination will, perhaps, find that combination, and you will enter, but once in the real work only just begin. Here are a few of the combination numbers, so to speak.

The astrant must have a broad vision and understanding, a cultivated mind. He should know history, literature, painting, sculpture, music. should know his Bible, his body must be healthy, active, and must respond to his bidding, a fine, clear complexion which denotes health, vigor, vitality, and there is no better way to a clear complexion than a clear skin.

And I know of no better way to a clear skin than by the use of pure toilet soap, luxe toilet soap, for instance. You do not need to be beautiful, Marie Dressler and Wally Bire never won beauty contest.

If you are beautiful, don't be misled into thinking that that's all that it requires to get into the movies. The ranks of Hollywood's unemployed are full of those with nothing but beauty. I've tested at least a hundred thousand young men and women for the screen, including those that I've judged from photographs and written reports, of these only seventeen have made the

grade. Among them are Jean Parker, Robert Taylor, Irene Hervey, Martha Sleeper, Mary Carlisle, Robert Young, Betty Furness, Michael Whalen, Virginia Bruce. Some of the others are already equally well known. Others you may never hear of.

If you are still determined to go into pictures, take whatever opportunity you can get. Go to the little theaters or any amateur group in your neighborhood. Start in if necessary by sweeping the floors. Paint scenery, understudy.

Be a prompted. Do anything. And don't worry. If you think perhaps that I have painted a dismal picture, Bear in mind that every major studio spends thousands of dollars yearly, scouting the country for promising performers.

We always need talent, your big chance will come when you are ready to accept it and only then. Good luck and good night. Before the movies discovered Glamour, it was just an old Scotch word meaning a spell cast by magic.

But a good two-word definition of the term today would be Joan Crawford. She is of course one of the best dressed women in Hollywood, And I seemed to have contributed to our leadership and style because I discovered her designer, Adrian.

In fact, Adrian asked me to look at the first gown he designed for. I agreed and waited for her to come to my office. After a while, it was a knock at the door. I said, come in, Joan. The door opened. Joan took one look at me and fled.

Apparently in terror. I didn't know until this week why she ran away. And think the reason is one she'd better explain to you herself. Miss Joan Crawford. To tell the truth I was scared to death of Mr. DeMille.

I had visions of entering a room and complete darkness and suddenly finding myself underneath a blinding spotlight with Mr. DeMille seated on a throne and shouting, it won't do. The shock of finding you a human being was too much.

I had to run. It's time to do something when beautiful women run from you like they do from Hoppeau Marx. But no need to apologize, Joan. Your performance tonight makes up for everything. My congratulations to you also, Franco.

It's been great playing on a program that Joan and I listen to so often CB and I'd like to congratulate you on the way you speak. Joan and I call you the final G-man because you never drop a final.

And I speak an entirely different language on the set. Out there, Jenny isn't a girl's name. It's an electrical generator. A hi-hat isn't something you wear. It's a camera stand. A lily isn't a flower. It's a good take or scene. I once asked a new assistant director to rush a lot of babies on the set. In 10 minutes he was

He was back with about 50 children. And what I wanted was some spotlight. You learn more in pictures of the new language. For instance, Clark Gable earned a swim. And we were making change, a script call for several swimming scenes.

And Clark couldn't swim the stroke at the time, but I taught him how. And then we turned. He taught me how to shoot a gun. The person where I'm a chess player. You can see where Joan gets a complexion, CV.

Swimming, shooting, he's out of doors all the time. In just a minute there. If you were a little more of the live, and to know that Lux Hol itself has lots to do with it.

I've used Lux the years at home on this set, and I even carry it with me when I go away. It's really wonderful. So that's the secret, is it? Here's another little secret, C.V. Jones taking singing, listen.

Oh, what you're saying, Forrest John? No, Mr. DeMille. Joe Hol. Hmm. June, whoever heard of saying no to Mr. DeMille. No? Millions of people just heard it. But I'll make up for it by announcing next week's show.

All right, thanks. Next week, Barbara Stanley and Fred McMurray will be with you in the Lux Radio Theatre. The play is Main Street, adapted from the famous novel by Sinclair Lewis. And with two such marvellous players, you can look forward to a really great program.

I thank you all and good night. We'll be listening in next Monday. Good night, C.V. Good night. Thank you, Miss Crawford and Mr. Tone. And lots of success to both of you. In your new Metro Golden Mayor picture, the gorgeous Hussy, soon to be released with Robert Taylor, Lionel Berivore, Melvin Douglas, and James Stewart.

Our cast tonight included Gilbert Emery, Wally Mayer, Lou Merrill, Frank Nelson, Margaret Seden, Walter Solderling, and Leora Thatcher. Miss Crawford, Mr. Tone, and Mr. Hinsnold appeared through courtesy of MGM. Our play, chained, was based on the MGM port-a-play of the same name, which starred Miss Crawford and Clark Gable.

Mr. DeMille and Miss Burgess appeared through courtesy of Paramount, and Mr. Lewis Silver's 20th century fox, where he has just completed the musical arrangements for To Mary with Love. And now, Mr. DeMille. As Ms. Crawford announced, our play next Monday night is Main Street, starring Barbara Stanwick and Fred McMurray in this modern classic by Sinclair Lewis.

For sponsors, the makers of Lux's toilet soap, join me in inviting you to be with us at that time to welcome Ms. Stanwick and Mr. McMurray. This is Cecil B. DeMille saying good night to you.

From Hollywood, cool tale on the 20th Century Fox production, Sing Baby Sing, is the Columbia Broadcasting System.