Lux Radio Theatre: The Phantom of the Opera

Lux presents Hollywood. The Lux Radio Theatre brings you Nelson Eddie, Susanna Foster, and Basil Rathbone in The Phantom of the Opera with Edgar barrier. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen.

A Broadway first night thrills with a few hundred people who can enjoy the play. A Hollywood premiere is exciting for the few thousands who gather to see the stars. But opening night in the Lux Radio Theater belongs to the millions, the millions in American homes and camps from coast to coast, and it belongs to our boys in uniform beyond the

seas who join us for the first performance of our tenth season. The real adventure is not in the lights of the crowds, but in the historic privileges of the theatre, in hearing a famous star score again in a brand new role, and in the joy of discovering a new star. All that is yours tonight, when we present Nelson Eddie and Susanna

Foster in their new universal technical success, the Phantom of the Opera, and with them, in one of the theatre's most interesting parts, we bring you Basil Rathbong. It's the first of a big parade of stars and plays that will challenge your attention and our ingenuity. Tonight's play has the thrill of mystery, the gayety of comedy, and to stop

everything else one of the great singing voices of our day, the romantic baritone of Nelson Eddie. And if that isn't the right way to start the lux radio theatre off on another season, I don't know how to find it. We hope to make this season the best in our history, and we counting on you to help us make it the best. By help I don't mean just buying Lux Toilet

Soap. I think you'll do that anyway because you know how good it is. But backstage in this theatre we need your help in selecting plays. We want you to tell us what stars you'd like to hear. Everybody has a personal preference and you give all the orders for our command performances. Your loyalty to Lux Toilet Soap has kept this curtain going up for nine years.

award has been a fine product and the finest plays and stars we could discover. And now the thrill of another opening night as the curtain rises on the first act of the Phantom of the Opera, starring Nelson Eddie as Anatol, Susanna Foster as Christine and Basil Rathbun as Tordowne with Edgar barrier as Rowell.

In the year 1880, the old Paris Opera stood like a giant torch in the heart of the city. A thousand windows ablaze with light, but there were shadows too. Shadows that flitted high in the gallery over the great stage.

Shadows that lingered in the sub-sellers far beneath the street, where the black sewers of Paris ran sluggishly in the dark. But we were not concerned with these things, or so we thought at the time.

We of the opera knew only the light of the dressing-rooms, the bright gaity of the stage. I suppose it all began the night we sang Martha. The house was crowded, enthusiastic. There were no shadows for us that night.

That night, no hint of the strange things that were about to happen. But I noticed at the finale that Christine was not on stage for the curtain call.

Christine Dubois, who sang the role of Nancy. It was not like her to miss the finale of the act. Stage, when the curtain had fallen, I saw Christine hurrying to her dressing. Christine! Christine, wait!

Wait! You're not at all! What is it? What happened to you? You went on stage? Well, I... You went ill, were you? Oh, no, no. You're all right, you're sure? Of course not at all. Do I look all right?

Oh, you look lovely. What happened? Well, I had a visitor. Somebody wanted to see me. Oh? And Medmazell de Bois. Oh, good evening, Maestro. Medmazell, I understand that you were entertaining a gentleman backstage during a performance. Is that true?

Yes, Maestro. You are not the greatest soprano in the world, Medmazell. Not yet. See you please not take liberties. See me later in my office. Yes Maestro, on a tour. What will he do? Don't worry, he's just barking again.

Who, erm, who is the gentleman? Well, he's an old friend of mine. But not so very old. No. He's Inspector D'Obeau's as your team. Inspector? You mean a policeman? Well, he's not an ordinary policeman.

Oh, does he sing? No. He's a graduate of the Military Academy at Sans-Sir. How much does this man mean to you? Well, I'm not sure. Christine, it's not like me to preach. But someday you'll have to choose between your career and what's called a normal life.

You can't do justice to both. I think you'll find that music has its compensations. In other words, you don't think I ought to have supper tonight with Raul? Erm, no. But if you want to talk, that would be alright.

Definitely. We'll see. There was another man that night who missed Christine's appearance during the finale. His name was Eric Clodin, a violinist. He was a strange man this Clodin. Quiet, almost shy, but a brilliant musician.

When Christine came from Bill Nerve's office, Clodin was waiting in the passage. Good evening, Maamoiselle. Good evening, Clodin. You've been overseas now. Thank you, Maamoiselle. Good night. Oh, Maamoiselle, let me I speak to you for a moment.

Certainly. You weren't on the stage tonight for the curtain call. Everyone on the theater seems to have noticed that. It's really quite flattering. Why weren't you there? What? Oh, please forgive me, but I've been here so long that you, that everybody, everything connected to the opera is so much a part of my life.

Of course. But you see, you will know it's waiting. Yes, you weren't ill, were you? You're not in any trouble. Oh, it's impotent, I know. No, I didn't. You're very kind. And I'm not in trouble. Good night.

Christine! Is he? Oh, I'm so sorry. I shouldn't have called you Christine. I'm sorry. Good night. Good night, no mozzarella. You come in? Oh, Claudette. Yes, Maestro. Close the door, please. You know why I sent for you, Claudette?

I think so, Maestro. I have brought my violin. Take it out of the case, please. A Claudette. Now, I have sent this call in the violin section. It was not until tonight that I definitely located the sauce of the trouble.

Let me hear you play, Claudette. Yes, Maestro. What shall I play? Anything you please. Yes, Maestro. Wait a moment. What is that? A little song. A lullaby from Provence where I was born. Oh, it is very nice, very charming.

I've written a concerto on the theme. Yes, yes, charming, Claudette. Too simple. There's supposed to be a stage of opening movement in the third act of Martha. Well, it's no use, Maestro. Something's happened to the fingers of my left hand.

I see. Perhaps it's only temporary, Maestro. Perhaps it will get better. I hope so. In the meantime, I'm sorry, Claude. I'm very sorry. You've been with us a long time. Twenty years. What am I to do, Maestro?

I know it's hard, but no doubt you've saved enough to retire on. Yes, yes, of course. And in appreciation of your long service, I shall arrange with the directors to have a seasoned ticket issue to you.

Thank you, Maestro. to clog down himself and senior faretti, the singing master.

My dear God, if you don't mind my saying so, you're a fool. Senior faretti. For three years I've taught Christine Dubois and you have paid. Why? How can a man of your age hope to interest a girl as young as a young man?

Naseen, you're pleased. We agreed never to discuss my motives. Very well. So now you have been dismissed from the orchestra. You can no longer pay for her lessons, is that it? Yes, senior hope. But I hope that you would continue to instruct her.

Oh, what? Just for a while. I'll have money soon. A concerto, I've written. I've taken it to Musi play. It's going to be published. Yes, yes. I know. Every violinist has written a concert. Then you'll go on with the lesson, see y'all?

Why should I? Why should I assume you're a burden? The girl means nothing to me. But her career means a great deal to me, see y'all. More than anything else. I'm sorry for that. Really sorry.

I will let her come a few times. Then I will tell her she no longer needs me. But that isn't true. Perhaps not. See, if you will give me just a little more time. You will have time, Clodar, when you have money.

Come back when the chiffley yell has bought your concierge. For weeks, Clodar haunted the publisher's office. But all was it was the same story. Miss, your play hour was too busy to see him. One evening, just a dust, Clodar forced his way past the manager up the stairs and to play out studies.

Who's that? What's your play, Elle? What are you doing here? I've been waiting to see you since this morning. Didn't I tell you I was busy? Your hat's more acid, please. Is this the bottle?

The blue one, dear. Pour it in the tray and be careful, dear. Mr. Play! This should be the best etching I've ever made, your dear. Mr.! Please be careful. Those plays contain etching acid. Would you like to burn the skin from your hands?

I'm sorry, Mr. But my manuscript. I must find out about my concerto. Yours, Jack, would you mind giving the fellowist manuscript? You will find it on the table if it's anywhere. What is your name?

Well, if you don't understand, ma'am, it's the only copy I have. It represents two years' work. You heard what the lady said? Yet out! But it was bought into this office. It must be here.

It must be found. Did we ask you to bring your manuscript to us, Claudine? Perhaps some employee has thrown it into the waste paper basket where it probably belonged. Good night. Listen! I'm sorry. I'm sorry.

I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I listen. That piano. That's my music. Someone's playing my music. I thought I told you to get a thief.

You stole all my music. Thief. Help. Let it go. Let it go. You stole all my music. Thief. Thief. The talking is... You're here. Let him alone. I'll burn you if you don't let him go.

It is happened. A thief. My work. My music. My music. It was mine. He had no rights. You. In that room a man laid dead on the floor, and Claudine stumbled down the steps, screaming in agony, the acid burning into his head.

Into the street he ran with his hands before him, groping his weight blindly through the darkness. He was seen once on the rudige-ar-dah and again in a dim street near the opera, and then he was gone, lost in the black of the night.

There was a search, of course, but he was never found. It was not a thing that was close to any one of us. It was something you read about in the newspaper, shut her over for a moment, and then try to forget.

In a few days it was out of our minds completely, for Christine and I were rehearsing a new opera. One morning we were sitting at the piano in our hall. That's very nice. What is it, Christine?

It's a lullaby of Provence. Provence? I was born there, you know. I've known it for years. Everything's I can remember. Sing it for me. She likes to like. Hear the test! Lovely, Christine. Christine!

Yes, Aunt Delta. Didn't you hear the door? Miss, your door bare is here. Morning, Christine. Oh, good morning. You see, Miss, you're? They call this rehearsing. Rehearsing, huh? Well, I'm sorry to intrude, but I must speak to you, Christine.

But, but you see, I'm busy right now, Raul. Honor tool has been helping me. Yes, to rehearse. Yeah. That Miss, she is very kind. Well, not at all, Miss, sir. I find it a pleasure.

I'm Anatole Gaurin of the Opera. Oh, I'm so sorry. This is Inspector Dubeil. That's your take. Oh, the policeman. Police Inspector, Miss Eu. Yes, of course. I've heard of you, Inspector. Your work must be very exciting.

Oh, not half so exciting as yours, Miss Eu. It doesn't lend itself to self-expression. Christine, I'd like to see you alone, please. I'm here on business. With me? What business could men with Elhav with a suitate?

What is it, Raul? If you don't mind, I'd rather honor to restate. very well. Christine, do you know Eric Clodin? Oh, yes. How well? I knew him as a violinist in the orchestra. Well, I met him a few times in the four-year on the stage or outside the opera, but that's all. He acted a little strangely.

Strangely? How do you mean? Well, I don't know. He just seemed eccentric, but harmless. I thought he was a rather kindly fellow until I read of the murder. What is it, Raul? He was a kindly fellow until he thought Plaill was robbing him of his work.

Then something snapped, and he became an homicidal maniac. But what is all this to do with me? Well, we found something in his room, Christine, that connects you with him. No doubt you can explain.

What is it? This is that you were it. As you can see, Christine, it's the image of you. So that's what became of it. Be good enough to explain yourself, Miss. Certainly, that's that you were it is mine.

Yours? Definitely, I made it. I intended to make you a present of it, Christine. How nice of you on a tour. Unfortunately, it disappeared from my dressing room. room. It's an extraordinary likeness. My compliments on your versatility, Miss you.

Christine must have posed for this many times. I never posed for it now once. You did this from drawings, Miss you? And from memory, Miss you. Stodden memory. Thank you. But it's a simple matter to recall Christine's face and figure.

I'm sure you have found it so, Miss you. Mm-hmm. But what was the statuette doing in in Clodan's room. He must have stolen it, so obvious. Is it? Speaking purely as an inspector of the Cirque, I'm afraid even the obvious needs confirmation.

What is a man, Miss Hure? I'm sure you can understand. Sitting there in the orchestra pit, night after night, looking at Christine, Clodan probably fell in love with it. You admit that is possible, no?

Mm-hmm. Christine, did Clodan ever seek more than a casual acquaintance with you? No, never. Can you imagine so difficult to love, Miss Hure? Clodan was barely 50. No doubt he lacked fire. No doubt. Christine, this statuette is yours. I give it to you.

You'll give it to her? Yes. Well, that's interesting. Alex said it is a gift from both of you. Thank you. Oh, you're quite welcome. It seems I have the worst of this bargain. In the future, Miss Jörn Spek, or I detect you model.

In any case, that was a bad clue. Oh, not so bad as it seems. It enabled me to recover Mademoiselle's statuette. Wet. Is that your carriage at the dormers here? Yes. Would you be good enough to give me a lift?

Well, which way are you going? Oh, it doesn't matter. As Inspector of Police, I have business all over Paris. Well, in that case, of why, Christine? Of why? You've been most helpful, Christine. Most helpful.

I hope you catch Claudin. Thank you. Well, you ready, Monsieur? At your service. Well, after you, Monsieur. the you miss you thank you miss you hahahaha we could laugh then because the horror had not touched us we didn't know that in the cabins of the sewer beneath the opera there was a shadow

darker than the surrounding gloom the shadow of a man in a black cloak his face hidden behind a mask this was the man whose features had been burned and whose mind was on fire for long that shadow was to envelop all of us in a few moments mister the mill and our stars knelt and Eddie Susanna Foster Basil Rathbone and Edgar barrier

will return in act two of the phantom of the opera one way you can be sure of having a last word in an argument is to have an argument with yourself as this young lady is doing for instance I don't see anything the matter with my skin Really?

Doesn't look as nice as it used to look. It does so. It's just that the light over this mirror is so bright. Well, doesn't Johnny Brooks always tell me I have a complexion like a million?

As in said so for a good long time. Well, he's been away at camp, smarty. That's why. He's due for a furlough most any time now. Maybe you'd better start doing something about your skin.

How about some real beauty care instead of that dip, dab, lick and promise kind of treatment You've been giving it lately. Maybe I'd better. Yes, I will. I'll try those beauty facial screen stars, you.

Active leather facials with luck toilet soap every single day. If it works for the screen stars, it ought to work for me too. Well, she'll find it does work. This gentle complexion care used by 9 out of 10 Hollywood stars.

You see, luck toilet soap is a real beauty soap. With leather, so rich and smooth and super fine, It feels like a caress on the skin. Lovely screen stars tell you they take their luck soap your officials this way.

They smooth lots of the creamy active lather well in. They rinse with warm water and spice with cold. Then they pat their skin dry with a soft towel. Now, that's a very simple, easy care, but if you use it every day, you'll find that soon your skin feels softer, smoother.

Takes on a fresher, lovely, or look. Why not get some luck, toilet soap, tomorrow? You'll notice each satiny white cake is hard-milled, that means it lasts and lasts. And remember, it's patriotic not to waste soap.

Use only what you need. Don't leave your cake of luck's toilet soap standing in water, and be sure always to put it in a soap dish that's dry. And now, Mr. DeMille returns to the microphone.

Act two of the Phantom of the Opera, darring Nelson Eddie as Anatol, whose Anna Foster has Christine and Basil Rathbun as Claudette, with Edgebaria as Rowell. There was a master key at the Opera House, and the night we were to sing Amour de Guar, the key disappeared.

Other things had been stolen, costumes, masks, but now the shadow had entrance to 2500 doors. He could roam at will from the sub-sellers to the very top of the auditorium, where the great chandelier swung over the audience. There were some who swore they had seen this shadow, flung on the walls of dim corridors, or crouching like a griffon on the high balconies over the street.

And there were some who swore they had heard mutterings in the deep cellars where the sewers ran clean. And tonight, so tonight it is amuré gouard, amuré gouard with an atoll garon, and the soprano Bianca Rolly.

Bianca Rolly sings tonight, not Christine Jugwa, where we shall see. We shall see. It was strange the way it happened. In the third act, the libretto called for me to give Bianca Rolly a cup of wine.

When she had drunk it, I thought for a moment that her face paled. She finished her aria and left the stage, but she was late for her next entrance. There was a wait. And then came the cadenza from our stage.

I knew that voice, but it was not Bianca Roli who was making the entrance. It was her understudy. Christine Dubois. Ah, wee! Second act, you saw me, my stroke. Madame Bianca Roli, we realized that you...

If you realize I was drugged, then tell that police inspector there to arrest the man who did it. We all know who it was. Anatol Garro. I know nothing of the sort, Madame. I am a police officer, not a psychic.

It is my duty to collect evidence without prejudice. Haven't you evidence enough? Everyone knows it! Madame, will you be seated, please? Miss Yogaro, is it true that you had the opportunity during tonight's performance to place the drug in Madame Giancaroli's glass?

Certainly, Miss Yohn's Spectre. We all did. It becomes then a question of motive. The motive is very simple. That all wanted to get me out of the way to make room for that... Are you referring to Christine Jupy?

I am! You heard, Miss Yogaro? Oh, yes. My damn is in good voice and most explicit. Have you anything to say, Miss Yohn? I deny him a damn accusation. Do you deny, Miss Hu, that you had any motive in drugging Madam?

I deny that I'd drug her. Miss Hu, Inspector, I do not understand your reluctance to make an arrest. You are not an examining magistrate. Can you substantiate your charge that Anatol Gao had a motive in drugging you and that the motive was Christine Dubois?

Why anybody would have for now would be able to tell you. Yes, he is not evidence for now. Then I'll go over your head. I have influence at the chute. I was drug tonight to the point of death.

And I insist upon the arrest of the criminal and his accomplice. And if you don't... One moment, Madam, please. You've heard Garon deny that he drugged you. As the inspector says, there is no evidence to warrant an arrest.

If you insist upon it and fail to gain a conviction, you'll find yourself in a very difficult predicament. Yes, quite right. And no matter what the outcome, don't forget that your career is bound to the pedisophora.

Whatever scandal injures us or any member of the company will injure you as well. Are you suggesting that I forget the whole affair? Yes. For your own sake as well as ours. Very well. That is under certain conditions.

I want a new understudy. Christine Duwad goes back to the cars and stays for the two years my contract has to run. No, I won't permit it. If any such arrangement is made I'll go.

My dear Anna Toll, I have not finished. I go as their father. I suggest that we all forget that anything happened afterwards. For once, Madame, I don't understand you. Oh, but it's so simple. Nothing happened tonight.

I was not drugged. And Christine Duwad did not sing. What? Madam, there are always critics in the house. You will send word to the papers that no mention of hers to be made. You'll do nothing of the sort, it's ridiculous. Besides, what about the public?

Shall we send word to the public to forget that Men was El Dubois was a sensation? If you are willing to ruin the opera for the sake of Christine Duwad, that's your affair. But you will either do as I say, or I will charge both of you with trying to murder me.

Do you understand that? Murder! Ah, Madame Bianca Roli. Good evening, Madia. Oh, Madam, you were magnificent tonight. Oh, my gess, please. You really thought so, Maria? Oh, yes, madam. The best I've ever heard you.

Especially in the park with Garon. The cadenza from our stage, it was so... Oh, you liked that, did you? Why, yes, madam, it is. Yes. Yes, I was. Very good tonight. My dressing gown, Maria.

Yes, madam. Ahh! Maria! Madam! Madam! What the matter with you? A man, madam. I tried the window on the balcony. Oh, don't be a fool. How could I... Madam! Good evening. What do you want here?

I'm sorry. I cannot let you see my face. You would not be pleased. Take off that mask on Atoll Garroen. You do not frighten me, Madam! It is not Atoll Garroen. I did not come here to frighten you unnecessarily.

Only to tell you that Christine Dubois will sing tomorrow night. Oh, yes! You will leave Paris, Madam. Leave Paris. You will see to it, of course. Yes, I will see to it, Madam. Get back, Madam!

Do you force me to reason with you, Madam? I will not leave. Get away from me! I am sorry, Madam. I am very sorry. Un atoll. Un atoll. What is it? But I'm the Uncle Rolly and I'm aid. They've been murdered.

The Opera was closed for almost a week. And then from somewhere within the darkened building, a note was written to the directors. Gentlemen, the opera must open very soon. Christine Juevoir will replace Bianca Role who chose to ignore my advice.

Good morning. Yes. Is Christine at home? Yes. Well, may I see her please? Come in. I'll tell her you're here. Thank you. Oh, I didn't see you Inspector. Good morning. How's the Opera Business, Miss you? Very poor at the moment. How's the inspecting? Very good. Splendid, glad to hear it. Thank you. Not

at all. Good morning. Good morning, Christina. Aunt Berta told me you were waiting together. Did you amuse each other? Good. May I have a little... Sorry, Mr. After you, Mr. After you? After you? Thank you.

What are you doing? What is it? Time, please. Anna Cho? They're going to open the opera, Christine. You and I are going to sing together. You are wrong, Mr. I'm sorry, Christine. They are going to reopen the opera, but without you.

Circumstances connected with the murder of Bianca Roli demand that someone else sing the leading role in your place. You may be interested to know Mr. Dober that circumstances connected with the murder of Bianca Olyd Amanda Christine does sing.

Well the police have changed that plan somewhat. We are going to draw the murderer out into the open by defying his warning. My men will be posted at every entrance and exit. And probably miss him.

Mr. I am aware that your profession requires a certain self-assurance but aren't you going too far? Not at all. I happen to have a plan of my own for trapping the murderer. So you turn detective, Mr. Dober?

I have. Well, very well, if it amuses you. I might add that my plan is strictly confidential. All I can tell you is that Lorentz is to sing the role. And I am not in the least interested in your plan.

May I have a word with you alone, Christine? Yes, that's what I came for. May I speak to you alone, Christine? But I'm going out. My carriage is just outside. I'm not going right now. I mean, I'm going later.

I'll wait. Yes. Yes, we'll both wait. We were certain now that the murderer was Erich Glodan. The plan I had worked out took me to the home of a great pianist and composer. On the night before we were to open I went to see Franz Liszt.

Very nice. But you really think this Glodan could be tempted to leave his hiding place and risk his life? Me and Erich Glodan here is on Concerto. Played by Franz Liszt himself, do you doubt it, Maestro?

Now, my plan is for you to play the Concerto between the second and third acts. And then when the so many crimes have been committed in the name of music, it seems only fair to use it now to avert one.

I am at your service, Miss Hughes. Oh, thank you, Maestro. And most exciting this detective worked. Most exciting. Well, it's more than exciting to me. I have the honor of being suspected of the crime.

Gentlemen, I have been very patient. Now I learn that Christine Jugwa will not sing. Gentlemen, if Madame Lorenzis sings in her place, You will be responsible. Two are dead now. Only two. There will be more gentlemen.

Many, many more." Larenzi sang that night. Through two acts we waited, and nothing happened. An old worker at the Opera House thought he saw a figure on the catwalk leading to the dorm of the theatre.

It was the old man's duty to light the monster chandelier. A great heavy thing of glass and fronds, held in place by chains. by chains. When the police searched the catwalk high over the audience there was no one there.

We began to feel secure. Christine had come to the theater but she was safe in her dressing room. When I entered from the wings at the finale of the second act, I was thinking only of the opera.

The We have a stop reach the car Rock of a nip You're the price Push the sea with me

Of your short home will rule Be patient and trust The sun's set The car

Closer I'm a poor The sway high above

It's swung to and fro like a giant pendulum Others have seen it too A woman in the audience scream There was no time to get out of the way. The audience below was frozen, staring up at the monster of glass and bronze.

And then it came hurtling down through space! Get doctors. Doctors. Get every doctor you can find in power. Watch every entrance. Let no one in or out except doctors in the injured. Christine. Christine, where are you?

He's in her dressing room. No, she's not in a dressing room. I've been there. I saw her, Miss Hugh. She went down the steps. You saw Christine de Blanche? Yes, Miss Hugh. Yes, Miss Hugh.

She was going down the steps beneath the stone room. I called to her, but she did not enter. Which way are the steps? All the there, Miss you. And there was a man with her.

A man in a cloak, with a mask covering his face. It's Claudine. She's with Claudine. Christine! Fire! We pause now for a special identification. This is the Columbia Broadcasting System. After a brief intermission, Mr. DeMille presents

Nelson Eddie, Susanna Foster, and Basil Rathbone in Act 3 of The Phantom of the Opera. Now our Hollywood reporter Libby Collins with a fashion tip. Well Mr. Kennedy, I thought our listeners would be interested in this little example of resorselessness on the part of one of our famous stars. Screen stars must look chic and glamorous

always you know, but they're subject to the same more time limitations as the rest of us. Take hairpins for instance. Why Libby, even a mere man has heard that hairpins are almost as scarce as nylon. Alas, that's true Mr. Kennedy, but I'm a pinot found some wooden ones that were lacquered in bright colors. Much too pretty to cover up, I'd have thought. So she

parted her hair and back, pulled it up on top of her head, and on each side of the part set a row of the colored pins to make a crisscross pattern. Look, cutest could be, too.

That sounds like, Ida Libby. She's a smart and bright as quicksilver. Yes, Mr. Kennedy, and she darts around Hollywood almost as fast. She has to, what was her studio work and the hours of war work she puts in. Not much time for beauty care, either. That's Why she depends more than ever on luck's toilet soap for complexion loveliness.

My daily active lather facials are such a wonderful beauty age, she says. Busy women everywhere find that's true Libby. Those luck-soaked beauty facials take just a few minutes a day. Yet the creamy lather gives skin, gentle, thorough care, it must have to be soft and lovely.

Yes, a few minutes every day to smooth the rich lather in, and you can just feel your skin taking on new freshness and beauty. No wonder Luxe toilet soap is the beauty soap of the star.

Reason enough why every woman owes it to herself to try it. Luxe toilet soap is as fine as soap as money can buy. It's hard milk. That means it lasts and lasts. Each cake is set and smooth and fine.

And if your dealer is temporarily out of stock due to wartime conditions, please be patient. He'll have more very shortly. Remember, Luxe toilet soap is worth waiting for. your Hollywood beauty care soon. Now, our producer, Mr. DeMille.

There's always excitement backstage after an opening, and you're invited to join us for a chat with our stars, and the curtain falls. But now here's Act 3 of the Phantom of the Opera, darling Neltonetti, Susanna Foster, and Basil Rathbun with Edgar Barrier.

Christine had gone with Claudin. The chorus that night had worn masks, and Dober had arranged for the police to wear masks too, so they might mingle with a crowd backstage. That was the way Claudine had enticed her, thinking he was one of Dober's men who had come to protect her. Christine followed him down the steps to the cavernous cellars.

This way, my houselle. Hold tight to my hat. The steps are quite steep. Are you one of the police? Where is Inspector Dober? He's investigating the cause of the accident. I'll look after you. Why do we have to come down here?

Don't you like it down here? It's very lovely. Once you get used to it. Wait, please. Yes. Let me see your face. Take off your mess. Oh no, no, my dear. I must never do that. Never.

You're not one of the police. Don't be frightened. I've watched over you. I've always watched over you, Christine. No! No. No, you must not do that. You stay here with me, child. Won't you feel so lonely without you to come to me at last, hadn't you?

Sing to me and I'll play. We'll be together forever. It's beautiful down here. Beautiful. Come now. I'll show you. Come with me. This is the last turn, just to the tunnel. It's you. You're not fighting, are you?

You know I'm not harm you don't you? How could I harm you? I've always helped you. Happy die? Yes. Yes, why? You've helped me. Of course I have. The uncle wrote in you. She wouldn't let you sing.

She didn't know how much I love you. But now she knows. But it doesn't matter anymore. Nothing matters except you and me. Now you sing all you want to. But only for me. You will sing and want to won't you, my darling?

There's a piano in the opera for you. We'll go up in a few. You can play it in a single voice. But you don't understand. We can't go back. But it was I who made this under the opera.

I, for you, Christine. But I want them. I told them the bit deaf and destruction that they wouldn't let you sing. Oh, come. Come, my child. Isn't far now. Look there. Look. Didn't I tell you it was beautiful here?

You didn't know we had a lake all to ourselves? Look at your late Christine, you'll love it. You'll love it when you get used to the dark. It's friendly and peaceful. Brings rest and relief from pain, right under the opera house, and the music comes down and the darkness distills it, cleanses it of the suffering that made it.

Then it's all beauty. And life here is like a resurrection. I came here when my face was on fire. I found calmness in that dark water and comfort in the blackness over it. Then I heard you sing, I thought I died and that you'd come to me.

And the others sang and destroyed my heaven, so I destroyed them. You heard me from here? Yes, this is my private auditorium. Strange air currents circle these passages. They catch the music as it platters down like a little bird in a net.

You can hear the opera almost as well as from the highest balcony. I heard it. Yes, just as I heard it. Well, when I first came to Paris, you're not afraid anymore. I do. No. Of course you're not. Then come with me. Come.

Christine. Christine, right! Cara, bring your lantern here! Yes, Christine, you're speaking. Me and Christine. Christine! Don't take full then, sex, the passage to the left. Be careful now. You have another lantern in spanker. This is the only one left you better stay with me.

We seem to have come to the end of the passage. No, we haven't. Isn't that an opening in the wall there to our left? Yes. Yes, it's a tunnel. Keep close to the wall. Feel your way along.

There's just a narrow ledge. The sewer must run through here. There it is. Just ahead of us. Do you suppose he might have doubled back? He might be upstaying. Why should he be? Lisk will be playing the concerto.

We should be starting now. Oh, yes, yes. The brilliant plan of yours. Christine! What got you? What happened? I touched the side of the wall. The rock came away in my hand. The whole place down here is ready to crumble. Look. Look up there, just a hit.

Yeah. It looks almost like a lake. Come on. Brethi! Brethi! Oh my child. This is my whole furniture from this tall room, even the camel. Do you like it, my dear? You think you've gone, give me a kick, my child. And then I'll show you where you see.

Listen to you here my Conchato On the stage of the opera my Conchato I'll pay to listen child. It's for you. Yes. Yes for you You like it my child I wrote it only for you You understand that don't you You did not do that!

No, I know. Listen to that music. Listen! You got the best one taken off for you! Why did you do it? See my face. Oh, look at it. Look. No, no! You'll never live here now, will you?

You'll hate me. A little secret, a hateful repulsive. And I wanted you to love me. I'm never. You'll see your child everything. Stop it, honey. There he is. Get back to see somebody. You cannot kill me! Nothing can kill me!

Inspector? Alright. Claudine, he's still in there under the rock. I shot myself, started the cavehead. Come, Christine. We better start back.

But Claudine? It's no use. It would take days to get him out. And dead Christine. It's... it's... it's so strange. He said... he said he wrote the concerto for me. The song I've known since I was a child.

Who are they? He came from your district in Provence. Everybody there must have known that old folk song. He was almost a stranger to me, and yet somehow I almost felt gone to me with a kind of pity and understanding.

His suffering and his madness will be forgotten. But his music, his concerto, that will remain. Christine went on to a great career and great fame. The night we sang together for the first time, the car outside of a dressing room was jammed with admirers. I had to force my way to a door.

Excuse me. Thank you. Bonne-cho! Oh, you were magnificent, Christine. Incompable, beautiful sensation. Is that all? I've just begun. It would take days and years to tell you how wonderful you were. We're having supper tonight at the Cafe de Lopera.

Well, I'm terribly sorry on a tool, but I can't tonight. Why not? Have you another engagement? Well, yes. With home, with me, Monsieur. Oh, that policeman? Inspector of Police, Monsieur. How soon will you be ready, Christine?

The carriage is waiting. I know Monsieur Garon will excuse me. How do you know? I have an idea. Why can't we three have supper together? Mm-mm. I am not in the habit of taking barotones to supper.

And I don't care to be seen in public with the police. Christine, you'll have to make up your mind finally and irrevocably between the two of us. Exactly. Very well. Will you, gentlemen, excuse me?

Of course. Thank you. Good night. What? What did she mean? Good night. Well, something tells me, Miss Hieu, that she has gone to meet her public. Hmmm... Miss Hieugato... Would you join me for a bit of supper at the cafe de lope da?

With pleasure, Miss Yerne. Think we can get through that crowd? Certainly, after all, who'd pay any attention to a baritone and a detective? Quite right. Well, shall we go? Ah. After you miss you. Oh, no.

After you miss you. Oh, that's a good thing. A new season of the Lux Radio Theater has had a gala launching. And the first cotton calls of this season have been beautifully earned by Nelson Eddé, Suzanne of Asta and Basil Rathbun.

Thank you, CB. Our congratulations to you on the beginning of the tenth year of this theatre. Remember what Tennyson wrote? Men may come and men may go, but the mill goes on forever. Or something.

My recollection is it was a brook. But as long as we have stars like you three, I'd like to go on forever. Let's hope Lux's hope does the same. See, I really couldn't get along without it, Mr. DeMille.

It's a wonderful complexion, here. Lux doesn't make cares for a lovely complexion, in your case, Susanna. Thank you. Incidentally, Mr. Janell, as Nelson told you about the chicken he has that lays the golden egg.

No, but I like about a dozen. That'll be $120, please. That's pretty high for just ordinary old golden eggs, isn't it? What kind of hands are these? Who dons? Who what? Who dons? They're a rather scarce breed.

Someone gave me two hands and a rooster, and now they're all over the place. The eggs are worth $10 a feed. Doesn't it kind of choke you to eat one for breakfast? Eat them. and they got to their sight and want to set right away.

No, I hardly blame them. At that price, even a radio comedian wouldn't mind laying an egg. Where'd the hands come from now? Somewhere around New Orleans. I planned to cross breathe the hoo-dans with my new Hampshire Reds and see what happens.

And when you become the hoo-dini of the hoo-dans, I suppose you'll give up singing. Well, where those hands are eating now, I'm going to have to sing loud and often. What's your play next week, CB?

Now let's a drama of adventure in the air. The RKO screen play, Flight for Freedom, and our stars will be Rosalind Russell, George Brent and Kestamaris. Rosalind Russell played the same part on the screen with brilliant success. A world famous woman flier whose career comes to a climax in a mysterious trip across the Pacific. So

don't miss Flight for Freedom with the take off at our usual time next Monday. Sounds like a direct hit, CB. Good night. Good night. Good night. Good night, meet you with the black cowls tonight.

Our sponsors are making the black cowlers up. Join me in inviting you to be with us again next Monday night. The Nalux Radio Theatre presents Roslyn Russell, George Brent, and Chester Morris in Flight for Freedom.

This is Cecil B. DeMille saying good night to you from Hollywood. The Universal Screen Production of the Phantom of the Opera in Technicolor starring Nelson Eddie, Susanna Foster and Claude Raines with Edgar Barrier will have its New York premiere on October 14th.

Basil Rathbone appeared tonight through the courtesy of Metro Golden Mayor Studio. Our music was directed by Louis Silvers and this is your announcer John M. Kennedy reminding you to tune in next Monday night to hear Rosalind Russell, George Brandt and Chester Morris in Flight for Freedom.

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