Lux Radio Theatre - Burlesque

A high-budget anthology series adapting major films and stage plays for radio, often with the original Hollywood stars. It brought cinematic drama into living rooms weekly.

Episode Transcript

Speaker 1 (00:00):
Hollywood, California, Monday, June fifteenth, Let's Radio Theater, from its
new home on Hollywood Boulevard, Hollywood, California, brings you Al

(00:21):
Josan and Ruby Keeler in burlesque Luck Presents Hollywood Tonight.
You will lead such great personalities as Al Joson, Ruby Keeler,
Cecil b De Mills, Daniel Browman, George Barnes and many

(00:41):
others among the many distinguished guests in our brilliant audience tonight.
I see from here one of the Pereamoun's directors, mister
Chester Franklin and his wife. Mister Franklin is the director
of Sepoyer, the picture now in production, and also Captain
de Mill, Lloyd Pantages, Plantis Langword, Aileen Fingle, and Glorious Once.

Speaker 2 (01:04):
Welcome all of them.

Speaker 1 (01:10):
This entertainment is presented by the makers of Luck Toilet Soap,
the beauty soap used by nine out of ten screen
stars and by attracted women everywhere.

Speaker 3 (01:20):
As producer of the lux Radio Theater.

Speaker 1 (01:22):
Tonight and each Monday from now on, we welcome back
Hollywood's famous pioneer director, a man who has made sixty
two of America's great motion pictures and has started more
great stars on their careers than any other producer in
Hollywood Ladies and Gentlemen.

Speaker 4 (01:36):
Mister Cecil B.

Speaker 5 (01:37):
De Mill.

Speaker 1 (01:44):
Readings from Hollywood Ladies and Gentlemen. Less than a decade ago,
the movies were voiceless. Stars as celebrated as Wallace Reed,
Rudolph Valentino, Faeder Bara, Lillian Gish and Francis X. Bushman
had millions of admirers who knew them only a silent shadows.
We spoke of our business as the silver screen, but

(02:04):
his 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

(02:26):
out so many successful feet of films. Then he made
another picture called The Singing Fool. And then he fell
in love. She was a charming, little Lyrish girl. In
three months they were married. They're marriage is one Their
marriage is one of which Hollywood is most proud. They
have each scored separately in the theater.

Speaker 2 (02:47):
On the screen, and over radio.

Speaker 1 (02:49):
But we present them tonight for their first appearance together
on the air. In lights of the entrance of the
Lux Radio Theater is a glittering legend and excited crowds
along Hollywood Boulevard. Tonight read the words Al Jolson and
Ruby Keeler in burlett and now for the first act

(03:25):
of burlesque, in which you'll hear Al Jolson as Skid
Brown and Ruby Keeler as Bonnie Smith. We're backstage at

(03:48):
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 is standing in the wings.

Speaker 2 (03:59):
Hurrying the car girls on to the stage.

Speaker 3 (04:04):
Yeah, come on, hont stage, come on, come on here,
which is almost overgetta move.

Speaker 6 (04:09):
On you.

Speaker 3 (04:13):
We got raised now go on, let up before I
can cope.

Speaker 7 (04:15):
You don't worry mean No, I'm a love that guy.

Speaker 3 (04:19):
Oh Joe killing house light? Okay?

Speaker 8 (04:21):
Best, big baby you?

Speaker 9 (04:30):
Who's big baby beyond you?

Speaker 2 (04:34):
Come on?

Speaker 1 (04:39):
Lasting?

Speaker 3 (04:39):
Oh what do you want from him?

Speaker 2 (04:42):
No?

Speaker 3 (04:42):
No, not that sign up. I've been in all of
us hangouts, but I can't find him.

Speaker 9 (04:45):
Did you try the poor room?

Speaker 3 (04:46):
I just sent Jimmy a nice spots gets put me in.
The show started in my cheap comic game. Here, I
got a kill.

Speaker 9 (04:52):
That bird, he'll sign op lestic. I've been working with
Skid for almost four years. Down I never know him
to miss aque.

Speaker 1 (04:58):
Yeah, I know, I know, but it's coming so so
listen to this turning my hair gray?

Speaker 3 (05:02):
You know you want to do something about that guy, Bunnie.

Speaker 1 (05:05):
What well with England?

Speaker 3 (05:06):
Of my business? But why don't you marry him and
have it over with? What are you stolen him for?
He settled down if he was.

Speaker 1 (05:12):
Married to you?

Speaker 9 (05:12):
Do you think so?

Speaker 2 (05:13):
Why?

Speaker 3 (05:13):
Sure? Sure e Ski's nuts about you? He's doing anything
you tell him?

Speaker 9 (05:16):
Oh, I don't know. You're supposed to be engaged when
you don't listen to me much? Now, how do I
know if you any deathing later?

Speaker 1 (05:24):
Hire your fault?

Speaker 3 (05:26):
Well, if it ain't the wondering boy himself?

Speaker 1 (05:28):
Hi you Leftie? Hi have Bunnie?

Speaker 3 (05:31):
So you decided to come?

Speaker 1 (05:33):
Uh sure, never keep the public weight and that's my
my own. Well now that's nice to go on, get
your clothes? What are you run in five minutes? Okay, Lefty, Well, Bunnie,
I's a kid.

Speaker 9 (05:43):
All right, I guess nice time to be showing up?

Speaker 5 (05:46):
What the nat?

Speaker 1 (05:46):
He ain't sorry of me? Are you what to do?

Speaker 9 (05:48):
Any good?

Speaker 1 (05:49):
God a baby?

Speaker 9 (05:50):
Come on, you'll be late. You got to change your clothes.

Speaker 1 (05:52):
Well you know me? You scared the fireman child, I
can dress laden down a pole.

Speaker 9 (05:56):
Where have you been?

Speaker 3 (05:57):
Oh me, I've been playing for.

Speaker 9 (06:00):
I suppose you couldn't make a shot thinking of me
eating norm along?

Speaker 1 (06:03):
I told you after the matthing. I wasn't hungry, didn't
I that's thirsty? Yes? No, and I wasn't thirsty neither.
I just went out to get a little air.

Speaker 9 (06:09):
Oh it's a nice schoolroom mare.

Speaker 3 (06:11):
I've cut it out, will your bunny?

Speaker 9 (06:13):
Did you have anything to eat?

Speaker 1 (06:15):
Yeah? I had a couple of hot dogs.

Speaker 9 (06:16):
That's fine, that is how do you expect to be
funny on hot dogs? I'm gonna send Jimmy out it
in the missipers.

Speaker 3 (06:22):
And soup, but I don't want to know it.

Speaker 7 (06:23):
Dog, you'll lay didn't like it?

Speaker 1 (06:24):
All right?

Speaker 3 (06:25):
All right? I didn't like it.

Speaker 1 (06:28):
I'm gonna left this, see you later, bunnie.

Speaker 9 (06:29):
Okay to me, my melan call me.

Speaker 8 (06:41):
Cuddle of him?

Speaker 7 (06:42):
No money, you may I want to see the boyfriend
got in all right here that day Marco was looking
for him just before she went on again. Yeah, why don't.

Speaker 9 (06:55):
You take up hoo glass, she's not worth it? What
do you want to see? Scared about?

Speaker 7 (07:00):
Say goodbye?

Speaker 6 (07:00):
I get goodbye?

Speaker 9 (07:02):
Is she gone someplace?

Speaker 7 (07:03):
They don't tell me?

Speaker 6 (07:04):
Ain't her head?

Speaker 7 (07:04):
What Marco's leaving the shoulder night going with a Manhattan folly?
Oh Broadway?

Speaker 9 (07:10):
Well that's an icebreak.

Speaker 1 (07:11):
Yeah.

Speaker 7 (07:12):
I couldn't hear her as well.

Speaker 9 (07:13):
There's one consolation for me. She won't be around skin anymore.

Speaker 3 (07:26):
All right, girls, all right, I'll make your change. I'll
hurry up with a.

Speaker 7 (07:32):
Look at her coming off the stage, putting on the
dog already, hallo, miss Marco arm number No. I was
fared that.

Speaker 1 (07:41):
Oh you're not jealous?

Speaker 9 (07:42):
Are you amazing?

Speaker 7 (07:42):
Why you shrink?

Speaker 10 (07:43):
Pully?

Speaker 6 (07:44):
I spling up against the wall?

Speaker 9 (07:45):
Cut it up, Maze, no fighting?

Speaker 1 (07:47):
Do you hear?

Speaker 7 (07:48):
I wouldn't hear. I just want to hear her.

Speaker 8 (07:50):
Yelp, what's going on here?

Speaker 9 (07:52):
Nothing Bosomaze stopping the scrap again? Of course, not poso.
It's just a friendly argument.

Speaker 1 (07:57):
Sounded like the Battle of the man whiskey funny.

Speaker 4 (08:00):
Did he get in here.

Speaker 9 (08:01):
High downstairs, putting on the putty nose.

Speaker 2 (08:03):
Yeah, that's a break.

Speaker 1 (08:04):
I was afraid I was gonna have to play his
part too. Hey, Bunny, your cattle king is on the
front again.

Speaker 9 (08:10):
Oh is he?

Speaker 2 (08:11):
Yeah?

Speaker 1 (08:11):
He's a boy, he is. This is the sixth time
he's been in to see the show. He's feel hard
for you, Bunny.

Speaker 9 (08:18):
I'll have to see him sometimes. He's the only following
I ever had.

Speaker 1 (08:21):
When Marco he was singing, he Hey, where did he go?

Speaker 5 (08:26):
Marco?

Speaker 1 (08:27):
She was standing here a second ago.

Speaker 9 (08:29):
Yeah, until she heard where skid was sually downstairs by
now gurgling her farm Farewell.

Speaker 1 (08:48):
I'm just putting on my neck, got a his I's
a house, Michael. Well little cool? Oh hell, warm up?
Way like an up there and take if you'll fall
from I don't know why it is, but the audience
always I like to see a guy fall flat on
his hands. Funny, ain't it?

Speaker 8 (09:03):
Yeah?

Speaker 4 (09:04):
Oh skit?

Speaker 9 (09:05):
What you're coming to see me off tonight?

Speaker 1 (09:08):
Say that's right, you're leaving, ain't you well? Gosh, I
don't know, Michael. I'd like to go down and see
you off, but I gotta do it with Bonnie. After
the show. Oh, Bonnie skid.

Speaker 9 (09:20):
O, why don't you get wise herself?

Speaker 2 (09:22):
What do you mean that kid's no good for you?

Speaker 5 (09:25):
But you've been teamed up with her.

Speaker 1 (09:26):
For four years and what has it gotcha?

Speaker 4 (09:28):
No place?

Speaker 9 (09:29):
Well, she's holding you back and you don't.

Speaker 1 (09:30):
Know it holding him back. Oh it's kay, don't you
believe it, Michael, Fannie's okay, why anything I am I
owe to her? And listen when she says the word,
we're gonna get a hitch. Oh yeah, well it's your
funeral skit. And now you're all wrong, Michael. Bonnie is
the first thing that ever happened to me.

Speaker 3 (09:49):
Holy macholistic.

Speaker 1 (09:50):
You could on Michael curtsy after the show. Hurry, hurry up?

Speaker 3 (09:56):
What are you're wrong? Okay, maybe i'll holy catch that
guy will kill himself taking those falls.

Speaker 9 (10:19):
Come in maybe, Yeah, what's on your mind?

Speaker 7 (10:23):
Telegram just came for ski telegram? Yeah some Maybe you'd
want to take care.

Speaker 9 (10:27):
Of it, hand it over. Maybe I'll get it through
him later.

Speaker 5 (10:30):
Hmmm.

Speaker 9 (10:31):
I wonder who's broke now, Maybe somebody's.

Speaker 7 (10:33):
Cashed in or in accidents.

Speaker 9 (10:35):
Now, nothing's wrong telegrams. The skid Ore only touches.

Speaker 7 (10:39):
But that one's heavy. It feels important.

Speaker 9 (10:41):
They're always important the guy that sends them. Oh see,
how kid, take those fulls. I'm glad that was his
last one. To be coming down a minute.

Speaker 7 (10:53):
For a couple more like that, and he'll come down
through the ceilings. Well, sorry, do you hear about Marco?

Speaker 9 (10:57):
Something else?

Speaker 2 (10:58):
Yeah?

Speaker 7 (10:59):
She ain't sing her last note? And I get nearly
a train.

Speaker 8 (11:01):
Why don't ask me?

Speaker 7 (11:03):
Say I better scram I'm due for the baby number.
Oh kid, I'm on a minute?

Speaker 1 (11:09):
Sure, scared?

Speaker 9 (11:10):
Come in here a second.

Speaker 1 (11:12):
Well, honey, you can hear me Panicum?

Speaker 5 (11:15):
Did you hear those laughs?

Speaker 2 (11:16):
Yeah?

Speaker 9 (11:16):
And I heard the balls too. Listen to tell what
are you limping for?

Speaker 8 (11:21):
Oh me?

Speaker 9 (11:22):
Ain't you hate yourself?

Speaker 7 (11:23):
Didn't you you did?

Speaker 2 (11:25):
Oh?

Speaker 5 (11:26):
Scid?

Speaker 9 (11:26):
What are you gonna cut it out?

Speaker 1 (11:28):
Take a load full my routine? Ain't thing?

Speaker 9 (11:30):
That doesn't mean you have to break your back, does it?

Speaker 3 (11:32):
Bunnie?

Speaker 1 (11:33):
You gotta make up your mind of one thing. I'm
a whole comic. Don't waste no time trying to clean
me up, because I'd be a flop. Say, when I
was a baby, the first thing I reached fort was
a custard pot.

Speaker 9 (11:42):
I see us a kid in all your life? Ain't
you're never gonna be serious? Don't you want to get
ahead in this game?

Speaker 3 (11:47):
What do you mean get ahead? We're working all the time,
ain't we I ain't hanging around Broadway? They can toucht it,
am I?

Speaker 5 (11:52):
What do I mean get ahead?

Speaker 9 (11:53):
I'm talking about your getting where you belong Broadway?

Speaker 1 (11:57):
Boy?

Speaker 9 (11:58):
If I had your talent, why do I Nothing could
stop you if you decided to step out.

Speaker 3 (12:02):
Say, how do you know I'd be so good? I
could be a big flop too in a real show.

Speaker 9 (12:06):
Here's a tipple. You're scared, you're yell?

Speaker 1 (12:08):
Say how many times you wanna pull up on?

Speaker 9 (12:10):
How many times you're gonna make me?

Speaker 1 (12:13):
Come? Then? How many folks?

Speaker 9 (12:16):
No, I'll love me this Friday private?

Speaker 3 (12:18):
See, I'm glad to hear it.

Speaker 1 (12:19):
What's the first Bonnie's riding me? Because I ain't got
no ambitions?

Speaker 9 (12:22):
Yea, And I'll leave it to you, Lestie. Any of
staffs are sticking and for ales. Shouldn't they be finding
new stuff that'll get them somewhere?

Speaker 1 (12:28):
Yeah? Shouldn't I be George White and have the only
show and sit in the box offers? I can't get
steamed up? Over this Broadway stuff. You're a hit on Broadway?
So what what did it get here?

Speaker 3 (12:37):
It gets you a lot of jack to begin with.
But Funni's right, kid, it's time you were stepping out.

Speaker 1 (12:42):
For instance, Well, for instance, Sir Earl Carroll had a
scout out to Saint Paul Sea last week.

Speaker 5 (12:47):
Oh Carol, Well yeah sure.

Speaker 1 (12:48):
He came back after the show and asked me all
about you, skidd Hey, didn't you hear from him? Nine
heart tumble?

Speaker 3 (12:54):
I guess you ain't tell you that told me, But
you'll hear from him. And when you do, Grab a kid,
what doesn't.

Speaker 5 (13:00):
What's the matter the telegram?

Speaker 1 (13:01):
What telegram?

Speaker 3 (13:02):
It came for you?

Speaker 1 (13:03):
Here?

Speaker 9 (13:04):
Open and open it?

Speaker 11 (13:05):
All right?

Speaker 1 (13:05):
Take it easy. It's probably just another touch that'll set
me back about fifty bucks. I remember one time.

Speaker 3 (13:10):
Well what is it?

Speaker 1 (13:11):
Holy Macro? Listen, have a chance to place you in
Manhattan follows opening next week? Stop? Is there any way
you can get out of your pleasant engagement?

Speaker 3 (13:18):
Stop?

Speaker 1 (13:19):
Can't get you five hundred dollars a week or maybe more.
Stop leave salary to me. Stop great chance, no comedy
in short presence, you'd have to be here by Sunday
for rehearsal.

Speaker 5 (13:27):
Why I'm Max Leevy, Max Sleepy.

Speaker 4 (13:29):
The big agent.

Speaker 8 (13:30):
Well, well, well they are.

Speaker 1 (13:33):
Somebody's kidding me.

Speaker 9 (13:34):
I guess somebody's kidding me.

Speaker 3 (13:36):
I mean, that's right.

Speaker 1 (13:37):
Sady didn't mention Bonnie Lefty.

Speaker 5 (13:39):
What's the idea?

Speaker 9 (13:39):
I guess I can answer that. I know all answers.

Speaker 1 (13:42):
What's a matter of Honey?

Speaker 9 (13:43):
Don't you dare call me? Honey?

Speaker 4 (13:44):
Way?

Speaker 3 (13:44):
What are you boring me out for?

Speaker 9 (13:46):
Get out?

Speaker 1 (13:46):
Will you?

Speaker 9 (13:46):
Lusty? I want to speak to this guy alone.

Speaker 1 (13:49):
Okay, say, what's the idea of all this temperamental stuff?
Bonn If the telegram mean a fake, it's a chance.
I've been raving about it.

Speaker 9 (13:56):
It's your chance, all right, your chance to be in
the same show with that little hypocrit. You went nothingboll
when I was in the hospital and daymar.

Speaker 8 (14:03):
Ooh you know, don't well who oh you mean?

Speaker 9 (14:05):
Marcos Marco, Marco, Marco?

Speaker 8 (14:07):
That's what I mean?

Speaker 1 (14:08):
Why you're crazy? Why this teller watch this telegram got
to do with Marco?

Speaker 9 (14:12):
So you didn't know what Joe is?

Speaker 5 (14:14):
Marco?

Speaker 9 (14:15):
Join me?

Speaker 1 (14:15):
Why she's see that's.

Speaker 2 (14:17):
Right, it's the same show in it.

Speaker 3 (14:19):
That's your coincidence.

Speaker 9 (14:20):
Yes, more than that. It's just conspiracy.

Speaker 1 (14:22):
What do you mean by that, crack?

Speaker 9 (14:23):
I mean the whole thing's a frame up between you
and Marco. They tell you're beating it together. Neither one
you had the nerve to come clean.

Speaker 1 (14:29):
Oh, this telegram was a surprise to me. You're crazy
to think that a pleasant surprise, Pauline Michael, Will you
pick a tumble yourself as a joke for you to
be so jealous of that kid?

Speaker 9 (14:38):
Jealous?

Speaker 10 (14:39):
Hard?

Speaker 9 (14:39):
What a bump comedian who ain't gonna laugh about his tips?

Speaker 5 (14:44):
Say?

Speaker 9 (14:45):
If you were support for girl that meant anything, I'd
wish you luck. But that's he had a little brat.

Speaker 1 (14:50):
I ain't jealous.

Speaker 6 (14:51):
Done and set it?

Speaker 1 (14:52):
Well, you can stop blowing off, steaming cool off? But
why because I ain't going?

Speaker 9 (14:57):
Who said you were?

Speaker 3 (14:58):
Yougo?

Speaker 1 (14:58):
I said it not settled?

Speaker 5 (14:59):
It does?

Speaker 9 (15:00):
Since when is what you say? Shuttle thing?

Speaker 1 (15:02):
Well let's settle this one. Oh come on, Bunny, let's
forget it, will you? We'll stick to each other, kid,
And as soon as you say the word wise, we'll
take a walk over to the license bureau.

Speaker 5 (15:12):
What do you say.

Speaker 3 (15:14):
That touch?

Speaker 1 (15:14):
I guess I'll specially Bunny, I know.

Speaker 9 (15:18):
Well, scared, I'm say for what I said. I didn't
mean it.

Speaker 8 (15:23):
Sure, kiss me scared.

Speaker 3 (15:26):
Oh honey, she would hold me tight, tight skit.

Speaker 9 (15:31):
It'll be a long time before we see each other. Oh,
yes you are. This is your big chance.

Speaker 1 (15:37):
Kids.

Speaker 9 (15:37):
You're not gonna pass it up for me or anyone else.

Speaker 1 (15:40):
What's Bunny?

Speaker 9 (15:41):
What you.

Speaker 2 (15:44):
Okay?

Speaker 1 (15:47):
You want to talk about time? Come on?

Speaker 3 (15:48):
Come on, when you get out there and do your.

Speaker 8 (16:00):
Yeah, gets some of the pops kids bags.

Speaker 9 (16:02):
He's leave it right after the show.

Speaker 1 (16:04):
Okay, I'll take care of it.

Speaker 3 (16:05):
Go and get out there, Bunny.

Speaker 9 (16:06):
Okay.

Speaker 2 (16:13):
Well, well, well.

Speaker 1 (16:14):
Look we're here little Lucy Twinkle Does I am a
Twinkle Dolls?

Speaker 9 (16:17):
I beg your pardon?

Speaker 5 (16:18):
What, Paul?

Speaker 1 (16:18):
What did you do?

Speaker 9 (16:19):
You think you're smart?

Speaker 1 (16:20):
Don't you smart? When I was a little boy in school,
I took the first prize you did. Yeah, the teacher
told me to take it and she made me put
it back. Oh boy, that's kicking up the old one balls.

Speaker 9 (16:32):
Did you ever hear about the man who liked oxtail?

Speaker 1 (16:34):
Toup oxtail? That's going too far back.

Speaker 9 (16:38):
I hear you're going to a party tonight.

Speaker 1 (16:40):
Yeah, I'm going to a party to night.

Speaker 3 (16:41):
Well, then I can come along.

Speaker 1 (16:42):
There'll be a million laughs.

Speaker 9 (16:43):
Well we have a good time.

Speaker 3 (16:44):
I will.

Speaker 1 (16:45):
We're gonna play kissing game.

Speaker 9 (16:46):
I don't like kissing.

Speaker 6 (16:48):
Why it breathes Jim, Come.

Speaker 1 (16:49):
On, lady, let's get fix.

Speaker 9 (16:52):
Have you played kissing games before?

Speaker 5 (16:54):
Sure?

Speaker 1 (16:55):
The last part I I three, we played a game
called player pace.

Speaker 3 (16:57):
How do you play it?

Speaker 5 (16:58):
Well? They blind pulled a boy in reaches out for
the girls.

Speaker 1 (17:01):
The first one he catches either has to give him
a kiss or her handkerchiefs.

Speaker 9 (17:05):
How did you make it?

Speaker 2 (17:06):
Or does to kill you?

Speaker 1 (17:07):
I came home with a tablecloth the sas a past
the gravy. Yesterday I heard a lover shid goodbye on.

Speaker 5 (17:19):
Me on my.

Speaker 1 (17:21):
Seven times he got aboard his trains, and seven times
he hurried back to kick his love again, and with
tut you, susy, goodbye, cut your touchy. Don't cry a
little schutu tray that makes me away from you no worse,
and tell outside.

Speaker 5 (17:41):
It makes me kiss its city and there.

Speaker 1 (17:45):
Do it over? Ack? Yeah? Why for the mail?

Speaker 2 (17:50):
I'll never fail.

Speaker 3 (17:51):
And if you're a letter and you know I'm in jail,
don't die, sitty, don't cry.

Speaker 1 (17:58):
Goodbye, thirty good bye, bring it.

Speaker 5 (18:22):
Me.

Speaker 1 (18:23):
I never pay you, and you'll know I'm in jail's
pay dumb time, say dumb tie, good bye.

Speaker 9 (18:32):
Day you're gonna buy?

Speaker 1 (18:39):
Oh that guy a Carol should have been out front tonight.
Keep Bonnie, you were well?

Speaker 9 (18:43):
Never mind that now well left old fixed?

Speaker 5 (18:47):
Get your fire?

Speaker 1 (18:48):
Huh can what form you're going to New York? I
got two guys packing your bags, and I just phoned
for a reservation.

Speaker 5 (18:55):
But wait a minute, I told Bonnie.

Speaker 9 (18:56):
That I forget what you told me. I'm running this partnership.
You're leaving to New York, and you're leaving tonight the long, darling.

(19:22):
You're right, won't you?

Speaker 2 (19:23):
Sure? Every day?

Speaker 1 (19:25):
Bunny, I'll be offul lonesome without you, Jee, I'll be
an awful sap without your kids. We ain't never been
a part before it.

Speaker 9 (19:32):
Soon as the season's over there, i'll come right on.

Speaker 5 (19:35):
Maybe i'll be a flopper and I can come back soon.

Speaker 9 (19:36):
You can't come back your fire.

Speaker 8 (19:39):
I didn't think of that.

Speaker 1 (19:40):
That ain't so good.

Speaker 9 (19:41):
So I get it at sink or swim.

Speaker 1 (19:43):
Now, I don't like the way you said sink.

Speaker 9 (19:45):
Well, how do you like the way I say swim.

Speaker 1 (19:50):
Well, I I guess that's me. Gee. I don't know
how to say goodbye baby if I ain't never said
goodbye to here?

Speaker 9 (19:56):
Just kid me kid.

Speaker 1 (19:58):
Oh gosh, honey, for amnious kids.

Speaker 9 (20:02):
I love his kids.

Speaker 6 (20:03):
Oh gosh, hom this.

Speaker 1 (20:05):
I'm lost already without your bunny. Hello, Darling, I'll wire
and I'll write every day here of the day, the
card bunny as.

Speaker 7 (20:16):
A nice kid, good boy.

Speaker 1 (20:36):
As we pause in the Lux Radio Theatres presentation of
Burlesque starring Al Johnson and Ruby Keela, I'm going to
ask you to listen to a very interesting conversation. In
this beef interval. We want you to meet one of
Hollywood's youngest and most charming stars, Corus H. Collins. Here,
she goes, Now this Corus who Collins in prison? Carsil?

(21:03):
Just how long have you been in Hollywood?

Speaker 2 (21:04):
Who?

Speaker 7 (21:06):
I came in when I was three?

Speaker 2 (21:08):
I'm eight now, I see.

Speaker 1 (21:10):
I don't believe I know many movie people who are eight?
What do you do with your time?

Speaker 6 (21:14):
Well, I've got my dog, but do I have to
take care of her? Sinda's rusty.

Speaker 10 (21:19):
He's my dog.

Speaker 5 (21:20):
Sudn't I respect it?

Speaker 6 (21:21):
And I trained parakee and I'll go horseback riding every day,
but I do all that only when I'm not making
a picture.

Speaker 1 (21:29):
Yes, I suppose you're too busy. Then you think you'll
keep on making pictures.

Speaker 6 (21:33):
Oh yes, I want to be a grown upstars someday.

Speaker 1 (21:36):
Well I think when you are, you're going to be
a very pretty one.

Speaker 8 (21:40):
Thank you.

Speaker 1 (21:40):
I hope.

Speaker 6 (21:41):
So I'm taking care of my skin, just like grown
upstairs do with lucks so it so I've used ever
since I came to Hollywood, just like my friends and
John Crawford and John Blondelle. That's the only kind of
soap we have at our house. Mother likes it, and sodaes.
Sister just won't even take a bottle sausage and buy
the room.

Speaker 1 (22:07):
That's very nice, Corsil. Thank you. And you're right in
saying that Hollywood stars must have lovely complexions. They can't
risk dullness, tiny blemishes, enlarging pores, in other words, cosmetic skin.
These Hollywood stars, like most girls, use rus and powders,
but they avoid dangerous poor choking by using lux toilet soap.
The soap, whose active lather goes deep into the pores

(22:30):
removes every trace of dust dirt, stale cosmetics. Before you
put on fresh make up during the day, and always
before you go to bed at night, use lux toilet soap.

Speaker 5 (22:42):
Buy several cakes.

Speaker 1 (22:43):
Tomorrow We return now to burlesque, the story of Skid
Brown played by Al Jolson and Bonny Smith played by
Ruby Kila. Several months have passed since Skid left to
join the Manhattan Folly's. Bonnie is still on tour with

(23:06):
the burlesque company. In her room in a small town hotel,
she lies huddled on the bed reading the morning paper.
Her friend Mazie enters morning Derry, you're.

Speaker 7 (23:20):
Up kind of early, ain't you?

Speaker 5 (23:21):
Yeah?

Speaker 8 (23:21):
A little?

Speaker 3 (23:22):
What's the idea?

Speaker 10 (23:23):
I couldn't sleep anyone from Skid Yet not a line, Jeane.

Speaker 7 (23:28):
I'd like to brain that guy.

Speaker 10 (23:30):
How long is it non.

Speaker 7 (23:30):
Since he wrote to you?

Speaker 9 (23:32):
I don't know, about six weeks.

Speaker 10 (23:34):
I guess just a big Broadway man. Boy's success must
have hit him right between the eye.

Speaker 9 (23:41):
Now, Maze you, Skid ain't the kind who get to
get the swelled head.

Speaker 8 (23:45):
It's it's something.

Speaker 9 (23:46):
Else this time. The thing I was afraid of. Marcle Yeah,
I've been kind of following him in the Broadway gossip column.

Speaker 1 (23:54):
Kid.

Speaker 9 (23:55):
Get a load of this.

Speaker 6 (23:56):
Let's see.

Speaker 10 (23:58):
Oh yeah, Skid Brown, who wows them each night at
the Manhattan Follies, is a wowedest Sylvia Markle of the
same show. They may be seen together every PM doing
the hotspots along a main stem. Well that's that.

Speaker 7 (24:12):
Yeah, what are you gonna do about it?

Speaker 2 (24:13):
Nothing?

Speaker 7 (24:14):
Nothing?

Speaker 1 (24:14):
What do you mean?

Speaker 7 (24:15):
You're still a lot of the guy, ain't you sure?

Speaker 8 (24:17):
I guess I'll always be in love with him, But
a skid don't want me?

Speaker 9 (24:21):
Well I ain't the clinging ben Tye.

Speaker 7 (24:23):
Oh but lessen Bonne?

Speaker 8 (24:25):
Excuse me?

Speaker 2 (24:26):
Will it? Uh huh?

Speaker 5 (24:28):
Hello?

Speaker 9 (24:29):
Oh, hello, Harvey? Pretty good? When hell? Alright? Harvey pick
me up?

Speaker 3 (24:36):
About eleven thirty?

Speaker 1 (24:38):
Bye?

Speaker 2 (24:39):
Who was that?

Speaker 9 (24:41):
Remember the fellow we used to kid about, the one
we called the cattle and King?

Speaker 2 (24:45):
Yeah?

Speaker 7 (24:45):
Sure, who has to sit in the front row every night?

Speaker 9 (24:48):
Well that with him, Harvey Howell. He's a swell guy, Maisie,
and a real guy. He wants to marry me, but
he gonna do I guess though.

Speaker 2 (24:57):
He owns a couple of.

Speaker 9 (24:58):
Ranches, a couple of answer. Sure, take me out after
the show tonight. I promised him I'd give him my
answer them.

Speaker 11 (25:16):
If you want to dance money?

Speaker 9 (25:18):
Thanks Torby, but do you mind if I don't. I'm
a little tired tonight.

Speaker 11 (25:22):
That's all right.

Speaker 2 (25:23):
We'ren't near time to be leaving anyway. Yeah, Bunny, did
you think over what I.

Speaker 1 (25:28):
Asked you about getting married?

Speaker 9 (25:30):
I don't thinking about it? Sure, Well, Harvey, I don't
know how to say this, but do you mind waiting.

Speaker 1 (25:38):
A little longer?

Speaker 2 (25:38):
You wait?

Speaker 11 (25:39):
Take all the time you want, Bunnie, I'm not in
any right.

Speaker 9 (25:42):
It ain't that I'm trying to store or anything. But
the show's moving back east, Harvey, and I want to
see Skids just once more.

Speaker 8 (25:50):
Okay, Bunny, you understand?

Speaker 2 (25:52):
Sure I understand.

Speaker 9 (25:55):
Thanks Harvey, You're a grand.

Speaker 1 (25:56):
God at a box office Manhattan Follies. I'm sorry we're
all sold out for tonight, eight weeks in advance.

Speaker 2 (26:10):
Okay, hello, then if you can?

Speaker 1 (26:13):
Oh, hello, skidd what are you doing counting up the shakels?

Speaker 2 (26:16):
Yeah?

Speaker 1 (26:17):
They tell me you want to see him as a
cant I do sit down, won't you?

Speaker 5 (26:20):
Kid?

Speaker 1 (26:20):
What's on your mind? You skid skid the I'm gonna
tell you something straight from the shoulders.

Speaker 5 (26:24):
You can I've been.

Speaker 1 (26:25):
Managing Broadway shows for a long time, So you can
take it from me. I know what I'm talking about. Skid,
you gotta cut out your drinking. Oh me, don't give
me that. He went on that stage last night so
lived up. You couldn't even see those falls you were
taking were on the level they got laughs didn't sure
they did.

Speaker 2 (26:38):
But that isn't the point.

Speaker 1 (26:40):
Skidd. You've got this whole business right in your lap.
You can see, you can dance, you can make them laugh.

Speaker 5 (26:44):
You're a big hit.

Speaker 2 (26:46):
But take it from an old timer.

Speaker 1 (26:47):
Skid drinking and show business don't mix. That's all art,
mister can that's all skiddy. Oh good, good, Hello Michael,
been in to see ken? Yeah what do you say?
Nothing much?

Speaker 7 (27:04):
M so you won't talk?

Speaker 1 (27:06):
Huh?

Speaker 3 (27:06):
All right?

Speaker 9 (27:07):
Why are you doing after show tonight?

Speaker 1 (27:08):
I don't know. I kind of figured I got a
little sleep for a chain.

Speaker 9 (27:11):
Oh, come on with us, We're getting up a party,
go to the hot spot.

Speaker 1 (27:13):
Oh count me out, Michael. I want to stay home
and write a couple of letters. Oh, I see who
too well? Bonnie for one, I ain't written to her,
oh for such a long time. Honestly, I wouldn't blame
her if she was so as a boy like me.

Speaker 9 (27:26):
Listener, are you still thinking of that?

Speaker 5 (27:27):
Kid?

Speaker 1 (27:28):
Sure? Why not? I thought that was over long ago.

Speaker 2 (27:30):
I know, well it ought to be.

Speaker 9 (27:32):
What are you gonna do after she's married?

Speaker 3 (27:33):
Don't write mash.

Speaker 1 (27:34):
Notes to her after she What are you talking about?
She's gonna be married to some rancher guy who said so?
I got it from one of the girls in the troops.
She wrote me all about it married. Oh, there must
be some mistake or something.

Speaker 10 (27:46):
There's no mistake, it's all set.

Speaker 1 (27:49):
Holy gee? Why didn't she kill me? Why didn't she
let me know?

Speaker 8 (27:54):
I breaks up, skid.

Speaker 9 (27:55):
The world hasn't come to an end.

Speaker 3 (27:57):
Why you're skid down a big guy on Broadway?

Speaker 7 (28:00):
Why worry over a cheap little bow?

Speaker 1 (28:02):
I set shut up? Whoa, Well, that's the way the
wind blows. That's the way the wind blows. Now get
out of here. Let alone. I want to think.

Speaker 9 (28:20):
Hello, Hotel Carton. Well, no, see hello Hotel Calton. Go
in Hotel Carton. I'll see if he's in Hotel Calton. Hello, operator,
this is room seven oh seven. Did you get that number?

Speaker 2 (28:37):
Oh?

Speaker 1 (28:37):
Thank you?

Speaker 9 (28:38):
Hello, Hello, window garden. I'd like to speak to Skid
Brown please, Yes, our world of wire Bunny, They're gonna look.

Speaker 7 (28:46):
I hope they don't find him. I can't understand why.

Speaker 9 (28:48):
Hello, Skid, this is Bonnie Here, Bonnie? Where am I?

Speaker 1 (28:55):
Why?

Speaker 9 (28:55):
New York?

Speaker 8 (28:55):
Of course?

Speaker 3 (28:56):
Got in yesterday.

Speaker 9 (28:58):
Yes, I got the show last night's kid.

Speaker 8 (29:01):
You you're all right?

Speaker 9 (29:04):
I'm at the carson. Do you want to come over
after the show tonight? All right, I'll see you then Bye.

Speaker 1 (29:11):
He's coming.

Speaker 7 (29:12):
Yeah, what's Harvey gonna say?

Speaker 9 (29:14):
Bobby knows that, and he's coming Too's.

Speaker 7 (29:16):
Gonna be a nice party. I can see that.

Speaker 1 (29:31):
Hi, buddy, Hello skin, Got buddy, boys, and meet Bonnie Smith,
the greatest troupe right the business.

Speaker 8 (29:37):
Hello, Bonnie Lusty.

Speaker 9 (29:39):
I didn't expect to see you.

Speaker 3 (29:41):
I've been traveling around with this this guy, and he's
got me all side, getting old, left, getting old.

Speaker 7 (29:46):
Hello, Maze, I live and breeze.

Speaker 1 (29:49):
He's like old times.

Speaker 5 (29:50):
Wait a minute, where's Jerry?

Speaker 1 (29:52):
Girls. I want you to meet the greatest first song
right in the world, Jerry Evans. Get over at that
Jeanne Jerry and show him what's what.

Speaker 3 (30:00):
Is a nice comfortable chair? I want to go to sleep,
Go to sleep.

Speaker 1 (30:04):
Say that's no way to start a funny No, you
let me alone, safty her. Well, Bunny, let's take a
look at you guys. You're looking grand. I'm all right,
Well that's swell. I I hear you're getting married, Bunny. Yeah?

Speaker 9 (30:20):
Who told you?

Speaker 2 (30:21):
Oh?

Speaker 1 (30:22):
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? Why do you look at me so funny?
For I ain't said nothing wrong?

Speaker 5 (30:35):
Have I?

Speaker 2 (30:35):
Yeah?

Speaker 9 (30:36):
Good?

Speaker 1 (30:37):
Well, what's a long job about?

Speaker 2 (30:39):
Ain't a new guy treating you right here?

Speaker 8 (30:40):
He's great?

Speaker 7 (30:41):
So what business is it of yours?

Speaker 5 (30:43):
What business of mine?

Speaker 2 (30:45):
Say?

Speaker 1 (30:45):
I suppose what happened to you?

Speaker 2 (30:46):
With none of my business?

Speaker 1 (30:47):
I suppose I'm gonna forget you're the only girl in
the world I forgive a wood about you have me
and how many others?

Speaker 9 (30:52):
I got tired of being a mobstie. Are you still
with that mark of dame?

Speaker 3 (30:57):
Or is she cold?

Speaker 9 (30:58):
Turkey?

Speaker 1 (30:58):
I lay off, Bunny. I came here when you asked
me too. I'm kicking like that to see you. I
try to tell you the work, and what do you do?

Speaker 5 (31:04):
You start riding me?

Speaker 9 (31:05):
I suppose you couldn't come alone? What was you afraid
I do?

Speaker 1 (31:08):
Well, you wouldn't have me shake these guys, were you?
They've been with me ever since last night.

Speaker 9 (31:12):
Yeah, I suppose you're the king of the nightclubs now.

Speaker 1 (31:15):
Yeah, that's me.

Speaker 3 (31:16):
I'm giving all the little girlies a great big hand.

Speaker 9 (31:18):
You better go home early and get some sleep. You
look rotten.

Speaker 1 (31:21):
I forget it, Bunny. We only live once, they listen, Bunny,
when a't going to marry this millionaire? You're you didn't
tell me some time in the fall again, well, what
are you going to do till then?

Speaker 3 (31:32):
Going out to live in the ranks with him and
his sister?

Speaker 1 (31:34):
You mean your chucking show business? Yees? Then the old
partnership broken up? Huh? Going to leave me to struggle
on alone?

Speaker 9 (31:41):
The right you're going, dear, You won't have to struggle alone.
The night life will land. You're right out in the
alley with the.

Speaker 2 (31:46):
Rest of the husband.

Speaker 1 (31:47):
Is that?

Speaker 4 (31:47):
Yeah?

Speaker 1 (31:48):
That's so well? If I do get the gate there
at the show, they always need comics, Geary in as
long as I can make them laugh.

Speaker 3 (31:53):
Hobaby.

Speaker 1 (31:53):
All right, hey, Bunnie, you ain't told me whether I'm
good or rocking in the show.

Speaker 9 (31:57):
Said Jerry was in long before I got here.

Speaker 1 (32:00):
Gosh, this is funny. You were telling me for years
what a riot i'd be if I got a chance.
You push me into my chance, and I clicked, And
all the time I'm wishing that you were here to
see me get away with it. You'll finally get here
and see me, and we don't even talk about it.
I don't know.

Speaker 2 (32:16):
I'm wondering if planning for things.

Speaker 1 (32:18):
So long don't take all the kick out of me.
I suppose nothing can be as good as well as
good as you think it's going to be.

Speaker 9 (32:24):
No, I suppose not Jerry Jerry Way dunking live last Sure.

Speaker 3 (32:31):
I go, come on, bunny, let's say you and me.

Speaker 5 (32:36):
Come in.

Speaker 7 (32:38):
Oh holl o, Harvey, come on in.

Speaker 11 (32:41):
Why I didn't know you were having a party?

Speaker 2 (32:43):
Buy come on and join us.

Speaker 9 (32:45):
This is Jerry Evans.

Speaker 1 (32:46):
How do you do?

Speaker 5 (32:46):
Oh?

Speaker 1 (32:46):
Yeah?

Speaker 9 (32:47):
And Letty more you remember him?

Speaker 2 (32:48):
But sure?

Speaker 1 (32:49):
Sure? How I am was the house? Oh sure? Sure?

Speaker 5 (32:51):
Glad to see you.

Speaker 9 (32:52):
And I know you've heard of get Brown.

Speaker 2 (32:54):
Oh yes, how are you?

Speaker 11 (32:57):
I certainly enjoyed your shoes last night.

Speaker 1 (33:00):
I don't know when I laughed so much. Thank thanks,
But I wasn't so good last night.

Speaker 2 (33:04):
That's what Bunny said.

Speaker 11 (33:05):
But you seem good to me.

Speaker 1 (33:07):
That awful hard to please, Bonnie. You know that gag
about my prevarious credit.

Speaker 11 (33:11):
Yeah, I've heard that when see I hope I didn't
stop your music. It won't you go on, mister Devan?

Speaker 3 (33:16):
But sure, what would you like?

Speaker 1 (33:18):
Well?

Speaker 11 (33:18):
I don't know any of the new songs. My favorites
are all old, like in the Gloom and Bunny saying
that for me once.

Speaker 5 (33:25):
Come on sing it, Bunny, Yeah, Bonnie, sing it?

Speaker 1 (33:28):
Sure, it's so nice? And gay? Hey, why don't we
celebrate anyway a wedding, our funeral? Shouldn't we be toasting
a bride and singing? Gay? Did it with the groom?

Speaker 2 (33:35):
Kid?

Speaker 11 (33:35):
Mister, I wouldn't have spoken about that if you hadn't
no way of speaking. I'm your successor, but I don't
want to dwell on my good fortune except to assure.

Speaker 2 (33:45):
You that it would be my aim to make life
happy for Bonnie. And I'm sure you'd be glad to
know that.

Speaker 1 (33:51):
Sure, I'm glad to know it. Why wouldn't they glad
to know that Bonny's gonna get along har right without me?
But what I'm saying is, why can't we be gay
about it? Why can't we have a wedding?

Speaker 3 (33:59):
My pray step in gingers? And why I can't I
be given the right away?

Speaker 9 (34:02):
Stop it scared?

Speaker 7 (34:03):
Why why I stop it?

Speaker 1 (34:04):
Who's got a better light to be given them right away?

Speaker 3 (34:07):
It shows the no I'm feelings. Why if people get
sore and cramped when they lose out, why.

Speaker 1 (34:11):
Don't they join the for sibity?

Speaker 3 (34:12):
Come on, Jelly's pray the wedding march and pray it
fast if I dance and wed.

Speaker 9 (34:18):
And folks watch my smoke, watch my smoke.

Speaker 7 (34:22):
Here comes the ride, Here comes the ride done.

Speaker 3 (34:29):
I'm all everybody, whoop it up?

Speaker 8 (34:31):
Whomp it up?

Speaker 1 (34:31):
Here come I'll go, Miss Bess. I believe it right now.

Speaker 3 (34:37):
That's by fine and ku ride.

Speaker 1 (34:57):
We pause for station identification. This is the plumba we
are broadcasting system. This is this is CSSA B.

Speaker 2 (35:20):
De Mill speaking to you from Hollywood.

Speaker 1 (35:22):
Al Jolson as Kid and Ruby Keeler as Bonney 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 cameraman. 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

(35:44):
camera man never touches the camera. He's an artist who
paints with lights and shadows, giving the screen depth and
third dimension. He only cranks on a set today. Of
the directors, the cameraman who will speak to you is
mister George Bombs of Warner Brothers Studio. He has photographed
both of tonight's stars many times. Mister Bombs, that's very

(36:13):
gracious view see b But folks, we don't really think
directors are 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 while 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 missus de Mill says, a cameraman's first

(36:35):
job is lighting. In more ways than one.

Speaker 2 (36:38):
He has to show the stars in the best possible.

Speaker 1 (36:40):
Lights, and right along that line is a point that
comes right home here to the Luxe Radio Theater.

Speaker 2 (36:46):
A cameraon has to make a girl look absolutely perfect.

Speaker 1 (36:49):
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 ten Hollywood.

Speaker 2 (37:02):
Stars do that is by using your lux toilet soap.

Speaker 1 (37:05):
It's the official soap at mister Deluxe.

Speaker 2 (37:07):
Studio Paramount and another great studios in Hollywood. And if
we want to see how it works at warn is
mister delil Well, just take a look at Ruby Keeler. Okay, jord,
let the fine played out.

Speaker 1 (37:27):
The lights go up for the third act of Burlesque,
starring Al Joson as Skid and Ruby Keeler as Bonnet.
Three weeks have passed and we're in the office of
mister Kent, the manager of the Manhattan Follies. Skidd's showing
the signs of dissipation and looking very tired. He is
coming in the door.

Speaker 2 (37:48):
Hello, mister Kent, Oh, Hello, hello skidd Son. What is this?

Speaker 5 (37:52):
Mister Kent?

Speaker 1 (37:52):
Another temperance lecture.

Speaker 2 (37:53):
No, not this time, boy. I gave you your last
letture about three weeks ago.

Speaker 1 (37:57):
Well, what do you want to see me for?

Speaker 2 (37:58):
I'm writing new check, skid check.

Speaker 1 (38:01):
I ain't supposed to be paid to day.

Speaker 2 (38:02):
And no, if you're getting a check anyway, your last
one with this outfit, what you've hurt me?

Speaker 1 (38:06):
Skid? You mean I'm canned?

Speaker 2 (38:08):
That's right. I warned you, boy, I told you what
was coming. You wouldn't listen to me. I'm sorry, man,
here's your.

Speaker 1 (38:14):
Check, caned?

Speaker 3 (38:16):
All right?

Speaker 1 (38:16):
So what I can get another job like that?

Speaker 2 (38:19):
I wouldn't be so sure, skid.

Speaker 1 (38:20):
And I'll tell you this, you'll never find one hanging
around the hotspots play off for you. I know what
I'm doing. I didn't the other night when we picked
you up singing the wedding match at the top of your.

Speaker 2 (38:27):
Lungsky Okay, Skid, it's none of my business. I just
thought I might hand you a little advice. That's all
all right.

Speaker 1 (38:34):
I'm sorry, mister can I. I guess I ain't myself
these days. I don't know what's the matter with me lately.
On I'm just a little shock pieces, I guess, But
I'll catch on again, and when I do, I would
back to see you.

Speaker 2 (38:48):
Mister Kent. So long, skid and lots of luck.

Speaker 3 (39:03):
Come on, girls, come on, come on, swing it, Let
you swing it.

Speaker 7 (39:06):
This is a rehearse.

Speaker 1 (39:06):
We'll not a funeral gift when you give it's come on?

Speaker 3 (39:11):
Oh what are your want? What are your one? Frozo?
Don't you see him?

Speaker 1 (39:13):
You hustle the number? I know, but this is important.
Skit is here. We wanted to see you Ski. Where
is I'm at the stage door? Gee looked terrible, Leftie
like he ain't.

Speaker 5 (39:23):
Not nothing in a week.

Speaker 4 (39:25):
I guess I better see him.

Speaker 3 (39:26):
All right, all right, girls, that'll be all for a while.

Speaker 2 (39:29):
I'll be back in a couple of moments. Okay, scared?
Oh Lessie, see Lessie?

Speaker 1 (39:41):
How are you?

Speaker 3 (39:43):
What's what's happened to you?

Speaker 1 (39:44):
Skiddy?

Speaker 11 (39:45):
Where you've been?

Speaker 3 (39:46):
Oh?

Speaker 2 (39:47):
Just knocking around after I got canned.

Speaker 1 (39:49):
I I kind of hit the shoots.

Speaker 2 (39:52):
Oh boy, you should look at.

Speaker 3 (39:55):
Any prospects of a job.

Speaker 1 (39:56):
No, I've been looking around for a month, but I
guess they don't want want me, Lefty. Then I heard
you were putting on a new show, and well, I'll.

Speaker 2 (40:05):
Come around and see you about it.

Speaker 3 (40:07):
You you want a job with me?

Speaker 2 (40:09):
Yeah, that's right in burlesque? Sure, what do you say, Lefty?
You gotta spart for me?

Speaker 3 (40:16):
Oh gee, I don't know, skid.

Speaker 1 (40:19):
Oh please, Leftie, give us a break, will you? I
needed bed, honestly, put for bed.

Speaker 3 (40:23):
What about the liquor?

Speaker 5 (40:24):
The liquor?

Speaker 2 (40:25):
I say, that's that's all lovel with Leftie.

Speaker 1 (40:27):
That's finished.

Speaker 3 (40:27):
Yeah, well that seems to me. I've heard that before.

Speaker 2 (40:29):
That's on the level this time.

Speaker 4 (40:31):
Well, okay, skared, I'll give you a chance.

Speaker 2 (40:34):
Thanks, Lefty.

Speaker 3 (40:35):
Now listen, we open in a week. Do you think
you can get on your feet on that time?

Speaker 1 (40:39):
Sure? Sure?

Speaker 3 (40:40):
All right? Then, all right now listen to me. Remember it.
You gotta be here forever. We hustle and you gotta
be here on time.

Speaker 1 (40:45):
Don't worry, Leftie.

Speaker 3 (40:47):
I'll be a new guy.

Speaker 2 (40:48):
Wait, you'll see.

Speaker 5 (41:00):
Rosa.

Speaker 3 (41:01):
Did you find him?

Speaker 2 (41:02):
Yeah?

Speaker 3 (41:02):
I got him? Where was he the usual spot? Holy smokes?
How is he?

Speaker 4 (41:06):
Oh bad?

Speaker 3 (41:07):
Three days before we open and he pulls this one
on me.

Speaker 2 (41:10):
Now it's going to be tough, Lefty.

Speaker 1 (41:11):
There's only one way out, and I gotta take it.
Watch the dope that looks like I said, what you do,
run out and shoot a water Bondie? Tell her I
need to tell us Skip needs her, but tell us
she's got to get here right away.

Speaker 4 (41:19):
Okay, sit down, Bonnie said, down there?

Speaker 1 (41:34):
Did I say it was great to see you?

Speaker 3 (41:37):
Well, it's more than that.

Speaker 9 (41:39):
What's it all about?

Speaker 5 (41:41):
Skid?

Speaker 9 (41:42):
Of course I know it was Skid? What happened?

Speaker 3 (41:45):
Hadn't you heard anything about him?

Speaker 1 (41:46):
Since you was here?

Speaker 9 (41:47):
Left nothing? I read that he was out of the follows,
but that didn't surprise me. He was heading for that
one I saw him.

Speaker 3 (41:53):
Yeah, Yeah, that afternoon he danced out of your room.
He danced himself right out of show business. He went
on a grand By and he eight played since. Oh
I gave him a job. But he's been.

Speaker 2 (42:04):
Handing me an awful ride here I am.

Speaker 3 (42:06):
I'm opening him tomorrow night and up to know.

Speaker 1 (42:08):
He ain't rehearsed half of this stuff.

Speaker 3 (42:11):
Honest, Bonnie, I don't know which way to turn.

Speaker 9 (42:13):
I know what's in your mind. Left me what you
want me to do, So I'm gonna save you the
trouble of asking me. I'll do what I can.

Speaker 3 (42:19):
Oh gee, gee, you're run niece. How long will you stay?

Speaker 9 (42:22):
Till you get your show right and Scared gets straightened down.

Speaker 1 (42:25):
Thanks Bonnie, thanks a lot.

Speaker 3 (42:27):
Say, I don't know what I do with you?

Speaker 9 (42:29):
There he is now? Huh oh gosh, look at him?

Speaker 1 (42:35):
Scared?

Speaker 2 (42:36):
Where's the rehersal? Left?

Speaker 7 (42:37):
Ere my early?

Speaker 1 (42:40):
Yeah?

Speaker 2 (42:41):
Yeah for tomorrow? You are I was only kid? Huh?

Speaker 3 (42:46):
Who is that? Am I seeing things?

Speaker 1 (42:50):
Do you see her? Left?

Speaker 2 (42:51):
Kid?

Speaker 3 (42:52):
Sure? Sure I see her? Don't kid me.

Speaker 8 (42:57):
I've been seeing things lately.

Speaker 3 (43:00):
Hi, are you scared? It's it's really you.

Speaker 2 (43:07):
Know.

Speaker 3 (43:09):
I'm all right?

Speaker 1 (43:11):
How are you? Kids? Let me have a look at you.

Speaker 3 (43:16):
You're looking great, but you've been crying.

Speaker 8 (43:20):
I haven't how you can fool me. I've seen you
cry at you often.

Speaker 2 (43:27):
But what are you doing in this dumb.

Speaker 11 (43:30):
Oh?

Speaker 3 (43:32):
Come on?

Speaker 2 (43:33):
Why is mister loved you?

Speaker 1 (43:35):
Mister loved the fox to get his rotten and told me.

Speaker 3 (43:40):
Exactly the great don't waste a minute around here.

Speaker 1 (43:45):
I don't all right. Nobody's gotta worry about me, you.

Speaker 8 (43:48):
Know me, Scared the farman child, I've always there show.

Speaker 9 (43:52):
You, but you gotta take care of yourself. Scared, you
gotta start tapering off now.

Speaker 1 (43:57):
Okay, Bunny, you're the only one I ever knew that
had any sense.

Speaker 2 (44:03):
Oh you're not ashamed of it.

Speaker 3 (44:04):
Bunny, are you?

Speaker 1 (44:07):
I've been an awful set.

Speaker 4 (44:08):
But don't ride me, will you?

Speaker 8 (44:12):
Bunnie, don't ride me? I won't right, that's right, kid,
I've listened to so many letters.

Speaker 1 (44:19):
Honestly, I carry me own slide.

Speaker 9 (44:22):
Don't think you better get some sleep?

Speaker 1 (44:23):
Skin?

Speaker 8 (44:24):
Yeah, sleep, I ain't gonna buy it my sleep.

Speaker 1 (44:28):
Oh, gee, Bunny is great to see you. I told
you I'd be an awful step without you.

Speaker 9 (44:33):
He never was a set skid. He got more brain
than all the comics put together. You make mistakes for
who don't. But after all skid, fund's fun that he's
opening his first showtow mine. I'm with ask and you'll
be sunk. He's been too good a friend of ours
for you to throw him.

Speaker 2 (44:49):
Gee, Bunny, I don't think I could ever make it.

Speaker 9 (44:52):
Oh you can make it.

Speaker 1 (44:54):
I'm all shot money.

Speaker 9 (44:55):
You can come out of it.

Speaker 8 (44:57):
You think I can't know it? You wouldn't, Kidney, would
your lady?

Speaker 1 (45:02):
I would?

Speaker 9 (45:02):
If I couldn't miss you, I would if I could.

Speaker 1 (45:05):
Kay, where's your candle?

Speaker 3 (45:07):
Wrestler?

Speaker 8 (45:08):
You remember you got sor at me?

Speaker 1 (45:10):
That did? Sure? He did for the singing.

Speaker 8 (45:15):
It comes abright, remember, come away, I'll take care of him.

Speaker 3 (45:26):
Do you think funny?

Speaker 2 (45:27):
Do you think i'd better postpone the opening?

Speaker 9 (45:28):
Let's try not to, Lefty. I'd hate to see him
up here first opening, and it wouldn't look so good.
But skinny either, post skinned.

Speaker 4 (45:36):
That's all right, Bunny, Dad, Dad, that's all.

Speaker 9 (45:38):
I'm all right, Lefty, give him some.

Speaker 1 (45:40):
More to with this.

Speaker 2 (45:40):
Look. Don't you think we better get him over to
the hotel?

Speaker 1 (45:42):
No?

Speaker 9 (45:42):
Let him stay here.

Speaker 3 (45:44):
Okay, I'll be back in the second.

Speaker 9 (45:45):
All right, Skid, look at me. You'll be all right, honey,
nothing can stop you.

Speaker 5 (45:54):
You'll be all right.

Speaker 9 (45:55):
You'll knock him dead. You ain't started yet, You'll be
all right. You gotta be all right. You just gotta
be all right.

Speaker 1 (46:17):
How is he, Bunny?

Speaker 9 (46:18):
All right, he's got his way up to the desk.

Speaker 3 (46:20):
But he's on next you.

Speaker 1 (46:22):
Do you think he can do it?

Speaker 3 (46:24):
Robably? Almost fainted in his last routine? Oh? Hi, yes, skid,
you're set, baby? Sure? What's just gonna be my song?

Speaker 9 (46:32):
Yea yeah, A couple of routines, get no pots and
I can write into your number cutter four.

Speaker 1 (46:38):
Okay, Bunny, you're the boys.

Speaker 7 (46:42):
You are right?

Speaker 1 (46:42):
Kid say okay, maybe I thought I was back in Manhattan, followed.

Speaker 9 (46:55):
Letty Quay.

Speaker 8 (46:56):
I said, he's gonna four No, No, he's okay, Bonnie Crazy.

Speaker 1 (47:01):
I'm glad to do this and right now I'm going
to sing a little number for you one. I like
a lot a little music at professor. Oh my, guess
people right? People pot and sistically drink a hope to
up place that.

Speaker 3 (47:20):
A lot of them place that at the top of
the list. Are they wrong?

Speaker 5 (47:25):
Are they right?

Speaker 1 (47:26):
Is there a reason for there? The life of living?
Find not you?

Speaker 5 (47:38):
It's true?

Speaker 1 (47:39):
What do you think about?

Speaker 5 (47:43):
There's the first?

Speaker 1 (47:44):
Really shine all? It's not He'll a three magnolia blossom
that everybody is done and you're mostly thinking bottom.

Speaker 5 (47:56):
You ain't carry no more to the truth.

Speaker 1 (47:59):
What they about Swanny?

Speaker 4 (48:03):
It was a dream?

Speaker 7 (48:04):
By that dream?

Speaker 1 (48:05):
Soo suplie?

Speaker 5 (48:08):
Do they laugh?

Speaker 9 (48:09):
Do they love like you say?

Speaker 1 (48:11):
Every song?

Speaker 5 (48:12):
Yeah, it's true that all deng.

Speaker 1 (48:17):
Is it true?

Speaker 5 (48:18):
What is it about Swanny?

Speaker 8 (48:22):
It's a dream by that's dream?

Speaker 9 (48:24):
So supplies?

Speaker 5 (48:27):
Do they laugh?

Speaker 1 (48:28):
Do they long? Like they say? Every song in its
room that belong?

Speaker 9 (48:44):
How do I do a b oh schedule?

Speaker 8 (48:46):
As well, I know you dread.

Speaker 9 (48:56):
How you feeling.

Speaker 2 (48:58):
I'm all right there.

Speaker 9 (49:00):
Do you think you can go on being all right?

Speaker 1 (49:03):
I can't, Bunny.

Speaker 2 (49:04):
If you stick, Bunny, you're ski I'll stick for good
for good, o ge Bunny.

Speaker 1 (49:12):
But what about your cattle?

Speaker 2 (49:15):
Rancher's all right?

Speaker 9 (49:16):
I explained it to him. Scared you See when I
left U, well, I had an idea. I was coming
here to stay.

Speaker 1 (49:23):
Oh, Bunny, I'm crazy about you. I can't get along
without your sweet.

Speaker 9 (49:29):
You don't even have to try. From now on, it's
you and me together for better all the word.

Speaker 1 (49:36):
Yeah, better for me and worse for you.

Speaker 9 (49:39):
Ah, there you've gone. We're always clowning.

Speaker 1 (50:02):
Alan Ruby will be back in just a moment. We
are honored to night by the presence of Daniel Frohman
DF as we call him, produced the first play that
my father, Henry C. De Mill and David Belasco ever wrote.
It was called The Wife. When the play opened, it
was a failure. Nobody came naturally, mister Frohman decided to

(50:22):
close it. My father and Belasco had spent a year
writing this play. All their savings were gone. They were desperate,
so they went up to mister Frohman'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.

(50:42):
So mister Broman 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 gentleman. Eighty five year old dean
of the American stage. Daniel Problem, that's who you are.

(51:18):
Very kind now, now I'm saying what I felt ever
since I was five years old.

Speaker 2 (51:23):
Well, that was when I used to kase you out
of the box office.

Speaker 12 (51:28):
For annoying the treasurer. Even now, it hardly seems possible
that you're old enough to have a radio program of
your own.

Speaker 2 (51:37):
I am just starting in radio DF.

Speaker 1 (51:39):
Do you remember when I was just starting as a
young actor one of your companies.

Speaker 12 (51:43):
Yes, I remember paying you the fabulous salary.

Speaker 1 (51:46):
Of forty dollars a week that included my wife's salary too.
When I was willing to work for any salary for
the man who started the barramas Ethel as I remembered,
was the first to join you then Lionel, wasn't it Yes?

Speaker 12 (52:01):
And then the two of them edged in their little
brother Jack Barymore to design our bill posters.

Speaker 1 (52:09):
But why don't you, Why don't you get him to
design one for that big show you're producing on July First,
the actors, fun Benefit, the f It's been a privilege
to have you here tonight.

Speaker 2 (52:20):
It's nice to be here, Cecil, and be part of
your great enterprise.

Speaker 12 (52:26):
For no theater in the history in history has reached
so many people as your luck Radio theater. From your
father and mother, who have inherited the you have inherited
the highest traditions of the stage, and I know you
are true to this trust, Randalls.

Speaker 1 (53:00):
I have just written the n article for a national
magazine on the ten greatest pools in History. Perhaps I
should have made it eleven and included the Singing Pool,
the character that Al Joson made the most famous pool
of all for that picture, The Singing Fool, broke every
box office record of its day. And here they come,

(53:21):
the Singing Pool and his dancing wife, ladies and gentlemen,
the josh Alan Ruby, you have enjoyed wealth, fame, and success,
all the things most people dream about. Ah, but that's
nothing that the mill compared to the thrill I got one.

(53:43):
Little Al Junior spoke his first word, and what do
you think was the first word he ever said? He said,
Jerry Ah.

Speaker 9 (53:49):
No Al, he said, Mama?

Speaker 5 (53:51):
Did he?

Speaker 9 (53:52):
Well didn't he?

Speaker 1 (53:53):
If you say so, I jess he did? But oh
that's it. Put solid arms and back. Yeah, Fusky, what
a baby. Honestly, mister Demil, I don't like to exaggerate,
but you've never seen ten secs weddly. Little Toe takes
after his mother, doesn't he? Twinkling toes of rubies? Well?
But one way he takes after his daddy, great big
strong knees, A born mammy singer. His toes from his

(54:19):
mother and his knees from his father. His good looks
as the toes from luck. Yes, sir, just like his mama.
She's a lux lady, aren't you Ruby. That's a matter
of fact. As a matter of fact, luck soft is
what makes all us jose and so handsome. We've had
we've had complish requests for two things. A song by

(54:41):
al and a dance by Ruby. Unfortunately we haven't time
for both. So which shall it be? Oh, that's very easy,
mister Daniel, out decide that we're gonna have a dance
by Ruby.

Speaker 9 (54:51):
Just a minute, Al, I've decided you are going to sing?

Speaker 1 (54:55):
Well, how are we gonna compromise?

Speaker 9 (54:57):
L will sing?

Speaker 1 (54:58):
Well, that's how it is.

Speaker 5 (55:01):
I guess you can see our folks by the carne
al killer.

Speaker 2 (55:11):
A pretty girl.

Speaker 1 (55:14):
He isn't like a melody.

Speaker 3 (55:18):
That all you, not.

Speaker 1 (55:24):
Just like a strain of a haunting referrain.

Speaker 5 (55:29):
She'll snapo a manothon.

Speaker 1 (55:32):
And running around your brain your faniskay, he's in your
memory by morning god, a loone.

Speaker 2 (55:46):
She will leave you when then come back there.

Speaker 1 (55:52):
A pretty girl, you're just like a pretty cool.

Speaker 2 (55:59):
I'm pretty.

Speaker 1 (56:00):
Here's lack of alogy.

Speaker 5 (56:04):
That haunts you nice and.

Speaker 1 (56:09):
Not like a strain on a handy refrain.

Speaker 2 (56:14):
She's gone up from malapon and run around your brain.

Speaker 10 (56:19):
Your plan of girl.

Speaker 11 (56:22):
Is in your memory.

Speaker 2 (56:25):
My morning not.

Speaker 5 (56:31):
She will leave you and then come aback again.

Speaker 8 (56:37):
A prouty girl is just like a.

Speaker 1 (56:45):
Shot.

Speaker 2 (56:52):
Thank you, mister Johnson.

Speaker 1 (56:53):
Ladies and chappin, this is your announcement. Mouth rule. Listen
to mail returns in a moment to tell you about
next week's play. The makers of lux Sape wished to
express their appreciation to our capable cast and to the
great studios who have cooperated with us in presenting this broadcast.
Our cast to night included Wallymeyer, Victor Rodman, Eddie Kane,
Mita Leroy Inez Seeberry, Frank Nelson, and lou Merrill. Al

(57:15):
Jolson and Ruby Keeler appeared through the courtesy of Warner Brothers,
as did George Bond. Our producer Cecil B. De Mill
comes to us from Paramount Lewis Silvers. Our musical director
represents twentieth Century Fox, and mister Daniel Roman is in
Hollywood as producer of the Actor's Fun Benefit. And now
here is your producer, mister Cecil B. De Mill. Next
week our play is The Dark Angel, a vital romance

(57:37):
played against the background of war. A dramatic triumph from
the 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. Merl o'beron and Herbert Marshall. Our sponsors as

(58:00):
well as Miss Oberon, Mister Marshall and I cordially invite
you to be our guests in the Lux Radio Theater
next Monday night. This is Cecil B. DeMille saying good night.

Speaker 2 (58:10):
To you from Hollywood.

Speaker 1 (58:13):
This broadcasting system