Lux Radio Theatre - Irene

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 (00:01):
Hollywood, California. Monday, June twenty ninth, The Lux Radio Theater
presents Jeanette McDonald in I Read a Play with Music.

(00:32):
Lux presents Hollywood Tonight. We bring you Jeanet McDonald regis
to me, Cecil D. De Mill, D W. Griffith, Coral
Love and many others. These behind the footlights in front,
seated in our audience a host of Hollywood's most noted notables.

(00:52):
The Lux Radio Theater welcomes you all. This entertainment is
presented by the makers of LUTs plates. These marvelously sheer
flakes are used in mister De Mill's own studio, Paramount
and in other great Hollywood studios because they keep fabrics

(01:14):
and colors new looking longer and now our director, it
has been truly said this man has put the star
in starting more famous screen performers than any other film executive.
Ladies and gentlemen, mister Cecil B. De Mill, Greetings from

(01:38):
Hollywood ladies and gentlemen. Men make their greatest mistakes in
picking women and horses. I once predicted that there would
never be a horseless carriage after my roommate at college
injured his hand trying to invent one. Manufacturers have made
sixty three million motor cars since then, and horses are

(01:59):
found mostly on Merry go rounds. I also misjudged Jeanette
mac donald early in her career. You would never suspect
now that she was once just a Philadelphian with a purpose.
There is nothing more grim than a little girl with
red pigtails, ambition, and determination, and Jeanette had all four
of them. When I first heard her, she'd been singing

(02:22):
in Broadway reviews. She sent me a telegram asking for
the leading role in Madame Satan. I didn't know much
about her, but was convinced she was not the one
I wanted for the part. She sent me more and
more telegrams, telling me the best thing I could do
was to put.

Speaker 2 (02:38):
Her on the screen.

Speaker 1 (02:40):
I still refused, but others were smarter than I, and
she has risen steadily justifying their faith and my stupidity.
Every man is entitled to three mistakes in his life,
and that was one of mine. But I didn't lose her.
For Along comes Lucks and Boy Gets Girl Tonight. In

(03:08):
the Lux Radio Theater, Jeannette plays a role she had
understudied on the Broadway stage but never had a chance
to play until now. So there is a special thrill
in announcing Irene starring Jeanette McDonald. And now for the

(03:35):
first act of Irene starring Jeanette McDonald is Irene o'dair,
red haired, blue eyed, and irish who earns her livelihood
behind the upholstery counter at a large New York department store.
We're in the store now. On the main floor. Cash
goes singing by overhead, and bargain hunters are pushing through

(03:56):
the doors, surging toward the crowded elevators. Here's the ports
furniture on miss flow, no, sir, on the sixth floor,
West week flowing up, please this way, please, no crowding
going up to stand back.

Speaker 3 (04:17):
Mister Sweeney. Are you ready to see miss o'dair.

Speaker 4 (04:19):
Miss o'dair, Oh, that girl from their polstry department, the
one we had to complain about.

Speaker 3 (04:23):
Yes, sir, Well, well where is she in the outdoor office?

Speaker 1 (04:27):
Send her in?

Speaker 3 (04:28):
Yes, sir, will you come in see? Thank you? Good running,
mister Sweeney.

Speaker 1 (04:34):
Your name's o'dair.

Speaker 3 (04:35):
Yes, sir, I reno dad down, Thank.

Speaker 4 (04:37):
You Miss O'Dare I wonder if you realize just why
I wanted to see her this morning, No.

Speaker 3 (04:42):
Sir, but I hope it's about a rain. What I mean, No, sir,
I don't know what you want to see me about it?

Speaker 1 (04:45):
And I'll tell you.

Speaker 4 (04:46):
Miss O'Dare one of our customers this morning.

Speaker 1 (04:48):
Turn over a pillow at your counter, and what do.

Speaker 4 (04:50):
You suppose she found under it?

Speaker 3 (04:52):
Another pillow?

Speaker 5 (04:53):
She did not?

Speaker 1 (04:53):
She found this. Oh.

Speaker 4 (04:55):
The magazine Stars of the Stage and Screen opened at
an article entitled what are they wearing?

Speaker 1 (05:00):
Well, well, what was it doing there?

Speaker 3 (05:02):
Why I put it there, sir?

Speaker 1 (05:03):
I know that, But why well?

Speaker 3 (05:05):
I was reading it.

Speaker 6 (05:06):
And are you in the habit of reading magazines like this,
miss O'Dare?

Speaker 3 (05:09):
Oh, yes, sir, oh you are, yes, yes. I like
to look at the pictures, all those beautiful girls. It's
such beautiful clothes.

Speaker 4 (05:15):
You so dare Do you realize that it's magazines like
this to turn young girls heads, makes them irresponsible like it?

Speaker 3 (05:22):
Do you really think that's true, mister Sweeney, that of
course it is. Well, then why do we sell those
magazines in the store.

Speaker 1 (05:27):
But well, that's beside the point.

Speaker 3 (05:30):
Oh, I don't think so, sir. You see, mister Sweeney,
there's lots of girls like me. We don't have any
pretty clothes or anything we don't even hope to have.
But there's no reason why we can't look at girls
wore a little luckier than we are. It's the only
real fun we get out of, Like mister Sweeney, wishing
for things.

Speaker 4 (05:45):
Well, wishing for things doesn't make them come true.

Speaker 3 (05:49):
I know that, sir, Jesus times that wish so hard
for things that it hurt, but it didn't get them,
like that raise, for instance, we'll.

Speaker 4 (05:55):
Forget about the raise, miss o'dair. Yes, and if I
were you, i'd concentrate a little hot around holding my job.
If I get any more complaints about you.

Speaker 5 (06:03):
I uhm, I'll have to let you go.

Speaker 6 (06:05):
You understand, yes, sir, but you.

Speaker 3 (06:07):
Won't get any more complaints, mister Tweeney, I need a
job too much.

Speaker 7 (06:11):
Well, you may go now, thank you, sir, Irene clearness.

Speaker 3 (06:23):
Oh hello, Jane, what are you doing at the linen
coownar tan for it this morning?

Speaker 8 (06:27):
Hey?

Speaker 9 (06:27):
Did you see the notice on the bottom board downstairs?

Speaker 3 (06:29):
There's gonna be another show this year sales girls with you.
Uh huh, you're gonna cry it again. I'd like to
see anyone keep me away?

Speaker 10 (06:36):
Gee you as well.

Speaker 3 (06:36):
Last year, Irene. Honest, if I had a voice like yours,
I chucked this door job and get on the radio
or something. Yes, And while I was looking around for
a chance my mother could take in Washington, I suppose
j said, there's already Hector. Listen along, Jane sy at lunch.

Speaker 8 (06:51):
Bye.

Speaker 11 (06:53):
Did you call me miss Hector?

Speaker 12 (06:54):
You knew very well I did.

Speaker 8 (06:56):
Did you see some Baranka cushions to Missus Henry.

Speaker 3 (06:59):
Marshall, Yes, I think so for her long Alan house.

Speaker 8 (07:02):
Well, she has a complaint they're too small.

Speaker 3 (07:04):
Why don't she send them back?

Speaker 2 (07:05):
She can't.

Speaker 8 (07:06):
She has a big weekend party starting tomorrow. She's giving
a garden party this afternoon. She wants to explain what's
wrong to somebody in the department. You'll have to go
miss for there me.

Speaker 3 (07:17):
Oh, but I'd love to remember this.

Speaker 8 (07:19):
Missus Marshall is one of our best and wealthiest customers.

Speaker 3 (07:23):
Please act accordingly. Oh, I will, Miss Hector. I'll be
a real lady for Clarkson.

Speaker 5 (07:39):
Yes, Missus Marshall.

Speaker 3 (07:40):
Has the girl from the store come yet?

Speaker 1 (07:42):
No, Missus Marshall, Well, when she does, ask her to wait,
I want to speak to her, Yes, Missus Marshall.

Speaker 3 (07:47):
Mother Oh, Darnald, you're.

Speaker 5 (07:49):
So terribly late.

Speaker 1 (07:50):
Sorry, Mother, I was delayed at the office.

Speaker 3 (07:52):
The party is almost over.

Speaker 2 (07:54):
Eleanor has been asking for you every ten minutes.

Speaker 1 (07:56):
Eleanor, is she here?

Speaker 13 (07:58):
Cook?

Speaker 3 (07:58):
Stop, you'd better go and speak to her.

Speaker 1 (08:00):
No, No, I'll keep out of the way if you
don't mind. I have some work to do this afternoon.

Speaker 3 (08:04):
Donald, what is the matter with you? Helen is a
charming guest.

Speaker 1 (08:08):
Yes, I know, but there are all kinds of charm, mother,
and hers just doesn't appeal to me. Oh, Donald, By
the way, Mother, not to change the subject, but where
do you buy your clothes? What I said, where do
you buy your clothes?

Speaker 9 (08:20):
Why?

Speaker 1 (08:21):
Well, I met Bob Harrison in town. You never met him,
but we roomed together in college. Yes, it seems Bob
went and sunk a lot of money in a place
called Madame Lucy's a dress shop, and I'm trying to
drum up a little trade for him.

Speaker 3 (08:32):
He's running a dress shop.

Speaker 1 (08:34):
Well, no, not running it. He just put up the money.

Speaker 3 (08:37):
Well, I don't know, Donald, I wouldn't like to change
my dressmaker. Well, unless I were sure of what.

Speaker 1 (08:44):
I was going to get, all right, Mother, forget it.
It was just an idea.

Speaker 10 (08:48):
Oh there you are.

Speaker 1 (08:49):
Oh hello, Eleanor.

Speaker 3 (08:50):
What do you mean my hiding out on us?

Speaker 13 (08:52):
We're all waiting for you.

Speaker 1 (08:53):
I'm sorry, Eleanor, but I was busy where you are busy?

Speaker 13 (08:56):
Now come on and join the podcast.

Speaker 1 (08:57):
I'm afraid I can. I've still got a lot of
work to do.

Speaker 13 (09:00):
Oh work, that's all you ever think about?

Speaker 7 (09:03):
Hen In Marshall.

Speaker 3 (09:04):
What are we gonna do with him?

Speaker 6 (09:06):
I'm sure I don't know, well I do.

Speaker 5 (09:08):
Come on, mister tired business man.

Speaker 3 (09:10):
You're going to finish this down for me. Yes, miss
my name is miss O Dare. I'm from Barren Brothers.

Speaker 5 (09:27):
Oh, yes, you're here.

Speaker 3 (09:29):
About the seat cushions, they're come in. Please thank you
if you will wait.

Speaker 1 (09:33):
For a moment to help see if I can find
missus Marshall, of course, thank you.

Speaker 6 (09:40):
Well, hello, hello, what are you doing down here? You
remember me, don't you?

Speaker 14 (09:47):
Yes?

Speaker 3 (09:47):
I remember you well.

Speaker 1 (09:49):
I remember you very well.

Speaker 6 (09:51):
You see what an impression you made on me that
night in Philadelphia?

Speaker 1 (09:55):
How long ago was that?

Speaker 3 (09:56):
Two years?

Speaker 1 (09:57):
Two years? And I recognize you right away. Where in
the world did you go?

Speaker 6 (10:02):
And I looked for you the next day and you'd
completely disappeared.

Speaker 3 (10:04):
I had a good reason. What oh, never mind?

Speaker 1 (10:08):
What was your name?

Speaker 3 (10:10):
Same as is?

Speaker 11 (10:11):
Now?

Speaker 3 (10:11):
What is it? Must have made a terrible.

Speaker 5 (10:14):
Hit with you, you did.

Speaker 1 (10:16):
I just can't think of your name right now.

Speaker 3 (10:18):
Well I don't remember yours either, so we're square.

Speaker 6 (10:20):
You're just the same little girl, though, So tell me
what are you doing here in this place?

Speaker 3 (10:23):
I'm in the decorating business. I decorate everything, but myself.
I work in the store that made these cushions.

Speaker 1 (10:28):
Well, that's right you.

Speaker 6 (10:30):
You worked in a store in Philadelphia too, didn't you. Yes,
well now you know you really shouldn't. You're much too
pretty to be working in anything.

Speaker 3 (10:39):
Thanks, But I have to eat once in a while.

Speaker 6 (10:43):
So you don't even remember my name?

Speaker 5 (10:44):
Eh?

Speaker 6 (10:45):
Nope, Well I'll tell you it's Larry, Larry Bradley.

Speaker 3 (10:49):
Oh is it?

Speaker 14 (10:51):
Now?

Speaker 1 (10:51):
What's yours?

Speaker 3 (10:51):
I haven't got any commands?

Speaker 1 (10:53):
It down here?

Speaker 12 (10:54):
Yeah?

Speaker 10 (10:54):
Let go? What do you take me for?

Speaker 6 (10:55):
I don't be unreasonable, so dona no, let me alone.

Speaker 1 (10:57):
I don't be afraid.

Speaker 3 (10:58):
I'm not afraid. I just want you to let go me.
Did you hear what I say that?

Speaker 5 (11:02):
I mean?

Speaker 1 (11:06):
Hello? Donald? What's the matter here? Nothing much?

Speaker 11 (11:10):
Oh?

Speaker 3 (11:10):
Yes, there is. I came here from the stores, see
about the cushions. He still tried to get fresh with me.
It's sucky for him. He didn't get something you wouldn't.

Speaker 6 (11:16):
Forget, as you you see, Donald, She's a.

Speaker 1 (11:19):
Regular little spitfire. If I were you, Larry, i'd clear out.

Speaker 5 (11:24):
Ah.

Speaker 6 (11:24):
Yes, all right, good afternoon, miss spitfire.

Speaker 3 (11:30):
A fresh guy.

Speaker 1 (11:32):
I'm sorry this happened. He's one of my guests. Will
you allow me to apologize for him?

Speaker 3 (11:36):
A lot of good?

Speaker 10 (11:37):
That does.

Speaker 3 (11:38):
I came here all prepared to act like a perfect lady,
and the first thing I run into is him. Swell society.
I'll tell people what swell society is like.

Speaker 1 (11:46):
All right, all right, Oh, but you mustn't judge all
of us by one man. Come on, now, you're all unstrung.
Sit down a while until you feel better.

Speaker 3 (11:52):
Oh I can't. I gotta get back to the store.
He that fellow was strong. I guess it's just as
well you came out here.

Speaker 1 (12:00):
I'm glad I did.

Speaker 3 (12:03):
Maybe it's just his way of being friendly.

Speaker 1 (12:04):
Huh, how well do you know him?

Speaker 3 (12:06):
You'd have thought I knew him pretty well, wouldn't you.
I just met him once two years ago in Philadelphia.

Speaker 1 (12:11):
Oh, I see, but won't you sit down here?

Speaker 3 (12:14):
No thanks, that's what he wanted me to do, all right,
you said.

Speaker 1 (12:17):
Just where you want to? Yes, sir, Now is there
anything I can do for you?

Speaker 11 (12:21):
No?

Speaker 3 (12:21):
Thanks, I'll be lieving in a minute.

Speaker 1 (12:22):
I suppose you've had your lunch.

Speaker 3 (12:24):
Well I had the usual.

Speaker 1 (12:26):
What's that bar?

Speaker 3 (12:27):
Chocolate and glass milk? I got it in station.

Speaker 1 (12:29):
Well that's not very much.

Speaker 5 (12:30):
Is it.

Speaker 3 (12:31):
Oh I'm used to it now.

Speaker 1 (12:32):
Oh, I haven't had a thing since breakfast. I wonder
if you'd joined me in something.

Speaker 3 (12:36):
Gee, thanks, but well not jet very nice.

Speaker 1 (12:41):
I don't worry about that. Come on, we'll go inside
and see if we can dig up a couple of sandwiches.
Feel better?

Speaker 3 (12:58):
Oh yes, see that was twelve.

Speaker 1 (13:01):
Tell me some more about yourself and miss old dare.
Do you live in the city.

Speaker 3 (13:04):
Mm hmm with my mother and my brother. We live
just off Ninth Avenue.

Speaker 1 (13:08):
Oh you have no father, no, sir, not for.

Speaker 2 (13:10):
Over a year.

Speaker 1 (13:11):
Boy. Then you are the breadwinner of the family, yes, sir. Oh,
you ought to be very proud. There's a real pleasure
in working, isn't there.

Speaker 15 (13:18):
Oh?

Speaker 3 (13:19):
Yes, I wouldn't miss a day they take it out
on Saturday night.

Speaker 1 (13:23):
Well, maybe you won't always work in the store. You
never can tell what will happen.

Speaker 3 (13:28):
You mean to make it fired?

Speaker 1 (13:29):
Oh no, no, but maybe you'll get get married someday married.

Speaker 3 (13:33):
Gee, i'd have to find someone who could take care
of my mother and brother. I can't desert him. Now,
What chance have I got to meet a man like that?
Not a chance in the world. The men we wee
can just about support themselves. Am I talking too much?

Speaker 1 (13:45):
No, not at all.

Speaker 3 (13:47):
Mother says I got the gift to gab. I never
know when to stop.

Speaker 1 (13:49):
Oh, but I like to listen to you. It's interesting.

Speaker 3 (13:51):
Well, you're interesting too, even if you don't talk as
much as I do. We girls don't meet many men
like you. We don't get a chance. I know. Girls
are lots of fun, pretty beautiful, but they never meet
the right kind of minute or because they haven't got
any decent clothes to wear. Clothes make an awful difference
in a girl. And just because we haven't got them,
don't think we don't know about them. We can't help
seeing what the other girls have in the shop windows
and evening papers. See I talk careless. We all talked

(14:14):
that way, but you wouldn't know. It's when we put
on airs, honest, we can talk and act like real lady.

Speaker 1 (14:17):
You can.

Speaker 3 (14:18):
Yeah, it's not as difficult as it sounds. We take
off the swell. Customers who come to the store listen
to this. Oh, missus Thomas, how.

Speaker 5 (14:25):
Do you do, my dear?

Speaker 3 (14:27):
I so enjoyed your lovely garden party.

Speaker 9 (14:30):
It was divine and you look stunning well, Udavah.

Speaker 3 (14:34):
You can't tell the difference, now, can you? Except for
the clothes, of.

Speaker 1 (14:37):
Course, Yes, I imagine clothes do make a lot.

Speaker 2 (14:40):
Of difference, a lot.

Speaker 3 (14:42):
Oh, it's terrible how much difference they make. I had
a dress one of blue and cost eighty five dollars. Yes, oh,
I didn't buy it. One of our customers gave it
to me. But you stead of seeing me in it? Gee,
I'm as real Park Avenue in that trap.

Speaker 1 (14:54):
And where is it now?

Speaker 3 (14:55):
It's gone, just faded away? And oh the care I
took up this, mother, tell you, it's the only thing
I ever put on a hanger. But I'm never going
to forget it.

Speaker 1 (15:06):
I wonder how you'd look in a dress that costs
two or three hundred dollars two or three hundred.

Speaker 3 (15:13):
Well, is there anything higher than Park Avenue?

Speaker 1 (15:16):
I don't think so. But miss o'dair, I've got an idea.
You like beautiful clothes, don't you sure?

Speaker 5 (15:21):
Who doesn't?

Speaker 1 (15:22):
Well, how would you like a chance to own some?
With them in society?

Speaker 10 (15:26):
Say?

Speaker 1 (15:26):
What is this the chance you've been looking for? A
chance to better yourself?

Speaker 3 (15:30):
I don't get your game at all. You seem like
a regular fellow, do you. I hope you're not going
along like this and then all of a sudden springs something.

Speaker 1 (15:37):
Don't worry about me. It's what you've told me, miss Adair.
That's what I'm interested in. A friend of mine told
me something which gives me a chance to help both
of you. Why the opportunity you've prayed for is right here?

Speaker 12 (15:48):
Is it?

Speaker 10 (15:48):
Yes?

Speaker 1 (15:49):
This friend of mine told me of a dressmaker in
New York, Madame Lucy, who makes the smartest clothes in town.
But she hasn't been discovered yet. The women don't know
she's here. Well, I'll bet she'd be as anxious to
have you for a customer as you would be to
go to her. Now, what do you think of that?

Speaker 3 (16:03):
I don't know? What would I have to do.

Speaker 13 (16:05):
I'll do it.

Speaker 1 (16:06):
But what Just be a lady, that's all. Like you
pretend at the store. I'll pass you off as a
young heiress or something, and.

Speaker 3 (16:13):
That'll make the women buy dresses from this madame lusty.

Speaker 1 (16:17):
Of course they'll flock to her.

Speaker 3 (16:19):
Yeah, but this young heiress business there, they'll catch on.
Everybody knows all the young heiresses.

Speaker 1 (16:24):
Oh that's right. Wait, you haven't any special talent to
have you? I mean, you don't dance or play the trombone.

Speaker 3 (16:31):
Well, I can sing a little sing.

Speaker 1 (16:33):
That's it. You'll be irene o' dare the famous Irish songbird.
Just come over for an American tour.

Speaker 10 (16:39):
Oh but come on, come on.

Speaker 1 (16:41):
I want to hear you.

Speaker 3 (16:42):
You want to hear me sing?

Speaker 1 (16:43):
I'll play for you. What do you know?

Speaker 3 (16:45):
Oh wait a minute, now, I'm so excited, I can't think.

Speaker 1 (16:48):
Well, you talked a lot about your eighty five dollars
blue dress. Oh yeah, you must have loved.

Speaker 3 (16:53):
That, loved it. Oh geez, you can never know how
much I won't set a gone.

Speaker 16 (17:01):
It was almost news.

Speaker 9 (17:04):
For the daintiest thing.

Speaker 16 (17:05):
It was laid out of blues.

Speaker 17 (17:08):
With a little ball getting me not lazier and.

Speaker 12 (17:13):
When I had gone, I walked.

Speaker 14 (17:16):
On me.

Speaker 17 (17:19):
And it all, and it wall, and it wall till
it went, and it wasn't no more.

Speaker 12 (17:34):
In my sweet little life is blue gone. When I
first worn.

Speaker 16 (17:41):
The down in football, I was born gone, and show
as I said.

Speaker 14 (17:49):
On me on.

Speaker 16 (17:51):
But de every shopping bow.

Speaker 9 (17:55):
I primed falling ball. Then your nana a fashion eye crown.

Speaker 12 (18:05):
I'm the worst, use.

Speaker 16 (18:23):
My sweet little.

Speaker 3 (18:34):
Or gee, you had the cutest little raw buttons down
the back, an overskirt with pockets in it, and a
sash to cut on you and trimming at the cage,
you know what I mean on a sleeve, and that
petticoat with silver lace and everything. M oh gee, it
was nifty.

Speaker 9 (18:51):
And then your Nana of fashion I crown, and the
world in the.

Speaker 17 (19:06):
Marble it made a short way for brother.

Speaker 12 (19:12):
My.

Speaker 1 (19:25):
That was lovely. Miss dare you're marvelous?

Speaker 3 (19:28):
Do you think so?

Speaker 1 (19:29):
I'll tell you what you do tomorrow you give up
your job at Baron Brothers. I'll take you to Madam
Lucy's the day after, Oh dear, In two days she'll
transform you. Oh wait, you see frocks and gowns, hats
and slippers. Everything She'll make you a little princess, a Cinderella.

Speaker 3 (19:44):
Oh oh, I've always wanted to be a Cinderella. Oh
but wait, what about my mother?

Speaker 5 (19:48):
What about the rent?

Speaker 1 (19:49):
Oh we'll take care of that. We'll take care of everything.
All you have to do is to remember that you're
a famous singer from Ireland.

Speaker 3 (19:55):
Oh, I'll remember all right, all right? Irene, Oh dear
the Irish songbird from Barren Brothers Upholstery Department.

Speaker 1 (20:19):
Jeannette McDonald, playing the title role and singing the lovely
music of Irene comes to you from the Lux Radio
Theater on Hollywood Boulevard. The role of Donald Marshall is
being played by Regis Toomey. Our play continues in just
a moment.

Speaker 3 (20:42):
Now.

Speaker 1 (20:43):
Our quick tour of Hollywood takes us to the Hollywood
Studio Club, where extra girls who want to make good
at the movies can live pleasantly but inexpensively. Let's take
a look in Jane and Polly's room. It's seven o'clock.
The girls are still asleep when the alarm clock ring.

Speaker 3 (20:58):
Oh, jeerous, sleepy, wake up there in here's a birdy sing.
Say you're supposed to report at eight am at Central Casting.

Speaker 5 (21:07):
You a better hurry, don't worry.

Speaker 3 (21:08):
I'll be there. Maybe I'll get a bit in that
Lueyer's picture. Lady, be careful. Oh my gosh, Jane, I've
got a run in my last pair of stockings. Oh Holly,
the run girl, changey, it's no joke. Help me out,
be a pell, Holly. I'm sick of lending you stockings.
I'll do what this wants and then no more. So
help me. Oh I can't help getting rung.

Speaker 10 (21:30):
Yes you can, and I've told you how.

Speaker 3 (21:33):
Use Luck's Flakes.

Speaker 8 (21:34):
Lucks, lucks lucks, that's all you ever talk about.

Speaker 14 (21:36):
Well, if you think of it once you stop paying.

Speaker 3 (21:38):
All your shekels out for stockings, Luck says the elasticity
darling honest, to keep you from getting so many ridiculous,
sloppy runs.

Speaker 1 (21:47):
Jane is right. Lux Flakes do cut down on stocking runs,
and that's swell news for any girl, no matter whether
she lives in Hollywood or Omaha, Philadelphia or anywhere. Just
dip your stockings in a bowl of Luck SuDS each night.
This protects their elasticity, their give, so they don't keep
breaking under strain. Lux Flakes often double stockingwear. Why don't

(22:10):
you try Lux tonight, and now we turn you over
to Cecil b de Mill. We continue the Lux Radio
Theater play starring Jeanette McDonald as Irene o'dair. A few
days have passed since Irene agreed to model gowns for

(22:33):
Madam Lucy and the Adairs tiny three room flat near
Ninth Avenue. Irene's mother calls to her from the kitchen.

Speaker 3 (22:42):
Irene, where are you, dear mother?

Speaker 14 (22:45):
What is this?

Speaker 11 (22:46):
Where you look? What just came for you? A box
of candy five pounds if it's a nose, and a
whole great big bunch of floes with their card There
was not What do you make of it?

Speaker 2 (22:59):
Why?

Speaker 3 (22:59):
I I guess the manager of the store sent the mother.

Speaker 11 (23:02):
And why would mister Sweeney He's sending candy and flows
all of a sudden.

Speaker 3 (23:07):
Well he he offered a prize to the smartest girl
in our department, and that was the pride. Oh he did, yes,
Oh but I want to leave the store?

Speaker 18 (23:17):
Mother?

Speaker 11 (23:17):
What far for being the smartest fur in your department?

Speaker 1 (23:22):
No?

Speaker 3 (23:22):
But it just proves me there isn't any chance for
a girl the store.

Speaker 11 (23:25):
Oh sure, I've heard that a thousand times.

Speaker 3 (23:29):
Will you want me to have a chance, don't you, mother,
a chance for what to improve myself?

Speaker 11 (23:34):
I don't know what you're talking about.

Speaker 5 (23:37):
A towel?

Speaker 3 (23:38):
Well, you see, I can go to work for a
dressmaker or a milliner or something like that.

Speaker 11 (23:44):
No, surree, young lady. That's what the girl on the
floor below did. She was a model for clothes and
hat it was her n she's us to fine feathers
and wanted to be a fine bird. Well, from all
I hear, that's what she turned out.

Speaker 3 (24:01):
To be a bird? All right, mother, you know best?
Of course I know best.

Speaker 11 (24:06):
And let it be the end of it, my dear.

Speaker 2 (24:17):
Now, now let's get this straight.

Speaker 7 (24:18):
Donald.

Speaker 19 (24:19):
You want to take this little shop girl, let Madame
Lucy dress her up and use her as sort of
a public model.

Speaker 10 (24:25):
Is that it?

Speaker 1 (24:25):
That's it? Only you see, Bob, No one will know
she's a shopgirl as far as they're concerned. She's a
famous singer.

Speaker 2 (24:31):
Well it sounds all right to me.

Speaker 1 (24:34):
All right, it's marvelous, I tell you, Bob. She'll be
a sensation.

Speaker 2 (24:37):
Is she pretty?

Speaker 1 (24:38):
Gorgeous?

Speaker 10 (24:39):
Good figure?

Speaker 1 (24:39):
Beautiful?

Speaker 2 (24:41):
You seem quite taking with it.

Speaker 3 (24:43):
Hey, are you sure you're doing all this for me?

Speaker 2 (24:45):
Or miss o'dair.

Speaker 1 (24:47):
Well, it's a little of both. I guess. Oh she's
a grand girl. Now here's the plan, Bob, Mother's giving
a supper and dance at our place tonight. I'm going
to have miss o'dair there, beautifully dressed, of course, and
I want you to bring Madame Lucy. Madame lu see
what for? Show off the gown, stupid and take some
orders from the other women.

Speaker 2 (25:04):
Yeah, but wait, Madam Lucy can't come.

Speaker 3 (25:06):
He's not in town.

Speaker 1 (25:07):
Then we've got to did you say he yes, I
thought it was Madame Lucy.

Speaker 5 (25:11):
Yeah, that's right.

Speaker 2 (25:12):
But Madame Lucy is a man. The madame stuff is
just a trade name.

Speaker 1 (25:16):
Madam Lucy is a man. Oh well, live and learn,
but just the same. He ought to be there.

Speaker 19 (25:22):
I don't see how he's in Paris buying material.

Speaker 1 (25:25):
But somebody ought to come. What about I'll tell you
you'll be Madame Lucy. Me sure that crowd doesn't know you?

Speaker 2 (25:31):
Now just a second.

Speaker 1 (25:32):
You want to cut away code, don't you? And you
can put on a little French accent. Why it's a
sin And.

Speaker 2 (25:37):
I suppose I could do it all right, but.

Speaker 5 (25:39):
I don't like it.

Speaker 1 (25:40):
Like it or not, you've got to do it.

Speaker 19 (25:42):
All right, all right, But if anything goes wrong, mister,
I'll break your neck.

Speaker 1 (25:46):
We'll talk about that later. Right now, I want you
to get hold of a couple of guns and practice
up on your accent. We're picking, miss O'Dare up at
seven to night? Well, Irene, this is your big night.
How do you feel?

Speaker 3 (26:05):
Scared? Awfully scared?

Speaker 2 (26:07):
You're no worse off than I am.

Speaker 1 (26:08):
Listen, Donald, how does this sound?

Speaker 5 (26:11):
Madam? The gown?

Speaker 19 (26:12):
It is exquisite northeast line of the heaps.

Speaker 1 (26:16):
Eating Shut up? Will you? It sounds all right?

Speaker 11 (26:19):
Yeah?

Speaker 5 (26:19):
Yeah?

Speaker 1 (26:20):
Well what do you think, miss o dare?

Speaker 11 (26:21):
I don't know.

Speaker 3 (26:22):
I'm sure.

Speaker 2 (26:22):
Hey do you think I'll get away with it?

Speaker 3 (26:25):
Do you think I will?

Speaker 1 (26:26):
Of course you will. You look beautiful, Irene, really, Oh
it's a beautiful dress.

Speaker 3 (26:32):
But see if my mother ever saw me now, she
probably locked tu tar out of me.

Speaker 1 (26:36):
Are you going to tell her?

Speaker 11 (26:37):
Oh?

Speaker 3 (26:37):
Sure sometime, But there's no use telling her now. I mean,
after all, if I don't make good as the Iris songbird,
it'll all be over soon anyway.

Speaker 1 (26:45):
Don't worry. You'll make good.

Speaker 3 (26:47):
Well, we'll know more about that a little later.

Speaker 5 (26:57):
Oh Dan, I never heard of her.

Speaker 3 (26:58):
But she knows that's beautifully I'll.

Speaker 6 (26:59):
Say that, yes, girl, Why she's gorgeous, mustifully gorgeous.

Speaker 3 (27:04):
I wonder who makes the down this man they call
Madame Lucy na.

Speaker 1 (27:15):
Irene. You are magnificent. You've got everyone talking about you.

Speaker 3 (27:18):
Oh geez, I guess I did get away with it,
didn't die?

Speaker 2 (27:22):
You'res well.

Speaker 19 (27:23):
I have fifteen orders from Madame Lucy right now and
more on the wing.

Speaker 1 (27:27):
Have you then suppose you get out there and make
sure of it?

Speaker 5 (27:29):
All right?

Speaker 19 (27:32):
I guess I can take a hint.

Speaker 1 (27:34):
See you at your folks well, having a good time, oh.

Speaker 3 (27:41):
Grand And it's all due to you. I don't know
how to thank you, mister Marshall.

Speaker 1 (27:45):
My friends call me Donald, all right, Donald, and I
don't want any thanks. I'm having just as good a
time as you are.

Speaker 3 (27:53):
Oh, but you can't be you Well, you're used to
all this.

Speaker 1 (27:57):
I'm not used to girls like you.

Speaker 3 (27:59):
Well, what are you mean?

Speaker 1 (28:00):
I mean that you're just yourself, no airs, sort of
fresh and unspoiled. Well, I'm having the time of my
life just being with you, talking to you, looking at you.

Speaker 3 (28:10):
Okay, it's funny, isn't it.

Speaker 1 (28:12):
What's funny about it.

Speaker 3 (28:13):
I don't know it just too funny that door, you.

Speaker 1 (28:15):
Know, Oh, Eleanor, come in.

Speaker 20 (28:19):
And including am I?

Speaker 1 (28:20):
Of course not have you met miss o'dair.

Speaker 3 (28:23):
Yes, I've had the pleasure, thank you.

Speaker 10 (28:25):
Why aren't you dancing?

Speaker 5 (28:26):
Donald?

Speaker 1 (28:27):
Why? Well, I've been pretty busy Eleanor.

Speaker 13 (28:30):
Yes, so I've noticed, and I'm.

Speaker 3 (28:32):
Sure miss a dare will excuse you just for a moment.
Oh yes, of course.

Speaker 10 (28:37):
By the way, Just what o'deare is that?

Speaker 3 (28:41):
I beg your pardon?

Speaker 13 (28:42):
Well, I i've met several odeas. What branch of the
family do you?

Speaker 3 (28:47):
Oh by weird de odarees?

Speaker 10 (28:51):
Oh leo dares?

Speaker 13 (28:54):
Very interesting, It must be an old family.

Speaker 3 (28:57):
Oh you bet?

Speaker 20 (28:58):
I mean yes, video well, come along, Donald, I'm dying them.

Speaker 1 (29:10):
Missus Dare.

Speaker 6 (29:11):
Oh yes, may I introduce myself?

Speaker 3 (29:13):
My name Miss Bowden L. J.

Speaker 18 (29:15):
Bowden.

Speaker 5 (29:16):
You've probably heard of me, Oh yes.

Speaker 3 (29:18):
Because mister Bowden, you're a big financier, aren't you.

Speaker 15 (29:24):
Yes, so they tell me, mister Dare, I'm getting up
a weekend party for the first month, and may I
count you in?

Speaker 13 (29:31):
You mean it?

Speaker 5 (29:31):
Why?

Speaker 1 (29:32):
Certainly?

Speaker 3 (29:33):
Oh, thank you, i'd be delighted, Oh, miss o'deare. Donald
tells me you're going to sing for it? Oh really,
I didn't know.

Speaker 1 (29:44):
Getting a bit late, mother, I think it's time I
took miss o'deair home.

Speaker 3 (29:47):
Just one song, miss O'Dare plea. We're all so anxious
to hear you very well, missus Marshall, Oh splendid that
you announce it?

Speaker 1 (29:56):
Donald, all right, mother and gentlemen, this dare has graciously
consented the same for us.

Speaker 9 (30:13):
This meeting, completing my dreams, has made.

Speaker 12 (30:18):
All the mercy agonism to sunshine and laughter.

Speaker 14 (30:24):
For all.

Speaker 20 (30:27):
Nature.

Speaker 12 (30:29):
Another ot. I came to the ball.

Speaker 9 (30:37):
Below love my ny toon my belowence, aborning a.

Speaker 16 (30:48):
Lil a.

Speaker 14 (31:01):
In the.

Speaker 12 (31:09):
Song not remni.

Speaker 16 (31:30):
Rather than in all.

Speaker 12 (31:35):
Joy, then.

Speaker 10 (31:41):
Ab well, but a grand night it ruse, Donald, have

(32:15):
a good time.

Speaker 3 (32:15):
Oh marvelous. It's just like I always dreamed it would be.
I guess that's what frightens me. Why, Oh, I'm afraid
that's what it is, just a beautiful dream. And I'm
afraid I'll wake up soon and the gowns and the
flowers music still all be gone, and I'll just be
playing iren no dare again, selling pillows behind the upholstery counter.

Speaker 1 (32:33):
I wouldn't worry about that.

Speaker 3 (32:35):
Why should you you'll never have to work there?

Speaker 1 (32:37):
Well, I mean, I've got a feeling that you'll never
work there again either.

Speaker 5 (32:41):
Why do you say that?

Speaker 1 (32:42):
I don't know, just a hunch.

Speaker 3 (32:44):
See, your hunch is usually come true, invariably, invariably.

Speaker 1 (32:49):
Hm.

Speaker 3 (32:50):
Well, if that word means what I think it means,
I guess I've got nothing to worry about.

Speaker 11 (33:01):
Irene. Sit down. I want to have a little talk
with you. Yes, mother, I suppose you're going out again tonight? Why?

Speaker 3 (33:10):
Yes, I am.

Speaker 11 (33:11):
I thought you would be well. Now listen here, young lady.
I want an explanation of this. For the last two weeks.
Every night in the week you've been galling ating off
to Norway dressed up like bank holiday. Where are you
getting the dresses? Who's paying for them?

Speaker 3 (33:27):
I told you, mother, I'm I'm a sort.

Speaker 11 (33:30):
Of a model, A sort of a model. What kind
of language is bad? Why do you are a model?
Are you at a model?

Speaker 5 (33:37):
Now?

Speaker 11 (33:38):
Which is it?

Speaker 3 (33:40):
I am a model?

Speaker 11 (33:41):
And is it night work? You're doing that? You have
to go out all the time. I don't like it, Irene.
It's too mysterious for me. Everything was all right when
you worked at.

Speaker 3 (33:51):
The store, you mean everything was all wrong. We had
to have more money, didn't we. Someone had to pay
the bills. Aren't you glad my work is easier?

Speaker 11 (34:00):
I am, but I'd like to know what it is.

Speaker 3 (34:04):
Everything I'm doing, I'm doing for you and Johnny. And
you can trust me. Mother, You know you can trust me.

Speaker 11 (34:11):
I hope, so, Irene for your own sake, I hope.

Speaker 1 (34:14):
So, Say, Bob, have you seen Irene? Well, not lately.
Last time I saw her she was dancing with Boden Bowden.
Why didn't you cut in?

Speaker 5 (34:31):
Oh me?

Speaker 19 (34:33):
You forget yourself, my man, I'm mada musie around here.

Speaker 5 (34:36):
I can't dance.

Speaker 2 (34:38):
Hey, what's the matter with Boden anyway?

Speaker 18 (34:40):
Oh?

Speaker 1 (34:41):
Nothing much?

Speaker 2 (34:41):
Afraid you'll fall for his money?

Speaker 1 (34:43):
No, of course not. She's not that tight.

Speaker 2 (34:46):
Well, what's the matter or are you just a little
bit jealous?

Speaker 1 (34:50):
Jealous? You're crazy? Yeah?

Speaker 3 (34:58):
Don't you think we better be getting back mister Bowden?

Speaker 1 (35:01):
Not yet? Please?

Speaker 3 (35:02):
Oh but they'll be missing it in there?

Speaker 10 (35:03):
Well what difference does it make?

Speaker 1 (35:05):
Stay here a while?

Speaker 2 (35:06):
I still haven't said, but I wanted to say, Oh,
can you guess what it is?

Speaker 1 (35:11):
No, Irene, I'm not exactly a young man.

Speaker 15 (35:15):
And there's one happiness I've always thought was not for me,
the happiness of loving some woman so completely that I'm
only living when I'm with her or thinking of her.
I thought that I had everything I wanted, but I
find I haven't anything unless I.

Speaker 1 (35:31):
Can give it all to you. I love you, Irene.

Speaker 10 (35:35):
You love me more than I could ever tell you.

Speaker 3 (35:38):
I don't know what to say. I suppose every girl
planned what she'd say when a man tells her he
loves her, But I wasn't prepared for this.

Speaker 18 (35:46):
Will you marry me, Irene?

Speaker 1 (35:48):
I'm afraid I please don't answer me now.

Speaker 3 (35:50):
I want you to think it over carefully.

Speaker 6 (35:52):
In the meantime, would you wear these, Irene?

Speaker 10 (35:54):
I'd like you to happen?

Speaker 14 (35:56):
He?

Speaker 10 (35:57):
Oh?

Speaker 3 (35:57):
I couldn't know why not, because so I think I
know what my answer will be.

Speaker 15 (36:01):
What you weren't going to answer now?

Speaker 6 (36:03):
Even if it were no, I'd still like you to
take these.

Speaker 1 (36:07):
As uh he remembrance.

Speaker 3 (36:09):
Oh they're beautiful, but I can't accept them.

Speaker 1 (36:12):
Will you at least put them on just for tonight?

Speaker 3 (36:16):
Oh? May I do just that?

Speaker 10 (36:17):
I want you to thank you.

Speaker 3 (36:19):
I've never warned pearls before. I mean, not as beautiful
as ease.

Speaker 18 (36:25):
I mean, tell me one thing.

Speaker 1 (36:28):
Is there someone else?

Speaker 5 (36:30):
Please?

Speaker 10 (36:30):
Is there?

Speaker 5 (36:32):
Yes?

Speaker 9 (36:33):
There is?

Speaker 10 (36:34):
Are you going to marry him?

Speaker 3 (36:36):
There are some things that are just too impossibly even
to dream about.

Speaker 1 (36:40):
I don't understand you.

Speaker 3 (36:42):
I'm sorry. Shall we go in now?

Speaker 5 (36:51):
Well?

Speaker 3 (36:52):
Good evening, Ilenoh, hello, Larry, I didn't think you were
coming on.

Speaker 18 (36:56):
These beautiful girls around, why wouldn't I come?

Speaker 6 (36:59):
We say them? Maybe you can help me? Illnor, there's
a girl here. I'm sure I've seen somewhere. Let's see
if I can find her. Oh is the yes in
the white dress?

Speaker 12 (37:07):
Yes?

Speaker 3 (37:08):
And the new screen of pearls?

Speaker 1 (37:11):
What do you mean brand new?

Speaker 13 (37:14):
Joff got them out on the balcony.

Speaker 1 (37:15):
A Roman's in the air.

Speaker 13 (37:18):
Oh, she's very popular for the men, especially Donald.

Speaker 6 (37:22):
That ought to make you happy.

Speaker 5 (37:24):
Oh?

Speaker 6 (37:25):
Really, it's funny.

Speaker 1 (37:26):
I can't play. So tell me what's her name?

Speaker 5 (37:28):
Oh?

Speaker 13 (37:28):
Deare Irena?

Speaker 6 (37:30):
Dare i Rena?

Speaker 12 (37:31):
No?

Speaker 1 (37:31):
Dare I Rena?

Speaker 10 (37:33):
Oh?

Speaker 1 (37:34):
So that's who she is.

Speaker 6 (37:36):
I thought I recognized her.

Speaker 5 (37:38):
Do you know her?

Speaker 3 (37:40):
No? Huh, I guess I do.

Speaker 1 (37:49):
Come on, young lady, I want to speak to you.

Speaker 3 (37:51):
Can't we stay inside Donald's?

Speaker 1 (37:53):
Honest?

Speaker 3 (37:53):
I have been in there all night.

Speaker 1 (37:54):
That's just what I wanted to speak to you about.
Where have you been, Oh, I don't know.

Speaker 3 (37:59):
Out here walking in the garden, every place for dancing,
and that's what I want to do.

Speaker 1 (38:02):
Come on, wait a minute, what's the matter, Irene? You're
acting so strangely.

Speaker 10 (38:06):
It's nothing.

Speaker 3 (38:07):
I'm just excited tonight. I guess so many people making
me talk, and when I get excited, I speak terribly
like I used to remember. Yes, the funny part of
it is they always act me to talk some more
like that. They like it, but there's one thing certain.
They wouldn't like it if I wore the clothes that
went with it. I wonder what they'd say if they
found out who I really am.

Speaker 1 (38:25):
They'll never find out. Now you've made good, Irene, yees,
so far.

Speaker 3 (38:30):
The problem is not how to go on making good
getting harder and harder all the time.

Speaker 1 (38:35):
What do you mean?

Speaker 3 (38:36):
I don't know what I mean. You wouldn't understand you. See,
you don't know me very well. I'm not the same
with you as I am with other men. I can't
pretend with you.

Speaker 5 (38:47):
You know what I was and I know what you
are now.

Speaker 3 (38:50):
Yes, I've been trying to figure off what you must
be thinking of me masquerading.

Speaker 1 (38:56):
Oh so that's what it is.

Speaker 3 (39:00):
You need all these clothes. I'm still just Irene or
Dare from Ninth Avenue. But whenever I've thought of you,
I've always wished I wasn't masquerading. I've always wished it
was real.

Speaker 1 (39:11):
You're real, Irene.

Speaker 3 (39:13):
Oh No, I'm not.

Speaker 1 (39:14):
Oh you are to me. I'm in love with the
Irene Donald. Didn't you know it?

Speaker 3 (39:20):
You must be crazy.

Speaker 1 (39:21):
I don't think so. I was always a normal baby Donald.

Speaker 3 (39:24):
Be serious.

Speaker 1 (39:25):
I am more serious than I've ever been before. I
love you, Irene. Oh, I love you.

Speaker 3 (39:34):
You love me? Oh gee, this is a dream. Can't
be true. Oh, it's got to be a dream. But
if I ever wake up now, Heaven help me.

Speaker 1 (39:49):
Oh the pause for station identifications. This is the Columbia
Broadcasting System.

Speaker 10 (40:25):
This is Cecil B.

Speaker 1 (40:26):
Demill speaking to you from the stage of the Lux
Radio Theater in Hollywood. The conclusion of Irene with Jeanette
MacDonald will be heard shortly here. In Hollywood, people are
known by the things they do. The property man on
the picture is known as Prompts. The head electrician is
the gaffer. His assistants are called juicers, and the stage

(40:48):
hand is a grip. Perhaps you'll understand then why it
was that I never knew the real name of a
woman who worked on my pictures for ten years. She's
been in charge of her as many as two thousand
players at once, yet she was known to me only
as wardrobe. She's wardrobe mistress of Warner Brother Studio now.

(41:09):
But not until I asked her to be our guest
in the Lux Radio Theater did I know that her
name was missus Cora Lobb.

Speaker 14 (41:20):
You know, I'm so used to being Paul wardrobe that
when someone asks for Coral Lobb, I often say, I'll
see if she's here.

Speaker 10 (41:28):
I remember so well the time you were directing a
scene for the vulgar Boatman Mister Mill, in which the.

Speaker 14 (41:33):
Gorgeous gowns worn by fifty girls were practically ruined in
a storm. Those gowns came back to the wardrobe wrinkled
and taked with mud. But I don't believe you gave
them a second thought.

Speaker 1 (41:44):
No, I knew you'd take care of them.

Speaker 14 (41:46):
Yes, we saved everyone. You see, ladies and gentlemen. It's
my job as wardrobe mistress. To cut down the clothes
budget by making costumes last as long as possible. Take
the new Joan Rondell Dick Powell picture stage struck packed
full of lovely clothes that are going to keep for
ages because.

Speaker 10 (42:04):
We know how to take care of them.

Speaker 14 (42:06):
We washed them with luck, and that goes for gloves
and stockings too. LuxI makes gowns look like new, makes
stockings where longer. When gowns are damaged, we often have
to make emergency repairs. We've even knew that easy to
take paste and chewing gums. Once on location, a hole
was burned in a star's gown. We couldn't fix the dress,

(42:29):
so we fixed the girl where the dress was burned.
I painted her skin to match with ordinary green house paint.

Speaker 10 (42:37):
Last week, mister Demil, you had the.

Speaker 14 (42:39):
Famous artist James Montgomery flag as your guests. And this week, well,
I paint the stars too.

Speaker 2 (42:45):
Good Night, good Night, Wardrobe.

Speaker 1 (42:58):
We continue the lux Radio Theater presentation of Irene, starring
Jeanette McDonald. Irene and Donald are still on the balcony.
Only a few minutes have passed, but Irene has suddenly
realized that her dream is over. She turns from Donald
and stands wistfully gazing over the moonlit garden. Irene, Irene,

(43:22):
look at me. Is anything wrong?

Speaker 3 (43:25):
No, nothing's wrong.

Speaker 1 (43:26):
A moment ago you were all smiles. And now what's happened? Irene?

Speaker 3 (43:31):
Donald, dear, I'm afraid I woke up.

Speaker 1 (43:34):
What are you talking about?

Speaker 3 (43:36):
I don't know. I just oh, Donald, take me.

Speaker 1 (43:39):
Home, Irene.

Speaker 3 (43:40):
I want to go home.

Speaker 2 (43:40):
Please wait, I want to know what Donald.

Speaker 1 (43:43):
Oh, yes, Eleanor, I hope you.

Speaker 10 (43:45):
Don't mind mine breaking in on you like this?

Speaker 1 (43:48):
Of course? What is it, Eleanor?

Speaker 5 (43:49):
I have a little news for you.

Speaker 1 (43:51):
News.

Speaker 3 (43:52):
Well, if you'd excuse me, I don't go miss there.

Speaker 13 (43:54):
I'd like you to hear this.

Speaker 10 (43:56):
It's about you me.

Speaker 1 (43:58):
Now wait a minute, Eleanor.

Speaker 3 (43:59):
No, you might as well know this.

Speaker 17 (44:00):
Donald.

Speaker 20 (44:01):
And right now, the charming miss Adair who's been enjoying
such popularity around here is an impostor.

Speaker 1 (44:08):
Here's that?

Speaker 11 (44:08):
So?

Speaker 1 (44:08):
And where did you get your information?

Speaker 13 (44:10):
Laddy Bradley told me he's here tonight and he recognized her.

Speaker 1 (44:13):
I see, Larry would let the cat out of the bag,
wouldn't he.

Speaker 3 (44:17):
You mean you knew she was a shock girl. Of course,
I think i'd better go.

Speaker 1 (44:20):
Donald, stay right, where you are, Irene, I'll take care
of this.

Speaker 10 (44:23):
A shop girl and you knew it all the time.

Speaker 5 (44:26):
Well, it's really amusing, Donald, is it?

Speaker 3 (44:29):
But I so wonder you wouldn't have a little more
decency than to inflict her on your own pens.

Speaker 1 (44:33):
Just what do you mean by that?

Speaker 3 (44:35):
I mean it's not even the money grubber, a cheap
little bolde Again, what you d you.

Speaker 10 (44:40):
Let me your home?

Speaker 3 (44:41):
I want to know what she's talking about. Those pearls
your wedding will answer your question?

Speaker 10 (44:45):
Is O'Dare you didn't have them when you came?

Speaker 3 (44:48):
Where did you find them?

Speaker 1 (44:50):
Why let me see them? Where did you get these, Irene?

Speaker 3 (44:55):
Why mister Bowden?

Speaker 5 (44:57):
Exactly?

Speaker 11 (44:58):
Mister Bowden gave them to her?

Speaker 1 (45:00):
Is that right?

Speaker 10 (45:01):
Yes?

Speaker 3 (45:01):
But let me explain he gave him to me to
wear it tonight. I was going to give him back.

Speaker 6 (45:09):
Donald, What is this I hear about, missus?

Speaker 9 (45:11):
Dare?

Speaker 1 (45:12):
Is it true that you're a shop girl?

Speaker 3 (45:13):
Mister dare? Yes, it is?

Speaker 1 (45:15):
Oh, Donald, you ought to be ashamed of yourself. Mother,
listen to me.

Speaker 3 (45:19):
I will not listen, miss o'dair.

Speaker 1 (45:21):
I want you to leave this house at once.

Speaker 5 (45:24):
At once, do you hear, yes?

Speaker 3 (45:26):
Missus Marshall.

Speaker 1 (45:26):
No, Mother, You've got to listen to me. It wasn't
her fault. It was mine. The whole idea was mine.
Can't you say?

Speaker 3 (45:32):
All I can see is that she's an impostor. She's
here for one reason to get money from my guests.

Speaker 1 (45:37):
But that's not true. I won't have you think that.

Speaker 3 (45:39):
That's all right, Donald, let them think what they want
may not be true. I came here to get money,
but I am an impostor. I'm out of my class.
I don't belong here anymore than you belong over on
Ninth Avenue. Here're your pearls, mister Bowden. Thanks for letting
me wear them. Good Night, Donald. It was fun while
it lasted, but I guess it's all over now. I'll

(46:01):
send the gowns back in the morning. Don't say anymore, please,
It's all been so swell up to now now. I
just want to remember the swell part.

Speaker 5 (46:12):
Good Night, Donald, going up, get the rear of the
par please, going up.

Speaker 6 (46:35):
So you want your job back to you, miss o'.

Speaker 3 (46:38):
Dad, I'd like to have it back, mister Sweeney.

Speaker 1 (46:40):
Well, I don't know now.

Speaker 6 (46:41):
When the girl leaves for no good reason.

Speaker 10 (46:43):
At all, we don't usually.

Speaker 6 (46:45):
Please, Well, how do we know you won't walk out
on us again?

Speaker 11 (46:48):
Oh?

Speaker 3 (46:49):
I won't. I haven't any place to walk to, and
I do need the job, mister Sweeney, I haven't got
anything now.

Speaker 1 (46:55):
And where did you go when you left us? I
was a model, a muttelet.

Speaker 4 (47:00):
I believe I warned you once before about getting high ideas.

Speaker 5 (47:02):
Yes, and I was right, wasn't I?

Speaker 1 (47:05):
Yes, sir, Well, I'll tell you what I'll do, Miss O'Dare.

Speaker 6 (47:09):
You can go back to your job if you want to.

Speaker 2 (47:11):
Oh, thank you with the reduction and salary.

Speaker 3 (47:14):
Oh no, that doesn't suit you, doesn't. Oh, yes, sir,
I was just thinking how I was going to get
along on any less money than.

Speaker 10 (47:21):
I was making.

Speaker 18 (47:22):
That's up to you, miss O'Dare.

Speaker 5 (47:23):
If you want to work, those are the conditions.

Speaker 6 (47:25):
Take it or leave it.

Speaker 3 (47:26):
I'll take it, sir.

Speaker 11 (47:31):
Oh gee, my feet are killing me.

Speaker 5 (47:34):
How are yours?

Speaker 12 (47:35):
Yeahreen, i'm talking to you.

Speaker 3 (47:37):
Oh I'm sorry, Jane, what'd you say?

Speaker 13 (47:39):
I'm nothing?

Speaker 3 (47:41):
It was the matter with you lately anyway.

Speaker 9 (47:43):
Ever since you got back, you've.

Speaker 3 (47:44):
Been mooning around like a lot of care. I know,
I get to thinking and I kind of get lost.

Speaker 10 (47:50):
Well, you better snap out of it.

Speaker 3 (47:52):
Oh, man, swim, you'll be having up in the carpet again.

Speaker 16 (47:54):
Say you're going to the rehearsal this afternoon.

Speaker 3 (47:56):
The rehearsal, Yeah, the sale girl's review.

Speaker 10 (47:59):
Men getting old.

Speaker 3 (48:00):
I'm swell only only we need more singers. I'm not
much interested in singing right now. Come on, it'll do
you good. So maybe I'll think it over.

Speaker 16 (48:12):
Cash please, cash, please, mister, I don't know.

Speaker 4 (48:19):
Well, it's most irregular, mister Marshall.

Speaker 10 (48:21):
Most irregular.

Speaker 14 (48:22):
I know that.

Speaker 3 (48:23):
Just what is it you want to.

Speaker 10 (48:24):
See her about?

Speaker 1 (48:25):
It's personal?

Speaker 19 (48:25):
Hmm?

Speaker 1 (48:26):
And why don't you try to reach her at home?

Speaker 10 (48:28):
I did?

Speaker 1 (48:28):
She has no phone anyway, I want to see her now.

Speaker 6 (48:30):
Well, if you want such a good customer, mister Marshall.

Speaker 1 (48:33):
I'd say no thanks. Where is she? Well, she's down
in the Social hall.

Speaker 6 (48:39):
The girls are giving the show next week, and miss.

Speaker 1 (48:40):
O'darro's ursing me I go down there and see her. Yeah,
I suppose so. Now I'll have someone show you the way.

Speaker 18 (49:00):
All right, girls, you better sit down restaurant out.

Speaker 3 (49:05):
Here, Ryan, Oh, this is fun.

Speaker 1 (49:06):
For your song?

Speaker 3 (49:08):
Yeah, I know, but I wonder if you'd excuse me
just for this afternoon. I don't feel very good.

Speaker 1 (49:13):
I'm on miss O'Dea, you can do it.

Speaker 18 (49:15):
And the music for miss O'Dea's number Joe, we build our.

Speaker 12 (49:21):
Castles, India and the world.

Speaker 16 (49:26):
So hot the time we're living.

Speaker 13 (49:29):
Here wed.

Speaker 9 (49:34):
Injury twelve, All through the dice, shamed of both mere
keep every girl.

Speaker 16 (49:47):
Weed to dreams or.

Speaker 14 (50:05):
This is the.

Speaker 12 (50:09):
Alasies not all three.

Speaker 16 (50:24):
Sausty that I mean it's fashion.

Speaker 10 (51:00):
Say excuse me, hey, wait a minute, are you crying?

Speaker 3 (51:04):
No, of course not. Well, it certainly looks like it'll
be silly.

Speaker 1 (51:08):
Hello, Irene. Oh, I heard you sing. It was beautiful.

Speaker 3 (51:14):
Thanks guy, Jane. Would you mind me? No? Not on mine?

Speaker 12 (51:21):
Do you closing time?

Speaker 5 (51:21):
Irene?

Speaker 1 (51:23):
Well, Irene, you didn't say you were glad.

Speaker 10 (51:26):
To see me.

Speaker 3 (51:27):
I suppose you've come back to ask about the dresses.
I know I didn't send them back yet, but I will.
I was going to get some boxes from the store tonight.

Speaker 1 (51:34):
I didn't come about the dresses. I came to see you.
Oh why did you run away that night? Irene?

Speaker 3 (51:42):
I wanted to speak to you, but I thought we
said about everything.

Speaker 2 (51:45):
That was to say, I didn't.

Speaker 1 (51:47):
I didn't even get started. You should have heard me
after you left. Do you have an argument or a
swell one?

Speaker 3 (51:53):
Gosh, I hope I didn't get you into any trouble.

Speaker 1 (51:55):
No, I guess I got you into some though.

Speaker 3 (51:57):
Oh that's all right.

Speaker 1 (51:59):
Well, Irene, come here, look at me. What's for that
night on the balcony? Remember what I said to you? Sure?

Speaker 3 (52:09):
I remember, but I didn't take it seriously. You would
just be a nice to me.

Speaker 1 (52:13):
Oh no, I wasn't. I met at Irene. I still
mean it. I love you, Irene.

Speaker 3 (52:19):
Oh oh, would you mind saying that over again? No, no,
I'll remember it, but don't tell me anymore. I'm afraid
to hear the last part of anything that has such
a beautiful beginning.

Speaker 1 (52:28):
Irene, will you marry me?

Speaker 2 (52:30):
Marry it when tomorrow?

Speaker 3 (52:32):
I'll be busy tomorrow, Tonight, then tonight, Well, darling o'donald o'donald.

Speaker 2 (52:37):
The store closes at five, and that's the end of

(53:05):
the play.

Speaker 1 (53:06):
But tonight's Irene. Miss Jeanette MacDonald will be with us
again in a few moments. And now, ladies and gentlemen,
we turned the spotlight of the lux Radio Theater on
the first great director of motion pictures, the man who
changed motion pictures from a novelty to an art. He's
the only director of his day who never used a megaphone.

(53:27):
Pioneer and profit, trailblazer and teacher, the greatest genius of
his art, d W. Griffith.

Speaker 18 (53:46):
The nemeal CP you know that is awfully generous. But
there was a reason why selom use the megaphone.

Speaker 1 (53:56):
I'll let me explain.

Speaker 18 (53:58):
You know that during the War between the States, my
father he was a commander the first Kentucky Cavalry.

Speaker 1 (54:04):
They say he could be heard yelling above the sounds
of battle. They call him roaring Jake Grippis.

Speaker 18 (54:10):
Well, I didn't inherit his brains, I'm sorry to say,
but perhaps I got some.

Speaker 1 (54:15):
Of his loud voice.

Speaker 18 (54:17):
Our battle of pictures was almost a war in itself. Well,
we were fighting each other CB, but for the same cause.
I think we did it help establish the motion picture business,
didn't we? You must have had some uproaring Jake's strategy.
I'll never forget.

Speaker 1 (54:33):
You're a picture of the Battle of Elderberry gulsh It
was only a turrilla, but it was one of the
first pictures to bear the mark of genius. Oh thank
you well you.

Speaker 18 (54:42):
Met that attack easily enough for the first full length.

Speaker 1 (54:45):
One, The squaw Man. Then you got out the heavy
artillery with the birth of a nation that was the
biggest gun of the whole war.

Speaker 18 (54:52):
Oh well, just say you know, I sort of remember
a picture called the Ten Commandments that you made while
we were throwing stuff at each other, while we were
matching each other star for star and re or for
real something happened and reaching out for new weapons. You
created the fade out and the close up.

Speaker 1 (55:11):
You see.

Speaker 18 (55:12):
Though people thought I had gone crazy, I think they
were about right too. They said, what's the idea of
showing people without bodies? What are they doing swimming? Then,
just as I was filming people so the audience could
get a good look at their faces.

Speaker 1 (55:25):
Oh we had some beautiful in those days too.

Speaker 10 (55:28):
Did you came along with that Rembrandt lighting and the headache?

Speaker 1 (55:34):
We light the face as Rembrandt did in his paintings,
off on one side of the face was in darkness.
One of our executives called me up in a rage.
If you're only going to show half the face, he said,
people will only want to pay half the price. I
told him, if you haven't got sense, enough to no
Rembrandt lighting when you say it, it's not my fault. Oh,
we replied, is that what it is? Rembrandt lighting? Or

(55:55):
they paid double for that and they did.

Speaker 18 (56:00):
Well, that's a good way to get the coin in, said.
You know, CB, there's one thing I'm getting a little tired.
You know a lot of people are always congratulating me
on some of your productions. Oh I don't care, fine,
especially the King of Kings. You know, at first I'd
answer and said, well, that's not my picture, that King
of Kings, that's the meals, And finally I got tired

(56:23):
of denying it, so I just said, now.

Speaker 1 (56:26):
Yeah, yeah, sure, that was a great picture, well of
my best.

Speaker 18 (56:32):
You know, I worked like a dog on that King
of Kings. So you've had some great productions on the screen, CB,
I don't need to tell you that. And you're doing
a fine job here for this radio theater. Say what
about that new picture of yours? The plainsman? So many
people still get us confused. I'll hope you'll make it good, good,
and good, or I'll be disgraced.

Speaker 1 (56:55):
Good night, good night, good luck anytime anytime they credit
me with one of your pictures. D w I'm satisfied.
Seldom have we received so many requests for a player
as we have for Jeanette McDonald. Among them was a

(57:18):
petition from Detroit bearing nearly a thousand signatures. So tonight's
was really a command performance. If you pictured our star
only as a demure little girl in an alice blue gown,
I think you should meet her in person. He's one
of Hollywood's liveliest wits, the prima donna with a sense
of humor. Miss Jeanette McDonald.

Speaker 3 (57:41):
This is a little embarrassing, mister de mill, maybe a
little gayed in the American tragedy, but I'm not nearly
as funny as Donald Duck are you?

Speaker 1 (57:53):
Are you quack?

Speaker 5 (57:54):
Much better out, very encouraging.

Speaker 1 (57:59):
One day we'll hear you at the Metropolitan.

Speaker 3 (58:01):
Perhaps that's just one of my unrealized ambitions. I also
want to make a concert with the United States. And then, well,
there's another ambition, but I'm afraid to confess what it is,
all right, I won't ask you. All right, then I'll
tell you My other ambition is to dance just once
in a picture.

Speaker 1 (58:19):
Why just once?

Speaker 3 (58:21):
Well, because I think just once is possibly all the
public will stand for.

Speaker 1 (58:26):
If you dance as well as you sang tonight, you
can dance at at the Mill production anytime.

Speaker 3 (58:32):
Thanks. That's quite a concession, if my memory serves me rightly.
But I do want you to know how much I
enjoy your Lux Radio Theater. All of my friends in
Hollywood think it's about the greatest.

Speaker 13 (58:43):
Show on the air.

Speaker 3 (58:45):
I never miss the performance, and mother wish i'd been
home to here tonight.

Speaker 1 (58:49):
Well, the people who are home, Jeanette, are waiting to
hear you sing again, So I'm going to ask you
to sing would you from your latest MGM picture of
San Francisco? Mister Silvers please.

Speaker 20 (59:07):
He jay all?

Speaker 16 (59:12):
Would you?

Speaker 9 (59:14):
Would you?

Speaker 3 (59:16):
He tells a person.

Speaker 9 (59:20):
Who would you.

Speaker 1 (59:25):
Say?

Speaker 12 (59:25):
Matters you are.

Speaker 16 (59:28):
Und b born the door? He keep tu with a doll?

Speaker 12 (59:44):
Who do.

Speaker 5 (59:46):
Would you?

Speaker 12 (59:49):
Hes a longer battle?

Speaker 10 (59:53):
Would you?

Speaker 5 (59:55):
Would you? And would you?

Speaker 14 (59:59):
Dad you?

Speaker 1 (01:00:25):
Thank you, Miss McDonald. This is your announcer, Melville Lewick.
Miss Jennette MacDonald comes to us with the courtesy of
Metro Golden Mayor Louis Silvers from twentieth Century Fox and
missus Cora loub from Warner Brothers. And here is our producer,
mister Cecil B.

Speaker 5 (01:00:39):
De Milk.

Speaker 1 (01:00:43):
Next week, the Lux Radio Theater presents lane Or Barramore,
the first stage actor to enter motion pictures the oldest.
Barramore's fame is founded on scores of superb portrayals which
have made him the outstanding character actor of the screen,
a reputation he will more than sustained in our next production.

(01:01:07):
Our sponsors, the makers of Lux Blake's, join me in
inviting you to listen to another great performance by Lionel
Barrymore in the Lux Radio Theater next Monday Night. This
is Cecil B. DeMille saying good night to you from Hollywood,
and heard on tonight's program were selections from Irene and

(01:01:28):
would you from the Motion Picture of San Francisco. This
is the Columbia Broadcasting System.