Lux Radio Theatre - Saturday's Children

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, October twenty sixth. Nuts Radio Theater presents
Robert Taylor and Olivia de Haviland. In Saturday's Children Louts

(00:23):
presents Hollywood's Our Stars Robert Taylor, Olivia Halan, Mona Berry
and Frederick Perry. Our guests William Keney, General Manager of
Universal Studios, and Frank Richardson, Paramount wardrobe Director, our producer
Cecil B. DeMille, our conductor Lewis Silvers. To our unseen
listeners and to those who crowd our theater to the
doors tonight, greetings from Lux with a special word of

(00:45):
welcome to the many distinguished Hollywood personalities whom I see
among our audience. Here's a tip to every woman listening
in follow the examples set by all the leading motion
picture studios and make Lux Flakes the official wardrobe care
in your home. Wash your woolens, silks, cottons, ray ms

(01:08):
and linens in Lux. They'll look like news so much longer.
And since Lux Flakes do away with cake soap rubbing,
and because there's no harmful alkali in these safe, gentle flakes,
your clothes will wear so much longer for appearance, for economy,
always use lux flakes. And now Hollywood's leading citizen comes
to the microphone our producer, Ladies and Gentlemen, Mister Cecil

(01:30):
b demill readings from Hollywood Ladies and Gentlemen. Every few years,
a new personality comes to the screen, defying all its
traditions of long arduous apprenticeship, breaking every law of averages,
and skyrocketing overnight to stardom. Valentino and Gable did it,

(01:53):
so did Heppun and Hollow, while today's favorites Robert Taylor
and Olivia de Haviland are Tonight stars as Spangler Arlington
brew Bob was a student at Pomona College, where he
was trying to decide whether to become a concert cellist
or a physician. In the meantime, he accepted the lead
in a college presentation of the famous wartime drama Journey's End.

(02:16):
A Metro Goldwen Mayor studio scout saw him and talked
of a screen test. Not long after, Spangler's father died
and he went back home to Beatrice, Beatrice, Nebraska, planning
to work in a gas station. It was at his
mother's insistence that he went to Hollywood and reported to

(02:36):
the studio he walked out with a contract, a new name, and,
more important, the confidence of Louis B.

Speaker 2 (02:43):
Mayer.

Speaker 1 (02:43):
That briefly is Robert Taylor's biography, the next chapter of
which finds him opposite Greta Gabo in Camille. Olivia de
Haviland is a Max Reinhardt discovery. Engaged as an understudy
for Reinehardt's stage production of A Midsummer Night's Dream, she
was selected by the famous impresario to play the role
of Hermia in the screen version. This opportunity with all

(03:05):
Olivia needed as the heroine of Captain Blood Anthony Adverse
and the charge of the Light Brigade.

Speaker 3 (03:09):
She is now.

Speaker 1 (03:10):
Internationally known for her debut in the Lux Radio Theater.
She plays the part of Bobby Harrington. Robert Taylor is
heard as Rims O'Neill, Mona Barry as Flare, Fred Perry
of the original cast as mister Harrington, and Maxwell Anderson
provides the play Saturday's Children. The title of our play

(03:44):
comes from an old proverb which says, Saturday's child works
hard for a living New York City. The officers of
the Mengol Importing Company Frans Mangol, President, in one of
the outer rooms, a buzzer at sounding and Bobby Herrington
and Mango, detractive young secretary answers his call. Yes, mister

(04:06):
Mango cable, bring your notebook, Yes, sir, sit down, Bobby,
just hurting Buenos Aires.

Speaker 4 (04:14):
I've got to have immediate word as to the man
we're sending down.

Speaker 5 (04:16):
And when he's leaving, it's a great opportunity whoever gets it.

Speaker 4 (04:19):
That's just the trouble, my dear. I can't make up
my mind between Keith, Warner and O'Neill. You know, all
three men. Who's your choice?

Speaker 1 (04:26):
Oh, Rims O'Neil, Rims O'Neil, strange name, strange, fellow, excellent man.

Speaker 4 (04:32):
Well have him here in fifteen minutes.

Speaker 5 (04:34):
You mean you mean you're going to send him on
my recommendation?

Speaker 4 (04:39):
Why not? Was a toss up?

Speaker 2 (04:40):
You settled it?

Speaker 4 (04:41):
Oh well, what's the matter, Bobby?

Speaker 5 (04:43):
Well nothing. I I'm sure he's the best man, mister Mango.
But how long will he be in South America?

Speaker 1 (04:51):
In two years?

Speaker 4 (04:51):
And if he makes good perhaps indefinitely and definitely yes,
I'll take this cable.

Speaker 1 (04:55):
Will you?

Speaker 4 (04:56):
Bobby sending Rims O'Neil, Assistant manager, Buenos Aire's Office. Wait,
a minute, Bobby. Yes, we'll all be working a little
late tonight. I thought perhaps you'd let me drive you home.

Speaker 5 (05:06):
Well, i'd loved you, but I've I've pumped to meet someone.

Speaker 2 (05:09):
And spoiled my whole day.

Speaker 5 (05:11):
Lunch tomorrow splendid.

Speaker 4 (05:13):
Huh that's better, you know, Bobby, you're really one of
the Oh yeah, yes, of course for the cable very well.
Unless you hit a contrary, o'nil will leave New York
August twenty fourth, Regarding Santa's orders.

Speaker 5 (05:26):
Be sure to give me a book.

Speaker 1 (05:33):
Yes, please, No letty number five, but number five. Yes,
you know, Bobby, I'm sort of glad we both had
to work late tonight, after all, What change your mind?

Speaker 6 (05:43):
Rims?

Speaker 5 (05:43):
Writing home like this on top of a buck?

Speaker 1 (05:45):
Why not? It's kind of nice. Hey, sure you're not
hurry to get home? We can grab a cab, you know.

Speaker 5 (05:49):
Oh, I could ride like this for hours. Look up
their rooms, ride over our heads. Mmmm, star looks as
if they're on aid.

Speaker 1 (06:01):
You should beginning to sound like a songwriter. Oh that
reminds me. I told you I had good news, Bobby,
good news. The best possible hold on tide is coming.
Mangele is sending me to Buenos Ayrus. There's a boat
going in two weeks and I'm on it. Assistant manager O'Neil.
That's me.

Speaker 5 (06:14):
Oh, I'm so happy.

Speaker 1 (06:17):
Thanks. It's the best break I got since I met you.
I'm missie, Bobby.

Speaker 5 (06:22):
You'll be there a long time.

Speaker 1 (06:23):
Rim.

Speaker 5 (06:24):
It's so easy to forget.

Speaker 1 (06:26):
Well, it will be for you. Well that's the way
it should be. Forget me. Now, I'm talking too much.
I guess it's the motion of the bus.

Speaker 5 (06:32):
Don't stop. Why should I forget you?

Speaker 1 (06:35):
The best reason in the world. Mangle the boss? Why not?
He's worth plenty and not a bad guy? Little old
Maybe he asked me to marry him. Marry him? M hm,
when's it coming off? Never? Oh no, wait a minute.
You can do an awful lot with a bankroll like Mangles.
You better think it over.

Speaker 5 (06:50):
I haven't, I though, Look.

Speaker 1 (06:52):
At me, Bobby, I won't be seeing you for a
long time, maybe never. It's like you always say, anything
can happen. I don't know how to put it on.
I think I'm pretty quick on the trigger, and yet
when it comes to I forget it.

Speaker 5 (07:06):
See it.

Speaker 1 (07:07):
It okay? Here it is at eighty first rate and
now stop hang on here before we get off. The

(07:30):
selection you just heard was oh my the last time, Flory.
Don't worry about that.

Speaker 2 (07:37):
Girl can take care of herself when.

Speaker 1 (07:38):
We bring you the moment.

Speaker 5 (07:40):
Yeah maybe rooms and you will bring a home ono
the bark like you did last night. So very romantic.

Speaker 1 (07:45):
All stop worrying. Next week you'll be all and turn
off that radio.

Speaker 5 (07:51):
Right after all. Father, she's my sister. Some member of
the family's got to take an interest in her.

Speaker 1 (07:56):
At times, you're very druel my dear. Sorry, I'm terribly
fond of you. You're such an interestinger. So little sincerity
is so much curiosity. By the way, where is your husband,
will He's home minding the baby? Yeah, I thought so, Yeah,
poor Willie.

Speaker 5 (08:15):
Sometimes for I don't know what to make of you.
You say I'm insincere. Well, if that's the truth, why
am I so agains Bobby going with our boss?

Speaker 1 (08:21):
I don't know. But there's a catch somewhere, of.

Speaker 5 (08:24):
Course there is. Mister Mangle's too old. All he thinks
of his business. He's never home. He's Oh that's still
follow our answer? Hello, Oh yes, rims, No, No, she isn't. Oh,
we're expecting her any minute. Oh, I don't know about that.
You see, she's just coming home to dress. She's got
a date tonight, Floria.

Speaker 1 (08:43):
Father.

Speaker 5 (08:44):
Oh that's a shame. Of course, she'll be glad to
see you, Rims, but she won't have much time. Yes,
I'll tell her just as soon as.

Speaker 1 (08:51):
She comes in. What.

Speaker 5 (08:53):
Oh you'll call back in half an hour? Okay, Well
if I don't see you, lots of black and bones?
Are ees? You are going, aren't you?

Speaker 1 (09:00):
Blendid?

Speaker 5 (09:01):
Yes? Well, goodbye, Florrie.

Speaker 1 (09:03):
Why did you tell that young feller Bobby was going out?
You know she isn't everybody? Bobby?

Speaker 3 (09:08):
Did?

Speaker 1 (09:08):
Bbby? Didn't hear you come in?

Speaker 5 (09:10):
I haven't seen you for ages? One kiss is plenty,
my sweet? How's the baby so fine?

Speaker 1 (09:15):
Dinner hours ago? Bobby?

Speaker 5 (09:17):
Yes, Florrie with mister Nngle. He talked to me for
hours and I didn't hear a word. He said, Bobby.
The least you could do would be do you'll pay
it over again? He won't mind. If he does, he
can always fire me.

Speaker 1 (09:28):
Someone just honed you, my dear.

Speaker 2 (09:29):
Your sister took the message.

Speaker 5 (09:31):
Oh yes, RIM's O'Neil rint. What did he say?

Speaker 1 (09:34):
I don't know what he said, but Florrie said plenty.

Speaker 5 (09:37):
Well, first he wants to know if you were going
to be in this evening, because that was an easy
one to answer.

Speaker 4 (09:41):
But you're not.

Speaker 5 (09:42):
You're going to a dance with Rince Bobby. Bobby, You're
so terribly innocent. I told rim someone was taking you
to a dance. Florrie, you could not. Don't get hysterical.
Why I tell him you're going to be at home
sitting on the edge of a chair waiting for him
to call. But that's not so Flory. Yes, well, now
run long, father, and something I want to say to

(10:02):
Bobby again.

Speaker 1 (10:04):
Oh very well, let me know when you're ready. I'll
drive you over to your plate.

Speaker 5 (10:08):
Listen, Florrie, what right did you have telling reals? Now
take a tip from your big sister and remember this.
If you want a man to get interested in you,
just let him see you going right out the front
door with somebody else. I'll leave everything to meet Bobby,
and before you know it, Rims o'nil will be proposing.
You're rather tired and tonight fly even so I'm not through.
I'll run along inside and put that new black velvet
on you were going to a dance. When Rims calls again,

(10:32):
I'll tell him to meet you someplace, nice, quiet place.
So only you've got a date with Fred, but you'll
try and vake it. You're impotable, and so are you
without any decent makeup on. If you hurry, i'll help you. Well,
you misthink I'm mad about Ryms. Well, I know you're
about to lose him to the Republic of Argentina if
you don't get some little sense in that pretty head. Well,
I do like him, Florrie, but I also like to Butcher,

(10:54):
the man who sells the papers on the corner, and
on rare occasions, I even like you. All right, First,
get it. Don't do it, because if you did, he
might ask you American, he might stay in New York,
and oh dear, it'll be such a bother to turn
him down. Hmm. There's an evil genius about you, Florrie.

(11:15):
Oh I'm the beginning of the week, and it's hateful
and dishonest, and I'll never forgive myself whatever happens, not
do as I say. Only one thing can happen. Hurry up, Bobby.
You've been dressing for hours, all right, but you insisted

(11:36):
on the black velvet. Florrie stay away from that phone. Hello,
oh hello Rim, Well I was, but yes, ten o'clock. Oh,
I'm quite sure I'll be able to break away. Oh no,
don't bother or take a cab where Sancho's splendid good Byrons.

(11:56):
Well you heard, Florrie, Sancho's a ten that I leave.

Speaker 1 (12:00):
Now, Well, let me look at you.

Speaker 5 (12:02):
Yes, you're really a beautiful girl in velvet. I say
goodbye to father. Oh just a minute, darling. If the
rad should fail, and if you knew just half a
dozen sentences that would make Rims propose, would you say that?
Of course I wouldn't. Well, Florrie, he's sailing Saturday. Well
it's so easy. Look there, I'm writing it down. Can
you read my shorthands? I too, was once a struggling

(12:24):
young secretary. Yes, I can read it. Then you're going
to take this little card and put it in your purse,
And when you're in some nice secluded corner in Sancho,
you're going to open your purse for the handkerchief, and
then you're going to leave the purse open so you
can see the car. Oh, Flora, you're priceless I'm beginning
to enjoy you well. Now for the Byelad rule number one,
remember to cry well, I can't cry on order. Oh

(12:46):
yes you can, my dear. He'll ask you what's the matter,
and then you'll say these words written in my fine
Italian shorthands. Oh, I'm so tired of everything, Rims, and
I'm afraid I'm not very good company. And he'll say, oh,
yes you are, at which point his arms will go
around you.

Speaker 2 (13:03):
Mm hmm.

Speaker 5 (13:03):
Nothing to it is there? You know, it gets easier
all the time. You just turn your face away and say, RIM's, dear.
Sometimes you're the only person in the world I can
talk to, and sometimes I can't bear to talk to
anyone else. I'll do nothing of the sort. Then you continue, Bobby,
watch me while I write this, won't you? You say, Rims,
don't you ever get tired of pull me?

Speaker 1 (13:25):
Ever?

Speaker 5 (13:26):
And then he'll say never, very simple, of course you're
such a darling, Rims. And it's going to be so
awfully hard. What is? That's just what he'll say, what is?
And you reply, We'll marrying somebody else?

Speaker 1 (13:41):
Now.

Speaker 5 (13:41):
That will shock him for a few seconds. Bobby, are
you getting married?

Speaker 1 (13:45):
Oh? Rim A?

Speaker 5 (13:46):
Girl has to get married sometimes, you know, while she's
got a chance. Fluri, when you die, I'm going to
have your mounted for the museum. I'm not through yet, Listen.
Rims will ask you how many proposals you get in
a week, or some variation of the saying yes and
your response I've had two proposals every other week for
two weeks or something, and he'll look at you soulfully

(14:06):
and whisper. Now, kids, you don't mean you're set to
marry somebody. And you'll say, oh no, I will, Oh yes,
you will. And you'll say Fred or Bill or Johnny
wants me to marry him, and he's awfully in love
with me, and I don't want to go on working forever.
Whereupon Rihm's come through with the closing lines, Well, Bobby,
if you're getting married this season, why not marry me?

(14:28):
And there you are. He'll never say it, why not
because he isn't just set for one thing and for another.
It isn't fair and I wouldn't do it, h darling.
How do people get married? I don't know. I'll say
you don't. Here's a card, and don't forget to cry,
missus Rims O'Neill.

Speaker 1 (14:56):
These ways then you are. Will the table be all right? Sure?
As I so as well? May I take the lady's case?
Thank you, hobby. Hey, you're a dream in that dressy
stand still? Let me look at you. You like it?
Do I? Why have I seen you in that before? Well?

Speaker 5 (15:11):
I just made it.

Speaker 1 (15:11):
You made it. Hey, we should make my clothes for
me for a while. I'd have them falling for me
from the third story windows.

Speaker 5 (15:17):
Oh, any old clothes we will do in Buenos Aires.
They say they fall very easily down there. Yeah, they
say it's the climate.

Speaker 1 (15:23):
I'll bet the climate fans raise them any sweeter than
you are, because they don't come any sweeter. Oh, I've
been dying to talk to you. I haven't seen you
for a week.

Speaker 5 (15:29):
You know, well, it is my court. You haven't seen me.

Speaker 1 (15:32):
Nobody's seen me. I haven't been able to see myself
in the mirror of the rate I've been traveling. I've
learned more about the Argentine in the last week than
I ever knew about New York principal cities, population, railroads,
rates of exchange, taxes, politics, all the works you ought
to hear. Old one giving me a quiz.

Speaker 5 (15:47):
So you're really going?

Speaker 1 (15:48):
Sure? You know, I don't know a thing about it,
but one's been coaching me, and I've been studying so hard.
I haven't that a chance to get away?

Speaker 4 (15:54):
You know?

Speaker 1 (15:54):
Every night I thought maybe I could get away, and
then well something came up and I couldn't. Oh, I know,
you know I haven't seen you since well, thank god, Gosh,
it seems.

Speaker 5 (16:04):
Like a month, just a week ago tonight.

Speaker 1 (16:06):
So you're right, you mean I haven't seen you since that.

Speaker 2 (16:08):
Night on the bus.

Speaker 5 (16:09):
Really don't you remember?

Speaker 1 (16:11):
Those thing's got me stry you, Bobby? I wish you
were coming along. Hmm. Well, it's certainly a nice spring
while it lasted.

Speaker 5 (16:21):
Now the best I ever had ring in.

Speaker 1 (16:23):
Me too, you know, Bobby, I'll never see a Fifth
Avenue bus without thinking you.

Speaker 2 (16:28):
Never.

Speaker 5 (16:28):
You won't see you in for a while though.

Speaker 1 (16:30):
Yeah it's true. But a postcard at Grant's Tomb or
Central Park do just as well.

Speaker 5 (16:35):
I'll send you under the next to mass the poet.

Speaker 1 (16:38):
Which spot though the roots sprinkled with him?

Speaker 5 (16:40):
Well where you read your poem to me? For instance, it.

Speaker 1 (16:43):
Wasn't much of a poem if you asked.

Speaker 5 (16:44):
Me, Oh, it was a lovely poet.

Speaker 1 (16:46):
Well, I thought it was pretty good at the time,
but I guess it was pretty bad. I don't think
i'll try poetry again for a while, not.

Speaker 5 (16:53):
To you fall in love again, I suppose.

Speaker 1 (16:56):
Well, no, no, I guess not.

Speaker 5 (17:00):
Where It's the only poem anybody ever wrote for me.
When Bobby comes to the office, the boss takes off
his frown. She wears a coat of powder blue and
the powder blue gown. She sits upon her office chair.

Speaker 1 (17:12):
You always make me think it's good the way you
say you've been swelled Bobby, the break and date for
me like this.

Speaker 5 (17:19):
Well, but you'll be leaving so soon, rims.

Speaker 1 (17:22):
Yeah, that's that's why I had to see it to
talk with you about. What do you think it's a
good thing me going to South America?

Speaker 5 (17:32):
Well, it's a wonderful opportunity.

Speaker 1 (17:34):
Yeah. Well, what I mean is, don't you think it's
a good thing for a young fellow to see the
world a little when he gets a chance to kind
of make up his mind what he wants to do? Well,
of course, yeah, well that's why I'm going. Really, I'm
not so sure it's any great shakes of an opening,
but I've never been much of anywhere, and it's a chance.
Well is it kind of an adventure, don't you see?

Speaker 5 (17:52):
Yes?

Speaker 1 (17:53):
I see, yeah, well that's that's why I'm going. Yes.
And Bobby, you've been wonderful to me.

Speaker 5 (18:03):
We did have a nice ring together, didn't we.

Speaker 1 (18:06):
You've been marvelous.

Speaker 5 (18:08):
Well, it's it's summer.

Speaker 1 (18:09):
Now, Bobby, could I could I iss you just once? Oh?

Speaker 5 (18:16):
Well if you if you wish, Uh, perhaps we better
run a longer. Where's my pet?

Speaker 1 (18:22):
Well? Here here it is? But it's so eorly Bobby,
will what Bobby, Bobby, you're crying.

Speaker 5 (18:32):
Oh, I'm so tired of everything, Rims. And I'm a said,
I'm not very good company.

Speaker 1 (18:39):
Oh, yes you are, Bobby, Oh, Rims deer, Yeah, Rims.

Speaker 5 (18:43):
Sometimes you're You're the only person in the world I
can talk to. Sometimes I can't bear to be with
anybody else.

Speaker 2 (18:51):
Bobby.

Speaker 5 (18:51):
Oh, you're such a darling.

Speaker 1 (18:53):
Well I wouldn't say that, Oh, but you are.

Speaker 5 (18:56):
And it's going to be it's going to be so
awfully hard. What if marrying somebody else?

Speaker 2 (19:02):
You getting married?

Speaker 5 (19:04):
Well, Rinda, a girl has to get married sometime, you
know why. She's still got a chance.

Speaker 1 (19:08):
Yeah, I suppose you get chances? All right, Yes, well
I tell them I suppose.

Speaker 5 (19:13):
Well I've had two every other week for two weeks.

Speaker 1 (19:16):
Sales. Look here, you don't mean you're making up your
mind to marry somebody in particular Mangel.

Speaker 5 (19:20):
Oh no, rind Fred wants me to marry him. He's
awfully in love with me, and I don't want to
go on working forever.

Speaker 1 (19:27):
I see, I didn't know you felt that way about it.

Speaker 5 (19:30):
Well I don't, really, I was just joking. You better, girl.
I wouldn't marry anyone, No, not even you.

Speaker 1 (19:37):
You wouldn't.

Speaker 5 (19:37):
No, I wouldn't.

Speaker 1 (19:38):
Oh, yes, you will.

Speaker 5 (19:38):
I mean, do you want me to?

Speaker 1 (19:43):
Oh there's nothing else I want more? Oh, Bobby, but
you're going to tell the America South America, No, darling,
somebody else can go to South America. In a minute,

(20:06):
we'll go on with the story of Saturday's Children, But
first let's look in on a bridge party in Pasadena
given for Helen's birthday. A big cake with candles is
being brought in. Jane and the leader are watching from
the doorway.

Speaker 5 (20:16):
Say, Alida, do you suppose those candles are meant to
fool us? Helen's thirty six, or.

Speaker 2 (20:21):
She's a day.

Speaker 7 (20:22):
Yeah, he's only twenty nine. Oh, she must be older,
so she's not a major thinks she won. Well, her
face doesn't look so old, But I always judge by hands,
and Helen's hands look as if she's at least thirty five.

Speaker 5 (20:33):
Well, they're dishpan hands.

Speaker 1 (20:36):
You know.

Speaker 5 (20:36):
It's a shame Helen doesn't use lucks. We'll keep her
hands soft and young looking. Well, let's both tell her
to switch to luck.

Speaker 1 (20:43):
Don't let anybody you know get old looking hands from
washing dishes. They needn't. If they use Lucks for dishes,
tell them it's a regular beauty treatment right in the dishpad.
Soaps containing harmful alkali leave hands rough, red and work worn.
Lux has no harmful alkali to dry out the natural
oils of the skin. It leaves hands soft and smooth
and well groomed. And it's a very inexpensive beauty secret.

(21:05):
A big box will do all the dishes for over
a month. That means, for considerably less than a cent
a day, you can use Lucks for dishes. Remember to
start tomorrow and now, mister de Mille. Our play Saturday's Children,
starring Robert Taylor and Olivia de Haviland with Mona Barry
and Fred Perry continues from the Luxe Radio theater. Four

(21:32):
months have passed since Bobby put Flowery's scheme to its test,
made Rims forget all thoughts of South America, and led
the willing groom to the order. We find the couple
in their little apartment in mid Manhattan. Supper is over,
and while Bobby washes the dishes, Rim searches for a cigarette. Hey, Bobby,

(21:53):
see my cigarettes around?

Speaker 5 (21:55):
Poor Rims. You are helpless darling. There they are.

Speaker 1 (21:58):
Oh, thanks, only one left.

Speaker 5 (22:00):
Well this morning you said you bring Homercartton forget.

Speaker 1 (22:03):
No, I didn't forget, only I was running so low
in cases.

Speaker 5 (22:05):
But you got paid to day.

Speaker 1 (22:07):
It's all right, honey, don't bother Rims.

Speaker 5 (22:10):
I don't understand. You never seem to have any money.

Speaker 1 (22:13):
All the truth is I made a couple of football bets.

Speaker 5 (22:16):
I lost all Rims. Rims, we've got to stick dabber
it or we'll never come out. Even I went over
everything this afternoon. Here's is Rims the Treasurer's report, and
you've got to read it. You see, we get two
hundred and sixty dollars a money.

Speaker 1 (22:33):
Let me see that thing a minute. Sixty for rent,
thirty five gross, raise, forty five on the furniture, twenty
mile houns fourteen insurance.

Speaker 5 (22:40):
I guess I'm leaving exactly sixty six.

Speaker 1 (22:42):
Dollars a month sixty six. Hey, darling, you're marvelous.

Speaker 5 (22:45):
Well, I didn't say we could say that much. We've
got to have clothes and pay the dentist. But if
we don't use some kind of system, it's just going
to keep on disappearing, Rims. I'm going to keep note
of every cent I spend. Now if you do this
saying where we can go over it every night.

Speaker 1 (23:01):
Yeah, it looks like a lot of swell evenings ahead
of us.

Speaker 5 (23:03):
Oh please rin Now, wait a minute.

Speaker 1 (23:05):
You mean you want me to make a count for
every penny I spend?

Speaker 5 (23:08):
Well, lest you look at it that way?

Speaker 1 (23:09):
That's what it amunts do, isn't it.

Speaker 5 (23:11):
Well? I guess that's that how finished the dishes?

Speaker 1 (23:15):
Wait a minute, let me look at those figures. I
thought something was wrong. Oh, it doesn't matter when you
say we get two hundred and sixty dollars a month,
It matters, well, Rims.

Speaker 5 (23:23):
I spent all afternoon checking things. It doesn't different.

Speaker 1 (23:25):
Ways it, which is still wrong. I get forty dollars
a week. That makes about one hundred and seventy dollars
a month. Oh oh, where did you get two hundred
and sixty dollars?

Speaker 5 (23:36):
Well, Rims, MusD be crazy. I'd put down sixty weeks
sixty when you told me, mister Mingle, i'd spoken about
a raise.

Speaker 1 (23:41):
Sulready spoke about it, all right.

Speaker 5 (23:42):
Well, I kept on thinking about the news salary. I
could get everything on sixty weeks.

Speaker 1 (23:46):
There's some difference. Now. There's just no use, Bobby. Every
month we take in one hundred and seventy dollars and
spend one hundred and eighty three.

Speaker 5 (23:52):
Oh, Rims, I wish I hadn't quit my job.

Speaker 1 (23:54):
We both couldn't work in the same office after we
got married.

Speaker 5 (23:56):
Well, other people do.

Speaker 1 (23:57):
It wouldn't have mattered nothing doing. I'd say I was
man enough to support my wife, and they'd be right.

Speaker 5 (24:02):
But it would double our income. Rims. Don't you see
how easy it would be if I took my job back.

Speaker 1 (24:06):
Double our income. I know that, I know you were
making as much as I am. What do you want
me to do about it? I'll get this straight. I
won't have you sitting in mingled private office all day.
It was bad enough before we got married.

Speaker 5 (24:14):
Don't talk to me like that, Ryn, don't talk to
me like you're.

Speaker 1 (24:16):
My wife and you'll do as I say?

Speaker 5 (24:18):
Or how I load that word?

Speaker 1 (24:19):
What word? Wife?

Speaker 5 (24:21):
I won't be a wife. It sounds sat and stupid.
I wish we hadn't gotten married.

Speaker 2 (24:25):
Oh so that did.

Speaker 5 (24:25):
I wish you're gonna talk to marriage half as.

Speaker 1 (24:27):
Much as I do. Oh, you don't like to hear
the truth, do you. Well, I've had enough of this.
I'm going see I'm going out alone. Let me have
them cigarette, yes, sir, right away, I'll get them for
all rims. Hello, welly, how's my little brother in law?
Where's Bobby home? I guess for it's a matter of
old man. Something wrong, anything wrong for a man to
go for a walk and stop in at the corner

(24:48):
stationary store to play a game of pinball? Well is there?
I'm sorry? I just stopped in at the cigar corner.
I thought i'd say hello, all right, Hello, Oh if
there's anything I can do? Yeah, there's twenty you can do.
You and that wife are your keep away from my home?
Keep away from Bobby. You don't have to talk so loud, rim,
I guess I'm going nuts now. I tried to reason
with Flori. We shouldn't drop in on you so much. Yeah,

(25:10):
last night, and the night before and the night before that.

Speaker 3 (25:12):
I know.

Speaker 1 (25:12):
I guess Florie is kind of inquisitive. You don't have
to apologize. It's not your fault, Willie.

Speaker 5 (25:17):
Oh thanks, Rims.

Speaker 1 (25:18):
It isn't your father or mother of Florie or you.
Then it's money. If I was only in Buenos Aires,
i'd have a home and servants, I'd have a car.
What's the use Is the family so badrim, I know
more than my family would be. I guess we'll take
it easy, Rims. I went through the whole thing, I know. Besides,
I got a kid in a decent job that'll come too. Maybe.

(25:39):
Last week they gave a party for a man in
the office, Al McIntyre. He got me my job. But
could I buy a ticket? No, a ticket cost five bucks.
How do you think I felt walking in the office
the next day? Five bucks, Willie? Five easy bucks that
had to go to pay the rent. Well, I guess
it's just as hard on Bobby. Rim don't you think
I feel that too. She's changed or I've changed. I
can't understand it. All day long, I think about her.

(26:00):
I think I swell is going to be a go
home and be with her alone. Then when I get home,
all I see is bills and relations and a sinkful additions.
That isn't swell, Willie, that's just a flat Bobby and
I are just two ordinary married people. Then I do
what I did tonight, make a message thing, shoot the words.
But I can't help it. I hate it, Willie, I hate.

Speaker 2 (26:14):
It, I know, but calm down.

Speaker 1 (26:16):
I'd take it in the store. I should you hear
your troubles? Nah?

Speaker 4 (26:19):
I got my own troubles. Maybe you should hire a hold.

Speaker 5 (26:21):
Why you wait a minute now?

Speaker 1 (26:25):
Getting tough won't help you. Look, why don't you have
phone Bobby and tell her you're sorry? Huh phoner and
tell her I'm sorry, crawl for what for being alive?
Not me? As far as I'm concerned, Bobby can.

Speaker 2 (26:39):
Hello?

Speaker 1 (26:42):
The line must be out of border. Oh, it couldn't
be busy for forty minutes. It's my house. I'm trying
to get my wife. Don't you understand? How can it
be busy? I never mind forget it, I said, forget it?

Speaker 5 (26:59):
Oh, oh, come in, Florrie. Well why the long face?
Grims and I another battle? I thought, perhaps was he
coming home?

Speaker 4 (27:09):
Oh?

Speaker 1 (27:09):
Who won this time?

Speaker 5 (27:11):
Well, I'm afraid we both last. Don't smile, Florry. It's
not funny, you child. It is funny. You're just going
through a period of adjustment. WILLI and I are nearing
the end of our period of adjustment. WILLI still struggles faintly. Well,
if that's marriage, Florrie, I don't want to be married.
His vickery. It just about killed me to quarrel with rinn. Oh, Florrie,
I don't know what to do. He's the one you wanted.

(27:33):
Now he's yours, so I worry about it. But it
can't go on like this. Can you leave me or
I'll leave him? Then there's only one answer left. I
wish I thought there was one answer left. There is
a child. But if we can't get along now, it'll
make you so much more important, don't you see?

Speaker 2 (27:50):
Oh?

Speaker 5 (27:51):
I don't want to be important, not to Rim, only
to Rims. And as long as Rims has only you,
well he's really free. But just you tie him arm
with a family, and he say, well, used to have
all the answers, but not anymore, not since the baby.
But too to keep a man that way, it's terrible.

(28:11):
It's been going on for a long long time, my dear,
And it works. He'll be humble and happy with another
ski like the questions you wrote down on a piece
of paper. It worked aftern't Yes, only I wish I'd
never done it. It was the only way you could
get rooms to marry.

Speaker 1 (28:23):
And you know it now. I tell you.

Speaker 5 (28:24):
The only way you can hold him.

Speaker 1 (28:26):
Is to get up. He's just the old man. Doors open.

Speaker 5 (28:30):
I came in, Oh, hello, Dad, where's mother?

Speaker 2 (28:33):
Too? Tired?

Speaker 1 (28:33):
Went to bed?

Speaker 5 (28:35):
Well, Grandpa, an't you going to sit down?

Speaker 2 (28:37):
Yes?

Speaker 1 (28:37):
And leave off that grandpa stuf?

Speaker 5 (28:39):
Why you precious o, dear Shane being grandpa?

Speaker 1 (28:42):
Will your grandma answer? How it feels?

Speaker 5 (28:44):
Well, Bobby, I must gone Alonge not so soon, Yes,
I really must. Well, good night, Bobby, and don't.

Speaker 1 (28:52):
Forget good night, Bobby, Bobby. There's something wrong. I saw
it last night when I was here in the night before.
Fuck easy.

Speaker 5 (29:04):
Then it's as plain as all that. Well, it's rings,
it's us there, it's money and dish pans and bills
and somewhere under the heap of rings, and I I
am pretty soon we we'll never be able to find
each other again.

Speaker 1 (29:17):
Robbie. If you and I had only talked that night,
the night before you two decided to.

Speaker 5 (29:22):
Get married, what would you have said?

Speaker 1 (29:23):
But you're too young to get married. You haven't had
any fun yet. He hasn't money enough to support you.
Why should he support you? You're his economic equal.

Speaker 5 (29:33):
Perhaps I should have gone on working, But if I had,
I might.

Speaker 1 (29:36):
Have lost him, not as surely as you're losing him now.
It used to be a club affair, didn't it? Yes?

Speaker 2 (29:45):
Now what is he?

Speaker 5 (29:46):
Gross? Three bills? Mostly?

Speaker 1 (29:48):
Hmm, I'm sorry.

Speaker 5 (29:50):
Father, Father. If a woman has a husband and she
wants to keep him all her life, then isn't isn't
a child?

Speaker 1 (29:59):
The best thing is, Bobby, It's true, isn't it? Oh?

Speaker 2 (30:03):
Yes?

Speaker 1 (30:04):
It will hold him.

Speaker 2 (30:06):
And you too.

Speaker 5 (30:08):
You don't understand me, Bobby.

Speaker 1 (30:10):
What's happening to your Honestly?

Speaker 5 (30:11):
Oh, I'm young and foolish, and rims is everything in
the world to me, and I'm I'm afraid I'll lose him.

Speaker 2 (30:16):
Think it over, Bobby, think hard, Bobby.

Speaker 1 (30:40):
Hello, rings, you should have gone to bed. It's pretty late.

Speaker 5 (30:44):
I've had a chance to do a lot of thinking.
Rings here alone in the.

Speaker 1 (30:47):
Dark, Bobby, please, I I tried to get you on
the telephone to say how Rod and I felt about
what had happened. He said, the line was busy. I
guess that's pretty hard to believe, isn't it.

Speaker 5 (30:56):
The line was busy, Rings, I was speaking with mister Mango. Yes,
he offered me my own job back. Yeah.

Speaker 1 (31:02):
Well, no, wife of mine is going to work.

Speaker 5 (31:04):
I know you said that before, but I've been thinking
about what he told me, and what Florrie.

Speaker 1 (31:08):
She was here again. Well, I'm glad I kept walking
and what Dad told me. Bobby, and we better turn
in tomorrow.

Speaker 5 (31:13):
Maybe it's got to be now, Rims, Okay, I'm say
I'm I'm being honest with you, Rims, more honest than
I've been since we've were married. I tricked you once.
I almost tricked you a second time. Trick me, Yes,
I tricked you into marrying me since back, Rims is
all so obvious, And I almost tricked you into being

(31:35):
with me forever, whether he wanted to or not, Thank Heaven,
that is not my conscience too.

Speaker 1 (31:40):
I don't know just what you're talking about, but I
do know this. I've been thinking tonight too. A man
gives up a lot when he gets married. As long
as he's single, he owns a urt. But when he's married,
his time's not his own, his money's not his own.
He's got to keep on working, whether he wants to
or not. And there's the devil to pay if he
spends an extra time. Whenever I got tired of my job,
I used to quit, but in like what, I tried another.

(32:01):
Now I can't. Why not Because I got a white
and a family.

Speaker 5 (32:04):
Am I a family? I won't be a wife. I
won't be a family. It's me, rims me all right?

Speaker 1 (32:08):
Be yourself.

Speaker 5 (32:09):
Yes, you gave up a lot, and I gave up
a lot to cook your meals, keep this house and
wash your dishes. And every time I get a dollar
for myself, I have to ask for it. It's the
grady your home, it's not mine, it's all yours. You
earn the money, so it's all.

Speaker 1 (32:19):
Yours, right, rub it in. I don't earn anything you don't,
And I know what I can do. Well. You won't
work for mangle. I won't have it. I gave up
a lot to keep this place going. It's going to
be the way I want it from now on.

Speaker 5 (32:28):
That's all I wanted to hear. Rims. I'm going, Robbie,
take care of it. It's all yours. And the dishes
are still not washed. The hot water is in the
right hand tat. I'm running along, Rims, and I'm not
coming back.

Speaker 1 (32:38):
All right. But if you work for Mangle, I quit.

Speaker 5 (32:40):
I don't care where you go, Rims. It's a free country.

Speaker 1 (32:43):
Goodbye, Bobby, Bobby, don't go, Bobby. Station identification This is
the Columbia Broadcasting System. Sanity's Children, starring Robert Taylor and

(33:24):
Olivia de Havilan, continues shortly. The population of Hollywood is
only one hundred and sixty five thousand, Yet there is
more clothing here than any place except the garment center
of New York. The reason is that every studio must
keep a tremendous wardrobe on hand. Dressmakers, tailors, jewelers, beaders,
leather workers, and shoemakers are constantly filling new studio orders.

(33:46):
The results of their labors reveal the history of the world.
In Dress Tonight, we hear from the wardrobe director of
Paramount Studio who orders ten thousand costumes a year and
knows where he can put his hand on every one
of them. Ladies and gentle mister Frank Richardson, thankfully we
listen to the mail.

Speaker 6 (34:05):
It's easy to understand. Our costumes accumulate in the thousands.
A star and ever wear at the same dress and
two pictures, while when at the mall film that's finished,
we usually have to build an annex.

Speaker 1 (34:16):
Be used to me. By this time, Frank, we worked
together in every twenty years, and I think the first
job you gave me was the toughest.

Speaker 6 (34:22):
That called for a silver player's suit of armor in
a day when there were no armors in this part
of the country. Geraldine fararwart and joined the woman. It
cost twenty five hundred and we have it.

Speaker 1 (34:32):
Yet he went upset when I asked a five thousand
suit Savama for the Crusades. That's because you gave me
the chief armor of the Metropolitan Museum of Art to
help me construct him.

Speaker 6 (34:42):
Aging costumes is actually a lot harder than creating new costumes.
To make a new costume show where quickly we.

Speaker 1 (34:48):
Use blow torches, sand paper, oil stain.

Speaker 6 (34:50):
In wax Of course, the greater part of our wardrobe,
and this will interest the ladies, is made up of
beautiful costumes, fashion from the Danish and most gorgeous fabrics
that mister de mill is where Lux comes in. We
found the surest way to safeguard these costumes is by
using Lux flakes.

Speaker 1 (35:07):
And no wardrobe man ever goes out on.

Speaker 6 (35:09):
Location without enough flakes to take care of the company's laundry.
It's not only best, it's the easiest soap.

Speaker 1 (35:14):
To you or after your success with metro costumes, I
here you are now making them out of glass.

Speaker 6 (35:19):
Yeah you remember we made the first glass ones for
you and Forbidden Fruit, and now we're making glass hats
for the dances and college holiday. Jack Benny's new picture
Fashions and materials change almost as off as fashions and clothes,
and two dresses hanging in the Paramount Water department give
a good illustration hostiles change. One costume, one by Mary Bryan,
is from the eighteen forty period.

Speaker 1 (35:41):
The other were used by Claire Bowl.

Speaker 6 (35:43):
Mary's dress required two hundred and eighty eight yards and
materials Claire Bowl's.

Speaker 1 (35:47):
Only three and a half yards mm. So there you
are now to you and LUs my appreciation and good night, good.

Speaker 5 (35:54):
Back, back, good back.

Speaker 1 (36:00):
Robert Taylor as Rims O'Neil and Olivia de Haviland as
Bobby Harrington continue now in the Lux Radio Theater presentation
of Saturday's Children. Three weeks have gone by with their
last quarrel. Bobby left Rims and is once again working
for friends Mingo. Rims has found another job. Believing that

(36:23):
Mingle and Bobby are extending their association beyond business, Rims
goes to the Mango Company's offices. As he waits in
the hall near the elevator, watching for the pair he suspects,
he is greeted by a former co worker. I'm glad
to see you coming here, aren't you now? I'm staying
out here, Keith. I'm waiting for someone, Bobby, maybe poor.

(36:47):
I'm sorry, you know we miss you around here. Plenty
one of the boys that you got a job right
after you quit. Yeah, same same kind of job, same salary.
I guess I was lucky though. Oh there goes Mingle. Hey,
he'll be glad to say. Yeah, there goes Mingle. Mingling.
My wife, that's what I came to see. I'm sorry
to her. Wait for me keep them taking the next elevator. Warning,

(37:08):
what ritch Johnny, give me a paper when you mister
nel sure like old times? How many for my customer?

Speaker 2 (37:14):
Again?

Speaker 1 (37:15):
Johnny? Did you see mister Mango come out of the building. Yeah, sure,
there is car over there just pulling out. I guess
you just missed it, thanks, Sonny. No, I haven't missed him. Hey,
Taxi camp sure, yeah, I grace it down at the
show for follow us.

Speaker 4 (37:23):
Yes, sir, So here's where you live now, hey, Bobby.

Speaker 5 (37:41):
Four doors down on the right, four doors down.

Speaker 4 (37:44):
On the right, Michael. Yes, since you refuse to have
dinner with me, Bobby, at least you let me escort you.

Speaker 5 (37:49):
In, of course. But the door must be opened.

Speaker 4 (37:52):
Door what door?

Speaker 5 (37:54):
The door of my elaborate when sweet you should hear
missus Garlic the landlady, when gentlemen visits the door, you
all must always be open at ten o'clock the gentlemen girl.
But this gentleman is going before ten o'clock.

Speaker 4 (38:06):
Well, just as you say, Bobby, I'll be down in
a few moments, Michael, very good.

Speaker 1 (38:12):
Soon, that's it, just ahead, buddy, great and then okay, okay,
here you are finks. Well Rims ficketing the boarding house. Hello,

(38:36):
mister Harrington, Bobby didn't tell you, tell me she's been
in touch with you.

Speaker 2 (38:39):
Are you coming up?

Speaker 1 (38:40):
I haven't been near Bobby for three weeks. I just
followed her here. That's Mengel's car over there. He's upstairs.
When are you going to learn that Mengdel means nothing
to Bobby, nothing more than a good friend. I've seen
what I came to say, mister Harrington. Guess I'll be going.
If you just wait a second more, you'll see that
car drive away. What do you mean? I mean that
Mengel brought my daughter home and is there he goes? Now, Rims,

(39:05):
did you ever think you may be underestimating Bobby? You
think I am? Well, maybe I'm underestimating you. Suppose you
figured I was enjoying myself. My wife's left me. Now
was my chance to step out? Well? Why not? She does?
That's funny, yeah, very funny, because if there was one
thing in the world she wanted, it was you. I know, listened,
mister Harington. I called her up. She said she can't

(39:26):
see me. Then I tried to forget her, but it
wasn't any use. I don't want anything else in the
world except Bobby. And she's gone. She doesn't need me.
She's having a good time. Yes, last night I hung
around the office, same as the night I had to
see her. And what happens. She comes out with Mngle.
They went to dinner. I saw them and came back
here show for her and all. He went away pretty soon.
I don't know what's the matter with me. I used
to have a little sense about girls. I mean now

(39:48):
I act like a stupid dummy. You don't know what
it's like. Oh don't I know you're lucky, Rims. You
don't know how lucky you young fellaws are. When the
man's young, he makes love. When he's middle ages, he
make money or tries to. And one years old were
he makes his soul. I never could make anybody to
speak of. And I know it's about time I made

(40:09):
my soul. But I'd rather be young and make love
to a girl who was in love with me. Eh,
there's nothing like it. If she were in love with him,
she wouldn't have gone away. You went away, too, Rims.
Maybe she left you because she was in love with you.
Maybe where you're going, I don't know. I'll be back.

(40:30):
I guess I thought I had this thing all figured out.
I'll have to begin all over again. I'm going up
to see Bobby. Now join me a little later. I
want to speak to her first. He was too proud
to see me.

Speaker 3 (40:39):
Mister Harrington, you speak of pride, Rims, good night, are
you poor fool?

Speaker 5 (41:02):
It's only a room, dad, not like the other house.
But it's not too bad, of course not.

Speaker 1 (41:08):
I live and lived in a lot of these spaces
before I was married, and they haven't changed the carpet
on the stairs of any one of them.

Speaker 5 (41:16):
Well, it's a good place to be alone in. That's
what I wanted.

Speaker 1 (41:22):
Almost ten o'clock. Well, Bobby, your old room at home
is waiting for you anytime you were ready.

Speaker 5 (41:28):
Oh I can't go back, Dad, I'll be right where
I started all over again.

Speaker 1 (41:32):
At least you could close your door there. The landlady
insists I keep this open. She's stilled outside.

Speaker 2 (41:39):
Your father, Thank you?

Speaker 5 (41:43):
Did you hear Rims? It's sounded like Rims?

Speaker 1 (41:46):
Hello Bobby, Hello rim Well, my boy, I'd like you
to meet a nice girl, my daughter, mister O'Neil, A
working girl, but she has class. Well, now, if you
will excuse me out, good night, Good night father. I

(42:08):
guess you wondered how I found you? No, no, no, no,
he didn't tell me. I followed you here, you and mangle?

Speaker 5 (42:13):
Oh is that why you're here? Now?

Speaker 4 (42:16):
No?

Speaker 1 (42:17):
Then, what is it?

Speaker 2 (42:19):
Oh?

Speaker 1 (42:19):
I don't know, buddy, I guess it doesn't matter.

Speaker 5 (42:21):
It's just what does matter? Yeah, you might at least
sit down.

Speaker 1 (42:27):
Thanks.

Speaker 5 (42:29):
I hear you have a new job.

Speaker 1 (42:30):
Yes, how's it going? Okay?

Speaker 5 (42:35):
Jobs are all pretty much alike? Yeah?

Speaker 1 (42:38):
Sure, surely?

Speaker 5 (42:40):
Oh what business is it?

Speaker 1 (42:42):
Automatic? Mooring winches? Oh?

Speaker 5 (42:45):
Oh, yes, so are many of them? News?

Speaker 1 (42:48):
What these automatic?

Speaker 2 (42:50):
Oh?

Speaker 1 (42:50):
Yeah, sure, you'd be surprised the same salary?

Speaker 4 (42:53):
Really?

Speaker 5 (42:53):
Yes, Oh that's wonderful. I have to apologize for this place.

Speaker 1 (42:58):
It's not very You're in it, don't you?

Speaker 5 (43:01):
Thanks?

Speaker 1 (43:01):
Rams, Bobby, Yes, I can't. You all set to say something,
but I can't sing to find the words. What is it? Rm? Well,
I came to ask you if you hadn't had enough
of all this, maybe you'd come back home now. No, Ring,
what are you going to do?

Speaker 5 (43:19):
I don't know. Only I'm I'm on my own now,
and I'm going to use my own judgments such as
it is exactly you use yours such as it is,
and you haven't any guardian.

Speaker 1 (43:27):
I'm sorry you don't care about me anymore? Yes, sir,
I do you still won't try again?

Speaker 5 (43:34):
No, ring. What we wanted was a love affair, wasn't
it just to be together and let the rest go hang?
But we got with a house and builds and arguments.
Do you do what I think the love affair is?
It's when the whole world is trying to keep two
people apart and they insist on being together better.

Speaker 1 (43:49):
But lets me out?

Speaker 2 (43:50):
Doesn't it?

Speaker 5 (43:51):
Does it? But what's fair time? If you're gonna calls
me open doors and I'm mean, doesn't it another thing?

Speaker 4 (43:57):
It's proven that doctor can and.

Speaker 1 (43:59):
I've got the lock of punk.

Speaker 5 (44:00):
I forgot to tell you, Ryms, thank you, missus, gorlic.
Mister O'Neil was just going final.

Speaker 1 (44:05):
All the gentlemen are all all well, I guess that's that.

Speaker 5 (44:12):
Good night.

Speaker 1 (44:13):
When do I see you whenever you like? How do
I see you by appointment?

Speaker 5 (44:18):
Well, I'm not very busy. If we never had been
married and I was just a girl you want to
see sometime, how would you manage it?

Speaker 2 (44:25):
Well?

Speaker 1 (44:25):
I could call you up tomorrow and take you for
a bus, right, I suppose then dinnery child's. That'd be
pretty nice with it.

Speaker 5 (44:29):
I'd like it. Why don't you?

Speaker 1 (44:31):
Oh, I don't want to go bus riding, Bobby? Won't
you come back wicked?

Speaker 5 (44:36):
You never really wanted to get married? Did you tell
me the truth?

Speaker 1 (44:40):
I wanted you, Oh, of course you did, but you.

Speaker 5 (44:42):
Didn't want a house. I wanted you, but I didn't
want a house. And I don't know.

Speaker 1 (44:46):
Oh, I know you won't fall for somebody else sometime
if you leave.

Speaker 5 (44:48):
Here, you don't. Oh, how do I know you won't
fall for somebody else? I don't. I don't want to
rings you want to see me unless unless you just
can't keep away. You used to know me so well.

Speaker 1 (45:02):
You didn't like me.

Speaker 5 (45:02):
You used to know where I was and what I
was doing all the time, and it was all wrong.
And we won't have any more of it, all right,
So now we're really free?

Speaker 1 (45:12):
I said, all right, I don't give a hoop about that,
But what do you give a hoop about it? But you, darling,
can't you see it? Don't you see? I can't get
along without you. I can't stand being away from you.
All the time. I I keep waking up at night
thinking of you, So do I, Bobby. The house is
standing there waiting for us.

Speaker 5 (45:28):
No, no, I'm sorry, it'll just have to wait. I
got you into it in the first place, and you
didn't like it, and now we're out of it.

Speaker 1 (45:36):
Listen, that isn't a bad little house as houses go.

Speaker 5 (45:39):
Any house is bad enough. You have a house and
you get bills and disbands and quarrels.

Speaker 1 (45:44):
That all you got, just about. I don't know what
you want.

Speaker 5 (45:47):
Oh I don't hear it. I only know what I
don't want, all.

Speaker 1 (45:50):
Right, I get it?

Speaker 5 (45:52):
Um hm.

Speaker 1 (45:56):
Oh.

Speaker 5 (45:57):
Never even said the bye Rims come along that virus cake,

(46:18):
you know.

Speaker 1 (46:19):
I was just thinking it's pretty early and if you
want to, we could take a bus ride. We used
to take bus rides a long time ago.

Speaker 5 (46:24):
I'd love to rim Bobby, what's.

Speaker 1 (46:26):
Going to happen to us? Are we going to get
a divorce?

Speaker 2 (46:29):
If you like?

Speaker 1 (46:29):
Will you marry me again? If we do?

Speaker 2 (46:31):
Oh?

Speaker 5 (46:32):
M oh, Rims, Darling, would you tie it.

Speaker 1 (46:36):
All over again with you?

Speaker 2 (46:37):
Bobby?

Speaker 1 (46:37):
Sure, we don't want.

Speaker 5 (46:38):
The house, rooms, we don't want anything, only ourselves.

Speaker 1 (46:41):
But all we have left, Bobby only ourselves, Bobby, Bobby, Darling.

Speaker 5 (46:44):
There's one thing more that maybe left us if we hurry?

Speaker 1 (46:48):
What more?

Speaker 2 (46:48):
Could there be a.

Speaker 5 (46:49):
Seat on top of a bus for two.

Speaker 1 (46:59):
Blindly?

Speaker 5 (47:00):
I'm know we get the riverside right.

Speaker 4 (47:02):
Yes, lady, I'll tell you when we.

Speaker 1 (47:03):
Get there, sort of, I col ties, Bobby, isn't it?

Speaker 5 (47:07):
Oh, rings, Darling? What happened to us?

Speaker 1 (47:09):
We've learned so much about it'll never happen again.

Speaker 5 (47:12):
Yes, Rims are a house. It's only two blocks.

Speaker 1 (47:17):
No, Bobby, let's go back and.

Speaker 7 (47:19):
This is no.

Speaker 5 (47:20):
Oh I love them Rims. We'll never leave it again.

Speaker 1 (47:22):
I asked you this once before, Bobby, I've never met
it so much since. Yes, rim do you mind if
I kiss you? Oh?

Speaker 5 (47:27):
No, Rims. Put your arms around me in and don't
ever take them away as long as.

Speaker 1 (47:32):
We live, No, Darling, not as long as we lived?
Oh clean, doctor Cole doctor.

Speaker 5 (47:37):
Yes, ladies, they're actually kissing each other. It's a disgrace.

Speaker 1 (47:41):
Stop it it once all Let them alone, lady. Wait,
they've been married for a few months. They don't know
what it's all about. We say good night to Saturday's children.

(48:06):
But Robert Taylor and Olivia de Haviln will be back
in a moment to say good night to us. Writers,
like painters, often live for their art but have trouble
making a living. Add prior to nineteen thirteen, motion pictures
were all visual narrative constructed by actors, cameramen and directors.
Stories and dramatic situations were alien to them, and writers

(48:27):
wrote only for print or stage. Today, writers are among
the highest paid of studio personnel. William Kernig is an
expert on their wares. Beginning as an usher, he became
a stage director manager of leading theaters throughout the country,
and for the last fifteen years has been responsible for
many policies vitally affecting the motion picture business. Today. He

(48:49):
is General manager of Universal Pictures. Ladies and gentlemen, mister
William Kernig. With motion picture producers paying anywhere from one
thousand to one hundred thousand dollars for a single story,
it's no wonder that every writer tries to point his

(49:10):
pen toward Hollywood. But the very fact that these tremendous
prices are paid is the best indication of the urgent
need for good material to find it. Picture studios have
story representatives in every major city throughout the world, in
addition to their Hollywood staff. An interesting sidelight here is
that during the past twenty five years, I know of

(49:32):
only two suits for plagiarism the studios have had from
established authors, which is why more than ninety percent of
all film material is bought from well known writers. Once
the story is purchased, it is assigned to a producer.
He then turns it over to a studio writer for
what is known as a treatment. Revisions are begun, other

(49:53):
writers called in, and the final scenario may be the
work of from three to ten writers. The author of
a book, book, or play seldom works on the screen version.
An exception is Eric Catch, who wrote the original story
of My Man Godfrey. Mister Hatch collaborated with Maury Riskin
on the screenplay directed by greg Ley Lecava. Many scenes

(50:15):
in this film were rewritten after the picture was underway,
giving it a freshness sparkled characteristic of all the Cava pictures.
Comedies take the longest time to prefer because they're good
prove very successful moneymakers. A screenwriter must put as much
action into seventy minutes of film as you would see

(50:36):
in the stage play lasting two and a half hours
in radio. The timeouts and is still more pressing and
the great job being done by mister Demil and the
Lux Radio Theater has won the respect of all Hollywood.
Along with stories, our other big deed is always for
new talent. We're trying something new at Universal by going

(50:57):
in for promising young players on a large scale. Of
our one hundred contract players, seventy five that never been
before the camera. One of them is Dianna Durban, only
thirteen years old and already a sensational success.

Speaker 2 (51:12):
On the air.

Speaker 1 (51:14):
She will be featured in our new film Three Smart Girls,
with Barbara Reid and Nan Gray, each only seventeen years old.
Robert Taylor was barred by Universal from Metro Golden Mayor
for a leading role in Magnificent Obsession, directed by John Stall.
We're proud to have contributed to the success of this

(51:36):
young star, who has become one of the most popular
personalities on the screen since Valentino. Bob came to pictures.
From college and I feel confident that the next few
years will find universities actively training students not only as actors,

(51:57):
but as writers, directors and ten nations. Many thanks to you,
all and good night, good night, mister tad. Over thirty
thousand people paid admissions this summer when Robert Taylor made
a personal appearance in the Cotton Bowl at Dallas, Texas.

(52:19):
So our audience tonight must reach a staggering figure, with
the admirers of Olivia to havel And swelling the total.
Once again, they stepped before the curtain, Bob Taylor, Olivia
to Havelin.

Speaker 5 (52:35):
Thank you, mister demil. But Bob's the one to do
the talking. He used to win prizes for oratory.

Speaker 1 (52:40):
Yes, yes, there's one, neat little number I once already
called the peculiar position held by school teachers in public society.
I think it began something like this, we'd much rather
hear you play at cello. I guess you've never heard
me play the cello. Well, no, no, The fact is
I let my chill in my other suit.

Speaker 5 (52:54):
But then then tell us how it feels to be
a big romantic hero.

Speaker 1 (52:58):
Looks like a conspiracy to embarrass Taylor. I'm not at
all about, not at all. I hear you get more
fan mail than anyone in Hollywood. We've had to hire
four secretaries to handle it. Please come no I'm just
a small town boy, I know, from Philly. I'd called
Philadelphia big town. Besides Bob' from Nebraska. Well, I was
born in Philly with an F Philly like a little mayor.

(53:18):
Oh yeah, one horse down. Yeah. Well we did things
on the radio, though, and another two other champs myself
formed a trio which we call the Harmony Boys. We
sang songs for a company selling harvesting machines. Critics call
us the curse of the Killer Cycles. But those broadcasts
with the Harmony Boys gave me the confidence to appear
on the top show of the air, the Luxe Radio Theater.

Speaker 5 (53:37):
Well, after that tribute to lux in Nebraska, you ought
to say, oh, yasumasa, what does that mean? Well, it's
one of the few things I learned as a very
small girl in Tokyo. It means good night in Japanese.

Speaker 1 (53:47):
All right, then, oh Yasumi nassai, and many thanks. I'm
a good night in angry Thank you, mister Habland and
mister Taylor. Ladies and gentlemen, this is your anouncer, Melville Ruick.
Mister de Mill tells us of next week's program. Shortly,
our cast to night included Mona Barry as Flory, Frederick Perry,

(54:10):
mister Herrington, Chesterclute as Willie Lee, Aura Thatcher as Missus Gorlic,
Lou Merrill as Mister Mingle, Frank Nelson as Keith, and
Ross Forrester, Robert Payton and John Lake. Mister Habland appeared
through courtesy of Warner Brothers, mister Taylor, Metro Golden Mayor,
mister de Mill and mister Richardson Paramount mister Kinnig Universal
and mister Silver's twentieth Century Fox, where he composed the

(54:31):
musical arrangements for their new football film Pig Skin Parade
and now Mister de Mill. For many months I looked
forward to presenting on this program the star of my
new picture, The Plainsman. I'm happy to announce that next
Monday night, the Lux Radio Theater brings you Gary Coper
in a radio dramatization of one of his greatest successors,

(54:54):
The Virginian, adapted from Owen Wester's famous novel. The play
will feature Charles Bickford, Helen mac and John Howard. Our sponsors,
the makers of Lux Flakes, join me in inviting you
to be with us again next Monday night, when the

(55:15):
Lux Radio Theater presents the Virginians with Gary Cooper and
an all star cast.

Speaker 2 (55:22):
This is cecil B.

Speaker 1 (55:22):
DeMille saying good night to you from Hollywood. This is
the Columbia Broadcasting System.