Lux Radio Theatre - The Brat

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 (00:05):
This power in Hollywood is presented by the members of
Luck Lake. Those sheer fine flakes that keep the bricks
and colors smart, new looking, and fresh so much longer.
That's why they're used in all the leading studios, including Paramount,
whose world famous director now takes his place by the microphone.

Speaker 2 (00:24):
Ladies and gentlemen, mister c.

Speaker 1 (00:26):
Demill reading from Hollywood, Ladies and gentlemen, The Island of
Manhattan was brought from the Indians from merchandise value that
eighteen dollars and twenty one cents.

Speaker 2 (00:43):
Critics say that the twenty one cents was.

Speaker 1 (00:45):
The Brooklyn If that's true, small change made great changes
and confectures because one Brooklyn neighborhood gave the screens armor
and constant Talmage William and esh Anita Stewartberg and the
star of to Night's production, Marion Davies. Known throughout the

(01:06):
world for her general support of deserving enterprises, Miss Davie's
most famous charity is the Children's Clinic by her Hotel California.
Throughout her career an artist's model, chorus girl, Shakespearean actress,
and pict a star, she has preserved a refreshing wit.
She's unexcelled as Comedia and Leni. Her father Judge Bernard J. Duras,

(01:31):
New York magistrate, and as a little girl she often
watched drab parade of transgression and poverty to pass before
his bench. In the role of the Brat, she plays
a character that she's known since childhood. The drum in
which our play opens might well have been the very
room in which her father sat so many times. Co

(01:54):
Starring with Miss Davies and tonight's drama is Joe McClay
as the black sheep wealthy New York family. Both Miss
Davies and I claimed to have discovered Joe, but I'll
take that argument.

Speaker 2 (02:07):
Up with a little later.

Speaker 1 (02:14):
And now the curtain risers in the radio theater, and
here I Miss Million Davies, and mister Joel McCrae and
him lighted side street in New York's West said is

(02:35):
Manhattan famous night Court is in session. The restless crowd
stairs and murmurs along the wall is raised a line
of shabby mysterians. They sul uneasily and their places, waiting
their turn before the bench.

Speaker 2 (02:54):
Next day, an what's the charge? Engaging? There's this thing?

Speaker 3 (03:01):
Your honna rightly guilty.

Speaker 2 (03:04):
I'm not guilty.

Speaker 1 (03:06):
They fight right, you.

Speaker 4 (03:09):
See the man work so much, you're not.

Speaker 5 (03:28):
Why we cannot write?

Speaker 4 (03:31):
Why?

Speaker 2 (03:32):
What's the matter of opposite? She wouldn't come with any people.
I had a drager for six blocks. That's the moment.
What's the opposite vagrancy? You run a vagrancy? Well, young lady,
anything to say? Why not?

Speaker 5 (03:47):
Because I don't know what it means?

Speaker 2 (03:52):
What's your name? Laren? And where do you live?

Speaker 5 (03:55):
I don't be anyway?

Speaker 2 (03:56):
Is now? You have no home? No?

Speaker 5 (03:59):
You see, just come out of the hospital. A couple
of days ago, I.

Speaker 4 (04:03):
Went back to the dance fell ondi Lancy Street where
I used to wait, only they wouldn't get me my
job back again because he said I got too steep.

Speaker 5 (04:10):
And they didn't have no money or nothing, so so
I didn't have no place to go.

Speaker 2 (04:14):
I see. Well, that's what we mean by vagrancy. People
who have no jobs and no homes are called vagrants.

Speaker 5 (04:21):
So you arrest them. That's fine.

Speaker 4 (04:23):
That is How could a go get a job or
a home when you got him locked up.

Speaker 5 (04:27):
In the junk.

Speaker 2 (04:31):
You don't seem to understand, Tiggy. We don't arrest vagrance
as criminals. We do it for their own to take
them off the street.

Speaker 5 (04:38):
That took me off the street, all right, he almost
to me, you.

Speaker 2 (04:42):
Should have come with him peacefully. Can't tell me before
you went to the hospital, where did you live? Then?

Speaker 5 (04:48):
You live in street? I lived there with an old lady.
She said, you with me?

Speaker 2 (04:52):
She said your Yeah.

Speaker 5 (04:54):
I didn't know. It's so well poisonedly. Bo.

Speaker 2 (04:58):
Why didn't you go back to her?

Speaker 4 (05:00):
Well?

Speaker 5 (05:00):
I wanted to, but once she found out I didn't
have no job. I couldn't bring a wages, he said.
She wasn't made it no more.

Speaker 2 (05:06):
No one else you could go to, no pay, no test.

Speaker 5 (05:10):
I ain't had any pants and I can remember.

Speaker 2 (05:13):
I'm afraid. There's only one thing we can do.

Speaker 5 (05:16):
I'm going to send me up, not to jail.

Speaker 2 (05:18):
No, it's not for your own protection.

Speaker 3 (05:21):
I think he has to put you somewhere so you've
can get the proper care and nourishment.

Speaker 2 (05:25):
Un did you get on your again? Yeah, it's a
home for girls.

Speaker 5 (05:31):
Please don't send me to one of those places.

Speaker 4 (05:33):
Don't tell me.

Speaker 5 (05:34):
Oh, no, it's not so, but I didn't want to go.
I'll get a job again.

Speaker 6 (05:38):
If you can't.

Speaker 5 (05:39):
Please, Oh please, do.

Speaker 2 (05:42):
Now.

Speaker 3 (05:43):
There's no use buying here, look up here. Yes, Oh
evening McMillan. I'm sorry, but it's about to see. Oh
I talk you Go over there and sit down, young
lady and see try to stop crying coming to my chambers.

Speaker 2 (06:06):
Well, Max, are you doing down this way looking for
the local color for your new book? I sapp that's right.
And that girl, Judge Henry, what about her? She's just
a life I've been looking for. I'd like a chance
to know her better, to study her. You see the
books call the Breath, and she just a perfection. There's
not much doubt about that. But how are you going
to get a chance to study her? I mean, well,
here's the way I see it. If I could take

(06:27):
her home with you for a few months, take her home.
I don't think your mother would appreciate that, or she
won't mind, and it's great opportunity for the girl. Between
mother and me, we ought to be able to make
something out of it. Well, I don't know, Max. I
can't give her over into your charge, but if missus
Forester is willing to do it, I'll give her a ring. Right,
there's the phone, thank you? Hello? Oh yes, yes, she's

(06:55):
right here.

Speaker 5 (06:58):
Hello, Mills, where.

Speaker 2 (07:04):
What do you do there?

Speaker 5 (07:06):
Oh?

Speaker 2 (07:08):
Bring her here a.

Speaker 5 (07:12):
Well fellow? Of course you want, but I really don't see.

Speaker 1 (07:17):
Well, very well, be here, yes, yes I will.

Speaker 5 (07:21):
Goodbye there Simpton, my son is bringing a young lady
home with him. Happen Sanders. Some copy read.

Speaker 1 (07:40):
Is that you mad?

Speaker 5 (07:42):
Oh season very badly? Thanks to you? You're very well?
What's the matter you've been all these means that's a
problem drinking again?

Speaker 2 (07:54):
I have that one too many for you, Susan. You
treat me as if I the only way you deserve.
I didn't know you expected me.

Speaker 1 (08:06):
I'm sorry, mother, I didn't know you were wizary, with
you out.

Speaker 5 (08:09):
Until all hours, browsing around of those goodness friends of your.
Why shouldn't I work?

Speaker 2 (08:15):
My friends are all right?

Speaker 5 (08:16):
Yes, you should, they are because I just like you,
a lot of young, wasteful waistros.

Speaker 2 (08:20):
Is that your opinion of me? If you want the
true Stephen?

Speaker 5 (08:22):
Yes, you have the stock of ambition, your homemakup, this
is head. You just stayed in college instead, you've failed miserably.

Speaker 2 (08:29):
Well, that wasn't entirely my fault. I didn't want to
study art.

Speaker 1 (08:32):
You know that you and Mac made me I wanted
to go to a regular school and be a real man.

Speaker 2 (08:36):
A Mac is an office, an author. Do you mean
to instinct that he's not a real man? Oh? You
know what I mean. I wanted to study engineering and
build roads and bridges.

Speaker 7 (08:45):
And because we didn't allow you, you insistently drinking yourself
to death.

Speaker 2 (08:49):
But mother, it isn't as bad as that.

Speaker 1 (08:50):
I take a little sometimes I probably wouldn't take anything.

Speaker 2 (08:53):
You'd let me alone. You and Mac nag at me
from morning tonight.

Speaker 1 (08:56):
All I get is criticism, suspicion, discouragement. Everything I do
seems to be wrong. Mother, Why don't you let me
go out west?

Speaker 2 (09:04):
I could work on the ranch. I know I could.

Speaker 5 (09:05):
What ranch are used to?

Speaker 2 (09:07):
That's a a place in Wyoming. I'd be a lot happier.

Speaker 4 (09:10):
Well, I don't mind your going, but I'll have to
see your brother Steve decide what's death for you?

Speaker 2 (09:16):
Excuse me, missus Sarson, what is it? Will you be
needing me anymore? Can I comma?

Speaker 4 (09:20):
No?

Speaker 5 (09:20):
I don't think so. Just lost the windows, good man.
I'm going upstairs now. Stephen will talk about the trip
west in the malls this night.

Speaker 2 (09:27):
Good night, mother. Oh, Timpson, Yes, is my brother. And
yet at the night court. At the night court, he
hasn't been arrested as a not at all.

Speaker 8 (09:39):
He's looking for the female character to write into his
new book, Are the Brats?

Speaker 1 (09:43):
I has to make Millan Forrester, the life story of.

Speaker 2 (09:45):
A child of a slump. That's a Simpsons. Simpson come here?

Speaker 1 (09:50):
Is there any liquid refreshment.

Speaker 2 (09:52):
About freshman mister Steve? I thought you weren't going to
drink anymore. I was merely crippled with good intentions. Are
you wreche so age of the mental condition? Tims? A
moment ago, I was a pure old man. Just now
I'm a bad boy about to play hockey from school.

Speaker 8 (10:05):
Yeah, you're a bit of a tall talk like your
father and mister Steves. He could say party and there
wouldn't be a bit distance and tofty nine of them.

Speaker 1 (10:13):
I'm like my father, Eh, I don't remember him very well.

Speaker 2 (10:16):
What kind of a man was he?

Speaker 8 (10:17):
Tim A fine, upstanding, the fingerable man, and that's what
he was relatively And then pay too, he's twin only
a few years younger.

Speaker 2 (10:25):
Now, Timpson, you're all wrong.

Speaker 5 (10:26):
Do you know what I am?

Speaker 2 (10:27):
I'm a white girl, Tim, I haven't a spark of ambition.
I was even fired out of college. Yes, so I
should to speak of his persens. I'll bet you have.
Now what about that little nick? Are you sure it's
all right?

Speaker 7 (10:37):
So?

Speaker 2 (10:37):
Do you know missus Foster? Never mind that, now, Tinson,
give me the keys to the cloud.

Speaker 8 (10:41):
I can't do that, so but listen, I'll go upstairs
with you and see if I can't find Now you're
talking Tinson.

Speaker 5 (10:48):
Come on, hey, mister, do you mon if I asked
you a question, where are we going? You'll see the
judge that you're going to take care of me? Is
that right?

Speaker 2 (11:04):
Right?

Speaker 5 (11:04):
Well? What's the layout?

Speaker 2 (11:05):
The layout?

Speaker 5 (11:06):
Yeah? The payoff? What's it all about?

Speaker 2 (11:08):
Oh, I'll explain it to you later. This is the house.

Speaker 5 (11:10):
Come on, are you sure it's all right?

Speaker 2 (11:13):
Of course?

Speaker 5 (11:14):
I mean nobody's going to get too or nothing.

Speaker 2 (11:16):
I don't think so. Wah, Well, I go ahead.

Speaker 5 (11:21):
Thanks. See is this way you're bored? Well?

Speaker 7 (11:26):
Yes, in a matter of speaking, geez, it's well dump
all right, not so bad, real fireplace and everything.

Speaker 5 (11:34):
Boom he miss his hair froze.

Speaker 2 (11:36):
Sit down. I think you'll find this chair for the comfortable.

Speaker 5 (11:38):
No, I guess I'll get it, doty. I've been walking
around the mud all day, all day. Yeah, it's been
a long day too. I didn't know I was so
tied till I sit down in the ortomobile.

Speaker 2 (11:47):
Oh why didn't you take a little nap on the
way up?

Speaker 5 (11:49):
I can't slee I'm scared. Scared.

Speaker 2 (11:51):
You're not scared, now, are you?

Speaker 5 (11:53):
Uh huh?

Speaker 2 (11:53):
Nothing's going to hurt you here. Well, how hungry are you?

Speaker 5 (11:57):
Well? I had a cup of coffee for breakfast.

Speaker 2 (11:59):
Nothing since.

Speaker 7 (12:00):
No.

Speaker 2 (12:01):
Well, I'll see if I can hustle up a sandwich
for you. Make money?

Speaker 5 (12:03):
Hamburger.

Speaker 2 (12:04):
I don't believe there's a bit of hamburger in the house.
Wouldn't chicken?

Speaker 5 (12:08):
Do chicken?

Speaker 4 (12:10):
Aye?

Speaker 5 (12:10):
You kidn't meet?

Speaker 2 (12:11):
No, I'm not. If everybody hasn't gone to bed, we'll
have a bite of stuff together.

Speaker 5 (12:14):
Wait, I won't ring that bell iby with you want? Well,
if you get your land lady up, she bore AfOR.

Speaker 2 (12:19):
So on, you don't worry.

Speaker 5 (12:21):
It's easy used to be for this time, So that
I guess I can take a chance. Hey, pipe, what's
coming down to stairs is that your father?

Speaker 2 (12:30):
Hardly? His name is Tempson?

Speaker 5 (12:32):
Well you do to swear, and I won't say it
worried you ring?

Speaker 2 (12:35):
Yes, why won't you get a few sandwiches and a
pot of hot coffee? I make the sandwiches to pick.
The sandwiches are already made a good dressing them along?
Were you?

Speaker 5 (12:41):
Tempson?

Speaker 2 (12:41):
Petty?

Speaker 4 (12:42):
He's a mean the good old guy, ain'ty? I never
seen a land lady's husmand, yet it wasn't a crouch.

Speaker 2 (12:48):
Wouldn't you like to tick off your coat?

Speaker 6 (12:50):
Yeah?

Speaker 5 (12:50):
I guess though you didn't seem.

Speaker 2 (12:52):
To like the night coat.

Speaker 5 (12:53):
I wasn't never there before. I guess you laughed the
way I was, you know, carrying on?

Speaker 2 (12:58):
So no, why should I?

Speaker 5 (12:59):
Because I was so green?

Speaker 2 (13:01):
Where were you when they picked you up?

Speaker 5 (13:02):
Sitting on a bench? I was scared? Stick the way
that cop spoke to me.

Speaker 2 (13:05):
Why didn't you come with him when he ask you to?

Speaker 5 (13:07):
I don't know? Hey, your uphone nose? He hain't you?

Speaker 2 (13:11):
That's my business. I'm a writer. I like to find
things out and.

Speaker 5 (13:14):
You put them in a newspaper.

Speaker 2 (13:15):
No, I put them in a book, and then I
sell the book.

Speaker 4 (13:18):
Oh don't you get a little tied walking from house
to house? Say what if you had shoes like wine
it would give to me in the hospital. When I
get reached some day, I'm gonna.

Speaker 5 (13:28):
Have two pairs of shoes, so I won't know which
ones to put on.

Speaker 2 (13:31):
When you get rich, Well, I can't make you rich,
but I might be able to help you a little.

Speaker 5 (13:35):
How do you mean?

Speaker 2 (13:36):
Well, right now, you have no home, no relative, no friends, nothing.
If you left here now, you'd have no place at
all to God, would you. No, Well, you don't have
to leave.

Speaker 5 (13:43):
I'd like you to stay here in this paste.

Speaker 2 (13:45):
Yes, I need someone to work with this sort of
u secretary, and I'm sure my mother could find something
for you to do. In return, we can offer you
a good home, good clothes, and good food.

Speaker 5 (13:54):
Then to be like like I was working here, you're
giving me a regular job.

Speaker 2 (13:58):
Look. Oh, oh gosh, mister, that I just tell you, yeah, please, please,
you mustn't do that. Take my handkerchief.

Speaker 5 (14:07):
Handkerchief, it looks like a towel.

Speaker 2 (14:10):
Now now, no more tears, yeah, nor are you one?

Speaker 6 (14:15):
Oh? Yes?

Speaker 2 (14:16):
Put them? Donna be a temps. All right, there we
are now, young lady.

Speaker 5 (14:22):
Oh, look at you're gonna pluck at him? Which one
can I have? Any one? You like, thank you? What
do you look at the letters? Do you rea changes?

Speaker 2 (14:29):
Do you want your cocking owl?

Speaker 5 (14:30):
I can't swellow, only one thing at a time.

Speaker 2 (14:33):
Do you want cream? Sugar boat?

Speaker 5 (14:34):
Don't have me nothing for a while. He isn't busy
listening to me.

Speaker 2 (14:38):
Tease too, you're a coffee meat pooper?

Speaker 8 (14:42):
Do you.

Speaker 2 (14:46):
Means put it down?

Speaker 5 (14:49):
Thank you? Don't understand much, says he, not much.

Speaker 2 (14:52):
I beg your passion, temps. Will you run up stairs
and sake my mother still awake? If she is, ask
got to come down here? Please got a good excuse me? Hello?
Oh hello Angela? Yes, I just got in what. Oh
I'm sorry, Angela, I forgot all about it. I went
downtown to the night Protina. Oh please don't be angry, Angela.

(15:14):
Let's meet me tomorrow for lunch and I'll tell you
all about it. Yes, it's a rich will you all right?
Good night?

Speaker 5 (15:20):
Angeler answered the Is that a game?

Speaker 2 (15:23):
It's a girl if that's what you mean.

Speaker 5 (15:25):
Oh, a real high craft game.

Speaker 2 (15:29):
That's a matter. Getting a little sleepy.

Speaker 5 (15:31):
Yeah, I wish I could die right now?

Speaker 2 (15:33):
Why wish that?

Speaker 5 (15:34):
Christ? My stomach is so happy.

Speaker 2 (15:35):
Well, there are some more sandwiches left. You'll have to
finish them.

Speaker 5 (15:38):
See, I don't think I think I can get hold
of them. Can I save this pig one till tomorrow?

Speaker 2 (15:43):
Certain if you wish.

Speaker 5 (15:45):
Oh gosh, it's nice and warming here, m kill me.

Speaker 2 (15:50):
Why didn't you pray to some benevolent association? There are
planters scattered over the city. At least I've always heard
the word why didn't you go to one of them?
I say, why didn't you? Are you asleep?

Speaker 5 (16:05):
Oh?

Speaker 2 (16:06):
Tuck it down?

Speaker 5 (16:09):
You love me here. I thought you were going to
bring some show.

Speaker 2 (16:13):
She's asleep. Well, for heaven, she's just what I've been
looking for. Mother, a little savage living by a whit.
If I can keep her here for a while, I'll
have a perfect living model of.

Speaker 5 (16:22):
The back which is trying to live with a genius.
But if you want her to stay, well, stay she shall.
I'll call him out.

Speaker 2 (16:29):
Thanks. You can give her some kind of an outfit
for the night. Now, see that she has some decent
clothes tomorrow.

Speaker 1 (16:33):
Oh, let me.

Speaker 2 (16:36):
What's that? Let me alone? Let me alone?

Speaker 5 (16:40):
Tim, it's Steve.

Speaker 2 (16:41):
Has he been drinking again? Oh?

Speaker 5 (16:42):
I don't know, Mac. He was all right before, mister Steve.

Speaker 2 (16:46):
Go upstairs. No gain that you could, no, no, no,
I want a little drink, Steve, Well up.

Speaker 1 (16:51):
It ain't mac oh mac, oh boy, hand this mother steed.

Speaker 2 (16:55):
Come down here here, here, come on Tenson. Mac wants to.

Speaker 5 (17:00):
Holy Michael the joyments? What come on here?

Speaker 1 (17:02):
Be quiet?

Speaker 2 (17:03):
Please, you're all right, No, mister Steve, alright, what happened?
You fell down the stairs, That's what happened. Stand up.
You've no right in my decent, helpful, decent people. You
belong in some cheap tinem of the corner bar room.
You're dirty, little tramp tram. You may have left Kempton Jimpson.
You leave him alone, Steve, you've been carried up those
sails for the last time. Either you get up alone
or you stay where you're off for the rest of

(17:23):
the night. All right, I'll get up along.

Speaker 5 (17:25):
Why don't get at the old guy? Help him? He
can't get up alone.

Speaker 2 (17:27):
Keep all of us, please, you take.

Speaker 3 (17:28):
It on him, four of you.

Speaker 5 (17:29):
Who is he anyway?

Speaker 2 (17:30):
My tongue.

Speaker 5 (17:31):
We'll get him, move on you then and put him
to bed. What did this does the matter with you?

Speaker 2 (17:33):
Tell us?

Speaker 5 (17:34):
Come on, buddy, I'll give your handless help.

Speaker 1 (17:51):
In a minute, we will go on with that two
of the Brats starring Marion Davies and Joy McCrae. Right now,
I noticed a very attractive young woman standing beside our announcer,
mister Royck. I know he wants to introduce her to
our radio audience.

Speaker 2 (18:05):
Thank you, mister Demill.

Speaker 1 (18:07):
Ladies and gentlemen, Our guest here tonight is not in
the movies, but she probably knows movie stars as intimately
as anyone in Hollywood. In fact, she sees them with
their hair down. Am I right, Miss PADRETTI?

Speaker 5 (18:18):
Yes, that's literally true, Issy Ruy.

Speaker 2 (18:20):
Of course it is because Miss Rosa Padetti is one
of the experts in Hollywood's most famous beauty samur Westboys
with customers like Irene Dunn.

Speaker 7 (18:28):
Yes, and Carolambard, Ruth Catterton, Kate Francis, Betty Davis has.

Speaker 5 (18:33):
The name ever so many.

Speaker 1 (18:34):
And your special work is taking care of the star's hand,
isn't it.

Speaker 5 (18:37):
Yes, perhaps the women listening in will think that is easy.

Speaker 7 (18:41):
A screen star has no housework, no scrubbing, no dish
washing to make her hands rough and red. But here's
an interesting fact. I see other hands besides those of
movie stars. I see many, many hands that go in
the dishpants three times a day and yet look as
soft and smooth and attractive as screen star's hands. And
it should interest you, mister Reilly, that so many of

(19:03):
those women give the credit to using luck flakes from
the dishpan regularly.

Speaker 2 (19:06):
We like to hear that, Miss Padretti.

Speaker 7 (19:08):
Lux flakes deserve compliments. They're marvelous, so gentle and soothing.
I know that myself because we use them in the
manicure bows at Westmore's. We find that lux flakes are
not drying, they don't rob the sin of its natural oils.

Speaker 1 (19:22):
You must have some interesting experiences in connection with your
work for the Stars.

Speaker 4 (19:26):
Yes.

Speaker 7 (19:27):
For instance, the other day Rufe Cadaton thought she'd like
to ride down Sunset Boulevard on the motorcycle she did
with William Waller, her director in Dodgsworth. Next morning she
was dressing for a scene in the picture and discovered
that she had broken a nail, a calamity and a
close up, but Westmore fixed it up.

Speaker 2 (19:44):
Now you're not going to tell me that you grow navels.

Speaker 7 (19:46):
Course that, but we make them perfect months of fireproofs
er sour lords. Not very practical for everyday use, but
signing an emergency.

Speaker 2 (19:54):
Thank you, miss Padretti.

Speaker 1 (20:02):
And now to every woman who wants smooth, lovely hands,
please remember this be sure to use Luxe flakes for
washing dishes so you'll protect and beautify your hands. And
once again, mister de mill we resume the Story of
the Breath, starring Marion Davies. For three months, the brat

(20:31):
has enjoyed the comforts of the Forester home, living a
life of luxury whilst applying macmillan with material for his
new book. We find her sitting important play in McMillan's
private studies. As the telephone rings, she lifts the receiver
and speaks in her best posiety manner.

Speaker 5 (20:51):
Hello, Hello, who is it?

Speaker 2 (20:54):
Who is it?

Speaker 5 (20:55):
Speaks?

Speaker 1 (20:56):
Who is it?

Speaker 4 (20:57):
Says Lizzie Flitter Fos is a hard working self and
he ain't got no time to get But it's great.

Speaker 5 (21:01):
They won't give a monica get me that that's dead.

Speaker 2 (21:07):
Well, it is my old friend of bratt. Oh a
young lady.

Speaker 5 (21:13):
I beg your pardon please, to whom would you speaking?
I'm mister McMillan. Forest is private, tiquitary?

Speaker 1 (21:18):
Oh well, I'm mister McMillan's brother, Steve, you remember me,
don't you?

Speaker 5 (21:21):
Oh? Yeah, you're that funny looking guy. What lived here
in his house?

Speaker 2 (21:25):
Right?

Speaker 5 (21:26):
Was you looking to somebody?

Speaker 2 (21:27):
Yes? I uh was looking for you.

Speaker 5 (21:29):
I ain't here. Come back next Tuesday, asked Steve. Don'tly
beat the devil?

Speaker 2 (21:34):
What's good?

Speaker 5 (21:34):
Times?

Speaker 7 (21:35):
Me?

Speaker 5 (21:35):
And you have?

Speaker 2 (21:36):
Certainly does beat the Dutch?

Speaker 5 (21:38):
Oh that means you don't like me to say devil?

Speaker 2 (21:40):
Does it?

Speaker 1 (21:41):
Maybe?

Speaker 5 (21:41):
All right? Have it your way. I'll stand for it
from you, but nobody else, not nobody? Say?

Speaker 2 (21:47):
Did you know that Mac was all through through the book?

Speaker 5 (21:49):
Yeah? We're done any twelve?

Speaker 2 (21:51):
Yes?

Speaker 5 (21:51):
Uh?

Speaker 4 (21:52):
Oh?

Speaker 2 (21:52):
When are you going away?

Speaker 5 (21:53):
Huh?

Speaker 1 (21:54):
Well, when are you leaving it? I ain't you mean
they're gonna let you stay? Did Mac say?

Speaker 5 (21:58):
So what are you talking about? Steve? This is where
I live.

Speaker 4 (22:01):
If it hadn't been for Mac, I would maybe be
living in somebody's jail. But he wouldn't stand for it.
He's rather I live where he lived.

Speaker 2 (22:09):
Yes, I know that, But you said the book was
dumb finished?

Speaker 1 (22:12):
Now what I I don't know?

Speaker 5 (22:15):
You going to that charity ball tonight? Oh?

Speaker 2 (22:17):
I don't know. I don't think so why not want
'em all at you. I guess you would.

Speaker 6 (22:21):
You ain't been drinking again and got a m and
I'll drop for three months. Oh, I'm also glad to
see thanks to you, little sister me.

Speaker 5 (22:28):
I didn't have nothing to do with it.

Speaker 2 (22:30):
Oh, yes you did.

Speaker 5 (22:31):
Ah, you'd just say that because.

Speaker 2 (22:32):
You like me, because I I like you.

Speaker 5 (22:35):
Gee, you say that is if you mean it, do I?

Speaker 2 (22:39):
Peggy? You've never been out west, have you?

Speaker 5 (22:42):
I've been as far as Jersey City.

Speaker 1 (22:43):
No, No, I mean way out west where many and men. Now,
how would you like to live out there?

Speaker 7 (22:50):
Well?

Speaker 5 (22:50):
I he's back on the moon.

Speaker 2 (22:52):
No he isn't. I am, Oh you are.

Speaker 7 (22:55):
No.

Speaker 1 (22:55):
It's a wonderful place, miles and miles of open country
where you can ride all day long. I never heard
a sound, just the singing of the wind.

Speaker 2 (23:02):
In your rear.

Speaker 5 (23:03):
Yeah, in the moon of the cows.

Speaker 1 (23:05):
Oh y.

Speaker 2 (23:06):
You wouldn't care to go out there?

Speaker 5 (23:07):
I guess Oh me, Nah, it's too lonesome.

Speaker 4 (23:10):
Besides, I can get all the kind of stuff I
want watching the Western movie.

Speaker 2 (23:13):
Huh. Yes, I I suppose you can't. Hello, Oh hello, Mac,
what are you doing? Yesee? Well, I I wanted to
speak to you about something, anything important. No, not not
very well. I'm going to be rather visitor just now.
Oh alright, well i'll be back later. Then I'll be here.

Speaker 5 (23:30):
Is anything wrong with mac? What?

Speaker 4 (23:33):
Oh?

Speaker 5 (23:34):
No, of course, not get a kind of funny. I
thought maybe you was mad or something.

Speaker 2 (23:38):
No, no, not mad, just tired. Hand me that manuscript,
will you?

Speaker 5 (23:42):
Oh no, please don't read it anymore today. You'll make
yourself sick working too hard.

Speaker 2 (23:47):
You certainly take good care of me, don't you.

Speaker 5 (23:49):
Why not? You took pretty good carry me once?

Speaker 2 (23:52):
You know, Brett, you've grown amazingly the last couple of months.

Speaker 4 (23:55):
Yeah.

Speaker 5 (23:55):
I guess it's because I've been eating regular. Oh boy,
is that a pleasure?

Speaker 2 (24:00):
What does food mean so much to you?

Speaker 4 (24:01):
Yeah?

Speaker 5 (24:01):
I don't care. Only when I got to go without
it for a long time, I kind of miss it.
Did you see the flower I put on your desk?

Speaker 2 (24:08):
Well? Thank you?

Speaker 5 (24:09):
Ah, that's all right, I swiped it.

Speaker 2 (24:11):
Well, it's very wrong for little girls to swipe things.
I suppose you knew that.

Speaker 5 (24:15):
Or flowers ain't stealing. They belong to everybody, you know.

Speaker 2 (24:19):
I e a half mind to write a sequel to you?

Speaker 5 (24:21):
What's a sequel?

Speaker 2 (24:23):
Some other books?

Speaker 7 (24:25):
Oh?

Speaker 5 (24:25):
Is me? And Richard's going to be in it like
we was before.

Speaker 2 (24:27):
Iye, ay, not me?

Speaker 5 (24:29):
Is I and Richard going to be in it like
we was?

Speaker 2 (24:32):
Huh? Perhaps he could come back after ten years or so?

Speaker 5 (24:38):
No, we could, eh, And what would I do?

Speaker 2 (24:40):
I don't know. Maybe you'd take him back? No, no, no,
I don't believe you like Richard.

Speaker 5 (24:47):
Oh I like him all right, But they never asked
me to marry him. That made me kind of source.

Speaker 2 (24:51):
Suppose he had asked you, I.

Speaker 4 (24:53):
Would have said, Oh, ever, since the hours I spent
with you, dear heart, the sands.

Speaker 5 (24:57):
Of the desert grow more colder. So therefore I will
be your bride and the world is mine.

Speaker 2 (25:03):
Nonsense. You know you don't talk like that.

Speaker 5 (25:05):
Of course I don't. But it's already in the book.

Speaker 2 (25:07):
Go on, tell me.

Speaker 5 (25:07):
About the a A sequel year, all right?

Speaker 2 (25:12):
Now, the ten years that Richard's been away, you've never
seen him, but you've loved him all that time.

Speaker 5 (25:16):
Uh huh.

Speaker 2 (25:16):
So when he returns again, he admits that he's been wrong.
He takes you in his arms like this, and and
he says, I know I'm to blame, dear I was
a young fool. I didn't understand love. I didn't realize
the power of it, the beauty and gladness of it.
And now I've found you again, and oh my dear,
I love you. I love you. What would you say
to that you're a liar?

Speaker 5 (25:38):
What I know? Not you? I mean Richard, That's what
i'd say to Richard.

Speaker 2 (25:42):
Well, I'm afraid that i'd finish the sequel right there.

Speaker 5 (25:44):
Oh no, please go on, excuse meself.

Speaker 2 (25:47):
What is attemption? This is father. I would like to
see the young ladies.

Speaker 8 (25:50):
What poor something about trying on a coffin book.

Speaker 5 (25:52):
Oh, I know it's a dress.

Speaker 4 (25:53):
I'm going to wear the cherry the benefit tonight, the
one I'm going to do the dancing.

Speaker 2 (25:57):
Oh well, run along then, h so long.

Speaker 5 (26:10):
Mac?

Speaker 2 (26:11):
Yes, mother, where is that go?

Speaker 6 (26:13):
The bread?

Speaker 2 (26:14):
Or she's around someplace?

Speaker 5 (26:15):
Why Mac? Do you think it was nice to bring
her here?

Speaker 2 (26:18):
Why not? Missus? Lauren said, she didn't mine, And I'm
interested in watching the bread under these conditions.

Speaker 5 (26:21):
Well, I hope she doesn't disgrace this. Oh have you
seen Angela yet?

Speaker 2 (26:25):
Not yet?

Speaker 5 (26:26):
Well, she's in the drawing room, she said. If I
follow you to tend you that?

Speaker 2 (26:30):
Oh, thanks, mother, I'll see what she wants hell, Angela? Hello, Max,
mother said you wanted to see me?

Speaker 5 (26:39):
Was that the only reason you came?

Speaker 2 (26:41):
Of course? Not what makes you think such a thing.

Speaker 6 (26:43):
I was just wondering, Mac, Yes, Mac, when are we
going to announce our engagement?

Speaker 2 (26:48):
Well? I don't know, Angela, I hadn't thought about it.

Speaker 5 (26:50):
Why not this evening? Right now?

Speaker 2 (26:52):
It's a little sudden, isn't it.

Speaker 6 (26:53):
Well, there's no time like the present, Mac, unless you
don't want to.

Speaker 2 (26:57):
Of course I do. But well, I, oh, well, all right,
will announce it tonight.

Speaker 5 (27:01):
You don't seem very keen about it, Mac.

Speaker 2 (27:04):
I'm going to be perfectly frank with you. Above one.

Speaker 6 (27:07):
I've been hearing some rather nasty rumors lately concerning that
girl you've had at the house.

Speaker 5 (27:12):
The breath, Yes, the breath. What is she doing there?

Speaker 2 (27:14):
Mac? Why you know that as well as I do.
She's the model for my book. But the book is finny?

Speaker 7 (27:19):
Oh?

Speaker 2 (27:19):
I see you think I should ask her to leave?

Speaker 4 (27:21):
Yes?

Speaker 5 (27:21):
For your own good?

Speaker 2 (27:23):
I don't understand you, don't you.

Speaker 5 (27:25):
I suppose you realize that this girl has fallen in
love with you.

Speaker 2 (27:28):
You said so.

Speaker 5 (27:28):
Your mother told me she's quite worried about it. Ridiculous perhaps,
but I'm not interested in that. What I want to
know is are you in love with her?

Speaker 2 (27:37):
Angela?

Speaker 4 (27:37):
Are you?

Speaker 6 (27:38):
Mac?

Speaker 2 (27:38):
Of course not whatever puts such a nonsense into your head.
The only reason I'm interested in this girl is that
she can supply me with material for my marvel.

Speaker 6 (27:44):
Well, I just wanted to make sure, Mac, because well,
people are beginning to talk.

Speaker 2 (27:50):
Right, don't see why?

Speaker 5 (27:52):
No, you think this creature of yours is an innocent
young lamb.

Speaker 2 (27:55):
Don't you a tendless flower blooming in the slums?

Speaker 6 (27:57):
Well, she isn't. What she isn't I've taken the trouble
to find out. Do you suppose that the night you
found her in the court was the first time she'd
been arrested?

Speaker 2 (28:05):
Do you you mean she's been arrested before that? Of course,
on what charge?

Speaker 5 (28:09):
Suppose we call it vagrancy?

Speaker 2 (28:11):
Angela? Are you sure of this? Yes? I am.

Speaker 5 (28:14):
I've investigated the case, Earlie.

Speaker 2 (28:16):
I can't believe it.

Speaker 6 (28:17):
You've got to believe it, Mac, And the girl has
got to leave immediately for your own good.

Speaker 2 (28:22):
Angela. I don't know what to say to you.

Speaker 5 (28:24):
Don't say anything, dear.

Speaker 2 (28:26):
I'll send her away tomorrow.

Speaker 5 (28:27):
I think that would be best. Kiss me Max, you know, dear,
you are sweet?

Speaker 4 (28:35):
Oh, mister mac Oh, I'm sorrying, yes, I save it
here he wants to see you, mister mac Oh.

Speaker 2 (28:42):
Well, Angela, it's all right.

Speaker 1 (28:44):
Mac.

Speaker 5 (28:44):
Run along and say to him, I'll be here when
you come back.

Speaker 2 (28:46):
Well, all right, I'll be with you, ins Max.

Speaker 5 (28:50):
Are you stuck on mister Mac too?

Speaker 6 (28:52):
I'll beg your pardon you heid me, I asked, if
he was stuck on him, how does that interest you?

Speaker 5 (28:57):
We're kind of funny if we was all stuck on him.
Everybody loves mec every woman in all set. Does your
kind come and set, sit down and talk to me
a while. Naw, I ain't supposed to get chummy with
no guests here. I only come to do a dance.

Speaker 1 (29:13):
I see.

Speaker 5 (29:14):
But you're rather chummy with Mac, don't you. Why shouldn't
I be him? And me is well, he's a great guy,
Mac here, Who do you mean? Well? He kept me
from going to jail one night.

Speaker 4 (29:25):
I guess you heard about it, and he must have
liked me pretty well to do that. And then he
gives more some money and she got me a lot
of swell clothes.

Speaker 5 (29:33):
That was another thing you'd done.

Speaker 4 (29:35):
And I've been living here right in the same house
as Steve, and I'm gonna keep on living.

Speaker 5 (29:39):
There until he gets used to me, and then I
guess we'll get married. Oh has he said anything to you?

Speaker 6 (29:46):
Does?

Speaker 2 (29:47):
Nah?

Speaker 5 (29:48):
Nobody said nothing but him and me has had some talk.
Oh do you give me talk every day?

Speaker 4 (29:53):
And I told him all about how I came to
grow up, and he asked the questions like what would
I do if maybe I was jealous of some day
and things like that.

Speaker 5 (30:01):
He don't care nothing for you. I'm the guy and
you you love him? Love him? Geez, I love it.
So I have pain to missleep.

Speaker 2 (30:19):
I thought you weren't going to come, Steve.

Speaker 1 (30:21):
I wasn't, but I decided to leave for the ranch
tonight and I've come to say goodbye.

Speaker 2 (30:25):
So you're really going. Mother gave you the money? I suppose, yes,
how much did you give you? Two hundred cash and
a railroad ticket round trip one way? Well, I hope
you make it pay. I'll have to keep away from
bar rooms and you won't have any trouble. If I don't,
you'll never hear of it. Say before I go, there's
something I want to ask you, Yes, it's booth of yours.
I suppose you will make a fortune on it, le Brett.

(30:46):
Perhaps what if the girl get on it the time
of her young life? Is that all? Certainly for the
past three months she's had a good home and plenty
of poses, and there's a crowning Joyce's making her debut
here in society tonight and tomorrow Tomorrow's is free to
go where she pleases.

Speaker 1 (30:59):
Is it quite fit to turn her back to the
slums again?

Speaker 2 (31:01):
Why not? That's where I found her?

Speaker 1 (31:03):
I know, But perhaps you haven't realized that three months
spent in an environment like this means a lot to
a youngster like her.

Speaker 2 (31:08):
She may be different, now, they're never different that kind.
She's already different.

Speaker 8 (31:12):
See here, I don't propose to have my judgment of
my actions question by anyone, least of all you.

Speaker 2 (31:16):
You talk as if you were her big brother.

Speaker 1 (31:18):
I am a big brother, and I'm going to see
that she isn't kicked out of here to start.

Speaker 2 (31:21):
What are you talking about. I'm not kicking her out.
I'm letting her go. That's none of your business, and
you don't mind, We'll drop this discussion right here. Excuse me.

Speaker 5 (31:34):
Steep Hey, Steve, Oh, hello, ain't leave now?

Speaker 2 (31:38):
Ye, yes, I was, but I was going to see
you first.

Speaker 5 (31:41):
Yeah, you got to stick her out from a dance.
I'll be doing it pretty soon. I guess.

Speaker 2 (31:46):
I'm afraid I won't be able to stay that long.
You see, I'm going to catch a train.

Speaker 1 (31:50):
I'm leaving town tonight.

Speaker 5 (31:52):
Yes, she ain't that fierce. When he comes back, Steve.

Speaker 2 (31:55):
Oh, I don't know.

Speaker 5 (31:56):
Tomorrow. No, not tomorrow, next week, next month, No, I
never never.

Speaker 2 (32:02):
Would you miss me very much if I didn't come back.

Speaker 4 (32:04):
Oh, I never thought about it before, but I guess
I would. Mack will too, him and me both will.

Speaker 2 (32:10):
Why do you say that, Well, we just will, that's all.
Why do you say Mac and me?

Speaker 5 (32:15):
Oh, that's a secret.

Speaker 2 (32:16):
Yet he never used to have secrets from me.

Speaker 5 (32:19):
Now I know this one ain't really your secret. It's
just it's something I think about night time. Oh, but
you're going away, so it's all right if I tell
you I think I'm gonna get married to Mac married.

Speaker 4 (32:30):
Yeah, that's why I'm so glad I'm gonna dance tonight,
because he ain't never saw me do nothing, and he'd
be so surprised.

Speaker 5 (32:36):
He simply won't know what to say. None of the
does a dames.

Speaker 4 (32:39):
He know he's gonna do one solitary thing, and I
guess he'll be so proud of me al either I
or that he.

Speaker 5 (32:45):
Love me more. If you tonight, I'll love you more.
Yeah he does already.

Speaker 2 (32:49):
Oh does he?

Speaker 5 (32:51):
Well? Uh he never come right out and said so,
but he does. He couldn't be so good to me
and mean nothing?

Speaker 2 (32:57):
Oh no, no, of course not.

Speaker 5 (32:58):
What's the matter?

Speaker 2 (33:00):
Oh nothing.

Speaker 5 (33:00):
I know you think I ain't good enough for him.
That's what you think.

Speaker 2 (33:03):
No, it isn't honest.

Speaker 5 (33:06):
What's your address, Teeve?

Speaker 4 (33:07):
I can write a swell at it when I get started,
and when he asks me and it's all.

Speaker 5 (33:10):
Settled, I'll drop you a postal card.

Speaker 2 (33:12):
Thanks.

Speaker 1 (33:13):
Where are you going, Primrose?

Speaker 2 (33:14):
Wyoming? Where's that the end of the world.

Speaker 5 (33:17):
Don't fall off?

Speaker 2 (33:19):
You'll be lonesome, yes, I think I will.

Speaker 1 (33:21):
Well, don't forget, Primrose. Write when you're liking as often
as you like him. If you should ever need me,
send a telegram collect.

Speaker 5 (33:28):
I won't. I mean, I won't forget, and I guess
I won't need nobody.

Speaker 2 (33:32):
I hope not.

Speaker 5 (33:33):
I'm gonna miss you something terrible. See you really cross
my heart.

Speaker 2 (33:37):
Oh, but not for long.

Speaker 5 (33:39):
I don't know. Maybe the next time I see you,
I'll be honest to goodness, sister.

Speaker 2 (33:43):
Well, goodbye, Jeeve.

Speaker 5 (33:47):
Ain't you gonna kiss me my old towns?

Speaker 2 (33:49):
Don't have to do that?

Speaker 5 (33:50):
But I want you to?

Speaker 2 (33:52):
Why do you? What's the difference are?

Speaker 5 (33:55):
You're the first man I ever asked to kiss me.
We've been all the time together and we talk so much.
But I guess I know you better than anybody else
around here. M I benefits here a lot of things
to the best, but it was different with you. I
could cuss and swear all I wanted to think. You're wise.
There's so many things that Mac well, even he ain't
wise too. We were just pals.

Speaker 4 (34:17):
That was it.

Speaker 5 (34:18):
And I don't know whatever I'm gonna do when you're going.

Speaker 2 (34:21):
Gee you kid?

Speaker 5 (34:22):
I was he when he kiss me?

Speaker 2 (34:24):
Now? Sure? Sure I will? Oh, well, so long Ben
he did so long?

Speaker 5 (34:35):
Oh gosh, oh gosh, it was him. It was stevem
all the time, and and I.

Speaker 2 (34:43):
Didn't know what.

Speaker 1 (34:56):
It all for.

Speaker 2 (34:57):
Station identification.

Speaker 5 (34:58):
This is the Columbita.

Speaker 2 (35:00):
We have broadcasting system.

Speaker 1 (35:23):
Our play the brat starring Marion Davies with Joel McCrae.
Comes to you from the Lux Radio Theater in Hollywood.
He will hear the third act shortly. Clothes may not
make the man, but in Hollywood, men make the clothes.
Hollywood creates more styles in Paris, and the man responsible
for many of them is with us Tonight. Formerly a

(35:44):
painter of murals and portraits, he's now a stylist for
the stars at Warner Brothers, First National and Cosmopolitan Studios.

Speaker 2 (35:52):
Ladies and gentlemen, mister Arah Kelly, thank you, mister demon.

Speaker 9 (36:03):
As one whose job it is to please the eye,
it seems very odd to be working for an invisible audience.
Before meeting Miss Davies a few years ago, I had
been warned she had a wonderful sense of style, and
I anticipated lots of clashes. But I found her a
real person, lovelier face, and possessing what every stylus praised
for a superb figure. I've costume such other notables as

(36:24):
Kay Francis, Betty Davis, Ruth Chatterton, Barbara Stamack, Loretta Young,
Ruby Keeler, and Ginger Rogers. On the screen, you see
these stars at their best in the fitting room, I
see them at their worst, tired and arrassed after long
hours of standing, while the fitters busts and pins without exception.
Their patience is amazing. Kay Fansis, like Miss Davies, is

(36:45):
one of my favorites, insisting on smart simplicity in her gowns,
as I think her next picture of the House of
Fashion will prove. This picture provides my first big opportunity
to influence style. I have injected a Persian trend into
all the costumes, but try to it's supply. Both the
evening and daytime dresses will suggest a trouser effect. Coach
will have perfectly straight lines, and with these they will

(37:07):
wear turbans small for daytime and large for evening.

Speaker 2 (37:11):
Nothing will be radical.

Speaker 9 (37:13):
I have been inclined to underplay styles so that the
smart and knowing woman will be able to adopt them.

Speaker 1 (37:18):
You, as a man of many modes for stars of
many moves, perhaps can tell us who's the best dressed
woman in Hollywood.

Speaker 9 (37:25):
Well, Kay Francis has been named many times. Although Anita
Louise has an amazing influence on youthful styles, college girls
particularly copy her. Olivia de Havlin is another who must
be counted on for future fashion importance. But whatever dresses
we make, they must be made to last. Through our experience,
we at Warner Brothers have learned that as far as
washables are concerned, flux flakes can always be counted on

(37:48):
to keep colors fresh and fabrics looking like new. As
for false styles, I think you are going to see
a tendency towards simplicity. Thanks in parts of the movies,
Ryan and Conchier give the best fakes and incidentally enable
the public to apply the styles easily. My advice to
you is concentrate online.

Speaker 5 (38:06):
Thank you, Thank you.

Speaker 1 (38:14):
And now for the last act of The Brat, starring
Marion Davies. It is mate the same evening. In the
living room of the Forester Home, Timson is drawing the
shades proprietory to retiring for the night. As he turns

(38:36):
from the window, he's surprised to find Steve Grip in
hand craimed in the archway.

Speaker 2 (38:44):
Good evening, Timpson, Why mister Steve, anybody home? No, so
they hadn't returned from the benepitiate? Did you change your
mind about going away? Mister Steve?

Speaker 1 (38:53):
Now, but the train wouldn't hang around the station till
I figured the whole thing out.

Speaker 2 (38:55):
So I missed it. You did know, and you're home
for the night. Wrong again.

Speaker 1 (38:59):
I came to ask you to do me a favor.
I don't know whether you know it or not. But
tomorrow the brat gets canned for I can, sir, And
am I gonna throw her out on the street again?

Speaker 2 (39:08):
Oh but he can't do.

Speaker 5 (39:09):
That's it.

Speaker 1 (39:09):
He not only can, but he will see Here, Tim,
you've got to do something for me. I've got two
hundred dollars here, and I want you to take a
hundred of it and give it to her just before
she goes. It'll keep her until she gets work. You
didn't say where it came from.

Speaker 2 (39:22):
Will you do this for me? Or he will? Indeed?
So good? That settles the whole matter. And will you
be living? It is old, mister Steve. Now there's a
train out at the daylight, and why don't you take
it to a pitiful rest up in your room? So
it's nice and wrong there, and Norman will be a
bit deviser.

Speaker 1 (39:34):
That's a good idea, Tim, But don't tell anyone I'm here.

Speaker 2 (39:37):
I wouldn't have to know. I came back for a million.
There's sir, you'd better udio.

Speaker 1 (39:41):
Remember not a word to a soul until I'm gone.

Speaker 2 (39:44):
No, so I won't say one word hello Jim? Well, well,
hell you old by yourself?

Speaker 5 (39:50):
Miss Yeah? I did like the joint much, so I scraamed.

Speaker 2 (39:53):
And what was the trouble? Miss? Why didn't you like it?

Speaker 5 (39:55):
They won't let me do it? Danced?

Speaker 2 (39:57):
You tell me so?

Speaker 5 (39:58):
And I packed it it all morning? Make believe the
phonograph was an orchestra much.

Speaker 8 (40:02):
You're between fooling yourself and being fooled by your friends.
Tis a queer world. Let me take your court, miss No.

Speaker 5 (40:08):
Please see me wear it for a while. It's the
last chance i'll ever get.

Speaker 2 (40:11):
Oh's that missed?

Speaker 5 (40:13):
Nobody knows it yet, but I'm going away tomorrow.

Speaker 2 (40:15):
You made up your mind kinder suddenly?

Speaker 4 (40:17):
Well, I do things that way and then think him
over later. Sometimes I'm wrong, but I'm most usual wrong.

Speaker 5 (40:23):
Oh yes, met Timpton? How high is it to Primrose?

Speaker 2 (40:27):
And what did you be doing in Primrose?

Speaker 5 (40:29):
Stays there? And I want a good one. I'd glory be,
but I'm glad to hear you say that. Now you
you like him?

Speaker 2 (40:34):
Tim They do. He's a fine lad.

Speaker 5 (40:37):
I wouldn't you say so.

Speaker 4 (40:38):
I thought you was in with the rest of them
around here, always treating him like he was in a way.

Speaker 2 (40:42):
Now he'll not be in there way any longer.

Speaker 5 (40:44):
No, I won't neither. You only like him. I I
love him, and it's too late.

Speaker 2 (40:51):
You love him?

Speaker 5 (40:52):
Yeah, but I handed him such a line to talk
about the other that he shut his tap and beat it.

Speaker 2 (40:57):
And who was the other one?

Speaker 5 (40:59):
All that part of it. It's awful, silly.

Speaker 1 (41:01):
At first I was crazy about Mac what mister mackridin.

Speaker 5 (41:05):
Well, I wasn't real crazy, but I thought I was.
You know how them kids get daffy or the tellers
in the movies. That was me. I didn't know no better,
but I.

Speaker 2 (41:12):
Do now, are you sure? No?

Speaker 5 (41:14):
Yeah? Oh shoot, I can't tell you without swearing.

Speaker 2 (41:27):
I beg your pardon, mister Bollister. Yes, what is it
you're wanting on the telephone? Sir Judge Henry and Carley?
Oh thank you? Hello, This is mac Millan and Judge Henry.
How are you Did you get my message? It's I
called earlier this evening. Well you did well. I wanted
to know about a judge Henry. You see, I feel

(41:47):
sort of personal responsible for the girl and if she
has to be sent to a reform school or anything.
What what do you mean?

Speaker 5 (41:57):
Oh?

Speaker 2 (41:57):
I see, then there was never anything against her. Oh
what are you doing? Everyone does all right, Judge?

Speaker 5 (42:06):
Oh, I'm sorry.

Speaker 2 (42:07):
Oh that's all, thank you very much, good night.

Speaker 5 (42:10):
I didn't know you were on the phone. Mac, I was.

Speaker 2 (42:12):
Speaking to Judge Henry. Oh, Angela, where did you get
your information about that girl?

Speaker 5 (42:17):
Where? Why?

Speaker 2 (42:18):
Hight?

Speaker 5 (42:18):
From a private detective?

Speaker 2 (42:19):
You're lying what you lied to me this afternoon? Judge
Henry just told me that girl was never arrested in
her life.

Speaker 5 (42:25):
Well what of it? Then?

Speaker 2 (42:26):
You admit your life if you must know. Yes, you
didn't believe me when I told you I didn't love it,
did you? You thought you had a black mar character to.

Speaker 5 (42:32):
Make sure Nat listen to me.

Speaker 2 (42:34):
You must have known the truth about this would come out,
something I didn't care. I see, And that's why you
were so anxious to announce our engagement. Played your cards
very well, Andrew.

Speaker 5 (42:43):
Oh please, Mac, don't talk like that. Don't you understand it?
It was because I love you.

Speaker 2 (42:49):
Yes, you had a peculiar way of showing it.

Speaker 5 (42:51):
You you don't really love this girl?

Speaker 2 (42:53):
What difference does that make? Now? Can I take that
phone to downstairs for you? Alanna?

Speaker 5 (43:00):
Father Simpson, I'll do it myself. Hello. Oh, I didn't
hear you come in, mister Mac.

Speaker 2 (43:07):
Where are you going me?

Speaker 5 (43:09):
I'm going back where I started from.

Speaker 2 (43:11):
What have you got in that bundle?

Speaker 5 (43:12):
My clothes?

Speaker 2 (43:13):
Anything else?

Speaker 5 (43:14):
You didn't give me nothing else, did you? No? And
there ain't nothing else in here, So you're leaving us?

Speaker 2 (43:19):
Don't you like it? Here?

Speaker 7 (43:21):
Na?

Speaker 5 (43:21):
It's too frosty