Lux Radio Theatre - The Dark Angel

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

Episode Transcript

Speaker 1 (00:01):
Hollywood, California, Monday, June twenty second, Lux Radio Theater presents
Merle Oberon and Herbert Marshall in the Dark Angel, Lux

(00:32):
presents Hollywood Tonight. You will meet Merle Oberon, Herbert Marshall,
Rod La Rock, Cecil V. Demill, Leroy Prinz, James Montgomery,
Flag and many others and gathered here to witness this
event is a tremendous audience of Hollywood notables seated across
the footlights. I see Lois Wilson, Brian heard, May, mckaboy,

(00:54):
Matt Moore, Alan Baxter, Leo Carrillo. Welcome all of you
to the LUTs Radio Theater. This entertainment is brought to
you by the makers of Luck toilet soap, the beauty
care used by nine out of ten Hollywood stars, the

(01:15):
pure white soap that can mean.

Speaker 2 (01:17):
A lovelier complexion for you.

Speaker 1 (01:20):
As producer of the Lux Radio Theater, we present one
of the world's foremost motion picture producers, a man so
closely identified with Hollywood that the history of the motion
picture industry might well be the story of his own life.
Ladies and gentlemen, Mister Cecil B. De Mille, Greetings from Hollywood,

(01:44):
ladies and gentlemen, The lights of a thousand cities are
the footlights of our stage. Tonight, the play of the
Evening will be heard from Beverly Hills to Boston, from
Miavey to Montreal by shortwave.

Speaker 2 (01:59):
We are even linked with Tasmania, that island.

Speaker 1 (02:02):
In the South Pacific that gave us the lovely star
of to Night's production. Her name is Estelle Merle O'Brien Thompson,
but she is known to us.

Speaker 2 (02:13):
All as Merle Oberon.

Speaker 1 (02:16):
We have listeners also in Hawaii, where once before I
directed the man who stars into Night's production, Herbert Marshall.
We were making a picture on the slopes of Muana
Kir and the Core forests.

Speaker 2 (02:30):
I had to stage a fight.

Speaker 1 (02:32):
Between mister Marshall and Bart as we call him, and
William Gargan. Bart was supposed to win and Gargan was
prepared to take a blow and be knocked down. We
filmed the scene several times. Each time Bart played the
scene magnificently up to the final blow. Then something went wrong.

(02:52):
I finally asked him why he wasn't giving me what
I wanted. That delightful gentleman who served with the London
Scottish Regiment during during the war, who saw action on
many fronts and figured gallantly in the Battle of arras
said very simply, mister de Mille, I just can't bring
myself to hit a man fall in the face. And

(03:18):
now it is cut in time. The Luxe Radio Theater
brings you The Dark Angel with Merle Oberon and Herbert Marshall.

(03:40):
The Dark Angel is the story of Kitty Vain, played
by Merle Oberon and Alan Trent, a young English officer
with whom she is in love played by Herbert Marshall.
August fifteen, the first year.

Speaker 3 (04:02):
Of the World War, and all Europe.

Speaker 1 (04:04):
Is trembling under the impact of the loud guns. Excitement
is the keynote of the day, and in a little
cottage in the country, Kitty Vain, a charming young English girl,
is hurrying off to meet two old friends who are
coming home on leave. We hear her running down the stairs.

Speaker 4 (04:26):
Good morning, Grannie, Good morning, darling. You're early a little going.

Speaker 5 (04:30):
To have breakfast?

Speaker 6 (04:31):
I don't think so, Grannie. I'll have something at the
Shannons with Alan and Gerald.

Speaker 4 (04:35):
Very well, dear, you're excited, aren't you? Terribly? It's her
big day, the biggest devil, Grannie, Alan Trent and Gerald Shannon.
It seems like yesterday they were just babies, and here
they are, coming back to us after.

Speaker 3 (04:49):
A whole year of war.

Speaker 4 (04:50):
Yes, you know, Gannie.

Speaker 6 (04:53):
At first seeing that the soldiers was fun, and I
suppose I never really thought they'd be going away. But
when they did, Oh, oh, Grannie, I'm so glad they're
coming home again.

Speaker 4 (05:02):
I'm afraid it won't be for very long.

Speaker 6 (05:05):
No, I suppose not, but even a few days are
better than nothing. And Allan promised me they'd stay just
as long as they possibly could.

Speaker 4 (05:12):
In these days, we have to make the best of everything.

Speaker 7 (05:17):
It's been a long year for you, hasn't it, Darling,
It wouldn't have been so bad if, oh, Brannie, if
only I knew, if I.

Speaker 4 (05:26):
Were only sure of Allan. Yes, aren't you sure? How
can I be? When one loves so hard and for
so long, one can never really be sure.

Speaker 6 (05:37):
And it used to be so easy, Grannie, when we
were children, I just ask him to marry me. But
now it's growing up, Brannie, That's what it is. Things
aren't so simple anymore. I can't just say, Ellen, please
marry me quick.

Speaker 1 (05:49):
Why not.

Speaker 8 (05:50):
That's the best way to do it saves a lot
of time.

Speaker 4 (05:53):
I bet that's just what you'd do. Of course, Kitty,
come here, I want to talk to you. Yes, Bannie, Kitty,
you may not be sure of Allan.

Speaker 9 (06:05):
I don't know how he feels about you, but I
do know how Gerald.

Speaker 2 (06:10):
Feels about you. General he's in love with you, Kitty.

Speaker 4 (06:14):
Grannie, Yes, my dear, I've seen it and I know it.
But hey, it's silly. You shouldn't say things like that, Grannie.
I'm an old woman, my dear. I can say what
I please.

Speaker 6 (06:26):
But Gerald, I've never thought about Gerald except as Allan's cousin.

Speaker 5 (06:31):
Why.

Speaker 6 (06:32):
I've known Gerald ever since we were babies.

Speaker 4 (06:34):
And Allan too, my dear. Yes, but well, that's.

Speaker 9 (06:38):
Different somehow, I can't explain it.

Speaker 4 (06:40):
But it is different, is it? Of course it is?

Speaker 6 (06:44):
Heavens, Look at the time, I must fly. I've got
to meet missus Shannon at the station.

Speaker 4 (06:48):
Goodbye, Grannie, dear, goodbye child. John't drive too far. I
will and give my love to Allan and Gerald.

Speaker 3 (06:55):
I will Grannie.

Speaker 5 (06:56):
Good by, BurrH.

Speaker 10 (07:08):
Pain coming in on that all number three twenty minutes.

Speaker 11 (07:12):
You're pray.

Speaker 5 (07:15):
Me here soon, tell.

Speaker 1 (07:16):
Me be here so.

Speaker 3 (07:19):
I hope it always well?

Speaker 12 (07:21):
Could hear me?

Speaker 6 (07:22):
I just go to the sash monk the trains twenty
minutes late, twenty entire minutes. Half eleven months of waiting
at really isn't.

Speaker 4 (07:28):
So long, And just think they'll be home with it
for ten whole days.

Speaker 6 (07:32):
I'm almost afraid to meet them.

Speaker 9 (07:34):
Do you think they'll be the same, look the same?

Speaker 4 (07:36):
I think we'll recognize them.

Speaker 1 (07:39):
Welcoming?

Speaker 6 (07:41):
Why does he stop?

Speaker 3 (07:42):
Oh? Do stow her child?

Speaker 4 (07:44):
It's stopping?

Speaker 7 (07:44):
Now?

Speaker 13 (07:45):
Where are they?

Speaker 8 (07:46):
Can we tell you?

Speaker 14 (07:46):
How do you think they're kind?

Speaker 2 (07:47):
It's could you be pat?

Speaker 14 (07:49):
Now?

Speaker 4 (07:49):
You're very off gld.

Speaker 3 (07:59):
Get it all?

Speaker 2 (08:01):
Are you?

Speaker 3 (08:03):
Oh my.

Speaker 2 (08:05):
Good to see hello?

Speaker 9 (08:06):
You're really really bad.

Speaker 13 (08:08):
It's really back.

Speaker 2 (08:09):
Oh look at kitty Jedyl.

Speaker 13 (08:11):
She's getting for your every day.

Speaker 2 (08:14):
Yes, our kitty standing right before us. I think Angila
is getting for you too.

Speaker 4 (08:19):
Allan, how along we've got the car? Is this way?

Speaker 3 (08:22):
Hope you got?

Speaker 2 (08:23):
Tell me to read antela.

Speaker 3 (08:24):
I must hungry as a bear's waiting for you.

Speaker 2 (08:26):
Good for the zelp.

Speaker 3 (08:27):
We can have general on top that off with.

Speaker 1 (08:28):
A bit of stuffer and wonderful idea.

Speaker 4 (08:29):
Alan, are you two going to spend the whole ten
days eating.

Speaker 1 (08:33):
You decided that months ago, eating, sleeping, bathing, eating sleeping bathing, you.

Speaker 3 (08:37):
Said, generle, maybe we can think of some way to eat.

Speaker 2 (08:39):
One word sleeping.

Speaker 3 (08:39):
You know we haven't given this thing enough though, very
d indeed, hey, get it? Where are you going? Ellen?

Speaker 1 (09:01):
Don't you know it's very bad?

Speaker 14 (09:02):
Man?

Speaker 6 (09:03):
Shout out of second story windows.

Speaker 3 (09:05):
Shot back, No, I'm tired.

Speaker 4 (09:09):
Of seeing you eat. I'm going home.

Speaker 3 (09:11):
Wait a minute, I'll come with you.

Speaker 2 (09:13):
Maybe there's somebody you to eat it your.

Speaker 7 (09:14):
Home, there is goodbye.

Speaker 2 (09:16):
I don't wait, look gid it.

Speaker 1 (09:17):
If you don't wait, don't jump down, get back in
that window, idiot?

Speaker 3 (09:20):
Will you wait?

Speaker 7 (09:22):
No?

Speaker 12 (09:23):
All right, here I come, Ellen, don't Helen?

Speaker 4 (09:27):
And why did you do that?

Speaker 3 (09:28):
Helen?

Speaker 7 (09:28):
Darling?

Speaker 3 (09:28):
Darling?

Speaker 2 (09:29):
Get up?

Speaker 4 (09:29):
You're not hurt? How are you? Helen?

Speaker 3 (09:31):
Hella?

Speaker 1 (09:31):
Why don't you speak?

Speaker 3 (09:33):
I'm philaways talking up to speak in my mouth FORU?
Like some cake? Yeah?

Speaker 4 (09:38):
Stupid tone.

Speaker 8 (09:39):
Now I will go.

Speaker 3 (09:41):
Now, don't don't go, kiddy. See I did scratch my
hand and I'll slow up there scratches that this caused
lock Joe or something. There's you right, kitty, you're changed,
You're positively blood thirst you.

Speaker 4 (09:53):
You haven't changed, You're still a child.

Speaker 3 (09:55):
You don't feel Huh, what don't I feel?

Speaker 2 (09:59):
You?

Speaker 4 (10:00):
M you don't feel anything?

Speaker 3 (10:07):
Don't I? How do you know what I feel?

Speaker 2 (10:12):
Do you know about the months I've been away, the agony.

Speaker 3 (10:15):
I've been in because of you? Do you know how
frightened I was of coming home and finding that you changed,
that you didn't feel the things I wanted you to feel.

Speaker 4 (10:29):
Oh?

Speaker 3 (10:29):
Look here, I I can't say at all. Maybe I
can't see any part of it. I'm scared, Pitty, pitty,
I have so much love for you. I it's like
something you saved up for a lifetime and didn't know about,

(10:50):
and and then it all comes at once.

Speaker 4 (10:54):
I love you so kitty, Oh, Ellen, Ellen, I who
wanted to hear.

Speaker 3 (11:00):
You say that?

Speaker 2 (11:01):
So much?

Speaker 3 (11:02):
Darning sure you knew?

Speaker 4 (11:04):
I wasn't sure. You See, I've always been around.

Speaker 3 (11:09):
I know when I first took through the bars of
my crib, there you were telling me what to do.
When I when I saw my first tree, you were
in it, peering down my first bird, my first quittle,
my first for my first bath.

Speaker 2 (11:27):
You were always there.

Speaker 4 (11:29):
That's what makes me afraid you. You may be just
used to me. You made meet some other guest.

Speaker 3 (11:37):
Oh no, sh you sweet idiot, don't ever say that
there'd been no one else ever. If you ever weren't there,
I'd stop living, I'd stop breathing, I'd stop wanting to breathe. Alan,
don't ever go away, kiddy.

Speaker 4 (11:56):
Never, Adam, Oh my darling, Come on, we'll tell.

Speaker 2 (12:03):
Antila and Gerald too. Wait what are we gonna tell them?

Speaker 14 (12:05):
They're going to be married?

Speaker 2 (12:06):
But when they after tomorrow?

Speaker 4 (12:08):
Tomorrow?

Speaker 3 (12:09):
Boy, you.

Speaker 4 (12:12):
Come on run wait, Alen, come on, come on, you're
going to fall. Who's going to tell them?

Speaker 2 (12:22):
Aneila? Anchila?

Speaker 3 (12:23):
What are you hello?

Speaker 2 (12:25):
What's all the exciting?

Speaker 3 (12:26):
Oh?

Speaker 2 (12:27):
Gerald, big?

Speaker 4 (12:29):
You can you guess? Gerald?

Speaker 2 (12:31):
I think I can. So it's fully happened after all
these years.

Speaker 3 (12:36):
Congratulations, Oh thank you Gerald, Oh my love, Kitty for
you both. This is the way it should be. I'm
happy about it.

Speaker 4 (12:46):
You call me, Adam, come.

Speaker 2 (12:48):
Here, mother?

Speaker 4 (12:49):
Is anything wrong?

Speaker 1 (12:50):
Oh?

Speaker 2 (12:50):
No, it's right.

Speaker 3 (12:52):
These two got themselves engaged, getting mad at tomorrow marry.

Speaker 4 (12:57):
Oh that's blendid, kitty, dear. I'm very happy.

Speaker 9 (13:01):
I know you'll be happy, both of us. We'd all
of us be together always.

Speaker 4 (13:06):
Now, do you mind if I run? I can't wait
to tell Grannie. I think you should come with me.

Speaker 13 (13:12):
Ellen, Hi, fully Nintendo with the back.

Speaker 3 (13:14):
Come on, you did.

Speaker 4 (13:23):
Jeral You love her too, don't you?

Speaker 3 (13:29):
Yes?

Speaker 2 (13:29):
Mother? Oh, h darling, it's alright, mother, This is the
way it should be.

Speaker 4 (13:38):
Gerald, I almost forgot it. This message came for you
a while ago from the war office.

Speaker 12 (13:44):
Why do hope?

Speaker 2 (13:44):
War office?

Speaker 7 (13:46):
Uh?

Speaker 3 (13:46):
Let me see it?

Speaker 4 (13:47):
There was he be Gerald, Gerald.

Speaker 3 (13:52):
Mm, we've got to go back. We're leaving England tomorrow morning.
Oh Jerrold No, must be a big driver or leave
their canceled.

Speaker 4 (14:03):
Oh scool children. They were to be married tomorrow.

Speaker 3 (14:09):
Yes, I'll have to tell them. You mean you you
can't marry us?

Speaker 1 (14:25):
Father, Charles, I'm afraid I can't, Allen, but you've known
it ever since we were children.

Speaker 3 (14:30):
There must be somewhere the notices for all weddings must
be first at first. Kitten. Oh you know that, my dear.

Speaker 2 (14:36):
Two hours ago it might have been possible. It's too
late now, Oh father.

Speaker 3 (14:40):
I'm sorry, Kitten. I know how you feel.

Speaker 2 (14:43):
We'll try to see that. Alan will be back soon
and we'll be we'll be married. Here. We'll arrange it
all beforehand.

Speaker 3 (14:49):
It won't be long.

Speaker 2 (14:50):
Who knows how long it'll be.

Speaker 3 (14:51):
Oh, my boy, I'm sorry for her. Thank you anyhow,
you remember the patient with us. Godless you and bring
you back to this church for the marriage you want.
Good Bye my children. Well, Kitty, nobody will marry us

(15:17):
now after all easier were two hours too late? Two
hours kidded, it would have changed our lives.

Speaker 7 (15:26):
No, Alan, they're not going to change our eyes, Kitty.

Speaker 4 (15:33):
I marry you, Alan Drent in front of.

Speaker 3 (15:37):
A church, and I marry you, Kitty for always until
the day I die. Kitty, I can't. You shouldn't have
come down here, Donny. We should said goodbye o the church.

Speaker 4 (15:58):
I wanted to be with you allan right to the last.
Is there anything I can do with you?

Speaker 7 (16:04):
No?

Speaker 1 (16:04):
No?

Speaker 3 (16:05):
Nothing? Good?

Speaker 4 (16:05):
Well live for dinner was good, quite dry.

Speaker 9 (16:09):
I always like to see a s jelly eat before
he is off.

Speaker 4 (16:12):
I suppose you're one of.

Speaker 7 (16:13):
Them as leaving on the boat light, sir, Yes, well
over the top of the.

Speaker 4 (16:18):
Best of luck THEYI. What's that?

Speaker 11 (16:21):
Oh?

Speaker 4 (16:21):
The guns? You can hear them when the wind's this way.
I always tell my husband that those guns make it
like living right in the water, so to speak.

Speaker 3 (16:28):
I always, yes, I know, yes, of course, I wonder
would you mind making some more coffee?

Speaker 4 (16:32):
Coffee? Not at all, sir, Let you right away.

Speaker 3 (16:35):
I will cal do Dunny.

Speaker 9 (16:39):
Oh Ellen, those guns they frightened me, Alan and the memory.

Speaker 4 (16:44):
Pass coming down, thousands.

Speaker 6 (16:46):
And thousands and thousands of them, and in a little
while you'll be gone, gone with the rest of them.

Speaker 3 (16:51):
You listen to me, They're going, I'm going.

Speaker 13 (16:58):
There's nothing we've done about it, that there is much time.

Speaker 3 (17:02):
To lift, and we must face the truth. And the
truth is that in the few hours we have lived,
we must live a whole life together. We must play
a game, and they must know it's a game, and
I and if it's a silly game, it's the best
we can do. The game is this. We must pretend

(17:23):
that there is nothing tense and desperate about these few hours.
And at the only time I'll have to leave you
for the rest of our lives is to buy us
both a loaf of bread and a bottle of milk?

Speaker 4 (17:37):
No, I of 'em?

Speaker 3 (17:39):
Do you think you could pretend that, Dunning.

Speaker 4 (17:41):
I'll try. What what time do you really have to
leave on'em very.

Speaker 3 (17:47):
Soon there five thirty. But until then, remember we have
together for the rest of our lives. It's time now, Donny, soon, yes, soon, Yes,

(18:10):
I got to leave.

Speaker 4 (18:12):
Do you write out of 'em?

Speaker 3 (18:13):
Look at me, Kitty. You'll do something for me, whatever
you wish. Then sit here just where you are, close
your eyes, Donny, and now don't helpen them till I've gone.
I love you, I'll always love you.

Speaker 14 (18:39):
Goodbye, Donny, Goodbye my love, good Bye.

Speaker 3 (18:58):
Shore. Pretty bad going out yet a night sounds like it.

Speaker 2 (19:02):
How's that trench coming along?

Speaker 3 (19:03):
Oh? Sir? But sure, sir. I meant to ask you, Jederal,
do you mind signing this card for me? It's an
application we'll leave leave at this time. Afraid I can't
do it. Alan, I look here at general who said
that last week. I wanna go home. I w I
wanna see Kitty. I know you do, but I need
you here, old man. You could get along meet without
me about five or six days coming to jail.

Speaker 2 (19:24):
Wouldn't lose the war or wouldn't win it either.

Speaker 3 (19:27):
I'd like to let you go allan, or you could
if you wanted to ellen siy it. I'm sorry, it's
nerves will get it.

Speaker 10 (19:34):
Will you're checking? Shennon, Yes, sir in here, Uh what
do you mean? Evening said, ah, are you trend?

Speaker 3 (19:42):
Oh that's a uh keep your tea, thanks, Chnnon.

Speaker 10 (19:46):
We've reported enemy activity on the northern sector.

Speaker 3 (19:49):
We got to find out what's all about. Yes, sir,
to night that good night?

Speaker 2 (19:54):
There's no moon arrayed?

Speaker 10 (19:56):
Yes, I want a dust some men?

Speaker 3 (20:00):
Can you take a party out?

Speaker 2 (20:02):
I can find six or eight, Sir, we're.

Speaker 10 (20:04):
Rather depleted and a in a harve out trend here
trend well suh.

Speaker 3 (20:10):
I don't know, sir, I don't need him for some other.

Speaker 10 (20:12):
I want bollum cares old. I'll go sir, plad to
that's less good a trick now in take a look
at this man here the stick up. I should warn
you that's a bit sticking your and they'll make it
as hot for you as a puff upla cab Now
I w.

Speaker 3 (20:28):
H ready allen ready?

Speaker 1 (20:36):
How much time?

Speaker 3 (20:37):
Thirty seconds? Sorry? I got you into this a minute.

Speaker 10 (20:41):
Look out.

Speaker 3 (20:45):
General said they would expect you instant there. Oh, I
won't take long overen 'em back in three minutes?

Speaker 2 (20:51):
Off, all goes?

Speaker 1 (20:52):
Well?

Speaker 11 (20:53):
What is it now?

Speaker 3 (20:54):
Ten seconds?

Speaker 1 (20:55):
Good?

Speaker 2 (20:55):
Luck Alan, Good luck gittle, Ho's thatt anytime.

Speaker 3 (20:59):
You are far three two one.

Speaker 2 (21:06):
Over, we go, come on?

Speaker 10 (21:10):
Every one stayed on with them?

Speaker 1 (21:26):
Rennie, are you a sleeve?

Speaker 14 (21:27):
Rennie Hippy?

Speaker 3 (21:29):
What's the matter, Rennie?

Speaker 7 (21:31):
Did you hear something?

Speaker 4 (21:32):
Only the wind?

Speaker 3 (21:33):
Darling?

Speaker 11 (21:34):
Why?

Speaker 4 (21:35):
I I thought I heard a stream, a long stream.
Oh bandy, you've been dreaming, child.

Speaker 6 (21:43):
Yes, yes, I thought I thought I saw Alan Alan
with a black cloud.

Speaker 4 (21:53):
Hanging low over him, like it's like a dark angel.
Come down to him. Oh there there, go back to bed,
my darling.

Speaker 1 (22:03):
You would be all right in the morning.

Speaker 10 (22:14):
Well, Captain Shennon, everything went off all right, didn't it. Yes, sir,
did you bring back a personal yes, sir good. What
about the men lose any.

Speaker 3 (22:29):
Shennon?

Speaker 1 (22:30):
I asked you if you lost any men, Yes, sir,
we lost four men.

Speaker 3 (22:36):
Four one of them was.

Speaker 2 (22:40):
Alan Trent.

Speaker 1 (23:02):
You are hearing Merlo Brown and Herbert Marshall in the
Lux Radio Theater presentation of The Dark Angel, Coming to
You Direct from Hollywood. We continue with the play in
just a few moments, but now let's take a side
glance at the screen.

Speaker 2 (23:16):
Capital.

Speaker 1 (23:24):
It's lunch time in the Brown Derby and as usual.
This famous restaurant is being patronized by lots and lots
of stars and lots of visitors.

Speaker 2 (23:32):
Hoping to see them.

Speaker 1 (23:33):
Let's listen to a chat between Elsie, a girl who
lives in Hollywood, and a visitor from out of town.

Speaker 4 (23:44):
Oh look, Elsie, dead nasty. Ooh he is normal, shearer?
Excuse near here offen?

Speaker 14 (23:50):
Yeah, lovely, isn't she.

Speaker 4 (23:52):
Oh she's a real musing, lovelier than I thought she'd be.

Speaker 1 (23:56):
Boy, but she knows how it ranks and what begin
nice skin is something a movie star just has to have.

Speaker 4 (24:02):
Alan there's John Blondell over there, the girl in brown.

Speaker 9 (24:06):
Oh, yes, well, her skin is certainly knock out.

Speaker 13 (24:09):
Too, just has to be.

Speaker 4 (24:11):
No one here can afford to have cosmetic skin. Why
if they had in large pores of little blemishes would
just be too bad.

Speaker 9 (24:18):
I've read about how they use Luck's toilet soap to
remove cosmetics.

Speaker 4 (24:22):
Yes, and I know that's what they do.

Speaker 1 (24:24):
Remember Jane Bang, Yes, her family's here now.

Speaker 6 (24:27):
And her brother works in one of big studios, and
he says Luck's toilet soap is always.

Speaker 4 (24:32):
In the star's dressing room.

Speaker 1 (24:36):
Wise, women all over the country are protecting their skin
the way Hollywood's lovely stars do before they put on
fresh make up during the day, always before they go
to bed at night.

Speaker 2 (24:47):
They use Luck's toilet soap.

Speaker 1 (24:49):
This simple regular care protects the skin hoops. It clear, smooth,
good to look at and once again Cecil b de
Mill The Dark Angel, with merlo'beron as Kitty Vaine and
Herbert Marshall as Alan Trent continues.

Speaker 2 (25:13):
Many months have passed since the night.

Speaker 1 (25:15):
Alan disappeared into the darkness of the battlefield. Gerald, on
leave again, has gone directly to Kitty. We find them
sitting under a tree in Kitty's garden.

Speaker 4 (25:30):
It's wonderful to see you again, Jerald. It it seems
ages since you were home. You're looking well.

Speaker 3 (25:40):
Oh I'm fit enough. What about you, Kitty? I you
you look tired?

Speaker 4 (25:46):
Oh no, no, I'm very well.

Speaker 3 (25:58):
Kitty Darling, don't cry please, I'm so sorry.

Speaker 14 (26:05):
What a bad homecoming for you.

Speaker 4 (26:08):
I wanted it to be different, happier for you.

Speaker 3 (26:11):
No, it couldn't have been without Alan.

Speaker 1 (26:15):
General.

Speaker 4 (26:17):
When Alan died, it was the ninth of the seventeen,
wasn't it. Yes, what what time was it?

Speaker 3 (26:26):
I don't know. There there there was an explosion, and
I never saw him again. I think it must have
been shortly after.

Speaker 4 (26:35):
Shortly after a living at long, I knew he had
wired me. He was expectingly even then.

Speaker 3 (26:42):
He wanted to leave, Kitty. He wanted to come home
to you, and he couldn't get leave. I I wouldn't
give it to him. What I wouldn't give it to him.
I could have, but I didn't.

Speaker 2 (26:55):
I refuse, Kitty. I killed Alan.

Speaker 3 (26:58):
Tell him what he It's my fault. If I had
done what he wanted me to eat, be alive today,
it's my fault, kit Hey. I killed Alan.

Speaker 7 (27:14):
No, no, General, it was because I loved him soon,
because he loved me soon.

Speaker 4 (27:23):
It was too beautiful to loves general. That's why Allan died.
All love was too beautiful, too happy.

Speaker 12 (27:41):
Yes, doctor ring, Roger cran In, please.

Speaker 4 (27:43):
Yes, sir, doctor Crane. Yes, doctor Barton would like to
see you. Of course, give me your hand.

Speaker 2 (27:51):
I'll lead you it.

Speaker 3 (27:53):
Thank you.

Speaker 4 (27:55):
There you are, Roger Crane, Doctor.

Speaker 2 (27:57):
Barton, come in, Crayon.

Speaker 3 (27:59):
Thanks, well, this way, cray there's a chair right in
front of you. Here.

Speaker 2 (28:04):
Let me help you.

Speaker 3 (28:05):
Oh it's all right. I can find a doctor. I'm
learning to feel my way around quite well. Now, fine, fine.
Nature takes care of a man, doesn't she, doctor. If
she takes away his eyes, she gives him a good
sense of direction. Compensation we call it. I know it's
the difference between night and day. Yet no, not yet.

(28:26):
M Well, that'll come, he said all. I can never
hope for a doctor to notice the difference between night
and day. But I never see anything again, No, Craye,
I'm sorry.

Speaker 2 (28:46):
Oh well, h Crane.

Speaker 3 (28:49):
I want to talk with you, not as the head
of a rehabilitation hospital, but is man to man today
you leave us. I'm assigning an orderly to you. Mills
a pleasant fellow. He'll take your home. I'm not going home, doctor,
I have no home.

Speaker 2 (29:08):
And your real name is not Roger Craine, is it.

Speaker 3 (29:11):
It's as good a name as any other. Yes, I
suppose so, of cray and not a few things hither
belong to you. Some money, a very disreptable looking pipe,
thank you, and a photograph photograph.

Speaker 2 (29:25):
Yes, so I've kept.

Speaker 3 (29:27):
These things for a reason.

Speaker 2 (29:30):
I look here, my boy.

Speaker 3 (29:31):
You came to us from a German prison hospital. Your
card read that all means of identifying you had been destroyed.
I could have gone into that further the doct did
I know that? I'm grateful now?

Speaker 2 (29:44):
Uh?

Speaker 3 (29:45):
This picture I see, there are three people in it.
One of them is you. There's an inscription to Allen
and Gerald take care of each other, Kitty Ukray and
those three people are not strangers to one another.

Speaker 2 (30:05):
Who are the other two?

Speaker 5 (30:08):
Why aren't you going home?

Speaker 3 (30:11):
Fear of being pitied? I suppose being a nuisance. I
know what it means. I once saw blind men in
the hospital stumbling helpless. Now I'm one of them.

Speaker 2 (30:22):
Is that your only reason?

Speaker 3 (30:24):
Reason enough? Doctor Button? Uh? What are you going to do?
And I don't know? Take a cottage somewhere eventary where
I can be alone? And I've always wanna do it.
I think now it might be a good time. Just s,
don't you?

Speaker 13 (30:39):
That's going to be your life, away from your home.

Speaker 3 (30:42):
And your friend, away from everything that made life sweet. Yes,
it's a lonesome existence you picked for yourself A CRAYM.
I know it, but that's the way it got to be.
I come back.

Speaker 4 (31:07):
Ooh, it's what are you reading? Rennie? The book reviews
there's an articart of young children's stories. They say, he's blind,
blind he should dictate all his books prose. I dare
say he's happy, though.

Speaker 5 (31:22):
Cop does it?

Speaker 4 (31:23):
Courage kitty. It's too bad. But're not all like him.
We could if I I've tried, Rennie. Yes, my child
are enough.

Speaker 5 (31:33):
You're dead.

Speaker 4 (31:33):
It's a deep, dark shadow you to the sun Ogress.
I'll never forget adam never.

Speaker 14 (31:40):
We don't ask to forget it.

Speaker 2 (31:41):
They exco to remember.

Speaker 4 (31:44):
But make your memories pleasant, happy memories.

Speaker 2 (31:47):
Not sense.

Speaker 4 (31:49):
I'll try, Gannie. It's Martha. Mister Gerald's at the dormy Kitty.
He asked if he might see you. Well, dear, ask
him to wait, Mark, I'll be rare.

Speaker 14 (31:58):
Yes, I'm that you're going to see him.

Speaker 4 (32:01):
He's been very happy about you lately, has he?

Speaker 5 (32:05):
He's still in love with.

Speaker 4 (32:06):
You, darling. Excuse me, go course here, run along. M
Hello Gerald, Kitty, how are you all right? It's been
a long time since you were here, Gerald.

Speaker 2 (32:21):
I know I I didn't want to come.

Speaker 7 (32:24):
Why not?

Speaker 2 (32:25):
You've been keeping to yourself so much lately.

Speaker 3 (32:27):
I I thought perhaps you'd like to be alone as
much as possible.

Speaker 5 (32:30):
Thank you, Gerald.

Speaker 4 (32:32):
Shall we sit down out here? How is your mother?

Speaker 3 (32:35):
Oh? She's very well.

Speaker 2 (32:37):
She's been worried about you, though.

Speaker 4 (32:39):
Tell her I'm coming to see her soon.

Speaker 3 (32:40):
I wish you would, Kitty, the house hasn't been the
same without you, really, I I was there a lot,
wasn't I.

Speaker 2 (32:49):
We want you there again. I know what it's been
for you these last two years. It's been agony for
me just thinking about you. I'd like to.

Speaker 3 (32:57):
Try to make you happy again.

Speaker 2 (33:00):
Will you let me try?

Speaker 3 (33:01):
Kitty?

Speaker 4 (33:02):
Oh, General, you're very sweet to me.

Speaker 3 (33:14):
Mils uh, yes, mister crime read that launce target back
to me. William certainly said.

Speaker 8 (33:20):
The boys time of fishing. We're splashing about in the sea.
Evan left Jennifer on board to watch the lines. They'd
swum a little distance away from the side. When a
puff of wind stirred the silence. The boat came a quiver,
and Jennifer jumped to her feet. Suddenly she realized her
aura that the boat was a movie in tell her.

(33:42):
She ran to the side and shouted, Peter, Peter, we're drifting.

Speaker 3 (33:45):
Out to seek mm hm hm, that's pretty exciting, said,
excuse me, ask you said, but what's going to happen
to it? I'm not sure yet. We'll call.

Speaker 2 (33:56):
At the end of chapter six, mills.

Speaker 8 (33:58):
Very good, sick in off chat chair.

Speaker 3 (34:01):
It'll be all for this afternoon. My way meals any
word from Dr Barton.

Speaker 8 (34:04):
Oh yes, he's coming down the eight o'clock trains.

Speaker 3 (34:06):
Oh well, have some hot tea ready Mills, and a
good fire if you can stir one up. Yes, I'll
have a fine fire.

Speaker 8 (34:12):
Say there'll be a lay great guns for.

Speaker 13 (34:13):
The time you get to Yes, now the cup of
kee up the mountain.

Speaker 3 (34:24):
No thanks. It's a nice place you have here, Grane.
I like it, very comfortable. How the new below we
made a start TI. It's been amazingly easy. I'd stretch
out all day here on the study, or bad it
to mills. Some go lab at myself. Imagine meet Thoris.
For Bryan had a put you a few weeks ago
in the action of the time. He wondered, why print
your photograph? I don't eat my peture, no pain.

Speaker 2 (34:47):
But during the war you were in the Artist's Rifles,
won't you.

Speaker 3 (34:52):
Yes, they will come across a chap called Shannon, GARYLD
Shannon the company.

Speaker 5 (34:58):
Oh that's so play.

Speaker 2 (35:00):
Do you remember a photograph of yours?

Speaker 3 (35:02):
I got the hospital a photograph of three I remember,
I think I saw two of those people again, though
there are pictures I.

Speaker 2 (35:10):
Mean well in the Sunday Times.

Speaker 9 (35:14):
I brought it along with me.

Speaker 3 (35:16):
The caption says they're Gerald Shannon and Kitty Vaine. Is
that right? Yes, that's right. Well, what's they say about them?

Speaker 2 (35:28):
Says they're going to be married?

Speaker 3 (35:29):
Married? Are they? I'm very glad we used to be
quite good friends. They've they've been very close to each
other all their lives. I was hoping this would happened.
When's the wedding June third? By giving an engagement dance

(35:51):
tonight at his home.

Speaker 2 (35:54):
That's that's fine, isn't it. I'm glad, Kitty Kitty? Where
are you? Generald, Darling? What are you doing out here
all by yourself?

Speaker 14 (36:13):
Yes?

Speaker 2 (36:14):
Thinking happy, Darling.

Speaker 14 (36:16):
Don't you know?

Speaker 12 (36:17):
I An?

Speaker 3 (36:18):
What were you thinking about?

Speaker 1 (36:19):
Oh?

Speaker 14 (36:20):
Everything?

Speaker 4 (36:21):
You and me, our marriage and and Allan Gerald.

Speaker 2 (36:28):
It's all right, Darling. I understand I couldn't help.

Speaker 4 (36:31):
But think of him tonight. But they weren't fair thoughts, Generald.

Speaker 15 (36:35):
I was just thinking that if Adam could see us,
if in some way he knew that I was going
to marry you, I think he'd be happy.

Speaker 5 (36:45):
Tom Right, Darling, I say, Cran cran what.

Speaker 3 (37:00):
Oh, yes, doctor, you been sitting there for over an
hour without saying a word.

Speaker 2 (37:05):
Anything wrong on that?

Speaker 3 (37:06):
No, nothing's wrong. Wasn't I talk about the picture?

Speaker 5 (37:11):
Was it?

Speaker 2 (37:13):
I thought?

Speaker 3 (37:14):
So, I'm sorry. I guess I've gone off the deep
end again. Yeah's all right them tonight. Oh it's my
own fault. It's been my own fault right from the beginning.
I out over a thousand miles between her and me
that I didn't I stayed here when I might be
near her, hear a word of her, and I had

(37:36):
it coming to me. And now I've got it. I
lied to myself, doctor. I pretended that I've made a life,
but I was happy. Now I've found myself out, the
work of all these years thrown away.

Speaker 2 (37:54):
It's tough luck, old man.

Speaker 3 (37:57):
Sorry. I let girl on Orda be done well. Ashamed
of them. So I think I'll take a stroll in
the garden.

Speaker 2 (38:04):
Cool.

Speaker 3 (38:05):
Can I take you out? No, I I can find
my way. I'm used to it now, doctor. That picture
in the paper she.

Speaker 2 (38:20):
Just as pretty sure always was.

Speaker 3 (38:22):
Yes, she's very pretty. I'm glad it's a good picture.
M I wish I could see it. Hello, operator, I
want to speak to mister Gerald Shannon. Now I don't

(38:44):
know his number, but it's near Southwell, Yes, Shannon, Gerald Channon,
Thank you, Jerald?

Speaker 4 (38:57):
Where have you been?

Speaker 2 (39:00):
I I had a telephone call from a doctor.

Speaker 4 (39:05):
Barton Barton, I don't remember. Gerald. What's the matter? You
look at the trip seen the ghost.

Speaker 7 (39:15):
Is?

Speaker 4 (39:15):
Is anything wrong? I?

Speaker 3 (39:19):
I don't know.

Speaker 12 (39:20):
What do you mean?

Speaker 4 (39:22):
Gerald? A telephone call? What is it about? Can't you
tell me?

Speaker 5 (39:27):
Jerald?

Speaker 3 (39:28):
I've I got to tell you. It was about Allan.

Speaker 1 (39:37):
Allan.

Speaker 2 (39:38):
Allan's alive, alive.

Speaker 4 (39:44):
Jerald, Gerald, what are you saying? He can't be a life?

Speaker 2 (39:49):
He is. I'm going to take you to him now.

Speaker 4 (39:54):
Oh, Gerald, Gerald, I'm afraid.

Speaker 2 (40:16):
We pause for station identification.

Speaker 1 (40:18):
This is the Columbia Broadcasting System. This is tessably the

(40:40):
mill speaking to you from Hollywood. Our play continues in
just a moment. Standing beside me is a man who
has been dancing in and out of trouble all his life.
Soldier of Fortune War, as member of the French Foreign Legion,
political prisoner in Cuba, ammunition smuggler in Mexico. His adventures

(41:04):
would provide material for one hundred Hollywood thrillers. Yet today
of all things. He is a dance director at Paramount Studio, but.

Speaker 2 (41:14):
His courage never deserted. He flew to Yuma yesterday and
was married.

Speaker 1 (41:20):
The man who fears nothing, Leroy Prince, the wrong Cbe.
There are two things I am scared of. One is
this microphone and the other is the mill. I don't
know why I've trusted you with some of my oddist
add jobs, including me help make fox hunting scene. I

(41:44):
she'll remember that every time you got through shooting a
scene of the dogs chasing a fox, you made me
chase the dogs back home.

Speaker 3 (41:53):
I'm a dance director, not a dog catcher.

Speaker 1 (41:55):
And I'm telling you right now I'm not going to
chase any Indians for you in your next picture. The
Plainsman that Gary Cooper do that. I'm doing bigger things now, bigger.

Speaker 3 (42:06):
Than at the Metal production.

Speaker 1 (42:09):
You must be starting another revolution. Are higher than I
might be and picking the one hundred most beautiful girls
in Hollywood for Paramount's new picture, The Big Broadcast of
nineteen thirty seven, Dancing into Trouble Again. Huh you said
it because Hollywood's just jam full of girls but trim
figures and nice complexions. I mentioned nice complexions, not only

(42:32):
because this happens to be the lux radio theater, because
good complexions are really important, and of.

Speaker 3 (42:37):
Course Lucks toilet soap is, but almost all of these
girls with nice complaxons used.

Speaker 1 (42:41):
As a matter of fact, I use it myself, but
I guess that's besides the point.

Speaker 2 (42:48):
And I can tell you why the girls use it.

Speaker 1 (42:49):
There are so many good dancers, and if you want
to get anywhere, you've got to stand.

Speaker 2 (42:53):
Out from the crowd.

Speaker 1 (42:54):
Nothing does that for a girl better than a really
beautiful skin. That's why more and more of these kids
are using Love's toilet soap, because the nice looking girls
are the ones that get the brakes, and they hears
their heads as well as luck. Huh like uh, brother Eddie.

Speaker 3 (43:08):
Yes, and he still has a headache from it.

Speaker 2 (43:11):
You see, Ladies and gentlemen.

Speaker 3 (43:13):
Mister de Mill wanted a novelty act for his picture.

Speaker 1 (43:16):
Madam Satan, I knew my brother could provide it. Eddie
stunt consisted of leaping over a piano, landing gracefully on
his head and rolling up to his feet. We set
the scene. Eddie ran, sailed through the air, bared the
piano and made a perfect landing on his head.

Speaker 3 (43:36):
Just as we guaranteed. How do you like it, I
asked mister the Mill.

Speaker 1 (43:41):
It's all right, said mister the Mill, looking steadily at Eddie.
Why doesn't he get up? He he certainly hears his
head to get into the picture, and it's uh, it's
all my stroke. Set we come to the last act

(44:07):
of The Dark Angel, starring Merlo Baron as Kitty Vain
and Herbert Marshall and Alan Trent. It is one hour
later Doctor Barton and Alan stand facing each other across
the table in Alan's cottage. The doctor has just told
Alan of his telephone call to Jerald.

Speaker 2 (44:30):
Why you do it, Barton?

Speaker 3 (44:31):
Why I had to old men? I knew it was
right and that it had to be done. Sellon ought
to be here soon. I expect you want to speak
to him alone? Yes, of course, I'll clear up. Did
you tell you that I was brand No, only that
you were here? Is he coming alone? He didn't say.

(44:53):
I don't know what this will do to your feeling
for me? I hope not too much.

Speaker 2 (45:01):
Good night, all, ma'am.

Speaker 3 (45:06):
General.

Speaker 2 (45:06):
Tell me here.

Speaker 3 (45:10):
Will Mill Mills? Yes, say something else? Tell it coming
in this room just as it usually is why. Yes, boy, yes,
mister cris must be absolute. It's certain. Have a good look.
Is anything out of a usual place and you find it?
Are changed about?

Speaker 2 (45:27):
Oh?

Speaker 3 (45:27):
Say, I think your tools there good? My pipe's hid
in the tree. Yes, that's why matches.

Speaker 13 (45:34):
Cigarettes on the table, yes, sir.

Speaker 3 (45:36):
And flowers in the bowl right here right? What kind?

Speaker 2 (45:41):
What color? Uh?

Speaker 3 (45:42):
Yea, I said, tea rouses? He rose, he's a nuns.

Speaker 2 (45:45):
Remember there anything else?

Speaker 3 (45:46):
Mister kran Yah thinks now, oh wait, there was a
copy of the time that dropped the bout and lift.

Speaker 11 (45:52):
It's here, sir by the lamp.

Speaker 3 (45:53):
Say thanks, bringing some drinks soon? Know I expecting a
visitor at a good chair. Let me know so that
he comes. I remember that saying nothing about my eyes?
Do you understand nothing? I don't want him to know
that I'm blind. That's why I want everything in its
place so he won't notice it.

Speaker 11 (46:14):
Yes, sir, well I won't mention the thing.

Speaker 3 (46:16):
Say not a day. That's all news. Hm as the news.

Speaker 14 (46:35):
There he is said?

Speaker 3 (46:37):
They yes, like you, the gentleman, says a lady young.

Speaker 8 (46:42):
H Yes, small, dark and very pretty sens ver they pretty?

Speaker 5 (46:47):
Shall I uh show 'em in sir, Yes.

Speaker 3 (46:51):
But it was, sir, it's crazy in the city.

Speaker 1 (46:54):
Who matter?

Speaker 4 (46:55):
Thank you?

Speaker 3 (47:00):
How are you?

Speaker 4 (47:01):
Oh?

Speaker 1 (47:01):
Ellen?

Speaker 3 (47:02):
Allen? O man ely so good to see you?

Speaker 2 (47:06):
And Kitty.

Speaker 14 (47:07):
It's really really you.

Speaker 4 (47:10):
I always knew sometime somewhere, so.

Speaker 3 (47:14):
We should meet again. Yes, I think I always knew
it too.

Speaker 2 (47:18):
The other.

Speaker 3 (47:20):
I'm so happy to steal you both. Sit down, kiddy,
gital O, man, sit down. You wanta have to think,
won't you? And what cigarettes? Right down the table? Gedle?

Speaker 4 (47:31):
And what's the matter?

Speaker 2 (47:34):
Alright?

Speaker 3 (47:35):
What do you mean you?

Speaker 4 (47:38):
You act so queerly. You treat us like like strangers.

Speaker 3 (47:43):
Oh, kitty, but you.

Speaker 4 (47:45):
Let have so much tellers.

Speaker 3 (47:46):
Yes, Allen, it's a long story, but.

Speaker 13 (47:49):
I want to hear about you.

Speaker 3 (47:51):
How's uncheeter?

Speaker 2 (47:52):
How's everything?

Speaker 3 (47:53):
I'll keep you half of days telling me you'd get
your cigarette? Geditle that just here? I thanks, I have done?

Speaker 9 (48:01):
Where have you been at 'em?

Speaker 1 (48:02):
Well?

Speaker 3 (48:03):
Well, I I didn't hear. I've become a writer. Remember
when we were kids. I I was going to be
a Shakespeare. Well I'm not a Shakespeare. I write books
for children. I like doing it, and I I guess
I don't very well. I use the name Roger crave.

Speaker 4 (48:23):
Hellen, why didn't you let us know if I uh d?

Speaker 3 (48:27):
Do you mind if I have a pipe and I'll
show you around the garden later. I'm terribly proud of
my roses. Just got these, the younger ones in the bowl.
Pretty ante ke roses, Hellen, what's happened to us? Yes?

Speaker 13 (48:41):
Why are you holding us off?

Speaker 3 (48:43):
Allan?

Speaker 14 (48:43):
I saw the notice of your engagement in the newspaper.

Speaker 3 (48:46):
Nice picture too, and I loved you both. I hope
you'll be very, very happy. So that's it. That's why
you sit there. Torturing is torturing, kitty. But yes, you've
let us believe you're dead. And well, now we come
here after all this time, and you talk of roses.

(49:07):
Good lord man, you wanted to look at Kitty's faith
to know what you're doing?

Speaker 4 (49:10):
Title goud tut you. I wanted to speak for the 'em.

Speaker 3 (49:16):
Know very well. No, no, wait, tittle, I know I'm
in the garden.

Speaker 4 (49:27):
Ellen told me.

Speaker 3 (49:29):
Now we been a little to toe. Really, you suffer doling.

Speaker 4 (49:35):
Something's hurt you. Won't you tell me? Why didn't you
come home a 'em?

Speaker 3 (49:44):
How to tell you?

Speaker 5 (49:45):
Kitty?

Speaker 2 (49:46):
But I've got to.

Speaker 6 (49:49):
The war.

Speaker 3 (49:50):
Did something to me. I've changed, m changed, Yes, I
f aw. The war doesn't leave it quite fond you,
doesn't it. I spent months in a German hospital, months
in a prison camp. When I came out, I wanted
to be alone for a little while, to build a
new life, away from old friends and old memories. So

(50:15):
I came here. I always meant to come back some day,
but I like it here.

Speaker 4 (50:24):
When I just didn't come back, you you stop loving me?

Speaker 7 (50:30):
Is that it?

Speaker 4 (50:30):
Ellen?

Speaker 3 (50:32):
I love you, Kitty? I loved you then, but it
went the full way. I suppose I didn't have the
courage to tell you.

Speaker 4 (50:42):
I see, I understand.

Speaker 14 (50:45):
Forgive me.

Speaker 4 (50:47):
I've been tormenting you. It's seas we won't.

Speaker 7 (50:53):
We won't see each other again.

Speaker 14 (50:56):
It would be better if we didn't, Kitty very well.

Speaker 4 (51:01):
But before that happened, I wanted to tell you that
I loved you then.

Speaker 12 (51:07):
I love you now.

Speaker 7 (51:09):
I love you with all my heart. I've never loved
anyone else. I never would again. Goodbye, then't what'd you buy?

Speaker 14 (51:29):
Oh, Generald?

Speaker 2 (51:32):
Did he tell you anything?

Speaker 4 (51:33):
No, just just that he's changed. General. What's happened to him?

Speaker 14 (51:40):
What's happened to him?

Speaker 3 (51:42):
Don't kid? Him. Don't please take me home, take me home. No,
you've got to stay here. No, yes, there, you see.
I just spoke to the doctor, the one who called me. Well,
go back to Allan kid ay.

Speaker 2 (52:02):
He needs you.

Speaker 3 (52:04):
You love him. Don't you go back inside and stand
in front of him. Don't tell him you're there. Don't
make a sound. Just watch him, watch him.

Speaker 12 (52:20):
Go now, Darling, chilled, go now, Darling, he's chosen?

Speaker 7 (52:35):
Or was that?

Speaker 3 (52:37):
Mills? Well, come here, I was about the court room.
I've been thinking that you're going away, leaving the country.
I have reason, unfortunately, and I like to let you go.
I'm sorry, Mills, but Mills, are you there?

Speaker 2 (53:02):
Who is it?

Speaker 3 (53:03):
Who's Penny there?

Speaker 4 (53:05):
Ellen?

Speaker 3 (53:06):
Oh?

Speaker 4 (53:07):
Ellen, my dog?

Speaker 7 (53:09):
I'm darning, my darling.

Speaker 4 (53:12):
Why didn't you tell me? Why didn't you tell me?
You couldn't see me?

Speaker 3 (53:16):
City? Dunt?

Speaker 4 (53:17):
I year not, darling, right here in front of you.
Put your arms around me, hold me.

Speaker 3 (53:26):
Holding it tight, dot to think what it means, leaves
life again?

Speaker 7 (53:30):
I've been dead, Oh dearest, it was cruel love you?

Speaker 4 (53:35):
How could you know me so little?

Speaker 3 (53:37):
Could you listen to me?

Speaker 7 (53:38):
No?

Speaker 4 (53:38):
I won't, I won't you tell any one never to
go away.

Speaker 7 (53:44):
I never shall you made it to season. You'll never
be alone again, Darling. Wherever you are, I'll be with
him already.

Speaker 3 (53:57):
Oh man, oh kiddy.

Speaker 2 (54:00):
I never could escape from you, could I never.

Speaker 3 (54:05):
You were always popping up, always, Thank God you popped up.

Speaker 2 (54:10):
This term.

Speaker 1 (54:37):
So ends the story of the Dark Angel. And in
just a moment you will hear further from our artists,
merl Oberon and Herbert Marshall. Speaking of artists in a
more specific sense, I doubt if there is any painter
in the United States better known than our guest tonight
with Charles Dana Gibson and Howard Chandler Christe. He made

(54:59):
the beauty of the America Girl famous the world over.
He He's also a motion picture pioneer, ladies and gentlemen,
mister James Montgomery Flagg.

Speaker 3 (55:17):
Yes, you may not have noticed it, mister the mill,
but I was making.

Speaker 11 (55:21):
Two reelers when you were making your first great spectacle films.
I produced and supervised twenty six satirical comedies. They were
builders comedies because they claimed no one would know what
that fat I was. They thought it was a gentle
goat leg on hm. I even acted in some of them.

Speaker 1 (55:40):
And I hope you are acting rather better than my painting.

Speaker 3 (55:43):
Well.

Speaker 1 (55:43):
D W.

Speaker 2 (55:43):
Griffeth offered me thirty dollars a week to play villains.

Speaker 11 (55:47):
He's never withdrawn the offer. I made one called perfectly
Fiendish Clammigan.

Speaker 3 (55:54):
Would take off on my power.

Speaker 11 (55:55):
William as Hart I played mister Phoendish Clamagan, the scourge
of the Prairie. But this time I came out here
from the United States UH to make a series of
twelve quarter drawings of leading stars for photoplay covers. I've
already drawn out start to night. Miss Merle Oberon, I've
seen her in several pictures, but never had the slightest

(56:17):
as I have to make a portress of her can
be a false glamor about her features. But as soon
as I met her, I found Miss Oberon beautiful, the
same charming, unaffected real person she portrayed the Knight and
the dark Angel. In regard to my drawing these stars,
they've been invariably charming and gracious, and I fully realized

(56:39):
the terrific claims made on their time, their unreal life
under the glare of the world bloodshot eye. My astonishment
was great that they should still be unaffected and simple
in their manner. My hat, if I wore one, is
off to them and pure luxtata good night.

Speaker 1 (57:00):
Before mister de Mill comes back with Miss Oberon and
mister Marshall, I'd like to mention the names of some
of those beautiful stars mister Flagg came here to draw.
You know them all, Ginger Rogers, Carol Lombard, Joan Crawford,
Jean Arthur, Betty Davis cloud At, Colbert, Jean Harlowe. It's
a list of the screen's most famous duties. We're proud
to say that every one of those stars I mentioned

(57:20):
uses Luck's toilet soap that goes for tonight lovely star too.
Next time you see Merle Oberon on the screen, notice
her flawless complexion. Remember it's Luck's toilet soap that keeps
it smooth.

Speaker 3 (57:33):
And here's mister de Mill.

Speaker 1 (57:38):
And now we present merl o'beron and Herbert Marshall as themselves.
As mister Flagg has said, Miss Oberon is the same sincere,
delightful person that she portrayed in the Dark Angel.

Speaker 2 (57:50):
And Herbert Marshall, who played the.

Speaker 1 (57:52):
Soldier, did in real life, serve with distinction in the
war in fact of her in name, Herbert means bright warrior,
merle oberon Herbert Marshall.

Speaker 3 (58:10):
Well, just a minute after the miller, you will having
a little nicked up before the player. I was a
man who hated a fight during the play, I did,
and now you say my name proves I love it
and I don't.

Speaker 2 (58:19):
Names are deceiving.

Speaker 3 (58:21):
Uh.

Speaker 1 (58:21):
Sasser means dim sighted. Yeah, yet out of uh three
thousand people of a Roman banquet, I can detect the
one extra girl on the back of the set who's
chewing gum.

Speaker 3 (58:33):
And Merl means nightingale.

Speaker 1 (58:35):
But I never sing in my pictures, Hm, I'm told
you saying and speak in many languages, French, Spanish, Russian,
even Hindustani.

Speaker 4 (58:43):
That's from the.

Speaker 15 (58:43):
Years, Uh, that's from living years in India, mister de
mill m It was there that I first saw the
picture of the Dark Angel. It was a silent version
with Ronald Cleman and Drew in the banking, and I
longed to be an actress and do it myself.

Speaker 1 (58:56):
Would you realize your dream magnificently both on the screen
and tonight to the Lux Radio Theater. It's your best
performance so far. What's your next it's called for the
time being, at least in.

Speaker 4 (59:08):
Love and war.

Speaker 2 (59:09):
What's yours?

Speaker 3 (59:09):
Boss? All fair? Now next week? Guys thought in Portrait
of a Rebel, So Katherine.

Speaker 2 (59:15):
Hippa, who's the rebel?

Speaker 1 (59:17):
You are? Catherine?

Speaker 3 (59:21):
It's Katherine. But I was a rebel once and my
family wanted me to be in a condom and I
wanted to be an.

Speaker 1 (59:27):
Actor, So that that's one rebellion I approve of.

Speaker 3 (59:31):
Oh thank you for the lux Radio Theater. This is
Cetha b.

Speaker 1 (59:35):
De Mill saying good night to you from Hollywood. It's
heard on tonight's program where a Pretty Girl is Michael
Melody from the Music Bach Review.

Speaker 3 (59:42):
This is the Columbia Broadcasting System.