August 6, 2025 • 53 mins
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.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hollywood, California, Monday, July sixth, the Lux Radio Theater presents
Lionel Baramore in the voice of Hugiland.
Speaker 2 (00:18):
With Porter Hall and Anne Shirley.
Speaker 1 (00:27):
LUTs Present Hollywood with Lionel Barrymore and Shirley hal Rope.
That will be the Mill, Ruth Waterberry and many others
brought to us by the makers of Luck, toilet stop,
the beauty care used by nine out of ten Green Stars,
and by so many attractive women everywhere. We also saluted
did sing with audience with us Tonight, I see Eileen Tringles, Holistone.
Speaker 2 (00:50):
And Kerry Grass. Welcome to the Luck Radio Theater.
Speaker 1 (01:01):
As producer of the Much Radio Theater, we'd present one
of the most distinctive person who visit the entertainment worlds.
Producer of great screen spectable, great of stars. His name
is known wherever most pictures are seen. Ladies and Gentlemen,
Cecil P. T. Mill Readings from Hollywood, Ladies and Gentlemen.
(01:25):
The history of the American Theater should be read by
gas lights rose. It was by gas light that its
most colorful chapters were written. A popular song of the
day with two little Girls in blue horsecars were running
on Broadway. Sherry's was the place to eat after the theater.
Handsome cabs scurried through Central Park. The fashionable figure was
the hourglass.
Speaker 3 (01:44):
Fillowett and Maye Paramou.
Speaker 1 (01:47):
The most popular matinee idol of his day was making the.
Speaker 2 (01:50):
Gay nineties Gaya.
Speaker 1 (01:52):
Among his contributions to the general uproar were three children, Lionel,
Ethel and John. All three turned out to be had
at extremely versatiltis. But it seems that in everything I've done,
Lionel has preceded me. We were the thoroughly unknown sons
of famous parents. But when I went on the stage,
Lionel was already there.
Speaker 3 (02:12):
When I started making.
Speaker 1 (02:13):
Pictures in nineteen thirteen, he had been in the movies
four years.
Speaker 4 (02:17):
When the screen.
Speaker 2 (02:17):
Switched from talkies.
Speaker 1 (02:19):
He directed the first all color talking and singing film,
The Rogue Song, starring Lawrence Sibbett. And when I came
on the air, he was already so well identified with
radio that people were calling him Mike. But at last
I have Lionel exactly where I want him, and the
then production. The production is the voice of gilgal Land
by McKinley Cantor. And here is our star, Lionel Barraba.
(02:54):
The chief sport of Missouri farmers is fox hunting. Night
after night. They gather in groups and let their hounds
root on the trail far on there.
Speaker 2 (03:03):
They know each hound's voice.
Speaker 1 (03:05):
They know when the scent is hot, and when the
fox has doubled on his trail. They sit by friendly
fires before and after the shade. There's such a fire
burning now and tiring caught it through heavy underbrush we
see the shadowy figures of spring.
Speaker 2 (03:19):
David, a grizzled old.
Speaker 1 (03:21):
Farmer played by Lionel Barrymar and his son Benji.
Speaker 2 (03:29):
And I hope you Paul, No, no, no, I don't
need no help. You just take care of yourself. Done.
I can hear the hands coming this way. That's the
fire right up there, yell if I can see.
Speaker 1 (03:39):
Old Carol Royce the saying enough fire and Bay he's
some other fellow.
Speaker 5 (03:43):
Oh there you strange?
Speaker 2 (03:45):
Yeah, me and.
Speaker 1 (03:46):
Benji, well come on, you missing the whole thing?
Speaker 2 (03:49):
Oh God, here face as we could care.
Speaker 6 (03:51):
What hells you that Morley picks your hand in mine.
Speaker 2 (03:54):
She's going to have a liver. Evening, Bay, even with David,
even Benji.
Speaker 3 (03:58):
Evening than this year. Gentleman over here is mister Tanner.
He's from the city. There's in shance.
Speaker 2 (04:04):
Even then, how do you do come up to listen
to the hound? Why? Yes, mister Roy, Sir cal here
was talking so much about it this afternoon. I asked
if I might come along. I'm glad to have here.
That is my son Benji. How do you do?
Speaker 3 (04:16):
Don't not look on the fire day? Been here going out?
Speaker 2 (04:20):
Listen, they're over the ridge Heaven Creek. Now the hounds
are gaming. How can you tell that? Oh, it's in
their voice. You can tell just what's happening if you
listen to him. Yes, but just where is the sport?
I've heard of riding the hounds? And I can appreciate that.
We don't ride. No, Oh is a where funny cats?
Mister Tanner? We just raid hounds and train him for
(04:41):
the hunt. Well, I should think there wouldn't be any
fox's left in this part of the country, killing so many. Oh,
we never kills klos no one, no, no, he holds
up when he gets tired and the hounds come home.
You mean the fox will run again another night. Don't
they ever learn anything from experience? They learn when they
run again, night after night, year after y's a year after?
(05:05):
Do you do this all night and every night?
Speaker 6 (05:08):
Oh?
Speaker 2 (05:09):
Not every night? No, Sometimes it's rained, or sometimes it's
your drapersize, sometimes whether it's you drive, or sometimes we
get long damp there, yeah too damp. No, mister Tanner,
we don't come out every night, but calling me ain't
missed many good nights the last fifty years. Well, considering
how it's pretty damp out here, it might be a
good idea to take out some health.
Speaker 1 (05:29):
In short, i'll cry coming on rain spring. Yeah, no
hunting tomorrow night. I don't care about that inshortance.
Speaker 2 (05:37):
Someone come up the hill, pak me, it's mother, Paul?
Speaker 7 (05:40):
What then marrow they come home park Mary kick is
racles near.
Speaker 2 (05:45):
He ain't got to know. Well, I guess the little
is boud. Dude, she crying, you know it's restless. Well
i'll go. If you stay here, benjigle, the fox is hold,
then you bring the pack home for my Paul. Come along,
we'll head for the house. Well, Paul, I guess it
(06:12):
ain't no use steed. Molly was, but she was always
a timid little thing. And the lightning and thunder and
being a mother was just too much.
Speaker 7 (06:25):
I guess those spring too bad?
Speaker 2 (06:28):
Yeah, too bad, I did. Oh here they are five
of 'em. Let me see you.
Speaker 6 (06:35):
They ain't say yeah.
Speaker 2 (06:37):
But they demand a pretty big price sometimes for coming
into this.
Speaker 7 (06:41):
Dear world, which ain't saying nothing about the trouble raising.
Speaker 2 (06:44):
Them on a bottle everything is. Oh, I hadn't done
it before.
Speaker 7 (06:48):
Look at that, and there see the mouth run spring,
no spring saw they've let her die? Anything more?
Speaker 2 (06:56):
Oh, no, no more. I wouldn't do that after all, Molly,
or to give her life or this is the last
of the lizard now much look at No, she ain't.
But that white blaze on that forehead there, that's kind
of pretty, don't you think? You see the way it
comes around the year is all right?
Speaker 6 (07:15):
All right?
Speaker 2 (07:15):
Now you'll be getting something to eating in a minute
or two. You know, my I kind of took you
this one. I think our name her Anne after a
great great grandmother, Lady Anne. So that was a beautiful voice, maw,
remember lady. And maybe this one will have a beautiful
voice too.
Speaker 3 (07:41):
For another stick on the fireway.
Speaker 1 (07:43):
I'm their older.
Speaker 2 (07:46):
Written tell there never has been a sound like that
in Heaven's Creek count it'll have little puff come along.
It's a stranger sound I ever heard. He well, that's
why I asked you to come here night, mister Tanner,
that this is the first hunt you will here the
night she was born. That makes me kind of feel
like her uncle he is. Just about a year ago
(08:07):
it was I called a lady in man, Lady Anne,
that is jul I heard her voice, a Swedish voice
in the world. He in talk like a bugle and
you're Renamber. Yeah, yeah, she's bugle. And now from bugle
and the kid again fat heading the pack. There never
has been a tune like that. And then he throws
(08:27):
in Missouri and there won't be any more like her
when he's gone.
Speaker 3 (08:31):
And you just from foolish over that animal.
Speaker 2 (08:34):
Well, wouldn't it be waited a long time to have
her hound like that? He is sure I should think
it could work. It well, he said, it's a matter
of breeding good hounds and understanding him and kind of
well being fond of him.
Speaker 1 (08:48):
Now he turns, yeah, ringing up past the old Camden place. Yeah,
I guess someone's moved into the old house that ain't his.
Speaker 6 (08:56):
And I haven't I been means to speak about it.
Speaker 2 (08:58):
Yeah, babe, if some of the came is that's moving
in up there, they're coming back home. The Camdens was
great hound people in their day. That's twenty thirty years ago.
Speaker 3 (09:07):
Yeah.
Speaker 2 (09:07):
But this is the son of all the old Cambon's
and his name is Terry, and he real sheep sheep
that means a fan. Jerry ANSWER's father was at the
rumber yarden.
Speaker 6 (09:15):
This solitary was there.
Speaker 2 (09:17):
He was ordering posting why why? What kind of why? Who?
Speaker 6 (09:21):
Why?
Speaker 2 (09:21):
Ok?
Speaker 6 (09:21):
Time will strong and how time?
Speaker 3 (09:23):
I remember this Jacob Terry.
Speaker 2 (09:25):
Sure enough he married at least Camden. I hear she
died up in Jackson Carroll. They're leaving one daughter. It
seems to me the door's first name was Camden Well.
Speaker 3 (09:36):
I wouldn't call this Jacob Terry a pleasant man. Hed
he once quipped the heart with a hunker hickory.
Speaker 2 (09:41):
Oh, you can't condemn man, and what you hear? Any
man can be reasoned with him, and then that day
we can reason with him about this family.
Speaker 3 (09:48):
Why the objector Terry.
Speaker 2 (09:49):
Having a fence, Mister David Well in the first place,
the fox hate such fans. See he lively shy off
and leaves the country because of it. But some fox
is you like it? And that's even worse because a
hound runs about fifteen miles an hour and he hits
the wold wire fence in the jar. Now, the fox
is little. He's got through without choking to death. But
(10:12):
the hound, he's likely to get hurt. If you can't
take good hot and cuppes. Whether they put fences, of course,
the fox en no, I reckon, we better make a
visit on this. Yeah, they carry tomorrow. Nobody's ever put
up such a fence in these buds. He's Google and
against Dave old against. I better call it back, pall. Yeah,
he hand me my horn, Benji Google? Will they come
(10:35):
from me? And there's nobody in the world. God leaves
to call Google and step me? And where are you, hip?
Speaker 4 (10:52):
Father? Getting some more at the pump?
Speaker 2 (10:54):
Oh, hurry up. There's a lot of work to be
done around the house this morning.
Speaker 4 (10:57):
Yes, father, I want to help me without the fence. Father,
I was going to speak to you about that must
be put up a stand. All the people around you
do a lot of hunting.
Speaker 2 (11:06):
I know, I heard them all last night. There'll be
no hounds running over my property.
Speaker 1 (11:10):
We're going to race sheep.
Speaker 4 (11:12):
I love the sound of hounds, it's really beautiful.
Speaker 2 (11:14):
Rubbish, I can't stand the sound of them, the sight
of a fool.
Speaker 1 (11:18):
And make a fu over them.
Speaker 4 (11:19):
Oh but it's just a Game's father. I've often heard
mother tell how they used to sit around the bonfire
at night, right out there on the ridge.
Speaker 6 (11:25):
Than your blood too.
Speaker 2 (11:26):
I guess my mother was more interested in dogs than
she wasn't me.
Speaker 6 (11:31):
You're her daughter?
Speaker 4 (11:32):
All right, please, father, let's not call.
Speaker 6 (11:34):
Oh, get on with your work. I've got better things
to do and argue with you.
Speaker 2 (11:41):
Good morning, you're miss Campden. I reckon, yes, but I'm
singing to you, David. This is my son Benjie, and
this is cal and Bake Royster. We neighbors, Miss Camdon.
We'd like a word with your father.
Speaker 1 (11:56):
Well, what is it about relis? It's just that we
wanted to stuffle matter with him.
Speaker 2 (12:00):
Oh, oh always people Cameron.
Speaker 4 (12:03):
They want to kick your father.
Speaker 2 (12:06):
What do you want, Miss Terry?
Speaker 6 (12:08):
We heard you was going to put up a wold wire.
Speaker 2 (12:10):
Fence around your land. Well, well a hound can't get
through that kind of fence, Miss Terry, Shore he gets hurt.
They got to hurt will be their own fault. I'm
going to build a fence hog fight boost wrong on
horse side to keep pounds out. Nobody has ever put
up that fence in these first Mine will be the
first stamp, and if any hounds do happen to get through,
(12:32):
I'll shoot them down. Well, now, I reckon nobody who
is married to Camden that I'll do what I like
iss my property. Saw that, don't I told you to
keep quiet.
Speaker 1 (12:41):
You pick up that bucket and take it in the house.
Speaker 2 (12:43):
Yes, let me help you the stamp.
Speaker 6 (12:45):
You don't need your help.
Speaker 1 (12:46):
You put on a buckets pumb only trying to help.
You heard what I said?
Speaker 2 (12:48):
You don't say it? Put it down, Benji. We're going
now as sooner you get out, the better. And there's
something else you better understand before you're clear off a hound.
It's the only thing that's going to get hurt if
it I'm sneaking around my property. There ain't nobody going
to get hurt. Miss Terry Pleaz, you say two.
Speaker 1 (13:18):
You're in the Lux Radio Theater on Hollywood Boulevard. Our
play the Voice of bugal.
Speaker 2 (13:23):
Lands, our star Lionel Barrama. We shall resume the play
in just a moment.
Speaker 1 (13:35):
Now we take you on a quick tour of Hollywood
sight teaing, But just do a tremendous business here in
the world's great movie capital. Picture yourself on one of
these buses now going down Hollywood Boulevard. Don't miss anything.
Here's the tour conductor honor.
Speaker 2 (13:47):
Of Hollywood, full of all lands.
Speaker 6 (13:49):
Fine ladies and gentlemen, host famous Innsterfective in Hollywood. A
few doors to your right.
Speaker 1 (13:55):
Down by its a popular brown ry restaurants.
Speaker 6 (14:00):
Ow raise the head on your right.
Speaker 1 (14:02):
The Luck Radio Theater, the most famous radio theater in
the world.
Speaker 8 (14:08):
Well, when you look at the Luck Radio Theater, fine,
you know I always thought it was an imaginary face,
am Am, it's real.
Speaker 4 (14:16):
Mother, I knew there. It's the paper wonderful Luck crazy
broadcast frost. Remember after I heard the first one.
Speaker 7 (14:21):
I began to use that Luck toilet soap.
Speaker 8 (14:23):
Yes, I still remember now ss to me, your complexion
looks much nicer since you start it usy.
Speaker 4 (14:29):
Well, if you can believe Zille does see, there's my
complexion elegence.
Speaker 2 (14:33):
Oh we are turning at the dollars. Three ladies and gentlemen.
Speaker 6 (14:36):
We see the home of a famous r KO radio studio,
and as we.
Speaker 1 (14:44):
Too bad our bus can't stop, we'd be bound to
take you inside those famous studios. Or we could show
you Luck Toilet Soap in every dressing room step there.
Because RKO radio girls and famous Arkaeo radio stars like
Irene Dunn and Ginger Rogers prefer this jemle soope just
like you. They want to keep their skin lovely, free food, dullness,
tiny blemishes and enlarging poors that mean cosmetic skins. Luck
(15:07):
toilet soape guards against this danger because it's active lather
removes dust and dirt, stale, rouge and powder thoroughly.
Speaker 2 (15:14):
We know you like the way Luck's toilet soape keeps
your skins fire.
Speaker 1 (15:24):
Now we return you to settle lead the mills. We
continue with the voice of google Land, starring Lion of Barama.
Speaker 2 (15:39):
Several weeks later.
Speaker 1 (15:41):
Benjie and Camden have been seeing each other almost every night.
They stand together now by the rail of a rustic bridge,
gazing into the stream below. It's beautiful, isn't it Dangers, Yes,
it is, but I guess you kind of make get
small beautiful candies.
Speaker 4 (16:01):
That's nice to hear the.
Speaker 2 (16:03):
Story isn't hard to say. You're Paul putting to night
mm ring is singing too.
Speaker 4 (16:08):
The same will be fairly free.
Speaker 2 (16:09):
I guess hum your dogs like an old time a
Candon must be in the blood.
Speaker 4 (16:14):
I guess it is. You know, I may awake nights
listening to the dogs, or I've got so I know
their voices. When I hear hugi am, I just go
cold all over.
Speaker 2 (16:23):
She has the sweetest mouth that ever was in Missouri
in the world, Benji, which you can make your father
fear that ring?
Speaker 1 (16:29):
Oh?
Speaker 4 (16:29):
I guess he really does seep down. I'm sorry, doesn't
treat you bit of bench. He sea could come right
up to the house to see me. I don't like
you're sneaking around behind his sady.
Speaker 2 (16:37):
I got it to you somehow.
Speaker 4 (16:39):
Oh, you've done your best enjy oh, No, it isn't
at father's moon. Really, he's just unhappy.
Speaker 2 (16:45):
I'm sorry you are caned, not when I'm with you, Candon, Honey,
what are we gonna do?
Speaker 4 (16:52):
I don't know, Benji, it's allful, that's ray. It's also
I know looting.
Speaker 6 (17:00):
They're heading over toward your place.
Speaker 2 (17:02):
I hope they have sent Leo keep away from that.
Speaker 4 (17:03):
Why, Fanny, I think I've got to go find Paul.
Speaker 1 (17:06):
I take the Landau to get thready. Really won't be
responsible for anything.
Speaker 4 (17:09):
Sendy, I'm worried.
Speaker 1 (17:10):
Popular Come on, you can find me back to the
car in your place.
Speaker 2 (17:13):
I'll walk on from there. Send you.
Speaker 4 (17:14):
Won't let there be any trouble with you, not.
Speaker 1 (17:16):
If I can help it, Honey, I don't want anything
else because to come between.
Speaker 4 (17:22):
Oh Benjie Darling.
Speaker 2 (17:39):
Thanks Cammon, I'll feed you them all.
Speaker 5 (17:41):
Right, thank you?
Speaker 1 (17:41):
What is this?
Speaker 4 (17:42):
Look over there by? The thinks those men?
Speaker 6 (17:44):
It's Paul, come deapis.
Speaker 2 (17:46):
Come on, I'm telling you once for all Spring Davis,
get out of my pasture and get out now. You
can put that gun down. Miss Terry, don't scare us
at all.
Speaker 6 (17:57):
I come in.
Speaker 2 (17:57):
Here to my home. I'll let it here. It was.
Speaker 1 (18:00):
It's got no posess among my sheep.
Speaker 2 (18:01):
It's bugle and he wouldn't hurt nothing. But she's still small.
She should come to your fence when the buck brings
her his Yeah, we'll get this straight, old boy.
Speaker 1 (18:12):
I'm going to raise sheep and I don't share a hang.
Speaker 2 (18:15):
For all the hounds in Masury, you kick yours off
my land, or I get a dose number ten shot
behind the f the melopaul. Something's happened to Bugle and
I can't find it. You can get out of.
Speaker 1 (18:24):
Here, too, Benjy Davids.
Speaker 2 (18:25):
There's more than just hounds.
Speaker 6 (18:26):
Give me a eve.
Speaker 1 (18:27):
And you know what I mean is you're talking about
ten and mister Terry, I am if you know what
good wyu you'll stay away from her.
Speaker 2 (18:34):
Listen to that, you, mister Terry. I'm glad for both versus.
Buglends out there running safe and sounds.
Speaker 1 (18:44):
It's a good thing for you.
Speaker 2 (18:45):
She's out there and not in here. Fuck hounds and
Davis's they're all the same breeze. And I'll kill any
curve that's kept on this grass. See Terry, if you
shoe the Davis hound, blow you clean the glory? Mind
Benji have.
Speaker 4 (19:08):
Father, what do you want? It isn't all therefore it
would thing on my property.
Speaker 2 (19:12):
I know.
Speaker 4 (19:12):
But Sabby, you could put up a fad. It would
keep your beginner not hurt their door.
Speaker 1 (19:15):
Oh you're tighting with them.
Speaker 4 (19:17):
No, no, father, I'm not your mother.
Speaker 1 (19:19):
Always hide it against me with our people.
Speaker 4 (19:21):
Oh, but you're so unreasonable. Those folks don't want any
trouble or they'd like to be friendly with you.
Speaker 2 (19:26):
Oh, I see, so they're already your friends.
Speaker 4 (19:30):
Sometimes I don't understand your father.
Speaker 1 (19:32):
Where were you to night?
Speaker 4 (19:33):
I was out in the car.
Speaker 1 (19:34):
You said you were going to go a picture shop.
Speaker 4 (19:36):
I changed my mind.
Speaker 6 (19:36):
It was still warm.
Speaker 2 (19:37):
You lie.
Speaker 1 (19:37):
I mean you got one of the lot of gag
with a no account.
Speaker 2 (19:39):
Lady, Papa, stop it.
Speaker 4 (19:40):
I won't let you talk that way about Benji Javis.
Speaker 6 (19:42):
I said I didn't want you to see any more
of him.
Speaker 4 (19:44):
Oh listen, father, didn't you ever love mother a little?
Speaker 2 (19:48):
Even in the beginning trying.
Speaker 1 (19:50):
To get around me? I told you to say away
from him.
Speaker 4 (19:51):
You've got no right to say it. I've got to
see Benji.
Speaker 2 (19:53):
You're not right to me again, not just obay. I
love him?
Speaker 4 (19:56):
And what do you say or do at me?
Speaker 2 (20:00):
Maybe I will make come to.
Speaker 4 (20:03):
That's the last time you ever strike my father.
Speaker 2 (20:05):
I think apportunate the last do as I say, I'm
leaving your father.
Speaker 4 (20:10):
I'm leaving you tonight.
Speaker 2 (20:23):
Where you're going tuh Nicole and Jake Terry.
Speaker 7 (20:27):
But that's John Ingram, take a John spring you Glenn
King to d you hear yourself up?
Speaker 2 (20:33):
I pay faster.
Speaker 6 (20:35):
That was earlier.
Speaker 4 (20:36):
Ma.
Speaker 2 (20:36):
I called her all last night, but she didn't come
to me.
Speaker 7 (20:39):
You think, do you think Terry's shorter?
Speaker 2 (20:42):
I ain't sure, Ma, but me and call and Benjie
is going up that way this morning. Look for her.
And if she's there, spring out with you one more
you get.
Speaker 4 (20:52):
Leave it to me.
Speaker 2 (20:52):
I know what I'm doing, don'kay any time of a spring.
Speaker 6 (21:02):
He isn't here, that's your paw.
Speaker 1 (21:04):
Come on, let's go home.
Speaker 2 (21:05):
He ain't here, but she might be buried here right?
Speaker 6 (21:09):
What do you mean?
Speaker 2 (21:10):
Puh? You remember call? How bigle hand caught her foot
in that rat trap before she was weaned.
Speaker 3 (21:17):
Sure, sure everybody knows that. But one gone tone never bothers.
Speaker 2 (21:21):
H Her track was always playing. Tell I've been looking
for her track up here and there it is, oh
right there in the mud. You see it?
Speaker 3 (21:33):
Tells plain sting.
Speaker 2 (21:36):
I reckon that it's standing coat, just like fingerprints in sex.
He passed here on her way home, and Jake carry shudder. Wait, wait, Paul,
get out of my way. Son, come back here, Paw.
I want to see Jake carry. Wait, you don't know
what they're doing.
Speaker 4 (21:51):
Let me go.
Speaker 2 (21:52):
He killed bugle Land.
Speaker 1 (21:53):
What's a tad?
Speaker 2 (21:54):
I hastey, Paul hasty, I'm looking for rats in my granary.
I don't sit down and wait for him.
Speaker 3 (22:00):
Give me that gun string?
Speaker 4 (22:01):
There you go.
Speaker 2 (22:02):
You never read gilgi Land, did you? He was mine?
Speaker 3 (22:05):
There's Terry on the porch. He's got a gun too, screens.
Speaker 6 (22:09):
I told yourself my face, ring David, what did you
do with it?
Speaker 2 (22:13):
Terry? What did you do with Bidland? I hear you,
old devil. You better end to me. I never killed
got a dunny hound.
Speaker 6 (22:20):
But I'll put some funds under you. You don't get
out of here forgot.
Speaker 2 (22:26):
I reckon it?
Speaker 6 (22:27):
Did Terry? You are under all to tell the truth.
You'll know that, yes, sir, and please tell the jewelry.
Help why the defenders object of your father?
Speaker 1 (22:43):
And build the offense because.
Speaker 4 (22:44):
It in to see it with his fox hunting.
Speaker 6 (22:46):
Where were you in the evening pre seating your father's death.
Speaker 4 (22:49):
I was out riding with yas when you returned to
your house.
Speaker 6 (22:53):
What happened?
Speaker 4 (22:54):
We still mean by the side of the house.
Speaker 6 (22:55):
Spring Davis and Calhoun's wife.
Speaker 1 (22:58):
Yes, and Spring Davis, Paul would your father didn't need
the terry?
Speaker 4 (23:02):
Yes? And after they left I tried the speech of father.
We had an argument and then he slightly got you,
just once, not very hard.
Speaker 6 (23:11):
What was the argument about, Miss Terry?
Speaker 4 (23:13):
About Benjie?
Speaker 6 (23:15):
He objected to you are going out with him? And
the argument was not about dogs.
Speaker 4 (23:19):
Well, that's what started it, and I happened. Then I
packed my cousin took the car. He was my car,
and he didn't stop me because he knew my aunt
and actually given it to me. After Uncle Luke died, well,
I was angry. I didn't want to stay there. I
drove away well to my uncle el Nathan's state up north.
It was two days before I heard of my.
Speaker 1 (23:37):
Father's nare Miss Terry are yourself friendly with a defendant's son?
Speaker 4 (23:41):
We haven't service desperate to him.
Speaker 1 (23:43):
One more Questionmtary, did your father kill the defendants dogs?
Speaker 4 (23:49):
I left? I wasn't there.
Speaker 6 (23:51):
That's amitary how mister Davis told me of it. You
never found the party of a dog dijoke.
Speaker 2 (24:06):
No, sir, we never found her.
Speaker 1 (24:08):
And it's true that you and your friends after the
killing might have been tempted to.
Speaker 6 (24:12):
Talk to the premasy part.
Speaker 2 (24:13):
Well, we knew she'd been there. I couldn't mistake her
footprint because she was one cold shie.
Speaker 1 (24:19):
Never mind that you went over mister Turispans into his
shot arms, didn't you.
Speaker 2 (24:23):
That's kurry.
Speaker 6 (24:24):
You were prepared to kill.
Speaker 2 (24:26):
You after the question, mister Davis, I told Jay Terry
if he harmed you and there'd be trouble, do you.
Speaker 6 (24:35):
Either kill me? You were prepared to kill a man
because of a dog?
Speaker 2 (24:37):
Lord, how ways and minute? I guess you never owned
the answer my question? Well, I am answering it. It
kind of answers itself. Anybody that ever owned the hounds
and loved it the way I did google Land. It
wasn't because google Land had the sweetest mouth in the world.
And it wasn't because I raised it from the popping
(25:00):
bred to the horn. If he didn't have no more
voicing a frog either felt the same way about her
or any other hound of mine. Jaig, you may remember
what Senator vest said about a dog I reckon you do.
He was a lawyer, and he said what he had
to say in colts same as I'm talking. He could
(25:21):
talk a whole lot better than I can. What he
said was it the best friend a man has in
this world may turn again him his son or his
daughter that he's rigs the best way he knows how
may turn again him. The people who wore on and
(25:41):
cheer when everything's going good will be the first one
to heave a rock at him when he's down. The
one absolutely unsealthy friend that a man can have, the
one that never deserts him, the one that never proved
ungrateful attractor, is his dog. Yes, a man's dog stands
(26:05):
by him, rich, a poor, sick her. Well, he'll sleep
on the cold ground, with the wind blowing and the
snow driving. Don't make no difference to him, so long
as he's there by his master's tide. He'll kiss the
hand and ain't got no food to give him. He'll
guard the sleep of a pauper as if he was.
(26:28):
And when all other friends desert he's sticks he He
fortune drives a master and an outcast into the world,
friendless and homeless. The faithful dog don't ask nothing more
than than just to be with him and guard him
begin any danger, so that he can. And when the
(26:48):
last scene of all comes and he's laid away in
the cold ground, no matter if all his other friends
go on their way, thereby his grave, you'll find the dog,
his head between his poles, and his eyes sad but
open and watching, faithful and true right down to the
(27:10):
very end.
Speaker 1 (27:11):
Hm.
Speaker 2 (27:12):
Yes, oh, I see it more than one. I'd kill
a man if he killed a friend of mine without
no reason, And the hound there's as much a friend
as any man, except he ain't got none of a
man's pose. Yes, I ain't denying, and I killed Jake
Jilly because he kills Bugland. I didn't want to do it.
(27:35):
Judge just had just if the jury considered a verdict,
you have you find the defense of Jill? Sat down?
(27:58):
Tell sat down? He tells, ain't much look at it.
I get the best they can do here. They're going
to give me my sentence this morning.
Speaker 3 (28:07):
That's why I come.
Speaker 2 (28:09):
Yeah. Well now there's no use grieving about it, cal reckon.
There's nothing else the jury could do, seeing as I
killed him and didn't deny it.
Speaker 1 (28:17):
No, or they might have taken into account how you
would provoked He killed you land in nickname, and he
would have killed you too if you hadn't given him
the death shot person.
Speaker 2 (28:25):
He said, well, I don't worry about me, Cal, He
ain't going to be so bad that there in yesterday.
A lot of men stand it, and they ain't no
tougher than me. I'm sorry for more on Benzi, though,
you'll do what you send for him, cal You know,
I tell Benzi that Camden's really a fine girl, and
I hope maybe some day it'll work out for him.
(28:48):
He's much worse for them two young ones than it
is for me, you know, Carol, I ain't done much
reading lately, and this will give me a sort of
chance to catch up.
Speaker 3 (28:57):
Why, I'll send you the Red Ranger and the front
of on three.
Speaker 2 (29:01):
Now that's mighty fine, any cow, bring n on our shaw,
don't feel bad? Call is all right, saint nothing. I'm
kind of looking forward to the chance to get myself
in good physical shape again. Here. They got a lot
of exercise up there, I reckon. I've been setting out
in the work too much night.
Speaker 6 (29:20):
See.
Speaker 2 (29:21):
Yes, I won't be setting out nights up there much,
all right, David, Hey, once you're in the courtroom. Yes, hey, Cow,
I'm kind of nervous about this. You know, I never
was sentenced before. You go ahead, call and tell the
more and Benjie nuts take it too hard?
Speaker 6 (29:40):
Good bye friend, goodbye? How good the best I can.
Speaker 2 (29:43):
Yes, Yeah, bring Davis. Yes, Juria has heard the evidence
presented in this course. They have found you guilty.
Speaker 1 (29:58):
Court here by your sentences you to the state prison
for a period of twenty years the crime which you've
just been convicted.
Speaker 6 (30:07):
Yeah, I love it.
Speaker 2 (30:10):
Ring all right, mam, don't carry on now, but twenty
years it ain't right now now. I'm aph sied to
bring this trouble on your mom.
Speaker 4 (30:23):
I'm aples.
Speaker 2 (30:34):
It's all quotational implication. It's physical lumbia pasting system.
Speaker 1 (30:55):
There's a setub the mill speaking to you from the
Lux Radio Theater in Hollywood.
Speaker 2 (30:59):
I'm a baramore and Anne.
Speaker 1 (31:01):
Shirley returned shortly for the third act of The Voice.
Speaker 2 (31:04):
Of gilgal Land.
Speaker 1 (31:06):
Line for line, more news is printed about Hollywood than
any other community in the world. Affairs of state are
taken off the front page to make way for Shirley
Temple's newest tooth or Greta Gabo's search for solitudes, and
magazines make public the private lives of our stars. Millions
of people see Hollywood through the eyes of a certain
(31:26):
editor who has left her editorial uneasy chair to come
to the Lux Radio Theater tonight, the editor of Photoplay magazine, Ms.
Speaker 2 (31:35):
Ruth Waterbury, Thank you, miss Milk.
Speaker 4 (31:43):
You know, when an editor interviews a director, that's not news,
but when a director interviews an editor.
Speaker 1 (31:48):
That's the radio program ms Waterbury, I have a protest
to fire on behalf of the gentlemen of the screen.
Why aren't more pictures of male stars used on magazine covers?
Speaker 2 (31:59):
The answers simple.
Speaker 4 (32:00):
When we have a beautiful girl on the outside of
our magazine, many.
Speaker 5 (32:03):
People buy it just for the picture.
Speaker 4 (32:04):
But when we have a man picture on the cover, no.
Speaker 3 (32:07):
So don't say no soap, this is a lux radio theat.
Speaker 4 (32:13):
What I mean is we have to have women's pictures
because the majority of our readers already, Then why not
men pictures?
Speaker 2 (32:19):
Are most women Gable Gapers and Coleman Craven's.
Speaker 4 (32:25):
We've had men on tvers and magazines for months. They're
after women. By all, newstand records are primarily interested in women.
The want no new way to fix their hair, whether
sant a heavy eyebrowser in fashion, how to keep their
figures and their complexions lovely. I find you, for instance,
that a great many women use Luck toilet shelf because
they know it's green.
Speaker 1 (32:42):
Stars use it well, that's no secret. Hare u huh.
Speaker 4 (32:45):
If an act to singles out of product for her personally,
you may be sure it's the best. Yet when the
stars takes the cake, I mean when the tar second differ.
Speaker 1 (32:54):
What you're trying to say is when the stars take
the cake, lux is the cake they.
Speaker 4 (32:59):
Take to other is then Hollywood is seating women in
the tremendous importance of personal appearance and teaching the world
the glammar is not quality you're necessarily born with. In
other words, you, mister de Milt, the great glammar creator,
now that grammar is just learning how to emphasize one's
own personality. Just I believe, is why Hollywood today is
dominating the news of the world. It is every woman's inspiration.
(33:22):
It is teaching every woman how to emphasize her own
best points.
Speaker 2 (33:25):
Thank you, good night, Good.
Speaker 1 (33:27):
Night editor, and now for the last act of our play,
The Voice of bug Land, starring Lionel Ballavar with Anne Shirley.
Almost a year has gone by since Spring Davis was
(33:47):
condemned to prison. It's late evening and in the kitchen
of the old farmhouse, Benjie and is Davis are sitting
intensely in their chairs.
Speaker 2 (33:57):
They seem to be waiting for something.
Speaker 6 (34:00):
Expect them.
Speaker 1 (34:01):
Half frightened. Missus Davis breaks along silence, Dingy.
Speaker 7 (34:09):
Yes, are you going out searching again tonight?
Speaker 2 (34:12):
Have searched and searched almost ever an after two weeks
she's never answered the home.
Speaker 7 (34:16):
Ah here her, and you hear her say here her?
So his pause from no mistake you gleanedjoling that night.
Speaker 2 (34:25):
She couldn't have been more you glean did Terry killed
the room after year ago?
Speaker 7 (34:30):
Jah, I never said she wasn't, said Dingy, but we
here her, Yes, the same.
Speaker 2 (34:35):
So it's it's unnatural to believe in ghosts.
Speaker 7 (34:38):
She was leading a pike, got a note of voice things,
and if he's been alive, she'd.
Speaker 4 (34:43):
A come when you called her.
Speaker 2 (34:45):
I guess the peck that she's been leading because to
go through a harb type sense like so much dish
walf caause ain't no senses where there's been no more.
I guess the great hands have got a place of
home to go to after they run last race.
Speaker 7 (35:00):
Here things I've been meaning to ask you didn't Camden
neither writes or nothing since since the child m.
Speaker 2 (35:09):
Oh lunce never did more. I ain't never heard a word.
I know where he is.
Speaker 7 (35:14):
Don't you up with uncle?
Speaker 2 (35:16):
I know? But saw what's the use? There can't ever
be nothing between Champing and me. Not now. If she
loves your things change.
Speaker 4 (35:25):
My father killed her father.
Speaker 2 (35:27):
There's a murder between himself. I'm not stand for wasn't right.
I did the same thing in his place, So that
doesn't change things. Nothing can change him.
Speaker 1 (35:46):
Back.
Speaker 2 (35:47):
Don't say that more?
Speaker 6 (35:48):
No, it isn't possible.
Speaker 4 (35:50):
Possible?
Speaker 2 (35:52):
Yes, the boys to bugling. What was he doing?
Speaker 6 (36:07):
Cavener write in a letter?
Speaker 4 (36:10):
Why yes, Uncle el Nathan, I've been trying.
Speaker 2 (36:12):
To don't seem very successful at the end of that,
then all jose the bits and hardly lie him down?
Who too?
Speaker 4 (36:20):
No one's I I'm not gonna write it after all.
Speaker 2 (36:23):
Cab come here. You ain't stead thinking on that young
David's cell?
Speaker 1 (36:29):
Are you?
Speaker 6 (36:30):
Are?
Speaker 2 (36:30):
You?
Speaker 4 (36:31):
Would it be so terrible?
Speaker 2 (36:32):
No, not terrible, but well it ain't exactly right. Why
not do I have to ender that for your cambra?
Don't you know what?
Speaker 1 (36:41):
It doesn't bring?
Speaker 4 (36:41):
He's fat, he did nothing wrong, his father did it
wouldn't for it. He's up there in Steak prisons, an
old man hurt and seating because he did what he
thought was right.
Speaker 5 (36:52):
I can't help it.
Speaker 2 (36:55):
Oh right, Cam, he's all right, uncle.
Speaker 4 (37:02):
How do you go about getting a man at least
from prison you would want to do that? He killed
your father's campden. I guess it's the awfullest thing in
the world. Who's hated my father? I'm sorry I had
to hate him, but but he was mean. I saw
what he did to my mother.
Speaker 2 (37:35):
Oh uh, come in, Davis, thank you, thank you, Hey,
tell me you want to see me, wouldn't Yes, I
suppose you're wondering what it's all about. Well, but the
only thing I could figure is maybe I wasn't doing
so well as the gardener. Maybe you were sending me
there some other prison. Now, nothing like that, mister David.
(37:56):
You're free, free, that's right, Jade said, twenty years and
it's only nine. Underfore, there's your pardon from the governor.
I can go home at the spot. But it's got
me kind of stemps. Governor don't know me, and I
(38:16):
never had the honor meeting him. Well, perhaps you've got
some influential friends. No, no, no, no, I guess not
at least why it's not that I can remember being
on speaking terms with all. It all came pretty much
as a surprise to me too. But you can go
home home, I reckon. That'll be kind of nice, man,
(38:38):
Benji been writing, but it ain't like having your kinsfolk
cloak around. Now he's a mister Hanrah. All right, I'll
telegraph your wife you're coming. Thank you, sir, thank you, goodbye.
I'm good luck mister Davis, thank you, worden, thank you.
Speaker 4 (39:04):
When you up.
Speaker 2 (39:10):
It's mighty night, dear mor to have all the folks
over in the case I have your home past has
a real dom right sick?
Speaker 6 (39:18):
How do I look?
Speaker 2 (39:19):
Is I all right to go downstairs? Yeah? Let me
pick your tize.
Speaker 4 (39:24):
That's it.
Speaker 7 (39:25):
You can come down anytime you wander.
Speaker 2 (39:26):
Now we'll have Genom whenever you want. Well, don I
want to seek him now for the book where I.
Speaker 6 (39:37):
Closed the door?
Speaker 2 (39:40):
Well, I got something I want to show you what
Benky look Paul dog's collar, bugle hands color. That's right,
Paul huglelands collar, where's beginning? Where's now? Not to downfall down?
To be calm? You found bugle lands and your never
rode it too? Many now not take it easy, Paul,
(40:03):
Where was it? Where coping back to the timber? We
never found them until last setten bachelor Nah, No, couldn't
have been up there. Yes, she was called riding out
old rough the wire windbreaks down there, the shed caught
in the wire, strangled.
Speaker 1 (40:18):
Yes, How long has he been there? You couldn't tell, Paul,
hadn't been for the caller, and I wanted to have
known it was her. Maybe years she was there, maybe
a lot more than Jake Carrey never done that. Well,
maybe maybe bugiland run up there after he shot her,
or maybe I shot.
Speaker 2 (40:35):
Your foolish top roll. That ain't the whole story, Paul.
There was a time the first of June after you
went up there, when we heard of buglers in the
wood beyond heaven peet. She was alive then, yes, But
three nights ago, the night we heard you were coming home,
we heard her again, bau see nights to go we
(40:59):
heard Hugo. There was a time when I laughed my
head off that I've had plenty of time to think
these last four years. There was funny things in the
Civil War, boys my father told me about and that
there's been funny things over time. Now, I don't say
you heard bugle and the other nights, but you did
(41:21):
hear something mighty often. I thought I heard it clear
off and yesterday, three nights ago, you heard it? Yes,
not then, But there has been raining. There ain't no
rain to knights. Oh we listened to night Benji, you
and me and cal and baits like we used to.
I'll have my horn along and if I hear her voice, caller,
(41:43):
if I hear her voice, I'll call her home.
Speaker 1 (41:57):
Oh, tell me about a fire the behind foots?
Speaker 2 (42:01):
All right, don't let no bread go on the histe benders.
Speaker 5 (42:05):
What did you say?
Speaker 2 (42:05):
What will happen if your pompos that horney turn? Would
he comes back.
Speaker 1 (42:08):
Down to.
Speaker 2 (42:10):
The getting sweet call?
Speaker 4 (42:12):
Yeah?
Speaker 3 (42:12):
Getting sweet?
Speaker 2 (42:14):
But it's a bugle and the chanting?
Speaker 3 (42:19):
It can't it's beautiful.
Speaker 2 (42:22):
Oh listen, it's see.
Speaker 1 (42:23):
It's a hound and all or a hound, a bone
and a long tonge.
Speaker 2 (42:26):
No one strong ever had that kind of music in him, No.
Speaker 3 (42:33):
Petty, say spring, it's just the kind of an echo call.
Speaker 6 (42:37):
If he comes me as close to it, I'll blow
the bugle for.
Speaker 2 (42:40):
Hap hot that downs that down? Are you promised certain
that was her collar? Benji, I reckon, nobody but the
Lord's sina bones hop up out of the Organs night
not bring.
Speaker 3 (42:51):
You gotta get hold of your sick good hot.
Speaker 2 (42:55):
I read the most beautiful tune ever played in these foot.
Speaker 1 (42:58):
I ain't ashamed.
Speaker 2 (43:00):
Maybe you laugh when you've seen me bring this Google,
but I reckon did it'd come in handy. You go
ahead and come home, Carol. When she hears this, he'll
get what it's someone else, someone else is born to him.
(43:21):
I've never done it. I never gave no one else.
Leave the blow a head by where the call comes from?
Up on seven weeks? Okay, we'll find out where right now.
Come on there it is now the spire. There's a
home walking back and forth.
Speaker 3 (43:43):
That's it.
Speaker 2 (43:43):
That's the sound waiting. There's a girl there. He's looking
right at her. Jesus O home. It's Camden, Hampton, Come on, Cambden, Well,
what are you doing here? What did you brew them?
Speaker 4 (44:04):
Not?
Speaker 2 (44:04):
Yes?
Speaker 4 (44:05):
I did twice.
Speaker 2 (44:06):
That's how what hound is that? I raised it? But
it's got her voice.
Speaker 4 (44:13):
It got google Land boy, Yes I know I used
to hear.
Speaker 2 (44:17):
I tell you the Lord never made no two hound
voices alike, same kind of mouth and all he never did.
What is it all about, Kenny, This sounds he was hurt.
Speaker 4 (44:28):
Bingie. See you Gland's puppies. There were four more, but
only this little one had the real bugle mouth.
Speaker 2 (44:34):
You Bland. He never had no puff, mister.
Speaker 4 (44:38):
Davis, My father never killed Bugland.
Speaker 2 (44:40):
Oh we know that the boy found a skeleton over
there by back to Legion. They they heard her voice
in the woods. But I still say he never had
no puppies.
Speaker 4 (44:51):
That nice I drove out of the yard just like
I told him. Courts you Gland was coming past the gate.
I couldn't feel in time.
Speaker 5 (44:58):
I couldn't.
Speaker 4 (44:59):
It was an up for shot turment. I ran over.
I got out and picked her up. She wasn't dead,
and she didn't seem to blame me. I was afraid
to be trouble over her being hurt.
Speaker 2 (45:10):
Well, where where did this dog get her ruin?
Speaker 4 (45:13):
I took her up to Uncle el Nathan from Jackson
County after we heard what had happened. I didn't dare
tell the truth. It would have been worse for you
Ifjery knew that you Glenn wasn't really dead at all.
Cold Please, Kennon, I mess you glean, that's the health.
There were five pups, but oh this one was like her.
Speaker 2 (45:29):
What what happened to Bugln?
Speaker 4 (45:33):
She waited till they were wings, then she left one
night there was a moon. She wasn't strong enough to run,
but she did go away. We traced the fifteen miles
next day, then roster her for good. Likely she was
heading for home and she stuck a fox a new
folks heard her. We never knew she was dead for sure,
but we always thought she can killed trying to get
back home.
Speaker 2 (45:51):
Benny sat he heard her. Buglin three knives back, and
that was the dog here.
Speaker 4 (45:55):
I called out, thinking you might be in a timber.
Speaker 2 (45:58):
You knew they let me out of prison.
Speaker 4 (46:00):
But yeah, how you know, well, I just knew that's all.
Speaker 2 (46:04):
You ain't got propercy, No, no taking a sight. Hey
maybe maybe you're on speaking terms with the governor.
Speaker 5 (46:12):
No, I wouldn't caught that.
Speaker 2 (46:13):
But you had something to do with the toll. Why
playing as your nose speak, child?
Speaker 4 (46:18):
Oh my folks weren't terry.
Speaker 2 (46:20):
There was some Camden that right, they might accounted for something.
When considering the pardon.
Speaker 4 (46:26):
The Camden's mean something in the state. Why even yet,
some of them in the legislature, and the governor listens
to them when they when they want something. As much
as I wanted you to be free, you did it,
didn't you.
Speaker 2 (46:36):
Oh?
Speaker 4 (46:36):
I just did what I could. I told him about
mister Davis.
Speaker 2 (46:40):
Thank you, Miss Camden. Oh please, this little hound here,
he's kind of taking to me. I think, look at
that snipping around. Well, I reckon you two young sticks
had things to talk over.
Speaker 4 (46:57):
I have them, not now.
Speaker 2 (47:00):
But it's going to be all right, isn't it if
you want them to? Sure, he does been mooning around
every since you left. His mother tells me, well, rate,
mister David, I brought the dog for you.
Speaker 4 (47:13):
I got you to have her for me.
Speaker 2 (47:15):
That's mighty nicely.
Speaker 4 (47:18):
I changed it the horn just the same as your graamds.
Speaker 2 (47:21):
Well what do you call her, little lady?
Speaker 1 (47:24):
Little lady?
Speaker 2 (47:28):
Well, you've got quite a mouse, little lady, and spotted
just the same as you. More he's got the same horse. Yeah,
and it's going to sound mighty per day, come and
clear across the hills. M day, pretty little lady.
Speaker 5 (47:44):
Our player.
Speaker 1 (48:02):
The Voice of Bogaland with Lionel Baramore or Spring Davis
has ended but in a moment you'll hear him again
as Lionel Barrmore. When I came to Hollywood in nineteen seventeen,
the first man who asked me for a job with
a cowboy extra. I still have the notebook in which
I wrote his name, hal Roach. Beside it is the salary.
He asked for five dollars a day, and beside that's
(48:24):
my notation too much.
Speaker 2 (48:28):
I hired others for three dollars a day, and thereby
did hal Roach a favorite.
Speaker 1 (48:32):
He went out and started his own studio, making comedies
featuring another unknown extra named Harold Lloyd. In time, he
started the Hour Gang series, and the Motion picture industry
now awards him the law for producing more comedies than
anybody else in Hollywood. Wait a minute, Stevie, if they're
going to mention Laura, you've got to mention Harty, mister Hawach,
(48:53):
Ladies and gentlemen, who insists that among his laos is Hardy,
and many other great comedians, including BB Daniel, whom I
stole from him.
Speaker 2 (49:06):
PCD.
Speaker 1 (49:06):
I'm as nervous tonight as a cowboy will ask you
for a job.
Speaker 3 (49:10):
Why nervous?
Speaker 1 (49:10):
You've graduated from cowboy to polar player. Don't blame that
on me.
Speaker 4 (49:14):
My heart is full. Can I help it?
Speaker 2 (49:16):
If he was ambitious, he.
Speaker 1 (49:18):
Was more ambitious than some of the horses that run
at your founder Anita Racetrack. You'll fix many winners for films.
You've developed the most famous group of youngsters in the world,
our gang. But your greatest achievement was changing the custard
pie from a harmless dessert to a deadly weapon. But
you had developed the most famous character in Hollywood, which
(49:39):
one a yes man.
Speaker 2 (49:42):
Never heard of him. Yes, mister be Mills, where do
you get your child actors?
Speaker 1 (49:51):
When I went through raising those kids, At first, I
couldn't get actors for our gang. People didn't want their
children in films, and the slogan in Hollywood was mother's
hide your children.
Speaker 2 (49:58):
Here comes how Rod.
Speaker 1 (50:00):
But now after seventeen years, the situations were based and
the slogan in this video is hight Halbot, here come
to mothers.
Speaker 2 (50:08):
Now, you've created a lot of.
Speaker 1 (50:10):
Laughter in those years, and millions of people have relived
their childhood seeing those comedies on the screen. You're more
than a great showman. How you make people laugh and
forget their trouble? I can say the same thing for
uc B Bonna had the greatest show on there. If
you've got the greatest show on the air, all a
listening every Monday night. But before leaving, I like to
answered question asked by countless of fans, who is going
(50:31):
to play opposite Patty Kelly? Since the untimely passing of
that great comedian Selmata. I think her successor is one
sum would have chosen itself, Leader of a Bertha. Come on,
hold on, god boy, few people know that, besides his
achievements on the stage, screen and radio, the star of
tonight's production is an etcher, pianists and composer of distinctibility,
(50:54):
Hollywood's most civilized access lve of Alma.
Speaker 2 (51:03):
Oh, thanks very much for the bouquet.
Speaker 6 (51:05):
Ceb.
Speaker 2 (51:06):
There's one flower I left out of us.
Speaker 1 (51:08):
We all know you're a great actor, but few of
us know that two invented one of our most important mechanisms,
the moveable microphone.
Speaker 2 (51:15):
Well, somebody had to do something, you see, ladies and gentlemen,
And in the old talkie days, microphones were stationary. They
were concealed in places like bookstands and floor land, and
it was pretty embarrassing for a player to walk over
to a vase and say, darling, I love you. So
I put it around with a few wires and screws,
(51:37):
and gave.
Speaker 1 (51:37):
Us an instrument which follows the player and picks up
everywhord naturalist, I hope you remember the patterner. You know,
Edison forgot to pattern all the rights of the Mertion
picture machine that little love us. I'd cost them many millions.
But if it hadn't been to that invention, I wonder where.
Speaker 2 (51:52):
You and I be right now. Well, you'd probably be
writing and directing plays, and I might be a commercial editor.
Speaker 1 (52:00):
Remember you once deserted the footlights and surn painters, but
the paint didn't stick.
Speaker 2 (52:05):
Now you're an actor. I'm the son of an actor,
I guess, so blood must be thicker than watercolors. I'm
looking forward to seeing up a trail of Andrew Jackson
in our next picture, in your next picture of that
god just having It's going to be quite a change
to see you without, because well, I've been wearing beds
in this deck is so long I'd almost forgotten how
(52:27):
I look myself. It's a real relief to be able
to wash my face again with luxile looks. Why you
can't turn around in Hollywood without running into that soap.
In one picture, I'm normal Sheery's father and she uses it,
and then I'm some other girl's uncle and she uses it.
And now I come over here and there's a broadcast
about it with even Man Sureley, who played in tonight's show,
(52:50):
uses it.
Speaker 4 (52:50):
I certainly do, mister Bamo. My complex is no better friend.
Speaker 1 (52:53):
Than looks trail it.
Speaker 2 (52:54):
So you see, that's all I hear. Look, Look, look,
and why do you look? Because I like It's two
od night, Good night, mister.
Speaker 1 (53:05):
Baronmon, Miss Kelly, and many thanks.
Speaker 2 (53:07):
Mister Baramon.
Speaker 1 (53:07):
Appeared to courtesy of Metric over Mayor and Shirley R. Koe,
Louis Silver's twentieth Century Fox and Secer b The Mill
and Porter Hall Peamount and here is mister de Mill
with word of next week's play. The lux Radio Theater
stars Marion Davies and Joah McCrae in the story of
a tempestuous waste, the Bratt.
Speaker 2 (53:27):
It's the exceptional entertainment We've chosen for.
Speaker 1 (53:29):
You, with one of Hollywood's brightest stars in one of
Broadway's most brilliant successors.
Speaker 2 (53:36):
This is the Columbia Broadcasting System
Hollywood, California, Monday, July sixth, the Lux Radio Theater presents
Lionel Baramore in the voice of Hugiland.
Speaker 2 (00:18):
With Porter Hall and Anne Shirley.
Speaker 1 (00:27):
LUTs Present Hollywood with Lionel Barrymore and Shirley hal Rope.
That will be the Mill, Ruth Waterberry and many others
brought to us by the makers of Luck, toilet stop,
the beauty care used by nine out of ten Green Stars,
and by so many attractive women everywhere. We also saluted
did sing with audience with us Tonight, I see Eileen Tringles, Holistone.
Speaker 2 (00:50):
And Kerry Grass. Welcome to the Luck Radio Theater.
Speaker 1 (01:01):
As producer of the Much Radio Theater, we'd present one
of the most distinctive person who visit the entertainment worlds.
Producer of great screen spectable, great of stars. His name
is known wherever most pictures are seen. Ladies and Gentlemen,
Cecil P. T. Mill Readings from Hollywood, Ladies and Gentlemen.
(01:25):
The history of the American Theater should be read by
gas lights rose. It was by gas light that its
most colorful chapters were written. A popular song of the
day with two little Girls in blue horsecars were running
on Broadway. Sherry's was the place to eat after the theater.
Handsome cabs scurried through Central Park. The fashionable figure was
the hourglass.
Speaker 3 (01:44):
Fillowett and Maye Paramou.
Speaker 1 (01:47):
The most popular matinee idol of his day was making the.
Speaker 2 (01:50):
Gay nineties Gaya.
Speaker 1 (01:52):
Among his contributions to the general uproar were three children, Lionel,
Ethel and John. All three turned out to be had
at extremely versatiltis. But it seems that in everything I've done,
Lionel has preceded me. We were the thoroughly unknown sons
of famous parents. But when I went on the stage,
Lionel was already there.
Speaker 3 (02:12):
When I started making.
Speaker 1 (02:13):
Pictures in nineteen thirteen, he had been in the movies
four years.
Speaker 4 (02:17):
When the screen.
Speaker 2 (02:17):
Switched from talkies.
Speaker 1 (02:19):
He directed the first all color talking and singing film,
The Rogue Song, starring Lawrence Sibbett. And when I came
on the air, he was already so well identified with
radio that people were calling him Mike. But at last
I have Lionel exactly where I want him, and the
then production. The production is the voice of gilgal Land
by McKinley Cantor. And here is our star, Lionel Barraba.
(02:54):
The chief sport of Missouri farmers is fox hunting. Night
after night. They gather in groups and let their hounds
root on the trail far on there.
Speaker 2 (03:03):
They know each hound's voice.
Speaker 1 (03:05):
They know when the scent is hot, and when the
fox has doubled on his trail. They sit by friendly
fires before and after the shade. There's such a fire
burning now and tiring caught it through heavy underbrush we
see the shadowy figures of spring.
Speaker 2 (03:19):
David, a grizzled old.
Speaker 1 (03:21):
Farmer played by Lionel Barrymar and his son Benji.
Speaker 2 (03:29):
And I hope you Paul, No, no, no, I don't
need no help. You just take care of yourself. Done.
I can hear the hands coming this way. That's the
fire right up there, yell if I can see.
Speaker 1 (03:39):
Old Carol Royce the saying enough fire and Bay he's
some other fellow.
Speaker 5 (03:43):
Oh there you strange?
Speaker 2 (03:45):
Yeah, me and.
Speaker 1 (03:46):
Benji, well come on, you missing the whole thing?
Speaker 2 (03:49):
Oh God, here face as we could care.
Speaker 6 (03:51):
What hells you that Morley picks your hand in mine.
Speaker 2 (03:54):
She's going to have a liver. Evening, Bay, even with David,
even Benji.
Speaker 3 (03:58):
Evening than this year. Gentleman over here is mister Tanner.
He's from the city. There's in shance.
Speaker 2 (04:04):
Even then, how do you do come up to listen
to the hound? Why? Yes, mister Roy, Sir cal here
was talking so much about it this afternoon. I asked
if I might come along. I'm glad to have here.
That is my son Benji. How do you do?
Speaker 3 (04:16):
Don't not look on the fire day? Been here going out?
Speaker 2 (04:20):
Listen, they're over the ridge Heaven Creek. Now the hounds
are gaming. How can you tell that? Oh, it's in
their voice. You can tell just what's happening if you
listen to him. Yes, but just where is the sport?
I've heard of riding the hounds? And I can appreciate that.
We don't ride. No, Oh is a where funny cats?
Mister Tanner? We just raid hounds and train him for
(04:41):
the hunt. Well, I should think there wouldn't be any
fox's left in this part of the country, killing so many. Oh,
we never kills klos no one, no, no, he holds
up when he gets tired and the hounds come home.
You mean the fox will run again another night. Don't
they ever learn anything from experience? They learn when they
run again, night after night, year after y's a year after?
(05:05):
Do you do this all night and every night?
Speaker 6 (05:08):
Oh?
Speaker 2 (05:09):
Not every night? No, Sometimes it's rained, or sometimes it's
your drapersize, sometimes whether it's you drive, or sometimes we
get long damp there, yeah too damp. No, mister Tanner,
we don't come out every night, but calling me ain't
missed many good nights the last fifty years. Well, considering
how it's pretty damp out here, it might be a
good idea to take out some health.
Speaker 1 (05:29):
In short, i'll cry coming on rain spring. Yeah, no
hunting tomorrow night. I don't care about that inshortance.
Speaker 2 (05:37):
Someone come up the hill, pak me, it's mother, Paul?
Speaker 7 (05:40):
What then marrow they come home park Mary kick is
racles near.
Speaker 2 (05:45):
He ain't got to know. Well, I guess the little
is boud. Dude, she crying, you know it's restless. Well
i'll go. If you stay here, benjigle, the fox is hold,
then you bring the pack home for my Paul. Come along,
we'll head for the house. Well, Paul, I guess it
(06:12):
ain't no use steed. Molly was, but she was always
a timid little thing. And the lightning and thunder and
being a mother was just too much.
Speaker 7 (06:25):
I guess those spring too bad?
Speaker 2 (06:28):
Yeah, too bad, I did. Oh here they are five
of 'em. Let me see you.
Speaker 6 (06:35):
They ain't say yeah.
Speaker 2 (06:37):
But they demand a pretty big price sometimes for coming
into this.
Speaker 7 (06:41):
Dear world, which ain't saying nothing about the trouble raising.
Speaker 2 (06:44):
Them on a bottle everything is. Oh, I hadn't done
it before.
Speaker 7 (06:48):
Look at that, and there see the mouth run spring,
no spring saw they've let her die? Anything more?
Speaker 2 (06:56):
Oh, no, no more. I wouldn't do that after all, Molly,
or to give her life or this is the last
of the lizard now much look at No, she ain't.
But that white blaze on that forehead there, that's kind
of pretty, don't you think? You see the way it
comes around the year is all right?
Speaker 6 (07:15):
All right?
Speaker 2 (07:15):
Now you'll be getting something to eating in a minute
or two. You know, my I kind of took you
this one. I think our name her Anne after a
great great grandmother, Lady Anne. So that was a beautiful voice, maw,
remember lady. And maybe this one will have a beautiful
voice too.
Speaker 3 (07:41):
For another stick on the fireway.
Speaker 1 (07:43):
I'm their older.
Speaker 2 (07:46):
Written tell there never has been a sound like that
in Heaven's Creek count it'll have little puff come along.
It's a stranger sound I ever heard. He well, that's
why I asked you to come here night, mister Tanner,
that this is the first hunt you will here the
night she was born. That makes me kind of feel
like her uncle he is. Just about a year ago
(08:07):
it was I called a lady in man, Lady Anne,
that is jul I heard her voice, a Swedish voice
in the world. He in talk like a bugle and
you're Renamber. Yeah, yeah, she's bugle. And now from bugle
and the kid again fat heading the pack. There never
has been a tune like that. And then he throws
(08:27):
in Missouri and there won't be any more like her
when he's gone.
Speaker 3 (08:31):
And you just from foolish over that animal.
Speaker 2 (08:34):
Well, wouldn't it be waited a long time to have
her hound like that? He is sure I should think
it could work. It well, he said, it's a matter
of breeding good hounds and understanding him and kind of
well being fond of him.
Speaker 1 (08:48):
Now he turns, yeah, ringing up past the old Camden place. Yeah,
I guess someone's moved into the old house that ain't his.
Speaker 6 (08:56):
And I haven't I been means to speak about it.
Speaker 2 (08:58):
Yeah, babe, if some of the came is that's moving
in up there, they're coming back home. The Camdens was
great hound people in their day. That's twenty thirty years ago.
Speaker 3 (09:07):
Yeah.
Speaker 2 (09:07):
But this is the son of all the old Cambon's
and his name is Terry, and he real sheep sheep
that means a fan. Jerry ANSWER's father was at the
rumber yarden.
Speaker 6 (09:15):
This solitary was there.
Speaker 2 (09:17):
He was ordering posting why why? What kind of why? Who?
Speaker 6 (09:21):
Why?
Speaker 2 (09:21):
Ok?
Speaker 6 (09:21):
Time will strong and how time?
Speaker 3 (09:23):
I remember this Jacob Terry.
Speaker 2 (09:25):
Sure enough he married at least Camden. I hear she
died up in Jackson Carroll. They're leaving one daughter. It
seems to me the door's first name was Camden Well.
Speaker 3 (09:36):
I wouldn't call this Jacob Terry a pleasant man. Hed
he once quipped the heart with a hunker hickory.
Speaker 2 (09:41):
Oh, you can't condemn man, and what you hear? Any
man can be reasoned with him, and then that day
we can reason with him about this family.
Speaker 3 (09:48):
Why the objector Terry.
Speaker 2 (09:49):
Having a fence, Mister David Well in the first place,
the fox hate such fans. See he lively shy off
and leaves the country because of it. But some fox
is you like it? And that's even worse because a
hound runs about fifteen miles an hour and he hits
the wold wire fence in the jar. Now, the fox
is little. He's got through without choking to death. But
(10:12):
the hound, he's likely to get hurt. If you can't
take good hot and cuppes. Whether they put fences, of course,
the fox en no, I reckon, we better make a
visit on this. Yeah, they carry tomorrow. Nobody's ever put
up such a fence in these buds. He's Google and
against Dave old against. I better call it back, pall. Yeah,
he hand me my horn, Benji Google? Will they come
(10:35):
from me? And there's nobody in the world. God leaves
to call Google and step me? And where are you, hip?
Speaker 4 (10:52):
Father? Getting some more at the pump?
Speaker 2 (10:54):
Oh, hurry up. There's a lot of work to be
done around the house this morning.
Speaker 4 (10:57):
Yes, father, I want to help me without the fence. Father,
I was going to speak to you about that must
be put up a stand. All the people around you
do a lot of hunting.
Speaker 2 (11:06):
I know, I heard them all last night. There'll be
no hounds running over my property.
Speaker 1 (11:10):
We're going to race sheep.
Speaker 4 (11:12):
I love the sound of hounds, it's really beautiful.
Speaker 2 (11:14):
Rubbish, I can't stand the sound of them, the sight
of a fool.
Speaker 1 (11:18):
And make a fu over them.
Speaker 4 (11:19):
Oh but it's just a Game's father. I've often heard
mother tell how they used to sit around the bonfire
at night, right out there on the ridge.
Speaker 6 (11:25):
Than your blood too.
Speaker 2 (11:26):
I guess my mother was more interested in dogs than
she wasn't me.
Speaker 6 (11:31):
You're her daughter?
Speaker 4 (11:32):
All right, please, father, let's not call.
Speaker 6 (11:34):
Oh, get on with your work. I've got better things
to do and argue with you.
Speaker 2 (11:41):
Good morning, you're miss Campden. I reckon, yes, but I'm
singing to you, David. This is my son Benjie, and
this is cal and Bake Royster. We neighbors, Miss Camdon.
We'd like a word with your father.
Speaker 1 (11:56):
Well, what is it about relis? It's just that we
wanted to stuffle matter with him.
Speaker 2 (12:00):
Oh, oh always people Cameron.
Speaker 4 (12:03):
They want to kick your father.
Speaker 2 (12:06):
What do you want, Miss Terry?
Speaker 6 (12:08):
We heard you was going to put up a wold wire.
Speaker 2 (12:10):
Fence around your land. Well, well a hound can't get
through that kind of fence, Miss Terry, Shore he gets hurt.
They got to hurt will be their own fault. I'm
going to build a fence hog fight boost wrong on
horse side to keep pounds out. Nobody has ever put
up that fence in these first Mine will be the
first stamp, and if any hounds do happen to get through,
(12:32):
I'll shoot them down. Well, now, I reckon nobody who
is married to Camden that I'll do what I like
iss my property. Saw that, don't I told you to
keep quiet.
Speaker 1 (12:41):
You pick up that bucket and take it in the house.
Speaker 2 (12:43):
Yes, let me help you the stamp.
Speaker 6 (12:45):
You don't need your help.
Speaker 1 (12:46):
You put on a buckets pumb only trying to help.
You heard what I said?
Speaker 2 (12:48):
You don't say it? Put it down, Benji. We're going
now as sooner you get out, the better. And there's
something else you better understand before you're clear off a hound.
It's the only thing that's going to get hurt if
it I'm sneaking around my property. There ain't nobody going
to get hurt. Miss Terry Pleaz, you say two.
Speaker 1 (13:18):
You're in the Lux Radio Theater on Hollywood Boulevard. Our
play the Voice of bugal.
Speaker 2 (13:23):
Lands, our star Lionel Barrama. We shall resume the play
in just a moment.
Speaker 1 (13:35):
Now we take you on a quick tour of Hollywood
sight teaing, But just do a tremendous business here in
the world's great movie capital. Picture yourself on one of
these buses now going down Hollywood Boulevard. Don't miss anything.
Here's the tour conductor honor.
Speaker 2 (13:47):
Of Hollywood, full of all lands.
Speaker 6 (13:49):
Fine ladies and gentlemen, host famous Innsterfective in Hollywood. A
few doors to your right.
Speaker 1 (13:55):
Down by its a popular brown ry restaurants.
Speaker 6 (14:00):
Ow raise the head on your right.
Speaker 1 (14:02):
The Luck Radio Theater, the most famous radio theater in
the world.
Speaker 8 (14:08):
Well, when you look at the Luck Radio Theater, fine,
you know I always thought it was an imaginary face,
am Am, it's real.
Speaker 4 (14:16):
Mother, I knew there. It's the paper wonderful Luck crazy
broadcast frost. Remember after I heard the first one.
Speaker 7 (14:21):
I began to use that Luck toilet soap.
Speaker 8 (14:23):
Yes, I still remember now ss to me, your complexion
looks much nicer since you start it usy.
Speaker 4 (14:29):
Well, if you can believe Zille does see, there's my
complexion elegence.
Speaker 2 (14:33):
Oh we are turning at the dollars. Three ladies and gentlemen.
Speaker 6 (14:36):
We see the home of a famous r KO radio studio,
and as we.
Speaker 1 (14:44):
Too bad our bus can't stop, we'd be bound to
take you inside those famous studios. Or we could show
you Luck Toilet Soap in every dressing room step there.
Because RKO radio girls and famous Arkaeo radio stars like
Irene Dunn and Ginger Rogers prefer this jemle soope just
like you. They want to keep their skin lovely, free food, dullness,
tiny blemishes and enlarging poors that mean cosmetic skins. Luck
(15:07):
toilet soape guards against this danger because it's active lather
removes dust and dirt, stale, rouge and powder thoroughly.
Speaker 2 (15:14):
We know you like the way Luck's toilet soape keeps
your skins fire.
Speaker 1 (15:24):
Now we return you to settle lead the mills. We
continue with the voice of google Land, starring Lion of Barama.
Speaker 2 (15:39):
Several weeks later.
Speaker 1 (15:41):
Benjie and Camden have been seeing each other almost every night.
They stand together now by the rail of a rustic bridge,
gazing into the stream below. It's beautiful, isn't it Dangers, Yes,
it is, but I guess you kind of make get
small beautiful candies.
Speaker 4 (16:01):
That's nice to hear the.
Speaker 2 (16:03):
Story isn't hard to say. You're Paul putting to night
mm ring is singing too.
Speaker 4 (16:08):
The same will be fairly free.
Speaker 2 (16:09):
I guess hum your dogs like an old time a
Candon must be in the blood.
Speaker 4 (16:14):
I guess it is. You know, I may awake nights
listening to the dogs, or I've got so I know
their voices. When I hear hugi am, I just go
cold all over.
Speaker 2 (16:23):
She has the sweetest mouth that ever was in Missouri
in the world, Benji, which you can make your father
fear that ring?
Speaker 1 (16:29):
Oh?
Speaker 4 (16:29):
I guess he really does seep down. I'm sorry, doesn't
treat you bit of bench. He sea could come right
up to the house to see me. I don't like
you're sneaking around behind his sady.
Speaker 2 (16:37):
I got it to you somehow.
Speaker 4 (16:39):
Oh, you've done your best enjy oh, No, it isn't
at father's moon. Really, he's just unhappy.
Speaker 2 (16:45):
I'm sorry you are caned, not when I'm with you, Candon, Honey,
what are we gonna do?
Speaker 4 (16:52):
I don't know, Benji, it's allful, that's ray. It's also
I know looting.
Speaker 6 (17:00):
They're heading over toward your place.
Speaker 2 (17:02):
I hope they have sent Leo keep away from that.
Speaker 4 (17:03):
Why, Fanny, I think I've got to go find Paul.
Speaker 1 (17:06):
I take the Landau to get thready. Really won't be
responsible for anything.
Speaker 4 (17:09):
Sendy, I'm worried.
Speaker 1 (17:10):
Popular Come on, you can find me back to the
car in your place.
Speaker 2 (17:13):
I'll walk on from there. Send you.
Speaker 4 (17:14):
Won't let there be any trouble with you, not.
Speaker 1 (17:16):
If I can help it, Honey, I don't want anything
else because to come between.
Speaker 4 (17:22):
Oh Benjie Darling.
Speaker 2 (17:39):
Thanks Cammon, I'll feed you them all.
Speaker 5 (17:41):
Right, thank you?
Speaker 1 (17:41):
What is this?
Speaker 4 (17:42):
Look over there by? The thinks those men?
Speaker 6 (17:44):
It's Paul, come deapis.
Speaker 2 (17:46):
Come on, I'm telling you once for all Spring Davis,
get out of my pasture and get out now. You
can put that gun down. Miss Terry, don't scare us
at all.
Speaker 6 (17:57):
I come in.
Speaker 2 (17:57):
Here to my home. I'll let it here. It was.
Speaker 1 (18:00):
It's got no posess among my sheep.
Speaker 2 (18:01):
It's bugle and he wouldn't hurt nothing. But she's still small.
She should come to your fence when the buck brings
her his Yeah, we'll get this straight, old boy.
Speaker 1 (18:12):
I'm going to raise sheep and I don't share a hang.
Speaker 2 (18:15):
For all the hounds in Masury, you kick yours off
my land, or I get a dose number ten shot
behind the f the melopaul. Something's happened to Bugle and
I can't find it. You can get out of.
Speaker 1 (18:24):
Here, too, Benjy Davids.
Speaker 2 (18:25):
There's more than just hounds.
Speaker 6 (18:26):
Give me a eve.
Speaker 1 (18:27):
And you know what I mean is you're talking about
ten and mister Terry, I am if you know what
good wyu you'll stay away from her.
Speaker 2 (18:34):
Listen to that, you, mister Terry. I'm glad for both versus.
Buglends out there running safe and sounds.
Speaker 1 (18:44):
It's a good thing for you.
Speaker 2 (18:45):
She's out there and not in here. Fuck hounds and
Davis's they're all the same breeze. And I'll kill any
curve that's kept on this grass. See Terry, if you
shoe the Davis hound, blow you clean the glory? Mind
Benji have.
Speaker 4 (19:08):
Father, what do you want? It isn't all therefore it
would thing on my property.
Speaker 2 (19:12):
I know.
Speaker 4 (19:12):
But Sabby, you could put up a fad. It would
keep your beginner not hurt their door.
Speaker 1 (19:15):
Oh you're tighting with them.
Speaker 4 (19:17):
No, no, father, I'm not your mother.
Speaker 1 (19:19):
Always hide it against me with our people.
Speaker 4 (19:21):
Oh, but you're so unreasonable. Those folks don't want any
trouble or they'd like to be friendly with you.
Speaker 2 (19:26):
Oh, I see, so they're already your friends.
Speaker 4 (19:30):
Sometimes I don't understand your father.
Speaker 1 (19:32):
Where were you to night?
Speaker 4 (19:33):
I was out in the car.
Speaker 1 (19:34):
You said you were going to go a picture shop.
Speaker 4 (19:36):
I changed my mind.
Speaker 6 (19:36):
It was still warm.
Speaker 2 (19:37):
You lie.
Speaker 1 (19:37):
I mean you got one of the lot of gag
with a no account.
Speaker 2 (19:39):
Lady, Papa, stop it.
Speaker 4 (19:40):
I won't let you talk that way about Benji Javis.
Speaker 6 (19:42):
I said I didn't want you to see any more
of him.
Speaker 4 (19:44):
Oh listen, father, didn't you ever love mother a little?
Speaker 2 (19:48):
Even in the beginning trying.
Speaker 1 (19:50):
To get around me? I told you to say away
from him.
Speaker 4 (19:51):
You've got no right to say it. I've got to
see Benji.
Speaker 2 (19:53):
You're not right to me again, not just obay. I
love him?
Speaker 4 (19:56):
And what do you say or do at me?
Speaker 2 (20:00):
Maybe I will make come to.
Speaker 4 (20:03):
That's the last time you ever strike my father.
Speaker 2 (20:05):
I think apportunate the last do as I say, I'm
leaving your father.
Speaker 4 (20:10):
I'm leaving you tonight.
Speaker 2 (20:23):
Where you're going tuh Nicole and Jake Terry.
Speaker 7 (20:27):
But that's John Ingram, take a John spring you Glenn
King to d you hear yourself up?
Speaker 2 (20:33):
I pay faster.
Speaker 6 (20:35):
That was earlier.
Speaker 4 (20:36):
Ma.
Speaker 2 (20:36):
I called her all last night, but she didn't come
to me.
Speaker 7 (20:39):
You think, do you think Terry's shorter?
Speaker 2 (20:42):
I ain't sure, Ma, but me and call and Benjie
is going up that way this morning. Look for her.
And if she's there, spring out with you one more
you get.
Speaker 4 (20:52):
Leave it to me.
Speaker 2 (20:52):
I know what I'm doing, don'kay any time of a spring.
Speaker 6 (21:02):
He isn't here, that's your paw.
Speaker 1 (21:04):
Come on, let's go home.
Speaker 2 (21:05):
He ain't here, but she might be buried here right?
Speaker 6 (21:09):
What do you mean?
Speaker 2 (21:10):
Puh? You remember call? How bigle hand caught her foot
in that rat trap before she was weaned.
Speaker 3 (21:17):
Sure, sure everybody knows that. But one gone tone never bothers.
Speaker 2 (21:21):
H Her track was always playing. Tell I've been looking
for her track up here and there it is, oh
right there in the mud. You see it?
Speaker 3 (21:33):
Tells plain sting.
Speaker 2 (21:36):
I reckon that it's standing coat, just like fingerprints in sex.
He passed here on her way home, and Jake carry shudder. Wait, wait, Paul,
get out of my way. Son, come back here, Paw.
I want to see Jake carry. Wait, you don't know
what they're doing.
Speaker 4 (21:51):
Let me go.
Speaker 2 (21:52):
He killed bugle Land.
Speaker 1 (21:53):
What's a tad?
Speaker 2 (21:54):
I hastey, Paul hasty, I'm looking for rats in my granary.
I don't sit down and wait for him.
Speaker 3 (22:00):
Give me that gun string?
Speaker 4 (22:01):
There you go.
Speaker 2 (22:02):
You never read gilgi Land, did you? He was mine?
Speaker 3 (22:05):
There's Terry on the porch. He's got a gun too, screens.
Speaker 6 (22:09):
I told yourself my face, ring David, what did you
do with it?
Speaker 2 (22:13):
Terry? What did you do with Bidland? I hear you,
old devil. You better end to me. I never killed
got a dunny hound.
Speaker 6 (22:20):
But I'll put some funds under you. You don't get
out of here forgot.
Speaker 2 (22:26):
I reckon it?
Speaker 6 (22:27):
Did Terry? You are under all to tell the truth.
You'll know that, yes, sir, and please tell the jewelry.
Help why the defenders object of your father?
Speaker 1 (22:43):
And build the offense because.
Speaker 4 (22:44):
It in to see it with his fox hunting.
Speaker 6 (22:46):
Where were you in the evening pre seating your father's death.
Speaker 4 (22:49):
I was out riding with yas when you returned to
your house.
Speaker 6 (22:53):
What happened?
Speaker 4 (22:54):
We still mean by the side of the house.
Speaker 6 (22:55):
Spring Davis and Calhoun's wife.
Speaker 1 (22:58):
Yes, and Spring Davis, Paul would your father didn't need
the terry?
Speaker 4 (23:02):
Yes? And after they left I tried the speech of father.
We had an argument and then he slightly got you,
just once, not very hard.
Speaker 6 (23:11):
What was the argument about, Miss Terry?
Speaker 4 (23:13):
About Benjie?
Speaker 6 (23:15):
He objected to you are going out with him? And
the argument was not about dogs.
Speaker 4 (23:19):
Well, that's what started it, and I happened. Then I
packed my cousin took the car. He was my car,
and he didn't stop me because he knew my aunt
and actually given it to me. After Uncle Luke died, well,
I was angry. I didn't want to stay there. I
drove away well to my uncle el Nathan's state up north.
It was two days before I heard of my.
Speaker 1 (23:37):
Father's nare Miss Terry are yourself friendly with a defendant's son?
Speaker 4 (23:41):
We haven't service desperate to him.
Speaker 1 (23:43):
One more Questionmtary, did your father kill the defendants dogs?
Speaker 4 (23:49):
I left? I wasn't there.
Speaker 6 (23:51):
That's amitary how mister Davis told me of it. You
never found the party of a dog dijoke.
Speaker 2 (24:06):
No, sir, we never found her.
Speaker 1 (24:08):
And it's true that you and your friends after the
killing might have been tempted to.
Speaker 6 (24:12):
Talk to the premasy part.
Speaker 2 (24:13):
Well, we knew she'd been there. I couldn't mistake her
footprint because she was one cold shie.
Speaker 1 (24:19):
Never mind that you went over mister Turispans into his
shot arms, didn't you.
Speaker 2 (24:23):
That's kurry.
Speaker 6 (24:24):
You were prepared to kill.
Speaker 2 (24:26):
You after the question, mister Davis, I told Jay Terry
if he harmed you and there'd be trouble, do you.
Speaker 6 (24:35):
Either kill me? You were prepared to kill a man
because of a dog?
Speaker 2 (24:37):
Lord, how ways and minute? I guess you never owned
the answer my question? Well, I am answering it. It
kind of answers itself. Anybody that ever owned the hounds
and loved it the way I did google Land. It
wasn't because google Land had the sweetest mouth in the world.
And it wasn't because I raised it from the popping
(25:00):
bred to the horn. If he didn't have no more
voicing a frog either felt the same way about her
or any other hound of mine. Jaig, you may remember
what Senator vest said about a dog I reckon you do.
He was a lawyer, and he said what he had
to say in colts same as I'm talking. He could
(25:21):
talk a whole lot better than I can. What he
said was it the best friend a man has in
this world may turn again him his son or his
daughter that he's rigs the best way he knows how
may turn again him. The people who wore on and
(25:41):
cheer when everything's going good will be the first one
to heave a rock at him when he's down. The
one absolutely unsealthy friend that a man can have, the
one that never deserts him, the one that never proved
ungrateful attractor, is his dog. Yes, a man's dog stands
(26:05):
by him, rich, a poor, sick her. Well, he'll sleep
on the cold ground, with the wind blowing and the
snow driving. Don't make no difference to him, so long
as he's there by his master's tide. He'll kiss the
hand and ain't got no food to give him. He'll
guard the sleep of a pauper as if he was.
(26:28):
And when all other friends desert he's sticks he He
fortune drives a master and an outcast into the world,
friendless and homeless. The faithful dog don't ask nothing more
than than just to be with him and guard him
begin any danger, so that he can. And when the
(26:48):
last scene of all comes and he's laid away in
the cold ground, no matter if all his other friends
go on their way, thereby his grave, you'll find the dog,
his head between his poles, and his eyes sad but
open and watching, faithful and true right down to the
(27:10):
very end.
Speaker 1 (27:11):
Hm.
Speaker 2 (27:12):
Yes, oh, I see it more than one. I'd kill
a man if he killed a friend of mine without
no reason, And the hound there's as much a friend
as any man, except he ain't got none of a
man's pose. Yes, I ain't denying, and I killed Jake
Jilly because he kills Bugland. I didn't want to do it.
(27:35):
Judge just had just if the jury considered a verdict,
you have you find the defense of Jill? Sat down?
(27:58):
Tell sat down? He tells, ain't much look at it.
I get the best they can do here. They're going
to give me my sentence this morning.
Speaker 3 (28:07):
That's why I come.
Speaker 2 (28:09):
Yeah. Well now there's no use grieving about it, cal reckon.
There's nothing else the jury could do, seeing as I
killed him and didn't deny it.
Speaker 1 (28:17):
No, or they might have taken into account how you
would provoked He killed you land in nickname, and he
would have killed you too if you hadn't given him
the death shot person.
Speaker 2 (28:25):
He said, well, I don't worry about me, Cal, He
ain't going to be so bad that there in yesterday.
A lot of men stand it, and they ain't no
tougher than me. I'm sorry for more on Benzi, though,
you'll do what you send for him, cal You know,
I tell Benzi that Camden's really a fine girl, and
I hope maybe some day it'll work out for him.
(28:48):
He's much worse for them two young ones than it
is for me, you know, Carol, I ain't done much
reading lately, and this will give me a sort of
chance to catch up.
Speaker 3 (28:57):
Why, I'll send you the Red Ranger and the front
of on three.
Speaker 2 (29:01):
Now that's mighty fine, any cow, bring n on our shaw,
don't feel bad? Call is all right, saint nothing. I'm
kind of looking forward to the chance to get myself
in good physical shape again. Here. They got a lot
of exercise up there, I reckon. I've been setting out
in the work too much night.
Speaker 6 (29:20):
See.
Speaker 2 (29:21):
Yes, I won't be setting out nights up there much,
all right, David, Hey, once you're in the courtroom. Yes, hey, Cow,
I'm kind of nervous about this. You know, I never
was sentenced before. You go ahead, call and tell the
more and Benjie nuts take it too hard?
Speaker 6 (29:40):
Good bye friend, goodbye? How good the best I can.
Speaker 2 (29:43):
Yes, Yeah, bring Davis. Yes, Juria has heard the evidence
presented in this course. They have found you guilty.
Speaker 1 (29:58):
Court here by your sentences you to the state prison
for a period of twenty years the crime which you've
just been convicted.
Speaker 6 (30:07):
Yeah, I love it.
Speaker 2 (30:10):
Ring all right, mam, don't carry on now, but twenty
years it ain't right now now. I'm aph sied to
bring this trouble on your mom.
Speaker 4 (30:23):
I'm aples.
Speaker 2 (30:34):
It's all quotational implication. It's physical lumbia pasting system.
Speaker 1 (30:55):
There's a setub the mill speaking to you from the
Lux Radio Theater in Hollywood.
Speaker 2 (30:59):
I'm a baramore and Anne.
Speaker 1 (31:01):
Shirley returned shortly for the third act of The Voice.
Speaker 2 (31:04):
Of gilgal Land.
Speaker 1 (31:06):
Line for line, more news is printed about Hollywood than
any other community in the world. Affairs of state are
taken off the front page to make way for Shirley
Temple's newest tooth or Greta Gabo's search for solitudes, and
magazines make public the private lives of our stars. Millions
of people see Hollywood through the eyes of a certain
(31:26):
editor who has left her editorial uneasy chair to come
to the Lux Radio Theater tonight, the editor of Photoplay magazine, Ms.
Speaker 2 (31:35):
Ruth Waterbury, Thank you, miss Milk.
Speaker 4 (31:43):
You know, when an editor interviews a director, that's not news,
but when a director interviews an editor.
Speaker 1 (31:48):
That's the radio program ms Waterbury, I have a protest
to fire on behalf of the gentlemen of the screen.
Why aren't more pictures of male stars used on magazine covers?
Speaker 2 (31:59):
The answers simple.
Speaker 4 (32:00):
When we have a beautiful girl on the outside of
our magazine, many.
Speaker 5 (32:03):
People buy it just for the picture.
Speaker 4 (32:04):
But when we have a man picture on the cover, no.
Speaker 3 (32:07):
So don't say no soap, this is a lux radio theat.
Speaker 4 (32:13):
What I mean is we have to have women's pictures
because the majority of our readers already, Then why not
men pictures?
Speaker 2 (32:19):
Are most women Gable Gapers and Coleman Craven's.
Speaker 4 (32:25):
We've had men on tvers and magazines for months. They're
after women. By all, newstand records are primarily interested in women.
The want no new way to fix their hair, whether
sant a heavy eyebrowser in fashion, how to keep their
figures and their complexions lovely. I find you, for instance,
that a great many women use Luck toilet shelf because
they know it's green.
Speaker 1 (32:42):
Stars use it well, that's no secret. Hare u huh.
Speaker 4 (32:45):
If an act to singles out of product for her personally,
you may be sure it's the best. Yet when the
stars takes the cake, I mean when the tar second differ.
Speaker 1 (32:54):
What you're trying to say is when the stars take
the cake, lux is the cake they.
Speaker 4 (32:59):
Take to other is then Hollywood is seating women in
the tremendous importance of personal appearance and teaching the world
the glammar is not quality you're necessarily born with. In
other words, you, mister de Milt, the great glammar creator,
now that grammar is just learning how to emphasize one's
own personality. Just I believe, is why Hollywood today is
dominating the news of the world. It is every woman's inspiration.
(33:22):
It is teaching every woman how to emphasize her own
best points.
Speaker 2 (33:25):
Thank you, good night, Good.
Speaker 1 (33:27):
Night editor, and now for the last act of our play,
The Voice of bug Land, starring Lionel Ballavar with Anne Shirley.
Almost a year has gone by since Spring Davis was
(33:47):
condemned to prison. It's late evening and in the kitchen
of the old farmhouse, Benjie and is Davis are sitting
intensely in their chairs.
Speaker 2 (33:57):
They seem to be waiting for something.
Speaker 6 (34:00):
Expect them.
Speaker 1 (34:01):
Half frightened. Missus Davis breaks along silence, Dingy.
Speaker 7 (34:09):
Yes, are you going out searching again tonight?
Speaker 2 (34:12):
Have searched and searched almost ever an after two weeks
she's never answered the home.
Speaker 7 (34:16):
Ah here her, and you hear her say here her?
So his pause from no mistake you gleanedjoling that night.
Speaker 2 (34:25):
She couldn't have been more you glean did Terry killed
the room after year ago?
Speaker 7 (34:30):
Jah, I never said she wasn't, said Dingy, but we
here her, Yes, the same.
Speaker 2 (34:35):
So it's it's unnatural to believe in ghosts.
Speaker 7 (34:38):
She was leading a pike, got a note of voice things,
and if he's been alive, she'd.
Speaker 4 (34:43):
A come when you called her.
Speaker 2 (34:45):
I guess the peck that she's been leading because to
go through a harb type sense like so much dish
walf caause ain't no senses where there's been no more.
I guess the great hands have got a place of
home to go to after they run last race.
Speaker 7 (35:00):
Here things I've been meaning to ask you didn't Camden
neither writes or nothing since since the child m.
Speaker 2 (35:09):
Oh lunce never did more. I ain't never heard a word.
I know where he is.
Speaker 7 (35:14):
Don't you up with uncle?
Speaker 2 (35:16):
I know? But saw what's the use? There can't ever
be nothing between Champing and me. Not now. If she
loves your things change.
Speaker 4 (35:25):
My father killed her father.
Speaker 2 (35:27):
There's a murder between himself. I'm not stand for wasn't right.
I did the same thing in his place, So that
doesn't change things. Nothing can change him.
Speaker 1 (35:46):
Back.
Speaker 2 (35:47):
Don't say that more?
Speaker 6 (35:48):
No, it isn't possible.
Speaker 4 (35:50):
Possible?
Speaker 2 (35:52):
Yes, the boys to bugling. What was he doing?
Speaker 6 (36:07):
Cavener write in a letter?
Speaker 4 (36:10):
Why yes, Uncle el Nathan, I've been trying.
Speaker 2 (36:12):
To don't seem very successful at the end of that,
then all jose the bits and hardly lie him down?
Who too?
Speaker 4 (36:20):
No one's I I'm not gonna write it after all.
Speaker 2 (36:23):
Cab come here. You ain't stead thinking on that young
David's cell?
Speaker 1 (36:29):
Are you?
Speaker 6 (36:30):
Are?
Speaker 2 (36:30):
You?
Speaker 4 (36:31):
Would it be so terrible?
Speaker 2 (36:32):
No, not terrible, but well it ain't exactly right. Why
not do I have to ender that for your cambra?
Don't you know what?
Speaker 1 (36:41):
It doesn't bring?
Speaker 4 (36:41):
He's fat, he did nothing wrong, his father did it
wouldn't for it. He's up there in Steak prisons, an
old man hurt and seating because he did what he
thought was right.
Speaker 5 (36:52):
I can't help it.
Speaker 2 (36:55):
Oh right, Cam, he's all right, uncle.
Speaker 4 (37:02):
How do you go about getting a man at least
from prison you would want to do that? He killed
your father's campden. I guess it's the awfullest thing in
the world. Who's hated my father? I'm sorry I had
to hate him, but but he was mean. I saw
what he did to my mother.
Speaker 2 (37:35):
Oh uh, come in, Davis, thank you, thank you, Hey,
tell me you want to see me, wouldn't Yes, I
suppose you're wondering what it's all about. Well, but the
only thing I could figure is maybe I wasn't doing
so well as the gardener. Maybe you were sending me
there some other prison. Now, nothing like that, mister David.
(37:56):
You're free, free, that's right, Jade said, twenty years and
it's only nine. Underfore, there's your pardon from the governor.
I can go home at the spot. But it's got
me kind of stemps. Governor don't know me, and I
(38:16):
never had the honor meeting him. Well, perhaps you've got
some influential friends. No, no, no, no, I guess not
at least why it's not that I can remember being
on speaking terms with all. It all came pretty much
as a surprise to me too. But you can go
home home, I reckon. That'll be kind of nice, man,
(38:38):
Benji been writing, but it ain't like having your kinsfolk
cloak around. Now he's a mister Hanrah. All right, I'll
telegraph your wife you're coming. Thank you, sir, thank you, goodbye.
I'm good luck mister Davis, thank you, worden, thank you.
Speaker 4 (39:04):
When you up.
Speaker 2 (39:10):
It's mighty night, dear mor to have all the folks
over in the case I have your home past has
a real dom right sick?
Speaker 6 (39:18):
How do I look?
Speaker 2 (39:19):
Is I all right to go downstairs? Yeah? Let me
pick your tize.
Speaker 4 (39:24):
That's it.
Speaker 7 (39:25):
You can come down anytime you wander.
Speaker 2 (39:26):
Now we'll have Genom whenever you want. Well, don I
want to seek him now for the book where I.
Speaker 6 (39:37):
Closed the door?
Speaker 2 (39:40):
Well, I got something I want to show you what
Benky look Paul dog's collar, bugle hands color. That's right,
Paul huglelands collar, where's beginning? Where's now? Not to downfall down?
To be calm? You found bugle lands and your never
rode it too? Many now not take it easy, Paul,
(40:03):
Where was it? Where coping back to the timber? We
never found them until last setten bachelor Nah, No, couldn't
have been up there. Yes, she was called riding out
old rough the wire windbreaks down there, the shed caught
in the wire, strangled.
Speaker 1 (40:18):
Yes, How long has he been there? You couldn't tell, Paul,
hadn't been for the caller, and I wanted to have
known it was her. Maybe years she was there, maybe
a lot more than Jake Carrey never done that. Well,
maybe maybe bugiland run up there after he shot her,
or maybe I shot.
Speaker 2 (40:35):
Your foolish top roll. That ain't the whole story, Paul.
There was a time the first of June after you
went up there, when we heard of buglers in the
wood beyond heaven peet. She was alive then, yes, But
three nights ago, the night we heard you were coming home,
we heard her again, bau see nights to go we
(40:59):
heard Hugo. There was a time when I laughed my
head off that I've had plenty of time to think
these last four years. There was funny things in the
Civil War, boys my father told me about and that
there's been funny things over time. Now, I don't say
you heard bugle and the other nights, but you did
(41:21):
hear something mighty often. I thought I heard it clear
off and yesterday, three nights ago, you heard it? Yes,
not then, But there has been raining. There ain't no
rain to knights. Oh we listened to night Benji, you
and me and cal and baits like we used to.
I'll have my horn along and if I hear her voice, caller,
(41:43):
if I hear her voice, I'll call her home.
Speaker 1 (41:57):
Oh, tell me about a fire the behind foots?
Speaker 2 (42:01):
All right, don't let no bread go on the histe benders.
Speaker 5 (42:05):
What did you say?
Speaker 2 (42:05):
What will happen if your pompos that horney turn? Would
he comes back.
Speaker 1 (42:08):
Down to.
Speaker 2 (42:10):
The getting sweet call?
Speaker 4 (42:12):
Yeah?
Speaker 3 (42:12):
Getting sweet?
Speaker 2 (42:14):
But it's a bugle and the chanting?
Speaker 3 (42:19):
It can't it's beautiful.
Speaker 2 (42:22):
Oh listen, it's see.
Speaker 1 (42:23):
It's a hound and all or a hound, a bone
and a long tonge.
Speaker 2 (42:26):
No one strong ever had that kind of music in him, No.
Speaker 3 (42:33):
Petty, say spring, it's just the kind of an echo call.
Speaker 6 (42:37):
If he comes me as close to it, I'll blow
the bugle for.
Speaker 2 (42:40):
Hap hot that downs that down? Are you promised certain
that was her collar? Benji, I reckon, nobody but the
Lord's sina bones hop up out of the Organs night
not bring.
Speaker 3 (42:51):
You gotta get hold of your sick good hot.
Speaker 2 (42:55):
I read the most beautiful tune ever played in these foot.
Speaker 1 (42:58):
I ain't ashamed.
Speaker 2 (43:00):
Maybe you laugh when you've seen me bring this Google,
but I reckon did it'd come in handy. You go
ahead and come home, Carol. When she hears this, he'll
get what it's someone else, someone else is born to him.
(43:21):
I've never done it. I never gave no one else.
Leave the blow a head by where the call comes from?
Up on seven weeks? Okay, we'll find out where right now.
Come on there it is now the spire. There's a
home walking back and forth.
Speaker 3 (43:43):
That's it.
Speaker 2 (43:43):
That's the sound waiting. There's a girl there. He's looking
right at her. Jesus O home. It's Camden, Hampton, Come on, Cambden, Well,
what are you doing here? What did you brew them?
Speaker 4 (44:04):
Not?
Speaker 2 (44:04):
Yes?
Speaker 4 (44:05):
I did twice.
Speaker 2 (44:06):
That's how what hound is that? I raised it? But
it's got her voice.
Speaker 4 (44:13):
It got google Land boy, Yes I know I used
to hear.
Speaker 2 (44:17):
I tell you the Lord never made no two hound
voices alike, same kind of mouth and all he never did.
What is it all about, Kenny, This sounds he was hurt.
Speaker 4 (44:28):
Bingie. See you Gland's puppies. There were four more, but
only this little one had the real bugle mouth.
Speaker 2 (44:34):
You Bland. He never had no puff, mister.
Speaker 4 (44:38):
Davis, My father never killed Bugland.
Speaker 2 (44:40):
Oh we know that the boy found a skeleton over
there by back to Legion. They they heard her voice
in the woods. But I still say he never had
no puppies.
Speaker 4 (44:51):
That nice I drove out of the yard just like
I told him. Courts you Gland was coming past the gate.
I couldn't feel in time.
Speaker 5 (44:58):
I couldn't.
Speaker 4 (44:59):
It was an up for shot turment. I ran over.
I got out and picked her up. She wasn't dead,
and she didn't seem to blame me. I was afraid
to be trouble over her being hurt.
Speaker 2 (45:10):
Well, where where did this dog get her ruin?
Speaker 4 (45:13):
I took her up to Uncle el Nathan from Jackson
County after we heard what had happened. I didn't dare
tell the truth. It would have been worse for you
Ifjery knew that you Glenn wasn't really dead at all.
Cold Please, Kennon, I mess you glean, that's the health.
There were five pups, but oh this one was like her.
Speaker 2 (45:29):
What what happened to Bugln?
Speaker 4 (45:33):
She waited till they were wings, then she left one
night there was a moon. She wasn't strong enough to run,
but she did go away. We traced the fifteen miles
next day, then roster her for good. Likely she was
heading for home and she stuck a fox a new
folks heard her. We never knew she was dead for sure,
but we always thought she can killed trying to get
back home.
Speaker 2 (45:51):
Benny sat he heard her. Buglin three knives back, and
that was the dog here.
Speaker 4 (45:55):
I called out, thinking you might be in a timber.
Speaker 2 (45:58):
You knew they let me out of prison.
Speaker 4 (46:00):
But yeah, how you know, well, I just knew that's all.
Speaker 2 (46:04):
You ain't got propercy, No, no taking a sight. Hey
maybe maybe you're on speaking terms with the governor.
Speaker 5 (46:12):
No, I wouldn't caught that.
Speaker 2 (46:13):
But you had something to do with the toll. Why
playing as your nose speak, child?
Speaker 4 (46:18):
Oh my folks weren't terry.
Speaker 2 (46:20):
There was some Camden that right, they might accounted for something.
When considering the pardon.
Speaker 4 (46:26):
The Camden's mean something in the state. Why even yet,
some of them in the legislature, and the governor listens
to them when they when they want something. As much
as I wanted you to be free, you did it,
didn't you.
Speaker 2 (46:36):
Oh?
Speaker 4 (46:36):
I just did what I could. I told him about
mister Davis.
Speaker 2 (46:40):
Thank you, Miss Camden. Oh please, this little hound here,
he's kind of taking to me. I think, look at
that snipping around. Well, I reckon you two young sticks
had things to talk over.
Speaker 4 (46:57):
I have them, not now.
Speaker 2 (47:00):
But it's going to be all right, isn't it if
you want them to? Sure, he does been mooning around
every since you left. His mother tells me, well, rate,
mister David, I brought the dog for you.
Speaker 4 (47:13):
I got you to have her for me.
Speaker 2 (47:15):
That's mighty nicely.
Speaker 4 (47:18):
I changed it the horn just the same as your graamds.
Speaker 2 (47:21):
Well what do you call her, little lady?
Speaker 1 (47:24):
Little lady?
Speaker 2 (47:28):
Well, you've got quite a mouse, little lady, and spotted
just the same as you. More he's got the same horse. Yeah,
and it's going to sound mighty per day, come and
clear across the hills. M day, pretty little lady.
Speaker 5 (47:44):
Our player.
Speaker 1 (48:02):
The Voice of Bogaland with Lionel Baramore or Spring Davis
has ended but in a moment you'll hear him again
as Lionel Barrmore. When I came to Hollywood in nineteen seventeen,
the first man who asked me for a job with
a cowboy extra. I still have the notebook in which
I wrote his name, hal Roach. Beside it is the salary.
He asked for five dollars a day, and beside that's
(48:24):
my notation too much.
Speaker 2 (48:28):
I hired others for three dollars a day, and thereby
did hal Roach a favorite.
Speaker 1 (48:32):
He went out and started his own studio, making comedies
featuring another unknown extra named Harold Lloyd. In time, he
started the Hour Gang series, and the Motion picture industry
now awards him the law for producing more comedies than
anybody else in Hollywood. Wait a minute, Stevie, if they're
going to mention Laura, you've got to mention Harty, mister Hawach,
(48:53):
Ladies and gentlemen, who insists that among his laos is Hardy,
and many other great comedians, including BB Daniel, whom I
stole from him.
Speaker 2 (49:06):
PCD.
Speaker 1 (49:06):
I'm as nervous tonight as a cowboy will ask you
for a job.
Speaker 3 (49:10):
Why nervous?
Speaker 1 (49:10):
You've graduated from cowboy to polar player. Don't blame that
on me.
Speaker 4 (49:14):
My heart is full. Can I help it?
Speaker 2 (49:16):
If he was ambitious, he.
Speaker 1 (49:18):
Was more ambitious than some of the horses that run
at your founder Anita Racetrack. You'll fix many winners for films.
You've developed the most famous group of youngsters in the world,
our gang. But your greatest achievement was changing the custard
pie from a harmless dessert to a deadly weapon. But
you had developed the most famous character in Hollywood, which
(49:39):
one a yes man.
Speaker 2 (49:42):
Never heard of him. Yes, mister be Mills, where do
you get your child actors?
Speaker 1 (49:51):
When I went through raising those kids, At first, I
couldn't get actors for our gang. People didn't want their
children in films, and the slogan in Hollywood was mother's
hide your children.
Speaker 2 (49:58):
Here comes how Rod.
Speaker 1 (50:00):
But now after seventeen years, the situations were based and
the slogan in this video is hight Halbot, here come
to mothers.
Speaker 2 (50:08):
Now, you've created a lot of.
Speaker 1 (50:10):
Laughter in those years, and millions of people have relived
their childhood seeing those comedies on the screen. You're more
than a great showman. How you make people laugh and
forget their trouble? I can say the same thing for
uc B Bonna had the greatest show on there. If
you've got the greatest show on the air, all a
listening every Monday night. But before leaving, I like to
answered question asked by countless of fans, who is going
(50:31):
to play opposite Patty Kelly? Since the untimely passing of
that great comedian Selmata. I think her successor is one
sum would have chosen itself, Leader of a Bertha. Come on,
hold on, god boy, few people know that, besides his
achievements on the stage, screen and radio, the star of
tonight's production is an etcher, pianists and composer of distinctibility,
(50:54):
Hollywood's most civilized access lve of Alma.
Speaker 2 (51:03):
Oh, thanks very much for the bouquet.
Speaker 6 (51:05):
Ceb.
Speaker 2 (51:06):
There's one flower I left out of us.
Speaker 1 (51:08):
We all know you're a great actor, but few of
us know that two invented one of our most important mechanisms,
the moveable microphone.
Speaker 2 (51:15):
Well, somebody had to do something, you see, ladies and gentlemen,
And in the old talkie days, microphones were stationary. They
were concealed in places like bookstands and floor land, and
it was pretty embarrassing for a player to walk over
to a vase and say, darling, I love you. So
I put it around with a few wires and screws,
(51:37):
and gave.
Speaker 1 (51:37):
Us an instrument which follows the player and picks up
everywhord naturalist, I hope you remember the patterner. You know,
Edison forgot to pattern all the rights of the Mertion
picture machine that little love us. I'd cost them many millions.
But if it hadn't been to that invention, I wonder where.
Speaker 2 (51:52):
You and I be right now. Well, you'd probably be
writing and directing plays, and I might be a commercial editor.
Speaker 1 (52:00):
Remember you once deserted the footlights and surn painters, but
the paint didn't stick.
Speaker 2 (52:05):
Now you're an actor. I'm the son of an actor,
I guess, so blood must be thicker than watercolors. I'm
looking forward to seeing up a trail of Andrew Jackson
in our next picture, in your next picture of that
god just having It's going to be quite a change
to see you without, because well, I've been wearing beds
in this deck is so long I'd almost forgotten how
(52:27):
I look myself. It's a real relief to be able
to wash my face again with luxile looks. Why you
can't turn around in Hollywood without running into that soap.
In one picture, I'm normal Sheery's father and she uses it,
and then I'm some other girl's uncle and she uses it.
And now I come over here and there's a broadcast
about it with even Man Sureley, who played in tonight's show,
(52:50):
uses it.
Speaker 4 (52:50):
I certainly do, mister Bamo. My complex is no better friend.
Speaker 1 (52:53):
Than looks trail it.
Speaker 2 (52:54):
So you see, that's all I hear. Look, Look, look,
and why do you look? Because I like It's two
od night, Good night, mister.
Speaker 1 (53:05):
Baronmon, Miss Kelly, and many thanks.
Speaker 2 (53:07):
Mister Baramon.
Speaker 1 (53:07):
Appeared to courtesy of Metric over Mayor and Shirley R. Koe,
Louis Silver's twentieth Century Fox and Secer b The Mill
and Porter Hall Peamount and here is mister de Mill
with word of next week's play. The lux Radio Theater
stars Marion Davies and Joah McCrae in the story of
a tempestuous waste, the Bratt.
Speaker 2 (53:27):
It's the exceptional entertainment We've chosen for.
Speaker 1 (53:29):
You, with one of Hollywood's brightest stars in one of
Broadway's most brilliant successors.
Speaker 2 (53:36):
This is the Columbia Broadcasting System
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.