Lux Radio Theatre - Chained

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

Episode Transcript

Speaker 1 (00:00):
Hollywood, California, Monday, July twenty seventh, from its home on
Hollywood Boulevards.

Speaker 2 (00:17):
The Lux Radio Theater presents Joan Crawford and Francho Tones
in chains. Luck Presents Hollywood Tonight. The makers of Luck toiletstow,
the beauty care used by nine out of ten screen

(00:38):
stars and by attractive women everywhere, brings you another assembly
to Hollywood's most distinguished civiizens Joan Crawford, Francho Tones, Gilbert Emery,
Cecil b De Mill, Oliver Hinsdell, Helen Burgess, Lewis Silvers,
and many others. We are also proud to welcome as
members of our audience a score of celebrated personality, among

(00:59):
them Patty Ruth Miller, Paula Stone, John McGuire, John Lee Mayhon,
who adapted Tonight's play for.

Speaker 3 (01:06):
The screen, Lena Basquett, Mary.

Speaker 2 (01:08):
Alice Wright, and Rady Harris, celebrated New York columnists.

Speaker 3 (01:11):
To all of you readings.

Speaker 2 (01:13):
From Luck, no man in motion pictures holds a record
of achievement more enviable than that of our eminent director.

Speaker 3 (01:25):
He brings to radio just as he has brought.

Speaker 2 (01:27):
To the screen the greatest plays and players in the
world of entertainment. Tonight he comes to the theater direct
from locations, dressed in riding breeches and boots and covered
with the dust of the sets.

Speaker 3 (01:37):
And here he is, Ladies and gentlemen, mister Stepel c
de Mill.

Speaker 2 (01:49):
Greetings from Hollywood, Ladies and gentlemen. Many paths cross and
many double cross and hollywoods. But this is my first
professional contact with Joan Crawford and franch Orton. But I
know their history perhaps better than Lato. I can trace
it back one hundred and fifty years. Their romance, which
began in nineteen thirty three, was more than a courtship.

(02:11):
It was a coincidence which had its beginnings in seventeen
ninety eight, when an undersized Corsican named Bonaparte was lighting
the fuse that was to explode all Europe, and an
Irish patriot named Wolfe Tone was enlisting French aid in
a revolt against England. The sympathies of the French people
were with Tone, the handsome Irish rebel, but like most

(02:33):
Irish rebellions, his was a glorious failure. He merely laid
the groundwork for mutual admiration between the French and Irish
and French or tone a descendant and Lucille le sur,
a little French girl, took it up from there. You
may never have heard of Lucille. Her first job was
at the Kansas City Department store. After that she danced

(02:57):
in a Broadway chorus and finally came to Hollywood from
a Winter Garden show in New York. A magazine asked
its readers to suggest a new name for her, and
from the name submitted, the studio chose Joan Crawford. Today,
more than two hundred babies whose last named range from
Ginsburg to mckillicuddy are called Joan Crawford, which will give

(03:20):
you some idea of the star's popularity to all the world.
She symbolizes the American viewpoint in clothes and manner and Tonight,
De Luxe Radio Theater presents Chained, starring Joan Crawford and Franchotne. Tonight,

(03:51):
Miss Crawford plays the part of Diane, lovering indispensable secretary
of a middle aged but attractive steamship magnet Richard Fields,
who is deeply in love with her franch Her tone
is Michael Bradley, the young owner of a ranch in
the Argentine. The curtain rises on Fields private office and
the Empire State Building. We hear him talking brisk plays

(04:14):
on an enter office telephone. Ellonores, Yes, it's a Field talking.
I've decided to start the Caribbean on the coastal run
out of Savannah. That'll put the Southern Cross on the
rear of Warners as run until next December. Starting now,
she can sail Friday Lloyd matter. Well, listen, that's got
to be handled with kid gloves. Take maybe six weeks,

(04:35):
but I'm not leaving this office until it's settled.

Speaker 3 (04:38):
Right our way?

Speaker 2 (04:39):
Okay, Norris, goodbye?

Speaker 3 (04:42):
Who is it? Good morning, darling, p y End, it's
you Darning.

Speaker 4 (04:47):
I've just been through the Spanish inquisition and I came
out alive.

Speaker 3 (04:50):
What did they say?

Speaker 4 (04:51):
Our doctors put me through the third degree floroscope, metabolism,
blood pressure, X rays, the whole word.

Speaker 3 (04:57):
I felt like a.

Speaker 4 (04:58):
Murdered court being dissected by the Apartment of Justice.

Speaker 3 (05:00):
Yes, but what did they say? What's the verdict?

Speaker 5 (05:03):
Organically sound? Is a dollar healthy as a young code?

Speaker 3 (05:06):
They claim? I'm just run down.

Speaker 4 (05:07):
There so exhausted. They ordered me to take a long rest.
Can you imagine my rescue? It's all a Lloyd a arsony.

Speaker 2 (05:13):
Yes, ladies, now listen, boy boss Darling.

Speaker 3 (05:19):
You're a strong man and.

Speaker 6 (05:20):
You set a terrific pace.

Speaker 4 (05:21):
But I've got plenty of reserve power.

Speaker 5 (05:23):
We're going to finish that Lloyd deal together.

Speaker 2 (05:26):
And come here, you think I'm going to let you
risk your health just for a business deal? After all
we've been through together, now that we both realized how
much we mean to each other.

Speaker 7 (05:37):
Oh, your do love me, don't you?

Speaker 4 (05:39):
How could I help it? I keep asking myself? Am
I worthy of Richard Field? Both in love and bigness
in his heart? And then you kiss me like that?
So I guess I'm musty.

Speaker 3 (05:53):
I keep asking myself. I've an old man like me.

Speaker 4 (05:57):
Careful mention that subject to me again?

Speaker 2 (05:59):
And I told you I'll make a scene alright, I'm
a mere stripling of forty six.

Speaker 5 (06:04):
Look here, what.

Speaker 4 (06:05):
About this sudden command appearance?

Speaker 3 (06:06):
Anything wrong?

Speaker 7 (06:08):
Man? It's happened?

Speaker 5 (06:10):
You mean your wife?

Speaker 2 (06:11):
Yes, Oh, she came into my room last night. She
was very fine, no seen or anything like that. She
simply told me that you knew about us, and had
known for some time. In fact, she wanted to know
what I was going to do.

Speaker 5 (06:25):
Did you tell her?

Speaker 2 (06:26):
I told her the truth that there was nothing between
you and me, just that we loved each other. I
tried to make her understand what a really fine person
you are.

Speaker 7 (06:36):
I don't know how successful I was.

Speaker 3 (06:38):
And then I asked her for a divorce, Darling.

Speaker 2 (06:42):
She she wouldn't give it to me, said she doesn't
believe in divorce.

Speaker 3 (06:47):
I I even offered to let her keep the children.
Oh Richard, you can't.

Speaker 4 (06:51):
You can't give up everything I.

Speaker 3 (06:53):
Would for you. It's no use, Oh Richard Dane, come here, no, please,
There's only one thing to do now. Don't say it,
don't even think it, dearest.

Speaker 5 (07:04):
We can't go on not have to do it.

Speaker 2 (07:05):
We can and we will. We've got nothing to be
ashamed of. And let's not give up hope that someday
she'll give me my freedom. But you know what you're
going to do. No Southern crops, sail Fried, everyone has
at us. You're going aboarder, going away on a little trip.
You need a rest, it'll help you to forget this

(07:26):
had to come. It's a little too nearest for the moment,
but it's only temporary and when you come back, everything.

Speaker 3 (07:34):
Will be just as before, will it will? But but
you love me, don't you? Oh? Yes, Richard.

Speaker 2 (07:41):
Well then you run out and do your shopping and
get yourself backed. You haven't got much time.

Speaker 3 (07:45):
Boat sails at five Thursday Friday.

Speaker 4 (07:54):
What a lovely boat. I wish you were going along too.
I don't know, so on board you'll be.

Speaker 3 (08:00):
It's only six weeks. Besides, I have to give you
a chump to know your own mind, haven't I.

Speaker 5 (08:05):
It isn't mind mind anymore, Darling, it's yours.

Speaker 3 (08:07):
Jert Wednesday, Ambassador sweet this waymouth fields. Here you are.
When we take the Southern Cross together, it'll be called
the Bridal Suite.

Speaker 4 (08:17):
Oh rich Look at those flowers You shouldn't Yeah, they
knew you were coming and grew overnight.

Speaker 2 (08:24):
Kurt, Yes, mine? Now is Miss lovering us for for
a water spot? You'll get it for. Yes, it has
been here. You want to need Emil, This is Miss Lovering.
She likes Scrape, Susette and Bennett than you've ever made
them before. And I know she'd like to pumping over
that sort and corny hash to perfect human. And if

(08:46):
you don't outdo yourself, I'll have you transferred to a
banana boat, and.

Speaker 3 (08:51):
I will deserve it, monsieur.

Speaker 2 (08:53):
Now here's your bedroom. Now it's beautiful and killed. Not
enough O taking all the willpow. I've got not to
chuck the whole Lloyd deal and come along with you.
You will come back, won't you.

Speaker 3 (09:08):
I promise Richard, I'll need you always.

Speaker 7 (09:13):
I think I'd crack up without you.

Speaker 6 (09:16):
Now, don't dear, we won't have time to our cocktail.

Speaker 3 (09:21):
The minute the ship leaves, you go to the bar
and order one. Only a churry flip, remember.

Speaker 4 (09:26):
Only to cherry flip. Every day we could talk.

Speaker 3 (09:28):
I'll have one ashore.

Speaker 8 (09:30):
I'll think of you, Richard.

Speaker 4 (09:31):
Goodbye, darling.

Speaker 3 (09:41):
A cherry pip please, yes, madam, and I'll.

Speaker 7 (09:43):
Have the same thing.

Speaker 2 (09:44):
And I hate sherry fliph There I go giving in already.
Oh say, aren't you the young lady who always order
chicken salad?

Speaker 3 (09:51):
We bet before I'm missed. No, my name is John Smith,
Queen Hawaii and Whoaii A no? Yes?

Speaker 2 (09:59):
Please please know pretty please put sugar on it.

Speaker 4 (10:03):
I will be left alone, mister Smith. It's a hard
thing to remember, and.

Speaker 3 (10:07):
I can take a hint. I'm off dressed for dinner,
und jewel, be sorry. When I'm gone, I won't even
know it. Who is it, Johnny Smith, your faithful servant?

Speaker 7 (10:22):
Where have you been?

Speaker 3 (10:23):
Oh? In the bar?

Speaker 2 (10:25):
Come on, duff all that housework and come with me
and see what I found.

Speaker 3 (10:28):
She's gorgeous. Congratulations, mister Smith. Oh no, no, they're not
in order, mister Bradley, she was a little distant.

Speaker 2 (10:35):
I tell you, straight from the Arctic regions. Is she
worth an expedition from pole to pole? Don't stop to
get dressed. We'll start now. Lead on, guys, there and
there she is over there?

Speaker 3 (10:52):
I mean, no one's sitting alone at the table.

Speaker 2 (10:54):
Yeah, and believe it or not drinking a sherry slip?

Speaker 3 (10:58):
Can I pick them?

Speaker 4 (10:58):
Or can I pick them sometime?

Speaker 7 (11:00):
I actually have face in you again, Johnny.

Speaker 3 (11:02):
Oh, I warned you. She's as cold as a sea
lion's nose.

Speaker 2 (11:05):
And the first thing for you to do is go
over and apologize for your behavior. O me, I should say,
not to make.

Speaker 3 (11:10):
Me look weak. You don't understand tactics. It clears that
extra future action.

Speaker 7 (11:15):
Go ahead.

Speaker 3 (11:15):
I'll be over in a minute to help you out.
All right, okay, Master, I obey you tell me, lady.
After thinking over my route andess, I've come to.

Speaker 4 (11:23):
Say that you didn't leave after all.

Speaker 3 (11:25):
Oh but yes, I've been gone half an hour.

Speaker 4 (11:27):
I hadn't noticed, not on flo.

Speaker 2 (11:29):
I've been watching you, my friends. You've been annoying women
long enough. Why you are back talk now? I know
you're tighte my man? A half hour out? You want
to play Frankenstein. Well, listen your I don't know who
you are, my friend, but I don't want to see
your face on deck again until you can act like
a gentleman.

Speaker 7 (11:44):
You understand.

Speaker 3 (11:45):
Ooh you hey, miss whatever your name is, this funny word.

Speaker 2 (11:49):
You'll just find out where the octopus bunks and lock
him up the lla.

Speaker 3 (11:51):
It's sober, yes, sir, no, please come hey wait a
minute's hey wait?

Speaker 2 (11:56):
I figure, thank you.

Speaker 4 (11:58):
I suppose he's really hard.

Speaker 2 (12:00):
Allow me an Irish uncle named me Mike Bradley was
good for him.

Speaker 4 (12:04):
Thank you, agetting mister Bradley.

Speaker 2 (12:06):
Look here, you're nervous, probably all unstrung over this attack
on your privacy.

Speaker 3 (12:10):
How about another cocktail? Thank you?

Speaker 4 (12:12):
No, I've had my one in the evening.

Speaker 7 (12:15):
Well, i'll see your dinner.

Speaker 4 (12:17):
I'm having dinner in my cabin. I'm turning in early.

Speaker 3 (12:20):
Then I'll see you around tomorrow in the swimming pool.

Speaker 4 (12:23):
Perhaps if I decide to go in a say there,
good morning, Oh, good morning, the water warm off the cold.
I don't think you'd like it.

Speaker 3 (12:43):
I'll soon find out.

Speaker 5 (12:45):
Say what's the idea?

Speaker 4 (12:46):
Can't you keep on your own side of the pool.

Speaker 3 (12:48):
I'm not chasing you. I just turned up like an
old Candalope.

Speaker 4 (12:51):
Ryan, the ocean is full of them. Hey wait, wait,
and maybe I'm the door to door brushman.

Speaker 2 (12:56):
Not today special offer full full set of kitchen brushes
and a and a set of Charles Dickens.

Speaker 4 (13:02):
I haven't got a kitchen.

Speaker 3 (13:04):
How about a set of Dickens without the brushes.

Speaker 5 (13:06):
I couldn't afford it.

Speaker 2 (13:07):
You see, it's in the context, man. The one that
sells the most brushes gets sent away on a vacation.

Speaker 4 (13:13):
And the more you sell, the pother they send you.
That's right, Hey, give me.

Speaker 5 (13:17):
All your god Yeah, oh.

Speaker 3 (13:22):
You see that's what comes of trying to swallow the
whole pool. Yeah, let me slap you on the back.

Speaker 5 (13:27):
That's enough.

Speaker 3 (13:29):
You know your eyes are very large and beautiful. Oh
stop it, even when they're bloodshot.

Speaker 4 (13:36):
Will you tell me what this is all about?

Speaker 3 (13:38):
I know, but isn't it fun? I look at me?

Speaker 2 (13:43):
Really, I'm not such a boogie man, just an honest
open faith a little too open maybe.

Speaker 4 (13:50):
How are you leaving, mister Presley?

Speaker 3 (13:52):
Going all the way to Buenno's areas? How far do
you go?

Speaker 4 (13:55):
All the way to?

Speaker 3 (13:56):
This is a great Dinah?

Speaker 4 (13:59):
Dinah?

Speaker 3 (14:00):
Yes, I know the passenger list called you Diane lovering,
but I call you a Dinah.

Speaker 4 (14:03):
I'm in Heaven's name what.

Speaker 2 (14:05):
I had a black face doll when I was about
a year and a half hole.

Speaker 3 (14:07):
They called her a dinah. I loved her very dearly.

Speaker 2 (14:10):
Couldn't go to sleep unless I had her safely tucked
away in a shoebox.

Speaker 4 (14:14):
I'm afraid I don't see the competitor.

Speaker 3 (14:16):
There isn't any except Diane reminds me of Dinah that doll.

Speaker 4 (14:19):
All See, there you go, getting panicky again.

Speaker 3 (14:24):
I'm out for the last Dina. That doll good. And
you look pretty silly in a shoebox anyway, silly, And
I'm not a year and a half hole anymore. Oh,
I see you just backwards. Would it be forward of
me to invite you to have a cocktail with me, Dolly.

Speaker 4 (14:38):
But I'm going to bed at six o'clock.

Speaker 3 (14:40):
Without your dinner.

Speaker 4 (14:41):
I'm having a sent to my cabin.

Speaker 7 (14:42):
Okay.

Speaker 3 (14:43):
Then i'll meet you in the bar at six and
we'll have dinner afterwards. Hello, Dinah, you're early. It's only
a quarter or six.

Speaker 4 (15:00):
You got fifteen minutes to get back to my cabin.

Speaker 7 (15:02):
How about just one cocktail?

Speaker 4 (15:05):
Well, I'll have a sherry clipping cherry flip.

Speaker 7 (15:08):
What's the letter you see?

Speaker 3 (15:09):
Signal? No?

Speaker 4 (15:10):
No, not the leaf.

Speaker 3 (15:11):
But sherry flips does like water, no tang, no feeling,
no roof star.

Speaker 4 (15:16):
I still like shrry flipping.

Speaker 2 (15:17):
Okay, lady, I'll show you I can take punishment too,
Oh Stewart. One sherry flip and the plain lemonade work.
And I'm fraid you're a problem girl. Why aren't you, Dinah?

Speaker 5 (15:28):
What makes you think?

Speaker 3 (15:29):
Si?

Speaker 2 (15:30):
You're a problem to me? And something tells me you're
full of problems yourself. What did you come on this
trip for the ride?

Speaker 3 (15:37):
Don long ride?

Speaker 6 (15:39):
I wanted a long ride.

Speaker 3 (15:41):
Who's the guy?

Speaker 7 (15:42):
What guy?

Speaker 3 (15:43):
Well, every now and then your eyes are way out
there on the horizon. There must be a guy behind
a woman's eyes. When they're like that.

Speaker 4 (15:50):
If you listen to the conceited male, honest.

Speaker 3 (15:53):
Now you're not engaged to be married?

Speaker 4 (15:55):
Would that be one of my problems?

Speaker 7 (15:57):
Might be?

Speaker 3 (15:58):
Have you ever been engaged? No, don't tell me you've
lived in a cave all your life?

Speaker 4 (16:02):
Don't you remember?

Speaker 6 (16:03):
It was a shoe box.

Speaker 2 (16:05):
Lemonade for the ready, So I look as if I
drink a share a flip the sorry good.

Speaker 3 (16:11):
Well, here's the two of its long may we wave?

Speaker 4 (16:15):
You came on this boat looking for trouble, didn't you, mister.

Speaker 3 (16:17):
Bradley, I admit it, but then you can dropped out
of the sky.

Speaker 2 (16:22):
But I'm not trouble, I know, and I just about
decided that there's something distinctly different, something I've.

Speaker 3 (16:29):
Always wanted to meet and always thought was just a
kid's foolish dreams.

Speaker 4 (16:35):
I'm afraid you're on the edge of saying something very filly,
Miss Badly.

Speaker 3 (16:38):
It doesn't seem silly. And I've never been this closed
to the edge before.

Speaker 2 (16:42):
And let's forget you ever said at Shelby all right
until the day I can make you remember it.

Speaker 4 (16:48):
A good cure for that sort of sentiment is hawky?
Do you like the wall?

Speaker 2 (16:51):
Listen, young lady, I'll walk you around the deck tomorrow
and tell you how if I help you.

Speaker 4 (16:55):
Okay, twenty times a round? So for how you're holding out,
I haven't even started it.

Speaker 3 (17:08):
And let's go a little faster football is there are
a couple of long legged old school moms that look
as if they want to race us.

Speaker 4 (17:13):
Oh, miss Weavers and I have just about the charge
that you two set the nicest face on the deck.
We we like to walkers, so do we. I think
we make a nice little squab. You might say, we
all have to do this every morning.

Speaker 7 (17:29):
Yeah, yeah, it's a good idea.

Speaker 4 (17:31):
You just can't leading the way and we'll follow. What
do we do?

Speaker 3 (17:35):
Poor fast one?

Speaker 4 (17:36):
You do it?

Speaker 3 (17:37):
I'm all out about all right?

Speaker 2 (17:38):
Here goes Oh look at the whales where right alongside.

Speaker 3 (17:44):
The ship there must be a hundred of them?

Speaker 5 (17:46):
I don't see any.

Speaker 4 (17:48):
No, there aren't any wheals them. It's a bad damn
a bench room mistaken.

Speaker 7 (17:51):
No, no whales?

Speaker 3 (17:52):
Are you sure?

Speaker 6 (17:53):
Not a whale? Nothing but ocean?

Speaker 3 (17:56):
Gosh you you don't suppose not again, my poor damn
mister bred.

Speaker 4 (18:04):
Nothing they've told me a sea voyage would cure me.

Speaker 3 (18:08):
I won't go back to that place and him.

Speaker 4 (18:10):
I can't come along. The man's.

Speaker 3 (18:20):
There. You see it worse? That's what I call practical insanity.
Do you always see whales.

Speaker 2 (18:25):
Only when being followed by a log legged school mom?
Sometimes I see the Southern Cross. Friend, If you'll come
on the upper deck with me some night, I'll show
it to you. Only you'll see it too.

Speaker 3 (18:37):
Will let me?

Speaker 5 (18:38):
We're both in things.

Speaker 3 (18:39):
I'm afraid that's too much to hope for. It's glorious place.
The right up there, cre right along the line of
my finger.

Speaker 4 (18:59):
Oh see, Oh, how beauty you're telling me we're looking
at the Southern Cross of Bredney.

Speaker 7 (19:06):
You speak for yourself.

Speaker 3 (19:08):
I'm gonna do all the looking at you I can.

Speaker 4 (19:09):
Uh.

Speaker 3 (19:10):
Last night on board shipping, Are you coming out to
my ranch in Buenness area?

Speaker 5 (19:14):
Alright?

Speaker 6 (19:16):
I'm afraid I won't have time.

Speaker 4 (19:18):
I've only two days and I've been shopping and things
to do.

Speaker 7 (19:20):
Where you stopping?

Speaker 3 (19:22):
Uh?

Speaker 4 (19:23):
Wis some finn who?

Speaker 7 (19:24):
I think the uh?

Speaker 3 (19:26):
The Wilson?

Speaker 2 (19:27):
Wilson You never heard of him. I've lived there ten years. No,
everybody in town take another name?

Speaker 4 (19:34):
No, No, really, they moved down locked winter.

Speaker 3 (19:36):
I look here at Dinah, what's behind all this? Are
you still scared of me?

Speaker 5 (19:41):
Why should I be scared of you?

Speaker 3 (19:42):
Missus Bredney, I ask.

Speaker 7 (19:43):
You, Dinah, Uh, it's all wrong.

Speaker 3 (19:47):
We weren't meant to end this way.

Speaker 4 (19:49):
We won't have a mentor know. Goodbye, Mike Bredney. I'll
think of you, offering good luck.

Speaker 2 (19:58):
Alright, So long did just the same old thing, shipboard
friends and never see each other again?

Speaker 3 (20:05):
Right right? I don't believe it. Over two months, I
don't believe it. No long Dinand, just the moment.

Speaker 2 (20:28):
We'll go on with our Lux Radio Theater presentation of Change,
starring Joan Crawford and French o'tod.

Speaker 3 (20:33):
But first we take you to Hollywood's playground, Santa.

Speaker 2 (20:36):
Monica Beach, only fourteen miles down lovely Bulshire Boulevard from
Hollywood to the sea. We're on the set at famous
Santa Monica Beach Club. There are two girls near us,
very much excited this look it's Carol.

Speaker 6 (20:48):
On board there. No, they're to the right.

Speaker 9 (20:51):
They say she's crazy about the water, swims beautifully. Don't
think he looks slick in that daisy suit so low cut.
Wish I could wear one life if my back doesn't
smooth enough. Say I read in the movie magazine that
Carol Lombard uses Luck toilet soap is a bath silk too.

Speaker 4 (21:08):
Gosh, that's an idea, all right, HUHO.

Speaker 6 (21:11):
It's dollars to doughnuts.

Speaker 4 (21:13):
That's why her back is so smooth. I'll have to
give it a try.

Speaker 2 (21:17):
It certainly is Carol Lombard's Luck's toilet soap care that
keeps her skin so lovely. And this beauty bath does
other things too. Carol Lombard herself has tolets often.

Speaker 9 (21:28):
I come home from a long day before the camera,
so tired, I can't bear even the thought of going out.
And then I try a Lux toilet soap bath, lie
back a few moments, completely relaxed. When I step out,
I feel marvelously refreshed. And I love the delicate perfume
Lux toilet soap gives my skin.

Speaker 2 (21:45):
Lux toilet soap has an active lather that carries away
from the pores all foreign matter, every trace of dust
and dirt.

Speaker 3 (21:53):
It protects stinctiness.

Speaker 2 (21:54):
Lux toilet soaps perfume is a blend of thirty four
costly scents, but because so many millions of cakes are sold,
the cost of this fine soap is brought way down
so that any girl's shopping list can contain the words
six cakes of lux toilets or please and once again
mister de mill Shaine starring Joan Crawford and Franchotone continues.

Speaker 3 (22:24):
It's the following morning, and Diane thinks she has escaped
from Mike by telling him she's visiting the Wiltons, some
non existent friends.

Speaker 2 (22:33):
Outside her luxurious hotel.

Speaker 3 (22:36):
She waits for a groom to bring the horse she's
ordered for a morning.

Speaker 7 (22:39):
Ride to Flowing.

Speaker 3 (22:43):
Yes, I am mister Parker's assistant manager of the hotel.
There has been a slight delay about your horse.

Speaker 7 (22:48):
I shall phone the stables again.

Speaker 6 (22:50):
Thank you, mister Potter.

Speaker 7 (22:51):
Madame has been made comfortable.

Speaker 3 (22:53):
I hole, oh, perfectly.

Speaker 4 (22:54):
The flowers in my room A gordo.

Speaker 2 (22:56):
Mister Field or for you every day, madam, oh oh oh,
mister Potter's.

Speaker 4 (23:02):
I should want a guide today, someone who knows the city.

Speaker 3 (23:04):
I have already arranged for the guide. Madam, can you
speak English? What see?

Speaker 7 (23:08):
Sen?

Speaker 3 (23:08):
Your read? I was speak the English for twenty five years.
Allow me send your rethought to present myself. Send your
panch ol Mike Bradley.

Speaker 4 (23:17):
At your servant, Mike, where did you bother up from?

Speaker 3 (23:20):
You scared me? Oh?

Speaker 7 (23:21):
It was still a boogie man euh no.

Speaker 4 (23:23):
But how did you happen to be here?

Speaker 3 (23:25):
Why? I thought i'd drop around and say hello to
the Wilsons. Nice little cottage they have here, lots of servants.
Gees are they home?

Speaker 4 (23:33):
No?

Speaker 10 (23:33):
But they left with me to mind the children. I
was taking the twins to see the executions on the plaza.

Speaker 3 (23:38):
M little Oasis is tall for his age, isn't he? Oh?
Did I have him stretched?

Speaker 4 (23:44):
Mike?

Speaker 3 (23:45):
Are you a bloodhound?

Speaker 6 (23:46):
Is this just accidental?

Speaker 2 (23:47):
I'm a bloodhound. Can read trunk checks from the lady careless.
He leaves the trunk outside her stateroom.

Speaker 3 (23:51):
Besides, mister Pontos here is a friend of mine. He
owes me money.

Speaker 4 (23:55):
Oh so he told you I was going riding at
ten o'clock exactly.

Speaker 2 (23:58):
So I thought you'd like to ride out on a
Bradley ranch for horses or horses, not candid ehs for
the bull ring.

Speaker 5 (24:04):
I'd love too much.

Speaker 7 (24:06):
That's better than I hope.

Speaker 4 (24:08):
Let's go, Mike, Let's go down to Jealous all right?

Speaker 2 (24:17):
Oh boy, that's why let's get off and rest a while.
I brought a couple of thermos bottles of cold tea
in my saddle bag, keeps on shipboard.

Speaker 3 (24:25):
Lemonade and cherry flips on the pampa's cold tea.

Speaker 4 (24:30):
I forgot to that's the name of my horse, Chili
kan Connie.

Speaker 3 (24:32):
I'm glad to meet you. Chili.

Speaker 4 (24:35):
Hey, you got a cold, wet nose?

Speaker 7 (24:37):
Call her?

Speaker 3 (24:37):
She shouldn't smell some nice chili. Where do we hit them?
Till blady ground and just throw your reins over his head.
He would stand like a sentinel. Nothing like cold tea
and a warm day. And the pampa bunches thirst, steps
you up, gives you that relaxed feeling.

Speaker 5 (24:50):
Yeah, are you going to chill?

Speaker 3 (24:53):
These horses? Not Chili kun Cornnie.

Speaker 2 (24:55):
Chili's grandma once won the sweepstakes for me and save
the mortgage.

Speaker 4 (24:59):
Isn't it quiet?

Speaker 1 (25:00):
Yes?

Speaker 4 (25:00):
Not a human being at a house in sight?

Speaker 3 (25:02):
Yes, quiet and harmless. I got day nursery and you
had to lie and run away from me.

Speaker 4 (25:09):
Why I should think you could guess?

Speaker 3 (25:12):
Mike stand.

Speaker 6 (25:15):
No, Please let me go, Mike, Oh.

Speaker 3 (25:19):
My darling, you see there's nothing to run away from,
miss No.

Speaker 4 (25:25):
Just then, when you kissed me.

Speaker 5 (25:28):
You and I reached high above the ears.

Speaker 8 (25:30):
I don't know where, but we were all alone together
when nobody else will ever be.

Speaker 7 (25:35):
We're gonna settle down.

Speaker 4 (25:36):
Up that writing the sun, or we can feel it beating.

Speaker 5 (25:39):
Down into it.

Speaker 3 (25:40):
However you have spelled, it's love, whether the sun, moon
rain on the boat? Did you really know so soon?

Speaker 7 (25:50):
I've known about somebody like you ever since I could think.

Speaker 3 (25:54):
When did you know?

Speaker 4 (25:55):
I never thought about anybody like you?

Speaker 6 (25:58):
So I guess it musta been a minute I saw you.

Speaker 3 (26:00):
You're going to see me from now. I'm missus Mike Bradley.

Speaker 9 (26:04):
Oh, Mike, No, I know that's what I've wanted to
hear you say, but.

Speaker 4 (26:08):
I I've never dared let myself.

Speaker 3 (26:10):
Think about it. What happened?

Speaker 7 (26:12):
Dad?

Speaker 3 (26:12):
Think about everything?

Speaker 4 (26:15):
Your arms are on me, everything excepting Missus Bradley. Why
because perhaps that I'm that kind of a girl.

Speaker 3 (26:25):
M I think you're going to tell me about some dark,
silly past that doesn't concern you and me. If that's so,
I hope you won't want me to start in.

Speaker 4 (26:33):
No, I'm going to tell you about the prison.

Speaker 3 (26:37):
There's no present except you and me. There's another man
I promised to marry him. That's the man. I except
it behind your eyes.

Speaker 4 (26:46):
Yes, but you don't see him, then.

Speaker 3 (26:47):
I'll do no, And I've forgotten he was ever there.

Speaker 4 (26:52):
I can't just forget that way, I know, but I've
never never really known anything until you put your arms
around me. You see how I thought I loved him, Mike.
He's gentle, honest, dear, and I owe him everything this trip,
I even know him.

Speaker 7 (27:10):
You well, you've got to write him a letter right away.

Speaker 4 (27:12):
No, I've got to go back and tell him face
to see.

Speaker 7 (27:15):
No, that's only an unnecessary ordeal.

Speaker 4 (27:17):
He wouldn't be fair if I didn't.

Speaker 8 (27:19):
You see, he didn't run out on me, and I
couldn't run out on him. If I see him myself,
I can make him understand.

Speaker 5 (27:26):
We couldn't be happy any other way, could we, Mike?

Speaker 7 (27:29):
I suppose not.

Speaker 3 (27:30):
You've got to go back and tell him. But I
am darling. Please hurry back. This gang wait, oh ms

(27:55):
lovering here, thank you.

Speaker 4 (27:57):
This gang wait for me?

Speaker 3 (28:00):
Yeah? Die, oh my dear dire.

Speaker 2 (28:07):
Yeah, let me look at you. It's almost worth letting
you go away just for this moment. Come on, let's
get out of this crowd. I've got the car outside,
what custin. Oh, I've attended to all that. You've got
the curtesy of the part this way, darling.

Speaker 7 (28:34):
Well the end?

Speaker 3 (28:35):
Oh that's not yes, that of course.

Speaker 2 (28:41):
Sometimes I had a strange, terrible feel that you wouldn't
come back. Well did you have a good time?

Speaker 3 (28:48):
Yes, nice cat on the boat.

Speaker 4 (28:50):
What.

Speaker 3 (28:52):
Yes, it's tired, don't you No, maybe a little excited
about kissing back.

Speaker 6 (28:58):
Oh, I've I've many to tell you.

Speaker 2 (29:00):
I I don't know where to begin, considering that I'm
never gonna let you out of my sight again.

Speaker 3 (29:05):
You have the rest of your life to tell me everything.

Speaker 4 (29:08):
But Richard, I wanna tell you something, will I?

Speaker 3 (29:13):
I I don't want you to think not til you
see what I've got for you.

Speaker 4 (29:17):
What is it?

Speaker 3 (29:18):
Yes, it's a welcome home present.

Speaker 6 (29:24):
It's a wedding ring.

Speaker 3 (29:25):
Hm. Take a look this morning's paper and see what
you think.

Speaker 2 (29:29):
Listen Shipping magnet divorce missus Richard Ifield, wife of field
line Head now in Reno. Oh no, no, Richard, true dear,
we had it all out shortly after you left.

Speaker 7 (29:42):
She saw that it was the only way.

Speaker 3 (29:44):
You can't do this Ooh but it's all right.

Speaker 2 (29:46):
She recognizes that there's nothing between her and me anymore.
She's an honest person.

Speaker 3 (29:50):
I am.

Speaker 2 (29:51):
So it's all settled, darling. We can be together always
now always, w what's nothing?

Speaker 3 (30:01):
Don't you believe it? Then?

Speaker 4 (30:02):
M it's it's it's not something.

Speaker 3 (30:05):
I I never counted on it one time.

Speaker 7 (30:07):
I never even that hope for it.

Speaker 4 (30:10):
You've given up your family, your home, and your children.
You must love me very much.

Speaker 2 (30:16):
Your being away showed me I loved you more than
I ever knew. Every hour Andy couldn't do a thing, down, down,
just wondering about you and what you were doing, waiting
for you to come back.

Speaker 4 (30:28):
Am I really that much of your world?

Speaker 3 (30:30):
You're all my world?

Speaker 7 (30:32):
If I ever lost you, now, i'd well, we don't
even think of that.

Speaker 4 (30:36):
No, we mustn't think about that ever.

Speaker 3 (30:40):
Again. No, what point that you wanted to tell me? Nothing?

Speaker 4 (30:45):
Nothing important?

Speaker 3 (30:48):
Uh?

Speaker 4 (30:48):
Richard?

Speaker 7 (30:48):
Yes, dear?

Speaker 4 (30:51):
When not? When are we going to be marry?

Speaker 7 (31:06):
The bad blaw walking.

Speaker 3 (31:07):
Til the cool was off and no water goes sundown
season your dying?

Speaker 4 (31:12):
Uh?

Speaker 3 (31:13):
Is there anything funny? Hey, Johnny?

Speaker 4 (31:16):
Yeah?

Speaker 3 (31:16):
Mail come in yet? Yeah? Sure? It's a letter from
New York in small feminine handwriting. You know what looks
all faith in to me? Shut up and hand it
over at the first letter. Why, Mike, Mike, what's the matter?

Speaker 7 (31:35):
Nothing?

Speaker 2 (31:36):
Very much, No, really, nothing at all. It just seems
there was a first class chump in the Argentine.

Speaker 3 (31:44):
His name is Mike Bradley. You mean, I mean, no works,
she's taking a run out of powder. She's married that
guy in New York. Oh gee, that's that's tough, Mike.
It looks like all women are the same, doesn't it you,
You know, than most of 'em to frank and admitting
they're only out to make a sap.

Speaker 7 (32:02):
Out of a man.

Speaker 3 (32:04):
I never dreamed it about her. It's brutal.

Speaker 2 (32:07):
Sure, everything seems brutal when you're on the loser's end
of it. But I guess I'm well out of that one.
Oh how does a dame like that figure things?

Speaker 3 (32:15):
Anyway? Can't she recognize a real guy when she sees one?
At that point, she's got what she wants.

Speaker 2 (32:20):
She'll live up there in New York, spending her days
buying furs and diamonds. They show off in the evening
at nightclubs. Probably her husband's a good guy too, That
another sap, only he doesn't know it yet.

Speaker 3 (32:32):
Is there is there anything I can do about it?

Speaker 7 (32:35):
Fella?

Speaker 3 (32:36):
Sure?

Speaker 2 (32:36):
If I ever go up to New York again, keep
reminding me that Donje and Kazanova have the only real
slant on women, love them and leave them. That's why
please cast pleasemas Brown.

Speaker 3 (32:57):
Good morning, Missus Fields. We haven't seen you since you
and mister Fields returns from your honeymoon.

Speaker 4 (33:01):
No, we've been on Long Island this fall, but we've
been down all winter.

Speaker 3 (33:04):
Anything I can do for you, Missus Fields, I'm looking for.

Speaker 4 (33:07):
Pair skis this stield. Am now going to lay classes
for a couple of weeks.

Speaker 1 (33:09):
You'll find them on the third law, Missus Fields, They'll
be elevated straight ahead.

Speaker 3 (33:13):
Excuse me, where's your gun department?

Speaker 4 (33:14):
I'm gonna buy a right the second month.

Speaker 8 (33:16):
Thanks Mike.

Speaker 3 (33:20):
Well, Hello, fancy meeting you in your own hometown. How
are you, Diane? This is a surprise.

Speaker 5 (33:28):
Yes, how long have you been in New York?

Speaker 3 (33:30):
I don't know, two or three weeks?

Speaker 7 (33:32):
Where?

Speaker 4 (33:32):
Uh? Where are you stopping?

Speaker 3 (33:34):
It's the west morning.

Speaker 4 (33:36):
I'm my car outside. Can I drop you anywhere? No?

Speaker 3 (33:38):
Thanks? I think I'll walk all.

Speaker 8 (33:40):
Right, how's Johnny been well and happy?

Speaker 3 (33:44):
Sure?

Speaker 4 (33:46):
You look pretty well.

Speaker 3 (33:47):
I can't complain. I'm glad, Mike, so am I What
are you doing buying a store out?

Speaker 4 (33:54):
No? No, just window shopping. I'm afraid I've got to
run along. I'm supposed to be the club the boy
for luncheon.

Speaker 2 (34:01):
Well, Diane, cave up the good luck and I'll tell
Johnny I saw you.

Speaker 4 (34:06):
Mike, can't couldn't we go some place and talk?

Speaker 3 (34:10):
Sure, providing you can break that date and have.

Speaker 4 (34:12):
Lunch with me, that's all right.

Speaker 3 (34:14):
Providing you let me take the place anyway you say, Mike,
I guess that's better enough, isn't it. Oh, i'd do.

Speaker 4 (34:20):
Someone to talk to you.

Speaker 3 (34:21):
Sure, I know I need little joint just about a.

Speaker 7 (34:24):
Block away from here.

Speaker 3 (34:33):
He luncheon it was any sac cause he.

Speaker 2 (34:35):
Means you excellent, paix, and I like your little private
dining room, a nice into it.

Speaker 3 (34:40):
Feature that New York should have borrowed from Paris long ago.

Speaker 2 (34:42):
Quit till But she's quiet and as you say, intimate,
you could no thank you, no, no say anything it no?

Speaker 3 (34:51):
Yeah, he could well missus seal.

Speaker 8 (35:00):
What's the time you called me that?

Speaker 3 (35:01):
Okay, it's the last. But while we're on it, how's
it working out? My splendidly for you and for him both? Hm,
of course that's fine.

Speaker 7 (35:11):
How's his help?

Speaker 4 (35:12):
Why do I really deserve that much?

Speaker 3 (35:15):
Mike? I'm sorry. If I felt that was below the bell,
that didn't mean it skipping. Its skipped. But I see
you're still the same healthy girl, aren't you now?

Speaker 4 (35:24):
The doctor's bill, not a dentist's appointment, not.

Speaker 3 (35:26):
Either, not even the sun? What might the sun?

Speaker 2 (35:29):
Don't you remember we went a little bomby under it
once we were going to settle down on the Argentine.

Speaker 3 (35:34):
For life or something. Right, Well, that's out.

Speaker 2 (35:37):
I don't blame you, but we'd blame ourselves if we
didn't take an hour or two of it now that
they've stopped the clock for it.

Speaker 5 (35:43):
You don't mean that, Mike.

Speaker 4 (35:44):
You can't mean it.

Speaker 3 (35:46):
Most do that? Do you like to run away and
be caught?

Speaker 4 (35:48):
Really? My please, I've got to go. I don't know
why I've.

Speaker 2 (35:51):
Spoke to you because you remembered something in this that's why,
cause you're only out for thrills anyway, And I was
once sap enough to take you Syria.

Speaker 8 (36:00):
No, Mike, no, forgive me diner, diner.

Speaker 4 (36:07):
I've waited so long to hear you say.

Speaker 3 (36:09):
That, Dina. Why did you do it? What? Why did
you write that letter? And let me spend a year
thinking of your you as a well?

Speaker 6 (36:17):
I thought I owed you the truth, Mike.

Speaker 2 (36:19):
I and like a poor deafy kid, I believed it,
but only because I was counting a daze.

Speaker 4 (36:26):
I guess no, Mike, Really it was true then, and
it's true now.

Speaker 3 (36:29):
Only this is true. You're here saying meaningless words while
all the rest of you keeps telling me differently every second, Mike.

Speaker 4 (36:37):
There are lots of t people, men and women who
are well dawn to each other. Thought of a little
spot that flashes up like a skyrocket every now and then.

Speaker 2 (36:46):
You trying to turn the sun, our sun into a firecracker.
And it can't be done, Dinah, No, I guess it
can't be done. So that changes everything.

Speaker 8 (36:57):
Nothing's changed, Mike.

Speaker 3 (36:59):
There's Richard and they're always shelby.

Speaker 7 (37:01):
Why why he didn't you tell him?

Speaker 4 (37:03):
Well, I couldn't let him down.

Speaker 3 (37:05):
Then he's turned his whole world, his whole life, over
to me.

Speaker 4 (37:08):
I can't ask him to take it back now it
would disappear and he'd be alone.

Speaker 7 (37:12):
How about you me?

Speaker 3 (37:15):
What about us Grin and barrass Oh? No, now that
I know, do you think I'll stand here?

Speaker 1 (37:21):
Please?

Speaker 2 (37:21):
Mike?

Speaker 4 (37:22):
This can only meet one things.

Speaker 8 (37:23):
First, I think you'd rather love me than hate me.
And now you don't hate me anymore. And I thought
I'd rather have you hate me than love me. Now
I know who I spoke to you today because I
hope your eyes wouldn't.

Speaker 3 (37:36):
Be so hard.

Speaker 4 (37:37):
They were, but now they're not again. This is the
only way I could think.

Speaker 3 (37:42):
About them and go on, Mike. You must know then
I've got to see you again tomorrow. We're going away
tomorrow night.

Speaker 4 (37:48):
I'll be busy.

Speaker 3 (37:49):
Where are you going? Goodbye, Mike, Mike Darling, do you
realize what you're doing? Yes, I'm keeping you locked in.

Speaker 4 (37:58):
My heart when nobody else will never be, where only
I can talk to you without ever seeing you again,
listening for me in yours mic always.

Speaker 2 (38:21):
The course or station identification. This is the Columbia Broadcasting System.

(38:46):
The third act of Chaine, starring Joan Crawford as Diane
Lovering and franch Ortone as Mike Bradley, will be heard
shortly for the first time in twenty five years. I've
broken an ironclad rule and given an important role to
a person who has never been before a camera.

Speaker 3 (39:02):
The exception to the.

Speaker 2 (39:03):
Rule is Helen Burgess. I noticed turned the studio restaurant
and saw what I thought was the distinct mark of genius.
She had a contract with Paramount, but there was a
small chance of her ever appearing in an important part,
and she had yet to see the inside of a
studio soundstage. I gave her the very important role of
Louisa Cody, Buffalo Bill's young wife and the Plainsman. I'm

(39:26):
not going to prophesy whether or not she will be
a great success. You can decide that when you see her.
She comes to the stage of the Lux Radio Theater
direct from the set in costume and makeup, and a
week's work with miss Burgess has shown me that my
confidence has justified a little girl with a great talent,
Helen Burgess.

Speaker 3 (39:55):
I am so.

Speaker 11 (39:55):
Grateful, ladies and gentlemen, for this marvelous chance to work
under mister Demill's direction. If it's a thrill to be
the discover, if someone used the screen, it's much more
of a thrill to be discovered.

Speaker 2 (40:06):
I'm sure that everyone in this audience wants to know
something about you, Helen, And someone has said that there
is nothing so interesting as a fact and nothing so
vital as vital statistics.

Speaker 6 (40:15):
So what I your I was born in Portland, Oregon,
and next year I'll be able to vote.

Speaker 8 (40:21):
I also lived into Cooma, Washington for a while before
coming to Hollywood.

Speaker 11 (40:25):
I went to Hollywood High School. Like Bby Daniels and
so many other Demil Discoveries.

Speaker 2 (40:30):
The one difference in your case is that you had
never appeared on the screen at all. And most of
the girls, like Baby Daniels and Gloria Swanson, who finally
found themselves in the mill bathtubs for bathing beauties to
start with, well, I envied.

Speaker 8 (40:43):
Them whatever experience they'd had.

Speaker 11 (40:45):
And I walked out on the set for the first
time and met Gary Cooper and Geen Arthur, Charles Bickford,
James Ellison and the rest of the cats. I was
so nervous my petticoat skift rustling the man in charge
of the microphones, that it sounded just like a ton
of coal going down a chute.

Speaker 2 (41:01):
Don't ever fear being nervous, my dear, this is your
first picture. It's my sixty third.

Speaker 3 (41:06):
I begin to get.

Speaker 2 (41:07):
Nervous a week before the starting date on every picture
and don't get over it until the week.

Speaker 3 (41:11):
After I finish. The first time I'm not.

Speaker 2 (41:14):
Nervous before starting a picture, it would probably be a
bad one.

Speaker 11 (41:17):
Well, it wasn't nearly so terrifying walking onto the set, though,
as it was seeing our first day's work on the screen,
I was so afraid I hadn't lived up to expectations.

Speaker 6 (41:26):
That I'd have run away. But for Gary Cooper's Gary said, or.

Speaker 11 (41:30):
Don't be scared, Helen, this acting is a cinch.

Speaker 6 (41:33):
I'm telling you now. You stole every seating.

Speaker 2 (41:35):
I happened to know that just about then Gary's knees
were knocking together so hard they sounded like castanette.

Speaker 11 (41:43):
Well, the thing that makes me feel most of these
is that everybody else in the cast is so much
at home.

Speaker 6 (41:49):
Some of the players have been in every one of
the sixty three to mill film.

Speaker 2 (41:51):
You will find that the middle cast is not just
a collection of players. It's the reunion.

Speaker 6 (41:56):
Well, I can think of only one bigger reunion in Hollywood.
Together all the picture stars to use lux toilet soap
and then you'd have a reunion. And there seems to
be the same friendly spirit here in your Lux.

Speaker 11 (42:07):
Radio Theater, mister Demil, as there is in your cast,
which is probably why the show is as good as
the soap good.

Speaker 3 (42:14):
Night, good Night's Silace.

Speaker 2 (42:24):
We continue the Lux Radio Theater play Chains, starring Joan
Crawford and Franchotone. It's the evening after Diane's unexpected meeting
with Mike. She and her husband are at home dressing

(42:44):
for dinner.

Speaker 3 (42:48):
Yeah yes, Richard, Oh, back to go to Lake Traffit tomorrow.

Speaker 4 (42:52):
Almost, but don't worry, emmy, never forget the thing.

Speaker 2 (42:55):
Oh gosh, I'm hungry. What's for dinner? I really don't
know a beginning to.

Speaker 3 (43:00):
Forget your wife and the dude is already eh.

Speaker 4 (43:03):
Yes, I mean it won't happen again, Richard.

Speaker 3 (43:05):
If the keys today, kee, oh no, I've met silly.

Speaker 6 (43:10):
I forgot all about them.

Speaker 2 (43:11):
So that's my girl with the efficient hit for remembering.
Been talking about skeys all week and then goes and
forgets them.

Speaker 6 (43:17):
I'll ask them to send them up by express.

Speaker 3 (43:20):
Are you all through at the office, all cleaned up?
It's good?

Speaker 10 (43:23):
Then you sleep place in the morning and stay around
the house with me until we leave for the train.

Speaker 2 (43:26):
Can't it's the Board of Governors meeting club. As long
as I'm in done, I've got to it then, Richard.

Speaker 5 (43:31):
Yeah, I've got a marvelous idea daymon, Let's not.

Speaker 4 (43:35):
Wait for that stuffy train trip tomorrow. I let's get
a bit early, get up early, take the open car
in every fur robe in the house, and motor rope.
If we leave by seven, we can make classes by
six in the evening, no matter how much snow.

Speaker 7 (43:46):
Mmmm, pretty gold rye.

Speaker 3 (43:48):
Oh, we'll twist the cobwebs out of our brains.

Speaker 2 (43:51):
See would makes you so anxious to get away on
our little holiday?

Speaker 4 (43:55):
You?

Speaker 3 (43:56):
I make you anxious? What's easy?

Speaker 4 (43:58):
You?

Speaker 2 (43:59):
Anyway? We've been talking in riddles everything two came home today.

Speaker 5 (44:02):
Have I?

Speaker 3 (44:03):
Well?

Speaker 8 (44:04):
It it's just that I want to be with you alone,
just us two together, away from the whole world.

Speaker 3 (44:09):
Oh. I can't explain what I mean, why, Diane, I
believe there is Arry Darling.

Speaker 7 (44:16):
I'm I'm really touched.

Speaker 4 (44:18):
We can motor off, can't we?

Speaker 7 (44:19):
I'll say we can.

Speaker 3 (44:20):
We'll run away from everybody and everything.

Speaker 4 (44:23):
Oh, thank you, Richard, Good.

Speaker 3 (44:34):
Morning, Dame.

Speaker 7 (44:35):
Are we glad?

Speaker 3 (44:36):
We're here, aren't we. It's very invigorating, sir.

Speaker 7 (44:38):
Is this Field still out skiing?

Speaker 3 (44:40):
Yes, sir? Oh, sir, A gentleman phone by the name.

Speaker 2 (44:43):
Of Bradley badly badly don't know any badly want me, yes, Sir.

Speaker 3 (44:46):
I told him I never disturbed you. When he came downstairs, Sir.
Then he asked for missus Field.

Speaker 2 (44:52):
I told him she was out, and then before I
could ascertain his business, he said he was coming.

Speaker 3 (44:56):
Right over right over where from him from the village.
I presume sh hm ah hid me still with this
your noble idea, James, Missus Field ordered it set.

Speaker 2 (45:08):
James, I'm a very fortunate man.

Speaker 3 (45:12):
Yes, if that's that fellow Bradle issue him right in. Yes,
I'm Michael Bradley, is.

Speaker 7 (45:20):
Mister Field in?

Speaker 3 (45:21):
Yes, this way mister is expecting yourself.

Speaker 7 (45:25):
Mister Field.

Speaker 3 (45:26):
Yeah, mister Badley, Yes, well you look freshed in civilization.
Came up on the night train.

Speaker 2 (45:32):
You now I want you you excuse me. I'll go
right on my breakfast. Done right, James, By away, mister Bradley.
If you have you had your thanks, I think.

Speaker 3 (45:40):
You'd rather this would be private.

Speaker 7 (45:41):
Mister Field.

Speaker 2 (45:42):
Well, I worked very well, James our fauler, when I
want to, Yes, mister Field, is only one reason I
thought I could come up here to see you, and
that's because your wife told me you dealt with things
pretty straight.

Speaker 7 (45:55):
My wife.

Speaker 3 (45:56):
Oh you know, mister Field, I'm in love with him?
What and she's in love with me? Are you in pain?

Speaker 4 (46:04):
No?

Speaker 3 (46:05):
I met her on the boat last year. It was
in the cars, mister Field.

Speaker 2 (46:09):
Only I couldn't get it, to admit it until one
day she came out to my ranch, and then I knew.

Speaker 3 (46:15):
We both knew.

Speaker 7 (46:15):
What is this?

Speaker 3 (46:16):
Some fifty black nailing suation?

Speaker 2 (46:19):
Even then she was loyal to you. If you've got
anything else on your mind, forget it, because it isn't so.
But you see, she came back to tell you about me.
Only she found out how much she meant to you,
and she couldn't let you down. Well, I get that
about settled the matter, doesn't it.

Speaker 3 (46:34):
No, it can only be settled one way, her way.
But she's too unselfish a face, so I'm trying to
face it for her. Ah.

Speaker 2 (46:41):
I suppose she got two up here, so the tramats
from it. When I called your rofice and learned you'd
left for the Adirondacks earlier than you expected. I simply
knew she'd run away from me.

Speaker 3 (46:50):
Bradley, you're kidding yourself. No I'm not. You're in as
good a position as I am. And no, a man
can't kid himself about a woman. I think this talk
is finished, mister Bradley. Not yet.

Speaker 2 (47:01):
Diane came through for you, didn't she, And now it's
your turn to come through for somebody else.

Speaker 3 (47:05):
And what do you propose that I should do about it?

Speaker 7 (47:08):
Give her up, give her back to herself.

Speaker 3 (47:12):
Oh, I know I'm getting up breaks, but there's nothing
I can do to keep them on your side.

Speaker 2 (47:16):
And I know it's tough, but there's nothing you can do.
I could drop out of sight, and that wouldn't solve matters.
Only a miracle and blood and body could change this picture. Field,
and neither you nor I believe in miracles.

Speaker 3 (47:27):
Get outer here, now, wait a minute, mister Field, get
outer here, all.

Speaker 2 (47:33):
Right, then get this. I'll take her away from you.
I never tried, but I can, and now I will
right past divorce course and marriage certificates and all the
rest of it, and we'll.

Speaker 3 (47:43):
Be more openly and honestly and.

Speaker 2 (47:44):
Completely together than all of you heard me get out?

Speaker 4 (47:47):
Richly was Risty, what's the mess.

Speaker 3 (47:53):
Life?

Speaker 7 (47:54):
Man's you love?

Speaker 4 (47:57):
This?

Speaker 3 (47:57):
Man? No, Riches. He said he could take you away
if he wanted to.

Speaker 7 (48:05):
Is it true?

Speaker 4 (48:07):
No?

Speaker 3 (48:08):
He couldn't. Dinand, look at me. You had no right
to do this.

Speaker 4 (48:10):
I told you this is my husband. He means everything
to me. Everything. Can't you understand? Can't you say what
you're doing?

Speaker 3 (48:17):
I think she's decided, nor she hasn't.

Speaker 7 (48:21):
All right, then I'll decide.

Speaker 4 (48:25):
Richard put Donna dunk.

Speaker 7 (48:27):
Can't get out of the way.

Speaker 4 (48:28):
Don No, you can't it, Mike.

Speaker 9 (48:30):
It's Mike.

Speaker 7 (48:33):
I know, Diana. I know Mike.

Speaker 3 (48:36):
I just wanted to be sure.

Speaker 4 (48:40):
What are you going to do?

Speaker 3 (48:41):
Do mine? Dear?

Speaker 7 (48:43):
We're going to.

Speaker 3 (48:43):
Settle this matter like civilized people, all right, I understand.
I think mister Bradley stands too. I'm afraid I don't.

Speaker 2 (48:55):
When you're saving back to the Argentine, mister Bradley, I
haven't thought sweet plas next week.

Speaker 3 (49:02):
That doesn't allow you much time? Then you mean I
mean that you'll be saving? True?

Speaker 4 (49:10):
I do, oh, risch I I can't say anything.

Speaker 3 (49:15):
You aren't supposed to and you're not to feel sorry
for me. You give me two years, Dian, two glorious years.
I'm grateful for them. I'm please, don't, Diane, please. I
said you were enough that you Sorday.

Speaker 2 (49:29):
You see, Dolly say old problem youth versus well as
it shall? I say, middle aged you have youth, die
and I I want you to have it the man
you love with Mike.

Speaker 7 (49:41):
Yes, I don't deserve this or I should do. Mike.

Speaker 2 (49:46):
You deserve anything, anything that'll make her happy.

Speaker 7 (50:00):
Ooh, chill, wol.

Speaker 4 (50:05):
Hold it, Mike, Exploria's out here.

Speaker 7 (50:11):
You wanna go on?

Speaker 3 (50:12):
No, let's just stay here.

Speaker 4 (50:14):
I'm gonna drink it all in the moonlight the Pampas.

Speaker 3 (50:19):
There's the Southern Cross up there, well, just about where
it used to be.

Speaker 4 (50:24):
Oh, it's more wonderful than ever it.

Speaker 7 (50:26):
So are you, missus? Mike Bradley.

Speaker 2 (50:56):
The chains are broken and our play coming to its
clob Jose, but Joan Crawford and franch Artone will be
back in a moment for a curtain speech. Two and
a half million letters and postcards from movie fans are
received at the studios each year. The bulk of this
mayor is addressed to the stars and asked the same question,
how can I.

Speaker 3 (51:14):
Get into the movies? Tonight?

Speaker 2 (51:16):
That question will be answered by the dramatic coach of
Metro Goldrin Mayer Studios, formerly director of the famous Little
Theater of Dallas, Texas. He probably interviews more candidates for
stardom than any man in Hollywood. Ladies and gentlemen, mister
Oliver Hinsdell, Well, mister Demil, I think that's that even

(51:39):
you must admit that that's a pretty big order. For
of course, in this case, how can I get into
the movies means how can I act in the movies?
Acting is an art, and an art of any kind
is a hard taskmaster. There's no formula, no open sesame
into this lend of make believe, save that of work, work, work,
Believe me there is. There is in addition to this

(52:05):
prime requisite of work, the requisites and requirements of imagination, idealism, sincerity,
a knowledge of life, true love of mankind, and.

Speaker 3 (52:16):
A good appearance.

Speaker 2 (52:17):
These requirements are so essential and so seldom found in
one person that when I came to Metrogolden Mayor, they
told me that they would be well satisfied if I
found even one promising actor in five years well, we've
been perhaps a little more fortunate. The next one must
have more than a love for acting.

Speaker 3 (52:36):
We must be willing to.

Speaker 2 (52:37):
Leave all for it, even to go without food for it,
to think and to live nothing but theater. It's not
merely a place to show off a good voice, a
good profile, a fine figure. We must be careful left
our urge for the art of the theater is not
confused with the desire for self exploitation. When we have
reached the stage in our thinking that we ask nothing

(52:58):
of the theater, but are willing to give all go
to it, then we may know that the urge is
real and cannot and will not be denied. There's no
one key that will open the gates, but a combination.
Will perhaps find that combination and you will enter. But
once then the real work only just begins. Here are

(53:18):
a few of the combination numbers, so to speak. The
aspirant must have a broad vision and understanding, a cultivated mind.
He should know history, literature, painting, sculpture, music.

Speaker 3 (53:32):
He should know his Bible.

Speaker 2 (53:34):
His body must be healthy, active, and must respond to
his bidding a fine, clear complexion which denotes health, bigger vitality,
And there is no better way to a clear complexion
than a clear skin, and I know of no better
way to a clear skin than by the use of
pure toilet soap. Luck toilet soap, for instance.

Speaker 3 (53:55):
You do not need to be beautiful.

Speaker 2 (53:57):
Marie Dressler and Wali Biri never won beauty contests. If
you are beautiful, don't be misled into thinking that that's
all that it.

Speaker 7 (54:05):
Requires to get into the movies.

Speaker 2 (54:07):
The ranks of Hollywood unemployed are full of those with
nothing but beauty.

Speaker 3 (54:12):
I've tested at least the one hundred thousand young men.

Speaker 2 (54:14):
And women for the screen, including those that I judge
from photographs and written reports. Of these, only seventeen have
made the grades. Among them are Jeen Parker, Robert Taylor,
Irene Hervey, Martha Sleeper, Mary cale Lyle, Robert Young, Betty Ferness,
Michael Whaleen Virginia Bruce. Some of the others are already

(54:35):
equally well known.

Speaker 3 (54:36):
Others you may never hear of.

Speaker 2 (54:38):
If you are still determined to go into pictures, take
whatever opportunity you can get. Go to the little theaters
or any amateur group in your neighborhood. Startian if necessary,
by sweeping the floors paint scenery, understudyed, be a prompter,
do anything, and don't worry if you think perhaps that
I have painted.

Speaker 3 (54:57):
A dismal picture.

Speaker 2 (54:59):
Bear in mind that every major studio spends thousands of
dollars yearly scouting the country for promising performers. We always
need talents.

Speaker 3 (55:08):
Your big terms will come when you are ready to
accept it, and only them.

Speaker 7 (55:12):
Good luck and good night.

Speaker 3 (55:15):
I put.

Speaker 2 (55:20):
Before the movies discovered glamor it was just an old
Scotch word meaning a spell.

Speaker 3 (55:25):
Cast by magic.

Speaker 2 (55:26):
But a good two word definition of the term today
would be Joan Crawford. She is, of course, one of
the best dressed women in Hollywood, and I seem to
have contributed to our leadership in style because I had
discovered her designer, Adrian.

Speaker 3 (55:40):
In fact, Adrian asked.

Speaker 2 (55:42):
Me to look at the first gown he designed for us.
I agreed and waited for her to come to my office.
After a while, it was a knock at the door.
I said, come in, John. The door opened. John took
one look at me and fled, apparently in terror. I
didn't know until this week why she ran away, and
think the reason one she'd better explain to you. Hotel

(56:03):
miss Joan Crawford.

Speaker 4 (56:09):
To tell the truth. I was scared to die of
mister de Mills.

Speaker 5 (56:12):
I had vigen the entering a room and complete darkness.

Speaker 4 (56:14):
And suddenly finding myself underneath a blinding spotlight with mister
de Mills petered on a throne and shouting it won't
do the shock of finding a human being was too much.

Speaker 3 (56:23):
I had to run.

Speaker 2 (56:25):
It's time to do something when beautiful women run from
you like they do from hop O Mark.

Speaker 4 (56:30):
But no need to apologize, Joan.

Speaker 2 (56:32):
You're performance tonight makes up for everything. My congratulations to you. Also,
French Hip. It's been great playing on a program that
Joan and I listened to so often. C B and
I'd like to congratulate you on the way you speak, Joan,
and I call you the final g man because you
never drop.

Speaker 3 (56:47):
A final gene.

Speaker 2 (56:49):
And I see an entirely different language on the set
out there. Jenny isn't a girl's name, it's an electrical generator.

Speaker 3 (56:56):
A high hat isn't something you wear, it's.

Speaker 2 (56:59):
A camera stat A lily isn't a flower.

Speaker 3 (57:02):
It's a good take or see him.

Speaker 2 (57:04):
I want to ask the new assistant director to rush
a lot of babies on the set and ten minutes
he was he was back with about fifty children and
what I wanted to some spotlights and you learn.

Speaker 4 (57:15):
More in pictures of the new language. For instance, Clark
gave a learn to swim and we were making change.
The script called for several swimming scenes and Clark couldn't
swim a stroke at the time, but I taught him
home and then reten he taught me how to shoot
a gun.

Speaker 3 (57:28):
The personally, I'm a chess player. You can see where
Joane get the complexion CV swimming shooting. He's out of
doors all the time. Just a minute, then.

Speaker 4 (57:37):
If you were a little more observed, and you'll know
that lux toilet so has lots to do with it.

Speaker 3 (57:41):
I've used Luxy years.

Speaker 4 (57:42):
At home on the set, and I even carry it
with me when I go away. It's really wonderful.

Speaker 2 (57:46):
So that's the secret, is it? Here's another little secret.
TV Jon's taking singing lessens.

Speaker 7 (57:52):
Oh won't you.

Speaker 3 (57:53):
Sing for us?

Speaker 7 (57:53):
John?

Speaker 8 (57:54):
No, mister de mill Joe Hm, June.

Speaker 3 (57:58):
We'll ever heard of sing no to mister de Mill.

Speaker 4 (58:00):
Huh. Millions of people just heard it. But I'll make
up for by announcing next week's show.

Speaker 3 (58:05):
Thanks Next week Walvestandwick.

Speaker 8 (58:07):
And Fid McMurray will be with you in the Lux
Radio Theater.

Speaker 10 (58:10):
The player is Main Street, adapted from the famous novel
by Saint Clair Lewis, and with two such marvelous players,
you can look forward to a really great program.

Speaker 4 (58:19):
I thanks to you all in good Night.

Speaker 3 (58:20):
We'll be listening in next Monday. Good night, seev good night.

Speaker 2 (58:35):
Thank you, Miss Crawford and mister Towne, and lots of
success to both of you in your new Metro Golden
Mayor picture The Gorgeous Hushy soon to be released, with
Robert Taylor.

Speaker 3 (58:45):
Lionel Barrymore, Melvin Douglas and James Stewart. Our cast to
Night included.

Speaker 2 (58:51):
Gilbert Emery, Wally Mayer, Lou Merrill, Frank Nelson, Margaret Steddon,
Walter Solderling and Leora Thatcher.

Speaker 3 (59:00):
Miss Crawford, mister Tone and mister Hinstow appeared through courtesy
of m g M. Our. Play Change was based on
the m g M.

Speaker 2 (59:08):
Photoplay of the same name, which starred Miss Crawford and
Clark Gable. Mister de Mill and Miss Burgess appeared through
courtesy of Paramount and mister Lewis Silver's twentieth Century Fox
where he has just completed the musical arrangements for to
Marry With Love and.

Speaker 3 (59:24):
Now mister de mill.

Speaker 2 (59:29):
As Miss Crawford announced our play next Monday Night is
Main Street, starring Barbara Stanwick and Fred mc murray in
this modern classic by Saint Clair Lewis. A A sponsors

(01:00:01):
the makers of Luck Toilet Ropes join me in inviting
you to be with us at that time to welcome
Miss Stanwick and mister McMurray. It DITETHI B the mall,
saying good night to.

Speaker 3 (01:00:16):
You from Hollywood the Herd on the Night Programs parting selection.

Speaker 2 (01:01:06):
Love Will Tell from the twentieth Century Fox production Sing
Baby Sing.

Speaker 3 (01:01:14):
This is the Columbia Broadcasting System.