Lux Radio Theatre - Quality Street

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, September fourteenth.

Speaker 2 (00:15):
The Bucks Radio Theater presents Ruth Chatterton and Brian Ahearn
in Sir James Berry's play Quality Street Nuts Presents Hollywood
with Ruth Chatterton, Brian Ahearn, Kathleen Lockheart, Mervyn le Roy

(00:37):
and Harold S. Bouquet, our producer Cecil D. De Mille,
our musical director Lewis Silbers. This hour in Hollywood comes
to you with greetings from the makers of Lux Toilets
Are Welcome. Also goes to the distinguished audience gathered here
in our theater on Hollywood Boulevard, which includes the following
Boston dramatic critics. We've just returned from Santa Cruz, where

(00:57):
the Picture Made of Salem starting Claude at Colbert is
being filmed. Marjorie Adams, Peggy Doyle, Helen Eager, Crunella Hall,
Eleanor Hughes, and Don Messenger. And a hearty welcome also
to our old friend Al Josh. We hope our program
brings you as much pleasure as your presence brings to us.

(01:23):
We wish you could visit the homes of Hollywood's glamorous stars.
We wish you could visit their dressing rooms at the
famous Motion Picture studios, for then you could see for
yourself that nine out of ten of our most beautiful
actresses protect their flawless complexions.

Speaker 3 (01:36):
With Lux toilet soap.

Speaker 2 (01:38):
Lovely women everywhere prefer Lux toilet soap because.

Speaker 3 (01:41):
They know it's active, rather.

Speaker 2 (01:43):
Removes cosmetics, thoroughly assures daintiness, and leaves the skin clear, smooth.

Speaker 3 (01:48):
And delicately fragrant.

Speaker 2 (01:50):
Order some tomorrow. It's so inexpensive that everyone can use
Hollywood's favorite beauty care every day.

Speaker 3 (01:58):
And now the.

Speaker 2 (01:58):
Producer of the Lux to your theater, ladies and gentlemen,
mister Cecil D. De Mill, Greetings from Hollywood ladies and gentlemen.
Given a microphone or a monoplane, Ruth Chatterton and Brian
ahearn are completely at home on the air. Miss Chatterton

(02:20):
has the distinction of being the first actress to make
a solo flight across the United States, and mister Ahearne
has just obtained his pilot license. Sir James Barry, who
wrote tonight's play Quality Street, also.

Speaker 3 (02:32):
Dabbled in aviation.

Speaker 2 (02:34):
Recalling Peter Pan you will remember that his character Wendy
had a great deal of flying to do. To stop
children who loved the story from trying to follow Wendy's example,
Sir James wrote a warning to them that before they
could fly, it would be necessary to sprinkle them with
Peter Pan's magic dust, but to rise in the world

(02:56):
to night stars needed no magic dust. Vanaherne was acting
on the English stage at the when he was only five,
while Ruth Chatterton, at thirteen, gave a song recital in
Carnegie Hall for her first job in stock. Ruth earned
ten dollars a week, six of which went to the landlady.
Soon after, Henry Miller spoke to Ruth on the telephone

(03:19):
and gave her the lead in his new play without
even having seen her. She was only seventeen then and
totally unknown, but at the end of her opening performance
she won an ovation that lasted ten minutes. Brian and Hearne,
at the age of ten, went to London and lived
all alone just till he could study acting. After leaving college,
he rose to immediate success in England and Australia. While

(03:42):
his performances in this country in the barratts of Wimpole
Street and Romeo and Juliet will long be remembered. We
hear him tonight in the role of a young physician
Valentine Brown. The part of Phoebe Throssel will be played
by Miss Chaathan, and that of Susan has since the
sister by Kathleen Lockhart. And now the lights overhead in

(04:05):
the lux Radio Theater fade to pinpoint, then go out,
footlights flash on, and the curtain rises on Sir James
Barry's famous play Quality Street, a gentle love story of
the early nineteenth century, when ladies were incredibly prim and
gentlemen endowed with a chivalry little known to our present generation.

(04:27):
Quality Street stars Ruth Chatterton and Brian Ahearn with Kathleen Lockhart.

(04:48):
It is the winter of eighteen hundred and five and
Napoleon's greed for empire casts a threatening shadow over all Europe.
We're in the home of the missus Susan and Phoebe
Throssell on Quality Streets, a refined but by no means
wealthy district in an English town. As the curtain rises,
Miss Susan Thrussel, Phoebe's all made sister, is knitting in

(05:11):
the parlor. We hear the sound of the doorbell, an
old fashioned poor bell whose continued thinkling surprises Miss Susan.

Speaker 1 (05:23):
Hendy pretty ones.

Speaker 4 (05:25):
To the build leaves, yes, ma'am, Oh, come in, Miss Phoebe.
Thank you, Oh Susan, Susan, I'm so excited, I should
think so. I thought you were going to pull a
bill outside the roof. What happened? Patty? Will you please
take my bonnet and circip it into the bedroom? Is?
What is it? Phoebe? Just a minute? I didn't want

(05:47):
Patty to overhear, Susan, I have met a certain individual,
not mister Phoebe. Why dear, you're trembling though? Oh no,
oh yes, you put your hand in your heart? Did
I as he proposed?

Speaker 5 (06:01):
Oh Susan, what I think?

Speaker 4 (06:04):
It is too holy to speak even to your sister, Susan.
I was visiting an unhappy woman whose husband has fallen
in the war against Napoleon. When I came out of
her cottage, he was passing here, Phoebe. He offered me
his escort. At first, he was very silent. We know why,
Please not to say that. I know why. Suddenly he

(06:24):
stopped and swung his cane. You know how gallantly. He
swings his cane has been big. He said, I have
something I am wishful to tell you, Miss Phoebe. Perhaps
you can guess what it is. Go on, go on
to say I could guess. Sister would have been on
lady light.

Speaker 5 (06:38):
I said, please not to tell me in.

Speaker 4 (06:41):
The public sud affair, to which he instantly replied that
I shall call and tell you this afternoon, Baby Susan.
To think that it all happened in a single year.

Speaker 5 (06:52):
The village doctor, such a.

Speaker 4 (06:55):
Genteel competency as he can offer, such a desirable establishment. Oh,
I had no thought of that, dear, What a romantic name,
mister Valentine Brown. Do you remember when he first called
at the tea table he humorously passed the case bo
It was nothing at all.

Speaker 5 (07:14):
He was very amusing from the very first.

Speaker 4 (07:16):
I'm thankful that I have a sense of humor too.
I'm exceedingly funny at times, am I not, Susan.

Speaker 5 (07:21):
Yes, indeed, you know he is absolutely.

Speaker 4 (07:24):
Fearness, Susan. He has smoked a pipe in this very room. Oh,
smoking is indeed a dreadful habit, but there is something
so dashing about it. Now I shall have to live alone.
Oh no, I cannot bear to leave this room, my
lovely blue and white room. It is my husband, Susan.

(07:48):
You must make my house your home. You see, you
see I have something distressing to tell you.

Speaker 3 (07:56):
Fuck you allow me.

Speaker 4 (07:58):
You know, mister Brown advises how to invest half of
our money. I know it gives us eight percent, So
why should do so? I cannot understand, but very obliging,
I'm sure, Susan, all that money is lost, not something
birth dear a bubble, I believe they called it, and
then the officers of the company absconded.

Speaker 5 (08:19):
Mister Brown.

Speaker 4 (08:20):
Oh, I haven't told him yet.

Speaker 5 (08:21):
He might think it was his fault. How much have
we lived?

Speaker 4 (08:25):
Only sixty pounds a year? So you see, you must
live with us. Oh but mister Brown, if he is
not proud to have my Susan.

Speaker 5 (08:33):
Live with us, I shall say it once. Mister Brown,
the door, dear, seebe.

Speaker 4 (08:39):
That knock? He never rings, He knocks so dashing, so imperious, Susan.
I think he kissed me one you think I know
he did. He was squiring me home from the concert.
It was raining and my face was wet. He said
that was why he did it, because your hes we
it doesn't seem a sufficient excres cuse. Now, oh Phoebe,

(09:02):
before he had offered marriage, I feared it was most unladylike. Oh, oh,
good afternoon, mister.

Speaker 3 (09:10):
Brown, good afternoon. That is ah, Miss Susan, how do
you do?

Speaker 4 (09:13):
Man?

Speaker 3 (09:14):
And miss Phoebe, Miss Phoebe of the pretty ringlets?

Speaker 5 (09:17):
How are you always so dashing?

Speaker 3 (09:19):
Massa miss chair? Miss Phoebe? I know Miss Susan likes
me to break her chair.

Speaker 4 (09:24):
Indeed, so I do not.

Speaker 5 (09:25):
Maybe how strains that he should think? So as the
remark was humorous, was.

Speaker 3 (09:29):
It not how you see through me? Miss Phoebe?

Speaker 4 (09:32):
Huh?

Speaker 3 (09:34):
So I am dashing?

Speaker 4 (09:35):
Hey, Miss Phoebe a little I think.

Speaker 3 (09:38):
Well I have something to tell you today, which I
really think is rather dashing. Oh dear, I say, Miss Susan,
you're not going before you know what it is?

Speaker 4 (09:45):
Oh I know, mister Brown.

Speaker 5 (09:46):
Susan, Well, I mean I don't know.

Speaker 4 (09:49):
I mean I can guess. I mean, Oh, please, Phoebe,
you explain.

Speaker 3 (09:55):
Oh so you both know? And I blessed myself for
such a secret. Am I to understand that you had
foreseen it all? Miss Phoebe? Nay, sir, you must not
ask dead anyhow, it was you first put it into
my head.

Speaker 5 (10:09):
Oh I hope not.

Speaker 3 (10:10):
You are demure. Eyes flashed every time the war was mentioned.

Speaker 4 (10:16):
The war, mister Brown, What is it you have to
tell us?

Speaker 3 (10:24):
But I have enlisted, Miss Phoebe. Did you surmise it
for something else?

Speaker 4 (10:31):
We're going to the wall, mister Brown. Is this a jest?

Speaker 3 (10:36):
Not at all? I've chafed for months. I want to
see whether I have any carriage.

Speaker 4 (10:41):
I think you have done bravely, mister Brown.

Speaker 3 (10:43):
I leave tomorrow for the barracks in London, so this
is goodbye.

Speaker 4 (10:46):
I should pray that you may be preserved in battle,
mister Brown.

Speaker 3 (10:50):
And will you write to me when occasion offers, if
you wish it. With all the stirring news of Quality.

Speaker 4 (10:56):
Street, it seems stirring to us, it must have been
merely laughable to you, who came here from a greatness.

Speaker 3 (11:04):
You delicious Miss Phoebe. When I first came here, I
felt sorry that one so sweet and young should live
so gray a life. I wondered whether I could put
any little pleasures into it.

Speaker 4 (11:15):
Oh you mean the picnics we had together, chaperon by
Miss Sulele.

Speaker 3 (11:20):
Oh that was only how it began. Soon I knew
that it was I who got the pleasures, and you
who gave them. You have been to me, Miss Phoebe,
like a quiet, old fashioned garden, full of the flowers
the Englishmen love best, and because they have known them longest,
the daisy that stands for innocence, and the hyacinth for constancy,

(11:42):
the modest violet and the rose. When I am far away, ma'am,
I shall often think of Miss Phoebe's pretty soul which
is her garden, and I shall shut my eyes and
walk in it.

Speaker 5 (11:57):
May I come back in again?

Speaker 3 (12:00):
You?

Speaker 2 (12:00):
Is it?

Speaker 4 (12:01):
By? Maybe you seem so calm, Susan that mister Brown
is so obliging to inform us is not what we expected,
not that at all. He's enlisted for the wars, and
he came to tell us goodbye going away?

Speaker 3 (12:18):
Am I not the ideal recruit man, a man without
a wife or a mother or a sweetheart?

Speaker 5 (12:22):
No sweetheart?

Speaker 3 (12:24):
Have you won for men, Miss Susan.

Speaker 5 (12:25):
Why Susan?

Speaker 4 (12:27):
We shall have to tell him now, you dreadful man,
mister Brown. He will say, it is just like quality street.
But ever since you told me earlier to day that
you had something to tell me. We've been puzzling over it,
and we concluded that it was that you are going
to be married.

Speaker 3 (12:47):
Is that it so like?

Speaker 4 (12:50):
Oh? So like women?

Speaker 6 (12:51):
You know?

Speaker 4 (12:52):
We thought perhaps we knew her. We were even discussing
what we should wear at the wedding.

Speaker 3 (12:57):
I shall often think of this. Oh I wonder who
would have me? But I must be up, so God
bless you.

Speaker 5 (13:05):
Both you are going.

Speaker 4 (13:07):
We shall miss you very much, mister Brown.

Speaker 3 (13:09):
Oh there is one little matter that I forgot that investment.
I advite you to make I am happy. It turned
out so well.

Speaker 4 (13:15):
It was good of you to take all that trouble, sir,
except our grateful things.

Speaker 3 (13:19):
Oh I am indeed glad that you are so comfortably
provided for. You must remember I'm your big brother.

Speaker 4 (13:25):
Well, goodbye again, goodbye, mister Brown. A misunderstanding, a mistake,
a mistake, See me, my dear, don't don't see some don't.

(13:47):
Here's a thinged in human form.

Speaker 5 (13:49):
They don't say that either. He's a brave gentleman. Good Monday.
Why did you not tell him so that he might
propose marriage to me?

Speaker 4 (13:59):
Out of Oh but phoebe, how are we to live
with half our money gone, we could.

Speaker 5 (14:05):
Keep a little school for genteel children.

Speaker 4 (14:08):
Only. Of course, I would do most of the teaching. You,
school mistress, Phoebe. Of the ringlets, why everyone would laugh.
I should hide the ringlets away in an old maid's cab,
and people will soon forget them. And I shall try
to look staid and to grow old quickly, if you'll
not be so hard as you think. Oh, there are

(14:29):
other gentlemen who would attract to you, Phoebe, and you
turn them away. I did not want them, so they'll
come again another too. No, No, never speak of that
to me anymore.

Speaker 5 (14:41):
I'll let him kiss me.

Speaker 4 (14:43):
You could not give it?

Speaker 5 (14:44):
Yes, I could. I know I could now.

Speaker 4 (14:47):
I wanted him to do it. Oh, never speak to
me of others after that. Perhaps he saw that I wanted.

Speaker 5 (14:55):
It and did it to please me. But I meant.

Speaker 4 (15:00):
I meant that I gave him the kiss with all
my love, Sister. I could dare all the rest, but
I've been on ladylight.

Speaker 2 (15:27):
Before we continue with Quality Street, starring Ruth Chatterton and
Brian Heard. We want to take you to an attractive
one story house on one of Hollywood's numerous hills. A
man and his wife and their pretty daughter lived there.
We'll say their name is Brown, and missus Brown is
saying Peig's awfully late tonight.

Speaker 4 (15:43):
They were to shoot her big Sea today.

Speaker 5 (15:45):
You know, sometimes I think she works.

Speaker 6 (15:47):
Too hard at this moving picture business.

Speaker 3 (15:51):
There she is, I guess.

Speaker 2 (15:52):
Now, don't scold her.

Speaker 4 (15:55):
Pay you're late, have a good day.

Speaker 2 (16:00):
Ask me.

Speaker 4 (16:00):
We had to shoot that telephone scene twenty two times.
Seemed to me. I was running up and downstairs all
day long.

Speaker 5 (16:06):
Maybe you don't think that's work.

Speaker 3 (16:07):
Of course it is, but it's worth it.

Speaker 2 (16:10):
Now, calm yourself and let's have some dinner.

Speaker 4 (16:12):
Oh I can't. Davy's coming for me at eight, and
I can't pass up the coconut grove with him. Oh dear,
he'll expect me to be full of pepp and I'm
so tired I could slop.

Speaker 5 (16:22):
I'll never make it.

Speaker 2 (16:27):
But Peg did make it. She took a warm, fragrant
lux toilet soap band, just as screen stars do when
they're worn out from too much work. A lux toilet
soap beauty band makes you feel refreshed, alive, and most important,
its active lather sinks deep into your pores and frees
them of impurities that may remain to choke them. When

(16:49):
you use lux toilet soap, You're sure you're dainty, certain
your skin is sweet. PEG's found out that daintiness pays
dividends in popularity. She knows that's why why Davy says
to her as they glide past it the coconut grove.

Speaker 3 (17:03):
Gee, Peggy, you are a peach. Let's stay until the
music stops. And honest, I could dance forever.

Speaker 2 (17:09):
When I'm dancing with you, be sure you protect daintiness
the lux toilet soap. Way keepskin clear, smooth, dainty with
this soap.

Speaker 3 (17:19):
The screen stars used start today and once again.

Speaker 2 (17:25):
Mister de Mille, we continue with Quality Street, starring Ruth
Chatterton as Phoebe Thrustle and Brian Ahern as Valentine Brown.
Ten years have passed, Phoebe and Susan are now teaching school,

(17:45):
and the once charming sitting room is a jumble of
maps and blackboards. Miss Phoebe, her ringlets hidden under an
old maid's cap, is seated at a desk, looking careworn
and tired. From the classroom comes Miss looking very agitated.

Speaker 4 (18:03):
C is the heading and the half cost three hastens
how Ben April eleventh and eleven. William Smith says, it's fifteen,
and he's such a big boy. Do you think I
ought to contradict him? May I say there are differences
of opinion about it. Oh, no one can really be sure, Phoebe,
it's eleven. I once worked it out with real herrings. Oh, Susan,

(18:25):
Isabella's father insists on her acquiring algebra is algebra exactly?

Speaker 6 (18:31):
Is it?

Speaker 5 (18:31):
Those three cornered things?

Speaker 4 (18:33):
It's x minus y equals z plus y and things
like that. And all the time you're saying they're equal,
you feel in your heart in nothing of the sort. Hasten, Phoebe,
Huh the music for a life ball the ball, Oh,
a gay evenings for some people.

Speaker 5 (18:51):
We must not rudge their rejoicing.

Speaker 4 (18:53):
Sudie. It is not everywhere that there is a waterloo
to celebrate.

Speaker 5 (18:56):
No, I was not thinking of that. I was thinking
that he will be at the.

Speaker 4 (19:00):
Ball tonight, Valentine Brown, and we've not seen him for
ten years. Yes, ten you we shall be glad.

Speaker 5 (19:08):
To welcome our old friend back.

Speaker 4 (19:10):
Bonbe, Susan, you're not going to the ball.

Speaker 5 (19:12):
No, dancing is not for the village school.

Speaker 4 (19:15):
Mistresses, and he might pay us the call.

Speaker 5 (19:19):
Dear me, I must get back to children.

Speaker 4 (19:28):
Good afternoon, oh ster, good afternoon, sir. Who is it teddy?
She's Captain Brown with susans, Captain Brown.

Speaker 3 (19:40):
Captain Brown reports himself at home again.

Speaker 4 (19:44):
Oh, you call this home when.

Speaker 3 (19:46):
The other men talk of their homes. Miss Susan, I
thought of this room when watch this NEPs desk blackboards
looks like a school.

Speaker 1 (19:55):
It is.

Speaker 2 (19:59):
Hi.

Speaker 3 (20:00):
Oh, it is still the same, dear room, Miss Susan.
I rejoiced to find no change in your damn Miss Phoebe,
Miss Phoebe of the Ringlets. I hope there be as
little change in her Phoebe of the Ringlets whole.

Speaker 4 (20:14):
Ah, Captain Brown, you need not expect to see her.

Speaker 3 (20:17):
He is not here. I oh, it spoils all my homecoming.

Speaker 5 (20:21):
You in that dreadful smith boy.

Speaker 1 (20:23):
Uh.

Speaker 3 (20:24):
Oh, Captain Brown, Miss Phoebe, it is kit you, Miss Phoebe.

Speaker 4 (20:33):
Yes, I have changed very much. I have not worn well, Captain.

Speaker 3 (20:40):
Oh, we are both older, and Miss Phoebe eh teeb.

Speaker 4 (20:46):
Dear the class, I think you can just miss them.
Dear the backway, Phoebe, the backway, Susan, and keep them quiet, Yet,
dear teaching school is sometimes the trial, Captain Brown, the
children are very dear man.

Speaker 3 (21:00):
If only whether you had invested all your money as
you laid out part by my advice, What a monstrous
pity you did not We never thought of it. You
look so tired.

Speaker 5 (21:09):
I have the headache to day.

Speaker 3 (21:10):
You did not use to have a headache. Curse those
dear children.

Speaker 4 (21:15):
You nay, do not distress yourself about me. Tell me
of yourself.

Speaker 5 (21:18):
We are so proud of.

Speaker 4 (21:19):
The way in which you won your commission. Will you
leave the army now?

Speaker 3 (21:22):
Yes? And I have some intention of setting up a
surgery and pursuing again the old life in Quality Street.
I came here in such high spirits, Miss Vbe.

Speaker 4 (21:32):
The change in me depresses you.

Speaker 3 (21:34):
I was in hopes that you and Miss Susan would
be going to the ball. I had brought cards for
you to make sure.

Speaker 4 (21:40):
But now you see that my dancing days are done,
Miss Phoebe, what a dull, gray world it is, Peebe.

Speaker 5 (21:50):
I send them up and ask him to make some tea.
You will have some tea, Captain Bong.

Speaker 3 (21:55):
Thank you. Miss Susan. I think not. There's some other
time perhaps.

Speaker 4 (21:58):
Oh, yes, of course you just and there must be
many duty to perform.

Speaker 3 (22:02):
Oh, but just wait a few days, and then the
dashing mister Brown will drop him as of old, and
behold Miss Susan on her knees once more, putting cuts
into my little friend, the ottoman and Miss Phoebe.

Speaker 4 (22:16):
Miss Phoebe, Phoebe of the ringless. I have no ringlets now,
Captain Brown, you keep school.

Speaker 3 (22:25):
Now, men, there are more important things than ringlets to
be considered. Well, you will come again soon to Oh,
I shall regard it as a privilege. Miss Susan.

Speaker 4 (22:35):
Good day, It's good day, Captain.

Speaker 3 (22:38):
Good day, Miss Phoebe.

Speaker 4 (22:39):
Good day, sir. I wish you're very happy at the ball.

Speaker 3 (22:42):
Thank you, Miss.

Speaker 5 (22:46):
Phoebe. Susan. He thought me old, my dear.

Speaker 4 (22:53):
He thought I was old because I'm weary. He looked
so pityingly at me.

Speaker 5 (23:00):
How dare he looks so pityingly at me? Because I've
had to work so hard?

Speaker 4 (23:06):
Is it a crime when a woman works? Because I've
tried to be courageous? Have I been courageous, Susan?

Speaker 5 (23:12):
Heaven knows you have. But it has given me the headache,
it has tired my eyes. I loved, miss Phoebe.

Speaker 4 (23:21):
All your charm has gone, for you have the headache,
and your eyes are tired. My eyes are tired because
for ten years they've seen nothing but maps and death.
Ten years ago I went to bed a young girl,
and I woke with this spinster's cap on my head.
So it isn't tired.

Speaker 5 (23:40):
This has loved me, Susan. This is some other person.

Speaker 4 (23:44):
Oh, I want to be myself, Phoebe, Phoebe, you who've
always been so patient? Or no, no, not always. If
you only knew how I've rebelled, the times you turn
from me in horror, Sudan. I have a picture of
myself as I used to be. I sometimes look at it.
I sometimes hit it and say, poor girls, they've all

(24:09):
forgotten you. But I remember. I cannot recall it. I
keep it locked away in my room. My room, Oh, Susan,
it's there that the Phoebe you think so patient, has
the hardest fight with herself.

Speaker 5 (24:24):
I've heard her singing is if she thought she was
still a girl.

Speaker 4 (24:28):
I've heard her weeping. Perhaps it was only I who
was weeping, but she seemed to cry to me, let
me out of this prison, give me back the years
you have taken from me. Oh, where are my pretty curls?

Speaker 5 (24:42):
She cried? Where is my youth?

Speaker 4 (24:47):
My youth, Phoebe? I'm going to my room, Jesus, I
shall show you the picture of Phoebe, the Phoebe who
used to be.

Speaker 5 (25:12):
Miss Susan. Oh, oh, you're Satty.

Speaker 4 (25:16):
Here are the tea things man, Thank you, Patty, But
I don't think we shall have it just now.

Speaker 5 (25:22):
Captain Brown couldn't.

Speaker 4 (25:23):
Say, oh, is miss Phoebe to go to the ball
this evening? Man, I'm afraid not. Patty. Oh kids a
pretty man. Yes, ten years ago she might have gone,
But now, ah, the pretty thing that she was, Miss Susan.

Speaker 5 (25:40):
Do you remember, Patty?

Speaker 4 (25:41):
I think there's no other person who remembers, unless it
be missus Willoughby or Miss Henrietta. You're you done?

Speaker 5 (25:52):
I brought you the picture of the old phoebt Nick Bobe.

Speaker 4 (25:56):
Is this the pity? Really? You?

Speaker 5 (25:58):
Patty?

Speaker 4 (25:59):
Please believe us. I wish it's my sister, Yes, ma'am, yes,
miss Phoebe.

Speaker 5 (26:05):
Maybe, But dress you're with me?

Speaker 4 (26:07):
An all one Susan that I've kept away all these years?
Is it pretty beautiful?

Speaker 5 (26:13):
And your hair you're ringless, all that, just as they
used to be.

Speaker 3 (26:17):
Phoebe.

Speaker 4 (26:18):
Yes, oh student, this sicking picture of my old films
that I keep locked away in my room and sometimes
take all of its box to look at.

Speaker 5 (26:25):
How marvelous. Perhaps I should not do it, but.

Speaker 4 (26:28):
It's so easy I have but to put on an
old gown and tumble my curls out of the cap.

Speaker 5 (26:35):
Sister, am I as changed that?

Speaker 4 (26:37):
He says, I am. You almost frighten me.

Speaker 5 (26:40):
You're those young Phoebe. Oh you're like a girl again,
like a girl.

Speaker 4 (26:48):
Listen, the music at the ball is calling to me, Susan, say,
my curls have begun to dance. They're so anxious to dance.
One dance, Susan to Phoebe of the ringlets, and then
I will put out a way in home and never
look at her again, And.

Speaker 5 (27:03):
Then may I have the honor name. Then I shall dance.

Speaker 4 (27:07):
Alone, Phoebe. There's at the door, Phoebe, stop your dancing,
is hear me?

Speaker 5 (27:16):
Some one is coming?

Speaker 4 (27:17):
Miss see? No, no, no, no, no, no, petty, not
miss Phoebe. I'm someone else tonight. I'm uh let me see,
I'm my niece. The door man, the wall window petty.
Look out and see who it is.

Speaker 5 (27:31):
I see Miss Susan.

Speaker 4 (27:32):
He's Captain Brown. Captain Brown, Oh Phoebe stop good film
name Miss Susan. Picking see here, I'll show you me.
I love me here. I'm going to my room, babe.

Speaker 1 (27:44):
Oh dear.

Speaker 4 (27:47):
Call me. Captain Brown. Come in and if you'll just
keep in here, Captain Brown.

Speaker 3 (27:54):
Thank you. Good afternoon. Wait er. You didn't expect to
see me so soon, mister. Oh, I beg your pardon.

Speaker 5 (28:04):
Good afternoon.

Speaker 3 (28:05):
I'm sorry I thought it was Miss Phoebe.

Speaker 5 (28:08):
No, sir, mister, she's done a busy here.

Speaker 3 (28:13):
Oh excuse me, ma'am A patty. I obtained this bottle
of mention that the apotheca is for Miss Phoebe's headache.
It should be taken at once.

Speaker 4 (28:20):
Oh, miss Phoebe's lying down, Sir?

Speaker 3 (28:22):
Is she asleep?

Speaker 4 (28:23):
No, Sir, I think she's wide await it may soon,
a fatty take it to Aunt Phoebe at.

Speaker 5 (28:31):
Once, yes, miss yes, ma'am.

Speaker 3 (28:39):
Uh, perhaps I may venture to present myself miss.

Speaker 4 (28:48):
Miss miss Libby.

Speaker 3 (28:50):
Sir, I am Captain Brown. Miss Libby an old friend
of both your aunts.

Speaker 4 (28:55):
How do you do?

Speaker 3 (28:55):
I as sure you must be related. Indeed, for a
moment the likeness heathen the voice laugh.

Speaker 5 (29:02):
So you mean I'm like Aunt Phoebe. Everyone says so,
And indeed there's no compliment.

Speaker 3 (29:06):
H t would have been a compliment once. You must
be a daughter of the excellent mister James Thrustle, who
used to reside at Great Butland.

Speaker 4 (29:15):
Miss Libby, you go to the ball tonight, alas, Sir,
I have no card.

Speaker 3 (29:20):
I have two cards for your aunt's as Miss Phoebe
has the headache. Your Aunt Susan must take you to
the ball. You'll enjoy tremendously.

Speaker 4 (29:27):
I'm sure, Oh, sir, do you think some handsome gentleman
might be partial to me.

Speaker 3 (29:31):
At the ball? If that is your wish, I.

Speaker 4 (29:33):
Should love, sir, to inspire frendly in the breast of
the maid.

Speaker 5 (29:37):
But I dare not go.

Speaker 3 (29:39):
I dare not but loom Captain Brown, Ah, Miss Susan,
I have venture to introduce myself to your charming niece.

Speaker 4 (29:46):
I beg your Aunt Susan, do not be angry with
your Libby. You are Libby, Aunt Susan. This gentleman says
he's a dashing mister Brown.

Speaker 5 (29:53):
He has cards for us for the ball.

Speaker 4 (29:55):
Aunty Phoebe aunt Zibbe wants me to go if I
say she'd you know she.

Speaker 3 (30:01):
Does, My dear, I shall see to it, Miss Susan,
that your niece has a charming ball.

Speaker 5 (30:06):
He means he'll find me sweet partners.

Speaker 3 (30:07):
Nay Man, I mean that I shall be your partner.
An he's still aunt still man.

Speaker 5 (30:14):
Oh so you are indeed dashing. Oh, Natha, please not
to scowl.

Speaker 4 (30:21):
I could not avoid noticing them, noticing what miss Libby
the gray hair.

Speaker 3 (30:25):
Sir, hi foul man, there is not one in my head,
Oh sir, this sweet hey.

Speaker 4 (30:30):
Nay I entreat her Auntie, think, my dear, think we
dare not? No, no, we dare not.

Speaker 5 (30:37):
But we will see you. You're used to talk on, Susan,
I fix my mind. We go to the ball tonight.
We shall be bright and gay and talk with the Mary.

Speaker 4 (30:45):
And we shall run for a dashing Captain Brown.

Speaker 3 (30:58):
We bars for station identification. This is the Columbia Broadcasting system.

Speaker 2 (31:22):
We continue shortly with Quality Street starring Ruth Chatterton and
Brian Ahern. Ambitious newcomers are not the only ones give
them screen tests. The most famous stars in Hollywood are
frequently tested to see if they're suited to certain roles.
Tests are expensive and are conducted with great care because
they're the talent laboratory of the studio. The gentlemen you

(31:46):
are about to hear directs the tests at Metro Goldwyn
Mayor Studio.

Speaker 3 (31:50):
Twenty years ago.

Speaker 2 (31:51):
He worked for me as a property man, leaving his
job to serve in the war. He has since then
been a writer and director. Ladies and gentlemen, mister Harold S.

Speaker 6 (32:01):
Bouquet, let me first explain how we make a screen test.
The person to be tested rehearses a scene from a play.
Then in costume she goes before the camera and the
scene is shot with as much care as is given
a full length picture. In testing a newcomer, we watch

(32:23):
especially for these points. Does she photograph well, can she act?
And has she a screen personality? By that, I mean
does she have the ability to convey to the audience
what she's thinking as well as what she says. In
casting a new production, we test established actors to choose

(32:44):
the ones best fitted to balance the cast. I remember
in one picture starring Joan Crawford, I had to direct
and listen to thirty four crooners before finding one who could.

Speaker 3 (32:55):
Act as well as he crooned, and you certainly suffered.
They are up.

Speaker 2 (33:00):
I've always sympathized with the screen test director is probably
the most unpopular manner of the lot, because every performer
fears his camera.

Speaker 6 (33:07):
That goes for some of the biggest actors too. I've
seen them go to pieces and forget their lines when
it's a test for themselves.

Speaker 3 (33:15):
On the other hand, they're always willing.

Speaker 6 (33:17):
To help out a newcomer by playing opposite him, giving
him confidence and support.

Speaker 3 (33:23):
Perhaps you've been told you're the.

Speaker 6 (33:24):
Image of Miss Greta Garbo or mister Robert Taylor. That
won't help you pass the screen test.

Speaker 3 (33:31):
At best, you'll only be a good imitation. Be yourself.

Speaker 6 (33:36):
Develop your own dignity, humor, sweetness, or strength. The truth
will out in your screen test. Clear vibrant skin helps
immeasurably to convey charm and life.

Speaker 3 (33:48):
A good way to.

Speaker 6 (33:49):
Achieve vibrant skin is by using soap and water, and
of course, the soap used so much here in Hollywood
is lux toilet soap.

Speaker 2 (33:58):
Perhaps you can tell the girls listening to this program
how to make their own screen test without a camera.

Speaker 6 (34:03):
Surely, just check the following points. Have you an honest,
natural smile? Do you keep your appearance attractive with lovely skin, clear,
sparkling eyes, even regular teeth? Is your voice pleasing?

Speaker 3 (34:20):
What's your friends while you talk? And if they become restless?

Speaker 6 (34:23):
You can be reasonably certain your voice is irritating? Can
you retell a story you think is funny and make
other people laugh? If you can't, don't blame it on
the story. Your timing ability and sense of dramatic values
need developing. Do you use your hands gracefully? Is your
pasture good? Do you walk with a spring or a slouch?

(34:47):
Let your mirror answer that? Do you keep your friends
when you're financially embarrassed? If they don't drop away when
you're unable to entertain them, you can be positive you
have a personality that stands at least an even chance
of six faith.

Speaker 3 (35:02):
Thank you, good night, Good night, Harold.

Speaker 2 (35:10):
Back to our story, Quality Street starring Ruth Chatterton and
Brian Ahern.

Speaker 3 (35:20):
We're at the ball where.

Speaker 2 (35:22):
Miss Phoebe disguised as her non existent niece, Miss Livy
is trying to recapture her lost youth and attract the
dashing Captain Brown on the balcony overlooking the garden. Miss
Susan is talking to Miss Willoughby and Miss Henrietta, the
oldest and most maidenly ladies the town has to offer.

Speaker 4 (35:42):
Your niece, Miss Livvy, seems to be enjoying herself, Susan.

Speaker 5 (35:46):
Yes, will Be, she loves to down.

Speaker 4 (35:48):
The young men are quite infatuated about her. Do you
think soon? Henrietta ensign blades and the Terran Spicer flamed
her every day when the gallant Captain Brown.

Speaker 5 (36:00):
She's remarkable, Susan.

Speaker 4 (36:02):
How great are your niece's favors her aunt Phoebe?

Speaker 5 (36:05):
Oh, yes, yes, it's not strange.

Speaker 4 (36:07):
Miss Willoughby, we've often commented on the effect. How is
dear Phoebe, Susan, We have not seen her on nearly
a week.

Speaker 5 (36:15):
Oh she's poorly, Miss hemet very poorly. Oh how sir,
miss Livvy, is your brother James Child?

Speaker 4 (36:22):
I believe you said, Susan, Yes, gub it in Child strange.

Speaker 2 (36:27):
I cannot remember, but your estimable brother of a fad
a daughter.

Speaker 4 (36:31):
I thought all the three were sons.

Speaker 5 (36:32):
Oh no, no, three sons and daughter. Surely you remember
my seeing a little Livy.

Speaker 4 (36:40):
No, Susan, I do not. The music has stuck. Your
niece is coming this way? Oh, yes, yes, if you'll
excuse me.

Speaker 3 (36:48):
Are we not to meet her? Susan?

Speaker 5 (36:50):
Oh yes, certainly if you wish it. Gentlemen, you must me.
I'm not stick to my arm?

Speaker 1 (37:01):
Will you be long?

Speaker 2 (37:02):
I shall try not to be, and we should try
to wait patiently, ma'am commentant, farewell, gentlemen.

Speaker 4 (37:08):
Oh aunt Juanna, Oh my dear, oh oh, I beg
your pardon. I didn't know you were engaged live an idea.
These are two old friends of mine, my niece lived,
Miss Willoughby and Miss Turnbull. How do you do? How
do you do?

Speaker 5 (37:28):
Excuse me?

Speaker 4 (37:29):
Miss May? I ask?

Speaker 3 (37:32):
How many brothers do you have?

Speaker 4 (37:35):
Two too?

Speaker 3 (37:36):
I thank you?

Speaker 5 (37:37):
Oh that is too, excluding the unhappy Thomas.

Speaker 3 (37:41):
The unhappy Thomas.

Speaker 5 (37:43):
Yes, we never mentioned him.

Speaker 3 (37:46):
I think I shall go come Miss Henriepa, Yes, my dear.
Good night, Susan, good night, Miss.

Speaker 5 (37:55):
Good night, good night Susan.

Speaker 4 (38:00):
Do you think they suspect?

Speaker 3 (38:01):
I know they do.

Speaker 5 (38:02):
How could they help it? Why didn't you tell me
that we're here?

Speaker 4 (38:05):
They didn't know myself until they came and sat next
to me. Oh shabe, the scandal you oool mistress flitting
out graciously with every younger man to the ball and
allowing them to propose to me too. You didn't, Oh
who were they? Ensign blades left in and Allan and
major linkwater Phoebe? What is to be done? If Miss
Willoughby and Miss Henry has to find out about these proposals,

(38:26):
they'll tell all quality.

Speaker 5 (38:27):
Street we can never open school again.

Speaker 4 (38:29):
We shall starve that horrid, forward, blurting, heartless, hateful little
toad of a Libby.

Speaker 5 (38:34):
Oh it's not her fault.

Speaker 4 (38:36):
I know who it is that has turned you into
this silly, wild creature, that odious squirrel Valentine wrongs hmm,
poor blind man to weary of Phoebee. Patient lady likes Phoebe,
the Phoebe whom I have lost to turn from her
and then become enamed in a single night of a
silly impostor like miss Libby.

Speaker 5 (38:56):
Yes, he is infatuated with Libby.

Speaker 4 (39:00):
There's been a declaration in his eyes all tonight. And
when he cries adorable miss Livy be mine, I mean
to answer with her, Oh, lor how ridiculous you are.

Speaker 5 (39:10):
You're much too old.

Speaker 4 (39:11):
I've been but teasing you sir, Oh, phoebe, how can
you be so cruel? Because he's taken from me the
one great glory that is in a woman's life, not
a man's love. She can do without that, but her own,
dear sweet love for him. He's unworthy of my love.
That's why I can be so cruel, Oh.

Speaker 3 (39:31):
Dear miss Livy.

Speaker 4 (39:33):
Oh, just Captain Brown aunts yousan Lord captain, why are
you not duncing?

Speaker 3 (39:38):
Indeed, ma'am, it is because I have something of more
importance to attend to. I wish to speak to you,
Miss Libby. May i Miss Susan Oh, oh.

Speaker 5 (39:45):
Yes, Captain it is. I think it all the time
we left. I won't get your clothes here, thank you? Answer.
Won't you sit down? Captain?

Speaker 3 (39:59):
Thank you?

Speaker 4 (40:01):
Hmm, you're looking rather grim, Captain. What is it you
have to speak to me about, Miss Libby?

Speaker 3 (40:09):
You are an amazing pretty girl, ma'am. Oh, Captain that
you're a shocking flirt. Oh lord, it has somewhat diverted
me to watch the men go down before you. Ah,
But I know you have a kind heart. And if
there be a rapier in your one hand, there is
a handkerchief in the other. Ready to stanch their wounds.

Speaker 4 (40:26):
I have not observed that they bled.

Speaker 3 (40:27):
Much, the blades and the like. No, but one may perhaps, perhaps.

Speaker 4 (40:33):
I may wish to see him bleed for shame, Miss Libby.

Speaker 3 (40:37):
I speak, ma'am, in the interests of the man to
whom I hope to see you are fanced.

Speaker 4 (40:43):
Oh, please to say nothing. I am feeling thing.

Speaker 3 (40:46):
Nay, any, we must have it out, and then if
you must go on do so.

Speaker 4 (40:50):
Who is this happy man?

Speaker 3 (40:52):
As to who he is, ma'am? Of course I have
no notion. Oh lord, I am sure have you else
you would be more guarded in your conduct. But some day,
miss Livy, the right man will come not to be
able to tell him all? Would it not be hard?
And how could you acquaint him with this poor sport?
His face would change, ma'am, as you told him of it,

(41:14):
and yours would be a false face until it was told.
This is what I have been so desirous to say
to you, by the right of a friend.

Speaker 4 (41:22):
I see.

Speaker 3 (41:23):
Oh it has been hard to say, and I have
done it bunglingly. Ah, But believe me, miss Livy, it
is not the flaunting flower that men love.

Speaker 4 (41:33):
It is the modest violet the modest Violet.

Speaker 5 (41:36):
You dare to say that.

Speaker 3 (41:37):
Yes, indeed, And when you are a quaint with what
love really is love?

Speaker 4 (41:43):
What do you know of love?

Speaker 3 (41:45):
Fine? Man, I know all about it. I am in love,
Miss Livy, with a lady who was once very like you, ma'am.

Speaker 4 (41:57):
Not not.

Speaker 3 (42:00):
Oh no, I hadn't meant to speak of it, But
why shouldn't I It will be fine listened to you,
Miss Levey, ma'am. It is your aunt Phoebe whom I love.
You do not mean that most ardently?

Speaker 4 (42:10):
It is not true.

Speaker 5 (42:11):
How dare you make sport of her?

Speaker 3 (42:13):
Is it sport to wish that she may be my wife?

Speaker 5 (42:16):
Your wife?

Speaker 3 (42:17):
If I could win her?

Speaker 5 (42:20):
May I solicit?

Speaker 4 (42:21):
Sir?

Speaker 5 (42:21):
For how long you have been attached to Miss Phoebe?

Speaker 3 (42:24):
For nine years? I think you think I want to
be honest, Never in all that time had I thought
myself in love be your aunt's my dear friends. And
while I was at the wars, we sometimes wrote to
each other, but they were only friendly letters. I presume
the affection was too pleasant to be loved.

Speaker 4 (42:43):
I think that could be Aunt Phoebe's opinion.

Speaker 3 (42:45):
Yet I remember, before we went into action for the
first time, I suppose the fear of death was upon me.
Some of them were making their wills. I have no
near relative. I left everything to those two ladies, did you?
And when I returned and saw Miss Phoebe growing so
tired looking and so poor.

Speaker 5 (43:07):
The shock made you feel old.

Speaker 3 (43:08):
I know, miss Lebe, but it filled me with a
sudden passionate regret that I had not been killed in
that first engagement. They would have been very comfortable in it. Oh, cirtain, No,
I am not calling it love.

Speaker 4 (43:21):
It was sweet and kind, but it was not love.

Speaker 3 (43:25):
It is love now, No, it's only pity. It is love.

Speaker 4 (43:29):
You really mean Phoebe child unattractive Phoebe, that woman whose girl.

Speaker 3 (43:33):
Wood is gone possible, Phoebe of the fascinating playful ways,
who's ringlets were once as pretty as yours.

Speaker 5 (43:40):
Ma'am memories.

Speaker 4 (43:42):
Yes, that is the Phoebe who loved the bright girl
of the past, not the school mistress in her old
maid's cab Ah.

Speaker 3 (43:48):
There you wrong me, for I have discovered for myself
that the school mistress in her old maid's cap is
the no blessed miss Phoebe of them all. When I enlisted,
I remember I compared her to a garden. I have
often thought of that.

Speaker 5 (44:04):
She's an old garden.

Speaker 3 (44:05):
Now the paths man a better shaded, the flowers of grown.
They smell of the sweeter, Miss Libby, do you think
there is any hope for me?

Speaker 4 (44:15):
There was a man whom Miss Phoebe loved long ago.
He did not love her.

Speaker 3 (44:23):
He was a phone.

Speaker 4 (44:24):
He kissed her one.

Speaker 3 (44:27):
If Miss Phoebe suff at him to do that, she
thought he loved her? Yes? Yes?

Speaker 4 (44:34):
Do you think that this makes her action in allowing
it less reprehensible?

Speaker 5 (44:37):
It has been such a pain to her ever since.

Speaker 3 (44:41):
I like Miss Phoebe, but that man was a name.

Speaker 5 (44:45):
No, he was a good man, only a little inconsiderate.

Speaker 4 (44:50):
She knows now that he has even forgotten that he
did it. I suppose men are liked that.

Speaker 3 (44:55):
No, Miss Libby, men, no, not like that. I am
a very average man. But I thank god I am
not like that.

Speaker 4 (45:05):
It was you.

Speaker 3 (45:10):
Did Miss Phoebe say that? Yes? Then it is true.

Speaker 5 (45:18):
It was raining and her face was wet.

Speaker 4 (45:22):
You said you did it because.

Speaker 5 (45:23):
Her face was wet.

Speaker 3 (45:25):
I had quite forgotten that.

Speaker 4 (45:28):
She remembers, And how often do you think the shameful
memory has made.

Speaker 5 (45:33):
Her face wet.

Speaker 4 (45:33):
Since the face you love, Captain Brown, you were the
first to give it pain.

Speaker 5 (45:40):
The tired eyes, how much left tired.

Speaker 4 (45:43):
They might be if they'd never known you, You who
are torturing me with every word? What have you done
to Miss Phoebe? Do you think you can ever bring
back the bloom to that faded garden?

Speaker 3 (45:54):
Oh? I shall do my best. I shall go to her,
Miss Phoebe. I will say, Oh, ma'am so reverently, Miss Phoebe,
my beautiful, most estimable of women. Let me take care
of you forever.

Speaker 4 (46:11):
More beautiful, lor Miss Phoebe.

Speaker 3 (46:15):
Ah Man, you may laugh at the rough soldiers, how
much in Emma, but tis true. Marry me, Miss Phoebe,
I will say, And I will take you back through
those years of hardship that have made your sweet eyes
too patient. Instead of growing older, you shall grow younger.
You will travel back together and pick up the many
little joys and pleasures that you had to pass by

(46:37):
when you trod that thornapper alone.

Speaker 4 (46:41):
Conti conti nay.

Speaker 3 (46:45):
Miss Phoebe has loved me to to yourself have said it.

Speaker 5 (46:48):
I did not mean to tell you he will be
my wife.

Speaker 3 (46:50):
Yet never you are severe, Miss levey Ah, but it
is because you are partial to her, and I am
happy of that.

Speaker 4 (46:55):
I'm partial to her. I'm laughing at both of you,
Miss Phoebe Lord that things silence.

Speaker 5 (47:01):
I hate her and despise her. If you knew what
she is, I know what you are, that paragon.

Speaker 4 (47:05):
Who has never been guilty of the slightest deviation in
the strictest proprietory.

Speaker 3 (47:08):
Never that Godness live for shame.

Speaker 4 (47:10):
Your garden has been destroyed, sir, the woods adad that
entered it.

Speaker 3 (47:13):
And all the flowers of too false woman. What do
you mean?

Speaker 5 (47:16):
I'll tell you.

Speaker 4 (47:18):
What face do you have in her?

Speaker 3 (47:20):
As in my God speak, I cannot tell you. No, No,
you cannot.

Speaker 4 (47:27):
It is too horrible.

Speaker 3 (47:28):
You are too horrible? Is not that it?

Speaker 4 (47:30):
You're your crooked here the carriage is waiting to take us.

Speaker 3 (47:33):
Ho don't tell me, miss Levy. Is it not that
you are too horrible? Yes?

Speaker 4 (47:35):
That is it horrible? Explain your captain, brown Man.

Speaker 3 (47:39):
I leave the telling of it to her if she dare,
And I devoutly hope that those are the last words
I shall ever addrest to this lady man, your servant.

Speaker 4 (47:48):
My last my dear, what terrible thing is is it?
You're not terrible?

Speaker 5 (47:52):
Glorious Susan Phoebe. He loves kis me, not Libby. He
loves me, He loves me me Phoebe.

Speaker 4 (48:11):
Why Miss Phoebe opened the ball so early?

Speaker 5 (48:14):
Miss Phoebe has had a shock.

Speaker 4 (48:15):
Low, Miss Libby's had a shock, a glorious shock that
she richly deserved. Then you must have had a delightful
time at the ball, and that's the main thing.

Speaker 3 (48:23):
How can that be?

Speaker 4 (48:25):
She's an imperious knock, a military knock to the dashing knock.
Maybe it's Captain Brown or he mustn't see me, Patty,
don't answer the door.

Speaker 5 (48:32):
Why I'm out of side?

Speaker 4 (48:33):
Susan telling Miss Livy has been taken suddenly ill. I
can't see her.

Speaker 3 (48:37):
I have wanted, Oh, Patty, have the ladies retired? I
must speak to Miss Libby. Ah, Miss Susan, where is
Miss Libby? Oh?

Speaker 5 (48:48):
Oh, you cannot see her. She's been taken with a
sudden indisposition.

Speaker 3 (48:53):
She is ill.

Speaker 4 (48:54):
Where is she?

Speaker 5 (48:55):
You cannot see her?

Speaker 4 (48:57):
She's a dead door.

Speaker 3 (48:59):
Then I must see her. As a physician. It is
my duty. Who, Patty, where is Miss Levey's room. I
shall go to her at once.

Speaker 4 (49:05):
No, no, no, I beg of you.

Speaker 5 (49:07):
I shall rouse her and.

Speaker 4 (49:08):
Esplot her to you.

Speaker 3 (49:09):
Then bring some heavy raps and the shawls. She mustn't
catch a chill? Yes, Patty, Why have these dear ladies
been deceiving me?

Speaker 5 (49:21):
Why?

Speaker 4 (49:21):
Whatever do you mean?

Speaker 3 (49:22):
I have talked to Miss Willoughby and Miss Henrietta at
the ball. I feel that their suspicions are correct? Oh, sir?
What suspicion? Patty? There is no such person as Libby?
Is there?

Speaker 5 (49:34):
Captain Brown?

Speaker 3 (49:35):
Miss Phoebe has been posing as Miss Libby, hasn't it? I?

Speaker 4 (49:40):
Well, yes, sir? Why has she done this for you
at the gannet all by not recognizing her and arringed
it the last time you were there?

Speaker 3 (49:48):
There? Has this deception been kept up for so long
because you would not see through it?

Speaker 4 (49:52):
She thought you were in satuated with her when she
poses Miss Libby because she was so young and sinner.

Speaker 3 (49:58):
It is in famous.

Speaker 4 (50:00):
It's all in playful innsness at first, but now.

Speaker 5 (50:02):
She's she's so feard of you the gees.

Speaker 4 (50:05):
We've been a soul to death.

Speaker 3 (50:07):
That will be all Maddy.

Speaker 5 (50:09):
You may go now, yes, sir, thank you, sir, Captain Brown.

Speaker 3 (50:18):
Oh, yes, Miss Susan, I am happy to.

Speaker 4 (50:20):
Inform you, sir that Livy thanks her as much improved.

Speaker 3 (50:23):
It is a joy to me to hear it.

Speaker 4 (50:25):
She's coming in to see you.

Speaker 3 (50:27):
No, I shall be happy to see the poor invalid
can in Livy dear, No, your servant, Miss Libby. How
do you do allow me to help you to the couch,
Miss Libby?

Speaker 4 (50:37):
No, no, I can walk alone.

Speaker 5 (50:39):
How do you think she's looking, Captain Brown?

Speaker 3 (50:42):
A little drawn, but I believe she will recover.

Speaker 5 (50:46):
Thank Heaven, May I.

Speaker 3 (50:47):
Say, Miss Libby? It surprises me that you should be
said to be like your aunt Phoebe. Of course you
have the ringlets, but miss Phoebe has decided the shorter
and more fix sss. No, I'm not, I say, Miss Phoebe.
Oh oh yeah, well, Miss Susan, I think I could
cure your niece if she is put unreservedly into my hands.

Speaker 5 (51:06):
I'm sure you could.

Speaker 3 (51:07):
Then you are my patient, Miss Lily.

Speaker 5 (51:09):
It was for the passing in disposition.

Speaker 4 (51:10):
I'm almost quite acusted.

Speaker 3 (51:12):
Oh nay, you still require attention, But I believe that
your home is the best place for you.

Speaker 5 (51:18):
Would that I could go.

Speaker 3 (51:20):
You are going, yes soon, indeed, I have a delightful
surprise for you, Miss Lily. You are going tonight tonight,
not Miller tonight. But now, as it happens, my carriage
is sending idle to your door, and I am to
take you in it to your home.

Speaker 5 (51:34):
Sir, I decline to go.

Speaker 3 (51:36):
What a stubborn patient you are, Miss Susan. Can't you
persuade her?

Speaker 5 (51:41):
Indeed, Captain I cannot.

Speaker 3 (51:43):
Then I must speak to miss Phoebe. Oh, dear, where
is she?

Speaker 4 (51:47):
I cannot tell?

Speaker 3 (51:49):
You don't know. It is strange. She is your aunt,
is she not?

Speaker 4 (51:54):
Oh?

Speaker 3 (51:55):
You are her niece, and yet you don't know where
she is?

Speaker 5 (51:59):
I cannot tell.

Speaker 3 (52:03):
Then perhaps ma'am I can help you you, sir. Miss Phoebe,
dear creature is here in this room with us. Now, God,
she calls herself miss Livy, but we know it's just
in sports, and more to her own confusion than mine.

Speaker 4 (52:21):
Baby, he knows, Captain Brown, I will explain everything to
your satisfaction.

Speaker 3 (52:29):
No need for explanations. Miss Livy is no more good.
Riddom so that charming little third And now phoebet rushing,
will you be Phoebe.

Speaker 5 (52:39):
Brown, you know everything and that I am not a garden.

Speaker 3 (52:44):
I know everything man, except that.

Speaker 4 (52:48):
In the dictates of my heart. Enjoin me to accept
your too flattering.

Speaker 3 (52:53):
Offer, Miss Phoebe. It is not raining, but your face
is wet. I wish always to kiss you when your.

Speaker 4 (53:03):
Feast kiss Susan.

Speaker 2 (53:08):
Also, the romance of Phoebe Frossel and Valentine Brown comes
to its happy conclusion.

Speaker 3 (53:28):
But before our program concludes.

Speaker 2 (53:30):
Ruth Chatterton and Brian Ahan will be back at the microphone.
When the late Theodore Roberts, one of the screen's great
character actors, was performing on the San Francisco stage, he
took a liking to a young newsboy and got him
a job in the play Barbara Fricy. All the boy
had to do was perch on the limb of a
tree and shout the Yankees are coming. During his performance,
the lad took a bow, but it was a bow

(53:52):
from the tree on which he was sitting, which crashed
to the floor with him, creating the biggest laugh.

Speaker 3 (53:56):
In the play.

Speaker 2 (53:57):
From then on, Hee insisted he was an actor and
a two dollars raise agreed to fall at every performance.
That literally is how Mervin Leroy crashed into the show
business today as producer director at Warner Brother Studio. He
has to his credit such pictures as Tug Boat Annie,
Little Caesar, Five Star Final, I Am a Fugitive from
a Chain Gang, and the great Current Hit Anthony Adverse,

(54:19):
Ladies and Gentlemen.

Speaker 3 (54:20):
Mister Mervin le Roy, thank you, c B.

Speaker 7 (54:29):
My first job in pictures was in the Wardbe department
for twelve and a.

Speaker 3 (54:33):
Half dollars a week.

Speaker 7 (54:34):
I thought I was getting into the movies, and I
found myself in the cloak and suit business, so I quit.

Speaker 2 (54:39):
Then you managed to catch my brother William de mill
in a week moment and convinced him you were a
great camera man. I remember the first picture you shot
under his direction was all out of focus, which gave
it a soft, attractive quality never seen before.

Speaker 3 (54:51):
And we decided you were a genius.

Speaker 7 (54:54):
But I was smart, so I quit being a genius.
I got myself a job as an actor for you,
Miss Simmil.

Speaker 2 (55:02):
Mervin prayed the role for me in Triumph. The scene
was in a canning fact pray, among other things. Cann
during the picture was Melvin Leroy.

Speaker 3 (55:11):
Let's skip over that and just.

Speaker 7 (55:13):
Just say, I became a comedy constructor and then a director.
You know, I always wanted to be a big director.

Speaker 3 (55:20):
Like uc B. Oh, thank you.

Speaker 7 (55:21):
It's those clothes you wear, those boots and those britches.

Speaker 3 (55:24):
Boy, they got me. Why don't you wear them? I
haven't got a horse. Then let me give you a
plug right now.

Speaker 2 (55:32):
You did an excellent job on Anthony Adverse at the
grand piece of work.

Speaker 7 (55:36):
I had a small time shooting it too, with one exception.
When I was making the African scenes, I kept the
cast that had worked for four days in the drenching rain.
I of course sat in comfort under a big umbrella.
When the scene was finished, Frederick marsh piedro Cordova asked
me meekly, if that was all?

Speaker 3 (55:58):
Thanks?

Speaker 7 (55:58):
Boys, I replied, more rain.

Speaker 3 (56:00):
Oh yes, said Freddie.

Speaker 7 (56:02):
That's what you think, And with that he and Pedo
poured a bucket of water over me.

Speaker 3 (56:08):
Of course, they offered you a cake of luck soap
with it. That reminds me.

Speaker 7 (56:12):
You've been knocked me since this interview began.

Speaker 3 (56:15):
So knock, knock, all right, who's there? Luck soap? Luck soap?
Who luck soap?

Speaker 7 (56:19):
The people haven't tuned out.

Speaker 3 (56:20):
Oh.

Speaker 2 (56:24):
They won't if you'll staff gagging. Now that you're a
producer as well as a director, would you have made
any changes in Anthony adverse?

Speaker 3 (56:31):
Just one and that I will.

Speaker 7 (56:33):
Fired, Mervin Leroy, good night and thank you good night.

Speaker 2 (56:43):
Last week the National Air Races were held in Los Angeles.
Tonight's leading Ladies sponsored one of the features, the Ruth
Chatterdan air Derby for sportsman pilots. Brian Ahern planned to compete,
but his motion picture contract for bids flying, and he
found himself grounded on Quality Street. However, to one ways
that leads our stars right back to the microphone Ladies

(57:03):
and gentlemen, Ruth Chatterton and Brian Ahan.

Speaker 3 (57:11):
I really had no thought of ever flying, mister demeal,
but Ruth bullied me into a plane last year, So
then I decided to take lessons until I knew how
to fly around the field and land the plane, just
to prove to her there's nothing in it.

Speaker 4 (57:22):
While Braun was up in the air, a bug bit him.
He's had the flying fever ever since.

Speaker 3 (57:25):
It's a bad case too. But long before Miss Chatterton
and I came to Hollywood, Ladies and gentlemen, mister demil
was flying his own plane, and you'rely twenty years ago.
He probably started the first air passenger service in the
United States. It operated between Los Angeles, San Francisco, and
San Diego.

Speaker 2 (57:38):
Right now, my interests are in the other extreme. I
have a diving apparatus. I'm doing a little exploring at
the bottom of the ocean.

Speaker 3 (57:46):
Do you have a diver root only in planes? Mister
dem oh well, come down and see me sometimes.

Speaker 4 (57:52):
Gladly would make the date soon, because you see, I
think I'm leaving Hollywood this fall for season on New
York State.

Speaker 3 (57:57):
Braun is too some success to your both you're flying back.

Speaker 4 (58:00):
I always fly, whether permitting. I have nothing more invigorating.
It's almost as invigorating to put my ship down and
step into a shawl and loo toilet. Soap Lux has
flown with me all over the country.

Speaker 5 (58:11):
I'm never without a parachute or luck.

Speaker 3 (58:13):
You can depend on either. The savior skin I'm particular.

Speaker 2 (58:19):
I'm particularly glad to have had you and Brian and
the de mil production before you left.

Speaker 3 (58:25):
I tried to get him before, but he was afraid
of Hollywood. Well, Hollywood no longer terrifies me, but I
still can't understand the autograph hunters. They asked me for
my signature, but usually they have the slightest idea whether
I'm King Solomon or Mickey Mouse. So it's the bill.
Thanks for a grand show.

Speaker 2 (58:40):
Good night, good night Pilot, Happy landing.

Speaker 3 (58:46):
Thank you, miss Chaathan. I'm mister Hearn.

Speaker 2 (58:49):
Ladies and gentlemen. This is your announcer, Melville Roick. In
a moment, mister Demill returns with word of next week's program.
Mister Rahearn appeared on this program through courtesy of Samuel
Golden Productions. He is now co starring with Rul o'bron
in the Samuel Golden picture Covenant with Death. Mister Leroy
appeared through courtesy of Warner Brother Studio, for he has
just produced and directed Three Men on a Horse. Mister
de Mill through courtesy of Paramount mister Bugay, Metro Golden

(59:11):
Mayer and mister Silver's Twentieth Century Fox, whose new picture
Ramona was musically arranged by mister Silvers and now mister
de Mill as a novel, as a play, as a
motion picture Trowby ranks as one of the classics of
literature and drama.

Speaker 3 (59:26):
Next Monday Night.

Speaker 2 (59:27):
We bring you this story of the Little French singer
and the hypnotists Len Galley, our stars Miss Grace Moore
and mister Peter Laray. This musical and dramatic event will
mark the opening of the four season of the Lux
Radio Theater. With Miss Moore and the title role and
mister larrus Songhale, I can assure you a performance worthy
of the occasion. Our sponsors, the makers of Lux Toilet Soap,

(59:50):
joined me in inviting you to be with us next
Monday Night in the Lux Radio Theater presentation of Troby,
starring Grace Moore and Peter Larrey. Today, the motion picture
industry suffered one of its greatest losses, Irving Thauberg. The

(01:00:15):
Luxe Radio Theater joins Hollywood and the entire nation in
extending deepest sympathy to.

Speaker 3 (01:00:23):
His wife, Norma Shearer and his family.

Speaker 2 (01:00:28):
To Irving Thorberg, who has brought so many hours of
happiness to people the world over. We dedicate these ten
seconds of silence the successful b Demil saying good night

(01:01:07):
to you from Hollywood. This is the Columbia Broadcasting System