April 27, 2024 • 59 mins
Lux Radio Theatre, sometimes spelled Lux Radio Theater, a classic radio anthology series, was broadcast on the NBC Blue Network (1934–35) (owned by the National Broadcasting Company, later predecessor of American Broadcasting Company [ABC] in 1943–1945); CBS Radio network (Columbia Broadcasting System) (1935–54), and NBC Radio (1954–55). Initially, the series adapted Broadway plays[1] during its first two seasons before it began adapting films. These hour-long radio programs were performed live before studio audiences. The series became the most popular dramatic anthology series on radio, broadcast for more than 20 years and continued on television as the Lux Video Theatre through most of the 1950s.
The primary sponsor of the show was Unilever through its Lux Soap brand.Broadcasting from New York, the series premiered at 2:30 pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922–24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935, to May 25, 1936, when the show moved to the West Coast.[2]Famed studio executive and film producer and director Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
That initial episode with DeMille featured stars Marlene Dietrich and Clark Gable in The Legionnaire and the Lady. On several occasions, usually when he was out of town, he was temporarily replaced by various celebrities, including Leslie Howard and Edward Arnold.
The primary sponsor of the show was Unilever through its Lux Soap brand.Broadcasting from New York, the series premiered at 2:30 pm, October 14, 1934, on the NBC Blue Network with a production of Seventh Heaven starring Miriam Hopkins and John Boles in a full-hour adaptation of the 1922–24 Broadway production by Austin Strong. The host was the show's fictional producer, Douglass Garrick (portrayed by John Anthony). Doris Dagmar played another fictional character, Peggy Winthrop, who delivered the Lux commercials. Each show featured a scripted session with Garrick talking to the lead actors. Anthony appeared as Garrick from the premiere 1934 episode until June 30, 1935. Garrick was portrayed by Albert Hayes from July 29, 1935, to May 25, 1936, when the show moved to the West Coast.[2]Famed studio executive and film producer and director Cecil B. DeMille took over as the host on June 1, 1936, continuing until January 22, 1945.
That initial episode with DeMille featured stars Marlene Dietrich and Clark Gable in The Legionnaire and the Lady. On several occasions, usually when he was out of town, he was temporarily replaced by various celebrities, including Leslie Howard and Edward Arnold.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:02):
Lux Presents Hollywood. The Lux RadioTheater brings you Tyrone Power and Annabella in
(00:22):
Blood and Sand, Ladies and gentlemen, your producer, mister Cecil B.
De Millah, greetings from Hollywood,ladies and gentlemen. In Brooklyn, it's
baseball. In Spain, it's bullfighting, and both fighting inspires the same fierce
(00:43):
passion and every true Spaniard that baseballinspires only in a fan from Brooklyn.
The one of the most popular matadorsof modern times was born in Brooklyn.
But the fact that the Motodor flirtswith death at every pass of his cape
makes the bull Ring the most dramaticarena in the world, and the most
dramatic story of the bull Ring isto Night's play Blood and Sand twice in
(01:06):
the memory of most of us,Blood and Sand packed the motion picture theaters
of the nation the first time.The star was a young man named Rudolph
Valentino. A few months ago,when twentieth century Fox made the picture again,
Tyrone Power through the Martodor's cape abouthis shoulders, and once more audiences
thrill to this tempestuous drama of lifeby night and death in the afternoon.
(01:32):
Tyrone Power is our star tonight,and with him we present the lovely and
charming Annabella. This is a lovestory, the love story of a boy
who fights his way from obscurity tofame and of a girl whose loyalty never
wavers when gold and glory throw ashadow over love. If you saw Blood
and Sand on the screen, you'llremember its dramatic use of color. Colors
(01:55):
always box office on screen are off, and where color is concerned, so
is Luck's Flakes. In filming Reapthe Wild Wind recently, I had a
company down in Charleston, South Carolina, where the townspeople obligingly turned back the
clock for us about a hundred years. We had the costumes and they wore
them in front of the camera.Costumes of the gayest, most elegant days
(02:17):
of the old South. Lovely,but a problem for costumes do get soiled
and washable. Color had to bekept fresh for technicolor cameras. But our
problem was easily solved with lux flakes. And to give you a rough idea
of the size of the job.During Reap the Wild Wind, we used
more than a thousand large boxes oflux flakes, an item for the budget,
(02:40):
of course, but we actually savedmoney by guarding the color values of
the costumes. And now for theromance and excitement of Spain, as the
curtain rises on the first act ofBlood and Sand, sharrying tyrone power as
Juan Gaiado and Annabella as common ohIn the town of Sevilla, some thirty
(03:07):
years ago, a Spanish boy prayedto La Macarena, patron Saint of the
bull fighter. It was a strangesort of prayer, half entreating, half
boastful. My father was Il Gallardo. My father was a great killer of
bulls, and I am his son, Juan Gayardor some day I too will
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be a great killer of bulls,for the bull who can harm me has
never been born. Some day Iwill be the first mussador of all Spain.
I will make the church bells ring, and the people shall point me
out and call my name One Gallardo, One Gallardo, the greatest torrero in
the world. From poverty and hungerin Seville, the young Gaiardo went out
(03:53):
into the world in the bull ringsof Madrid. He learned his trade in
the outlying provinces. He practiced ituntil at last his name is mentioned in
an article by the great critic Quaromentioned with contempt. And here is one
Gayad or newcomer of flat foot Novalerofrom severe taking money under false pretenses.
(04:14):
He has nothing to recommend him buta certain stupid animal courage that makes his
work in the ring look more likesuicide than battle. He's definitely fifth thread.
How young Gayado is returning to Sevillewith his four companions of the bull
ring. He sits in the crowdedcoach looking at a newspaper, but he
looks only at the pictures. BawanGayado has never learned to read. Suddenly
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he sees his own face, apicture of himself, smiling with Bravado hair
curled in the best tradition of thebullfighter, dressed in the loudest of cheap
clothing. With a cry, hejumps from his seat and no, Puga,
Pablo, come here quick, what'sthe matter, Pablo? Look the
newspaper. There's my picture in thenewspaper. Let me see one. What
does it say? Ah, that'syour picture, no doubt of it.
(05:00):
It looks just like you. One, yes, and look there that must
be my name has something written underneath. Read it to me, Pablo,
read it? Read it? Youknow I can't read one any more than
you can. I've got to knowwhat it says. Hey you you over
there? Oh you mean me,Senor? Yes, you come here.
You know how to read? Oh? Oh, yes, Senya. Good,
(05:21):
I'll read that. Follow that picturethere. Read it to me.
Well, oh, this is anarticle by the great critic Kuro Kuro.
Now what does he say? Well, well, in it, he praises
the merits of various Novilleeros, includingone one Gayado, one Gyardo. That's
(05:41):
me. What does he say aboutme? Well, he says, read
it. Oh, well, seeSenor, si Senor, he says,
easily, the most promising of theseason's newcomers is one Gayado, the Sevillian
NOVIERO. Ah good, go onu oh oh well. He says that
his work in the ring is plastic, pure and perfect, full fighting of
(06:05):
an absolute integrity. Sevilla should beproud of its son, whose name will
one day cover it with undying lesteramigo. I thank you, Senor.
Don't don't mention it. Don't mentionit. Well, my friends, did
you hear that? What do youthink? Pablo? The sun comes at
last from behind the cloud? Itell you, praise some curl spelts contracts.
(06:26):
This is the beginning of history.Ah, Manolo? Why after all,
it's only one man's opinion. What'swrong? Manolo? Praise from Kuro
doesn't please you, eh? Ididn't you m name mentioned, or Pablo's
and pulkas of collars for that matter, we work too, you know,
of course we're only the Quadri.For ten years we've worked with you,
and what has it brought us?My pockets are empty. Mine aren't.
(06:46):
But then you don't make as muchas I do. Your pockets are bulging
with pasids right now, four thousandof the exact Not a bad season,
Manolo. Someday I'll make twice asmuch in one afternoon. Sevilla, sevilla
one. We're here, Selvia.I get the luggage one. Look out
there? What's all that crowd?It's an ovation, an ovation for me,
(07:09):
and the news has spread to Selvia. Come on one. You'll have
to make a speech. Oh Ican't. What'll I say? Whatever comes
to you? Here? He is, friends, a great one, Gayado,
Thank you, thank you, myfriends. I don't know what to
say except hey, where are yougoing? Here? He is the great
(07:30):
one, Gayado, the greatest Torrero. Come back, come back. I'm
stop. The crowd doesn't seem veryinterested. One not in you anyway.
Somebody in the other coach see,well, maybe they haven't seen the paper
yet. Eh. Come on,Pablo, it's your mother one. I
need you. Oh I you meyou mod you, Let me see you.
(07:57):
It's been so long. I toldyou i'd come back. Mothersa rich
and famous. Look at me.Let me touch your face. Oh.
From now on, it's a newlife, Mother Desita. No more work
for you, No more scrubbing offloors. Pablo, give me that package,
that one. I need your meal. Here, Mother Cita, I
brought something for you, a littlepresent. I have presents for everyone.
(08:20):
I want you to invite all myold friends tonight a party in my honor.
We'll get food and wine. Andoh here here, mother Resita,
for you, Oh, oh,who need you? It's a mantilla,
real lace, real lace for me. And why not? All the great
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ladies have lace mantillas. You needyou. Have a good time, Have
a good time, everybody. Well, well what if we got here the
two longest faces in Spain. Whyaren't you too dancing? Your sister will
(09:03):
not dance one? Why not?And canassion why don't you dance with Antonio?
I don't feel like dancing. What'swrong, Antonio? You tell me
your sister and I've been engaged nowfor four years. Each year we've been
planning to get married and we'll no, we should be married, that's all
right. What's stopping you? Antoniohas been let out of the saddlery shop.
(09:24):
How much will it take to openthe shop of your own, Antonio,
Well, I should say, well, not less than two thousand per
seitas. It's all settled, yourend business. I mean what you mean,
you will ours. It's a weddingpresent, and I hope the first
one's a boy. Oh, Ican't thank you. I'll make an announcement.
Oh, stop the music, Stopthe music there, Senor Senoris,
(09:46):
I have an important announcement to makethe marriage of my sister in Canasion to
Antonio Lopez, which will take placeas soon as possible. And in honor
of this occasion, I wish topresent a few gifts I have brought for
Madrid. Here's one for Lorenzo Riquez, Angelina Marcos, Senora Maarda, Elena,
(10:11):
Fernando, Matteo, Enriqui, Humbertoand that's all. No, no,
no, no, Clay, Clay. I'm sorry, but this last
gift is a secret. It's well, it's for somebody who's not here yet.
Music there music you, yes,Madrisita, the last gift, the
(10:39):
great secret. Who is it for? I can't tell even you, Modcita.
Then I will tell you if itis for Carmen Espinosa. She still
lives at the ranch outside the town. Thank you, Madrecita. Good night.
Don't be too late on no excuseme, senor, I'm in a
(11:11):
hurry. Just now, my please, just a word. I've had the
devil's own time lately, a fewsantimos, and you have anything at all?
Anything. I'm over here to thelight. I thought I recognized you.
You are Garabato, correct me,the great Garabato, the greatest matador
of them all. I regret tosay I'm still alive. I thought you
retired, going to the country andbought a ranch. I left the ring
(11:33):
as I came into it without asantimo. You remember me, Juan Gayado,
I live here. Of course youare in the ring now too.
Thing's been going good for you.I've had a good season. I look
forward to a better one. Isuppose you are Quadria. Yes, it's
full up just now. But I'vehad a lot of experience. My whole
(11:56):
life's been spent in the ring.I know all the critics. I'm sorry.
Then, perhaps you could use aservant, a sort handler addresser.
Very well, why not come andsee me in the morning? Send here
here, got some food, Senor. I thank you, I kiss your
hands and good night Caravado in themorning. In the morning, thank you,
saying your Carmen. Carmen, cometo the window, Carmen, Who
(12:31):
is it? Who is downe there? Carmen? It's one? It's one,
Caardo, oh one, one?Come in at house? Have you
right now? One? Carmen?Se you here? You've come back at
(12:54):
last? One? Didn't I tellyou I would? Didn't I promise?
And you promised something too, towait for you. I remember all away
on the train for Madrida, Ikept thinking and worrying. Perhaps she's tired
waiting. Oh no, perhaps she'sgone away. Oh no no, perhaps
she's even forgotten me. Oh youcouldn't possibly think that. I even thought.
(13:18):
You know, the very first thingI asked my mother when I got
home. Pedro Espinos's little girl Isaid, with the skinny legs and the
funny face, has she, byany chance been married? Yet? I
can't get over it. I neverdreamed you'd grow up to be so very
nice to look at. Did youthink of me often? Every day of
(13:39):
my life? Then? Why didyou liver write to me? Right?
Well? I am Maybe it's silly, but I didn't want to write until
I could sign my first letter toyou, Juan Guyardo Matador de Torres.
Oh then you are not reglect Matadoryet? No, no, but I've
done pretty well, not bad atall. Guess what I cleared this season?
Over four thousand petas well thousand,and that's nothing to what I'll make
(14:03):
later when I've been recognized. Notthat I've been entirely overlooked now, mind
you, not at all. Let'stake a look at that, my first
press notice. And by Kuro,mind you, Kuro, the greatest critic
of them all? Pretty nice,don't you think? One? Have you
read this? Of course? Andyou like it? I think it's wonderful.
(14:24):
And by Kuro read it? Ihave read it? No, read
it aloud? One. I knowwhy you never wrote to me. It's
because you haven't learned to write orread is that it read? What it
says? What for? I justread it very well. And here is
a newcomer, a flat foot,another euro from Seville, taking money under
(14:48):
false pretenses. What go on?He? He has nothing to recommend him
but a certain stupid animal courage,which makes his work in the ring look
more like suicide than battle. Heis hue, When will we be married?
There's more? Read it? He'sdefinitely fifth rate? When when will
(15:15):
we be married? Read the rest? I wanna hear the rest. It's
hues lace to predict the future forhim? He will probably be killed in
the ring long before he advances fromanother yearon to Matador? Who whe nee
you? I? I guess Icame back a little too early. Give
me the clipping? Who I needyou? Why don't you throw it away
(15:37):
and forget about me? No?No, I'll keep it, And some
day I'll make Coroeta's words. Someday I'll come back to you with a
whole trunkful of clippings. And whenyou marry me, you'll marry the first
Herrero in Spain, not the secondor the third, but the first,
the greatest. I'll make the churchbells ring for me. I'll go now,
(15:58):
Carmen, who need you? What'sin the package there? Why it's
it's nothing? What is it twanyyou? It's just something I I thought
I was going going to me letme see. No, no, come
and don't open it tleas it's it'snothing. Really I want to see.
But I tell you it's nothing atall. Wh meo. It's a grace,
a wedding brace. Oh who howbeautiful it is? How beautiful it
(16:22):
is. I got it in thefinest shop in Madrid. I want the
best wedding dress you have. Priceis no object. I told him it
cost five hundred persatoes. When willwe be married? One Yado? Have
you seen him in the ring?Wonderful? He's just a little gero yet
(16:45):
but everyone is saying little Gyaro,one Gyado. Everyone's talking about one Guyado.
In Salomonca last week they went madone la YadA, the most promising
mattador of the century. We predictthe brilliant. You'll talk one Guyado,
one gyada gayada, No, no, no no no. No. One
(17:15):
can see Guyado now he's being dressedfor the ring. You'll see him when
he comes out. Just open thedoor just a little bit, no,
get back. What is he goingto wear today, Senora? I am
his brother in law, not hispersonal dresser. He has a hundred different
costumes for the ring, one hundredswords, one hundred caps. What is
it like in there, Antonio,my friend, It is like an emperor
holding court. Gyado sits on histhrone, being dressed, and in front
(17:36):
of him all the critics in Sevilla. Kuro is there, Couro, the
greatest of them all. Severe hasa matador, the first matador in Spain,
a saint, the first man ofthe world. I Korl say it,
thank you, Signor Korro and Coraltell you this that the day Gayado
here was born, there was saltin the air, a great quantity of
(17:56):
salt. You should have seen himat the reader of the feast of the
Nuntiathor. He was tony of abull. Next day, Garabatto spent hours
picking the bull's hairs out of Wan'sclothes. I Coorl will tell you that
I could not believe my own eyes, but you did believe them. Kuro.
The day you saw me fight asan Overearo in Madrid, in Matri
(18:17):
three years ago, you wrote apiece in the paper about me my first
press notice. Really, yes,you said I was definitely fifth rate.
Oh h oh, yes, yesI remember. But the next time I
saw you in the ring, youwere a different man. Something must have
happened to you. Yes, somethingdid happen. I got married. Ah,
he got married. Yes, thosewere the lean days when I fought
(18:41):
both bulls and hunger at the sametime. Kuro, have you ever been
hungry? Never? But I've frequentlybeen thirsty. I can tell you this.
A gore of hunger is worse thanthe horns of a bull. My
friends have said to me, oneof you, life's been very magnificent.
You how does it feel way upthere on top of the ladder? And
(19:03):
I think of all the good thingsthat have come to me, and there's
one thing that stands out above everythingelse. I can buy all the food
my belly can hold, and allmy friends bellies, and I don't have
to ask the price of anything anymore. What is it, Pablo, Honey,
I am ready for the grave.I've just come from the drawing of
the bulls. We drew a coupleof the meanest looking beasts I've ever seen,
(19:25):
sluggish Christus, what difference of bullsa bull. They're all alike to
one, nele all safe in yourcouro. There's no such thing as a
safe bull one you. These twoare monsters with lighting in their horns.
The cow has not been born yetthat can give birth to the bull that
can hurt me. Nevertheless, Ithink you should rest before this fight.
(19:45):
An excellent idea. We'd better begoing, gentlemen. Good luck one,
thank you, goodbye, thank yougot a battle. Yes, it's hot
in here. Yes, one alwayssweats the big drop in the morning of
an afternoon. They used to crowdinto my room too, when I was
(20:07):
dressing like a funeral before one's dead. Carabato. I wouldn't admit this to
anybody else in the world, butalways when I'm dressing like this, there's
a feel of rust in my throat, a taste of death fear. But
it's gone when I step into thearena. The minute I hit the music,
(20:29):
in the yell of the crowd,everything's all right again. Yes,
I know, it was always thatway with me. I mean now I've
been waiting for you. That's allgood about us? Senor well, whany
you? How do you feel today? Good as bread and you? I
wish it were this time tomorrow,Carmen Citi. You've got to learn not
to worry. Please let me worryjust a little. It makes me feel
(20:52):
better. You wouldn't worry if youcould have heard what Kuro just said about
me. At last, severe hasa mat at all. He said,
where's my montera here? It isthe greatest matador in history, Cora said,
the first man of the world.That makes you the first lady there.
How do I look? Look inthe mirror? You're my mirror?
How do I look like a littleboy? All do I stop for a
(21:15):
party? And somehow I feel it'llbe a great afternoon. I wish you
could be there with me. I'malways with you, Jue Carmen. What
do you do with yourself when I'min the ring? First I pray tu
la macarena, I pray to keepyou safe from harm, owed Carmen cec
Then I go and sit by thewindow and counted seconds. Every one is
(21:40):
an hour. When the sun beginsto go down, I'll look up the
street and there is no one,so I stop breathing. And then the
sun goes down and it's dark,and my heart stops beating. And then
I hear cheese, and I seepeople running, and I know it's one
(22:00):
one coming home. My breath comesback, and my hat starts beating again
like a drum. Jao, you'rethe only true one in the world.
Kiss me one of you now,go No, Makarna, Lady of Hope,
(22:22):
bring him back to me. Pleasebring my pony, your birth to
me. In just a moment,mister Demil will bring our stars to our
(22:45):
own power, and Annabella back tothe microphone for Act two of Blood and
Sand. Now we have a specialannouncement for women who like to save money,
the record breaking offer that makes ThriftyLucks Flakes thriftier than ever, a
bargain that you can't afford to miss. Listen to this now. For a
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(23:08):
fifteen cents. Just ask your dealerfor the two package Lux Flakes Thrift offer,
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(23:32):
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go to your dealer and get yourtwo package thrift offer of lux Flakes one
(23:55):
big box for only fifteen cents onebox at the usual price. Now.
I producer Mister de Mill Act twoof Blood and Sand, starring Tyrone Power
has one Gaiado and Annabella has CommonestourFiorina is a tiny chapel whether Martador's come
(24:22):
to pray before entering the ring.One Gayado is there, kneeling, his
head bowed, his lips moving silently. The ante room of the chapel is
lined with people gathered to steal aglance at the great Matador. Among them
is the critic Kuro and a woman, a woman called Donia. Sold mir
(24:42):
Ah, you're lucky to be here. Donia'sharo, I kor tell you that
this afternoon you'll see history, mate, really? And what am I to
see that. It's so wonderful sinceyou've been away, don your soul.
A new star has risen. Hisname is one Gayato Gaiado. I think
I've heard the knee. I shouldlike to meet him. Make room,
(25:03):
please, A Gayada is coming out, Honio. Here, yes, Dounia
soul, permit me to present thegreat Gayado. Senora, I have been
promised something unforgettable this afternoon, oneGayado. I'm sure you will not disappoint
me. I'll try not to,Senora. Good luck. One Gayada.
(25:23):
Beautiful, isn't she? What didyou say? Her name was Dunia Soldo
Mura very rich. Ah. Thethings I could tell you of that one
one of you. If the bullring is death in the afternoon, she
is death in the evening. WaitingI'm ready, Pablo, horrow, horrow,
(25:56):
hor ah, horror, who rightwhen you is the greatest of the
bird the first time of the world. Hodo, wwane you your breakfast?
(26:30):
Wake up? Oh? Do youalways dream of bullfighting? No? Oh,
most of the time I dream ofyou. Kiss me. Now.
What are the newspapers, I'll goget them in a moment. They were
wonderful, Oh say, Villa isrunning with your name this morning. Now
(26:53):
wait your breakfast. I'm hungry towhom did you dedicated the bull? Oh?
Who? I don't know. Inever saw her before? And why
did you dedicate it to her?Well? She was with a party of
swells. It plays to be inwith those kind of people. She threw
me some flowers. I hate her. Was she pretty? Not bad?
(27:14):
Prettier than me? That's impossible.I don't hit her anymore. Do you
know you came home last night withoutyour monterra? Oh did I What became
of it? I must have leftit at the cafe. Come in.
Oh, well, get baljon.A messenger just came with this note for
you. I'll give it to meand go get the newspapers. See sir
(27:34):
here comming. You read it forme? You sure you want me to?
I can't read it myself? Whois it from? When I saw
the NeuRA? Oh? Hello?What does it say? Signor Juan Gayadu
matador de Toros, thank you fordedicating the first ball to me yesterday.
If you went back the monterra youthrew me, you may have it by
(27:57):
calling for it tonight at head Dresses, number four, Plaza de al Pharo.
You Montero. Yes, yes,Now it comes back to me.
I threw the gatchi in my hatand she refused to part with it,
and she seems willing. Now shethinks I'm gonna call for it. She'll
grow old waiting. Why shouldn't youcall for it? She must be somebody
of importance. She lives in thePlaza de Alfaro. What does she look
(28:21):
like? Oh, I don't remember. Just a woman. Well, if
she's just a woman, And whydon't you want to go? Don't argue
about it. I'm not going,you're not. I'm glad go ahead,
but you were. Just as longas you don't want to go, you
can go. Sonderto No wine,the Seno gayado. It's very good wine.
(28:48):
Don your soul. Thank you.Tell me what kind of soup was
that? We had? Turtle soup? Have you've never eaten turtle soup before?
I never? It tastes good,but not as good as good spot
ever eat dead Captain Martinez, No, I don't think so. I was
raised on it? Really? Howis it made? Man? You take
biscuit, oil, vinegar, onions, and garlic. You take crumbs of
(29:12):
bread and fry them in a pan. You throw them all in a pot.
Gaspatcher sounds lovely. Try it sometimesI will. Junior Soul likes to
try everything once. Yes, ifI were a man, I'd try bullfighting.
There's nothing more exciting. It's likelike a dance, a lovely dance,
(29:34):
most intricate, and death's on theair. Now, this is fine
meat. Don'tia Soul? What isit? I could eat a dozen of
them when I retire. I raisepheasants and bulls, Senor, Yeah,
I ask what brand of perfume youuse? I forget the name, captain,
but it's the most expensive there is. It certainly the strongest. But
(29:55):
since you spend most of your timewith horses and bulls, I like the
smell of horse and bulls. Vicente, yes, so I see. Well,
if we're going to hear Gully,we'd better be starting, so,
Giardo, I hope you'll join us. Where are you going? Tito Gully?
A friend of Donia Soul's is givinga concert. I have an extra
ticket if you'd care to go.Thank you, not me. I'm afraid
I'll have to beg out too,one of my nasty headaches. Good night,
(30:21):
my dear. I hope you feelbetter soon. Thank you. Please
explain to Tito. He'll understand,of course you will. We all do.
I'll say good night too. Ohno, you mustn't leave me.
Senor Gaiado wait for me on theterrors. Very well. Good night,
Captain Martinez, good night. I'mso sorry about your headache. Do on
(30:45):
your soul. I'm sure you willtake something for it, won't you,
Yes, of course, Vicente?Well good night? Or is it goodbye
to Sindi? Why do you saythat? In the army we learn many
signal calls, including re here.You may want your ring back. Thank
you for saying goodbye. Goodbye,Senor Gayado, I'm out here. How's
(31:19):
your headache? Thank you? Pleasesit down? Thank you. I must
say, Senora, that was thebest dinner I've ever eaten. It's the
least I can give you for anafternoon of great emotion. You followed your
star yesterday. You were inspire.Who wouldn't be inspired? I had seen
(31:41):
you. I wasn't bad, though, was I Would you like to play
chess? Oh? Thanks, No, I'm much too comfortable. Matter of
fact, I don't know how toplay chess. Matter of fact, I'm
the most ignorant man in the worldexcept with bulls. I'm glad you decided
not to go to that concert,so am I. Perhaps perhaps we can
(32:04):
have a concert of our own.Oh, you play something the guitar a
little? You like music, somemusic? Yes? The first music I
remember was the clanging of the bellsthat hung from the necks of the cabastros
that led the herd. I usedto like the singing of the vocaros on
the ranch of your uncle, theMarquis. And I like the music of
the gypsies at the Cafe Lovonic.The gypsies, Yes, I like their
(32:30):
love song. Only a gypsy knowshow to play a love song. Carmen,
Carmen, where are you one?I've been so worried about Tiqita.
(32:52):
I brought something for you, anecklace. Look one near you? Do
you like it? One knee you? I can tell you how it is
it. It's to Goddess for work. I looked all over sevie for it.
I wanted to give you something especiallyfine, the best that money could
buy. But why what's happened?Why did you get this from me?
Because Garida, because you're the onlytrue one in the world. Have you
(33:25):
seen Gayado lately? He's falling off. A months ago he was the greatest,
and last Sunday like another year,he's not the same. He doesn't
work all. He thinks of hisclothes and good manners, good manners.
What does a bullfighter need with goodmanners? What happens to a matter door?
One day he is great and thenext day nothing? Are you talking
(33:45):
of Gayado? My friend? Icoral tell you that Gayado's star is waning.
Why he'll not even leave Sevie anymore? Why? Why ha ha a's
donia so o oh a good race? You right like the wind on your
(34:08):
soul, but you always catch men? What are you thinking of? Nothing?
I don't know. When I'm withyou, I forget everything else.
When I'm not with you, Ican't think of anything else. What did
you think the first time you sawme? The first time I saw you,
I thought to myself, this iswhy it's great to fight bulls,
(34:31):
so the che can be amused.And the next time, the next time,
I thought of the roses in thegarden of the Alkatha, not as
if you had them on, butas if they were flowing in your veins.
I can't express myself very well.You're learning one, neo you're learning
(34:51):
Tell me one. I know what'sthe matter with one? I'm his sister
and I know, and you arehis wife and you know nothing. I
don't want to discuss it. Ifyou want to know why he spends all
his time at the Plaza al Faro, it's because he has nothing to keep
(35:14):
him at home. Maybe if you'dgive him a son or two and connascion
the quiet. You have no rightto say such things. Let us speak,
Madrecita. She can't say anything shelikes about me, But I won't
hear a word against one. Nota world. If he'd only take my
advice, You think he'd have somegratitude after all I've done for him?
And just what have you done forhim? Hunt on you? What's he
done for me? Everything? Heset you up in business? He lets
(35:37):
you live in his house. Whosays it's his house? He and his
fine gestures buys a house and doesn'tpay for it. Mark my words,
one fine morning will all be thrownout. He's no good in the ring
anymore. Afraid of a scratch itmight interfere with his evening. He neglects
his family, his friends, makesa spectacle of himself, and lazy,
drunken worth. Subb it stub it, stub it. You want fit to
(35:59):
mention his name you He gave youeverything you have, He supports you and
your children, and behind his backyou sneat him and criticize him. We
got him like vulture. Get outof my said, get out here,
Come on you quickly. I cannotstand it. Now I see that I
(36:20):
cannot stand it any more. Comeand City, I can stand him all
in this house. I'm going away. No, Come and City. You
will stay no matter what, hewill stay with one until the end.
Behind Carmen, tell me all thosedays when one goes to the ring,
to whom do you pray to?Our lady of who the macarena? What
(36:43):
do you ask Clama Carena? Askher to plead with God to watch over
our Juan, to keep him safefrom any help. So I used to
pray, but now I pray forsomething different. What do you ask for?
I pray to God to let myson be God in the ring?
No, not to die, butto be hurt. Who mothers sit so
(37:04):
he may cheat the end whichevery Torreromeets. That's what I pray for,
and I pray to him not tosend you a son, for he will
only grow up to torment you andlet you die every Sunday afternoon, just
as you were dying. Now,Mad cit that Madrosita, the old lady
(37:31):
of Hope. Please watch over myhusband Juan, Honey, if you see
fit, dear lady, please inhis heart, he wish to retire from
the bull ring. And one thingmore, my Carina, And this is
what I really came to see youabout. I I don't want to hurt
(37:52):
one, but I've got to dosomething. I can't go on living nineties.
Dear my help me, please helpme, tell me what to do?
Bow our station I gentification. Thisis the Columbia Broadcasting System. After
(38:40):
a brief intermission, mister de Millpresents Tyrone, Power and Annabella in Act
three of Blood and Sand. Well, it's getting on toward the end of
October. Moving day is just anunpleasant memory. The curtains are up in
the new home, and books areback on the shelves, And all over
America there are women settling into thenew life of a new community. Some
(39:01):
and I wonder how many find itdisappointing and difficult, wondering why people just
don't seem to be as friendly asthey might be. Well, it's natural,
perhaps to put the blame on others, But how often are these unfriendly
neighbors thinking things like this? Toobad about that nice little woman who's moved
in next door. She seems soattractive too, I'd like to be more
(39:22):
friendly. But really, well,it's her own fault. But then I
don't suppose she realizes what's wrong.That's the unfortunate part of it. Selling.
We just don't realize when we ourselvesoffended. That's why it's so foolish
should take any chances with something asimportant as daintiness. You see, the
things we wear under things particularly absorbperspiration unless we take care to lucks under
(39:45):
things after every wearing dresses, blouses, and sweaters often, well, how
can anyone be sure of freshness?Yes, that daily luck's care is a
thing no wise girl neglects. It'seasy because new quick lucks is so fast.
It's safe. Care for pretty washablesbecause lux flakes are so gentle,
(40:05):
have no harmful alkali to fade colorsor injure fabrics. It's thrifty too,
because a little lux goes so far, gives you so many rich SuDS from
just a few flakes, and itscare experts advise more makers of fine washables
advise lux flakes than advise all othersoaps put together. So to keep washables
(40:27):
new looking longer, to guard daintinesstoo, stick to America's favorite care for
nice things, new quick lux flakes. Now, mister de Mill returns to
the microphone. Curtain rises on thethird act of Blood and Sand. The
(40:51):
star of Juan Guariado is waning fast, and the great Terrero who made the
church bells ring is pointed at withscorn and laughter, desperation calm, and
has come to plead with a womandown your soul. They stand facing each
other quietly. Don your soul issmiling. You be seated, Senora Ayado.
(41:12):
Is there anything I can offer you? Yes? My husband, Oh,
please believe me. I came herewithout anger. I'm not here to
judge. I can understand your beinginterested in my husband. He's the first
man in Spain, and naturally oldwomen run after him. Naturally I understand
he's interest in you too, especiallynow when I look at you and see
(41:36):
how beautiful you are. Thank you. Perhaps it's my fault. Perhaps if
I were more beautiful more educated thanof a better family. I know of
your family. Your father works formy uncle. I believe on the rest.
Yes, all my life I've heardabout you. What have you heard?
Shall I be friends? Please?I've heard you've been all over the
(41:59):
world, that you speak many languages, unknown, many men. I've had
only one man. Maybe that's whyI want so much to keep him.
Tell me have you discussed this matterwith one? No? Why not?
It would hurt him? Just aminute, please, Ah, Dora,
(42:20):
yes, come here? Run whenI called you here, run? I
always run when you call yep,Carne. Well, why don't you say
something, Senora? I feel sorryfor her. Why did you have to
(42:45):
do that? Why can a battle? Garabato is not here? But you
have your breakfast now, my son. H Good morning, little mother,
(43:07):
Good afternoon, my son. Where'sGarabado? He's gone gone. You let
him go last night, don't youremember? Oh? Yes, we had
an argument something he did. Whatwas it? He asked for his wages.
You haven't paid him in months,and he had an offer for Manolo,
Manolo, the great Matador. Manoloa member of my quadrilla. No
more, my son, Pablo isthe only one left. I picked Garabao
(43:30):
out of the gutter when he wasa beggar and nobody else would have him.
And now he's gone. Why wasn'the paid? Why didn't Antonio attend?
I don't know. The only peoplewho come to the house these days
are tradesman with unpaid bills. Idon't understand it. The more money I
make, the less I seem tohave it. It melts away before I
ever see it. Yes, youcan't build on sand, my son,
(43:52):
Mondricita? Is there any word fromCarmen? She is still at the ranch.
I saw her last week? Yousaw Why didn't you tell me?
Is she is she well? Mother? Seat, She's as well as she
could be. Why did you lether go? On? Why didn't you
make her stay? She had aright to leave, and she left.
That's all there is to it.Did you want her to leave? No?
(44:14):
Do you still love her? Oh? Yes? And the other one
that's quite another thing. One listening, listen my son it Why don't you
leave me alone instead of interfering andcriticizing me, let me alone? Yes,
my son, mother, forgive me? Mother for now? The best
(44:43):
table for Senor Gayado, the bestI have and you so what would you
like Champagne, Champagne, see Champagnea nice place. I'm glad we came.
Is this where the bullfighters come upto the brain? It's very one.
What are you staring at me for? I'm trying to figure out what
sort of a woman you are?Yeah, the trouble is you're not one
(45:05):
woman, but many and never thesame. Will one changes? You know?
Yes? Why didn't you come tosee me in the ring last Sunday?
I had a headache, A headache? Yes? Is that so strange?
No? I remember another time,a headache. The night I came
to your house, there was CaptainMartinez, then au Vinier. Good evening,
(45:30):
Good evening, Manolo, May Isit down. We'll let me introduce
myself in your arm, Manola thePalmer. I shall let the pleasures soon
bring in the ring INSI here atnice. I shall look forward to it.
I understand one will be in thesame corrida. Yes, it'll be
the first time we've appeared together.You'll have a chance to compare our styles,
the work altogether differently. I've beenwell, thank you, and your
(45:52):
mother she's well too, and youlittle worry by hear she's going off to
the ranch. With her fat.It's no concern of yours. It out
that's hard. Did the way totreat an old friend, Senora? Would
you like the band? Yes,yes, I'd love to. We came
here to talk down your soul,and I prefer to dance with man.
(46:15):
Comes Champagne, Senor and Senora Champagne, Champagne, Yoga, yado. Let
(46:42):
me alone. There's plenty of time. We should be leaving for the ring
right now here. You'll need someperfume, you fool. Don't doubse me
with that stinking stuff. I onlydid it to kill the smell of rum
on your broain. I'll thank youto mind your own business. I know
what you're up to. Pablo.If you're looking for an excuse to quit
me, just say so. I'mnot going to quit you, one of
you. But it isn't right.Just the same to fill yourself with rum
on the day of a fight.All it it steadies my nerves. You
(47:05):
will need steady nerves to day.I've seen the bulls. We've drawn a
bad one. It's not the bulls, it's the crowd. They're waiting for
me with claws. The crowd isforgetful. One of you like a woman,
and fickle like a woman, andcruel like a woman. Got your
mouth. But this time you can'tblame the crowd. You're not giving them
anything. I've had bad luck.The bulls have been much bigger. They
(47:25):
only seem bigger because when you facethem, you're afraid. You were born
to very little, like the restof us. But one thing you had
that was real and pure. Youwere a born killer of bulls. But
she took that away from you.Now, when you face the bull with
the sword, you're drained, You'reempty. There's nothing left of you but
fear. Be quiet. You've gota gun, haven't you. Why don't
(47:46):
you bring it to the ring withyou and kill the beast with a bullet.
He quiet? Now get out,Get out, yes, one you,
and don't come back to you here. Don't come back, stay out
of my sight. One Neil afraid. I'm not afraid. I fear nothing.
The bull hasn't been born. Whocan harm me? For Neil?
(48:07):
You had better rest. What whatare you doing? Get up? I
am cleaning the floor, one Neil. It is well to keep in practice.
Get up, Get up. Supposesomebody should see you. There's nobody
left in this house to see me. But you I don't like you to
be on your knees like that.There's nothing wrong with being on my knees.
(48:28):
That's how I pray, that's howI work. This house was clean
when we moved into it. Letit be clean when we move out.
What's all this talk about moving out? One When you were little, you
would not listen to me. Whenyou listen to me now, well,
what do you want? I wantyou to leave the bull ring. Leave
(48:49):
the bull ring when I'm at thetop. I've been through all this before.
When you reach the top, youbegin to slip. There's only one
way you can possibly go, andthat's down. Oh mother? Is si
that you talk like all the rest? Just because I've had a few poor
afternoons, a little bad luck,you think I'm through. But you're wrong,
and so are they all. I'mjust as good as I ever was,
and better because I know more.Wi you. What's wrong with your
(49:13):
hand? My hand? You're shakingmy son? It's nothing. It's always
like this on me on the morningof an afternoon wheel. Are you ready?
(49:40):
Whew? I am ready, Pablo. Thank you for being here,
and forgive me for what I saidto you would I let you go into
the ring alone. Have you prayed, one of you? Yes? For
many things come. Then they arewaiting, Wan Carmen, what are you
(50:00):
doing here? I'm always here wheneveryou fight. You mean, all these
weeks since you left me, Inever left you, Jue. I've only
been waiting for you, waiting forthe sickness to pass. Only a minute
ago, I was praying to seeyou. I believe in miracles. Now
(50:21):
I love you, Juan, Ialways will. Garman seated, I'm so
glad you are wearing your white shueto day. It's a one I like
the best. You look so nicein me, so oh one Wanni.
It was a sickness and it haspassed. And when I feel you in
my arms like this, I'm bornagain. I'm strong now I can do
(50:45):
anything. You'll see, They'll seeout there, everybody. I'll show them,
Huanne you. I'll wait for youhere. There is a seat for
you in the arena. No,I will stay here, Garabato, I
(51:05):
said I would wait for him.He's in the ring now. You can
see him from here, Saniora.He is making history this afternoon, my
arena, Oh lady of who wonhe is making history this afternoon. Back
to him, please lean back tohim. He kneels before the pool.
(51:34):
He kneels. I tell you heis arrogance itself. Way for the novel.
These everything I have, dear lady, He's my life now. He
turns us back. He turns usback on the pool. One heel,
be careful, one eel the cowl. What did it? He turns us
(52:01):
back. He turns his back.Oh that you be the momentary code and
(52:23):
indulge a TV dominus quit cret amen, thank you padre. The doctor will
be here in a moment, myson tell him I needn't hurry. Who
need you? Oh Carmen City,I wish you could have seen me out
there. I really wasn't bad.I heard the chih this is nothing.
(52:52):
I'll be up on my feet beforeyou know it. Yes, one of
you and in common, I'm goingto leave the ring. There will be
money to take care of my mother, but enough left over for us to
buy a farm, just a littlepatch somewhere in the country. And you
(53:16):
you can teach me how to readand write. And oh what mean you,
dear? Does it help very much? H hurts one guyard though huh.
The bull isn't born that can't wantme a common seed. You're the
(53:37):
only true one in the world,Padre, alright, child, you must
be braved for as he was.You must ask our Lord of great power
to give you courage. No,Padre, I don't need courage. I
have his. I'll always in themoments our stars will return for their curtain
(54:15):
calls. Meantime, let's listen.In a minute and a house around the
corner, Jane is showing her sistersome stockings she bought to day. Whew.
Buying stocking certainly puts a hole inthe budget nowadays. These will have
to last me a long long timethat a knock on wood hadn't you,
Jane, Well, i'll do thattoo, But somehow I think Luxingham every
(54:36):
night, I'll do more good.Yes, with lovely stockings, more precious
than ever. It's more important thanever to get better wear from every pair.
And Jane has the right idea.Don't trust to luck, trust to
lux you see, it's not justluck that helps some girls get better where
from their stockings than others do.Barring accidents. Of course, the war
you get depends upon the care yougive them, and new quake. LuxI
(54:59):
is care experts advise over ninety percentof the makers of all kinds of stockings
rayon cotton wool as well as silkand nylon. Over ninety percent advise Luck's
Flakes. There's no harmful alkali inlucks and of course no cake soap rubbing
to weaken delicate fibers. Naturally lovelystockings don't go into holes or run so
(55:20):
quickly. They'll wear better, looknew and lovely longer. Be sure to
lux them after every wearing so perspirationdoesn't remain in the threads to injure them.
Get a big box of Lucks Flakesfirst thing tomorrow morning and give all
your stockings this quick, thrifty,safe care new quick Lucks comes in the
same familiar package, costs you nomore, and one big box will do
(55:44):
your stockings every night for months.Now is mister de mill with our stars.
The thicker doors and the matta doorshave been left behind in some Spanish
arena. Now we welcome back tothis microphone Tyron Power and his charming wife
and co star Annabella. Thank you, sir, It's always a pleasure to
come back to the luxe theater you'vebeen You've both been away too long,
(56:07):
Annabella. Before we forget about bullfightingentirely, tyrone, perhaps the audience would
appreciate a few definitions. Most Americansare confused by the bandrieros, picadores and
matadors, for instance, which onecorresponds to the quarterback. Well, I
guess you could say that the bandorerierosand piccadores run intoference for the matador,
(56:30):
so the bull will be good andmad when the matador comes out. Incidentally,
no good bullfighter has ever called atariodor in Spain. That's a French
word popularized by the opera Commons.However, I'm sure Americans will continue to
prefer Joe Louis, football, icehockey, water polo, and other polier
forms of mayhem. What's the playgoing to be here next week, mister
demal next week, Annabella youth isking because our play is the twentieth century
(56:55):
Fox picture Her First Bowl, andour stars are Jane Withers and Jackie Cooper.
You'll admit, I'm sure that herfirst bow is a dramatic moment in
the life of any girl. Soif you'd like to live over again a
few years of your own youth.Listen to Jane Withers and Jackie Cooper and
(57:15):
her First Bowl with Edith Fellows nextMonday night. I know that's a play
everyone will enjoy. CB good Night, good night, mister Demil, good
night, good night, and threelosing digs for each of you. Our
sponsors, the makers of Lux Flakes, join me in inviting you to be
(57:37):
with us again next Monday night,when the Lux Radio Theater presents Jane Withers
and Jackie Cooper with Edith Fellows inher first Bowl. Is the CSSILB de
Mel saying good night to you fromHollywood. Please put a big circle around
(58:00):
Wednesday on your calendar. That's toremind you to be sure to listen to
radio's fast moving, gripping program Bigtown, featuring that dynamic star of stage screen
in radio, Edward G. Robinsonwith Ona Munson. You'll be thrilled by
mister Robinson's stirring performance. Is SteveWilson, editor of The Illustrated Press,
in this exciting story of one man'sfight for justice and humanity in the great
(58:22):
American tradition. So I recommend thatyou listen next Wednesday evening to Bigtown.
See your local paper for time andstation. Ladies and gentlemen, every school
child in this land knows that libertybelongs to him, to his country.
You can help to keep the torchburning by enlisting your dollars for defense.
(58:44):
Buy United States defense bonds and stamps. Any Post Office bank or savings and
Loan association will help you buy andkeep on buying defense bonds and stamps.
Tyrone Power appeared tonight through the courtesyof twentieth Century Fox to Dow Videos and
will soon be seen on the screenin a yank in the raf Heard in
(59:05):
tonight's play were Kathleen Fitz as Douniasaw B Benderit as Juan's mother, Gail
Gordon as Pablo, Jeff Correus Garabato, Lou Merril as couro, A,
Annstone, Eric Rolf, Paul Dubov, Howard Mcner, Bruce Payne, Elsa
Brand, Nick Toms, Leicester Sharp, and Walter Tetley. Our music was
directed by Lois Silvers. Next Mondayevening, the Lux Radio Theater presents Jane
(59:28):
Withers and Jackie Cooper in her firstbowl with Edith Fellows. Your announcer has
been Melville Rowick and this is theColumbia Broadcasting System.
Lux Presents Hollywood. The Lux RadioTheater brings you Tyrone Power and Annabella in
(00:22):
Blood and Sand, Ladies and gentlemen, your producer, mister Cecil B.
De Millah, greetings from Hollywood,ladies and gentlemen. In Brooklyn, it's
baseball. In Spain, it's bullfighting, and both fighting inspires the same fierce
(00:43):
passion and every true Spaniard that baseballinspires only in a fan from Brooklyn.
The one of the most popular matadorsof modern times was born in Brooklyn.
But the fact that the Motodor flirtswith death at every pass of his cape
makes the bull Ring the most dramaticarena in the world, and the most
dramatic story of the bull Ring isto Night's play Blood and Sand twice in
(01:06):
the memory of most of us,Blood and Sand packed the motion picture theaters
of the nation the first time.The star was a young man named Rudolph
Valentino. A few months ago,when twentieth century Fox made the picture again,
Tyrone Power through the Martodor's cape abouthis shoulders, and once more audiences
thrill to this tempestuous drama of lifeby night and death in the afternoon.
(01:32):
Tyrone Power is our star tonight,and with him we present the lovely and
charming Annabella. This is a lovestory, the love story of a boy
who fights his way from obscurity tofame and of a girl whose loyalty never
wavers when gold and glory throw ashadow over love. If you saw Blood
and Sand on the screen, you'llremember its dramatic use of color. Colors
(01:55):
always box office on screen are off, and where color is concerned, so
is Luck's Flakes. In filming Reapthe Wild Wind recently, I had a
company down in Charleston, South Carolina, where the townspeople obligingly turned back the
clock for us about a hundred years. We had the costumes and they wore
them in front of the camera.Costumes of the gayest, most elegant days
(02:17):
of the old South. Lovely,but a problem for costumes do get soiled
and washable. Color had to bekept fresh for technicolor cameras. But our
problem was easily solved with lux flakes. And to give you a rough idea
of the size of the job.During Reap the Wild Wind, we used
more than a thousand large boxes oflux flakes, an item for the budget,
(02:40):
of course, but we actually savedmoney by guarding the color values of
the costumes. And now for theromance and excitement of Spain, as the
curtain rises on the first act ofBlood and Sand, sharrying tyrone power as
Juan Gaiado and Annabella as common ohIn the town of Sevilla, some thirty
(03:07):
years ago, a Spanish boy prayedto La Macarena, patron Saint of the
bull fighter. It was a strangesort of prayer, half entreating, half
boastful. My father was Il Gallardo. My father was a great killer of
bulls, and I am his son, Juan Gayardor some day I too will
(03:29):
be a great killer of bulls,for the bull who can harm me has
never been born. Some day Iwill be the first mussador of all Spain.
I will make the church bells ring, and the people shall point me
out and call my name One Gallardo, One Gallardo, the greatest torrero in
the world. From poverty and hungerin Seville, the young Gaiardo went out
(03:53):
into the world in the bull ringsof Madrid. He learned his trade in
the outlying provinces. He practiced ituntil at last his name is mentioned in
an article by the great critic Quaromentioned with contempt. And here is one
Gayad or newcomer of flat foot Novalerofrom severe taking money under false pretenses.
(04:14):
He has nothing to recommend him buta certain stupid animal courage that makes his
work in the ring look more likesuicide than battle. He's definitely fifth thread.
How young Gayado is returning to Sevillewith his four companions of the bull
ring. He sits in the crowdedcoach looking at a newspaper, but he
looks only at the pictures. BawanGayado has never learned to read. Suddenly
(04:40):
he sees his own face, apicture of himself, smiling with Bravado hair
curled in the best tradition of thebullfighter, dressed in the loudest of cheap
clothing. With a cry, hejumps from his seat and no, Puga,
Pablo, come here quick, what'sthe matter, Pablo? Look the
newspaper. There's my picture in thenewspaper. Let me see one. What
does it say? Ah, that'syour picture, no doubt of it.
(05:00):
It looks just like you. One, yes, and look there that must
be my name has something written underneath. Read it to me, Pablo,
read it? Read it? Youknow I can't read one any more than
you can. I've got to knowwhat it says. Hey you you over
there? Oh you mean me,Senor? Yes, you come here.
You know how to read? Oh? Oh, yes, Senya. Good,
(05:21):
I'll read that. Follow that picturethere. Read it to me.
Well, oh, this is anarticle by the great critic Kuro Kuro.
Now what does he say? Well, well, in it, he praises
the merits of various Novilleeros, includingone one Gayado, one Gyardo. That's
(05:41):
me. What does he say aboutme? Well, he says, read
it. Oh, well, seeSenor, si Senor, he says,
easily, the most promising of theseason's newcomers is one Gayado, the Sevillian
NOVIERO. Ah good, go onu oh oh well. He says that
his work in the ring is plastic, pure and perfect, full fighting of
(06:05):
an absolute integrity. Sevilla should beproud of its son, whose name will
one day cover it with undying lesteramigo. I thank you, Senor.
Don't don't mention it. Don't mentionit. Well, my friends, did
you hear that? What do youthink? Pablo? The sun comes at
last from behind the cloud? Itell you, praise some curl spelts contracts.
(06:26):
This is the beginning of history.Ah, Manolo? Why after all,
it's only one man's opinion. What'swrong? Manolo? Praise from Kuro
doesn't please you, eh? Ididn't you m name mentioned, or Pablo's
and pulkas of collars for that matter, we work too, you know,
of course we're only the Quadri.For ten years we've worked with you,
and what has it brought us?My pockets are empty. Mine aren't.
(06:46):
But then you don't make as muchas I do. Your pockets are bulging
with pasids right now, four thousandof the exact Not a bad season,
Manolo. Someday I'll make twice asmuch in one afternoon. Sevilla, sevilla
one. We're here, Selvia.I get the luggage one. Look out
there? What's all that crowd?It's an ovation, an ovation for me,
(07:09):
and the news has spread to Selvia. Come on one. You'll have
to make a speech. Oh Ican't. What'll I say? Whatever comes
to you? Here? He is, friends, a great one, Gayado,
Thank you, thank you, myfriends. I don't know what to
say except hey, where are yougoing? Here? He is the great
(07:30):
one, Gayado, the greatest Torrero. Come back, come back. I'm
stop. The crowd doesn't seem veryinterested. One not in you anyway.
Somebody in the other coach see,well, maybe they haven't seen the paper
yet. Eh. Come on,Pablo, it's your mother one. I
need you. Oh I you meyou mod you, Let me see you.
(07:57):
It's been so long. I toldyou i'd come back. Mothersa rich
and famous. Look at me.Let me touch your face. Oh.
From now on, it's a newlife, Mother Desita. No more work
for you, No more scrubbing offloors. Pablo, give me that package,
that one. I need your meal. Here, Mother Cita, I
brought something for you, a littlepresent. I have presents for everyone.
(08:20):
I want you to invite all myold friends tonight a party in my honor.
We'll get food and wine. Andoh here here, mother Resita,
for you, Oh, oh,who need you? It's a mantilla,
real lace, real lace for me. And why not? All the great
(08:41):
ladies have lace mantillas. You needyou. Have a good time, Have
a good time, everybody. Well, well what if we got here the
two longest faces in Spain. Whyaren't you too dancing? Your sister will
(09:03):
not dance one? Why not?And canassion why don't you dance with Antonio?
I don't feel like dancing. What'swrong, Antonio? You tell me
your sister and I've been engaged nowfor four years. Each year we've been
planning to get married and we'll no, we should be married, that's all
right. What's stopping you? Antoniohas been let out of the saddlery shop.
(09:24):
How much will it take to openthe shop of your own, Antonio,
Well, I should say, well, not less than two thousand per
seitas. It's all settled, yourend business. I mean what you mean,
you will ours. It's a weddingpresent, and I hope the first
one's a boy. Oh, Ican't thank you. I'll make an announcement.
Oh, stop the music, Stopthe music there, Senor Senoris,
(09:46):
I have an important announcement to makethe marriage of my sister in Canasion to
Antonio Lopez, which will take placeas soon as possible. And in honor
of this occasion, I wish topresent a few gifts I have brought for
Madrid. Here's one for Lorenzo Riquez, Angelina Marcos, Senora Maarda, Elena,
(10:11):
Fernando, Matteo, Enriqui, Humbertoand that's all. No, no,
no, no, Clay, Clay. I'm sorry, but this last
gift is a secret. It's well, it's for somebody who's not here yet.
Music there music you, yes,Madrisita, the last gift, the
(10:39):
great secret. Who is it for? I can't tell even you, Modcita.
Then I will tell you if itis for Carmen Espinosa. She still
lives at the ranch outside the town. Thank you, Madrecita. Good night.
Don't be too late on no excuseme, senor, I'm in a
(11:11):
hurry. Just now, my please, just a word. I've had the
devil's own time lately, a fewsantimos, and you have anything at all?
Anything. I'm over here to thelight. I thought I recognized you.
You are Garabato, correct me,the great Garabato, the greatest matador
of them all. I regret tosay I'm still alive. I thought you
retired, going to the country andbought a ranch. I left the ring
(11:33):
as I came into it without asantimo. You remember me, Juan Gayado,
I live here. Of course youare in the ring now too.
Thing's been going good for you.I've had a good season. I look
forward to a better one. Isuppose you are Quadria. Yes, it's
full up just now. But I'vehad a lot of experience. My whole
(11:56):
life's been spent in the ring.I know all the critics. I'm sorry.
Then, perhaps you could use aservant, a sort handler addresser.
Very well, why not come andsee me in the morning? Send here
here, got some food, Senor. I thank you, I kiss your
hands and good night Caravado in themorning. In the morning, thank you,
saying your Carmen. Carmen, cometo the window, Carmen, Who
(12:31):
is it? Who is downe there? Carmen? It's one? It's one,
Caardo, oh one, one?Come in at house? Have you
right now? One? Carmen?Se you here? You've come back at
(12:54):
last? One? Didn't I tellyou I would? Didn't I promise?
And you promised something too, towait for you. I remember all away
on the train for Madrida, Ikept thinking and worrying. Perhaps she's tired
waiting. Oh no, perhaps she'sgone away. Oh no no, perhaps
she's even forgotten me. Oh youcouldn't possibly think that. I even thought.
(13:18):
You know, the very first thingI asked my mother when I got
home. Pedro Espinos's little girl Isaid, with the skinny legs and the
funny face, has she, byany chance been married? Yet? I
can't get over it. I neverdreamed you'd grow up to be so very
nice to look at. Did youthink of me often? Every day of
(13:39):
my life? Then? Why didyou liver write to me? Right?
Well? I am Maybe it's silly, but I didn't want to write until
I could sign my first letter toyou, Juan Guyardo Matador de Torres.
Oh then you are not reglect Matadoryet? No, no, but I've
done pretty well, not bad atall. Guess what I cleared this season?
Over four thousand petas well thousand,and that's nothing to what I'll make
(14:03):
later when I've been recognized. Notthat I've been entirely overlooked now, mind
you, not at all. Let'stake a look at that, my first
press notice. And by Kuro,mind you, Kuro, the greatest critic
of them all? Pretty nice,don't you think? One? Have you
read this? Of course? Andyou like it? I think it's wonderful.
(14:24):
And by Kuro read it? Ihave read it? No, read
it aloud? One. I knowwhy you never wrote to me. It's
because you haven't learned to write orread is that it read? What it
says? What for? I justread it very well. And here is
a newcomer, a flat foot,another euro from Seville, taking money under
(14:48):
false pretenses. What go on?He? He has nothing to recommend him
but a certain stupid animal courage,which makes his work in the ring look
more like suicide than battle. Heis hue, When will we be married?
There's more? Read it? He'sdefinitely fifth rate? When when will
(15:15):
we be married? Read the rest? I wanna hear the rest. It's
hues lace to predict the future forhim? He will probably be killed in
the ring long before he advances fromanother yearon to Matador? Who whe nee
you? I? I guess Icame back a little too early. Give
me the clipping? Who I needyou? Why don't you throw it away
(15:37):
and forget about me? No?No, I'll keep it, And some
day I'll make Coroeta's words. Someday I'll come back to you with a
whole trunkful of clippings. And whenyou marry me, you'll marry the first
Herrero in Spain, not the secondor the third, but the first,
the greatest. I'll make the churchbells ring for me. I'll go now,
(15:58):
Carmen, who need you? What'sin the package there? Why it's
it's nothing? What is it twanyyou? It's just something I I thought
I was going going to me letme see. No, no, come
and don't open it tleas it's it'snothing. Really I want to see.
But I tell you it's nothing atall. Wh meo. It's a grace,
a wedding brace. Oh who howbeautiful it is? How beautiful it
(16:22):
is. I got it in thefinest shop in Madrid. I want the
best wedding dress you have. Priceis no object. I told him it
cost five hundred persatoes. When willwe be married? One Yado? Have
you seen him in the ring?Wonderful? He's just a little gero yet
(16:45):
but everyone is saying little Gyaro,one Gyado. Everyone's talking about one Guyado.
In Salomonca last week they went madone la YadA, the most promising
mattador of the century. We predictthe brilliant. You'll talk one Guyado,
one gyada gayada, No, no, no no no. No. One
(17:15):
can see Guyado now he's being dressedfor the ring. You'll see him when
he comes out. Just open thedoor just a little bit, no,
get back. What is he goingto wear today, Senora? I am
his brother in law, not hispersonal dresser. He has a hundred different
costumes for the ring, one hundredswords, one hundred caps. What is
it like in there, Antonio,my friend, It is like an emperor
holding court. Gyado sits on histhrone, being dressed, and in front
(17:36):
of him all the critics in Sevilla. Kuro is there, Couro, the
greatest of them all. Severe hasa matador, the first matador in Spain,
a saint, the first man ofthe world. I Korl say it,
thank you, Signor Korro and Coraltell you this that the day Gayado
here was born, there was saltin the air, a great quantity of
(17:56):
salt. You should have seen himat the reader of the feast of the
Nuntiathor. He was tony of abull. Next day, Garabatto spent hours
picking the bull's hairs out of Wan'sclothes. I Coorl will tell you that
I could not believe my own eyes, but you did believe them. Kuro.
The day you saw me fight asan Overearo in Madrid, in Matri
(18:17):
three years ago, you wrote apiece in the paper about me my first
press notice. Really, yes,you said I was definitely fifth rate.
Oh h oh, yes, yesI remember. But the next time I
saw you in the ring, youwere a different man. Something must have
happened to you. Yes, somethingdid happen. I got married. Ah,
he got married. Yes, thosewere the lean days when I fought
(18:41):
both bulls and hunger at the sametime. Kuro, have you ever been
hungry? Never? But I've frequentlybeen thirsty. I can tell you this.
A gore of hunger is worse thanthe horns of a bull. My
friends have said to me, oneof you, life's been very magnificent.
You how does it feel way upthere on top of the ladder? And
(19:03):
I think of all the good thingsthat have come to me, and there's
one thing that stands out above everythingelse. I can buy all the food
my belly can hold, and allmy friends bellies, and I don't have
to ask the price of anything anymore. What is it, Pablo, Honey,
I am ready for the grave.I've just come from the drawing of
the bulls. We drew a coupleof the meanest looking beasts I've ever seen,
(19:25):
sluggish Christus, what difference of bullsa bull. They're all alike to
one, nele all safe in yourcouro. There's no such thing as a
safe bull one you. These twoare monsters with lighting in their horns.
The cow has not been born yetthat can give birth to the bull that
can hurt me. Nevertheless, Ithink you should rest before this fight.
(19:45):
An excellent idea. We'd better begoing, gentlemen. Good luck one,
thank you, goodbye, thank yougot a battle. Yes, it's hot
in here. Yes, one alwayssweats the big drop in the morning of
an afternoon. They used to crowdinto my room too, when I was
(20:07):
dressing like a funeral before one's dead. Carabato. I wouldn't admit this to
anybody else in the world, butalways when I'm dressing like this, there's
a feel of rust in my throat, a taste of death fear. But
it's gone when I step into thearena. The minute I hit the music,
(20:29):
in the yell of the crowd,everything's all right again. Yes,
I know, it was always thatway with me. I mean now I've
been waiting for you. That's allgood about us? Senor well, whany
you? How do you feel today? Good as bread and you? I
wish it were this time tomorrow,Carmen Citi. You've got to learn not
to worry. Please let me worryjust a little. It makes me feel
(20:52):
better. You wouldn't worry if youcould have heard what Kuro just said about
me. At last, severe hasa mat at all. He said,
where's my montera here? It isthe greatest matador in history, Cora said,
the first man of the world.That makes you the first lady there.
How do I look? Look inthe mirror? You're my mirror?
How do I look like a littleboy? All do I stop for a
(21:15):
party? And somehow I feel it'llbe a great afternoon. I wish you
could be there with me. I'malways with you, Jue Carmen. What
do you do with yourself when I'min the ring? First I pray tu
la macarena, I pray to keepyou safe from harm, owed Carmen cec
Then I go and sit by thewindow and counted seconds. Every one is
(21:40):
an hour. When the sun beginsto go down, I'll look up the
street and there is no one,so I stop breathing. And then the
sun goes down and it's dark,and my heart stops beating. And then
I hear cheese, and I seepeople running, and I know it's one
(22:00):
one coming home. My breath comesback, and my hat starts beating again
like a drum. Jao, you'rethe only true one in the world.
Kiss me one of you now,go No, Makarna, Lady of Hope,
(22:22):
bring him back to me. Pleasebring my pony, your birth to
me. In just a moment,mister Demil will bring our stars to our
(22:45):
own power, and Annabella back tothe microphone for Act two of Blood and
Sand. Now we have a specialannouncement for women who like to save money,
the record breaking offer that makes ThriftyLucks Flakes thriftier than ever, a
bargain that you can't afford to miss. Listen to this now. For a
limited time only, you can geta big box of lux Flakes for just
(23:08):
fifteen cents. Just ask your dealerfor the two package Lux Flakes Thrift offer,
which is one big box for onlyfifteen cents when you buy one at
the usual price. Think of it, two big boxes of lux Flakes at
a special low price, which makesit thriftier than ever for you to use
new quick Lucks for all your finelaundry and dishes too. There is only
(23:32):
a limited supply of this special thriftoffer available and most dealers are featuring it
an attractive bargain price. Every womanloves a bargain, especially at this time
when prices on many items are advancing. So you can be sure the limited
amount of this special offer will besold out quickly. First thing tomorrow,
go to your dealer and get yourtwo package thrift offer of lux Flakes one
(23:55):
big box for only fifteen cents onebox at the usual price. Now.
I producer Mister de Mill Act twoof Blood and Sand, starring Tyrone Power
has one Gaiado and Annabella has CommonestourFiorina is a tiny chapel whether Martador's come
(24:22):
to pray before entering the ring.One Gayado is there, kneeling, his
head bowed, his lips moving silently. The ante room of the chapel is
lined with people gathered to steal aglance at the great Matador. Among them
is the critic Kuro and a woman, a woman called Donia. Sold mir
(24:42):
Ah, you're lucky to be here. Donia'sharo, I kor tell you that
this afternoon you'll see history, mate, really? And what am I to
see that. It's so wonderful sinceyou've been away, don your soul.
A new star has risen. Hisname is one Gayato Gaiado. I think
I've heard the knee. I shouldlike to meet him. Make room,
(25:03):
please, A Gayada is coming out, Honio. Here, yes, Dounia
soul, permit me to present thegreat Gayado. Senora, I have been
promised something unforgettable this afternoon, oneGayado. I'm sure you will not disappoint
me. I'll try not to,Senora. Good luck. One Gayada.
(25:23):
Beautiful, isn't she? What didyou say? Her name was Dunia Soldo
Mura very rich. Ah. Thethings I could tell you of that one
one of you. If the bullring is death in the afternoon, she
is death in the evening. WaitingI'm ready, Pablo, horrow, horrow,
(25:56):
hor ah, horror, who rightwhen you is the greatest of the
bird the first time of the world. Hodo, wwane you your breakfast?
(26:30):
Wake up? Oh? Do youalways dream of bullfighting? No? Oh,
most of the time I dream ofyou. Kiss me. Now.
What are the newspapers, I'll goget them in a moment. They were
wonderful, Oh say, Villa isrunning with your name this morning. Now
(26:53):
wait your breakfast. I'm hungry towhom did you dedicated the bull? Oh?
Who? I don't know. Inever saw her before? And why
did you dedicate it to her?Well? She was with a party of
swells. It plays to be inwith those kind of people. She threw
me some flowers. I hate her. Was she pretty? Not bad?
(27:14):
Prettier than me? That's impossible.I don't hit her anymore. Do you
know you came home last night withoutyour monterra? Oh did I What became
of it? I must have leftit at the cafe. Come in.
Oh, well, get baljon.A messenger just came with this note for
you. I'll give it to meand go get the newspapers. See sir
(27:34):
here comming. You read it forme? You sure you want me to?
I can't read it myself? Whois it from? When I saw
the NeuRA? Oh? Hello?What does it say? Signor Juan Gayadu
matador de Toros, thank you fordedicating the first ball to me yesterday.
If you went back the monterra youthrew me, you may have it by
(27:57):
calling for it tonight at head Dresses, number four, Plaza de al Pharo.
You Montero. Yes, yes,Now it comes back to me.
I threw the gatchi in my hatand she refused to part with it,
and she seems willing. Now shethinks I'm gonna call for it. She'll
grow old waiting. Why shouldn't youcall for it? She must be somebody
of importance. She lives in thePlaza de Alfaro. What does she look
(28:21):
like? Oh, I don't remember. Just a woman. Well, if
she's just a woman, And whydon't you want to go? Don't argue
about it. I'm not going,you're not. I'm glad go ahead,
but you were. Just as longas you don't want to go, you
can go. Sonderto No wine,the Seno gayado. It's very good wine.
(28:48):
Don your soul. Thank you.Tell me what kind of soup was
that? We had? Turtle soup? Have you've never eaten turtle soup before?
I never? It tastes good,but not as good as good spot
ever eat dead Captain Martinez, No, I don't think so. I was
raised on it? Really? Howis it made? Man? You take
biscuit, oil, vinegar, onions, and garlic. You take crumbs of
(29:12):
bread and fry them in a pan. You throw them all in a pot.
Gaspatcher sounds lovely. Try it sometimesI will. Junior Soul likes to
try everything once. Yes, ifI were a man, I'd try bullfighting.
There's nothing more exciting. It's likelike a dance, a lovely dance,
(29:34):
most intricate, and death's on theair. Now, this is fine
meat. Don'tia Soul? What isit? I could eat a dozen of
them when I retire. I raisepheasants and bulls, Senor, Yeah,
I ask what brand of perfume youuse? I forget the name, captain,
but it's the most expensive there is. It certainly the strongest. But
(29:55):
since you spend most of your timewith horses and bulls, I like the
smell of horse and bulls. Vicente, yes, so I see. Well,
if we're going to hear Gully,we'd better be starting, so,
Giardo, I hope you'll join us. Where are you going? Tito Gully?
A friend of Donia Soul's is givinga concert. I have an extra
ticket if you'd care to go.Thank you, not me. I'm afraid
I'll have to beg out too,one of my nasty headaches. Good night,
(30:21):
my dear. I hope you feelbetter soon. Thank you. Please
explain to Tito. He'll understand,of course you will. We all do.
I'll say good night too. Ohno, you mustn't leave me.
Senor Gaiado wait for me on theterrors. Very well. Good night,
Captain Martinez, good night. I'mso sorry about your headache. Do on
(30:45):
your soul. I'm sure you willtake something for it, won't you,
Yes, of course, Vicente?Well good night? Or is it goodbye
to Sindi? Why do you saythat? In the army we learn many
signal calls, including re here.You may want your ring back. Thank
you for saying goodbye. Goodbye,Senor Gayado, I'm out here. How's
(31:19):
your headache? Thank you? Pleasesit down? Thank you. I must
say, Senora, that was thebest dinner I've ever eaten. It's the
least I can give you for anafternoon of great emotion. You followed your
star yesterday. You were inspire.Who wouldn't be inspired? I had seen
(31:41):
you. I wasn't bad, though, was I Would you like to play
chess? Oh? Thanks, No, I'm much too comfortable. Matter of
fact, I don't know how toplay chess. Matter of fact, I'm
the most ignorant man in the worldexcept with bulls. I'm glad you decided
not to go to that concert,so am I. Perhaps perhaps we can
(32:04):
have a concert of our own.Oh, you play something the guitar a
little? You like music, somemusic? Yes? The first music I
remember was the clanging of the bellsthat hung from the necks of the cabastros
that led the herd. I usedto like the singing of the vocaros on
the ranch of your uncle, theMarquis. And I like the music of
the gypsies at the Cafe Lovonic.The gypsies, Yes, I like their
(32:30):
love song. Only a gypsy knowshow to play a love song. Carmen,
Carmen, where are you one?I've been so worried about Tiqita.
(32:52):
I brought something for you, anecklace. Look one near you? Do
you like it? One knee you? I can tell you how it is
it. It's to Goddess for work. I looked all over sevie for it.
I wanted to give you something especiallyfine, the best that money could
buy. But why what's happened?Why did you get this from me?
Because Garida, because you're the onlytrue one in the world. Have you
(33:25):
seen Gayado lately? He's falling off. A months ago he was the greatest,
and last Sunday like another year,he's not the same. He doesn't
work all. He thinks of hisclothes and good manners, good manners.
What does a bullfighter need with goodmanners? What happens to a matter door?
One day he is great and thenext day nothing? Are you talking
(33:45):
of Gayado? My friend? Icoral tell you that Gayado's star is waning.
Why he'll not even leave Sevie anymore? Why? Why ha ha a's
donia so o oh a good race? You right like the wind on your
(34:08):
soul, but you always catch men? What are you thinking of? Nothing?
I don't know. When I'm withyou, I forget everything else.
When I'm not with you, Ican't think of anything else. What did
you think the first time you sawme? The first time I saw you,
I thought to myself, this iswhy it's great to fight bulls,
(34:31):
so the che can be amused.And the next time, the next time,
I thought of the roses in thegarden of the Alkatha, not as
if you had them on, butas if they were flowing in your veins.
I can't express myself very well.You're learning one, neo you're learning
(34:51):
Tell me one. I know what'sthe matter with one? I'm his sister
and I know, and you arehis wife and you know nothing. I
don't want to discuss it. Ifyou want to know why he spends all
his time at the Plaza al Faro, it's because he has nothing to keep
(35:14):
him at home. Maybe if you'dgive him a son or two and connascion
the quiet. You have no rightto say such things. Let us speak,
Madrecita. She can't say anything shelikes about me, But I won't
hear a word against one. Nota world. If he'd only take my
advice, You think he'd have somegratitude after all I've done for him?
And just what have you done forhim? Hunt on you? What's he
done for me? Everything? Heset you up in business? He lets
(35:37):
you live in his house. Whosays it's his house? He and his
fine gestures buys a house and doesn'tpay for it. Mark my words,
one fine morning will all be thrownout. He's no good in the ring
anymore. Afraid of a scratch itmight interfere with his evening. He neglects
his family, his friends, makesa spectacle of himself, and lazy,
drunken worth. Subb it stub it, stub it. You want fit to
(35:59):
mention his name you He gave youeverything you have, He supports you and
your children, and behind his backyou sneat him and criticize him. We
got him like vulture. Get outof my said, get out here,
Come on you quickly. I cannotstand it. Now I see that I
(36:20):
cannot stand it any more. Comeand City, I can stand him all
in this house. I'm going away. No, Come and City. You
will stay no matter what, hewill stay with one until the end.
Behind Carmen, tell me all thosedays when one goes to the ring,
to whom do you pray to?Our lady of who the macarena? What
(36:43):
do you ask Clama Carena? Askher to plead with God to watch over
our Juan, to keep him safefrom any help. So I used to
pray, but now I pray forsomething different. What do you ask for?
I pray to God to let myson be God in the ring?
No, not to die, butto be hurt. Who mothers sit so
(37:04):
he may cheat the end whichevery Torreromeets. That's what I pray for,
and I pray to him not tosend you a son, for he will
only grow up to torment you andlet you die every Sunday afternoon, just
as you were dying. Now,Mad cit that Madrosita, the old lady
(37:31):
of Hope. Please watch over myhusband Juan, Honey, if you see
fit, dear lady, please inhis heart, he wish to retire from
the bull ring. And one thingmore, my Carina, And this is
what I really came to see youabout. I I don't want to hurt
(37:52):
one, but I've got to dosomething. I can't go on living nineties.
Dear my help me, please helpme, tell me what to do?
Bow our station I gentification. Thisis the Columbia Broadcasting System. After
(38:40):
a brief intermission, mister de Millpresents Tyrone, Power and Annabella in Act
three of Blood and Sand. Well, it's getting on toward the end of
October. Moving day is just anunpleasant memory. The curtains are up in
the new home, and books areback on the shelves, And all over
America there are women settling into thenew life of a new community. Some
(39:01):
and I wonder how many find itdisappointing and difficult, wondering why people just
don't seem to be as friendly asthey might be. Well, it's natural,
perhaps to put the blame on others, But how often are these unfriendly
neighbors thinking things like this? Toobad about that nice little woman who's moved
in next door. She seems soattractive too, I'd like to be more
(39:22):
friendly. But really, well,it's her own fault. But then I
don't suppose she realizes what's wrong.That's the unfortunate part of it. Selling.
We just don't realize when we ourselvesoffended. That's why it's so foolish
should take any chances with something asimportant as daintiness. You see, the
things we wear under things particularly absorbperspiration unless we take care to lucks under
(39:45):
things after every wearing dresses, blouses, and sweaters often, well, how
can anyone be sure of freshness?Yes, that daily luck's care is a
thing no wise girl neglects. It'seasy because new quick lucks is so fast.
It's safe. Care for pretty washablesbecause lux flakes are so gentle,
(40:05):
have no harmful alkali to fade colorsor injure fabrics. It's thrifty too,
because a little lux goes so far, gives you so many rich SuDS from
just a few flakes, and itscare experts advise more makers of fine washables
advise lux flakes than advise all othersoaps put together. So to keep washables
(40:27):
new looking longer, to guard daintinesstoo, stick to America's favorite care for
nice things, new quick lux flakes. Now, mister de Mill returns to
the microphone. Curtain rises on thethird act of Blood and Sand. The
(40:51):
star of Juan Guariado is waning fast, and the great Terrero who made the
church bells ring is pointed at withscorn and laughter, desperation calm, and
has come to plead with a womandown your soul. They stand facing each
other quietly. Don your soul issmiling. You be seated, Senora Ayado.
(41:12):
Is there anything I can offer you? Yes? My husband, Oh,
please believe me. I came herewithout anger. I'm not here to
judge. I can understand your beinginterested in my husband. He's the first
man in Spain, and naturally oldwomen run after him. Naturally I understand
he's interest in you too, especiallynow when I look at you and see
(41:36):
how beautiful you are. Thank you. Perhaps it's my fault. Perhaps if
I were more beautiful more educated thanof a better family. I know of
your family. Your father works formy uncle. I believe on the rest.
Yes, all my life I've heardabout you. What have you heard?
Shall I be friends? Please?I've heard you've been all over the
(41:59):
world, that you speak many languages, unknown, many men. I've had
only one man. Maybe that's whyI want so much to keep him.
Tell me have you discussed this matterwith one? No? Why not?
It would hurt him? Just aminute, please, Ah, Dora,
(42:20):
yes, come here? Run whenI called you here, run? I
always run when you call yep,Carne. Well, why don't you say
something, Senora? I feel sorryfor her. Why did you have to
(42:45):
do that? Why can a battle? Garabato is not here? But you
have your breakfast now, my son. H Good morning, little mother,
(43:07):
Good afternoon, my son. Where'sGarabado? He's gone gone. You let
him go last night, don't youremember? Oh? Yes, we had
an argument something he did. Whatwas it? He asked for his wages.
You haven't paid him in months,and he had an offer for Manolo,
Manolo, the great Matador. Manoloa member of my quadrilla. No
more, my son, Pablo isthe only one left. I picked Garabao
(43:30):
out of the gutter when he wasa beggar and nobody else would have him.
And now he's gone. Why wasn'the paid? Why didn't Antonio attend?
I don't know. The only peoplewho come to the house these days
are tradesman with unpaid bills. Idon't understand it. The more money I
make, the less I seem tohave it. It melts away before I
ever see it. Yes, youcan't build on sand, my son,
(43:52):
Mondricita? Is there any word fromCarmen? She is still at the ranch.
I saw her last week? Yousaw Why didn't you tell me?
Is she is she well? Mother? Seat, She's as well as she
could be. Why did you lether go? On? Why didn't you
make her stay? She had aright to leave, and she left.
That's all there is to it.Did you want her to leave? No?
(44:14):
Do you still love her? Oh? Yes? And the other one
that's quite another thing. One listening, listen my son it Why don't you
leave me alone instead of interfering andcriticizing me, let me alone? Yes,
my son, mother, forgive me? Mother for now? The best
(44:43):
table for Senor Gayado, the bestI have and you so what would you
like Champagne, Champagne, see Champagnea nice place. I'm glad we came.
Is this where the bullfighters come upto the brain? It's very one.
What are you staring at me for? I'm trying to figure out what
sort of a woman you are?Yeah, the trouble is you're not one
(45:05):
woman, but many and never thesame. Will one changes? You know?
Yes? Why didn't you come tosee me in the ring last Sunday?
I had a headache, A headache? Yes? Is that so strange?
No? I remember another time,a headache. The night I came
to your house, there was CaptainMartinez, then au Vinier. Good evening,
(45:30):
Good evening, Manolo, May Isit down. We'll let me introduce
myself in your arm, Manola thePalmer. I shall let the pleasures soon
bring in the ring INSI here atnice. I shall look forward to it.
I understand one will be in thesame corrida. Yes, it'll be
the first time we've appeared together.You'll have a chance to compare our styles,
the work altogether differently. I've beenwell, thank you, and your
(45:52):
mother she's well too, and youlittle worry by hear she's going off to
the ranch. With her fat.It's no concern of yours. It out
that's hard. Did the way totreat an old friend, Senora? Would
you like the band? Yes,yes, I'd love to. We came
here to talk down your soul,and I prefer to dance with man.
(46:15):
Comes Champagne, Senor and Senora Champagne, Champagne, Yoga, yado. Let
(46:42):
me alone. There's plenty of time. We should be leaving for the ring
right now here. You'll need someperfume, you fool. Don't doubse me
with that stinking stuff. I onlydid it to kill the smell of rum
on your broain. I'll thank youto mind your own business. I know
what you're up to. Pablo.If you're looking for an excuse to quit
me, just say so. I'mnot going to quit you, one of
you. But it isn't right.Just the same to fill yourself with rum
on the day of a fight.All it it steadies my nerves. You
(47:05):
will need steady nerves to day.I've seen the bulls. We've drawn a
bad one. It's not the bulls, it's the crowd. They're waiting for
me with claws. The crowd isforgetful. One of you like a woman,
and fickle like a woman, andcruel like a woman. Got your
mouth. But this time you can'tblame the crowd. You're not giving them
anything. I've had bad luck.The bulls have been much bigger. They
(47:25):
only seem bigger because when you facethem, you're afraid. You were born
to very little, like the restof us. But one thing you had
that was real and pure. Youwere a born killer of bulls. But
she took that away from you.Now, when you face the bull with
the sword, you're drained, You'reempty. There's nothing left of you but
fear. Be quiet. You've gota gun, haven't you. Why don't
(47:46):
you bring it to the ring withyou and kill the beast with a bullet.
He quiet? Now get out,Get out, yes, one you,
and don't come back to you here. Don't come back, stay out
of my sight. One Neil afraid. I'm not afraid. I fear nothing.
The bull hasn't been born. Whocan harm me? For Neil?
(48:07):
You had better rest. What whatare you doing? Get up? I
am cleaning the floor, one Neil. It is well to keep in practice.
Get up, Get up. Supposesomebody should see you. There's nobody
left in this house to see me. But you I don't like you to
be on your knees like that.There's nothing wrong with being on my knees.
(48:28):
That's how I pray, that's howI work. This house was clean
when we moved into it. Letit be clean when we move out.
What's all this talk about moving out? One When you were little, you
would not listen to me. Whenyou listen to me now, well,
what do you want? I wantyou to leave the bull ring. Leave
(48:49):
the bull ring when I'm at thetop. I've been through all this before.
When you reach the top, youbegin to slip. There's only one
way you can possibly go, andthat's down. Oh mother? Is si
that you talk like all the rest? Just because I've had a few poor
afternoons, a little bad luck,you think I'm through. But you're wrong,
and so are they all. I'mjust as good as I ever was,
and better because I know more.Wi you. What's wrong with your
(49:13):
hand? My hand? You're shakingmy son? It's nothing. It's always
like this on me on the morningof an afternoon wheel. Are you ready?
(49:40):
Whew? I am ready, Pablo. Thank you for being here,
and forgive me for what I saidto you would I let you go into
the ring alone. Have you prayed, one of you? Yes? For
many things come. Then they arewaiting, Wan Carmen, what are you
(50:00):
doing here? I'm always here wheneveryou fight. You mean, all these
weeks since you left me, Inever left you, Jue. I've only
been waiting for you, waiting forthe sickness to pass. Only a minute
ago, I was praying to seeyou. I believe in miracles. Now
(50:21):
I love you, Juan, Ialways will. Garman seated, I'm so
glad you are wearing your white shueto day. It's a one I like
the best. You look so nicein me, so oh one Wanni.
It was a sickness and it haspassed. And when I feel you in
my arms like this, I'm bornagain. I'm strong now I can do
(50:45):
anything. You'll see, They'll seeout there, everybody. I'll show them,
Huanne you. I'll wait for youhere. There is a seat for
you in the arena. No,I will stay here, Garabato, I
(51:05):
said I would wait for him.He's in the ring now. You can
see him from here, Saniora.He is making history this afternoon, my
arena, Oh lady of who wonhe is making history this afternoon. Back
to him, please lean back tohim. He kneels before the pool.
(51:34):
He kneels. I tell you heis arrogance itself. Way for the novel.
These everything I have, dear lady, He's my life now. He
turns us back. He turns usback on the pool. One heel,
be careful, one eel the cowl. What did it? He turns us
(52:01):
back. He turns his back.Oh that you be the momentary code and
(52:23):
indulge a TV dominus quit cret amen, thank you padre. The doctor will
be here in a moment, myson tell him I needn't hurry. Who
need you? Oh Carmen City,I wish you could have seen me out
there. I really wasn't bad.I heard the chih this is nothing.
(52:52):
I'll be up on my feet beforeyou know it. Yes, one of
you and in common, I'm goingto leave the ring. There will be
money to take care of my mother, but enough left over for us to
buy a farm, just a littlepatch somewhere in the country. And you
(53:16):
you can teach me how to readand write. And oh what mean you,
dear? Does it help very much? H hurts one guyard though huh.
The bull isn't born that can't wantme a common seed. You're the
(53:37):
only true one in the world,Padre, alright, child, you must
be braved for as he was.You must ask our Lord of great power
to give you courage. No,Padre, I don't need courage. I
have his. I'll always in themoments our stars will return for their curtain
(54:15):
calls. Meantime, let's listen.In a minute and a house around the
corner, Jane is showing her sistersome stockings she bought to day. Whew.
Buying stocking certainly puts a hole inthe budget nowadays. These will have
to last me a long long timethat a knock on wood hadn't you,
Jane, Well, i'll do thattoo, But somehow I think Luxingham every
(54:36):
night, I'll do more good.Yes, with lovely stockings, more precious
than ever. It's more important thanever to get better wear from every pair.
And Jane has the right idea.Don't trust to luck, trust to
lux you see, it's not justluck that helps some girls get better where
from their stockings than others do.Barring accidents. Of course, the war
you get depends upon the care yougive them, and new quake. LuxI
(54:59):
is care experts advise over ninety percentof the makers of all kinds of stockings
rayon cotton wool as well as silkand nylon. Over ninety percent advise Luck's
Flakes. There's no harmful alkali inlucks and of course no cake soap rubbing
to weaken delicate fibers. Naturally lovelystockings don't go into holes or run so
(55:20):
quickly. They'll wear better, looknew and lovely longer. Be sure to
lux them after every wearing so perspirationdoesn't remain in the threads to injure them.
Get a big box of Lucks Flakesfirst thing tomorrow morning and give all
your stockings this quick, thrifty,safe care new quick Lucks comes in the
same familiar package, costs you nomore, and one big box will do
(55:44):
your stockings every night for months.Now is mister de mill with our stars.
The thicker doors and the matta doorshave been left behind in some Spanish
arena. Now we welcome back tothis microphone Tyron Power and his charming wife
and co star Annabella. Thank you, sir, It's always a pleasure to
come back to the luxe theater you'vebeen You've both been away too long,
(56:07):
Annabella. Before we forget about bullfightingentirely, tyrone, perhaps the audience would
appreciate a few definitions. Most Americansare confused by the bandrieros, picadores and
matadors, for instance, which onecorresponds to the quarterback. Well, I
guess you could say that the bandorerierosand piccadores run intoference for the matador,
(56:30):
so the bull will be good andmad when the matador comes out. Incidentally,
no good bullfighter has ever called atariodor in Spain. That's a French
word popularized by the opera Commons.However, I'm sure Americans will continue to
prefer Joe Louis, football, icehockey, water polo, and other polier
forms of mayhem. What's the playgoing to be here next week, mister
demal next week, Annabella youth isking because our play is the twentieth century
(56:55):
Fox picture Her First Bowl, andour stars are Jane Withers and Jackie Cooper.
You'll admit, I'm sure that herfirst bow is a dramatic moment in
the life of any girl. Soif you'd like to live over again a
few years of your own youth.Listen to Jane Withers and Jackie Cooper and
(57:15):
her First Bowl with Edith Fellows nextMonday night. I know that's a play
everyone will enjoy. CB good Night, good night, mister Demil, good
night, good night, and threelosing digs for each of you. Our
sponsors, the makers of Lux Flakes, join me in inviting you to be
(57:37):
with us again next Monday night,when the Lux Radio Theater presents Jane Withers
and Jackie Cooper with Edith Fellows inher first Bowl. Is the CSSILB de
Mel saying good night to you fromHollywood. Please put a big circle around
(58:00):
Wednesday on your calendar. That's toremind you to be sure to listen to
radio's fast moving, gripping program Bigtown, featuring that dynamic star of stage screen
in radio, Edward G. Robinsonwith Ona Munson. You'll be thrilled by
mister Robinson's stirring performance. Is SteveWilson, editor of The Illustrated Press,
in this exciting story of one man'sfight for justice and humanity in the great
(58:22):
American tradition. So I recommend thatyou listen next Wednesday evening to Bigtown.
See your local paper for time andstation. Ladies and gentlemen, every school
child in this land knows that libertybelongs to him, to his country.
You can help to keep the torchburning by enlisting your dollars for defense.
(58:44):
Buy United States defense bonds and stamps. Any Post Office bank or savings and
Loan association will help you buy andkeep on buying defense bonds and stamps.
Tyrone Power appeared tonight through the courtesyof twentieth Century Fox to Dow Videos and
will soon be seen on the screenin a yank in the raf Heard in
(59:05):
tonight's play were Kathleen Fitz as Douniasaw B Benderit as Juan's mother, Gail
Gordon as Pablo, Jeff Correus Garabato, Lou Merril as couro, A,
Annstone, Eric Rolf, Paul Dubov, Howard Mcner, Bruce Payne, Elsa
Brand, Nick Toms, Leicester Sharp, and Walter Tetley. Our music was
directed by Lois Silvers. Next Mondayevening, the Lux Radio Theater presents Jane
(59:28):
Withers and Jackie Cooper in her firstbowl with Edith Fellows. Your announcer has
been Melville Rowick and this is theColumbia Broadcasting System.
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