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 Charles Boye, Paulette Goddard,
(00:22):
and Susan Hayward in Hold Back theDawn, Ladies and gentlemen, your
producer, mister Cecil B. DeMille, greetings from Hollywood, Ladies and
gentlemen. There's glamour in the airtonight. Our stage is ablaze with it,
(00:43):
and out beyond our footlights as faras radio can reach, a hushed
audience waits to hear Charles Boye,Paulette Goddard, and Susan Hayward in the
Lux Radio Theater. Somehow this seemsto be a symbol of a way of
life that has turned the eyes ofthe world to this promised land. Only
a few hours from here, alongthe common boundary of this country and its
(01:07):
sister of Public Mexico, is acolony of people without a country, men
and women from the four corners ofthe Earth, waiting their turns to cross
the border into the United States.There you can find more stories of success
and failure, of tragedy, andcomedy of love and hate than fiction can
tell in a lifetime, and theirparamount found the subject for the current screen
(01:30):
success Hold Back the Dawn. You'llhear it tonight with two of its original
stars, Charles Boyer and Paulette Goddard, and with them the gifted and charming
Susan Hayward. In the theater,it's an old custom for the producer to
peek out front and count the house. But I couldn't do that in the
Luxur Radio Theater, even if myeyes were as sharp as my granddaughter's.
(01:53):
But I have an idea that toNight's plays and stars have drawn a full
house all the way from Hollywood toBroadway, and as one showman to another,
I'll congratulate lux Toilet Soap for makingan evening like this possible. And
just for the record, if youhaven't tried our product yet, that's something
you owe to yourself, not tous. Luck's Toilet Soap is its own
(02:16):
best salesman, and after it solditself to you on its own merits,
then just think of the lux RadioTheater as an extra dividend that you get
every Monday night. And now it'sdividend time. So we raised the curtain
on the first act of Hold Backthe Dawn, starring Charles Boye as George
Paulette Godded as Anita and Susan Haywardas Emmy. Perhaps the best way to
(02:53):
begin our story is to tell youhow it came to be made as a
motion picture. One day, abouta year ago, a visitor walked into
the Paramount Studio here in Hollywood.He had no visitors passed, but he
managed to attach himself to a groupof sightseers who are touring the lot.
The man wanted very badly to speakto a certain director who, for the
(03:14):
purposes of our story, we'll sayword myself. I was shooting that day
on stage four, and some timeduring the morning I became conscious of this
man standing quietly at my side.He was still there when we broke for
lunch. All right, cut rentthe last two break for lunch, back
(03:36):
and one hour? What now,everybody? What a darth? They leave
my script? I want to lookit over. It's right here. I
beg your pardon. May I speakto you? Un wat that if he
can have just a minute. I'mvery pressed for time. Well, what
what is it we meet your niece? Remember at the pilky Oh? Yes,
yes, hello. I hate topresume the chance meeting, but I
(03:57):
need five hundred dollars you need?What five hundred dollars? I must have
it. This is not charity.For that money. I have something to
sell. Well, what is it? A story? Oh? I see,
Well in the front office, we'vegot a story department, and we've
also got a lot of story.No, you haven't got this one.
Listen please, I'm not a writer. I assure you I would not tell
you this story if I didn't needthe money. All right, all right,
(04:19):
but some other time. No,it must be now before the federal
police take me federal parlais? Whatdo I want you for? Well,
that that's part of the story.Please, I have so little time.
Well, all right, let's hearit, said Anne. No, thank
you. Of course I cannot usethe real name of the others. You
will understand that my own name isGeorgie Kovsco. I was born in Romania,
(04:44):
but I have spent most of mylife in Paris and Riviera, in
Saint Meurtz. My papers give myoccupation as dancer, which is correct in
a general way. Oh, itwas an easy life if you had a
deep voice and knew how to lookat a woman. But the war came.
People who had money made for America. But you need a visit to
go to America. Unfortunately, andfor certain reasons, it was wiser for
(05:08):
me to try to get in morediscreetly. So I went to Mexico,
to a little town that straddles theborder to California. There is a wife
fence there, or you can seeright through it into the United States.
Yes, the wire fence. Now, let them tell you it's only twelve
feet high. It's a thousand mileshigh. Some people try to climate,
(05:28):
it's no use. They catch youwhen you get on you other side.
The men's street is called the Chairs. There was an American consulate, of
course, where you could apply fora busy. It was the first place
I went set down. I seeI from your questionnaire. If you wish
to enter the United States permanently,yes, sir, that will require a
quarter number. You know what aquarter is. No. Every year,
(05:50):
the United States permits the entrance ofabout one hundred and fifty thousand emigrants.
That number is proportioned among the variousEuropean countries. You were born in Bucarest,
so you come under the Remainian quarter. Yes, sir. The Romanian
quarter is very small and very crowded. Oh that means I'll have to wait
how long? From five to eightyears, five to eight years, five
(06:19):
to eight years, like a prisonsentence. The local hotel was called the
Esperanza. Great was a dollar aday, but you'd better take you home
by the year if you could getone. They were all taken, crammed
with people waiting, waiting, andso I began my sentence. I was
still there five months later. Onthe fourth of July, there were a
(06:41):
good many American cars on the Cayotesthat they all celebrating with firecrackers. I
noticed a car by the curb filledwith young boys. It had his signed
painted on it, school Bus,Azusa, California. When I reached the
car, one of them leaned outand fire kaker at my feet that I
(07:03):
said, who did that? Youmean it was I. I'm not very
proud of you, Tony. Apologizeto the gentleman. Thank you very much,
madam. But it is not necessary. No, no, please don't
go. The boy must apologize.It's a matter of discipline. You see
your form of humor I don't appreciate. Well. You know what American boys
are like all year long? Theystir up mischief, for the fourth of
July. I see, well,I think it would be preferable if they
(07:26):
let off their high spirits in Americaunder the feet of Americans. Now,
don't let's get into international complications.See there's a fence back there. You
Americans make a very definite point ofit. I gather you don't like us
very much, very little. Oh, I see. Shall I apologize now,
miss Brown? Don't you dare tocome on? Children? Yeah?
(07:51):
So I turned from the street andwent into the Catholic Climax. It fifth
a little bar where I spent mydays and nights. It was there that
I met Anita. Oh. Ihadn't seen her for years. She came
up behind me as I sat thereand spoke over my shoulder. And now
we present the darn sensation of theRiviera. Ghora, stop staring, George,
(08:15):
it's me all right, Yes,it must be. I saw the
back of your head. It's differentthan the back of any other head.
What do you mean did you hearit? Idiot? That I am.
The sight of you was still liketouching our high attention wire. After all
these years, after that last goodbyeof our yes casino at Cannes, and
I bub goodbye. If I rememberArry you slap my face twice, I
(08:37):
can still feel it. You behavelike your fool, Anita. We had
a good run of rock. Youhad that rich baron, the one with
a glass eye. I had MissusSweeney can soup. Sweeney, there were
prettinum scre had cases in that soup. You had to step in and spoil
everything. I simply said, listen, missus rich soup. Just because you've
got money, and well, maybeit wasn't the right way to talk to
(08:58):
a custom. It's good to seeyou, just the same. What are
you doing here, Anita? Downfor the day from Los Angeles with some
people, those drunks at that table. It's not the same, Anita.
George, it's not the same,George. You do look a little afraid.
You're living here waiting to get acourse Hotel Esperanza. I served a
little time there. Oh that's itit you're a stadium vaguely? How long
(09:22):
for you a quitta? Whatever itwas? I didn't wait that long.
How did you get in meet missusshaughnessy? George? I married an American?
And what and simple? If you'remarried to an American, you had
preference your papers, go to Washington, and then four weeks everything is settled.
You mean you become an American citizenin four weeks. No, but
they let you into the country threeyears before you become a citizen. An
(09:46):
where are you an Who's that yourhusband? No? Shaughnessy was a jockey
from Caliente five for three. Onceover the border, I went to a
judge, I said, a womanwants a man, not a radiator.
Cap divorce grant all very smart.I haven't been very smart since. Sure,
I'm on the bargain counter now,Anida, where are you? You
(10:07):
better go? Let him? Wait. Sure, all these years, with
all the others, I've shut myeyes and thought of you. I want
to keep them open once again.You better go. What goes on?
It's all right, my great bigball, come along, guys, bothering,
come on my torrero. Come on, I said there, thinking over
(10:33):
what Anita had said. You justmarry an American, as easy as that.
Get hold of a wedding ring andyou could swing right over the fence.
Just get a shaved, get intoa good suit of cloth. Why
not? My intentions were entirely honorable. I've jet atremony I met many women
(10:54):
that day, American women. Butall they wanted was a few hours of
fun and you go serious. Theyfluttered away. So it was the press
that evening. But on my wayback to the hotel, I saw the
school boys, you know, theone from Mezuza, California. It was
stuck in the middle of the road. Oh yeah, now, children,
please go and sit down over there, you mechanic. Can't you give me
(11:18):
any idea how long it will taketo fix my car? I still must
have dryer, genera door soon soon. You said it would be done by
three o'clock. The motor was flooded. We have to dry all right,
but please hurry. Good evening,Oh, good evening. Still with us?
Yes, I know you don't likeus, but I promise we'll get
back over that border as soon aswe can. Oh nah, no,
please, I feel very badly foryou. How do you think I feel
(11:39):
sitting all day here in front ofthis awful filling station. Children are as
cross as two sticks. Are anyof them your children? No, I'm
a school teacher and I'm responsible forthem. Oh, there'll be in a
perfect tizzy about us back home.You will, of course, their parents
and maybe your husband I haven't anyhusband at home. But if we're not
back by nine o'clock, mister McAdams, the principal will think we're dead in
(12:01):
a dip well while you're waiting forthe car. Why not telephone and telling
you all right? They said therewas no telephone. Oh yes there is
one of the hotels. Oh yes, across the street. May I show
you? Will you? Thank you? Mistersco My name is miss brown This
way, Miss Brown. So wewent across to my hotel, Miss Brownie
(12:22):
and I. But before I left, before I left the car, I
managed to get rid of one ofthe parts the mechanic had laid out on
the street. I pushed it intoa train. So when we came into
the lobby I was afraid for amoment that the clock behind the desk would
ask me about my bills and yourrisk of MALGI tell me to ask you
bo No, no, not justnow. Flow is we want to telephone?
(12:43):
What is the number, Miss brown? A zuo'sa California three or nine
nine one? That's not cheap longdistance? Flow is, Please go in
the booth and ask for the number, say three zero nine nine one,
Azusa. That firecracker, this morning. Maybe I should be grateful to your
pupil. Now, why perhaps Iwould never have seen you? Oh cigarette,
(13:05):
no, thank you. The schoolboard doesn't approve and well, to
tell you the truth, I don'tlike them much, Miss Brown. May
I may I ask you something?What would you take off your hat?
Please? My head? Yes,your hat? I want to see you
without it. That's an odd request. Doesn't the school board a pool?
(13:26):
I don't think there are any regulationsabout it there. Well, that's amazing.
Your name is not Margot, No, it's Emmy. She had the
same hair, only it was alwaysmassed by the wind that winter in some
of it. Who you talking about? You thought there was bitter miss Brown
(13:48):
when you first spoke to me onthe street. It was because I saw
another woman in your face, Margot, No, of course those are not
her eyes. Ears were bad eyesthat seemed to be saying beautiful things,
and every word they spoke a lie. I knew it, and I loved
her. I had to come hereto the end of the earth to know
(14:09):
that I really hated her, thatI had always hated her. Oh I'm
sorry, No, just look atme, miss Brown. Keep looking at
me. Oh, it's like likea sudden breeze on his stifling day.
Who's a three zero nine nine oneis on the telephone? Oh, thank
you? Hello? Who is it? Oh? Oh yes, miss McAdams.
(14:37):
Yes, I called to say wehad an accident. Don't get excited.
It wasn't really an accident. Yes, we'll be back as soon as
we can, mister McAdams. Yes, mister McAdams. Oh yes, I'll
look out for drunken drivers. MisterMcAdams. Goodbye. Is the everything settled?
Yes? I do appreciate it takingso much trouble, Thank you very
(15:01):
much, not at all. Thecar must be ready by now. Uh.
Oh I want to pay for thatcall? No, no, please,
miss Bond. I am in yourdebate, but there is no way
I can pay you for the lovelinessof these few minutes. I thank you,
is b May I kiss your hand? You're the strangest man, perhaps
the loneliest man. Oh, whyI assure you a little flee Tony.
(15:28):
What's the meaning of it? Hekeeps me in the leg? Toney,
Why did you do such a thingbecause he twisted my arm? Why did
you twist his arm because he stolethe I did not, and I didn't
touch. What is this about?A catch? The got generator on our
car? See it was there?I write? Is it important? She
won her own without? Oh?Children, this is serious. Did any
of you take it? See tomorrowmorning. But that's impossible. Of course
(15:56):
it's impossible. Perhaps we could findanother car, thank you, But I
couldn't leave the busy hind at schoolproperty? All right, miss Brown?
Floish see we're having guests tonight?Who's having guests? No? I mean
we can't say all night as youcan? Oh that one need a room
next to yours? Yah, it'sgone. I rendered it this afternoon,
or I will find something else.I will not let the children out of
my sight, not for a singlesecond. Of course you want, you
(16:18):
and the children can all sleep herein the lobby. They enough couches and
armchairs. Florist get blankets and pillows. Don't who is going to pay for
all these flowers? Please see seesee come in it's Yoursnita? What are
(16:41):
you doing in my room? Thedoors unlocked? I just dropped in bar
a cup of sugar. I thoughtyou were with some people. Oh I
walked out on him? Was thatvery wise? Who cares? I've taken
the room next door. What doyou want, Anita, I've been thinking
about you all day, the whereyou always held me away from you when
we danced those eyes of yours,you cold self issue. Didn't you ever
(17:07):
love anybody in your life? Iwant you to go darling, Geors Please,
this is the wrong time, Anita. George. If we were in
the States together, we're a team. There's still good seasons in New York
and Florida. Or I'll get youacross the border somehow. I know lawyer,
maybe he can fix it. Idon't need a lawyer now, I'll
scrape together some money, Shaws.I'll give you anything anything you want,
anything, anything, anything, George. Well, I'll take this. What
(17:32):
is saying on your finger? Whatdo you want that for? Well?
Hey, can you use a weddingring? Thank you? Nita and Missus
Brown had a hard time going tosleep that night. Her heart was beating
fast, and her neat tidy sentenceswere all thrown out of gear. She
finally kind of half sleep at last. Then about five o'clock in the morning,
(17:55):
she stared, Oh, I know, because I was sitting beside her.
When she opened her eyes, Oh, you'll wake the children. What
are you doing here. You haveno right to be here, of course.
I've no right nor right to sitwatching your face learning it like a
poem, nor right to tell youthat that I love you very much.
You must go away right now,please. You needn't be afraid, miss
(18:17):
Brown. You see, we're liketwo trains halted for a moment at the
same station, but we are goingin different directions. We can't change our
course anymore than we can hold backthe dawn. See it's going light already.
Soon the children there will be wakingup, the shops will open,
and you will be gone forever.It is getting light, isn't it.
(18:41):
You'd better go. You needn't beafraid, miss Burne, not of a
dead man. I am dead,you see. I've asked myself thousands of
times why they shouldn't bury me.Perhaps I know now. Perhaps perhaps it
was to see the sun rise oncemore, to hear enchantment in a woman's
voice, to fear nearness. Thewarp lips. No, No, of
course, no, you needn't beafraid. It's like a classroom here,
(19:04):
isn't it. The pupils and theirteacher, rules of departments, schedules and
discipline. You are very conscientious,Miss Brown. No infringement of the regulations
for you. No rebellions, noviolent desires. Oh, if you found
one in your soul of a littlemind, you would tell it to go
stand in the corner, won't you, Miss Brown. I don't know,
(19:26):
not for your sudden flush that lightsup your whole life one split second to
start it happiness before it stark again. Please let me go. Oh,
it's not this case I want.It is all your cases, It's all
your life. Look at your hand, Miss Brown, your left hand,
why why it is? Yes,it's a wedding ring. Miss Brown.
(19:48):
I put it on your hand asyou slept. It was my mother's.
You see. You see how wildthe dream can be. But you are
wise and saying and cool. No, please, you needn't be afraid.
Good bye, Miss Brown. Nowait, listen, yes, I I
(20:12):
want to tell you. Tell mewhat about your being lonesome? Other people
are lonesome, so lonesome they almostgive up waiting. Mister mc adams always
said I was crazy, but Iknew all the time, deep down in
my heart, that some day,somebody somewhere, even though a zusa was
(20:33):
at the end of the world,I knew you'd come. I knew you'd
come. I knew, And sothe chap was set. Who were married
that morning? She never had achance, little miss Brown in just a
(21:10):
moment, Mister de Mille and ourstars Charles Boye, paul Ed Goddard and
Susan Hayward. We'll bring us backtoo. I'll hold back the dawn.
And now while we're waiting, let'sdo a little imaginary wire tapping. Missus
Martin is telephoning her groceries and adozen oranges, two bunches of carrots,
and then I want some soap.Yes, of course, luck soap,
(21:32):
three cakes. Will you send myorder over right away? Please? I'm
going out on that. Well,it sounds as if Missus Martin is a
busy young housewife, and you'll noticethat she's pretty clever too. She's just
as particular about the soap that touchesher precious complexion as she hears about ordering
the right kind of food for herfamily. She's one of the many young
(21:53):
women who have taken Hollywood's tip onbeauty care. Literally millions have found that
nine out of ten screen stars areright when they say that lux toilet soap
is a wonderful aid in keeping skinsmooth, lovely to look at, soft
to touch. That's why these womengive their complexions screen star care with daily
(22:14):
active leather facials. It's such aneasy, simple care. Here's all you
do. You just pat Lux soapsrich active lather lightly into your skin.
This lather is so so creamy,it feels as if you were actually smoothing
beauty in Next, you rinse withwarm water, then a dash of cool
(22:36):
with a towel, pat your facedry. This beauty facial has removed stale
cosmetics, every trace of dust anddirt thoroughly, and it leaves your skin
looking flower fresh, feeling wonderfully softand smooth. Believe me, these daily
active leather facials really work. Youwant the charm of a lovely complexion,
(22:59):
the kind kind of skin that windsromance and holds it. Why don't you
take Hollywood's tip try active leather facialsregularly for thirty days. This beauty care
of the stars can help you tonew appealing loveliness. Remember tomorrow Lux toilet
soap, and here's a thrift tip. Buy Luck's toilet soap the economical three
(23:22):
cakes at a time way, Misterde Mill continues with that too of Hold
Back the Dawn, starring Charles Boyeras George Pouled Goddard as Anita and Susan
Hayward as Emmy, with Edgar Barrieras Hammock. There was something compelling about
(23:52):
that man's story, something that drewme far away from the deserted sound stage
and carried me to his world belowthe Mexican border. I listened to him,
and I watched his eyes. Theywere desperate and treating, at the
times full of contempt for himself.We had to get the Mexican jurdge out
of bed to marry us. Thelicense was six dollars, but it seemed
(24:15):
to sound investment. The ceremony wasbrief, the office drab and soldid,
but to Emmy Brown, being therewas like standing at an altar in a
cathedral. The town was just waking. When we walked back to the hotel.
She clung to my arm like achild, her eyes shining with heaviness.
(24:36):
And I always expected to be marriedin the Margaret Martin Memorial Church in
Azusa. You did. I neverdreamed of anything so beautiful and exciting as
this, Oh might there'll be surprisedback home, missus George escovesco or is
a fiscal scabsco. I don't evenknow what you are rich men for man,
beggar man. Oh you at thethought of the family when we arrived
(24:57):
in the school bus, you andthe children and I. Unfortunately I won't
be able to go with you eightaway, my dear you. No,
you won't, No, not foranother four weeks or so. Why not
you? Why you see, I'ma foreigner. I have to wait for
my visit four weeks. You meanyou'll stay here and I can't you come
(25:19):
down? How can I? Weall tied up with summer classes. I'm
terribly busy. Well it's only fourweeks. Well maybe it's better I'll have
a chance to break it to themgently. Sure, I'll write to you
every day. I'll be waiting foryour letters every day, and you won't
be so lonesome. Now promise,Oh, I promise I won't either.
(25:41):
I'll have this your wedding ring,George. Take it a minute ring,
but please now now, will youput it on my finger and say the
words the words for richer, forpoorer, for better, for worse.
With this ring, I thee wedfor Richard for poor for better for worse?
(26:03):
With this younger v wed till deathdo us part? Death was part?
George, I'll never take it off. Never. Department of Immigration.
(26:26):
Oh god, this is priceless.Where are you at h these letters she
writes to you? She really mustbe something. Did she send her birth
certificate? Yes? Right here,and here's the blank paper she signed for
the petition. Don't forget to sendher birth certificate Emily Agnes Cecilia Brown and
so young. Well, her letterscertainly show it. How did you like
(26:48):
the paragraph about her eyes? Oh? Listen, there's one thing I didn't
tell you, beloved. You saidyou liked my eyes. Well you might
as well know, George, thatwhen I read a long time correct papers,
I have to wear my glasses.Listen to this part. Mother is
fixing up the scare room for us. The scrap of chins in this letter
is what she's going to have hercurtains. If you like it, well,
(27:11):
how would you like this stuff forcurtains? George? So reals f
dear? Yeah, my wife goesdear to me every day she leaves me
alone, doesn't she And write hera few letters, throwing a telephone call
and once across the border. We'llbe on our way to New York.
Uh huh, with a shot stoppinga zooser half an hour long enough to
(27:32):
tell her of a love that wastoo great to last, a mistake that
was too lovely not to have beenmade, that she was too good.
Don't you too long? Half Nowshe'll brush up like a drop of rain,
you swine Anya at a superstition,she said a letter to Washington needed
(27:56):
a drop of champagne for good luck. Or maybe she just likes champagne.
We went to the cafee downstairs andordered the cheap champagne. And it'll be
champagne all the way. Well,I hope it will be a better vintage.
It will be only the very rich. We'll get a crack at yours,
and Anita will be very expensive,I'm afraid. Or they can let
herself from their income. Text,you'll make a wonderful deduction and you allow
(28:18):
missus Shaughnessy. Oh hello, doyou remember me, missus Shaughnessy. Of
course, George, this is misterHammock, mister risk of Escuhi, how
do you doing. Mister Hammock isfrom Washington, from the Immigration Department.
Oh yes, and of a surpriseto see you down the side of the
fence, Missus Shaughnessy, a galthat could hardly wait to hug every stripe
(28:42):
and kiss every star or for theeight off. How long are you staying
this time, mister Hammock? Ontwo or three days, just making sure
the old gate is still here?How's your husband, Missus Shaughnessy. I
I don't know, mister Hammock.We're divorced since a year. No,
not really, you mean it's gonethat beautiful love match. I really loved
(29:03):
him then, Oh sure, sure, Only once he got you across the
border, you found you didn't likethe shape of his nose if you suggested,
Oh, I'm not saying anything,Missus Shaughnessy. You made the grade
in his inn. Only there's beenan awful epidemic of marrying up and down
the border. The department has anew theme song. Is it love or
is it immigration? Funny? Isn'tit? Well? I don't quite know
(29:26):
what's being talked about. Well,we won't bother you with it. Did
you see the bullfights, mister Hammock. That's why I came down the two
of you. You know I livehere. We were all friends in Europe,
Hungarian, Romanian. Yes, Chlis, I have a message for you.
Will you excuse me, mister Hammock. Oh sure, well missus yes,
place? What is it? Yourwife? She's no rum to hotel?
(29:48):
She said, for what? Yes, I's got you wor there for
me. See, tell him notto leave. I'll be there as soon
as I can. George, Well, I wasn't expecting you, I know.
Oh look, George, our weddingcake. I brought it all the
way from Azusa. Isn't it wonderful? Yes, you should have told me
you were coming out. I wantedto surprise you. Oh. Mister mc
(30:11):
adams was so nice. He's gottena substitute teacher from Riverside. He gave
me a week off and said Icould use the car. Isn't that lovely?
A honeymoon for a wedding present?Oh? And this, this,
this is from my mother to you. My father's watch the denders where I
cut my teeth on it. Here'syours, it's yours er, It's very
kind. And this is for youtoo. I mean for us to start
(30:33):
out with what is it? Fivehundred dollars? I saved it up for
a postgraduate course at Teachers College forhigh school work. I won't have time
to take a course now. Ohno, I don't want any money for
you, George. Please community property, it's the law in California. Please
take it very well, Thank you, George. Oh, it was just
like a madhouse at home. Nobodycould believe it. And the questions they
(30:56):
asked, and you ought to hearhow they pronounce our name whiskey whiskey and
it'sky bitsky. Did you see whatthe kids put on the back of the
school bus? No? What comehere to the window? See a sign?
Good luck mister and missus Zkavesco.Everybody laughed at me all the way
down here. You shouldn't have fuckin front of the hotel. Well it's
(31:17):
it's a it's against police regulations.You better give me the keys. I'll
move it into the la Ah right, joy, they're right here. I
won't belong any done here. Georgealmost died when I saw that sign.
I was just coming out of thecafe with hammer. Did how much she?
No? I got rid of him. What you doing down here?
(31:38):
Staying for a week? Nice weekto pick with hammock around. We'll have
to send her back before he startsasking questions. I can answer any questions.
Oh you can, For instance,why you didn't mention you were married
into an American? And all ofthat happened a little fast, didn't it.
And isn't it a little unusual fora bridegroom to sit in a bar
with Missus Shaughnessy, Missus Shaughnessy whoalso happened to have married an American Louise
(31:59):
herself? All the shut up?Where can I take it? Oh?
Any place? We get her awayfrom here? Take us south, keep
it there until a week's up.All right, all right? Yeah,
here is the letter for Washington.Made it for me, and here's some
money. Well, how come,never mind? Take it I of Floris
one hundred and eighty dollars, paymget the things out of pawn and anything
(32:19):
you need. Well, it's likeold times. Good luck, shaosh.
So I got emmy away from thehotel that afternoon. I thought I would
take her to Encinata, a matterof fifty miles. But in the night
and the storm, I must havetaken a wrong turn. It turned away
(32:42):
from the road that had been followingall my life. We drove all night,
and when the sun came up.We seemed to be approaching a little
village. There was a crowd ofpeople, all walking or riding in one
direction. An ox card was blockingthe road in front of us. It's
the matter, Yes, where arewe in back of an ox cart?
(33:06):
Aga parktunder traffic? This isn't Sunday? Where are they going? Step pit
on Saint's Day? They're having somekind of a celebrations. What saint is
it? Josh whoever is the saintof brides and bridegrooms? Brides and bridegroom?
(33:27):
Huh, they're being blessed in thevillage Jewish. That's the dearest thing
I ever heard. Yes, allthis time, not telling me where we
were going, your wonderful jeels.That afternoon we had our marriage blessed in
(33:47):
the little church in the village,Amy kneeling by my side, her eyes
glowing with delight. After the ceremony, we went outside in the garden.
There was a foolish ledge and aboutan olive tree there. If the married
couple shook it, however many olivesfell, they would have that many children.
(34:07):
There were three that fell as westood there. This one is Joshua,
after my father, and this oneis Helen, because that's what I
wish I was named. I hateEmmy and this one. What was your
father's name? George Gregor Gregor Escovesco. Then mother's so foolish, she thought
we should change our name to ingersollor at least ives. I said,
(34:29):
nonsense. This is America. It'sfor the Rockefellers and the Joneses, for
the mcgonagalls, and the Frankfurters andthe Jeffersons and the Slovinskis. You see,
you see, George, it's likea lake, clear and fresh.
It'll never get stagnant while new streamsare flowing in. Well, your people
are building pretty high dams to stopthose tags you used to keep out the
(34:51):
scum, don't you see? Georgeand Azusa. When they learned I'd married
a faarner, there was exactly oneperson who said something nasty about you,
Missus Beglow. She said, Isuppose he's just one of those foreigners coming
with empty hands to grab as muchfrom America as he can. Mister mc
annan put her in her place.He said, I suppose your great great
(35:13):
grandmother was pokerhunteress, Missus Beglow,Bunny Fanny She's really just jealous. You
see, her husband ran away aftershe'd been married only a week. Oh
you'll like a Zeus is yours?Yes, there are wonderful opportunities. It's
an up and coming little place,the fastest growing town between Los Angeles and
sand Berdu. People going and coming, building and making and selling. Why
(35:38):
do you think we call it aZeusa? Everything from A to E in
the USA. Well, I supposeI could sell quantities of brushes with this
accent of mine. Oh, Idon't worry about you except for one thing.
Yes, you smoke too much.Oh well, I will stop.
Thank you, George. She leanedtoward me then and kissed me in that
(36:06):
hot July afternoon. It was likelike kissing fresh snow. I could feel
her hand tremble on my shoulder.Of course, there was no hotel in
the village, but we had thecar, and we had planned to sleep
in the back. It was aclear night, stabbed with great stars.
She was having an American tune,perhaps so I wouldn't hear her heart beat.
(36:30):
Mine was beating too. I thoughtof the day I was to tell
her it was all over, theday I was to cast her overboard,
because she couldn't fit in with myplans. Wasn't that enough? I had
no right to involve her. Iwanted her to be still miss barn when
I left her. That's why Idid the trick about my shoulder. See
(36:50):
I was out of the car,putting the suitcasses in the back. Oh
josh, what is that I heard? I'm afraid of Oh josyr her.
Now let's just my shoulder. I'vedone it, doubt. Oh it's happened
before. Let's get your coat on. No no, don't touch it,
please, No, just a nervethat twisted over. We'll put a compress
on it. Oh no, no, no, I can't move it to
take off my coat. Now,let's let me sit here with my arm
(37:15):
up like this. Sure if wedrove someplace and found the doctor, not
over these roads. It's turting itselfout. Just good to sleep with you
and me. If it hurts toomuch, wake me up. Promise,
all right, I promise. Nowgo to sleep, Yes, dear,
(37:36):
Oh, I'm so sorry. I'mso sorry you three. Pause now for
station identification. This is the ColumbiaBroadcasting System. After a brief intermission,
(38:21):
mister de Mille and our stars CharlesBoyer, Paulette Goddard and Susan Hayward will
bring us Act three of Holdback theDawn. We want to take these few
moments to show you that romance alwaystags your girl with a lovely complexion.
Here are three examples. I ama fellow in high school and I have
a girl, and she is theone girl for me. Her skin is
(38:43):
so smooth that it dazzles your eyes. Honest, she's gorgeous to see.
I'm a young man with romance inmy heart, and I don't insist on
perfection, but the girl must haveone thing, not money, not brains,
a lovely, alluring complexion. I'vebeen married ten years, but it
seems like a day. I havesuch a beautiful wife. She's got a
complexion like peaches and cream. Inshort, she's the pride of my life.
(39:06):
See Ah, loveliness has a wonderfuleffect. Why every one? Well,
what I really want to say iseveryone falls for a beautiful complexion,
isn't it so? And here inHollywood, the owners of some of the
world's most famous complexions tell you ofan easy care that can help to keep
your skin at its very best,soft and lovely it's just this. Use
(39:30):
Lux toilet soap every night. Patthe creamy, active lyther into your skin.
You'll love the gentle caressing feel ofit. Rinse with warm water,
then a dash of cool and patdry with a soft towel. This mild,
pure soap you'll find leaves skin feelingsmooth and flower fresh. It's Hollywood's
(39:52):
favorite beauty care and yet it's actuallythrifty to use. Its tremendous popularity means
a low price for each fragrant whitecake. Try it, and the first
time you do, you'll see whyLux toilet Soap is the soap nine out
of ten screen stars like to usefor their lovely smooth complexions. From that
time on, Luck's toilet soap willbe the beauty soap for you. The
(40:17):
curtain rises as mister de Mill continueswith hold Back the Dawn. It was
a strange story, the man toldme, and I noticed that every once
in a while he would stop andglance quickly over his shoulder, as if
(40:38):
afraid of being interrupted, then reassuredhe would begin again. We traveled around
for almost a week in me andI Amy kept talking about United States,
about Old Dam and how brother hadgone to school with very famous men by
the name of Jodie Madge. Andthe word swell means that is exactly what
(41:02):
she was. Swell. At last, we returned to the border to the
hotel experience. Oh that was theshortest hundred miles. We couldn't drive around
the block, could we just once? You couldn't make a mistake and think
it is to mow that you're duebacking Azusa. No Tonight, July thirteenth,
Parent Teachers Meeting, Auditorium, eighto'clock. It sounds very dull.
(41:24):
Don't go, I have to Josh. Mister McAdams would be savy. We
better leave your suitcase in the garden. Get the rest. Come on,
George. You don't suppose that ifI went to the American authorities and talk
to them, they let you comewith me three more weeks and regulations.
I could ask them how they'd liketo be without their wives for three weeks.
I've seen their wives. They'd likeit very much. Good morning her,
(41:46):
Good morning flies. Let me discovera squeen home. Will you run
upstairs to me while your pick aleap them fill up the car? All
right, I'll only be a littlewhile This way, Senora George. Oh,
I thought you'd never come. I'vebeen dying here day after day,
looking down the street, watching forthat car of yours. Look at these
telegrams, news and time. Oh, no, good news to offers the
(42:07):
Casanova new York or the Savoy inChicago. Of course we're taking New York.
They're both for the first of October. Well, not the first of
October. Oh, we can makeit easily out of here in three weeks.
There's plenty of time in New Yorkto brush up on the old tango.
Yes, but uh, I'm notgoing right on to New York.
Oh, of course the stuff overin Azusa, Well, that'll be half
an hour, you said it willbe, however long it takes. But
(42:30):
we had it all so simple.She was too good, you were too
low. I'll do it my ownway. Do you mind, how the
slow way? Why do you haveto take all it? You like the
girl? Yes, I like herenough not to give her a sudden kick,
not to slap her face in frontof her whole little town. Well,
(42:50):
I'd like her enough to do itall with a little style, all
right, I'd like her enough thatto behave like a swine. For once
in my life. Well, hellllojah, that will do. You've got
enough money to get you back toNew York. I'll find you there when
I'm ready. Thanks, and youjust stand right in the middle of times
square and whistle. Who is it? Missus Escovesco? Yes? Do you
(43:17):
mind if I come in? Why? No, I'm Anita. I don't
think George has told me about you? Or did he? No? He
didn't. I see your packing.Yes, I have to get back this
evening good, Only before you go, there's something of mine. I want
you to give me back of yours. Yes, my wedding ring. Why
what would I be doing with yourwedding ring? You're wearing it? You
(43:38):
see. I loaned it to George. This it belonged to his mother.
Isn't he wonderful the way he knowshow to pluck at a heart string?
You see? I gave him thewhole idea? What idea about the marriage?
And let's give him credit. Hisexecution was brilliant. He sees you
cuts off your retreat. What youremember the July Why did you stay overnight?
(44:02):
My car broke down upon was lost. He kicked it down a drain
to keep you here all he neededwas a few hours. He married me.
He married you to pass that gatefor the same reason that I married
my little American and with the samering. Don't stare at me. Take
a look at the engraving inside totoots for keeps. Just slip it off.
(44:23):
No, maybe you should know alittle more about the history of Shoorchiscavesco.
Get out, please please. Thefirst time I heard about George was
in Ostend. Lady Whitwood and herdaughter had both tried to turn on the
guests because of him, and therewere others. You hear me, get
out. Oh, I know whatyou're thinking. This woman's a tramp and
(44:45):
she's in love with him. Well, I am a tramp and I am
in love with him for ten years. I've loved him just as you love
him, only there's this difference.I'm his sort. We belonged together.
And you, well, you thinkyou're a teacher. You're a schoolgirl.
Let's learn life out of a schoolbook. Now get away, get in
(45:07):
that car and don't turn back.And if you know it, yes,
you're wanted in a lobby. Whois missus? Who answered? Mister Hammick,
who listen? He's from the immigrationdepartment. He's going to ask you
a lot of questions. Don't go, don't see him. I'll be right
down floors. Take my bag,please, you can't give him away.
What forward? Won't do you anygood? I learned life from a school
(45:28):
book. Remember, get out ofmy No, listen, don't go down
there. Don't you all figured outthe first day I saw you. But
if you have any questions, Iwould be glad to answer. It's your
wife. I want to hear fromyou. Just keep quiet, understanding,
are you mister Hammock? That's right, Amy, I'll handle this. Why
don't they hear missus Ciscovescu take achair with you? What is it?
(45:51):
Please? I wanted understood. Ihave no right to bother you with any
questions. It's just if we thinkan American might be getting a dirty deal,
we try to answer any question.Good, good, Now how long
had you known Misteriscovesco when you marriedhim? A few hours? And you
any idea he was waiting to getinto the country, Yes, and that
he might have married you to turnthe trick he might. Okay, Now,
if you'll take the trouble and startscraping the varnish off Misteriscovesco, an
(46:14):
awful lot of interesting things come tolight. For instance, for instance,
the way that he made his living, that he was involved with a lot
of women and one particular lady righthere in this hotel. I know that
too. Listen, Missusiscovesco. Anybodycan see the setup with half an eye.
He asked you to marry him forthe express purpose making one mistake.
I asked him to marry me,all right, he got you to ask
(46:34):
him. I'll look here. Withthis evidence, you can get an annulment.
It's a cinch that'll slam the doorright in his face. Get what
an annulment? I said? Anannulment? Hmmm, how do you like
that? Youorsh? No, thankyou, mister Hammock. It's very sweet
of you. But you see,there's nothing wrong. He told me everything.
You people always see plots and traps. It's a fine marriage, and
(46:58):
we love each other very much.I'll be the dog gone. Huh,
Maybe I'm just dumb, Sorry,lady Amy, did Danny tat tap?
Yes? She told me. Ihave always been full of words, you
know, big ones, smooth ones, fancy ones. Just one more word.
(47:22):
Thanks. No, You see,I come from a small town.
We don't have fine hotels. Weeat in a drug store, but we
leave a tip just the same.I don't feel I was too generous for
these seven days. Only. Perhapswhen I met you, I I shouldn't
have been so vain. I should'veworn my glasses. Perhaps I would have
(47:45):
seen you then the way I seeyou now. Goodbye. She left me
then, and I stood looking afterher as she got into the car.
(48:07):
That night, I walk the streets, seeing her face in front of me
and hurt in her eyes that Ihad put there. And then suddenly,
do you believe in premonition when ablack wave breaks over you and you know
something terrible is going to happen.Well, I had a premonition. Then
in my ears was the screeching ofbrakes, of tires taking a wild curve.
(48:31):
Before my eyes was her foot onthe gas pedal, placing it down.
I saw her. I saw himin the car faster fast lass.
(48:52):
Hello, Hello, I can't hearyou. See see I will tell you
in a risky ESCO as soon ashe see your son, Flores, is
it bad? See on the straightinto road. No one knows how she
rolled over three times. She's inthe hospital George, what's happened? Something
(49:14):
has happened. I know it,I feel it. There was an accident,
wasn't there? S sigor bad?See where she? They took her
the General hospital in Los Angeles.Hell, I'll take your care, Floress.
No, they won't let you acrossthe border. You have no papers,
give me the keys, Floris here, signor what do you want to
(49:36):
do? Crash that border. They'llcatch you and they'll never let you in
again. Never get out of myway. Don't shows. I won't let
you. All you wanted was achance to get to the States legally.
But you've got it. Listen tome, you idiot. They'll catch you.
You haven't got a chance, George. Please, So I tove across
(50:00):
the border that was last night forthe gate without stopping. Oh. I
knew they would come after me,but I didn't care. It was five
o'clock this morning that I got tothe hospital, and it wasn't until I
climbed those steps that I was reallyafraid. Yes, afraid. It was
too late and nothing left that Icould do. Are you mister Scavasco?
(50:22):
Yes, I'm John mccallom's How isshe unconscious? We're very much afraid.
The steering wheels crushed against her.There's no fight left? Can I can
I go in? Yes? Ofcourse. The doctor's there, Amy,
(50:44):
Amy. She doesn't hear you,Amy, It is George, have come.
I'm here, Amy. Wait.Wait, she go on talking to
her, Keep talking. She doesn'tknow me. She must no, you
happed, quickened, justin. It'sstronger, doctor, he please heim me
(51:05):
breathe, try please die hard.That's right again again, Sorry, Timmy,
heimmy breathe breathe, please you George. I don't know how long I
(51:34):
sat there, but I must havesaid it a million times. Breathe,
breathe. And then this afternoon sheseemed to grow stronger. The doctor sent
me out of the room. Mistermccallams was with me. The doctor said,
she's going to get well. Yes, I thought she'd smiled once,
did she, Mistress of Ascoom.I don't know if she ever told you,
(51:57):
but for a while I had somehopes bother me. She couldn't quite
make up her mind between me andTeachers College. She was saving up for
a postgraduate course. Oh yes,yes I know. And you came along
and we were both out Teachers Collegeand I yes, it's right. She
had saved five hundred dollars. Whatare you looking at, huh? Or
(52:21):
as you sitting down there? Ohthat's Hollywood out that way, Hollywood.
Will they make pictures? Yes?Oh, yes, of course Hollywood.
Well that was this afternoon when misterMcCadam said, Hollywood, I remembered you
(52:44):
a directory moving pictures, and that'swhy I came to you. You see,
there were five hundred dollars missing tosquare the account, and I had
some vague hope that well, youknow, perhaps if you liked my story,
you would give it to me.I I think that can be arranged.
But what are you going to donow? You can't stay here?
(53:05):
What about hammock? Guess what aboutit? Come on, mister Rye.
You've given us quite a chase throughevery operating room in Hollywood. Come on,
no, please wait the still you'vetold you if if they can use
it, of course the money goesto her. Here is a real name
and address on this paper. Itrust you this casion. I understand.
(53:27):
Let's go. Where are you takinghim to jail and have him eat off
the government for a couple of months? Oh no, I'm dumping him right
back where he came from, acrossthe border on our way. Mister Rye.
Well, that's the story Georgiuscavesco toldher to me almost a year ago.
(53:52):
But the real ending happened a fewweeks after that, down there on
that border town where Georgiscavesco sat oneafternoon in a little park writing letter after
a letter, I am mister Rye. Oh hello, mister Hammock writing to
somebody. Well, I come hereevery day and write letters to a user,
to the castle, to Washington,to you. But you see I
(54:15):
never mailed them. They go byair mail on the wind like this fan
see good way to say a post? Who was that one? For the
one you just threw away? Ohthat's not the letter. It's an advertisement
slightly a formed character eager for somedecent work any place on the globe where
they will have him. Ah.In reply to your ed, we herewith
(54:37):
inform you that we have made anopening for you. Write in that border
what a certain immigration inspector neglected toreport a certain incident? And there's no
use shooting off your mouth about itonce you're in there. Mean where in
the United States, there's somebody atthe gate with all your papers. I
don't understand. Aren't you the husbandof an American wife? Go on,
(54:59):
don't keep await Joy Joey here,I am hem, oh darling, everything's
all right. They're going to letyou in. Let me see you inmy
let me look at you. Hereare your papers. You will have to
(55:20):
stay put for a little while ina Zeusa. Do you mind, Josh
Sousa. It is in the UnitedStates, isn't it. Oh? It
sounds very wonderful to me. Andyou will be there, won't you.
(55:52):
Our applause gives proper salute to threefine performances. And now Charles boy hey,
Paul had got it than Susan Haywardreturned to the footlights. Thank you
very much, Simi, I thinkyou should join us in this curtain call.
That performance as the famous directors heshall be the mill was very convincing.
(56:12):
I told Mitchell Lysner directed the picture, that I hoped i'd play his
part as well as he did.I just wish that i'd been your director
for five minutes. And you soundvery bit of pull it, will you're
and reach the wild wind too,Susan. And you'll remember that scene where
I get spanked by Ray Milan.Well, you have to expect plenty of
shall I say, action in themiddle pictures. Yes, but he didn't
have to keep shouting make it morerealistic. Ray, Why everyone else on
(56:37):
the said thought it was a wonderfulscene, Pullet, nobody ever loves the
director. Don't ever become one childwell, never having been spanked at your
commands, cib, I don't beable to gudge that Pullet does well.
If I can't direct, mister demill, perhaps I can give the women
in our audience a little direction,or rather a suggestion. It's on the
subject of complexion care and two wordswill cover it. Lock soap. There
(57:00):
can't be any argument there, Pullette. I've used lux soap for a long
time, and I know that anyonewho tries it will be just as enthusiastic
as we are. And anyone wholooks at either of you will run,
not walk, to the nearest lucksoap counter. What is the play next
week? Semi for Charles, Iimagine everyone remembers the famous play and picture
(57:22):
Merton of the movies. That's ourplay for next week. But the big
news is the stars we've cast nextMonday night, our own special Merton of
the Movie will be Mickey Rooney andstarring with him Judy Garland. So I
(57:42):
hope you can all join us tohear Mickey and Judy and this entertaining story
of the young man who wanted tobe a motion picture star, Miki Rooney
and Judy Garllan in his story aboutHollywood. Well, here is something I
want to hear, SIMI good night, good night, everybody, thank you,
good night, good night. Ithink the whole company will resolved the
matter. To night. Our sponsors, the makers of Lux Toilet Soap,
(58:12):
joined me in inviting you to bewith us again next Monday night, when
the Lux Radio Theater presents Mickey Roneyand Judy Garland in Merton of the Movie.
Is the Cecil b de Mel sayinggood night to you frown Hollywood.
Today, America's oldest fighting force,celebrates this one hundred and sixty sixth birthday.
(58:36):
The United States Marine Corps was foundedon November tenth, seventeen seventy five,
and so we extend our congratulations.Now as always, the Marines have
landed and the situation is well inhand. Charles Boyer will soon be seen
in the Universal Picture Appointment for Love. Paul At Goddard and Susan Hayward were
heard through the courtesy of Paramount.Miss Goddard appears in Nothing but the Truth,
(58:57):
and Miss Hayward will soon be seenin Cecil B. De Mills Technic
Color Production Reaped the Wild Wind.The picture Hold Back the Dawn was produced
by Arthur Hornblow and based on astory by Kitty Frings. Heard in Tonight's
play were Edgar Barriereshommuk, Tony MartelliusFlores and Fred MacKaye's Makehadoms. Tune in
next Monday to hear Mickey Rooney andJudy Garland in Martin of the Movies.
(59:17):
Our music has been directed by LewisSilvers and your announcer has been Melville Royk.
This is the Columbia Broadcasting System.
Lux Presents Hollywood. The Lux RadioTheater brings you Charles Boye, Paulette Goddard,
(00:22):
and Susan Hayward in Hold Back theDawn, Ladies and gentlemen, your
producer, mister Cecil B. DeMille, greetings from Hollywood, Ladies and
gentlemen. There's glamour in the airtonight. Our stage is ablaze with it,
(00:43):
and out beyond our footlights as faras radio can reach, a hushed
audience waits to hear Charles Boye,Paulette Goddard, and Susan Hayward in the
Lux Radio Theater. Somehow this seemsto be a symbol of a way of
life that has turned the eyes ofthe world to this promised land. Only
a few hours from here, alongthe common boundary of this country and its
(01:07):
sister of Public Mexico, is acolony of people without a country, men
and women from the four corners ofthe Earth, waiting their turns to cross
the border into the United States.There you can find more stories of success
and failure, of tragedy, andcomedy of love and hate than fiction can
tell in a lifetime, and theirparamount found the subject for the current screen
(01:30):
success Hold Back the Dawn. You'llhear it tonight with two of its original
stars, Charles Boyer and Paulette Goddard, and with them the gifted and charming
Susan Hayward. In the theater,it's an old custom for the producer to
peek out front and count the house. But I couldn't do that in the
Luxur Radio Theater, even if myeyes were as sharp as my granddaughter's.
(01:53):
But I have an idea that toNight's plays and stars have drawn a full
house all the way from Hollywood toBroadway, and as one showman to another,
I'll congratulate lux Toilet Soap for makingan evening like this possible. And
just for the record, if youhaven't tried our product yet, that's something
you owe to yourself, not tous. Luck's Toilet Soap is its own
(02:16):
best salesman, and after it solditself to you on its own merits,
then just think of the lux RadioTheater as an extra dividend that you get
every Monday night. And now it'sdividend time. So we raised the curtain
on the first act of Hold Backthe Dawn, starring Charles Boye as George
Paulette Godded as Anita and Susan Haywardas Emmy. Perhaps the best way to
(02:53):
begin our story is to tell youhow it came to be made as a
motion picture. One day, abouta year ago, a visitor walked into
the Paramount Studio here in Hollywood.He had no visitors passed, but he
managed to attach himself to a groupof sightseers who are touring the lot.
The man wanted very badly to speakto a certain director who, for the
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purposes of our story, we'll sayword myself. I was shooting that day
on stage four, and some timeduring the morning I became conscious of this
man standing quietly at my side.He was still there when we broke for
lunch. All right, cut rentthe last two break for lunch, back
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and one hour? What now,everybody? What a darth? They leave
my script? I want to lookit over. It's right here. I
beg your pardon. May I speakto you? Un wat that if he
can have just a minute. I'mvery pressed for time. Well, what
what is it we meet your niece? Remember at the pilky Oh? Yes,
yes, hello. I hate topresume the chance meeting, but I
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need five hundred dollars you need?What five hundred dollars? I must have
it. This is not charity.For that money. I have something to
sell. Well, what is it? A story? Oh? I see,
Well in the front office, we'vegot a story department, and we've
also got a lot of story.No, you haven't got this one.
Listen please, I'm not a writer. I assure you I would not tell
you this story if I didn't needthe money. All right, all right,
(04:19):
but some other time. No,it must be now before the federal
police take me federal parlais? Whatdo I want you for? Well,
that that's part of the story.Please, I have so little time.
Well, all right, let's hearit, said Anne. No, thank
you. Of course I cannot usethe real name of the others. You
will understand that my own name isGeorgie Kovsco. I was born in Romania,
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but I have spent most of mylife in Paris and Riviera, in
Saint Meurtz. My papers give myoccupation as dancer, which is correct in
a general way. Oh, itwas an easy life if you had a
deep voice and knew how to lookat a woman. But the war came.
People who had money made for America. But you need a visit to
go to America. Unfortunately, andfor certain reasons, it was wiser for
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me to try to get in morediscreetly. So I went to Mexico,
to a little town that straddles theborder to California. There is a wife
fence there, or you can seeright through it into the United States.
Yes, the wire fence. Now, let them tell you it's only twelve
feet high. It's a thousand mileshigh. Some people try to climate,
(05:28):
it's no use. They catch youwhen you get on you other side.
The men's street is called the Chairs. There was an American consulate, of
course, where you could apply fora busy. It was the first place
I went set down. I seeI from your questionnaire. If you wish
to enter the United States permanently,yes, sir, that will require a
quarter number. You know what aquarter is. No. Every year,
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the United States permits the entrance ofabout one hundred and fifty thousand emigrants.
That number is proportioned among the variousEuropean countries. You were born in Bucarest,
so you come under the Remainian quarter. Yes, sir. The Romanian
quarter is very small and very crowded. Oh that means I'll have to wait
how long? From five to eightyears, five to eight years, five
(06:19):
to eight years, like a prisonsentence. The local hotel was called the
Esperanza. Great was a dollar aday, but you'd better take you home
by the year if you could getone. They were all taken, crammed
with people waiting, waiting, andso I began my sentence. I was
still there five months later. Onthe fourth of July, there were a
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good many American cars on the Cayotesthat they all celebrating with firecrackers. I
noticed a car by the curb filledwith young boys. It had his signed
painted on it, school Bus,Azusa, California. When I reached the
car, one of them leaned outand fire kaker at my feet that I
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said, who did that? Youmean it was I. I'm not very
proud of you, Tony. Apologizeto the gentleman. Thank you very much,
madam. But it is not necessary. No, no, please don't
go. The boy must apologize.It's a matter of discipline. You see
your form of humor I don't appreciate. Well. You know what American boys
are like all year long? Theystir up mischief, for the fourth of
July. I see, well,I think it would be preferable if they
(07:26):
let off their high spirits in Americaunder the feet of Americans. Now,
don't let's get into international complications.See there's a fence back there. You
Americans make a very definite point ofit. I gather you don't like us
very much, very little. Oh, I see. Shall I apologize now,
miss Brown? Don't you dare tocome on? Children? Yeah?
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So I turned from the street andwent into the Catholic Climax. It fifth
a little bar where I spent mydays and nights. It was there that
I met Anita. Oh. Ihadn't seen her for years. She came
up behind me as I sat thereand spoke over my shoulder. And now
we present the darn sensation of theRiviera. Ghora, stop staring, George,
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it's me all right, Yes,it must be. I saw the
back of your head. It's differentthan the back of any other head.
What do you mean did you hearit? Idiot? That I am.
The sight of you was still liketouching our high attention wire. After all
these years, after that last goodbyeof our yes casino at Cannes, and
I bub goodbye. If I rememberArry you slap my face twice, I
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can still feel it. You behavelike your fool, Anita. We had
a good run of rock. Youhad that rich baron, the one with
a glass eye. I had MissusSweeney can soup. Sweeney, there were
prettinum scre had cases in that soup. You had to step in and spoil
everything. I simply said, listen, missus rich soup. Just because you've
got money, and well, maybeit wasn't the right way to talk to
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a custom. It's good to seeyou, just the same. What are
you doing here, Anita? Downfor the day from Los Angeles with some
people, those drunks at that table. It's not the same, Anita.
George, it's not the same,George. You do look a little afraid.
You're living here waiting to get acourse Hotel Esperanza. I served a
little time there. Oh that's itit you're a stadium vaguely? How long
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for you a quitta? Whatever itwas? I didn't wait that long.
How did you get in meet missusshaughnessy? George? I married an American?
And what and simple? If you'remarried to an American, you had
preference your papers, go to Washington, and then four weeks everything is settled.
You mean you become an American citizenin four weeks. No, but
they let you into the country threeyears before you become a citizen. An
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where are you an Who's that yourhusband? No? Shaughnessy was a jockey
from Caliente five for three. Onceover the border, I went to a
judge, I said, a womanwants a man, not a radiator.
Cap divorce grant all very smart.I haven't been very smart since. Sure,
I'm on the bargain counter now,Anida, where are you? You
(10:07):
better go? Let him? Wait. Sure, all these years, with
all the others, I've shut myeyes and thought of you. I want
to keep them open once again.You better go. What goes on?
It's all right, my great bigball, come along, guys, bothering,
come on my torrero. Come on, I said there, thinking over
(10:33):
what Anita had said. You justmarry an American, as easy as that.
Get hold of a wedding ring andyou could swing right over the fence.
Just get a shaved, get intoa good suit of cloth. Why
not? My intentions were entirely honorable. I've jet atremony I met many women
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that day, American women. Butall they wanted was a few hours of
fun and you go serious. Theyfluttered away. So it was the press
that evening. But on my wayback to the hotel, I saw the
school boys, you know, theone from Mezuza, California. It was
stuck in the middle of the road. Oh yeah, now, children,
please go and sit down over there, you mechanic. Can't you give me
(11:18):
any idea how long it will taketo fix my car? I still must
have dryer, genera door soon soon. You said it would be done by
three o'clock. The motor was flooded. We have to dry all right,
but please hurry. Good evening,Oh, good evening. Still with us?
Yes, I know you don't likeus, but I promise we'll get
back over that border as soon aswe can. Oh nah, no,
please, I feel very badly foryou. How do you think I feel
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sitting all day here in front ofthis awful filling station. Children are as
cross as two sticks. Are anyof them your children? No, I'm
a school teacher and I'm responsible forthem. Oh, there'll be in a
perfect tizzy about us back home.You will, of course, their parents
and maybe your husband I haven't anyhusband at home. But if we're not
back by nine o'clock, mister McAdams, the principal will think we're dead in
(12:01):
a dip well while you're waiting forthe car. Why not telephone and telling
you all right? They said therewas no telephone. Oh yes there is
one of the hotels. Oh yes, across the street. May I show
you? Will you? Thank you? Mistersco My name is miss brown This
way, Miss Brown. So wewent across to my hotel, Miss Brownie
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and I. But before I left, before I left the car, I
managed to get rid of one ofthe parts the mechanic had laid out on
the street. I pushed it intoa train. So when we came into
the lobby I was afraid for amoment that the clock behind the desk would
ask me about my bills and yourrisk of MALGI tell me to ask you
bo No, no, not justnow. Flow is we want to telephone?
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What is the number, Miss brown? A zuo'sa California three or nine
nine one? That's not cheap longdistance? Flow is, Please go in
the booth and ask for the number, say three zero nine nine one,
Azusa. That firecracker, this morning. Maybe I should be grateful to your
pupil. Now, why perhaps Iwould never have seen you? Oh cigarette,
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no, thank you. The schoolboard doesn't approve and well, to
tell you the truth, I don'tlike them much, Miss Brown. May
I may I ask you something?What would you take off your hat?
Please? My head? Yes,your hat? I want to see you
without it. That's an odd request. Doesn't the school board a pool?
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I don't think there are any regulationsabout it there. Well, that's amazing.
Your name is not Margot, No, it's Emmy. She had the
same hair, only it was alwaysmassed by the wind that winter in some
of it. Who you talking about? You thought there was bitter miss Brown
(13:48):
when you first spoke to me onthe street. It was because I saw
another woman in your face, Margot, No, of course those are not
her eyes. Ears were bad eyesthat seemed to be saying beautiful things,
and every word they spoke a lie. I knew it, and I loved
her. I had to come hereto the end of the earth to know
(14:09):
that I really hated her, thatI had always hated her. Oh I'm
sorry, No, just look atme, miss Brown. Keep looking at
me. Oh, it's like likea sudden breeze on his stifling day.
Who's a three zero nine nine oneis on the telephone? Oh, thank
you? Hello? Who is it? Oh? Oh yes, miss McAdams.
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Yes, I called to say wehad an accident. Don't get excited.
It wasn't really an accident. Yes, we'll be back as soon as
we can, mister McAdams. Yes, mister McAdams. Oh yes, I'll
look out for drunken drivers. MisterMcAdams. Goodbye. Is the everything settled?
Yes? I do appreciate it takingso much trouble, Thank you very
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much, not at all. Thecar must be ready by now. Uh.
Oh I want to pay for thatcall? No, no, please,
miss Bond. I am in yourdebate, but there is no way
I can pay you for the lovelinessof these few minutes. I thank you,
is b May I kiss your hand? You're the strangest man, perhaps
the loneliest man. Oh, whyI assure you a little flee Tony.
(15:28):
What's the meaning of it? Hekeeps me in the leg? Toney,
Why did you do such a thingbecause he twisted my arm? Why did
you twist his arm because he stolethe I did not, and I didn't
touch. What is this about?A catch? The got generator on our
car? See it was there?I write? Is it important? She
won her own without? Oh?Children, this is serious. Did any
of you take it? See tomorrowmorning. But that's impossible. Of course
(15:56):
it's impossible. Perhaps we could findanother car, thank you, But I
couldn't leave the busy hind at schoolproperty? All right, miss Brown?
Floish see we're having guests tonight?Who's having guests? No? I mean
we can't say all night as youcan? Oh that one need a room
next to yours? Yah, it'sgone. I rendered it this afternoon,
or I will find something else.I will not let the children out of
my sight, not for a singlesecond. Of course you want, you
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and the children can all sleep herein the lobby. They enough couches and
armchairs. Florist get blankets and pillows. Don't who is going to pay for
all these flowers? Please see seesee come in it's Yoursnita? What are
(16:41):
you doing in my room? Thedoors unlocked? I just dropped in bar
a cup of sugar. I thoughtyou were with some people. Oh I
walked out on him? Was thatvery wise? Who cares? I've taken
the room next door. What doyou want, Anita, I've been thinking
about you all day, the whereyou always held me away from you when
we danced those eyes of yours,you cold self issue. Didn't you ever
(17:07):
love anybody in your life? Iwant you to go darling, Geors Please,
this is the wrong time, Anita. George. If we were in
the States together, we're a team. There's still good seasons in New York
and Florida. Or I'll get youacross the border somehow. I know lawyer,
maybe he can fix it. Idon't need a lawyer now, I'll
scrape together some money, Shaws.I'll give you anything anything you want,
anything, anything, anything, George. Well, I'll take this. What
(17:32):
is saying on your finger? Whatdo you want that for? Well?
Hey, can you use a weddingring? Thank you? Nita and Missus
Brown had a hard time going tosleep that night. Her heart was beating
fast, and her neat tidy sentenceswere all thrown out of gear. She
finally kind of half sleep at last. Then about five o'clock in the morning,
(17:55):
she stared, Oh, I know, because I was sitting beside her.
When she opened her eyes, Oh, you'll wake the children. What
are you doing here. You haveno right to be here, of course.
I've no right nor right to sitwatching your face learning it like a
poem, nor right to tell youthat that I love you very much.
You must go away right now,please. You needn't be afraid, miss
(18:17):
Brown. You see, we're liketwo trains halted for a moment at the
same station, but we are goingin different directions. We can't change our
course anymore than we can hold backthe dawn. See it's going light already.
Soon the children there will be wakingup, the shops will open,
and you will be gone forever.It is getting light, isn't it.
(18:41):
You'd better go. You needn't beafraid, miss Burne, not of a
dead man. I am dead,you see. I've asked myself thousands of
times why they shouldn't bury me.Perhaps I know now. Perhaps perhaps it
was to see the sun rise oncemore, to hear enchantment in a woman's
voice, to fear nearness. Thewarp lips. No, No, of
course, no, you needn't beafraid. It's like a classroom here,
(19:04):
isn't it. The pupils and theirteacher, rules of departments, schedules and
discipline. You are very conscientious,Miss Brown. No infringement of the regulations
for you. No rebellions, noviolent desires. Oh, if you found
one in your soul of a littlemind, you would tell it to go
stand in the corner, won't you, Miss Brown. I don't know,
(19:26):
not for your sudden flush that lightsup your whole life one split second to
start it happiness before it stark again. Please let me go. Oh,
it's not this case I want.It is all your cases, It's all
your life. Look at your hand, Miss Brown, your left hand,
why why it is? Yes,it's a wedding ring. Miss Brown.
(19:48):
I put it on your hand asyou slept. It was my mother's.
You see. You see how wildthe dream can be. But you are
wise and saying and cool. No, please, you needn't be afraid.
Good bye, Miss Brown. Nowait, listen, yes, I I
(20:12):
want to tell you. Tell mewhat about your being lonesome? Other people
are lonesome, so lonesome they almostgive up waiting. Mister mc adams always
said I was crazy, but Iknew all the time, deep down in
my heart, that some day,somebody somewhere, even though a zusa was
(20:33):
at the end of the world,I knew you'd come. I knew you'd
come. I knew, And sothe chap was set. Who were married
that morning? She never had achance, little miss Brown in just a
(21:10):
moment, Mister de Mille and ourstars Charles Boye, paul Ed Goddard and
Susan Hayward. We'll bring us backtoo. I'll hold back the dawn.
And now while we're waiting, let'sdo a little imaginary wire tapping. Missus
Martin is telephoning her groceries and adozen oranges, two bunches of carrots,
and then I want some soap.Yes, of course, luck soap,
(21:32):
three cakes. Will you send myorder over right away? Please? I'm
going out on that. Well,it sounds as if Missus Martin is a
busy young housewife, and you'll noticethat she's pretty clever too. She's just
as particular about the soap that touchesher precious complexion as she hears about ordering
the right kind of food for herfamily. She's one of the many young
(21:53):
women who have taken Hollywood's tip onbeauty care. Literally millions have found that
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(22:14):
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(22:36):
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(22:59):
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(23:22):
cakes at a time way, Misterde Mill continues with that too of Hold
Back the Dawn, starring Charles Boyeras George Pouled Goddard as Anita and Susan
Hayward as Emmy, with Edgar Barrieras Hammock. There was something compelling about
(23:52):
that man's story, something that drewme far away from the deserted sound stage
and carried me to his world belowthe Mexican border. I listened to him,
and I watched his eyes. Theywere desperate and treating, at the
times full of contempt for himself.We had to get the Mexican jurdge out
of bed to marry us. Thelicense was six dollars, but it seemed
(24:15):
to sound investment. The ceremony wasbrief, the office drab and soldid,
but to Emmy Brown, being therewas like standing at an altar in a
cathedral. The town was just waking. When we walked back to the hotel.
She clung to my arm like achild, her eyes shining with heaviness.
(24:36):
And I always expected to be marriedin the Margaret Martin Memorial Church in
Azusa. You did. I neverdreamed of anything so beautiful and exciting as
this, Oh might there'll be surprisedback home, missus George escovesco or is
a fiscal scabsco. I don't evenknow what you are rich men for man,
beggar man. Oh you at thethought of the family when we arrived
(24:57):
in the school bus, you andthe children and I. Unfortunately I won't
be able to go with you eightaway, my dear you. No,
you won't, No, not foranother four weeks or so. Why not
you? Why you see, I'ma foreigner. I have to wait for
my visit four weeks. You meanyou'll stay here and I can't you come
(25:19):
down? How can I? Weall tied up with summer classes. I'm
terribly busy. Well it's only fourweeks. Well maybe it's better I'll have
a chance to break it to themgently. Sure, I'll write to you
every day. I'll be waiting foryour letters every day, and you won't
be so lonesome. Now promise,Oh, I promise I won't either.
(25:41):
I'll have this your wedding ring,George. Take it a minute ring,
but please now now, will youput it on my finger and say the
words the words for richer, forpoorer, for better, for worse.
With this ring, I thee wedfor Richard for poor for better for worse?
(26:03):
With this younger v wed till deathdo us part? Death was part?
George, I'll never take it off. Never. Department of Immigration.
(26:26):
Oh god, this is priceless.Where are you at h these letters she
writes to you? She really mustbe something. Did she send her birth
certificate? Yes? Right here,and here's the blank paper she signed for
the petition. Don't forget to sendher birth certificate Emily Agnes Cecilia Brown and
so young. Well, her letterscertainly show it. How did you like
(26:48):
the paragraph about her eyes? Oh? Listen, there's one thing I didn't
tell you, beloved. You saidyou liked my eyes. Well you might
as well know, George, thatwhen I read a long time correct papers,
I have to wear my glasses.Listen to this part. Mother is
fixing up the scare room for us. The scrap of chins in this letter
is what she's going to have hercurtains. If you like it, well,
(27:11):
how would you like this stuff forcurtains? George? So reals f
dear? Yeah, my wife goesdear to me every day she leaves me
alone, doesn't she And write hera few letters, throwing a telephone call
and once across the border. We'llbe on our way to New York.
Uh huh, with a shot stoppinga zooser half an hour long enough to
(27:32):
tell her of a love that wastoo great to last, a mistake that
was too lovely not to have beenmade, that she was too good.
Don't you too long? Half Nowshe'll brush up like a drop of rain,
you swine Anya at a superstition,she said a letter to Washington needed
(27:56):
a drop of champagne for good luck. Or maybe she just likes champagne.
We went to the cafee downstairs andordered the cheap champagne. And it'll be
champagne all the way. Well,I hope it will be a better vintage.
It will be only the very rich. We'll get a crack at yours,
and Anita will be very expensive,I'm afraid. Or they can let
herself from their income. Text,you'll make a wonderful deduction and you allow
(28:18):
missus Shaughnessy. Oh hello, doyou remember me, missus Shaughnessy. Of
course, George, this is misterHammock, mister risk of Escuhi, how
do you doing. Mister Hammock isfrom Washington, from the Immigration Department.
Oh yes, and of a surpriseto see you down the side of the
fence, Missus Shaughnessy, a galthat could hardly wait to hug every stripe
(28:42):
and kiss every star or for theeight off. How long are you staying
this time, mister Hammock? Ontwo or three days, just making sure
the old gate is still here?How's your husband, Missus Shaughnessy. I
I don't know, mister Hammock.We're divorced since a year. No,
not really, you mean it's gonethat beautiful love match. I really loved
(29:03):
him then, Oh sure, sure, Only once he got you across the
border, you found you didn't likethe shape of his nose if you suggested,
Oh, I'm not saying anything,Missus Shaughnessy. You made the grade
in his inn. Only there's beenan awful epidemic of marrying up and down
the border. The department has anew theme song. Is it love or
is it immigration? Funny? Isn'tit? Well? I don't quite know
(29:26):
what's being talked about. Well,we won't bother you with it. Did
you see the bullfights, mister Hammock. That's why I came down the two
of you. You know I livehere. We were all friends in Europe,
Hungarian, Romanian. Yes, Chlis, I have a message for you.
Will you excuse me, mister Hammock. Oh sure, well missus yes,
place? What is it? Yourwife? She's no rum to hotel?
(29:48):
She said, for what? Yes, I's got you wor there for
me. See, tell him notto leave. I'll be there as soon
as I can. George, Well, I wasn't expecting you, I know.
Oh look, George, our weddingcake. I brought it all the
way from Azusa. Isn't it wonderful? Yes, you should have told me
you were coming out. I wantedto surprise you. Oh. Mister mc
(30:11):
adams was so nice. He's gottena substitute teacher from Riverside. He gave
me a week off and said Icould use the car. Isn't that lovely?
A honeymoon for a wedding present?Oh? And this, this,
this is from my mother to you. My father's watch the denders where I
cut my teeth on it. Here'syours, it's yours er, It's very
kind. And this is for youtoo. I mean for us to start
(30:33):
out with what is it? Fivehundred dollars? I saved it up for
a postgraduate course at Teachers College forhigh school work. I won't have time
to take a course now. Ohno, I don't want any money for
you, George. Please community property, it's the law in California. Please
take it very well, Thank you, George. Oh, it was just
like a madhouse at home. Nobodycould believe it. And the questions they
(30:56):
asked, and you ought to hearhow they pronounce our name whiskey whiskey and
it'sky bitsky. Did you see whatthe kids put on the back of the
school bus? No? What comehere to the window? See a sign?
Good luck mister and missus Zkavesco.Everybody laughed at me all the way
down here. You shouldn't have fuckin front of the hotel. Well it's
(31:17):
it's a it's against police regulations.You better give me the keys. I'll
move it into the la Ah right, joy, they're right here. I
won't belong any done here. Georgealmost died when I saw that sign.
I was just coming out of thecafe with hammer. Did how much she?
No? I got rid of him. What you doing down here?
(31:38):
Staying for a week? Nice weekto pick with hammock around. We'll have
to send her back before he startsasking questions. I can answer any questions.
Oh you can, For instance,why you didn't mention you were married
into an American? And all ofthat happened a little fast, didn't it.
And isn't it a little unusual fora bridegroom to sit in a bar
with Missus Shaughnessy, Missus Shaughnessy whoalso happened to have married an American Louise
(31:59):
herself? All the shut up?Where can I take it? Oh?
Any place? We get her awayfrom here? Take us south, keep
it there until a week's up.All right, all right? Yeah,
here is the letter for Washington.Made it for me, and here's some
money. Well, how come,never mind? Take it I of Floris
one hundred and eighty dollars, paymget the things out of pawn and anything
(32:19):
you need. Well, it's likeold times. Good luck, shaosh.
So I got emmy away from thehotel that afternoon. I thought I would
take her to Encinata, a matterof fifty miles. But in the night
and the storm, I must havetaken a wrong turn. It turned away
(32:42):
from the road that had been followingall my life. We drove all night,
and when the sun came up.We seemed to be approaching a little
village. There was a crowd ofpeople, all walking or riding in one
direction. An ox card was blockingthe road in front of us. It's
the matter, Yes, where arewe in back of an ox cart?
(33:06):
Aga parktunder traffic? This isn't Sunday? Where are they going? Step pit
on Saint's Day? They're having somekind of a celebrations. What saint is
it? Josh whoever is the saintof brides and bridegrooms? Brides and bridegroom?
(33:27):
Huh, they're being blessed in thevillage Jewish. That's the dearest thing
I ever heard. Yes, allthis time, not telling me where we
were going, your wonderful jeels.That afternoon we had our marriage blessed in
(33:47):
the little church in the village,Amy kneeling by my side, her eyes
glowing with delight. After the ceremony, we went outside in the garden.
There was a foolish ledge and aboutan olive tree there. If the married
couple shook it, however many olivesfell, they would have that many children.
(34:07):
There were three that fell as westood there. This one is Joshua,
after my father, and this oneis Helen, because that's what I
wish I was named. I hateEmmy and this one. What was your
father's name? George Gregor Gregor Escovesco. Then mother's so foolish, she thought
we should change our name to ingersollor at least ives. I said,
(34:29):
nonsense. This is America. It'sfor the Rockefellers and the Joneses, for
the mcgonagalls, and the Frankfurters andthe Jeffersons and the Slovinskis. You see,
you see, George, it's likea lake, clear and fresh.
It'll never get stagnant while new streamsare flowing in. Well, your people
are building pretty high dams to stopthose tags you used to keep out the
(34:51):
scum, don't you see? Georgeand Azusa. When they learned I'd married
a faarner, there was exactly oneperson who said something nasty about you,
Missus Beglow. She said, Isuppose he's just one of those foreigners coming
with empty hands to grab as muchfrom America as he can. Mister mc
annan put her in her place.He said, I suppose your great great
(35:13):
grandmother was pokerhunteress, Missus Beglow,Bunny Fanny She's really just jealous. You
see, her husband ran away aftershe'd been married only a week. Oh
you'll like a Zeus is yours?Yes, there are wonderful opportunities. It's
an up and coming little place,the fastest growing town between Los Angeles and
sand Berdu. People going and coming, building and making and selling. Why
(35:38):
do you think we call it aZeusa? Everything from A to E in
the USA. Well, I supposeI could sell quantities of brushes with this
accent of mine. Oh, Idon't worry about you except for one thing.
Yes, you smoke too much.Oh well, I will stop.
Thank you, George. She leanedtoward me then and kissed me in that
(36:06):
hot July afternoon. It was likelike kissing fresh snow. I could feel
her hand tremble on my shoulder.Of course, there was no hotel in
the village, but we had thecar, and we had planned to sleep
in the back. It was aclear night, stabbed with great stars.
She was having an American tune,perhaps so I wouldn't hear her heart beat.
(36:30):
Mine was beating too. I thoughtof the day I was to tell
her it was all over, theday I was to cast her overboard,
because she couldn't fit in with myplans. Wasn't that enough? I had
no right to involve her. Iwanted her to be still miss barn when
I left her. That's why Idid the trick about my shoulder. See
(36:50):
I was out of the car,putting the suitcasses in the back. Oh
josh, what is that I heard? I'm afraid of Oh josyr her.
Now let's just my shoulder. I'vedone it, doubt. Oh it's happened
before. Let's get your coat on. No no, don't touch it,
please, No, just a nervethat twisted over. We'll put a compress
on it. Oh no, no, no, I can't move it to
take off my coat. Now,let's let me sit here with my arm
(37:15):
up like this. Sure if wedrove someplace and found the doctor, not
over these roads. It's turting itselfout. Just good to sleep with you
and me. If it hurts toomuch, wake me up. Promise,
all right, I promise. Nowgo to sleep, Yes, dear,
(37:36):
Oh, I'm so sorry. I'mso sorry you three. Pause now for
station identification. This is the ColumbiaBroadcasting System. After a brief intermission,
(38:21):
mister de Mille and our stars CharlesBoyer, Paulette Goddard and Susan Hayward will
bring us Act three of Holdback theDawn. We want to take these few
moments to show you that romance alwaystags your girl with a lovely complexion.
Here are three examples. I ama fellow in high school and I have
a girl, and she is theone girl for me. Her skin is
(38:43):
so smooth that it dazzles your eyes. Honest, she's gorgeous to see.
I'm a young man with romance inmy heart, and I don't insist on
perfection, but the girl must haveone thing, not money, not brains,
a lovely, alluring complexion. I'vebeen married ten years, but it
seems like a day. I havesuch a beautiful wife. She's got a
complexion like peaches and cream. Inshort, she's the pride of my life.
(39:06):
See Ah, loveliness has a wonderfuleffect. Why every one? Well,
what I really want to say iseveryone falls for a beautiful complexion,
isn't it so? And here inHollywood, the owners of some of the
world's most famous complexions tell you ofan easy care that can help to keep
your skin at its very best,soft and lovely it's just this. Use
(39:30):
Lux toilet soap every night. Patthe creamy, active lyther into your skin.
You'll love the gentle caressing feel ofit. Rinse with warm water,
then a dash of cool and patdry with a soft towel. This mild,
pure soap you'll find leaves skin feelingsmooth and flower fresh. It's Hollywood's
(39:52):
favorite beauty care and yet it's actuallythrifty to use. Its tremendous popularity means
a low price for each fragrant whitecake. Try it, and the first
time you do, you'll see whyLux toilet Soap is the soap nine out
of ten screen stars like to usefor their lovely smooth complexions. From that
time on, Luck's toilet soap willbe the beauty soap for you. The
(40:17):
curtain rises as mister de Mill continueswith hold Back the Dawn. It was
a strange story, the man toldme, and I noticed that every once
in a while he would stop andglance quickly over his shoulder, as if
(40:38):
afraid of being interrupted, then reassuredhe would begin again. We traveled around
for almost a week in me andI Amy kept talking about United States,
about Old Dam and how brother hadgone to school with very famous men by
the name of Jodie Madge. Andthe word swell means that is exactly what
(41:02):
she was. Swell. At last, we returned to the border to the
hotel experience. Oh that was theshortest hundred miles. We couldn't drive around
the block, could we just once? You couldn't make a mistake and think
it is to mow that you're duebacking Azusa. No Tonight, July thirteenth,
Parent Teachers Meeting, Auditorium, eighto'clock. It sounds very dull.
(41:24):
Don't go, I have to Josh. Mister McAdams would be savy. We
better leave your suitcase in the garden. Get the rest. Come on,
George. You don't suppose that ifI went to the American authorities and talk
to them, they let you comewith me three more weeks and regulations.
I could ask them how they'd liketo be without their wives for three weeks.
I've seen their wives. They'd likeit very much. Good morning her,
(41:46):
Good morning flies. Let me discovera squeen home. Will you run
upstairs to me while your pick aleap them fill up the car? All
right, I'll only be a littlewhile This way, Senora George. Oh,
I thought you'd never come. I'vebeen dying here day after day,
looking down the street, watching forthat car of yours. Look at these
telegrams, news and time. Oh, no, good news to offers the
(42:07):
Casanova new York or the Savoy inChicago. Of course we're taking New York.
They're both for the first of October. Well, not the first of
October. Oh, we can makeit easily out of here in three weeks.
There's plenty of time in New Yorkto brush up on the old tango.
Yes, but uh, I'm notgoing right on to New York.
Oh, of course the stuff overin Azusa, Well, that'll be half
an hour, you said it willbe, however long it takes. But
(42:30):
we had it all so simple.She was too good, you were too
low. I'll do it my ownway. Do you mind, how the
slow way? Why do you haveto take all it? You like the
girl? Yes, I like herenough not to give her a sudden kick,
not to slap her face in frontof her whole little town. Well,
(42:50):
I'd like her enough to do itall with a little style, all
right, I'd like her enough thatto behave like a swine. For once
in my life. Well, hellllojah, that will do. You've got
enough money to get you back toNew York. I'll find you there when
I'm ready. Thanks, and youjust stand right in the middle of times
square and whistle. Who is it? Missus Escovesco? Yes? Do you
(43:17):
mind if I come in? Why? No, I'm Anita. I don't
think George has told me about you? Or did he? No? He
didn't. I see your packing.Yes, I have to get back this
evening good, Only before you go, there's something of mine. I want
you to give me back of yours. Yes, my wedding ring. Why
what would I be doing with yourwedding ring? You're wearing it? You
(43:38):
see. I loaned it to George. This it belonged to his mother.
Isn't he wonderful the way he knowshow to pluck at a heart string?
You see? I gave him thewhole idea? What idea about the marriage?
And let's give him credit. Hisexecution was brilliant. He sees you
cuts off your retreat. What youremember the July Why did you stay overnight?
(44:02):
My car broke down upon was lost. He kicked it down a drain
to keep you here all he neededwas a few hours. He married me.
He married you to pass that gatefor the same reason that I married
my little American and with the samering. Don't stare at me. Take
a look at the engraving inside totoots for keeps. Just slip it off.
(44:23):
No, maybe you should know alittle more about the history of Shoorchiscavesco.
Get out, please please. Thefirst time I heard about George was
in Ostend. Lady Whitwood and herdaughter had both tried to turn on the
guests because of him, and therewere others. You hear me, get
out. Oh, I know whatyou're thinking. This woman's a tramp and
(44:45):
she's in love with him. Well, I am a tramp and I am
in love with him for ten years. I've loved him just as you love
him, only there's this difference.I'm his sort. We belonged together.
And you, well, you thinkyou're a teacher. You're a schoolgirl.
Let's learn life out of a schoolbook. Now get away, get in
(45:07):
that car and don't turn back.And if you know it, yes,
you're wanted in a lobby. Whois missus? Who answered? Mister Hammick,
who listen? He's from the immigrationdepartment. He's going to ask you
a lot of questions. Don't go, don't see him. I'll be right
down floors. Take my bag,please, you can't give him away.
What forward? Won't do you anygood? I learned life from a school
(45:28):
book. Remember, get out ofmy No, listen, don't go down
there. Don't you all figured outthe first day I saw you. But
if you have any questions, Iwould be glad to answer. It's your
wife. I want to hear fromyou. Just keep quiet, understanding,
are you mister Hammock? That's right, Amy, I'll handle this. Why
don't they hear missus Ciscovescu take achair with you? What is it?
(45:51):
Please? I wanted understood. Ihave no right to bother you with any
questions. It's just if we thinkan American might be getting a dirty deal,
we try to answer any question.Good, good, Now how long
had you known Misteriscovesco when you marriedhim? A few hours? And you
any idea he was waiting to getinto the country, Yes, and that
he might have married you to turnthe trick he might. Okay, Now,
if you'll take the trouble and startscraping the varnish off Misteriscovesco, an
(46:14):
awful lot of interesting things come tolight. For instance, for instance,
the way that he made his living, that he was involved with a lot
of women and one particular lady righthere in this hotel. I know that
too. Listen, Missusiscovesco. Anybodycan see the setup with half an eye.
He asked you to marry him forthe express purpose making one mistake.
I asked him to marry me,all right, he got you to ask
(46:34):
him. I'll look here. Withthis evidence, you can get an annulment.
It's a cinch that'll slam the doorright in his face. Get what
an annulment? I said? Anannulment? Hmmm, how do you like
that? Youorsh? No, thankyou, mister Hammock. It's very sweet
of you. But you see,there's nothing wrong. He told me everything.
You people always see plots and traps. It's a fine marriage, and
(46:58):
we love each other very much.I'll be the dog gone. Huh,
Maybe I'm just dumb, Sorry,lady Amy, did Danny tat tap?
Yes? She told me. Ihave always been full of words, you
know, big ones, smooth ones, fancy ones. Just one more word.
(47:22):
Thanks. No, You see,I come from a small town.
We don't have fine hotels. Weeat in a drug store, but we
leave a tip just the same.I don't feel I was too generous for
these seven days. Only. Perhapswhen I met you, I I shouldn't
have been so vain. I should'veworn my glasses. Perhaps I would have
(47:45):
seen you then the way I seeyou now. Goodbye. She left me
then, and I stood looking afterher as she got into the car.
(48:07):
That night, I walk the streets, seeing her face in front of me
and hurt in her eyes that Ihad put there. And then suddenly,
do you believe in premonition when ablack wave breaks over you and you know
something terrible is going to happen.Well, I had a premonition. Then
in my ears was the screeching ofbrakes, of tires taking a wild curve.
(48:31):
Before my eyes was her foot onthe gas pedal, placing it down.
I saw her. I saw himin the car faster fast lass.
(48:52):
Hello, Hello, I can't hearyou. See see I will tell you
in a risky ESCO as soon ashe see your son, Flores, is
it bad? See on the straightinto road. No one knows how she
rolled over three times. She's inthe hospital George, what's happened? Something
(49:14):
has happened. I know it,I feel it. There was an accident,
wasn't there? S sigor bad?See where she? They took her
the General hospital in Los Angeles.Hell, I'll take your care, Floress.
No, they won't let you acrossthe border. You have no papers,
give me the keys, Floris here, signor what do you want to
(49:36):
do? Crash that border. They'llcatch you and they'll never let you in
again. Never get out of myway. Don't shows. I won't let
you. All you wanted was achance to get to the States legally.
But you've got it. Listen tome, you idiot. They'll catch you.
You haven't got a chance, George. Please, So I tove across
(50:00):
the border that was last night forthe gate without stopping. Oh. I
knew they would come after me,but I didn't care. It was five
o'clock this morning that I got tothe hospital, and it wasn't until I
climbed those steps that I was reallyafraid. Yes, afraid. It was
too late and nothing left that Icould do. Are you mister Scavasco?
(50:22):
Yes, I'm John mccallom's How isshe unconscious? We're very much afraid.
The steering wheels crushed against her.There's no fight left? Can I can
I go in? Yes? Ofcourse. The doctor's there, Amy,
(50:44):
Amy. She doesn't hear you,Amy, It is George, have come.
I'm here, Amy. Wait.Wait, she go on talking to
her, Keep talking. She doesn'tknow me. She must no, you
happed, quickened, justin. It'sstronger, doctor, he please heim me
(51:05):
breathe, try please die hard.That's right again again, Sorry, Timmy,
heimmy breathe breathe, please you George. I don't know how long I
(51:34):
sat there, but I must havesaid it a million times. Breathe,
breathe. And then this afternoon sheseemed to grow stronger. The doctor sent
me out of the room. Mistermccallams was with me. The doctor said,
she's going to get well. Yes, I thought she'd smiled once,
did she, Mistress of Ascoom.I don't know if she ever told you,
(51:57):
but for a while I had somehopes bother me. She couldn't quite
make up her mind between me andTeachers College. She was saving up for
a postgraduate course. Oh yes,yes I know. And you came along
and we were both out Teachers Collegeand I yes, it's right. She
had saved five hundred dollars. Whatare you looking at, huh? Or
(52:21):
as you sitting down there? Ohthat's Hollywood out that way, Hollywood.
Will they make pictures? Yes?Oh, yes, of course Hollywood.
Well that was this afternoon when misterMcCadam said, Hollywood, I remembered you
(52:44):
a directory moving pictures, and that'swhy I came to you. You see,
there were five hundred dollars missing tosquare the account, and I had
some vague hope that well, youknow, perhaps if you liked my story,
you would give it to me.I I think that can be arranged.
But what are you going to donow? You can't stay here?
(53:05):
What about hammock? Guess what aboutit? Come on, mister Rye.
You've given us quite a chase throughevery operating room in Hollywood. Come on,
no, please wait the still you'vetold you if if they can use
it, of course the money goesto her. Here is a real name
and address on this paper. Itrust you this casion. I understand.
(53:27):
Let's go. Where are you takinghim to jail and have him eat off
the government for a couple of months? Oh no, I'm dumping him right
back where he came from, acrossthe border on our way. Mister Rye.
Well, that's the story Georgiuscavesco toldher to me almost a year ago.
(53:52):
But the real ending happened a fewweeks after that, down there on
that border town where Georgiscavesco sat oneafternoon in a little park writing letter after
a letter, I am mister Rye. Oh hello, mister Hammock writing to
somebody. Well, I come hereevery day and write letters to a user,
to the castle, to Washington,to you. But you see I
(54:15):
never mailed them. They go byair mail on the wind like this fan
see good way to say a post? Who was that one? For the
one you just threw away? Ohthat's not the letter. It's an advertisement
slightly a formed character eager for somedecent work any place on the globe where
they will have him. Ah.In reply to your ed, we herewith
(54:37):
inform you that we have made anopening for you. Write in that border
what a certain immigration inspector neglected toreport a certain incident? And there's no
use shooting off your mouth about itonce you're in there. Mean where in
the United States, there's somebody atthe gate with all your papers. I
don't understand. Aren't you the husbandof an American wife? Go on,
(54:59):
don't keep await Joy Joey here,I am hem, oh darling, everything's
all right. They're going to letyou in. Let me see you inmy
let me look at you. Hereare your papers. You will have to
(55:20):
stay put for a little while ina Zeusa. Do you mind, Josh
Sousa. It is in the UnitedStates, isn't it. Oh? It
sounds very wonderful to me. Andyou will be there, won't you.
(55:52):
Our applause gives proper salute to threefine performances. And now Charles boy hey,
Paul had got it than Susan Haywardreturned to the footlights. Thank you
very much, Simi, I thinkyou should join us in this curtain call.
That performance as the famous directors heshall be the mill was very convincing.
(56:12):
I told Mitchell Lysner directed the picture, that I hoped i'd play his
part as well as he did.I just wish that i'd been your director
for five minutes. And you soundvery bit of pull it, will you're
and reach the wild wind too,Susan. And you'll remember that scene where
I get spanked by Ray Milan.Well, you have to expect plenty of
shall I say, action in themiddle pictures. Yes, but he didn't
have to keep shouting make it morerealistic. Ray, Why everyone else on
(56:37):
the said thought it was a wonderfulscene, Pullet, nobody ever loves the
director. Don't ever become one childwell, never having been spanked at your
commands, cib, I don't beable to gudge that Pullet does well.
If I can't direct, mister demill, perhaps I can give the women
in our audience a little direction,or rather a suggestion. It's on the
subject of complexion care and two wordswill cover it. Lock soap. There
(57:00):
can't be any argument there, Pullette. I've used lux soap for a long
time, and I know that anyonewho tries it will be just as enthusiastic
as we are. And anyone wholooks at either of you will run,
not walk, to the nearest lucksoap counter. What is the play next
week? Semi for Charles, Iimagine everyone remembers the famous play and picture
(57:22):
Merton of the movies. That's ourplay for next week. But the big
news is the stars we've cast nextMonday night, our own special Merton of
the Movie will be Mickey Rooney andstarring with him Judy Garland. So I
(57:42):
hope you can all join us tohear Mickey and Judy and this entertaining story
of the young man who wanted tobe a motion picture star, Miki Rooney
and Judy Garllan in his story aboutHollywood. Well, here is something I
want to hear, SIMI good night, good night, everybody, thank you,
good night, good night. Ithink the whole company will resolved the
matter. To night. Our sponsors, the makers of Lux Toilet Soap,
(58:12):
joined me in inviting you to bewith us again next Monday night, when
the Lux Radio Theater presents Mickey Roneyand Judy Garland in Merton of the Movie.
Is the Cecil b de Mel sayinggood night to you frown Hollywood.
Today, America's oldest fighting force,celebrates this one hundred and sixty sixth birthday.
(58:36):
The United States Marine Corps was foundedon November tenth, seventeen seventy five,
and so we extend our congratulations.Now as always, the Marines have
landed and the situation is well inhand. Charles Boyer will soon be seen
in the Universal Picture Appointment for Love. Paul At Goddard and Susan Hayward were
heard through the courtesy of Paramount.Miss Goddard appears in Nothing but the Truth,
(58:57):
and Miss Hayward will soon be seenin Cecil B. De Mills Technic
Color Production Reaped the Wild Wind.The picture Hold Back the Dawn was produced
by Arthur Hornblow and based on astory by Kitty Frings. Heard in Tonight's
play were Edgar Barriereshommuk, Tony MartelliusFlores and Fred MacKaye's Makehadoms. Tune in
next Monday to hear Mickey Rooney andJudy Garland in Martin of the Movies.
(59:17):
Our music has been directed by LewisSilvers and your announcer has been Melville Royk.
This is the Columbia Broadcasting System.
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