 Lutz presents Hollywood. Lutz Radio Theatre brings you Tyrone Power and Annabella in the Rage of Manhattan. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. To the American theatre in every generation, a benign fortune gives at least one Tyrone Power. That's practically an established tradition, established by a century of the theatre and three Tyrone Powers. I saw the second Tyrone Power many times on the stage and screen both. In fact, Mrs. DeMille and I were in the same stock company with him in Denver 35 years ago. But the first Tyrone Power was playing in New York a little more than 100 years ago. Perhaps I'd better reassure you that I did not see him. Tonight, Tyrone Power III stars for the first time in the Lutz Radio Theatre. The play is The Rage of Manhattan. And that title refers to our co-star of the evening, the lovely and charming Annabella, who has captured the screen audiences of two continents. In The Rage of Manhattan, she plays one of those very dangerous characters, a young lady in search of a husband. The young lady happens to be stranded in a strange country, but that's no handicap at all because she also happens to be beautiful. But there's a young man who's determined that she will not find a husband. And of course, that's Tyrone Power, who comes to us this week from 20th Century Fox, where everybody is very happy over his recent hit in the squash-buckling Mark of Zorro. It's a joy to present two stars like Tyrone Power and Annabella in our play tonight. And you know, it's rather staggering, even to an old time I like myself, to realize that literally millions and millions of you are listening to this play. And it's just a staggering to realize how many cakes of luxe-toilet soap your purchase is amount to every day. How many millions of cakes every week. And we intend to keep on deserving your faith by giving you the best possible in plays and the best possible in soap, which of course is luxe-toilet soap. And now try our prescription for your enjoyment tonight, as we raise the curtain on the first act of The Rage of Manhattan, starring Tyrone Power as Jim Trevor and Annabella as Nicole. Manhattan skyscraper, 83 floors above the street, are the offices of the Tower Model Agency. It's a busy morning and the reception room is lined with most of the city's famous glamour girls. Those young ladies of beauty and charm who smile so provokingly from the pages of our leading magazines. In the doorway stands a pretty but obviously inexperienced young girl. She glances timidly about the room and then summoning up all her courage approaches the secretary. Good morning, please. What? I said good morning, please. You're welcome. What do you want? How can I have a job here to model? Are you registered? Registered. Oh, yes, I am registered. Did you get a call from Mr. Wright's office? Well, I... If you didn't, there's nothing for you. Sorry. But I did. He called me. Mr. Wright. Well, then go in, please. That door over there. Thank you very much. Hello. Hello, Miss Ingram. Get me Mr. James Trevor's address, please, right away. Yes, sir. Hello. Hello. Did I call you? Oh, yes, sir. What for? I don't know to be a model. Say, you've got an accent. Yes, I can't help it, but it couldn't show any picture, no? Well, no, that's right. Sit down. Now, let's see. This job is... Oh, here's that address, Mr. Wright. James Trevor. Okay, thank you. Leave it right there. Now, young lady, this man is a first-class photographer. You pose with drapes. Pardon? Yes, like on windows. Oh, drapes. And what else? Nothing else. You mean you want me to pose and have my picture taken just with a few drapes? Who do you think I am? You don't want to do it? Me? No, I never do it. Okay, excuse me. You, that girl over there. Yes, sir? I have a job for you to pose and drape. How much? $2.75 an hour. Well... Wait out here and I'll get you the address. Mr. Wright. Are you still here? Mr. Wright, I changed my mind. I will take the job. Sorry, I just gave it away. Oh, but I needed job so bad. Nothing else today, Miss? Come back next week. Yes, sir. Thank you, sir. Oh, where in heaven's name is that address? Miss Ingram. Yes, sir? I thought I asked you for James Traver's address. Well, I gave it to you, sir. Oh, where is it? It's on your desk. It is not on my desk. But I put it there. Well, it's not there now. You didn't give it to that girl, did you? What? What are you talking about? Well, that girl, it was just in there. She had a slip of paper in her hand when she came out. Miss Ingram, since when has Mr. Traver been a photographer? I know he has. Then why would I give the girl his address? But she might have thought he was a photographer. Miss Ingram, I don't wish to argue. Mr. Traver is our biggest client, and he's waiting for those proofs. Will you please get his address so I can send them to him? Yes, sir, I will. The Tower Agency is sending us the proofs this afternoon, so you'll have a chance to look over the whole setup. Sounds fine to me, Mr. Traver. Good. And if there's anything further you want to talk about, I'll be in my office till lunchtime. Goodbye. Goodbye. How do you do? What the... how did you get in here? You are Mr. James Traver, no? I am Mr. James Traver, yes. But I'd still like to know... Where can I change my clothes, please? Huh? My clothes. I'm ready to change my clothes. Oh, are you? Well, you don't want me in this dress. The man said so. I'll take it right off. Oh, no, wait a minute. Wait a minute. Would you mind telling me just what this is all about, please? About? Yes. What's all this for? Oh, for $2.75 an hour. $2.75? Is that too much? Oh, no, no. Go right ahead. It's worth that to see what happens next. You sure you are Mr. Traver, like he's on this paper? Let me see. Yeah, that's me, all right. Oh, then where are the draps? The what? The draps. You have the draps. Well, I don't know. I had the measles. What are the draps like? Listen, where is your camera? Cam... oh, my camera. Now, that's a long, sad story. I lost it. You lost it, but you are a photographer, no? Now, that's where you've got me. I am a photographer, no. What are you? I'm a model from Towers. A model from Towers? Now, that's very interesting. I think I'll just give them a ring. Oh, no, no, please. Don't call them up. I... I'm not supposed to be here. Uh-huh. I am from Towers, but they didn't send me. They said about the draps and I come here. All of which sounds very, very fishy. Oh, Sanders. Yes, sir? Ask Mr. Humphrey and Mr. Charles to step in here. Yes, sir. I think we ought to have witnesses to this. Something's phony. Oh, no. Nothing is funny. I... I just wanted to make a little money. That's all. Yes, that's what I thought. Uh, come in, gentlemen. What's the matter, Mr. Trevor? This girl forced her way into my office. She wants to know where she can change her clothes. Doesn't this look a little haywire to you? Uh-huh. It's a good thing you sent for us, Mr. Trevor. It certainly is haywire. What does this mean, haywire? I'm a model for $2.75 an hour. Oh, it's undoubtedly a bargain, but you see, we can't use it. Oh, vous êtes des gouttants. Vous êtes tous affreux. You old idiots. You pigs! How dare you make fun of poor girls who run it? Well, gentlemen, undoubtedly, there's a moral in this somewhere. So will you please go back to your offices and think about it? If you find out what it is, let me know. I run from the office and I'm so mad. And then I come back here and still have no job. Come on, drink your tea. You'll feel better in a minute. But I must have a job. The lonely dissay she will lock me out if I don't pay her tomorrow. The old war horse. But don't you worry. I still have a couple of bucks you can have. You? Oh, no, I can't. What do you mean? You gotta have a place to sleep, such as it is. But why are you always so good to me? Well, I suppose you gotta be good to something and my dog died the week before you moved in here. I must get a job tomorrow. Listen, Nicole, I've been telling you for months there's only one job for a woman and that's marriage. Who'd marry me? And there's nothing the matter with you that a nice rich husband couldn't cure. Did you marry a rich husband? Me? I married a hoofer. A hoofer? Dancer. Oh. Great guy, heaven rest his soul. When I married him, I turned down a millionaire. Every time I think of it, I want to cut my throat. But you love the hoofer. Yes, my luck. We used to go to Ryzenwebbers every night after the show. I could have had anybody there from a millionaire down to the bus boy. There was a funny kid, that bus boy. Say, he's at the Grand Savoy right now. He's the head waiter. He'll give you a job. Oh, you think so? I know so, Michael. Do anything I tell him and we're going to tell him tonight. Tonight? Gloria, I do not believe it. How are you, Mike? It is not you, but it is you. We're looking so good. Come into the kitchen where we can talk. Who is this? Your daughter? How do you do? No, Mike, she's just a friend. Nicole, this is Mike. How do you do? It is an honor. Mike, I know you're busy, but this young lady wants a job. A job? But I couldn't put anybody on right now. What about season? Yeah, so I see. What do they do in the good season? Hang from the chandelier? And when it gets better, I can't put her on either because I won't be here myself. I am going to open my own restaurant. You are? When? Very soon. I have found just the place. But not the price? No. I have $3,000, but I need money to renovate. That's great. I'm sure you'll get the rest of it. And when I open my own business, I may be able to put the girl on. I'll address you for Mrs. Bitten. One moment, I will fix it myself. I'll be right back, Gloria. Excuse me, please. Sure. Well... That's too bad, isn't it? It would have been so nice to work here. Mm-hmm. But look at those girls in there in the dining room. That's where you belong, not in the kitchen. If I only looked like you do and know what I know now, I'd be in there brushing caviar off a mink coat this minute. You think I could? Could be like those girls? Sure you could. All you need is clothes, a decent place to live, a chance to meet the right people, and... Yeah. You know, about $3,000 to land you a swell guy. $3,000? Yeah. I think I got an idea. Mike, come here. Yeah. Listen, Mike, you need some more money for that restaurant, don't you? Another $3,000, that is all. You want to be my partner. I'd like to talk about it a little bit. Wonderful, wonderful. We will meet later tonight and we will talk, eh? No, I'll talk. You'll listen. We'll not do it, no. But I tell you, we can rent the clothes. Give her a big build-up. We'll move right into this hotel so you can keep your eye on the restaurant. Oh, it is crazy. It is insane. Look at the work, Mike. Look at Nicole. Imagine what she'll look like dressed up. I tell you, she'll be the rage of Manhattan. And when she marries a millionaire, you'll get your $3,000 back, plus another $3,000 for your restaurant. Think of it. Your own restaurant might live better of it's grills. No, it is too much of a gambler. I am not the gambler. I am... Do you really think it would work? This way, please. Your sweetman, Moselle, the best in the hotel. Oh, thank you. It looks wonderful. How many rooms, manager? Eight, madam, and three baths. Yes, I think we'll be comfortable here. If there's anything Madame requires in the way of special service, we will be only too happy to arrange for it. Good morning, Madame. Will you have lunch and served in your room? Yes. Thank you, Mike. I mean, thank you, my good man. If you need a maid to help you unpack, just form the desk clerk. I think my niece and I can manage. Thank you. Well, remember, we are all at your service at all times for all things. I thought he was going to stay for breakfast. Isn't it wonderful? Gloria, Mike, look at my coat. It's like a dream. It costs $30 a day to rent that coat. That's not a dream. It's a nightmare. Let's get on with it. Let's get unpacked. Mike, I'm worried to pick this suite. Because Bill Duncan lives across the hall. Who's Bill Duncan? He has $10 million. $10 million? Well, we'll dedicate this little blue number to him then. Go inside and try it on, Nicole. Oh, it's so wonderful. So beautiful. I can't wait. Oh, she's such a child. Yes. And while she's growing up, it's costing me $60 a day for this suite. That's a nickel a minute. And a penny and a half every time you draw your breath. So hold it. Don't make jokes at these prices, please. Listen, if you lose a cent on this deal, I'll give you my right eye. And I'll take it. Stop worrying. Tell me about this Duncan man. He's got $10 million. Isn't that enough? Maybe. How does Nicole meet him? That is up to you, not me, but make it soon. Yeah. Tomorrow morning, I think, let's see. Nicole meets him in the hall by the elevator. She thinks she's an old friend. A natural mistake. She speaks to him. He speaks to him. You all right now, Mr. Duncan? Thank you. Charlie, Charlie. Attendez-moi. Attendez-moi. It's Nicole. I beg your pardon. Oh, Charlie, qu'est-ce que vous faites ici? Y'a un temps. Faut que je ne vous ai pas vu. Quelle chance de vous rencontrer. Comment allez-vous? I'm sorry, but I think there's some mistake. Charlie, why don't you speak to me in French? Well, principally because I don't speak it. Charlie, are you sick? I don't think so. Are you not Charlie Dumare that I met in Paris four years ago? I wasn't in Paris four years ago. Oh, you are not Charlie. I'm so sorry. My name is Bill Duncan, but please don't be sorry. Oh, but I am. I've made such a big mistake. Excuse me, please. Oh, no, wait. Do you live here, in the hotel? Yes, I live in Suite 1460. Oh, then I'll see you again. Please. Excuse me. Oh, but wait. Wait. Listen, couldn't we just... Nicole, it worked. You think so? I know so, darling. It'll be the same old story in the same old settings. Lunch, one day, dinner, the next, races, hockey games, nightclubs. Oh, I like that. It doesn't mean a thing. But if he invites you to the symphony and sits you in the family box, then, my dear, that's love. Do you like it, Nicole? Oh, it's wonderful. Hey, Bill. Bill, what? Who's calling me? It's Bill. It's me over here. Jim! Why, you all? Why, who is it? An old pal of mine. I haven't seen him since New Year's. Bill, I'll see you outside. Okay. By any means. Nicole, will you excuse me? I'll be right back. Of course. Nicole, what's going on? Gloria, that man Bill just went out to see. It's Mr. James Draper. Who's he? Oh, Gloria. He's the man I told you about. The man in the office. Oh, my goodness. Oh, shut up. I got troubles on my own. How've you been? Great. It's good to see you, Jim. Who are you with? A customer. Well, get rid of him and join us. I wish I could, but he has a big contract in his pocket. Oh, forget the contract. Come on. I can't, Bill. It's business. Who are you with? A girl. Jim, she's really something. Two diplomats tried to blow their brains out last year because she wouldn't marry them. Sounds interesting. Interesting. She's marvelous. Daughter of a baron. Her Aunt Gloria told me so. Oh, she has an aunt, huh? All nice girls have aunts. Well, never mind the aunt. When do I meet the girl? Uh, wait. You still like Brunettes? Sure. That's fine. Nicole's a blonde. You can meet her. I can't wait. Oh, you won't have to. There she is. Nicole! Nicole! What's she going that way for? Nicole, here! Wait, Nicole! Here? Nicole, I want you to meet an old friend of mine. Jim Trevor. How do you do? Well, how do you do? I'm charmed. I was afraid of that. Yes, too bad you can't make it for supper with us, Jim. Don't believe a word he says, ma'am Zell. I wouldn't miss it for the world. Too near the music, Nicole? Oh, no. This is wonderful. I think so, too. Tell me, how long have you been in New York, ma'am Zell? In New York? Why? I, uh, just a week. A week? I should have said that you'd been here longer than that. Oh, she fooled everybody, Mr. Trevor. I'm sure she does. That reminds me. I don't know why, but the funniest thing happened to me about three weeks ago in my office. A young lady called and got herself into my office. Would you, young people, like the doll? Oh, yes, yes. It would be a great pleasure if I may. Oh, but, uh, you don't mind, do you, Bill? Uh, well, no, I guess not. Thanks. Now, ma'am Zell, suppose you tell me all about it. About it? About what, Mr. Trevor? I think you know everything. The grand Savoy, the big play for Bill, the clothes, all this stuff. Stuff? Now, please, don't stall. I know there's monkey business going on, but what I'm sure of is that my friend Bill isn't going to be the monkey. Monkey? I don't understand monkey. I'm sorry. I'm sorry, too, but you're going to understand it. Come on outside while we can talk. Again, I am sorry, but I have nothing to talk about with you. No? Then suppose we go back to the table and I'll tell Bill how you were in my office three weeks ago posing as a model. Oh, we will go outside. Good. This way. All right, then I'll do the talking. The whole act is to impress Bill that you're a nice girl from a nice family. You want to marry him, then divorce him in a few months and live happily ever after on the alimony. Right? That's a very dishonest, cheap idea. Shall I go on? Yes, I can took it. Fine. I can dish it out, too. I want you to lay off, Bill. Tell him the truth, because if you don't, I will. You don't know anything about me. I know enough. Three weeks ago, you were in my office with some other kind of a racket. When he knows about that little episode, you're finy. Who tells him? You or me? I will tell him. When? Tomorrow. Oh, no. You'll tell him right now while I'm here. I started this and I want to be in at the finish. All right. You see the finish. They're coming now. All right. I tried to do a good job. Hello. Remember us? Hey, Jim, I just loaned to Nicole for a dance. I didn't give it to you for keeps. Oh, Bill, please forgive me. But we have been talking and shall I tell him now, Mr. Travo? Sure. Go ahead. Tell me what? His story. Mr. Travo wants me to tell you a story. Nicole, maybe you better tell it to auntie first. Oh, no. I can't tell it to everybody. He wants me to tell you that I once went to his office. Is that right, Mr. Travo? That's right. And he was taking photograph. And I was to be the model to pose with draps for a calendar. That's it. He said it will be a big joke. Don't you think it's funny, Bill? Very funny. Excruciatingly funny. You don't see why it's so funny. I'm not a model, and I never pose for one picture. And he's not a photographer. Everybody knows this. But anyhow, Mr. Travo says, if I tell you this joke, it takes me out to dinner tomorrow night. Oh, so that's it. What are you trying to do? Oh, that's what you said. No, if I tell Bill this story, you and I, we can go to dinner tomorrow all by ourselves. Why, you little... I beg your pardon, Mr. Travo. Bill, I never said that. She's... It's all right, Jim. I get it. But I tell you this... I'll forget it. It's okay, I tell you. Now, wait a minute. Come on, Nicole. I'll take you home. Thank you. I'm so sorry, Mr. Travo, but you see, I could not lie to Bill. He's my good friend. I could not make him the monkey. Good night. After a short intermission, Mr. DeMille and our stars Tyron Power and Annabella will return in act two of The Rage of Manhattan. Now, here's Libby Collins, our Hollywood news reporter and super sleuther. Where have you been sleuthing today, Libby? Well, I've been over at Paramount, but it doesn't take much sleuthing to find out what they think of a certain young star over there. Over at Paramount? Mm-hmm. I bet I know the star you mean, but just give me this much of a clue. Is she blonde or brunette? Both. What? I said, she's both blonde and brunette. Her studio claims she's the only blonde brunette in Hollywood. You see, she has brunette coloring, but casting directors say she has a distinctly blonde personality. She's very vivacious and she's, oh, but you know Patricia Morrison as well as I do. Patricia Morrison? Why, of course, I should have guessed. Well, I know just three things about her. I know she's a fine little actress because I saw her in Rangers of Fortune. I know she's a striking beauty. And I know she's a luxe girl, too. I was just getting around to that. As a matter of fact, Patricia's used luxe toilets over a long time. She says her daily active leather facials help her skin stay just right. Nice and smooth and soft and camera clear, as she calls it. Well, that's fine to be. And now before I tell our listeners exactly how to take a luxe soap active leather facial, is there anything more you want to tell us about Patricia Morrison? Well, I thought maybe you'd like to know that in addition to her acting ability, she has another talent. She's an excellent fashion designer and fashion designs in a spare time. Sort of a hobby, you know. But she hasn't much spare time. She's very busy now making another Paramount picture the roundup. Oh, yes. I'm looking forward to seeing you, Libby. And now about the luxe soap active leather facial that Hollywood stars and starlets use as a daily complexion care. Here's all you do. Just pat the gentle luxe soap leather lightly in, rinse with warm water, a dash of cool, and then pat your skin dry. Active leather has removed every trace of dust, dirt, and stale cosmetics. Now your skin feels wonderfully smooth and soft. Take Hollywood's tip. Try active leather facials for 30 days. See if you don't agree they're the best care you ever found for your skin. Now, our producer, Mr. DeMille, act two of the Rage of Manhattan starring Tyrone Power as Jim Trevor and Annabella as Nicole. It's later the same evening. Determined to protect his friend from the designing Nicole, Jim Trevor has settled himself comfortably in Bill Duncan's apartment. He's still there reading a newspaper when Bill returns. Hello. Hello. Hello. What are you doing here? Just reading the newspaper. You know, if Orphan Annie gets out of this jam, she's a miracle woman. That was a nice trick you pulled tonight, Jim. That's the reason I'm here. Bill, there's something phony about that, young midi. She's not what you think she is at all. Oh, get a new line, Jim. No, I'm serious. Yeah, you were serious in Bermuda, too. Remember, Sonia? Same story. But not the same girl. And then I pulled it on you in Miami. Yeah, what was her name? Uh, Eloise. But Bill, this time let's be sensible. My idea, exactly. Oh, I don't blame you for trying, but it won't work. All right, be smart. But that girl's a phony, and I'm going to prove it to you if it takes me a month. Well, you don't mind if I get a little sleep in the meantime, do you? Are you going to be an idiot about this? Not tonight. I'm too sleepy. Good night, Jim. Okay. But I'm not through yet. Good night, sucker. This Mike with a fur coat. Wait a minute. Where is she? Where is she? What's the matter? Look, her fur coat, she left it downstairs. Does she think fur coats grow on trees? I'm so sorry, Mike. I forgot it. Forgot it. She forgot it. Mike, please calm yourself. We could be very proud of our little girl. She saved all of us tonight. You were wonderful, Nicole. Yes, wonderful. Well, don't cry about it. What's the matter with you? That's the first time anyone ever said anything like that to me before. Said what? Mr. Trevor. He said I am cheap. Well, you paid him back for that. He's got some nerve. Cheap. I figured out just now what it cost tonight. $87.50 for rentals. Cheap. What does he want you to wear? Radium? He meant I was dishonest. All women are dishonest. If they weren't, there'd be just two classes of people in the world. Old maids and bachelors. Lipstick is dishonest, and clipped eyebrows are dishonest, and rouge is dishonest, and a fat woman and a girdle, well, that's highway robbery. Of course. It is so simple. When I put parsley on a steak, does anybody ever eat the parsley? No, it is for sure. What you are doing, Nicole, is just putting parsley on a steak. You are the steak and the clothes and all the other stuff is just the parsley. Exactly. Oh, please, stop talking about it. Let me alone. No, Luke, I am a partner in this. Leave her alone. You're the silent partner. Leave her alone. Somebody tells us she's cheap and right away she gets unreasonable, but can I get unreasonable? No. Now, Mike, everything's going to be all right. Sure, it's going to be great. I started out to get a restaurant. I'll be lucky if I wind up with a sandwich. Oh, shut up. Hello? Oh, excuse me. Why, yes, just a moment. Because it's him, that travel guy. I'll speak to him. Hello? Hello? What do you want? I was thinking about that dinner you said I wanted to take. I don't have dinner with you. How are you? It's seven sharp. I won't come. I don't like you. I'm sorry. Yes, sir. I want everything to be just right tonight. It will be, sir. I assure you. Thank you, Wrigley. Mr. Trevor, sir, the young lady you're expecting for dinner. Her name is Miss Day Cotillon, isn't it? Nicole de Cotillon, yes. Oh, sir. I saw this item in the evening paper. The Madden Manhattan column, sir. Oh, let me see. It might explain things in the event that she doesn't come, sir. The Duncan clan is gathering tonight at the Grand Savoy to meet young Bill's new heartbeat, Nicole de Cotillon. If they put the stamp of approval on her, as your correspondent did when he saw her in a night spot recently, there will soon be a formal announcement of their engagement. But you don't have to worry about that, Wrigley. She'll be here all right. It was her command invitation. Yes, sir. But if I might be permitted a suggestion, sir. Well? It's rather a dangerous business, sir, interfering between a man and a maid. Yes, Wrigley. I know I'm in trouble without your telling me. There was a certain affair along those lines in my own family. As a matter of fact, it's the way my second cousin lost his right eye. Oh, you don't say. I know you and Mr. Duncan are great friends, sir, but it was my second cousin's brother who knocked out my second cousin's eye, sir. Well, I'll have to take that chance, Wrigley. Yes, sir. I hope you forgive my mention of the incident affecting one-eyed Wrigley, sir. Oh, there she is. Let her in. Good evening, miss. I think Mr. Tiber expects me. Indeed I do. Hello. Hello. So nice of you to come. Well, and you told me to. But some little girls don't always do what they're told. Where's Bill this evening? He's with his mother and father and some friends. They are waiting for me. Oh, yes. Yes, the reception. I think that is a word. So you see, I'm in a hurry. Tell me what you want me for, and then I will go, please. Dinner is served, sir. There's your answer. Dinner. I don't want to eat dinner. Now, look. You do what I tell you to do, or I'm liable to get mad and throw you out the window. Now, sit down. I have a lot of nasty things to say to you, and all I want you to do is eat and listen. I'm waiting. Why am I here? You may pour the wine, Wrigley. Yes, sir. Well, this is pleasant, isn't it? You know, you look very nice by candlelight. Some people might even think you were beautiful. I wonder how many men have told you that? One too many. But I never said you were. You said it. I didn't, but it's true. You dress with judgment. Your manners are, well, fair. You have the sort of eyes that some men like. Of course you drink your wine too fast, but I'm sure no one notices the little flaws when they look in the general direction of perfection. You said it, Mr. Traver. Your English is rather limited, but if you never opened your mouth, if you never did anything but just sit there like that, you'd still be perfect, except that the tip of your nose is shiny. Will you please explain what I am doing here? All right. I thought there might be a chance for us to find a nice, friendly way to call off hostilities. Pardon? End our little battle. Provided, of course, that there is some way I can make you give up this idea about Bill. I'm sorry. Now, you're not going to tell me that you're madly in love with him. I'm going to tell you nothing. You're a very smart girl. I don't think so. Oh, yes, you are. Because you know if you told me you were in love with Bill, I wouldn't believe you. But by refusing to answer, you get credit for being honest. Bill is very lucky. To get you? No. To have a friend like you who fights so hard for him. Come on now. Won't you be regular and drop this whole thing? But to do this, I mean money. About $3,000. I thought so. $3,000, eh? Oh, but... Do you hear that, Wrigley? Do you want me to hear it, sir? I do. I did. Good. And remember it when I tell Mr. Duncan tonight. Oh, no, no. You can't do this. I didn't want you to give it to me. This is a trick. It isn't fair. I'm sorry, ma'am Zell, but the age of chivalry is dead. When I come back, we'll go to the funeral. Where are you going? To see Bill. Like to come with me? You, you. I'll see him myself. Come back here. Wrigley. Yes, sir. And get mine, too. We're going to a reception. Mr. Trevor, I don't like this, sir. Shut up, Wrigley. You just have to tell the truth. That's all. But I can't seem to forget about my second cousin, sir. Jim. Hello, Bill. Well, this is a surprise. It's always a surprise when somebody that's not invited shows up, isn't it? Oh, I'm sorry, Jim. But I didn't think you'd want to come. I, I think I've met this gentleman, but I, I can't quite place you. You remember good old Wrigley? Oh, yes. How do you do, Mr. Wrigley? How do you do, sir? My butler. Yeah. Oh, your butler. Very nice idea. Make yourself comfortable, Wrigley. I'm very uncomfortable, sir. Go ahead, Wrigley. Speak your little piece, and we'll get out of here. Well, sir. Well, well, you see... Speak up. Speak up. Well, it was a... Mr. Trevor, I can't do it, sir. All right, then. I can. A few minutes ago, Bill, your fiancé was up in my apartment trying to hook me for $3,000. You asked for it, Jim. For what? This. Ah! Sorry, Jim, but I had to do it. You big chump, you. Maybe you'd better leave. Sure. Good night, all. I'm terribly sorry. I'll bet you are. Oh, please come back. I'll explain to everybody what you meant. No thanks. Oh, but I'm so sorry, and I want to help you. Yeah? Get in the car. What? Come on, get in. Out! What are you doing? Let me out. I have to go back there. I don't want to go with you. Let me out, I tell you. Take me back. Take you back when I get good and ready. You are a gangster. You are a... You are a... A beast is the word. Beast? Yes, you are a beast. Well, I don't stay in the car with a beast. If you don't like it here, jump out. We're only doing 40. Oh, you want me to hurt myself? I won't do that. Oh, please. Just as a favor to me. Oh, look out where you are driving. Look out! Hang on. This is when you don't behave. We almost hit that truck. Are you all right? Yes, I... You... I can't talk. Good. It's the best news I've had yet. Will you tell me now where you are going to take me? Keep still and you'll soon find out. I don't care because when I get there, I get back. Sure. How? I hitch hitch. You what? Hitch hitch. Oh, you mean hitchhike. Oh, it's what I said. Now, the only thing that goes by the place we're going to is the milk truck. And that's at four o'clock in the morning. You've got a lot of practice waiting for it. By the way, I suppose you know the accepted hitch hitch gesture is made with the thumb. Like this. Ouch! Oh, by you, you bit my thumb. Sure. This is nothing. Just wait. I make a lot of trouble for you. Is that so? Well, I can took it. Here's where we get out. What place is this? My little gray home in the mountains. Get out. I won't. All right. Don't. What is that? Don't be afraid. That's the caretaker. Used to be a hog-calling champion. What is a hog? A big pig. I could say something, but I don't. Hello, pups. It's me, Jimmy. Jimmy, let me have a look at you. Gosh, but you're looking fine. I feel great. Say, you ain't been here in so long. I was beginning to commenced to forget what you look like. What are you doing up in this lake of the woods, son? It's a long story, pups. Well, it ought to be worth hearing. Later, pups. Sure. I'll open the house and light the fire so it'll be nice and warm for you. Come on, you. No. Come on. No. I'm going to sit down and strike. No. Then I've got to get you a coat. I don't want a coat. I'm going to get pneumonia and die. Then what will you do with a buddy? I'll show you. Now, here. You're going in here. You're going to like it. Oh, don't. Put me down. Put me down. Stop kicking. Stop it. Put me down. Oh, sure. There you are. Well, well, well. Married, did you mean? Pups, I'd like to. What did you say? Carrying the bride across the threshold, eh? Well, I always said when you get spliced, you'd pick out a lullapalooza. What is it, lullapalooza? You call me. Pups, I just... A lullapalooza is a humdinger with big blue eyes. Oh, can't you speak English? Yes, speaking English, but it's also nonsense. I hope you'll be as happy as two jade birds in a cherry tree. And I'm mighty glad to see somebody as pretty as you in the family at last. Pardon? Now, Pops, you've got this all wrong. Let me explain. What is this? He thinks we're married. Oh. Oh. Then why don't we tell him the truth? I have every intention of telling him the truth. I think we should tell him. Now listen, you... I didn't need to be told. I knew it the minute I seen him carry over the doorstep. It's the custom in these parts. Yes, I know it's the custom up here, Pops, but it's also the custom... Now, don't be mad, Jimmy. Jimmy! You see, Pops, it's a secret, but if you have to know, you have to know. Oh, it's a secret, huh? Well, I won't tell nobody. I'll have something for you to eat and do shakes of a lamb's tail. Well, now you've fixed it. I didn't tell him. He told me, and I said, yes, Jimmy. Stop calling me Jimmy. If you like, I'll call you Mr. Trevor, but I think it sounds funny for me, Bride. You're not a Bride, and you're not going to be one. That's why you're here. And you're going to stay here until you make Bill understand what you are and what you did. And if I stay here and I don't say we are married, I get a bad reputation. And I get a bad reputation if you do. Then take me back. No. I don't care what happens, you're staying here. Okay. I told you, didn't I? I make an awful lot of trouble yet. Just wait. In just a moment, Mr. DeMille and our stars Tyrone Power and Annabella will bring us Act 3 of the Rage of Manhattan. Well, what have we here? Or whom have we here, I should say? Well, you remember us, Mr. Rueick. We're the Lux Toilet Soap Symbols. Why, of course. For a moment, I thought you were just six pretty girls. Oh, very pretty girls. Oh, no, Mr. Rueick. We're symbols. We stand for six Lux Toilet Soap qualities. I'm its mildness. That means Lux Toilet Soap cares gently for even delicate skin. You ought to ask each of us what quality we stand for, Mr. Rueick. Well, you then all dressed up in that lovely white satin dress. What quality do you stand for? Well, you just practically said it yourself, Mr. Rueick. I'm Lux Toilet Soap's whiteness, a quality that makes Lux Toilet Soap very popular with choosy women. Oh, I see. Well, who's next? I ought to be next, Mr. Rueick, because I stand for Lux Soap's purity, and that's a very important quality. Only the finest ingredients are used in making Lux Soap, Mr. Rueick. Yes, that's right. And now with the next one... I stand for Lux Soap's... Just a moment, girls. Please, one at a time. We'll take that tall blonde girl next. Oh, I stand for Active Lather. Lux Soap's Active Lather that does such a thorough job. And now the little dark girl. I stand for Lux Soap's perfume, the nice, delicate fragrance that makes it such a wonderful bath soap, too. And now last, but not a bit least, I assure you. Oh, thank you, Mr. Rueick. I stand for the long-lasting quality of Lux Soap. You know, Mr. Rueick, Lux Soap is as hard milled as the finest French Soaps are. And that means it's economical to buy, because it lasts and lasts. Well, thank you. Thank all of you. Thank you. Good night. It's been a pleasure to have you here, and I assure you the best-looking set of symbols any complexion soap could ask for. Thank you, and good night. Good night, Mr. Rueick. We pause now for station identification. This is the Columbia Broadcasting System. The curtain rises on the third act of the Rage of Manhattan. The hour has passed. In the lonely cabin, Jim and his fair prisoner sit before a cheerful fire. Nicole, gazing into the flames, is secretly amused about something. Jim hears a sound suspiciously like laughter. What's so funny? You might tell me what the joke is, you know. I was just thinking of something. It's very amusing. What is? You wouldn't understand. No. Here's your dinner, folks. Just country ham and country cheese. By the moment we're coming up, I'd have shot a couple of rabbits. This'll do nicely, pops. When you want me to clear up, just ring the bell. Where's the bell? Now, son, you know we ain't got any bell. Just give out with the old suey. Okay, pops, thanks. Say, Miss, aren't you going to eat something? No, thank you. Girls nowadays don't eat any more on a hummingbird. I remember when I was young. That's all, pops. Thanks a lot. Oh, won't be alone, eh? All right, son. Wait, Mr. Pops. Yes, ma'am. Mr. Pops, where is the telephone, please? Telephone? Well, I'll tell you. Go to the head of the stairs out there and turn right. You'll see a little door on the wall about so big. No, about so big. Phone's in there. Oh, thank you, Mr. Pops. But they're connected. Oh, but can't you make it connected? I can if you want. Oh, yes, I do. All right. Take about 10 days. I'll write the company in the morning. 10 days. That ought to be enough time for you to come to your senses. Have some cheese. No. I'm very particular. About what you eat? About who I eat with. Charming girl. Who is this man? What man? In the picture up there. A funny-looking one. Oh, the funny-looking one. That's my father. I thought so. Who is the other one? My grandfather. He's funny-looking, too. Yes, he is, isn't he? I never noticed. Why do they all have guns? They were hunting. Oh, hunters. Yes, I come from a long line of hunters. I think you come from a long line of sourpusses. And you are a sourpuss, too. Thank you very much. Look, if you let me in on the joke, I can laugh with more feeling. It's no joke for you, but it's a big joke for me. I've just been thinking what happens when Bill Dakin comes here. Oh, is he coming here? Oh, sure. He comes right in this door, and he says, you ask for it, Jim, bang, and it hits you right on the nose. And you fall over in that direction. Oh, pardon me. I better move the wood box so you don't cut on your head. You think it'll happen just that way? Why not? It happened that way before. It happens that way again. You like the idea? I think that will be a lot of fun. Thanks. No, I'm going to bed. What? I'm going to bed. I've had a rather tiring day. Good night. Wait, I cannot stay here. You'll find everything you need in that room over there. The drama's in the dresser, slippers in the closet. Now, good night. I want to go back to New York. Go ahead. Write down that road and turn to your left. It's 86 miles, and it'll take you four days on foot. If you don't take me back, I'll scream. Oh! That's not bad. Try it again. Oh! Hear any answer? Hmm. No. Not too bad. I guess 86 miles is too far to yell, even for you. Good night. What is it? Just a minute. It's you. Oh! Were you asleep? No. No, I was doing a fan dance. I'm very sorry. I know. You're afraid in that great big room. Go back and be scared to death. I'm not afraid. Well, I am. Go away. I cannot get the window open in my room. A likely story. It's very simple. All you do is lift up. But I have to lift up. Nothing happens. Then go to sleep. But I cannot go to sleep if the window is not up. I need fresh air. All right. All right. I'll get you some fresh air. Come on. This is a terrible house. The fresh air is all on the outside. There is no fresh air on the inside. Which window do you want open? Oh! How easy. Such a strong man. Well, is that all? That is all. Thank you. Good night. Oh, wait. How can I get a glass of water, please? A glass of water? Mm-hmm. Oh, that's practically impossible to get up here in the mountains. Because you see, you have to go all the way over to the table here. And take the carafe between the thumb and the forefinger. Remove the top. Lay it gently aside. Lift the glass. And, uh... Oh. It's empty, isn't it? Yes. That's what I meant. Yes. I'll get you some. Hold on, brother. I'm not first anymore. Good. Anything else you want, will you kindly tell me now or forever after? Shut up. No, thank you. I'm going to look out the window if you don't mind. No, no. That all comes with the dinner. Pardon? Nothing at all. Go ahead. Look out the window. Do anything you please. The country is nice. Everything is so quiet. I'm going to like it here while we are waiting for Bill Duncan to come and knock you down. It is so lovely. No, keep quiet. Good night. Ah! What's the matter now? All right. Take it easy now. Oh! Oh, my back! How did you ever do that? You did it, slamming doors. I was looking out the window and it fell on me. I'm helping all over. Get out of here and let me alone. No, it's all right. Just sit down quietly. It hurts me. Look. Is it bleeding? No, it's all right. Just kind of red. The blood is red? No, no. The back. Don't make such a fuss. You're not going to die. But I'm going to be a creeper. Just a cramp where the wind came down on the muscle. Try to straighten up. There. You think it's not broken? It's not even bent. Now, stand up. Up, up. Now, how's that? Well, I think me and my back feel better. Thank you. Now, go to bed. Yes, please. And remember in the future that bad girls who do bad things always get hurt. But I didn't do anything. I know, I know. It was my fault and I'm glad you aren't hurt. Good night. Good night. Oh, Mr. Trever. Yes? I have something to tell you. Yes? You won't have to worry. I shall not marry Bill Duncan. What? No. Good. That's all I wanted to hear you say. I know. I don't want to do anything you don't want me to do. You see, I rather you like me. That's all. Why? Because even though you are flesh and I hate you. Well, I like you too, I think. You mean that? I never say things I don't mean. Really? Well, just tell me one thing. Yes? How in the world did you find out that I had more money than Bill Duncan? Oh, did I? I don't want to see any more. I hate you. I hate you. I'm sorry. I shouldn't have said that. Do you want to slide on? More. Well, good night then. I hope this will be for the last time. Mr. Strava. Yes? I would like to tell you something. What is it? You think I'm very terrible, don't you? Well, I don't know. What do you think? I think so too. But you see, I was all alone and I had nothing. And Gloria told me that the best thing for a girl is a good marriage. And the head waiter, Mike, he gave her the money to meet a nice rich man. And I met Bill, not so. I see. Well, you know, I may be old-fashioned, but it always seemed to me that a girl should be in love with a man she marries. Oh, yes, but when I met Bill, I didn't know anything about love. And now you do. Well, yes. Are you really in love with Bill? No. But you said that I don't get it. No, I know you don't. It doesn't matter now. Good night, please. Good morning, son. How are you this fine morning? I'm tired and hungry. I'll take care of that. I'll have you some breakfast up before you can save Jack Robinson. Fine. We had a rather hectic night. Oh, I slept like a log, didn't hear any of it. I'm a little deaf. Bring lots of coffee, will you, pops? Sure, lots of coffee, ham and eggs and some biscuits. Hurry it up. Ham and eggs all right for you too? Who are you yelling to? Mrs. She's not in that room. She's over here. Come on. Time to get started. She don't answer. Maybe she's mad at you. She ought to be. Hey, come out. Come out or I'll come in. All right then. I told you to hurry up. Hey. What's the matter, son? She isn't here. She's gone. Say, I didn't see your car outside. You suppose she went somewhere with it? I guess so. Well, what are you looking so glum about? She ain't lost. I'm afraid she is, pops. As far as I'm concerned. Where have you been, Nicole? Yes, where? Where? Where? I'm sorry, Gloria and Mike, please. Where were you? Mr. Traybury, he took me. No, you ruined me. Why did you do it? Why? Oh, Mike, I don't know. I just run out. You ran out on me. You ran out on Bill Duncan. You ran me out of a restaurant. You just ran out. Now, Mike, listen. I did listen. I listened to you. I listened to her. I listened to everybody. Now you listen to me, both of you. I have something to say to you. Something to say to Duncan. Something to say to everybody. I... Oh, what is to you? Nicole, what are you going to do? I don't know. Feel bad? No. It was all my idea, and everything's my fault. Oh, no. Yes, it was. No. I couldn't do what I promised I would do. I guess you have to figure on every woman doing that. Falling in love, I mean. You're in love with Trevor. I hate him. I knew it. He's a beast. Try and forget him, honey. Yes. It's going to hurt an awful lot for an awful long time if you don't. I feel sorry for Mike, too. I pay every penny back to him. I get a job. I do any kind of work. Sure. And we'll make a deal to pay him so much a week. Just to keep him from going crazy. Hello, Gloria. I am back. Oh, Nicole, my little chicken. You are crying. Do not cry. Why cry? Hey, what happened to you? It is all over but the shouting. Well, that's life. You take a chance. You draw a blank. So what? It's finally got him. Me? Who knows? I am a gambler, so I lose. So what? Do I lose my life? Do I lose my health? Do I lose my good looks? No. I just lose my money. And after all, what's money? Nothing. Nothing at all. It's a good thing they don't have pockets in the straight jacket. Sit down and cool off, Mike. I better go to see Bill Duncan and tell him. Why see Bill Duncan? That is finished. Bear it. Forget all about Bill Duncan. I just saw him and he understands everything. He is a very understanding man. There. Nicole, do not be sad. Go on a vacation. Go to Bermuda on a nice boat. Meet a nice man and marry him. Go to Bermuda? Yes, I would like that. Any place. Yeah, but it's a long swim. Oh, what does it cost to go to Bermuda? A few pennies, poof. There is a boat at noon. Here is a hundred dollars. Right. There is something awful funny here. What is funny? I just told you. Mr. Duncan is a very understanding man. Wrigley, answer that. Yes, sir. Hello, Wrigley. Where's Mr. Trevor? Why, I... Jim. Hey, Jim. Now, wait a minute, Bill. Before we do anything rash, let's each count ten. One, two, three. Here's the greatest pal a fellow ever had. Shake. Huh? Uncle Eric had that girl investigated last night and she's a complete phony. Everything you suspected is true. Why, if I'd married her, the family would have cut me off without a penny. Then you don't want to marry her? Marry her? I just paid five thousand dollars to that waiter. He put up the money for the whole thing. You're not going to marry her then. No. But it's going to cost you more than that. You kidnap her. She's got you good. They'll probably take you for a hundred thousand at least. You're sure that you don't want to marry her? Oh, stop talking about me marrying her. Don't worry about the money. I'll pay it. You won't have to. Wrigley. Yes, sir? Get me out another suit. Quick. Where are you going? I'm going to marry her myself. Wait! Wrigley, I can't let her marry that girl. I have to stop this. Before you do that, sir, permit me to tell you of an incident in which my second cousin, one-eyed Wrigley, was involved. All aboard. All aboard. I'm sorry. Pardon me. Are you Miss Nicola Codion? Yes. Will you please follow me? Why? Get us your bag. Yes. I'll take it alone. Oh, no, no. Right here, Miss. This is your straight room. This? Oh, but it's too big. Mine is... All right in, Miss. You are a certain Miss Nicola Codion, no? May I change my shirt here? Please, what? Where are the draps? Oh, stop it. Pardon? Oh, please. Don't make fun of me now. Well, I'm not making fun of you. Then why do you do all this? Well, you wouldn't want me to get married without changing my shirt, would you? Married? Sure. Wrigley's outfixing you. And pretty soon, you're going to be the uncertain Mrs. James Trevor. Oh, but you always think I'm so bad at... I'll tell you a little secret. I'm pretty bad myself. Oh, but... Oh, James. Nicola. Mr. Trevor, the captain will marry you in 15 minutes. Oh. I'll go see if I can hurry it up, sir. I don't know how the rest of you feel about it, but this has been one of the most charming evenings I've ever spent in the Luxorator. For two reasons. And here they are, Tyrone Power and Annabella. Thank you, Mr. DeMille. And thanks too for making our first visit to the Luxorator theater so pleasant. This may be your first visit, but it won't be your last. You performed like a radio veteran, Annabella. Yes, I think she did, too, but then maybe I'm a little prejudiced. You'd better be. You know, Tyrone really is a radio veteran, Mr. DeMille. He was a radio actor before he was in pictures. He seemed on pretty familiar terms with that microphone. Oh, it's great training for an actor, Mr. DeMille, especially a job I once had in Chicago. Oh, yes. Tell Mr. DeMille about that. Well, I was one of those fellows who read the funny papers on a children's program, and that was really a chance for an actor to run the gamut of emotions, even before he had Superman. I'm glad you think it's good training, Tyrone. You see, I read the comics to my grandchildren every week. It's the only chance I ever get to act. Well, it's only fair for Emma Nounoud as much about the profession as you do to get one chance to act himself. Oh, by the way, Mr. DeMille, it's a credit to your knowledge of our profession that you say every now and then on this program that a screen star just has to have a nice complexion. That's why so many of us use lux soap all the time. That's a fine tribute, Annabella. You know, I started using lux soap several years ago. Even before I came to Hollywood, it's certainly fine complexion care, and I wouldn't know what to do without it. Fortunately, fortunately, nobody needs to do without it, Annabella. Lux soap is just as handy as the corner store. What's doing around here next week, Mr. DeMille? Next Monday night, Tyrone, there's something very important going on here. To be exact, Loretta is the director of the film to be exact, Loretta Young, a Brian Dunlevy and an all-star cast in the play Jezebel. A hit on Broadway and later on the screen, Jezebel is the drummer of a woman who makes a great sacrifice, who rises from a trivial selfish life to a climax of heroic idealism, a magnificent story and a great cast, headed by Loretta Young and Brian Dunlevy. Oh, with a cast like that in Jezebel, your audience has a guarantee of an exciting evening, Mr. DeMille. Oh, good night. Good night. Good night. And you are a perfect team, Mr. and Mrs. Power. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Loretta Young and Brian Dunlevy in Jezebel. This is Cecil B. DeMille saying good night to you from Hollywood. Heard in tonight's play that Kristen Poppin as Bill, Ruth Ricketts as Gloria, Drew Merrill as Mike, J. Arthur Young as Wrigley and Charles Seal as Pops. The picture from which the Rage of Manhattan was adapted was produced by Universal Studios, whose latest release is Backstreet with Charles Boyer and Margaret Sullivan. Our music is directed by Louis Silvers and your announcer has been Melville Roy. This is the Columbia Broadcasting System.