 Lux presents Hollywood. Leaper Brothers Company, the makers of Lux Flakes, bring you the Lux Radio Theatre, starring Barbara Stanwyck, George Brent and Richard Conte in The Other Love. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Looking through the records, I find that tonight's Lux Radio Theatre play is the first American motion picture ever to have had an international premiere. This enterprise picture, The Other Love, opened in London to a distinguished audience of peers, critics and celebrities. Last month it made an equally successful debut in New York, and we are soon to see it in Los Angeles. But tonight we give it its first coast-to-coast premiere in this, the largest theatre of them all. And we're proud to have Barbara Stanwyck, Richard Conte and Joan Loring from the original screencast, and George Brent as The Important Other Love. George, by the way, is one of the top names on our Roll of Honor, which lists the stars who have appeared most frequently on our stage, and Barbara Stanwyck isn't far behind. We hope we'll be privileged to act Dick Conte's name in the years to come. Of course, there is a Roll of Honor in your home, too, one that expresses your daily preferences, your shopping list. And I'm confident that Lux Flakes gets top billing on that on a Roll. Because, quoting from your many letters, Lux Flakes helped keep things nice and lovely longer. And those same Lux Flakes helped bring you such inspiring dramas as tonight's play. David Lewis' production of The Other Love, starring Barbara Stanwyck as Karen Duncan, George Brent as Tony Stanton, and Richard Conte as Paul Claremont, with Joan Loring as Celestine. Our curtain rises on Act One. High in the mountains of Switzerland, there's a noted clinic for pulmonary ailments, the Mount Viers sanatorium. In the office of a staff physician, a new and celebrated patient, the concert pianist, Karen Duncan, discusses her case with Dr. Stanton. I don't know what's the matter with me, Doctor. All of a sudden, I feel dizzy. It's traditional with all new patients, Miss Duncan. There's nothing but the altitude. Now, tell me, when did you first know that you were ill? I really don't remember. It just kept getting worse. And that's when you went to Professor Linnaker? Yes. He sent me a very nice letter about you. Warned me to take the very best care of you. That was kind of him. When will I know the results of all these tests and x-rays? In a day or so, Miss Duncan. How long will I have to be here, Doctor? Let's see. You will encounter tours the past two years, a night here, a night there, eating on the run, hurrying to catch trains, barely time to sleep. Barely time for anything. You should be very tired. Yes. Yes, I am. You know, I am quite overwhelmed meeting you. I have a great many of your records. Thank you. May I go to my room now, Doctor? Of course. You better? Yes, Doctor. Please take Miss Duncan to Suite 17. This is your nurse, Miss Duncan. This is you, Bertha. I'd be quite helpless without her. How do you do? How do you do? We'll have to start building you up a little, Miss Duncan. How's your appetite? What appetite? Oh, well, we'll change that. By the way, on your first night here, you ought to dine with your doctor. So shall we meet along via 7? Thank you. Notify the kitchen, Hubert, a great day. Stimulation died for number 17. I'm impressed with the suite, Hubert. It's lovely. And that view from my balcony. That is non-viage, Miss Duncan. And there below us is the town. It's like a toy town from here. Like something in a fairy book. Not when you get used to it. I've lived there all my life. Who had this suite before me? A lady. She left us yesterday. Did she go home? Oh, I imagine so. Well, I've hung up your clothes. You're on your own now for a while. Just ring if you want anything. Two hours until dinner? Just time for a nice nap. A nap? Well, I'll try. Please, Miss Duncan. It will do you so much. One of the things we take great pride in here is our dining room. You enjoyed dinner, Miss Duncan? Oh, very much. This place is almost like a hotel, isn't it? Why not? Dinner, music, even orchids. Hmm? I should have thanked you for these before, Doctor. It was sweet of you to send them. Well, I'm chagrante. I didn't send them. You didn't? Do my shame? No. But who could have? Well, we have quite a number of gentlemen here. It could have been anyone who saw you. Well, would you care to walk around the grounds? Can you spare the time? I'll check my office first. And while you're waiting for me, I'll have you ready to get your coat. Good evening. Oh, good evening, Madame. I didn't know there was a florist shop here. Oh, yes, Madame. There are several little shops here at this auditorium. You are new then? Yes. These orchids came from here. You are in Suite 17. Yes. We have a standing order to send white orchids every night. But there was no card. No card? Suite 17? Oh, oh, I am very sorry, Madame. There has been a mistake. The lady left us last night. I see. Then the gentleman who sent them? The gentleman? He left us several months ago. I'll leave the orchids here. Thank you. Miss Duncan, come in the office, won't you? I found out who sent me the orchids. You did? A man who died months ago. Except they were intended for a woman who died yesterday. Oh, now, Miss Duncan, you're really jumping at conclusions, aren't you? The lady who formerly occupied your suite went back to Copenhagen. She went there to join the gentleman. They were both cured. Do you always lie so considerably? I'm not lying. No, of course not. You call it therapy. Protect the patient from fear. Keep bad associations away. But I'm not fool, Doctor. And I just got through telling Professor Linnaker what wonderful hopes I have for you. What do you mean, Professor Linnaker? A telephone from Zurich. He wanted to make sure that you'd arrive safely. You see, a lot of people are interested in you, Miss Duncan. They want you to be well again. And he said that you were to stay quiet and take orders. And to do what people think is best for you. Now, what about our walk? If you don't mind, I'd rather go straight to bed. I can't sleep. Oh, you'll sleep. I'll have your bird to give you a sedative. Just as you say, Doctor. Hello, Doctor Stanton, please. Doctor, expecting you to call? Yes, he said I could. Hello? Doctor, this is Karen Duncan. Can you come to my rooms quickly, please? I don't know. I don't seem to get enough air. The mountains are pressing against me. You're not acclimated yet. People often react oddly to sudden changes in altitude. You mustn't worry. I know. But I heard strange noises like someone knocking out there on the balcony. There it goes again. Well, look out there. See that pine tree? Whenever the wind blows, the pine pains tap against the balcony. Now, that's not so mysterious, is it? Well, there was another noise, too. Out in the hall, like the clanging of an iron door. You must have been dreaming. I was awake. Hearing it was what made me call you. Well, there are stages in sleep when one is neither awake nor actually asleep. I've had it that thing happen to me many times. Please, Miss Duncan, try to go back to sleep. Try counting sheep or pretend that you're on a merry-go-round. That's worked with me. Well, what if I get the brass ring? You can give it to me in the morning. Good night. Good night. I'll be all right. Thank you. Now, you ought to lie on the lounge, Miss Duncan. Here on the balcony. Oh, but I just got out of bed, Hugh Bruder. And I'm starving. Wonderful. I'll have your breakfast tray in a minute. May I eat out here? You not only miss, or...? Good morning. Well, did you finally get to sleep? Oh, yes, Doctor, thank you. Then where's my brass ring? Missed it. I didn't lean over far enough. Cigarette? No, thanks. Oh, uh, I'll take your lighter, please. You won't be needing it for a while. Oh, no. Oh, yes. But you saw me smoking yesterday. But today you're not smoking. Has your brother told you about your schedule? Yes. Good. I'll see you later on. Your tray looks very tempting, Miss Duncan. Now, if you just... Just set it down, Hugh Bruder, maybe later. But I thought you were hungry. I've lost my appetite. Well, it's always hard the first day or two. In a week you'll see a great change. Would you like a book? No, I'll just lie here and think. Think about what? About what's going to happen. Only one thing's going to happen. You're going to get well. How do you know? You'll get well if you do as the doctor says. Keep those blankets on. Oh, don't say any attention to her. Oh. Here I am, the next balcony. I'm your neighbor. Oh, good morning. We don't take ourselves too seriously here. Oh, excuse me, I'm Celestine Miller. I, uh... I heard you last night. Heard me? When Tony came in. Tony? Dr. Stanton. You're... You're really quite ill, aren't you? I suppose I am. Well, I'm not. I'm only playing sick. My husband thinks he's in love with another woman, and my being here makes him feel guilty. Would you like a cigarette? No, thank you. Well, what do you think of him? Tony? Oh, I think he's charming. Oh, the first day he's always charming. Would you like to go to the village this afternoon? The village? Oh, I'd love to. Will he let me? Probably not, but there are means of getting away. I'll go ahead and... It's Miller. Oh, oh, nurse, he's caught me again. See you after the rest period. And I wish I could say yes, Miss Duncan, but I can't. No trips to the village for some time. But it doesn't make sense if I can go for a walk with you. A very short walk. See? We've already arrived at our destination. This house? Yes. Well, it's very charming. And very small. Part of the sanatorium? In a sense, it's where I live. Come on in. Oh, it's lovely. So removed, and yet just a few steps from there. Whenever you want to get away, come here. Doors are always open. Well, the piano's very inviting. I didn't know you played. I don't. Well, not really. Although when I was about seven, I toyed with the idea of being a concert pianist myself. What made you change your mind? Well, when I was eight, I met a little girl who had a doll that was always sick. And she was a singularly beautiful little girl, so I decided that a doctor's life must be a singularly happy one, and here I am. Oh, what happened to the little girl? I don't know. She probably married a pianist. Oh, don't tell me this is forbidden too. For the moment. But why? Music has demanded too much of you already. But I must play. Playing the piano is my life. It was your life, and it will be again. But for the moment, you must try to think of yourself as being in a deep sleep between today and tomorrow. Before you know it, the darkness will be gone, just the way it went last night. Is there anything that isn't forbidden? Many things. Amongst them, hope. Hope? Yes, you're right. There isn't any need of me trying to fight you, is there? Why, I didn't know you were fighting me. Oh, it was only fear. I didn't realize how frightened I was until last night, and then when you came to see me, I... Well, I'm not frightened anymore. There's a nice quality about you, Doctor. You make me forget my sickness. Oh, never use that word. All you have is a tiny puncture in your lung. Like a tire? Like a tire. How many miles left in me? Many, if you don't speed. Well, I'll try to go slowly. When may I go to the village? Speeding already? No, I only... Well, I'm afraid that'll be some... There'll be some delay about that, Miss Duncan. Starting tomorrow, you've got to spend a whole month in bed. If you need anything from the village, I'll have it sent from there. A whole month in bed? Oh, no! That will be a month well spent if you're a good girl. Is it necessary to refer to me as a child? Well, up here in a way, you are a child. You have no responsibilities. You make no decisions. And who will make my decisions? I will. And your first day up, I'll take you to the village myself. All right? It has to be. I'm sorry, I... I didn't mean it that way. Yes, it's all right, Doctor. It's fine. Christine! Out on the balcony. Come here. Oh, hello! Well, how was your afternoon? Oh, wonderful! Do you know how we went? A horse and buggy. Oh, naturally. Nothing as fast as a car. Slow down, says a good doctor. Well, have you fallen in love with him yet? Oh, don't be an idiot. This case is sweet, darling. Every woman here goes through it. And they learn to hate him. Oh, no, of course not. But we soon find out his concern is purely professional. Part of the treatment, you know, keeps the patient happy. Well, it's a very sound principle, isn't it? Well, at least he divides his charm equally. He's fair about it. Ten drops with every move. Oh, he isn't always so methodical. Excuse me, Celestine. I have a room full of packages to open up. Come in, Karen. How'd you learn? Uh-huh. Hubert has said that you... Yes, you're a new x-ray. As long as you're here, take a look. Well, they all look alike to me. They're not, though. The only thing they're having common is that they're you, a part of you, anyway. Not a very flattering one. How am I getting along? I'll tell you tomorrow. Oh, you say that every time you examine me. Don't you ever think about today? Of course I do. Very much. Well, what do you think of me today? I think you're a very lovely and talented young woman who still has some distance to go. Well, that's a concession. I'm a lovely, talented woman. Yes, who's taking up more of my time than she should. Oh, don't throw me out, Tony. I feel so good. So it won with everything. It's a gift for the mountains. Just high metabolism. Oh, I prefer a musical term. Harmony. Strange how the days here melt together. Like a perfect chord. That's the charm of living without a calendar. And living quiet. Oh, you can't say I'm not living quiet. And see that you stay that way. Yes, doctor. Oh, uh, I'll... I'll meet you in the house at three o'clock. Yes, doctor. Three o'clock. What are you looking for, Karen? Oh, I didn't hear you come in. Sorry I was late. Any help? Well, in your absence, I was going to start the fireplace and since I had no matches, I was looking for some in this table drawer. Quite a collection, isn't it? Dozens of cigarette light has plundered from patients. None of those work. Here, try this one. Oh, it looks familiar. Oh, it should have your initials. I am flattered you kept it. Now I have a little present for you. Here. A snuff box? Yes. But since I forbid the use of snuff, use it for your pills. It's quite old, I think. I found it in the village. Oh, it's lovely. Oh, careful. It's full. You know when to take those pills, don't you? Uh, Hubert had told me. If and when I have an attack. Thank you, Tony. Hey, where did those come from? The flowers? Oh, I didn't bring the flowers to you. Oh, you didn't? No, I... I brought them to the piano. That vase on top looks so empty. I don't suppose you'd let me play, would you? No, I don't suppose I would. Uh-huh. All right, then you play it. Oh, that would be slightly horrible. Oh, please. Oh, I couldn't possibly... Well, not with you standing next to me. Well, then I'll walk over here. I played that when I was 16. I can see myself now, my hair in braids, very serious and very determined. Oop. That's where my music teacher tried to kiss me. Any other memories like that? Oh, a few. There's been a lot of men in my life, Doctor. Brahms, Beethoven, Mozart. All very possessive. They demanded all of me. Did you give them all? Well, I... I thought so then. But I don't think so now. Uh-oh, there goes the bell. Rest period. I didn't hear a thing. I did. It was paging Miss Duncan, I'm afraid. Come on, I'll walk over with you. If I'm very good, may I go to the village soon again? Tomorrow, if you like. Just you and the horse this time. I'll be pretty busy. Oh, boy, whoa. I said how about a lift? Look what happened to me. That's your car in the ditch? Yes, I've always had difficulty with curves. That's a racing car, isn't it? Of a sort. It's gonna be a long walk in the town for a tow car unless I can get a lift. Well, climb up. Thanks. You're going to find this a little slow after a racing car. I like extremes. Oh, my name is Clammer. Paul Clammer. Like a cigarette? Oh, no, thank you. Not just now. The air has a bite up here. It's nice. It's the new snow on the mountains. Where did you come from? Monte Carlo. I came up for the race. What race? Next Sunday, haven't you heard about it? No, I haven't. How is life in Monte Carlo? Oh, the way it always is. The wheel spin, the pawnbroker retires young and I always lose. Why don't you come down to Monte Carlo and bring me some luck? I could have you there in 95 minutes. With a broken neck? No, thank you. I like it too much up here. Sort of why? I never ran off a road with such interesting results before. How soon will we be in the village? A few minutes. Ah, pity. Oh, I gathered you'd like to get places in a hurry. Well, speed isn't necessarily movement. It can be a philosophy, a pattern for living. Oh, for winning races, yes. Do you want me to drop you off at a garage? With it, I'll go as they go as I. Oh, that would be hard for both of us. A garage. But I won't have time to thank you. I could do it much better at dinner. Oh, I'm sorry. I have an engagement. I'm going shopping. Well, there's a hotel in town. If we met there... I am meeting someone there. Now. Oh. Well, lunch tomorrow. Engagement. Dinner tomorrow. Engagement? Sounds terribly monotonous. It isn't. Well, this can't go on forever. You're going to see the race, of course. No. I'll get you a boxed and as I want it, we'll have cocktails and dinner. I'm sorry. I'm not going to the race. Don't blame you, but I'll meet you just the same. The bar at the hotel will start at six, and then perhaps I can convince you that snow is for the cold and hot. The warm heart had lived by the sea. I prefer the snow. Then I'll let you convince me. What are we stopping for? Here's the hotel. You'll find a garage just around the corner. Goodbye, Mr. Claremont. Thanks, and don't forget Sunday at six o'clock. It's a pity you'll have to leave so soon, Professor Lenaker. Karen will be heartbroken. But she didn't. Though I was coming in, perhaps it's just as well. I can't tell you how I appreciate your visit. When I sent Karen to you, Doctor, I had one regret. The world was losing a final artist. We have too few that we can afford to be reckless with them. But now, after seeing the X-rays, this is hard, Stanton. It's more than that. I wish I could be of help to you. But all I can say, you've already found out for yourself. She has a chance, a very slim chance. How is she bearing up? She's been wonderful. And does she know how ill she is? No, no, no. She doesn't. I'm only... But that's a Lenaker! Karen! Oh, what a wonderful surprise. What a delight to see you. Careful, Karen. I'm not that old. When did you get here? How long are you staying? About two hours ago. I'm leaving right now. Oh, and I thought you came up here to take care of me. Let Dr. Stanton take care of you? Dr. Stanton's a jailer. Good. He doesn't know what the word leniency means. And I feel so strong now. So ready for anything. You do what he tells you, Karen. He knows how strong you are. Where are the cars waiting for me? Goodbye, Stanton. Goodbye, Professor, and many thanks. Goodbye, Karen. Right to me. Goodbye, I will. Oh, what a sweet man. Why didn't you tell me he was coming? I didn't know myself. Oh, I've had a glorious afternoon. So I noticed. How can you... You're flushed. Come in my office, will you? What happened this afternoon? Oh, nothing spectacular, and yet, in a way, something miraculous. Sit down. I was doing some shopping in the village, just a few little things, when suddenly I had the feeling that everything bad was over. I could pick up the threads of my life again. I was no longer different, no longer sick. I was as I had been. And... Something else, too, I... I've met someone. A very attractive man. Oh. Oh, Tony, it was so good for my morale. After the full impact, it struck me, I... I knew I was well again. You'll be well. But you must go slowly. Oh, I'm going to hate that word. Karen, I have to ask you not to go to the village for a while. Why not? Because I think it's best. That's not the reason. Now, don't be too much of a woman. You know it's not. Well, let's not argue about it. Give me your hand, I have an idea... Oh, how can you be so everlastingly professional? Why must you deny any joy I have? I go to the village, someone talks to me. I come back here singing inside, and you put on a long face and say, stay here and take my pulse, and act like a puppet, or leave my hand alone. Too much excitement for one day, Karen. Here, one of your pills. Take it. Karen, take it. Did that help smashing that glass? Yes, Doctor Stanton, it helped lots. Good night. Our stars Barbara Stanwick, George Brent and Richard Conte will return in a moment with act two of The Other Love. What's that you're knitting, Libby? A sweater? Uh-huh. Jane Wyman gave me the directions. She made one just like it while she was on location in Arizona filming Cheyenne. You mean that new thriller of Warner Brothers? I hear it's the most lavish Western they've ever made. Mmm, the outdoor scenes are really magnificent. Well, uh, if Jane went to Arizona to work, when did she get time to knit? Oh, she and Janice Page had quite a lot of free time while the big crowd scenes were being filmed. Did Dennis Morgan and Bruce Bennett wind the wool for the girls? No, they went all fishing when they weren't needed on the set. Nice work. Well, living in the desert country wasn't all fun for the cast of Cheyenne. The days were very hot and the nights bitter cold. The dust on the high plateaus got into everything. The girls' blouses and sweaters and cotton dresses had to be luxed over and over. Well, as long as they had plenty of lux flakes along, there was nothing to worry about. That's right. The girls were delighted with the good care the wardrobe department took of their things. In spite of all that washing, their things still looked lovely when they got back. Well, naturally, with lux. After all tests by a well-known independent laboratory proved that with lux care, colors stay lovely up to three times as long. It's wrong washing using strong suds, hot water or handling nice things roughly that does the damage. Often streaks and fades colors. Well, that's important whether you've spent money buying nice things or time in making them. It's no wonder to me that stars appreciate lux care just as much as girls everywhere. And don't forget, it costs so little to lux a summer dress or a sweater and colors stay fresh so much longer. Lux care is really thrifty. We return you now to William Keely. It's curtain time for act two of the other love starring Barbara Stanwyck as Karen Duncan, George Brant as Tony Stanton and Richard Conte as Paul Claremont with Joan Lawring as Celestine. It's Sunday afternoon. On the grounds of the sanatorium, Karen suddenly encounters the patient from the suite next door, Celestine Miller. Leaving, I'm leaving here. I'm well. Celestine! He told me this morning, Tony. I'm leaving tomorrow. Oh, I'm so happy for you. Darling, come into town with me. Help me celebrate. Oh, I wish I could. I can't, Celestine. Oh, Dr. Zordis? Uh-huh. Mmm. What about your romantic interest, Mr. Claremont? He's in that automobile race today, isn't he? I turn over all rights to you. Oh, then give me a message for him. I'd love to meet him. You said the hotel driver, didn't you? There's no message. Run along, Celestine. Have a good time. Where are you going? I feel like some music. Maybe Tony will let me use his phonograph if I don't overexcite myself. Not much danger of that, darling. Tony's gone. Gone? He went to the village, too. Won't be back till late. Oh. Well, I still feel like some music. Ciacoschi piano concerto number one in B-flat minor. Karen Duncan pianist in the London Symphony Orchestra. An album of Chopin waltzes. Karen Duncan soloist. Me or Paul Claremont? I'm not looking for anyone. Incidentally, he lost the race. His car broke down. He wasn't hurt. Oh, no. He's been here a dozen times looking for you. He has no right to be sure I'd come. Darling, please. Oh, I've got something for you. I'm going to make you my heir. Do you feel all right? Just slightly delirious. Wouldn't you if you were going home? Here. It's a key. It comes in very handy. A key to what? Pasky to the sanatorium. I got it months ago from the night watchman. Anytime you stay out after hours, just use the servant's entrance. That's sweet of you, but I won't be out after hours. Oh, take it, please, Karen. And promise me no matter how late you come in tonight, knock on my door. I'm going back now. I've got to pack three big trunks. Oh, what's the matter? There he is, Paul Claremont. Just when I have to leave. Oh, Celestine, no, don't go. Goodbye, darling. Have yourself a time. Hello. I had just about given you up. Too bad about the race, Mr. Claremont. Oh, you saw it? No, I didn't see it. You're going back to Monte Carlo now? I was. Now I can phone and cancel it. Aren't you a bit previous, breaking a date? Oh, he'll be there tomorrow, too. He? Yes, the croupier at the roulette table. You're giving him up for me? This is the ultimate sacrifice. See how serious I am about you? I'm even neglecting my vices. Besides, the croupier has become routine. I'd like to avoid routine. Let's go inside and have dinner. Oh, what are you smiling about? You? You don't even know my name. What's that got to do with dinner? Nothing. Thank you. I'd love to have dinner. But she must be here, you burden. What about outside? No one's seen her, Doctor, not since this afternoon. Well, if you should see her, I'll be in Celestine Miller's room. Mrs. Miller? Yes, she's been taken ill quite sudden. More coffee? No, thank you, Paul. How about a brandy? Oh, this is exhilarating enough. Look, through the window, the ski run. They go so fast, like shooting stars. How fast do they go? Well, it's about a quarter of a mile from the ski huts of the first jump out there. I did it yesterday in 23 and 3 tenths seconds. Not good, not bad. I see you're a second splitter. That's the only way to be. Why? Because it's in that split second that we really live. Oh, that makes for a short life. It's the best way to measure time. Look at my watch. I'm looking. I love you. Those three words took exactly 9 tenths of a second. But there are years in them. A remarkable watch. Where would you like to go? You mean there are other places? Well, there's a city called Paris, a very beautiful city. There's also London, Cairo, Athens, all beautiful cities. And not one of them wouldn't be graced by your being there. Another man once told me that. Who? A clerk in a travel bureau. I'm not a clerk in a travel bureau. My tool will be more encompassing. It's time to stop. You want to leave right now? Do you think I was joking? Well, you can't mean it. I never meant anything so much of my life. Well, it's insane I couldn't possibly go. Why not? Well, I've so much to do. You just can't revise your whole life in a split second. Of course you can. You mustn't be frightened at speed. When you're going real fast, you don't dare look back. Well, if that's the way it is, that's the way it is. But there's one thing I can't do. Face an unknown future with an unpowdered nose. Do you agree? Go ahead. I'll wait for you here. This is for Mr. Claremont, Madame. But I believe Mr. Claremont is in the dining room. No. Yes, I know he is. Just tell him his watch goes too fast for me. His what? Please, he'll understand. Celestine, are you awake? Ms. Duncan. Oh, I know I have no right coming in at this hour. You better. I'll go to bed just as soon as I've seen Mrs. Miller. Please don't go in there. Mrs. Miller has left. What do you mean she's left? Oh, no. No. Ms. Duncan, wait. Dr. Stanton. Ms. Duncan is back, but she's leaving. She's going down the stairs now. You can stop her in the lobby. Could it have happened? You said Celestine was cured. I never told her that. But you did. She said you did. I told Celestine the truth, or most of the truth. But we've done all we could for her here. When my time comes, how much of the truth will you tell me? No, you're different, Karen. You're someone else. Your time isn't going to come. How am I different? You lied to me the same way you lied to Celestine. You lied the first night I came here about that noise I heard. I did hear an iron door. Tonight I saw it. They were wheeling her through it. Karen, please. I'll take it to your room. No. You don't. You may be very ill. How ill am I now? You have every chance. That's what you've said all along. And I'll continue to say it. But you must help yourself. Why was Professor Linnicka up here? You sent for him. Yes. I was afraid for you. How much time have I got? A year? A month? Three months? You have your whole life. But it's got to be a careful life. For a long time you've got to rest. You've got to sleep. You've got to be an automaton. Not acting on impulse, Karen. But always under control. You can't afford to have a free will anymore. An automaton. That's how you treat human beings. Like machines. You try to keep them running. And if one stops, you go on to the next. Well, I'm tired of resting and sleeping. Don't you see what I am, what I want to be? Don't you realize I've never really lived? I didn't either, until you came up here. What does that mean? It means that I love you. I don't believe it. What will you believe? Nothing. Nothing anymore. I feel well now. I felt well for a long time. Karen, that's a disappointment. If it is, we're even. All right. I can't keep you here. Forget what I just said. But you're important to music. Stay here and get well for the sake of music. Which treatment is this, Doctor? Love didn't work, and now you try music. The music that brought me here. Well, that won't work either. Faith in your ability is the most you ever gave me. And now even that's been taken away. No, Doctor. No, I can't stay here any longer. Look at your watch, Paul. I know how long I've been gone. Did you powder your nose? Yes. Yes, I powdered my nose. Everything all right? Everything's fine. How did you know I'd be back? Didn't you get my message? Yes, I got your message. My car's at the curb. Let's go. You look tired. Why don't you go to sleep? I'll wake you when we reach Monte Carlo. I think I will. Oh, by the way, there's something I think you should know. My name is Karen Duncan. Not thee, Karen Duncan. Yes, thee. If Chopin could see me now. Hello. Seen too faintly. Paul, did you say afternoon? It was two o'clock. Oh, no. Adler sent up to your room. Did you eat it? Oh, I thought it was breakfast. The room was so close. What are you doing in half an hour? Oh, something very important. More important than me? Much. I'm buying clothes. What time then? About seven. You know how many hours there are till seven? I'll try to make the waiting worthwhile. Karen. Seven o'clock. Buy that watch of yours. Oh, and a shock like that can kill a man. But not you. What a wonderful way to die. Here, the finishing touch. What's the matter? Don't you like orchids? No. Not white orchid. Well, why not? Nothing. I once had a bad dream about it. This is no place for a bad dream. Close your eyes. Now what do you see? Nothing. This will take that place. Don't hold me, Paul. Please. Karen, one kiss. Paul, of course, darling. Of course. Aren't you coming inside, darling? I've got a stack of chips that hide. I've never had so much luck in my life. A likely story. You've lost every night since we've been here. Who's talking about roulette? You're my luck. Paul, sit here for a moment. This is a beautiful room. Why do they have music rooms and gambling casinos? So you can play for me? Please. How long have we been here? Is it five days or five seconds? Is that important? No. Look out there. The waves are white. From the mountains, the sea appeared so near. Now from the sea, the mountains seem so far away. I want them to seem that way. So do I. I want every place except where we are to be unbelievably distant. I want everything except this place, this moment of vanish and amist. Nothing else exists. Paul, Paul. Darling, darling, what is it? I kiss you and it's like kissing a dream. Who are you? What are you? I don't know. You appeared suddenly for all I know you may disappear again. No, no. I feel that I must hold you that if I don't you'll vanish. Karen, love is the easiest and the hardest word to say. This time it's hard because my whole heart's behind you. You don't have to say it. Karen. I'll be back. Karen. Wait, wait here, Paul. I'll be back. What a glass of water. That was madame. Oh, please. Oh, God, madame. Madame. I want to call you madame. My prayers here, the little box with a pillow. Here, here madame, here. And now the water. Thank you. Yes, of course. Well, what about all those chips you bought? Well, if you're ready, let's watch them disappear. Oh, you run along, dear. I'd like to be alone just for a moment. All right, I'll see you later, darling. It's very kissed you. Your piano teacher. Tony, it's such a waste of time. I don't think so. I'm my own doctor now. I make my own diagnosis. It's very simple. I have morning temperatures and evening chills. I'm losing weight and I don't care. You must care. Why? So I can go back to the mountains, be a patient again filled with pity and false hopes. I'm on the highest mountain in the world right now. But you wouldn't understand that. No, Tony, I won't go back. I haven't asked you to. But you will if I give you the chance. When I left, I made a deal with myself. I made it even if I had to pay days of time for every second of happiness. And you're happy? Happier than I've ever been before. I don't believe it. I didn't ask you to come here. I want you to leave me alone. Please go away. Go away. Yes, Karen. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll bring you Act 3 of The Other Loves starring Barbara Stanwyck, George Brent, and Richard Conte. Hollywood talent doesn't often arrive by mail. But young Patricia Alvin, our guest tonight, did. She delivered a letter to a Hollywood producer and that brief, personal appearance led to a contract with Universal International. What are you doing now, Pat? Studying dramatics, Mr. Keely, and watching other actors and actresses around the studio. An excellent way to gain experience. Did you see anything of Sam Woods' production, Ivy? Oh, yes. Joan Fontaine is a special favorite of mine, so I was on the set a lot. Joan Patrick Knowles and Herbert Marshall add up to a splendid cast in Ivy. But throw me especially with St. Joan's Studio Bungalow. Decorated with a vine in honor of the picture's title, I understand. Yes. And then one night, it was damaged by fire. Joan lost a lot of lovely things, but not her nylons. How was that? Well, she had just ordered two dozen new ones, but they had been delivered to the wardrobe room instead of to her directly. That was lucky. But John Kennedy here can tell you another way studios take care of nylons. With Lux Flakes, naturally. Of course, Lux won't make nylons fireproof, but with ordinary wear and Lux care, nylons can last twice as long. Oh, I think Lux is wonderful for stocking. I always use it myself, and mine do last an amazingly long time. Strain tests prove that's true. A famous laboratory took dozens of pairs of stockings. Nylon, silk, rayon, and cotton. They washed them different ways. Some with Lux, some with a strong soap, and rubbed some with cake soap. Then subjected them to the same kind of strains they get in ordinary wear. Believe me, the results were amazing. The Lux ones far outlasted the others. In fact, lasted twice as long. So you see how easy it is to cut down runs. Just use Lux Flakes for your stockings always. Well, I can tell you, Mr. Kennedy, from my own experience, I wouldn't be without Lux. Thank you, Pat Alphen, and thank you for coming tonight. Good luck. Here's Mr. Keely at the microphone. Presenting Act Three of the Other Love, starring Barbara Stanwyck as Karen, George Brent as Tony, and Richard Conte as Paul. It's a few minutes later. Paul Claremont has just received a message. In an anti-Rome of the gambling casino, he meets the man who sent it. Dr. Stanton? Yes. The attendant said you wanted to see me. I don't know you, do I? No. But you know Karen Duncan. How long have you known her? Now, just a minute. I'll answer for you. Not very long. You met her while you were racing up in the mountains. Am I right? What if you are? Did she tell you what she was doing up there? I didn't ask her. That was her business. I'm not so sure it's yours. Would you mind coming to the point whatever it is? All right. If she didn't see fit to tell you what's the matter, then I have to. Ms. Duncan is very ill. She looks very ill, doesn't she? That's one of the tricks of her illness. She's a patient that has not been discharged from Mount Fierce Sanatorium. How do you know? I was her doctor. She never said a word. Why didn't she tell me? Well, I can think of several reasons. While she was up there, she suffered a severe shock. I think it was that more than anything else that drove her down here. She's trying to turn her back on the past. Let me get one thing clear. As far as Karen is concerned, who am I talking to? To a doctor or the past? To her doctor. Why didn't you leave the choice up to her? I did. A few minutes ago. You've seen her? You've asked her to go back? She refused. You're my last court of appeal, Claremont. The choice is up to you. Yes, and a very small choice it is. I'm not asking you to force her back to Mount Fierce. Take her to any mountains. Take her to the desert. Egypt, Arizona. Anywhere the climate will help her. If you don't, you'll kill her. Kill her? Until tonight she's been committing suicide. But now that you know, and if you don't try to stop her, you're committing murder. So, now if you'll excuse me, doctor, good night. Go, Alex. Alex, just a minute. Where have you been? Come and have a drink. I have something for you better than the drink. I've just been talking to Alex Zarell. Oh, your friend with the yacht? Yes, he's leaving the casino. He's throwing a big party on the yacht. Come on, there's a launch waiting for us to appear. Well, how do you like the yacht? It's a little breathtaking. But don't you think we ought to join our host? Not yet. I have something else to show you. This stateroom. Like it? It's yours. What do you mean it's mine? Oh, I forgot to tell you. We're leaving Monte Carlo in the morning, so else taking us on a cruise. Oh, no, I can't. I'm having your luggage sent up from the hotel. We're going to Egypt. Egypt? I'm taking a six-month lease on a pyramid. Oh. I saw Dr. Stanton, Karen. He asked me to take you to Egypt. It's true, isn't it? Yes. I was angry when he told me I hated you. And then when I saw you at the bar throwing yourself away, I was suddenly full of pity. I feel differently now. Now I want to take care of you. I want to be with you always. Pity? Now I know I'm in love with you. That puts things in a true light. For both of us. Remember I told you I was afraid you'd disappear? I don't want that to happen. Go to sleep now, darling. Tomorrow morning we'll be well out to see and well out of sight of the past, too. Yes, Paul. There are some things I want to talk over with Cerell. I look in on you in a little while. Paul's a strong person for using the oxygen tank. I don't know how she ever got back here alive. She must have crawled half the way. Oh, I found this in her coat. The snuff box. Empty. She'd use them all. You better get some sleep, you better. What about her? I don't know. Don't ask me now. You need some sleep yourself. Oh, I'll get it eventually. Run along. It's better if you don't talk, Karen. Why? Why did you let me hurt you? It's all over now. You're back where you belong. He wanted to take me to Egypt. I couldn't have gone that far from you. I... I hurt him, too. You never hurt anyone. You hurt yourself a little bit, maybe, but... I couldn't lie to myself any longer. Karen, try to sleep, dear. Please. Don't go. I won't, darling. I'll be here. Here, isn't she? Yes, she's here, just down the hall. I want to see her. I don't think you should. She's critically ill. She certainly wasn't critically ill last night. Where were you last night? We were aboard a yacht. For some reason or other, she suddenly went ashore. I intend to find out what happened, not from you, from Karen. Well, you'll have every right in the world to see her. Come along. I've seen enough. She's unconscious. She was. She's sleeping now. I'm sorry. It's all right. It's really bad. Yes. When she felt it coming on, she reached out for the only straw she could grasp. She'd never have lived to reach Egypt. And there's more to it than that, isn't there? More to it than just her coming back here for treatment. Yes. When I asked you if you were the doctor of the past, you said you were the doctor. I think it's time I said I was the past. You don't have to leave. I'd better. Tell her I came, though, to wish her luck. Tell her I had to leave without seeing her because I've got to sublet a pyramid. She'll understand. Good morning, darling. How do you feel? Warm and rested. It's so long since I felt warm and rested. How were the X-rays? Better than I'd hoped for. Much better. Tony, I've been thinking while I ran away. Woman, you talk too much. But there's so much I want to tell you. And there's something I want to tell you. Karen, please marry me. Marry you? Now? The way I am? Now. Today. This afternoon. Oh. Suppose I left you again for good. Darling, I need you. I want you near me in my house. Your house? Where I can be close to you. And if we have that, you'll never leave. You belong there, you know? Yes. Yes, I belong there. I belong wherever you are. You better get yours, you better. I'll be here. I'm not asleep, darling. Hello, Mrs. Stanton. You've been gone a long time. Only two hours? A very long time. Oh, look, it's snowing. The lights are going on in the village. Would you like a light here, darling? No. The dark comes very quickly. A moment ago it was light and now everything is in shadows. When I first came here, I... I couldn't bear it. I was so afraid of losing time. But you're not afraid anymore. I'll never be afraid again. The world seems so safe now. The lights and the snow and the little houses. This is the only house I've lived in since... many years ago. I think it's always been waiting for you. Who would have thought that the payments from Chicago and the doctor from Toronto would be together? Watching the snow come down and the Swiss mountains. When I'm well, we can do such wonderful things in this house. What would you like to do first? First? Or I'd like to be able to meet you at the door. You will, Karen. Very soon. And then as I... as I begin to get better, we could start taking walks. And someday we'll walk right to the top of Mount Bearish. Oh, darling, you just don't walk to the top of the mountain. We will. And if you say it like that, I guess we will. I've thought so much of what we'll do. So have I. Darling, do you ski? It's debatable, dear. A little. Would you teach me? I'd love to. But I have my price as an instructor. What is it? You'll have to help me improve my piano playing and that could take 50 years. Oh, you played very well yesterday. Oh, now I saw the expression on your face. Divorce was written right across it. You were thinking, as soon as I get out of here, off to the lawyer. No. You hit only six wrong notes. Uh, three. Well, then play for me now. And I'll check you more carefully. Now? Now. Playing beautifully, darling. It really isn't my best day, you know. Sunday is my best day. In fact, I'm thinking of having a private recital next Sunday with an audience of four. Will you come? Sunday? Yes, I think I'll be free Sunday. I promise to applaud all your numbers. Kara. Yes, darling. You will be here. Yes, of course I will. There's no pain anymore. It's a glow that fills and fills. I'll be here weeks and months of Sundays. Years of Sundays. Years of Sundays. But time is not in years and hours, darling. Time is within us. And it stands still when we love. We'll return for their curtain calls in just a moment. I hear you're planning a vacation trip by air, Sally. That's right, Mr. Kennedy. And right now I'm making a list of just what I really need so I don't end up with excess baggage. Just how does a girl cut down on her travel wardrobe? Well, shoes and hats and pocketbooks are awful space takers. So I'll plan to wear ones that will go with most of my outfits. That's a good start, but what about dresses for the trip? Oh, well, a suit's an asset anywhere. So with a couple of lightweight sweaters and one filly blouse, I've closed for lots of occasions. Even under things take up room, I suppose. Oh, but that's where I save a lot. I take only a very few and a box of luxe flakes. Every night I luxe my undies in stockings so I have a fresh set to wear. And to save ironing, I'm taking those nice tailored knitted rayon slips in 90s that don't need any ironing. And I predict, Sally, that when you come back, they'll look just as nice as when you went away. Well, naturally, Mr. Kennedy, didn't all our washing tests prove that luxe care keeps undies lovely looking for a long time? Three times is long, Sally. You should have seen the slips and nightgowns that were washed the wrong way. After just a few washings, they looked faded and drab. In many cases, shoulder straps were frayed or seam split. But the luxe garments were still color-fresh and attractive after three times as many launderings. That's why smart girls box of luxe flakes at the top of their vacation clothes list. Then they're sure they'll come back with washables just as pretty as when they went away. Back to your producer, William Keely. Once again, it's time for that happy tradition of the theater, a curtain call. And here are tonight's stars at the footlights, Barbara Stanwyck, George Brent, and Richard Conte. After tonight's performance, I can readily understand why David Lewis and Enterprise are so proud of the other love. Well, we've been gratified, Bill, at the way the New York audience has received the picture. And that's for London, I understand. They're pretty nearly module. You must have been reading Barbara's column, George. You mean Barbara has a newspaper column? Oh, I did have, Dick. During our trip through Europe, I wrote a special feature for the Chicago Daily News. Barbara Stanwyck finds... What's that Stanwyck? Well, that's how they said Stanwyck in England. Stanwyck, it rhymes with Zanwyck. Oh, and if Zanwyck... If Zanwyck went over there, they'd call him Stanwyck. Well, hardly. You know that's the first time in my recollection, Barbara, that a movie star has been a foreign correspondent. Well, what sort of items did you write about, Barbara? Oh, human interest stories, mostly. There were plenty of them. The London shops, the people on the streets, our visit to Buckingham Palace. Buckingham Palace? Hey, that's stepping kind of high. Oh, we went in the back way. Saw the gardens, the stables, and all the King's horses. And all the King's men, I imagine. Now that you're back in California, Barbara, I can see that you're looking very tanned and glowing. Thanks, George. That comes from two hours of tennis every day. The first chance I've had between picture making. Speaking of pictures, what are you doing next week, Bill? Next Monday night, we're presenting a heart-tugging story to delight all members of the family, young and old. It's Metro Golden Mayor's current screen hit, Cynthia, with its original delightful cast, Elizabeth Taylor, George Murphy, and Mary Aster. You have all three of them, Bill? Yes, with Elizabeth Taylor in the title role, having her first romance, her first kiss, a nostalgic drama full of tenderness and warmth, the joys and struggles of teenagers, the dreams of all of us. I'm sure your listeners won't want to miss it, Bill. Good night. Good night, and many, many thanks. Kiva Brothers Company, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Elizabeth Taylor, George Murphy, and Mary Aster in Cynthia. This is William Keely saying good night to you from Hollywood. Richard Contey appeared by arrangement with 20th Century Fox, producers of The Miracle on 34th Street. Paired in our cast tonight were Francis Robinson as Huberta, and Bill Johnstone as Professor Linnaker, with Regina Wallace and Charles Seal. Our music was directed by Louis Silvers. This program is rebroadcast to our servicemen and women overseas through the worldwide facilities of the United States Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Cynthia with Elizabeth Taylor, George Murphy, and Mary Aster. And why not tune in to Joan Davis Monday night over most of these stations. This is CBS, the Columbia Broadcasting System.