 Lux presents Hollywood. The Lux Radio Theatre brings you Ingrid Bergman and Charles Boyer in Gaslight. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. From Metro Golden Bayer Studios, home of so many Academy Award-winning pictures and stars, one of their recent outstanding successes, the gripping drama you're about to hear. And Lux is particularly happy to bring you the same two stars so widely acclaimed for their performances in Gaslight. Charles Boyer and Ingrid Bergman. A fascinating story of a woman in the toils of a strange love and a man possessed by an overpowering greed, Gaslight had a record run on the stage. As its name implies, Gaslight takes us back to an era of hoop skirts and frock coats, of handsome cabs and eight-course dinners, a period of nostalgic charm and old world leisure. Yet, if the truth were known, how many women of those days were slaves of the ironing board and kitchen, with few of the labor-saving luxuries we have today, like Lux Flakes. If you've ever read of those old-fashioned wash-day methods, when countless frilly garments were ruinously scrubbed in steaming tubs, you'll appreciate why modern housewives are so grateful for Lux Flakes. And for the way they make lovely things last longer. In fact, it is this preference for Lux that raises our curtain every week. And tonight brings you Ingrid Bergman in her Academy Award-winning role of Paula and Charles Boyer in the role of Gregory, as the curtain rises on Act 1 of Gaslight. It's many years later, and memories of Alice Alquist and Nine Thornton Square are all but forgotten. On the shores of Lake Como in Italy, a young bride and her husband are on the terrace of their villa, gazing enraptured at the beauty of the early morning. I should never have awakened you, Paula darling, but it's such a wonderful morning. Thank you for waking me, Gregory. You know I was dreaming. Daming of what, Paula? Of all the places where we be together, lovely places like this. I was thinking of our life, too. Only I heard it in music. Something alive with happiness, with all the feeling of the early morning. This morning? Yes, with the sun rising, lighting your hair as it is now. When will you write it, darling? Oh, someday, when we settle down. Where? Where would you like? Paris, perhaps. Paris? What about home? Or London? How do you feel about London? London? Paula, if you won't laugh, I'd like to tell you something. Oh, I won't laugh. Oh, it is silly. But I was in London once. You? A poor and unsuccessful composer. It seemed to me that no place in the world could be colder to the homeless or warmer to the ones who had a home. Oh, my darling. I used to long for one of those quiet little houses in a square with a woman I should want they come to love. Paula, could we settle down in London? Would have to be in a house in a square. Perhaps in... Paula, why do you look like that? There is a house in a square. What house? Nine Thornton Square. She left it to me. Sheen? Oh, you mean your aunt, Halle Solquist? Yes. I lived with her since I was a baby. Then after it happened I came here. I've been in Italy ever since. That house comes into my dreams sometimes. But I haven't dreamed of it since I've known you. I haven't been afraid since I've known you. No, Paula, if it were true, it would make me very happy. Yes, it is true. I've found peace in loving you. I could face even that house with you. Oh, no, no, Paula, beloved. I would not ask that of you. Yes, yes. You shall have your wish, darling. We'll go there. There's a lawyer who looked after the estate to Mr. Muffin. I'll write him today and you shall have your house. A house in London on a little piece. I miss Tweet's. I live just across the square, number 16. Oh, yes, how do you do? Oh, Paula, dear, we mustn't keep Mr. Muffin waiting at the door. Coming, darling. I'm sorry. Don't tell me you're coming to live here again? Yes, my husband and I. Please, dear. Oh, I'll call on you directly or settled. Goodbye for the present. Goodbye. Goodbye. I'm so glad we are to be neighbors. I'm sure you will find everything in the house in order, Mrs. Anton. But here are the keys. Now, if there's anything further I can do. You've been most kind. Oh, about your income, Mrs. Anton. Shall we send the monthly draft here or to a bank? Oh, Gregory. Or I would think here, darling, at least temporarily. Then to here, if you please. Certainly. Oh, you inquire about certain. Oh, yes. I'll send in a housekeeper tomorrow. She's very capable, but a little hard of hearing. Hard of hearing? So few, rather than that. No, no, no. Send her in. We can interview her at least. Her name is Elizabeth Morgan. I'm afraid I haven't yet found a housemate. Oh, please, don't think about it. We are deeply grateful for all you've done. Well, good day, then, and thank you. Good day. Well, this is our house. There we go in. How well you remember everything. Now, what room is this? The drawing room. Well, come here. Aren't you going to show it to me? Will you light the gas, please? Oh, the gas. Oh. There, that's better. Paula, what a handsome room. No, but to see it like this, all the furniture covered and so quiet. I remember parties in this room and flowers. There were always flowers. Those must have been wonderful days. It's so dead in here now. The whole place seems to smell of death. I'll open the window. There. All will be fresh again in a moment. Oh, what is this, dear? This glass case. Well, that's where she kept all her little treasures. All the things she collected on her concept tours. She was so proud of them. The glass is broken. It was broken that night. All the things were disarranged, but there was nothing missing. I know all these by heart, this glass. Oh, be careful, darling. The glass. She wore this glass. She wore this glove in Romeo and Juliet, the command performance in Covent Garden. One little glove. Yes, I used to ask her what happened to the other one, but she only laughed and said she'd given it to a very great admirer. She would never tell me who. I wish I could have seen her. You can see her. On the wall, a portrait. Paula, oh, it's unbelievable how much you look like her. Only you are still more beautiful. She's painted there as Empress Theodora. When she sang it in St. Petersburg, the Tsar came to every performance. It was here that I found her that night. Here in front of the fire on her own portrait. Oh, darling. I was in bed when something woke me. I came running down the stairs, frightened as if I already knew what had happened. She'd been strangled. That lovely face was so... No, no, no, I can't say it. Oh, Paula, Paula, please. That's all past. It's long ago. You must forget about it. Yes, yes, Gregor, your arms. So strong and safe. All those things that remind you so of her. We'll put them away. We'll make it in your house with beautiful new things for a beautiful new life. Yes, my darling, yes. And then later we'll have people here and parties again. Yes, wouldn't you like that? Oh, of course, dear. But later, first let us have another honeymoon here by ourselves, just for a little while. Yes, I only heard... Now, where do you suppose all this could be stored away? Well, there's an attic under the roof. The trunks are there, and all her costumes... Well, then that's where it shall go. And then we'll board it up. So you'll never have to see them again. Oh. A piano. These two must go. Ah. Fine instrument. The action needs regulating, but the tone is still quite good. Gregor. That song. Why are you playing that song? Why not? That was her song. It was always her last encore at every concert. She said, oh, look. Well, look, here is an old letter. Letter? Yes. I beg of you to see me just once more. I've followed you to London. The date. It was written just two days before she was murdered ten years ago. Where did you find that? It was here, among this music. It's from someone called Serge Spauer. Give it to me! Oh, Gregory. I'm sorry. I didn't mean to snatch it. It's just that... But why should the letter upset you so? Oh, it isn't that. I'm upset for you, darling. All these things remind you of her. Oh, my dearest. Well, you're afraid of anything. There cannot be any real happiness for us. You must forget her. Forget? No. No, not her, Gregory. Only what happened to her? Of course, darling. Oh, it is a bet. I'd like to see you, please. It is a bet. Yes, sir. It is a bet you've been with Mrs. Anton and me now for two months. Are you happy here? Oh, indeed, sir. Good. You've been to market? Yes, Mr. Anton. Well, you were gone. I've been interviewing a housemaid. Is she hired, too? I'm not for talking to her. She's in the kitchen. You may tell her to come in now. Yes, sir. Just a moment. Outside just now, didn't I see you talking to our neighbor, Miss... Oh, yes, sir. She seems so anxious to call here, sir. Why did you tell her? You. You told me that seeing people is not good for Mrs. Anton. I asked you a question. Of course, sir. I told Miss Brates that the mistress hasn't been feeling too well lately, and perhaps she should wait. Thank you, it is a bet. You may send that girl in now. Ask about wages, sir. 16 pounds a year. Is that satisfactory, Nancy? Yes, sir. Um, what about her? Her? The housekeeper. Do I have to share a room with her? No, if you prefer, you may have your room downstairs. Now, remember, your mistress is very particular about everything being correct. Is she, sir? Oh, oh, Paula. Paula, dear, this is Nancy, our new housemaid. Oh, how do you do? You may go now, Nancy. Very good, sir. Well, she seems a nice girl, Paula. Sure she'll do. Are you ready, dear? Already. Already to have my wife show me a wonderful city of London. Darling, you look like a summer's day. Oh, it's because I'm so happy. Do you know what day this is? Yes. Three months ago today, we became man and wife. Oh, I have a little present for you, Paula. No. Here. Oh, Gregory. Oh, just a cameo brooch that belonged to my mother. Now it belongs to you. Oh, I shall wear it always, always. How sweet of you to give me this. No, no. Oh. What's the matter? The clasp. I've broken the clasp. Oh, I'll have it mended. It just seemed to break off. Your bag? Yes. It's in your bag. You might lose it. You know, you are inclined to lose things, Paula. I am. I didn't realize that. Oh, just little things. There now. The brooch is in your bag for safekeeping. Yes. Now, you remember where it is. Of course I'll remember. It was only teasing, darling. Now then, where shall we go first? Well, I have it all planned. St. Paul's Cathedral, then Buckingham Palace, and then the Tower of London. Are you sure you feel equal to such a schedule? Of course I feel perfectly well. Really, I do. Well, just promise me you won't overtax your strength. Promise me? Of course I shall, darling. Come then. We'll take it easy. We must not rush. Oh, do you mind terribly, Gregory, but I just had to get out into the French air again. All those horrible things there in the Tower, the torture chambers, the beheading block. Are you sure that's why you wanted to leave? Oh, yes. Yes. That young man back there, he nodded to you. Who is he, Paula? Oh, I don't know. He seemed to know me, but I... Do you usually bow to people you don't know? No, I suppose I met him somewhere. Are you telling me the truth? Of course. Why should I lie? You smiled at him. I wonder why. I did it without thinking, Gregory. I don't know why I did it. Like the other things? What other things? Oh, nothing, darling. Only I've been noticing you're quite forgetful lately. Forgetful? Well, losing things, and... Oh, Naha, please, don't look so concerned. It's nothing. You get too tired of them. Yes, yes. That's probably what it is. I'm tired. Oh, we still haven't seen the current jewels. They're in that building there. Oh, they are? How do you know? What did you say? I said, how do you know you haven't been here before? The guide told us inside. Are you becoming suspicious, Paula, as well as absent-minded? No, of course not, Gregory. After we see the jewels, we'll go home. Jewels are wonderful things, Paula. Yes, yes, a man could sell his soul for jewels and find that he has made not too bad a bargain. Well, you were right, Paula. There's nothing more beautiful than London sunshine. And I had to spoil the day by bringing you home so early. Why don't you rest now for a while? Yes. Would you like me to stay with you and not go out this evening? No, you go to your studio as usual. Gregory, can you really compose in that little room you've rented? Of course. I have a piano. That's all I really need. I wish you'd let me see it sometime. Oh, Paula, you might let me have your boat. Yes. So I can have it repaired. Yes, yes, of course. I'll get it for you. Wait a minute. Here. I don't understand. What's the matter? Oh, Gregory, I can't find it. Wait a minute. What? But it must be here in my bag. I'll turn everything out. Wait a minute. I know that it was here. I couldn't have lost it. It must be here. Sure it is. Yes, it must. No. No, it's gone. Oh, Gregory, it's gone. Oh, Paula, didn't I tell you? How did you come to lose it? I must have pulled it out with something. Oh, I'm terribly sorry, Gregory. Please forgive me. Oh, my dear, it's not as serious as that. It was not valuable. No, but you're present to me and your mother's brooch. I don't remember opening my bag. You did put it there, didn't you? Don't you even remember that? Yes, yes, of course I do. But suddenly I'm beginning not to trust my memory at all. Oh, I tell you, you're just tired. That's all. Don't worry, so Paula, don't worry. Ma'am, what time is it, Elizabeth? Plus to nine o'clock, ma'am. How do you feel? I'm all right. Has the master left yet? Yes, ma'am, a little while ago. Please see that he has plenty of coal on the grate in his room, won't you? You already told me, ma'am. When did I tell you? After dinner. Don't you remember? Oh, oh, yes. Elizabeth? Yes, ma'am. Did you just turn the gas up in the hall? No, Mrs. Anton. Well, the light here in the room, it just went down. The way it always does, when another light is turned up. I didn't touch it. Oh, but this one went down. Oh, perhaps Nancy lit another jet in the kitchen. It couldn't have been her. This is her evening off. Yes, yes, that's right. Good night, Elizabeth. Good night, ma'am. Elizabeth? Yes, ma'am. What's that? That noise, listen. Noise, ma'am? Yes, can't you hear it? Something coming from up there, from the attic, like footsteps and things being moved around. Good ma'am, the attic's all boarded up. I tell you, I hear something, Elizabeth. My hearing, ma'am. It's not too good, you know. Oh, you hear very well when I speak to you. Yes, ma'am. I've gotten so I can tell from a person's list. Shh, but... It's stopped now. It's gone. I...I... You may go, Elizabeth. I'm very sorry. Please, ma'am. Is there anything I can do? No. Nothing. Good night. Good night. I hope you rest, ma'am. What is happening to me? I must be ill. I...I must be... Oh, no, no, no, no. Before we return with the second act of Gaslight, starring Charles Boyer and Ingrid Bergman, here's our Hollywood reporter, Libby Collins. You look as if you'd seen some exciting living. Oh, I have, Mr. Keely. I've just seen one of my favorite books come to life on the screen. What one is that? The Postman always rings twice. Metro Golden Mayor has made a terribly exciting picture out of James Cain's bestseller. With Lana Turner and John Garfield as the stars, that's understandable. They make a marvelous team. The Postman always rings twice as so packed with action it left me practically breathless. And then with all that, I saw Lana Turner herself. Glamorous as usual? But definitely. And wearing some suntan nylons that were absolutely lovely. As if they had luxe care? That's right, Mr. Kennedy. They certainly did. These days, when stockings are so hard to get, girls everywhere are keen about luxe flakes for stockings. Luxe stockings, they love they so much longer. Scientific strain tests prove that, Libby. Stockings washed with luxe flakes lasted twice as long. Identical stockings rubbed with cake soap or washed with a strong soap soon went into runs. The studios appreciate what a saving that is. They luxe stockings just as they do all nice washables. Freshly luxe clothes make any girl more glamorous. And at such a tiny cost. Another way I save is by luxing undies first and then stockings. My luxe flakes go further that way. A good idea, Libby. Because luxe contains vital materials. It shouldn't be wasted. Here's Mr. Keely at the microphone. We continue with act two of Gaslight. Starting Ingrid Bergman as Paula and Charles Boyer as Gregory. In the few days that have passed, the sedate little community called Fountain Square has seen a new visitor. A discreet young man with innocent questions but who for some reason has avoided the residence of Mr. and Mrs. Gregory Anton. At the moment the young man is in the office of the superintendent of Scotland Yard. Now look here Cameron. The all-quist case is ancient history. What's causing your sudden interest in a murder that happened ten years ago? It's hard to say, sir. It impressed me very much at the time. Probably because I'd met Alice Allquist. Oh, I was just a boy. I know it sounds foolish, but I still think she was the most beautiful woman I'd ever seen. Do you wonder why I was startled when I saw that girl last week in London Tower? A girl who might be the twin sister of Alice Allquist 15 years ago? And what does that prove? Nothing, I'm afraid. But number nine, Thornton Square, is no longer an empty house. The girl's her niece. The house belongs to her. Well, it's just a feeling I have that something peculiar is going on. Because that knows the old maid, Miss Thwaites, because she thinks so. Come now, Cameron. But they've been so careful to avoid visitors. I wonder why. Well, stop wondering. As for the matter of the jewels, that was dropped by ultra-most important personage. Jewels? What jewels? Oh, they'd been given to Alice Allquist by well by someone very highly placed. Crown jewels of his, well, of another country, they disappeared. That's why she was murdered. Who'd murder a woman for jewels that are far too famous to be disposed of? But they've never turned up. No, now run along, Brian. I'm very busy. Yes, sir. Thank you, sir. Oh, uh, uh, Williams. Yes, sir? Where's your duty these days, Williams? In the East End, sir. How'd you like a more fashionable beat, one that includes Thornton Square? Oh, very much, sir. It also includes a pretty young house maid named Nancy Frost. She might be susceptible to a policeman's uniform, and I need information. Well, now, sir, I... I'll say nothing about it. We'll see what can be done. If you want coal on the fire, Paula, why don't you ring for the maid? I'm sorry, Gregory. I didn't mean to wake you. Oh, well, now that you have interrupted my nap, we may just as well be comfortable. Now, please, pull the bell cord. Oh, but it seems so unnecessary. What are servants for, Paula? Answer me. What do you suppose servants are for? To...to do things, to service, I suppose. Exactly. It's only I think we should consider them a little. Oh, don't be cross with me. I'm not cross with you. It's...oh. There are a lot of things. You ring, sir? No, you mistress ring. Well, my dear, tell Nancy why you ring for her. A little coal on the fire, please, Nancy. Yes, ma'am. Well, Nancy, tonight is your night out, isn't it? That's right, sir. Whom are you seeing tonight, Nancy? They have changed the policemen on the beat. Is his heart going to be added to the list of those you've broken? I don't know. I've broken any, sir. No, no, no, I'm sure that's not true. That complexion of yours, that's something not quite true either. Oh, you do it very cleverly. In fact, I'm hoping you'll pass your secret onto your mistress and help her get rid of her pallor. I'm sure I'd be pleased to do anything I can, sir. Gregory, how can you talk to Nancy like that? But, my dear, you are so anxious to regard the servants as your equals. I thought I would treat her as one. No wonder that girl despises me the way you encourage her in it. Despises you? For all men are the way she looks at me. Looks at you? Paula, you're not imagining things again. You're not, are you? Of course I'm not. Before I don't turn away, we must have this out. You really think Nancy despises you? Paula? No, Gregory. Well, I'm glad of that. It hurts me when you are ill and fanciful. I beg your pardon. Nancy, have you been there listening to us? Oh, no, sir. Miss Waits is calling. She wants to know if the mistress is at home. Oh, that old busybody again? She has a nephew with her, a Mr. Cameron. Tell them Mrs. Anton is not at home. Gregory, really, she's been so very... If you let her in once, you'll always have to have her. And I do not want people all over this house. Well, Nancy, don't stand there. Yes, sir. I would have liked to have seen her. Oh, but my dear, I thought you were only trying to be polite. Why didn't you say you really wanted to see her? Well, how could I? In front of that girl... Paula, you must get over this ridiculous fear of the servants. All you had to say was, surely, Nancy. Well, am I right? Yes, Gregory. You would not have time to see her anyway. Why not? You'll want to dress. We're going out tonight. We are? You didn't tell me, or have I forgotten? Oh, Paula, you silly child. Of course you haven't forgotten. Look, theater tickets. A surprise for you. We're going to the theater tonight. Oh, Gregory, how wonderful. Oh, my darling. And you thought I was being cruel to you. No, no, you're not cruel. Keeping people away from you. Making you a prisoner. I'm sorry, I'm sorry, I'm sorry. Oh, darling, it's been days since I've heard you laugh like this. Yes, it's been days since I've been so happy. I want to laugh and I want to dance. Oh, Gregory. What is it? The wall. Something is missing from the wall. Missing? Oh, Paula, Paula, I don't want to upset you. If you will put things right when I'm not looking, we'll assume it did not happen. But what? You mean you don't know? No, I... The little picture has been taken down again. Who took it down? Why? Oh, indeed. Why was it taken down before? Paula. But I haven't taken it. Why should I, Gregory? I swear. No, don't bring for the servants. I must. No, please, oh, Gregory, don't shame me before the servants again. Would you stop being hysterical? You must get to the bottom of this once and for all. Things like this cannot... Oh, Elizabeth, come in. Yes, sir. Elizabeth, do you notice anything missing from this room? Missing? No, I... I don't think so, sir. Look at the wall. Well? Oh, yes. The little picture. Did you take it away? Oh, no, sir, why ever should I? You go to church, don't you, Elizabeth? Oh, yes, sir. Please hand me my Bible there. The Bible? Yes, sir. Thank you. You will case this Bible as a solemn oath that you've been telling the truth. Thank you, Elizabeth. Now send my scene here. Yes, sir. Gregory, please, no. Not that girl. I'll say anything else. I'll say that I did it. I did it, Gregory. I'll not have that girl. It'll come. Please, please. Paula, please have the goodness to control yourself. You found suspicion on the servants. They must be cleared of it. Now sit down. Did you hear? Sit down. Elizabeth said... Nancy, a picture has been removed from the wall there. I want you to know if you took it. Oh, no, sir. Shall I ask Nancy to kiss the Bible, Paula? Will you accept her word? Of course, I'll accept it. That's all, Nancy. Thank you. Is there this morning? I'm sure. Give me that Bible. Give it to me. I swear on the Bible I didn't take that picture down. Go and look for it. See if you can find it, perhaps here in the library. We found it in here the last time, didn't we, but I... I think it may be here again. The shelf. It's there on the shelf. So? So you knew where it was all the time? No, I didn't know, Gregory. I didn't. Paula, I think you better go to your room. Then we... we're not going to the theater. Oh, I'm afraid you're far from well enough for the theater, my dear. Gregory, if I took that picture down... If? If I do all these senseless, meaningless things so meaningless, then I don't know what I do anymore. Yes, Paula, that's just a trouble. Then if that is true, you must be gentle with me. Please, Gregory, please. You better go to your room. What are you going to do? I'm going out to work to try to forget all this. No, please don't leave me now. I get so frightened when you go out night after night. Frightened? You never told me that before. I hear noises and footsteps. I imagine things through the light in my room, the light dims. I'm frightened of myself. Please take me in your arms, Gregory. Don't leave me, please. Good night, Paula. I hope to find you much better in the morning. Jim, come in. I just wanted a report, sir. Miss Nancy Frost and I, we're going out this evening. Oh, fine. Any luck this afternoon, sir? Not very much, I'm afraid. I persuaded Miss Thwaites to adopt me temporarily as a nephew and go visiting, but the Antons wouldn't see us. Too bad, sir. Here I shall. I've just called a friend of mine, Lady Dalroy. She's giving a musical at her home Friday night. She knew Mrs. Anton slightly years ago. She's been kind enough to add her name and her husbands to the list of guests. Well, Brian, I hope you're properly ashamed arriving so late. Covered with remorse, Lady Dalroy. Business at Scotland Yard, I suppose. Well, lady, not so loud. Tonight I'm just another guest. Well, you're in for a disappointment, Brian. Wait this afternoon. Mr. and Mrs. Anton were unable to accept the invitation. Oh? Oh, I... I see. She's apparently ill. Very tiresome of her. Did she send the note? No, her husband. Brian, who is this Mr. Anton? What does he do? Where does he come from? I was hoping to find that out tonight. Don't look so glum. Come into the music room. You still enjoy the piano, don't you? Brian! Oh, sorry. I'm afraid my mind was mind-blowing. You all dressed up like this? Because I'm going to Lady Dalroy's reception. But I sent a note. Yes, you told me, but I must get out of this house, Gregory. Very well. But I'm afraid you'll have to go alone. If you prefer. Paula, wait. I didn't realize this party meant so much to you. I'll change immediately. You didn't really think I'd let you go alone, did you? I don't know. Please hurry, then, Gregory. Of course, my dear. I won't be a moment. Well, surprise, Mrs. Anton. I'm so glad you could come. Thank you, Lady Dalroy. May introduce my husband. How do you do? I hope you will forgive all the confusion, Lady Dalroy, but Paula suddenly felt much better, and we were so anxious to attend. But, of course, now, if you'll come in, Soretzky's playing. You will find some seeds over there. Later on, we're serving a little supper. We have a nice, long tour day. Thank you, Lady Dalroy. Is something wrong? Wrong? You keep turning. No, no, it's nothing. I thought I saw a man I knew at all. Imagine being able... Yes, I heard Soretzky once, and... Paula, my watch is gone. Oh, Gregory, no. No, no, not... I didn't, but what are you doing? Your handbag. No, please, please. I can feel it in your handbag. No. My watch is in your handbag. Open it up. But I didn't put it up. No. You see? You see I was right. You took it. I didn't put it up. I swear I didn't put it up. Paula, you must control yourself. Paula, you're seen like this in public. Let's get out of here immediately. Come on, Paula, come. It's so hard to keep it within these walls in our own house. Now, because you won't go out tonight, the whole of London knows it. I could only understand what makes you do these crazy, twisted things. Gregory, are you trying to tell me that I'm insane? That's what I'm trying not to tell myself. But that's what you think, isn't it? That's what you've been hinting ever since. Well, ever since what? Since the day I lost your mother's brooch. No, no, before that, the first day in this house when I found that letter. What letter? From that man called Bauer, a surges' Bauer, I remember. Yes, yes, you're right. I can see you still standing there and saying, look, look at this letter. And staring at nothing. What? You had nothing in your hand. Oh, Gregory. I was staggered. But I didn't know then how much reason I had to be. What reason? I didn't know then about your mother. What about my mother? Your mother was mad. She died in an asylum when you were a year old. No, that's not true. I've been making inquiries. I've talked to the doctor what under her. Would you like to see him? No, no. He described her symptoms to me. He began with her imagining things, noises, footsteps, voices. No. And the voices began to speak to her. Oh, no. And in the end, she died with no mind at all. Please, please stop it. No. Ah, perhaps you will understand why. I cannot let you meet people. Oh, by the way, he must have been rather disappointed that you left Lady Delroy's home tonight before he could talk to you. Oh. The man, the man who was sitting behind us. He went there only because you knew he was going to be there. Oh, Gregory, who? Oh, the same man who bowed to you that day in the tower. Who is he? Hmm? Someone from the past? Some disappointed shooter, perhaps? I never met him. I have no idea who he is. Why do you lie to me? I never lie to you. No. No, I'm sorry. No. I know. You never lie to me. It's worse than lying. You've forgotten. You've forgotten him as you forget everything. Oh, but I'm wrong to try to handle this myself. Paula, we shall have visitors here and shortly. A doctor? Two. Yes, I believe two is the required number. Good night, Paula. I'm going out. We pause now for station identification. This is CBS, the Columbia Broadcasting System. The four-hour stars Charles Boyer and Ingrid Bergman return in act three of Gaslight. I'd like to present tonight's guest, one of Paramount's dazzling young starlets, Janet Thomas. Her platinum blonde hair and bright blue eyes have proved an open sesame to every door she touches. Isn't that so, Janet? I've just been lucky, Mr. Keely. Didn't I hear that you got a job as a photographer's model the very afternoon you arrived in New York? Well, yes. And how about your first part in a Paramount picture? Oh, I just happened to meet a director at a dinner party and he arranged it. There you are. What type of roles do you prefer? Dramatic ones, like Paulette Goddard's and Kitty. She's wonderful in that role. I was on the set a great deal while they were making it. You can learn a lot from watching a finished actress like Paulette. I learned something else there, Mr. Keely. And what was that? Remember those muddy London streets in Kitty? Well, I wondered how they kept those long frilly petticoats so fresh looking for every scene. They were suds and lux, weren't they, Janet? Yes, Mr. Kennedy, how did you know? Hollywood studios and lux flakes are old friends. It's interesting to see 18th century undies getting the same care as our 20th century ones. Keeping fabrics fresh and colors lovely is important in making a picture of any period. Studios depend on lux care for all nice washables. And so do I. And so do thousands of other girls, Janet. Lux care keeps pretty lingerie, color fresh and new looking longer. I've seen slips luxed as many as 30 times. They still look lovely. That makes lux the real budget saver. Right, because lux care helps slips and gowns stay lovely three times as long. Washing tests prove that, you know. I just wish the women in our audience could see how colors faded and seams pulled apart when garments were washed carelessly with strong soap, hot water and rough handling. And how lovely identical ones looked after the same number of washings with lux flakes. Lux is really thrifty. Thank you for coming tonight, Janet. And good luck. We return now to William Keely. Our curtain rises on act three of Gaslight starring Ingrid Bergman as Paula and Charles Boyer as Gregory. It's a little later the same night. Gregory has just left. And alone in her room Paula crouches in terror staring up at the petals of flame that burn evenly in the chandelier. Then from the attic above she hears footsteps and the muffled thud of unknown objects move by an unknown hand. And the light in her room grows dimmer. Oh, I can't stand it. I can't stand it, no. Oh... Elizabeth! Ma'am, I'm coming. Help me, Elizabeth. I want it. I'm so tired. Why, of course, Mrs. Anton. Elizabeth, did you turn on the gas anywhere just now? Why, no, ma'am. I thought it went down in here as if... Oh, it's just that the gas comes in pipes, ma'am. And I expect they get more gas in the pipe sometimes than they do at other times. Yes. Yes. Now, let me get your shoes off. Elizabeth, do you hear anything? Mrs. Anton? Those sounds, those noises up there. Oh, no. No, ma'am. Like someone moving about? Oh, Elizabeth, listen, please. You know what my hearing is, ma'am, it just couldn't be anyone up there. The whole floor is boarded up. You know it is, ma'am. I hear it, Elizabeth. I hear it, I hear it. Now, there, ma'am, I'll go and get you some nice hot... No, don't leave me. Please, don't leave me. Come in. Sorry to wake you up so early, Elizabeth. Seeing as how you told me to come here to your house... Oh, don't apologize. What is it? Well, about two hours ago, I'm on the corner of Thornton Square when suddenly there he is, popping up out of the fog. Our friend, Mr. Anton, I can't figure it out, sir. The way he disappears and then reappears every night. Don't let it amaze you any longer, William. Sir? He never leaves Thornton Square. We only thought he did. Number five is an empty house. He turns the corner of Thornton Square, comes back to number five through the alley, goes to the roof, crosses to his own house, and then goes in through the attic. But why would a man want... Never mind that now. What happened last night? I'll tell you, that man's been up to something. He might've cravat all on one side, dirt and dust all over him, even on his face. Had he been in a fight? No, more like he'd been digging in a cellar or something. Sit down, Williams. I'll stir up some breakfast. I've had my breakfast, sir. In the kitchen of number nine, as a matter of fact. Oh, how's Nancy? It seems the master's told her her mistress might be going away for a long time. What do you think that means? It means I've got to get into that house tonight. But Nancy says he's told her not to let her mistress see anyone. Then you'll have to see to it that Nancy isn't home tonight either. Any little thing I can do for the yard, sir. Without you know, the lady herself will see you. I don't know. Wait. There is a way. Yes, I'm sure she'll see me, Williams. I can't see anyone. I'm ill. Elizabeth, stop him. I must see you, Mrs. Anton. I couldn't stop him, ma'am. He pushed his way right in. Mrs. Anton, my name is Brian Cameron. You mustn't be here. Go away. Not until I've given you this. A glove? It's a glove. Years ago, Alice Alquist gave me this glove. I was a little boy, overcome with admiration. Will you trust me now? She gave it to you. The great admirer, a little boy. Mrs. Anton, are you planning to leave here? Leave here? I have nowhere to go. Unless my husband sends me away. Is that why you came here to take me away? Are you as frightened as all that? No. I can't talk to you. I'm afraid I'm... Please. Please. You must answer my questions. Where is your husband now? Where is he gone? He's taking a studio where he can work and is composing. He says he can't work in this house. Is there anyone here now except us and Elizabeth? No. Why? Because the gas light just dimmed a little. You saw that? Of course. Oh, then it really happens. I thought I imagined it. It means that someone has turned the light on somewhere in this house. No, no, no. I thought that too. But every night I've been all over the house and there's never been another light turned on. Oh, at last I can tell this to someone. Every night when my husband goes out... The gas light goes down? Yes. And then what? Well, then I think... I hear things that I watch and wait and later the gas goes up again. And he returns? Yes. Quite soon after. Always. Quite soon. These things you hear, what things? Sounds, noises over my room in the attic. What's up there? A whole floor of trunks and furniture, her belongings, my aunts. Like that sound just then. Is that what you mean? Yes. Yes. But who? Mrs. Anton, you know, don't you? You know who's up there. No. No. How could he be? Why? Tell me, has any weapons in the house? He has a revolver. Where is it? There, I think he keeps it in his desk there. Lock. Force it open. This letter opener will do it. No, no, no, you mustn't. Whoever you are, you have no right to. We'll think that I know what shall I say to him. You won't have to say anything. Well, a gun case without a gun. Perhaps it's... What's the matter? There in the drawer. The pouch he gave me. And the letter. I was right. Letter? Here, it was from someone called Sergius Bauer. Bauer? I found it, but my husband said I dreamed it and now it's here. Bauer? There was a Sergius Bauer connected with Dallas Alquist. A young pianist in Prague. Let me see that letter. The handwriting. Yes, yes, yes. Now something else, anything. Anything else he may have written. This note here. It's addressed to Lady Delroy. He said he had to send Lady Delroy an apology. Look, the handwriting. It's identical, Mrs. Anton. Your husband and Sergius Bauer are one and the same. He said there was no letter. He said I was going out of my mind. You're not going out of your mind. You're slowly and systematically being driven out of your mind. But why? Why? Perhaps because you found this letter and knew too much. Or because then he would have control of your property of this house and could search in the open instead of in the dark like this. Search for what? For the things for which Alice Alquist was murdered. Her jewels. Could I have her jewels? There are jewels you didn't know she had. Famous jewels. Jewels for which he was searching that night ten years ago. No, you're wrong. I know him. He's my husband. I've lived in the same house with him. I... If that were true then from the beginning there would have been nothing. Nothing real from the beginning. I'm sorry, Mrs. Anton, but you must believe me. Your whole life depends on it. Don't you see the way everything is... The gas is brighter again. How long has it been up? I don't know. You'd better go to your room, Mrs. Anton. Why? Where are you going? Outside the house. He'll cross the roof of the empty house next door. I'll be waiting for him. What will you do? You have nothing to worry about, Mrs. Anton. Elizabeth. Yes, sir. Whatever happens tonight, Elizabeth. Have her welfare in mind. You can count on me, sir. What am I going to say to the master when he comes back? He won't come back anymore, Elizabeth. Gregory. What are you doing here? I was lying down. Why? I don't know. You don't know? Do you know anything about anything you do? You startled me. I didn't hear you come in the door. I didn't come in the door. I came down the stairs. I've been in the attic, Paula. The attic is boarded. You couldn't have... It's no longer boarded up. I have found what I've been looking for. Did you ever see Jews? Paula, did you? Jews. Her Jews. Do you know what you remind me of as you walk across the room? Like a girl walking in her sleep. Only you're not asleep. Or you would not have broken open my desk. I didn't open it. Why did you do it, Paula? I didn't. It was he who opened it. He? What are you talking about? A man. A man who came to see me. Who let him in? Elizabeth. Elizabeth, come here. Elizabeth. It's... Mr. Ant. I mean Elizabeth. Who was the man? A man. A man. A man. Why? What's at the door? No one was here, sir. No one. Elizabeth, you saw him. You opened the door yourself. No, ma'am. I didn't see anyone at all. But he... But he was here. I know it. I know. I saw him. You see how it is, Elizabeth? Yes, sir. I see just how it is. I couldn't have dreamed it. I couldn't have... Did I dream? Did I really dream? Did I dream? Yes, Paula. You dream all day long. All that happened? All that did not happen. Then it's true. My mind is going. Haven't I told you, Paula? Then take me away. Now I can't fight it anymore. Yes, Paula. I will. Take me away. Take me away. And was I any part of this curious dream of yours, Mrs. Anton? You! Perhaps my presence may help you recall your dream. Who the devil are you? Only a figment of your wife's imagination. How did you get into this house? Down the attic stairs, Mr. Anton, the same way you did. Mrs. Anton, don't you think you'd better go to your room? You must be very tired. Don't you think you'd better explain your business? As a mere ghost existing only in your wife's mind, I could hardly be said to have any business. Paula, go to your room. No. Please, Mrs. Anton. All right. I'll go. Those jewels. I see you found them after all, Sergius Bauer. I'm afraid I don't know your name. Shall I tell you my business address also? No, I think I can guess it. So, we've both ended our search tonight. Where were the jewels? Sold in one of her costumes. The dress she wore in the opera Theodora. How clever she was to conceal them there. Four priceless jewels among a lot of pasty mutations. How does it feel, Bauer, to have planned and killed and tortured for something than to find it's all been for nothing? For nothing? Oh, no. I don't think so. Not for nothing! Put down that gun! Shot, ma'am. Yes. Then he ran up the stairs. The master. He ran to the attic, ma'am. And the gentlemen after. They're out there now. They're fighting. I've got to get help, ma'am. But who? Mr. Williams. The Constable. Mr. Williams. I'll fetch him, ma'am. Don't worry. I'll fetch him right away. Are you sure you're all right, Mr. Cameron, sir? I'll feel a little better as soon as I finish tying Mr. Bauer to this chair. Stand up. You shouldn't come up here. I want to speak to my husband. Do you believe me now? Please, I want to speak to him alone. I assure you I'm quite helpless, Mr. Cameron. Please. Come along, Williams. We'll be waiting on the stairs. Paula, go and see if he's listening. He's not listening. He told you a lot of things about me, didn't he? Yes. They were lies. Because he's in love with you. I can feel it. Can you? Can you really, Gregory, or shall I call you Sergius? Oh, so he told you that too? Well, have you never heard of an artist taking a stage name? They don't hang a man for that, do they? No. They don't hang a man for that. Paula, do you remember our first days together? Do you remember Italy? Lake Como? There have been times when I thought I only dream those days. Come closer, Paula. Look into my eyes. Paula, if I ever meant anything to you and I believe I did, then help me, Paula. Give me just another chance. Gregory. Look in the drawer of that cupboard there. There's a knife. Get it, Paula, and cut me free. Here? Yes. Yes. The first drawer. I'll find it, Gregory. Be quick, Paula. Hurry. But there is no knife here. Yes, yes. I put it there tonight. Yes, yes. That's it. Now, bring it here. I have no knife, Gregory. What? You must have dreamed you put it there. But you... Are you suggesting this is a knife in my hand? But have you gone mad, my husband? Paula. Or is it I who am mad? I'm always losing things, hiding things. Oh, that was a knife, wasn't it? And I threw it on the floor, and I have lost it. Paula, Paula, it is there. Pick it up. I must look for it, mustn't I? If I don't find it, you'll put me in the mad house. Now, where could it be now? Behind this trunk? No, no, it isn't there. Perhaps over here. I'm trying to help you, aren't I? Trying to help you to escape. But how can a mad woman help her husband to escape? Paula, Paula, you're not mad. You're not. I am, as my mother was mad. No, no, no, Paula, that wasn't true. Pick up the knife, help me. If I were not mad, I could have helped you. Whatever you had done, I could have pitied you and protected you. But because I'm mad, I hate you. Because I'm mad, I have betrayed you. And because I'm mad, I'm rejoicing in my heart without a shred of pity, without a shred of regret. Mr Cameron, come take this man away. You're ready, Bar? Quite ready. Untie his feet, William. I don't ask you to understand me, Paula. Between us all the time where the jewels, like a fire, yes, a fire in my brain that separated us, those jewels, which I longed for all my life, I don't know why. The cab is coming, Mr Cameron. Goodbye, Paula. Goodbye, Gregory. Stop it down in a minute, Williams. This will be a long night. But it will end. In the morning when the sun rises, sometimes it's hard to believe there ever was a night. You, you'll find that too. Yes, I shall try. I shall try. See what's happening in Mrs Brown's kitchen. Six-year-old Dottie is having an early supper. Stop doddling Dottie and eat your dinner. You're hopefully pretty, Mommy. Well, for goodness sakes, what brought that up? Oh, all the ladies and grandmothers this afternoon said you were pretty. They did? Uh-huh. When I passed the cookies, Mrs Steven said you had the sweetest face, and Mrs Simpson said you had D-I-S-H-P-A-N hands. Oh, she did, didn't she? That's what she said. And you know what I said? My mom is certainly has D-I-S-H-P-A-N hands, even if they are red and scratchy sometimes. Out of the mouths of babes. What's that mean, Mommy? It means, oh, never mind, D-I-S-H. You could do something about those dishpan hands, Mrs Brown, if you changed to luxe for dishes. If you stopped using that strong soap for dishes right now and changed to luxe flakes, even Dottie would notice that before long your hands were soft and smooth the way they used to be. Scores of tests carefully checked by scientists prove that changing from strong soaps to luxe really makes red, rough dishpan hands soft and smooth again. If you can't get luxe flakes the first time you try, try again soon. More is on the way to your dealer. Here's your producer, William Keely. As the era of gas light comes to a dramatic finish, our footlights blaze again and back come our two stars for their curtain calls, Ingrid Bergman and Charles Boyer. After tonight's performance, Ingrid, I'm sure our audience understands even better why you won the Academy Award. Thank you, Pierre. You know, Ingrid won another award just recently, Bill. What's that, Charles? For the second consecutive year, the foreign correspondents of Hollywood have voted her their favorite actress. Well, Ingrid, I'm sure that all moviegoers are delighted that you and Charles are going to be starred in Enterprise Productions' first big picture, The Arch of Triumph. Well, I'm happy to be doing it, Bill. It gives me a chance to get even with Charles. What do you mean, get even with me? Well, as the character of Gregory in Gaslight, you did everything to make my life miserable. And in your next picture? Well, in the next, Charles is the kind and gentle one, and I make his life miserable. Well, it's worth it. Well, Charles, I'm sure that fundamentally you're a lover of humanity. And quite seriously, you've done wonderful work with your French Research Foundation in promoting friendship between America and France. Well, that's always been a very special interest of mine, Bill. Tell us, what are you presenting on this stage next Monday night? Next week, we're bringing our audience one of the most dramatic stories ever screened. It's international's current hit Tomorrow is Forever, starring Claudette Colbert and Van Heflin. Tomorrow is Forever, a story of love and sacrifice in a drama throbbing with emotion and suspense. Well, that should make a great play for your audience, Bill. Good night. Good night. Good night, and thank you both for Gaslight. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening. When the Lux Radio Theater presents Claudette Colbert and Van Heflin in Tomorrow is Forever with Richard Long and Natalie Wood. This is William Keely, saying good night to you from Hollywood. Shortages of fats and oils, especially those needed for fine soaps, are greater than at any time during the war. Many people expected shortages to disappear overnight, so instead of continuing to save used fats and oils, they threw them away. How about you? Are you still saving used fat? Until the millions of housewives in the United States realize the urgent need for used fats, your favorite soap products will be short. Industry must have these used fats before releasing the finer oils for soap making. Remember, your dealer will give you four cents for every pound you turn in. Charles Boyer will next be seen in the Ernst Lubitsch 20th Century Fox production, Clooney Brown. In a report to the motion picture industry released last week, General George C. Marshall acknowledges the industry's contribution to victory and peace as follows. The generosity of the motion picture industry collectively and of the individuals comprising it made possible the entertainment of our soldiers under very trying conditions. Patrick Hamilton's play, Gaslight, had a successful Broadway run under the title Angel Street, produced and directed by Shepard Traum. Our music was directed by Louis Silvers, and this is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear Tomorrow is Forever, starring Claudette Colbert and Van Heflin, with Richard Long and Natalie Wood. The Sprye treat of the week. Sprye chicken pie, tender, savory chicken and smooth Sprye cream sauce with golden corn biscuit topping. Avoid wasteful failures for light, delicate hot breads, luscious cakes, tender flaky pastry. Try the dependable Sprye way. New Sprye with cake improver improves all baking, all frying. Rely on Sprye. They should listen in next Monday night to the Lux Radio Theatre presentation of Tomorrow is Forever, starring Claudette Colbert and Van Heflin, with Richard Long and Natalie Wood. And why not tune in a half hour early to hear John Davis over most of these stations? This is CBS, the Columbia Broadcasting System.