 Lux presents Hollywood. The Lux Radio Theatre brings you Charles Lawton and Elsa Lanchester in the sidewalks of London with Alan Marshall. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. This is an occasion in the Lux Radio Theatre. In fact, whenever Charles Lawton appears at an occasion, I saw him first about nine years ago on the London stage with the young lady named Elsa Lanchester, who impressed me almost as much as he did, but she must have impressed Mr. Lawton even more because he married her. So tonight we have Mr. and Mrs. Lawton together for the first time at this microphone. A starring team like this would be a great event in any of the leading theatres of the world. In the Lux Radio Theatre, such events are made possible by your support of our product, Lux Toiletsope. And you have a reserved seat in the most comfortable chair in the house every Monday night. It's that reserved seat that automatically goes with your purchase of Lux Toiletsope. Our play, The Sidewalks of London, is adapted from the picture which Paramount is just releasing, starring Charles Lawton and Vivian Lee. It's already scored a great success in England where it was produced. And incidentally, it was this picture that gave Vivian Lee her first important opportunity. Miss Lee, as you may have heard, later became Scarlett O'Hara in a picture called... Gone with the Wind. The Sidewalks of London is a play about buskers, and that seems to call for an explanation. Buskers are stepchildren of the theatre. They are entertainers who make a living by performing on the street instead of on the stage. When his performance is over, the busker passes the hat. And I suppose that's about the hardest school of acting there is. Because if there's no applause, there's no salary. The Sidewalks of London is an off-stage, or perhaps I should say an off-sidewalk story, of two buskers who fall in love just as people in less exciting professions do. Now let's go behind the scenes of a sidewalk theatre as we ring up the curtain on Act 1 of The Sidewalks of London, starring Charles Lawton as Charlie and Elsa Lancaster as Libby, with Alan Marshall as Harley-Prentice, and Claude Allister as Gentry. London after dark, an evening's entertainment is beginning in the street. The buskers are playing to the crowds which stand in line outside the theatres waiting for admission. In the alley, just off the Gehry Theatre, a singing busker nears the finish of his act. Just behind him, patiently waiting his turn, is Charlie. Charlie is an elocutionist, a reciter of poems. His clothes are ragged but clean. His face is lined with weariness but cheerful. As the singer ends his turn, Charlie steps into the street and sweeps off his cap with a graceful gesture. Ladies and gentlemen, I will now recite to you a poem first made famous by Bransby Williams, since recited on various occasions by Sir John Martin Harvey, Mr. John Gilgood, and myself. The Green Eye of the Little Yellow God by Milton Hayes. There's a one-eyed yellow idol to the north of Kathmandu. There's a little marble cross below the town. Thank you very much. There's a broken-hearted woman tensed the grave of Med Caru. Thank you, madam. And that yellow god forever gazes down. He was known as Med Caru. Get off my foot, will you? By the subs at Kathmandu. He was hotter than they felt inclined to tell. Here you go. You leave that money alone. Get away from me. I saw you picking up my money. Hand it over now. Hand it over. I was lying in the street. Excuse me, ladies and gentlemen. I shall resume my recitation in just one moment. Now you, hand it over to her. She's gone away, Charlie. If I wasn't the next act, I'd catch her for you. I'll catch her all right. Ladies and gentlemen, I must ask you to excuse this slight fracas. I do not stand here for my own enjoyment, so I will ask my friend Gentry here to collect any small tribute you may feel inclined to bestow. Thank you. Thank you. Go and get her, Charlie. Who was slappery? Ladies and gentlemen, with your kind permission and attention, Gentry, an author of myself and my partner, will give you our conception of London's latest song, Success. Every time it rains, it rains, when it's come heavy. Oh, hello, Libby. Doggy, I'll have a coffee, please, Doggy. Oh, you will, eh? What with? You never have no money. Ah, I got sixpence. I got sixpence, eh? Well, where'd you get that? Oh, I found it in the street. Here. Oh, those two, Doggy. Then at the end of the counter. That one in the funny hat is an American newspaper man. He's showing the Englishman a bit of London. Oh, the other one, him and the tales. Oh, he's got a smile, hasn't he? What's his wonderful name? His name's Prentiss. I think he's Harley Prentiss, the songwriter. The songwriter? I've got to speak to him. Now, Libby, don't disturb the customer. Here, you. Are you a songwriter? Yes, I am. Ever sold any? Yes, a few. My name's Harley Prentiss. This is my friend, Mr. Strang. Well, you do. Hello. I didn't catch your name. I'm Libby, from Liberty. From the Statue of Liberty. Really? And what do you do? I'm a dancer, I am. And I recite, like to hear me. There's a one-eyed yellow monster to the north of Canada. All right, all right, all right. I've got you now. Take your hands off me. Stealing my sixpence and reciting my poems, eh? Look out. You and me's got to have a talk. Just a moment, please. What's this girl done to you? What she'd done or what she'd not done is my affair. See? Here. Now, you look here. Look here. What? You look here to me, mister. I don't stand for interference, not from nobody I don't see. Now, look here, young woman. Just a moment. Now, we've all looked everywhere. Let's just relax and have a cigarette, shall we? Smoke? It's very kind of you, sir. That's a very pretty cigarette case, sir, if I may say so. Thank you. Smoke, Miss Liberty? Don't mind if I do. Give us a light. Yes, rather. Come on, darling. Let's get going, shall we? No passion, please. Just wait till I pay the bill. Well, I'll be going, too. Here you come back. Good night, Miss Liberty. Well, did anyone happen to see what I saw? What? See what? Oh, nothing. Nothing. Just nothing, sir. Good night, all. Good night. What's he chasing after her again for? Oh, string. Yeah? Well, it's just a coincidence, probably, but my cigarette case is gone. Stop, you hear? I've got you. Stop. What do you want now? You know sorry to disturb you and all that, but I'll have that cigarette case, please. What? I saw you took it right off the counter. I'd be obliged if you'd explain what you're talking about. Oh, dramatic, aren't you? That's a very good pose. Yes, you've got the right idea, but you keep that for an audience, see? Come on. Hand it over. I won't hand over nothing. I don't know what anyone... You won't, eh? Let go. You're hurting. You don't say, then. Hand it over. Here. That's better. But it's a good thing he's got his name in it. Oh. Oh, you've got a nasty, cheap little mind, haven't you? Well, so long. And when the cops get on to all this, don't you call on me as a witness to character. Just a minute. Look here, mister, how does this lovely world belong to, eh? To the people who live on it, am I right? Well, I'm one of them. I've got just the same tastes as all the rest. You'd be surprised. I get hungry. I get thirsty. I get cold. I enjoy a smoke and a permanent wave, and why shouldn't I have them? Because you haven't earned them. Did anyone ever give me the chance? An institution brought me up and gave me a job washing dishes. But I cleared out of that in double time, and why? Because they... Don't talk foolish. Why not? There ain't no answer. You're after justice and logic. But there ain't no justice and there ain't no logic. The world ain't made that way. Everything's luck, see? And good temper. And if you can take a joke. The whole of life, sir, joke. A joke? Since it's a joke, I can't take, see? Hey, hey, hey. Now, now, now. Hysterics don't help. Listen, my girl. Don't shoot. Touch me. Ooh! That's the second time you've lambed into me. And I don't like it, see? Sir, stop it, Amy. Stop it. I'll have the law on you, I will. What you've done, I'll get you tendered. Hey, listen, listen, listen. Stop it, Amy, stop it. Don't you hear that? The cops. Cops, cops, to see what you've done now. Oh, cops. Don't stand there gawking. We'll have to run for it. Come on, come on, get out of there. Paces this. Where are you taking me? Well, you had no other place to go, did you? Except with the cops, if they'd caught us. I still want to know where you're taking me. Will you be quiet? Everybody's asleep. Well, here we are. Go on in. You live. Be it ever so humble, there's no... Well, there's no place like it, is there? Wait a bit. I'll light the gas. Of course, it's a little short on furniture. And it ain't much on conveniences. But like I always say... Conveniences is the things you can do with that. Most conveniently. I'm, uh... I'm snug in here, ain't I? Maybe you can tell me what I do now. You're so clever. You take the high road and I'll take the low road. I asked you what I was to do. And I answered you. You take the high road. That's the bed over there behind those curtains. And I'll take the low road, being this armchair here. Now go on and go to sleep, because that's what I'm going to do right now. Oh, well... Hey. And turn out the gas when you've done, if not before. I consider your problem in the morning. Pleasant dreams and sweet repose. Hey, and don't snore, see? What? Well, don't then. Good night. Good morning. Did you sleep all right? Yeah. I've just been down to get the milk. I could hear you singing from the street. You dance too, eh? Yeah. Well, your breakfast is there on the table. Go and eat it. I've had mine. Hey, where did you learn to dance? I never learned, see? I never learned anything. I see. Just go on with your eating. I've got work to do. What's that? This? This is a sewing machine. What are you sewing? This? This is the hem of Ma's skirt. She's the landlady here. Have you got the hiccups? You've never seen a man do sewing before. You'd see a lot of things in the Navy you hadn't seen before. Navy? You were in the Navy. That's right. That's me, Navy Cut. Who's that? Who's that? It's me, Julian. It's all right. It's only Julian. It's the landlady's little boy. Oh. What do you want, Julian? Mother's sick. You come back in half an hour, sonny, see? Can't I see a little boy? Oh, no, no. My little boy's asleep now. Are you up it, sonny? Off it. Get downstairs with me, will you? What do you mean? You're a little boy. Oh, he means Robert. He lives over there in the trunk. Here, bar me. Not me. Here, look. See? There's my little boy. He's a ventriloquist's dummy. I used to be a ventriloquist before I took out the, uh, classics. Here, watch. Good morning, grandfather. I'm not your grandfather, little boy. Neither has that. Do you mean to say you ever managed to fool an audience with ventriloquy? No, no, no, no. They aren't all as smart as you. Oh, never let anyone fool me yet. No? All right. Well, come on. I'll leave the skirt with ma on our way. On our way where? Police station. Police station. What's up? Oh, you couldn't be such a rotten sleep. Not after letting me sleep here and giving me breakfast and me believing in you. Oh, what'll I do? What'll I do? Now, what's all the excitement? What do you mean? What do you mean? Aren't you going to turn me in? I can't fool you, can I? Oh, no. You silly little thing. We're only going to hand the cigarette case in at the police station, just as if we'd found it. Took you in proper, eh? Here, what did you do it for? Now, look here. No offence, mind you, but I thought you needed a lesson. Can't have you constantly pinching cigarette cases, you know? Come on. Just a minute, Charlie. Just a minute. Morning, Pa. Mrs. Pa, he's the landlord here. Well, how long has this woman been here, may I ask? Here. Who are you calling woman? I'll not have it, nor my wife won't have it. And I'll thank you to hand over a skirt. He'll hand it over when he's been paid for his work, see? Now, Libby, Libby, this has nothing to do with you. Nothing to do with me? Look here, young woman. Look here, old man. We can't have a brawl in front of a lady. A lady? That's what he said, lady. I'll have you ejected. Oh, you will, will you? Yes, I will. Yeah, yeah, yeah, yeah, yeah. Libby, Libby, get inside the room. Go on now, go on. No, I won't. Here, how dare you lay a finger on me? Will you go in or... No, leave me alone. Get in there, will you? Now, look here, Pa. I won't look here. What is it now? What's all the big noise for? Good morning, Ma. He had a woman in his room. I have a woman in my room. I had a woman in my room. And I shall have a woman in my room. Now, look here, Ma. Have you ever known me do the Don Jewin Act? No, well, then what I got in there is my new leading lady. Oh, she's breaking the place up. Well, she sings like a robin, and she dances a treat. Not over my edge, she won't. I say, Ma, dear old Ma, please let her stay. She's got no place to go for a little kid. Well, I'll put her in with one of the children. Until I have a room free. You do that for me, Ma. And I'll give Julie an elocution lessons. I better go in now and calm her down a bit. Here, here, here, here, here. What's going on in here? Yeah, you let me out. Now, look here. Oh, I'm going to get my hat. You don't want no hat. Oh, I see. You're a silly little coot, aren't you? Come on now, stop it. No one's keeping you here. Unless you want to stay, here now, look here. You're grown up, you are. You've got to behave, you know, if you want us to be friends. What's the matter now? All right, then, you're sorry. Hey, hey, now stop it, stop it, see. Hey, you'll cry yourself all puffy. I've got a mirror. No, I haven't got a mirror, but I've got a frying pan. Come here. Hey, I don't use this frying pan for cooking. I keep it for shaving purposes. Can you see yourself in it? That's more like it. More like what? More like my leading lady. What? I said it, leading lady, didn't I? You've got personality and temperament. And I think you've got talent. I don't mind saying, I consider your promising. We have the experience. All we want now is the new turn. Well, why not? You'll have enough to eat. That's important, too, in its own little way. I'll get you a room here. I'll fix it with ma. You can stay here and work as long as you want. That is, if you want. If I want. If I want to be a leading lady. Oh, dear, dear, dear, Nina, look here. Hey, hey, look here, look here, look here, look here. Oh, ain't there a lot of things to make a woman cry? Oh, dear, dear, dear. In just a moment, Mr. DeMille and our stars, Charles Lawton and Elsa Lancester, will return to bring you act two of the Sidewalks of London. Now let's listen in for a moment on Martha, a Hollywood secretary, and a newly arrived friend from back home. You mean to say you actually know all those gorgeous stars? Sure, I know them. Carol Lombard and Claudette Colbert. My. Are they as pretty off the screen? I should say they are. Gee, you're lucky. Hey, you know, I think Hollywood agrees with you. Honestly, you seem to have gotten prettier yourself since you've been out here. Well, thanks, Sally. I've been taking better care of my complexion. That's one thing a girl learns to do fast out here in Hollywood. You mean you take care of your skin the way the screen stars do? Can you afford it? What? Of course, silly. And anyone can afford it. You know, nine out of ten screen stars use lux soap. There's a wonderful active lather facial. Claudette Colbert says she takes every night. Will you show me how to take it too? Sure, I'll show you. It's easy as pie. I take a lux soap active lather facial every single night, no matter how tired I am. Oh, gosh, Sally, the other night I was at the Trocadero with Bill. And later on at bedtime, Martha shows Sally how the Hollywood screen stars she admires take an active lather facial with lux soap. First, you work up a nice, rich lux soap lather in your hands and work it in lightly, sort of up and around, like this. Then you rinse it off with warm water, like this. Then a dash of cold water. Then pat very lightly to dry your face, like this. And then you can just feel how nice and fresh and smooth your skin is. It's really grand, and it's so good for your skin. Yes, ladies, it's easy to take an active lather facial every night. And it's wise. You know, many a woman, without realizing it, is actually spoiling her own looks, allowing her pores to become choked because she doesn't remove stale cosmetics, dust, and dirt thoroughly. And that's what causes those unsightly little blemishes and enlarged pores that mean cosmetic skin. Lux toilet soaps active lather does a thorough job. You can use cosmetics all you like, but let lux toilet soap help you keep the kind of skin you should have. Lovely to look at, soft to touch. If you would get three cakes of lux toilet soap, that's the economical way to buy it, and try active lather facials for 30 days, you'll see for yourself what this care screen stars use can do for you. Now our producer, Mr. DeBille, act two of the sidewalks of London starring Charles Lawton as Charlie and Elsa Lancaster as Libby, with Alan Marshall as Holly Prentice and Claude Allister as Gentry. The stress and turmoil of a busker's existence leave little time for sentiment. But gradually, as Libby becomes a familiar figure in the shabby rooming house, she also becomes the most important item in Charlie's life. Today is Charlie's birthday and Libby's baked him a cake. She's just finishing the greeting and tempting letters of pink icing as Charlie knocks at the door. What are you up to? Don't come in till I call you. What are you up to in there? There. You can come in now. I should hope so. I mean, hey, here I say, what's all this? Many happy returns, Charlie. Who are you? There's a cake for you. See? I baked it. Here, read what it says. Many happy returns to Charles, 40. I ate 40. I'm 39. How did you know it was my birthday? Oh, I was looking through your papers and I found your birth certificate. Oh, much obliged, I'm sure. Look, I bought you a present too. Look, a nice tie. Oh, it's very pretty. Thank you. Come on, put it on. What a lie, too. Give it to me. I'll do it. Now, hold still. There. Now, look at yourself in the frying pan. Like it? Well, it makes me look a bit yellow. Any admittance? Hello, Gentry. What's going on here? Come in, Arthur and Gentry. It's my birthday. Birthday? Well, I never. It's my birthday. It's my birthday. It's my birthday. It's my birthday. Birthday? Well, I never. Many happy returns, Charlie. Thank you, Gentry. Many happy returns here, too. Thank you, Arthur. Who? I never knew. Anyone else would have given anyone else a loan. If we'd only let Charles get to his own cake, please. That's right. So come on, everybody. Sit down. See you, our Charles. Here's a knife. Hey, I say, what a cake. What a cake. What's it say? Many happy returns to Charles. 40. 40? You? You're getting middle-aged. You are, really? I ain't 40. I'm 39. Wait a minute. You can all sit there looking as stuffed as you like. But the new turn would be a sensation. I feel it in me bones. Quite likely, old boy. But my individuality may be swamped in an ensemble. Nowadays, the individual's washed up. Cooperation. That's the stuff. So I says to myself, there's young Gentry busking on his own and poor old Arthur busking on his own. What we need is a troupe. Tell him my idea, Charlie. You tell him. Well, we form a quartet and we do a big production number. We thought we'd call ourselves the co-operators. We might be good at that. What about music? Oh, well... Oh, I know. Dino. No, no. Bicycle made for two. A harbour to Tipperary. No, no, no. Those are classics. Can't we have something modern? Something with a swing to it? Well, tell him your idea, Gentry. Well, I had thought of a little composition of me. Oh, you mean that thing you're always playing? Um... Laza. That's right. Let's try it with a push-box, Gentry. Right, hell. Here we go now. Have you ever seen a laza? Ever seen a smile? A lovely water gal. Everybody's foul. Strikingly plinking she aged in the stall. All the bloods for dancing lizzies into a laza. Lou. Every night and day, you can hear them saying liza. Hello, Ma. Charlie, there's a gentleman to see you. Mr. Harley Prentiss. Mr. Harley Prentiss. Good evening. Oh, Mr. Prentiss, ain't it, who lost the cigarette case? Yes. I'm, uh, morefully sorry to break in like this. Uh, I only got back to town yesterday and found that you'd returned it to me through the police. I just wanted to thank you. Didn't you wonder at not hearing from me before? Oh, no, no, so people don't trouble, gloves and such. I had to leave this address for my bona fides. Oh, yes, well, um, I suppose I'll give you a little something for your trouble, if the five pounds... I'd rather not, sir. I mean, uh, the circumstances. You mean the girl? The girl, sir, I don't quite take your meaning. Your cigarette case was found under the counter, sir, after you left. Oh, I see. Good evening, Miss Liberty. Oh. I came to thank this gentleman for returning my cigarette case. Oh. Uh, uh, yes. Won't you come in? We're rehearsing. We've got a new song. I don't suppose it's anything in your line. Now, Libby, you mustn't waste Mr. Prentiss's valuable time. It's all right. Mr. Prentiss, it's a pity you didn't bring your journalist friend along. No, no, Libby, Libby, Libby, Libby. Well, he might have given us a write-up. Well, so might I. What? Oh, oh, you don't mean to say you could use an interview. I'd be very happy for one. Oh, Charles, he wants an interview. Now, um, who's to give it? You or me? Oh, come on in, come on in. Libby, I don't think we ought to bother Mr. Prentiss. Yeah, don't be silly, Charlie. Come right in, Mr. Prentiss. And me, Mr. Prentiss. Oh, every word. Oh, don't miss any. Now, and I shall have my greatest opportunity when I... I'll be there. Libby, Libby, Libby. The gentleman don't understand. We're dancing outside the theatre, so we're not inside. He knows. But you needn't put that down, Mr. Prentiss. Now, oh, read me what you've wrote. Well, um, Miss Libby, um, Libby what? Just Libby, like Garbo, see? It goes better on a billboard. It's the first I've heard of all this. Miss Libby, um, Libby, as you prefer to be called, will not always be content with the life of the streets. Is that the line? That's the line. My ambition is to dance... The blocks are down to Liza. Ladies and gentlemen, any little token with which you would like to reward our little presentation will be most grateful to receive. Thank you, sir. Thank you very much, madam. Libby, dear Libby. Oh, Mr. Prentiss. Hello. I loved your egg. Oh, I'm so glad. Libby, there's some people over there in my car. I'd like you to meet them. Who are they? They're friends of mine. Uh, Lady Selena for one. Lady Selena? Oh, Lady, no, thank you. Libby, please. I'm giving a party tonight, and I want you to come and dance for us. What? For you and your fine friends to make fun of? Thank you for nothing. And don't be such a snob. I'm asking you to give a professional entertainment. Professional? Oh. Will you come? Please. I'll get there. I'll get there somehow. Good. All right, now, move along. Move along. All right, Constable, all right. All right, all right, all right, all right. It's the cops. Oh, oh, they've got Charlie. Can't a man make an honest living anymore? Move along. You want me to run you in? Bigger, that's what you are. Now, look here. Don't you talk to me like that. I won't have you stay out of this you little beggar or run you in, too. You will not. Libby, Libby, don't. All right, Constable. We're leaving. Take care of it. I'll talk so much. Come on. Come on. Come on. Drink up, Arthur. Drink up, Gentrix. You're very good ill. Charles. Thank you, thank you. Nothing for you Libby. No thanks. Well, happy days, happy days. And a very good night tonight too, taking it by on large. I wouldn't ask for better support from a better company. Here, here. Well, here's to busking, past, present and future. Gentlemen, ladies, gentlemen? Charles, stop making a fool of yourself. Shall I tell you something? You may. You may. It won't be a busker on the street. What do you mean? Just because you took a few shillings tonight, you think everything's lovely. Well, it ain't, see? What do you suppose it means? The cops always moving you on? I'll tell you. They're trying to get us off the streets altogether. Yes, I'd like to see them. You'll have your wish. Nobody wants us, really. They laugh at us. You hold your noise. I won't. You're living in the past. He called us beggars. And he was right. Tonight's cured me. Good night, Charlie. Here, I'm the manager. You're a member of my troupe. Come here and sit down. Good night, old. Oh, in subordination. I see. Charlie. Yes, Ma. What you're sitting up so late for? Libby ain't home yet? Well, it's early yet. She'll be in. Go to bed, my dear. After all, it's my job to wait up for her. Why is it your job, Charlie? Well, I mean, Ma, she has to have some man to look after her, hasn't she? Of course she has. Some young fellow of her own age to take her about the dances and parties and things. Why shouldn't I sit up? Oh, you know well enough, Ma. I'm fair wrapped up in that kid. That's why a man of 40 ought to have more sense. I ain't 40. I'm 39. That's right, you told me last year. 39. Good evening. You're very welcome, Libby. I'm afraid I can't ask you in, Mr. Prentice. Well, good night. Congratulations. For what? Success story, chapter one. Success story? Yes, they liked your dancing tonight. That fellow I introduced you to, Hackett, he liked you very much. He's a rather important producer. He is? Well... I'll speak to him tomorrow. Good night. Wait. I want to thank you. Oh, you don't owe me anything. But I... I just want to tell you I'd like to... Well? I don't usually kiss gentlemen when they bring me home. Well, I'm sure you don't. I might make an exception, though. If you'd like. I would like. Very much. It's late. Good night. Night? Yeah, you don't get out of it like that, you don't. What do you mean, stopping out all hours, keeping Ma up and me up? Who asked you to sit up? I never asked you to sit up. A light woman, that's what you're turning into. But I won't have it, see? Not if I have to lock you in. Oh, shut up. Come here. Leave me alone. We've got to have a talk, Libby. I'll talk to you in the morning. It is morning. Yeah, you let me go, see? You're drunk. I ain't drunk and I'll clear out when I know where you've been. I've only been out with Mr. Prentice. Sorry, you set up really, I am. But he asked me to his party. Yes, he did. What do you mean? Party me, I, party of two. You say that it's... Libby! Are you telling me the truth? Why, Charles? Well, look here, I'm sorry, Libby, but you didn't ought to have gone off like that. All that stuff you talked and then walking out on me. Well, Libby, it is more than flesh and blood can stand. But I've been out late before. Well, it's the last time we've got to have a totally new arrangement. You in this room and me upstairs, Libby, that ain't sense. I lay awake at night, Libby. It all goes round in my mind. The new turn in you and you and the new turn in you. Charles! There ain't going to be any more new turns. What did you say? I'm going on the stage. The producer and Mr. Prentice is fixing it all up. I told you I'd get there. Oh? And what happens to me and Arthur and Gentry? You never thought of that, did you? Well, why should you? Look here, Charles. You always said I could act. And now don't stand in my way now. I've got the chance of a real job. After all, busking's only fooling. Are you telling me I spend my life making a fool of myself? Well, in a way. See, old lad, if we were any good, we'd be in the theatres, not outside of them begging for copper. Better than pinching them. Working with you. Ever known me cheat you once since? How can I be sure? Get out. Get out. I won't get out. Get out. I've a right to be heard. Get out. Listen, you. Here. I'm telling you to shut up and listen. I'll call now. Can't you any arm to listen? Get it, Libby, Libby. I didn't mean it. I didn't mean it. Let me go. I won't have you going away, Libby. Libby, Libby. I wasn't hurting you. Listen, will you, please? Libby, I want to marry you. Will you get that? What? That's right, dear. I want to marry you. Do you see? Have you gone out of your mind? I mean. I mean, you'd better look in the frying pan, hadn't you? Did he? Did he? What's the matter, darling? It isn't wrong in here. What's up, Charlie? What's up, Libby? He won't let me alone. That's so nice. Yeah, come on, Charlie. You come along with us, Charlie. That's it, Charlie. Come and have a good rest. Now we have got it clear. First, I'm drunk. Then I'm loony. Then I'm told to lay down an ash because it seems I'm only a beggar. So I don't really count what I say or do. The partnership's off, Gentry. And that goes for you too, Arthur. It's off, smashed, finished, washed up. We can all starve. And who cares? Our leading lady's got a new job. So I'll get a new job. Outside, Baskin. You think I can't do a man's day? I'll show you. I'm a man. I am the sum of you. I think it funny. I have to say so. I think it funny myself. I'm fed up with the humor of it. Dear old Charles, good old Charles. Yes, he's good enough to fetch and carry, good enough to feed the cat when the rest of you can't spare the time, but when it comes to give and take, work and play, man and woman, and it's good morning to you, Charles. Keep on your own side of the street. That gutter side. All right. But it's I who's saying good morning, see? In the morning falls on Act 2 of the Side Walks of London with Charles Lawton and Elsa Lanchester. Now for just a moment, let's tune in our imaginary sound ray on one of the homes the Lux Radio Theatre has had letters from. This time, it's a small apartment in Westchester, just outside of New York. Please be good, Betty. Mother has to have her bath, too. Now, just stand still while I dry you, please. Put that horn down. Come on, now, into your pajamas so you'll be all in bed when Daddy comes. No, no, Betty, not now. Mummy has to have her bath, too, and it's getting late. This young wife is much too clever to let her husband find her after his hard day, worn, crossed, disheveled. So now she draws her warm, lux-toilet soap bath and relaxes in it for a few delicious moments. The active lather of this fine complexion soap caresses her skin, carries away perspiration every trace of dust and dirt. She knows this soothing beauty bath will relax and refresh her, leave her skin feeling smooth and fresh, fragrant with a nice delicate perfume that cleans lightly about her. A fresh frock and perhaps a flower in her hair will complete the transformation. And when her young husband arrives, well, let's listen in. Hello, dear. Have a good day. Here looks, well, fresh as flowers. How about a little kid? Girl, how's dowing? You're sweet. Clever women all over the country are adopting the screen stars way to make sure of datiness, of skin that's sweet. A daily lux-toilet soap bath is a luxury that you'll enjoy, a luxury that isn't the least extravagant. Buy lux-toilet soap the economical way. Get three cakes tomorrow. We pause now for station identification. This is the Columbia Broadcasting System. Act three of the Sidewalks of London. Gone from the Rooming House, Libby walks the starlit path of fame, show after show, hit after hit, until the name Liberty on the marquee is another way of saying success. Charlie has left the Rooming House, too, but his road follows the dark alleys and foggy bypasses of the back streets. No longer is his husky voice heard reciting the classics. No longer does the tattered cap pass through the crowd begging favors. Charlie has disappeared and is all but forgotten. Now in a richly furnished apartment, Libby and Harley Prentice run over the music for their latest show. Wear a straw hat in the rain. Be sure you're not complaining, laugh when it's raining. I can't get it, it's just not there. Oh, well, don't get excited. Oh, listen, my sweet, we've got a play opening, straw hat in the rain. Everything, the book, the actors, the scenery, everything except a decent tune for the lead song. What do you think, Libby? Is it as bad as I imagine? Uh-huh. No, it's not so bad to sing, but I'll never be able to dance to it. What we need, darling, is something, something I dance to in the streets. Oh, you mean that... That's it. Something like that. But Libby, this is a street song. I don't think it has... Now, wait a minute. Wait. The rhythm's exactly right. That's why, darling, we've got it. Here it is. Well, you're marvelous, you mean. We'll use it for the finale. Libby, I adore you. That stays door. Are you talking to me, officer? Yes, I mean you. Go on. I just want to see Miss Liberty, that's all. Well, you can't. She wants to see me, I know she does. I'm a manager and a friend of hers. Yes, you are. You can disorderly, resisting arrest, striking an officer. Are you Charles Saggers? Yes, sir. I am. You seem very proud of it. Well, sir, not to trouble you with my life history. I was born in a circus, but I preferred the classics. I'm a professional reciter, see? Would you like to hear me? What will you have? Amlet, green eye, if... If you can keep your head, when all about you are losing theirs and blaming it on you... That's enough. That's enough. Well, that's my bona fides, your worship. Is there anything known about this man? Well, sir... Well, sir, there's no denying it. Convictions have mounted up something awful. 24, all told. Only 19, your worship. Only 19? Oh, I see, you're not reckoning the admonishment. Quiet, quiet. Have you any explanation to give us to why you were hanging about the theatre drunk? Oh, well, sir, why not? I mean, there she was inside, and there I was outside. Of course, I knew she had a dinner from the start for all her swank. And so I came back at the end just to watch her. And watching her, I realized for the first time that I'd lost my joy to Veeb, so I ate out. I'm sorry I ate him, but it done me good at the time. I see. Well, you'll have to go to prison for four months. Four months? I'm giving you four months, partly to let you have a chance of thinking things over. Try and do better when you come out. Do better. I will. I'll go in for a new job altogether. I'll go in for a new job, your worship. El Perforo, blind fellow, please. So blind, blind. Hello, Libby. What happened to you? Selling pencils now, see? Look at your eyes. Oh, Charlie. Very nice to see you, Libby. You're looking very nice too. What? I like your dress. It's a very nice colour. Charlie, you're a faker. You can see as well as I can, don't you? You come along with me to my dressing room at the theatre. I'll deal with you. So I'd find a bilker, whining for charity. I didn't, I wasn't, but today was the first time. That's your story. I'll tell you I did it for a lark. I only come out last week. Out of what? The hospital? Clink. Prison? You? So you couldn't even fool the police? Oh, Libby, you haven't got his right. I have got his right. Here I slave and toil to give you credit. And what sort of credit do you do me? You've been a jailbird, you haven't shaved for a week, and you've been cheating the public, and you've been drinking. Oh, Libby, you didn't leave me much else to do, did you? You've proved to me I was a washout. Oh, how can you tell such lies? You did, Libby. Charles, dear old Charles, what have you got into your head? I never said it, and I never thought it. You did, Libby. Oh, well, if I did it was because I lost my temper. And I learnt that from you. Oh, Charles, dear Charles, you've paid me back for what I did to you. Just seeing you like this. Now, now, ease up. Go back to your job. Go on, beat Charles again. Libby, could I have a small drink? How long has this been going on? How long has what been going on? These small drinks of yours. I don't know. Well, well, it's got to stop, see? Oh, shit. Turn. Turn round, talk to me. Oh, Charles. Look, there's a couple of small parts going in the new show. And if you can play a blind man well enough to fool me for half a second... Oh, you admit it, do you? Yes, yes, yes. Now, look, what about coming down to rehearsal and showing them all what you can do, eh? Oh, rehearsal? Me in a show, understand? Well, why not? You'd be somebody then. Somebody instead of nobody. The things have been... Only nothing. You come down. Come down and show them. Well, Libby, there ain't anything I could do. Why? Not suitable. Of course there is. What about Green Eye? I'm off Green Eye. Well, what about if, Charles? Dear old Charlie, what about if? Well, I haven't done if for a long time. Why, it's easy. I know it. If you can keep your head when all about you are losing theirs and blaming it on you... Easy, easy. Easy, easy. Easy, easy. That ain't the way to do it, my gal. You've got to get them in the mood from the first word, see? You want a tech. If you can keep your head when all about you are losing theirs and blaming it on you. If you can trust yourself when all men doubt you and make allowance to waiting or being lied about, don't deal in lies or being aided, don't give way to aiding and yet don't look too good nor talk too wise. If you can dream but not make a dream you're a bastard, is he? Darling, he's very bad. Your aim, if you can meet with thorium and disaster and treat those two impostors just the same. If you can bear to hear the truth you've spoken twisted my legs or the bridge to make a trap for fools or watch the things you gave your life to broken, broken and still can build them up if you can know you can make one heap of all your winnings and you'll risk it on one turn at pitch and toss and lose and lose and start again What dear? Start again, darling Start again? Start again at your beginnings never breathe a word about your loss and if you can force your heart and nerve and sing you to serve your turn long after they are gone and so hold on, accept the will which says to me Hold on! Now look here, darling, it isn't any good they can't make an actor out of me I've been outside too long Well, I'm a basket see It's all right dear, don't worry about me Now look here Libby you don't need me dear you're a great performer will you go inside where you belong? I belong outside and Libby here, here, here you marry that nice young fellow he's a very nice young fellow he is Libby, I'd like to tell you something I ain't 39 I am 40 Now, now, now Oh dear, dear, you're a silly little coot aren't you, always was Oh, stop hugging me Now look here, you've got to behave you know, because of the public Good bye Libby, you'll be all right, old girl Keep a chin up, you'll be all right You're still at the old act, eh? Well, will you cut it short boys there won't be time for me Well, start it now, Charlie, start it now Thank you, Arthur, thank you Well Ladies and gentlemen I will now recite to you a poem first made famous by Mr. Bramsby Williams since recited on various occasions by Sir John Martin Arby Mr. John Gilgood and myself The Green Eye of the Little Yellow God by Milton A. And now Charles Lawton and Arthur Lancaster say goodbye to the sidewalks of London and return to our footlights Miss Lancaster, do you think Charlie would really be able to make a living as a busker? Well, Mr. DeMille, for the little encouragement I think he would have disguised himself and tried his hand at it Now look here, listen to this ribbing I might have done very well I had expert coaching and passing the hat from some of London's finest buskers, you know After your performance tonight, Charlie I'd advise you to pass a big hat Thank you, CB We waited a long time, Miss Lancaster for your debut at this microphone Thank you, Mr. DeMille You know, I've seen it very often backstage in the London theatres You know, working on the stage during the foggy London winters one has to be very careful of one's complexion, of course and that's why I have used and do use Lux soap and now I'd like to ask you a question All right, sure Didn't I see Carol Lombard's name on the rehearsal schedule for next week? You're only telling half of it Carol Lombard and Fred McMurray next Monday night Bring us made for each other with Carol in the same role she played in the David O. Seldening picture Made for each other is an exciting romantic story about an average young married couple and Carol Lombard and Fred McMurray were made for these parts and made for each other I saw that picture, CB It should be a marvelous show It's time now, Charlie for the special feature we've planned for tonight One of the things everyone remembers about your performance in Ruggles of Red Gap on the screen and on this stage is a very impressive way you gave Lincoln's Get His Burg address Today is Abraham Lincoln's birthday and I ask you to do it again now as our memorial tribute to him Well, CB, a little bit husky but I'll do my best at it Four score and seven years ago Our fathers brought forth on this continent a new nation conceived in liberty and dedicated to the proposition that all men are created equal We are now engaged in a great civil war testing whether that nation or any nation so conceived and so dedicated can long endure We are now on a great battlefield of that war We have come to dedicate a portion of that field as a final resting place for those who hear gave their lives that that nation might live It is all together fitting and proper that we should do this but in a larger sense we cannot dedicate we cannot consecrate we cannot hallow this ground The brave men living and dead who struggled here have consecrated it far beyond our poor power to add or detract the world will little notes no longer remember what we say here but it can never forget what they did here It is for us the living rather to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced It is rather for us to be here dedicated to the great task remaining before us that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion that we here highly resolve that these dead shall not have died in vain that this nation under God shall have a new birth of freedom and that government of the people by the people and for shall not perish from here The words of Lincoln mean more than ever in times like these Our sponsors, the makers of Lux Toilet Soap join me in inviting you to be with us again next Monday night Our theatre presents Carol Lombard and Fred McMurray in Made For Each Other This is Cecil B. DeMille saying good night to you from Hollywood This week marks the anniversary of the Boy Scouts of America Today, more than ever before we lead the spirit typified by this great organization and so on their 31st anniversary we salute the Boy Scouts of America The pictures sidewalks of London starring Charles Lawton and Vivienne Lee is now being released by Paramount It was produced by Eric Palmer and directed by Tim Whalen Miss Lee made this picture just before coming to Hollywood to appear in Gone With The Wind Our music was directed by Louis Silvers and your announcer has been Melville Roy This is the Columbia Broadcasting System