 Hollywood, California, Monday, April 5th. Lux Radio Theatre presents Clark Gable, Josephine Hutchinson, Adolf Manjoo, and Jack LaRue in The Farewell to Arms. This presents Hollywood. Our players, Metro Golden Bayer's renowned star, Clark Gable, and Josephine Hutchinson, Adolf Manjoo, and Jack LaRue. Our guests, the eminent director of The Farewell to Arms and many other hit pictures, Frank Borsigy and Courtney Riley Cooper, famous writer and criminologist. Our producer, Cecil B. DeMille. Our conductor, Louis Silver. Before raising our curtain, we acknowledge with gratitude the award of the Women's National Radio Committee, who as representatives of 15 million club women have just named this program first on the air in the field of dramatics. And now, from our stage on Hollywood Boulevard, the makers of Lux Toilet Soap greet you and extend a cordial welcome to the Lux Radio Theatre. Lovely Jean Parker tells you this. Try a Lux Toilet Soap Beauty Bath next time you have a date to keep. It protects dinkiness, makes you feel sure of yourself. May we add just this to Miss Parker's statement. Yet, Lux Toilet Soap itself costs so little that any girl can buy it. And now, our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Twenty years ago tonight in Washington, a group of weary statesmen left the council chambers of the nation, knowing that when they returned, they must seal a declaration no longer avoidable. On the following day, April 6, 1917, word went round the world that the United States had entered the war. There were those who had not waited. Among them, 19-year-old Ernest Hemingway, who had joined the Italian army. He emerged at the struggle's end with four possessions. On his chest, two medals for valour. In his shoulder, a silver plate replacing what steel had carried away. In his mind, a story that cried out to be written. Basing the tale largely on what his war weary eyes had seen, he labelled it a farewell to arms. The world accepted it as one of the most graphic, true, and tender accounts of the conflict. Lawrence Stallings adapted it for the stage, and it came to still greater glory on the screen. For many months we've aspired to bring a farewell to arms to the audience of the Lux Radio Theatre, but patiently waited until we could announce the stars whom we present tonight. Clark Gable as Lieutenant Henry. Josephine Hutchinson as Catherine Barclay. Adolf Marjou as Rinaldi, the same role he played in the picture. And Jack LaRue as Father Romano, the part he created for both play and screen. In his story, I don't think it was Mr. Hemingway's intent, nor is it ours. The point of finger at how the war began, nor how it ended. After 20 years, we've forgotten a lot. Perhaps it's just as well. But tonight at least, let us remember brave men and lost lovers, as we dedicate this tale to those ordinary human beings caught in war's relentless circumstances. And now, the Lux Radio Theatre presents Clark Gable, Josephine Hutchinson, Adolf Marjou, and Jack LaRue in a farewell to arms. The fitted role, twisting down for a plank. Three ambulances, freighted with wounded, growl unsteadily forward. Frederick Henry, in the uniform of an Italian lieutenant, his steel helmet half down over his face, goes his beside Bonnelli, the driver of the last ambulance. Shit, then tell you a hungry gun, you still a grump. Get off my lap, you drunk. In Anteprederico, wake up. Find me a dark one. I don't want blondes, I like lunettes. Please, please, in Anteprederico. Were you at the hospital yet? Not in Anteprederico, but you were asleep, and you thought. Did I? Well, what did I say? What did you... You, Americanos, find pleasure no matter where you are. You haven't been dreaming about the girls again. Oh, then I show good sense even at my sleep. What else does it dream about? Think war all the time, Benelli, and you'll blow out your brains. Are those the men in the pack? Why do they not keep quiet? I know what he wants. What? Does the matter with your back of that? Well, off, but he doesn't know it. Ah, si, tenente. Don't hang around for those breaks. Throw your engine wide open. The crash won't make matters much worse. What, tenente? Drive faster. We can get down there in no time. Then you can help a man meet death. You have ordered, tenente. What did you stop for? We have run off the road, tenente. Get back there and see if you can help that fellow. Si, tenente. Hey, you. You over there with the fence. Ah, si. Which way is Carizia? Back one mile. Return to the left. What's the matter with you? Sick? Ah, si. Where's your regimen? Up there where you come from. Into the line again. In what way are you sick? Ah, I hurt my leg, tenente. Ah, yeah? Ah, destroyed. It pained me to walk. Yes, if you're walking toward the trenches. But if you're walking away from them, you can walk all right, couldn't you? Ah, please, tenente. Be merciful. Take me back to the hospital. I can't go up there again. Mother Mary, I can't. I don't blame you. Stop luck, soldier, but there's nothing I can do for you. I won't go. No, no, I won't. None of them shoot me. Go away from the tenente. No, no, he's all right. He's a crazy. Wait, tenente, can shoot them if he wants to. No, no, I don't want to. I know how he feels. Tenente, oh, please, help me. Well, there's only one way I can help you. Benelli. The man who was dying, how is he? Dead. He's lucky. All right, soldier, turn around. Turn it up. Oh, see, tenente. Now. Tenente. You club him on the skull with your revolver. Luke is a bleeding. Sure. We can take him back this way. Get rid of your dead man. Put this one in his place. Tenente. That is why you hit him. Wars are rotten business, Benelli. Come on, put him in the back. Ah, that's about perfect. Come on. There will be pretty nurses here at tenente. Burnets? Ah, they are always brunettes. I'll believe that when I see them. Hey, orderly. Yes, Lieutenant. We have wounded out there. But we are English, Lieutenant. Island from the Italian unit. It's in the other wing. Okay. Hey, Benelli. Look at that girl going down the hall. See her? Well, she's not brunette. She's darn pretty, though. What the devil is she crying about? I go see about the men at tenente. They're okay. Oh, nurse. Nurse. Hey, tell me something, will you? What's the matter with that girl going down the hall crying? Well, if you must know, they're sending her back home. Home? Well, people don't generally cry when they're sent home, do they? Have you cried? I'm not. If I were in her place, she was married just a few days ago, and they found out about it, and they discharged her. Oh, that's different. All war is different, isn't it? Things happen that never could happen except in war. Right. She's worked like a slave, day after day, giving every ounce of a strength. She won't go to hell for finding a few minutes of happiness. Why couldn't they let her stay for a while? Regulations. Precisely. She married him, so she has to leave him now. Go back to England and leave him here to die by himself. Without comfort, without nurse. That's no point, please. Yes, Miss Smith. Wait a minute. Who are you? That doesn't matter much when a girl's heart is breaking. Does it? It matters to me. First of all, you're a brunette. What's more important, though, you're real. Nurse! I'm coming. I'll see you again. Will you? Nurse! What is it, Miss Smith? Hey, baby! You're a gnolly! You old shovel! I am very happy to see you. Finally you turn up, eh? Listen, gnolly. Who is that nurse just turning into that ward? You still recognize a beauty. Who is she? Miss Catherine Barclay. I like her myself. Did you bring me some good cases, baby? She's a regular. Where are you on the fire? I have worried about you, ugly. That sounds English. Seven operations today, baby, and one of them was a beauty. I took the heart. I'm a nurse, but still human. The heart lay in my hand. It was lovely. Soon, Rinaldi would be the best surgeon in all the court, then in all the army. Someday in all of Italy. What's that? The best surgeon in all of Italy. Oh, why not in all the world? Why not? Do you haven't changed, have you? Nothing changes in these days except the frontline trenches. You will like it here, baby. I've started to like it already. Miss Catherine Barclay. She's gorgeous. The English nurses are always gorgeous, but she is the most beautiful than any of them. I am in love with her. Oh, did she know it? Not yet. Have you any morning? What? Oh, a little. Well, it will be, you know, lend me 50 lire. What for? I must make on Miss Barclay the impression of a man of sufficient wealth. Now, wait a minute. But I must convince her that the great Rinaldi, who will one day become the greatest surgeon in the world, is even greater than he really is. You are my good friend and financial protector. Rinaldi, you're crazy. But you lend me three lire. Oh, Lord, what else can I do? The last detail is perfect. Now we can eat and drink, and then I have an idea. Tonight at the mess. I won't be at the mess. But you will, when I tell you, a special occasion. Song, wine, a beautiful girl. I will see the children. Hey! Hey, it's an air raid. They want us. Watch out for your children. Keep my vision. Steady, everyone, steady. Miss Barclay. Miss Barclay, where are you? They bomb us. They bomb us. Miss Barclay! Here you are. Come on. You've got to get out of here. But you've got to pick them up. Where are you? Buenos Aires, Father Romano. You come to the mess hall tonight? Yes, Rinaldi. Look at that soldier. That's so close. Yet he sings. He has no idea how close he is to death because of his singing. It is well you can laugh, Rinaldi. Well, if we fail to laugh, we go mad. Ah, here comes the baby. Hello, Father Romano. Oh, Frederico, you're back safe. I am glad to see you. I'm not sorry. Father Romano prayed for you while you were away, Frederico. Every time you go up, he does the same. Oh, I pray for you all. And behold, here you are. Come, Frederico, I promised you something this evening. They are outside. Oh, I suppose we stay in here. I'm tired. Father Rinaldi reports on who was killed by the bombs. And the good father was with us. No lives lost? Not one. It was wounded. Very few. Was one of them a nurse? No, Frederico. So you see, baby, there is no need to be so sad. Besides, we are going outside. All right. I'll see you later, Father. I will be here, my son. Frederico, look. Over there by the door. Miss Barclay. And Miss Ferguson, Frederico. They are waiting for us. Come. Rinaldi, what's the idea? Well, you gave me 15 years. We have won the big time, eh? Good evening, Miss Barclay. Good evening, Doctor. How are you, Lieutenant? I'm glad to find you're safe. And, Frederico, this is Miss Ferguson. How do you do? How do you do, Miss Ferguson? That tenor is often another excursion. Let us all go in the garden. You're not fond of tenors, Doctor Rinaldi. There are tenors and tenors. Like I say, eh, where is Ferguson? Why thought she came with us? I see you two don't know Fergie. You mean she stayed inside? There are such things as orders. The devil take orders. Three of us cannot go wandering about here in the garden. Orders or no orders. Frederico, you go find that nice Miss Ferguson. What? She's your guest, not mine. What? But, Doctor Rinaldi, you did invite her. Very well. I will get her, but I come back. She must not disappoint Frederico. So you're the one, Ferguson, but in disappointment. That's how Rinaldi planned it. You want it that way? No. Then I'm glad Fergie walked out. And I'm glad you helped send Rinaldi after. Did I? I'd like to think of it that way. I'm afraid it's a fact. It wasn't very kind of me. It was perfect. Oh, I refuse to argue with you. It's poor everything. Oh, it's a wonderful night. You helped to make it even more wonderful. You know how to use words. And we do seem fated to meet one another, don't we? Yes. Thank my lucky star. But Rinaldi will come back and bring Ferguson with him. Suppose they don't find us. Great. Babes lost in the woods. Babes who don't want to be found. See, that's an idea. We walk off into the darkness. And hope we find life. You ready to start? Yes. I may be an idiot, but I'm ready. Late. Don't you think we ought to get back now? Why? No one will find us, you. You seem to have found this place without difficulty. Well, I was guided. You know, I've never been here before, honestly. I want to believe you. I want to believe all the things you've been saying to me. I meant every word. Somehow, I'm not sure I know exactly what it is, but you're not like the others. What do you mean? Well, just having you near me. People who don't know war would call it foolish, I suppose. But war does make a difference. It makes things happen, Puster. You do understand. There isn't time to delay when life's hanging the balance. No time for delay. That's it. You're an American, aren't you? Yes. What are you doing in the Italian army? No, it's not really the army. It's only the Amnus Corps. But why did you do it? I don't know. Why did you? I think...to forget. But it hasn't worked out as I hoped it might. I don't seem to forget. Can you tell me what? I've never told anyone. What is it you haven't been able to forget? The man I was to marry. Oh, well, where is he now? Dead. I'm sorry. He was killed in the Somme. We...we grew up together. And why didn't you marry? I didn't know then what war was like. If I had it to do over again, I... You would have married him. Yes. When I joined up, I remember I had the silly idea that he might come to the hospital where I was. With a saber cut, I suppose, and a bandage on his head. Something picturesque. This is the picturesque front, not France. He didn't have a saber cut. They blew him to pieces. What are you thinking about? I'm glad, Frederick. No one could be close to him like this without feeling the wonder of it. It doesn't seem as if war was within a hundred years of us. It isn't. It doesn't seem to be any yesterday. No tomorrow. Nothing but just this one moment. And that's all that counts, Catherine. Please, don't. But I'd like to. No, please. But I want to kiss you. Thanks. I didn't mean to slap you like that. I'm sorry. I just couldn't stand the nurses' evening off aspect of it. Did I hurt you? I think you'd rather help me. I'm ashamed of myself. But you are beautiful. And I'm mad about you. Tomorrow morning, I go up to the front. If it's shallow, got me and you never saw me again. No. Don't say it. Why not? Because I love you too. I love you, Frederick. For Clark Gable, Josephine Hutchinson and Adolf Maju, to go on with the next episode of A Farewell to Arms, let us take you with us for just a moment down Hollywood Boulevard a few blocks to Grauman's famous Chinese theater. The line is forming already to see Lloyds of London. Let's listen in on Dot, who planned to meet Margie before the show. Gee, Margie, you must have been here ages to be so near the beginning of the line. Guess who I saw away back near the end? I don't know. Who? Evelyn with Jack. No. Doesn't that beat all? I mean, he kind of stopped seeing her, you know. Yeah. Well, Evelyn's gone on a pink dress tonight and she looks wonderful. Listen, I'll tell you a secret about Evelyn. You know, ever since she got that job as an ex at RKO, she's been paying some attention to her complexion. They have locked toilet soap in all those dressing rooms, and she took the hint. Well, it certainly worked. Honest, your skin looks grand. Going great guns with Jack too. Looks like a real romance. A real romance. Any girl whose complexion is lovely can expect one. Here's where lux toilet soap comes in. Its active lather thoroughly removes dust, dirt, stale cosmetics, guards against unattractive cosmetic skin. Use gentle lux toilet soap before each application of fresh makeup, before going to bed at night. Remember, nine out of ten lovely screen stars use lux toilet soap. And now, Mr. DeMille. Back to our play. Farewell to arms. Starring Clark Gable, Josephine Hutchinson, and Adolf Manjou. It's early the following morning. In a corridor of the hospital, Rinaldi, dressed for the operating room, walks quickly toward an open door. As he's about to enter, Frederick bars his way. Rinaldi. Baby, why did you return? I forgot something. One hour ago, I wished you got speed from my window and here you are back again. Catherine, I see now. You were making progress while I was hunting for that stupid Ferguson. I drove off without saying a word to Catherine. I can't go that way. I don't want to. Where is she? She's on duty. I'll find her. Such things are not permitted. Oh, come now, baby. You know that. I'm going up to the front of Rinaldi. I may come back and I may not. They may cart me into you so you can take my heart out, hold it in your hand and tell someone how beautiful it was. Do not talk like a fool. We don't know what will happen. Catherine. Frederick, what's wrong? Ms. Barkley dropped the tray with the patient's breakfast on it. That is all that is wrong at the moment. That's when you're all right, aren't you? But yes, I'm all right. Well, I came to... I thought that... You see, I'm going to be away for a while and I didn't want you to think that I've just gone away. No. What I mean is that... Well, I'd hate to have you think it... that it wasn't important to me about us. I don't exactly know how to say it. You said it very nicely, dear. Thank you. Would you be gone long? Only a few days. There's going to be an offensive up above the piave. Nothing much, I guess. An offensive? Oh, you'll be careful, won't you? I won't get hit. But you ought to have something to protect you. I'd like you to have something of mine. Here. I'll take care of Anthony. They say St. Anthony will guard you from harm. I'll take care of him for you. Take care of yourself, Frederick. Donning, I... Not here. Goodbye, dear. I'll be waiting for you. Goodbye. Maybe you are a fool. So long, Renali. Yet my heart must be cut out. I hope you'll do it. Get out, you wild devil. I am St. Anthony with me. I won't get hit. Please come into the dugout. You are driving me crazy. Do it yourself first. Let's get a little mask here. I drop the tent flap. There. We better eat something. Try this spaghetti. It does not taste so bad when you wash it down with some of the wine. Drop that flap and come in, piano. Don't think to eat. Have they started to move up yet? Who's attacking? That's the liari. What does it matter? Whoever goes, they never come back again. Have some wine. If no one would attack, the war would be over. But someone always attacks. It starts now. Hey, that was a fake one. 420. Or you are a fool, but any. And you never get anything right. It was 305. Sounded like a scoter to me. Scoter? That's what I... Hey, they're fighting the rain. That one was cold. They think we had better leave. Yeah, there's nothing can harm us. St. Anthony. Peneli. Are you safe? Peneli, they got me. I thought he was a jerk to go this way. But then I just said, I won't get hit. Lieutenant Frederick Henry. Lacerations of the scalp and possible fracture of the skull. Notable superficial wounds of the left and right thigh, left and right knee and right foot. Profound wounds of right foot and knee. Incurred in line of duty. How do you feel, baby? Who's that? You don't know me? Look. Oh, how annoying. What are you doing here? The major let me come. No one shall hurt you, baby. No butcher is going to touch my war, brother. Only now they can take you and not hurt you. You must forgive me for talking so much, baby. I am very unhappy to see you wounded. Did you take my heart out yet? Not yet. Maybe soon. Nurse, you fixed those instruments? Yes, sir. How did it happen, baby? I will see that you are decorated for bravery. Perhaps we can get you the bronze medal. Did you carry someone on your back? If you did, I will get you the silver one. Oh, no, I didn't carry anyone. I couldn't move. But there was something heroic. Tell me what you did. Was blown up eating spaghetti. It does not matter. I will get you the silver one anyway. Nurse, the ether. Shall I administer it? No. Wait, wait. Where is Catherine? Don't worry, baby. I will fix you so you will be as good as new. You will see. Every day I learn to do things smoother. Quicker, Catherine. I want Catherine. Breathe deeply. You will soon be asleep. No, I tell you, I want Catherine. I won't be able to get well unless I have her. I tell you, do not try to sit up. Where do you think you will go from here? To the hospital where they have male nurses with beards? No, no, no. I am your friend. But now they tell me where Catherine is. She has been transferred to Milano. Well, then nothing matters to me. But it must matter, baby. You are going to get well. I have arranged it. You too go to Milano. Are you telling me the truth? Yes. Turn on your reader. I will be left here all alone with the war. Breathe deep, baby. No one to lend me money. And you there in Milano? Catherine. More reader. I will be seeing you, Don. All right. We are ready. Discalpel. Well, my boy, how are you? Better, father. It was good of you to come. I heard they brought you in Milano. You like it here? Well, it's a lot quiet. Sit down, father. I cannot stay long, my son. They warned me not to tire you out. Don't worry about me. Rinaldi said he'd pull me through when he did. You seem tired yourself. I am tired, but I have no right to be. You have the war discussed. No, my son, but I hate war. I don't enjoy it. You do not mind it. You do not see it. You must forgive me. I know you are wounded. Still, even wounded, you do not see it. I can tell. Come in. Hello, Catherine. Good evening, father. Miss Catherine, you do not think I am tiring him? Oh, no. He's strong. He's got such a lovely temperature. It's always normal. I'm awfully proud of his temperature, father. Maybe all our children will have fine temperatures, too. Our children will probably have beastly temperatures. My daughter. My son. Don't mind us, father. We're in love. Oh, I know. I could see it in your faces. But you spoke of children. Without war, you would live married in the grace of God. Is it not so? Why, yes. And you, my dear. Yes, father. Then you shall be married. Now. Father. Listen. Father, are you? Is that the marriage service? Of course you understand that army regulations prevent us from marrying. They sent Catherine home. But why shouldn't she go home? She'd be far better off. Poor cat. Our marriage, Frederick. It's a crazy marriage, darling. It's real. And at least I'm in white. No orange blossom? I can smell them. I can hear it plainly. Do you, Frederick, go take Catherine for your lawfully wedded wife? I do, color. And do you, Catherine, take Frederick for your lawfully wedded husband? I do. Then I pronounce you man and wife. And from my heart I can say bless you in his name. Thank you, father. In times such as these, man-made rules are not as important as the laws of the father. Let me look at you, Catherine. I'm happy, father. I see that in your eyes. Goodbye. I will come again next time I am in Milano. You're my regards to everyone, father. I will. Goodbye, father. God and happy mercy on you. Married. You and I married. You loved me. I adore you. I love you. I don't think he buzz apart now. Who the devil can that be? He can't be the father. Get behind the door. But if anyone found me... No one's going to find you. Come in. Well, Ferguson, welcome. You don't need to try any of your blandishments on me. Has Catherine been here? I wish she would come here. She's a fool when she's near you. An absolute featherbrain. And let me tell you one thing more. War or no war, let Catherine alone. If you don't, you'll have me to answer to. Now, I hope you sleep well with that on your mind. Oh, thank you. She knows a lot of fun teasing her. Her nose does such a weird trick. Oh, good night, dear. Good night? But I've got to go back to quarters. Just a little while, please. You're very close to me. Frederick. Yes? How many other girls have you loved? Not. How many? Really? Nothing. You're lying to me? Of course. It's all right. You just keep right on lying. That's what I want you to do. Were they very pretty? No one in the whole world but you was pretty. But what were they like? And I don't care anything about it. You're just mine. That's true. Mine. Darling. And you never belong to anyone else. But I don't care if you have. I'm not afraid of them. But don't tell me about them. Ever. Do we wish some things in Europe? A ticket to Switzerland, please. But where is in Europe? What town? The nearest one to Italy. Ah, that would be Bresaul. Then that's the ticket I want. It's from Barclay. Fergie. What on earth are you up to? I hoped you might come. You knew John well I would after I found your letter. What do you mean by leaving instructions that no one was to tell that fool ambulance driver of yours that you'd run away? But he's up at the front again, Fergie. That's nothing new. He's been there for months. I didn't want to worry. Don't bother your head about that. War doesn't make men worry about anything but themselves. Do you mind telling me what it's all about? No, I get it. But where? Why? I'm going to Switzerland so my baby can be born without guns all around him. You're... Your baby? Our baby. I said that no good would come of it. But Fergie, he's my husband. And now war hasn't even cheated us out of a baby. And you're going alone? Oh, I'm not afraid. Bringing a baby into the world isn't anything. Well, millions of other women have had babies. But he mustn't know. Yes, I'll write to him from Switzerland. He won't tell him yet. Promise. If the train leaves, Senora. You're running away. But I'm running away to happiness, Fergie. The greatest happiness I've ever known. Goodbye, Fergie. Captain! Goodbye. For station identification, this is the Columbia Broadcasting System. This is KMX Los Angeles, the voice of Hollywood. Clark Gable, Josephine Hutchinson, Adolf Mongeau and Jack LaRue pause in our presentation of A Farewell to Arms, and we hear now from the man who directed the notable screen version, Mr. Frank Bozegi. Starting his theatrical career at 13 as a utility boy with a road company, he became a leading man in Hollywood prior to turning director 20 years ago. His succession of hit pictures began with humorous and include desire, street angel, little man what now, the Academy Award winners, bad girl and 7th Heaven, and his current achievements, green light and history is made at night. Yatsman, aviator, polo player, a friend to everyone. It's an honor to present one of Hollywood's greatest directors, Mr. Frank Bozegi. All of which finds me very grateful, C.B., I'm very embarrassed. Apparently, you've never seen me sail a boat, fly a plane or fall from a pony. But it does my heart good to be here listening to such a faithful and genuine production of a story that made my pet picture. Thank you, Frank. Our problem tonight is every week is to convey by sound alone what you and I do on the screen with a camera. And since we're talking shop, you and your pictures have a unique quality of sending an audience out of a theater crying with emotion. While sometimes the rest of us send them out crying you do something to our innards that we can't quite equal. Just what is it? Now I'm on a spot. Well, let's put it this way. Some of us sell our stories by appealing to the sense of humor. Some by magnificent spectacles, meaning humans, you know. Others by sheer beauty and through clever psychological twists. I believe in trying to reach the heart. I think tenderness, simplicity, and little human touches are essential in making an audience live and believe what you have to tell them. That's what I strive for. Whether I succeed or not is another matter. Like monuments, your pictures prove you do. Tell us, Frank, did Mr. Hemingway work with you on a farewell to arms? No, but we were fortunate enough to obtain a technical advisor, Lieutenant Charles D. Griffin who knew him in it during the war. Lieutenant Griffin showed me a letter Hemingway had sent him shortly after he was wounded. The letter had been scrawled out from a stretcher and said, have nine pieces of shrapnel in me. Not dangerous. Don't notify a family. Everything mowed to Benny. But with such stars you have here waiting tonight, it's time for me to get back to the audience. You've got a great show, CB, and a great product, and luck's taught it so. It's been a pleasure to be associated with both. Thank you. Thank you, Frank. Thank you, and farewell. A farewell to arms continues starring Clark Gable, Josephine Hutchinson and Adolf Mongeau. Goodbye, since Catherine had trained for Switzerland. Months during which she's written daily letters to Frederick but has received no answer. We find the American in his quarters near the front. In the garish light of a kerosene lamp, he sits at a crude table writing, Ronaldo faces back and forth impatiently. Hurry, baby, hurry. It is time to go. Go where? What I told you before, the Villa Rosa. You will find things there to make you forget the war. New girls, all brunettes. Everybody is going. Not me. But, baby, you must. It will be a fine party. Besides, I said you will go. I can't. I want to finish this letter. To your frozen English girl in Milano married. That's my business. Oh, baby, how you have come back to me. Serious, like a shopkeeper and with a liver. Where is my war brother who used to be so gay with me and go to the Villa Rosa every night? Leave me alone, will you? Why, is she not just a girl? Keep her out of this. So, a sacred subject. Believe me, baby, sacred subjects are not for soldiers. Be like me or fire and smoke but nothing inside. Come on, baby. I said to leave me alone. You can call me your friend. Now, clear out. Oh, I do not like that, baby. Let me alone. I think that is a good idea. Next time you are wounded, I will take out your liver and put you in a good Italian liver and make you a man again. I will teach him a lesson. No woman can come between friends. Orderly. Yes, Capitano. What is it that you have, the mail? See, senor, you just came. Let me see. Tenente Frederick Henry from Switzerland. So, hand me the stamp. Yes, Capitano. Return to Sendor, rejected by Senso. Send it back. Yes, Capitano. Send back all letters for Tenente Henry from that address. Sacred subjects are forbidden. Yes, Capitano. Send it back. Sit down, father. It's nice to see you again. Thank you, my boy. But you have changed, so you are not my Frederico. Is there anything wrong? No word, father, from Catherine. Not a line. I've ruled every day to the letter to the hospital in Milan. She's never answered me. That's very strange. Something has happened to her. I know it. Have you tried? I've tried everything. I can't get any information at all. I've got to find her myself. I'm going anyway. I don't care. I'm going. Frederico, you must not do this. What does war mean to me anymore? What does anything mean but finding her? You remember that night in the hospital. I remember, my son. You married us that night, father. But Frederico, consider... I consider her only. Something has happened to her. Something serious. She needs me. I'm going to Milan and no one can stop me. No, maybe kind father will take you. When? When do you go? I observe at dinner. By morning, when they miss me, I'll be halfway to Milan. And so, beloved, for very long I will have wonderful news for you. God protect you and keep you. I do wish you would write. Come in. Oh. Is there any mail, Rudolph? Soup. Good warm soup. My wife made it for you. That does smell good. There is no better soup maker in Switzerland, though I myself say so. Just put it here on the table. And spread. She made that, too. The soup. It is right? It's delicious. There's more where it comes from. How long since you eat? Oh, I... I haven't been hungry. Because your stomach says so or your purse. You have lost 20 pounds since you came to us. Well, I lose weight in winter. Ah, you do not lie well. Some things go badly, no? It isn't always easy. The heart can be so lonely. Yes. It is the way, senora. My wife was the same way, singing with the happiness of a bird one moment. That's it. Black as a pit the next moment. Yes, and pits can be so black. But I won't have to wait very much longer. A day, two days, perhaps three, than happiness. Yes. All the wonder of life for my very own. I'm a little bit frightened sometimes when I think of it. Please, you eat the soup. All alone. Waiting for someone to come to me. Wondering what he'll be like. A little afraid that... Ah, the trouble is you do not know. You should be strong. And you are not as strong as a newborn baby. You have to bring one into the world. Oh, pardon. It is your business, not mine. Thanks. An old fool can be a very great old fool when his tongue is not watched. Look, here are your letters. Letters? You brought me letters. Yes. See, a great package of them. They were tied in a bundle. Ah, now there's light in your eyes. At last his letters reach here. Where did they come? See, Nura, what is wrong? These are my letters. What? All mine. Returned to sender, rejected by censor. My letters. Nothing but mine. He hasn't received one. We will send them again. Suppose he sent them back. No, no, he could not do that. Ferguson said war made men think of nothing but themselves. You are making things up out of your mind because it is tired. It is a terrible joke, Senora. It is like a jealous person who takes from us... Takes. Takes. That's what it's done. Take him. That's why he hasn't written. That's why my letters come back. There's no one to receive them. There's no one to write to me. He's gone. Senora. Senora. Oh, Martha, Martha, come up here. Senora has fallen. Where have you been, baby? Two days you disappear like a smoke. What is baby, I say? Where is he gone? I went to Milan. She wasn't there. I asked everyone. They don't know where she is. Or if they do, they're not telling me. She was going to have a baby. Fergie told me that much. A baby? Too bad. Well, tomorrow we move up front again. That will make you forget. I'm not moving up front with you, Renali. I'm through with war. But you cannot just stop and say I am through with war. They will not let you do it. They will realize all that. They will shoot you. Get this through your head. I'm not going back. I'm going to find Catherine Barclay. She's going to have a baby. My baby. I'm going to find her. And nothing you can say will change that. But it's a pose that she is no longer in it. What made you say that? Only because you know where she is. Yes, baby. Where? Switzerland in Brissago. How do you know that? Believe me, baby, it is true. About 35 kilometers. There will be sentries at the frontier? I know. I'll make it. Here, you may need this money. Take it. You're a good egg, Renali. No, I am a bad egg, baby. But I did not know you felt this way about her. You see, baby, I knew all the time where she was. What? I saw by the postmark on the letters. The one that I sent back to her. You fool, Renali. You poor, blundering fool. I am sorry, baby. I did not... Shut up! I have to strangle you. But I'll take your money because I need it. I will be lonely without you, baby. You? You will write to me. Oh, sure. Maybe my letters will come back, too. Goodbye, Federico. Don't forget. He will never come back. Never. Curse all wars and women. No. Down the door, this is Switzerland, not war. Well, what do you want? Miss Catherine Barclay. Where is she? I don't know. She's gone. That's all I can tell you. She ran away when we wanted to help her. But this is where she lived. Ferguson told me it's where she lived. Who are you? What business is it of yours? The soldier who never took the time to write. Where is she gone? Letting her sit here alone, growing weaker and... Shut up! There's a hospital here. Eight squares to the left and then three to the right. She might be dead now. No. No, she's not dead. She may be. She may... What do you want? Miss Barclay. Do you realize you're dripping water all over the floor? What difference does that make? Is Catherine Barclay here? Yes, she is. Why? I'm her husband. You don't have to look at me like that. I came here as quickly as I could after I found out where she was. How? How is she? Dr. Peters will tell you. He's in with her now. I'll wait until he comes out. But she is all right. Isn't she? We don't know yet. But people don't die in childbirth nowadays. She won't die. She's just having a bad time. After this all over she'll say it wasn't bad at all. That's what we all hope for. But what reason is there for her to die? It's just a child that has to be born and makes trouble and is born and then you look after it and get to love it. Nurse. Oh, doctor. This is the husband. Is there any danger, doctor? She's very weak. Weak? Yes. The baby? A boy. But he was dead. But she'll be all right. It's not in my hands any longer. Don't let her die. Well, God, please don't let her die. I'll do anything for her if you don't let her die. You took the boy. That was all right. Oh, please, God. Don't let her die. You wish to go in? Please. Do this door. I'll be just as quiet as you can. Kevin. Frederick. You. You did come. Don't try to move, darling. I... I knew you were coming. You'll be all right, Kevin. I know you'll be all right. When my letters came back, I thought you were dead. I kept on thinking you were dead. Until last night. Then I knew you were coming. I kept calling to you. It was all of Analdi's fault. He didn't know. He took your letters and sent them back again. Every one of them. That was the reason. Yes. Yes, I didn't receive one. It wasn't until two days ago he told me where you were. You know, all the time I'd been writing to Milan and my letters had been coming back. Because you weren't there. It's all very clear. When you understand everything, isn't it? Yes, dear. You do love me. Don't you? You know I do. You love me. Just as much as you did that evening back in the hospital when the good father married. There hasn't been a moment since then when I haven't loved you. Frederick. Yes, darling. Raining, hasn't it? Yes, darling. It would. Please open the window. But don't stay away from me very long. I want to share every minute there is with you. It's nice with the window open and the outside coming in. Yes. I liked so much. Living, I mean. All this is just a mean trick. It comes just at the time when I hoped we would darling. Casper. Casper, what's the matter? Look at me, Casper. Don't be afraid, darling. You can't make me this way. You can't. Casper. Two faces. To us he turns a face of terror. Blighting all things fair. The other burns with glory of the stars. And love is there. We have concluded a farewell to arms. But we have not said farewell to Clark Gable, Josephine Hutchinson and Adolf Marjol. They will return to us in a moment. Nineteen years ago the world war ended. But today in this country we're engaged in another war, the war on crime. An underworld army of over three and one-half million thugs rolls up an annual crime cost of $15 billion. One of the leaders in the fight against the enemy within our gates is now our guest. Head G-man Hoover calls him one of the greatest authorities on crime. He's also a writer of distinction and worked with me on the Plainsmen. Ladies and gentlemen, Mr. Courtney Riley Cooper. Thank you, Mr. DeMille. And here's an interesting angle of those figures you just mentioned. They mean attacks of $120 a year for every man, woman and child in the United States. But that isn't the worst of it. I'm just trying to cheer you up, you know. Government figures show that unless a person dies young, three-fourths of our entire population directly or indirectly will be victims of major crimes like burglary, or hold-ups, or manslaughter, arson, or murder. You're quite a sunbeam, aren't you? Can't something be done to clean up this terrible mess? Well, the most hopeful thing about the crime wave is its magnitude. Because at last people are beginning to awaken to what it really means and its terrible cost in money, in lives, in property. When you wake up to a situation, they usually do something about it. Knowing the rackets as you do, Mr. Cooper, you must be a tough person to victimize. You mean I'm a public victim, number one. I was robbed three times in the last year. One more question. Who was America's most dangerous criminal? John Dillinger? Not at all. It was a woman. Kate Barker. She reared four sons to be murderers, bank robbers, kidnappers, machine gun in their hands. Perhaps you remember the battle at Lake Wear, Florida, about a year or so ago. Ma Barker and her son Fred fought off 15 G-men and died with their boots on. But in doing so, they helped the war against crime for just things like this are the rowers, decent, law-abiding citizens, to a true realization of what's going on. Thank you, Mr. DeMille, and goodbye. Thank you, Mr. Cooper. Thank you, we're all idiots. At this point, all the stars return to speak for themselves. Ladies and gentlemen, Clark Gable, Josephine Hutchinson, and Adolph Margeau. Thank you, Mr. DeMille, and thanks to you all who took part with us in tonight's play. There's just a word or two I'd like to say about Adolph Margeau. The story of a farewell to arms is nothing new to him. During the war, Adolph served in the Cornell unit of the United States Ambulance Corps. He was with the first contingent of American troops to land in Italy and nearly lived the story as Hemingway saw it. He served in Bassano, Montetambo, and Genoa. He rose from private to captain and took his detachment over the Alps for the drives in the Argonne and at San Miel. Did I get the facts straight, Adolph? There, this play brings back many memories. I will recall the hospital where Lieutenant Henry met Catherine. It's in a little town just outside of Genoa, and I was stationed there for several weeks. Now let's see what tonight's Catherine has to report. You look as if you had something on your mind, Josephine. Oh, no. I was just standing here admiring class-lovely sideburns. Well, I admit they require a little explanation. Well, you see, I'm playing the part of Charles Stuart Parnell in the picture Parnell, and he lived when sideburns flourished. The studio prefers the home-grown variety, so there was nothing that I could do about it. It's certainly our beautiful clock. Beautiful. By the way, they tell me I'm a handyman with a rope. Yes, I understand they're calling you Buck Gable. You'll bring them back alive. Everything from calves to mountain lions. Rope? Mountain lions? What's this all about? No, no, no. There's really nothing at all, Josephine. I just get a big kick out of trying to rope calves. You know, a regular drugstore cowboy. Most of the time, the calves win. And that business about getting a mountain lion is technically correct. But it was only a 60-pound youngster. I gave him to a trainer, and you may see him in the movies one of these days. Well, if he's going to be a regular picture star, you'd better equate him right now with Lux's toilet soap. But seriously, though, I know of nothing that's kinder to one's complexion than Lux's soap. It's richly earned, it's right to be called the beauty soap of the stars. And I'm just as happy to pass that word along as I am to be here tonight. Many thanks and goodbye. Good night. Good night. Thank you. Thank you, Clark Gable, Josephine Hutkinson, and Adolf Manjou. This is your announcer, ladies and gentlemen, Melville Ruick. Another banner evening in the Lux Radio Theatre awaits you next Monday night, and Mr. DeMille tells us of it shortly. Our cast tonight included Doris Lloyd as Nurse Ferguson, Lionel Belmore as Rudolph, Martin Provenson as Dr. Peters, Lou Merrill as Bonelli, Justina Wayne as Head Nurse, Norman Ainsley as Piani, Frank Nelson as a Railway Clerk, Cornelia Osgood as the Italian Nurse, and Ruth Easton as the Swiss Nurse. Clark Gable appeared through courtesy of Metro-Golden Mayor Studios and will be seen next with Myrna Loy in Parnell, Mr. Bozegi, Walter Wenger Productions, Mr. DeMille Paramount, and Lewis Silver's 20th Century Fox, where he's in charge of music for Wake Up and Live. As announced last week, Mr. DeMille will be the host of the show. As announced last week, today, April 5th, marks the beginning of a very important week to all housewives, National Retail Grocers Week. Be sure to go personally to your grocers during this week. You will be well repaid. Splendid values will be featured generally over a wide list of products you use regularly. Incidentally, you will find in the great majority of stores called it so. And now, back to Mr. DeMille. Our production next Monday night is taken from the Sydney Howard adaptation of a story that met with phenomenal success as a novel, a play, and a motion picture, Doddsworth by Sinclair Lewis. And we're proud to announce that the title role will be filled by the same brilliant performer who created it on stage and screen, Walter Houston. With him from the original Broadway cast will be his wife, Nan Sunderland, as Edith Cartwright, and Faye Bainter as Fran. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Walter Houston, Nan Sunderland, and Faye Bainter in Doddsworth. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System. I'm Jeffrey Lyons hoping you enjoyed AMC's Lux Radio Theatre presentation of A Farewell to Arms starring Clark Gable, Josephine Hutchinson, and Adolf Monju, originally broadcast over CBS Radio April 5th, 1937. This broadcast was based on the 1932 film version of A Farewell to Arms, which owes as much to the shimmering house style of paramount pictures as it does to the highly acclaimed adaptation of Ernest Hemingway's 1929 novel. Now if Hemingway purists can get past the romanticizing of the novel, the film offers its own glittery appeal. On the Italian front in World War I an American ambulance driver played by Gary Cooper falls hard for a nurse played by Helen Hayes. Cooper was in real life a close friend of Hemingway and later played the hero of Hemingway's for Whom the Bell Tolls. Directed by Frank Borsage, A Farewell to Arms received Oscar nominations for cinematography and sound. It won for best sound and for ace cameraman Charles Lange's brilliant cinematography. Lange's lush black and white could skillfully capture the glow from a cigarette as it played across Cooper's darkened face. And the jaded battle scenes showed the influence of the hit film all quiet on the western front, especially in the gripping montage depicting Cooper's progress alone through the war zone. A quality remake followed in 1957 by Watson and Jennifer Jones. Directed by Charles Vidor and produced by David O. Selznick.