 Hollywood, California, Monday, October 26th. The Lux Radio Theater presents Robert Taylor and Olivia DeHavilland in Saturday's Children. Lux presents Hollywood, our stars Robert Taylor, Olivia DeHavilland, Mona Berry, and Frederick Perry, our guests, William Canick, General Manager of Universal Studios, and Frank Richardson, Paramount Wardrobe Director, our producer Cecil B. DeMille, our conductor Louis Silvers. To our unseen listeners and to those who crowd our theater to the doors tonight, greetings from Lux with a special word of welcome to the many distinguished Hollywood personalities whom I see among our audience. Here's a tip to every woman listening in. Follow the examples set by all the leading motion picture studios and make Lux Flakes the official wardrobe care in your home. Wash your woolens, silks, cottons, rayons, and linens in Lux. They'll look like new so much longer, and since Lux Flakes do away with cake soap rubbing, and because there's no harmful alkali in these safe gentle flakes, your clothes will wear so much longer. For appearance, for economy, always use Lux Flakes. And now Hollywood's leading citizen comes to the microphone. Our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Every few years, a new personality comes to the screen defying all its traditions of long arduous apprenticeship, breaking every law of averages, and skyrocketing overnight to stardom. Valentino and Gable did it, so did Hepburn and Harlow. While today's favorites, Robert Taylor and Olivia de Havilland are tonight's stars. As Spangler Arlington brew, Bob was a student at Pomona College, where he was trying to decide whether to become a concert cellist or a physician. In the meantime, he accepted the lead in a college presentation of the famous wartime drama Journey's End. A Metro-Goldwyn-Mayor studio scout saw him and talked of a screen test. Not long after, Spangler's father died, and he went back home to Beatrice, Beatrice Nebraska, planning to work in a gas station. It was at his mother's insistence that he went to Hollywood and reported to the studio. He walked out with a contract, a new name, and, more important, the Confidence of Louis B. Mayor. That briefly is Robert Taylor's biography, the next chapter of which finds him opposite Greta Garbo in Camille. Olivia de Havilland is a Max Reinhart discovery engaged as an understudy for Reinhart's stage production of A Midsummer Night's Dream. She was selected by the famous impresario to play the role of Hermia in the screen version. This opportunity was all Olivia needed. As the heroine of Captain Blood, Anthony Adverse, and the charge of the Light Brigade, she is now internationally known. For her debut in the Lux Radio Theatre, she plays the part of Bobby Harrington. Robert Taylor is heard as Rims O'Neill, Mona Barry as Florey, Fred Perry of the original cast as Mr. Harrington, and Maxwell Anderson provides the play Saturday's Children. The title of our play comes from an old proverb which says Saturday's Child works hard for a living. New York City, the offices of the Mengel importing company, Trans-Mengel President. In one of the outer rooms, a buzzer is sounding, and Bobby Harrington, Mengel's attractive young secretary, answers his call. Yes, Mr. Mengel? I've got a cable to send. Bring your notebook. Yes, sir. Sit down, Bobby. Just heard from Buenos Aires. I've got to have immediate word as to the man we're sending down and when he's leaving. Hmm. It's a great opportunity. Whoever gets it. That's just the trouble, my dear. I can't make up my mind between Keith Warner and O'Neill. You know all three men. Who's your choice? Oh, Rims O'Neill. Rims O'Neill. Strange name. Strange fellow. Excellent man. Well, have him here in 15 minutes. You mean you're going to send him on my recommendation? Why not? It was a toss-up. You settled it. Oh. Well, what's the matter, Bobby? Well, nothing. I'm sure he's the best man, Mr. Mengel, but how long would he be in South America? Two years. And if he makes good, perhaps indefinitely. Indefinitely? Yes. Now take this cable, will you, Bobby? Sending Rims O'Neill Assistant Manager, Buenos Aires office. Wait a minute. Bobby. Yes? We'll all be working a little late tonight. I thought perhaps you'd let me drive you home. Well, I'd love to, but I've promised to meet someone. And spoiled my whole day. Lunch tomorrow? Splendid. Ah, that's better. You know, Bobby, you're really one of the... Oh, yes. Yes, of course. The cable. Very well. Unless you hit a contrary, O'Neill will leave New York August 24th. Regarding Santa's orders, be sure to give me a full... First, please. No, let me number five, but... Number five. Yes, please. You know, Bobby, I'm sort of glad we both had to work late tonight after all. What changed your mind, Rims? Riding home like this on top of a bus? Why not? It's kind of nice. Hey, you're sure you're not in a hurry to get home? We can grab a cab, you know. Oh, I could ride like this for hours. Look up there, Rims. Right over our heads. Moon. Star. Looks as if they're on our side tonight. You're beginning to sound like a songwriter. Oh, that reminds me. I told you I had good news, Bobby. Good news? The best possible. Now, hold on tight. It's coming. Mangle is sending me to Buenos Aires. There's a boat going in two weeks and I'm on it. Assistant manager O'Neill. That's me. Oh, Rims, I'm so happy for you. Thanks. It's the best break I got since I met you. I'll miss you, Bobby. You'll be there a long time, Rims. It's so easy, easy to forget. Well, it will be for you. Forget me. I'm talking too much. I guess it's the motion of the bus. Don't stop. Why should I forget you? The best reason in the world. Mangle the bus. Why not? He's worth plenty and not a bad guy. A little old, maybe. He asked me to marry him. Marry him? Mm-hmm. When's it coming off? Never. Oh, now, wait a minute. You can do an awful lot with a bankroll like Mangle's. You better think it over. I haven't I, though. Look at me, Bobby. I won't be seeing you for a long time. Maybe never. Looks like you always say anything can happen. I don't know how to put it. I think I'm pretty quick on the trigger. And yet when it comes to... Ah, forget it. Say it, Rims. Please say it. Okay, here it is. It's 81st Street and our stuff. Hang on. Here's where we get off. You just heard was... But, Father, you don't know what to say. For the last time, Flory, don't worry about that. That girl can take care of herself. Better than you can. Yeah. Maybe Rims and he don't bring her home on a bus like he did last night. So very romantic. What? Oh, nothing. Oh, stop worrying. She'll be home soon. And turn off that radio. All right. After all, Father, she's my sister. Some member of the family's got to take an interest in her. At times, you're very drool, my dear. Flory, I'm terribly fond of you. You're such an interesting girl. So little sincerity, so much curiosity. By the way, where is your husband? Willie's home. Minding the baby? Yes. I thought so. Poor Willie. Sometimes, Father, I don't know what to make of you. You say I'm insincere. Well, if that's the truth, why am I so against Bobby going with a boss? I don't know, but there's a cat somewhere. Of course there is, Mr. Mangle's too old. All he thinks of is business. He's never home. Oh, sit still, Father. I'll answer. Hello. Oh, yes, Rims. No, no, she isn't. Well, we're expecting her any minute. Oh, I don't know about that. You see, she's just coming home to dress. She's got a date tonight. Flory. Father. Oh, that's a shame. Of course, she'll be glad to see you, Rims, but she won't have much time. Yes, I'll tell her just as soon as she comes in. What? Oh, you'll call back in half an hour. Okay. Well, if I don't see you, lots of luck and bonus are ease. You're going, aren't you? Splendid. Yes, well, goodbye. Flory, why did you tell that young fellow Bobby was going out? You know she isn't. Hello, everybody. Bobby dear. Oh, hello, Bobby. Didn't hear you come in. I haven't seen you for ages. One kiss is plenty, my sweet. How was the baby? Oh, fine. Dinner? Hours ago. Bobby, I... Yes, Flory, with Mr. Mangle. He talked to me for hours and I didn't hear a word he said. Bobby, the least you could do would be to... He'll say it over again. And if he does, he can always fire me. Someone just phoned you, Maria. Your assistant took the message. Oh, yes. Rims, O'Neal. Rims? What did he say? I don't know what he said, but Flory said plenty. Oh, first he wanted to know if you were going to be in this evening. Well, that was an easy one to answer. But you're not. You're going to a dance. With Rims? Bobby, Bobby, you're so terribly innocent. I told Rims someone was taking you to a dance. Flory, you couldn't. Now, don't get hysterical. Why, tell him you're going to be at home sitting on the edge of a chair waiting for him to call. But that's not so, Flory. Yes, well, now run along, Father. That's something I want to say to Bobby. Again? Oh, very well. Let me know when you're ready. I'll drive you over to your place. Listen, Flory, what right did you have telling Rims that... Now, take a tip from your big sister and remember this. If you want a man to get interested in you, just let him see you going right out the front door with somebody else. Leave everything to me, Bobby, and before you know it, Rims and Neil will be proposing. You're rather tiresome tonight, Flory. Even so, I'm not through. Now, run along inside and put that new black velvet on. You were going to a dance. When Rims calls again, I'll tell him to meet you someplace. Nice, quiet place. Tell him you've got a date with Fred, but you'll try and break it. You're impossible. And so are you without any decent makeup on. If you're hurry, I'll help you. You must think I'm mad about Rims. Well, I know you're about to lose him to the Republic of Argentina if you don't get some little sense in that pretty head. Well, I do like him, Flory, but I also like the butcher, the man who sells the papers on the corner, and on rare occasions, I even like you. All right, forget it. Don't do it, because if you did, he might ask you to marry him. He might stay in New York. Oh, dear. It'd be such a bother to turn him down. Hmm. There's an evil genius about you, Flory. Oh, I'm beginning to weaken. It's hateful and dishonest, and I'll never forgive myself whatever happens. Well, do as I say, and only one thing can happen. Hurry up, Bobby. You've been dressing for hours. All right, but you insisted on the black velvet. Flory, stay away from that phone. Hello? Oh, hello, Rims. Well, I was, but yes, 10 o'clock. Oh, I'm quite sure I'll be able to break away. Oh, no, don't bother. I'll take a cab. Well, Sancho's splendid. Goodbye, Rims. Well, you heard, Flory. Sancho's a ten. I'd better leave now. Well, let me look at you. Yes, you're really a beautiful girl in velvet. I'll say goodbye to Father. Oh, just a minute. Darling, if the dress should fail, and if you knew just half a dozen sentences that would make Rims propose, would you say them? Of course I wouldn't. Well, Flory, he's sailing Saturday. Well, it's so easy. Look, dear, I'm writing it down. Can you read my shorthand? I, too, was once a struggling young secretary. Yes, I can read it. Then you're going to take this little card and put it in your purse. And when you're in some nice, secluded corner in Sancho's, you're going to open your purse for a handkerchief. And then you're going to leave the purse open so you can see the card. Oh, Flory, you're priceless. I'm beginning to enjoy you. Well, now for the bylaws. Rule number one, remember to cry. Well, I can't cry on order. Oh, yes you can, my dear. He'll ask you what's the matter, and then you'll say these words written in my fine Italian shorthand. Oh, I'm so tired of everything, Rims. And I'm afraid I'm not very good company. And he'll say, oh, yes you are. At which point his arms will go round you. Mm-hmm, nothing to it, is there? It gets easier all the time. You just turn your face away and say, Rims, dear, sometimes you're the only person in the world I can talk to, and sometimes I can't bear to talk to anyone else. I'll do nothing of the sort. Then you continue. Bobby, watch me while I write this, won't you? You say, Rims, don't you ever get tired of poor me ever? And then he'll say, never. Very simple. Of course. You're such a darling, Rims. And it's going to be so awfully hard. What is? That's just what he'll say. What is? And you'll reply, we're marrying somebody else. Now, that'll shock him for a few seconds. Bobby, are you getting married? Oh, Rims, a girl has to get married sometimes, you know, while she's got a chance. Oh, Laurie, when you die, I'm going to have you mounted for the museum. I'm not through yet. Listen, Rims will ask you how many proposals you get in a week. Or some variation on the theme. And your response is, I've had two proposals every other week for two weeks or something. And he'll look at you soulfully and whisper, now, kid, you don't mean you're set to marry somebody. And you'll say, oh, no, I won't. Oh, yes, you will. And you'll say, Fred or Bill or Johnny wants me to marry him. And he's awfully in love with me. And I don't want to go on working forever. Whereupon Rims comes through with the closing lines. Oh, well, Bobby, if you're getting married this season, why not marry me? And there you are. He'll never say it. Why not? Because he isn't a sat for one thing. And for another, it isn't fair, and I wouldn't do it. My darling, how do people get married? I don't know. I'll say you don't. Here's the card, and don't forget to cry, Mrs. Rims, O'Neill. This way, Senor. Will this table be all right? Sure, Sanchez. Well, may I take the ladies' gift? Thank you. Bobby, now you're a dream in that dress. Yes, Dan, still, let me look at you. You like it? Do I? Why haven't I seen you in that before? Well, I just made it. You made it? Hey, I wish you'd make my clothes for me for a while. I'd have them falling for me from the third-story windows. Oh, any old thing. I don't know. I don't know. I'd have them falling for me from the third-story windows. Oh, any old clothes we'll do in Buenos Aires. They say they fall very easily down there. Yeah. They say it's the climate. I'll bet the climate can't raise them any sweeter than you are, because they don't come any sweeter. Oh, I've been dying to talk to you. I haven't seen you for a week, you know. Well, it isn't my fault you haven't seen me. Nobody's seen me. I haven't been able to see myself in the mirror at the rate I've been traveling. I've learned more about the Argentine in the last week than I ever knew about New York. Principal cities, population, railroads, rates of exchange, taxes, politics. Ah, that works. You ought to hear old Juan giving me a quiz. So you're really going. Sure. You know, I don't know a thing about it, but Juan's been coaching me and I've been studying so hard I haven't had a chance to get away. You know, every night I thought maybe I could get away and then, well, something came up and I couldn't. Oh, I know. You know, I haven't seen you since, well... Thank God. Gosh, it seems like a month. Just a week ago tonight. Yes, sir, you're right. You mean I haven't seen you since that night on the bus? Really? Don't you remember? Ah, this thing's got me screwy, Bobby. Ah, I wish you were coming along. Hmm. Well, certainly a nice spring while it lasts in there. The best I ever had, Rims. Yeah, me too. You know, Bobby, I'll never see a Fifth Avenue bus without thinking you've never. You won't see one for a while, though. Yeah, that's true. But a postcard of Grant's Tomb or Central Park can do just as well, wouldn't it? I'll send you one with an X to mark the spot on it. Which spot, though? The route sprinkled with them. Well, where you read your poem to me, for instance? It wasn't much of a poem, if you ask me. Oh, Rims, it was a lovely poem. Well, I thought it was pretty good at the time, but I guess it was pretty bad. I don't think I'll try poetry again for a while. Not till you fall in love again, I suppose. Well, no, no, I guess not. Well, anyway, it's the only poem anybody ever wrote for me. When Bobby comes to the office, the boss takes off his frown. She wears a coat of powder blue and a powder blue gown. She sits upon her office chair. You always make me think it's good the way you say it. Oh, you've been swell, Bobby. The break and date for me like this, why? But you'll be leaving so soon, Rims. Yeah, that's why I had to see it, to talk with you. About what? Do you think it's a good thing, me going to South America? Well, it's a wonderful opportunity. What I mean is, don't you think it's a good thing for a young fellow to see the world a little when he gets a chance so he can kind of make up his mind what he wants to do? Well, of course. Yeah, well, that's why I'm going, really. I'm not so sure it's any great shakes of an opening, but I've never been much of anywhere, and it's a chance... Well, it's kind of an adventure, don't you see? Yes, I see. Yeah. Well, that's why I'm going. Yes. And, Bobby? Yes. You've been wonderful to me. We did have a nice spring together, didn't we? Yeah. You've been marvelous. Well, it's summer now. Uh-huh. Bobby, could I kiss you just once? Oh, well, if you wish. Perhaps we'd better run along. Where's my purse? Well, here it is. But it's so early, Bobby. Well, um... Well, Bobby, Bobby, you're crying. Oh, Rims, I'm so tired of everything, Rims. I'm afraid I'm not a very good company. Oh, yes you are, Bobby. Oh, Rims, dear. Yeah? Rims, sometimes you're the only person in the world I can talk to. Sometimes I can't bear to be with anybody else. Oh, gee, Bobby. Oh, you're such a darling. Well, I wouldn't say that. Oh, but you are. And it's going to be so awfully hard. What is? Marrying somebody else. You getting married? Well, Rims, a girl has to get married sometime. You know why she's still got a chance. Yeah, I suppose your chance is all right. Yes. Well, I'd tell them I suppose, huh? I've had two every other week for two weeks. Say, look here. You don't mean you're making up your mind to marry somebody in particular. Mangle? Oh, no, Rims. Fred wants me to marry him. He's awfully in love with me and I don't want to go on working forever. Oh, I see. I didn't know you felt that way about it. Well, I don't really. I was just joking. You better go. I wouldn't marry anyone. No, not even you. You wouldn't? No, I wouldn't. Oh, yes, you will. I mean... Do you want me to? Oh, there's nothing else I want more. Oh, Bobby. But you're... you're going to South America. South America? No, darling. Somebody else can go to South America. In a minute, we'll go on with the story of Saturday's children. But first, let's look in on a bridge party in Pasadena given for Helen's birthday. A big cake with candles is being brought in. Jane and Alida are watching from the doorway. Say, Alida, do you suppose those candles are meant to fool us? Hmm. Helen's 36 or she's a day. Meow. She's only 29. Oh, she must be older. No, she's not. What made you think she was? Well, her face doesn't look so old, but I always judge by hands. And Helen's hands look as if she's at least 35. Well, they're dishpan hands. Hmm? You know, it's a shame Helen doesn't use lux. It will keep her hands soft and young-looking. Well, let's both tell her to switch to lux. Don't let anybody you know get old-looking hands from washing dishes. They needn't if they use lux for dishes. Tell them it's a regular beauty treatment right in the dishpan. Soaps containing harmful alkali leave hands rough, red and work-worn. Lux has no harmful alkali to dry out the natural oils of the skin. It leaves hands soft and smooth and well-groomed. And it's a very inexpensive beauty secret. A big box will do all the dishes for over a month. That means for considerably less than a cent a day, you can use lux for dishes. Remember to start tomorrow. And now, Mr. DeMille. Our Play Saturdays Children, starring Robert Taylor and Olivia de Havilland, with Mona Barry and Fred Perry, continues from the Lux Radio Theatre. Four months have passed since Bobby Putt-Flurry's scheme to its test, made rims forget all thoughts of South America, and led the willing groom to the altar. We find the couple in their little apartment in mid Manhattan. Supper is over. And while Bobby washes the dishes, rims searches for a cigarette. See my cigarettes around? Poor rims, you are helpless, darling. There they are. Oh, thanks. Hey, there's only one left. For this morning you said you bring home a carton. Forget? No, I didn't forget. Only I was running solo in case. But you got paid today. Well, it's all right, honey. Don't bother. Rimms, I don't understand. You never seem to have any money. Well, the truth is, I made a couple of football bets. Well, I lost. Oh, rims. Rimms, we've got to stick to our budget, or we'll never come out even. I went over everything this afternoon. Here's his rims. The Treasurer's Report, and you've got to read it. You see, we get $260 a month. Here, let me see that thing a minute. 60 for rent, 35 groceries, 45 on the furniture, 20 mile ounce, 15 insurance, and light gas, ice. Leaving exactly $66 a month. 66? Hey, darling, you're marvelous. Well, I didn't say we could save that much. We've got to have clothes and pay the dentists. But if we don't use some kind of system, it's just going to keep on disappearing. Rimms, I'm going to keep note of every cent I spend. Now, if you do the same, well, we can go over it every night. Yeah, it looks like a lot of swell evenings ahead of us. Oh, please, rimms. Now, wait a minute. You mean you want me to make account for every penny I spend? Well, must you look at it that way? Well, that's what it amounts to, isn't it? Well, I guess that's that. I'll finish the dishes. No, wait a minute. Let me look at those figures. Oh, I thought something was wrong. Oh, it doesn't matter. When you say we get $260 a month, it matters. Well, rimms, I spend all afternoon checking things a dozen different ways. Yeah, but you're still wrong. I get $40 a week. That makes about $170 a month. Oh. Oh, what a whew. Where did you get $260? Well, rimms, that must be crazy. I put down $60 a week. $60? Well, you told me Mr. Mengele had spoken about a raise. Sure, he spoke about it all right. Well, I kept on thinking about the new salary. I figured everything on $60 a week. Yeah, some difference. Oh, there's just no use, Bobby. Every month, we take in $170 and spend $183. Oh, rimms, I wish I hadn't quit my job. Well, we both couldn't work in the same office after we got married. Well, other people do. It wouldn't have mattered. Nothing doing. Say, I wasn't man enough to support my wife, and they'd be right. But it would double our income, rimms. Don't you see how easy it would be if I took my job back? Double our income. I know that. I know you were making as much as I am. What do you want me to do about it? Rimms. Now, get this straight. I won't have you sitting in Mengele's private office all day. It was bad enough before we got married. Don't talk to me like that, rimms. Don't talk to me like that. You're my wife, and you'll do as I say or... How I loathe that word. What word? Wife. I won't be a wife. That sounds fat and stupid. I wish we hadn't gotten married. So that's it. I wish you'd gone to South America. Not half as much as I do. Rimms. No, you don't like to hear the truth, do you? Well, I've had enough of this. I'm going, see? I'm going out alone. Oh, hello, Willie. How's my little brother-in-law? Where's Bobby? Home, I guess. Well, what's the matter, old man? Something wrong? Anything wrong for a man to go for a walk and stop in at the corner station or restore to play a game of pinball? Well, is there? I'm sorry. I just stopped in at the cigar counter. I thought I'd say hello. All right, hello. Well, if there's anything I can do... Yeah, there's plenty you can do. You and that wife are yours. Keep away from my home. Keep away from Bobby. You don't have to talk so loud, Rimms. I guess I'm going nuts. No, I tried a reason with Flory. We shouldn't drop in on you so much. Yeah, last night and the night before and the night before that. I know. I guess Flory's kind of inquisitive. You don't have to apologize. It's not your fault, Willie. Well, thanks, Rimms. It isn't her father or her mother or Flory or you than its money. If I was only in Buenos Aires, I'd have a home and servants. I'd have a car. Ah, what's the use? Is the family so bad, Rimms? Well, no more than my family would be, I guess. Well, take it easy, Rimms. No, I went through the whole thing. I know. Besides, I've got a kid. And a decent job. Well, that'll come too. Maybe. Last week they gave a party for a man in the office. Al McIntyre. He got me my job. But could I buy a ticket? No. A ticket cost five bucks. How do you think I felt walking in the office the next day? Five bucks, Willie. Five measly bucks it had to go to pay the rent. Well, I guess it's just as hard on Bobby, Rimms. Yeah, don't you think I feel that too? She's changed, or I've changed. I can't understand it. All day long I think about her. I think I'll swell it's going to be to go home and be with her alone. Then when I get home, all I see is bills and relations and a sink full additions. That isn't swell, Willie. That's just a flat. Bobby and I are just two ordinary married people. Then I do what I did tonight. Make a mess of things. Shoot the works. But I can't help it. I hate it, Willie. I hate it. I know, but calm down. I'll take it easy. Get out of my store. I should you hear your troubles. Nah, I got my own troubles. Maybe you should hire a whole year. Why, you won't... Hey, hey, wait a minute now. Getting tough won't help you. Look, why don't you phone Bobby and tell her you're sorry, huh? Phone her, huh? Tell her I'm sorry. Crawl for what? For being alive? Not me. As far as I'm concerned, Bobby can... Hello. The line must be out of order. Oh, it couldn't be busy for 40 minutes. It's my house. I'm trying to get my wife. How could it be busy? I'd never mind forget it. I said forget it. Oh, come in, Flory. Well, why the long face? Rims and I. Another battle. I thought perhaps it was he coming home. Oh, who won this time? Well, I'm afraid we both lost. Don't smile, Flory. It's not funny. You child it is funny. You're just going through a period of adjustment. Willie and I are nearing the end of our period of adjustment. Willie still struggles faintly. Well, if that's marriage, Flory, I don't want to be married. This bickering. It just about kills me to quarrel with Rims. Oh, Flory, I don't know what to do. He's the one you wanted. Now he's yours, so why worry about it? But it can't go on like this. He'll leave me or I'll leave him. Then there's only one answer left. I wish I thought there was. One answer left. There is. A child. But if we can't get along now... That'll make you so much more important, don't you see? Oh, I don't want to be important. Not to Rims? Only to Rims. And as long as Rims has only you, well, he's really free. But just you tie him down with a family and he'll stay. Willie used to have all the answers, but not anymore, not since the baby. But to keep a man that way, it's terrible. It's been going on for a long, long time, my dear, and it works. He'll be humble and happy. It's another scheme. Like the questions you wrote down on a piece of paper. It worked out, didn't it? Yes, only I wish I'd never done it. Well, it was the only way you could get Rims to marry and you know it. Now, I tell you, the only way you can hold him is to... Don't get up, he's just the old man. Door's open, I came in. Oh, hello, Dad. Where's Mother? Too tired, went to bed. Well, Grandpa, aren't you going to sit down? Yes, and leave off that Grandpa, sir. Why, you precious old dear, are you ashamed of being Grandpa? Well, your grandma won't see how it feels. Well, Bobby, I must run along. Not so soon, Chloe. Yes, I really must. Well, good night, Bobby, and don't forget... Good night. Bobby. Bobby, there's something wrong. I saw it last night when I was here in the night before. What is it? Then it's as plain as all that. Well... It's us, Dad. It's money and dish pans and bills and somewhere under the heaper rims and eyes and eye, and pretty soon we will never be able to find each other again. Bobby, if you and I had only talked that night, the night before, you two decided to get married. What would you have said? That you're too young to get married. You haven't had any fun yet. He hasn't money enough to support you. Why should he support you? You're his economic equal. Perhaps I should have gone on working. But if I had, I might have lost him. Not as surely as you're losing him now. It used to be a love affair, didn't it? Yes. Now what is it? Gross three bills, mostly. I'm sorry. Father. Father, if a woman has a husband and she wants to keep him all her life, then isn't a child the best thing, isn't it? Bobby. It's true, isn't it? Oh, yes. It will hold him. And you, too. You don't understand me, Bobby. Bobby, what's happening to your honesty? Oh, I'm young and foolish, and Rims has everything in the world to me, and I'm afraid I'll lose him. Think it over, Bobby. Think hard. Bobby, you should have gone to bed. It's pretty late. I've had a chance to do a lot of thinking, Rims. Here alone in the dark. Bobby, please, I... I tried to get you on the telephone to say how rotten I felt about what had happened. He said that Lyon was busy. I guess that's pretty hard to believe, isn't it? The Lyon was busy, Rims. I was speaking with Mr. Mangle. Mangle? Yes, he offered me my old job back. Yeah, well, no wife of mine is going to work. I know you said that before, but I've been thinking about what he told me and what Flory told me. Oh, so she was here again. Well, I'm glad I kept walking. And what Dad told me. Bobby, haven't we better turn in tomorrow, maybe... Not to be now, Rims. Yeah. I'm being honest with you, Rims. More honest than I've been since we were married. I tricked you once. I almost tricked you a second time. Tricked me? Yes, I tricked you into marrying me. Think back, Rims, it's all so obvious. And I almost tricked you into being with me forever whether you wanted to or not. Thank heaven, that is not my conscience, too. Listen, Bobby, I don't know just what you're talking about, but I do know this. I've been thinking tonight, too. A man gives up a lot when he gets married. As long as he's single, he owns the earth. But when he's married, his time's not his own. His money's not his own. He's got to keep on working whether he wants to or not. And there's the devil to pay if he spends an extra dime. Whenever I got tired of my job, I used to quit. But in like one town, I tried another. Now I can't. Why not? Because I got a wife and a family. Am I a family? I won't be a wife. I won't be a family. It's me, Rims, me. All right, be yourself. Yes, you gave up a lot. And I gave up a lot to cook your meals, keep this house and wash your dishes. And every time I get a dollar for myself, I have to ask for it. It's degrading. It's your home. It's not mine. It's all yours. You earn the money, so it's all yours. That's right. Rub it in. I don't earn enough. Well, you don't. And I know what I can do about it. Well, you won't work for Mangle. I won't have it. I gave up a lot to keep this place going, and it's going to be the way I want it from now on. That's all I wanted to hear, Rims. I'm going. Bobby. Take care of it. It's all yours. I'm coming back. All right, but if you work for Mangle, I quit. I don't care where you go, Rims. It's a free country. Goodbye. Bobby. Bobby, don't go. Bobby. Well, station identification. This is the Columbia Broadcasting System. Saturday's children, starring Robert Taylor and Olivia de Havilland, continue short play. The population of Hollywood is only 165,000. Yet there is more clothing here than any place, except the Garment Center of New York. The reason is that every studio must keep a tremendous wardrobe on hand. Dressmakers, tailors, jewelers, bidders, leather workers, and shoemakers are constantly filling new studio orders. The results of their labors reveal the history of the world in dress. Tonight, we hear from the wardrobe director of Paramount Studio who orders 10,000 costumes a year and knows where he can put his hand on every one of them. Ladies and gentlemen, Mr. Frank Richardson. Thank you, Mr. DeMille. It's easy to understand how costume was accumulated in the thousands. A star never wears the same dress in two pictures. While when a DeMille film is finished, we usually have to build an annex. You should be used to me by this time, Frank. We've worked together for nearly 20 years. And I think the first job you gave me was the toughest, that called for a silver-plated suit of armor in a day when there were no armors in this part of the country. Geraldine Farrarworth and Joan the Woman, cost 2,500 and we have it yet. Still, you weren't upset when I asked for 5,000 suits of armor for the Crusades? That's because you gave me the chief armor of the Metropolitan Museum of Art to help me construct them. Aging costumes is actually a lot harder than creating new costumes. To make a new costume show where quickly, we use blow torches, sandpaper, oil, stain and wax. Of course, the greater part of our wardrobe, and this will interest the ladies, is made up of beautiful costumes fashioned from the danious, most gorgeous fabrics. That, Mr. DeMille, is where Luxe comes in. We found the surest way to safeguard these costumes is by using Luxe flakes. And no wardrobe man ever goes out on location without enough flakes to take care of the company's laundry. It's not only best, it's the easiest soap to use. Well, after your success with metal costumes, I hear you are now making them out of glass. Yes, you remember we made the first glass ones for you and forbidden fruit. And now we're making glass hats for the dances in college holiday, Jack Benny's new picture. Fashions and materials change almost as often as fashions and clothes. And two dresses hanging in the Paramount Water Department give a good illustration of how styles change. One costume worn by Mary Brian is from the 1840 period. The other will be used by Claire Bowle. Mary's dress required 288 yards of materials. Claire Bowle's only three and a half yards. So there you are. Now to you and Luxe, my appreciation and good night. Good night, Frank. Good night. Robert Taylor as Rims O'Neill and Olivia de Havilland as Bobby Harrington continue now in the Luxe Radio Theatre presentation of Saturday's Children. Three weeks have gone by with their last quarrel, Bobby left Rims and is once again working for Franz Mengele. Rims has found another job. Believing that Mengele and Bobby are extending their association beyond business, Rims goes to the Mengele company's offices. As he waits in the hall near the elevator, watching for the pair he suspects, he is greeted by a former co-worker. I'm glad to see you. Coming in, aren't you? No, I'm staying out here, Keith. I'm waiting for someone. Bobby? No, maybe. Oh, I'm sorry. You know, we miss you around here plenty. One of the boys said you got a job right after you quit. Same, same kind of job, same salary. Guess I was lucky, though. Oh, there goes Mengele's. Hey, he'll be glad to see you. Yeah, there goes Mengele, Mengele and my wife. That's what I came to see. I'm sorry to tear away from you, Keith. I'm taking the next elevator. Get your paper. Johnny, Johnny, give me a paper, will you? Oh, Mr. O'Neill. Sure. Like old times, how many are for my customer again? Johnny, did you see Mr. Mengele come out of the building? Yeah, sure. There's his car over there. Just pulling it out. I guess you just missed it. Thanks, Johnny. No, I haven't missed him. Hey, Taxi. Captain? Where do you live now, eh, Bobby? Four doors down on the right. Four doors down on the right, Michael? Yes. Since you refused to have dinner with me, Bobby, at least you let me escort you in. Ah, of course. But the door must be open. Door? What door? The door of my elaborate one-room suite. You should hear Mrs. Gauleck, the landlady. When gentlemen visit, the door must always be open. At 10 o'clock, the gentlemen go. But this gentleman is going before 10 o'clock. Well, just as you say, Bobby. I'll be down in a few moments, Michael. Very good, sir. That's it. Just ahead, buddy. Grace a dance. Okay, okay. Here you are. Thanks. Picketing the boarding house? Oh, hello. Hello, Mr. Harrington. Bobby didn't tell me she'd been in touch with you. Are you coming up? No, I haven't been near Bobby for three weeks. I just followed her here. That's Mengele's car over there. He's upstairs. Rams. When are you going to learn that Mengele means nothing to Bobby? Nothing more than a good friend. I've seen what I came to see, Mr. Harrington. I guess I'll be going. If you just wait a second more, you'll see that car drive away. What do you mean? I mean that Mengele brought my daughter home and is leaving. There he goes now. Rams, did you ever think you may be underestimating Bobby? You think I am? Well, maybe I'm underestimating you. Suppose you figured I was enjoying myself. My wife's left me, now's my chance to step out. Well, why not? She does. That's funny. Yeah, very funny. If there was one thing in the world she wanted, it was you. I know. Listen, Mr. Harrington, I called her up. She said she can't see me. Then I tried to forget her, but it wasn't any use. I don't want anything else in the world except Bobby. And she's gone. She doesn't need me. She's having a good time. Yes. Yeah, last night I hung around the office. Same as tonight. I had to see her. And what happens? She comes out with Mengele. They went to dinner. I saw them and came back here, chauffeur and all. She went away pretty soon. I don't know what's the matter with me. I used to have a little sense about girls, I mean. Now I act like a stupid dummy. You don't know what it's like. Oh, don't I though? You're lucky, Rims. You don't know how lucky you young fellows are. When a man's young, he makes love. When he's middle-aged, he makes money, or tries to. And when he's old, well, he makes his soul. I never could make anyone to speak of. And I know it's about time I made my soul, but I'd rather be young and make love to a girl who was in love with me. There's nothing like it. If she were in love with me, she wouldn't have gone away. You went away too, Rims. Maybe she left you because she was in love with you. Maybe. Where are you going? I don't know. I'll be back, I guess. I thought I had this thing all figured out. I'll have to begin all over again. I'm going up to see Bobby now. Join me a little later. I want to speak to her first. He was too proud to see me, Mr. Harrington. You speak of pride. Rims. Good night. Are you poor fools? It's only a room, Dad. Not like the other house, but it's not too bad. Of course not. I lived in a lot of these places before I was married, and they haven't changed the carpet on the stairs of any one of them. Well, it's a good place to be alone in. That's what I wanted. Well, almost 10 o'clock. Well, Bobby, your old room at home is waiting for you anytime you're ready. No, I can't go back, Dad. I'll be right where I started all over again. At least you could close your door there. The landlady insists I keep this open. She's still doubt time your father. Yes, up there. Dad, did you hear? Rims, it sounded like Rims. Hello, Bobby. Hello, Rims. Well, my boy. I'd like you to meet a nice girl. My daughter, Mr. O'Neill, a working girl. But she has class. Well, now if you'll excuse me, I... Dad. Good night. Good night, Father. I guess you wondered how I found you. No, no, no. He didn't tell me. I followed you here. You and Mangle. Oh. Is that why you're here now? No. Then what is it? Oh, I don't know, Bobby. I guess it doesn't matter. That's just what does matter. Yeah? Um, you might at least sit down. Thanks. I hear you have a new job. Yes. How's it going? Jobs are all pretty much alike. Yes, sure, sure they are. What business is it? Automatic mooring winches. Oh. Oh, yes. Are many of them used? What? Automatic mooring. Oh, yes, sure, you'd be surprised. Same salary. Really? Oh, that's wonderful. Um, I have to apologize for this place. It's not very... Well, you're in it, aren't you? Yes, I am. Bobby. Yes? I came here all set to say something, but I can't seem to find the words. What is it, Rims? Well, I came to ask you. If you hadn't had enough of all this, maybe you'd come back home now. No, Rims. What are you going to do? I don't know. Only I'm on my own now, and I'm going to use my own judgment. You don't care about me anymore. Yes, I do. You still won't try again. No, Rims. What we wanted was a love affair, wasn't it? Just to be together and let the rest go hang. What we got was a house and bills and arguments. You know what I think a love affair is. It's when the whole world is trying to keep two people apart and they insist on being together. That about lets me out, doesn't it? Does it? What gives time, Miss? Jeltman cars mean open doors, and I mean business. Another thing, if two minutes after 10, and I've got to lock the front door... I forgot to tell you, Rims. Thank you, Mrs. Gallick. Mr. O'Neill was just going. Yes, I know. The Jeltman are all Jets and Dollars. Well, I guess that's that. Good night. When do I see you? Whenever you like. How do I see you by appointment? Well, I'm not very busy. If we never had been married, and I was just a girl you wanted to see sometime, how would you manage it? Well, I could call you up tomorrow and take you for a bus ride, I suppose, and then dinner at Childs. That'd be pretty nice, wouldn't it? I'd like it. Why don't you? Well, I don't want to go bus riding. Oh, Bobby, won't you come back? We could... You never really wanted to get married, did you? Tell me the truth. I wanted you. Oh, of course you did, but you didn't want a house. How do I know you won't fall for somebody else sometime if you leave here? You don't. How do I know you won't fall for somebody else? I don't. I don't want to. Rims. You want to see me unless... unless you just can't keep away. You used to know me so well you didn't like me. You used to know where I was and what I was doing all the time, and it was all wrong, and we won't have any more of it. All right. So, now we're really free. I said all right. I don't give a hoop about that. Well, what do you give a hoop about? How about you, darling? Can't you see it? Don't you see I can't get along without you? I can't stand being away from you all the time. I keep waking up at night thinking of you. So do I. Bobby, the house is standing there waiting for us. No. No, I'm sorry. It'll just have to wait. I got you into it in the first place and you didn't like it. And now we're out of it. The house, the house is gone. Any house is bad enough. You have a house and you get bills and dish pans and quarrels. Is that all you got? Just about. I don't know what you want. Oh, I don't either. I only know what I don't want. All right, I get it. Rims never even said goodbye. Come on off that fire escape. You know, I was just thinking it's pretty early and if you wanted to we could take a bus ride. We used to take bus rides a long time ago. Bobby, what's going to happen to us? Are we going to get a divorce? If you like. Will you marry me again if we do? Oh, Rims. Oh, Rims, darling. Would you try it all over again? With you, Bobby, sure. We don't want a house, Rims. We don't want anything, only ourselves. That's about all we have left, Bobby. Only ourselves. Bobby, Bobby, darling. There's one thing more that may be left for Bobby to do. Yes, lady. I'll tell you when we get there. Sort of like old times, Bobby, isn't it? Oh, Rims, darling. What happened to us? We've learned so much, Bobby. They'll never happen again. Rims, a house. It's only two blocks more. Bobby, let's go back, huh? Builds and dishes and all. Oh, I love them, Rims. We'll never leave it again. I asked you this once before, Bobby. I've never met it so much since. Yes, Rims. I've never seen a house around me and don't ever take them away as long as we live. No, darling. Not as long as we live. Doctor! Yes, lady. They're actually kissing each other. It's a disgrace. Stop it at once. Oh, let them alone, lady. Wait till they've been married for a few months. They don't know what it's all about. We say good night to Saturday's children. But Robert Taylor and Olivia de Havilland will be back in a moment to say good night to us. Writers, like painters, often live for their art and are in trouble making a living at it. Prior to 1913, motion pictures were all visual narrative. Constructed by actors, cameramen, and directors, stories and dramatic situations were alien to them, and writers wrote only for print or stage. Today, writers are among the highest paid-of-studio personnel. William Koenig is an expert on their wares. Beginning as an usher, he became a stage director, both throughout the country, and for the last 15 years has been responsible for many policies vitally affecting the motion picture business. Today, he is general manager of Universal Pictures. Ladies and gentlemen, Mr. William Koenig. With motion picture producers paying anywhere from $1,000 to $100,000 for a single story, it's no wonder that every writer tries to point his pen toward Hollywood. But the very fact that these tremendous prices are paid is the best indication of the urgent need for good material. To find it, picture studios have story representatives in every major city throughout the world in addition to their Hollywood staff. An interesting sidelight is that during the past 25 years, I know of only two suits for plagiarism the studios have had from established authors. Which is why more than 30% of all film material is bought from well-known writers. Once the story is purchased, it is assigned to a producer. He then turns it over to a studio writer for what is known as a treatment. Revisions are begun, other writers called in, and the final scenario may be the work of from three to ten writers. The author of a book or play seldom works on the screen version. An exception is Eric Hatch who wrote the original story of My Man Got Free. Mr. Hatch collaborated with Maury Risken on the screenplay directed by Greg Lee Lecava. Many scenes in this film were rewritten after the picture was underway, giving it a freshness, sparkle characteristic of all Lecava pictures. Committees take the longest time to prepare because they're good, prove very successful money makers. A screenwriter must put as much action into 70 minutes of film as you would see in a stage play lasting two and a half hours. In radio, the timeout is still more pressing and the great job being done by Mr. DeMille and the Lux Radio Theater has won the respect of all Hollywood. Along with stories, our other big need is always for new talent. We're trying something new at Universal by going in for promising young players on a large scale. Of our hundred contract players, 75 have never been before the camera. One of them is Diana Durbin, only 13 years old and already a sensational success on the air. She will be featured in our new film Three Smart Girls with Barbara Reid and Nan Gray each only 17 years old. Robert Taylor was barred by Universal from Metro-Goldwyn-Mare for a leading role in magnificent obsession directed by John Stahl. We're proud to have contributed to the success of this young star who has become one of the most popular personalities on the screen since Valentino. Bob came to pictures from college and I feel confident that the next few years will find universities actively training students not only as actors, but as writers, directors and technicians. Many thanks to you all and good night. Good night, Mr. Taylor. Over 30,000 people paid admissions this summer when Robert Taylor made a personal appearance in the Cotton Bowl at Dallas, Texas. So our audience tonight must reach a staggering figure with the admirers of Olivia de Havilland swelling the total. Once again, they step before the curtain. Bob Taylor, Olivia de Havilland. Thank you, Mr. Demille, but Bob's the one to do the talking. He used to win prizes for oratory. Yes, yes, there's one neat little number I once already had called the peculiar position held by school teachers in public society. I think it began something like this. Cat, we'd much rather hear you play a cello. I guess you've never heard me play the cello. Well, no, no, the fact is I left my cello in my other suit. Well, then tell us how it feels to be a big romantic hero. What is this? Looks like a conspiracy to embarrass Taylor. Oh, not at all, Bob, not at all. I hear you get more fan mail than anyone in Hollywood. You've had to hire four secretaries to handle it. Please come. I'm just a small town boy. I know, from Philly. I'd call Philadelphia big town besides Bob's from Nebraska. Well, I was born in Philly with an F, Philly, like a little mare. Oh, yeah, one horse down, huh? Well, we did things on the radio, though, and another two other chaps and myself formed a trio, which we called the Harmony Boys. We sang songs for a company selling harvesting machines. Critics call us the curse of the killer cycles. But those broadcasts with the Harmony Boys gave me the confidence to appear on the top show of the air, the Lux Radio Theater. Well, after that tribute to Lux in Nebraska, you ought to say, oh, yasume nasai. Well, it's one of the few things I learned as a very small girl in Tokyo. It means good night in Japanese. All right, then. And many thanks. And good night in English. Thank you, Mr. Haveland and Mr. Taylor. Ladies and gentlemen, this is your announcer, Melville Ruick. Mr. DeMille tells us of next week's program shortly. Our cast tonight included Mona Barry as Florey, Frederick Perry as Mr. Harrington, Chester Clute as Willie, Leora Thatcher as Mrs. Gauleck, Engel, Frank Nelson as Keith, and Ross Forrester, Robert Payton, and John Lake. Mr. Haveland appeared through courtesy of Warner Brothers, Mr. Taylor, Metro Golden Mayor, Mr. DeMille and Mr. Richardson Paramount, Mr. Koenig Universal, and Mr. Silver's 20th Century Fox, where he composed the musical arrangements for their new football film, Pigskin Parade. And now, Mr. DeMille. For many months, I've looked forward to presenting on this program the star of my new picture, The Plainsman. I'm happy to announce that next Monday night, the Lux Radio Theatre brings you Gary Cooper in a radio dramatization of one of his greatest successes, The Virginian, adapted from Owen Worcester's famous novel. The play will feature Charles Bickford, Helen Mack, and John Howard. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents The Virginian with Gary Cooper and an all-star cast. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.