 Lux presents Hollywood. The Lux Radio Theatre brings you Mary Martin and Dick Powell in MyGalSouth. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. From a little Indiana town on the banks of the Warbash, two brothers once went forth to conquer the world. The Younger wrote some of America's greatest novels. The Older wrote some of her best-loved songs. The name of the novel, as you all know, Theodore Dreiser. The name of the songwriter you may never have heard, but most of you will always remember on the banks of the Warbash. It was written by Theodore's brother, Paul, who changed one letter of the family name and was known as Paul Dreiser. Some months ago, Theodore Dreiser wrote the story of his brother's life. From that story, 20th Century Fox made the motion picture called MyGalSouth, and tonight we bring it to you, with Mary Martin as South and Dick Powell as Paul Dreiser. It's a brave story of a young man who met life with a smile on his lips and a song in his heart and let the future take care of itself. Tonight you'll hear those songs sung by Mary Martin and Dick Powell, songs like on the banks of the Warbash and MyGalSouth. Cunes like these are the best answer I know to some of the letters we've been getting in the past few months, letters such as this one from Baltimore. A woman writes, I haven't missed a luxe radio theater performance in four years. I've been buying luxe toilet soap longer than that, so perhaps I have a right to make a request. You haven't had a play with songs in it for many weeks. What better time could there be than now? Maybe the songs will match the ones we women sing after using your product. I try to send you a little thank you note at least once each year. So thanks again for your program and for luxe toilet soap. I hope the lady likes our answer tonight as we raise the curtain for drama, song and gaiety on the first act of MyGalSouth, starring Mary Martin as Sally and Dick Powell as Paul. In the gay nineties, all America, from Florida girl to barkie, was singing and dancing to the catchy melodies of a small town boy from Indiana. His name was Paul Dresser, and his career was as gay and extravagant as the period he set to music. Well, perhaps not always gay, but it was the time, for example, when he was picked up on the road just outside of Jonesville, Illinois, picked up unconscious, wearing a suit of tar and feathers. Come on, Sonny, put your arm up here. Now, let's see if we can get the rest of that tar off. This may sing a little, Sonny. Are you awake? Yes, yes, I'm awake, all right. How did I get here? What town is this? No town. We're five miles from Jonesville. Seems you were run off in a rail or something, remember? Oh, yeah. We found you in a ditch. At first we thought you were a turkey. Did you find me? No, it was one of the Indians. Indians? In Illinois? That's right. His name is McGuire. An Indian name of... I guess I'm not awake yet. Sure you are. We're Colonel Truckee's Kickapoo Indian extravagant. Oh, a medicine show. Mm-hmm. Kickapoo Indian remedies. Guaranteed that you're practically anything. May, how is he coming along? He'll be all right, Colonel. Well, well, let's see what emerged from under that tar. Welcome, my boy. I'm Colonel Truckee. Well, you're looking much improved. What do you use to take the tar off, May? Your cough medicine. You don't say. Perhaps we'd better sell it as a spot remover. Young man, what occasion did this tiff between you and the population of Yonder Jonesville? Well, I, uh, I was working for a man who was selling gold jewelry. I played the banjo to attract crowds. Well, you obviously attracted them, but your music must have been quite horrible. It wasn't my music. The gold jewelry turned out to be brass. Brass, eh? Sounds like you were working for Corbin. I was. Well, any town that Corbin's worked is a desert for three months after us. I think we'll root our little extravaganza around Jonesville. Thanks for the tip, young man. By the way, I presume you're now footloose and fancy-free, eh? What? And he means you want a job. Oh! Of course. Provided, of course, that you can play better than I think you can. You play the piano, too. Just the way that you hear me, that's all. Ah, good. Well, spend a few days getting on your feet and we'll talk about it. May give him a pint or two and he'll be elixir. Guaranteed to bring the flesh of health to cheeks pale and warm. I think some hot soup would be better. Miss Collins, are you inferring to a stranger that our products have appeared? All I'm saying is he's got to be strong before he drinks any of your charms. Miss Collins, if nature had not endowed you so lushly with charms pleasing to male spectators, I would discharge you on the spot. Hey, John Oltenon, you want to taste this medicine now? We just made up a whole batch. Ah, let me see, McGuire. Joe says it's the best tip. Uh-huh. Who concocted this vile concoction? I did. Joe says you've deviated from the prescription, McGuire. Put in 20 pounds more sugar and perhaps a gallon or two of peppermint. I'll take it. That's as mature as the Colonel's making now. For rheumatism, we move off the sugar. Enough with the king of blue Indian waters. Now just sit down over there and count your scalp. Ladies and gentlemen of Lindbergh, has anyone here tonight ever seen a sick red man? No. And why not? Because from generation to generation they've handed down the secret of this spiceless cure which I have now bottled under the name of Kickapoo Indian remedy for the benefit of the white race as well. There you have nature's own remedy of herbs and roots with which the American Indian has always cured the ills of his loved ones. Excuse not for the Kickapoo remedy. I'll take it out there. I'm ready. Well, May, how do I look? Another new suit. Yeah, how do you like it? Not bad, huh? But you bought three new suits last month. Oh, but those others were just things to wear. This came from Chicago. I always wanted a tech suit. Hey, it's got a big city cut, all right. Yeah, I just sent my measurements and the money that came back like this. From now on, those gents are my tailors. Mm-hmm. I like the best, too. Yes. Say, you don't think it's too loud, do you? Green and red? No, it's fine. Well, I sort of like it myself. Say, did you catch my act last night? I watch you every night. Well, don't miss me tonight. I'm going to try out a new specialty. You'll be great. I'm glad you came with us, Paul. Also glad. Well, thanks. You've been swell to me, May. I'll bet you know why, too, don't you? Sure. You like my act. Mm. Hey, President, you're almost done. Ready and waiting, McGuire. Ready and waiting. Say, May. May, we got the carry straight tonight. Did you get a line on those two in the boogie? No. Who are they? I don't know. Some girl in a fuller. She's a looker all right. I bet she don't come from around these parts. Go on, Paul. Quick. Yeah. Say, if this stunt goes over, I'm going to hit the cover for a raise. You've got a fat dentist getting it. Go on. Well, if I don't, I'll start my own show. All you need is an Indian and a couple of recipes. That's a specialty, May. Oh, Indian President, peace for Honey Papa. Thanks, you, for your kindness and attention. Thanks, then, chief. Gotcha. And now, while Chief Honey Papa and his brothers pass among you with the supply of this original kick-a-boo Indian remedy, you will be entertained by Mr. Paul Dresser, who has just closed the season of brilliant piano recitals in the great city of Chicago. Mr. Dresser, good evening, folks. Good evening. Good evening to you one and all. And our folks, rather than anything heavy, I thought I'd play something in a lighter vein. Tonight, a little composition of my own is yet untitled. With your kind attention. Come on, Sally. We'd better drive on. Well, not yet. I want to listen a minute, Fred. To Mr. Paul Dresser, the brilliant pianist from Chicago? I don't seem to remember Mr. Dresser building Chicago when we were there, do you? Well, we never played the stockyard. Oh, Fred, that's not funny. Come on, Sally. You've got an early rehearsal tomorrow. Just a minute. You know, that's a catchy tune, Fred. Maybe we did make him in Chicago. Not if he wore that, too. Just the same. We could use a tune like that in the show. Oh, thank you. And now, ladies and gentlemen, as an encore, I will present a stocking piano nowadays. Ladies and gentlemen, before your very eyes, you're going to see a feat which has never before been performed by musicians. At one and the same time, I'm going to play the same tune as the duet on two pianos. Whisk your time, musicians. You were right, Sally. I'm glad we stayed. I wouldn't have missed this for anything. It's awesome to laugh at him, Fred. How can you help it? They ought to move those children out of the first row. He's going to fly off of that, too. That's funny back there. Oh, Fred, I shouldn't have done that. Be true. Get out of the way, please. Oh, Fred, he's coming back. You better drive on. Oh, don't be silly. Who started that laughing? Was it you? Well, yes, it was. I'm sorry. Really? I didn't mean to... If you don't like my act, how about getting out of here? No, just a minute. Say, who do you think you are? Go on. Get out of here. I told you I was sorry. I apologize. That doesn't fix anything. Well, I'm afraid there's nothing more I can do. I told you what you could do. Get out of here. Now listen, you. Let him alone, Fred. I offered my apology, Mr. Dresser. But if you haven't manners enough to accept it, then I'm sorry for you. Listen, you're the one who's in the wrong. Not me. I was up there. As a matter of fact, I liked your act. It was a funny act I ever called. Funny? You think it was supposed to be? It wasn't me? Well, nobody else thought so. Nobody laughed when you started it. But those two pianos in that suit, what could you expect? Well, what's wrong with the suit? Well, I suppose it's all right if you can stand the noise. Here, here. This is the sort of thing I don't permit, Dresser. Get back on the stage. Wave along. Now listen, these people. Never mind. Get back on the stage. Oh, come on, please. Now, if you folks will just move along, we'll get on with our show. I'm sorry. I guess I lost my temper, too. Will you do me a favor? Will you give Mr. Dresser something for me? Fred, let me have two tickets for tomorrow night. I'd like him to be our guest. Oh, you folks in the profession, too. We're trying out Miss Elliott's new show at the Buffalo. There you are. Either to get the tickets, will you? Certainly. And here. Here's one of our posters. You might put it up in some likely spot. Good night. Night, folks. Good night. Hmm. Buffalo Theatre. Sally Elliott in Bells of Broadway. I'm the coast of the town in my Paris car. A little naughty tonight. If I seem rather gay, little girls they say. Our latest gibles and spines. I'm the type that good-fine parties. And these are done for soon. I'm the coast of the town, but I hope you settle down for someone, maybe you. If you're at your love and laughter while you're young and free, come along with me. Come along with me. A marigold, a sterling goat, a happy goat, a thousand goats, or a million days. Who cares on the gay white way? And like a girl, if you're the gay white way, it's always early for the lights are glowing. Why? Glowing. Oh, meowing on the gay white way. It's always fighting that the night turns blue. And every little miss, the likes of us from this is on the way. We went down there to break all you did during the host. Anybody you'd think you'd never been in a theater before? Well, that's right, Mae. That was my first time. Huh? Mae, I've got to get out of here. What for? Oh, I can't spend my whole life in a medicine show. I thought it was great stuff until tonight, sitting up there on that red wagon playing a piano. It was wonderful. And then tonight we saw a real show. All of a sudden it hit me how cheap it is. It's like the suit I'm wearing. Yesterday I thought that was wonderful, too. But it is one. Oh, no, it isn't. It's a hick suit. It's loud and cheap, just like the show. Oh, I've got a lot to learn, Mae. And I'll never learn it in these tank towns. I'm going to New York. I'll go with you, Paul. No, I'd better go by myself. Paul, you can't just walk out on me. You've been awfully good to me, Mae. You got me a job when I needed it. You helped me grow up. But I've got to go on alone now. I know what it is. It's that girl. No, it isn't. But nobody's going to laugh at me, not her or anybody. Someday I'll write a song and she'll come begging to sing it. And then I'll do a little laughing myself. Excuse me. Can you tell me where Broadway is? Broadway in what, mister? I don't know. I'm a stranger in New York. Did you have to tell me? It's over that way. Thanks. Hey, wait. What's that tune you're whistling? What's it to you? Go on. Whistle it again. Look, I sell newspapers. I'm a businessman. I ain't got time to entertain farmers. Go on. Whistle now. Here. Here, I'll give you a dime. All right. So now I'm a professional. Go on. Whistle it. Well, that's it. That's my song. Where did you hear it? What should I know? Lots of guys are whistling it. Well, how can they? I wrote it. It's mine. Hooray. Why don't you go down to Tin Panelli and get paid? Where is Tin Panelli? 28th Street. Tell them I sent you. My name's B. Tolbert. I tell you, it's my song. I wrote it. Look, I didn't publish the song. I only wish I did. I don't own the rights. I've got the rights. I wrote it. Somebody stole it from me. I know. Every time there's a hit tune, 50 guys claim they wrote it. This song was written by Sally Elliott. It's the best tune in a new show. Sally Elliott? Well, that proves that she heard me play it. Well, you get out of here or what I call a cop. Sally Elliott doesn't go around stealing songs. She's too big a star for that. Oh, she is, is she? Oh, here, take a look at this. Can you read music? Can I read music? Well, can you? No. Well, get somebody who can. This is the song the way I wrote it. The same as they're doing it now. Sally Elliott heard me play it when she was in Buffalo with a show. Come to think about it, that tune wasn't in the original score. They added it when they brought the show into New York. Say, maybe you've got something. Hey, Harry, come in here, Harry. Yeah, I was. Harry, what would you say if I said to you that Sally Elliott didn't write, come tell me, and that this guy did? I'd say we'd all better go out and get drunk after we sign him up. Come on, hurry up. Wait a minute, Mr. Holly. Hey, where's Miss Elliott's dressing room? Third door. Thanks. Now, just a minute. I want to make one thing clear. The music is mine, but I didn't write those words they're using. Now, look, don't start the weekend. You're going to tell her it's yours, just like you said. Sure I am. That's the boy. Come in. Hey, Miss Elliott, my name's Holly. Holly and Collins Music Publisher. How do you do? This is Paul. Of course. This is Mr. Dresser, isn't it? Yes, Mr. Dresser. Well, I'm certainly glad to see you. Yes, I'll bet you are. People are usually glad to see the people they steal songs from. No, no, no, no. I didn't steal your song, Mr. Dresser. Well, it didn't give it to you, did I? Now, let me handle this. The whole thing would be worked out. I doubt that very much. Get out, please. Oh, no. This is my dressing room. Get out. Keep calm, Miss Elliott. You expect me to be calm when he walks in here and calls me a thief? I did not call you a thief, but you are. Get out. Get out. Now, wait, wait. Let's all talk this thing over like devil. I've had all of this, gentlemen, that I can stand. What's the matter in here? Fred, will you tell this carnival talc that I didn't steal his song? Now, look here, Havlin. If he's going to take that attitude, we'll sue him. I don't think that'll be necessary, Mr. Dresser. You and Miss Elliott have a great talent for irritating each other. Suppose you approach her now without breathing fire. If you just quit stealing my songs I won't approach her at all. That's where you're wrong. The song isn't stolen. We admit it's yours. You admit it's yours? Yes, we admit. We've never published a song. We've been looking all over for you, trying to get your permission. Right now, we don't want it. Oh, yes, you do, dear. Well, you'd have to talk to me about that, Havlin. I have exclusive rights to Mr. Dresser's words. But not to Miss Elliott. She wrote the words. You can have the words back. I'm going to write my own words. Oh, you are. Ha. What do you mean, ha? Ha. You have a few minutes, Miss Elliott. Fred, the song is out of the kill. How's it tonight? No, Sally. It's out. Wait, wait. The song is a good song. It's a hit. It's going over because of the music. Ha, ha, ha, ha. Well, it is. You're the music is great. But you're unknown and it means a lot to an unknown to have a big style like Sally. Elliott introduced the song. Made her wrong. You could do things the way you want. Right? Well, I guess so, yeah. Once I get started I won't need her or anybody. Fred, listen. So all settled, Sally. You own the words. Dresser owns the music. Is that the idea, Mr. Holly? It's a deal. Good. So Sally meets your new partner, Paul Dresser. The same as you own the music. My partner. All right. Tell him to go back home, Fred. To send his royalty to the kicker for an Indian song. Ha, ha, ha, ha. You're nothing to just a vital fancy. For all the world and all the gods you know. Between mankind and the sickle, still I love you. Come tell me what's your name. Tell me what you're asking. Yes or no? By the stars, the brightness, time to light it all. I swear that I love you. While I'm in the wind, it's red, it's never light it all. I don't know, I don't know. In the memory of a precious past love. In sunshine, rain, or winter, ice, it's long to go. I'm ending my devotion to the last love. What more can I say to you? When I take my arm to go to see her. When I tell you my name of love. Of the people that I belong to. For all the world and all the gods you know. You're nothing to just a vital fancy. For all the human and the sickle, still I love you. Come tell me what's your answer. After a brief intermission, Mr. DeMille presents Mary Martin and Dick Powell in Act 2 of My Gal South. And now, greetings to Libby Collins, our Hollywood reporter. Have you seen any of our favorite stars lately, Libby? No, I haven't, Mr. Kennedy. I saw John Fontaine recently. He's wearing a uniform. And do you know, standing without seeing her look in a made-to-order gown, she looked even lovelier in that uniform. What was it, Libby? Red Cross? No. So John has a right to wear that, too. She's wearing a massive aid uniform. She puts in hours of beauty at the hospital every day, you know. And that's hard work, Libby. Yes, but such rewarding work, John says. And busy as she is, she's just a beautiful example. And still depends, he says, on her daily luck-safe compatibility. Well, that makes us feel proud. See, John has very fair, delicate skin. And he says daily luck-safe compatibility is a wonderful beauty. Libby, won't you describe her active-latter skin? Well, he says it's like an active-latter facial. He just moves the lux-toilet-soaked-latter well in. Rinse it with warm water, then cold, and pat with a towel to dry. He likes the creaminess of the lux-soaked-latter. So does it mean there's skin feeling so smooth? That creamy-latter is active, too, Libby. You can be sure it removes stale cosmetics and every trace of dust and dirt. Yeah. One look at don't find pain, Mr. Kennedy, and I'm sure every woman would want to cry for a complexion care. There's a real beauty kit, Libby, for women everywhere. Why not try lux-toilet-soaked-latter facials for 30 days? Use this fine fragrant white soap regularly, as nine out of ten famous screen stars do. Then check up by looking in your mirror. It's a safe bet you'll be delighted with the new complexion loveliness you see there. Now, our producer, Mr. DeMille. That's two of my gal, Sal, starring Mary Martin as Sally and Dick Powell as Paul Dressa. Paul Dressa is a success, and a success to Paul means a dashing young man in flashy clothes who sleeps late and drinks early and is never on time for appointments. She's late for an appointment now at a surprise party that Fred is giving for Sally Elliott. Surprise! Surprise! Thank you. I... Fred, what is this? It is my birthday, isn't it? Oh, I hope not. You may not know it, Sally, but this is a great occasion. Do you see that cake? One candle in it. Well, one year ago tonight, I became your producer. Also, your devoted slave. Oh, Fred, you're a darling. Oh, everyone's a darling. Shall I cut the cake? Well, wait if you can. We're not all here yet. Who else is coming? Sally, hold on to your temper. I invited Paul Dressa. Oh. How nice. Now, after all, the two of you wrote the biggest hit in New York. No reason why you should go around glaring at each other. Oh, I have no objection. Just that I despise him. Sally, we need good music, and he can write it. Of course he may not have time to drop in on us. I hear he's personally closing every bar in Cabaret in New York. He has the heat of the limelight has made him a little thirsty. But he's young and still growing. He has his head, especially. Sally, the way I feel tonight, I can forgive anybody anything. Oh, Fred. By the way, that candle isn't just to celebrate our first year together. It's a sort of a pale imitation of the bonfire in my heart. Now, that's a second pretty suit for you in one minute. Wait until you hear the third. If you give the right answer, it'll call for a much bigger cake. Well, you know how much I like cake. Hello, everybody. Oh, Mr. Dressa has arrived. I suppose we can begin now. How are you, Fred? Sorry to be late. I was playing the piano with Tony Paster. They wouldn't let me break away. I'd like you folks to be a good friend of mine. Miss Elliot, this is Mr. Sullivan. John L. Sullivan. Hello, John. Hello, Sally Miller. Oh, you know each other? Very well. The only time I was ever knocked out of my life was the first time I heard Sally sing. Well, follow me, Bako. Let's sit down, get to drinking. Sure, John, sure. Fred, it was nice of you to ask me here tonight. Say, what's the cake for? Somebody's birthday? Oh, I guess not, with only one candle. Oh, I get it. Say, this is nice. What is nice? Hey, John L, look at that cake that's celebrating my first song hit. Hmm, come tell me. That's a great song. World's champion songwriter, this boy. World's champion. Oh, he's a great booster of mine, old John L. He thinks I'm pretty good. Well, those are you, don't you? What? After all, you're a big success, aren't you? Why, you've taken New York by storm. Oh, New York isn't so difficult for a fellow who can play the piano and doesn't mind buying a few drinks. And just think, you've done it all on one song. So, telling where you'll go as you ever write another song. It's already written. I wrote it the other night in a bar down on Front Street. I'll play it for you. Where you going, Bako? I'll play my new song. You are? Quiet, everybody, no talking. Dress has written another hit. You're going to play it for us. Quiet, sir. Quiet. Oh, Miss Elliot, I, uh, I wrote the words to this one myself. I've got a copy here. Let the woven sing along with me, will you? Right. Not at all. Here you are, as I dream that you would be. How near you are, just a kiss away from me. Although I know that we're on Earth And I love you much too well. It's, uh, it's a very lovely song. I do like it. You know something? When I hear you sing, I can't remember I was ever married to you. I feel a little bit that way about you. And I hear your music. In that case, I suggest we be friends from now on. All right. A truth. Well, that isn't what I meant, but we can talk it over on the way home. No, I came here with Fred. I'll be going home with him, too. You're going home with me. I don't think so. When you're ready, just let me know. Thanks for bringing me home, Mr. Dresser. That's all right. Too bad Fred was called away from the party. He might have saved you the trouble. No trouble. Anyway, that message he got was a fake. I sent it. Oh. Good night. I'll see you in. Oh, that would be necessary. Oh, this is a nice hotel. I'd like to see the inside. If you're referring to the inside of my suite, I'll give a party sometime and have you over. Oh, don't go to all that fuss. I can see it now. I'm sorry. Good night. Not yet. Driver, through the park. Yes. You take a lot of liberties, Mr. Dresser. I know it. I'm going to take one now. Oh, no. Oh, yes. It'll be one too many. I warn you. We'll cancel all the others. This is the only important one. Sally. No, listen. Stop. Do I get slapped? I haven't decided. You haven't the strength. You know, Sally, they tell me that a lot of people start out hating each other and end up this way. Do they, Paul? This one's for come tell me. This is for lies again. This is for here you are. And your guest of honor still isn't here. Oh, you belong. Pat, did you send someone to Paul? He wasn't there. Yeah. I guess he was held up some day. I know where he is. So do both of you. Why do we fool ourselves? Since society took him up, he ain't got any time for common play like us. Oh, anyone as successful as Paul is bound to be lionized. And Paul likes fun. What about you, Sally? Don't you like fun? You know what's the queer thing about geniuses? You always hear of them burning their genius away in an attic. But you see them burning in the brightest places in town. Paul's been working very hard. But he has a wonderful new melody, and he's writing the words. It's an idea about his home on the banks of the warbed. A farm song. Who cares about farms? Who ever heard of the warbed? Hey, hey, if the tune's any good, we could change it to the Hudson. Fine, Charles. Well, the guest of honor is here. And I think we're going to need some more chairs. Sorry to be late, Sal. Oh, Mariana, I'd like you to know Miss Elliot. Sally, this is the Countess Rofini. Oh, how do you do, Miss Elliot? I've enjoyed your performances of very much. Yes. I've heard a great deal about you as true, Catherine. I'm not quite sure what you mean. I am not a professional. Oh, aren't you? Well, uh, now look, suppose we just get a cup of chairs here. We'll move the cake to a bigger table. I was just leaving. No, Sally, don't. I know you've been waiting, and I thought... You've had your last cake for me. The next one you'll get in the face. No, sir. And for the candles, you can burn them at your wake. Good night. I'm very striking. It's a pleasure to make clothes for someone with a figure like yours, Mr. Dressa. Looks rather good, I think. Come in. Hello. Well, Sally, this is a surprise. Are you busy? No, no, just trying on a few new suits. I threw away everything I had and turned Jansen here loose. Are those the new ones over there? That's right. Well, I suppose you do get a better price than you ordered them by the dozen. I believe that takes care of everything, Mr. Dressa. I'll take the other one to the shop and get it back here in plenty of time for you to pack. Thanks, Jansen. I hope you have a very pleasant voyage, Mr. Dressa. Goodbye, madame. I didn't know you were going away. Well, uh, well, I had told you if we'd been speaking. How long will you be gone? Just a little while. I thought I'd run down to Cuba. That'd be nice. What about the song, Paul? The war-based song. You were going to put it in the show, remember? Oh, Sally, I can't work around here anymore. I need a change. On the boat, there won't be anything to do, and we'll have plenty of time just to work. Oh, look, Sal, will you excuse me while I jump in the tub? Well, I think I'd better run along. I don't go. I won't be able to do that. See who that is. Will you, Sal? Who is it? Well, Mr. Dressa. May I see him, please? He's busy right now. Oh, but I have a message for him. From the contest of our team. Oh. I'll give it to him. Or no, I'll address. It is confidential. Well, I'm his confidential secretary. It is nothing for me. Well, the message is this. The contest will meet Mr. Dressa on the boat, not at her own. Oh, she will, will she? Yes. You will be sure you will not forget. Never. Not if I live to be knighted. Go to Cuba, Ray. Go to Cuba with a countess in 12 suits. Where the suit is? I'll fix his 12 new suits. I'll fix them for him. If he wears these pants on the boat, they'll arrest him. 11 new suits. 10 new suits. I'll show her. Where's Mr. Dressa? Where is she? Well, Mr. Dressa, she's done gone out. Good. Where does she keep her clothes? Well, Mr. Dressa. In here, huh? Good. I'll show her. Mr. Dressa, what are you doing? I'll show her. She can't cut my pants off of the knees. Why, Mr. Dressa? I tell you, you have no right to hold me. But I didn't do any more to her than she did to me. Did you hear me? What about this, Miss Elliot? Your Honor, do you think I'd go into a man's apartment and cut his clothes to pieces? Why, of course I don't, Miss Elliot. Oh, my. Let's have it quiet. Miss Elliot, I'm going to find him guilty of willful destruction of property. What do you think the sentence ought to be? Well, I don't think he should be hung. I'll hang him if you say the word, Miss Elliot. Well? I just can't think of anything now. Could I let you know later? Of course, of course. I'll hold him till you make up your mind. I suppose it's useless to remind you that I have certain rights. Young man, that attitude will get you nowhere. First thing you ought to do is apologize. All right, I will. Miss Elliot. Dear Miss Elliot, my boat is almost ready to sail. Will it do any good to say that I hate myself? Yes. Just so that I'm not one day off of your sentence. No. Give him six weeks, Dad. Oh. We pause now for station identification. This is the Columbia Broadcasting System. In just a few minutes, Mary Martin and Dick Powell will return in act three of My Gal Sal. And now, let's listen in on a very feminine conversation. Isn't Helen attractive? Yes, he always looks so frank. Right out of a bonbon. And she has so little time to spend on herself, too. Wonder how she does it. Well, when a girl gets a compliment like that from one of her own sex, it means something. So let's ask Helen, how does she manage always to have that band box look? I just take a tip from the screen size. Use my complexion soap, luxe toilet soap, for a daily beauty bath. I guess every woman knows that her skin is really fresh and smooth all over, while she's sure to look dainty and fresh, too. And that creamy luxe soap lather always leaves my skin suitably smooth and sweet, makes me sure of daintyness. That's because luxe toilet soap's rich creamy lather is active. It carries away the day's dust and grime in a twinkly, leaves skin flower fresh, smooth and soft as satin. Screen stars say they love luxe toilet soaps costly perfume, too. The delicate clinging fragrance it leaves on the skin. Why not let their fine white beauty soap give you daily assurance of exquisite daintyness? Make this truly luxurious bath part of your regular beauty routine. It's very inexpensive. Luxe toilet soap costs but a few cents. And because it's hard milled, each smooth white take lasts and lasts. Here's a suggestion. Get a supply of Hollywood beauty soap. Luxe toilet soap tomorrow. Now, Mr. DeMille returns to the microphone. Don't forget you have a backstage appointment with our stars right after the play. But now here's the curtain going up on the third act of my gal, Sal, starring Mary Martin and Dick Powell. The bold, poor dresser had planned to take the Cuba. He's on the high seas, while poor languishes in the city jail. But a pardon is now on its way in the person of a burly police officer. All right, Mr. Dresser, you're out. You mean I can go? Yeah. I said you had fixed it with a judge this morning. Huh. That's nice of her. After the boat sailed, huh? You didn't say anything about a boat. Oh, never mind. Thanks, officer. Just a minute, Mr. Dresser. We're going along with you. Where? To your hotel. The judge will give me orders to keep you locked up in your room. What? Why? You get food and drinks, but the judge said you don't come out and you write something called the banks of the Warbash. Oh, well, all right. You win, so does she. The banks of the Warbash Warbash When my Indiana home said, wave the corn deer In the distant gloom The warm night's clear and cool Oftentimes my thoughts seem to seem to tile-drove Where I first received my lessons Made a fool of the face It seems so incomplete See, all right. I'm out $10. Uh-huh. Well, that's thanks for keeping me from going to Cuba. You don't need to thank me. I did that in self-defense. This is the sort of thing men get women when they have a guilty conscience. What have you been up to now? Nothing. Why? I saw the countess out front tonight. So did I. As a matter of fact, she asked me to go to a party tonight. Where? Well, I'm here. It's all over with the countess, then? Finish. What are you trying for? A duchess? No, there won't be any more countesses, or duchesses, or even queens. Just you, Sally. Ah, I'd like to believe that. I wish I could. You can. I want you to marry me, Sally. Marry you? Well? Friend Paul. From the show causes? No, Saturday night. Then we'll have all day standing for a honeymoon. Oh. A whole day. What more could a girl ask? M.B.B.Roshmore. And this is M.Garnier. We represent Count Rossini. Count Rossini? I didn't know there was a count. There is usually a count. There is a countess? Well, what do you do? Lawyers? No, we are second. Second? You mean like Count Rossini demands such a section? I guess you do mean that. Now listen, if the count is worried about the countess, you can tell him to quit worrying. My friendship with her is a thing of the past. The count tends to make certain of it. I trust these weapons will meet with your satisfaction. But those are... Well, they're... They're... They're pistols. Now listen, I don't know anything about pistols. Then perhaps you would prefer rapier? Oh, no. There's nothing to fight about. The count thinks otherwise. He is waiting for you now. Will you come with us or shall I inform the count that he has challenged the count? Now listen, you're not going to inform the count anything. I'll inform him myself. Come on. This way, Monsieur. Just get this through your head. If there's going to be any fighting, it'll be with fists. And after I knock the count's block off, I'll take you on. In here, Monsieur. Ha ha ha ha ha! I'll say what is all this... Good evening, Paul. Well, Mariano, what's going on? Before you are king, Cherry, we are going to fill you with champagne. Champagne? Ha ha ha ha! You must know by now that no one can turn down an invitation of mine. But the count, your husband... Oh, here's it. It's over. Trying to cure his gout. Oh! You will forgive my deception, Monsieur. Ha ha ha ha! Very funny. Very funny. Next corner, driver. Yes, sir. You are not still hungry with me, Paul? Of course not. But I won't be accepting any more invitation. Sorry. Oh. That can mean only one thing. That's right. I'm getting married Saturday to Sally Elliot. Well, what is the tragic about that? Are you going to stop living? I think everybody should be married. I am. My marriage is going to be a little different. It's going to be complete. Permanent. Permanent? That's a long time. I hope so. My condolences, darling. Thanks. Good night, Mariana. That was the nicest duel I ever fought. Ha ha ha. I will challenge you again sometime. Well, I hope. You're leaving, Paul. Or is it morning? Sally. I've been waiting for you. So I could give back your neck. Sally, wait a minute. It won't take that long. I can tell you what I think of you in ten seconds. You're a cheap, lying, scheming, contestable false luxury. And I hate you. Sally! Sally, this isn't what it looks like at all. Sally! What was it you said you were doing Saturday? Funny eye. I can't seem to remember. Sally Elliot goes on tour. Sally Elliot breaks record in Chicago. A new record was set by Sally Elliot last week in San Francisco. Dear Sally, I've written at least ten letters and torn them up. I want to tell you. Oh, what's the use? You might as well know the truth. Paul, what's wrong? Isn't the song Sally? Your last four songs haven't sold enough to pay the printing bill. Well, it's a good song. What's the matter with the people? Nothing. They just know a bad tune when they hear it. I don't see what you're crying about. What if I don't turn out a hit tune every time? Yet wise to yourself, Paul. You need Sally Elliot, whether you know it or not. You've needed her from the time you wrote your first song. Suppose you leave my personal life to me. I would if it wasn't interfering with my business. You were a valuable property once, but you haven't been worth a hoot since she left. No, listen, it's just a temporary slump, that's all. I've been working, Pat. I've been working hard. Look, you see this stuff? I've got ten songs here. I'll have it up for a whole show. You mean a show with ten flops in it? What's this one over here? No, not that one. That's one of... What is it? Oh, forget that one. Wait a minute. I thought I liked this title, Paul. My gal fell. I said to forget that one. It's no good. All the way out here just to see you, Sally. I've got some pretty good numbers. A fellow by the name of Hastings wrote them. Now, look. I don't feel like hearing sounds tonight. And neither do I. It's strictly business. Here, look them over, will you? Pat, Sally isn't interested right now. My gal fell. How's that for a title? Pretty good, huh? My gal fell. That's great for your Sally. The words fit you like a glove. You've just got to hear this one. You're pretty anxious. You must have written it yourself. Me? I hate music. Yes. But I got it hot from the Composer's Quill. Who did write it? Oh, a Southern composer. From the South. A fellow named Fletcher. I thought you said Hastings. Yeah, sure. Fletcher Hastings. A Hastings Fletcher. Something like that. He's a friend of Harry's. Fred, listen. They call her Frivolous Sal. It's a curious sort of a gal. With a heart that was mellow and all-round and fellow. It was my gal's sal. You see? You see what I mean? Fred, this might be something for the show at that. Sure. Sure. It's great sal. Think of it. My gal's sal. Sung by Sally Elliott. Everything is over. And I'm feeling bad. I lost the best pal that I ever had. But a fortnight then she was here. Seems like she's gone. Oh, how nice. Thanks for getting the number for me. Say, let me mind you. The author's in town. That means he's in your dressing room. Yes. He was too nervous to come out. I'll go in and see him. This one is, uh, such a hasty one, isn't it? No, no. I had it all wrong. It's pitch. Uh, one good month's drama. I'm wanting to speak to him. All right. Hello, Sal. What does this mean? What are you doing in San Francisco? Pat told me you were going to sing my number. Your number? I couldn't stay away. You did it beautifully, Sally. So you wrote it. I'd known that. I wouldn't have sung a note of it. It would have stuck in my tongue. Why? Why did you beg for the number if you didn't want it? It's a sad part. They told me some long story about somebody writing it in the middle of a coffin field. Oh, that was Pat playing Cupid. You get out of here and take that, that cake with you. Oh, the cake. Oh, that's for you. I brought it all the way to New York. It's a little stale, but the sentiment's still fresh. So are you. Get out. Oh, no, no. Get out or I'll break this cake right over your head. You just try it. Hey! Hey! I warned you. Oh, come here. Let me go. You can come 3,000 miles just to get cake in my face. There's only one language you understand, and I speak it. Hey, if you can't leave, I'll... No, no, you won't. You won't have the strength. Prevalous foul. A very peculiar sort of gal. With a heart that was mellow. And all round good fellow. Was my heart old and pale? I had fell off to my gal's cell and to Mary Martin and Dick Powell for a merry and melodious evening. By the way, Mary, this is your first curtain call here. Yes, it is, Mr. DeMille. And my thanks to you and Dick Powell for making it so crazy. I was just wondering, C.B., whether you knew Paul Vesterback in your Broadway days. Yes, I used to meet him around Broadway from time to time, Dick. He was writing those great songs when I was going from one manager's office to another, looking for a job as an actor. You know, Mary was telling me just before the play that she'll be on her way to Broadway tomorrow. Going back for a play, Mary? It's a musical film, Mr. DeMille, and still in the talking stage, yet. But I'd like to go back to this stage for a while before making another picture. Speaking of pictures, that's a beautiful musical number. You and Dick sing together in paramount star-sangled rhythm. Thank you, C.B. or Mary. One of us should say something about his performance in star-sangled rhythm. You said that. Oh, my appearing in that picture was just a gag. It didn't matter to me. Dick, on the level. How about that? Well, truthfully, C.B., I don't know an actor in Hollywood, not even Gary Cooper, but have given a better performance in the role of Cecil B. DeMille. Oh, I... I've got a much better part than that for Gary Cooper. We completed arrangements today for Gary to star in my next picture, the story of Dr. Wassell. You may remember Dr. Wassell as the humble country doctor who was cited in a fireside chat by President Roosevelt for the evacuation of nine wounded American sailors from Java during the Jap invasion. That's a great choice, C.B. Gary Cooper will give a magnificent performance. I'll tell you about another performance you can be proud of, Mr. DeMille. The way Lux soap helps to keep one's complexion just right. You know, I wouldn't be without it myself. I've used it for years. You're in good company, Mary. Lux soap is a good old American custom. Now, let me tell you about next week's play. I think I've heard something about that at home. I imagine. It's a drama with a thriller minute. The Paramount screen hit, This Gun for Hire. And you can see why Dick had some inside information. When I tell you that our stars will be Joan Blondell, Alan Ladd, and Laird Krieger. This... This Gun for Hire is the story of a gangster and the girl he holds as a hostage when the law closes in. It's a picture that made Alan Ladd a star overnight. And next Monday night, he'll play this great part for us with Joan Blondell as the girl. Alan Ladd and Laird Krieger are really fine performers, C.B. Richard, just wait until you get home. Oh, yes, yes, yes. I like Joan Blondell, too. Yeah, well enough to marry her. Good night. Good night. We'll have a non-sour from you two. Our sponsors, the makers of Lux Toilets Oaks, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Alan Ladd, Joan Blondell, and Laird Krieger in This Gun for Hire. This is Cecil B. DeMille saying good night to you from Hollywood. Dick Powell may be heard on the Dick Powell ceremony every Saturday evening on another network. Our music was directed by Louis Silver. And this is your announcer, John M. Kennedy, reminding you to tune in next Monday night to hear Joan Blondell, Alan Ladd, and Laird Krieger in This Gun for Hire. You wouldn't know my husband now. That's what Mrs. L.T. of New Jersey writes. My husband was always tired and low in resistance. He wasn't getting enough vitamins and minerals. So he started taking vins. And now he's like a different man. If you are vitamin deficient, guess that VIMS feeling. VIMS, the new vitamin mineral tablet, give you the sixth vitamin formula doctors endorse. Three important minerals also. Remember, VI for vitamin, double MS for minerals. VIMS. This is the Columbia Broadcasting System.