 The Lux Radio Theatre brings you Alice Faye and Robert Preston in City for Contest. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. To the traveler coming up the bay, New York is an etching of towers against the sky. To the subway motorman that's a network of tunnels and caves. To the fine man on the corner, it's a mysterious symphony of mysterious sounds. To the playwright, it's a theater of a million and one dramas of love and hate and triumph and heartbreak. But to the young and the valiant, it's a City for Conquest. And that's the name Warner Brothers gave to a fine motion picture drama which we present tonight with Alice Faye and Robert Preston in the starring roles. New York Conquest is hard-drying drama of a fight for success waged by one man and one girl in this fabulous town. A fight that takes courage and a stout heart but is not worth winning without love. I think you like it because, well, because it's real and human and because it's a story with a very moving lesson. There's a moral in every human experience if you will only take the time to find it and in every bit of history too like this one that a listener sent in the other day. Browsing in an old trunk, she found a musty yellowed book that contained this helpful household hint of about 1850 BLF. That's before Lux Flakes, of course. The historic item read, wash stockings in white soap liquor to take out the rough dirt, then rinse in fair water and work them well in a fresh soap liquor. Then make a third soap liquor in which put a little stone blue wrapped in a flannel bag. Wash stockings well therein and ring them. Let them be dried so that they remain a little moist. Then stove them with brimstone, after which put upon the wood leg two stockings observing that the two fronts or outsides are face to face. Then polish them with a glass. This complication of life in 1850 is something to remember the next time you save time by turning on the faucet with one hand and reaching for a box of Lux Flakes for the other. Now for the first act of city for conquest, starring Alice Fay as Peggy Nash and Robert Preston as Danny Kenny. Curtain going up. The air of New York smells of ambition. Seven million people fighting, fighting, struggling for existence. Seven million people climbing over the backs of others, clawing for a hole on the ladder that will take them from the grimy pavements to a penthouse in the sky. And yet, if you look close, there's love in the city and there's hope in the city. There are people like Peggy Nash and Danny Kenny who walk home together after the day's work. Never seeing the squalor of the tenement district, seeing only each other. You're getting home late today. Yeah, I had to take some letters. What's the matter? You're tired, Peggy? Well, sort of. Didn't have any lunch either. Yeah, I know. I bet you were dancing again during your lunch hour when you should have been eating. It's the only time I can work in a lesson, Danny. But I'll learn some new steps. I'll show them to you next time we go dancing. You sure got the dancing bug, ain't you? What are you laughing at? Well, I'm thinking of the first time I've ever seen you dance. Down the block when the merry-go-round came round one day. Everybody else was riding and you were dancing. And I made you dance with me. After that, you had to fight every kid on the block. Sure. You were my girl. Hey, Danny. Danny, can I speak to you a minute? Hey, take it easy, Mudd. I'm walking Peggy home. Okay. Hiya, Peggy. Hiya, Mudd. What's he so excited about? Oh, I don't know. We laid the truck up early today and went over to the gym for a workout, so Mudd's getting ideas again. About you fighting in the ring? Yeah, he's screwy. I'm a truck driver and I like it. I ain't no fighter. Well, I better get in the house. Hey, will I see you after dinner? Sure. Listen, Danny. There's your brother playing. Yeah, he's good, huh? You know who wrote that, that piece? That's Beethoven. Yeah? Yeah, sure. I know him all just from listening to him play. That one's Beethoven. Well, see you later, Danny. Okay. Always whispering you two, carrying on, sneaking in the hallway. Evening, Mrs. Nash. I won't stand for it, Danny Kenny. We're a respectable family, we are. If you want to marry my Peggy, you commit to the parlor like a gentleman. Who's talking about marriage, Ma? Don't give me none of that sass now. Look, Mrs. Nash, would you stand in here talking like always? Talking, whispering behind my back. afraid I'll hear you in the parlor. There is no parlor, Ma. There's just a kitchen and a bedroom. If you want to call them that, I always dreamed of a real fine church wedding for my only daughter. And I won't have you running off with Danny Kenny or the likes of him. Oh, what's the use? So long, Danny. See you later, Peggy. I swore my daughter'd never have to go through what I went through. Skimping and saving penny by penny. Losing it all and starving ever since. Oh, Ma, stop it, please. Hey, Danny. Hey, Danny, listen before you go upstairs. Yeah, Ma? Hey, listen, Danny, I was just talking to Pinky down the gym. He was watching you again today. I'll lay you off, will you? Oh, Danny is the chance of a lifetime. He wants to set you in a fight. I'll give him a hundred bucks. Danny, look, look, I could handle your corner for you. And I'm going on handling my truck. Now that settles it. I'm going upstairs, Ma. Oh, you don't know what, you're pissing up. It ain't a hundred bucks. Danny, do you know what some of those big shots get for one fight? A hundred thousand. So let him. What are you belly aching about? Well, you think I want to be a truck driver's helper all my life? I got ambition. I could be somebody. Danny, imagine how I could train you. Boy, could I condition you. I got a name picked out for you. Young Samson. Young Samson, Danny. How do you like it? It's great. Now shut up about it. Oh, Danny, will you? When you sit down somewhere, I'll be with you in a minute. Okay. Hi, Eddie. Oh, hello, Danny. Now go on, go on. Don't stop. I like that stuff. Beethoven, ain't it? It was Bach, Danny. Huh? Bach. Oh, I thought it was Beethoven. Well, how's it coming, Eddie? Oh, so-so. I gave two kids lessons today. Both on account. No, no, no cash. Now, it'll break for yourself. Oh, look, Danny, I wanted to ask you. Is there any chance of getting a job with your boss? What? Go on. You'll be all worn out. And you rip your hands, juggling them cases. Look at this middle mine. Five hooks on a handle. But not yours, Ed. Now, you and that music box fit together. All right, so we fit, but it takes dough. Danny, there's nothing else I want but music. I want to pound the city like a big drum and make it boom for the world. City for conquest. Millions shoulder to shoulder, and yet millions alone. I want to get that into my music, Danny. Yeah, but I got to eat, too. I want to write a symphony of New York, all the beauty of it, all its ugliness, and all its wealth and power, and all its noise and dirt. I'd start with that part you like, Danny, that part I call East River with the rumbling of the ale over Allent Street, because that's where the city begins, and I tell the story of the skyscrapers and the people who try to scale them and the few who reach the top and only find that above them are still the stars. Eddie, you've got ideas like that and you want to quit to drive a truck. I got to do something, Danny. Yeah. Hey, Eddie, play that first part you made up, the part I like. Go ahead. Hey, Mutt, come here. Yeah, yeah, Danny. I'm going to take that phone pinky. Tell him I'll take that fight. No kidding. Quiet, ain't you got no way up for music? Okay, now scram. I don't usually go out after a man, but I think I can manage you right up to the champions. Thanks, Mr. It's nice to hear that, but I only took this match for a hundred bucks. Now when I need a little more, maybe I'll take another one. Okay, Danny, look me up when you're ready. Scotty McPherson's the name. Yeah, I know you are, right? You're tops. But right now I got to get dressed, Mr. McPherson. I got to go dancing with my girl. Yeah, I guess I ought to congratulate you on the fight I forgot. The fight? Oh sure, now I remember. Gee, you must have felt thrilled. All those thousands of people watching you with those bright lights. Hey, buddy, break it up. No dancing so close in this joint. Well, it's okay. She's my girl. We're together. No, sir, don't be so much together. Break it up. Okay, okay. Hello, Peggy. Hi, Lily. Hey, me. This is Mr. Murray Byrd. He asked especially to meet you. Very specially. And Mr. Burns, Peggy Nash, and Danny Kenny. Hello. Pleased to meet you, Mr. Burns. Likewise. Now I guess you boys must have heard of each other. Murray's one of the best of brothers this side of 14th Street. And the other side, too, sister. Murray Burns? Well, I've heard a lot about you, Mr. Burns. Yeah, it shows you keep your ears open. Hey, how about this dance? I guess you could follow me, all right. Oh, D, I'd like to try. You don't mind, do you, Danny? No, I don't mind. Sure, go ahead, Peggy, enjoy yourself. I'll worry. I'll see that she does. Oh, thanks, Danny. Just this dance. I don't mind saying, kid, you're unnatural. Believe me, I tripped the light fantastic. It was only the best. Oh, thanks. Because I'm a little nervous right now. I've never had a partner before, like, well, I... Like me? Sure, but that's okay. You'll get over that nervous feeling. I say, I dare you follow me like a shadow. Oh, thanks. Well, you've danced a lot, huh? Well, ever since I'd been old enough to walk, dancing and singing. That's all I ever wanted to do. Dancing, too, huh? Kids got a voice-intility. Evening, folks. Quiet. Tonight's our regular Rose Garden's dance contest. So we're offering a silver-loving cup to the best-dancing couple. The judge is sitting on a platform with duty eliminated. And please, will all of you pull Lucas and Clarks save their shoe letter in our time by just sitting this number out? Thanks. Maybe you want to try this contest? We'll show them some real stepping. Oh, dear, to be wonderful. Only maybe I ought to ask Danny first. Hey, what's that mug got, a mortgage on you? Come on. I just relaxed kidding. That cup's in the bag. Yes, I spotted that right off. We're dancing alone right now. You mean what? Now we'll give them a little fancy exhibition stuff. No. You know who you belong, Peggy? Right up in the bright lights, right on top of Broadway. And I'm the guy that can put you there. You got the class, kid. You got what it takes. You really mean that? Sure. I'm the guy who knows how to bring it out. Let's give him a flash finish now, huh? Hold on. Oh, isn't the cup beautiful to believe it? Are you sure you want me to keep this, Mr. Burns? Oh, sure. I got a flock of them. I went one every other night. Hey, sit down. Peggy, I ordered a sandwich. Oh, dear. I don't think I could eat a thing, Danny. I guess I'm too excited. Danny, you know what Mr. Burns told me? That I could be a real professional. There's no reason why not. With an expert trainer and I, I might be able to break her end after I polish off the rough spot. Well, she didn't do so bad just now, did she? No, not bad. Of course, I always cover them up so nobody notices you. Oh. Well, that's way to you, brother. Uh, wouldn't you like to join our table, Mr. Burns? Well, it ain't exactly my kind of a crowd, baby. Yeah, it's too much of a crowd. Danny, please. Oh, don't worry, baby. I'm ambling along anyway. Anytime you want a little real fun, why, just slip over. I'll give you another spiel around. Hey, look, twinkle toes. Enough is enough. I don't mind letting you dance with my girl, but I don't stand for any hornin' in, see? Danny, listen. Oh, you girl. You let me dance. Yeah, you want to make something out of it? Now, what's going on here? Having some trouble, Murray? Yeah. Looks like I stepped on some personal property here. Huh. A little loveless. You stepped on something, brother. All right. You outside. Hey, Danny. Hey, you want to fight? Hey, you want no sound? Danny, please. You throw me out. I'll take care of this guy. Danny, don't fight. Hey, give me that lovin' cup. Danny! Here's your lovin' cup, Mr. Burns. Right over your head. It wasn't sore about you dancing with him, but when I'm sharp, he tried to make you look like two cents. Oh, I guess he was pretty fresh. But Danny, the cup, it's all busted. Look. Yeah. That's a hard hit. Well, gee, I had a swell time anyway, Danny. Hey, look, let's not go inside yet, huh? Oh, I got to. It's late. Peggy, you sure you ain't sore at me? Of course not, Danny. Then what about a kiss? All right, sure. Yeah, that's better. Well, I'll get upstairs. See you tomorrow, honey. See you tomorrow, Danny. Hello? Mr. Burns? This is Peggy Nash. No, no, I didn't lose your number. I just wanted to tell you how sorry I am for what happened. I hope you weren't hurt. What? Tomorrow night? Well, yes, I think I could. At the Irving Place Casino 1030. All right. Your truck loaded up. Yeah, I'll set it. Yeah, we'll leave it now, Mr. Mock. Well, get going. Get going. You better step on it this trip, Kenny. You lost 20 minutes on the last one. So what? You're holding up the words. So sue me. Go on. Get moving. Holy mic. Take it easy, Danny. What a man says to hurry, didn't he? Gee, I don't know. I don't know what's the matter with you lately. You're so nervous. Yeah, I'm nervous. I'm nervous. Yeah. Just because Peggy stands you up, I gotta take the grief. Why do you take it from her? I wouldn't even take it from the Queen of Sheba. Yeah, well, who asked you? Oh, buddy. Hey, Danny, how long has this since you've seen Peggy, huh? I ain't seen her for a week. And shut up about it. Danny, it's me. Open up. Hi. Hello. I was just shaving. So I see. I've been waiting on the stoop all morning. You didn't show up, so I thought I'd see what was the matter. Hey, what are you trying to pull on me anyway? Well, I thought we had a date for this morning. It's Sunday, isn't it? Yeah, so all of a sudden, you're getting big-hearted, huh? Oh, don't you want to, Danny? Oh, you're giving me a stand-up. Stand-up? Well, that's all I've been getting ever since that creepy snake moved in. You got soap in your ears, Danny. All right, so I got soap in my ears. Well, you're needing yelling. Who's yelling? Danny, come here. Hey, look out. What are you trying to do? Cut my throat? I got a razor here. I'm sorry, Danny. I didn't mean it. Oh, you're sorry. Well, I didn't mean it. Well, first, you almost cut me to pieces, then you didn't mean it. You ought to act like this. I know you got a right to be sore, but, well, I thought since it was Sunday and such a beautiful day outside, warm and sunny and not too hot, maybe you'd like to take me down to the beach and we could be together all day. Why don't you say so right off? You didn't give me a chance to. You jumped down my throat. Come on, Danny. We'll take the bus down to Coney and maybe tonight we can come home on the boat, huh? Sure. Okay, I'll be right with you. In the skyline in the world. It's kind of pretty all lit up, ain't it? Hmm. You know, Danny, someday I'd love to take a long, emotional trip. Oh, sure. Hey, we could do that on a honeymoon. We could take a cruise down Atlantic City. No, no, I meant far away. Traveling deluxe, first class on big ships with trunks full of new clothes. Hey, come off that express and get on a local. You're still dreaming of becoming a star? Why not, Danny? I just know I could. I can dance and I can sing. You see. I'll be on Broadway someday. Maybe even in a big show with my name in bright lights. Yeah, but look, Peggy, what do you need all that for? We could be happy together with all that noise and fancy stuff. Together? Sure together. Mary, why not? I wasn't thinking of anything like that yet, Danny. No? Don't you see, Danny, we're only hurting each other if we let ourselves in for the same kind of life our folks had. Always struggling and always worrying how to make a dime do for a dollar. Danny, I want to climb out of Fourth Side Street. Yeah, well, we don't have to live down there. We can move up to the Bronx. Danny, you know sometimes I don't understand you. Everybody in New York wants to do something big. Be somebody, except you. Now, me, I just want to be happy. Oh, I know, but you've got to have some ambition. You can't drag one foot in this town. You've got to run like the rest. Otherwise, you'll be left behind. Well, sure, Peggy, but I didn't know you wanted me to. She, if I thought you only wanted, I'd do anything. Well, I guess we're both talking different things. What do you say we just skip it and remember all the fun we had today, huh? Yeah, all right. How about a chop sui-fi down in Chinatown? Then maybe we could wind up at the settlement dance. Oh, Danny, I'd love to, but I wanted to tell you before, only I didn't know how you... You see, I can't tonight. I promise to be at the Sunset Gardens. There's a contest there. I suppose you're right. We are talking different things. I wouldn't go honest, I wouldn't, but it's one of the biggest city contests and there's going to be a booking agent there and I might even be able to get a job. What about that sharpshooter? He going to be there? I don't know, Danny. I don't care about him. Well, look, Danny, we're getting into the dock. Just a minute, Peggy. Suppose I stop dragging one foot. Suppose I get in there with the pack and run. You know, I don't have to juggle cases all my life. I got two fists that can beat away for you and me. Just say the word, Peggy, and I'll pull away. Danny, you don't have to do it for me. I want you to become somebody for yourself. Well, any way you want it, Peggy. But at least tell me this so I won't be worrying about you. Promise me you'll always be my girl. No matter what. Always, Danny. No matter what. Mr. DeMille presents Act Two of City for Conquest, starring Alice Faye and Robert Preston in just a moment. Meantime, our fashion reporter, Libby Collins, tells me that she wants to do a bit of dream interpreting. Hope we have music, Libby. Beautiful dreamer. But what is all this about dreams? Well, Mr. Roy, along about this time of year, most women start dreaming about the wonderful clothes they'd like to have for spring. Now, I'd like to tell the women in our audience about an exciting, different kind of a fashion show that will help them make that dream wardrobe come true. It's called Luxible Fashions on Parade, and you can see it very soon at leading stores all over the country. There are dresses for daytime, for evening, for sports, for office and defense work, too, all worn by living models. Every dress is beautifully designed and thrifty to care for because it's luxible. And you can make the very same dress as yourself. These dresses are made from easy-to-follow McCall's patterns. You can buy these patterns and the lovely, luxible fabrics in the store when the fashion show is over. Not only that, you can consult the luxe fashion expert who will be at each store about any style, color, or washing problems you may have. Now, how's that for a practical fashion show, Mr. Roy? It sounds practically perfect, Libby. Particularly for these days, when every woman wants to look her best and keep her spirits up and wants to save money and make her clothes last longer at the same time. It costs less than a penny to luxe a dress. And gentle luxe care keeps pretty things new-looking much longer. There's no harmful alkali, no cake soap rubbing, to injure fabrics or fade colors. New-quick luxe is safe for anything safe in plain water. Why, more makers of fine washables advise luxe flakes than advise all other soaps put together. Leading stores everywhere advise it, too, from New York to San Francisco. Be sure to see Luxible Fashions on Parade when it comes your way. You'll get loads of bright ideas, learn how you can be one of the best dressed women in town and still keep the budget balance. Once for the announcement of Luxible Fashions on Parade in your local newspapers, it will come to leading stores in 80 cities within the next few months. Now, our producer, Mr. DeMille. Act two of City for Conquest, starring Alice Faye as Peggy Nash and Robert Preston as Danny Kenny. Out of New York's struggling millions, only a few can climb the ladder to the stars. Danny Kenny and Peggy Nash have reached only the first step, but the way above is clear. Peggy will get there without dancing feet, Danny with the aid of his two fists. Now Peggy is reaching up for the second step in the office of a theatrical manager. All right, now here's the circuit, kids. You break in Baltimore, then start the midweek in Philly. Then you shoot over to Akron, Ohio. Full week in Cleveland, Pittsburgh. Then swing back on Buffalo, finish up in Brooklyn. How's it sound, Peggy? Oh, wonderful. Brooklyn, full of graveyards. Now, look, Murray, if you don't like it. Okay, okay, sold. That's the way to talk. Now, how do you want the act billed? Burns and Nash? No. But it burns in company. Okay, how about the 80 bucks? How do you want it split? Just make it payable to me. I'll take care of the split. All right with you, Peggy? Oh, yes, of course. I'll leave everything to Murray. The contract is ready. Murray, am I dreaming? Now, what did I tell you, baby? Did I sell him a bill of goods? Did I take a bow? Oh, I can't believe it. I won't believe it's true until we really open in Baltimore. I know where I can get an elegant gown down on 14th Street. Oh, but I guess I should have a real pair of dance slippers, huh? Sure. And Murray, I'll really be able to send Mom a few dollars every week. And will that be all right, Murray? Oh, sure, baby. Everything's going to be all right with us. Now on to me. Murray, don't. Oh, what's the matter, kid? Let me go, Murray. Please. It's not going to be that way. We're just partners. That's all. Okay. I've got a lot of time, Peggy. Sit down, Danny. Hi, I'm up. Hello, Mr. McPherson. Hey, you boys took a long time getting up to this office, but I was expecting you. It's on your mind, Danny. And I was just wondering if that offer's still good about wanting to manage me. Sure. What is it? Money or a day? Both. Now, look, Scotty, I don't waste your time on mine. I'll take some quick fights, but I got to get the real dose. Oh. Well, now, maybe you've got the wrong number. Danny, I don't know what reasons you've got, but I've only got one reason to back you. I'm on a champion. And if you're going to fight with me, you have to fight my way. Okay. When do I start? Right now. If you're all muscle bound, you'll have to start working out those truck driver bumps over in Stillwells. Meantime, I'll line up a cart out of town. And there's one thing with me you might as well know right now. You won't get any setups out there because I don't like surprises. Now, if my boys don't have what it takes, I'm not interested. I don't want any setups, Scotty. Fine. We'll probably start you in Detroit, then Cleveland, and maybe a semifinal in Toledo on a big parade, and that'll draw us a main goal in Chicago. Hey, Scotty, I was just wondering if there might be a chance to fight in Pittsburgh around Christmas time. Why? What's in Pittsburgh? Who is she? Now, look, Scotty, the way I figure it, you're just handling the business end. I only asked you if you could arrange Pittsburgh. OK. I'll see if I can work it out. You need some money? No, not yet. I'll see you over at Stillwells at 3 o'clock today then. Oh, and remind me to pick you up a second. I got one right here. Never could shake him loose. Oh, boy, I'll second him, Mr. McPherson. I'll even be third and fourth and fifth and sixth. Come on. Hello, Mr. McPherson. Oh, boy. Hello. Hello, Mully. We're lining up an out-of-town cart on Young Samson. But remember, no fights near Pittsburgh. That's one time we detour. Young Samson versus Lou Parker. 10 rounds. Young Samson versus Bobby Hansen. 10 rounds. Young Samson versus Joe Mavulli. Young Samson versus Jimmy Mack. Young Samson versus Kit Limer. Young Samson versus Keith DeCosta. Young Samson! See, Danny, you were terrific. He didn't even hit you once. I think I hit him too often. What's the matter, Danny? Didn't break your hand, did you? No, no. He just brained his thumb. Now, stand back. Stand back, fellas. Hey, fellas, I want you to meet my cute brother, Eddie. And let me tell you, he can write all kinds of music. Oh, cut it, Danny. Cut it. Great family, Danny. Eddie tickles the ivories and you knock him out. Hey, Danny. Hey, Danny, there's somebody here to meet you. Says you might remember him. Hiya, Danny. Remember me? I'm under these swell duds. Well, for the love of... Hey, it's Googie. That's it. Where'd you come from? Same place. You did foresight and ethics. I ain't seen you in years. I've been in a can mostly, but I'm doing okay. You sure look it. Sure. I want me 10 grand on you tonight, Danny. 10 grand? The big dough, huh, Googie? It's all in the no, kid. Say, how's Peggy? I don't know. I don't see her anymore. You don't? Well, she's dancing right across the street, the top hat. Since when? A couple of weeks. It ain't much of a joint, though, and she looks kind of tired. Oh, thanks, Googie. Maybe I drop over. Tonight, maybe. That isn't my number yet. It's Danny. Hello, Peggy. Oh, Danny, come in. Gee, she'll look beautiful. Danny, after all this time, let me look at you. You know something? It feels good just to see it. That's the way I feel. Danny, why didn't you write me? Why didn't you call me? Oh, I don't know. I figured you were doing all right. What you wanted to do? Well, let's go, Peggy. We're on soon. Oh, in a minute, Murray. Oh, excuse me for buttoning in. Danny, you remember my partner Murray Burns? Yeah. So how's the little champ? I look, Peggy, I'd like to see you alone. Alone, huh? Give me a powder. Hey, how'd you bust in here anyway? This ain't no third-rate gym for broken down pelucas. Hey, listen, you... Danny, Danny, I read about your fights in the papers every once in a while. Yeah? Well, I try to keep track of you, too. Sometimes I'd see something in variety. And you'll see a lot more in variety one of these days. Come up and see us in our own show sometime, Murray, please don't talk that way. Danny and me, we're old friends. Go on. You got no time fooling around with pugs. Go on, you're asking for it, Murray. Oh, sure. Come on and sock me. It's the only thing I got a head for. Now, listen, I'm seeing Peggy now and whenever I want. Get wise to yourself. Freeze a crowd and she's better up without you. Murray, you can't talk like that to Danny. Who's one of you given orders? Shut your trap or I'll... You lay a hand on her and I'll brain you. Danny. Oh, strong-up stuff, huh? Why don't you do it in a ring? In a ring and right here. No, Danny. Don't hit him. Oh, dang. Peggy, now you see what you did? You hit her. You probably broke her shoulder, you dumb ape. Hey, Peggy, what's the matter? Did I hurt you? No, it doesn't matter. Oh, please leave me alone. Why did you have to come up here now? I only wanted to see you, Peggy. I was crazy to see you. I didn't mean to hurt you. I'd cut my arm off. Oh, don't talk like that. I can't see you. You've got to go, don't you see? You've got to leave me alone. Peggy, you heard what you said. Now get out. Oh, Peggy, okay. It's too bad you had to take that punch, baby. But now you see what happens when they give a mug like that a break. You should have thrown him out. They already opened the door. Now let's see what that gorilla did to you. Let me alone. Well, I only want to see this. You keep your hands off me, Murray. Only when we're dancing, see? Come on, get back to us. Just remember that. And don't you ever come near me again. Now get out of here. This is my dressing room. I'll stay where I like, baby. And you keep your mind on those routines. I'll find me somebody else. If you won't leave, I will. Now get out of my way. Hey, don't you go running after that pug, neither. Come back here. Danny, Danny, wait. I want to talk to you. Sure, sure, Peggy. Danny, I didn't want to be so mean to you. Please try to understand. I was afraid they might cancel the act if you cut his face or something. Well, that's OK, Peggy. Don't worry about that. Hey, how's his shoulder? It hurt? No, Danny. I know I hurt you a lot worse than that. Oh, Danny, I wanted to write you so many times from the road. But I was always afraid you'd be angry. No. I couldn't get so at you, Peggy. You know that. I missed you every single minute you was away. You know you haven't changed at all. I haven't? Are you sure, Danny? Sure. Not a bit. You're still the same, Peggy. You're still my girl, ain't you? Yes, Danny. Peggy, how long are you going to be in town? Until tomorrow. Oh, only tomorrow? Well, I can't help it. We still have one week in Hartford and another in Providence. And after that? Well, that's the end of the contract, Danny. After that, I'll be free again. What does that mean? When you come back, you ain't going to leave no more? If that's what you want, Danny. You mean that? You really mean it? Yes. Two weeks? Why, that ain't nothing. That ain't nothing at all. It'll give me time to get everything ready. Peggy, you're... You're sure? I'm sure, Danny. For keeps? For keeps. What do you know about that? I thought we were going to Hartford for a week. Well, Hartford's out. Tell her, Al. Look, Peggy, your troubles are all over. You're in. I lineage in the big club circuit. Here's the contract. Read it and collapse. The real big time and the real big money. But, Al, when... You mean you really got this? Sure I got it. 850 bucks a week? 40 weeks guaranteed. Start two weeks from Monday and shy. Yeah, we got to do some tall tussling in them two weeks to get those new routines down, Pat. Got your tongue tied, huh, Peggy? Well, a little. You see, I... I was thinking I'd quit. Quit? Are you crazy? Oh, Peggy, you can't quit now. What have you been working for, anyway? I know it's been tough, but you're in. Now you're there. It's the thing you've wanted. Let her alone. We don't have to talk her into it. Our train leaves tonight at 1210, Peggy. Gonna be on it or not? I guess I'll be on it. What's the matter, Peggy? You'd rather not dance? Oh, no, no, it's swell, Danny. So what goes? I was just thinking. It's our last night together. Well, it's only for two weeks. I can last it, can you? Danny, I've got to talk to you. Everything, folks, hold everything. We got a couple of celebrities here tonight and I want you to meet them. I'm from Falside Street, Young Sampson. And with him is fair partner and none other than the scintillating toast of the nightclubs, Miss Peggy Nags. How about a little solo dance? Oh, no, I couldn't. Go on. Danny, please. So what about a song, then? It's all the same to you. I don't feel much luxury. Come on, come on. We'll fix something. Yeah, give out, honey. We're among friends down here. Hey, Danny, listen, I just heard. It's all set, huh? You and Peggy? Yeah. Oh, gee, Danny, I think it's great. I love you. Folks, we got a very special treat tonight. A very special number by Miss Peggy Nags. All right! Those keep knocking at the door. They've asked me out a hundred times or more. But all I say is leave me in the blue and here I stay within my lonely room. Stroll and get you right off or you'll break me. About five minutes. Danny, please don't come down at the train. He'll be there in two weeks from tonight, then, huh? And you'll wire me what train to meet? Yes, Danny. Who are you really happy tonight? Biggest night in my life. Don't I look at? Hold me close, Danny. Hey, what are you balling about? Didn't we have a good time? Best time in my life. It's just that I... I don't want it to end. No, it won't. There'll be lots more. So long, Peggy. Right to me, will you? Yes, all right. All right, soon. Goodbye, Danny. I had to tell you, Danny, but I couldn't. I'm not coming back, Danny. At least not for a while. Please try to understand. I'm not coming back. Why don't you stop it, Danny? You're not ready to meet the champion. You said you could do it, Scotty, so don't stall me. Give me that title match with Cannonball Wales. I can lick him. I'm not so sure about that. Why don't you meet McGraw first? We can take Wales later. I want the crown, Scotty. I want it now. Well, suppose Wales beats the tar out of you. There's no return goal, Danny. I won't need a return, and I want that fight. It's no you, Scotty. You might as well give in. Okay, Danny. You've got yourself a match. Young Samson is having trouble with his eyes. Hard the eyes, Danny. Okay, okay. Can you see all right? No, not so good right now. What's he doing, Rubin? He's rosin' in them. I don't know, but he's working on them. They sting like anything. Danny, maybe I better toss in the towel, huh? No, no, no, Scotty. Well, if there's rosin' in them eyes, kids, it's bad. No, they'll be okay. Give me two more rounds. I'm in for the ninth round. Samson misses with a wire left and takes a hard right to the base. Wales tears in with a left and a right and another right. He's got Samson's eyes closed tight. There's us. That's my number. Let me alone, Murray. I want to hear this. Your boyfriend's taking a shellackin', ain't he? Get out, Murray. Hey, listen, you can't pull this on me. They're waiting for us. Then let him wait. I can't go now. I just can't. He's being hurt. What am I supposed to tell the manager? Tell him anything you like. Only leave me alone. Leave. All right, baby. But you're through, get it? You're through. I shouldn't have let him. Is he gonna be all right, Doc? He's taking a lot of punishment, Scotty. Well, what about his eyes? Will they be okay? I don't know. What do you mean you don't know? The membranes are badly injured. I'm afraid we're going to have trouble, Scotty. You mean he may go blind? Yes. No. No, Doc. Scotty? Yeah, kid. Yeah, I'm right here, Danny. Hey, Scotty, you ain't sore at me, are you? I tried my best. You know that. Sure you did, Danny. Sure. You just take it easy now, huh? Sure. Don't be sore, Scotty. I tried. Please. I tried. This is identification. This is the Columbia Broadcasting System. For a brief intermission, Mr. DeMille will bring our stars, Alice Faye and Robert Preston, back to the microphone for Act 3 of City for Conquest. Remember that old saying, there's nothing new under the sun? Well, tonight I have something new to tell you about dishwashing. Oh, Mr. Ruick, say it's been abolished. Well, hard day, Sally, but something else has been abolished, dishpan hands. Yes, a new kind of test was recently made, and scientists watched an almost magic performance. Scores of red rough hands grew lovelier after one simple change. I know. They stopped washing dishes. Now, Sally, the world would be a sad place if no dishes were ever washed. Now, I'll tell you what these women did by describing what happened to Mrs. T. W. Watson. Like scores of other women, she spent 20 minutes three times a day dipping her right hand in suds from a well-known dishwashing soap under conditions similar to home dishwashing. Gradually, the hand grew red and rough until it was very unattractive to look at. Then, she began dipping the same hand in new quick lux suds for exactly the same time each day. By the fourth day, her hand looked better. At the end of the test, it was back to normal, soft and smooth and lovely. She didn't use lotions or creams. Just changing to lux made the difference. That's really good news, Mr. Ruick. A woman likes red rough hands. Of course not, Sally. And she doesn't have to have them. In this test, five well-known dishwashing soaps were tested against lux, and gentle lux suds did away with the red rough look which the other soaps had caused. And listen to this. The red hands began to grow lovelier in from two to seven days. Changing to new quick lux for dishwashing is such an easy, inexpensive way to get rid of dishpan redness. Now, you can change dishpan hands to lux hands for less than a penny a day. Why not change to lux flakes yourself? They're fast and very thrifty. The generous big box of new quick lux does dishes for about 45 meals. Now, Mr. DeMille returns to the microphone. Curtain rises on the third act of City for Conquest with Alice Fay as Peggy Nash and Robert Preston as Danny Kenny. Danny Kenny has lost his hold on the ladder. Blinded by the beating he took in the ring, he slipped off into the darkness. Peggy has come to see him at the hospital, but Scotty bars away to his room. You've got to let me see him. You can't stop me. I've got to see him. You listen to me, Peggy. I'm not going to pull any punches either. I've seen you give that boy in there the rawest deal a woman ever gave a man. And I'm not going to let you pull it again. I'm not going to let you go in there so you can say hello and hold his hand a while and then break his heart with another run-out. I didn't know, Scotty. I didn't know. Sure you didn't know, and in two days or two weeks you'll get another come-on wire from that dance lizard and you'll pull the same trick again. No, no. I'm all through with that, Scotty. Please let me in. Please. I wouldn't do anything to hurt him. You'll bet your sweet life you won't because you're not going to see him. Hey, Eddie. Yeah, Danny? Hey, come here, will you? What's up I can get for you, Danny? Stand between me and the light, will you? Keep moving a little so I can see you. Okay. Hey, Eddie, I heard you play on the piano before. Yeah? Yeah. What happened to the symphony, kid? Oh, nothing. I just gave it up. I'm writing popular stuff now. Huh? Why? Well, all the other thing was a bust, Danny. Wasn't it good? Eddie, I can't see your face, but I know you're lying. Oh, Danny, what's the use? I can't go on taking money from you. You haven't got it. I got some left, haven't I? It'll be enough. You know, Eddie, writing songs is like fighting four-round prolimbs all your life. But I know what you can do, Eddie. You're built for the main event. You got to get a crack at the title. Oh, yeah, then what? Your work, your tear, your heart out. And in the end, nobody's interested. Nobody even wants to hear it. They're only interested after you're dead a hundred years. Now, listen, a lot of guys say that just to alibi themselves. If it's good, they'll listen to it. They'll have to listen to it. It's funny, Danny. How you can see things about me so clear and right. Eddie, I can see a lot of things now. I didn't have time to see before. You didn't have to come all the way down here. I had to come up the house. No, no, it was okay. It must have brought me. And, Scotty, I got a favor to ask you. Well, just name it, Danny. Do you need some cash? No. Scotty, I just can't sit around anymore in that room. I can't hardly stand it anymore. Well, that ought to be easy. We'll just find you a better place. No, you don't get me. The place is all right, but I want to be doing something. I just can't sit still anymore. It's driving me crazy. I feel like I'm in a coffin buried alive. No morning, no sun, no nothing. I can't even listen to the radio. I get too sore. Not a whole world doing things on their feet. And me stumbling around in a two by four grave. I can't take it anymore, Scotty. I start talking to myself for hours, and then I start thinking. See, Scotty, I keep thinking too much. About Peggy? Scotty, get me something to do. Anything at all where there's people and things moving, where I can feel life going on around me. Anything at all, Scotty. Now look, coming up here, I passed a news boy running around and yelling. Well, I remember I used to do that once, too. I'd even do that, Scotty. Well, I guess that could be worked out all right. Why not? Sure, sure. You see, I don't care what it is, Scotty, as long as I get something to do. Fightbacks for tonight. You remember Danny Kenny, folks? He was known as Young Samson. He went blind after a match with Cannonball Wales, but he never quit fighting, really. You can see him now on a street corner in Times Square selling papers. Well, Danny'll be sore at me for mentioning this, but I thought... Danny. Yes? Who is it? Excuse me, dearie. Oh, come in, Gladys. Just wanted to check up on you. How's the job situation? Oh, about the same. Yeah, me too. No casting. Getting so I say it in my sleep. Yeah, I know how you feel. Oh, I'm used to it, honey. But you've been somebody. You know, Gladys, it's funny. After all the places I've seen and all the things I've done, I've just moved across town, that's all. From east side to west side. You look out the window and there are the same back alleys, the same fire escapes, the same clothes lines. Well, I'm back just where I started. Wish I was back where I started with a wonderful guy called Jake Smith right over in Jersey City. Yeah, a wonderful guy. If Jake could take me back, I'd go crawling over to Jersey City on my knees. Yeah, but it's too late, isn't it? It is for me. He's married. Oh, well, let's see what the world's thought up for today. Blonde Beauty marries her fifth. She gets five and I don't get one. Is that democracy? Edward Kenney, who will conduct his own concerto at Carnegie Hall tonight. Edward Kenney? Yeah. Could he be a relative of that old heart? Let me see it, Gladys. Say, what ever happened to that Kenney guy anyway? I heard tonight he's selling papers. He's blind. Here you go, Danny. Here's your hair, old stiffy up in the night. Okay. Hello, Danny. Hey, Eddie. Say, what you doing down here? You ought to be up at Carnegie Hall. What's the matter? Nothing, Danny. I just skipped out a minute to see you. Feeling jumpy, kid? Well, the nearer gets to nine o'clock. The faster my heart goes. You better slow it down or it'll mix up your timing. Well, here's luck, Eddie, and don't worry. Because we know it's good, don't we? So long, kid. So long, Danny. Thanks for everything. Danny, you're sure you won't come? I gotta hold down my job here. But I'll be listening on the radio, kid. Good luck. It's pretty good music, ain't it, Danny? That's great. The kid's got something, huh? He's got everything. Yeah. You've done it for him. You know that. Quiet, William. I'm listening. Yeah. Hey, hey, Danny, there's somebody over there. Where? Who? Look, Danny, I'll be running along. So long, Danny. I'll be back later. Hey, Mike, come back here. What's the matter with you? Hello, Danny. Huh? Who is it? I was afraid to say it. Danny, I just found out tonight where you were. Don't cry, Peggy. What are you crying for? It's nothing to cry about. We ought to laugh. We ought to celebrate. We will celebrate, Danny. This time we really will. You mean that, Peggy? You want me even the way I am? Won't you, Danny? You're asking me that? Yeah, sure, because if it don't matter to you, I mean about my eyes. Well, the doctor said it may be in a year... Danny, I don't want to know what the doctor said. I want you anywhere you are. I need you, Danny. Cheap, Peggy. You know, I never told it to nobody, but... I always knew you'd pass by here someday and see me. And I was always sure of that, because... Yes, Danny. Well, because I knew that you were... always my girl. Ain't that right? Always, Danny. Always. For their curtain calls in just a moment. Meantime, Sally and I have some tips for you about the new kinds of stockings that many of you have been buying. Tips that will help you to save them to get better wear and to keep them fresh and lovely longer. First, remember that the new rayons, the new nylon and cotton combinations, sheer lils and lacy meshes, are knit of fine, delicate threads, just as silk stockings are. And they need the same gentle care you give to silks. Use lukewarm, new quick luck suds. Just squeeze the suds gently through the stockings. Never ring or twist them. Second, luck stockings after every wearing, so perspiration doesn't remain in the threads to injure them. New quick lucks takes away soil and perspiration quickly and safely without harming the delicate fibers, without injurious cake soap rubbing. Third, to be sure that rayon stockings are temporarily dry before you put them on again. Rayon takes longer to dry than silk and nylon, so give them plenty of time. Rayons are temporarily weak while they're damp, so you'll get better wear if you're careful about this point. First, last and always, stick to care you know is safe for all your precious stockings. New quick luck flakes. It's care that's advised by experts. Over 90% of the makers of stockings, makers of rayon, cotton and wool as well as of silk and nylon, advise luck flakes. Save all your precious stockings with this quick, safety, thrifty care. Now, here's Mr. DeMille with our stars. The curtain has fallen on City for Conquest, but the two stars who conquered us all are on stage again. Alice Faye and Robert Preston. Thanks, boss. Glad to be back again, but who wouldn't be to play opposite Alice Faye? Oh, that's very sweet of you, Bob. What's this boss line you're giving Mr. DeMille? Always call him that, Alice. Does he like it? I don't know. You like it, boss? Well, I don't believe I ever met anyone who didn't like to be called boss. Well, boss, we certainly enjoyed working for you this week. It was practically a habit with me. I just finished serving a term with him and reaped the wild wind at Paramount. You say that as though it were a jail sentence, Bob. Oh, well, maybe that isn't a fair comparison. Don't work as long hours in most jails. Don't pay any attention to him, Alice. Bob gets on the set two hours before his call and stays after he's through to watch the rest of the actors. Uh-huh. Well, he doesn't look exactly beaten down. What play are you going to have next week, Mr. DeMille? One of the really fine motion-picture dramas of the year, Alice. The Metro-Goldwyn-Mayer success, Blossoms in the Dust. And our stars will be the same players who gave such fine performances on the screen. Greer Garson and Walter Pigeon. Blossoms in the Dust is the story of a woman who gave her life to the children of her community. A story that should be an inspiration to every member of our audience. Well, I remember the picture very well, Mr. DeMille, and I'm very anxious to hear it on the air. Good night. Good night. Good night. Good night. You too are mighty good for our morale. Ladies and gentlemen, for the eighth consecutive year, the Lux Radio Theatre has been selected as the best dramatic program on the air by the radio editors of the United States and Canada voting in the annual poll conducted by the New York World Telegram. Naturally, we are proud of the achievement, but above all, we consider it a challenge for the future. We thank all the editors who voted in the poll, and you, our audience, who helped us win the honor. And we pledge our continued efforts to deserve it. 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 Greer Garson and Walter Pigeon in Blossoms in the Dust. This is Cecil B. DeMille saying good night to you from Hollywood. This is Boy Scout Week, and we are happy to offer our congratulations to this great organization of American boys whose first thought is their country. More than a million and a half Scouts are now serving the nation. We salute them all. Alice Faye appeared tonight through the courtesy of 20th Century Fox Studio. Robert Preston is currently seen in the Paramount picture, Pacific Blackout. Heard in tonight's play, where Cy Kendall is Scotty, Edward Marr as Mutt, Warren Ash as Murray, Howard McNeer as Eddie, and B. Benedict, Edward Max, Dury Robinson, Charles Seal, Frank Penny, Earl E.B., Mary Virginia Palmer, and Charles Hutchinson. Tune in next Monday night to hear Greer Garson and Walter Pigeon in Blossoms in the Dust. Our music was directed by Louis Silvers, and your announcer has been Melville Roick. This is the Columbia Broadcasting System.