 Lux presents Hollywood. The Lux Radio Theatre brings you Jeanette McDonald, Brianna Hearn and Jean Raymond in Smiling Through. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. The first greetings from this stage in 1942. This is an exciting evening for the Lux Radio Theatre because we welcome back the golden voice of Jeanette McDonald. And she's escorted tonight by Brianna Hearn and Jean Raymond. All three of them starred in Metro Goldwyn Mayer's new technical production, Smiling Through. Fortunately, we were able to borrow Miss McDonald this week from another MGM picture. I married an angel. So that gives me something to sing about. But don't be alarmed. Jeanette McDonald is going to do the singing. Certain stories and dramas have a timeless quality. An appeal that reaches across the years to all people in all lands. I suppose a great love story is most likely to do this. And Smiling Through is one of the tenderest love stories to come out of the American theater. And its title certainly gives us a fitting cue for this new year. A poet once said, without a smile from partial beauty one, what is man, a world without a sun? Of course, it was never quite clear to me why the poet was willing to settle for partial beauty. But then perhaps the ladies couldn't get lux toilets open those days. The science of beauty has been a slow development that probably began with civilization in Egypt about 8,000 years ago. But today it's in full flower. Complexion secrets that Cleopatra would have sent an army to take the modern woman can buy for a few cents at the corner store. So the next time you're feeling sorry for yourself, just think how much more fortunate you are than that great Queen of Egypt who had half the world at her feet and couldn't trade it for a single cake of lux toilets open. And remember that a complexion, a lux complexion, puts a good complexion on anything. So we start Smiling Through, starring Jeanette MacDonald as Mounine Clare and as Kathleen, Brianna Hearn as Sir John Carteret, Jean Raymond as Kenneth Wayne and as Jeremy Wayne, with Dennis Hoey as Owen. The curtain rises for the first act. In 1897, Paul England joined in a great celebration, the Diamond Jubilee, commemorating the 60th year of Queen Victoria's reign, churches throughout the country held services in the Good Queen's honor. In one of these, an ancient church in Kent, the service is just over. The vicar, the reverend Owen Harding, stands in the old churchyard, talking quietly with his friend, Sir John Carteret. Well, John, everyone came. Must have been like this in every church in the country. Yes, I suppose so. When will England see a day like this? Sixty years, our Queen. I don't like anniversary sign. I know. I didn't forget, John, most of the others have. I saw you putting flowers on her grave just before the service. They're very beautiful, John. Yes, they're the kind she liked. Oh, well, I must be getting along home. John, wait. You're not going to sit in the garden again tonight, are you? Yes, why not? John, sometimes I wish you try to live more in the present and not just with your memories. There are times, Owen, when I'm sure that she's very close to me. Well, I believe that, whatever anyone else may think. Goodbye, Owen. Goodbye, John. Mounine Clare. Born 1845. Died 1868. Aged 23 years. Poor John. Mounine. Another year gone. John. If I only knew the way to you, Mounine. I'm always near you when you need me, John. Every night in this garden I come to you. Mounine, I feel... Mounine, are you here? You know I am here. You don't see me and you don't hear me. But you feel in your heart that I am here. Mounine. Be patient, dear heart. Years have been only moments. The years we must still wait will be just as sure as time. Mounine. Sir John. Sir John. Sir John. The vicar's here. And why must you come out here? Oh, well, it's not your fault, Helen. Now, sir John, I've told you and told you no good will come of all these broodings and imaginings. Yes, yes, yes. I know. I'm afraid I'm a hopeless case, Helen. The vicar's come. Oh, has he? I'll see him in the library. There's your chair, Owen. The chessboard's all set up. I suppose you've come for your revenge for last night. No, John. I won't be able to play tonight. There's something I want to talk to you about. Yes? There was a letter from Ireland last week about Mounine's sister. She and her husband were drowned sailing in Dublin Bay. Drowned? Oh, that's horrible. Yes. It leaves their little girl unprovided for. They're talking of putting her into an orphanage. Impossible. That's what I thought. So you see... Well, in fact, I... I sent for her. What? John, she's Mounine's niece. What would you say to having her here with you? Here? Well, a child in this house. You could do with a child in this house, John. Give you something to think about beside yourself. Oh, then, Owen, I'll thank you not to preach at me. Well, that's that, then. Good night. Good night. Good night. If the child needs any money, of course you can count on me for any amount, but... Shall I come in now, Uncle Owen? Yes, dear. John, this is Mounine's little niece. I see. Come here, child. What's your name? Kathleen. What's yours? John, how do you do? How do you do? How old are you, Kathleen? Five in August. How old are you? I'm a little older than that, I'm afraid. Who brought you from Ireland, Kathleen? I came alone. Uncle Owen sent for me. Ah, yes, quite so. Uncle Owen sent for me. If you don't mind, John, I'll step over to the church for a little while. Owen, now you come back here. I won't be long. Owen, Owen. Well... Won't you, uh, sit down, Kathleen? Thank you. Can I, uh... Would you like me to show you some, uh, pretty pictures in a book? No, thank you. I think I'll be going now. With Uncle Owen, I suppose. Mm-hmm. I'm visiting him all the summer. Then I'm going home to mommy and daddy. To mommy? Oh, oh, yes, yes. Kathleen, perhaps you'll come and visit me every now and again, hm? I don't know. I don't think I like you very much. Oh! But I might like you better if I get to know you. Oh, that's very kind of you. Some people do improve on acquaintance. Oh, you've got a piano. Yes, would you like to learn to play the piano? I can play the piano. Oh, really? I could show you if you'd asked me to. Oh, nobody's played that piano for... for 29 years. Very well, then. I won't. Oh, no, no, no, I didn't mean it that way. Here, come and sit down and play. Oh, please. Thank you. Now let me think. Oh! Oh, yes, I know that song. If you know the words, will you sing them for me, too? If it isn't asking too much. I know the words. All the days of the carry dancing All the ring of the car... Was the river sweet of Colleen In the dance than Eileenmore? Or a proud lad than Thaddee As he boldly took The lads and lasses to your plasses Of the middle... Our Uncle John. First time I heard you sing that song, you were five years old. Yes, the night you came to live here. The night you were going to have nothing to do with her. That's enough of that, Owen. You're confounded, young woman. Isn't today your birthday or something? It is. April the 2nd, 1915. Which makes me 23 years to the day. Now, don't tell me you've forgotten. Well, well, well. Here's something I found in my dual case. Uncle John, how beautiful. Let's see. A ring, eh? Oh, my John, that's Moonine's ring. My Aunt Moonine? Oh, Uncle John, you couldn't have given me anything I'd rather have had. Anything in the world. It's an old-fashioned thing. Belong to her great-great-grandmother. Does it fit? Here, you put it on. I'm sure it fits, my dear. But don't you want to put it on, may? No, no, no. Listen, window's rattling again. It's a hundred miles away, at least. The wind must be from France. There's probably the guns at Eep. Miss Kathleen, your young man's come for you. Oh, Ellen, he's not my young man. Well, anyway, he's got on his new uniform, and I don't like his hat. Oh, poor Willie. Better take a Macintosh, it's going to rain. No, I won't need it. Doesn't sound too hopeful for that young man. Oh, well, there's not Willie. It'll be one of the others. I'll be losing her one of these days. Come on, shall we get on with the game? It's your move. Oh, John, there was a nice thing you just did. Come on, move, move. I say it was a nice thing to give that girl Moonine's ring. Ha! Checkmate. Down to my skin. Down to this tree is hardly the spot for romance. But you see, old girl, if a fellow happens to feel the way I do... The way I feel, Willie, is wet. Right. But you see, if a fellow... And cold. Right. If a fellow makes up his mind to get married... Willie, we can't stay here. Come on. There's a house. I'm going to get out of this. Girl, there's no use banging that knocker. This is the old Wain House, you know. Of course I know it's the old Wain House. Well, then why... I'm wanting the exercise. Well, do you know there's not been a chap in it for 50 years? Look, there's a window open. Well, there'll be two chaps in it in 50 seconds, Willie. You and I. Yes, Willie. You and I. Come on. It's like an old vault. Light a match, Willie. This is all frightfully illegal, you know. Frightfully? There are some candles, Willie. Oh, good. That ought to make things a bit more... cheerful. Oh, look at this dust. It's an inch thick, at least. Well, I say... it's all rather... you know. Isn't it? Oh, look. Look, there's some old logs. Will you build a fire, Willie? I don't want to get pneumonia. Right. These must be good and dry. They should be. It's 50 years since that fire was laid. Gives me the shivers. What does? This room. Oh, yes. It's a good cleaning, doesn't it? You know, Willie, people just don't go off and leave a house like this. Why didn't the maids tidy things up a bit? Put that chair on its legs and clear this stuff off the table. I wouldn't know. Here's a newspaper. The Times. June 14th, 1868. And a letter. It's addressed to Jeremy Wayne, a squire. You know, old girl, if a fellow makes up his mind to tell a girl how he feels... Jeremy Wayne. Well, that must be his portrait on the wall here. It is where... Look, Jeremy Wayne. It must be dark and handsome. What fire in those eyes! Listen, Kathy, I came out this afternoon to tell you something. The morning paper. The drink half finished. The riding crop on the floor. This letter. Look, look, Willie, it's an invitation. Mr. and Mrs. Richard Clare request the pleasure of the company of Jeremy Wayne, a squire, at the wedding of their daughter, Moonin, to Sir John Carter at St. Mary's Kent. Wednesday, June 14th, 1868. Willie, something happened here in this room. Something strange and terrible and romantic. Oh, bother romance. I want to ask you to marry me. Oh, Willie, please, not again today. They shut the doors and went away forever, as though there were a curse on the house. Probably meant to come back. Oh, no. No other shutters wouldn't be nailed up. All right, have it your way, old girl. The place is haunted. Listen, was that a door? Sounded like it. Willie, somebody's coming. Very strange, what? Whoever it is, I think we... Oh, hello. How do you do? Terrible weather, isn't it? Frightful. Yes, frightful. Yeah, terrible. Pardon me for being inquisitive, but are you stopping here? Oh, dear, no. No, it was raining very heavily. We were standing under a tree and lightning struck the next tree. It was raining very heavily. Oh, so that's why I got so wet. So we broke in to get out of the storm. Oh, well, I'm glad you were able to start a fire. I said, thank you. I'm afraid you've caught cold. I wish I could offer you something warm to drink. Excuse me a minute, maybe I can find something. Come, old girl, let's get out of this. Oh, no, not just yet. Who is that fellow? What's he doing here? That's what I'd like to find out. I don't like this. I think we ought to... Oh, Willie, look at that old spinet. Isn't it marvelous? Kathy, listen, for all we know... I wonder if it still plays. For all we know, he might be some kind of a maniac or something. Oh, don't be silly. Why not? After all... Here we are. I found the very thing for you. Old port. Look at that. 1847. Mm-hmm. 47. The best I could find. Yes. Well, I suppose we really ought to introduce ourselves. My name's Inslee. Oh, pleased to meet you. How do you do? You surely aren't going to open that bottle, are you? I'm going to do my best. Well, it's not your property, you know. Kathy, are you going to sit here and be a party to this? I thought of doing just that. There we are. Oh, just a very little for me, please. Fellow criminal. Won't you join us? Certainly not. Oh, I'm sorry. Well, how about a toast? I know one. All right. Here's to your health, your honor, and the health of all your descendants, great and small. That's a mighty, handsome toast. It's an Irish toast, and the best I know. May you keep as young and as pretty as you are until doom's day. And never forget the man who wished it. I wonder now, as I look at you, have we never met before? No, I'm afraid we haven't. I shouldn't have forgotten. Oh, could you be Irish, too? I could, if I saw enough of you. Well, if you're not Irish, you're an American. Well, how did you know that? By the way, you said pleased to meet you. Oh, well, how should I have said it? Well, if you mean how do I say it? How'd you do? How'd you do? Oh, well, let's not worry about it. Tell me, what are you doing in England? I came over to join up. It's not your war. Well, I'm half English, and a scrap's a scrap. I like that. You know, this is scandalous of us, but I don't think he'd mind. Who? The man in the portrait, the owner, Jeremy Wayne. He's a neuromatic figure. Yeah, grand. I like that devil take you look, don't you? You know, you don't look unlike him. That's my father. Your father? Yes. Yes, I'm Kenneth Wayne. Well, this is romance. You're telling me? How about another toast? Oh, no. No, you've said quite enough. Tell me, what was the name of that song you were playing, just as I came in? Drink to me only with thine eyes. And I will pledge with mine. Go on, finish it. When were you in the Wayne House? One afternoon, about a week ago. What's the matter, Uncle John? Go on, go on. John, there's no use getting excited about this. Well, what happened there? Well, nothing except the owner happened to arrive from America. He's here. Jeremy Wayne? No, no, Uncle John. Jeremy Wayne is dead. Dead? Well, this was his son. He came over to join up. Kenneth Wayne. Dead. And he'd be alive. And come here. Uncle John, what is it? Your face. Why do you hate him so? John, listen to me. Let me alone. John! Get out of my way. Oh, and what did this Jeremy Wayne do? I can't tell you. But in heaven's name. That's his wish, Kathleen. Then I must ask him. No, don't. You don't know how it would hurt him. Yes, my dear. It's better so. Believe me. Well, he's gone out into the garden. He'll take hold. I'll go bring him back. Uncle John, won't you please come inside, dear? There's a heavy dew. Uncle John, I'm sorry if I said anything to hurt you. Kathleen, this young man, this Wayne, he's in the army, is he? Yes, he's in camp near here. He's really awfully nice. We, uh, we've become rather good friends. Friends? Yes, and I'm sure that you... Be quiet. Are you sick on me? When did you meet this man? A week ago, almost. Have you seen him since? Yes. How often? Quite often. Kathleen, you must promise me never to see him again. But I can't promise. I want to see him. Why shouldn't I? Are you in love with him? Are you? Answer me. I don't know. But if I am in love with him, I... I don't know. He's not in love with me anyway. At least he's never said anything. I only know I... I can't bear the thought of not seeing him again. I... I'm sorry, Uncle John. I... I can't help it. I just can't. Listen, listen, my child. I'm going to tell you something that you should have known long ago. Oh, it's been my fault, I suppose. But I'd hoped I'd never have to tell you. I'd hoped I'd never have to live it all over again. Come, come and sit here beside me. I want to tell you something about a man named Wayne. Mr. DeMille and our stars, Jeanette McDonald, Brian Ahern and Jean Raymond, will return in act two of Smiling Through. Now, for a minute, let's listen to a conversation that took place in a college dormitory the other day. The girls had just come back from their Christmas holidays. Came to look at your Christmas leaf. Okay. Just take a peek at the things in that dresser drawer. Oh, my, all those lovely things. All that peach-colored slips on honey. And just look at this nightie. Gorgeous. Even got sachet in them, too. Oh, it smells delish. Smells expensive, too. Christmas present? No, that's a present I gave myself. I buy it all year round. Look, why... Why, it's some cakes of luxe toilet soap. Of course, Dopey dear. I buy it half a dozen cakes at a time and slip a few in my dresser drawer till I want to use them. Then I put new cakes in. That luxe soap fragrance makes a wonderful sachet. Always said you were the smartest girl in the class, Suzy. Thanks for tipping me off to that idea. I'm going to get some extra luxe soap right away and do the same. Yes, clever women have made a discovery. They find the delicate distinctive perfume of luxe toilet soap makes a perfect sachet. Slip a few wrapped cakes into bureau drawers. You'll love the dainty fragrance that leaves on your handkerchiefs and nice silk things. It's a costly fragrance. A blend of 34 rare ingredients. But luxe toilet soap costs you only a few cents because millions of cakes of this famous toilet soap are sold each year. 9 out of 10 lovely screen stars use luxe toilet soap, you know, because it's as fine a soap as money can buy. When next you unwrap a cake, notice how satin smooth, how white it is. Luxe soap is hard milled too. That makes it last down to the thinnest sliver so it's thrifty as well as luxurious. Why not make Hollywood's famous beauty soap your beauty soap too? You'll love its creamy caressing lather, its delicate clinging fragrance. Try it. Put three cakes of luxe toilet soap on your shopping list tomorrow. We pause now for station identification. This is the Columbia Broadcasting System. Act two of Smiling Through, starring Jeanette MacDonald as Mounine Clare and as Kathleen, Brianna Hearn as Sir John Carteret and Jean Raymond as Kenneth Wayne and as Jeremy Wayne. The Old Garden, the full round moon, shines down on the shadowy figures of Sir John Carteret and Kathleen. Slowly Sir John begins his story. His eyes bright again as they were almost 50 years before. Almost 50 years, but I can see it as though it were yesterday. This garden, a June night, the scent of roses in the air, excitement, people coming and going and from the house the faint strains of music. It was the night before our wedding, Mounine Clare. She was very much like you, my dear. She had the same eyes and the same laugh. She was laughing at me as we danced together. It was something I said. I can't quite remember what it was. John, my darling, you're quite mad. I know it. Have you two got a moment to spare for an old friend? Oh, and where on earth have you been? Yes, what kind of a best friend are you? Let me look at you, Mounine. John, you don't deserve this. I'm sorry, old man, but you don't. I know, I know, but it's too late now. Oh, and he hasn't said a sensible thing all evening. Can you blame him? I've been making much sense myself. I've never been so happy. Miss Mounine, isn't this my dance? Oh, dear, I forgot. Excuse me, John. Well, come right back. John, could I have a word with you? Yes, of course, Owen. What is it? I saw Jeremy Wayne outside the Georgian dragon. Oh, yes? Why didn't you bring him along? Well, he was in pretty bad shape, John. Drinking, all of them was good for him. Ah, it takes it pretty hard, doesn't it? Poor devil. Well, I can't say I blame him either. You know, Wayne's a wild sort of fellow, John. Making vague sorts of threats against you. You know what that is, Owen? That's that Georgian dragon brandy. Just the same. I don't like it. I suppose, I suppose he should come here tonight. Oh, I don't believe he will. Now stop worrying, Owen. You mean Mr. Wayne's here now, Mary? Yes, Miss. But I wouldn't see him, Miss Mounine. Not if I was you. I don't think he's quite himself, Miss. I'll tell Sir John. Oh, no, no, Mary. You mustn't. Don't tell Sir John. I'll see him in the garden. Mounine. Don't let me get married without coming to wish me joy. Joy? What's the matter, Jerry? What is it? You know what it is. Won't you come into the house? We're expecting you. Oh, no, you're not. Oh, please, Jerry, don't act like this. You're really going to marry him tomorrow. Oh, Jerry, dear, we're not going to go over all that again, are we? You look so beautiful in that dress. Thank you, Jerry. Oh, Mounine. Mounine. Jerry, please, don't. You're not going to marry him? Go on my life. I've loved you. Oh, Jerry, it isn't easy for me either to have you say things like this. I'm so fond of you. It was understood between our families that we were to marry. It was understood by everyone. Yes, but, Jerry, it doesn't mean the end of our friendship. Nothing could end that. Tomorrow you'll be in his arms. This man you're marrying. What right has he to take you from me? Why is he better than I? What is there in me that's wrong? Nothing, Jerry, nothing, nothing. Is it because I drink? No. I drink because I'm unhappy and I'm unhappy because of you. This other man, he has no faults. He's perfect. I tell you, he'll not have you. The man doesn't live who can take you from me. The man will not live who takes you from me. Jerry, I'm marrying John tomorrow. I'm marrying him because I love him. I shall always love him because he stands for everything that's beautiful and fine and true. And even if he didn't, I should still love him. Morning. Wait, John, please go now, Jerry. I'll go. Kiss me, morning. No, Jerry, no, let me be. You're mine, you're mine. Jerry, let me go. Goodbye, morning. Here, John. Good evening, madam. If you're not too busy tomorrow afternoon, how would you like to marry me? What's the matter, dear? Is something wrong? No, nothing. Something I've done? Something I've said? Because if it is, I didn't mean it. John, dear, hold me close. Anything about the wedding? No. Listen, listen to your song. Would you sing it for me? Oh, please, John, I... if you don't mind. Morning. You're not unhappy, are you? How could I possibly be unhappy tonight? You know, sometimes I get a little scared. How on earth did we two ever happen to get together? I know. To think that out of all the millions of people in the world... Well, fun, it's going to be in this house. Just you and I. Oh, darling, everything's fun. Oh, do you like my ring? It's a beauty, isn't it? It belonged to my great-great-grandmother. I say, let's practice, shall we? With this ring, I... the wedding. Now, it was pretty good, wasn't it? Perhaps I better practice dropping it once or twice. Ha-ha-ha. There's a little brown-road white car. This man to thy wedded husband to live together after God's ordinance in the holy state of matrimony will though obey him and serve him, love honor and keep him in sickness and in health, and forsaking all others, keep thee only unto him so long as ye both shall live. I will. Mr. Dory Wayne. Jerry. He'll never have you. I told you. I warned you. What does this mean? Jerry, surely you can't mean to make a scene at my wedding. Ah, there'll be no wedding. He's drunk. He's mad. Get out of here. Jerry, put down that gun. She will never have her. Never! No, Jerry! No, don't! I never meant that. I never meant that. I swear. Tell me, is she all right? I'm sorry, John, that you must do something. Oh, Muneen. Make it stop. Yes, dear. Yes, we'll make it stop. Is it? No, it's nothing, darling. John, there is the ring on my finger. I'll be waiting for you. Our love could never die, John. Muneen, my love. Oh, darling, don't leave me. Don't leave me. Isn't it a pity? Isn't it? Muneen. It was the end. She lay white and still in my arms. She was dead. All that I lived for was gone. I came back alone to this house all gay with flowers for her. I sat alone where I sit now. The whole night through. Poor darling. I've said him many times since. Whenever I'm in trouble or sorrow, I come here. It was here that she returned to me. Year after year she'd come. Always. When I needed her. She was here. Beside me. Here, in this garden. I know, dear. I understand. Kathleen, tonight you told me that Jeremy Wayne was dead. I'm sorry I didn't kill him. Uncle John! After the police had given up the search, I'd tracked him for years through half the ports in South America. For years I hunted him in my dreams. I killed him in my dreams. And his son. His son. He must promise me to have nothing more to do with that man. You mean it's... it's never? Never. Good night. Thanks for coming to the canteen. It was a grand concert. Thanks to you. I was glad to come. Can I see you home? No thanks. I'll be all right. Good night. Good night. Kathleen. Kathleen, wait. I can't talk to you. Now, wait a minute. I've got to talk to you. I've got to know more than you told me in your letter. A lot more. Well, walk home with me then. I'll try to tell you. So, you see, there's really nothing else we can do, is there? No, I... Oh, I guess the whole thing was cock-eyed anyway with me going to the front so soon. Besides, we hardly know each other, do we? No. And these poor boy rich girl things usually are busts anyway. Yes. I guess we were just as lucky to have stopped it now when... we were pretty close shave, though. We really might have got to have... Yes. Well, it's... it's been nice to have known you, Kathleen. Goodbye, Kenneth. Oh, Kathleen, we can't do this. Kenneth, I promise. I know, but... We mustn't see each other. I'm going to France soon anyway. But wouldn't it be easier then if we didn't? I don't know that it would. We can't just... we aren't children, are we? No. We're not children. And I love you, Kathleen. I love you. Oh. Stand much, darling. Another Kenneth Wayne special. No, thanks. I couldn't. Why? On our last picnic, you ate six. Did I? What's the matter with you? Are you in love or something? In love? How would you know how a person in love feels? Because I'm in love myself. Kathleen. Yes, dear. We're pushing off. When? Tonight. Tonight? Oh, no. Steady, dear. How can? How can? You're not half-trained. I guess they need more men. Yes, but so soon. Well, I'll get leave, you know, darling. Of course. Of course you will. You'll be home often and... You'll... We'll be crossing tomorrow night. Kenneth, take me with you tonight. Darling. Oh, no, I know I couldn't. It's only a few hours, and I'll leave you, and I may not come back. But we shall have had those hours. It will help me to wait. And if it's all we ever have, it will help me to live. I shall have been your wife. Kathleen. What about your uncle? What do you tell him? The only thing I can. I'll tell him the truth. Besides, I'd better come along too. We want to be married. I hope you understand, sir. I understand only one thing about Wayne. Uncle John. The quality of your breed is not to take his medicine. That's why your father took the life of one person and ruined that of another. He couldn't take his medicine. I don't think you have any right to put it like that, sir. Ken, I'm going with you just as I promised. If she marries you, if she becomes your wife and you never come back, you'll have smashed into her life for the cowardly hours, because I shall never forgive any part of it. Kathleen, if he takes you from me, then he can take care of you. That's my last word. Come, darling. Let's get out of here. What time is it? 12.30. I'm afraid she's not coming back, John. Oh, she couldn't do this to me. She couldn't. Is that the door? Yeah, it's Kathleen. Kathleen. You knew I'd come back, didn't you? He wouldn't marry me because of your threat. And now he may not come back at all. If God is just, he never will. Uncle John! Oh, I never thought you could be so cruel. John, what the devil has got into you? Go after her. Big hurt to forgive you if she ever can. I haven't asked your advice. I'm giving it. That boy you wish dead is a fine chap, one of the best. So you're on his side, too. I'm on Kathleen's side. And I say you're wrong, wickedly wrong. I may be all you say, Owen, but I'm loyal to her. And who pays the price of your loyalty? You must think of the living as well as the dead. That's how you feel, Owen. You and I can't go on as we have. You mean that, John? I never meant anything so much. You're willing to sacrifice every decent human sentiment to a bitter memory that should be forgotten. You've said enough, Owen. It's been a great many years, John. I've said my last word. Very well. Goodbye, John. You must come. I could only reach you, dear. If I could only make you understand that they love each other as we did long ago. He may never come back to her again. If you build a barrier between those who love, it will stand between your soul and mine for all eternity. Oh, John, can't you hear me? Unless you dry this hatred out of your heart, unless you right this wrong, you can never come to me. I have you deserted me. In just a few moments, Mr. DeMille presents Jeanette McDonald, Brian Ahern, and Jean Raymond in Act 3 of Smiling Through. And now here's Sally with that gay I've got something to tell you, look in her eye. You just bet I have, Mr. Ruick. Oh, it was so sweet. Sally, let's begin at the beginning. Well, it was like this. I was in the bus on my way to the studio and I noticed a very attractive young couple sitting just ahead of me. They were looking at a movie magazine and all of a sudden the girl said... Oh, Johnny, just look at that picture of Virginia Bruce. She's a honey, all right. That lovely hair. And look, Johnny, did you ever see such a gorgeous complexion? Yes, dear. I'm looking at one right now. Why, Johnny, dear, I... Why, thank you. That just goes to show you a lovely complexion always wins. Well, I'd be willing to bet you three cakes of luck soap. That young lady was a luxe girl. She had really lovely skin, so smooth and fresh looking. Well then, she and Virginia Bruce have something in common because Virginia Bruce is one of our very loveliest luxe girls. Sally, why don't you tell the ladies in our audience just how Virginia Bruce takes care of that smooth complexion of hers? I'd like to. Because active lather facials are a beauty care every woman should know about. You just pat luxe soap's creamy, active lather gently in. Rinse with warm water and then a dash of cool. Pat your face dry with a towel. Now touch your skin. See if you don't agree with Virginia Bruce. She says active lather facials leave skin feeling smoother and softer, looking so fresh. Thank you, Sally. Now all you ladies who heard that, won't you try active lather facials with luxe toilet soap regularly for 30 days? Let this care help you when the flower fresh, appealing loveliness that men adore. Remember, 9 out of 10 famous Hollywood screen stars use luxe toilet soap. It's the beauty soap for you. Now, our producer, Mr. DeMille. The curtain rises on the third act of smiling through. Spring has come again. The spring of 1919. And once more, there is peace in the world. Unknown to Kathleen, Kenneth has returned to the old Wayne House. But he's not the same man who marched away to war. He's white and drawn. And he walks now with the aid of crutches. Owen, on hand to meet him, pretends not to notice. It's good to see you back, my boy. Captain, too. Splendid. Well, you do me a favor, Padre. Look at my legs and stop pretending you don't see the crutches. I see them. I see the DSO and your tunic, too. Did they send you down to our hospital? No, I'm discharged. Kathleen hasn't heard from you. Been worrying. I suppose you didn't want to tell her you were wounded. I came here to clear up the title on the house, put it up for sale, and I'm... I'm leaving for America tomorrow. What? Surely you'll be seeing Kathleen? Do I look like a man who wants to see a girl? She's been waiting three years for you. So I'm a dirty swine. Tell her I've gone back to America to marry a million dollars. Tell her I fell for the girl from arm and tears. Tell her anything. Why won't you see her? Because I haven't got the... Because I'm shot to pieces. Because I'm still in love with her, if you must know. Now will you let me alone? Kenneth. Oh, my boy. Let me help you up. Well, you see, Padre? I see. I'm sorry, my boy. Leave it, but it is, it is. Hello there. Oh, Kenneth, my darling. Do you mind if I don't get up? I'm kind of tired, tripping along. No, my darling, of course you're tired. Don't move. Just let me put my arms around you. Oh, Kenneth, I've waited so long. I wish I weren't crying like this. I can't see you properly. Darling, are you glad to see me? You haven't said so, you know. Of course I'm glad to see you. Oh, I have so much to ask you. Why didn't you write? I thought you were wounded or sick. You are all right, aren't you? Oh, yes, I'm all right. Then why did you stop writing? Well, I'm sorry. I should have written a course, but I've been pretty busy making all my plans and everything. What plans, Kenneth? Well, I... I'm selling this house. But why? I'm leaving. I'm sailing for America tomorrow. Well, Kenneth, I don't understand you. You're really leaving. Ten o'clock boat train tonight. Lucky to get a passage. Oh, well, then there's no reason why you and I... I'll go along with you. You might not like it over there. Oh, Ken, what are you saying? I live anywhere in the world with you. But this is your home. You like it here. Of course I do. Well, that's fine. You see... I was right the night I made you go back to your uncle. By the way, how is he? He hasn't changed about you, but neither have I. Hasn't changed, huh? Still nursing that old sorrow of his, huh? Must be great to be like that. A love of one woman. All your life. Yes, it must be. Well, how's everything else been, huh? How's Willie Ainsley? Willie been all right? Yes. That's good. Willie might be just the type of that. Willie would love somebody. All of his life. Kenneth, what are you talking like this for? Oh, just rambling along, just reminiscing. We had a lot of fun together, didn't we? You remember the day we met? Right here in this room. It's too bad we had to grow up, isn't it? What are you saying? What are you trying to do? What's happened to you? I've been to war. I know you've been to war, and I've been waiting for you because I loved you. Oh, Kathleen, let's not... Let's not... The winter thing is over. It's over. I see. It's over. Then why did you come back here? Do you want to make sure you didn't love me? Well, I hope you're sure now. Just forget that I love you, that I waited for you, that I'd waited for you always. Kathleen, I've changed. Yes, you certainly have. Three years, and you changed, that's all. Of course. I'm sorry, Kenneth. I didn't mean to throw myself at your head. I didn't mean to embarrass you like this. I've really been quite stupid, haven't I? Taking it for granted that you'd still be... Well, there's not much more to say, is there? Except goodbye. Goodbye, Kenneth. Have you seen him? Kenneth Wayne, have you? I'm not quite sure. I went to his house. I'd give anything if I hadn't. He's going back to America. So he ended it, eh? Well, perhaps it's for the best. You'll get over it, my dear. You didn't. It's not quite the same, though, is it? You knew somebody loved you. You were sure of it. At least you had that memory. I... I had nothing. You don't understand that, do you? I understand. It's the little things that hurt most. The way he used to laugh. The full things he said and did. Oh, with no use. I'll always love him. I'm just that sort of a fool. I've no pride. I'd love him whatever he'd done, however badly he'd treated me. And if he had died, I'd have loved him always, all my life, as you loved her. Kathleen, Kathleen, my child, listen. He's wounded. What do you mean? He's wounded. Badly, Owen was here. He saw him. Oh, why didn't he tell me? He didn't think it was fair. He was afraid you would marry him out of pity. Oh, then he does love me. Of course. His train leaves at 10, you know. Is that clock right? I must stop him. Uncle John, how badly is he wounded? It's nothing that love and kindness won't make right again. And Kathleen, I hope I should like it if you could possibly come back here again and bring him with you. Oh, Uncle John, darling. We'll both take care of him, won't we? Oh, come in, Owen. Have you sent for me, John? No. I didn't send for you. Oh, well, Kathleen told me. She did. Where did she go? I thought you said she told you. She told me to come to you. Where is Kathleen? On her way to the station. She'll be coming home. They'll be coming home. They? Yes, yes, that's what I said. I see. I'll be pushing along. Care for a game? Now that you are here. Well, don't mind if I do. Forgotten your chairs? Forgotten more than you were than you. I had white last time. Your first move. John, I know of someone who would be very glad of what you've done tonight. Yes. She is glad. I know. I feel it in my heart. Well, my first move, eh? Obviously. I'll, um... I'll start the same old way. It's your move, John. John? Well, yeah, you're asleep. I leave you alone then. Good old John. No, you've come to me. It's been so lonely without you. I almost made an awful mess of things, but I'm afraid I'm getting very old. And you, why, you're still young. Just as you were. Oh, John, you? Oh, no. My hair is white. It's as brown as it ever was. You're straight and tall as a poplar. You see me. Look, John. That old man sitting in the chair there. Do you know him? Why? It's... It's you, John. Is this what they call... Isn't it foolish to be afraid of it? Come with me, John. We're together now. Forever. I am so with a banner of hate. In a performance we'll long remember for three very good reasons. And here they are. Jeanette McDonald, Brianna Hearn, and Jean Raymond. Thank you, Mr. DeMille. It was a very happy day for me when you asked us to play smiling through. And happier for us, Jeanette, when you accepted. Confidentially, CB, all you have to tell me is that Jeanette's going to sing, and I'll be right on hand. You know, I never can get her to sing at home. I have to go to the movies of the Lux Radio Theater to hear my wife sing. Jean's kidding me, Mr. DeMille. The dog howls when I sing at home. Probably wants you to make it a duet. Well, before we say good night, Mr. DeMille, I'd like to tell you how very much I enjoy listening to the Lux Radio Theater every week. And I know that it stands for a fine product, because out here in Hollywood they served Lux soap a long time ago. And I'm sure it deserves its great success. Lux soap never loses a friend, Jeanette, nor makes an enemy. What are we here in Lux Radio Theater next week, CB? A drama gene that one can truthfully call epic. Charles Dickens' immortal story, a tale of two cities. And starring in it will be Ronald Coleman and Edna Best. Ronald Coleman's magnificent screen acting in a tale of two cities will never be forgotten. And we consider it an honor to present his first radio performance of this play. So with this microphone next Monday night, you'll hear a story that combines action, adventure, romance, and breathtaking suspense. Well, that's a great favorite of mine, and I should think of everyone, CB. Good night. Good night. Good night. Good night. You three made a direct hit tonight. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Ronald Coleman and Edna Best in a tale of two cities. There's a Cecil B. DeMille saying good night to you from Hollywood. Jeanette McDonald appeared through the courtesy of Metro Golden Mayor Studios and is now making the picture I Married an Angel in which she co-stars with Nelson Eddy. Gene Raymond appeared through the courtesy of RKO. Anne Todd appeared through the courtesy of 20th Century Fox Studios and is currently being seen in their production of Remember the Day. Heard in tonight's play were Fred Mackay, Verna Felton, Anthony Marsh, Betty Hill, Eric Snowden and Howard McNear. Tune in next Monday night to hear Ronald Coleman and Edna Best in a tale of two cities. Our Lux Radio Theater production of Smile and Through has come to you with the good wishes of the makers of Lux Toilet Soap, the beauty care that nine out of ten Hollywood stars use to help keep their complexions beautifully clear and smooth, flawless as every woman wants her skin to be. Join us again next week in the Lux Radio Theater to enjoy an hour of dramatic entertainment. This is your announcer Melville Royck bidding you goodnight on behalf of our guests, our cast and the Lux Radio Theater. This is the Columbia Broadcasting System.