 Lux presents Hollywood. Lever Brothers Company, the makers of Lux Flakes, bring you the Lux Radio Theatre, starring Al Jolson and Gail Patrick in The Jazz Singer with Ludwig Donov and Tamara Shane. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. I'll wager that no popular performer has so captured our American enthusiasm as tonight's star, Al Jolson, for years billed as the world's greatest entertainer. Al appears in Samson Rapleson's dramatic hit that is almost Jolson's life story. When Warner Brothers made the first talking picture, they chose not only tonight's play, The Jazz Singer, but tonight's star, Al Jolson, and tonight's musical director, Louis Silvers. With Al, we star another favorite, Miss Gail Patrick, who appears as Mary Dale. Twenty years ago, when The Jazz Singer reached the screen, it revolutionized the motion picture industry, a tribute to the American people's continual search for something new and better. In fact, it was that same national trade of ours that led to the development of Lux Flakes and their rapid acceptance throughout the country. Today, Lux Flakes are as familiar and popular in our homes as the talking picture in our theaters. And in their way, Lux Flakes have done as much to brighten the average woman's life and contribute to her leisure hours as have the many other American conveniences we take so much for granted. Yes, public approval rests on performance. And here's another example as we raise our curtain on tonight's play. The Jazz Singer, starring Al Jolson. In New York's east side opposite the Orchard Street synagogue is the humble home of Cantor of Benevits, an austere and venerable dignitary whose beard has grown white in the service of his faith. At his side is a young boy who struggles bravely with the passages of an ancient Hebrew hymn. No, Sammy, no, no. You must sing from your heart, my boy, from your heart. You're praying to God. Yeah, Cantor, I'll try it again. The words of the hymn. You know what they mean? Oh, not exactly, I guess. Is that nice? You will never sing in the choir till you know what the words mean. Now, you listen. I tell you what they mean. Oh, Lord, satisfy us with our abundant goodness and purify our hearts to serve thee in truth. Thank you. If my Jakey were here, he could show you how to sing it. The words he understood, even when he was smaller than you, Sammy. Cantor, what happened here, son? Did he really run away? Who said? Where do you hear that? Well, gee, everybody knows he disappeared. Oh, that was long ago, Sammy. I should not have spoken his name. Come, we try the hymn again. The time... Yes, it was a long time ago. And Jakey Rabinovich, the cantor son, long since has become Jack Robin. Jack Robin, who's singing in a new musical review, the Broadway parade. Prior to its New York premiere, the show is now in progress in New Haven. Turtle, turkey, goodbye. Turtle, turkey, don't cry. The little train that takes me away from you. No words can tell how sad it makes me. The audience like us tonight? Stop worrying, you were great. I mean it, Jack. I hope you'll say that next week when we hit New York. Jack, do you know the lyrics to keep smiling at trouble? Well, yes, I think so, but that's Bill Carter's number, isn't it? It was his number. It's yours now. Mine? Well, what's the matter with Carter? Oh, that isn't Carter's type of song. And I want you to be ready to sing it tomorrow night. You'll have all this week to get it down to Pat before we open in New York. Think you can handle it? Oh, sure, sure, but... Mr. Stevens, you're the producer. Say, this isn't a gag, is it? I want that number sold and you're the only one who can put it over. And where are you going? Well, I... well, try addressing them, Jack. I think Mary's in her dressing room. Ben, tell you about your new number? Yeah, just now. You knew about it? Uh-huh. Well, you don't seem very excited. Oh, I think it's great, only it's kind of tough on Bill Carter. Stevens knows what he's doing, Jack. You know, it's funny when you come to think of it. It wasn't for you, Mary. I'd still be working at that hunky-tunk nightclub in Minneapolis. Oh, I knew what the show needed and I saw that you had it. Well, I'm not going to try to tell you what it means to me, Mary, this chance. I guess I've been waiting for it all my life. It's certainly going to be funny being in New York. Funny, I thought you were born there. Yeah, I was. But I ran away when I was 16. I sang my way from the Barrett of Frisco. Is your family still living there? Yeah, my mother and father, but they don't write to me. I guess Mama wanted to, but my dad, well... he's, you know, a little old-fashioned about some things. I can't see them, won't you? Oh, sure, sure. Before we leave here, I'll send a wire to Mama and, boy, will she be surprised. Just wait till she sees your name in lights. Jack Robin. Yeah. I guess Mama would like that. Take a telegram with you to Mrs. Joseph Rabinovich one-to-one Orchard Street, New York City. One-to-one Orchard Street, New York City. Dear Mama, I'm coming home tomorrow. Please be here. Mrs. Rabinovich. Oh, Mr. Udelson. Congratulations, Mrs. Rabinovich. Good luck. For what? For what? For the cantor's birthday. My husband has a birthday and I should get congratulations. The greatest cantor of all time, Mrs. Rabinovich. And did you hear what the Gershens are giving him? The Gershens? You remember all the pictures which are hanging in the committee room with the synagogue, the cantor's father and grandfather for four generations? Yes. Well, the Gershens made a hand painting from all the pictures. No, a hand painting. The fancy sign. The sign is saying five generations of great cantors. And the fifth is the best. Five generations of great cantors. It will make him think of Jackie. Jackie? Yeah. I had not heard. Even now I'm afraid to speak to the cantor about Jackie. Once I say to him, you know, Jackie would have made a great cantor. He had a beautiful voice. That made him angry. He says, never mention his name to me. Oh, he's lonely for him, Mr. Yudelsen. He don't say so, but I know. Tell me, why did Jackie run away? Why did he do it? Why? Because he didn't want to be a cantor. Because he didn't want to sing in the synagogue. Who knows, Mrs. Rabinovich? Someday, maybe he will come back. Someday, maybe. Jackie. Jackie, I can't believe it. Mama, please, don't cry, mama. I'm home. Only yesterday it was, yesterday. Mr. Yudelsen said, maybe someday he will come back. Like a miracle, Jackie. My boy, my boy. Well, didn't you get my telegram? Telegram? Telegram. But I didn't open. I thought it was congratulations, Papa's birthday. Papa's birthday? He's, he's at the synagogue? Where else, Jackie? How is he? How does he feel? Jackie, he's an old man. You will live here with us, no? No, no, no. I'd love to, mama. But you see, I wired for a room at the hotel. Oh, don't be fooled. Hey, wait a minute. What are you doing? I want to put the grip in your room. I put everything so you will know where they are. If you put them away, mama, I won't know where anything is. Well, I want to see what you got. All right. I'll open the bag and show you. Oh, an expensive bag, mama. That's what you call genuine pigskin. Pigskin? Pigskin you should bring in this house. Mama, mama, you're wonderful. Well, it's open. Take a look. Come on. Jackie, right there on top is a picture. A picture from you. Now what would I want with my picture? Who else? A girl, mama. A girl who did some wonderful things for me. Look, how do you like those neckties? You're such a beautiful girl. She lives in that house from the center. Yeah, yeah, she lives there in the summertime. Look at my pajamas. Such a big house, Jackie. For only one girl. She's got a husband. No, not yet, mama. These shirts, French cuffs. Only a big house and a dog she's got. What does she do all day in such a house? She was born there, mama. Then she came to New York and started for the opera. But if a girl doesn't weigh more than 200 pounds, they don't want her. So now she's a big star on Broadway. Ain't that the same? Such a nice-looking girl, too. Oh, mama, look, I've got a surprise for you. Something you wanted all your life. Take a peek at this. Look. Jackie, diamonds with stones in it. Sure. It's what you call a diamond brooch. Real diamond. Uh-huh. Jackie, where did you get so much money? Oh, don't worry, mama. I got lots more where that came from. You don't do something wrong. No, mama. Of course not. Well, let's take a little look around. Same old apartment. Yup. Just the way I always remembered it. Everything spick and span. Mama. Didn't there used to be a picture of me over there? Uh, yes, Jackie. Um, we don't have it no more. It, uh, you see, it fell down and got broke. Sure, sure. I know. We got a new piano, Jackie. It's in the front room. Come. A piano? What kind, mama? Grander and upright. Who knows? We pay every month. You got an upright. Come on, mama. Show it to me. You still practice on the fiddle, Jackie? No, no more. I got too busy. Oh, boy, that's some piano. That's all right. You mind if I try it? Oh, good tone, mama. Good tone. Sit down and I'll sing you something. I'm sitting on top of the world. I'm rollin' along. Rollin' and I'm quit. The blues of the world. I'm singin' a song. Singin' a song. Glory hallelujah. Just hold a part, son. A pocket ready to call. Just like Funky Dumpty. I'm goin' to fall. I'm sitting on top of the world. I'm rollin' along. I'm gettin' my share. I've only got one suit. Just one. That's all I can wear. Don't make me feel good. Like a Humpty Dumpty. It wasn't so bad, was it? Hey, mama, what's the matter? Jackie, you shouldn't sing like that. It's wrong. Wrong? Why? Why is it wrong? Look, I'll sing you another one. Maybe you'll like this one better, huh? Blue skies. Smilin' at me. Nothin' but blue skies. Better. Uh, usually I, uh... Hello, Papa. What are you doing in this house? What am I doing? Why? I came home. He said hello, Papa. He's your son. Why did you come? I came home because I wanted to see you and Mama. I've been away so long. All this time, you didn't need us. You don't need us now. You come into my house, you sit down by my piano, and you sing your cheap songs from the sidewalks. Yosel, I wanted that you should play the new piano. Yeah, wait a minute, Mama. I don't think you know how I feel, Papa. I thought about you a thousand times while I've been away, and I didn't mean any harm when I played the piano. I just want to sing Mama a little jazz song. Jazz? A song of prayer wouldn't come into your head. Even when you were a little boy, I taught you to sing to please God. But you sang to please yourself, singing the streets. And you're the same now. You're right, Papa. You taught me to sing prayers, and I sang them here for you. But when I got out on the street with the other kids, I found myself singing the same songs they sang. And they're very much alike, our songs, and the street songs. Like? Yeah. Sometimes when I'm on the stage and I'm singing a song, it seems just like one of our prayers. On the stage? You're in the theater. I'm an actor, Papa. Jack Robin. That's how I'm billed. An actor. After all my prayers that you should be a candle. Wait a minute. What's so wrong with being an actor? I meet nice people. I make good money. Ah, money, money. Peak pockets make money, too. Josely, please. What kind of acting are you doing? Oh, come on, Papa. Let's not go into that. Let's celebrate your birthday. I'm an actor. What kind of acting are you doing? I sing just like you sing. Only I sing in a theater. What kind of singing? Jazz songs, Papa. Popular songs. Well, right now I'm with a show called Broadway Parade. I'm going to open in about a week, huh? You'll be proud of me. You'll see that I... A jazz singer. Does it mean nothing that Robinovich is the name of great candors? Does it mean nothing that there is a God? Oh, you, you are no son of mine. Get out! Get out of here! Geeky! Geeky, tell him you're a son. Tell him you're ashamed. Ashamed, Mama. Ashamed because I worked like a slave to get a break. Did I come home broke? Did I ask him for anything? I came home because I... Well, I... I thought you'd be glad to see me. Josely. I'm all right. The doctor told you, Josely. No excitement. I'm all right. Geeky, my son, tell him. Tell him you're sorry. Of course I'm sorry. About the jazz singing, Geeky. Mama, it's all I've got. It's all I am. I've got a life to live and I've got to live it my own way. I was away a long time and I can stay away longer. Geeky, Geeky. Let him go, Sarah. Let him go. Hal Jolson and Gail Patrick will return in a moment with act two of the jazz singer. Say, Libby, I hear you've added Van Johnson's autograph to your collection. How did you manage it without getting into a mob? Oh, I met him over at Metrogone Mayor on the set of High Barbarie. Oh, my, he and June Allison make a wonderfully romantic couple. Well, if I were collecting autographs, I'd go for Junes. She's really lovely and with plenty of talent to match. This looks like the most mature and dramatic role of her career. Well, I think any girl is pretty lucky to play opposite Van Johnson. He's such a sensitive, emotional person. He makes that picture one of the most touching love stories you can imagine. Claught Jarman Jr. does a fine job of playing Van as a youngster, too. He's a second movie role, but that lead has a real future. And I can't imagine a more delightful old seafarer than Uncle Fad, the way Thomas Mitchell plays the part in MGM's High Barbarie. Well, if I can dream, I'll take June Allison. She's the kind of sweetheart no man could ever forget. You know, whether she's wearing a summer dress or a nurse's uniform, she always looks so immaculate, so fresh. You just know she's the kind of a girl who would never have a crooked seam or a run in her stockings. Well, the studio wardrobe department helps her there. They use luxe flakes for all the stockings and other nice washables used on a lot. And luxe is the very same kind of care that girls everywhere give their nylons. And for the very same reason that studios use it. Luxing cuts down runs and helps stockings keep their fit. In fact, a famous laboratory recently proved by a series of strain tests that stockings last twice as long with luxe. Identical stockings that were washed with a strong soap popped into runs very quickly. It was amazing the way the luxe ones outlasted them. Well, when you get twice the wear from a pair of stockings, that's just like getting an extra pair of stockings every time you buy one. Believe me, luxe is a wonderful help to any girl's stocking budget. That's why girls all over the country make luxing stockings a nightly habit. Back now to William Keeley. Act two of the jazz singers starring Al Jolson as Jack Robin and Gail Patrick as Mary Dale with Ludwig Donoth and Tamara Shane. It's a week later. In a theater on 44th Street, the cast of Broadway Parade has been rehearsing tirelessly all day, making last-minute changes, polishing routines, waiting excitedly for one of the greatest moments that show business can offer. Opening night in New York. Wait a minute, Harry. Hold on. Stop the music. That's the way we rehearsed it before. I know that's the way you rehearsed it before. It's a lively dance number. The tempo. How many times do I have to tell you? Pick it up. Okay, Mr. Stevens. Come on, boys. We'll try it again. All right, course, girls in the wings. Clear the stage and make your entrance again. Come on, now we're opening tonight. All right, Harry, from the beginning. That's it. That's more like it. You won't be needing me for a minute, will you? No, but if you're hungry, send Jimmy out for a sandwich. Don't leave the theater. I'm not hungry. I'll be around. What's the matter? Time for my number? Oh, no, I just thought I'd drop in your dressing room. I'm so glad you did. Where are you going out there? Stevens is tearing his hair out. He better be careful. He doesn't have much. You seem pretty relaxed. I was afraid you'd be nervous on your opening night. Me nervous? No. Only I can't go over the feeling that if I don't make good tonight, you're going to be the goat. You and Mr. Stevens, why, you've done everything for me. You know, if anything should go wrong now, I'd feel like jumping off a bridge or something. You're going to be a great success, Jack. Don't you realize that? And everybody's going to be proud of you. Not everybody. You see, my folks... What about your folks? Well, I quarreled with them. My people, they'd sooner I was a criminal marrying them beyond the stage. Do you think my family liked the idea of my being in the theater? They thought I was just another stage-struck deb. But I did what I wanted. And now, for when that curtain goes up tonight, take a look at the fifth row center. Isle to isle. Relatives. Yeah. And they'll brag about you and have every right to brag. But my father's never going to brag about me. What is it, Jack? What's happened? You wouldn't be interested, Mary. I'm interested in anything that concerns you. If you haven't realized that by now, you... Oh, well, it's time you did. Mary, I... I just want to help you, Jack, if I can. Say, what makes you so nice to me anyhow? I don't know. Mary? Mary, look, if I make just half the hit tonight that Stevens expects me to make, if I go over half as big as everybody seems to think I will, then maybe I can tell it to you, Mary. I want to tell you how wonderful you are and how much I love... Hey, Mr. Robin. Hey, Mr. Robin. Okay, Janine. Mr. Stevens said he'd be ready for your number in a minute, Mr. Robin. I'm coming. Jack, what were you going to tell me? It can wait, Mary. It's waited so long, it can wait. Keep smiling at trouble for trouble's a bubble and bubbles will soon go away. Sadness. Weed weary of life like the violets that doze needs a chill winter snow and that life is what you meant. We'll rehearse the third act opening in ten minutes. Oh, just a second, Jack. Yeah, Mr. Stevens. Jack, you sing your songs tonight as well as you've been doing in rehearsal, and we'll be packing them in here for six months. Six months? I just bet Jack the short run a year. Well, I'm going out in front to check the box office. See you later. Oh, Mr. Robin. Yes, Jimmy. There's a stage door asking for Jakey, Robin. He said his name was Udelson or something like that. Udelson? It can't be. Jakey. Udelson, well, what are you doing here? Jakey-la, Jakey-la. I never put up knowing you. Over the trouble, I had to get in. First, I asked for Jakey Rabinowitz. I forgot your mama told me to ask for Jakey, Robin. Oh, pardon me, Mary. I want you to meet Mr. Udelson. This is Ms. Dale. How do you do? How do you do? Thank you. Mr. Udelson's an old friend of the family. Can't Rabinowitz and me be like this. Can't Rabinowitz? Yeah, that's my father. And he happens to be the finest candor on the east side. You never heard of cantor Rabinowitz? Oh, I'm sorry, I never have. Well, I have to make a change now. I'm glad to have met you, Mr. Udelson. By me, it's all right, too. Well, tell me, Udelson, what brings you up in this neighborhood? Jakey, your papa. He's sick. He's sick? What's the matter with him? Has he got a good doctor? The best doctor in New York. Dr. O'Shaughnessy from the east side hospital. Jakey, my boy. Tonight at sundown starts the day of atonement. Yum, keeper. And this is the first time your papa, he wouldn't be able to sing in the synagogue. So we had a meeting from the committee. Who should sing in his place? You, Jakey. Me? Sing in a synagogue? Your mama says what a wonderful thing it would be for your papa. It sure would. He kicked me out of the house only a week ago. A son is a son, Jakey. He could be kicked out 20 times. Udelson, it's impossible and I can't do it. Well, you don't forget the words, Jakey. They're prayers. What a boy learns he never forgets. Who said I forgot him? But don't you understand, Udelson, the show is opening tonight. What's the matter with you, Jakey? Ain't I telling you your papa is sick? Your mama is waiting. I should bring her the answer. Udelson, look. This is business, show business. Business? Making money? No, no. Well, I didn't mean that exactly. But the first thing you learn in the theater is that the show must go on. It's like a religion, Udelson, like soldiers in the army. Jakey. Now, wait a minute. These people are giving me a great chance. Mrs. Stephen, the producer, Mary Dale, that girl you just met. Well, I just can't let them down. You can understand that, can't you? I can understand that your mama is counting on you. Well, I can't do it. I'm sorry, Udelson. Sure, Jakey. All right. Let's show not over to Cusimo. Thank you. And a happy new year to you, too. Look, he remembers. What did Jakey say, Mr. Udelson? Tell me. Here. It can come, Mrs. Rabinovich. But his papa. You told him that his papa is sick. I told him. His show. It's like soldiers, he says, like religion. A show is like religion? Singing a jazz song is like singing in the synagogue? Mrs. Rabinovich, please. I want to see him. You take me where he is. He's no use. Please, all his life, Jakey said, he would do anything for his mother. And now I ask him. Oh, come in, Mary. Almost ready. Stevens wants us to run through the third act. Well, I'll have this make-up on in a minute. Look out. You're getting that burnt cork all over your shirt. And I'm kind of all thumbs tonight. All of a sudden, I don't know, and I was the guy who said I wasn't nervous. Jack, what's worrying you? Huh? That man who was here before. What did he want? Oh, nothing. He brought me some news about my father and mother. That's all. Your father. I've been thinking about that, Jack. I can't get you out of my mind. The son of a canter. Mary, maybe it would be best if you did get me out of your mind. Maybe it would be better if I got you out of my mind. You see, since Udallson was here, I kind of got a different slam on everything. You and me, Mary, we're far apart. We're worlds apart. Then why did you say you loved me? Because I couldn't help it. You see, love means marriage to me, and marriage means a home in kids. I'd like to have a kid like you. A little boy, but like you. Oh, Mary, I'm crazy about you. Jack. Jack, I... I'm sorry. I shouldn't have said it. I've no right to say it. Udallson came here to tell me that my father... You got to forget it. Whatever it was, he told you. I can't forget it. My father's sick, don't you understand? And tonight is the eve of the Day of Atonement, the most solemn holy day of the year, the big day of every canter's life. You know what a canter is? Well, he's the mouthpiece of the congregation. He sings to God. My mother sent Udallson to ask me to sing in my father's place. What did you tell him? I told him I couldn't go. Oh, I'm glad, Jack. Glad. Mary, here's something I never told anybody in my life. Sometimes when I'm alone, the old songs from the synagogue start wailing in my ears. And I... I cry. I get down on my knees and I talk to God in Hebrew. I ask him. I ask him why he didn't make me like my father. Why he didn't make me a canter, too. You... you'd want to be a canter? I... I think I would. Then why didn't you go with Udallson? Because you're like me. Like Stevens. You've got Broadway in your blood. Jack, I know what you're going through. No, no, you don't. You couldn't. Mary looked my father sick because of me. He said a week ago he never wanted to see me again. But I can see him now eating his heart out ever since. What can you do about it? Go back and be a canter the rest of your life? No. Don't you care about your career on the stage? I care. It's the only thing in the world I want. More than... than me, Jack? Yes, even more than you. That's what I've been wanting to find out. Don't you see, Jack? I don't want you selfishly. I want to see you live your own life. If the thing you want most is to be a black-faced minstrel, then don't let anything stand in your way. Not your parents, nor me, nor anything. Oh, Mr. Robin. Well? Mr. Robin. Now, man, he's back again. You do, son? Yeah. There's someone with him. A lady. Jiki. Jiki. Where's Jiki? Mama, come here. This is me, right here. Right here, Mama. Jiki, but... but it's saying to you that... that black on your face... Ha! It's only burnt cork, Mama. Jiki, I told her the same way you told me, but she says I should bring her anyway. Your papa is sick, Jiki. He's lying in bed. His face is white. Mama, sit down, please. All the time he's talking about you. He was saying to me in such low voice, I could hardly hear him. Maybe my son will sing tonight in the synagogue. He really said that, Mama? He said it. The way I'm sitting here this minute, he said it. Jiki. Jiki, your papa is dying, maybe. And God will ask him, is Jiki singing tonight? How can he say, no, he's singing in the theater. Jiki. Oh, my son, come with me home. Mama, I can't. I can't do it. Jack, get ready for your number. All right, Mary. Mama, look, I haven't time to tell you. I gotta rehearse my song. Jiki, your papa said, ask Jiki he should forgive me. He's doing things from sin, but he don't mean it. Jiki, the way I'm sitting here, before God, I swear, that's what he said. I believe you, Mama. I believe you. Come on, Jack, please. Yes, I'm coming. Mama, look, if you only knew how everyone is depending on me, they're making me a star. Mama, wait here. Utilson, please talk to her. Wait for me. Don't forget, Mama, wait. Where is he? Where's Robin? Here I am, Mr. Stevens. Well, get out there. You're holding up the whole works. Mammy, my, your little rolling stone that rolled away, rolled away. Mammy, my, your little rolling stone is home today. Day to stay. I want to see your smiling face. Smile, a welcome smile. I want to feel your fun embrace. Listen, Dixie Melody, from the heart, oh, I don't let Mason Dixon laugh. Virginia, all the soul-assie Melody, Mason Dixon, la, sing it for me. And old Blackjaw, a million baby kisses. The Swanee River. Excuse me, will you? Wonderful. Mary, I, my mother, I gotta see her. She's, she's not here, Jack. What? She's gone. She heard part of your song and, and then she... She left. She's ashamed of me. No, Jack. No. Yes. ashamed of her own son. I don't blame her. This is CBS, the Columbia Broadcasting System. Three of the jazz singers, starring Al Jolson and Gail Patrick, in a moment. There's a superstition that if your initials spell a word, they'll bring you luck. Well, J.W. doesn't speak a word, but Joan Winfield, our guest tonight, tells me that those initials have already proved lucky for us. Because they're the same as Jane Wyman's, Mr. Keely. It started when Jane was on location filming Warner Brothers' new thriller, Cheyenne. Filming some of those scenes in the Arizona mountains was a real feat. The stagecoach, Rick, is one of the finest I've ever seen on the screen. I thought Dennis Morgan was wonderfully believable as a two-gun gambler hero. You know, Janice Page and Bruce Bennett, too, helped make Cheyenne a first-rate Western. But tell Mr. Kennedy here how Jane's trip to Arizona resulted in a beautiful gift for you. Well, a fan club in Flagstaff gave Jane some beautiful hang-made lingerie, as a gift or monogram J.W. The lingerie didn't quite fit Jane and couldn't be altered, so. Jane decided it could stand for Joan Winfield just as well? That's right. I hope you'll take good care of it. Oh, you can be sure of that, Mr. Kennedy. I want to keep it lovely for a long, long time. And you'll be interested in this. Jane's maid advised me to use only lux flakes to care for it. That's what she uses for Jane's things. Well, then you needn't worry about it staying lovely, Ms. Winfield. Actual tests prove that underthings washed the lux way stay lovely three times as long. When identical slips in the 90s were washed the wrong way, they looked faded and drab in a surprisingly short time. The difference in color between them and the lux slips was amazing. Well, lux would have been my own choice anyway, because I've used it for years. I know it's safe. That's the way thousands of girls all over the country feel, Ms. Winfield. Year after year, they've trusted their nice things to lux, found lux care wonderfully gentle and safe, so that colors stay lovely far longer. Thank you for coming tonight, Joan Winfield. We hope J.W. will continue to bring you luck. Here's our producer, William Keely. Act three of The Jazz Singer, starring Al Jolson as Jack and Gail Patrick as Mary, with Tamara Shane and Ludwig Donner. The theater on 44th Street is all but deserted now. The final dress rehearsal is over, and the cast and stage hands have gone out for a much needed breather before the opening night curtain goes up. Only Jimmy and Jack Robin have remained. Jimmy guarding the stage door, Jack at a telephone. Hello? Hello, Udilsson? This is J.K. Look, I've been trying to get you for over an hour. Listen, Udilsson, I got to speak to my mother. Put her on, will you? What? Well, where is she? At the hospital. Is he very bad? All right, look, you meet me there in 10 minutes. 10 minutes, I'm on my way now. Jimmy, Jimmy. Yes, Mr. Robin? Jimmy, listen, my father, he he's sick. Tell me, Stevens, I had to leave. Leave, but you can't. Please, do what I tell you. I'm taking a cab to the East Side Hospital. East Side Hospital. Tell Stevens he can reach me there or at home. 121 Hortius Reef. I better get a pencil. No, no, no, wait a minute, wait a minute. Just tell me, Stevens, I won't be able to go on tonight. But, Mr. Robin? Well, he's got to get somebody else. I'm finished. Go in, doctor. Tell me, will you? Your father's very sick. He took a turn for the worse a few minutes ago after your mother left. Can I? Can I speak to him? Yes. He's been asking for you. For me? Asking for me. You'd better go right in. Takey, here, Papa. Here I am. You came. Sure, sure I came. You didn't think I'd stay away, did you? Takey, what time is it now? It's, oh, you shouldn't think about that, Papa. Is the sun gone down? No, no, no, Papa, not yet. Soon begins the service, the day of atonement. And I won't be in the synagogue. For the first time in five generations, a Rabinovich does not sing to God. Papa, please, you mustn't. You'll be there again soon. There'll be other days. Who? Who is going to sing tonight? Don't worry. There'll be someone, and it'll be a Rabinovich, too. I'm going to sing, Papa. I'm going to take your place. Takey, my son. Papa, I'll be right back. I got to speak to Utilson. I want you to call my mother, Utilson. Tell her to get me a praying shawl and a cap, and have it ready for me. Takey. And tell her I'm going to sing tonight in the synagogue. I do not understand. You come here to see Jakey? I just told you Jakey's at the hospital. We didn't come here to see him, Mrs. Rabinovich. I'm a friend of Jack's. I'm in the show with him. Mr. Stevens here is the producer of the show. Jakey tells me you are good to him. We came to talk to you. This is Jack's big chance, Mrs. Rabinovich. You can't let him pass it up, not for anything. Already, Mr. Utilson has told me that Jakey will sing tonight. And across the street in the synagogue, the choir is waiting for him. But this is important. Making his Papa happy, that is not important. What is it fair to let it stand in the way of everything he cares for? Mrs. Rabinovich, I love your son. And I... You love him? That's why I want him to go to the theater tonight. It's the greatest opportunity he's ever had. Maybe the greatest he ever will have. Mrs. Rabinovich, when was the last time that Jack attended the synagogue? When he was confirmed. He sang a solo in the choir so, so long ago it was. And that was the last time he went? He ran away from all this, didn't he, Mrs. Rabinovich? Why are you asking me like this question? Because I want your son to be true to himself. Do you suppose the canter would want Jack to sing? Unless he sings with his heart? I know Jack. I know what he's saying to himself. I don't want to sing in the synagogue. But unless I do, my mother will be heartbroken. My father will die. And that's why I'll do it. No, no. You're telling me lies. Oh, Mr. Stevens, we'd better go. Can't you see how we're hurting her? Mama. Jackie. You'd better get ready, Mama. The service is... Mary. Mr. Stevens. Jack, I guess you know why we came here. There's still time to get back to the theater, Jack. Jackie, I want to ask you something. Yes, Mama? I want you to tell me the truth. I want you to do only what is in your heart. Answer me. Are you singing tonight because you love me and you love your papa and your god? Because you want to be in the synagogue on the day of atonement? What is your heart far away in theaters with jazz music? Mary, Mr. Stevens, what have you been saying to her? That we're here for your sake, Jack. You told my mother that? I did, Jack. So did I. Oh, Jack, don't you understand? Tell me that you are true to yourself and staying here an hour ago. Say that you lied to me when you said that the only real thing in your life was your career. Well? Mama, get ready. We'll be late. Yes, Jackie. Yes. There is your answer. My son's answer. Jack. I'm sorry, Mary. Why are you doing it, Jack? Why? Your mother and father want you for one night in a synagogue, one night, for that you're throwing away years of work. The show's built around you. It can mean everything in the world to you. I'll tell you why. My father died 10 minutes ago. Oh, Jack. Jack, I'm so sorry. The day of atonement. It is for me. Jackie, Jackie, I'm ready. What's the matter? You are crying, Jackie. You ain't changed your mind. No, Mama. I'm going to sing. I'm your son, Mama. I'm the son of my father. I'm a can, you see? Canor of Benevits. God's going to hear me sing called Nidra tonight. Jackie, your papa will be so happy, so happy, Jackie. Jack, is there anything you want me to do? No. Just root for me to get over like you did before. I'll be all right. You see, what a little boy learns, he never forgets. Goodbye, Mary. There goes your blackface comedian. Listen, they're praying in the synagogue across the street. He'll never come back, Mary. He'll come back. He can't stay away. It's in his blood. You can postpone the opening. Say that he's sick. Say that I'm sick. I can't wait all my life for Jack to make up his mind. But you've got to wait. I'm going to wait, even if it is all my life. The taxi's downstairs, Mary. We might as well go. No, no, not yet. Wait. That's him. Yes. A blackface comedian, singing to his god. The curtain falls on the career of Jack Robin, the jazz singer. The quiz program. I'll give you a tryout on some famous lines of poetry. OK, quote. Pale hands I love beside the shallower. That's from the Kashmiri song. But I don't remember who wrote the words. Most people don't. Lawrence Hope was the name. How about the white wonder of dear Juliet's hand? The clue's right there. That's from Shakespeare's Romeo and Juliet. This one is tougher. At your, she cried and waved her lily hand. You've got me there. An English poet, John Gay, wrote that in the early 18th century. The lady was known as Black Eyed Susan. Did you notice, Sally, that all of those lines emphasize the lady's beautiful hands? You'll find many examples in poetry and song. And that's not surprising, because every man admires soft, smooth, feminine-looking hands. That's why it disturbs a man when his wife lets her hands go. Let's them get red and rough. It hurts his pride, because it seems to be his fault she has to work so hard. But it's so easy to get rid of dishpan hands nowadays, Mr. Kennedy. Why, all a woman has to do is change to gentle luxe flakes for dishes. That's right, Sally. And scores that women have proved by actual tests that changing to luxe for dishes really does wonders for their hands. So ladies, if strong soap has made your hands rough and red, simply change to luxe for all your dishwashing. In just a few days, you'll see them start to improve. It won't be long before your hands are soft and smooth again. Your husband may not write a poem about them, but you can be sure he'll notice the change and be mighty proud of you. And here's good news for your budget. Luxe makes such rich suds, ounce for ounce, it washes up to twice as many dishes as any of 10 other leading soaps tested, and no creams or lotions to buy to repair dishpan damage. Isn't luxe a thrifty way to keep hands lovely? Here's Mr. Keely at the microphone. I know you're all eager to have Al Jolson and Gail Patrick back again. So here they are at the footlights for a curtain call. I will assure you both how much we enjoyed tonight's performance. Well, thank you so much, Bill. It was a lot of fun doing the jazz singer with you and Al. And believe me, you gave me a very charming leading lady, Bill. Thank you. And a swell supporting cast with Ludwig Donath and Tamara Shane. Ludwig and Tamara were both so wonderful in the Jolson story. They sure were, Gail. You know, Al, this takes me back to the old Wintergarden days in New York, when they used to pack the house to hear you sing April showers. That sounds just like a music cue, Bill. Could be. Why not sing it for us, Al? No, no, Bill. No, no, no. Not April showers. I got a reason for that. Why not, Al? It's such a great song. Sure, I know it is. Louis Silver as a conductor wrote it. But I sang it on Jack Bennett's program in New York two weeks ago, and he claims I'm responsible for all the rain they've had in New York ever since. And I don't want to start in rain in California. I came here for sunshine. Try and get it. I'm afraid our audience will be disappointed, Al. I'll tell you what I'll do, Bill. Will you settle for a new song I've just written, or sort of a follow-up to the anniversary song? I'll leave that up to the audience. Well, Al, it looks as if they can't wait to hear it. All right, then. If Louis Silver and the orchestra will accompany me. Wait a minute, Al. What's the name of this song? The title is All My Love, and this goes for all the listening audience. Take it, Lou. Here's for you alone. It will still keep growing when most other loves have flow. Here's for you. It was just created, my dear, to be shared with you. As the years unfold, they can only bring just the constant joy of an endless spring. And our dreams untold, that were so ideal, will all fade as we make them green. By prayer, by the star. Audience appreciated it. Well, thanks both of you. And Bill, it's time, don't you think, to give us the good news for next Monday night thing, you know? Indeed it is, Al, and it's very good news. Because we're bringing our audience another great Broadway play that made an equally great movie. It's Warner Brothers' recent hit, One More Tomorrow. And our stars are Dennis Morgan, Jane Wyman, and Alexis Smith. One More Tomorrow is the tense dramatic story of a man caught between a calculating marriage and a love he's never quite forgotten. A play I'm sure our audience will never quite forget. Sounds great, Bill, but don't you think it sounds a little like Jesse James? I just put that in for a gay. But I know the listeners are going to love it because I'm going to sit in the audience myself next week. Good night, Bill. Good night. And thanks for a memorable evening. For Brothers Company, the makers of Luxlakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Dennis Morgan, Jane Wyman, and Alexis Smith in One More Tomorrow. This is William Thiele, saying good night to you from Hollywood. Did you use any fat in cooking today? Well, and the chances are you had some used fat left over. I hope you didn't throw it away. Because that used fat from your frying pan or roaster is worth money. Dealers are now paying more for used fats than they did last year. So save every drop of used fat and turn it in now for cash. Used fats are needed to make soaps and other things you want. Gail Patrick is soon to be seen in Jerry Fairbanks' production, a day at the Enchanted Cottage. Heard in our cast tonight were Carlton Cadel as Stevens, Bill Johnstone as Judelson, Eddie Maher as Jimmy, and Charles Seal, Bobby Ellis, and June Whitley. Our music was directed by Louis Silvers. This program is rebroadcast to our service men and women overseas through the worldwide facilities of the United States Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear one more tomorrow with Dennis Morgan, Jane Wyman, and Alexis Smith. Why not tune in to Joan Davis every Monday night over most of these stations?