 Lux presents Hollywood. The Lux Radio Theatre brings you Frenchotone, Miriam Hopkins and Baxter and Chester Morris in The Hard Way. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Ambition can be a wonderful thing and a terrifying thing. It drives men and women to magnificent achievement and to frightful destruction. That's the stuff good drama is made of. And tonight we have it in the Warner Brothers picture, The Hard Way. This week the names of four artists blazed brilliantly on the marquee of the Lux Radio Theatre. Reading from left to right, those names are Frenchotone, Miriam Hopkins and Baxter and Chester Morris. The Hard Way is a drama of tempestuous emotion. We'll go backstage into the life of the theatre behind the scenes of glamour to discover what one woman's ambition can do to those she loves. There's always a fascination for me in the story of the theatre. All my life has been spent there from the time I was six or seven years old and hung around backstage watching my father and David Bellasco at the business of staging plays until these latter days when Lux Toiletsope has made it possible for fine radio drama to reach an audience father and Bellasco never even dreamed of. There's no greater thrill than watching young people climb the heights and the thrill that comes when a new actress makes a dark, cold theatre vibrate with life or when a screen test reveals some radiant new personality. Even the novice seems to know how much of that radiance depends on a lovely complexion and like millions of you finds the solution in three little words, Lux Toiletsope and three other words curtain going up launches the first act of the Hard Way starring Miriam Hopkins as Helen, Frenchotone as Paul Collins and Baxter as Catherine and Chester Morris as Albert Runkel. What do you say, Doctor? Is she going to live? I can't tell yet. Are you sure she jumped in the river? Sure. We've got a couple of witnesses. Why should a good-looking, well-dressed woman jump off a bridge? If I knew how to figure names, Doc, I wouldn't be a cop. Did you get anything on her? Only that her name is Helen Chernan and she's from Green Hill, Pennsylvania. Well, I'll stop in a little later and I'll let you know what happens. Why should she do a thing like this? Why? Why did Helen Chernan leap from a bridge into the black waters of a New York City river? Well, the answer starts ten long years back in a coal mining town called Green Hill, Pennsylvania. It was the time of the Great Depression, but girls were still graduating from high school and graduation meant a new dress, something very special, lovely and white. Don't you understand, Sam? A kid can't sit in the middle of a hundred of her friends and she's the only one without a white dress. I do understand, but I just haven't got the money. Look, I know Catherine's my sister. I know she shouldn't be your worry, but I'm the only one the kid's got. We ain't even got eight bucks for the things we really need. Oh, look, Sam, she's beautiful. She's alive. And when something is that beautiful, Sam, you've got to take care of it. I tell you, I just can't do it. Ah, you're tired, man. Dirty and dumb, and you want everything you touch to be dirty and dumb. Well, I'm not personally responsible for the depression. And it ain't so easy to change things. You ought to know that. You walked out of me once, didn't you? But you came back. Now, all I want is... Shut up. Don't throw it up to me again. At least I try. Okay, okay. Go on. Try it again. All right. Maybe I will. I wish I was dead. I hate them all up in their white dresses. So you didn't have a white dress, but you graduated just the same, didn't you? Oh, look, baby, I'm going to get you away from all this. Yes, you're going to be ryeing high. I'll live and die in Green Hill, just like you. If it's the last thing I do, I'll get you out of here. Yeah? How? Well, maybe I don't know just now, but the chance will come. Katie, you've got to promise me one thing, that you'll handle yourself right. Oh, don't get taken in like I was. I'd promise anything to get out of here. That's it, honey. Say, you've got a date tonight, haven't you? Yeah. Johnny Gilkin. Where are you going? Helen, if you couldn't fix things for yourself, what makes you think you can for me? Well, baby, you've got something I never had. What? You've got me to guide you. And you've got natural resources. That's better. Cheer up. You'll have a swell time tonight. What's yours, Katie? Oh, banana split. Banana split. I know, Johnny. Hey, there's Katie. Hiya, Katie. Hey, Katie, come on back here and join us. Come on, Johnny. You were just talking about what we're going to do now that we're through with that tripping high school. Yeah, what about you, Katie? What are you going to be? I don't exactly know. I may go on the stage. On the stage? We just come from the Orpheum, so now she's got to go on the stage. Well, it just happens, I think the stage is wonderful. And it just happens that I can act as good as they do. Just listen. Presenting Runkle and Collins, a pair of sophisticates. Who's a pair of sophisticates? A couple of ham actors we saw tonight. Runkle and Collins. Am I blue? Am I blue? Hey, Paul, I think I'll have a chocolate ball with these apples. Well, will you listen to that? Yeah. Say, she's kind of cute, ain't she? Kind of fresh, too. She sure seems to know our number. How do you like that? She said that kid's got something. Well, let her keep it. Say, she must have seen us at the Orpheum, huh? Yeah, the lucky little lady. Want to mean you? No, no, I kind of lost my appetite. Get them all. You're going to need your strength. Till today, now he's gone and we're through. Am I blue? These are the guys, Katie. The guys from the Orpheum. I know it. Well, thanks, but I think I've done enough. No, no, go on, do the second court. Oh, you're very nice, but I... Well, now, wait a minute. Why not sit down over at our table? Well, I'd like to... We need to think out the time, Katie. I got to catch that last trolley. Well, goodbye then, Johnny. Oh, now. Oh, gee, Katie. Well, dog gone at goodbye. Goodbye. He's very young and foolish. And besides, you've got real talent. It hits you just like a... Well, like a sledgehammer. Am I right, Paul? Like a sledgehammer. Tell me, Miss... Blaine, Catherine Blaine. Do you dance, too, Miss Blaine? Oh, sure. Say, I bet you do imitation. How'd you know? W.C. Fields, Hazoo Pits, Maywest. Oh, yes. No limit to this girl's talent. I'll tell you what, let's go back to the theater. Sure, you can have the whole stage here and had your malted milk. Well, boy, what do you have? What do you say, Miss Blaine? Do we stay here or go to the theater? Let's go, quick, before I change my mind. What about you, Mr.... Me? Hey, wait a minute. What are you doing tonight? Oh, now, listen. You're the nicest girl I've met since I left Nebraska. He's just kidding, Miss Blaine. Oh. I'm just kidding. Well, shall we go? Sure. Come on, Paul. That's Paul for you, Miss Blaine. Always kidding, but what if... Oh, what if... That was wonderful, Miss Blaine. It was swell. Oh, sensational. Now, I'll tell you a little secret. You say you saw me tonight. And what did I do? I sold them, see? Now, look. Hi, folks. Hello, folks. I didn't get the teeth, you see? I'll tell you how are the folks. How are you, see? Oh. Sure, sure. Sell them all the time. That's me. Now, uh... Now, suppose you take the entrance over again and just remember you gotta sell them. Well, if the working girl arrives on schedule, Mr. Collins. Okay, let's go. Hey, don't you ever get tired? Miss Blaine? We're not gonna wait around to find out. Say, what's your name, baby? Say, that was swell, Katie. Just a little more training. And you're really gonna go places. I know. It's three o'clock. But if you just let me explain... Explain what? You let some fella pick you up, didn't you? A guy whistles at you and you come running. That's not so. Something wonderful happens and everybody tries to... You don't know what you're talking about. Nothing nice has happened to you. You're only making a lot of trouble for yourself. Tonight's been the best night I've had in my whole life. I danced on a real stage. I sang. He said I was wonderful. Who? Who said that? The guy I just told all? Yes, and his partner, too. Ruckle and Collins. They're real professionals. The one who brought me home is Albert. Albert Ruckle. He looks like a farmer. Well, he's a very important man. He says I got more talent and stuff than any of them. Katie, what? You think he really likes you? Well, he said he's been missing something for the last ten years. Since the night he found out what it was. It was me. And you? What about you? Do you like him? What do you think? I see. How long is he going to be here? Three days. He said he couldn't bear the thought of leaving me. He wants to see me tomorrow night, too, if... If what? If I can get out. But after the way you spoke to him, it probably hates me. I don't think so, honey. And don't worry. You'll get out. Oh, Helen. Yeah, don't worry. Good night, Katie. So, you see, I just didn't know who you were last night, Mr. Unkle. And naturally, the impression I got wasn't very favorable. Oh, yeah, naturally. Go ahead, sister. What do you want? Well, can I speak to you alone, Mr. Unkle? Somewhere where it's quiet. Yeah. Yeah, sure. I'll look for it. Would you mind if... Okay, I'll beat it. But remember, Farmer, I warned you. Stay away from the natives. Go on. Beat it. He's always kidding. Great guy. Now, about last night, Mr. Unkle, do you think you were quite fair? Fair? A man like you filling Catherine's head with the theatre in New York, telling her she's talented and beautiful, that you like her. But I do, Mrs. Chernan. I meant every word of it. Mr. Unkle. Do you know what she did last night? She cried. Oh, no. Imagine that. Crying because of me. Look, Mrs. Chernan, can I see her again? Can I see her tonight? They're asking something very difficult. Frankly, I don't think you're very serious. Oh, listen, Mrs. Chernan, every word I said, I meant it. I'm going to tell you something. This may sound kind of funny after seeing Catherine only once, but it's the truth. Mrs. Chernan, I'd lay down on the railroad tracks for her. Do you believe me? Yes. Yes, I believe you. Oh, thanks. And then tonight after the show? Well, all right. After the show then. Oh. Oh, gosh. Thanks, Mrs. Chernan. Thanks. Well, the train's ready to leave. Where's that dumb partner of mine? Oh, Paul, let's talk about us, honey. Boy, will I be glad to get Ronkel out of this town. Love has smitten him like a 10-ton truck. Paul, where'll I write you? Oh, Detroit. But last night, I thought you said Louisville. Did I? Well, I leave from town to town like a train flea. And from girl to girl, I suppose. Hey, Paul, we're here. Paul, wait. What do you mean, we? Step on it. Yeah, well, we'll kiss her, Paul. Go ahead, kiss the bride. Hello, Paul. Right. Sure, it just happened. I convinced her at the last moment. Well, congratulations. Aren't you going to congratulate me, too, Mr. Collins? After all, I gave the bride away. Oh, excuse me. Congratulations, Mrs. Chernan. Well, come on, honey. Let's go, Paul. Tell you all about it on the train. Well, goodbye, Mrs. Chernan. Nice work. Not goodbye. I'm going with you. But of course, how stupid of me. I should have known. Oh, goodbye, Paul. Goodbye. So long, honey. You mean right for me and Louisville? Yeah, I will. What? All alone, Albert? Yeah. Yeah, Katie and Paul went out for a sandwich. Yeah. Albert, I've been doing a lot of thinking. You and I just got to do something for Katie. Yeah, what's the matter with her? I'm talking about the act. She's been with you and Paul now for six months. Well, nothing's happened for her. Oh, gee, Helen, she's out of Green Hill. She's married and she's in the act. It seems to me that's a lot for six months' time. I'm trying to tell you, Albert, the act just isn't any good. You've got to put in something to attract people. Oh, now please, Helen. Albert, you've got to have more Catherine in the act. No. No, it wouldn't mean practically all brand new routines. And I'm against it and I don't think Paul would like it either. Well, why are you worrying about Paul? Well, I just don't think he'd like it, that's all. Talking this way behind his back. Well, who's more important to you? Your own wife or Paul, Carl. Now, Helen, that's no basis and you know it. After all, he's my partner. We've worked together for five years. I've got to take his feelings into consideration. Listen to me. Do you think he gives a hoot about the act? I know him better than you do. The act's beneath Mr. Collins. He keeps talking about wanting to lead an orc. He said that for years. And as for the rest, I just don't believe it. Someday he'll pat you on the shoulder and say, So long, pal, it was fun. You'll see. That's not true. Oh, well, but why don't you be smart? If you had any sense, you'd get rid of him first. After all, you don't need him. Well, I just dropped in to borrow a couple of bucks, Albert. Hey, what's up? I distinctly smell something. Come on, Helen, who's getting it now, my dear? What the devil do you mean by crack like that? Don't go on it, Paul. That's no way of talking. You know it. Every time you see Helen, you start those wisecracks. Gee, you're no privileged character around here, you know. Well, what's good into you? Well, it's not because she's my sister-in-law. It's just that I'm sick and tired of all this friction. All the cheap, nasty remarks. Well, let's change the subject then. Okay. Where's Katie? Well, she's shopping. She thinks she needs a new dress. Now, you see? That's just what I mean. Now, cut it out. It's just too easy going. I let people walk all over me. Well, I've stood enough. Now, don't go on it. What does everybody want of me anyway? Well, all I want is a couple of bucks. I got a date with a lady tonight, a genuine lady. That's a novelty. Well, here. Thanks, Ron. You drink your milk, Helen, and grow up to be a nice young girl, and I'll take you out one night, too. Now, what do you want to do a thing like that for? What does it mean, huh? Well, all right, don't talk then. I'm going to go for a walk. Well, Helen, what started it this time? Oh, I'm trying to get some life into the act. If you and Albert will only give Catherine a chance, like giving us song to do. So long? Sure. All she does is walk through. That's not enough, Paul. Well, I'd like to see the kid get a break, too. But where's the time coming from? You know the act only runs 12 minutes. Well, if there's no other way, we could cut out on Albert's stuff. Well, it's for the good of the act, isn't it, Paul? We're not really doing him any harm. No, I suppose not. You've got to think of the men in the audience. They want to see a pretty face, a young girl. That's what the act needs a little... You know, Paul. Yeah. Say, I got an idea. Yeah? Maybe we can work it out tonight. Oh, that's wonderful. You know where Albert finishes his first routine and goes to the wings for his quick change? Yeah. Well, you'll be waiting in the wings for him, and just as he takes his coat off... Well? ...take a knife and stick it right in his back. So long, Helen. Let me know when you get some more good ideas. In a few moments, Mr. DeMille presents Miriam Hopkins, Franchotone, Anne Baxter, and Chester Morris in act two of The Hard Way. And now, two young men in blue are discussing something important. Hey, Joe, do you realize this is the last port before we get home where we can do some shopping? I want to get a present for my girl. Got anything in mind? Well, I don't know yet, but it's got to be something pretty special for Mary. Come on, let's go. Joe, I see it. I see it. Say, let me look at those pearl things there, will you? Ear clips, aren't they? Gee, those are swell, Bill. Nice color. You bet. Just right. They make me think of peaches and cream, just like Mary's complexion. Boy, they look wonderful on her. Lovely luxe complexions do get compliments like that. There's something about creamy, smooth, luminous skin that always makes heart beat faster. Screen stars know this, and they're extra careful to give their delicate complexions the right kind of daily care. Here's what Loretta Young, famous for her exquisite skin, says. A luxe girl? Yes, indeed I am. I depend on active-latter facials. They really make skin lovelier. Here's what I do. Cover my face generously with a rich luxe soap lather, and work it in thoroughly. I rinse with warm water, splash with cold, and then pat with a soft towel to dry. Simple, but it works. Yes, recent tests proved that regular beauty facials with luxe toilet soap improved actually three out of four complexions. Why not ask for this gentle white soap nine out of ten screen stars used tomorrow? If you find your dealer is temporarily out of stock, due to wartime conditions, he's sure to have more soon. Remember, Hollywood beauty soap is worth waiting for. Now our producer, Mr. DeMille. Act two of the hard way, starring Miriam Hopkins as Helen, Franchotone as Paul, Anne Baxter as Catherine, and Chester Morris as Albert. It's a long time now since there was a Waterville team called Runkle and Collins. It ceased to exist one day when Paul Collins simply left town and disappeared. Waterville disappeared too, but Helen Cernan was prepared. She fights all the harder to bring Stardom to her sister, and out of her struggle comes an engagement for Katie and Albert in a New York nightclub. In the dressing room after their first appearance, they find an old friend waiting for them. Paul, Paul Golly is good to see you. Oh, Paul, gosh, I'm so happy. I don't know what to say. Yeah, it's been a long time, kid. We kept looking through Variety and Billboard, Paul, but we just couldn't see the location. Strictly small time, baby, that's me. How do you like this dressing room, huh? Well, Runk, well, Katie, you sure killed the people tonight. Thanks. You know, Paul, I got a feeling we were kind of cold tonight. You know, the first time in a nightclub. Oh, it takes time, Runk. How's Helen, Katie? Oh, fine, Paul. She's fine. Oh, you gotta hand it to her, Paul. She's worked her head off for us. And just wait a little more a night, baby. I'm gonna tear the place apart. Come in. Oh, hello, Mr. Wade. Runk, I, um, I happen to hear what you just said. Well, there won't be any tomorrow. Sorry I haven't got time to be selling, but I can't use you. Hey, what is this? You, uh, you can't fire us. We got a three-way guarantee. You got it. Who told you that? Oh, Paul, hello. Hello, Helen. Hey, Helen, what's this guy talking about? He's right. Tonight was just a tryout. A tryout? I'm leaving. Sorry. Well, boy, you fixed us great. Please, Helen, at least explain it to Albert. Katie, Katie, you mean you knew about this? Of course not. Honest. I did it to help you, Albert. You'd be satisfied to hang around smelly little theaters all your life. Well, I'd tell a lie any lie to pull you out of that. Oh, 11 years in show business and I got an audition. You're not the reason why you're what they do. John Shagrew was out in front tonight. Did you hear that? Shagrew. What, the Broadway producer? You mean he caught us? That's right. Well, for crying out loud, why didn't you say so? He wants you for a part, Katie. Oh, did you hear that, baby? Shagrew liked the act. Albert, Mr. Shagrew wants Katie. Katie? Yes. Well, uh, what about me? There's no part for you, Albert. I couldn't do anything without Albert. I just couldn't. Oh, well, sure you could, baby. It's got nothing to do with what's between you and me. This is strictly business, you see. There's no hard feelings. No hard feelings at all. I'm not going to let you go. I'm not. Oh, now you're worrying about me and I am going to let you. Well, I can always go back with Paul if I want to. Not Paul? Why not? For five years we were a sensation. Albert, look at that. You hate me. Katie, I'm glad for you. I think it's great. I... I wish you all the luck in the world. I'll see you later. Hey, wait a minute, Uncle. Now look, that grandstand stuff is silly. You'll keep out of this. You leave that kid with Helen. You'll never see her again. Nothing doing. I've still got my pride. But don't be a sap. She needs me. I know she needs me. She'll come back. You'll see. And now would you let me alone, Paul? Would you please let me alone? Oh, Helen, where's Katie? She's dressing. Having a good cry, too, maybe. She'll get over it. You know, in a queer, crazy way I have to admire you, like watching the maneuvers of the Atlantic Fleet. And after you've done something particularly nasty, I'd like to take you in my arms and kiss you. Is this the line you feed all those girls of yours? You're marvelous. A regular machine. No heart, no blood, no feelings. Still, you did have a husband once, didn't you? No. I bet you never were in love in all your life. You're smart. You're very smart. But you're wrong, Paul. You don't know. Oh, Paul. Where'd you learn to kiss like that? Oh, Paul. I do know, darling. I've known all along. You can't. I know what you think of me. There's so many things. Oh, there's so many things I've wanted to try to explain to you. I'll tell you what, sweetheart. What, Paul? Right me, honey. Right me and Louisville. Okay, kids, we break. Be back at 8.30. Miss Emery's number. Miss Lily Emery on stage. The number's beginning to look good, Katie. Yeah. I've never on the stage with less than a dozen people. I might as well be carrying a spear. Never mind, baby. Your time will come. Yeah. Well, let's go. I'm hungry. Why don't you run on ahead? I want to hear Emery. Okay. Ready, Miss Emery? Any time. Okay, Joe. What's the matter? Lily, would you please sing a little louder? Whatever you say. Let's take it again. Those men deliberately hammering. Hold it. I'm tired, John. I've been hanging around this theater now for seven hours. You've got to have a little consideration. Sorry, Lily. If you don't mind now, just once more, eh? Well, it's a shame, Miss Emery. An artist like you having to put up with such disrespect. Charlie, Miss Emery will have another martini. Hey, I can't get back to rehearsal. Well, not even. Mr. Chagru seems to have any consideration. My pound of hammers, when I try to rehearse, one smelly little number. It's like using a racehorse to pull a plow. Hey, that's beautiful. Beautiful. That's what I am. A beautiful thoroughbred racehorse pulling a stinking plow. Just so terrible to see it happen to a woman with your reputation, your talent. My talent? What have they done to it? I was a pure blazing light. That's what they call me, my critic. Now they say, tell me the truth, Helen. What are they saying now? Oh, well, Lily, it isn't anything you should take seriously. Go on, tell me. Ten years ago, the men were lined up waiting for me at the stage door like it was feeding time at the zoo. Just ten years ago. Hey, where is it? What, dear? Like cupping. I was a pure blazing light. Helen, right here in my purse. Here are my cuppings that's stolen from me. Everybody's stealing things from me. Oh, well, I'm sure you'll find it, Lily, and then you must show it to me. But now I think we'd better get back to rehearsal, huh? Yeah. It was in the Sunday theater section, and three pictures of me. I think we've had enough for tonight. I saw you shaking your head. Oh, don't just say it, just sorry for me. Nobody said anything of the kind, Lily. Don't tell me. I know what happens in this dirty racket. I do just one job like this, and I wind up in burlesque. And stop that hammering. Nobody's hammering now, Miss Emery. I think she's drunk, Mr. Shiklun. I'm not drunk. I'm not. Ten years ago, the managers filled my dressing room with flowers every day. This is ridiculous. It's just ridiculous. Well, I'm through, John. Do you understand? I'm through. All right, Katie, go on up there. Ask Mr. Shiklun to give you a chance. You know the song backwards. Gee, Helen, don't you think I should wait just a little bit? No, now's the time. Hurry, Katie. Helen, I can. It just doesn't seem right. Then I'll see myself, but you get ready. Ready for what? To take Emery's place in the show. Look, Katie, ten times better than nearly every other dreamer's dream. Thanks. Thanks. The telephone for you, Miss Lane. It's a long distance. Oh, I'll be right there. Albert, you never heard so much applause in your life. Oh, shoot. I will call you Albert, except we're still backstage, and everything's so... Oh, crazy, gee. Hello, honey. I'll come. Gee, Albert, that'll be swell. Who's that? Albert. He's in Philadelphia. Just a second, Albert. Oh, forget it. Well, you have to get dressed. Shabu's giving a party, especially for you. You don't want to miss a minute out of this. Oh, Albert? Oh, gee, I'd like to see you, but I don't even know where I'm going to be in two hours. First, it's so much excitement. Sure, I know how it is. I'll bet you were great. But I was just thinking, honey, that... Yeah. Sure, well, I'll be seeing you, Albert. I sure wish you were here. Well, goodbye. Katie. Katie. Yeah. Well, goodbye, honey. What do you have to say, Runk? Oh, oh, great. They're still important. Isn't that marvelous? They're marvelous. Hey, Albert, I just looked up the cast of a show on the variety, and there ain't a Catherine Ronco in it nowhere. Well, of course not, Catherine Blaine. You... Well, you can't expect her to use a comedy name like Ronco, can you? Look, if you're going to New York, you better get moving. I ain't going. Now, look, Runk, you go up there tonight. Now, get your wife. I said I'm not going. Can't you? See what they're doing to you? Runk, please, wake up. Cut it out, Paul. You leave that girl with Helen another two weeks. She's going to end up a first-rate farmer. What's the big idea, Albert? Slugging your best friend. They're poor sap. Never should have left a farm. I'm looking for Catherine Runkle or Catherine Blaine. They told me at the theater I'd find her here. Well, yes, sir. You just wait until you're here. Albert. I'm looking for Catherine Runkle or Catherine Blaine. They told me at the theater I'd find her here. Well, yes, sir. Wait until you're here. Albert. Albert, what are you doing here? Where's Katie? Now, why don't you go to a hotel, Albert? And you can see her in the morning. My wife's here, and I'm going to talk to her. She can't talk to you now. Be sensible. You stop trying to tell us what to do. I'm going in there and find my wife. Well, you think it over, Catherine. I'm sure, my dear, you will find her. Think what over? Albert. Who's this guy? What's he talking about? Oh, nothing, Albert. Swirl a bunch of liquor carriers you're running around with. Who is this big bully? Oh, he's just an old friend, Mr. Winston. I'm not anybody's old friend. I'm her husband. Won't you please stop shouting? Oh, please do be quiet. Katie. Katie, I got to talk to you. Then go into another room and get him out of here, Catherine. Maybe we better go inside, Albert. All I want to do is to talk to you alone. Please let me apologize, Mr. Winston. I should be kind of understanding. I... I'm sorry, baby. I guess I just lost my head. Well, what is it? What do you want? Well, I... I thought up a lot of things to say on the way down here, but... when I look at you, you... you're just so beautiful I can't say any of them. All I know is that I love you. Of course you love me, Albert. Is that what you wanted to say? Katie, I... I just can't go on like this anymore. I'm not ashamed to say so I can't work or can't do anything. I'm so lonesome I cry in my sleep like a six-year-old. Albert, I'm in a show. They tell me I'm a big hit. What can I do? Well, you could quit, Katie. Oh, please. Let's try and make some sort of life for ourselves. How can I give up everything now? It's not even right. I'm not asking you because it's right. I'm asking because I need you. Everything's so wonderful for me now. I'm living in like a bath of champagne. We'll be together, Albert. Later on, there's plenty of time. Katie, I got a feeling if you don't come back to me now, tonight, you never will. Why do you say a thing like that? That's terrible. Because Helen won't let you. Don't you dare say anything against Helen. Day by day, she's making a different person out of you. She's just no good. Everything she ever did, she did for me. Everything. Yeah? Well, I just can't think straight. Then come to New York. I'm making enough money to take care of this boat. Now, what kind of a heal do you think I am? And what more can I do? Go back to those one-night stands holding your hand in some dirty little theater. If you think I'm going to do that, you're crazy. Katie. Albert. Albert, forgive me. I didn't mean that. It's all right, baby. I'm sorry. Well, I'll get along. Good night. All those speeches I rehearsed. Say, Mr. Runkel, is your partner back yet? Something on your mind? Well, it's like this. Personally, I think you boys are great. But the customers... Yes, it's okay. So, where through? Fine. I got a great idea, Mr. Runkel. I just found out that your wife is Catherine Blaine, see? She's a great artist, Mr. Flores. Sure. And if we advertise it right, that you're Catherine Blaine's husband, well, you'll go over great. Oh. Well, I... I couldn't do that, Mr. Flores. I know. That's no disgrace. It's good business. Thanks, but... I guess we'd better call it quits after Saturday night. I'll tell Paul. First, talk it over with him, huh? Will you do that? I'd appreciate it if you leave me alone. Okay, Mr. Runkel. Sensitive. Everybody can be sensitive but me. Well, boss, what did he say? Nothing doing. Can you beat that? He could be living in the lap of luxury, and all he does is sit around like a dope, playing his wife's records. I... Frenchy. Boss. Oh, no. You wouldn't do a thing like that. Runkel! Mr. Runkel! Quick, find his partner. Get Mr. Collins here. Quick. Oh, please. Please, darling, you've got to stop crying. Yeah, that's only his grave. What a place to be buried. Gatlin, Kansas. Funny about Runkel, he was the kind of guy who should have lived in a big house and had 10 kids to eat Thanksgiving dinner with him. He invented something sweet and loving. Called it his catman, his katie. At night, we used to walk around the dreary little towns we were in. He'd read your letters under the street lamps. The nicest girl he met since he left Nebraska. Letter alone, Paul. People get hurt. To nobody's fault, they just live and get hurt, that's all. Sure. The world's full of murderers. Come on, darling. Well, be careful, katie. For Albert's sake, he wouldn't want you to get hurt. It's my fault. Just like I killed him. It's nobody's fault, katie. Albert was weak. The only thing you ever did to hurt Albert was to become a success. And you can never blame yourself for that. Never. We pause now for station identification. This is CBS, the Columbia Broadcasting System. After a brief intermission, Mr. DeMille returns with Franchotone, Miriam Hopkins, Anne Baxter, and Chester Morris in act three of The Hard Way. And now, we have a gentleman here of a romantic turn of mind. And he has a question for us. As a matter of fact, he insists on singing it to us. Right, Bob? Well, I've got a reason for putting it musically, John. Here goes. Isn't it true Luxe girls win hearts? Isn't it true Luxe girls win hearts? Well, there's only one answer to that question, of course. Well, that's just the point, John. You can make a whole song out of that question. And the answer is always yes. Now, Bob, that takes a little explaining. Well, each time you sing it, you drop off a word at the end of the question. Here's what I mean. Isn't it true Luxe girls win hearts? Isn't it true Luxe girls win? Isn't it true Luxe girls? Isn't it true Luxe? Isn't it true, isn't it? You've got something there. The answer is yes every time. Isn't it true? A girl with a lovely soft complexion, a Luxe complexion, can't help but win admiration and hearts wherever she goes. So doesn't it make sense for a girl to give her skin the best of care every single day? Well, here's what a famous Hollywood star, Rosalind Russell says. I never neglect my daily Luxe soap beauty facials. They really make skin lovelier. Yes, recent tests proved that actually three out of four complexions grew softer, smoother, more appealing, with this regular Luxe toilet soap care. Why don't you see what this gentle soap can do for your skin? Every cake of Luxe toilet soap is so white and satiny smooth, you can tell right away it's a real beauty soap. Luxe toilet soap is hard milled to last, too. That makes it thrifty as well as luxurious. It's patriotic not to waste soap these days, you know. So always be sure to put your beauty soap in a dry soap dish. And now, Mr. DeMille returns to the microphone. We'll have a few personal questions for our stars after the play. But now here's the third act of the hard wave. Starring Franchotone, Miriam Hopkins, Anne Baxter, and Chester Morris. The years that followed Albert's death have been kind. Paul Collins has an orchestra now, one of the country's finest. But Helen Chernan's conquest in managing her sister has been far more sensational. For Katie is the brightest star on Broadway, though badly shaken by Albert's passing. She has done her utmost to forget him. Sometimes by working to exhaustion, and sometimes by drifting home in the middle of the morning after a night bubbling with gaiety and alcohol. Hello, Helen. It's a lovely day. I've been at the telephone for hours trying to find you. We've got a head full of Red Heart rivets. You fool, you little fool. I've got a right to have a little fun, haven't I? Oh, get inside. Anderson's been here since 8 o'clock. I hate it. A massage and a cold shower, and you'll look like a human being again. John Chagru and Laura Britton will be here any minute. Today? Yes, darling, today, now. Oh, Helen, I forgot. You told me you'd do anything to become a dramatic actress. I'd break my neck to get Laura Britton to write a play for you. And now you say you forgot. I can't help it. I'm sick. So am I. Sick of batting my brains out for the kind of things I'm getting. Anderson. Yeah? She's here. The homes I go into, the things I have to see. You're well paid. Get to work. I mean, go, you octopus. Oh, you'll be OK, honey. A few showers, hot and cold. I'll kill you. I'll kill you. And to the door, Essie. Yes. Anderson. Hello? For heaven's sakes, make her look good. Do you hear? Yes. Is that you, Helen? Good morning. Laura, darling, come in. Hello, John. Good to see you, Helen. Well, where's our little girl? Oh, she'll be right out. But to tell the truth, I was thinking we might go ahead without her. But we have to know what she thinks of the part. Well, of course, darling. Well, what difference does it make? I'll tell her about it. Well, frankly, Helen, I'm worried. The part needs somebody charming, fresh, and alive. Well, Katie certainly fits that. Let me go. Let me go. I don't think she's going to scold me. I won't take my clothes off. Oh. Oh, John. Oh, it's written. Anderson, get her in the bedroom. No. The average woman lives to be 62. Well, ladies, I guess we'll have the reading another time. Oh, but, John, that doesn't mean a thing. Katie's just been off on a little tear. Helen, let's face it. I'm crazy about Katie. But I've got a play to produce. And I just can't do it with her in the lead. Wait a minute. You promised us that play. I'm sorry. You're running out on us just when we need you. You're thinking about yourself and no one else. As far as I'm concerned, you've turned out to be a first-class heel. Coming, Laura? Well, really, John. I do think you're being a little harsh, but... Oh, well. I'll call you later, Helen. Thank you. Goodbye, Helen. Goodbye. Well, Katie. Well, it's for anything. Oh, no. She crewed just as hard as he didn't want you at Laura's play. That's all. Well, now what? You don't think I'm lit, do you? I want that play, and I want you in it, even if I have to produce it myself. But Laura's selling it to John. Is she? I don't know it, but Laura's selling it to me. Anderson? Yeah? Keep working on her. She and I are going to have an appointment this afternoon at the Embassy Club with Miss Laura Britton. Oh, there you are. My, my, but don't you look nice. Thank you. And would you certainly stink all this morning? Laura, darling, I'm going to tell you frankly why we're here. You just might give me Anderson's number. She's too pretty. Yes. Now, what I was about to... Well, well, a too famous lady. Oh, Paul Collins. Hello, Paul. Hello, Katie. Oh, Miss Laura Britton, I believe. How do you do? Well, here we are again after all these years. Yes, here we are. You're doing rather well for yourself, aren't you? I hear you're banned all the time on the radio. Puscanini's resting easy. He's still got a big lead. You know, you still fascinate me, you two. Helen and Katie. Katie and Helen. Well, that's fine, Paul. Like every other woman seemed terribly dull and uninteresting. Really? I wonder why. Well, I'm sure Miss Britton understands. You know that feeling when you're on a tall building that desire for self-destruction? Well, these two lovely ladies represent my deepest desire to cut my own throat. Goodness. Oh, Paul, do you mind Miss Britton and I want to discuss business? Oh. Katie, take him away. Have a drink at the bar. Come on, Paul, let's go. Goodbye, Miss Britton. Farewell, Lady Macbeth. Hmm. Very attractive guy. A little eccentric. Helen, that man means something to you, doesn't he? Don't be silly, Laura. Now, darling, about the play. What? I believe you're in love with him. Why haven't we seen you before, Paul? You could have fallen. I don't know. I think about you every day. Tell me, having a good time? I guess so. I just don't seem to care about anything. But I do where I go. Yeah, I know. Same old story. The big star, but so sad, so lonely. Paul, be nice to me, please. I'm sorry. Would you like to know the truth, Katie? If it's a nice truth. Remember the first time I saw you? In the ice cream parlor at Green Hill? Yes. I thought you were wonderful, then. I'd like to go off somewhere and try to get back to that girl in the ice cream parlor. Ah, you're with Helen in Broadway for keeps. You can't break away. Forget it. We met. We had a few sentimental words, and that's that. Well, I got to catch a train. Where are you going? Saratoga Spring. I booked at a resort near there for a month. I can't tell you how much I enjoyed seeing you, Paul. Thanks. Well, Katie, I better take you back to Helen. No. What? Oh, nothing. Yes, I guess they want to talk to me. Hello? Hello, Paul, is that you? Yes. Is this Katie? Yes, where I am. Well, where? In your hotel. I just had to come, Paul. I'm calling from my room. Yeah? She's in New York. What'd you do, chloroformer? What about the new play? I'm trying to tell you, Paul. I want to see you, see you with you. I don't want to talk about theaters or plays or anything. Paul, you're not angry. Are you a crazy kid? Oh, Katie, hang up and come on down. This is wonderful. Wonderful. That's the first word you've spoken for ten whole minutes. You're a deep thinker. I'm a minor league deep thinker. You've been here two weeks, Katie. Has it occurred to you yet? What? To marry me? Yes. But I didn't think it would ever occur to you. Katie, let's take a chance. Paul, do you really think it could be? The way we'd want it to be. Well, if we don't try, we'll never know. I'll take a chance. Thanks, Katie. Come on, let's go for a swim. Hey, wait a minute. You haven't even told me you love me. There are a lot of things I haven't told you. A fine thing, and you haven't kissed me, have you? Oh, excuse me. Yes? There are two ladies looking for you, Miss Blaine. I'm a spreading on your sister. Oh, thank you. Surprise, Katie. We decided to come very suddenly. I'm glad you're here, Helen. Where's Laura? Unpacking. I have so much to tell you. A good start would be to tell me about Paul. Why didn't you say he was playing here? You wrote as if you didn't know a soul. That's the same as lying, Katie. Well, I guess I wanted something just for myself. Meaning I'd be in the way. That's not so. I didn't care if it was somebody else. But Paul. Oh, you make yourself so cheap. Please, Helen. The truth. A different girl every week. That's the way he's always been. This just happens to be your week. I wish you hadn't said that, Helen. We're going to get married. Married? Doesn't it mean anything to you that I'm happy for the first time in years? Of course it does. Only I... Well, I don't want you to make a mistake. I'm not making a mistake. Katie, don't you think you ought to wait? Even if it's only... Katie, I just had a wonderful idea. Oh, hello, Helen. Hello, Paul. I just told her about us. Yeah, I can see how delighted she is. If she wants to marry you, Paul, there's no way I can prevent it. That's clever of you. Only I just think she should wait for a little while, just to be sure. And that's still more clever of you. Besides, there's the play. This is the crucial point of her career. Nothing should interfere. Katie, we may as well get it straight. You won't be able to do the play. You don't seem to realize every cent we have is tied up in the play. Why don't you want us to do it? What have you against the theatre? Nothing. It's great for people who care for it. To you is just a cheap gain. Katie, Katie, listen to me. You've sweated and slayed for years to get ahead to be somebody. And now he's asking you to throw it all away for a lot of sentimental promises. You don't believe him, do you? All of a sudden, Paul Collins is full of ideals. House in the country. Kids. That's right. That's what I think Katie wants. Of course that's what I want. Then you've got to break away from Helen. Now. At last, you admit it. You want to take her away from me. Katie, he'll do anything to hurt me. He hates me. No, but I'm not going to let you destroy Katie. You don't believe that, do you? You can't leave me now, Katie. I'll lose everything. All I'm asking is that you and Paul wait till the play closes. Is that so much? Paul, you see how much it means to her. We can wait a little while, can't we? There'll be nothing to wait for, Katie. I just can't walk out on her now, Paul. She's counting on me. Well, I'm sorry about those kids, Katie. Every one of them. In ten minutes. Curtain in ten minutes. How are you feeling, Don Ho? All right. Oh, you're going to be wonderful. The house is sold out, is it? Katie, are you still worrying about Paul? I can only see him for one minute, just to talk. But darling, he hasn't even written. I can't blame him. He gave me a chance and I threw it away. Stop worrying, baby. Now you have a performance to give. Miss Chirin, you want it on stage. I'll be right there. I can't even think. I don't even know my line. That's nonsense. Just remember the change in your first entrance. You come down the stairs. I know, I know. And be careful of the steps. They're steep. But I'm sure Miss Blaine will see me. Won't you tell her it's Paul Collins? Well, I'm sorry, sir. I can't let anyone in the stage door. Oh, there's her sister. Miss Chirin. Yes? Oh. What are you doing here, Paul? I'd like to see Katie. I'm afraid that's impossible. The curtain's about to go up and anything might throw her off. She's very nervous. Oh. Well, tell her I'll be in there cheering, will you? Paul, we settle this once, please. Let's leave it that way. Yeah, this is your night, Helen. I don't want her to do anything to interfere. It isn't my night. It's Katie's. Don't kid me. I hope you enjoy it. But remember, one of these days, it's all going to catch up. Thanks for the warning. I told Miss Blaine that Mr. Collins was here. Mr. Collins is left. Where is he? Where's Paul? He's gone, Katie. I sent him away. Helen, how could you do that? Paul! Paul! Katie, get hold of yourself. Call me. I don't you admit it. Tell the truth for once. You wanted it for yourself. No, that's not true. Don't lie to me. All right. All right, I was in love with him once. But I gave him up because he would have been in the way. Your way, our way. And I won't let anyone do that. You still love him. You couldn't have him so you didn't want me to have him. Are you crazy? Katie, this is the most important night of our lives. This is what we've worked so hard for all these years. It's what you've worked for, not me. I'm sick and tired of it. Fighting, cheating, lying. I'm the one who's done the fighting, not you. You've had it easy. I've made it easy for you. By stepping on everyone who got in your way. You've got to fight. You've got to scheme and cheat to get ahead in this business. I'd like to go in and tell that to the audience. Then tell them everything. Tell them what you had when you left Green Hill and tell them what you've got today. Oh, darling, I don't mean it. Forget what I said, baby. Please, let's not argue anymore. Come on. We've got to go in. Mr. Chinan, Mr. Chinan. They finished the overture. What do you want me to do? Oh, look at it, and she'll be right there. I can't. I can't go through. Baby, you've got to. Let's go out there and show them. How long? What on earth's the matter? Nothing's the matter. Everything's all right. I don't know what to say. I don't remember my first lie. It'll come to you, Katie. Edward says I'm afraid I'll have to go without seeing Lisa. You'll come down the stairs. Oh, stop it, Laura. Katie, darling, you're going to be positively wonder- The wire, please. Crittings up. We have to stay right here, darling. Just behind the door. Good luck. We can't. We can't. Go on. Oh, without seeing Lisa. She's all right. She's all right. She's all right. I think I can go home now. She's all right, Laura. Must have been pretty terrible. I was out in the lobby as the people left. They were laughing. Everybody knows that you two had a fight in the alley. You might as well have had it in the middle of Times Square. Please, Laura. Well, Helen, you've broken another record. The shortest drama play you ever had. Exactly. Twenty seconds. Oh, Katie. There isn't much left, is there? I'm sorry. No. Don't be sorry, baby. It was my fault. I saw something in you I wanted to make great. I did it the only way I knew how. I guess if I had it to do all over again, I'd do it the same way. But we came so far. We nearly made it. You hate me, don't you? Helen, I never wanted to see you again. May I come in? Paul. Oh, Paul. Goodbye, Katie. Goodbye, Helen. Katie, if you have to fall down again, please let me be there to catch you. You better be, darling. Well, Doc, anything new on that dame we've fished out of the river? Yes. She came too for a minute. She said she had a debt to pay. There's only one way to do it, to stop living. Didn't make much sense to me. Probably irrational. And she died. Yeah. She couldn't take it. And that's a trouble with them rich dames. They have it too easy all their lives. Well, good night, Doc. Good night. That applause is the seal of approval on tonight's play. The fine performances of the four players who return now to this microphone. Miriam Hopkins, Franchotone, Anne Baxter, and Chester Morris. Thank you, Mr. DeMille. It's nice to be back. You have a distinctive place here, Miriam, because you starred in the very first Lux Radio Theatre play almost 10 years ago. That's right, Mr. DeMille. When the Lux Radio Theatre is only a baby, I help pin it up. Well, I think we should bring ourselves up to date on a few offstage activities tonight. For instance, there's Franchotone's green thumb. Well, he should see a doctor. That just means he has a magic touch with growing things, Justice. Oh. Did I notice a slight stiffness in your muscles when you came in today, Franchotone? It could be, Anne. I spent a pleasant weekend with a spade in the hole. They say it's very good for you. Yeah, who says? The ones that never did it. And then there's the Chester Morris variety of magic. Yes, C.B., you must come with me sometime to one of our little parties. You know, fellas like Orson Welles and Edgar Bergen, they're all interested in magic. Very cozy little affairs. Anne, you can come, too. We'll need a lady. Why? We always saw a lady in a hat. You'll love it. I don't think so. But I do know a little magic myself. It's called luck soap. That's a wonderful thing for a girl's complexion. I quite agree with that, Anne. I used luck soap for years, and I really couldn't get along without it. You see, Chester, that's all you need to know. The magic word, luck. Well, what's the word on next week's play, C.B.? Now, the word is suspense, French roll. Because our play is the universal success, Phantom Lady. And our stars will be Brianna Hearn, Ella Reigns, and Alan Curtis. It's the story of a man accused of murder, but he has a perfect alibi. A beautiful girl who has vanished completely. What happens during the search for this Phantom Lady is a triumph of the mystery art. It sounds very exciting, Mr. DeMille. Good night. Good night. Good night, C.B. Good night. Good night. This was really a forced hour evening. Ladies and gentlemen, once there was nothing so trivial as a pile of waste paper, but now the match that lights that pile is the match of sabotage. America needs every scrap of your waste paper. Need it for a hundred things like shell containers, field ration cartons, parachute flares, and even for the bomb pins that guide destruction down on the heads of the enemy. You can sell the paper to a junk dealer or give it to a charitable organization. But please, if you love the land you live in, stop throwing away or burning those old newspapers. Our sponsors, the makers of Lux toilet soap, joined me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Brianna Hearn, Ella Reigns, and Alan Curtis in The Phantom Lady. This is C.B. DeMille saying good night to you from Hollywood. Rancho Tone is currently starring in the Universal Picture of Phantom Lady and will soon be seen in the Paramount Picture the hour before the dawn. Anne Baxter appeared through the courtesy of 20th Century Fox and will soon be seen in that studio's production, The Eve of St. Mark's. She is now making the Hunt-Stromberg Picture guest in the house. Chester Morris is currently seen in the Paramount Picture, Gambler's Choice. Heard in tonight's play Charles Seal, Norman Field, Leo Cleary, Ann Stone, Bob Haines, Jack Morrison, Peter Rankin, Truda Marson, Griff Barnett, Jane Ovello, Eddie Marr, Theodore Van Elks, Marion Martin, and Ellen Campbell. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our music was directed by Louis Silvers and this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Brianna Hearn, Ella Reigns, and Alan Curtis in Phantom Lady. Mothers, now give your family extra vitamins and minerals free. Get free VIMS. Yes, mothers, get VIMS free. For a limited time, your drugists will hand you the regular 50 cent VIMS package. Free when you buy the large economy-sized VIMS, a $2.25 value for $169. VIMS give you all the vitamins by doctors as necessary in the diet. Also essential minerals. And the free VIMS offer there's 100% money back guaranteed. Hurry to the drugstore for your free VIMS. This is CBS, the Columbia Broadcasting System.