 Lutz presents Hollywood. The Lutz Radio Theatre brings you Greer Garson and Walter Pigeon in Blossoms in the Dust with Felix Brassheim. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Every city and town in America has its unsung heroes and heroines. Men and women who have devoted their lives to an ideal. They've worked without hope of wealth, without thought of glory. They're only reward, the satisfaction of a job worth doing and well done. Such a woman is the heroine of blossoms in the dust. Her ideal is a better world for the homeless children of today and tomorrow. And if you imagine that finding homes for babies is not a thrilling subject for a motion picture or radio play, believe me, you're wrong. But the Metro-Goldwyn-Mayer picture stirred the hearts of audiences all over the country. Both the picture and Greer Garson's performance in it have been nominated for Academy Awards this year. And incidentally, the two stars who played blossoms in the dust on the screen, Greer Garson and Walter Pigeon, are currently making another picture together, Mrs. Minifer. So we borrowed them from the Metro-Goldwyn-Mayer sound stages for this drama of one woman's fight for other women's children. And remember, as you listen, that this is the story of a real woman who is living and working today. The first duty of any theater is to please its public. And that's just as true of this national theater that Flux Flakes has made possible as it was true of the theater in China 40 centuries ago, the theater in Greece 25 centuries ago, or the theater of Shakespeare a little more than three centuries ago. As a matter of fact, if the audience doesn't like to play, the actors are wasting their time. And this first axiom of the theater applies to any other business, like making soap flakes, for instance. If Flux Flakes hadn't stood for quality, you wouldn't have applauded them all these years. Now the first act of blossoms in the dust, starring Greer Garson as Edna and Walter Pigeon as Sam, with Felix Bressart as Dr. Bressler. The Caley House in Green Bay, Wisconsin is a glow with the lights of a hundred lanterns. The year is 1895. And the occasion is the engagement party of the two Caley girls, Edna and Charlotte. There's to be a double wedding soon, which makes the evening doubly exciting. Upstairs in their room amid a clutter of hat boxes, ribbons and paper wrappings, the girls are dressing feverishly. Hilda the maid is trying desperately to fix Charlotte's hair. You'll have to sit still, Miss Charlotte. Yes, Hilda. Edna, are you ready? I will be. Charlotte, tell me something. Do I look like a husband? Edna, what on earth do you mean? But do I? Do I look like the sort of girl men insults? Because I've been insulted. Why, Edna, Caley, when? Well, this afternoon I went to the bank to cash a check. And the cashier, my dear, the cashier of that bank. What on earth did he do? He... he looked at me. Oh, oh, oh, oh. Oh, but you can't blame him for a thing like that. He looked at me and... and smiled. And then I took off my gloves and he saw my ring, Damon's ring. Now, what do you think he had the frontery to say? He said, if that's an engagement ring, young lady, you'd better get rid of it right quick. Oh, no. Right quick. Must be a westerness. I was never so outraged in my life. Well, what on earth did you say? Well, I don't know what possessed me, but I asked him why. And he said... Oh, did he say, darling? He said, because you're going to marry me. He didn't. How perfectly thrilling. Thrilling? I was absolutely furious. Oh, what did you do? Did you slap him or anything? No, I just picked up the money and walked straight out of the bank. But I'm going to tell Father. I'm going to see that that impudent cashier is discharged tomorrow. Was he good-looking? Oh, wasn't anywhere near as handsome as Damon. Miss Edna, are you ready for your dress? Yes, Hilda. Well, stand up there. Here's your new bustle. Ain't it a daisy? Oh, it's lovely. I think we're both awfully lucky, Edna. Just think, in two weeks we'll be married. Mrs. Damon MacPherson and Mrs. Alan Keith. Oh, I can't believe it somehow, if it weren't for my ring. Oh Edna, I'm so terribly happy and so terribly grateful. Grateful? Why, Charlotte? For all your darling parents have done for me. Oh, Charlotte, dear, you mustn't. I was such a baby when I came here to live. I don't even remember my own mother and father. But you've let me share yours. And I love you for it. I always will. But think how happy you've made us. And we'll never be separated, really. We'll be brides together, young wives together. And maybe someday we'll be mothers too. Edna, how can you mention such a thing? Why not? I don't know about you, but I'm going to have five sons and five daughters. Edna. Listen, carriage. Oh, it's Damon and Alan. Hurry, darling, hurry. In Heaven's name are the girls. Here's Mrs. Edna, Mrs. Kayleigh. Edna. Oh, hello, Mother. Edna, dear, Damon's been frantic. Go and dance with him, hurry. Edna, where have you been all this time? Hello, Damon. Oh, darling, you look wonderful. I feel wonderful. Oh, you know something, sweetheart. I'm the happiest man in the world. Thank you, Damon. I hope we'll always be. Oh. What is it, dear? Nothing. Oh, Damon, be an angel and get me a handkerchief from Hilda. Why, of course, darling. Don't go away now. Edna, Edna, have you seen Alan? Charlotte, he's here. Well, of course he is. No, no, no, I don't mean Alan. I mean that man, the one who insulted me. Where? That's him over there talking to Father. I'm going to give him a piece of my mind. There's no way. You're an honest young man, I'll say that. Thank you, Mrs. Kayleigh. Father, may I speak to you? Of course, dear. Oh, Mr. Gladney, you've already met my daughter. Oh, good evening. Good evening. Father, I want to tell you about this young man's keen attention to business when I was at the bank this afternoon. You can't tell me anything about Sam Gladney, my dear. The Wisconsin County Bank is backing him in a new business venture. What? Oh, but I... Thanks for the testimonial, sir. Miss Kayleigh, when I cast you a check this afternoon, I shortchanged you. Is that so? He's come all the way out here to make restitution, my dear. Oh, no bother, sir, no bother at all. Here you are, Miss Kayleigh. 10 cents. Thank you very much. You may keep it as a tip, for your honesty. Thank you very much, but I'd rather have this down. Oh, I'm so sorry. You see, it belongs to my fiance. Oh, Taman's not around. Go on, dance with Mr. Gladney. Could be, Miss Gladney. How would you know, Mr. Gladney? Oh, sorry. Did I step on your foot? Oh, just lightly, Mr. Gladney. By the way, you didn't shortchange me this afternoon. I can't do the change because I didn't trust you. Your dog gone right, Miss Gladney. And I suppose I should have taken a little more time to get acquainted. But you see, I'm leaving tomorrow to go back to Texas in the flower business. How interesting. Your father's asked me out here a couple of times to meet the family. I didn't accept it well because I'd been up to my neck in this new flower mill of mine. I wish I'd have known that you were here. Don't tell me that I'd rival the flower business. You'd have come darn near it. Thank you. Oh, I'm so sorry, Miss Gladney. Is this the way they dance in Texas? Sharks, yes. Why in Texas we dance to have fun, don't you? I believe I'd had enough of dancing. All right, Miss Sadney, you're the boss. But I'm not quite through talking, though. I don't think you're the kind of a girl who'd play a mean trick on any man by marrying him when you belong by rights to someone else. You're in stuff. No, no, no, no, wait a minute. When you showed up at my window this afternoon, my mind was miles away from, well, from girls or anything like them. But when you shoved that check at me, something fairly shouted in my ear and said, Sam, that's the future, Mrs. Gladney. Didn't you hear it? Oh, I didn't like to be fresh, but I had to act quick. So I tell you what I'm going to do. I'm going back to Texas and fix it all up for you. Polish off the sun, sweep up the prairies, and spread out the welcome mat along the old Red River. Then next spring, I'm coming back to fetch you. You want to know what time my train leaves? No, it's of no interest to me whatsoever. It leaves at 10.58 in the morning. And if you'd like to come down to see me off, I'll be looking for you. I shouldn't be doing this. I shouldn't be here, Charlotte. Oh, there he is on the observation car. Wave to him, Edmund. No, Charlotte, what am I going to tell Damon? I think you rate a kiss, too, for getting Ed into the station that morning. Oh, I knew it was all up with poor Damon. The moment I saw you poor Damon, he's been happily married for three whole months. Yes, there, Charlotte. In the library, going over some mysterious matter with my future in-laws. Oh, Mr. Gladney, what stand do you take on the subject of double weddings? Double what? Charlotte and Edmund graduated together. They came out together, and so. Oh, and now they want to be hitched in double tandem, eh? Well, why not? Having a fellow victim might buck a man up. I haven't asked Alan folks about it yet. I'm going in and broach the subject now. Are you afraid? Who me? Along with me, dear. I'll stand by you. Thanks. There'll be no argument, Charlotte. We'll just tell them, dear. All right. Here we are. But, Mother, I don't care. It doesn't mean a thing. Nothing can come between me and Charlotte ever. Listen, that's. That was Alan. I still say a marriage of this kind is impossible. Why, it's unthinkable. What are they saying? Alan! Charlotte, don't come in, please. But what is it, Alan? Father, what is it? There's something we've got to straighten out, Charlotte. You run along now. George, it's about time that child was told a little truth. Oh, Sarah, please. Oh, Mother, don't. What is it, Mrs. Keats? I want to know. Something has come out that interferes with your plans to marry my son. But what is it that I haven't done anything wrong? Oh, it isn't true, Alan. Whatever they say, it isn't true. I wish you were right, Charlotte. But it's come to our knowledge that you are a foundling, a nameless foundling with an unknown father. Sarah, how could you? I didn't know that I was nameless, Mrs. Keats. Of course you didn't. But you knew it, George. You too, Catherine. And my own son tried to hide it. Except for the kindness of a woman who keeps the files in the license bureau. It might never have come to light. But whose business is it, anyway, with mine? It's everybody's business now. It's common gossip. She's the only one I'll ever marry, Mother. You can make up your mind to that. Well, this doesn't mean a thing, Charlotte. Not a thing. We'll go someplace where nobody knows us. Yes, away from his work and his family. Sarah, no, Mother, stop. Run along, Charlotte, darling. I have a plan to talk over with Alan. Yes, and don't worry, dear. We love each other, and that's all that really matters. Everything is going to be fine. I think I know now how things are going to be, Alan. I'll be up in my room if you want me. We get the double wedding? Something's wrong. Did you see her face? You better go speak to her, darling. Well, she would nonson it. Oh, they've said something that could bring up a child, or, as Sam said, to bring up our son. He is very certain it will be a boy. Down at the mill, they tell me he talks of nothing else. But you see that sign out there over the mill? Samuel Gladney owner. Someday that sign will read, Samuel Gladney and son. I can't take in partners without consulting him. That son of yours may turn up. Sir, if that you go right home. What for? Mr. Sam, sir. What's the matter, Zeke? Mr. Sam, you's got to get right home for your wife. But it isn't time yet. Babe, this ain't got calendars. Holy smoke. Have you called the doctor? That's just a trouble, boss. We came back to Western. We're on a fishing trip, and fishes ain't got telephones. My sister's got a wonderful doctor, Mr. Gladney. Well, call him up there. Yes, sir. Come on, Zeke. His name is Dr. Bressman. I don't care what his name is. Call him Sergeant. For a visitor, darling. Because if you are, I want to introduce you to my son. Son? Oh, sir, haven't I? Nurse, now will you just bring him over here? Get careful now. Would you like him there beside you, Mrs. Gladney? That's one of the things I disapprove of most. Oh, darling, this is Dr. Bressman. Yes. I'm just coming when newborn babies will be kept in glass cages away from their parents. Nurse, take the baby back to the nursery, please. Yes, Dr. Bressman. I'm sorry, Mrs. Gladney. Doctor, though, as you know. Sam, tell me, is he very beautiful? Darling, he's just what I ordered, red hair at all. Little Sammy. Yep, our boy. That's enough for now. Outside, Mr. Gladney. All right. Dr. Bressler, she's all right, isn't she? Your regular physician is here. He'll tell you himself. Well, Sam, you've got a fine son. Congratulations. Oh, thanks, Dr. Wess. I've been over the case with Dr. Bressler. Sorry I couldn't get you in time. Oh, Dr. Bressler, have you explained to Mr. Gladney the findings relative to the pellet? What's that mean? He's trying to say that motherhood in a case like your wife's is extremely dangerous. Oh, I didn't know that. Edna won't be able to have another child. Sam. Thank heavens she's safe. Are you sure she is safe? No, absolutely. Why, Bressler's handling the case as well as I could have done myself. Thanks. Maybe I ought to start charging as much as you do. Goodbye. Goodbye, Doctor. I hope we have occasion to meet sometime socially. Well, I'm a busy man, Mr. Gladney. I don't even have time to go fishing. It doesn't be young Sam. Let me see, Mummy. Let me see. Now, young fella, you just settle down there a little. Where's the Merry Christmas present, Mummy? Here it is. Another music box. That makes more, doesn't it? I like this one, Mummy. Yes, Nurse. It's almost three o'clock, Mrs. Gladney. Oh, heavens. Well, Sammy, let's get these toys cleared away, huh? Oh, no. No, I'm going to play. Doesn't somebody want to take a nice ride in the pony cart and get some air? No. Now, look, Sammy, you wouldn't want the doctor to scold Mummy because you missed your airing. No. That's the boy. Now run along with Nurse. We'll take Mr. Teddy Bear with us. And the engine, and the soldiers, and the Christmas tree. Oh, Sammy, you come. Don't you think it might be too much of a loan for the poor little pony? No, we can only take one toy, Sammy. Well, which ones are going to be there, partner? The Teddy Bear. That's loyally poor you. The oldest toy of the button. Oh, you darling. Goodbye, Sammy. Watch me drive off, Mummy and Daddy. All right, darling. We'll watch from the window. Hurry up there. Looks like a cyclone hit this place. I've got to tidy up. You've been pretty extravagant this Christmas, Mr. Gladney. Why not? Weet's still going up. Did it go up as much as that diamond pin you gave me? More. That pin cost a few thousand bushels. And, well, I still have a little left. Not counting what you've got in your pocket. Ah, don't be silly. I don't carry wheat in my pocket anymore. What do you want to bet? Just let me see. No, no. Come on. No, no. End it. I'll stop it. Get out of it. Get your hand up. Oh, still there. Now, what's this? I have a handful of wheat. Oh, I'll never be civilized, darling. I don't know how you stand me. Oh, you don't take such an awful lot of standing. That's what I was fishing for. Come on. Kiss me. Are you happy, Edna? Terrible, darling. There isn't one little single thing I'd change except to have Charlotte. Well, Charlotte and Sammy would have loved each other. She was so gay and so full of fun. Mr. Gladner. Mr. Gladner. Well, what's the matter? Mr. Gladner, sir. Zeke, is there anything wrong? Sam is, sir, young, Sam. What happened? Where is he? You stay here, Mr. Gladner. Don't go out. What is it? You wait here, darling. Oh, oh. What's that you were sprinkling into the dish pan? Why, the soap I always use. May I see it? You know, this is what's making your hands red and rough. Not the dish washing you do. Look, will you make an experiment for me? Why, if it's really easy. Take this box of new quick lugs and use it for your dishes every day for a week instead of that harsh soap you've been using. Will you do that? I'd be glad to. Well, that was a week going by. And now here we are again. Only a week and my hands are better already. I can hardly believe that just changing to lugs flakes for dishes can make such a difference in my hand. But it can. This has been proved in scores of laboratory tests of lugs and five other well-known dish washing soaps. Tests made under conditions similar to home dish washing. In these tests, not only did dish pan hands improve and from two to seven days after changing to new quick lugs, but at the end of the test, the hands were once again soft and smooth and lovely without the use of creams or lotions. Just changing to lugs made the difference. Now, if you have let harsh wash day soaps in your dish pan redden and roughen your hands, change to lugs flakes for your dishes tomorrow. See how quickly your hands lose that unattractive dish pan look and how quickly, thoroughly and thriftily those speedy flakes do your dishes. One big box of new quick lugs does dishes for about 45 meals. Now, Mr. DeMille returns to the microphone. Act two of blossoms in the dust. Starring Greer Garson as Edna and Walter Pigeon as Sam. With Felix Bressart as Dr. Bresba. With the death of her child, Edna tried valiantly to build a new existence. In desperation, she threw herself into the social life of the town. And the home that had seemed so empty was filled with a laughter of guests. She's entertaining again this evening. But in the library are two guests who have come uninvited. Dr. Bresla and a little child of three. Good evening, Dr. Bresla. Your husband once invited me to come here socially, Mrs. Gladna. Looks as if I've picked out a fairly social evening. Well, I'm glad to see you, Doctor, always. And who is this? She's a pretty little thing, whoever she is. Hello there, little girl. Hello. She's in transit to the county orphanage. Seeing you're the only folks I know with more beds than you sleep in, I'd like to leave her here for tonight. I see. Sam, haven't you and Dr. Bresla chosen rather a bad moment for your conspiracy? I happen to be entertaining Baron Emden. Perhaps some of the time might have been better, Doctor. The child's mother had to be sent to the hospital tonight. There's no need to take her to the orphanage. You can board it out until the mother's well. Sam, give Dr. Bresla a check. The mother can't keep the child. She has to work. If I had a child, I'd keep it in spite of... Spite of what? Parties, boards, swears, dressmakers and all that boop-de-doodle? This child's mother is a mill hand. Get that child out of here. Edna. I never thought it would work. Why should she adopt a baby? She's too busy adopting barrels. Come on, child. Good night, Mrs. Bledman. This is criticism, isn't it? Criticism? Not me, of the way I choose to spend my life. You're trying to mend a broken heart, Edna, by hitting it with a hammer. Do I ever bore you with my broken heart? Or anyone else? Do I ever mention it? It might be better, dear, if you did. All right. From the time I first realized that we were never to have children, the day hasn't gone by or the night that I haven't felt humiliated, useless. The deep down inside of me I'm not bitterly frustrated. You think I don't know that, Edna? Then why do you send another woman's child here to hurt me like this? You're hurting yourself, darling. Oh, Sam. Oh, Sam. That's the girl. You cry away, sweetheart. Just cry all you like. I look good, Sam. Watch yourself. Dear mother, Sam was right. As always, the day nursery is a wonderful idea. We have 19 children now and they're darlings, all of them. I keep them during the day and their mothers keep them at night. Sometimes I hate to see them. Oh, good morning, Mrs. Gladney. Good morning, Mrs. Rosses. Mr. Gladney in his office? Yes, ma'am. Just go right in. I tell you, Sam, you can't... Morning, Mr. Jones. Morning. Sam, I hate to interrupt business, but I've just had such a brilliant idea. That's all. Sit down, dear. Sam, you know the vacant lot next to the nursery? Well, I've just heard that they're willing to sell for a song. We could buy it and tear down the fence and enlarge the play yard. We're getting awfully crowded, you know. Uh, it's a great idea, honey, but I'm afraid it'll have to wait for a while. Why, darling? Oh, is something wrong? Oh, I've had a little setback. What is it, Sam, tell me? Possibly, it's going to be a great new chant. I made a lot of mistakes when I built this mill. Next time, I'll do the job right. Sam, you... you've lost the mill. Oh, I'll build another one. Oh, sweetheart, why didn't you tell me? You're tired, Sam. Oh, honey, you look ill. He is nail, Mrs. Gladney. He's insane. Thinking he can pay off his lot of debts he swamped with. Oh, well, maybe you can get him to go into bankruptcy. Nobody else can. There'll be, uh, changes, dear. We'll have to sell the house, of course. Of course. And I, uh, I have a chance for a job in a Fort Worth mill. I'll only be the former, but... Well, anyway, it's a job. I need your lunch. Thanks, dear. Wait till I take a look at this week. Well, I cooked the lunch myself. It's chicken pie. Sam, will you please stop staring into that microscope and pay a little attention to me? Darling, this new chaff is giving me exactly the elements I need. They told me this morning they'd take the process on here at the mill if it works out. Look, I've got the patent papers. The Gladney wheat-wasted process. See? We may get enough out of this to pay off every debt we left in Sherman. Sam, have I really a say in this corporation? Look at the papers, darling. S and E Gladney, proprietor. Then stop and eat your lunch. All right. Soon as I run over to the courthouse for these papers. Let me. I'm a partner. Okay, partner. Run along. Edna, what is all this? Where did you see these children? Well, I'm telling you, darling, this afternoon when I went to the courthouse for you, I happened to pass by this big room and there were all these orphaned children. They had tags on them. Oh, Sam, it was horrible. Well, what happened? Well, there was one there. He was only three months old. His name was Tony and this woman was going to adopt him. And then she changed her mind. You see, they didn't know who the child's father was. But, oh, Sam, he's such a sweet little thing and... Oh, wait a minute. Edna, where is the child now? Well, that's what I wanted to tell you. He's upstairs in the bedroom. May I see him in the house? Oh, Sam, I knew you'd understand. And you love the little girl, too. What little girl? Well, you see, there were two of them and I... Oh, come on upstairs, Sam. You mean you've adopted two children? No, not really adopted them. You see, they were both fatherless and nobody would take them. So the judge let me have them. He's giving me two weeks to find homes for them. And, Sam, I'm going to do it. Yeah, I think you are. Careful now, dear, they're asleep. This is Tony, Sam. Why, he's got red hair, hasn't he? Yes. Isn't he beautiful? Tony? Hello, Tony. Don't wake them, darling. I won't. Look, he's smiling. You're not angry, are you, Sam? You think I did right? Of course. But I know you, darling. This is only two. You'll probably wind up with forty. Ah! Mrs. Gillwood, you see, we're having a little trouble with Tony here. He's been very sick. Now, what is it about? Mrs. Gladney here. Ah, sorry, I had six maternities to wind up before I could leave. I know, I know. Mrs. Gladney, if you don't mind. Oh, thank you, please. I'll be with you in just a moment. Where's Tony? In the other room. Just a moment. But I think he'll pull through. Now, Chief Warriors, the permanent paralysis of the right leg. What treatment has he had? Oh, all sorts. I've stopped giving him medicines. I'm a massage. He might give him some. Hmm, that's what he needs, especially massage. There's a new method of massage underwater, but it takes an expert operator. Can I learn? Ah, probably. He's such a darling. You have to look at him. We could only make him well, well enough to put into a real home somewhere. Mrs. Gladney, may I speak to you? Oh, of course. Doctor. Ah, I'm all finished here. Oh, then will you step outside, Mrs. Gillwood? Mrs. Gladney, when I came here, out of the goodness of my heart, I didn't expect to be insulted. Oh, I am sorry. But Dr. Bressler has come all the way from Sherman. He's a very busy pediatrician. She means a baby doctor. Yes, I know. Yes. Well, I'm adopting a baby. Maybe you'd like to help with your advice, doctor. Oh. Oh. I'd want to know all about the baby, of course. It's background, parents, and so on. Oh, yes, indeed. We have to be very careful about the children and the prospective parents. Naturally. What's that? Now, here's our questionnaire. Would you mind answering a few routine questions? Well... I'll have you had enough. What's your name, please? Gillworth. Mrs. Marcus Gillworth. Husband's occupation. He's a member of the Board of Supervisors. Two names of people who will vouch for you. I said my husband is a member of the Board. Character, witness, none. But I didn't say that... How old are you? Why, I... Well, how old? I'm 35. 40. How dare you? You're getting off easy, madam. I'll take over now, doctor. Uh, let me see. Any TB in the family, Mrs. Gillworth? No, insanity. Certainly not in regulatory diseases. That's enough. I'm leaving. But you haven't heard the last of this. The Board of Supervisors will take up your case, Mrs. Gladney. Mrs. Gladney, you are aware of the zoning laws in your district? Yes, I am. Then surely you must know that those laws prohibit the running of an institution such as yours in that district? I told you I'd find another place for the children. Fort Worth has an adequate poor farm and city orphanage, Mrs. Gladney. But don't you see, gentlemen, I'm equipped to get children into home. Real home. To interest people in adopting babies who might never have thought of it. You have a peculiar way of interesting them, madam. Gentlemen, my wife went to Mrs. Gladney's place to inquire about adopting a baby and was grossly insulted. My name is Gillworth, Mrs. Gladney. I know. Your wife was asked to answer a set of routine questions, for the good of the child she hoped to adopt. The city's had very few complaints, Mrs. Gladney, over our treatment of orphans. Oh, I wish you'd stop calling them orphans. And what do you call them, Mrs. Gladney? They're children. Our children. Every child born into this world belongs to the whole human race. Don't you think that's a few too many for your budget, Mrs. Gladney? I move we put this to a vote. I second the motion. Those in favor of granting Mrs. Gladney's request to carry on her work signify on the usual manner? Aye. Those against? No. I'm sorry, Mrs. Gladney. If you're able to later to carry on to show etiquette funds and a proper building to house the children, we'll be glad to reopen the matter. Thank you. Yeah, Edna. Oh, Max, dear, it's sweet of you to come for me. I think you'd better run on home right away, Edna. Home? It's Sam. They brought him home from the office. He's had a bad attack, Edna. Oh, Max. Can I go in now, Max? Just a moment. I'll see if he is asleep. Wait here. Sam? Yes? Edna, I speak. Sam? Oh. How did it come out? Her inquisition? Oh, forget about that. You've got to quiet down now. She's got to go on, Max. She'll need her babies now as much as they need her. You'll be all right, Sam, after a little rest. Uh-huh. Good old Max. But you see, I know, Max. You can't fool me. I'm not going back to Shaman, Sam. I'm going to stay here and help Edna. Oh, thank you, Max. You know, when they took her baby, I used to ask, why did God do this to her? I know now. Thousands of other babies needed their chance to be loved. Maybe you better send her in now, Max. Come in, Edna. Oh, Sam. Silly thing to do. Fold up like this. Edna, uh, go look in my pocket, honey. Yes, dear. Remember when I used to carry wheat, huh? I don't need more. There's, there's this paper. Yeah. Look at it, Edna. The company has bought out the ladenny process. You will soon be in the clear, darling. You, you must rest now, my darling. Tell me, what do they want you to do about the babies? It doesn't matter, sweetheart. I'm through with all that now. Oh, no, darling. Don't let them beat you. You're never going to desert Edna. Never. Shh. Please, dear. Listen to me, darling. You will win. Fight for those kitties of yours. Fight for them, Edna. You will win, Edna. Hold me close, Ed, Edna. Sam. For station identification, this is the Columbia Broadcasting System. Three aplossums in the dust, Darring Greer Garson and Walter Pigeon with, with Felix Bressart in just a moment. Meantime, Sally tells me that she's been going into reverse this past week. You see, I found I had two or three sweaters that were perfectly good, but just, well, not quite up to date. So I've unraveled them, and I'm going to make some new ones out of that same yarn. A neat trick, now that woolen's are so precious, Sally. You know, if that yarn is still good enough to re-knit, I'll make you a little bet about those sweaters. I'll bet you took care of them. With new quick-lux, of course, Mr. Sherlock, Ruick. But I'm surprised at you betting on a sure thing like that. Why, I'd bet on new quick-lux any day, Sally. With lux, there's no harmful alkali, no cake soap rubbing, to mat and shrink woolen fibers. So, with gentle lux care, your washable woolen stays soft and unshrunken. We'll wear better. And that's important these days. Here's a trick about re-knitting yarn. As you unravel the sweater, wind the wool not into a ball, but around a piece of cardboard so that it makes a kind of stain. Tie it with string at both ends and then slip the cardboard out and lux the wool. The yarn comes out fresh and soft and easy to work with. That's a good tip, Sally. Yes. You're thrifty two ways. First, because you've made something smart and new that cost you only a little time and effort. And second, because with lux, you keep your pretty sweater lovely at such a tiny cost. Right. A little lux goes a long, long way. That generous big box of lux flakes will do 29 sweaters. Now, our producer, Mr. DeMille. The curtain rises on the third act of blossoms in the dust, starring Greer Garson and Walter Pigeon with Felix Bressard. Three years have passed and Edna Gladney has never stopped fighting for her children. She's won the right to continue her work with the Texas Children's Home and Aid Society. Outside in the spacious play yard, the children scamper joyfully. But one remains indoors. Little Tony, Edna's favorite. Tony can't run with his playmates because his leg is supported by a steel brace. Tony, dear, you should be outside with the others. Please, dear, dear, Edna. I want to be with you. I know, dearest, but there's lots of other little boys and girls auntie Edna has to arrange things for. Now, you wouldn't want her to neglect them, would you? Yeah. Oh, I know, you wouldn't. And Miss Landon is a young lady here to see you. Oh, send her in till. Now, Tony, you run out in the sunshine, sweetheart. We'll be together this evening, the whole evening long. All right. Bye, auntie Edna. Bye, sweetheart. But this way, please. Oh, come in. Sit down, won't you? Thank you. Mrs. Gladney, I have some money I haven't any use for. I'd like to give it to you for the children. Will you take it, please? Why, thank you. This looks like quite a sum. I guess it's around $700. Why are you giving me this, my dear? Well, uh, I was adopted from an institution myself. Oh, where are your adopted parents? This is May, isn't it? That's the season on the Riviera. I suppose my mother'd be there. My father's in New York. I wanted to give you the money because you put children in the sort of homes where they belong. Goodbye, Mrs. Gladney. Just a moment. Can you tell me what's troubling you? I'm afraid I can't, Mrs. Gladney. Have you a child? No. Are you going to have one? No. Never. No, no, no. You must be tired. Sit down here. Won't you try and tell me about it? Or maybe there's something I could do to help. All right. I'm engaged to be married. We'd made that plan, David and I. We were to have a home. A real home. You know, people felt it best to break us up. But there was nothing they could say or do until now. Go on, go on. I've found out just now that I have no right to a name. To any name. I've found it in the record of my birth. The record I'd have to show when we went for our marriage license. Would he care? This is David of yours. He loves me just as much as I love him. That's why I'm not going to let him go through with it. I'm not going to see him again, Mrs. Glanley, not ever. Just a moment, my dear. Please, tell Dr. Bressler I want him right away. Will you let me have your purse, please? No. Let me have what you have in it. There isn't anything. Please. Thank you. It's in this bottle. It's poison, isn't it? Max, throw this away, will you? It's a good thing she didn't do it. Max, for years I've been haunted by something. Something that once came very close to me. The injustice of branding innocent little nameless children in records where everyone can see. On birth certificates. Of branding them all through their lives. On marriage licenses, passports, legal papers. It's cruel. It's inhumanly cruel. It's got to be stopped. But how, Edna? I don't know. There must be people I can see and speak to and make them understand. Max, I thought that taking little nameless babies, loving them and finding homes for them was all that could be done. But that's not all. Every human being that's born into this world deserves the right to make its own good name without bigotry and prejudice. Mrs. Gladney. Listen, if you're as fine as I think you are, you're not going to cheat the man you love. You're going to marry him right now and fight for his happiness and your own. Here's your money for a truceau. Well, you take her. You bet I will. We need a dozen new crevices. Gentlemen, you have heard it said that those who transgress must be punished. Let me just say this. If you don't know what it means to a mother who loves her child to give it up to strangers knowing that she'll never see it again, never hold it in her arms, never hear it call her mother, come to my home in Fort Worth sometime and see. I'll show you punishment that will haunt you all the days of your life. People still argue about environment versus heredity, but I have put hundreds of nameless babies into respectable homes, fine homes, and all of them without one single exception are growing up to be morally fit and strong. I never knew a child to take a wrong step that couldn't be traced to the ones that are bringing it up to misunderstanding, lack of honesty, lack of... to me, gentlemen, life can be made so much more beautiful by sympathy, by love and understanding than it ever can be by intolerance. I've seen hearts broken. I've seen a pure and innocent young life destroyed by this children as nameless, and deprived them of their God. The credit isn't mine. It's hers. It's Charlotte. All right, have it your own way. But it's a law now, and no child in Texas will ever again be branded for life. Well, one or deal's over. The next is already and waiting. What is it next? And little Tony is almost well now. I think we can remove the brace in a few more days. Oh, Max! Yeah? You can think of a better Christmas present. I know what it means to you. I know also what little Tony means to you personally. What? What do you mean, Max? Edna, there's a man I want you to meet. His name is Eldridge. Where is he? In my office. Come along in. I should say you are. Oh, hello, Doctor. Uh, Mr. Eldridge, this is Mrs. Gladney. How do you do, Mrs. Gladney? How do you do? He's a big dog, Aunt Edna, and we can play football. And he is a real sailboat. Your little warden, I find, we have a lot in common, Mrs. Gladney. Have you? Tony, what are you doing down here at this hour? Well, I came down to hang up my stocking. Go on back to your room at once. Yes, Aunt Edna. Goodbye, Mr. Eldridge. Won't you sit down? Thank you. I suppose Dr. Bressler has told you, Mrs. Gladney, that my wife and I recently lost our little boy. I know. I'm sorry. Later hasn't been well since it happened. There seems to be a question that she may not be well again. I mean ever, Mrs. Gladney. I see. This Christmas time is very hard, aren't I? The doctors feel that if they could put another child into her arms, a child that we could keep, it might make all the difference. Dr. Bressler told me about little Tony. I can't let you have Tony. It's a question of her reason, Mrs. Gladney, of her life. I'm sorry. The boy belongs elsewhere. I see that the home does the best it can for you, and as soon as possible. Thank you, Mrs. Gladney. I'll leave you my address. Goodbye. Goodbye. Goodbye, Dr. Bressler. A thousand thanks to you, just the same. Goodbye, Mr. Eldridge. Edna, this isn't the first sacrifice you have ever been asked to make. And it won't be the last. But you must think of the boy now, of Tony. If it hadn't been for me, Tony would have died. I gave him his life. He loves me. He belongs to me. Yes, Edna. You gave him his life, his body. But he needs more than that now. He needs a home, a normal home. He needs a mother that belongs to him, and a father too. This isn't home, Edna. It's an institution. I can leave here, can't I? What? Leave here? Why not? Give up the home, dessert? I devoted years of my life to the home. I found parents for thousands of children, thousands. I want a child for myself. This means dissolution of the home, Edna. I've done enough for the home. It's time I started thinking about Edna Gladney. No, that isn't Edna Gladney. Or you don't understand, Max. What are your plans? I'm going back to Wisconsin to make a home for my child. Edna, the day that Sam was taken from us, he said something to me I've never told you. He said he thought God took your baby from you so that thousands of homeless babies might have their chance to be loved. You don't understand. Well, maybe Sam was wrong. Tony, darling, wake up. That's the boy. Is it morning, Auntie Edna? No, dear, it's still night. We're going away, Tony. Away? Where, Auntie Edna? Well, I'm not sure, dear. I packed all your things. Listen, there's the doorbell. Who's there? I'll go and see. Get dressed, darling. I'll be right back. Good evening, Mrs. Gladney. Oh, yes, Officer? Mrs. Gladney, I've got a couple of Christmas presents for you. These two kids. I'm very sorry, Officer. The home is closed. The holidays, you know. Well, I'm afraid you've got a stretcher pouring for these two. Oh, little girl. She looks sick. I think she is. She's got a fever. She's burning. It's the best, sir. Bring them in, Officer, quickly. Tony, darling. Are you ready? Is it time to go? It's time to go, sweetheart. Get up. Up, ladies. Where are we going, Auntie Edna? Not far. Auntie Edna's decided that you're such a... such a big boy now that you can go alone. Oh, no, Auntie Edna. Listen, dear, listen. I have a wonderful Christmas surprise for you. Do you remember the... the nice man who played football and had seven puppy dogs? And the real fair boy? Yes. And he's very sad because he has a lovely wife who wants a little boy, very, very badly. And they haven't got one. So they want you to go and stay with them. And you'll be their little boy, darling. Isn't that lovely? They love you always. And you'll have a daddy, too. Like other little boys. You'll be very happy, darling. But then I can come back to you. Can't I? Well... Well, no, I... I don't think so, darling. You see, I'm... I'm just your Auntie Edna. And I'm lots of other children's Auntie Edna, too. This lovely lady will be your... your own money. Come in. Mrs. Gladney? Yes, he's ready now. This is my wife, Mrs. Eldridge. May I... may I see him now? Tony, dear, this is your new money. Hello, Mummy. And all my son. And all my baby. Will you take him, please? Right now. Come along, Tony. Thank you, Mrs. Gladney. You'll never know what this means to us. Goodbye. Oh, Tony. Oh, my darling. Don't leave me, Auntie Edna. Don't go away, Auntie Edna. Auntie Edna. Auntie Edna. Auntie Edna. So that thousands of other babies might have their chance. You want me for anything, Max? I'd be here. Always. The phone in just a moment for their curtain call. Now, here's our fashion reporter, Libby Collins. Well, what's new tonight, Libby? Well, Mr. Roy, it says here in my fashion notebook, automobile tires rationed. Well, that's an odd kind of fashion note, Libby. Not so odd when you remember that what it really means is that rubber is precious nowadays. Think of all the things women wear that have rubber or elasticized threads in them. Lots of sweaters and little jackets, midsections of dresses and most important of all, girdles and foundation garments. We're going to have to learn to conserve these things to make them last longer. That means, of course, giving them the right kind of care. And that means, of course, new quick luxe. It's ideal for elastic fibers because it's so gentle, has no harmful alkali to dry them out and make them lose their elasticity. And then, with luxe, there isn't any of that cake soap rubbing that's so hard on the measure. Be sure to luxe girdles often, not only for daintyness sake, but because they last longer if they're kept fresh and clean if perspiration is luxe to weigh promptly. With frequent luxing, you'll find that girdles will keep their fit better. Stay new-looking longer. The luxe way is easy, quick, thrifty. And it's care advised by experts, people who make foundation garments and girdles and smart stores that sell them advise luxe flex. Now, here's Mr. DeMille with our stars. To the two stars who brought us blossoms in the dust, we toss our finest bouquet for acting. And now, Greer Garson and Walter Pigeon take a curtain call they richly deserve. Thank you, Mr. DeMille. It's been a real pleasure to be here in the Luxe Radio Theatre for the first time. And it'll still be fun the tenth time, Greer. I am thrilled for both of you and a telegram just received. It reads, I am honored to have blossoms in the dust featured in the Luxe Radio Theatre with Ms. Garson and Mr. Pigeon in the roles they originated. Being a constant listener to your program, I appreciate the value of once again presenting the message of this picture to the public. The wire is from Fort Worth, and it's signed by the superintendent of the Texas Children's Home and Aid Society. Her name? Mrs. Edna Gradney, the living heroine of our play. And we have a right to be proud that she's also a regular member of our audience. It was a great privilege to play the part in Mrs. Gradney tonight, Mr. DeMille. But above all, it was a great challenge because of the kind of woman she is and the kind of work she's doing. And I'm sure everyone in the audience joins all of us in wishing her every success in that work. A woman like Mrs. Gradney will never fail, Walter. What is your play for next week, Mr. DeMille? Next week, we have an appointment with the new universal picture success, Appointment for Love. And our stars will be Charles Boyer and Meryl Lloyd. It's a gay comedy about a playwright who marries a woman doctor. The doctor thinks love is strictly scientific. So the road to romance appears slightly rocky. But I think you'll like the way Meryl Lloyd and Charles Boyer work out the problem next Monday night. That sounds like a full house for the Lux Radio Theatre, CB. Good night. Good night. Good night. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Meryl Lloyd and Charles Boyer in Appointment for Love. This is Cecil B. DeMille saying good night to you from Hollywood. Except for the roles of Edna and Sam Gladney and except for the Texas Children's Home and Aid Society, all events, characters and institutions depicted in this play are fictitious. Any similarity to actual persons living or dead or to actual events and institutions is purely coincidental. The picture, Blossoms in the Dust, was directed by Mervyn Leroy. Throughout the United States, this week is being observed as Brotherhood Week under the sponsorship of the National Conference of Christians and Jews. Its purpose is to increase goodwill and cooperation among Americans of every religion and race. Heard in tonight's play were B. Benedert as Charlotte, Marga Ann Dayton as Mrs. Cayley, Griff Barnett as Mr. Eldridge, Bobby Larson as Tony, Werner Felton as Mrs. Gilworth, Eileen Pringle as Mrs. Keats, Tommy Cook as Sammy, Anne Tobin, Leo Cleary, Buck Woods, Lillian Randolph, Jacqueline DeWitt, John Roche, Doris Cedarholm, Warren Ash, Jean O'Donnell, Ferdinand Munier, Mary Lou Harrington and Charles Seal. Tune in next Monday night to hear Charles Boyer and Myrna Loy in Appointment for Love. Our music was directed by Louis Silvers and your announcer has been Melville Roy. This is the Columbia Broadcasting System.