 From Hollywood, California, the Lux Radio Theater presents Carol Lombard and Basil Rathbone in That Certain Woman with Jeffrey Lin. Lux presents Hollywood. Our play tonight is a drama of a girl against circumstance, a girl whose future is ruled by her past, but who finally finds a new tomorrow of hope and happiness. Starred in That Certain Woman, produced with great success on the screen by Warner Brothers, are Carol Lombard, Basil Rathbone and Jeffrey Lin. Mr. Redmond Goulding, the distinguished Hollywood director who wrote and directed the screenplay, is our special guest, while Louis Silvers conducts our music. Just a word before turning our program over to Mr. DeMille. May I remind you that a beauty care used for the most famous complexions in the world has to be very special. Well, Lux Toilet soap is. Nine out of ten screen stars use this gentle soap because it has active lather, lather that removes stale cosmetics, dust and dirt thoroughly from the pores. Try it. See how soft and smooth it leaves your skin. And now, our producer. Ladies and gentlemen, Mr. Cecil B. DeMille. Halloween greetings from Hollywood, ladies and gentlemen. This is a night of masquerade, when millions of mummers, young and old, on colorful disguises and startling attire, and Carol Lombard also changes her spots. Theatrically speaking, she puts aside the droll mask of comedy and bows to the public in the cloak of drama. Miss Lombard's decision to forsake Slapstick for drama may surprise many of you, for it comes on the heels of lavish displays in the magazines, celebrating her as the reigning queen of sophisticated laughter. But Miss Lombard is as wise as she's witty. With a sharp eye on the future, she's cited the end of the madcap comedy cycle and has chosen the Lux Radio Theatre as the opening scene of a new chapter in her career. With Miss Lombard, it's drama from now on, at least for a while. Not only in radio, but she plays a highly emotional role in her new David O. Selznick film, Made For Each Other, co-starred with James Stewart. The Carol has always shuttled back and forth between comedy and drama with the ease of a truly great artist. Under contract to William Fox when she was 15, she fled weeping with nervousness from the preview of her first picture. Next, she turned up in Max Sennett's Boisterous Two Reelers, and then became Paramount's number one glamour girl with a cinematic sigh for every custard pie she dodged in the name of Sennett. While her screen parts during the immediate future will be more vitally dramatic, Miss Lombard's interests off the screen remain unchanged. These include tennis, which she plays with a tireless intensity, skeet shooting, and the designing of a new ranch in the San Fernando Valley. Tonight in that certain woman, she's heard as Mary Donald. Basil Rathburn, who's being applauded so vigorously for his work in the new Paramount film If I Were King, returns to our stage at Lloyd Rogers. And as Jack Merrick, we feature Jeffrey Lynn, the superb young actor who carries off many of the honors in the recent Warner hit Four Daughters. And now for the play. It's curtain time and star time, as the Lux Radio Theatre presents Carol Lombard and Basil Rathburn in That Certain Woman with Jeffrey Lynn. New York City, a few years ago, when gang wars made screaming headlines in the daily press. On the streets of the Times Square district, news boys hawk the latest in a round of murder. Al Hing shot, gangsta kill, Al Hing. In the window of a dingy hotel room, a white-faced girl stands listening. Her hands clenched tightly in front of her. Al Hing shot, gangsta kill, gangsta shot, sweet all about it. Suddenly, the girl can stand it no longer. Put down the windows. Why don't they stop yelling that it's driving me crazy? Look, Mary, look, honey, now you've got to get a hold on yourself. You can't go to pieces like that. Al's dead, but... Oh, Mary, that's... Al's dead. That's news to him, Al. Al Hings was a gangsta. He's dead. But Al Hings is my husband. They don't think of that. They don't care. Mary, don't... Why didn't he quit? He said he would. He promised. Not too late. Don't, Mary. It'll be all right. They'll take care of you. He had a lot of friends. No, I don't want them. I don't want their help. I used to work, and I'll work again. Change my name. Funny, isn't it? I was so proud when I got that name, and now I have to live it down. Roger Stelgen and French, good morning. Mr. Rogers? I'm sorry, Mr. Rogers is busy. Will you wait? Roger Stelgen and French, good morning. Oh, yes, the bonds. They'll be exchanged according to the trust agreement. That is, if it's satisfactory to you, it is. Fine. Goodbye. Did you get that conversation down, Miss Donald? Yes, sir. All of it? Yes, sir. You're amazing. How long have you been here now? Almost three years, Mr. Rogers. Remind me to raise your salary as of the first. Thank you, that's the second phrase in a month. Oh, it is, is it? Well, cancel it. Yes, sir. Well, better take the... Take that stuff into your office and type it up, Mary. I'll have it for you in ten minutes. Good. Hey, don't mess with your office. I've been waiting. What do you want? Don't you remember me, Virgil Whitaker of the Daily Press? I covered the story when Al Haynes was shot. Listen, Whitaker, I have a good job here. Yeah, I know. And I've worked harder than you've ever worked in your life to get where I am now. Nice going, too, Mrs. Haynes. My name is Mary Donald. Now get out fast. Mind if I smoke? Wouldn't you like to make a thousand dollars, Mary, just for your signature? Now, look at this. It's a Sunday series on the old gang stuff. Where are they now and all that? See, my life with Al Haynes signed by his widow. Signed with your name like you wrote it. Only you didn't really, because I did. And I can get you a check today. Now, you get out of here this minute. Lay off me. All right. But when this story comes out, don't say I didn't give you a chance. You get out of here. Mrs. Donald. Yes, Mr. Rogers? Can you step into my office a minute? Certainly. Mary, who's that man in your office? A friend of mine. It didn't sound that way. I heard you ordering him out. It's something I can take care of myself, Mr. Rogers. Mary, you've been with me for three years. We've never once, I think, stepped out of the roles of employer and secretary. Will you forgive the lapse if I ask you here and now to allow me to be your friend? Thank you. You're so square and kind. Being here with you, it's meant so much. And now I'm making a fool of myself. No, no, Mary. You're not making a fool of yourself. And I'm not going to try and tell you now what you're being here has meant to me. And so, having exchanged compliments, shall we return to that untidy fellow in your office? No. Mr. Rogers, when you engaged me, I said I was married. That's all right. You were a widow. You knew that I was Mrs. Alhange? Of course I knew. When you were out there at that desk looking stamps. When you were going to night school making your own dresses. You know, Mary, there are only two kinds of people in this world. Yes, sir. Us and all the others. By us, I mean, we fighters. Now, Mary, who is that lad out there in your office and what does he want? Oh, it's a relief to tell someone. There are a series of articles in the papers called Gangsters and their Mars. Where are they now? He writes them, he's written one about me. I only want to go on and make a life for myself if everyone knows about it, I can. Right. The whole series ought to be stopped. How? We'll just have to convince that reporter fellow that it's a bad, cheap idea, bad for the whole community. I'll see him now. What did you say his name was? Whitaker. Virgil Whitaker. Virgil, eh? He doesn't sound so tough. Hello? Hello, Rogers speaking. Say, who's this? Jack Merrick. How are you, lady? Jack! When did you get back from Europe? This morning, I'm easy. You sound it. What about lunch? Unfortunately. Oh-ho. Trouble in Paris? Nope. Oh, uh, I didn't know you were... Just a minute, Jack. This is for you, Mary. Jack Merrick. Merrick? Hello? Not yet. Good. I'll be late now. But Jack, I can't... Bye. Crazy fool. I didn't know you knew Jack Merrick. Oh, yes. He spoke to me here one day a long time ago. Uh-huh. Do you like him? I don't know. Yes, I guess I do. You can't help like him. That's the roof at seven. What time is it now, Mr. Merrick? Oh, now stop. I couldn't help it, Mary. I'm sorry I kept you waiting, but... Ah, kiss me, beautiful. Jack, don't! Mad man. You're prettier than ever, Mary. I feel better the minute I see it. You know, I can hardly wait. I waited. Oh, well. I had to have a long talk with Dad. You know, my first date back and all. I know, Jack. What are your dinner? Oh, I've dined with Dad. Well, did you? I'm nice. Nice? I was dying. You don't know my dad. I can picture him. It's always been the same, ever since I was a kid. I'd say to myself, I'll just go in and tell him. And tell him straight. And I'd go in. All set to tell him that I'm free, white, and 21. I'm going to run my own life. He'd just look at me and threw me in. My throat had tightened up. You told me all this before, Jack. Let's go, shall we? Where? Anywhere out of here. You'll make me nervous. I haven't walked so far in years. What's the idea? I thought it might be good for you. This is where I live. Hey, wait. Wait a minute. I don't mind walking if you get somewhere, but we didn't. No use. Let's forget it. I told you before you went to Europe. Go on. I'd better be just good friends. You're a strange person, Mary. I can't make you out. Don't try. I suppose your private opinion of me is that I'm a sap. No, but I think you could cut more ice in the world than you do, Mr. Mary. That's just what I'm asking you to help me do. Help you forget that you've got money, a background, a father? Oh, thanks, but I'd rather not. Now, let me get this straight. I get a small job. We get married, and we... Well, we fight the world together, is that it? Why does it have to be a small job? You're a pretty smart fellow, Jack, a very smart fellow. When you say things like that, I... Kiss me. No. All right. Mary, I'll do it. I'll live your way. But listen. You know, I haven't got the strongest character in the world. Would you be around to give me a hand? Perhaps if you were on the level. I mean, give me a hand. For keeps, Mary. I'm a gentleman. Good morning, Miss Donald. You mean good afternoon, don't you? What? Is it past noon? Quarter past to be exact. You were out late last night. I was. Were you? I was. I was with Jack, Mary. So was I. What? After you were. He came back to the club. Oh. You and I took a little excursion into your personal life yesterday, didn't we? Yes. And you were very kind. Well, that man, Whitaker, just phoned, by the way. He sounded quite human and very grateful to you for getting the new series of articles on businessmen. I'm grateful, too. Good. Look, Mary, if you don't want to answer this, just say so. Um, do you care enough for Jack Merrick to marry him? Yes, I do. Last night, Mary, or rather early this morning, I told young Merrick all that I knew about you. You told him? I dared to take your life for a moment into my own hands. Why? I felt that, well, Mary, you see, I... you'd have to tell him someday. What did he say? He can't wait to marry you. He told me your idea about getting... he's getting a job, and I told him... I told him, Mary, that I... that I thought you ought to get married today. Today? And why not? I've said yes for you, but he wants you to call him and confirm it. Oh, but isn't it too much to ask him to give up? What? Oh, all his home and all that money. Money? I have money, Mary, loads of it. And I'm one of the unhappiest men in the world. Are you? Oh, you know I am. And my wife has money, loads of it. But that doesn't make her happy either. However, I'm very happy at this moment. Happy for you, Mary. You know, Mary, life is really like a green horse. You pick up the reins, manage it, master it, make it jump, make it dance. Or maybe it's more like a circus, clowns and monkeys and those poor elephants that never forget and never know their own strength. Yes, and the people who swing from those dangerous things up on the ceiling. Yes, but your hands are strong, Mary. You won't fall. Neither will Jack. Go ahead. You're the flying medicine. God bless you. Call Jack at the club. Run away together. Elope. Oh, go on, Mary. He's waiting for you. Mr. Merrick, secretary? Hello? Let me speak to Norton, Mary, please. Who's calling? Police Commissioner Finley. Oh, just one moment, please. Hello? No, Norton. Finley speaking. Well, go on. Go on. Okay, did your son all right? He's married. Finley, can you meet me right away? Sure. I'll pick you up at your office. We'll drive up there to see you here. Why didn't you come upstairs? Because I wanted to see you down here without your wife. I see. How are you, Commissioner? How are you? Did you come up here to congratulate me too? We can do without that. Did you have to marry her? What do you mean? Are you sober now? Do I look drunk? I took my last drink a week ago before we got married. That was one of Mary's conditions. I came prepared to meet some of Mary's conditions. Look, Dad, I'm all set out on my own. I'm getting myself a job outside of being good friends. I don't need you, Dad. You know what I mean. That's another of Mary's conditions. Dad? Oh, Mary, come in here. The bellboy said you'd gone downstairs and... Oh. Mary, this is my father. This is Mary. How do you do, Mr. Mary? Mary, I've told Dad our plan and naturally he's a little surprised. Surprised? Do you realize what you've married, son? Or did you get you before you could find out? Now, wait a minute, Mr. Mary. We've known each other for two years. Well, you might have studied me a little more closely in those two years. I'd have settled for more than you could possibly get now, Mrs. Haynes. Now, listen, Dad... We don't want anything from you, Mr. Mary. You don't, hmm? No. What are we waiting for, Jack? Let's go back. Wait just a moment. We're going to be married a long time and maybe Dad... I mean, if he has anything to say, now's the time to say it. If Dad wants to put his blessing or even is okay... Come on, Jack, you're doing great. Well, I don't see why we can't show him how we think. The only thing you can show me is an annulment. An annulment? Jack, do you know anything about this person you married? He knows all about me, Mr. Mary. Does he know that you have a police record, a record? Well, that's a lie. Tell him, Mary. He's a little distorted. A commissioner will tell you how distorted it is. Well, Commissioner... Well, it's not exactly a record, Mr. Mary. She was picked up for questioning. Something about her husband. But her name is on the books, isn't it? Yes, it is. But this has very little to do with my marrying your son, Mr. Mary. I don't quite see that. You'll forgive me, I'm sure. But he is my son. It's his life. My life. I know it's his life. That's one of the reasons I married him. I felt that if someone were behind him, delending my hand, he might become something more worthwhile. You were behind that other man you married, weren't you? That thug, that murderer. I was just a kid, then I didn't. Oh, I'm not going to apologize. Jack, I'm leaving here now. Please come with me if it's only for the sake of the few days we've been married. Yes, but Mary, can't we... Maybe we can straighten this out. I don't think so. Are you coming? Oh, but Mary, don't you understand that? I only thought that this may be our last chance. Jack, please, only because I do love you. I know, Mary, but... All my life, Dad has kind of hoped that... Oh, I can't explain it. Darling, don't try to explain it. I'm going up in pack now. You'd better stay here. Your father must have a lot to say to you about the annulment. Goodbye. Mr. Rogers, what brings you here? Bad news, I'm afraid. May I come in? Of course. Sit down, Mr. Rogers. I feel very important, entertaining my former employer. Jack, isn't it? Yes. The annulment's gone through, Mary. I heard this afternoon. Father did a good job, evidently. Oh, I... I'm so sorry, Mary. I feel... I feel responsible for this. I, you know, I sort of pushed you into it. It's not your fault that Jack's either. He always warned me he had a weak character. Wouldn't it be too awful if his child takes after him? Mary. I hope it doesn't. I really hope it doesn't because... Mary, look at me. When did you know this? What difference does it make? A lot. We could have fought the annulment. No caught in the world would annul a marriage. And they'd make him come back to me, wouldn't they? He probably'd come too out of pity. Well, I don't want that. Someday he may come by himself. I'll wait for that day. You're not going to tell him? No. Well, it isn't fair, Mary. I think Jack loves you in his own way. It's not fair to him or to you or to the baby. I'll take care of him. If it is a him, he's going to be strong. No matter what happens, he's going to stand on his own two feet. And he's going to learn to be one of us fighters. You have just heard Act One of That Certain Woman, starring Carol Lombard and Basil Rathman with Jeffrey Lynn. Now, before our actors come back and act you, we have a little game for you during our few moments of intermission. It's making sentences out of words. You know, to test imagination and quickness. For example, a little girl was asked to use Delaware in a sentence and she answered, What will Delaware do to the party? It's not only cute, but to do it fast, you really have to be quick on your feet. Standing right beside me is Miss Jones, who is said to be very smart at these things. She's pretty, too. Miss Jones, I have a little list of words here. You think you can put them into sentences? Well, I'll be glad to try, Mr. Rui. All right, here goes. The first word is mention. M-E-N-T-I-O-N. Mention. Mention girl to aren't dainty. Well, that's very good, Miss Jones. Now, the second word is very short. Twin. It should be easy. Twin. Oh, it's really easy. Twin sure dainty-ness. Twin sure dainty-ness. That one just gets by, Miss Jones. But you must be leading up to something. You're probably going to tell the ladies in the audience how to ensure dainty-ness. Well, anyway, the last word is abandon. When you take a lux toilet soap beauty bath, put a band on your hair to keep it dry. Thank you, Miss Jones. Just as I suspected, this smart young lady was leading up to the fact that lux toilet soap makes a luxurious beauty bath, a delightful way to ensure dainty-ness. Its active lather carries away from the pores every trace of dust and dirt, leaves skin really fresh and sweet. Charming screen stars like Barbara Stanwyck, Joan Blondel and Irene Dunn tell you it's the best way they know to ensure dainty-ness. Try a lux toilet soap beauty bath tonight. You'll love its perfume, the delicate, clinging fragrance it leaves on the skin. Now, Mr. DeMille. We continue with that certain woman starring Carol Lombard and Basil Rathburn with Jeffrey Lynn. Two years have passed and Mary's gone back to work for Lloyd Rogers. Her old friend Amy's come to live with her to take care of the baby while Mary's away. In the kitchen of their two-room flat, Mary sits at the table reading the morning newspaper. There's a story on the front page, a story about Jack Merrick. Mary's read it over and over until the headline sings in her brain. Jack Merrick, wedged Jean Carson in Paris. Happy couple to honeymoon in South France. Here's your coffee, Mary. It's night and hard. I don't want it, Amy. I'm due at the office now. I'll grab a bite later after I've stopped jittering. Oh, no, honey. Oh, gee, it's sure tough. But your life ain't over yet. There's lots of men around. Mary and Paris are taking a motor-trip to the South of France. I guess she's that society girl. I think I've read the name. Oh, Mary, forget him, will you? I wish I could. It's like someone dying after a long illness. Oh, yes, darling. Don't bang your spoon. Amy'll take care of you. Bye, sweet. Amy, you remember to get some oil for the scalp? Yes, madam. I will, madam. Anything else, madam? Thanks, Amy. It'll all work out somehow, won't it? Morning, Mary. Morning, Mr. Rogers. Why do people work? You know, I don't. Not in a day like this. Oh, look at that sunshine. Mary, let's resign. I'm so tired of this office I could scream. Take a letter. To whom it may concern. You know the address. I, um... I positively, definitely, and final refuse to spend another day in court devoting my energies to... Are you taking all this down, Miss Donald? Mary. What? Mary, I heard this morning about Jack Merrick's marriage. Did you? I imagine he's quite happy, this Jean Carson girl. She must be one of the... Mary. Mary, come here. Life's a kind of dismal affair without a sympathetic and personal interest, isn't it? It could be possible that someone else might take Jack's place. You're very young, and if I may say so, very attractive. I couldn't imagine anyone else. No? Oh, well. Of course, I was thinking of myself. Were you, Lord? Well, it sounds awfully conceited, doesn't it? But I've been pretty unhappy, too. We ought to make a good pair, Mary. You see, my wife and I... Well, that may soon be over. I think both of us are hoping for a divorce, and when it is over, I hope that I might have a chance to make things easier for you. Oh, I'm sorry, Lord. I guess I'm one of those unfortunate girls you read about in novels. She only loved once. Sure. But you can't blame me for taking a chance, though. Yes, we do. And you wouldn't blame me very much if I just... went on loving you quietly like... Oh, Lord. I'll take it. Hello? Yes, this is Mary Donald. Who? Oh, Whitaker. What? When? Did he... Was he hurt? God! Mary, here, sit down. What is it? What's happened? It's a jack. They had an accident. Their car over 10, 50 miles from Paris. Both in the hospital and conscious. Oh, Lord. Mary, get a grip now, a tight one. Mary, will you do as I tell you? I took your life in my hands once before and I made a mess of it. Well, this time I won't. You're going away at once. You're going to take your baby and that woman who lives with you and you're going to white-self the springs for a rest. I can't do this. Yes, you can, and you're going to. If you don't, you can have another breakdown. I've seen it coming on. I'm going to take care of you, Mary. I don't want you worrying about anything. Do you hear? Jack. There's nothing. Nothing you can do for Jack. Whether he lives or dies, that's not in our hands. Mary. Mary, will you go? Yes. Thank you. Then she's all right. Did Dr. Hartman come up there? I see. I'll call again tomorrow, Amy. And you better tell her about Jack. They say he'll live. That might cheer her up. All right. Goodbye, Amy. Take care of her. It's not a matter of this consolidated case, Lloyd. It comes up Tuesday. Is this the brief you drew up? Lloyd. Oh. Oh. Oh, the consolidated case. What's the matter, Lloyd? Matter? Yes. Is the practice of law beginning to bore you? Mm-hmm. A little. Maybe we better dissolve our partnership. If you want to, Tilden. Lloyd, what's wrong? What's on your mind? You haven't been yourself for weeks. Oh. It was two other fellows. What? Never mind. Pretend I didn't say it. I think I'm a little tired, Tilden. Will you do me a favor? Go along and see Dr. Hartman. If there's anything wrong with you, he'll fix it. Get right down to the root of the trouble, eh? All right. Let's get on with that brief. Is that all, Doctor? Yes. You can dress now, Rogers. That's all. Well, what's the verdict? Do I live? Yes. You live. Fine. Just how long you'll live will depend entirely upon yourself. Oh. There's a catch, is there? Your heart's not too good, but that isn't what has me worried. What's the matter with me, Doctor? Frankly, I don't know. There's no medical term to express it. You're just burning yourself up, Rogers. Faster than any doctor can eat you. Maybe you know what's wrong. Maybe. When brilliant fellows like you lose their grip, they go pretty fast. You'll have to rest. Learn to relax. Thanks. How long would you say I had? No one could tell you that. Perhaps five years? Oh, all right, Doctor. I'll count on three. Good day to you. All right. Now blow the candles on the cake, darling. One, two. One still lit, Mummy. Blow. Oh, gee, birthdays are wonderful, ain't they? I mean up to four years old. If it's around 40, well, then up they'll hurt. I'll answer. Don't let him eat too much cake. Good evening. Oh, hello, Mr. Tilden. Come in. I'm sorry to disturb you. Is Mr. Rogers here? Mr. Rogers? Why, of course not. What's wrong? Mr. Rogers had a bad spell at the office after you left today. We took him home. He was delirious. Oh, no. The nurse left him for a moment this evening, and now he's disappeared. I thought he might be here. But why? Because he talked to you constantly. The nurse asked me to come here. If he is here and you're hiding him... Are you mad? You'd be in a rather bad spot, Miss Donald. What are you talking about? I think you know. You must realize that you and your... your child have become an obsession with him. Will you please go? He does come here. I'll telephone you. Good night. Mary. Amy, did you hear that? Yeah, why didn't you slap him one? I don't understand that he... Lord, he talked about me. Is he in love with you, Mary? Yes, he said he was once. I didn't take it too seriously. But he never mentioned it again. I thought he was just trying to be kind. Oh, poor Mr. Rogers. I guess that's why he's done so much for us. Oh, for you? Yes, for me. Lord. Mary. Mary, may I come in? Of course. Lord, what's the matter? Here, lean on me. Sit down over here. Oh, Lord. Mary, do you mind I... I have to come to see you. Tell me that it's all right. Of course it is, but you shouldn't... No, now, now, please. Don't be an alarmist. That's not like you. Everybody's been... Well, they've been making such a fuss. I heard them, they... They said I was delirious. I wasn't Mary. I was never more lucid in my life. I said that I loved you, Mary. And that was true. I've loved you for years. I loved you the day you married Jack Merrick. I told you that once, remember? Yes, Lord. That's... That's why I came here now. Oh, I... I'm sick, Mary. I... I can't be with people I... I don't care about. You can understand that. Can't you, Mary? Yes, Lord, I can understand. Just... Just let me stay quietly. Just for a little while. I'm all right. Really, I am. You can stay as long as you want. Thanks. I've tried to help you, Mary, and now you're helping me. Mary, you don't have nothing... nothing to worry about anymore. She has all she wants, her own money. I can... I can do what I want with mine. Lord... Lord, what are you saying? I... I made a will, Mary. It's all yours. Oh, you should... Oh, please, please, I wanted to. Tell me... Tell me that it's all right. Oh... Oh... What's so quiet here, isn't it? Just let me... close my eyes... just for a few... few minutes... Mary. Lord, what do you say? Lord! It's all about it! Why'd you run just there? Why'd you attack your widows? Why'd you die the widows home? Why'd you marry half a man? Half a million for Mary! It's all about it! It's history, Kyle! History, Kyle! History, Kyle! Look out that camera, guys. Step on it, will you? Pull that kid high up there. You've got to have a picture of that kid. Look out! Come on, man. Come on, sonny boy. That kid's my mom. Come on, snap it up. You'll be ballin' in a minute. Let him cry. This way, baby. Cry for daddy. Please. What's the matter, Whitaker? Get out of here. Go on. Hey, listen, Whitaker, who do you think you are? Do I have to show you all right then? I'll get out! All of you! It's all right. It's all right. Thanks, Whitaker. Hey, Jackie boy. Don't cry. Don't cry, darling. I'm sorry about this, Mary. No one's fair. No one's fair to Jackie. I'll see what I can do about it, but I'm not hoping for much. Thanks anyway. I'll call you later. Oh, Mary, I'm also sorry. I-I couldn't help it. Never mind. It doesn't matter. I'm going away now. Well, where? Anywhere. What about the papers? They're saying that Jackie... That Mr... You can't stop people from saying anything. There's someone out in the hall now. Take care of them. Get Jackie dressed. Okay. What do you want out here? Hello, Mary. Yes. The door was open, so... Oh, so you came in. How have you been, Jack? Oh, so-so. Well, you'll have to excuse the rough house. You had some debt. Yes, sir. I think I saw some of them in the street. Too bad about Lloyd, wasn't it? Yes. I'm going away. Where? Europe I debt. Europe. I haven't been to Europe since... How is your wife? Fine, considering. She'll never get out of her wheelchair. Yes, I heard there. I heard too, Jack, that you had been splendid. Oh, well, I was responsible. I was driving the car. Mary, I've often thought about telling you how it happened. I was trying to forget about you over there in Paris. And Jean came over. I'd known her since we were at school. She stuck around, and one day we married. Mm-hmm. Then the accident, the smash. What a nightmare that was. Then when I was convalescing, they showed me poor little Jean all battered up. Mary, she's got something. She's the bravest woman she is, really. She must be. I remember things you'd said about running out and fighting. And you know, Mary, I've been working ever since. All the time. I'm very proud of you, Jack. I'm very proud of you, Jack. I'm very proud of you. Mommy, you grass me. Mommy! Just a moment here. Is that...that's your boy? Yes. He's just four now. Would you like to see him? Well, yes, sure. Come in here. Mommy, you grass me. Yes, darling. All right. Any offer to shop? Okay. Well, there he is. This is Jackie. Jackie? Why not? I know him after you. Mary, how old did you say he was? How old would he be? Look at him, Jack. You mean that he's... Well, look at him. Do you want to believe that anyone else is his father, do you? Well, but why didn't I know? Because if you'd come back, I wanted you to come back to me for me. When Jackie arrives, he's gone. I can hardly believe it, Mary. Mary, he's beautiful, isn't he? Why did you hide him all this time? He's never been hidden. He's just too busy. Oh, don't be bitter. You can't, not now. Mary, listen. Can I... Can I steal him for the afternoon? Steal him? Oh, I mean, follow him for a while. Come on, be a good sport. I am a good sport. Jackie and I are leading as soon as we can get out. Not now. You can't, Mary. No? No. There's three of us. We've got to fight together. Mary, doesn't this make it all different? I don't think so. You belong to me and you always have. So does this little husky. Definitely. Notice how much he looks like you? Sure. Anyone can see it. It's one of the newspapers, isn't it? Why should they? When your father and an old-own marriage, he hushed it up and made one swell job of keeping it quiet. Was it for me to talk? No, but... Now, I'm going to do some talking. Great, Jackie. We both are duty to this boy right now. You can. Oh, yes, I can. I'm going to talk plenty. I'm going down and see every newspaper editor in the city. We'll be back later, Mary. We've got a lot to talk about. Have we? Bye for a while. So long, there, husky. Well, Mary, now what? The same thing, Amy. Start hacking. We're on our way. This was station identification. This is the Columbia Broadcasting System. You have just heard act two of that certain woman, starring Carol Lombard, Basil Rathman, and Jeffrey Lynn. And we'll hear the third act after the short intermission. But now we take a trip to backstage Hollywood, as Mr. DeMille presents our special guest. It's not difficult to locate Edmund Goulding on a Hollywood soundstage. Just look for a gentleman whose face and air spell Ireland. And whose attire on the set year in and year out consists of a loose brass button blue jacket with turned up cuffs, white corduroy trousers, and a very, very formal boutonniere. In spite of this exhibition-ary uniform, Mr. Goulding is a shrinking violinist who makes some of the best pictures in Hollywood. Starting out as an actor, he suddenly switched to playwriting. But Edgar Selwyn gave the stage a startling hit in Dancing Mothers. As a director, he handled all those stars you saw in Grand Hotel without provoking a single flair of temperament. His latest efforts are white banners, drawn patrol just completed, and dark victory now in the making. In addition, Mr. Goulding is both author and director of Riptide and the original play from which tonight's drama, That Certain Woman, was adapted. First of all, Eddie, I want to thank you for the attention you showed me once while I was laid up in the hospital. I can't tell you how I appreciated your constant visit. Well, TB, if a man can't give a friend a little attention- No, no, no, Eddie, no. It was more than just a little attention. That cheerful face of yours would breeze through my door three or four times a day. That's real friendship. Well, TB- Yes, Eddie? I have a little confession to make. I had the room next to you in the hospital. Oh, were you well? No, I was, I was tired of it all. I was resting up. And it got a little boring, you know, so alone. Well, thanks, Eddie, anyway. Well, you're welcome, TB, but tell me what ever became of that very beautiful nurse that was tending you? Oh. Oh, so that was it. Well, I suggest we get out of the hospital and back to the soundstage. How goes your new picture, Dark Victory? You know, we beat you to it on that one. We did Dark Victory here last spring. And if you hadn't done it in the Lux Radio Theatre, the chances are that I wouldn't be directing enough Warner Brothers. I don't quite follow you. Well, most of the studios knew the story of Dark Victory, but for some reason or other, they shied away from it. Now, when you put it on the air last March, Hal Wallace, the production chief at Warner's, was so impressed, and so was I, that he bought the story for Betty Davis and George Brent. And I only hope we do as good a job with it as you did. Well, it couldn't be an abler hand, Eddie. All of which goes to prove, CB, that we not only use the tangible product of this program at our studios, Lux soap, but the intangible product is just as highly appreciated. You're beautifully done plays. That double barrel salute is appreciated. Now, may we gossip about that certain woman? Well, I wrote that certain woman under the title of the Trespasser, one of the very first sound pictures of Miss Gloria Swanson. It did very well. Yes, it did. And I rewrote it for Miss Betty Davis and we changed the title to that certain woman. They tell me you created that well-known song which was heard for the first time in the Trespasser. Love, your magic spell is everywhere. I'm guilty, sir. And it's sold about a million copies. I'm doubly guilty, sir. I knew you before that, but I never knew you were a musician. You didn't know I was a choir boy, Mr. DeMille, with honest blue eyes and a cherubic face? You probably used Lux. But go on about that song. Well, it happened like this. We needed music desperately in the early days of sound pictures. They helped take the place of the old-fashioned screen titles. I was looking for a certain kind of strong musical phrase. So to every wandering musician I met on this lot, I'd say, here, come here. This is what I want for the Trespasser. Hum, da-da-da-dum, hum, hum, da-dum. Oh, very, very pretty, are they? Very pretty. Well, none of them seemed to be very impressed. So one day I whistled at the Gloria Swanson. She liked it and said, write it down. But we couldn't find a soul to write down the notes. I stayed up half the night whistling it so I wouldn't forget it. Elsie Janice wrote the words Freud and Gloria Swanson wound up by singing it in the picture. You whistled at Ms. Swanson and automatically become a great composer. Have you whistled successfully since? Yes, sir. I whistled to Ms. Davis the other day a song called, Oh, Give Me Time for Tenderness. Have you forgotten it? No, we wrote it down. It's in the picture. How does it go? A gem, Eddie, a gem. But how do you get those rhythm effects? Well, sir, confidentially, those are my knees knocking together. I sort of play my own accompaniment and before my knees give way entirely I'm going to step outside and stop from chattering. Goodbye, sir. Thank you. Goodbye, Eddie. Keep whistling. That's Certain Woman starring Carol Lombard and Basil Rathbone with Jeffrey Lynn. It's the following day and Mary's still in New York for a court order was presented to her at the boat, an order demanding custody of her child. In fury she's gone to the Merrick home and now faces old Mr. Merrick across his library desk. Mary's desperate. The old gentleman composed. Please calm yourself, young woman and listen to me. No, Mr. Merrick, you're going to listen to me. I've taken all that I'm going to from you and everyone else. Now Mrs. Al Haynes is beginning to be herself. I never knew anyone could be so completely heartless. You and your bailiff order. You admit that my bailiff and his restraining order have accomplished my purpose, which is to keep you and the boy from leaving the state. Yes, pending action against the custody of my son. That's what it said, custody of my own son. My grandson. I'm prepared to believe that the boy you have is Jack's son. This is obvious that you're entirely unfit to raise the child. Don't say that to me. Don't you dare. I've been Jackie everything I could. Everything he needed to grow strong and well. Every care, every thought, every experiment of my life. It's everything I have and you're not going to take him away from me. I intend to ask the court to remove him from further contamination. You talk to Jack about this? My son knows my decision in the matter. He signed the application for the court order? If you doubt its validity, try taking the child out of the state. Just try. I'd like to speak to Jack. May I wait here? My son is not going to discuss this with you. He wants that boy and he'll get him. Yes, he may at that. So, you're beginning to talk sense now? Very good sense, Mr. Malley. I think later on you'll be happy in the knowledge that you did the right thing. The boy will have a real chance in life everything that money can give him. You will be free to travel, have an amusing life, plenty of money. You needn't go on. We'll handle the whole thing as delicately and generously as possible. Yes, generosity is your long suit, isn't it? Mr. Malley, you've got all the cards, all the tumps. You're the winner, except for one ace. I've got the one thing that even you can never take away from me and that Jack's love for me. You want to take my son away from me? All right. I'll take your son away from you. My son will have his father and his mother too. I'll go away, I'll travel, I'll have an amusing life and my husband will be with me. Hello, Mary. Dad, what's this about a warrant, a court order, or whatever you call it? Didn't you apply for? I did not. If you'll keep out of this, keep out of it. What do you mean keep out of it? You didn't say anything about any kind of a court order when I talked to you this afternoon. Then you didn't know anything about it, Jack? Of course not. Dad, you're all wrong. I spoke to Mary yesterday. She need never have told me about the baby at all. And you need never have told the reporters. Jack, I'm only trying to cover you on this. Well, you don't have to. You might as well know right now. When I spoke to Mary last night, I asked if she'd take me back. She said no. But I'm not stopping at that. I'm going to talk to Dean and lay the whole thing right on the line to her. And you've got to help us, Dad. You broke this up before, but you were wrong. And you've always been wrong. You can't take people's lives and run them the way you run your business. Now, you go home, Mary. Go home and wait for me. I'll be there as soon as I can. Going up, Miss Donald? Please. Yes, you've already been waiting for an important, Miss Donald. A lady? Yes, and she said she was a friend of yours. I let her in. I willed her in. Oh, thank you. Yes, and I knew you wouldn't want it to wait outside. Good afternoon. You're Mrs. Merrick, Jack's wife. And you are... Mary Merrick. Two Mrs. Merrick's meeting for the first time. I hope you don't mind my waiting here. Oh, I'm glad you did. Looks like moving day. Yes, it is. We're on our way to Europe. I'm very fortunate to catch you before you left. Do you mind if I light another cigarette? Oh, perhaps you'll have one. No thanks. Jack told me about finding you yesterday. You and the boy, too. It's not democracy. Yes? I believe he's going to have it out with his father now. Yes. He wouldn't tell me a thing, but I have a pretty fair idea. You see, I've loved Jack ever since I was a child. Have you? Mm-hmm. I've always been teased about it. And I didn't know about you and Jack until I was a man. I've always wanted to meet you. To thank you. For what? You've said a great part in the molding of Jack's character. No, not really. Oh, yes, you have really. You've been gentle and loving. And so patient. You realize what it means for a young, healthy man. Mrs. Merrick, why do you come here? You ask you to take Jack to ask me? You must. Why must I? Because he's deeply in love with you. And you love him? Of course. And loving him? You could come and ask me to take him? You could give him up to me? What right have I to hang on to him? Just because I love him. I'm only half of why he isn't love bigger than just... It's not bigger than our son. A man needs the son. And sons need fathers. That's why you've got to take Jack. You've just got to. For the boy. Doesn't it hurt you to say this? Of course it hurts. Nothing fine comes without its pain. You found that out when your baby came, didn't you? Yes, I did. Is that his picture? There on the table. May I see? Of course you may. He's lovely, isn't he? Would you excuse me for a moment? There's someone at the door. Don't mind me. See? Come in, Jack. Well, Mary all set. I've just left Dad. He's actually coming over on our side. I'm on my way home now to talk with Jean. Jean is here. Here with you? Why? Because she's a wonderful person, I think. Oh, yes, she is. Listen, Jack, we're going to call off all plans. You and I, you're sticking to her, and I'm going away. We've been talking, and I didn't know a woman could be so fine. She's shown me something real about love and living. But Mary will. Don't talk anymore. Please don't, I can't. Take her home with you, Jack. Take her now. Mary, he's all dressed. Are you going out with me? Yes, darling, you are. Mommy's going to stay here. Here, let me do that button. There we are. Oh, Mary, Mary, you can't do this. You know what I take him down to? This is Jack Mary. One eight, one one nine. I know where it is. And I still say you're crazy. You don't know what you're doing. I think I do, Amy. I hope I do. Go on now, please. All right. All right. What about when our night time comes and he starts wanting you? He always does. That's your job, Amy, and you will do it for me. Just making believe that I never was. It's just as well. I'm a bad luck man. You're a little man, aren't you, Jack? Aren't you? You're kidding, indeed. Yes, darling. Yes, my sweet. Thank you, Amy. Bye. No. No, come back, Jackie. Here. Here, you know, mother likes your collar outside your coat. That's better. Go along now, darling. So, bye. Bye, Mommy. How's this deliverable? Is that right, madam? Yes, please. Will that be for two, madam? Just one. I'm alone. Hello? I can't hear you. Sailed for where? Well, Tracer, put detectives on her. Find out where she is. Never mind the cost, don't you? It's a single sweetness. For how long? I don't know. Make it by the day. You are traveling alone, Poiline? Yes. What time does the train for Naples leave? Senora will have dinner alone. Is that consignor's considered strange here? No, senora. Oh, you did it. Passes for one, madam. Single sweet. Poiline is traveling alone. Alone, senora. Single sweet. Alone, senora. Passes for one, madam. Single sweet. Alone, senora. Passes for one, madam. No, senora. You wish a table, missy? Missy, you are looking for someone? Yes. Yes. There's someone here. I... Oh, there she is. That lady, missy? Ah, she's always alone, missy. For a long time now, she's been here, and she's always... Don't worry. I don't think she'll mind seeing me. Oh, very good. Do you mind if I sit down? I'm sorry, but... It's been a long time, Mary. Are you really so surprised to see me? How did you know where I was? London, Berlin, Naples, Paris. I've always known where you were, Mary. Have you? I never came because... I knew you wouldn't want it that way. Thank you. I thought it would be best. It has been the best. Not for you. Oh, I've been busy. You know, traveling, it's like a drug sometimes. You get so used to it. Mary, aren't you going to ask? Ask what? About Jackie. Of course. How is he? He's beautiful, Mary. He's a wonderful kid. He gets to look more like you every day. Does he? Is he still the great big sailor? You know those suits. Sure. You ought to see him ride his bicycle. He throws a curve that's really got a break on it. Oh, Mary. Wouldn't you like to see him again? How is Jean? Jean? I mean, you didn't know? Jean died, Mary. Last winter. Died? She was such a wonderful person. Yes, she was. She thought you were pretty wonderful, too. So do I, Mary. Oh, please. Mary, look at me. You know why I'm here, don't you? Yes. It's just that I can't quite believe it. It's happened so often before in dreams. It's real this time. Jackie is. It's fair to him now. He thinks that... Oh, no, he doesn't. We've never let him forget. We couldn't. He still asks for you, Mary. At night time? Every night of his life. Oh, Jack. How many nights will it be before we're home? That concludes the dramatic portion of tonight's program, and gives us the chance to meet Carol Lombard and Basil Rathbone on a much more intimate basis. There's one question in particular, Miss Lombard, that I think our audience would like you to answer. Is your vacation from comedy roles a permanent one, or are we going to see the Lombard brand of humor back on the screen someday? Well, Mr. DeMille, I think an audience likes variety, just as much as I do as any individual. Parts I play tonight and in my new picture are the first dramatic parts I've attempted in about five years. I expect to make a few more serious pictures, and then I think it'll be time to laugh again. What are your thoughts on the subject, Basil? Tainted with envy, Carol. I've been slinking and snarling on the screen for such a long time. Yes, I've been slinking and snarling on the screen. But when I visit my barber, you know, when I go to visit my barber for a haircut, he keeps asking me if I'd like it clipped or long around the horns. Well, don't despair, Basil. You've played one sympathetic part tonight, and if you'd like to play another, you may choose any makeup you wish. Now, you wouldn't kid me, Mr. DeMille. I know it's Halloween. I should say it is, Mr. DeMille, and I had every intention to bring you a pumpkin for my farm. I haven't started the farms yet, but they say there's nothing like cultivating your own Halloween pumpkins. Must be quite a thrill to watch the nose and the eyes of your mouth get ripe, and the little candles inside grow bigger and bigger. Oh, Carol, Carol. You don't grow pumpkins... Oh, well, let it stick. But still, on the subject of pumpkins, they are highly desirable, you know, as Halloween, uh, Halloween for aiding and abetting the love lawn. Pumpkins? Certainly. For centuries, hundreds of wrath-pounds have been matted off by following these simple rules at Halloween. Turn your boots towards the street, put a pumpkin at your feet. Turn your head, and you'll dream of one you're going to wed. Sounds a little corny to me. Hmm. Well, it's strictly off the cob, I'll admit. But if you don't like that, you can always make a jack-o-lantern, go out at midnight, walk around the block seven times, and you'll also bump into your own true love. Ever try it, Mr. DeMille? Yes, once. Some years ago, only my own true love turned out to be a certain Mr. Finnegan, the policeman on the beat. Since then, I've gone in for nothing more strenuous than bobbing for apples. But no gate-stealing or ringing doorbells? Before you force me to confess, Carol, let's change the subject. You might tell us what you think of the Lux Radio Theatre. I mean, as a listener. Well, I'll do better than that, Mr. DeMille. I'll tell you what I think of Lux soap as a user. In syllables of one word, I think it's swell. That goes for your program, too, and now, good night, Mr. DeMille. So long, CB. I hope you get your apple tonight. Happy Halloween to you both. Two brilliant stars, and a grand play await you here next Monday night. Mr. DeMille tells you more about our bill in just a moment. Heard in our cast tonight were Montague Shaw as Norton Merrick, Elizabeth Wilbur as Amy, Lerene Tuttle as Jean, George Pembroke as Tilden, Galen Gault as Dr. Hartman, Bobby Larson as Jackie, Frank Nelson as Virgil Wittiker, Lewis Merrill as Commissioner Finley, Mary Lansing as Telephone Operator, Sada Cowan as Secretary of State, James Eagles and Ross Forrester as Newsboys, and Edward Maher, James Robbins, and David Kerman as reporters. Jeffrey Lynn stars soon again with Priscilla Lane in the Warner film Yes, My Darling Daughter. Lewis Silvers appeared through courtesy of 20th Century Fox Studio, where he directed music for Suez. Here's Mr. DeMille. The dramatic problem of a girl who thought she could find no real happiness and love without a successful career comes to the stage of the Lux Radio Theatre next Monday night. This situation, which touches the lives of millions, becomes more vital than ever in Ursula Parrot's brilliant story next time we love. And starring in this romance of an actress and the newspaper reporter are two reigning favorites of the screen, the lovely Margaret Sullivan and the hero of my next picture, Joel McCray. Our sponsors, the makers of Lux Radio Theatre, are now on stage today. Our sponsors, the makers of Lux Toilet Soap join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Margaret Sullivan and Joel McCray in Next Time We Love. This is Cecil B. DeMille saying good night to you from Hollywood. Those of you listening in tonight who have young daughters probably know that this week we're commemorating an important birthday. This is the girl scout movement in the United States. This, ladies and gentlemen, is Girl Scout Week and we know you will want to join with us in congratulating this lively growing organization. If you haven't a girl scout in your home, there's one in your neighborhood. She needs your interest in her. Make friends with a girl scout this week. Her dawn tonight's program was I've got a date with a dream from my lucky star. This program, ladies and gentlemen, is the wishes of the makers of Lux Toilets Oak. The complexion care preferred by 9 out of 10 lovely screen stars. Join us again one week from tonight. Be part of the vast audience that gathers each Monday night in this country and in Canada to hear Hollywood's celebrated stars in the best place of stage and screen produced by Cecil B. DeMille with music under the direction of Louis Silvers. Until next week, this is your announcer Melville Royk bidding you all good night. This is the Columbia Broadcasting System.