 From Hollywood, California, the Lux Radio Theater presents... George Arliss in Disraeli. Presents Hollywood. For your loyalty to Lux Flakes, we say thank you, ladies and gentlemen. Each week it is gratifying to receive the many letters you send us commending our program. But it is still more gratifying to get your letters telling us how much you like Lux Flakes. Thank you again for your purchases of our product. Tonight we bring you another banner dramatic event. George Arliss in Disraeli with an all-star supporting cast featuring Florence Arliss and Pat Patterson. Our guest producer is again that genial gentleman and world-famous screen star, Mr. Edward Arnold. Our regular producer, Mr. Cecil B. DeMille, will be back in his usual place here next Monday night and every week thereafter. Tonight we hear him from New York City with the special guest of the evening, Major Edward Bowles. Lewis Silver's directs our music. And now we begin the show with word from our guest producer. Ladies and gentlemen, Mr. Edward Arnold. Thank you, Melville Roy, and good evening, everyone. With the presence on our stage tonight of Mr. George Arliss, a new chapter in radio history is written. Not merely because Mr. Arliss considered to interrupt his first vacation in many, many years to be with us tonight, but because this is his first time in his magnificent career that he has appeared on the radio in a dramatic vehicle. For such an event, it is only fitting that our play should be Disraeli. I doubt if there's any actor in the world who has brought more honor to his profession, who is more respected and more beloved than Mr. Arliss. And I also doubt if any actor in the history of the theatre has been more closely associated with a certain character than Mr. Arliss is with England's great statesman, Benjamin Disraeli. For five consecutive years, he played the part on the stage and it later became his greatest triumph on the screen. As in the film, the part of Lady Beacon's Field, Mrs. Disraeli, is played by the wife of our star, by that lovely gracious lady, Florence Arliss. You may wonder why this character is called Lady Beacon's Field, while her husband is called Mr. Disraeli. There's an historical reason. When offered a peerage, Benjamin Disraeli declined to accept it for himself in order to retain his place in the English House of Commons. He accepted it only for his wife, knowing that it would please her. It was years later before he himself resumed the title. Our play, adapted from the original by Louis and Parker, has two other outstanding parts. Those of Lady Clarissa and Viscount Charles Dieford. As Clarissa, we welcome Miss Pat Patterson of Walter Ranger Productions, star of the new film, 50 Second Street, and the wife of Charles Boying. Miss Patterson has just returned to Hollywood from three months in Paris. And as Charles Dieford, we hear GP Huntley Jr. And now on with the play. The Lux Radio Theatre presents George Arliss in Disraeli with Florence Arliss and Pat Patterson, corner of Hyde Park London in the year 1875. Butched on a large box, a shappily dressed professional agitator is arraigning a crowd of idlers and melk intents. The agitator weaves his stubby arms shouting angrily. Dear Disraeli, police should be Prime Minister of England. He's all right, Disraeli, whose grandfather was a heart of the commons, Mr. William Gledstown is speaking against him today. Gledstown! He's speaking against Disraeli there. Mr. Gladstone. Thank you. It is Mr. Disraeli's express wish to see our Queen Victoria crowned Empress of India. It is also his express wish to commit us in the face of Russia to a foreign policy of imperialism and expansion that makes me tremble for England's safety. I say that in proposing such a policy, the Honorable Prime Minister has branded himself an unfaithful guardian of England's welfare, an unworthy consular of England's sovereign, a dangerous enemy of England. And the Prime Minister. And thank you. And now that Mr. Gladstone with his customary eloquence and customary tact has expressed his customary disapproval. And the issue, gentlemen, is this. Whether you will be content to be a comfortable England, meeting in due course of sad inevitable fate, or whether you will be a great country, an imperial country, a country where your sons, when they rise, will rise to paramount positions and obtain not merely the esteem of their countrymen, but the esteem of the world. Perhaps you think that because no war clouds darken the present horizon, there is no danger. Have you ever seen one of those marine landscapes on the coast of South America? You behold a range of exhausted volcanoes, not a flame flickers on a single pallid crest. But beneath is a sleeping menace that will someday awake. That is all. Good morning, dear. Good morning, Mary. How are you, my dear? I slept quite well. You didn't, I hear. Nonsense, nonsense. Three, four hours. Then I won't bother you about the party. But I'm dying to be bothered. Well, here's the list of invitations. Yeah? Would you conduct the best and real Lady Clarissa? Dear Clarissa, you know she thinks you're the greatest man in the world, and she's right. Oh, Viscount Dieford. Yes, young Dieford will come to protect Clarissa from my diabolical influence. And by the way, I want you to invite Mrs. Travers. Mrs. Travers? Why did he, we scarcely know her? A very fascinating woman. I'm anxious to cultivate her acquaintance. Why did he? I have a feeling that Mrs. Travers is rather interested in the international policies of England. Interested as an English woman, or as a... Ah, that, my dear, is what I propose to find out. Ladies and gentlemen, Mr. Vernon Rockwell and Mrs. Howell, Sir Michael Provence and Lady Provence. Ah, Sir Michael. Sir Michael. Good evening, Lady Bickensfield. Good evening, Mr. Dieford. The Russian ambassador, Count Bosnov. My dear Bosnov. My esteemed friend, good evening, and Lady Bickensfield. Good evening, Count Bosnov. And I'm happy to see you here. Although the powers of Russia and England seem bound to cross, their ministers may still be friends, eh? Thank you, Mr. Disraeli. You're very kind. Mrs. Travers. Oh, wait, Bosnov. Mrs. Travers. Good evening, Mr. Disraeli. So good of you to ask me, Lady Bickensfield. Mrs. Travers, may I present Count Bosnov, the Russian ambassador, or perhaps you've already met? I, uh, I don't believe we have. How do you do, Count Bosnov? How do you do, Mrs. Travers? My arm. Thank you so much, Count Bosnov. Did you notice the Mary? I think they have met before. Oh, what a suspicious pair we are. Lady Clarissa, my Count Dieford. Mr. Disraeli. Clarissa, more charming than ever. Good evening, Lady Bickensfield. Good evening, dear. Here's Charles. We came together. Well, you felt very glad to see you. How do you do? You're fortunate we've got such a charming young lady, Charles. And I am fortunate to be shaking her by the hand. Winter hand in hand with spring. Innocence with guile, experience. Same thing. I'll run along now. Run along, Clarissa. I'll run along, sir. Mary, that young man doesn't like me. How do you dislike Mr. Disraeli so much, Charles? What? I neither like him nor dislike him. Oh, don't you feel lonely? Lonely? You are the only man in all the world who neither likes nor dislikes Mr. Disraeli. Yes, yes. I know how you admire him, but we won't argue about that now. I want to speak to you, Clarissa, about something important. Well? Clarissa, your mother has given me her gracious permission to address you. Was her permission needed? Well, I'm rather a stickler for form, you know. Yes, I know. Clarissa, I consider it my duty to marry. Do you? As you know, I'm very much interested in the working man. I have plans for building model cottages with every modern improvement. I trust my wife and I will show our humble friends a model English household. Model children, in short, a model... Charles, you'll think me very silly, but is this, is this an offer of marriage? Why, I hoped I'd made that clear without offensive plainness of speech. How wonderful. I mean the manner of your proposal. What? You are a young man of 25, and I'm a girl of 19, and you come to me with an essay on political economy. I beg your pardon. Oh, Charles, Charles, you've made a horrible hash of the whole thing. Clarissa. I do like you. I like you very much, but your model cottages leave me cold. But, Clarissa... If ever I marry, and I hope I shall, I want a husband who is at the bottom and is climbing, climbing on hands and knees with his eyes fixed on the summit. Never mind if he never gets there. I can help him to climb, and if he falls, I can fall with him. But I can stop. No. You were born at the top. You sit in a rarefied atmosphere like the gods on Olympus, and design model cottages. I see I have made a mistake. Yes, Charles. Shall we go in now? Mr. Disraeli? Yes. A telegram for you, sir. Just come. Yes, sir. Hey, Charles. Back at... Yes, sir. Find the Bank of England. Find the Bank of England. I mean the manager of the Bank of England. Sir Michael Pomenitz. I want to see him alone in the library. Yes, sir. What an opportunity. Sit down, Sir Michael. Sit down. Well, what is it now? Sir Michael, I've just received an astounding... One moment. Why are you closing the window? How voice is travel? Hey. And how pretty ears have come halfway to meet them. What? I thought I caught a glimpse of my dear friend, Mrs. Travers. Why, what's all this secrecy about? Listen to this telegram. It came a moment ago from Egypt, Cairo. Have secret information that Ishmael Pasha, creative of Egypt, is in urgent need of funds and will sell controlling shares in Suez Canal for five million pounds. Well? A tremendous opportunity for England, Sir Michael. You don't mean that in earnest. Pardon me, in dead earnest. Do you seriously mean you are thinking of purchasing the Suez Canal? I was never more serious. And you want the Bank of England to back you? Temporarily, until Parliament meets. Then let me tell you at once, I'll never consent. I shall not allow the bank to play a dux and drakes with its money on an Egyptian ditch. An Egyptian ditch? That's rather neat. Only it's not ducks and drakes, because Russia too is... Oh, that ancient bugbear. That ever-present perio. Russia knows of this opportunity to purchase the High Road to India. If she sees the slightest move on my part, she'll snap up the canal like that. Your scheme is hair-brained. The canals are confessed failure. Really? Whatever doesn't pay is a failure. And it's silting up, Sir. Silting up. Soon the only ship sailing on it will be the ship of the desert. I mean the camel, Sir. Yes, I thought you meant the camel. Beware of the east. Remember Pharaoh, Sir. Remember Pharaoh. Yes, but what about Moses? He was a Jew. Well, he was privileged. And you won't help me? Oh, on the contrary. I rejoice to think I've made this rash enterprise impossible. Oh, but you haven't. What? Where will you go for the money? Where Pharaoh went. I shall go to Moses. Well, at any rate, it'll be no use coming to me, and that's final. Nothing is final, Sir Michael. In the unlikely event of Moses failing me, I may send for you again. And I shall not come. I think you will. Hold with him? No, my dear. But he's missed his opportunity. I must get hold of Mayer's. Hugh Mayer's the banker? Hugh Mayer's the banker. That's the man, Mary. That's the man. Dizzy. I hope you're not borrowing money. No, no. Well, just a trifle. Only a few millions. We'd better get back to our guests, my dear. There's Charles in the garden, looking like a thundercloud. I'll tell you why. He has asked Clarissa to marry him, and she's refused him. Oh. Mary, I am going to pay ferry. Godfather, I'm bringing them together. You, a matchmaker, as if you hadn't enough to do. Think what a splendid couple they'd make. Ah, Dizzy, always dreaming a romance. And living one, my dear, while you are by my side. Excuse me, Mary. I've been looking for you. Really? And I had desired a word with you. There. Now, I know that tone of voice so well. What do you mean? It's the tone of an angry man. Now, what can I put you out? Mr. Disraeli, Clarissa has refused me. Yes? Well? And I attribute her refusal to your influence. I see. I was thoroughly justified in thinking well of you. What? You have courage, or you would never say that to me. Do you take a girl's no as final? I suppose she knows her own mind. Certainly, but make her change it. How? I'm glad you're asking me to help you. Because I'm interested in you. Interested in me? Why? Because England stands in terrible need of many of your stamp. Oh, I can't see that. England was never so prosperous as now. She has a wise aristocracy, an industrious middle class, and a contented and happy peasant strength. Splendid, splendid. How many old Tory squires have I heard talk just like that? Is that how you talk to Clarissa? I do not discuss politics with women. I do. Sit down. Listen. England is as isolated as a ship laying off the coast. Affirmate as it work all over the world. Titanic forces have been unchained, forces of which you have no conception. The spirit of nationality has awakened everywhere. All the nations must expand, and everywhere our empire is in their way. Russia, for instance. Now, while England stands alone, while France is crippled, now it rushes opportunity to snatch it India. With India lost, the whole fabric crumbles, and England sinks into insignificance, a bell jam at sea. Now, do you see why Clarissa refused you? These are the things I've told her. Do you wonder she wants a man of action? Do you wonder she's not content to be a mere Duke's wife? I see. But what can I do? What can any one man do? What one man has already done. You, sir. But how can I hope to emulate you? You can learn. Will you learn? Will you teach me, sir? Yes. How can I begin? What's the solution? Is it war? War is never a solution. It's an aggravation. What then is the solution? A very small thing. A thing men are laughing at. What, sir? A ditch. A ditch dug in sand. A ditch? A ditch dug in shifting sand. You mean... I mean Mrs. Trevor. Is that you in the shadow of the trees there? I thought I recognized you. I just came out for a breath of air. An unexpected pleasure. You know, we were in the thick of a very interesting discussion. I say that a ditch dug in sand gives the best soil for celery. Sand? Yes, sand. Is it? Come here, Mary. Here, Clarissa. I have a bit of news for you. For me? For you, my dear. Lord Dieford has just done me the honor of accepting a sacred worship. Mr. Disraeli. Charles! Oh, Charles! Clarissa, I may do something yet. Oh, I know you will. My congratulations, Lord Dieford. You'll have many things to teach him, Mr. Disraeli. Mr. Disraeli has already begun. Yes. I've been teaching him what it took me many years to learn. And what is that? Dear lady, that a ditch dug in sand gives the best soil for celery. In the Lux Radio Theater. George Alice, Laurence Alice, and Pat Savison return in just a moment to go on with act two of Disraeli. Now, during this intermission, we invite you to enter a word game. It's easy and lots of fun. Here's how it's played. In the Lux playlet you are about to hear, there are three characters. Mary Jane, her mother, and her aunt Nancy. During the conversation, they will mispronounce three words. The scene is a house on the north side of Hollywood. Mary Jane is celebrating her 12th birthday and her aunt Nancy arrives with the present. See if you can pick out the three words they say wrong. Mother, look, aunt Nancy's given me two pairs of silk stockings. How lovely. Really, Nancy, you shouldn't have done it. You've been spoiling that child since the day she was born. Oh, mother, I've been positively dying for a pair of silk stockings. You know aunt Nancy? These are my very first. I'm glad you like them, honey. I only hope she appreciates how exquisite they are. And doesn't go running through hedges with them on. But mother, only this morning you just leaned over to pick something up and yours went into an awful run. That's just it. That's why you have to be so careful. Well, let me give you both the tip. The time to start being careful is the very first time you wash them. You use Lux flakes and you won't get so many runs. It saves the elasticity of the silk. Here are the three mispronounced words. Mary Jane said positively. The word is positively. As in, the way Lux Flakes cut down stocking runs is positively miraculous. Mary Jane's mother said exquisite. She should have said exquisite. As for example, every smart woman likes the way Lux keeps stockings exquisitely new looking. And the last and most important word aunt Nancy pronounced elasticity. But no matter how she pronounces elasticity, she certainly knows what it means. Some soaps contain harmful alkali and this weakens elasticity. Leaves the delicate stocking threads brittle, apt to break into runs. Rubbing with cake soap often pulls and tears the threads too. Lux Flakes save elasticity and cut down on runs. So always wash stockings in gentle Lux. Back now to Edward Arnold. We continue with Disraeli starring George Arles with Florence Arles and Pat Patterson. A few days have passed and Charles, to Clarissa's delight, has begun his apprenticeship under the great Disraeli. In the inner sanctum of his office at 10 Downing Street, the Prime Minister sits at his desk, a slow smile, creasing his wily old face. On the other side of the desk is Hugh Meyers, the banker. Mr. Disraeli, the money is on its way. Good. From... From New Argentina. When will it arrive? In three weeks to be placed at my disposal in the Bank of England. The Bank of England? That's rather humorous. Why? And nothing. I was thinking of probing it. Mr. Meyers, I can't sufficiently thank you for coming to my rescue. Don't try. Goodbye, Mr. Disraeli. Let me see you to the door. I beg your pardon, sir. Oh, my dear. Forgive me. I didn't know you were so close to the other side of the door. I'm afraid I banged your head. Sorry, sir. I was just coming in with some dispatches and I dropped one. Yes, of course. Of course. Let me introduce you. Mr. Hugh Meyers, this is my confidential secretary. Mr. Faljam. Such a workaholic. Well, goodbye, Mr. Meyers. Goodbye. Mr. Faljam, where is Dieford? In the anti-room, sir. With Lady Clarissa. Charles. Oh, yes, sir? Good morning, Mr. Disraeli. Good morning, my dear. Charles, did Faljam make any comment on my visitor? Why, yes, sir. He did. Very impertinent, too, I thought. What did he say? He suggested you were seeing Meyers about money for... Shall I speak in Clarissa's presence? Yes, yes. Go on. About the Suez Canal. What did you say? Not a word. I just stood up, sir, and glared at him. What's the matter, sir? What more could you have said if you talked for an hour? Well, do you accuse me of speaking? No, sir. I accuse you of holding your tongue too eloquently. Oh, well, he's easily muzzled. Now, put him on his parole. I'll fetch him. Capital. Fetch him, fetch him, by all means. He was in the next room a moment ago. Why, he's gone. The window's open. He's gone. Yes. Shall I tell you where he is? He's at Victoria Station, catching the 1030 Express on his way to Ostend, to Trieste, and so to Cairo, to put in a bid for the Suez Canal. Mr. Disraeli, I... Who is he? He's Mrs. Travers' husband. What? Yes. He and she are agents, spies. Russia has sent them here to discover what you have told him. But why did you employ him, knowing he was a spy? Because I knew it. Because I want him under my eye. I had him on a false scent when you, when I blundered. And you lost control of your features. I'm... I'm sorry, sir. Will you tell us why silent is so important? Oh. Now it's of no importance, whatever. Today, Mars gave me a blank check. I thought the thing was done. But now, forge, I'm no Russian knows. Whatever some may offer, they will double. Is there no remedy? Of course there is. What, sir? I'm a sender man to Cairo with unlimited powers, ready to outbid anything, ready to pay on the nail. What must be the man's qualification, sir? A strong, stern, silent man. Subtle and cunning, fighting in wildness with wildness. Have you such a man, sir? No, but I'll find him. What is it, Lou, sir? For a moment while he was speaking, I had hoped that perhaps Charles... Don't say it, Clarissa. Don't say it. Yes. Do say it, Clarissa. Do say it. For there's another kind, a man who might be twice as useful. What kind? A man so honest that the rogue would think him a rogue. So truthful, that's where he was lying. So simple, they'd never fell him in. Charles, you are the man. Charles! I? To be trusted with this mission after what I've done? Why not? Oh, but I'm a useless, conceited idler. A perfect and complete fool. Well, granting that, I didn't say it. But granting that, it's an excellent reason for sending you. Will you go? Will I go? There is your man of action, Clarissa. But I warn you, Charles, there'll be grave danger. You're ready to meet it? I mean danger of death. Yes, sir. Death? Every step of the way. Every hour of the day. Danger, lucky and every seductive disguise. I didn't know. Clarissa, my child, do you forbid him to go? I? I can't forbid? Yes, you can. He shall obey you. But think a moment. If you forbid and he obeys and I send that other man, how will you feel, Clarissa? You must go. Charles, my boy, you leave in ten minutes for Cairo. Good morning, Clarissa. Our charming guest rises early. Good morning. Any news, Mr. Disraeli? Not yet. Not yet, not yet. It should have come days ago, shouldn't it? Patience, my dear. Oh, good. Don't be alarmed. It's only my peacocks singing. Good morning, Disraeli. Mary, my dear, had a good night? Of course I have. Slept like a top. Oh, I'm so glad. You said last night you didn't feel very well. What's that? Mary. Now, now, Disraeli, it's quite all right. What is it? Are you sure, dear? Clarissa, listen to him. He doubts everybody's word. He doubts mine. Well, if you've spoken the truth, you shall have your morning's offering. Excuse me, my dear. Clarissa, never speak of my health before Dizzy. Promise. But is anything the matter? Nothing. Well, nothing to make a fuss about. Dr. Williams says I must be very careful. I am. So that's all right. Now, mine, not a word to Dizzy. You are, my dear. The last rose of summer. Thank you, Dizzy. I beg your pardon, sir. Will? Telegram, sir. Oh! Thank you. What is it? Oh, please. It is from Karo. What did he say? He says the celery is ripe to cut. The celery is ripe to cut? Well, what does it mean? It means the sewers can now purchase is completed and the check accepted. This is a success. You probably... Let her cry, Mary. Let her cry. It's worth it. Mr. Disraeli? What is it, basket? Mr. Hugh Meyers, sir. Meyers! Just the man I wanted to see. Show him into the library. Yes, sir. Good morning, Mr. Meyers. Good morning. I was just about to send you a telegram. I've had... One moment, sir. I want you to hear me first. Well, I don't know how to tell you. It's so much harder than I expected. Well, tell me. Tell me. I... Mr. Disraeli, I'm bankrupt. What? My house... I didn't quite catch you. My house is bankrupt. Bankrupt? Meyers bankrupt? Are you mad? I wish to heaven I were. You mean you're temporarily pressed. You're in temporary difficulties. I mean we are bankrupt. Well, how? A house like yours? What have you been doing? What's up? It's not our fault. Explain. First, the ship with the bullion. Coming from the Argentine. Yes. Gone down. Wrecked. Scuttled. You mean... I mean purposely and criminally sunk. All the crew saved. A conspiracy. And that isn't all. What else? Well, for a long time, ever since our interview in Downing Street, rumors affecting my credit have been spread abroad. And now this mysterious wreck. I'm being pressed. I see, I see. Be as angry as you like. You're justified. I've been an honest man all my life. And now I stand before you in the light of a common cheat. Mr. Mas, I know you, sir. Give me your hand. Thank you. Does anyone else know? No one. I came to you first. We can't carry out the canal contract, of course. Thank heaven I'm in time. Thank heaven that hasn't gone through. But it has. What? The telegram just arrived. They've accepted the check. What? What can we do? When will your bankruptcy be known, Mas? Tonight, tomorrow morning. By heaven it shall not. Get back to town quickly. Get your office. Stay there, stay there. I'm sure you're there. Don't budge if I keep you there all night. But, and don't be the word. And don't let anyone else. Don't give the slightest hint of anything unusual. Treat the wreck lightly. Watch your words, watch your looks. Something may happen. Something shall happen. What, sir? What? Heaven only knows. Go, go. You stood by me in many horrible predicaments. I am in the worst I was ever in. Is it, Mas? Mas is bankrupt. Does that mean we are poor? No, no. If that were all. Then? Mas was finding the money for the canal. I see. Wait. Defer has handed in the check. Now, Mas has failed. We can't pay. And you? I? Yes, dear. I want to know how this will affect you. Or does that matter? It's all that matters to me. I hadn't thought of that. What will happen to me? This grace. Utter and irrecreable. The kind of this grace no man can bear. No man can live through. Dizzy. Yes, my heaven, I will bear it. I'll feast the nation. I'll bear it alone. Not alone, dear. Thank God for you, Mary. Thank God for you. In a moment, we go on with Act 3 of Disraeli, starring George Alas. In our audience tonight are many of the famous men and women of Hollywood, assembled to honor our star. Looking over our audience from a fashion point of view, you would see that many of our well-known feminine guests are in formal evening dress. Others have come direct from their work in the studios wearing the informal sports type of clothes that Hollywood likes to work for work or play. That often means sweaters and skirts. Just the sort of thing girls all over the country like to live in. And here in Hollywood, as in every part of the country, the favorite care for sport things is luxe flakes. As one luxe user puts it, she is Mrs. Clarence Tokheim of Armstrong, Iowa, and is the mother of five girls. All of my girls wear sweaters in the winter time, and every week or so, they're luxe. Their woolen skirts and school coats are frequently luxe, too. I marvel at the speed and thoroughness of luxe, and the way it leaves the softness and color of the material like new. Luxe flakes do save colors and keep wool things soft, unshrunken, because they are very gentle and free from harmful alkali. Just follow the directions on the luxe box and remember, anything safe in water is safe in luxe flakes. And here's our guest producer, Mr. Edward Arnold. George Alice, Florence Alice, Pat Patterson, and our all-star cast continue in Disraeli. It's a few minutes later, torn with anguish by the news of her husband's impending disgrace, Mary stands resolutely by his side. She has grown pale and there is an expression of pain in her eyes, but she hides it bravely and speaks comfortably. It will turn out all right, Daisy. It will. But shouldn't we go up to London? I can't. The Prime Minister can't stir without setting the whole world agog. The papers have said I'm you. If I were sitting down the street now, when I'm supposed to be sick in bed, it would start tongues wagging all over London. It's horrible, Mary. I'm tired, hand and foot. What is it, basket? Mrs. Travers is here, sir. Mrs. Travers? I'll get rid of her. Get rid of her? No. Basket. I'll get a weight. Show her him when I ring. Daisy, you're surely not going to receive her now. Miss Keeper here, Miss Keeper here. Why? She must stay here. She mustn't be allowed out of our sight. If she gets the slightest hint that I'm making any plans to... Here. Give me my dressing gown. I'm gonna lie on the couch. You sit next to me, my dear. Hold my hand. Daisy, what is this play acting? I'm ill. Very ill. The papers have said I'm ill. She shall see the sickest man she ever saw in her life. But, Daisy! May it be concealed. So sorry. I heard Mr. Disraeli was ill. I didn't know whether to come or not. I'm quite sure you can't want me. Is that Mrs. Travers, dear? Yes, dear. I had no idea you were so ill. I won't stay a moment. The sweetness of Mrs. Travers is so good of you. I'm very weak. Very weak. What is the matter? Well, I'm... I'm very weak. I'm very glad to see you. You're so bright. So young. Isn't it good of her, Mary? Do sit down. There. Well, I can see you. I'm so sorry you're ill. I passed Clarissa in the hall. She's not looking very well either. Worried. Worried about Charles. Oh, yes. He's, um... He's abroad somewhere, isn't he? Yes. He's in Egypt. I do hope he's not too vengeance. Cairo is such a dreadful place. And the people you meet on diplomatic missions, one can never trust them. No. So sly. Terrible. So deceitful. Ah. But don't be uneasy. We've just heard from Diefert. Indeed. Yes. A telegram. Where is that telegram, Mary? Ah, there it is on the table. Read it for yourself, Mrs. Trevers. The celery is ripe to cut. How odd. Code, dear lady. Code. That little green book there contains the key to it. Really? How interesting. We have to be careful, you know. Spies. Yes. Of course. My peacocks. Mary, something's wrong with them. Dizzy, there's nothing wrong. Yes, yes. Help me to the balcony. I must see they're all right. Very well, dear. Lean on my arm. Oh. Oh, uh, uh, uh, pardon me, Mrs. Trevers. Of course, Mr. Disraeli. Dizzy, you left her in there with the code book. I know. I know. Look. She's tearing a page out of it. She's slipping it into her glove. Dizzy. Mary, I want you to go and fetch some Michael Propriet once. Mrs. Trevers. I'll look after her. Hurry. I want that woman alone. Doctors really don't know what is the matter with me. It seemed to come on suddenly. Pains in the head and... but I'm boring you. Not at all. Except that I really must be a... But how is your husband, Mrs. Trevers? He's very old, too, isn't he? Yes, he is. Poor Adolphus. Mr. Disraeli, I really must go. No, no. Why in such a hurry? I must. My cab is waiting. No, I sent that away. Long go. What? Don't be angry. What a dainty hand. Please, let me go. Such supple finger. So long and thin. So exquisitely shaped. So quick to grasp things. Unconsidered trifles. Scraps of paper. You're hurting my hand. In such a hurry to get away from the poor, sick man, to get away and read the code? I saw you slip it into your glove, dear lady. Well, what of it? Ah, that's better. And why did you take the trouble to steal it? Weak. Very weak. You had only to ask me, and I would have told you. The salary is rep to cut, means the sewers' canal purchase is completed, and the check accepted. Your husband, Mr. Faljam, Adolphus, has had all that tiresome journey for nothing. Congratulations. Your Apple Face Boy, Lord Dieford, has blundered into success. Well, that's all any of us do. Into a success that will cost you, dear. Ah. That's the soul thing Gladstone will say. It's what the world will say when it knows Myles is bankrupt. When it knows what? Myles is bankrupt. Bancrupt, Mr. Disraeli, and his check, waste paper. What? What do you say now? Oh, well, you can't expect me to say much. I... I'm a child in your hands. Mr. Probert is here, Dizzy. Oh, come in. Oh, come in, Sir Michael. I'm coming, Mary. I'm Clarissa. I come in and keep an old sick man company. Mr. Disraeli, I'm sorry to hear your ill. And I'm so much better, Sir Michael. Mrs. Travers is such a stimulating company, I believe I've quite recovered. Well, if you're not ill, why have you sent for me? Sit down, Probert. I want to tell you a little story. No, don't go, Mrs. Travers. This will interest you, too. Repeat. Why have you sent for me? I told you I might send for you. Oh, Moses has failed you. Well, it's no use appealing to me. Moses has not failed me, and I carried the scheme through. What? The power and the glory of my country were to stick. I had to act quickly, and I had to act on my own responsibility. So I went to Hugh Myers. Dieford has bought the canal and has paid for it with Myers' check drawn on the Bank of England. What does that to do with me? Bankrupt? Bankrupt? Yes. Russia has ruined him. Mr. Disraeli, I warned you of this. Now get out of it as best you can. It's no use appealing to me. No. Then I will not appeal to you. I will command you. What? You will sign this note giving Myers unlimited credit. Are you mad? I was never so sane in my life. Myers' position is saved. He can gain time. The Bank of England must give him unlimited credit today. Now. I refuse. You can't. I refuse emphatically. You've mistaken your man. I'm an Englishman. The head of a great national institution. I'm not to be ordered about by a... by an alien. The alien happens to be the better citizen. Moreover, he happens to be Prime Minister. You threatened me? Yes, if you'll force me to it. You think so? You say the Bank of England is a national institution? What becomes of that title if it refuses to save the nation? What becomes of you? Mr. Disraeli. The nationalism of one man has placed our country in the position of a person who is trying to pass a fraudulent check. Exposed the nation to the ridicule of the world. Lost the canal. Lost India. Baffled England beaten and disgraced her. Drag her to the mud. What becomes of the bank? You cannot touch the bank. How smush the bank? Parliament granted the bank its charter. Parliament come with the droid. What you? And shall withdraw to my bidding. Your border directors will be swept away. Your shareholders bankrupt. I am Prime Minister. I can do this. And if you don't sign by, haven't I will? Now. Take your paper. I've signed it to save the bank. It's a note rate for the man like you should have some power. Miss Travers, if you hurry, perhaps soon I'll give you a lift of station. Thanks for the hint. Of course, I'm in the railway, the railway station. Good day, Mr. Disraeli. Be careful of that cop. Thank you, dear lady. And my regards to Adolphus. Mr. Disraeli, Sir Michael was panicked stricken. Thank heavens you have such power. I haven't, dear child, but he doesn't know that. And now, now, Mary, my great dream will be realized. What dream? To make my sovereign Empress of India. Sounds well, Mary, doesn't it? Mary, you shall carry the news to our beloved Queen. And you shall be there by my side at the reception when I announce the new title to Her Majesty's Government. Make haste, Desi. Make haste. Mary. Mary, what's the matter? Speak to me. First, I'll get Dr. Williams. Celebrities in all my life. Neither have I. You are one yourself. Mr. Benjamin Disraeli. Look at him. He's worried. No word from Dr. Williams for over a week. Splendency, Mr. Disraeli. Greatest sign for England in our time. Congratulations, Mr. Disraeli. Thank you very much. We're so sorry Lady Beaconsfield can't be here tonight, Mr. Disraeli. So is she. And so am I. I'm sure it's only a passing in disposition. I trust so. Mr. Disraeli. How is she really? Don't ask me. I can't trust myself to speak. Dr. Williams reassured me that I shouldn't be here now. Not even to meet the Empress of India. Mr. Disraeli, they're waiting for you to speak. Very well, if I must. Good. Her Majesty is on her way. Before she arrives I want to thank those men who have so splendidly stood at my side and made our enterprise successful. First, there is Mr. Hugh Meyers. Mr. Meyers. Mr. Meyers. Concerning whose services I cannot speak too highly. Next, there is Sir Michael Probert. At the moment of grave crisis he came to my aid against his, may I say, prejudices. Oh, no, no, please, Mr. Disraeli. Mr. Meyers, Sir Michael Probert it is my privilege to inform you that in recognition of your patriotic action your sovereign has bestowed a peerage on each of you. And lastly, you will be glad to know that my young friend who carried through the delicate negotiations with such consummate tact I referred to Charles Viscount Dieford returned to London half an hour ago. Dieford, her Majesty desires to confer the ribbon of the bath upon you with her own hands. Thank you. I beg your pardon, Mr. Disraeli. What is it? A telegram for you, sir. Give it to me. Is there anything wrong? Clarice, I... I can't open it. It must be from Dr. Williams. If anything has happened to her, what's that? Mary, is it really you? I didn't know. But I sent you a telegram, George. Your telegram? Oh, my dear, to see you looking so well again. And I was afraid... Mr. Disraeli, her gracious Majesty Queen Victoria is arriving to receive you. Come, Mary. Ladies and gentlemen, the curtain falls on Disraeli. Here again from George Alice, this time praying the part of George Alice. But now we take you to New York City. Among the many great full-hour programs on the vast Columbia network, there are two that lead all the rest in popularity. Major Bo's Amateur Hour and the Lux Radio Theatre. Two programs conducted by two master showmen who have long been friends. Major Edward Bo's and our own Cecil B. DeMille. They meet tonight at home ground. The great studio on Broadway where the major presents his amateurs. Cecil B. DeMille is now approaching the dais of Major Bo's in New York. All right. All right. Next applicant, let me see. The name, the name is... DeMille. Cecil B. DeMille. And where do you hail from, Mr. DeMille, or do you hail or should I say rain? I'm from Hollywood and I'd like to explain. Oh, cut, cut, Mr. DeMille. A little closer to microphone. That's it. Now, what do you do in... where did you say you're from? From Hollywood. And what do you do there? I'm associated with the motion picture industry. Oh, how quaint. How? Now, Mr. DeMille, how long have you studied the harmonica? Just a moment. Just a moment. You know very well I'm not an amateur. I'm not an amateur. There seems to be so many things you're not, Mr. DeMille. Can you tell me one thing that you are? I'll tell you, I'm an old friend of yours, Eddie Bowes. Our friendship dates back to the time my wife and I were on the stage with the age seven and if I were king. And the leading lady was the charming and beautiful Margaret Ellington, who became your wife. Yes, Cecil. It was Margaret who brought you and me together. Then along came pictures and, ladies and gentlemen, Major Bowes and I became rivals. My studio Paramount had the Rialto Theatre in New York. And Major Bowes, who built the capital and still runs it, was the fellow we had to beat. And sometimes did. Sometimes? Well, once anyway. Then Major ran the Golden Pictures Corporation in addition to the capital and we still fought for plays and stars. And how? Later when we built the Paramount Theatre we had a great many new competitors and then the fellow we had to beat was still Major Bowes. And by the way, Major Bowes, what's the meaning of this gong you're playing around with? Oh, Cecil, I thought you knew. I use it on amateurs. Amateurs? At the capital? No, no, on a radio program. Oh. Oh, you're on the radio too? Yes, every Thursday night. Thursday night with Rudy Vallee? No, not exactly. Oh, then Bing Crosby? No, not Bing either. Now, here's how it is. I am, so to speak, a certain part of a radio sandwich. Don't remark, please. I'm what's between two other programs on the air on Thursday nights. But Eddie, why keep it a secret from the public? Well, there's always a few who find out about it. And just for fun, Cecil, I nicknamed it Major Bowes Amateur Hour. Oh. Oh, you're that Major Bowes. I'll come clean, though you're trying to fool you, Cecil. Yes, I am. And does that Major Bowes occasionally attend the Lux Radio Theatre? Why, Cecil, I'm attending it right now. I rarely miss. Many pleasant hours and many excellent suggestions. Let's not beat around the bush, Eddie Bowes. Do they use Lux Flakes up at your house, or do they not? Yes, they do. And furthermore, we'll continue to do so in spite of all you can do or say. I'll do as much for you sometime. What'll you do for me sometime? I'll ride around in a Plymouth, Dodger, DeSoto, and Chrysler all at one at the same time. Well, Cecil, I'm sure you could do just that. I never did. I was on the set with you one day when you directed 3,000 people and 6,000 animals. But always remember one thing. When you see a girl in a faded, shrunken sweater riding a bicycle, that girl obviously doesn't listen to the right radio programs. She doesn't know the merits of your flakes and my cars. Eddie, you're wonderful. Cecil, you understated. Well, seriously, Cecil, it is strange how our paths cross. We first meet as friends in your stage era, then as motion picture producers and rival exhibitors, and now as radio colleagues in what a small world. Your family home in Washington, North Carolina. Yours in San Francisco. You an actor in the playwright. And you a real estate man. Until the great fire, yes. You came east, founded your fortune in your home, and I went west. And here and now we're together in homes everywhere. It's been a pleasant meeting, Major. There's one thing that would make me very happy. Something I've longed for. A pleasure I've never had. May I? Why, yes, Cecil. Already? Yes, ready. This is a great moment. One to make ready. It won't be long. Two for the money. And three for the gong. All right. All right. We're back in Hollywood again saying thank you Major Bowes and Mr. DeMille. A few years ago when George Arliss played Cardinal Richelieu on the stage, it was my good fortune to appear with him as King Louis XIII. No one can perform with Mr. Arliss without going away a far better actor. As I was grateful to him then, so am I grateful now to the Lux Radio Theater for helping me to renew a friendship that has always meant so much to me. Ladies and gentlemen, Mr. George Arliss. Thank you, Mr. Arliss. As a radio producer, may I say you have once more proved yourself every inch of King. Thank you, sir. Ladies and gentlemen, since I left the stage for the screen my opportunities for addressing my audience have become much less frequent. I remember once before the premiere of one of my pictures I was asked to say a few words to the audience and as I stepped in front of the screen I heard the lady in the front row say, isn't he like him? Well, if you were all here with me tonight I hope you would all be thinking, isn't he like him? Especially those who remember me when my wife and I first came to the United States in 1901. Tonight is a memorable occasion for me because as Mr. Arnold has told you it is the first time that I have ever performed a play on the air. I have sometimes played in theatres to poor houses when there was more air than was necessary to sustain the audience. But I have never played before this great unseen audience. A large number of you are perhaps more or less personally acquainted with me but I have toured and played in almost every corner of the United States and a still greater number I hope I may call my friends who have got to know me through the pictures. I am here in Hollywood on a holiday trip and have determined that I will not make any picture until next fall. I should like to take this special opportunity to express my gratitude for the friendship you have always given me during the many years that I have played before you. I am continually touched by evidences of your kindness and affection. As the year is still comparatively new may I wish you for my wife and myself a happy and prosperous 1938. Thank you Mr. Alice. And now ladies and gentlemen here's news in which I know you'll all be interested. Next Monday night the Lux Radio Theatre presents one of the most outstanding personalities of radio and motion pictures. He's the gentleman who changed Van Buren Arkansas from a country town to a national institution who has endowed the art of music with a mysterious new instrument beginning with B and ending with laughter. That prints of story tell us Mr. Bob Burns. You will hear Bob Burns is the hero of Booth Tarkington's celebrated comedy a smashing success on stage in pictures. And the title is Clarence. And co-starring with Mr. Burns we bring you Miss Gail Patrick. Our sponsors the makers of Lux Flakes join me in inviting you to be with us again next Monday. When the Lux Radio Theatre presents Bob Burns in Clarence with Gail Patrick and an all-star cast. Also next Monday night and each Monday night thereafter Mr. Cecil DeMille will be back in Hollywood and on this stage of the Lux Radio Theatre. And so until we meet again on the screen or on the air this is Edward Arnold bidding you. Au revoir. With David Torrance as Sir Michael Probert Ivan Simpson as Hugh Myers Walter Kingsford as Folsom Doris Lloyd as Mrs. Trappers Vernon Steele as Gladstone Charles Evan as Baskott Lou Merrill as Count Borsonow Eric Snowden as Major Domo Reginald Sheffield as Lloyd Othley and Phyllis Coughlin as Duchess. Mr. Wallace is currently seen in the Beaumont British production Dr. Sin. Mr. Arnold appears to courtesy of B.P. Schulberg. Louis Silver's is from 20th Century Fox Studios where he was in charge of music for the new picture in Old Chicago. The announcer has been Melville Royk. This is the Columbia Broadcasting System.