 Lux presents Hollywood. Weaver Brothers Company, the makers of Lux Toilet Soap, bring you the Lux Radio Theatre, starring Burt Lancaster, Edward Arnold, Scott Brady, and Anne Pierce in All My Sons. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Tonight we bring you a turbulent drama that has its counterpart in many American homes, that of a father who has the human desire to give his sons everything money can buy. But in making that wish come true in this particular instance, his love for his family turns to greed for money. Now this is the theme of All My Sons, a smash hit on Broadway and later a successful motion picture from the studios of Universal International. It's a play with brilliant acting opportunities, and we have an all-star cast tonight to perform it. First, that dynamic box office attraction, Burt Lancaster, in his original role. Then our old friend Edward Arnold as the father, and Scott Brady, one of your newer favorites, and for feminine beauty and charm, Anne Pierce. Today is May Day, a day when beauty queens become a national symbol. And of course the national symbol for beauty care is luck's toilet soap. American beauties have known for years that there is no better way to guard lovely complexions than with luck soap facials. Now All My Sons, starring Burt Lancaster as Chris Keller, Edward Arnold as Joe Keller, Scott Brady as George, and Anne Pierce as Annie. Toward the end of the war, a tragic scandal broke in a small Midwestern city. A machine shop delivered a quantity of defective cylinders to the Air Force. As a result, 21 pilots crashed to their death. The owners of the plant were put on trial. One went to prison. The other, Joe Keller, was exonerated. It's two years later, and on this Sunday afternoon, Joe Keller's in his front yard, raking leaves. It's two o'clock, Chris. If Annie's coming on that train, you better get down to station. I'm leaving now, Dad. How's mom feeling? No better. I figured to let her rest a while. It isn't a rush she needs, Dad. You know it. Somehow she's got to understand that Larry is dead. It's insane what she's doing. Well, she just won't be convinced. But nobody comes back after all this time. You can talk yourself blue in the face with this. Nobody and no grave. The War Department reporting a missing and that's all. And Mars got a mind made up that someday your brother is going to come back. And what about Annie? What about her? Oh, she's Larry's girl. He was engaged in Larry's... She's not Larry's girl. How can you be Larry's girl when he's dead? Dead. I'm going to ask Aunt to marry me. You marry that girl and you're pronouncing Larry dead. You better give it some thought, kid. I have given it thought. I hope you could have a regular wedding and everything happy. But if that can't be then... Well, then I'll just have to get out. What are you talking about? You got a business here. You mean you leave the business? Yes. On this I would. Ah, don't even think like that. Well, then help me to stay here. All right, but don't think like that because, well, what did I work for? Was all for you and Larry? The whole shooting match. Now it's all for you. I know, Pop. Just help me to stay here. That's all I ask. Chris, wait a minute. Wait a minute. Let's leave it this way. Don't do anything without Ma knowing it. I don't want Ma to be hurt anymore. Do you think I want her to be hurt? Well, just don't go running off and do something crazy. Promise me you'll first talk to Ma. Okay. I promise. I used to know you. I don't know you now. Do I, kid? No, Dad. You don't. You know, that Annie's a swell girl. Get going now and don't keep her waiting. Well, we're home, Annie. Hey, Pop, where are you? I'm right here. You are. You look beautiful. Hello, Mr. Keller. Where did you get that Mr. Keller stuff? I'm Joe. Joe. Here, let me look at you. Oh, a dish if I ever saw one. Here, give us a kiss. No, no, wait a minute. Oh, they're still falling for me, Chris. How do you like that? You're a regular dog, Pop. Hey, Kate. She's here, Kate. Well, tell me, how's the old neighborhood look to you, honey? Oh, it looks wonderful, Joe. I see the people painted our old house. Well, what about this house? Do you think you can still find your way around? I think I can. Oh, the piano. You know, I haven't touched a piano in years. Well, sit down, Annie. Play something. No, no, no, no, Annie. No, no, no, no. If you don't mind. Kate hasn't let anybody play that thing since Larry. Well, you know. Oh, that's silly, Joe. I'd love to have me play it. Play it, Anne. Well, I'm just telling you that's all. Annie, darling, I'm so glad you could come. Mrs. Keller, it's so wonderful to be back again. I'll take your bags upstairs. Yeah, like old times, huh, ma? Annie around again? Almost like old times, Joe. You know, the piano still looks good in spite of the way Larry and I... You think of him? You see, Joe, she still thinks of him. What do you mean, Mrs. Keller? Just that you remember him. But how could I help but remember Larry? I'll take you up to your room. Well, I'll see you later, Annie. You must be tired after that long train ride. Did you sleep well? Mm-mm. I was too excited. This room, dear, to your left. No kidding, Mom. Isn't she the sweetest gal you ever saw? Oh, now you just take it easy, Chris. You're gonna have me believing it. Okay, then you're not the sweetest gal I ever saw. Mom is. Oh. You big kid. You go away. See you downstairs. Tell me, Annie. You still work at the same place in Chicago? Oh, yeah, still pounding a typewriter. What are all these things, Mrs. Keller? Do these all belong to Chris? You don't remember? This is Larry's room. Oh, it just didn't occur to me that you... Well, like his shoes, they're all shined and his... Yes, dear. For when he comes back. Mrs. Keller. Annie. Sometimes it's better to let things stay the way they are. Not disturb them, no matter what. We'll be in the backyard. You come down whenever you're ready, dear. Where is she, Kate? Where's Annie? She's changing her dress. I wish she hadn't come. Why not? You know why not, Chris. People will ask questions. Well, let them. Then we should know the answers. Well, I'm glad she came here and let people know there's no grudge. They'll wonder about her father. Ask about him. Well, she's got a lot of spunk coming here at that. There's no flies on her. Oh, I like that girl. You like every girl. Well, no flies on me, either. There comes Annie now. No, no, don't move anybody, please. You know, I never noticed it before, Annie. But you got awfully pretty legs. Joe! Well, she has. Oh, no fool like an old fool. Annie, the neighbors, all the old friends, they know you're here. Well, I'd love to see them again. You want to see them? You mean they'll ask questions. That's all right. And George, your brother. How's George? Oh, he's fine, Mrs. Keller. George is a lawyer now, huh? All he needs now is clients. Oh, George needn't worry. Always was a swell kid there, George. They'll want to know about my father, too, won't they? Annie, you don't have to even... I know, but everybody knows my father's in prison. Haven't they stopped talking about it yet? Nobody talks about it anymore, honestly. No, it's gone forgotten, honey, believe me. How do you think I could stay in business if they didn't? For you, it was different, Joe. Your name was cleared, but people do talk about it. The only one who talks about it, Annie, is her. I think she's sorry they let me go. It certainly was more peaceful in this house when the trial was going on. That much, I do say. It's so wonderful to hear you laughing about it. It doesn't seem so awful when you can laugh about it, does it? Say, I got a great idea. Why don't we all go out to the lake tonight and have a short dinner, like we used to do? The whole kit in the caboodle of us, huh? I think for a change you're talking sense. Well, I'd love it. I'll call off Swanson's Reservative. Oh, no, you don't. This is my party. You'll just leave it to me. You're a real party. You okay, Mr. Keller? How's the lobster? Oh, fine, Pete. Fine. Just keep that wine coming. Anything you want. Just holler for it, Mr. Keller. All right. Big shot, huh? You stick around with me, kitten, you'll go places. Here, Annie, have some more lobsters. Joe, I've gained five pounds already. Joe, Joe, look who's at the bar. Huh? Oh, yeah. Mrs. Hamilton, she's drunk again. So what? So nothing. Who's Mrs. Hamilton? Oh, she's a lush. She's always drunk. She used to work in the factory for a while. Yeah, during the war, extra help. Her husband was killed in the invasion in France. You know, I just got another great idea. As soon as we leave here, why don't we all take... She's seen us, Joe. She's coming this way. Well, to Keller. Huh? Oh, hello, Mrs. Hamilton. You murderer. Now, you cut that out, or I'll... No, I need you! Get out! Get out! Dad, Dad, take it easy! Hey, what's going on? Get it out of here! I tell you, get it out of here! Frank, Eddie, take care of her, will you? It's all right, folks. Everything's all right. I'm sorry, Mr. Keller. No, it's okay. She's drunk. You've got some kind of a crazy bug in her head. Now, come on. Let's finish the dinner. Joe, I don't feel so good. Let's go home. Yes, please. Well, you take him out of the car, Chris. I'll get the check. You know, Annie, there's nothing like your own front porch on a nice warm evening. Yes, Joe. That's right. What's the matter, Annie? You're not letting that Mrs. Hamilton upset you, are you? Oh, I don't know. I guess things just aren't the way I thought they'd be. Perhaps I shouldn't have come back. That's what I told Chris. She's right, Chris. She's not right. You had to come because this is where you belong. Now, look, you listen to me, Annie. You do like I did, and you're going to be all right. Like you did, Joe. Yes, yes. The day I came home after the trial, I got out of my car but not here in front of the house. Oh, no. Way down the street, down the corner. Everybody knew I was out that day. Nobody believed I was really innocent. The porches all down the street were loaded. The beast. I was the beast. I was the guy who sold defective cylinders to the Army Air Force. I was the guy who made 21 planes crash. Well, kid walking down the street that day was really something. But I walked past the porches, passed every single one of them with my head up high. The result? Six months later, I had one of the best shops in the state again. A respected man again. Bigger than ever. I'm afraid I don't have that kind of courage, Joe. Besides, you were cleared. The worst thing you did was to move away from here. And it ain't going to end until you move back. And the next time you write your dad, I'd like you to tell him just what I said. But I don't write to him. Neither does George. You don't even write? Why? Because he did murder 21 pilots. That's why. Oh, now what kind of talk is that? Look, Joe, when they first took Dad away, I went to see him every visiting day until I learned the news about Larry. Then I stopped. What your father did had nothing to do with Larry. Nothing. And Larry's not dead, dear. He's not dead. Mom, please, please. He's not dead. If you'll excuse me, I think I'll go up. Good night, Annie. Good night, Mrs. Kelly. Good night, Joe. Chris. Good night, Mom. Now, listen, Annie, Larry never flew those planes. So who flew them? Pigs? Annie's father was a fool, but don't make a killer out of him. You got no sense? All of a sudden, a batch of cylinders come out bad. Something went wrong. A mistake. But it ain't murder. Annie, you mustn't feel that way about your father. No. He still didn't have to ship them. All right, so he shipped them. He believed they'd hold up 100% and some of them did. The army screaming for deliveries. Me home sick in bed. So he shipped them. I don't say he was right, but it wasn't murder. Do you hear me? It wasn't murder. Let's just forget about it, Joe. Annie, the day the news came about Larry, he was in the cell next to mine, your dad. And he cried, Annie. He cried half the night. I guess the fathers of those boys cried too. Don't talk like that. Well, then cut it out. We've had too much talk. Yeah, yeah, Chris, you're right, Annie. You're right. Too much talk. Now, look, why don't you two go for a ride or something? Have some fun. What's the matter with you, Chris? A pretty girl and all you do is sit around here. Why don't you mind your own business? Well, it's too bad I'm not younger myself, Annie. Oh, you're just the right age, Joe. Yeah, what do you know? Just the right age, she said. Let's get out of here, Annie. He's too much competition. Yeah, and have a good time, Annie. Enjoy yourself. Why, Chris? Why, this is Eagle Rock. Yeah. Do you remember how I used to pick me up here, you and Larry and I? Oh, Chris, let's get out of the car. Let's just get out and walk around. Okay, this is where I learned three's a crowd. You were too sensitive. Are you still? Well, the Army rubbed some of it off. Not enough, I'm afraid. Chris, Chris, I'm not staying. No, don't say that. For one thing, your mother doesn't want me here. But, but mother doesn't understand, Annie, give her time. And then, well, ever since I got here, you've been, well, kind of distant. Do I embarrass you by being here, Chris? Oh, I know Annie, no. You act like it. But, but you must know why I asked you to come. I guess that's why I came. I love you, Annie. Honest, I love you a great deal. I love you. Gee, gee, I have no imagination. That's all I know how to tell you. Isn't that awful? I didn't want to tell it to you here. I wanted some place where we'd never been. A place where we'd be brand new to each other. Where we... Oh, Chris. I kissed Annie. I kissed Annie. How long have I been waiting to kiss you? We're gonna live, Annie. Oh, I'll make you happy. So happy. How long have you loved me, Chris? Always. Ever since we were kids. Have you seen anything or showed it? Well, you were Larry's girl. You're funny. What about your mother? Oh, don't worry about mom. I'll tell her. That's going to be hard, Chris. She doesn't want to know the truth. I'll tell her. Just give me a little time, Annie. Still sitting on the porch, huh? Checking up on us, eh? Phone call for you, kid. Long distance. For me? Ask for Operator 4 Springfield. I think it's your brother. George? But why would George? Why don't you call him? Find out. Well, I will if you'll excuse me. Well, that didn't take long. Couldn't you reach him? It was George all right. Anything wrong? We went to Springfield to see my father. What is it, Annie? Your father took sick or something? No. George is just a little upset. That's all. What about? I don't know, Joe. He didn't seem to make much sense. I think I'll turn in now. Good night, Joe. Well, sleep well, Annie. Good night, Chris. Good night, Annie. Wait, Joe. Now what is it? Why did George telephone? All these years George don't even write to his father. Suddenly goes there to see him. He's a lawyer now, Joe. Lawyers like to dig things up. Well, let him dig. I got a paper from the court, didn't I? I'm in the clear, so let him dig. Joe, Chris isn't going to marry Annie. I won't have it. OK, please go to sleep. Be smart, Joe. She means trouble for us. She and George both. OK, go to sleep, I said. Be smart, Joe. Be smart. In a few moments we'll continue with act two of All My Sons. And now our Hollywood reporter, Libby Collins. Give me a good melodrama, Mr. Keely, and I'm happy. Especially when it stars James Mason. Well, that's the way he affects all the ladies, Libby. In Universal International's One Way Street, he's involved with a gang of criminals, but still he wins your sympathy. Yes, you keep hoping he'll escape the vengeance of Dan Durier, the sinister gangster chief. The more so because of his romance with lovely Marta Torrin. It all begins when they arrive in the little Mexican village. A village you'd hardly believe was built right on the studio lot. So authentic in every detail, even the Mexican actors were impressed. You might say One Way Street has an international flavor, with James Mason making love to Marta in his nice British accent. And Marta herself is Swedish. You know, few people realize that when they see her. She's a brunette beauty, the dark, sultry type. You'd recognize her as a luxe girl though, right away. Instantly, John, such fresh, lovely skin, with the smooth look that comes from daily luxe soap care. Marta really depends on her luxe soap facials. That's because they give such gentle, protecting care, Libby, as famous screen stars know. Yes, and these luxe soap facials are so quick and easy too. Just smooth the rich, active lather in well. Rinse, pat with a soft towel to dry. That's all. But what fresh new beauty this gentle care will give your skin. Recent tests by skin specialists prove it. In actually three out of four cases, complexions improved in a short time. So here's a beauty tip for women everywhere. Next time you shop, stock up on Hollywood's own complexion soap. Remember, nine out of ten screen stars use fragrant white luxe toilets. Now, our producer, Mr. William Keely. Act two of All My Sons, starring Burt Lancaster as Chris, Edward Arnold as Joe, Scott Brady as George, and Anne Pierce as Annie. It's the following afternoon, and at the factory, Joe Keller and a few of his workmen stand in front of a stamping machine. Well, you see, it's all fixed. Is anything else up with you guys? Same old Joe. If you want to know, ask Joe. That's what we used to say. That's right, Charlie. If you want to know, ask Joe. OK, fellas, get with it. Knock it off time, eight or five o'clock. Hey, Chris? Yeah? Where are you? When were you this morning? I stayed in that breakfast with Annie. Well, you can dock yourself a couple of hours' pay. Now, wait a minute. It was only an hour. An hour and 14 minutes. If you want to know, ask Joe. Annie, say, why she called her up last night? George called her up. No, I guess it wasn't anything. Why? Does it bother you? No, it's just that I don't want them raking up things that had better be forgotten. This day in court, that man blamed it all on me. Well, this is his daughter. Dad, Annie's going to be my wife. Well, I'm glad. I'm glad for both of you, kid. And when it happens, I'll put up a new sign over the plan. J.E. Color and Son. How does that sound? Sounds important. It is important. And I'm going to build you the best house in town. I want you to spread out, Chris. I want you to use what I made for you. With joy, I mean. Without shame. With joy. Of course, Pa. Sometimes I... I think you're ashamed of money. Ashamed of it. I'm sorry. There's nothing wrong with the money, Chris. You don't have to tell me that. Am I interrupting the business? Well, Annie... I came to drive you home. Hello, darling. Annie, Chris just told me the good news. And I'm glad. Really glad. Thank you, Joe. You belong to us, Annie. In the same family. George, too, when you're dead. I hope that George found him a little less bitter toward me than he saw him yesterday. He didn't say, Joe. What have you been doing all day, Annie? Well, nothing too exciting. I saw some of the neighbors, and then after that, Sue Baylor stopped by. There, Sue's a nice kid. Jim's a doctor now, you know? I know. He told me all about him. Well, am I going to drive you home? Not me. I'm only the boss. I've got a state of closing time. Slave. Come on, Chris. Look, there's just one thing that you kids will have to consider. And that's mom. You can't do this over a head now, can you? Well, that's going to be hard, Joe. Well, hard or not, you'll have to talk to her. I'll talk to her. Annie, look at this plan. Look around it. Someday it's all going to be yours. Yours and Chris's. Tell that to George the next time you see him, so he can tell your dad. It might make him feel happy to know that. You're a good man, Joe. Yeah, sure, sure. Well, I'll see you at dinner. But Joe wouldn't come home with us, Mrs. Keller, too early, he said. Annie, he phoned again. George, he's at the depot. George? George here in town? He wanted to meet you there, Annie. I can't imagine what's got into him. I finally got Jim Baylor's to drive down to the depot and make him come out here. Well, I'll phone the station and see if he's still there. If George is coming to reopen the case. Now, Mom, how can George reopen the case? No, I don't know. But when he leaves here, tell Annie to go with him. It is different, Mom. No matter what the others may think or do, she's different. He's her father, too. She's different. You'll see. I couldn't get the station. The line's busy. Well, Jim must have picked him up. I'd better look after the dinner. No matter how much help you have, you'll always have to look after things yourself. She's upset, Chris. Why? She's so fond of George. Well, she thinks she's going to make trouble. George can be such an awful fool sometimes. It won't change anything between us whether Chris, no matter what he says. No matter what anybody says. Jim! Oh, Jim! Oh, it's Sue Baylor's. Oh, come on in, Sue. Oh, hi. He's seen Jim around. We went to the station, Sue, to pick up my brother. George? Oh. Oh, well. Well, it's nothing important. Chris! Yeah? George in a minute? Remember, Annie. No matter what anybody says. I, uh... I guess your brother's coming to give the bride away, huh? Oh, it's not hard to put two and two together. What's your father going to say about all this? Why should he say anything? Oh, why shouldn't he? After all, the way Joe Keller outsmarted... That's not true. Oh, I'm sorry, Ann, but there isn't a person in town who doesn't believe it. But that can't be true, Sue. The Kellers are on the best terms with everybody. They just give Joe credit for being clever. I guess I'd do myself. Susie, go on and see if you can calm down, Mom, huh? She's all worked up. Oh, but you and Ann, huh? Why don't you mind your own business? Go on and see what you can do, huh? Okay, I'll go in. Chris. Chris, she says they think Joe's guilty. That he just outsmarted my father. Sue talks too much. But Chris, I turned my back on my father if there's anything wrong here now. Annie, Annie, my father is innocent. Do you think I could forgive him if he were guilty? Believe me, I... Oh, there's a car coming. Oh, it's Jim. Look, stay here, Chris. Stay here on the porch. Hello, Ann. Well, your brother's there in the car. What's he staying in the car for, Jim? George came here to take Ann away. You take my advice, fight it out somewhere else, huh? Nobody's afraid of him here. I thought I heard you talking. Oh, hello, honey. Well, is that George out there? Hmm. He's getting out of the car. Oh, why wouldn't he? George. Hello, Annie. Hello, George. I'm glad to see you. Oh, uh, this is Jim's wife, Sue Billis. Hello. So you're George. Well, I heard a lot about you. Yeah, that'll do. So we've got to get back home. Well, you don't have to push me. Nice meeting you, George. Thanks. And thanks for the lift, Jim. Forget it. Sit down, George. Well, tell me, how's the law these days, huh? I don't know, Chris. When I was studying, it seemed sensible. But outside, there doesn't seem to be much law. Annie, you're not going to marry him. Why not? Because his father destroyed your family. That's why not. Cut it out, George. Let's not argue. Tell her to come with me, Chris. Who are you to come bullying your way in here? If you've got something to say, say it. I went to see Dad, Annie, to tell him you were going to be married. It seemed impossible not to tell him. All right, go on, George. Whatever he did, he's our father. We've got to remember that. That's not what you said when you got back from overseas. I know what I said. But now I know it wasn't all Dad's fault. Joe Kellan knew about those cylinders, Annie. Joe knew. That's a lie. My father was here in this house. He was sick. Sick? He came to give himself an alibi, so all the blame would fall on my father. But, George, all this came out at the trial. Dad told the whole story and the jury didn't believe it. The jury didn't know him, Annie. Yesterday I heard it straight from his own lips. And it's all together different from the way it reads on the court record. Your father tricked him, Chris. He took everything we had. Now, wait a minute. Where do you get the nerve? Get your things, Annie. You're coming with me. I'm staying here, George, with Chris. Staying here? Why, everything they've got is covered with blood. You're not the kind of a girl who can live like that. George. Oh, hello, Mrs. Keller. Oh, let me look at you. Let me look. Why, George, they've made an old man out of you. What? It's been a long time, Mrs. Keller. Annie, why do you say he looks fine? He looks like a ghost. What's the matter with you? Don't you eat? Oh, I feel okay. It's just that I don't have much of an appetite these days. If you ate in my house, you'd have an appetite. Wait till you see the dinner I've spread out for you. I'm not staying for dinner, Mrs. Keller. I've got to get right back. Of course you're staying for dinner. No, no, no, I can't really. Now don't you start telling me what you can do and what you can't do. Going around making believe that you hate us. You can't hate us, George. Not in your heart. I know you. I carried you when you were a baby. No, you can't fool me. You haven't changed, have you? None of us have changed, Georgie. We're all the same. Well, maybe I will stay for dinner. Nobody can resist, Mom. Not for long. Why should he resist me? Georgie, I've great juice. Remember? You and great juice. Great juice. See, can smile. You come with me. George, I'll be home soon. You'll be so glad to see you. Well, George, this is some surprise. You look fine, George. He looks terrible. Yeah, that's what I said. You look terrible, George. I wear the pants and Kate beats me with the belt. Tell me, how's your dad, George? Feel all right? No, he's not well, Joe. I wish you'd let me know when you were going to see him. I didn't think you were interested. Of course I'm interested. I'd like him to know that as far as I'm concerned, on the day he gets out, he's got a place with me. You don't owe him anything, Dad. I know that, Chris, but just the same. He hates your guts, Joe. Don't you know that? Yeah. But that can change, too. But Diva was never a man to hate. Never. He's like that now, Mrs. Keller. Well, that's a sad thing to hear. Why, Joe? Why? What did you expect him to think of you? Well, a thing can be sad, even if he expected it. As long as I've known him for 25 years, he's never learned to take the blame. You know that, George? Well, sometimes there are circumstances. Yes, but you do know it. I mean, like in 37, when we had the shop on Flood Street and he nearly blew it up with the heater, he'd left burning for two days without water. He never did admit it was his fault. Had a fire mechanic to save his face. You don't remember that, don't you? Yes, but... I mention it because it's just one of a lot of things. It's not the same, Joe. Joe, many called dinner 10 minutes ago. You know, George, there are certain men in this world who just haven't got the guts to take the blame. You understand me? Sure, Joe, sure. I understand you. That's all I wanted to hear you say. Come on, everybody. Let's have some dinner. Oh, but I can't resist, Keller. One more bite and I'll bust. It's like I tell her, George. Mom should have joined the army and fed the fellas overseas. Oh, you're not kidding. Well, I just don't like to see people go hungry. That's all. Now, you come back here to live, George, the way Joe's been telling you, and we'll see. Yeah, and don't think I was kidding. Oh, he's got influence, this man. Influence. I'll talk to Judge Collins. He's got the biggest law firm in town. I'll have him take you in with him. Well, George, now all you'll need is a wife. Leave it to me, Georgie. I'll find you, girl. I feel so... Well, it's so wonderful. I've never fell at home anywhere but here. And why shouldn't you, Georgie? We've no argument. Why should we have argument? We were all hit by the same lightning, all of us. You know, Mrs. Keller, you haven't changed a bit, and you too, Joe, while you're amazingly the same. Still healthy and as strong as an ox. Joe hasn't been to a doctor as long as I can remember. You've never been sick a day in my whole life. Is that a fact, Joe? Yeah, sure it's a fact. Except for that time when you... Oh, yeah, oh, sure, sure. Except for that time when I had the flu. I thought he had pneumonia. He couldn't leave his bed. Never a sick day, you said. Not a day in your whole life. George, please. Do you remember every time you were sick? I remember that time. Oh, George. What's the matter with you? Especially if that was the day when my partner was going to ship defective parts to the army. Joe, what happened? I'll tell you what happened. Give up on this, Chris. I don't have to tell you anything, George. Ask the court what happened that day if you're so curious. Ask the court that set me free. You had me fooled for a minute, Joe. All this good food. All your talk about a swell job and girls. You sure had me fooled. Come on, Anne, we're leaving. George. I'll wait for you outside. Get your thing. Annie. No, no, no. Stay here, Chris. Look, I'll go out there and talk to her. I told you not to bring her here. She doesn't belong here. Why doesn't she belong here? Because she's Larry's girl. She's not Larry's girl. Larry is dead. He's dead and he can't come back. Oh, cut it out, Chris. Never, never in this world. He's not dead. As long as we're alive, your father and I, he's not dead. Do you understand? He can't be dead. What did she mean by that? Well, if I know what she meant. That's a funny thing for her to say. Well, you know the way my talk sometimes. What's the matter? Why are you looking at me like that? If it ever turned out you weren't telling the truth, I'd kill you. What kind of a thing is that to say? I don't have to defend myself to you or nobody, do you understand? Not to you or nobody. No hard feelings, kiddo. No hard feelings. But don't you see, Annie, what kind of happiness are you going to have with all that rottenness underneath? Use your head. It can't be. What are you telling her? Get out of here, George. Don't you ever come back here again. Well, Ann? You wait for me, George. I'll be right there. It's no good, Chris. Sometimes you just have to leave things the way they are, I guess. That's what your mother said. And she's right. Then you're going? Yes. Let me go with you. No, Chris. No. I'll be back in a couple of days, Mom. Don't try to stop me now. After her. After Annie. No. I'm going to Springfield to the prison. I've got to talk to Annie's father. In a few moments, we'll bring you Act 3 of All My Sons. Our talented young guest tonight is Joan Reynolds, 20th Century Fox starlet. As the daughter of the famous war correspondent, Quinton Reynolds, you've undoubtedly had your share of excitement, Joan. Yes, indeed, Mr. Keely. And I've learned enough about war to know there's nothing romantic about it. When I saw Claudette Colbert in 3 Came Home, I was so impressed with the terrific realism she gives her part. Yes, it's a picture of great emotional power. Claudette, as an American wife, held captive in a Jap concentration camp, shows us what courage and endurance can mean. Patrick Knowles gives a fine performance, too, as her husband. It was quite fascinating to see Claudette minus her famous bang. Oh, yes. Her personality's completely changed in 3 Came Home. So different from the sheet. Glamorous, Claudette Colbert, we're used to. Yes, she makes us feel the sufferings of a war prisoner, day after day, the indignities and privation. Yes, she actually lived the part. She'd come off the set tired to shovel, even limping sometimes. Grateful to get back to the comfortable world we live in. You can imagine how she welcomed her dressing room and the luxury of a fragrant luck soap bath. Nothing can be more refreshing when you're tired than a bath with that generous bath-sized luck toilet soap. It gives a real beauty pickup, Mr. Kennedy. The lather's wonderful, and it leaves such a nice delicate fragrance on your skin. Even in the hardest water, that big bath cake gives rich, abundant lather. Yes, once you've tried it, you know there isn't a finer bath soap made. So next time you shop, stock up on the generous bath-sized luck toilet soap. Enjoy its creamy lather and delightful fragrance. Find out for yourself why 9 out of 10 screen stars use luck's toilet soap. Thank you, Miss Joan Reynolds, for coming tonight. We pause now for station identification. This is CBS, the Columbia Broadcasting System. The curtain rises on Act 3 of All My Son, starring Bert Lancaster as Chris, Edward Arnold as Joe, Scott Brady as George, and Anne Pierce as Annie. At the State Penitentiary, Herbert Dever, the father of Anne and George, has a visitor, Chris Keller. I wasn't too sure you'd want to see me, Mr. Dever. Why not? So you and Annie want to get married. George told me. Why not getting married? Why not? Annie broke it off. George came to our house after he'd seen you. She went away with him. Why? Because George convinced him my father was guilty. I'm sorry for your, Chris. Very sorry. I don't believe my father is guilty, Mr. Dever. Go away, Chris. Go away and forget all about it. I'll go when you tell me my father is not guilty. It's all that matters to me now. My happiness and Annie's happiness. So tell me. Tell me the truth. All right, Chris. All right. As God is my witness, what I'm going to tell you is the truth. You were away at war when it happened. Your brother Larry, too. You have no idea how busy we were in the plant. Well, one day the foreman came to my office. It's about those cylinders, Mr. Dever. Have you looked at him? Why should I look at him? That's Joe's department. Well, I thought you should know, too. They're defective. Defective? I'll have to reject the whole batch of them. But you can't reject them. They've got to be shipped out on Monday morning. The government tells me I've got to inspect them, Mr. Dever. You know that. Well, they're no good. Get back on the job. I'll see Joe about them right away. That's right, Herb. The cylinders came out bad. Sometimes that happens. They come out bad. But then they be fixed. How can we fix it? You mean we start from scratch on that order? By the time we do that, we're out of business. We shouldn't have got into this, Joe. Well, way over our heads. We're not big enough. We had no right to accept those contracts. I don't remember you saying anything when I got those contracts. You looked at the profits at the bottom of the page and you thought they were plenty big enough. You said we could handle it. I relied on you. We can handle it. So what do you want to do, Herb? Not ship them? Haven't canceled us out? Put us out of business? Either we take the chance or we're through. Good and through. Broke. I've got every cent in the world tied up in this shop. I wouldn't even be able to keep my home. And what makes you think I'm any better off? I've got more than money tied up in this. I've got me tied up in me. My flesh and blood, my heart, my brains. 40 years of it. Keller and Diva. I guess you don't know what that means because you never had to get it that way. I know, Joe. I know. Yes, you know. When you were working for your father, wearing a white collar and living in the best house in town, I was collecting scrap iron and back alleys. A junk man. Old cars, old sinks, old stoves. I picked a stove from you once, too, Herb. Did you know that? Yeah, and I paid you for it, too. I guess you wouldn't remember. I was only $3.50. But I remember it. It was my last $3.50. I'd beat it into a scrap with my hands and sold it for five. Bucket a half profit. A nice turn of a, Joe. Yes, I know. Finally, I had my own shop. And then the times when I couldn't meet the payroll. The times when my wife took a job to pay the interest on a bank loan. Kate, Kate, a foreign girl who worked for your mother. You're only losing money, Joe. Only money. It's a crime to ship those cylinders out of here. You must realize that. It's only a crime if you get caught. So ship them out of here, Herb. I say the cylinders are okay. Ship them out. But when Mundy came, I didn't ship them, Chris. Joe was home that Monday. He was sick. The first time he was home sick. I'd like to say that I held the order up because of honesty, principle. But that wasn't so. I was frightened. And Tuesday, the army men came in. They tore the roof off the place. They wanted the cylinders. When they left, I phoned Joe. All right, all right. But what did you tell him? Did you tell him they'd get the cylinders? No, I can't take the responsibility, Joe. I'm frightened. Can't you come down here and handle it yourself? How can I come down when I'm sick? But if something happens... Nothing is going to happen. I'll take full responsibility, Joe. Yes, Joe, I know, but just... The full responsibility, I said. So ship them. Full responsibility, Chris. So I shipped the cylinders. But that's what you told them in the court and they didn't believe you. Why? Why? On the telephone, you can't have responsibility. And in court, you can always deny what you said. So they sent me to prison. No. No. He couldn't be like that. I know him. He's my father. You know it isn't the truth. It's the truth, Chris. It's the truth. Well, the guards come. Time's up, mister. Let's get going, please. But if it's true, how... You have to go now, Chris. Tell me something. Do the men at the plant still say, if you want to know, ask Joe? Yes, I bet they still do. Why'd you come back again here, Annie? Why? I thought you and George went back to Chicago. I did go back, Mrs. Keller. But I have to see Chris. I phoned the office. They said he's away. He's out of town. I don't know. A few days of vacation. Look, I wanted to talk to him before I talked to you. But perhaps it's just as well. You have nothing to tell me, Annie. But I have, Mrs. Keller. It isn't better to leave things the way they are. I want to marry Chris. Chris would never marry you as long as Larry's alive. He wouldn't do such a thing. Why won't you face the truth, Mrs. Keller? The truth. What good is the truth if it destroys us all? What good is it? Chris asked me to marry him. We love each other. You're engaged to Larry, to his brother. Larry isn't coming back, Mrs. Keller. Look, I don't want to marry Chris without your consent. Chris loves you. It would hurt him. So please, please tell him that it's all right. It would take more than my words. The day you marry Chris, Larry will be with you. Your hearts will dry up with thinking of Larry. And every day after, as long as you live. Larry is dead. No. He crashed off the coast of China, February 8, 1944. You have no proof? Not even the army had proof. I have proof, Mrs. Keller. In this letter. Letter? What letter? It's from Larry. It was written the day he died. No. Take it, Mrs. Keller. Take it and read it. No. No. I tried not to show it to you. Larry. Read it all, Mrs. Keller. Please. Now you know why I had to keep it from you. When Larry comes back, will you tell him I'll be at the hotel, please? You're taking the letter? Yes. Andy. Joe must never see that letter. Do you hear? Whatever happens, not Joe. Chris, come on in, kid. Come in. I was just driving back home, Dad. I saw the lights on in your office. Wednesday night, you know what that means. There's quite a poker game tonight. You just missed the boys. They just left. I know. I was waiting out there. What did you wait for? Why didn't you come in? I wanted to see you alone. What's the matter? You don't look happy. Did you have a good time? Is it really true, Dad? If you want to know, ask Joe. Sure, it's true. That's how I built this place up, knowing what's going on and knowing it good. Then I want to ask you a straight question. How do those cylinders get out of here without you knowing about it? Oh, so you ran that again? Well, how did they? Why don't you go ahead and say I'm guilty? Go on, say it. Because I don't want you to be guilty. I want you to be innocent, but people have put doubts in my mind. Isn't it enough that I told you so? Can't you trust your father? I should. I really should. But somehow I can't. I can't let it go with that. You've got to help me. What can I do? I've told you a million times what happened. Dad, I saw Mr. Diva today. You what? I went to Springfield and saw him. He told me his side of the story. Now I want to hear yours. You owe it to me to explain. You owe it to me. Explain, explain. That's all I've been doing is explaining. You're my son. You're in it with me. You're my flesh and blood. You wear my clothes. Eat my food. You live in my home. I don't have to explain anything to you. If I'm guilty, then you're guilty too. Do you understand me? You're guilty too. Then... Then you did know. A man's in business. I'm in business. A batch of bad cylinders and you're out of business. Out of business. You don't know how to operate, they tell you. They close you up, tear up your contracts. Your stuff's no good. What's it to them? You've worked for 40 years in a business and they cut your head off in five minutes. Now what could I do? Let them take 40 years away? Let them take my life away? What are you telling me? I never thought they'd install those cylinders. Honest, I didn't, Chris. I thought they'd be stopped somewhere along the line. Why didn't you tell them? You knew they were no good. You knew they wouldn't hold up. Well, it was too late, the newspapers. It was all over the front pages. 21 planes crashed. It was too late, I tell you. I came with handcuffs to the factory. Now what could I do? I asked you, what could I do, Chris? I did it for you. Look, I'm an old man. When would I have another chance to make something for you? For me? Yes. For me? I was dying every day and my boys were dying and you did it for me. What kind of a man are you anyway? Kids hanging in the air by those cylinders and you knew it. I was so proud of you, you were helping us to win and you were worried about your business. Don't you have a country? Don't you think about people? Don't you live in the world? Haven't you got a heart? What must I do to you? What must I do to you? I'll kill you! I'll kill you! It's alright, kid. It's alright. It's me, Kate. What made you think it was Chris? He was back, Joe. Yes, I know. He came home maybe half an hour ago. Then he left again. He couldn't talk, Joe, like he was crying. He'll be back. Joe, he knows. Chris knows. I guess Annie knows too. Have you heard from him? No, not again. Maybe she's still at the hotel. I told Chris. Then he's with him. I thought I had a family. What happened to my family, Kate? Joe, I was thinking this way. If you could sit down with him and explain yourself. I mean, make it clear to him that you know you did a terrible thing. I mean, if Chris saw that you realized... Ask him to forgive me, you mean? Something like that, Joe. Ask my son to forgive me. A man has to take care of his family. That's the first thing he has to do. He has to take care of his family. Why must I be forgiven? You need money, didn't you? To buy clothes, food, to send the boys to school. You had to have money, didn't you? Joe, not that way. Well, I didn't want it that way either. Forgive me. I could live on a buck a day, but I got a family, so I... Joe, it doesn't excuse it that you did it for the family. It's got to excuse it. There's something bigger than the family to him, Joe. No, no. There's nothing bigger than that. There's nothing Chris could do that I couldn't forgive. Because I'm his father, and he's my son. There's nothing bigger than that. And you're going to tell him that, do you understand? You don't think he'd go to the police to you? Joe, please. No, no, no. He wouldn't do anything like that. Not without telling me... Tell me, where is he going away like this and not saying a word and not coming back? You'll be all right, Joe. Nothing's going to happen. But Kate, for you... for you and Chris should marry. That's all I ever live for. I know, Joe. I know. You're having too, Chris. I don't know any. Does it matter? No. He's guilty, any. My father is guilty. I almost killed him, Eddie. Oh, Chris. I love him. I love him, and I almost killed him. I still don't know how it was that I didn't. Only it would have been useless. Because he doesn't know what he did. He doesn't know how awful a thing it was. He lies to himself, and he doesn't know. He'll have to suffer to know. He'll have to suffer in some horrible way to know. Oh, come away with me, Chris. Please, leave them all and come away with me. We'll start fresh and forget everything. No, no, Annie. It's too easy to run away. Too easy. All right, Chris, but what can you do? Call the police and give him up. It's not enough to give him up, Annie. Not enough to put him in jail. He's got to see it himself. He's got to understand what he did. Do you see what I mean, Annie? He's got to see it and be his own judge. Yes, Chris. But how? How do you make a man see into himself? A man who's forgotten about other men. Living as if he were alone in the world. You show him this, Chris. It's a letter. A letter from Larry. Larry? You stop the car and read it, please. I think after you read it, then you'll know what to do. You didn't come home, Chris. What do you mean by frightening your mother half to death? What kind of a thing is that to do? Where is mom and dad? Yeah, but she can't sleep. Maybe if she knows you're home. No, wait. I want to talk to you. Something bothers you, huh? You got too much money. Is that what bothers you? The way you got it bothers me. Well, then what's the problem? When something bothers you, either get used to it or you get rid of it. If you can't get used to it, then throw it away. Do you hear me? Take every cent and give it to charity. Throw it in the sewer. Does that settle it? In the sewer, that's all. That's not enough, dad. You think I'm kidding? I'm telling you what to do. If it's dirty, then burn it. If it's your money, not mine. Look, I'm a dead man. I'm an old dead man. Nothing is mine. Now, tell me. Tell me, what do you want me to do? It's not what I want you to do. It's what you want to do. What should I want to do? Prison? You want me to go to prison? Then tell me so. Only you can't tell me and I'll tell you why you can't. Because you know I don't belong there. You know it. Read this, dad. Read this letter. Then tell yourself what you must do. What is it? What do you got there? Chris, Chris, where have you been all night with... No, Chris. No, not that letter. It's from Larry, dad. Give it to me. Larry. Don't read it, Joe. No, no, don't read it. Then I'll read it. My dear Anne. Don't listen, Joe. Go away. Don't be quiet. Go ahead. I want to hear what he had to say. It's impossible to put down the things I feel. But I've got to tell you something. Yesterday they flew in a load of newspapers from the States. I read about dad and your father. I'm not clever in the way that you are, the way Chris is. And I cannot understand or make myself understand how this could have happened. We get to be proud of the planes we fly. They come to be piece by piece, bit by bit. Something of you at home would have made them. And we're not alone. But my father has made me alone. He has betrayed us all. You at home who have kept faith with us. We out here who have kept faith with you. I'm ashamed. I can't face the other men. I can't face anybody. I don't know how to tell you any, but I'm going out on a mission in a few minutes. And I will not come back. I want you to forgive me any for doing this. It's the only way I know to pay for what he's done. That's his letter. You shouldn't have. You shouldn't have. I didn't like doing it, Dad. You know that. Oh, sure, Ken. I know. You did right. Joe. Maybe I've known it all along. A man can be defective too, like a machine pod cylinder. A little pressure and he cracks. A lot of innocent people die. A lot of innocent people. You paid for it, Joe. Larry paid. He was your son. There's nothing more you can do. Sure, he was my son. But I think to Larry, they were all my sons. And I guess they were all my sons. Chris, Chris, he's your father. You can't send your own father to prison. It's with him now, Mom. It's whatever he thinks. Have you gone crazy? What's accomplished if he goes to jail? Will it raise the dead? It's over. It's over. You didn't say that, Mom. It's not over. What was Larry to you, a stone that fell in the water? It's not enough to be sorry. Larry didn't kill himself, so you and Dad could be sorry. He did it to show you. What more can we be than sorry? What more? You can be better. Once and for all, you can know that the whole world comes in through those fences. That there's a universe outside and you're responsible for it. Because if you're not, then you threw your son away. Because that's why he died. You understand? That's why... Mom! Mom, no, don't go up there. Stay here. Let me go, Chris. Chris, that shot! It was Joe. I'm going up to him, Chris. I took care of him all his life whenever he needed me. I can take care of him now, too. Annie, get Jim. Get the doctor. Joe doesn't need a doctor now. Take him, Annie. Take Chris and go. Make a good life for yourselves and never look back. Never, never. Larry's dead. And Joe's dead. So live. Oh, my sons, and that applause is our thanks to a stellar cast for their really fine performances. Bert Lancaster, Edward Arnold, Scott Brady, and Ann Pierce. I'll be spokesman, Bill, and thank the audience for all of us. Of course, Bert is accustomed to getting his applause by hanging from one toe from a trapeze at the top of a tent. Are you going out with the circus this year, Bert? No, not this year, Scott, but I've got a soft spot in my hard movie heart for the circus. Because, you see, that's where I got my start. Well, it's not my idea of a vacation hanging from a trapeze. Well, so few people can start hanging by one toe from the top of a tent. That'd be my end, I'm sure. Well, I'm a lot better off than you already. Now, Bert, what's the matter with Mr. Arnold's career? On the radio, he's all the presidents of the United States. Is that bad? Sure. No chance for advancement. May all your children be acrobats. Oh, I think I'm in too fast company here. Oh, not at all, Ann. You're absolutely the only one with a lovely luxe complexion. Why, thank you, Mr. Keely. Luxe toilet soap has been my complexion care as long as I can remember. And we're happy to welcome you and Scott to the Luxe Theater for your first visit. Thanks, Bill. And now, won't you tell us about next week's show? Yes, next week we'll have a wonderful motion picture comedy based on one of your favorite radio programs, The Life of Riley, starring in the role that has made so many famous will be William Bendix, plus three of the original players in the Universal International Screen Hit, Rosemary DeKamp, Richard Long, and Meg Randall, a show for the entire family. Next Monday, as we all enjoy The Life of Riley. Sounds like great entertainment, Bill. Good night. Good night. Good night and thanks for a wonderful evening. Here's a fashion flash from Hollywood. Aprons of Ogundy and Hankach of Lenin are going to the smartest parties. The other night, Ann Pearce wore a dark sheath evening dress topped by a crisp white Ogundy apron, beautifully embroidered in delicate pastels. Yes, it had actually been washed with luxe flakes, not once, but many times. Ann insists on this gentle care for all her nice washables. She knows it doesn't pay to risk wrong washing methods that fade colors, damaged fabrics. Actual washing tests prove luxe flakes care keeps colors enchantingly fresh and gay up to three times as long. Be sure to get a box of luxe flakes tomorrow. Give all your washables that lovely luxe look. Lever Brothers Company, the makers of luxe toilet soap, join me in inviting you to be with us again next Monday evening. When the Luxe Radio Theatre presents William Bendix, Rosemary De Camp, Richard Long, and Meg Rando in The Life of Riley. This is William Keely saying good night to you from Hollywood. Birdlandcaster appeared by arrangement with 20th Century Fox, producers of Wabash Avenue starring Betty Grable. Scott Brady is currently seen in the Universal International Picture. I was a shoplifter, and Pearce appeared by arrangement with Universal International, producers of Comanche Territory starring Marino Harrah and McDonald Carey. Norma Barton was heard as Kate. Our play was adapted by SH Barnett and our music was directed by Louis Silvers. This is your announcer, John Milton Kennedy reminding you to join us again next Monday night to hear The Life of Riley starring William Bendix, Rosemary De Camp, Richard Long, and Meg Rando. Stay tuned for my friend Irma, which follows over these same stations. This is CBS, the Columbia Broadcasting System.