 Lux presents Hollywood. Lux Radio Theatre brings you Irene Dunn and Joseph Cotton in Penny Serenade with Edgar Buchanan. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Somewhere in the life of every man and woman, there's a book or a play, if the true story were known, but many people miss half the joy of living because they see only routine dullness in their own lives instead of drama. In Penny Serenade, there's all the excitement of great events in the simple everyday incidents of one home. There's something truly universal about this story of one man and one woman whose faith in each other has been lost along the way, but who have the courage to reach out again for happiness. It's a play that makes high demands on its stars. So tonight we have the same talented artist you saw in the Columbia picture, Miss Irene Dunn. And co-starring with her is one of the important discoveries of recent Hollywood history, Joseph Cotton. Irene, incidentally, has just returned from New York where her new Metro-Golden Mayor picture, White Cliffs of Dover, is opening this week. You know, there's quite a story behind the production of any one of our plays. Actually, it begins in stores all over the nation when you go in and ask for Lux Flakes. But here in this theater, it begins with the selection of a script from the best at Broadway and Hollywood have to offer. In the casting, our stars come first, but the same careful attention is given to even the smallest bit parts. And then all the different elements meet at rehearsals, with actors, writers, engineers, sound technicians, musicians, and stagehands, each a part of a human machine that does the job. Teamwork makes any task easier, and Lux Flakes is ready to join the team at your house at the drop of a soap bubble. And here's the signal for the curtain to go up on the first act of Penny Serenade, starring Irene Dunn as Julie, and Joseph Cotton as Roger, with Edgar Buchanan as Applejack. Our scene is quite simple, an automobile parked on the main street of a small town. Two people, a man and a woman, are sitting quietly in the front seat. The passerby would see nothing wrong. But in this everyday setting, tragedy is taking place, and the lives of two people are changing course. The man is silent, brooding. With a sudden movement, he opens the car door and gets out. What's the matter, Roger? Take the car on home. What about you? I'm not coming home. I don't ever want to see anything or anyone that reminds me. All right, goodbye. Oh, Roger. Yes? When you do come home, I may not be there. Where are you going? I'm not sure. I don't know. Well, I guess Applejack's there. He'll help you if you want anything. Yes. Goodbye, Roger. Bye, Julie. Would you call the station, Applejack? Make sure they've got my reservation. That if you'll carry the grips down the car for me, I'd like you to drive me to the train, please. Miss Julie, you'd better think this over. I have been thinking it over, Applejack. I've been thinking it over for days. I'm leaving. You and Roger have been married a long time. But we don't need each other anymore. And when that happens to two people, there's nothing left. Miss Julie, I guess I've known you two people better than anyone in my whole life. What was working with the boss on the paper here and seeing everything that's happened like... Well, somehow it just doesn't seem right. Applejack, please. I'm leaving. Yes, Miss Julie. Oh, I meant to ask you, I found these records. Do you want to take them along with you? Which records? These phonograph records you've been collecting all these years. Oh. You made them into an album, remember? The story of a happy marriage. A happy marriage? Well, you were out before I played a couple of them. Nice tunes. Do you remember this one, Miss Julie? Let me see. Oh, yes. Yes, I remember when we bought this record. I remember the first time I ever heard it. The day I met Roger. It was in the phonograph store I worked in 12 years ago. We were playing this tune on a loud speaker and Roger was standing out on the sidewalk. I was fixing some records in the window when I looked up and saw him. He was smiling at me. I thought he was pretty fresh. The next thing I knew, he was inside the store. Yes, is there anything I can do for you? Oh, yes. That's a new tune, isn't it? Yes, yes. We just got it in today. Nice to dance to, wasn't it? Yes, would be. Yes. Would you like to buy it? Well, what's on the other side? Another new one. Oh, could I hear it? Certainly. Right over here. Both three. I mean, would you play it for me? If you want. Thanks. Wait, as long as we're listening, might as well hear some of these others, too. I'll just take the stack here. There we are. Now, wait a minute, please. Oh, it's all right. I can carry them. Get along fine. You sure you want all these? Oh, yeah, sure. 27 records of 50 cents. That'll be, um, 1350, please. 1350. Here you are. Thank you. Hey, it's pretty late, isn't it? Yes, we're closing now. Oh, I'm sorry. Say, you must be tired. Maybe I can take you home. I'll get a cab. A cab? You certainly like to throw your money around. What are you? A bootlegger? No, I'm a reporter. Good one, too. Oh, nice. Just the same, I think I'll walk. All right, maybe a walk would do us good. But I didn't invite you to walk with me here. Well, it's all right. I got nothing to do until 10 o'clock. The records are kind of heavy. Yes, it must be. Well, thank you very much. Good night. Smarter. Nothing. I live here, that's all. Oh. Well, good night. Good night. Oh, wait, do you mind if I ask you a personal question? I guess not. Have you got a phonograph inside? Yes, why? Well, uh, would you let me hear this record? Otherwise, I'll have to take it home and imagine how it sounds. Haven't you got a machine at home? No. Well, then why on earth did you buy 22... Oh, silly one. Oh, really? Every time I've heard that song since, I've thought of that day. There was another one in that bunch of records, too. Oh, yes, this one. They were playing this one night in a little Chinese restaurant down near the beach. We stopped off there for dinner on our way home. Roger was very quiet. We sat there for the longest time, never saying a word. What are you thinking about? Just wishing. Wishing we could always be together like this. I mean, I wish every day were a holiday like today. Never have to go home, never have to go to work. Would be perfect, wouldn't it? What's that you've got? A rice cake. It's got my fortune inside. What does it say? Nothing. Silly. Oh, that's it. Oh, go on. Silly. Read it. All right. It says, uh, a baby. Ah, these things are a lot of bunk. They never come true. You don't like kids very much, do you? Oh, I like them all right, except when they're pests. Uh-huh. What does your fortune say? Nothing. Yeah, read it. You'll be an old bachelor. Oh, very unromantic. Told you they never come true. Oh. We played this one at my New Year's Eve party. Guess I'd known Roger about four months. You remember that New Year's Eve, Applejack? You came to my place, remember? Ha-ha. You weren't very happy about it. Look, I, I don't belong here. Of course you belong here, Applejack. I invited you, didn't I? Come on in and meet some of my friends. Oh, no. Say, where's Roger? He's not here yet. I thought maybe you'd know. Not me. You're pretty crazy about that report, aren't you? What? Farmed on him? That's bad. I hate to see a nice girl like you get mixed up with a newspaper man. I never knew one where the darn would came a woman. It's not the fun to go out with, that's all. Always running down a story. You're hanging around a speakeasy, waiting for the proof to come up. At least that's what they say they're doing. You never know what they're up to. Of course, for a single man, it's swell. But for a married man... Applejack, listen. Don't worry about me. I don't need any advice. I never even thought of getting married. Don't fool him. Don't fool him. Well, it's fine. Julie! Oh, here he is now. Hello. Julie, I've got to talk to you right away. We're working with you alone. Why, alone? I'm having fun. Come on, we'll go out on a fire escape. Oh, but Roger! Roger! Now, don't be angry. I've been here sooner. Only a lot's happened. Nice time to come to a party. It's almost 12. I know, darling. I'm sorry. I've had a million things to do. Here. Put my coat around you. Now, look, honey. Flynn put his job over in China. He got fed up with the assignment of the weather or something. Imagine what a spot that leaves the paper in. One man in the Orient, and he walks out on the job. Roger, you're going to take his place? Well, that's what I... That's what they want me to do. I've got a ticket in my pocket on a train that leaves in 3 a.m. I'll get to San Francisco just in time to catch the next boat. I can't believe it, Julie. Imagine them picking me. Well, you're able, Roger. You have ability. Anybody can see that. You're going? Well, uh... That's what I wanted to talk to you about. It's a fine salary, two-year contract, and more or less my own boss. And, well, I was wondering... Listen, listen, little boy. Of course I want you to go. That's what's worrying you. Please don't think... Oh, I wasn't worrying about that. I knew you'd want me to take the job. Sure, but... Well, uh... Well, what I hurried over here to tell you was, uh... Julie... Julie, let's get married. Let's get married tonight right away. I can send for you in three months. I'll have the money then. Three months? Why the rush to get married now? Because. Well, do you think I want to leave a girl like you running around loose so I suppose somebody else comes along? Julie, I've got to have you. Oh, Roger, darling. Julie, is it till death do us part? Till death do us part? Listen... It's New Year. Julie, I've got everything well said. All you have to do is sign the marriage license. Come on. There is much time, Roger. All right, darling. Porta Compartment G. Compartment G, yes, sir. How much time before the train leaves? Just about two minutes. Thanks. Well, Mrs. Adams? Mrs. Adams. Oh, it sounds strange, isn't it? Not strange, darling. It sounds great. Oh, it does sound great, doesn't it? You know, there's something about a train. I don't know what it is. The way it looks or smells or something always makes me want to be off somewhere. I know. I feel the same way. Oh, Roger. I wish this was our honeymoon. But why, dear? Darling, I can't say goodbye to you. It isn't really goodbye. It won't be for long. It's just... I'll see you later. That's it. I'll see you later. Let's never say goodbye. Yes, dear. Promise me something. Promise me never to take your ring off. I won't take it off, no matter what happens. Thank you, darling. Roger. Roger, the train's away. All right, all right. Don't worry, darling. I'll get you off at the next stop. Oh, well, how far is the next stop? About three hours. Roger went on to China, and I waited for him to send for me. I didn't have to wait long. Four months later, I was with him. He had a great big house and four Chinese servants. Roger was living like a prince. Darling, what do you think of your new home? Well, Roger, I... Well, I didn't expect anything like this. It doesn't seem real. Are you sure you can afford on this? And don't be so practical when I'm romantic. Nothing's too good for my little wife. Well, are we going to keep it? I mean, stay here right along? Certainly, it's yours. I bought the lease from an American who went back. Furniture, four servants, three kids, everything. Kids? Who? The servants. They live here. Oh, I thought you didn't like children. Who? Me? They all right. Anyway, I got the whole shebang for a thousand dollars, American. But how in the world you do it? I mean, get the money to send for me and buy all this, too. Got an advance? An advance? Sure, an advance on the salary. Everybody does that out here. That's how you operate. Oh, Roger, I... Oh, now you're not going to be one of those wives always worrying about money and budgets, are you? No, but I... Well, I thought I'd hate to start off in debt. Especially now. What do you mean, in now? Roger, remember this? What? Oh, oh, the fortune. Sure, I got it at the beach. Imagine you keeping that. You were wrong, darling. Sometimes those things do come true. Sure, sure they do. Certainly, let's see it. A baby. Say it that... Hey, wait a minute. Roger. Julie, why didn't you tell me? Why didn't you write me? But you don't like them. Of course I do. Why would I have three of them running around here? And this won't be ours, an American kid ours. Gee, that's great. Oh, darling, I'm so glad you want it. We went north after that. Roger had an assignment away from the city, and I went up with him. He began to talk about traveling all our lives, never settling down. Well, we... We were there about three weeks when... when it happened. I can still hear the sound in my ears. At first I thought it was just a sort of rumbling, and then it grew louder and louder. The floor began to shake. I could hear the crowds outside screaming. I saw the pictures dancing on the floor. I felt like I was... We came home on the next boat back to San Francisco. I think I knew then that I would never have my baby. And in the hospital? A few weeks after the doctor told me. Well, that's all, Mrs. Adams. Otherwise, you'll enjoy the best of health. Now I've got some good news for you. I'm letting your husband see you today. Come in, Mr. Adams. Hello, Roger. Oh, Juliet, I'm so glad to see you. She's doing well. You'll be able to take her home soon. Thank you. Oh, darling, I've been miserable without you. I've had a chance to do a lot of serious thinking. I've been out scouting around the nearby towns, looking for that little paper I once talked about buying. And no more silly ideas like traveling around. You are absolutely right about that. I think I found it, too, honey. A little place just north of here, a place called Rosalia. Ever hear of it? No. Best of all, we'll have a home of our own. One that will always be ours. I'll get the paper going good. I can give you everything. Furniture, cars, clothes, everything. You know, it's strange, Roger. But I can't get myself to care about those things now. They don't seem important anymore. What I want, I can't have. The one thing I've ever really wanted, I'm never going to have. Now, in a brief intermission before Mr. DeMille presents Irene Dunn, Joseph Cotton, and Edgar Buchanan in act two of Penny Serenade. Here's a popular song. And now a luxe version of this favorite, Take It Easy. Take it easy, take it easy. Please don't get upset at washing dishes every day. Take it easy, take it easy. As you watch your hands grow red and rougher, don't give way. Take it easy, take it easy. You can change that daily chore to one that gives you bliss. Make it luxe-y, make it luxe-y. Then you'll have the kind of hands men seem to want to give. Change to luxe, change to luxe. You'll be so pleased. Change to luxe, change to luxe. You'll be so pleased. That's saying it in music. If your hands are growing red and rough from dish washing, don't be discouraged. That so often happens when you use a strong soap. No, don't think it's dish washing. It's the kind of soap because scores of women prove that simply changing from a strong soap to luxe takes dishpan redness away. Luxe flakes are so gentle. Yet they're so rich, makes us good suds that they go farther than other soaps tested. Luxe is very thrifty to use. If your dealer is temporarily out of luxe, try again soon. Luxe is worth waiting for. When dish washing time comes, be sure to... Make it luxe-y, make it luxe-y. Now our producer, Mr. DeMille. Act two of Penny Saturday, starring Irene Dunn as Julie and Joseph Cotton as Roger with Edgar Buchanan as Applejack. An album of old pornograph records. An album of memories. The Julie Adams Each Record is a chapter in her life, bringing back the heartaches of the happiness, sorrow and the joy of years gone by. Remember this one, Applejack? It was popular about the time you came to help Roger with a newspaper. It was fun in those days, wasn't it? The Linus Hype Machine running downstairs with mellop, printer's ink in the house. Something missing even then. You knew what it was, Applejack. You mentioned it one night at dinner, remember? Not running down subscriptions and said he might not be home till late. Well, come on, sit down, Applejack. We might as well have our dinner. Yes, Miss Julie. You know, Miss Julie, I think we ought to have a kid around this house. What? Why thought you knew Applejack? Oh, sure, I know about that. I'm talking about adopting one. You get some pretty good ones that way. I'm an adopted kid myself. Of course, I know that's not much of a recommendation. I didn't turn out so bad. Want some bread, Applejack? Miss Julie, I wish you could have seen some of those little sons again. They were the cutest little rascals you ever wanted to look at. Well, I don't think Roger would want a child that way, Applejack. One that wasn't his own. Why not? He's no sucker. You don't want to gamble. How do you know what they're going to be like when they've got to be your own? This way you walk in and help yourself to exactly what you want. There's no guesswork. I've thought a lot about it, Applejack. I want one. But Roger was so disappointed when... Well, I just haven't had the courage to suggest it. Miss Julie, do you want to know something? He's all for the idea. Well, only a few days ago when we were working together, I was talking to him and he... You were talking to him about this? Sure, and he was all for it. Why didn't he say something to me? He was afraid to say anything to you. He's afraid you might have some full notion. Full notion? What a very idea. My own husband talking about things like this with a... with a printer. Press manager, please. All right, press manager. You going to be the mother? No, I just... Well, Roger, come here. What's going on, Pipe? Hey, Roger, I want you to look at that new ad. Would you come downstairs? Roger, why didn't you tell me? Tell you what? What you and Applejack been talking about. Miss Julie, I told you in constant. What were we talking about? Applejack, what did you say to her? Well, you know about... He told me. Told you what? Roger, if you wanted to adopt a baby, why didn't you tell me? What? Sure, you should have told her in the first place, not me. I'm not going to be the mother. Wait a minute. Did you tell Julie I wanted to adopt a baby? Well, I did it, Annie. I tried to bring it to her gently. You told her that... Oh, Roger, I'm so glad you feel that way. Yeah, she wants it even more than you, Roger. Well, if that's the way we all feel about it... I like it too. I suppose it's settled, huh? Oh, Roger, I'm so glad. If it hadn't been for Applejack letting it slip out, I don't suppose I ever would have known. Come on, sit down, darling. I'll get you dinner. Well, I guess I'd better go fix that press. Yeah, you fix everything else, don't you? What's the idea of telling her a thing like that? I never said I wanted a baby. Well... Oh, shut up. Roger, hurry. The lady said three o'clock. Now, look, Julie, while I think of it, when we get to this place, don't get enthusiastic right off the bat. You know, don't just rush in and grab the first kid you see and go nuts about it. What makes you think I'll grab the first one I see? I've been doing the shopping in this family for some time now. I just don't bring home anything. Well, you came home with this tie, didn't you? Oh, darling, it's nice. Everybody's wearing bow ties. Yeah. Sit down, Mrs. Adams. I have your letter here. You want a two-year-old child, blue eyes, curly hair, dimple chin, sweet disposition. We prefer a boy. But we like to look at the girls, too. Ah, Julie, you know we agreed on a boy. But he won't hurt to look at it, will he? All right, we'll look. Now, what can you show us, please? Well, this is the administration building. We don't have any children here. Everybody wants blue eyes, curly hair, dimples, and everybody wants a two-year-old child. Now, will you tell me why? Well, you see in our case that would have been the age of our own child. Oh, I see. Anyway, when they're two years old, they're more or less housebroken, aren't they? Well, not always. At the moment, we haven't any children available at all. And there's a long waiting list. If you get one within a year, you're lucky. What? A year? I mean, we might have to wait a whole year. Well, after all, real parents wait almost a year. Yes, certainly, Mathieu. But you see, Miss Oliver, we've waited so long already. I know, my dear, but you're both very young. Then, too, we have to have time to make our investigation. Investigation? Oh, yes. You see, we're just as particular about you as prospective parents as you are about the child. Oh, yeah. What is your business, Mr. Adams? Well, I'm a publisher. I run Resalia Courier. A publisher? That's right. I see in your letter that you live in the country. I presume that means, then, that you have a house and a yard. Well, I... No, we don't have a yard. We live in an apartment over the newspaper office. But you have a separate room for the child, haven't you? Oh, sure. Yes, we have a lovely room. It's practically fixed up now. Well, that's fine. Now, about income. Approximately, how much do you make a week? Well, I... I couldn't tell you offhand. I imagine about $100 a week. Of course, I'd have to look at the books. Well, that's excellent. Now, if you'll just take that application home with you and mail it into us so we'll have all the details, in due time, one of our investigators will call on you. Oh, fine. You'll call us before you come, won't you? No, we just drop in. That's our policy. You see, we want to find your house as it really is every day and not when it's fixed up for company. Oh, I see. Goodbye. Goodbye, Miss Oliver. Goodbye. Oh, Miss Oliver. It doesn't matter if he hasn't got curly hair. It doesn't really matter. Very well, Mrs. Adams. Goodbye. Goodbye. Oh, Roger. Hey, they are darn choosy, if you ask me. Why do you always have to be a big shot? What do you mean, big shot? Well, you know we don't make $100 a week. You want the baby, don't you? Anyway, they can't prove it. We don't keep books. The day that Miss Oliver came to investigate us, I was cleaning house. I had on an old dress and my hair was a fight. Just to make things a little worse, I had the phonograph going full blast. Good afternoon. Does Mrs. Adams live here? Yes, upstairs, of course. No, don't bother. I'm Miss Oliver from the orphanage. I'll find her. Oh, well, I don't think she's home just now. I think she's in church. In church? This time of day? Well, you see, she and Mr. Adams go there quite a lot. They just go there and sit. Find people, Adams. Well, I'm sure she won't mind if I just look around at it. No, no, she won't mind. Oh, Mrs. Adams. How are you, Mrs. Adams? Oh, oh, I'm sorry. It's all right, it's all right. Oh, you've come to see the apartment. That's right. Well, this is it. It's not very neat at the moment. We're cleaning. I see. Julie, where in Blazes did you put my pants? Roger. You have to go around the house in a bathrobe all day. Just... Uh-oh. Hello, Mr. Adams. Well, hello, Mrs. Adams. Well, hello, Miss Oliver. We weren't expecting you. Mr. Adams was working late last night, getting out the paper. I understand. Well, I think I have a surprise for you, Mr. Adams. A baby came in yesterday. No. Miss Oliver, you mean? Here, you'll come down. Sit down. Thank you. That's the reason we came around to see you sooner than we expected. It's a little girl. Oh, well, we don't want a girl. Five weeks and three days old. Five weeks? Well, we did speak of an older child, you know. Sure, two years. You might have to wait a long time. After all, aren't you making too great a point out of the child's age, Mr. Adams? Eventually, this child will be two years old. We don't know anything about such little babies. Well, no one does until they have them. And this is such an unusual little baby. Actually, there's another couple who have first choice, but somehow, well, I feel she's exactly the child for you. That's why I wanted you to see her first. And I couldn't resist giving you the chance. Did you bring her with you? Oh, no, she's in the nursery. You and Mr. Adams will have to come over to the city to see her. Oh, what's she like, Ms. Oliver? Well, I can't describe her exactly, but she's... Well, she's like no other child. Like no other child? Yeah, she isn't a boy. Well, Roger, there's no harm looking at her. If you don't like her, I won't say a word. What's the use? We don't want her. Oh, but please, darling, it won't hurt just to look at her. Oh, all right, we'll look, Ms. Oliver. Well, that's fine. She's holding your finger. Yeah, I got quite a grip, hasn't she? Oh, for a girl, I mean. Would you like to hold her, Mrs. Adams? Would I? Would I? Oh, thank you. Oh, Roger. She's sweet. Look. Quite a kiss. Well, if had you looked here, how about going back home? Hey, you mean you don't... Oh, Roger, you... All right, all right, she's yours, I guess. Oh, darling. When do we get her? Now, if you like, she's yours. Honey, here's probation. You mean we can just walk her out, would there like this? It sometimes happens that way. But we have no clothes for her, and we don't know how to feed her. She's an awful little baby. Well, Ms. Morgan will take care of everything. She'll give you the formula and so forth. Thank me. It just happened so. Perhaps before you make up your minds fully to take the child, you'd like to have me go into her history. I can assure you it's an excellent one. Oh, that's okay. She'll take a chance on us. We'll take a chance on her. She wakes up again. You know what that means. You think she'll be all right in here? Sure. No, I don't think I'll go to bed. She eats again in the half hour. The erection says so. I'll set the alarm. Come on. Maybe I better just sit here and watch her. Don't be silly. She might wake up. It won't wake up. Well, turn it off. Turn it off. I'm trying to. I couldn't help it. Look at the baby. Is it awake? No. Well, what's the matter with it? I don't know. You think she's all right? I don't know. Is it breathing? Yes. Yes. She's all right. Come on. She's certainly a good little baby, isn't she? Yeah, we were lucky together. Let's go to bed. I'll be quiet, closing the door. Don't worry. Go ahead. Roger. Well, do something. Can't you see the baby? I don't know what to do. Don't just stand there. Do something. Well, we'll take her. Pick her up. Well, go on. Do something. No, I'm going to call Miss Oliver. You can't call her. I'll pick her up. Come on. Hey, look. Shut up. Oh, darling. Just wanted a daddy. That's all. Uggly, ugly, ugly. That first year passed so quickly, it seemed like just a few short weeks. Roger was happier than I'd ever seen him. Even the trouble he was having with the paper didn't seem to matter. He had Trina. On she goes. On she goes. On she goes. Julie, look. She's trying to dance. That's a girl. Go ahead. She's got your smile, Roger. Oh, sure. She's good-lucky. Still sorry she wasn't a boy? A boy? What do you mean a boy? Don't let her hear you say that. You wanted a boy. I didn't want a boy. Trina's dad is a little girl. On she goes. Roger, be careful. Oh, hello, Miss Oliver. Roger, turn that off. Miss Adams, sit down, Miss Oliver. Thank you so much for letting us know you were coming this time. Hello, Miss Oliver. Trina, this is your fairy godmother, Miss Oliver. Say hello, sweetheart. She's not very timid, is she? I can plainly see that she adores her father. She means everything to us. When are we going to owner outright, Miss Oliver? You go before the judge, the 27th. 27th, on time. Now, these are the same questions that you answered last year. We just want to bring them up today. Now, let's see. Religion? Same. Age? One year older. Yes, I have that. Profession? Still publisher, isn't it? Yes. Income? Income? Well, you've seen Miss Oliver. Uh, none. None? Well, I don't understand it. Oh, that's the way it is in the newspaper game, Miss Oliver. Especially when you're starting one of your own. You have to close down once before you really get going. It's only temporary. I'll have it humming by the 27th. Yes, I'm sure you will find a way, Mr. Adams. But you and I have to prove to the judge that your income is enough to take care of Trina. Well, you know we'd give Trina everything she wanted, Miss Oliver. No matter who else had to suffer around here. I realize that. Well, I must go now. That's all we can do today. Goodbye, Miss Oliver. Goodbye. Mr. Adams, you will bring the baby when you come before the judge. It's 27th. We'll be there. Already, Daddy. Roger, don't forget to take the coat off on the train. I won't. Bye, dear. Bye. Come on, Trina. Oh, Roger, wait. Wait. Her bunny. She may want it. Here, darling. Take the bunny with you. Bye, dear. Bye, Trina. Adams, in looking over these adoption papers here, I see that you have no income at present. Is that correct? Yes, Your Honor. What is this, Miss Oliver? You know this case should never have come before me. Well, Your Honor, I feel that this is a special case. I kept hoping until the last minute that Mr. Adams might be able to resume the operation of this paper, but unfortunately... Yes, Your Honor, these conditions, I cannot grant the adoption. This child will have to revert to the orphanage. Mr. Adams, will you draw up a chair, please, while I prepare these release papers for you to sign. It's just a matter of routine. If you please, Your Honor, it can't be just a matter of routine for people to have their baby taken away from them. And those are the requirements of the law. Yes, but you see, we've had her since she was six weeks old, and it just doesn't seem reasonable that... she should have to go back now to... to strangers. Mr. Adams, you're not here to plead your case. You've had the regular opportunity to prove your fitness to provide. But we are Fifth Judge. I'm sorry. Without an income, I have no alternative. Look, Your Honor, she's not like an automobile or an ice box or a piece of furniture or something you buy on time, and then when you can't keep up the payments to take it away from her, she must still be a good girl. Anyone can give up those kinds of things, but I ask you, Judge, how can you give up your own child? And she is our child, just as much as if she'd been born to us. Look, Judge, we've had her over a year now, and we've... we've walked the floor with her when she had the colic. We've lost nights of sleep worrying every time she cut her tooth. We've... we've gone through everything, everything that real parents have with one of their own. And you sit there and say it's a matter of routine for you to take her away from us. Please, Mr. Adams, you may be... I'm sorry, Judge. But... well, you see, we weren't... we weren't as fortunate as most people. We would have had one of our own only. Well, you don't know how badly my wife wanted a child. It wasn't so important to me. I don't know. I... I suppose most men are like this, but children never meant a great deal to me. I liked them all right, I suppose, but, well... well, what I'm trying to say is, Your Honor, the first time I saw her, she looked so little and helpless, and when she took hold of my family, and she took hold of my finger and held on to it, she... she sort of walked into my heart, Judge, and she was there to stay. I didn't know I could feel like that. I'd always been, well, kind of careless and irresponsible. I wanted to be a big shot. I had to be my own boss, that sort of thing. And now, here I am standing in front of a judge, pleading for just a little longer so that I can prove to you I can support a little child that doesn't weigh quite 20 pounds. It's not only for my wife and me that I'm asking. It's... it's between us, too. She doesn't know any parents but us. She wouldn't know what had happened to her there. There's so many little things about her that nobody would understand the way Julie and I do. We love her, Judge. Please, please, don't take her away from us. Look, I'm not a big shot now. I'll do anything. I'll work for anybody. I'll beg. I'll borrow. I'll... please, Judge, I'll sell anything I've got until I get going again, only she'll never go hungry and she'll never be without clothes, not as long as I've got two good hands to help me. You brought her back. She's yours, dear. Our... The judge says no, ours now and forever. Oh, Trina. Trina? Nothing can ever take her from us now, darling. Darling. Darling. Pause now for station identification. This is CBS, the Columbia Broadcasting System. In a few moments, Mr. DeMille returns with Irene Dunn, Joseph Cotton, and Edgar Buchanan for Act III of Penny Serenade. But now I have a question to ask a couple of the ladies here tonight. Mrs. Mounier, about how many miles do you think you walk in a day? Why, I just keep house and don't go out very much, only to mark it in back. That's about a mile. And, oh, I suppose another mile or so around the house. Not more than two or three miles a day, all told. And you, Miss Gregg, how far do you think you walk? Oh, not more than a couple of miles. I'm a secretary and just sit at my desk most of the day. Well, I'm afraid you both underestimate your job. Statistics show that housewives often walk up to seven or eight miles a day, and office workers about three-and-a-half to four-and-a-half miles. You'll probably do a lot of bending and stooping in addition to just walking. All those things are hard on stocking. Well, often I do get a run just from bending my knee. I wish I knew how to make my stockings last longer. Then you'll be interested in recent stocking tests. A famous laboratory washed rayon stockings three ways, part of them with lux flakes. Others were rubbed with a cake soap. And what happened, Mr. Kennedy? Then they made tests to see how much strain these stockings would stand. The kind of a strain they get in everyday wear when you stoop down, climb stairs, and so on. Here are the results. The lux stockings stood more than twice as much strain, lasted over twice as long before going into runs as the others did. I'd like my stockings to last twice as long. Lux will help you do it. Just lux stockings after each wearing. Dry rayons, 24 to 48 hours. Now, Mr. DeMille returns to the microphone. We'll have a few personal questions for our stars after the play. Now the curtain rises on the third act of penny serenade, starring Irene Dunn and Joseph Cotton with Edgar Buchanan. In the little apartment over the newspaper office, Julie Adams plays her album of old records, the story of a happy marriage. She's almost at the end of the album now. As Applejack watches silently, Julie places another record on the turntable. We played this one at Trina's fifth birthday. Remember, Applejack? You brought it for him. We played it again last year on my birthday. That was quite a night, wasn't it? I was really surprised. Happy birthday, darling. Oh, heaven's say. Happy birthday, Mommy. Oh, thank you, darling. Come on, sit down. Trina's going to make a presentation. I almost forgot. It was my birthday. Here, Mommy. This is from Daddy. From Daddy? Hmm? Oh, Roger. A wrist watch. Darling, I've always wanted one like this. And this is from Uncle Applejack. Uncle Applejack? Oh, I think I can guess what this is. It's a handkerchief. Oh, it's a beautiful Applejack. I always figure a person can't have too many handkerchiefs. I'd better turn to the gravy. And this is from me. From you? I can't imagine what this is. What on earth? I got you a record because you love records and because you and Daddy love each other so much. Come on, play. Oh, Trina, you're sweet, darling. Thank you. I found the photograph. Put the record down, Mommy. Trina picked it out herself. Oh, that's nice. Mrs. Adam? Dan? I'd love to. You get it. Nice, Mommy. Oh, thank you, darling. Dinner's ready. Come and get it or I'll throw it in the creek. Oh, this is wonderful. I didn't run my own home, and I didn't have to cook it. Did you change the complexion of that bird? Well, he's certainly dead. What'd you do in school today, darling? Oh, I almost forgot. I was choose. I'm going to be in the Christmas play. In the Christmas play? What are you going to do? I'm going to sing in the carol. Hey, that's all right. Why, Trina, that's wonderful. It'll be fun making you a carol as costume. I don't need any costume. Nobody sees me. Nobody sees you? All I have to wear is a clean dress and some sneakers. I'm the echo. I'm away off behind the scenes. You only hear my voice. It's hot and says it gives a faraway sound like the angels in fourth order. Well, now, why do you have to wear the sneakers? The sneakers is so I'll be quiet. I have to walk up a ladder behind the scenes and take a big star with me. Then when I get over an angel, I stop and then the angels sing. And when my turn comes, I sing the echo. Then I sneak off quietly. And next year, when I'm big, I'll get to be an angel. And wear an angel suit. I'll get seen then. Of course you'll get seen, darling. Is it a long time until next year, Daddy? Oh, no, darling. It'll be here no time at all. Well, I don't even see the star. Was anythings happen? I hope what could happen. She said she had to climb a ladder. No, no. There's the star. Oh. All right. She's doing very well, isn't she? Roger, she fell off the ladder. Trina, you did fine. No, I didn't. Let me be an angel next year. Oh, yes, she well, darling. Certainly she well. I was talking to her and she said you just did fine, Trina. Did she? Sure. You were better than all the rest of them put together. See, dear? Honest? Honest. She... I don't know what people would do without Christmas. Oh, I don't know what we'd do without you, honey. All this past year Trina was looking forward to this Christmas. She wanted Miss Oliver to come and see her in the play. I wrote to Miss Oliver just last week. Dear Miss Oliver, I should have written you sooner, but I could not. Just then three weeks ago Trina was here looking to Roger and me for food and clothing and shelter with the helplessness of the very young. Now she does not need us. A sudden, brief, hopeless illness. And she was gone. Quickly, quickly. The day so long ago when she became ours, we said nothing can ever take her away from us. But we had forgotten about death. With that light step of hers, she has outdistanced us. Roger and me. Roger, why don't you speak to me? Roger, don't you hear me? Yes. I'm going out for a while. I wish you wouldn't. I've got to get out of here, get some fresh air. Someone at the door. Yes? Oh, may I use your phone, please? Our car is stalled in the snow and I'd like to call a taxi. Yes, the phone's right there. Come here. Thank you. Come in, Tommy. Thank you. Is it your little boy? Yes. Say hello, Tommy. Hello. We're in such a hurry and I saw your light burning. Oh, oh dear, the line's busy. I guess cabs work overtime on a night like this, but I do hope we can get one. Tommy's in the Christmas play. I hope we don't get late, Mommy. Well, our car's right out in front. I'll drive you over, if you like. Oh, that's very kind of you if it wouldn't be too much trouble. Oh no, it's not much trouble. I'll get my coat. Can't start the car. The battery's dead. I'll have to crank it. Oh, thank you. This is fine. You can go in the side door. Yes, I know. Mommy, they're singing already. We're late. Good night, and thank you again if you only knew what these things mean to a child. Good night. Come on, Mommy. Come on. What's the matter, Roger? Take the car on home. What about you? I'm not coming home. I don't ever want to see anything or anyone that reminds me. All right. The last of them, Applejack. Those old songs really take you back, don't they? Yes, they take you back. Did you decide which ones you're going to keep, which ones you're going to leave for him? One thing I can't seem to divide them. They belong to both of us. Guess I'll just leave them. Julie. Applejack, will you get the rest of my things out of the bedroom for me, please? Sure. Leaving Julie? Yes, Roger. Don't blame you. Don't blame you at all. You should leave me. I haven't done any of the big things I planned to do for you. We're right where we started, still struggling. I've let you down all around, honey, and all I've needed to make it a hundred percent was for you to leave me. And I can't think of a reason in the world for you not to. I am licked, Julie. You're not licked, Roger. It's just us. We're licked as far as our being together concerns. And something really came along that hit us hard enough that we couldn't face it together. I've needed you an awful lot these last few days. You've been miles away. I've been entirely alone right here in this room with you. I know, dear. It just didn't work out. Oh, it did work out, Julie. Things were wonderful until this happened to her. So I don't know. I just haven't been able to think straight the last few days. She was never sick before, and then all of a sudden it was over. If there were only some way that people could know a few days ahead of what was going to happen. Yes. The day before she was taken sick, she asked me for a quarter, and I wouldn't let her have it. And then she asked me to take it to the movies, and I said, no, run along. I'm too busy. I know. It was the same with me. I was trying on her angel costume, and she was so excited she couldn't stand still. I scolded her. I said, I'll never try another dress on you again. I never did. Hello. No. It's Miss Oliver. She wants to speak to you. To me? Yes. Hello. Hello, Mrs. Adams. Yes, Miss Oliver. It's a very strange thing, Mrs. Adams, when we have a little boy who's just two years old. The oddest thing is, he's the exact image of the youngster you asked for when you first wrote to me. Do you remember? Oh, yes. Roger, listen. Well, I have that old letter here in front of me now. Curly hair, blue eyes, dimples. We'll be off the record for really another couple has the right to see him first. But he's such a remarkable baby that I thought perhaps you and Mr. Adams might want to take a look. Oh, yes, yes. We do, Miss Oliver. We'll come down and see you tomorrow, if that's all right. And, Miss Oliver, please don't let that other couple see him till we do, will you? I won't, dear. Goodbye. Goodbye. Roger, did you hear? Well, if he's only two years old, I'd better put up that gate around the stairs again. Yes. A little fella falling downstairs and breaking his arm. No, I guess we'd better get out the crib. But then, if he's two years old, he can sleep in a bed, Caddy. Oh, sure, sure. And we won't have to put the chairs around him, Roger. No, and over in that corner, I can put a little electric chair. Yeah. In just a moment, our stars will return for a curtain call. Now, here's our fashion reporter, Libby Cullen, with some colorful news about lingerie. Nowadays, women are wearing birds, flowers, bone-offs. Even animals on their slips in the 90s. It's hard to get nice lace because of the war, so many of the new undies rely on applique designs in contrasting color for interest. Touches like that give a handmade look to undies. Of course, whether you still have some pre-war lacy ones in luscious pinks or blues or yellows, or the new ones with gay trimming, you'll want to keep the colors fresh and lovely just as long as you can. That's why recent washing tests will interest women. In these tests, some slips were washed the luxe way. Then exactly the same kind were washed by harsh wash-day methods. The slips washed with luxe flakes stayed lovely three times as long. That's a worthwhile economy, Mr. Kennedy. And as every woman knows, daily luxing protects staitiness, too. Here's another thing about luxe care. You'll find shoulder straps don't fray so easily. Themes don't pull out so soon. Those are annoying things we women hate. Suppose we sum it up with music, Libby. Here's the story. Undies lead a long life when they lead a luxe life. Now, here's Mr. DeMille with our stars. Irene Dunn and Joseph Cotton are before the footlights are gathered. And since Irene has just returned from Broadway, perhaps, well, perhaps she'll tell us how the old street is looking. Very military, Mr. DeMille. Soldiers and sailors and wax and waves everywhere. And all the wax and waves outgunning Irene Dunn, I guess, Irene, is it true that you said the boys in uniform don't ask the girls in uniform for dates? You suddenly stood up a small hornet nest in the newspapers anyway. I'm afraid I was a little misunderstood. What I said was that we really didn't have enough entertainment for the girls in uniform. Oh, well, that's a great load off my mind, Irene. I just couldn't figure why wax and waves shouldn't be in demand for dates, judging from the ones I've seen all over the country. And aren't you helping a little with wave recruiting yourself? Well, I did have some of the waves at the house on Sunday afternoon, along with some girls who were interested in joining the waves. Anyway, I'm sure they have all the dates they can handle. But speaking of dates, Joe, when do we see that new David Selznick picture that you and half of Hollywood are in? You mean since you went away, C.B., very soon, I think. That's the first picture you've made for David, isn't it? Yes, it is. I've been out on Len Lease at the other studios all the time. Well, I read in the financial page the other day that cotton was an important item in Len Lease. Well, after that, there's nothing left but next week's play. And that's plenty, Joe, because our play is the Warner Brothers hit, action in the North Atlantic. And our stars will be George Raft, Raymond Massey, and Julie Bishop. This is the story of the merchant seamen whose days and nights are spent in the shadow of the undersea killer. There's romance and adventure in it. But above all, action in the North Atlantic means action at this microphone next Monday night. Save a seat for us, Mr. DeMille. Good night. Good night. See that? See that? That's a penny-serenade, penny-serenade. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents George Raft, Raymond Massey, and Julie Bishop in action in the North Atlantic. Mr. Cecil B. DeMille saying good night to you from Hollywood. See that tin can you use tonight. It will be handy for saving used fats. Any size can will do, but be sure not to use glass. Keep this can near your stove and pour in every drop of used fat from your broiler or frying pan. Even black-burned fat or fat skimmed from soups and stews is just as good as clear grease. When it's full, take the can to your butcher. You'll give you four cents and two extra red ration points for every pound. And in three weeks, this fat will be ready to make medicines for our fighting men. Fill it in and turn it in. Paired in tonight's play were Regina Wallace as Miss Oliver, Norman Nielsen as Trina, and Charles Cecil, John McIntyre, Leon Ladoe, Dwayne Thompson, and Bobby Larson. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our music was directed by Louis Silvers. Three bells for three great shows. Same time, same station. Listen tomorrow night at Lux Time for George Burns and Gracie Allen and their guest star Ray Malan. Listen Wednesday night for Frank Sinatra singing I'll Be Seeing You. And Robert Benchley will be Frank's guest. This time, Lux Time. Every Monday, Tuesday, and Wednesday for the Top Sin Entertainment. Our Lux Radio Theater production of Penny Serenade starring Irene Dunn and Joseph Cotton with Edgar Buchanan, has come to you with the good wishes of the makers of Lux Flakes, the tissue-thin soap used by smart housewives everywhere. In the Lux Radio Theater next week, we will have as usual our producer, Cecil B. DeMille. Every part of the coast-to-coast audience that gathers each week to enjoy this hour of dramatic entertainment with the finest artists of Broadway and Hollywood in plays that you yourselves have told us you'd like to hear. This is your announcer, John N. Kennedy, reminding you to tune in again next Monday night to hear George Raff, Raymond Massey, and Julie Bishop in Action in the North Atlantic. A brand-new spry, ladies. You Easy Mixed Sprye cuts cake mixing time by two-thirds. No creaming, no long tiresome beating, yet lighter, better-tasting cakes that stay fresh longer. New Easy Mixed Sprye shortening is at your grocery in the same handy jar. Grand for all baking and frying. Tomorrow, fly spry. This is CBS, the Columbia Broadcasting System.