 From Hollywood, California, the Lux Radio Theatre presents Madeleine Carroll and Don Amici in Dangerous with Heather Angel. Lux presents Hollywood, and our cord joke thanks to you ladies and gentlemen who make these programs possible by your loyalty to Lux Flakes. Two weeks ago, we made an announcement at the end of our program. By popular request, we are making that announcement again at the end of our program tonight. So please listen carefully and have your pencils ready at the close of this performance. Stard tonight are Madeleine Carroll and Don Amici with Heather Angel in Dangerous, the gripping drama of a hard luck girl, a girl who unintentionally brings misfortune to those who know her, and how romance and happiness finally find a place in her life. Our guest is Miss Thelma Saxon, who has one of Hollywood's oldest odd jobs, and conducting our orchestra is Louis Silvers. Tonight, we welcome back to our stage our regular producer and host, completely recovered from his illness. He'll be with us now as here to for every Monday night. And now, ladies and gentlemen, Hollywood's pioneer, star maker and director, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. And after nearly four weeks in the hospital, there's a new thrill in saying that old phrase. With these greetings, my sincere thanks go out to the hundreds of you whose thoughtful letters came like the voices of friends to brighten the long days. I know now what radio really means to the thousands of people imprisoned by illness. Lying there, I realized the great power of radio to cheer and comfort, and I was proud to be a part of it. And I thought too of the importance of 1938 as a milestone in motion picture progress. For this is the 35th anniversary of that historic film, The Great Train Robbery, which created the first screen star, Bronco Billy Anderson. Today, Bronco Billy is almost forgotten. And stars like Madeleine Carroll and Donna Michi have inherited the royal airmen of international popularity. Frequently termed the screen's most beautiful actress, wife of Captain Philip Astley, one of the personal guards at the King of England, it's difficult to picture Ms. Carroll as the ex-school teacher who once went to London, yearning to become an actress and ended up by tutoring again for $3.50 a week and meals. Hollywood knows Ms. Carroll not only as a splendid actress, but as one of our most sincere and vigorous workers for world peace. Donna Michi, son of a coal miner, left his law studies to become a stock company actor. Turning to radio, his success won him a screen test at MGM. The test was discouraging. And Don was soon back in Chicago resuming his radio work. But 20th Century Fox brought him out for another try. And this time, Stardom came rapidly. Now seen in old Chicago, Don's new film is called Josette. Our play is taken from the highly successful Warner Brothers film. Donna Michi is Don Bellows. Ms. Carroll plays Joyce Heath. And Heather Angel is Gail Armitage. And now Deluxe Radio Theatre presents Dangerous. A bachelor's apartment in New York City. In the tastefully furnished living room, Don Bellows, a rising young architect, stands at the telephone table. He's in a hurry. With the receiver propped between his shoulder and his ear, he wriggles out of his coat and hands it to his Filipino house boy. Yes, of course, Ms. Linde. Here, take my coat, Carlos. Yes, sir. Oh, we'll be there all right, Ms. Linde. Yes, I'm stopping by to pick up Gail. All right, good bye, Ms. Linde. You out to dinner tonight, Mr. Bellows? Yeah, I'm late right now. Snap into William Carlos, lay out my dinner jacket, draw a bath. No, never mind the bath. Did you ever try putting celluloid fish in the tub to entice him into it, Carlos? Gail, what are you doing here? I thought I'd save you the trouble of picking me up. Well, darling, you're a lifesaver. Go ahead, Carlos. I'll have time for that bath now. Yes, sir. Oh, let me look at you, Gail. You're gorgeous, you know it. Thank you. I try my best. Oh, what do you think? Did I love you? Well, I'm a little fond of myself this evening. The bank is going to make that building loan for the estates. Dung! Oh, that's marvelous. Oh, miraculous is the word. All I have to do is put $100,000 in that screw. That much? But every cent you have is in that land now, darling. Oh, don't worry about the petty cash. I'll come on, all right? Unless I fall down, that'd be the most beautiful estates in the country. And I can't fall down. I've waited too long. I've worked too hard. It seems as though it's all going to come true, doesn't it, Don? Yes, I guess we have everything, young lady. Best of all, we have us. Yeah, the very best of all. Happy. Oh, hysterically. Why? Well, because... because I have a very good sense. Mr. Bellows, you're a cad. Now, hurry up and get dressed. We don't want to be late to the lenders. Oh, uh, uh, I don't suppose we could get out of... We could not. No. You'll meet people there who can afford to buy your houses. People who go to the lenders don't need houses. They need tombs. Ha, ha, ha! But it's really been so nice to have you. Thank you, Miss Linden. Good night, Miss Linden. Good night, my dear. Good night. Well, that's over. Being the extra man at a Linder dinner party is like being the spare corpse at a weight. I could kiss you for getting us out, Ted. Well, now that we're out, what happens? You know what I'd like to do? I'd like to go down and do the shooting galleries and honky-tonks and things. Oh, slumming. Say that's an idea. Of a sort. Say I know a swell little dive over near the tracks on Tenth Avenue. Sortest on the floor? Up to your knees. Come on. Ha, ha, ha! Well, uh, why doesn't somebody say something? Is this what's known as a den of iniquity, Ted? Sure, there's places tops in iniquity. Why? Well, I thought it'd be picked to risk. It's... oh, it's only sorted. Want to get out? Hmm, I think so. Let's go. Hey, Don. Hmm? Oh, I'm sorry. What are you looking at, Don? Uh, that girl over there. The one sitting alone. What about her? Oh, nothing much. She, uh, just doesn't seem to belong here somehow. I noticed her before. She tosses them off like a stevedore. Let's get out. It's depressing. I'm ready. It was a good idea, but it fizzled. I'm sorry. I suggested it. Are you going to take me home, Ted? Sure. Then you won't have to make the trip, Don. We can drop you at the apartment. Hmm? Oh, oh, thanks. Hey, what's the matter with you? I was, uh, I was just thinking. Did you ever hear of Joyce Heath? Joyce Heath, the actress? Of course I have. She was a star about three years ago. I think I saw her in Camille. Yes, I did, too. Whatever happened to her? I was speaking to her producer the other day, and her name came up. This fellow said she was never a star. She was a comet. She appeared suddenly, fell spectacularly, and disappeared completely. Very poetical, but, uh, why? Well, fantastic as it sounds. It was because of a jinx. One she put on other people. A jinx? Yes. It started when one of her leading men was killed on opening night. From then on, everyone who had anything to do with her seemed to run into bad luck. Divorces, failures, scandals, even suicide. It got so, producers were afraid to use her. Actors wouldn't play with her. She got to believe it herself, finally, and she just disappeared. It's almost unbelievable. Yes, except for one thing. That woman I pointed out to you in that place. That woman was Joyce Heath. What? Don, are you sure? I'm positive. I'll never forget her face. Oh, it's terrible. Well, why doesn't somebody help her? You can't help a jinx woman. I wonder. Well, this is you, Don. Oh, thanks. Uh, look, just let me out at the corner. I'll, uh, I'll walk the rest of the way. Well, sister, what do you say? Want anything else? What's the matter? Can I sit here? It's getting late and you ain't paid for the last one yet. You'll get it. Take your time. Excuse me. Mind if I sit down here? Oh, not if you take a check. I wasn't speaking to you. Do you mind, Miss? Do what you want. Thanks. Uh, two or whatever the lady is having. Right. I, um, I've seen you before. Which doesn't exactly make us old friends. I'm sorry. I should have had a more original opening. Well, I, uh, came all the way back here just to tell you. It really doesn't interest me if you don't mind. Uh, please, please don't leave. I want to speak to you, Miss Heath. What did you say? Joyce Heath. I? Joyce Heath sitting alone in a dive like this. You must be crazy. Maybe. I have a very vivid recollection of her face, though. You see, Joyce Heath helped me once. It was a long time ago, and she never knew it, of course. I was just getting my start in architecture, and things were going pretty badly. I was discouraged, but it quit. And then one night, I went alone to the theater. Joyce Heath was playing in Camille. I'll never know exactly what happened to me that night, but somehow it gave me strength, gave me the courage to go on. She was a magnificent artist. I'll always be grateful to her. Now you're a success, I suppose. Oh, fair one. Well, you don't have to thank me. No. There isn't much similarity, except an appearance. Lots of people look alike. Joyce Heath was electric, terribly alive. That's the way I saw it that night. Do you remember the death bed scene? There was a dim light on the stage. You were lying on a couch. Armand is on his knees beside the bed. Your hand goes out and caresses his head. You say, I'm dying. Remember? I'm dying. I'm dying, but I'm happy too. And my happiness conceals my death. But you will speak of me sometimes, won't you, Armand? Give me your hand. It isn't hard to die. I do not suffer now. One would say that life was restored to me. I experienced relief I never felt. I shall live. I shall. Miss Heath. Miss Heath. Yeah, help me get her out of here. Get a cab, will you? I'm going to take her home. What is it? Good morning. Still in bed, miss? You look very poorly. Do I? And it won't surprise you to be told that I feel very poorly. No, it won't. Figuring the condition you arrived in last night? And just where did I arrive, if I'm not asking you to betray a confidant? Mr. Bellow's place. His country place. He's an architect. One of them fellas that draws pictures. Thank you. And I suppose you're Mrs. Bellows, or you're just one of his sketches. Nope, I ain't. I'm his housekeeper when he comes down for weekends. How cozy. And Mr. Bellows, where's he? Eating his breakfast. And if you want to see him, you better perk right along, because he's got to get into town. Yes, I'm rather looking forward to seeing Mr. Bellows. Get out of here and let me get dressed. How are you, Miss Heath? Feeling better? No. I'm sorry. How did I get here? I brought you. I looked in your purse for your address and there wasn't any. Yeah, there was someplace to go. Oh, don't bother with an alibi. It really doesn't matter. If I were looking for an alibi, I think you'd supply it. Look at yourself in the mirror. Take a good look. The only feeling you could arouse on a man is pity. Pity? You have the nerve to feel sorry for me. You, with your fat little soul and smug face picking your way so cautiously through a pastel existence, why I've lived more in a day than you'll ever dare live. Pity for me. That's very funny, because I never had any for men like you. I've never... Oh, what's the difference? Just now you were, as I'd imagine you'd be. Yes. Playing a second act speech at a third act curtain. There might be a fourth act, you know. Not for me. And when you boasted your friends about how you brought me here, I wouldn't mention it was after I'd become a has-been. It might detract from the glamour of your adventure. Look, Miss Heath, I brought you here because... Because you were sorry for me. You already said that. It was more than that. Let's just say I brought you here because you're an actress whom I've always admired and to whom I'm grateful for some of the finest performances I've ever seen. I'm humiliated at the point where I must thank you. Well, now what? That depends upon you. Here. Take a look out that window. It's a nice country up here, isn't it? It's quiet and restful. A person could find peace here. You can only find peace in yourself. And when you do, you might as well be dead. Rest in peace. It's for tombstones. And for the living? Desire. To want something. To work for it and get it. To live up every moment of it and then go on leaving yesterday behind on and on higher and higher. Frustrated actress reads lines for small audience. Oh, no, no, no. You go on. A talent like yours doesn't die. You were a star once and you can be again. Yes, an evil star. A jinx. You better run via life. Oh, you can't possibly believe that superstition. Two men who loved me are dead. Some have been ruined financially. Successful shows a folder. How can I ignore it when everyone else believes it? When a producer in the country will risk giving me a part. Breakfast is ready. Uh, in a minute, Miss Williams. You'll, um, you'll have some breakfast, won't you? No, thank you. If you're going into town, you can take me with you. Won't you stay out the week? No one's going to be using the house and I can come down and bring you insanity. The rest do you good. Helping Joyce Heath is like shaking hands with the devil, the worst luck in the world. I don't believe that. Do you really want to go back to the city? I don't care. Well, then you won't feel obligated if you stay, will you? Why should I? It doesn't make any difference. No, of course it doesn't. And you'll stay? Yes, yes, yes. But stop asking me questions. Go on. Go back and boast to your friends about fishing Joyce Heath out of the gutter. You shouldn't say things like that. It isn't fair. I didn't ask you to help me. Of course you didn't. Goodbye, Miss Heath. I'll, I'll see you Saturday. And so ends Act One of Dangerous. In a moment, Madeleine Carroll and Don Amici will be back to continue with Act Two. Meanwhile, we've some fun for you. See how good your guess is on the odd knowledge questions I'm going to read to you. And just to make it more interesting, I've asked one of the ladies in our audience if she won't be good enough to come up here to the microphone and try her luck on them. I know we all like someone else to try his luck. Well, at least you can try your luck in the privacy of your own mind. And now I'm going to ask Miss Catherine Carlton of Portland, Oregon, who has just come up in the audience four simple questions. Here's the first question, Miss Carlton. In some countries, elephants wear silk stockings. Right or wrong, Miss Carlton? Well, that one's easy. Surely I'd say wrong. Well, strangely enough, the statement is right. In Borneo, sacred elephants wear hand-knitted silk stockings over their feet and their stockings are changed daily. Number two, right or wrong? Good stockings, when new, will ordinarily stretch to 11 inches at the top, out sizes to 14. Well, on that one, I'd guess right. That statement is right. Good stockings, if they haven't lost their elasticity by careless washing, will ordinarily stretch to 11 inches at the top, out sizes to 14. Number three, answer right or wrong. Nobody wears stockings made of wire. Right. The statement is wrong. If you ever go to the Congo, look up Princess Watutsi. She wears a knee-length skirt and her hosiery is made of wire. Number four, for many women, stockings are the greatest single item of expense in their wardrobe. You said it. With a great many women, I know. That's certainly right. Yes, that statement is correct. Five out of six women asked, said they pay more to keep themselves in stockings than they pay for any other single item in their clothes budgets. But more and more women are reducing stocking expense by caring for stockings with luck flakes. Luck saves stocking elasticity. Keep stockings live and stretchable so they give instead of breaking so easily into runs. Get a big package of luck flakes tomorrow. Luxure stockings after every wearing. Then they'll look lovelier, fit better, wear longer. Please listen carefully for the announcement which will come at the end of our program. Mr. DeMille. We continue with Dangerous, starring Madeleine Carroll and Donna Michie. A few days have passed since Don left Joyce Heath at his cottage in the country. It's early Saturday afternoon and he's returned to drive her back to the city. In the spacious kitchen, Mrs. Williams goes about her preparations for dinner as Don questions her concerning Joyce. Well, is that all you've got to tell me? She ate and she slept. Didn't she say anything? Well, she ain't what you call a chatty body. You could get more folksy conversation out of a snowman. Well, where is she now? Went walking toward the hill on the north meadow. Ah, I guess I better find her. That looks like rain. Yes, it's going to rain right enough. When you fetch in her home. Well, whenever she wants to go. Why? Lands I was just talking. But I sort of wish she was gone. Why? Because it's different with a man like you. But a woman can tell a lot about another woman. She's dangerous, Mr. Don. A bad woman's got something that a good one ain't. Good women are jealous of that something and afraid of it. You can't say exactly what it is. But she's got it. And I'm afraid of her for your sake. Sounds to me as if you've been reading some trashy novels, Mrs. Williams. In the first place, I don't find Miss Heath particularly charming off the stage. And in the second place, there's no concern of yours. I'll go and find her. She'll be out of your way by the sea. Miss Heath? Where are you? Miss Heath? Oh, there you are. Miss Heath. Wake up. Hey, hey, come on, wake up. Oh. Oh, it's you. Yes, it is. It's you and it's Saturday and I went to sleep in a haystack. It all comes back to me now. It's also going to rain and it's supposed to show very good sense to come in out of it. That's merely hearsay. Gosh, you look much better. I feel it. I've enjoyed it here. Going barefooted, sleeping in the sun, and playing niad in general. Not just what is a niad. Some sort of a woodnip, I think, but I'm a little mixed up on my sprites. Well, even if that a niad becomes you more than a main ad. Fancy, and just what is a main ad? Well, main ads were mythical women renowned for their beauty and charm. They attended the Dionysian Rebels and were always so carried away by the wild madness that they ended up by dancing hysterically over the edge of a cliff to destruction. Sorry, I'm too tired to be hysterical and my feet are much too sore from going barefooted to stand the job dancing off cliffs. By the way, I got the sermon. Thank you. I didn't mean to preach. I probably deserve it. Oh, here it comes. Come on, we'll have to run for it. Ooh, niad main ad, nothing mermaid. Come on. Well, I'm afraid we won't make it tonight. I don't mind. I don't mind anything. I've had a good dinner, the fire's warm, and don't be surprised if you hear me purr. Did I tell you I saw you at the opening night of Header Gavre? No. I think it was one of your best things. Do you? Which play would you prefer to do above all others? One I've never done. It's called But to Die. I wouldn't have to act it. I could live it. Why isn't someone produced it with you? Well, the Jinx woman of the theater? I noticed another play on your bookshelf. I'd like to play that sometime, too. Which one was it? A thing called Forever Ends a Dawn. Forever Ends a Dawn? I don't think I've ever read it. It has a beautiful last act. Wouldn't read it to me, would you? Sure you want to hear it? Oh, it'd be a treat. Well, just the last scene then. All right. The locale is behind the front lines of the aviation post during the war. The principal characters are an aviator and a woman. She's not a nice person, but fascinating. The man has a wife or a fiance, I've forgotten which, with whom he's very much in love. However, he's intrigued by the woman, but quite nobly resists her charms. The second act ends with him receiving orders to leave a dawn. That's where the title line comes from. Here it is. Here. You may find some of the dialogue a little awkward in spots, but I'll try and make it convincing. I've never heard you yet when you weren't. Thank you. Here we are. It's midnight. The room is illuminated by a floor lamp. Joan sits reading. There's a knock at the door center. She opens it to Richard. Joan, you at this hour? Richard, it was my last chance. You see, we're moving up a dawn. I've come to say goodbye and tell you what grand fun it was knowing you. It was, wasn't it? Joan, yes. Yes, of course. Only I thought our goodbye would be different from this. Richard, it might have been, but you see, there was always Joan, the girl in the back of your watch. It doesn't matter. Richard, it does matter. I tell you, it matters all the difference between you and her tonight and forever. Joan, her forever lasts until death to you part. Mine but till dawn. Tomorrow is where regrets lie, Richard, where there'll be no tomorrow for us, only tonight, which we steal from no one and forget as a dream which was no part of our normal lives, over which we had no control and for which we need feel no obligation. Is that the end of the play? Almost. May I, may I see that book, please? Of course. Thank you. It's not for everybody, is it? There is no such play, is there? You were making it up. Yes. You should be a writer, too. Where are you going, Don? For a walk. In this rain? I like walking in the rain. I'll go with you. I'd rather you didn't. Would you... Would you like me to leave here now? Would you like never to see me again? I'll go, if you say so. You can't go. Because of the rain? No, because... because I want you to stay. Oh, Don... Joyce, what... what's happened to us? I don't... I don't understand. Must we understand? It's happened. That's enough. Kiss me, Don. Joyce, I'm... I'm gonna take that walk by myself. I've got to think, though. I'll be back later. Will you have some more coffee, Mr. Bellows? No. Toast? No. Thank you. I've had enough. Is there anything wrong, sir? Wrong. What should be wrong? Nothing, sir. Excuse me. Good morning. Joyce, why are you Joyce? May I have some coffee, please? Of course. He didn't come back last night. No. Why? Joyce, I hate loose ends. They... they tangled your life and then tripped you up. I... Yes, Don? Last night, I... I'm sorry I kissed you. I'm sorry I said what I did. If you didn't mean it, then I am, too. Joyce, you... you don't understand. I'm engaged to someone. I'm in love with it. It's very gallant of you to tell me now. I was unfair to you, too. I just lost my sense of values. I began them this morning and I'm asking you to forgive me for last night. And for what I'm saying now, if it hurts. Hurts me? You delight me. You have the most amazing lack of humor I've ever known. Perhaps you think I meant it last night. I almost laughed in your face. Made me a little sick to think anyone could be so stupid to be taken in by a lot of old tricks. I thought you at least might be amusing. Instead you turned out to be dull, stupid and so afraid. But you needn't be. I won't upset your Sunday school romance or your oh-so-nice career. Hurt me. Get out before you give me hysterics. Get out! Get out! You came back. I was praying you would. I tried to leave. I drove halfway into town. I stopped me on the road. The bridge was out. I had to turn around and come back. And I was glad, Joyce. You didn't believe what I said. Please tell me you didn't. Perhaps I had it coming. No, no, you didn't, Don. No, it was a lie. Shall we forget it? Yes. But there's something I want you to remember. I know you belong to somebody else. And I don't want you, Don. But last night was mine and I made it ugly this morning. I don't want you to think of it that way. I won't. You will unless you know the truth. That night I came here. You took me in out of pity. That hurt my pride. And because I'm a good deal of a shrew, I wanted to hurt yours. I was going to tease you with all the Tory tricks I knew until you tried to kiss me. And then I was going to laugh in your face. I was an actress playing a part, but I played it too well. Because when you took me in your arm, I didn't want to laugh. I wanted to cry. Oh, Joyce, darling, I'm sorry. I'm not. I'm glad. Last night was beautiful. It'll always be beautiful. And now that it's over. It isn't over, Joyce. It's got to be over. You've got everything ahead of you. Someone you love who would help you. I couldn't do that. I'm the kind of a woman who destroys, not builds. I'm Joyce Heath, Don. A man who doesn't want to dance over the cliff with anybody as fine as you. Mr. Bellows. Yes? They just sent word up from town. You can get through now. Oh, thank you. You're welcome. You're going to go? Oh, I don't know. You've got to. Because if you stay, it'll be too late. I'm bad for people. I'm a jinx. I don't want to be, but I am. So I'm being generous, Don. Kinder than I've ever been. And I can't be much longer. So go. Get away. Leave me. You can leave me, can't you? I don't know. I've got to find out. Oh, did Mr. Bellows leave? Yes. Is he coming back? Yes. Yes, I think he will. Hey, Mr. Bellows. Good evening, Anna. Is Miss Galee? Oh, yes, sir. In the living room, sir. Thank you. Well, Mr. B., it was about time you were getting back. Yes, I know. I'm sorry, Galee. I was delayed. Well, at least I know what to expect when we're married. Sit down. Galee, I want to speak to you. It's going to be a little difficult, but... Has something happened? Yes, something's happened. Go on. Galee, Miss... There's no woman in the world who I'd be prouder to have as my wife than you. More than that, I... I have respect for you. For your integrity, your pride. If I could make myself respect you a little less, it would be all very simple. But I can't. So, I've got to ask you a question. And I'm afraid I already know the answer. What is it, Don? If we were married, Galee, you know that... You know I'd live up to it, don't you? That I'd live only for you. I know that. I would, Galee. But if there was someone that I'd never see again, someone who had a strange fascination for me with which I couldn't destroy. Would that make a difference to you? Even though I'd never see you? Yes, Don, it would. Whether you ever went to or not would matter. But the fact that you'd want to, would. It might make me love you any less. Perhaps more. But the agony of wondering when you kissed me if you were thinking of her, the hate and dread I'd have of that other woman, the terrible loneliness for that part of your life I didn't own. That would be unendurable. Is... is that what you wanted to know? Yes, Galee. I can't tell you how much I admire you for being honest, Don. And... and thank you for coming to say goodbye. Galee, I... Going for dinner? Mr. Bellows is gone, Anna. Oh, will he be coming back, Miss? Yes. I have a feeling that he will. You knew I'd be back. I've been waiting out here for you. Let's go inside. I want to talk to you and I've got to drive back. Tonight? Yes. Go in. Well done. Sit down and listen to me. You and I are artist joys. I'm an architect and you're a great actress. Ideal and permanency, things that endure. You and emotions, moments. I want to know... Is there any consistency in the way you feel toward me? Tonight I love you so much that nothing else matters. Tomorrow should be the same. But tomorrows have betrayed me too often to promise them. That's the only answer I can give you. Well, Sonalist answer, Joyce. I'm not lady enough to lie. No, I don't think you would. Joyce, I broke my engagement. Why? Because of you. What about her? You'd have never mentioned her again. Except that I want you to know that she's finer and... stronger than either of us. If she weren't, I wouldn't be here. Then I'm glad I'm weaker. And you are too, aren't you? Say you are. No. But I'm here. That's all I care about. Well, there are other things that are important to me. First, your career. Why should you concern yourself with that? They won't let me in a theater for fear it'll fall down. That killed that superstition. You start rehearsing but to die for George Sheffield Monday morning. I? You're mad. Sheffield wouldn't risk it. You'll get the script from him tomorrow. Don, how did you do it? You didn't put your money in it? Yes. You fool. You crazy fool. Something will happen. I won't let you. I'm a jinx, I tell you. You're no such thing. You're a great actress. I'm so sure of it that I'm risking the money that was going to... realize the one dream I've ever had. You're going to be greater than you ever were. Because if I'm going to marry Joyce Heath, it's going to be THE Joyce Heath. Mary? Soon as the play opens. Maybe even before. We can't. Why not? Because... Because I won't let you. Not so soon. Don't tempt fate, Don. You don't know the chance you're taking. I don't believe in faith. I do. It was faith that brought us together. Then it'll keep us together. Oh, I hope so. Darling, I hope so. Pause for station identification. This is the Columbia broadcasting system. The curtain comes down on the second act of Dangerous. Our stars will be heard in Act 3 after this short intermission. Now we call forth another from that unsung group who helped make motion pictures, but whose names are little known outside of Hollywood. Tonight it's Thelma Saxon who has appeared in nearly 50 films. And a touch of mystery is added when you realize that you've never seen her face and never heard her speak, but you have seen her hands. Hands that have doubled for many of our loveliest stars. And I'm going to explain all that, Mr. DeMille, because if I don't, people are apt to get the impression that the hands of the stars are not beautiful enough for close-up shots. And of course, most stars do have beautiful hands. First, Mr. DeMille, how much money is represented in a single scene of a big picture? Anywhere from a few hundred to many thousands of dollars, depending upon who and how many are involved in the making of it. And now will you tell us about how many minutes of a picture can be shot in an average eight-hour day? Well, yes, but who's interviewing whom, Ms. Saxon? If we shoot five minutes of the final film, we're doing remarkably well. And that's where I come in. Now, suppose there's a scene in a picture involving, let's say, a letter. And suppose that the audience is first going to see that letter from a distance, and then in a close-up in which the star holds it in her hands. For the first shot, the set would have to be arranged so the camera could shoot the letter from a distance. Then to take the close-up, the stars and all the people would have to wait around until the lights in the camera were rearranged. That minor detail might require anywhere from 30 minutes to an hour, plus all the money represented in an idle cast. And to avoid that, Ms. Saxon, we turn the letter over to the Special Effects Department, which shoots it from the desired angle without requiring the star's presence. Exactly. And incidentally gives me a job For special effect shots, my hands have held a basket for Carol Ombard and shone a manicure for Claudette Colbert. They've been tied to a stake for Gail Patrick and have dropped a cigarette lighter for Ida Lupino. They've turned a travel booklet for Sylvia Sidney, lifted the pages of a scrapbook for Francis Langford and have written a sign with a cigar dipped in ink for Gracie Allen. They've dialed phone numbers, picked up flowers, unlocked doors, worn rings, and have stolen jewels. With hands so valuable, you ought to protect them with steel mittens. No, Mr. DeMille, I expose them to as much wear and tear as the average girl, and perhaps a little more. Because being married, I run my own home, do my own dishes, and a little of my own washing. Naturally, though, I'm very careful of my hands. And when it comes to washing dishes, I wouldn't think of using anything except Lux Flakes. All you say about Lux on this program is absolutely true. When you wash dishes in Lux Flakes, you're really giving your hands a beauty treatment. They don't get a bit red and rough looking. And I'm very happy to say a word for Lux because it's such a real help to me. I'm sure every woman will value your advice about Lux for beautiful hands, Ms. Sexton. Have you any other suggestions? The only other thing I can remember doing to develop nice hands was a long time ago when I was a little girl. My father said that if I didn't stop biting my nails, the boys wouldn't like me, so believe me, I stopped. You would never have more than a finger in the motion picture pie, have you? Well, I played in Bulldog Drum and Strikes Back, but the girl was dead, so they covered me up with a sheet, and all you could really see was my hand holding a piece of evidence. The most work I ever did in a single picture was for Carol Lombard in Hands Across the Table. She was a manicurist, you know, and I held hands with so many nice-looking actors that I was almost ashamed to take my paycheck. Thank you, Mr. DeMille. Thanks for the helping hand, Ms. Sexton. Madeleine Carroll and Don Amici in Dangerous. Months have passed. And the play which Don backed for Joyce Heath is nearly ready to open. In the back of the darkened theater, Don sits alone watching the dress rehearsal. Suddenly, Sheffield, the producer, calls a halt and walks up the aisle. That's four o'clock tomorrow. Everybody on time, please. Hello, Don. Got a cigarette? Sure. Well, what do you think, Sheffield? I think it's terrific. You know, Don, I've spent a fortune and misspent a life in the theater, but this is the only time that on the night of a dress rehearsal, I've had nerve enough to say I had a hit. You're pretty positive. So positive, I'll buy you a piece of it for 100,000. Ah, there's one angel who isn't afraid to tread. Gosh, she's magnificent, isn't she? Even in rehearsal. It's the greatest performance I've ever seen. She'll be a sensation Monday night. Oh, say, what about the jinx? Nothing could jinx a talent like that. Hello, Don. Well, Sheff, how did it look? Huh? Oh, all right, I guess. Needs a lot of work, though. You know, Don, if I got away down to the country and went over the script tomorrow, I think I could get a better perspective. Would you run me down tonight? Why, of course. Should we go? I want to stop at my apartment for some clothes. Right. Night, Sheff. Night. And, Don, keep her out of the poison ivy and the fresh air. I don't want her to open on a whisper. Ha, ha, ha. I think that's all I'll need. Well, what are you standing around for? Come on, darling. Just wait. We can't go on like this. I could forever. No, no, don't, don't be evasive. You know what I mean. You're getting married, of course. But now there's the show to think of. There's always some reason to change the subject, isn't there? Tell me the truth, Joyce. Why are you putting me off? Oh, Don, don't be so intense. You know I love you. There's no one else. Isn't that enough? No, it isn't enough. What's the matter? Are you afraid to marry me? Afraid? Why should I be? I don't know. Unless you think marriage would make me a little harder to get rid of. Don, don't say that. Oh, I'm sorry, darling. Hold me, Don. Hold me close to you. What? Why are you shaking on our joys, darling? It's nothing. Excitement, nerves, that's all. Look, dear, I'm going to be rotten company and I want to be alone. Let me take your road and go down to the country alone. Well, if you like. Thank you, darling. Now get out of here like a good boy or I will see me cry. What's the matter? Nothing, I tell you. Stage fright. Go on now. There's always a taxi out front. All right. Good night, Dan. Drive carefully. And when you come back, leave the jitters behind you, will you? I will, darling. Good night. Good night. Who is it? It's Joyce. Open the door. Joyce. Come in. Oh, it's a long time since I've seen you, Joyce. Oh, sit down. I haven't much of a place here, but I guess I don't have to tell you that. Gordon, I... Let me look at you. I've hoped you'd come like this so many times. I've come on business, Gordon. Oh. I've got to go down to the country tonight. I haven't much time. You still hate me, don't you, Joyce? I never hated you. And you never loved me either. Did you ever love me, Gordon? Really love me? When a man ruins his life because of something, it must be pretty real. I'm a bookkeeper now, and that company I used to own, Joyce. The worst part of it all is, I can't hate you. I don't suppose you understand that. I can now. I love someone that way, too, Gordon. Heaven help you. Yes, Heaven help me if you don't. You want me to divorce you. Is that it? Yes, Gordon. I've told you time and time again I won't. You're my wife, understand? My wife. Something you'll never be to any other man. Being your husband is the only thing I have left, and I won't lose it. You'll be my wife till the day I die. Then I'll divorce you. You can't, Joyce, you haven't any grounds and you never will have. Gordon, I know I've ruined your happiness. Don't ruin mine. If it's revenge you want, I'll give it to you. I'll beg, I'll crawl, I'll do anything. Look at me, Gordon. If you want to humiliate me, you know how. But set me free. Give me one chance at happiness. Please, Gordon, please. No, no! Gordon, will you do one thing for me? I want you to come with me. Where? To the country. I want you to meet him, speak to him. He has to know some time. If I meet him, you think I'll take pity on you, don't you? You think I'll let you go? Yes, Gordon. Are you driving down? Yes. I'll be ready in a few minutes. You better let me drive, Gordon. You're not doing very well. I thought you always liked speed. I do. But you'll never take the turns at this rate. And there's a tree in the middle of the road just ahead. Is there? You know the road well, don't you? He lives at the end of it. Is there nothing in the world that would make you drop the idea of this marriage? Nothing. Not even to save your life? My life? I'm desperate, Joyce. I love you. Do you understand? And if I can't have you, I'd rather be dead. We'll take that tree in the road, the both of us. I'll smash both of us to hell. Good. Take it. Go on. Go faster. Do you think I care? You can't live without me. Well, I can't live without him. Go on! Faster! Go faster! Faster! Faster! Faster! Faster! Joyce, he's an expert. An expert. An expert. A man identified his husband's paper. Read all about it. Actress and husband will live. Accident reveals triangle. Triangle. John Bellows is a dirty scandal. What thinks it would be best, Mr. Bellows, if you'd resign from the club? Resign? But why do I have to... Sorry, Mr. Bellows. It's tough, Tom, but that dough you're sunken the show's already ink now. A total loss. Yes, I expected that. Too bad, Billum. The bank just can't see it's way clear to making that loan. We're sorry, Bellows, but we've got to be pretty conservative. But you can't do this. I put every cent I have in those estates. I need that loan or I'll lose everything. I'm afraid you'll have to lose it then. Sorry, Mr. Bellows. You'll find Miss Heath in room 1006, Mr. Bellows. Thank you. Don. Hello, Joyce. Oh, Don. You waited so long to come. Did you expect anything else? You. You blame me for what's happened, don't you? I knew you would. That's why you didn't come. Yes, I blame you. Don, don't say that. Don't. It's the jinx I warned you. I can't help it. I can't. You mean you can't help being mean and selfish. You do anything to gain your own desire and go on. Leaving someone else to pay the bill. That's the jinx you put on people. I was willing to give my life for you. Is that selfishness? Yes. Because you're afraid to risk losing me by saying you had a husband. So instead you lied and ruined me and your husband. What's it cost him to love you? You've never bought any happiness in your life. You owe for it. It cost everybody else but you. Well, I can't afford any more. But there's one thing I know. If you're ever going to be anything but a jinx, you'd better start paying off. Because you're in debt for the rest of your life. Don. Goodbye, Joyce. Don, don't leave me like this. I'll die if you do. I'll kill myself. I mean it. You don't mean it. If you did, you'd be more of a coward than I think you are. Don. A coward. I'll be a coward then. I'll be one. What are you doing out of the bed? Get away from that window. You'll catch cold. Have you alone? Get out. Oh, no, no. Now behave yourself. Get back there. I was just in to see your husband. He was asking for you. Why? My husband? Yes. My husband. Nurse, I've got to get up today. Oh, you can't. It's much too soon. I must. I've some debts to pay. The girl didn't make a success of it. It is next to impossible, Joyce. The play didn't, saleschef. The only failure was mine. I can make that play a success. You're very confident. More than confident. I'm positive. Why? Four distinct reasons. Any one of which is so important to me that it makes failure impossible. First, because I'm a good actress. Second, because Don must get his money back. Third, because I have an injured husband to support. He may not be able to walk for a year. And the last and the most important is that I found out how to break my jinx by paying my debts. You know, it's a pity you're unactress, Miss Heath. Because you're most convincing when you don't act. You're strong enough to start rehearsing Monday? Yes. Monday morning at 10 then? Monday morning at 10. Goodbye, Chef. You can go in now, Mr. Delos. Thank you. Oh. Pardon the coincidence. Joyce, what are you doing out of the hospital? I'm much better. I've quite recovered. I was coming to see you tonight. I was pretty rotten to you this afternoon. You were frank. You've got to forgive me, Joyce. You mustn't let it make any difference. Things will turn out right. We'll make them turn out right. We can't. I'm going to be just as honest and frank as you were. You're no longer important to me, Don. Your importance ended when the show folded. You mean that I was only the means to an end? Yes. I don't believe that. Believe it or not, it's the truth. You might as well know it now. I'm sorry if I've hurt you, but... you all get hurt sometimes. Yes, we do. What hurts me most is that you're making yourself so cheap, Joyce. Oh, no. I'm rather expensive. Remember what it cost you? Goodbye, Joyce. Miss Heath, are you all right? Yes, thank you. But to die in 39th week. Never before has a theater audience paid such tribute to an actress both in acclaim and in attendance as have been paid to Joyce Heath in her performance in But to Die. That's very flattering. Uh, there's something else in the paper, Joyce. On the society page. Oh, is there? Don Bellows weds Gail Armitage at noon today. Just as it should be, isn't it, Gordon? It's too late for the divorce to do any good. I'm sorry, Joyce. There's not going to be any divorce. We're going to stay married, Gordon. How else can I take care of you? Joyce, this means more than life to me. That makes me very happy because I have a lifetime to pay back. The producer brings our stars back for the curtain call and then we will make the announcement we mentioned earlier. Mr. DeMille. At this point, ladies and gentlemen, Madeline Carroll and Don Amici. Thank you, Mr. DeMille. And goodbye. Well, that was quick. Well, I don't like to mince words either, Madeline, but I do like the idea coming back after the play and splitting an infinitive or two with Mr. DeMille. Why, why the quick brush? You've got me all wrong, Don. I'm just saying goodbye because I'll be leaving Hollywood in a few days on my way to London and Paris and Rome. In fact, I'm going with a rising tide. Walter Wanger just sent it to be wrapped up very beautifully in several cans. Well, what do you think of that canned ocean? What's the matter with Don, Mr. DeMille? He's twisting everything I say around. Well, I think we're all getting a little twisted, Madeline. It couldn't be that you're the one who's just a little vague. After all, you just said that Walter Wanger... Oh, I see. I'm taking a little too much for granted, I think. The rising tide is the name of my new picture. Oh. You probably thought that one up while you were marooned at Malibu during the flood a few weeks back. Oh, no. It's got nothing to do with water. It's a modern story based on what we read today in the headlines. With conditions as they are all over the world, Hollywood, I really believe, can help by making pictures that will indirectly promote better understanding. So I'm taking the rising tide abroad with me to find out how pictures of this type will be received and what we can do to make the screen a medium for world peace. I can't imagine a lovelier ambassador. Right. And I'm with you 100%, Madeline. Congratulations. Thank you, gentlemen. And now, before I say goodbye in earnest, I want you to know, Mr. DeMille, how glad I am to find you well and back here in the Lux Radio Theater. And don't you dare get sick again. Both radio and the screen need your presence. Well, I don't want to sound like the echo around here, but that goes for all the Amici's too, C.B. Good night. I'm very grateful to you both. Bon voyage, Madeline. Thank you. Thank you, Madeline Carroll and Don Amici. And now while we are waiting for Mr. DeMille to come back and tell us what has been planned for next week's performance, I'm going to make our special announcement to you. Two weeks ago, I told you that the Lux Radio Theater would send six, a full half dozen, original Roger Silver Plate full-sized teaspoons guaranteed by the International Silver Company to any of our listeners for a remarkably low charge as a special souvenir to the listeners of the Lux Radio Theater. As a result, an avalanche of requests has poured in, thousands upon thousands of them. And after the spoons were delivered, came the most enthusiastic letters telling us how delighted you ladies were to get these spoons and asking for additional half-dozens. Now because we don't want a single listener to miss this opportunity, we are repeating our offer tonight. Four, as one woman put it, it's the greatest bargain I have run into in ages. These teaspoons are made and guaranteed by the International Silver Company, the world's largest silversmith. They are our original Roger Silver Plate with an extra heavy deposit of pure silver, reinforced plate on the part most often exposed to wear. Just let me read one sentence from the guarantee which accompanies each half-dozen spoons. Every piece is guaranteed to give satisfaction in family use and will be replaced without charge at any time it doesn't conform to this guarantee. Now here's how to get these spoons. Have you your pencil ready? Now then, simply send the top from a large package of Lux. Print your name and address clearly on a piece of paper. Wrap 50 cents in coin in the paper and mail to Lux, Meridan, Connecticut. That's Lux, Meridan, M-E-R-I-D-E-N, Meridan, Connecticut. This offer is good only in the United States. These spoons, of course, have no advertising of any kind on them and have been especially designed in an exclusive pattern called a lure. This pattern is new, dainty, and modern. Its delicate design sweeps gracefully from bowl to tip. It is not ornate, but has just enough design to add character to the sparkling beauty of the silver. I just wish you could see this set of six beautiful original Roger Silver Plate teaspoons. Truly, they are magnificent. Now remember, first come, first served, so be sure and mail your request at once. When you get these full-sized teaspoons, you will never cease wondering at the bargain you have received. You are paying only a trifle more than 8 cents a spoon. But of course, the spoons are available only in sets of six. Simply send the top from a package of Lux, large size. Print your name and address clearly on a piece of paper. Wrap 50 cents in coin in the paper and mail to Lux, Meridan, Connecticut. And you will receive the whole half dozen spoons. You may have as many sets as you care for on this basis. And remember, these spoons are accompanied by a written guarantee from the world's largest silversmith, the International Silver Company. And more than that, Lux itself guarantees that these spoons will delight you. If they don't, if for any reason at all you are not pleased beyond your fondest expectations, simply return them. And your money will be refunded at once without question. And here's more news. Many local dealers have sales on Lux Flakes right now, so you can save money on buying Lux at the same time you obtain your teaspoons. So send the top from a package of Lux, large size. Print your name and address clearly on a piece of paper. Wrap 50 cents in coin in the paper and mail to Lux, Meridan, Connecticut. That's Lux, Meridan, M-E-R-I-D-E-N, Meridan, Connecticut. This offer is good only in the United States. And now Mr. DeMille will tell us about next week's program. The colorful pages of American history spring to life next Monday night when the Lux Radio Theatre presents The Prisoner of Shark Island. France had its Dreyfus case and the United States the case of Dr. Samuel A. Mudd. Falsely accused of complicity in the assassination of Abraham Lincoln. How this young country doctor returned his nation's hatred with sacrifice and gallantry. And how justice at last triumph make an unforgettable drama. I'm especially pleased to announce that the title role will be played by one of the most popular actors the screen has ever known. Gary Cooper. And with Mr. Cooper, we shall present Miss Faye Ray and Mr. Walter Connolly. 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 Gary Cooper, Faye Ray and Walter Connolly in The Prisoner of Shark Island. And as a special guest, you'll hear Dr. Mudd's daughter, Mrs. Netty Mudd Monroe. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.