 Lux presents Hollywood. The theater brings you William Powell and Theresa Wright in Shadow of a Doubt, and as our special guest, Miss America of 1943. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. There are connoisseurs of paintings, of wines, of furniture, and of all the other fine arts, but none quite so violent in their opinions as the connoisseurs of mystery stories. And tonight we offer these discriminating critics a collected item, a piece known to the whodunit fraternity as a Hitchcock, so-called because the director, Alfred Hitchcock, is a master of suspense. And the universal picture, Shadow of a Doubt, is one of his triumphs. Tonight we bring it to you with William Powell and Theresa Wright in the starring roles. We borrowed them from the cast of Heavenly Body, the new Metro Golden Mayor picture. Bill made the thin man famous, and became one of the screen's most versatile flutes. But this evening, instead of a detective, he... well, just wait. Those who saw Theresa Wright on the screen as Mrs. Lou Gehrig, and in tonight's play, know how fine a performance they may expect from her. Just the fact that she plays a girl named Charlie is a hint of the surprises to come. And speaking of surprises, I imagine it would be a very unpleasant one if you dropped into a store to buy a few cakes of Lux toilet soap and were charged three or four hundred dollars. I have a newspaper clipping here set in by a listener. The paper quotes a missionary in China who says that over there, a shake of Lux may cost as much as one hundred and twenty dollars in Chinese money. Here we take the little comforts of life for granted. But this newspaper should make all of us appreciate buying Lux toilet soap for just a few cents. Now the footlight's brightened and the curtain rises on Shadow of a Doubt, starring William Powell as Uncle Charlie and Theresa Wright as Charlotte. You getting a dope on him? Yeah. He's living in a ruling house, 104 and E3, just outside of North. What name is he using? He says he's been there a week. Did you ask to see him? No, he wasn't in. Okay, we'll try this afternoon. 104 East Street, just outside of New York, is a mean-looking wooden frame building on a mean-looking street. Upstairs in a shabby, cheerless room, a man lies across the iron bedstead. He's fully dressed, his hands clasped behind his head. Through half-closed eyes, he gazes steadily at the cracked ceiling above him. Then, hearing a step in the hall, his eyes closed and his face becomes an expressionless mask. I hate to bother you, but I thought you'd like to know there were two men here asking for you. They were sorry you wasn't in. I said you wasn't. Did they say they'd be back? They didn't say exactly. Maybe I should let them in. Oh, you said not to disturb you. Yes. Thank you, Mrs. Martin. You look kind of tired to me. I think maybe you need a real rest after what I think. Yes. I could stand a rest. Those friends of yours told me not to say they'd called. Wanted to surprise you, but I thought you'd like to know. Of course. And if they come back, let me show them up. Yes. You know, it's a funny thing. Very funny thing. Up to now, those two friends of mine have never seen me. Every time they call, I've been out, even at other places. Isn't that hard, Mrs. Martin? Well, yes, it is off. Well, now I'll have to meet them, I suppose. I might even go to meet them. And then again, I may not. Not yet. Well, you just go ahead with your nap. Yes, thank you. If you want anything, you just call. Anything. They're just bluffing. Well, he's gone. Well, for Lamb's sake, he's gone. The station I want to send a telegram. Yes, I've got change. It's to Mrs. Joseph Newton, Santa Rosa, California. Here's the message. Ready? Home sick for you all. Stop. Coming to stay a while. Stop. Drive Thursday. Love to everybody. And a kiss for little Charlie. From our Uncle Charlie. Yeah, that's the signature. Uncle Charlie. Who is this for, Mrs. Henderson? Well, Mother isn't home yet. So maybe she better call you back. Goodbye. Good evening, Father. She's out. Out where? Well, I really don't know, Father. Well, how about a kiss? Of course, Father. Okay. That's the girl. Say, you better not read in here and the light's bad. Well, I've got to finish this book before dinner. And ruin your eyes. Where's Roger? Oh. How about Charlotte? Upstairs in her room. Thinking. Thinking? What's she thinking about? I'm afraid you have to ask Charlotte, Father. All right, you know what I meant. Charlotte. What's the matter? Don't you feel well? Well, I'm perfectly well. I've just been thinking for hours. And I've come to the conclusion that I give up. I simply give up. What are you going to give up? Have you ever stopped to think that a family should be the most wonderful thing in the world and that this family's just gone to pieces? We have? Of course we have. We just sort of go along and nothing happens. We eat and sleep, and that's about all. We don't even have any real conversations. We just talk. And work. Yes, poor mother. She works like a dog, just like a dog. That's what I came up to ask. Where is she? She's out. When she comes back, it'll be the same thing. Dinner, then dishes, then bed. I don't see how she stands it. What were you thinking we can do about it? Oh, nothing, I suppose. I guess we'll just have to wait for a miracle or something. Oh, here she is. I mean, Charlotte's home, Mamey. I haven't taken you lying down, Charlotte. What's the matter? Joe, what's the matter? Well, it's... Oh, I've just become a nagging old maid. And you went downtown in that awful old hat you promised me you'd throw away. Goodness, what on earth does it matter what hat I put on? Roger, I know. I don't see why you let that child yell at you like that, mother. If he has something to say. I'll take care of him. Roger, stop yelling like that. Charlotte, dear, what is it? Mama. Mama, I'm going downtown and send a telegram. Why, Charlie, who do you know to send a telegram, too? I know just the person to come and say this. A wonderful person who'll come and shake us all up so we'll be good and dignified and intelligent again. Charlie, have you gone crazy? What do you mean, save us? All this time has been the one real right person to save us. Mama, what's Uncle Charlie's address? Charlotte, you're not going to ask Uncle Charlie for money. No, no, that wouldn't help us. I just want him to come. Oh, but think of asking a busy man like that to come all this way for nothing. He'd come for me. I'm named after him. With each present he sends me a special little message. Besides, we're the only relatives he has in the world. I'd like to send a telegram. Why, hello, Charlotte. I just called up your house. Telegram's your mother from your uncle, I think. My uncle? My Uncle Charlie? That's him who's coming to visit you. He arrives Thursday. Oh, Mrs. Henderson, do you believe in telepathy? I ought to. It's my business. Oh, not telepathy. Mental telepathy. Like, well, suppose you have a thought and suppose a thought about someone who's in your life. And suppose a thought about someone who's in tune with you. And then over thousands of miles, that's someone knows what you're thinking and he answers you. And it's all mental. I don't know what you're talking about. I send telegrams the Dalmo way. Isn't that Uncle Charlie down there? Hey, Charles! Papa, Papa, look, he's sick. Uncle Charlie must be sick. The quarter is helping him off the train. Uncle Charlie, Uncle Charlie! Hi, Arthur. Feeling okay, sir? Yes, yes, thank you. Ain't been much of a trip for you, sir. Lying sick and a made-up birth all the way. You've been very kind. Yeah, this is for you. Thank you. Well, thank you, sir. Thank you. Uncle Charlie, Uncle Charlie! Charlie! Little Charlie, hello. Oh, are you sick? Let me look at you. You aren't sick, are you? Me? Me sick? Well, certainly not. But I thought the quarter was helping him. Uncle Charlie, that was the funniest thing. Well, little Charlie. Glad to see me, huh? Oh, yes, yes. Hello, Charles. Well, Joe, say, how are you? You haven't changed a bit. How are you, Charles? You're looking great. Hello, Uncle Charlie. And this is Ann. I'll bet you don't remember me, Ann. Well, I remember you sort of. But you look different sort of. Where's Roger? Uh, Roger, come here. Hello there, Roger. Hello. Well, we better get started. Ann has got dinner almost ready. I've got your suitcase, Uncle Charlie. I've got something for you. Oh, it's nothing. I love to carry. Small lamb, Charles, won't you? Well, Emmie, it's pretty good. Uh, what were you saying about your boat, Charles? Well, that's about the finish of it, Joe. She was a beauty. That boat had some fine times on it. But all that's over and done with. It's a different world these days, and we might as well face it. That's the truth, Charles. Say, I've been forgetting something all this time. I, uh, I brought a few things back with me. There you are, Joe. This is yours. For me? I didn't know what you had one, Joe. Well, you didn't have to think of me, Charles. The presents are all right for the children. Say, a wristwatch. Why, I've never had a wristwatch. And fellas at the bank will think I'm quite a sport. Uh, one for you, Emmie. Now, you just tried it on. Charles, Charles, is it? Oh, no! Silver, ah! Charles, I've wanted one all my life. It's what you should have. Oh, it's beautiful. Now, are you a little present, Charlie? Well, I don't want anything. Right now, I have enough. Before you came, I didn't think I had anything, but now I don't want another thing. I'll go get the cross. Charlotte! She's crazy! Yes, me. I think she's putting on. She's not crazy. Smartest girl in her class at school. She's got brains. Well, she liked this when she sees it. Now, you folks just sit here and I'll take it to her. Tell her the sugar and cream are on the kitchen table, Charles. All right. What's the matter? Here, here. Now, you just put those dishes down a minute. I meant it. Please don't give me anything. Nothing? Why? I can't explain. You came here and Mother's happy and I'm glad that she named me after you and that she thinks we're both alike. I think we are, too. I know it. It would spoil things if you should give me anything. Well, you're a strange girl, Charlie. Why would it spoil things? Because we're not just an uncle and a niece. I know you. I know that you don't tell people a lot of things. I don't either. I have a feeling that inside just somewhere there's something, something nobody knows. Something wonderful and I'll find it out. It's not good to find out too much, Charlie. But we're kind of like twins, don't you see? We have to know. Yeah. Give me your hand. Now, you wear this ring. You wear it for me. Here? Thank you. But you haven't even looked at it. I don't have to look at it. Let me show it to you. It's a good emerald. A really good one. And good emeralds are the most beautiful things in the world. Oh. Why, you've had something engraved on it. No, I haven't, but I will if you'd like me to. But you have, Uncle Charlie. You have. It's very faint. I can just read it. It says T.S. From D.M. What? They must be someone else's initials. You're a rook me. You're a rook me. Who it doesn't matter really, it does me. Second hand, you're a rook me. Rotten world's crooked. Give it back to me. Well, but I like it this way. Someone else was probably happy with this ring. The world's rotten. Give it back to me. I'll have that taken off. No, it's perfect the way it is. I'm going to keep it, Uncle Charlie. Beautiful ring. You're too good, Charles. Well, nothing's too good for my favorite meat. Coffee, Uncle Charlie? Thanks. Charles, why can't you stay here forever? I've been thinking about that, Emmie. You know, I'd like to open up a new chapter in my life. A new surrounding. Everything new. What is that thing I'm humming? Anybody know? Thing at the table. You'll marry a crazy husband. Yes, I've been thinking about transferring some of my money out here from the east. I suppose you take care of it. I suppose you take money at your bank, Joe. That's one thing we do all right. Rake in the dough. Can't promise to give it back. Well, I'll go down tomorrow morning and open it up. Day 30, 40,000. Just to start things off, right? Hey, that's a lot of money. I can't get that tune out of my head. If somebody will tell me what it is, maybe I'll stop. It's a wall, dear. Of course it's a wall, but what wall? You know, it's the funniest thing, but sometimes I think of a tune from somebody else humming it. I think tunes jump from head to head. What is it, Uncle Charlie? What is it? Why, uh, I don't know. Oh, I know what that is. Oh, it's right on the tip of my tongue. It's the Blue Danube wall. Of course. That's what it is. Oh, no, it isn't, Uncle Charlie. It's not the Blue Danube. It's the merry... Oh, now look what I did. A whole cup of coffee. Hand me a napkin, Anne. Oh, now it's nothing to make a fuss about. Just sit down, Anne. And Charles, while we do the dishes, you go in the living room and read the evening paper. You look tired. All right, I will. Thanks. I mean... Oh, you can have now if you want. I can, Roy. Anytime you say. Nothing much to read these days, Rogers. Nothing but trouble. You know, sometimes I think... Hey, you better not do that to Papa's paper. He gets mad. Oh, uh, Roger. Roger, come here. Look, did you, uh... You ever make a house out of the newspapers? You see what I mean? Now, first you stretch them all out on the floor, see? And then you, uh... Look, you cut out a door. See? Now, this is the doorway. Hey! Here you are, Anne. And look what we've got. A real Eskimos igloo. We've got Papa's paper. See? Ho-ho-ho! I guess I should have thought of that. Well, we'll fold it up again and your father won't know the difference. Can you make hats, Uncle Charlie? Hats? Well, let's see. No, I don't think I can make hats. You show me how, Roger. What are you all up to? And, Roger, that's Papa's paper. It's my fault. I began it. I was showing her a game and I never thought about the paper. Well, it's all right. Let's see. Five. Well, we're at page three. Where is it? Anne, did you go out in the porch with it somewhere? I just came in here. That's funny. Page three and four. Where are they? Well, we never touched it. Uncle Charlie's the only one who touched it. Well, Papa may not notice it. We fold it very neatly, see? And very even. Oh, that's fine, Charlie. You're a lifesaver. Here you are. Oh, thank you, dear. You're very thoughtful. And I guess I ought to thank you for giving up your room to me, too. Well, I'll be comfortable in with Anne. Well, good night. Sweet dreams. Oh, Uncle Charlie, I know something. I know a secret that you don't think I know. What secret? Well, remember I said you couldn't hide anything from me? Well, now I know there was something in the evening paper about you. About me? In the evening paper? About you. Please show it to me. I won't tell a soul. Well, now, how do you know it was something? Well, that's why you played that game with Roger and Anne. You didn't want us to know, and you wanted to tear it out of the paper. So now that I know, you've got to tell me. Well, I guess you have me. But it wasn't about me. Is that the page there on the dresser? No, I'll look now. Just don't bother your head about it. I want to see it. No, no, no. But I want to. Now, it's none of your business. Give it to me. Uncle Charlie, you're hurting me your head. Oh, I'm sorry. But give me the paper, Charlie. I didn't mean to. I guess I must have grabbed you harder than I thought. I was just fooling about it. You know, it was some gossip. Not too pretty. But someone I met up with once is nothing you to read. Forget it. Charlie, don't look at me like that. It's nothing, really. Of course not. Oh, good night. Good night, Uncle Charlie. Present three. In just a few moments, Mr. DeMille presents William Powell and Theresa Wright in Act Two of Shadow of a Doubt. Mr. Kennedy. Yes, Sally? Isn't it nice that there's still time to make a New Year's resolution? Yes, I guess January 3rd is still under the line. Why, Sally? Have you something special in mind, may I ask? Well, I've been thinking how many women must have made up their minds that they're really going to do right by their own good looks and look their prettiest during 1944. A very fine resolution, Sally. And one that should make life brighter for everybody. But it's one thing to decide you ought to do that, and another thing to do it. So here's one simple easy way I've thought of that will help any woman to be lovelier. Something involving lux toilets, so maybe, Sally? Of course. Any woman who really wants her skin to be softer, smoother, more appealing would say to herself, I'm not going to neglect my lux soap facials for even a single day. And if she should sit to that resolution... In a very short time, she'd be delighted at how much nicer her skin looks. You bet she would. Daily facials with lux toilet soap give complexions real beauty care. Famous screen stars depend on that rich, active lather to give their skin protection at need. Right, Sally. 9 out of 10 Hollywood stars use lux toilet soap. It's so gentle and mild, they say. And it leaves skin feeling soft and smooth. And now, I'm going to ask the ladies in our audience to take your tips, Sally. They'll find they never made a wiser beauty resolution than to use this fine white soap regularly. Day by day, it helps skin to be lovelier. Recent tests show actually 3 out of 4 complexions improved with regular lux toilet soap care. Why not ask for lux toilet soap tomorrow? And if your dealer is out of stock, due to wartime conditions, he's sure to have more soon. Remember, lux toilet soap, the beauty soap of the stars, is worth waiting for. And now, Mr. DeMille returns to the microphone. Act 2 of Shadow of a Doubt, starring William Powell as Uncle Charlie and Teresa Wright as Charlotte. Pulling morning, and Emmy has just brought Uncle Charlie his breakfast. He sits up in bed to tray on his knees, smiling genuinely at his sister. Oh, I can't face the world in the morning. I must have coffee before I can speak. Well, I don't mind coddling you your first morning. Ha, ha. What are you all up to today? Well, a young man came about an hour ago, said his name was Graham, and he was to interview everybody in the house. Interview everybody? Yes, he's been sent to the country by a magazine or something, and he's to pick out representative American families and ask them questions. Now, do you have to pick this family? Well, he said he'd looked around and asked around, and he decided that we were the ones he wanted. Well, if he's going to ask a lot of questions, he can leave me out of it. Oh, why, you'd have more to tell him than any of us. He's going to take our pictures, too. Pictures? Yes. You see, there were really two young men. One takes the pictures. Oh, the two of them. Yes, but Mr. Graham is suspicious, though. Amy, women are fools. They fall for anything. Why do you let two strangers come into your house and turn the place upside down? Well, I exposed your family to a couple of snoopers. I thought you had more sense. Oh, but Charlie... Good morning, Uncle Charlie. Oh, good morning. Ha, ha. Your mother just been telling me about the Newtons being picked for all American suckers. Now, look here, Amy. I won't have anything to do with it. I'm just a visitor. My advice to you is slam the door in their faces. Oh, I couldn't do that. Oh, I think it's kind of exciting to take a photograph of you and then we could have it. It would be free. Oh, thank you. I've never been photographed in my life. I don't want to be. Why, Charles, what makes talk that way? I had a picture of you. I gave it to Charlie. Oh, I tell you the wrong one. Well, I guess you've forgotten all about it. Get it, Charlie. Right here. I think you're cute, Uncle Charlie. Let me see. Well, I don't remember this at all. You were nine, Charles. You had to take him to Christmas. You got your bicycle just before your accident. Uncle Charlie, you were beautiful. Wasn't he, though? But I always said Papa should never have bought you that bicycle. Charlotte, he took it right out on the icy road and he skidded into a streetcar. We thought he was going to die. I'm glad he didn't, for he had a fractured skull and he was laid up so long and when he got well, there was no holding him. It was as though all that resting up was too much for him and he had to get into all sorts of mischief to blow off steam. The whole world rotten. The whole world's changed. Everything's different. Oh, you were a wonderful boy, really, Charles. What's he used to looking back with? What's he used to looking ahead? Today's the thing. That's my philosophy. Today. Well, Charles, today's the thing. You'd better get your clothes on and get to the bank. Joe will be waiting. He's going to take you into Mr. Green. He's the president. Did you say $30,000, Mr. Spencer? Yeah, 30. Maybe 40, Mr. Green. Yes, I thought I might settle down here for a while. Great country. Great country. We think so. What have you been doing, Mr. Spencer? Well, I suppose you'd call me a promoter. Real estate, shipping, South America. It's not hard to make money, Mr. Green. The only trouble I find is that once I make it, I'm not interested in it. Not interested in money. Harry, I wonder... Oh, dear, I didn't know you were busy. I could come back. Come in, Ella. Now that you're here, come in. Mr. Spencer, this is Mrs. Potter. Oh, Emma's brother. Oh, we've heard so much about you, Mr. Spencer. How do you do, Mrs. Potter? Oh, no, Mrs. Potter. I'm a widow. Oh, I'm sorry. There was something about you that made me think... Yes. Oh, well, I was going shopping and I only had five dollars, and I thought... There you are. I'll make out the withdrawal slip later. There is something to being a widow, isn't there, Mr. Spencer? One doesn't have to ask a man for money anyway. Goodbye. Goodbye, Mrs.... Mrs. Potter. Now, Mr. Spencer, where were we? A very attractive woman, mad Mrs. Potter. A widow, huh? Yes, Potter left her quite a bit of money. You don't say. Some pictures of the upstairs room, right? And then we'd like one of you, Miss Charlotte. All right, should I change my dress, Mr. Green? No, no, just as you are, please. It's funny you happened to choose our family. Why did you? Oh, we looked around, asked some questions, thought you were just about what we wanted. And why not choose your family? You haven't got any skeletons in your closet, have you? Of course we haven't. I wish we did have a few. We're pretty prosaic. You know, you're picking us out as an average family gave me kind of a funny feeling. What kind of a funny feeling? Oh, I don't know. I guess I don't like to be an average girl and an average family. Average families are the best. Look at me, I'm from an average family. Is average as I? Sure. Science, I don't think you are average. Oh, that's because you're seeing me now. You should have seen me a few days ago. I was in the dump. He's so wonderful, he's waked us all up. He makes me feel wonderful too. But he only got here last night. You haven't seen him in a long time? Maybe you just think... I don't think, I know. It's funny, when I try to think how I feel I always come back, Uncle Charlie. Are you trying to tell me not to think he's so wonderful? Why would I do that? I haven't even seen him. He's not interested in the survey, Mr. Graham. I promised him he wouldn't be bothered. But you see, the whole idea of this thing is... privacy should happen. Okay, Miss Charlotte. I'll take the role of film, please. What's the matter? I only wanted to... Uncle Charlie, what's the matter? Hey, Graham, I took some shots of the upstairs hall and this guy was there and he wanted... I said give me that film. I don't like to be photographed. Well, give it to me, please. Give it to him, Fred. Okay. Too bad, though. Mrs. Newton's on this role, too. Thank you. Sorry to trouble you. Oh, Miss Charlotte, I wonder if you'd show me around the town this evening. I'd like to pick up some atmosphere. Why, of course. Thanks. I'll drop around about eight. Come on, Sandra. I can't get over your breaking your arm when you were ten. Am I breaking my arm when I was ten in exactly the same place? Am I wanting to run away from home and you wanting to run away from home? I didn't want to, really. It was just a gesture. Yes, showing off. Well, you don't have to show off with me. Shall we sit down? Sure. Oh, Mr. Grain, I think you must have an awfully interesting job going into people's houses, asking a lot of questions, just like an international spy. You... Let's tune your whistle, please. Yeah? Why did you whistle that? No particular reason. Why'd you ask? There's something strange about you. All those questions, the things you want to know. Charlotte, listen. I know what you are. You're a detective. There's something the matter and you're a detective. Listen to me. I don't want to listen. I came here to this town to find a man I hadn't counted on you. Find a man what man? The man losing this country. We're after him. We don't know much about him. We don't even know what he looks like. Charlotte, think. How much do you know about your uncle? He's my uncle. He's my mother's brother. What has he done? The man we want may be your uncle. I don't believe you. You're after one man. Your uncle may be the man we think he is. But in the east, there's another man who's being hunted too. Hunted through Massachusetts and into Maine. He may be the man. Uncle Charlie hasn't done anything. He knows it would kill my mother if he'd done anything. Well, he's her brother just like Roger is mine. Why don't they arrest the man in Maine? Why don't you go away and leave us alone? Charlotte, I'm going to try and make it easy for you. If your uncle Charlie's the man we want, we'll get him out of town quietly. I asked him here in this town. I'm trying to tell you we won't. And he may not be the one. It may be the other guy, the one in the east. Of course. It's probably all a mistake. I hope I'm wrong. I never wanted to be wrong so much in my life. Is the library supposed to close at nine o'clock sharp? Yes, I know, Miss Cochran. I just want to look at this newspaper. If I make one exception, I'll have to make a thousand. Anyway, that's yesterday's paper. It's the recipe I want. If someone tore it out at home. A holland murder. Boston, Massachusetts, February 8th. In a search for the so-called Mary Widow murderer, the police were thrown a cordon around the northeast in the states and the announcement of his arrest is expected daily. All names he has used are thought to be early. His family will be charged with the murder of three wealthy women. The victims have uniformly been widows of large means. His latest victim was Mrs. Bruce Matthewson. The former musical comedy star, known to audiences at the beginning of this century as Teresa Shenley. And the end. The ring. P.S. Teresa Shenley. Where's Charlie? I haven't seen her all day. Been in her room. Had a headache. Oh, I'm glad she's had a good rest. She's not looking like herself at all. Uh, she was out last night with that young journalist fellow, wasn't she? Yes, I was. Well, here she is. Here's my girl. Sit right down, dear. You won't be able to sleep tonight, Charlotte. Nobody who sleeps all day can sleep all night, too. Oh, I slept all right. And I kept dreaming. Perfect nightmares. About you, Uncle Charlie. Nightmares? About me? About you. I'll tell them to if you like. You were on a train and I had a feeling you were running away from something. And when I saw you on the train, I felt happy. Terribly happy. But Charlotte, how could you be happy seeing Uncle Charlie on a train? I hope he stays here forever. Well, I suppose he'll go sometime. If he has to go sometime, we have to face the fact. Now, Charlotte, what's the matter with you? I guess Charlie slept a little too long. She's not awake yet. I suppose that young fellow kept her out half the night. No, no, she got back quite early. I was surprised. Well, Charlie's a pretty girl. I suppose he's been hanging around today. He called twice, but she didn't see him. Oh, Charles. Charles, you're going to kill me when you hear what I've done. Emmy, I'd never kill you no matter what you've done. Well, I've simply promised Mrs. Potter the president of our club that you'd speak to the ladies. Oh, is that all? Well, I guess we can manage that. For Mrs. Potter, yes. She's a widow, Uncle Charlie. She'll be so pleased, Charles. What kind of audience will it be? Oh, women like myself. Pretty busy with our homes, most of us. Yes. Yes, most women keep busy in towns like this. Cities are different. Cities are full of women, middle-aged widows. Their husbands are dead. The husbands who spent their lives making thousands, working, working, working. And then they die, leave the money to their wives. They're silly wives. What do their wives do? They're useless women. You see them in hotels, best hotels, by the thousands, eating the money, drinking the money, losing the money at Bridge, proud of their jewelry, proud of nothing else. Horrible, fated, fat, greedy women. But they're alive. They're human beings. Are they? Are they, Charlie? Are they human or are they just fat, wheezing animals? What happens to animals when they get too fat, too old? My mom's going for a walk. I'll be back soon. Charlotte, we've happened the world, and she... Roger, go after her. No, no, no, I'll go. I'll catch up with her. Charlie, I'm going to this bar here. I want to talk to you. You're hurting my arm again. Then come in with me. I can. I've never been in a place like this. It's all right. Why do you make me come in here? It's an awful place. What does it matter where you are? Sit down. Yeah? What'll it be? Nothing. Bring her a ginger ale, and I'll have a double brandy. Brandy? Okay. You think you know something? That young fellow told you something. Jack, why should he know anything about you? But, Jolly, something's come between us, and I don't want that to happen. But we're old friends. More than old friends, like twins. You said so yourself. Don't touch me, Uncle Charlie. Don't touch my hand. What did he tell you? What did that boy tell you? How could you do things like that? You're my uncle. You're my mother's brother. We thought you were the most wonderful man in the world. Charlie, what do you know? I want to give you back your ring, Uncle Charlie. T.S. from B.M. Tracy Schenley from Bruce Matthewsson. I'm going home. No, no, no. Sit down. Sit down. Charlie, you think you're the clever little girl who knows something, don't you? Well, what do you really know? You're just an ordinary little girl living in an ordinary little town. You go through your ordinary little day, and at night you sleep your untroubled, ordinary little sleep filled with pleasant, stupid dreams. Have I brought you the nightmares? Or did I? You live in a dream. You're a sleepwalker. Blind. What do you know about the world? Do you know that if you rip away the fronts of houses you'll find swine? The world is rotten. It doesn't matter what happens in it. Are you silly enough to imagine that what I've done is important to anyone? Ah, wake up. Use your wits, Charlie. Learn something. Let go of my hand. Let me alone. Charlie, come back. You've got to listen to me, Charlie. Oh, please. So you think you found me out, you and your young friend, Gray? I don't know. I'm not going to tell him what I know. He may find out, but I won't tell him. Ah, he won't find out. I'm only asking you one thing. Go away and leave us alone. No. I'm staying, Charlie. I'm not going away. Oh, but you've got to listen to me, Charlie, now. What do you want? Charlie, will you help me? Help you. Charlie, the same blood flows through our veins. A week ago I was thinking into my rope, and then I got the idea of coming out here. In my last chat there's another man in the east. They suspect him, too. They're trying to catch him. Get a chance. Let's go. I'll go, Charlie, to give me a few... Yes, it would kill my mother. It would kill you, too, wouldn't it, Uncle Charlie? Well, you could have your few days, then get away from here. Do you realize what it means? Did they get me? Don't forget. You said it yourself. We're not any ordinary uncle and niece, no matter what I've done. We're twins. We pause now for station identification. This is the Columbia Broadcasting System. Now before William Powell and Theresa Wright return for Act 3 of Shadow of a Doubt, Mr. DeMille presents our special guest of the evening. America is many things. A little white house on an elm-shaded street, 50,000 people yelling at an umpire, soldiers at the corner drug store, and pretty girls who would like to be Miss America. And we have Miss America here with us now. Ladies and gentlemen, the glamour girl of the year, Miss Jean Bartell, who is Miss America of 1943. I hate to disillusion you, but I'm not a glamour girl. No, my eyes can't be that far wrong. This year, Miss America was to be a typical American girl who might be able to carry out a mission for our country. In ordinary years, Miss America makes theater appearances, things in nightclubs, haunts Hollywood for a contract, and usually makes ourselves quite a tidy little fortune. But this year, things are different. Two and a half million dollars. And it went to the United States government. Mm-hmm. Since last September, Miss America has been going up and down America selling war bonds. I'll bet that two and a half million represents a lot of kisses. Not a single one. Well, that's unheard of. You can't sell bonds without kisses. Well, I thought the customers would rather kiss a movie star. That's what you think. I don't want to sound like the Chamber of Commerce, but I must point out that before Jean became Miss America, she was Miss California, and a co-ed at the University of California in Los Angeles. How'd you get started on the road to Atlantic City, Jean? I was singing at a war bond rally, and someone suggested I try for the contest. The next thing I knew, someone was putting a crown on my head. Oh, the key to a city in your bucket. I do have quite a collection. Keys to about 40 cities everywhere but Los Angeles. We knew you didn't need one to get home with, Jean. What were the exciting moments of your tour? Well, I saw snow for the first time. That was in Minneapolis. Then I had Thanksgiving dinner at four of New Orleans' wonderful restaurants. I know just what to mean. I've sampled their cooking. Those things were all fun, but I think the biggest thrills came in places like a war plant in Cleveland, a two o'clock in the morning, and a hospital in Denver, late on a winter afternoon. Did you sell bonds in the hospital? No, I went to sing for the boys. But as I was walking around the wards, one of them called me over and said, uh, listen, baby, I'm not very well healed with Joe at the moment, but I could manage a few war stamps. Here's the money. He was just back from North Africa. That boy you were really, Miss America. I suppose now that you're a home in Los Angeles, you will settle down for a good long rest. I'm leaving tomorrow for New York to help open a fourth war loan drive on January the 18th. After that, I'm going to continue with my career, which is singing. Well, I think you're singing a very sweet tune for the Treasury Department right now. It's not a solo, Mr. DeMille. It's a chorus. A chorus of 130 million people. They know there's a war on, and they and their sons and daughters will finish it. Thank you for asking me to come here. Now I'd like to join the audience for the third act. Good night. I'm proud of you. After the mystery is solved, we'll have a chat with our stars. For now, here's the curtain for the third act of Shadow of a Doubt, starring William Powell and Theresa Wright. There's no longer any doubt in Charlotte's mind. She knows now that her uncle Charlie is a criminal, a murderer. A few days' grace she gave him are almost gone, and still he hasn't left the house. Now, on a Sunday afternoon, the family is gathered in the living room, waiting for dinner. How was church, Charlie? Did you count the house? Turn anybody away? No, seats enough for everyone. Glad to hear it. Joe's had such a long run, I thought maybe attendance might be falling off. We prayed for you, Uncle Charlie. At least I did. Thanks. So here's an interesting thing. What's that, Joe? The paper here says they got that Mary widow murderer. They got him. Where? Up in Maine, Portland. Didn't catch him exactly. Maine's running from police to the airport. He ran flunk into the propeller of an airplane. Cut him to pieces. Well, what do you know? I guess that solves that case. I guess that solves it, Charlie. Yes, Uncle Charlie. Well, I think I'll wash up for dinner. I'm hungry. I don't know when I've been so hungry. Look, that young reporter fellow's here. He wants to see you. Tell him to wait out in front. I'll be right there. See you at dinner, Charlie? Yes, of course. We've got a wire for Maine. They called. It's off the job. I'm just coming out for air. Me too. Now that it's over, Jack, I don't want to talk about it anymore. I want to pretend that nothing ever happened. Well, you won't have to pretend much. Nothing did happen. I'm glad you never did know what we suspected your uncle of. Yes. Well, I guess that's all. Look, Charlotte, it's not as a night. I know. You don't have to go away. Yes. I knew you'd have to go away, but I haven't thought about it. I'll be alone again. Alone? Isn't that beehive you live in? Besides, I'm coming back. When? When are you coming back? As soon as I can make it. I don't want you to go. I feel... How do you feel? You're not frightened now, are you, Charlotte? Frightened? Well, I know what I did to you. And don't think I haven't tossed around every night for a week worrying about you. Why? Why, Jack? I don't know. I guess it's probably because I'm in love with you. Are you? That's why I'm coming back. Oh? I, uh... I thought if we got engaged now, today I mean, why... And maybe we could get married when I get back. I suppose it is better to be engaged for a while, even if it is only for a little while. We'll get married. That's all there is to it. Oh, Charlotte. Oh, there. Oh, hello, Mr. Spencer. I was just saying goodbye to Charlotte. Oh, all finished here? All finished. I'll be back. You'll be seeing me around. Oh, yeah? Not done business, though. Well, sometimes I'm pretty obtuse, but I think I understand about your coming back. Well, Charlotte's a fine girl. I think so, too. Goodbye, Mr. Spencer. Goodbye. Bye, Charlotte. Goodbye. Come back soon, Jack. You bet. Take good care of her, Mr. Spencer. Oh, I will. I certainly will. Fine boy, Charlie. Fine boy. When are you leaving, Uncle Charlie? Oh, no need to hurry now. We're all happy here. When are you leaving, Uncle Charlie? Look, I just told your mother. I'm going to build a new house for you, folks. Give it to you. When are you leaving? Well, I'm not going. I want to settle down here. Have money in the bank. Have some sort of business. Be a part of this family. And the most sensible thing for you to do is to be friends with me. I can do a lot for you, Charlie. Make life easier for your mother. Make you all happy. No, not you. We don't want anything from you. I wish I told my mother about you. I wish I had. And how do you think your mother would have felt? What do you think it would do to her now? I know. Don't be afraid. I can't tell it. Oh, but I'm not afraid, Charlie. And what have you to tell? Who'd believe you? A waltz runs through your head. You don't like the initials in a ring. You connect it all up with the newspaper clubbing. And now you haven't the ring. I don't know what became of it. You have it. Have I? Oh, no. I've made it to you. I don't want you here, Uncle Charlie. I don't want you to touch my mother. So go away. I'm warning you. Go away. Now, you get your coat. It's almost eight o'clock. Where's Charlotte? She went out to the garage to get the car. Oh, Roger, when the lecture's over, we're having company here. They're all coming home with us. But you're not to... Mommy, don't worry. See? She's fine now. She was lost in the garage. I heard the car running out. Carbon monoxide. Very common type of accident. Charlotte, how did it happen, dear? It was so funny when I... When I went to get the car, the motor was running. I couldn't find the key. The key was gone, and then... Then I heard the garage door close behind me. It must have been the wind. Yes, the wind, but the keys. Why weren't they in the car? Why, they were, Charlotte. When Anne found you, I went in and turned off the motor myself. Oh, I see. It was you, Uncle Charlie. Yes, yes. I turned off the motor. I see. Well, come on, now. I'll carry you upstairs. No, Charlotte. I don't want him to carry me. I'm all right, Mama. Well, I've called and postponed the lecture. No, Mama, please go. I want you to go all of you. Please. All right, dear. All right. Please say Mr. Spencer. Congratulations. Thank you. I thought it was wonderful. Thank you, Mrs. Potter. Have a cup of wine, Mrs. Potter. I believe I will. Ladies and gentlemen, I want to propose a toast to... Oh, is that Charlie? Charlie, how are you feeling? I'm all right now. Thank you. I feel fine. My favorite little niece. Well, now, you don't think you ought to be in bed, Charlie? Oh, no, I wanted to come down. I wanted to show everybody my new ring. Your ring? Oh, isn't that... The one you gave me, Uncle Charlie. I found it. You know, where in your room I must have done it and left it there, a force of habit. Oh, yes, probably. It's a beautiful ring, dear. Just beautiful. Yes, it has an inscription, too. Shall I show it, Uncle Charlie? Or shall we keep our little secret? Uh... Charlie. Oh, do show it. Well, Uncle Charlie? We'll talk it over later. Charlie, you're just in time for a farewell toast. I, uh... I hate to break the news like this, but, uh... tomorrow, I must leave Santa Rosa. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. Good bye, Amy! Bye, Uncle Charlie! I will! You write me! So, Charlie, uh, uh, wait, I'll, uh, I'll go out the platform with you. Goodbye, Uncle Charlie. We've got a minute or two. I, uh, I want to speak to you. I've got to get off. Oh, but there's plenty of time. So, you think I... Oh! What? That was Mrs. Potter. Oh, was it? The widow, Potter. Is she going with you? Oh, no. Don't be a little fool. You know that I know about you, don't you, Uncle Charlie? And if I ever hear or read about anything, well, you know what I'm talking about, don't you? You're being a foolish girl. I'm warning you, I... Charlie, listen. The train's moving. Charlie! Let me go! No, Charlie, listen. You did a fine thing for your mother. Right now to let her know. My arm, you're hurting me. You're not getting off yet, Charlie. Wait a while. You see? We can just open the door like this. What are you doing? What? Then you can get off in just a minute or two. You're mad! You're mad! A little faster. A little faster. I don't want you to be hurt, but just a little faster. Don't scream. No, no, Charlie. It's all so simple, isn't it? She tried to get off while the train was moving. She was killed. My girl. Too bad. Now, Charlie. Now. Oh, my Charlie. Better for you if you don't. Get off! Get off! Didn't know. Charlotte, I wish I'd been here if you'd only told me, darling. I couldn't. He was my uncle. I know. He thought the world was a horrible place. He couldn't have been very happy ever. No. He didn't trust people. He hated them. He hated the whole world. Do you, Charlotte? Hate the world? No. Oh, it sometimes needs a lot of watching, I guess. It seems to go to pieces now, man. Like, like him. But it gets better. Almost in spite of itself, it gets better. And there's still love in the world. So much love. Isn't the shadow of a doubt about the kind of acting we heard tonight? And here are William Powell and Theresa Wright for a well-deserved curtain call. Thank you, Cecil. You know, this was really the first time I'd been connected with a drama where I played opposite a beautiful girl named Charlie. The first play I ever heard of where Bill Powell turned out to be the murderer. What would the thin man say? Now, we'll try and get you on the right side of the law next time, Bill. Did you know, by the way, that your co-star holds one of the most unusual records in Hollywood? Well, she became a star just about overnight. Now, in addition to that, and this can only be whispered, Theresa has never been seen in a nightclub. That's practically a scandal in Hollywood. I may never live it down. We'll forgive you if you keep up the standard of performance you've already set. What was your background in the theater, Theresa? I played in summer stocks. Naturally, that included building scenery, wrestling props, painting backdrops, taking tickets, and sweeping up the theater. That sounds like old home week to me. And just before Mr. Golden brought me to Hollywood, I was in life with Father in New York. From life with Father to life with Golden. Sam and I started in the picture business together more than 30 years ago. He's a good showman, and I'll bet he's got something special in mind for you now. I believe the picture will be called those endearing young charms. Well, that's a perfect title for you, Theresa. You know, we're kind of in the endearing young charms business ourselves. You mean luck so, Mr. DeMille. You're absolutely right. It endeared itself to me when I was quite young, and everyone knows it's very helpful in keeping a charming complexion. For proof of that, Theresa, do any photograph that does you justice. And that comes from an experienced judge of beauty. Now, what's on the docket next week, sir? It's the current Warner Brothers' success. The constant nymph. And our stars will be Charles Boyer and Moreno Sullivan. The constant nymph is the story of a composer and a girl whose deep affection and sacrifice inspires his work. It was a great favorite on Broadway and has just become a hit motion picture. I think you'll repeat that success on the air, Cecil. Good night. Good night. Good night. The next time we have a murder case, though, we'll stand for you. Ladies and gentlemen, a very fine New Year's gift has just come to the Lux Radio Theatre. This program has been named Radio's number one dramatic production of 1943 in two different polls. One conducted by Radio Daily, the other by Motion Picture Daily. We're grateful to the editors and to you, our audience, for this honor. We'll regard it as a challenge for all of 1944. And now, I'd like to tell you about a new radio program that starts this week. On Wednesday night over these same stations, Frank Sinatra, he of the famous voice, will begin a show of his own with Bert Wheeler. Ginger Rogers will be Frank's first guest. And I understand Mrs. Nussbaum is coming over from the Jack Benny show. The Vim's Chorus and Orchestra rounds out a program that I think will be an important radio event of the week. Our sponsors, the makers of Lux Toilets Hope, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Charles Boyer and Moreno Sullivan in the Constant Nymph. It's a special beat-a-mill saying good night to you from Hollywood. Gather of a Doubt was produced by Universal Pictures, whose current release is the Walter Wenger production, Gung Ho, starring Randolph Scott. Theresa Wright will co-star with Gary Cooper in the International Pictures production, Casanova Q. Brown. Heard in tonight's play were Ed Emerson as Jack, Regina Wallace as Mrs. Newton, Norman Field as Mr. Newton, and Verna Felton, Mary Lou Harrington, Tommy Cook, Leo Cleary, Charlotte Treadway, Myra Marsh, Buck Woods, and Charles Field. This program is broadcast to our fighting forces overseas by Short Wave through cooperation with the Armed Forces Radio Service. Our music was directed by Louis Silver. And this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Charles Boyer and Moreno Sullivan in The Constant Snip. More secrets? Your ration points go farther, go further, go farther. Your ration points go farther, further when you're cooking this fry. Yes, ma'am, fries the pie, gives lighter cakes, crispy, digestible fried foods, mouth-melting pastry. Tomorrow, ask your grocer for Fry Shortening. This is the Columbia Broadcasting System.