 Lux presents Hollywood. The Lux Radio Theatre brings you Alice Faye, Edward Arnold and Victor Mature in Lillian Russell. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood ladies and gentlemen. Tonight we turn back from the nervous world of the 1940s to those gay and glamorous years at the end of the last century. Back to those years when a certain very beautiful woman was the toast of America. Her name was Lillian Russell and that name is the title of tonight's play. We present Lillian Russell not as a shadowy legend but as a woman who lived and loved and had the world at her feet. She comes to life again in the person of Miss Alice Faye who has a considerable portion of the world at her feet right now. You'll hear her singing the same song hits that Lillian Russell made famous. Songs that carry me back to the gay 90s for I knew Lillian and Diamond Jim Brady both and that makes the characters of this play very real to me. Lillian Russell was one of Alice Faye's biggest hits at 20th Century Fox and those who saw it on the screen will also remember Edward Arnold's great performance as Diamond Jim Brady. He's here tonight to repeat the same part in our production and Victor Mature plays Alexander Moore. This drama of a woman noted for beauty is brought to you by a product dedicated to beauty. Lux Toilet soap. The millions of women who use our product are responsible for its good name. They trust their own beauty to Lux Toilet soap and that trust vindicated so many times is the best guarantee of quality I know. This coming week I'll see many of you in person because tonight I'm leaving for the Chicago premiere of my new picture Northwest Mounted Police. I'll have several stars with me. Stars you've heard on the Lux Radio Theater. But now we meet a star of another day. We raise the curtain on the first act of Lillian Russell starring Alice Faye as Lillian Russell, Edward Arnold as Diamond Jim Brady and Victor Mature as Alexander Moore. In 1861 a baby girl was born to a Mr. and Mrs. Leonard of Clinton, Iowa. This squirming little red-faced bundle was Helen Leonard later to become world famous as the beautiful Lillian Russell. Throughout her first night in this world young Helen screamed lustily. The fun father gazing into the tiny face shook his head in wonderment. Well young lady I'll say one thing for you. You've got a good voice. 18 years later in New York City a man named Leopold Damrosh used almost the same words this time after listening to Helen sing. Dear young lady you have a good voice. A very good voice but not for Grand Opera. No no no I'm sorry to say it my dear but you cannot sing opera. Grandma did you hear? Now now don't let it upset you Helen. Oh Grandma. Stop it stop it at once. What is the matter? Grand Opera was our ambition Mr. Damrosh. We moved all the way from Clinton, Iowa to New York just so. What do you mean me? Are you single too? I can remember having rather a nice voice when I was young. Of course everybody remembers having a good voice when they were young. Well it was good. Oh please Grandma she's just excited Mr. Damrosh. No I know she's like all Grandma Marsh. Your mom is dead young lady. Oh no Mr. Damrosh. Why is she not with you? Well she happens to be very busy right now. You see mothers in politics. Oh suffragettes. She's just been nominated to run for mayor of New York City. Mayor of New York? A woman? I suppose you thought of such nonsense eh? On the contrary Mr. Damrosh. I believe a woman's place is in the home. You are right. And I'm right about Helen too. Just great talent Mr. Damrosh whether you think so or not. Ladies the interview has ended good afternoon please. Very well come Helen. There are many teachers in the world. And too many grandmothers. Young lady you will come back tomorrow at three please. At three? For your first lesson. Oh Mr. Damrosh are you really going to teach me? I am. I like you very much and I am sorry for you. Sorry for me. Why do you say that? Because you are beautiful and even though you might have great success you will most likely be very unhappy. Beautiful women generally are. But why Mr. Damrosh? Why? Because so many men will fall in love with your beauty. You may never know which one really loves you. Three o'clock tomorrow yes? Three Mr. Damrosh. Go right across 14th Street Coltman. Yes ma'am. Oh Helen isn't it wonderful. A pupil of the great Leopold Damrosh. And he is great my dear. Why he was famous in Europe long before he came to America. The old buzzard. Oh Ginger. Oh Teddy. Coltman what's the matter? That band music. The horses don't like it. Well turn off the street. Oh look Grandma. It's a supper deperate. Equal rights for women. Votes for women. They ought to be home taking care of their kids. Easy boy easy. Hold. Hold there. Helen they're running away. Sit down then. Stop them. Stop the carrying. Did you see? That young man stopped us. He ran right into the street in front of the coach. Young man come here please. Yes ma'am. Is there anyone hurt? No. No we just wanted to say thank you. I saw what you did running in front of the horses that way. Oh that's alright. I'm glad you weren't hurt. Hurt? Young man if it weren't for you we'd have been killed. Oh I just happened to be in the way that's all. You're very brave. And if you don't mind my saying it you're very beautiful. Thank you again young man. Come along Helen. Goodbye. Goodbye. Very brave fellow. Thank you. Young lady. She's very lovely. What's her name? I don't know. You saved her life and don't know her name? You're also a very stupid fellow. What's your name? Moore. Alexander Moore. I should hate to save such a beautiful creature. Never know who she was. Well I'll find out someday perhaps. Bravo. When you do tell me please. So I can invite you both to my theater. Tony Paster's theater. Well sure thank you. Horrible mother. You've been terribly hurt haven't you? Not really hurt dear. Humiliated a little. But you were crying. I've often cried but I was never caught at it before and I don't want you to tattle either. Oh I won't. I won't if you promise me you won't cry anymore. Very well if you promise me you'll forget all the stage talk I've been hearing lately. But mother. I talked to Leopold Damrosh about you yesterday. What did he say? Well he feels you have a great career. He thinks you're beautiful. Yes. Yes he told me that too. Did he tell you to be afraid of it? But I'm not. I'm not because I don't think I'm beautiful. You're going to find yourself very attractive to men Helen. I won't mind that mother. I don't dislike men. Anyway I've never seen anyone I thought I could love except. Except whom? Oh I don't even know his name and I'll probably never see him again. So you see mother you don't have to worry about me. What was that? Someone threw a stone at the window. Father father what's the matter? Cynthia. Cynthia there's a crowd outside the house. What do they want? I'll go down and speak to them. Mother I wouldn't if I were you. You can't go out there Cynthia. They're drunk. I'll send them away. No father please please let me go. Helen Helen come back. Gentlemen my mother's very tired. Do you all mind going home please? Why don't you run for something lady? I vote ten times for you. Yes you did it all right. They're leaving. Oh hello. Do you remember me? Well I should don't you think? What are you doing here? Oh I just happened along with the crowd. I tried to stop them but it wasn't much use. This is the second time you happened along when I was in trouble. What's your name? Alexander Moore. I'm glad to know you Mr. Moore. Thanks. You were sort of brave facing that crowd all alone. I knew they were only celebrating but it won't do them a bit of good. The women will win someday. Do you believe in equal rights for women Mr. Moore? Well yes I guess I do sort of. What do you mean sort of? Well I think a woman has the right to everything a man can give her. Don't you think she's also entitled to her own success? Well that all depends on what she calls success. What's your ambition? Well first of all I want everybody to love me and yet I want to love one person so madly that nobody else matters. That's selfishness isn't it? No you don't understand. I want everybody to love my work on the stage I mean. Oh are you an actress? Well I hope to be someday. What's your ambition? A job. What kind of a job? What kind right now? I'm trying to get on a New York paper. Maybe my father could help you. He used to own a newspaper in Clinton Iowa. I hope to own one myself someday. I bet you will too. Thanks. But if I don't I won't mind. Just so long as I don't get hurt too much trying. And that's what I'm hoping for you too. Well let's make a pact. If you get on a newspaper before I get on the stage you take me out and we'll celebrate. And if you get on the stage before I get on a paper. I'll take you out isn't that fair? Well not exactly. I have to do my best to beat you to a job. I hope you do. But if you don't I'll expect you to keep our pact just the same. Good night Mr Moore. Good night. That was fine Helen. Who's that? Sounds like someone in the yard. Let's go see. Bravo. Well there he is that man coming through the gate. Good evening. Pardon the intrusion please but I was dining at the café next door and I couldn't resist the sound of your voice. I'm Tony Paster. Paster? You're not Tony Paster's theatre. No I'm not the theatre. The theatre belongs to me. Young lady I should like to see you at noon tomorrow. That is if you're interested in going on the stage. Yes I am. Interested? Well we've been playing theatre for years. Tomorrow at noon then. I'll be there Mr Paster. Good. I'd like to hear you sing once in the theatre. And then maybe we can talk of business. Good night. Good night Mr Paster. Father I'm going to sing for him. I'm going to sing for Tony Paster. Sit down please. Thank you. Did you like it Mr Paster? I liked it very much Miss Helen Leonard. Oh yes. I don't like your name. Let's see. What shall we call you? What's your favorite flower? The rose. Rose? No no I don't care for that either. Rose, Godinia, Pansy, Chamelea, Lily, Lillian. Yes I like that. And Lillian what? Lillian... I have it. I can see it as plainly as if a hand were writing it for me. Tony Paster presents the great English ballad singer Lillian Russell. From now on that's your name and something tells me it'll be a very important name. Will it? Don't you like Lillian Russell my dear? Yes. Yes of course I do Mr Paster. But somehow I already feel lonesome for Helen Leonard. Lillian Russell the English songbird appearing this week. Who's Lillian Russell? Now there's a picture on that poster. They say you can't buy a seat at Paster's. She's lovely isn't she? No seats available sir. Standing Ramona. This is alright. Good evening Mr Paster. Can't you get a seat either? I always watch the show from here Mr. Moore wasn't it? Yes. She's wonderful isn't she? Wonderful. She's the greatest success I've ever had. A star in a little more than three weeks. Would you like to come a meter after the show? Oh no thanks. But I imagine she's pretty busy these days. I'd rather not bother her. Aren't they wonderful? And weren't you wonderful? Look, even more flowers than last night. And the same basket of roses again. I hope there's a card with them this time. I'd like to know who sends them. I don't see any card. Just a package. A package? Let me see. Not just a minute. Don't get so excited. Here we are. Well, look at that. It's a necklace. Rubies. Oh grandma isn't it beautiful? Oh no I hope you don't find a card because if you do I'll have to send it back won't I? Try it on. Whoever sent that must be a millionaire. I'll come in. What Mr. Paster? Yes. Come in Mr. Paster. My dear, you were wonderful again tonight. How does it feel to be a success? Are you still afraid of it? I was never afraid of it Mr. Paster. My mother was. And how does she feel about it now? She doesn't know. But it's almost a month. Doesn't she suspect? No. She thinks I take my lesson every night. But I'll never give it up now Mr. Paster. You can't my dear. You can't give it up. Even when you grow tired you'll still go on. Oh Lily and you, remember the young man who stopped your horses almost in front of my theatre? Remember him? She's been expecting him ever since her first day here. He was here tonight? Well, didn't he ask to see me? No. As a matter of fact, he left before the show was over. Oh. Good night my dear. Good night Mr. Paster. Good night Grandma. Good night. You see Grandma, he does know I'm on the stage and he's forgotten our pact. Very well. I'll forget him. That may be easier said than done Helen. I think you fell in love with that young man. Oh, don't be stupid Grandma. I scarcely know him. Why should I love him? That's because he stopped our horses. Any gentleman would have done the same. Besides, maybe he'll come back again tomorrow night. Helen, come in mother. I was just hoping you were awake dear. I wanted to say good night. Well, you were in home when I came in mother. I know. Your father told me you asked for me. Did you take your lesson tonight? Yes. Yes I did mother. Good. Has Mr. Damrush said anything about your voice lately? Well, he thinks I'm improving I think. Helen, look at me. Now smile. Yes, it's true. You do look like Lillian Russell. Mother, have you seen her? Almost every night for the past three weeks from the same little seat in the gallery. Oh mother, and I'm so proud of you dear. Mother, you're wonderful dear. Helen, who gave you this? What? This necklace. I don't know mother. I got it tonight in a basket of flowers. There wasn't a note or card or anything. I see. Good night darling. Mother, aren't you going to kiss me? You're not angry because I've gone on the stage. No dear, we're going to miss you though. But mother, I'm not leaving you. You've already left yourself dear. You're Lillian Russell now. Someday you'll forget you have a new Helen Leonard. I'd rather forget Lillian Russell first. You can't forget her now. Her name is in lights. In the newspapers and on thousands of lips. Millions of new faces will take the place of the old ones. Men will offer fortunes just to stand in the shadow of her glamorous career. Women will envy but copy her and even kings may applaud her. Mother, do you really think I'll be that successful? I'm afraid you will dear. Good night my darling. Good night mother. Millions of new faces. Men will offer fortunes and women will copy her. Oh, I hope I like you, Lillian Russell. In just a moment, Mr. DeMille and our stars Alice Faye, Edward Arnold and Victor Mature will bring you act two of Lillian Russell. Oh Sally, did you say you had something to tell the ladies in our audience? Yes, Mr. Ruick. I've got a helpe that I think is a dandy. A helpe? What's that? Well, you just listen. Now every housekeeper knows that it spoils the appearance of a bathroom. If when you run a hot bath you get the room all steamed up. Well, the mirrors get clouded and the guest towels get limp. Well, I have discovered a way to avoid all that. Well, tell us about it. Well, here's what you do. Now first before you run any hot water at all, you run the cold water for a while. Then you add as much hot water as you like. And the bathroom doesn't get all steamed up? Well, that's a very good household hint. And now I see what you mean by helpe. It's a hint that helps, isn't it? Yes, Mr. Ruick. And this particular hint is especially good when you're expecting company. So the bath you take just before the guests come doesn't spoil the spick and span look of the bathroom. Oh, I see. Your luck soap beauty bath that makes you feel fresh as a daisy in spite of the fact that you've been busy all day, sprucing up the house and getting dinner ready. Yes, sir. That luck soap beauty bath that thousands of women take every day. Not only because it peps them up, but because it makes them sure about daintiness. Sure of skin that's really fresh and sweet. That's where luck soap's active lather comes in. And it's nice, delicate perfume. Yes, Sally. It's costly perfume. But luck's toilet soap sells for only a trifle because so many millions of people buy it and use it every day. Volume production brings the price down, you know. And of course, the screen stars out here and women everywhere find that luck's toilet soap is a wonderful aid to complexion beauty. Actually, nine out of ten screen stars, lovely women everywhere, use gentle, white luck's toilet soap. Now, our producer, Mr. DeMille. Act two of Lillian Russell, starring Alice Faye as Lillian Russell, Edward Arnold as Diamond Jim Brady, and Victor Mathur as Alexander Moore. In the few years that followed, the marquee Lights of New York told the story of a girl's rise to glory. Lillian Russell in Pinafore, Lillian Russell in Olivet, the Pirates of Penzance, the Grand Duchess, show after show, hit after hit, until her name shone like a brilliant star over the world of the theater. Through all this time, mysterious gifts of flowers and diamonds continued to arrive at her dressing room door. And now in the fashionable jewelry shop, another gift is chosen by her anonymous admirer, Diamond Jim Brady. Look at this pendant, Jim. The center stone is 12 carats. It's all right. It was part of the Chadwick collection, originally set in the crown of Louis XVI of France. I suppose he lost it when he lost his head, huh? How much? Well, I... And remember, this is Jim Brady talking and not Louis XVI. To you, $15,000. Sold. Jim, you certainly are a gallant. It's been a long time now since we sent the first jewelry to Lillian Russell for you. And still, you say you don't know her. Oh, I don't, but I will one of these days. And it's worth looking forward to. I don't like to discourage you, Jim, but I hear she's going to be married soon. Well, who to? Well, she's been seen a lot lately with Jesse Lewisen. Well, she couldn't find a nicer fellow. You know, Jesse is a great friend of mine. By the way, send that pendant to the casino theater. She's opening there tonight. Without a card, as usual? Without a card, but in the usual basket of roses. The second acts as good as the first. This is Lillian's greatest triumph. Well, she's done it again. That girl is marvelous. You like her, don't you, Jim? Well, don't you, Edna? Yes, but I'm a little jealous of the way you look at her. Oh, don't be silly. I don't even know her. You will. Hello, Jim. I was just looking at you. Hello, Jesse. Oh, I beg your pardon. That's all right. Dear, this is the famous Jesse Lewisen. Jesse meet Miss Edna McCawley. How do you do? How do you do? Famous for what, Jim? A great friend of the Lillian Russell, for one thing? Well, that reminds me. Would you like to see something very interesting? He would, if it's Lillian Russell. Well, it is. He's going to sing over the long-distance telephone for President Cleveland during the intermission. You mean she's going to sing here and the president is going to listen in Washington? Exactly. After the show, we're all going to Rectus. We'll expect you both. Rectus? I'll be there. Oh, by the way, Edward Solomon's coming along. Solomon? Yes, the young fellow who writes us songs. He's rather jealous of Lillian and inclined to be a little hot-headed. Don't pay too much attention to it. Small lobster, Mr. Brady. Put it down, put it down. What's so funny, Mr. Brady? I was just thinking of President Cleveland at the other end of the telephone wire, listening to Lillian Russell when all the time he was really singing to me. Well, I was very nervous and you were very encouraging. Yes, I don't think you could have done it without him, Lillian. Teddy. Oh, now, Mr. Solomon, I didn't say that, by the way. You were very good tonight, Mr. Solomon. You play the piano beautifully. You flatter me, Mr. Brady. Oh, no, no, not at all. I've been an admirer of yours for some time. I know a lot of your compositions. Well, thank you. You know, you should write all of Miss Russell's songs. Someday, I hope to write at least one that's worthy of her. Oh, that's sweet of you, Teddy. Say, look, Mr. Solomon, would you do something for me? Have the orchestra play one of your songs and you play it with them, huh? You know our weakness, Mr. Brady. Musician can't resist the opportunity of showing off. Excuse me, Lillian. Thanks. Well, we seem to be alone, don't we? Oh, aren't you surprised, Mr. Brady? No, not very much. I rather enjoyed watching you work it out. Is that how you planned your steel railroad cars and all that sort of thing? What do you know about steel railroad cars? Nothing. But I know all about Diamond Jim Brady. Do you really eat as much as people say you do? Well, how much do they say? Well, I heard someone say that he had seen you eat six dozen oysters on the half shell. Three torrents of mock turtle soup, five steaks. Well, wait a minute. It's a lie. It's a libel. I never ate over three dozen oysters and four steaks in every one time in my life. Oh. Well, do you enjoy eating? Well, I like good food. Well, so do I. Johnby, what's your favorite of all food? Corn on the cob. No. Well, that's mine, too. How many years can you eat? Oh, when I've been really very hungry, I've eaten two or three, maybe. Oh. I betcha I can spot you three and beat you by ten. Well, we'll try it sometime. Well, listen, Teddy's playing his piece for you. Would you sing it for me, Miss Russell? Well, I couldn't hear. It's just quietly just for me. Adored one. My wonderful adored one. So lovely. So charming and divine. Just like a melody. You seem to haunt me. To haunt me. Don't let me free. Adored one. You're smiling when you haunt me. Please grant me the right to call you mom. That's the most beautiful thing I ever heard in all my life. Thank you. But what are you laughing at now? Oh, not myself. You know, I've been waiting years for the night just to be alone with you. And all I could talk about was corn on the cob. What are you doing out here in the storm? Oh, I like storms. You know, ever since I was a kid, I loved to walk in the rain. I've had some of my best ideas walking in the rain. Did you have a good one tonight? Well, yes, Jesse, I did. That's why I'm waiting for Lillian. Are you mine? Well, I haven't exactly the right to mine yet. But I'm going to be honest with you. I love Lillian, Jim. I'm glad you told me, Jesse. And I'm going to be just as honest with you. I love her, too. All right, Jim, let the best man win. Yeah, and we'll let the loser be the best man at the wedding, eh? Stand back, please. Harry, pull up that carriage. Quick. What's the excitement, Joe? The company just found out about the folks getting married today. Somebody in the show getting married? Who? Didn't you know, sir, Mr. Solomon and Miss Russell, they got married this morning. Good luck, Mr. Solomon. I never figured on him. Well, Jim, it's still raining. Got another idea? No. I guess that was my last one. Miss Lillian Russell sailed today for England to appear in an opera runner by Gilbert and Sullivan. Sailing with her was her husband, the composer, Edward Sullivan. I'm not hungry. Aren't you feeling well, Mum? I'm tired, that's all. I thought perhaps London didn't agree with you, Mum. Oh, no, Marie. I love London. I'm glad you stayed away from rehearsal today, Mum. You were in the theatre all day yesterday. I don't blame Mr. Solomon for wanting you to rest. I never get tired of the theatre, Marie. Oh, I'll go. It's probably Teddy. Hello, darling. How did everything go? Oh, fine. I was completely successful. Not only did I get you out of the rehearsal, I got you out of the show. Stop joking, Teddy. What happened? I told you you're fired. Simply because I missed rehearsal? You started the argument. Oh, now you didn't lose your temper again, did you? No, he will crawl to your London tramp if you want to. Get on your knees to Mr. Gilbert and apologize. I don't care. I can even tell you exactly what he'll say. My dear Miss Russell, of course I want you back, but I don't like your meddlesome husband. He's selfish and stupid, and he doesn't want anybody to do anything for you, but himself. That's what he'll say to you. Unfortunately, it's the truth, every word of it. I can't help myself, Lily, and that's how I feel about you. I want to write you the greatest operetta of your career. And I can do it if you like faith in me. I'll start tonight, this very minute. Teddy, darling, sit down beside me. I know what you want to do for me, and I love you for it. And someday you will do it. You have faith in me? You have? Yes, Teddy. And if I'm out of this show, I don't care, because I know how good yours will be. Oh, Lily, and I'm a very selfish person. I'm willing to risk your career as if it belonged to me, and it doesn't. I belong to you, Teddy. It may mean months and months. I'd be working, nothing coming in. We couldn't live like this, darling. Then we'll move to a less expensive place, and we'll be just as happy as we are now. Lily and me. Now take me in your arms. Hold me tight, and never let me go, darling. Give Mr. Solomon his eggnog. Yes, Mom. Did he drink it? No, Mom. He doesn't look well, Miss Russell. Oh, he's tired, Marie. He's overworking himself. He says it's going to be the greatest role of your career, Mom. I hope so for his sake. Good night. Good night, Mom. Oh, Marie, what about our visitor? Isn't he coming tonight? Visitor, Mom? Yes, the American newspaper man. Oh, dear, the one who wanted to do the story of your life. I completely forgot, Mom. Oh, Marie, how could you possibly forget when you know he's bringing us money? Oh, I'm sorry, Mom. I'll show him in as soon as he comes. Wait. What did you say his name was? I have it right here, Mom. Alexander Moore. Alexander Moore? Isn't it strange? I seem to remember that name so well. Alexander Moore. Now, this is the agreement, Miss Russell. It gives our paper the exclusive right to publish your story. You'll have to sign words as accepted, and this is your check. Tell me, why did you break our pack, Mr. Moore? Our pack? I didn't think you even remembered me, Miss Russell. Oh, that doesn't answer my question, Mr. Moore. I don't think I can answer it without quibbling a little. You see, I made my pack with a girl named Helen Leonard. When I found out she was Lillian Russell, well, I got scared, I guess. It seems a long time ago, doesn't it? Now, I can see it all as if it were yesterday. We had just left Professor Damosh's house, and all at once it happened. You seemed to leap from nowhere, and I thought you were going to be killed. Oh, I was afraid you were. And here we are, years later, signing a contract for my life story. It would have been a very short one if you hadn't been so brave. Maybe it wasn't bravery. Maybe it was just a newspaper man saving a good story. You see, my paper sort of considers you one of the finest women that ever lived. Not only because of your success, but on account of the way you carried it. I guess maybe you didn't realize it, but everybody in America loves you. Everybody? Well, they just can't help themselves, I guess. You've got a way of making people love you. I mean, well, that's how my paper feels about you, Miss Russell. Well, it's very sweet of you to tell me, Mr. Moore. That's beautiful music. Isn't it lovely? Mr. Solomon is writing it for me. You're very happy, aren't you? Oh, yes, very. We haven't had such an easy time of it lately. This check is more than welcome, but we have been very happy. What was that? Well, that's what you call artistic temperament. Whenever Teddy becomes dissatisfied or annoyed with his work, he slaps the poor piano as if it were all its fault. Now, tell me something about yourself. When are you going to own a newspaper? Well, I don't know yet. I didn't get on very well in New York, so I went back home to Pittsburgh. I've been there ever since. Married? No. No girls? No. Well, yes, there is a girl I sort of grew up with. What's her name? Lucille. Lucille? Oh, I like that name. Why don't you marry her? Well, I just never thought of it, I guess. Maybe she wouldn't have me if I did. Well, I'll have to leave. I'd like to begin our work tomorrow if we can, Miss Russell. Tomorrow, then. And you will keep our pack this time, won't you? You can depend on it. Good night. Good night, Mr. Moore. Will there be anything else, ma'am? No, Marie. But you might see if there's anything Mr. Solomon wants. Yes, ma'am. Mr. Solomon? Mr. Solomon, sir. He seems very quiet, Miss Russell. Perhaps he's asleep. Open the door. Yes, ma'am. He's still at the piano, ma'am. Keep her away and see if he's asleep. Yes, ma'am. Marie, Marie, what is it? Oh, Miss Russell, Miss Russell, come quickly. Come quickly. What is it? Is there anything else? Oh, Mr. Solomon, there's something the matter. Oh, Miss Russell, Miss Russell. Lillian Russell's husband dies in London. The composer Edward Solomon was stricken with a heart attack last night while working on an operetta for his wife. Aren't they beautiful? Yes, lovely. Is there a card with them, ma'am? Read it for me, Marie. Dear Miss Russell, I'm so sorry. Alexander Moore. Mr. Moore phoned to say goodbye, ma'am. He's leaving for Paris today. But he said if you wanted to reach him before he sailed for America, you... America. Oh, it seems so long since I've seen America. Yes, ma'am. Oh, and that producer gentleman also called early this morning. He... he hadn't heard about Mr. Solomon? He... he wanted to speak to you about a new play. A new play? Yes, ma'am. I told him you might call him next week. I won't be here next week. I'm going back to America. To America? Without a London success, ma'am. Oh, you can't. What do you mean, Marie? Mr. Solomon, ma'am. He wanted it so much. I heard him say it time and time again. We'll bring London to your feet, he'd say. That's why he works so hard, ma'am, writing his music for you. His music? Yes. I owe it to him. At least I can get him there. We'll stay in London, Marie. We'll do that show. It wasn't meant for your fate to wait. Singing, it seems that love birds die. They liked your music. In just a moment, Mr. DeMille and our stars Alice Faye, Edward Arnold and Victor Mature will bring you Act 3 of Lillian Russell. And now, here's Libby Collins, our Hollywood news reporter. She went over to 20th Century Fox a while ago to see what was going on over there. And if I know Libby, that gleam in her eye means she came back with a real story. Well, Mr. Ruick, I know that when it comes to stories, you're from Missouri. But this story is true. And it's about a young lady who really is from Missouri, Brenda Joyce. Brenda Joyce? Why, she's one of the most promising young starlets over at 20th Century Fox. I'll never forget the way she played the part of Fern Simon in The Rain's Game. Wait until you see her in her new picture, Public Deb No. 1. I've watched her working in a few scenes over at the studio. She's terrific. And did you notice her lovely complexion, Libby? I certainly did, Mr. Ruick. Brenda follows the lead of nine out of ten famous stars. She uses luxe toilet soap, too. Smart girl, Brenda. But tell us, Libby, what's she like? How'd she get in pictures? Well, Brenda's blonde, five feet four inches tall and weighs 112 pounds. And she's every bit sheer glamour. She's been living right here in Hollywood since she was five years old, you know. Eventually she went to work as a photographer's model. And all the local photographers called Brenda when they wanted a typical American girl type. And then one day the usual talent scout noticed her? Right. But the rest of the story is unusual. Her screen test was so extraordinarily successful that she was assigned that first part of her spurn and the rains came. And guess what she says about luxe toilet soap, Mr. Ruick? Go ahead, Libby. Let's hear it. Brenda says she uses luxe toilet soap every day. She never neglects her daily, active, lather facials because they really work. She says they're the right care for her skin. Oh, thank you, Libby. And say thank you to Brenda Joyce for me next time you're here. And now, for those of you who haven't already tried it, here's the way to take the luxe toilet soap active, lather facial, famous Hollywood stars use every day. They know luxe toilet soap's active lather is gentle. Does a thorough job of removing dust, dirt, and stale cosmetics. Just pat the rich, active lather gently into your skin. Rinse with warm water, then a dash of cool. Then pat your face lightly to dry. This active lather facial leaves skin feeling smooth and soft and looking so fresh. Just try it for 30 days. See what this care Hollywood screen stars use can do for you. We pause now for station identification. This is the Columbia Broadcasting System. The curtain rises on the third act of Lillian Russell with the applause of London still ringing in her ears. The homesick Lillian Russell returned at last to America, to Broadway, and her old friends. On a Sunday afternoon, the strollers in Central Park were treated to a rare sight. A bicycle built for three, speeding along, pedaled gaily by a trio of celebrities. Jesse Lewis and Lillian Russell in her famous white cycling dress and Diamond Jim Brady in peaked cap and knickers. Stop it, stop it, I've had enough. Stop it, I couldn't peddle another foot. Pull up Jesse, I think Tim's tired. He's tired, we've exhausted him. Oh, I couldn't peddle this thing another 10 feet. Let me sit down. Too many lofts. No, I'm going on the cob. So that reminds me, didn't you promise we'd stop off for something to eat? That's what's the matter with me, I'm weak. Oh, I'm sorry Jim, but I've got to get back. There's my carriage waiting. Oh, you don't have to leave us now, do you Lillian? Oh, I do it rehearsal. Carriage? Well, won't we see you again? Not until after the show opens, Jim, I'm going to be very busy too, right? All right, but I'll be there for the opening. Bye Jim, bye Jesse. Bye. What are you laughing at? Oh, you and me. Every time I start out with Lillian, I end up with you. I don't think it's so funny. You don't either. I know you, Jim. You laugh when you're hurt. You still love Lillian, don't you? Don't you? No. I'm being honest with you again, Jim. I'm in love with Edna. Edna? My Edna? No, my Edna. We're going to be married. Do you mind? Mind? I think... I think it's great. I'm sorry in one way. Why? Because I know how lonely you're going to be without Edna, when you lose Lillian again. You wouldn't want to bet a lot of money against my chances, would you? No, but you can't buy it, Jim. I tried that. Yes, but you never offered to lay everything you had in the whole world of defeat, did you? No, not exactly. Well, I will. And it's millions, Jesse. Millions. Gurt and Time. Gurt and Time. Ten minutes. Marie, I'm going to have to fix this dress again, I'm afraid. I'll put a stitch in it, Mom, in the dressing room. It won't take a minute. Marie, who wrote that on my mirror? Where, Mom? Lillian, I love you. Who did that? I did, Lillian. Oh, Jim Brady. What are you doing back here? Marie, we'll let the dress wait. Yes, Mom. Why aren't you out front? Oh, I just couldn't wait, Lillian. I got an idea, and the minute I got it, I just had to do it. You mean this on the mirror? Yes, I've been trying to say it for a long time. Oh, Jim, you're sweet. But I'm going to scold you. What, again? Mm-hmm. And seriously. I want you to look at all the things you sent me tonight. Yeah, but I've seen them, Lillian. Well, look at them again and try to repent your extravagance. A basket of orchids with diamond necklace and bracelet. American Beauty roses with rubies. Goddanias with emeralds. Violets with pearls. And a bicycle of golden sapphires. Jim, have you lost your mind? No, my dear, just my heart. What? Lillian, Edna and Jesse are out front watching the show. They're married. You were fond of Jesse, weren't you? Yes, I'll miss him, Jim. He was a grand friend. But you will miss Edna, too, won't you? I won't miss anything or anybody in the whole world if I can have you. And I'll give you everything I've got in the world if you'll just say yes, Lillian. And if at the end of a year you tire of me, I'll walk out of your life and leave you everything I've spent my life for. I love you, Lillian. Lillian, what's the matter? Why are you crying? Because I don't love you, Jim. And I wish I did. Oh, Lillian, come on. Now stop that. Can't you see I was just joking? The only reason I said that was because it was scolding me about my gifts and I wanted you to believe it was serious, that's all it was. Can you imagine me being married? Well, I'd make the worst husband in the whole world because the minute you were mine, I'd begin to lose interest in you, just as I have with everything else I've gotten out of life, except perhaps corn on the cob. I would, really. No. You're not telling the truth. I've hurt you deeply, and I'm sorry. But if I married you, I'd hurt you even more because it would be gratitude, Jim, not love, and you wouldn't want that, would you? Then what if I should say yes? Then I'd marry you, Jim. Do you really mean that? Yes, I do. Well, Jim, I'll bet this is the shortest honeymoon two people ever spent together. It's all over, and what's more, Miss Russell seems very, very happy about it. No. No, I'm not happy, Jim. Neither are you. We're pretty much alike, aren't we? I mean, we've each had everything life could give us, except what we really want, and I've looked for it so hard. When I was a girl and I first went to work for Tony Pastor, my mother said that every success has its penalty, that somehow life has a strange way of making you pay for the things it gives you. Now I know what she means. Lily and I wish I could give you the happiness you're looking for. And I wish I could do the same for you, Jim. Don't you worry about me. All I'm thinking of right now is what we're going to eat after the show. We have a suppotage, you know? Yes, I'll be waiting for you, Jim. Good. We'll see you then. Miss Russell, there are more flowers, Mom, and a message. Read it to me, Marie. Dear Miss Russell, I'm in the theater enjoying your show, but I'm leaving for Pittsburgh immediately after. Would love to say hello to you before I go. Alexander Moore. You remember him, Marie. Oh, yes, indeed, Mom. Oh, I'd like to see him. Send a message back, Marie. Tell him to come during intermission. Yes, Mom. Marie, isn't it strange? I so often think of Alexander Moore. And so seldom see him. Don't forget now on. Good evening, Mr. Moore. Good evening. It was nice of you to see me. It's been a long time, Mr. Moore, and you've missed so many chapters of my story. Well, I've been reading them, Miss Russell. Your success has been glorious. Thank you. Tell me, what have you been doing? Still a newspaper man? Well, newspaper work is seldom just a job. It's a lifetime. I have my own paper now. Oh, I said you would, didn't I? The Telegraph? Mm-hmm, the leader. I'll have a review of your show on it tomorrow. A good one? I'll send you a copy of it. So you can finally read an article about yourself in my paper. Oh, I'll enjoy that. And now, how about yourself? And, oh, you know who I mean. You told me all about her in London. Lucille? Yes, Lucille. How is she? I haven't seen her in quite some time now. Oh, I'm sorry. Love can be so elusive, can't it? Yes, it seems that way. Miss Russell, you'll have to change soon. Very well, Marie. Get my things ready. I'll be running along. Will I see you later? No, I... I'm leaving now, getting the first train I can. But, uh, I'll be coming to New York again sometime. Soon? Maybe. Well, why don't you wire me before you come and we'll arrange to have dinner together? We will? Well, don't you want to? Oh, yes, sure I do. As a matter of fact, I've had dinner with you lots of times. You have? When? You wouldn't remember. You weren't there. Good night, Miss Russell. I'm glad you came back. So am I. Isn't the strange coincidence, Mr. Moore? What? Well, ever since I first came to New York, you seem to have punctuated my life. And every time something important or serious has ever happened to me, you've come along. Perhaps it hasn't been exactly a coincidence, Miss Russell. Good night. Good night. We'd better hurry, Mum. Marie, did you hear what he said? He said it wasn't a coincidence. Do you realize what that means? Not exactly, Mum. It means he's been thinking of me all these years. He's been in love with me, Marie. Almost all my life. And I think I loved him the very first time I saw him. Grandma told me I did, and she was right. Marie. Marie, find him for me, will you? He's leaving for Pittsburgh tonight, and I don't want him to go away because if he does, it'll probably be years before we see him again. Please, Marie, never mind my dress. I'll get into it somehow. Tell him I don't want him to go. Tell him anything, Marie, but find him for me. That wasn't meant for a song becomes a sign. It seems that love birds die. He's your new dressing room. Oh, thank you, Marie. Mr. Moore. Hello. Your maid said that you... Well, anyway, I came back and I saw something written on your mirror, and I thought I'd add to it. Lillian, I love you. Alex Moore. I'm so glad you came back. I want to make another pact with you. That's if you promise to keep it, Alex. I've never really broken this, Helen. No standing in the stage door. There she is. May have greater stars, yes, and someday even a more beautiful one. But they'll never be able to write the history of the American theater without Lillian Russell. You're joining us for supper at Wrector's, Jim. That's nice of you, Jesse. But for the first time in my life, I'm not hungry. Lillian Russell, Diamond Jim, and Alexander Moore fade into the glamorous past. But Alice Faye, Edward Arnold, and Victor Mathieu are right here at this microphone, and we congratulate them all. Thank you, Mr. DeMille. I hope we did bring all those people to life for a few moments. As far as I'm concerned, Lillian Russell was right here on the stage tonight. You're right, Victor. As I remember, Lillian and Diamond Jim, you were both pretty nearly perfect in the parts. I think Eddie's getting that Diamond Jim look again. What's that? Oh, that fellow Brady talks so much about eating that I have to rush home to dinner every time I play the part. How's the food in the picture you're making, Alice? Well, it's pretty scarce. I'm working on Tin Pan Alley at 20th Century Fox. It's a story about songwriters. Well, as long as you sing the songs, Alice, Tin Pan Alley is right down my alley. Well, if I knew how to curtsy, Mr. DeMille, I'd do it. And now before we go, I'd like to add my little word or two to the sincere tributes that so many others have made to Lux soap. I think it's a wonderful complexion care. Naturally, I use it all the time. The very first time I tried Lux soap, I knew it was the right care for my skin, and I've been a Lux fan ever since. Like one of your songs, Alice, your opinion of Lux soap is music to our ears. Well, what about this trip of yours to Chicago, CB, for the opening of Northwestern Mount of Police? Well, Eddie, I'm leaving right now, right after the program. Chicago is planning a three-day celebration, ending with the premiere on Thursday. And with me in Chicago, I'll have six stars of the picture. Gary Cooper, Madeleine Carroll, Paulette Goddard, Preston Foster, Robert Preston, and Lynn Overman. And the Canadian premiere of Northwestern Mount of Police is being held in every theater in Regina tonight. Oh, that's fine. And what's the Lux radio theater going to do without you next week? I'll be on the program, Eddie, from New York. My brother, William C. DeMille, is taking over here. With two DeMille's working on the show next week, the sky is the limit. Because we're going to have Mickey Rooney and Judy Garland. And the play is their latest MGM screen hit, Strike Up the Band. It's the first appearance at our microphone of these two youngsters who have taken the country by storm, and the play is made to order for their cheerful enthusiasm. So next Monday night is certainly a night to strike up the band, with Mickey Rooney and Judy Garland. Oh, that's a wonderful cast, Mr. DeMille. I'll be listening. Good night, and a pleasant trip. Good night, C.B., and lots of fun. Good night. And I'll send you greetings from Chicago. Our sponsors, the makers of Lux toilet soap, join me in inviting you to be with us again next Monday night. When the Lux radio theater presents Mickey Rooney and Judy Garland in Strike Up the Band. Mr. Cecil B. DeMille saying good night to you from Hollywood. An important announcement. This is community chess time. When you are asked to help fight disease, neglect disaster, and suffering among your own townspeople. America's strength today is the strength of her people. Her social agency stand guard over the health and welfare of the weakest among us. Help to keep America and Americans strong. Give generously to your community chess. Heard in tonight's play where Stuart Buchanan as Jesse Lewisen, Nourin Gamil as Marie, Beatrice Maude as Cynthia, Jay Michael as Tony Pasteur, Frederick Mackay as Teddy Solomon, Verna Felton as Lillian's grandmother, Earl Ross as Leonard, Lou Merrill as Damrash, Dorothy Farrar as Edna McCauley, and Bob Burleson, John Berry, Norman Ainsley, and James Eagles. Edward Arnold will soon be seen on the screen in the Frank Capra production, The Life of John Doe to be released by Warner Brothers. Victor Mature appears through courtesy of Hell Road Studios and will soon be seen in Toppa Returns with Roland Young and Billy Burke. Our music is directed by Louis Silvers and your announcer has been Melville Royk. This is the Columbia Broadcasting System.