 Lux presents Hollywood. Ever brought this company, the makers of Lux Toilet soap, bring you the Lux Radio Theater, starring Ida Lupino and Zachary Scott in Saratoga Trunk. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. I don't believe any place in America holds more fabulous memories than Saratoga. Saratoga, where the bold brummels of the 1890s and their fashionable ladies squandered fortunes at the racetrack and the gaming tables and sipped champagne beneath tall porticoes and crystal candelabra. Tonight, we recapture that atmosphere of glamour and excitement with Warner Bros. screen hit, Saratoga Trunk, from Edna Ferber's novel of the same name. And our stars are Ida Lupino carrying on the high traditions of one of the theatre's oldest families and Zachary Scott as her romantic leading man. A description of Saratoga in the 90s, written by a local columnist, describes not only the smart attire of the bells of the period, but the smoothness of their delicate complexions, guarded always by an ornate parasol. Well, that's one way to protect a lovely complexion, but I'm sure today smart women depend more on Lux Toilet soap as a better, more convenient beauty care. And the results apparent, I believe, in the complexions of lovely women everywhere, from Hollywood to Saratoga. Here's Act One of Saratoga Trunk, starring Ida Lupino as Cleo Doolaine and Zachary Scott as Clint Maroon. In 1896, in a stately old mansion on Esplanade Street, an attorney is calling with important news for his client. Come in, Monsieur Hossein. The ship from France has arrived. Well? Your granddaughter is in New Orleans, Madame Doolaine. You will never call her my granddaughter, never. I beg your pardon. She arrived with two servants, an egrets name Angélique. Angélique and Cupidon. Yes, a sort of clownish dwarf. Call Cupidon. They went directly to the house on Rampart Street. Rampart Street? No one has lived there since her mother killed my son. That girl's mother murdered my son. Why did she come back? Why? Miss Doolaine's mother died in Paris a month ago. Perhaps she... She came here to cause another scandal. To humiliate us. I will not have it. Do you hear? I will not have it. Madame. That will be all, Monsieur Hossein. Rampart Street. The house on Rampart Street. The house on Rélique. My mother's house, just as she described it to me. It is an evil house now. And we will not stay here, Miss Cleo. We leave. No. We are staying. Cupidon, open the shutters. Yes, Miss Cleo. Let in the light. Let in the light. Yes. I will like it here very much. Pilt you like? Cubwebs and dirt and ruins. It can be clean, Miss Cleo, please. The Doolaines will only make trouble, like they did for your mama. I'll teach them trouble. Ghost in his room, Miss Cleo. Come and look. Rélique, what room is that? The room where he died, your papa. It was right here that the lawyer came and told you my mother the Doolaines had made the marriage annul. But didn't my father tell her? Did he leave it to the lawyer? His people, the Doolaines. They fixed it so your papa could not be here. Then he came as soon as he could. This very room. Blood on the floor, mademoiselle. Still here. Blood. My father's blood. I saw it then, and I see it now. And your mama kneeling here, screaming. You have a man you'll be still. Let him alone. Your mama took your papa's gun. She was going to kill herself when your papa rushed in. They said she murdered my father. They sent her to France. He tried to take the gun from her. It went off and killed him instead. That stain on the floor. Your mama meant that to be her blood. My father's blood. I love this room. I shall sleep here tonight, in this room, and every night. I will show these Doolaines I am not my mother to be sent across the sea and turned into an ugly, broken-hearted woman. I am as good as they are. And I shall marry into be rich and respectable, richer than they are. You'll be a fool about men just like she was, and her mother before. No, never. Men will be fools about me. Your mama and papa. Why did they have to fall in love in a marry, an actress from the stage, and Nicola Doolaine? His people sent her away, and they'll do the same to you. Be still. Everything they did to her, I will do to them. And I will do it twice, once for my mother, and once for me. I am Cleo Doolaine, and I have come back home. We are all best of Miss Cleo. Where are we going? Cupidon, it is Sunday morning. First to the French market. We'll buy everything, everything delicious. Then to St. Louis Cathedral. Then to Beguet's for breakfast. Ah, the finest restaurant in New Orleans. Beguet's? The Doolaine's dined there? Always on Sunday mornings, Cupidon, mama said. We fix those Doolaine's, eh? Yes, we fix them, Cupidon. Angelique, tell me, do I really look like mama? A scrawny like you, not half so beautiful. Perhaps I'll not even use my right name. No, I will be a contest. You play acting just like your mama. Why not? La Conteste Chonfre. And I, the emperor, Napoleon. Ah, stop the nonsense, Cupidon. Now go, go hire carriage. Wait here with the carriage, Cupidon. So this is it. This is Beguet's. I ask you not to go in. And I ask you to shut up. Well, what are you waiting for? For someone to come down the street. Down the street? Don't pretend innocence with me. I saw you in the French market before, making eyes at that lot of a cowboy. Stop it. A cowboy. Does madame La Conteste enjoy flirting with cowboys from Texas and talking to them? I didn't talk to him, he talked to me. I wish I could die. Come in. Come in, you stupid. I wish you would die. I am not a child, and I shall do as I please. Cupidon, if a cowboy in a white hat comes along, we ain't here. He's a beautiful cowboy. And Miss Cleo, you think so? Oh, no, Angelique. Angelique, don't let's quarrel. I meant this to be such a happy day. All right, baby. Just remember, when your mama walked into Beguet's, she was like a queen coming in. A queen. Bonjour, madame. Bonjour. You are Monsieur Beguet. Oui, madame. I've heard my mother speak of you so often, Monsieur. Oh, thank you. They say I resemble her. I am La Conteste of Champs-Frais. Madame La Conteste? This table will do very nicely, Monsieur. My servant will sit with me. This table, oh, madame, it is reserved. The family of doulaines. But how splendid they will be delighted. But, madame. You see, I'm related to the doulaines. Sit down, Angelique. No, Monsieur. I want all the delicious things mama used to describe to me in Paris. She spoke of my food in Paris. Oh, madame, what a pleasure. Grand fish bisque, followed by poulet, chante et clair. Oh, c'est magnifique. Oh, sortez. Je vais pas prête. What are you staring at, Angelique? They've just come in. The doulaines. They're father's mother. His sister's his brother. Oh. Good day. Bonjour. I trust everything is not gobbled up. Oh, madame. Bonjour, madame. Bonjour. Oh, will they recognize me? Shall I speak to them? Where's that at our table? Madame La Conteste, Monsieur. Madame Who? She said she is a relative. Maurice. Maurice, look. It couldn't be. Come. Come, all of you. We are leaving. Ah, you see, Angelique running already. Just look at them. As soon as they are gone. We too... This hair be gay. Oui, Monsieur. Madame, madame. Monsieur, please. There has been a great mistake. You told him you'd be here. Told who? What are you talking about? The cowboy. As if you did not notice. I told him nothing. A fine husband you'll get. Oh, yes. Maybe you've already picked a text. Ah, text as text as I am. Not even looking at him. Then do look. He can't even read the menu. Even the waiter is amused. Oh, if he were mine or Relique, I would have for him four dozen white handkerchiefs of the finest linen. And you. You would embroider his initials in the most delicate scrolls. Me? Embroider for the cowboy. And linen too for his shirts, I think. Yes. Fine, polluted linen. Oh, waiter. What are you going to do? Oh, waiter. The gentleman over there with the white hat and boots. Oui, madame. Tell him if he is having difficulty selecting his breakfast, I should be most happy to assist him. Oui, madame. Commen. Commen is dead. Shut up before I send you away to starve. That fellow over there told me... Monsieur, won't you sit down? Angelique, you may wait for me in the carriage. Ah, sir, I think... This sure is nice. Have you missed? What's so funny? Ah, you. You look so comical trying to read the menu. I guess I did. Serves me right for a follow when you're here. Voila, madame. Bisque en fiche. Tell me something, Frenchie. Just who are you? La Conteste de Champs-Rey. You don't say? Well, my name's Maroon. Clint Maroon. Clint Maroon. Now tell me your real name. Ah, drink your bisque, monsieur. It's getting cold. I must be out of my mind. Honey, I'm sure you are. Allowing you to call like this every day this week you have been here. Except I don't know you any better than when I met you and begazed. Ah, Cherie, you know me lots better. I mean, what are you up to, Cleo? What is it you want? What do you care what I want? Why don't you go back to that little lady in Texas you were talking about? The finest little lady in the world you said. Yes, she makes you sat in ties with forget-me-nots. When are you going to marry you, too, huh? I don't aim to marry anybody. Well, I'll marry. Very, very rich and very respectable. Look, what kind of woman are you, anyhow? Oh, you still don't know, Clint. Well, on my father's side, I'm very proper. On my mother's side, well, how shall I say it for your tender ear? You're always talking about your ma. What am I doing getting hooked up with you? What am I doing here, ladi, dying around? I'm getting out. Where would you go? Up north. What for? To gamble. I told you that's how I pick up my living. I'm going to Saratoga. Oh, that is a nice place, Saratoga. No place like it in the whole world. Racine and gambling, millionaires but a bucketful. Won't you come along? No. What's to keep you? Mama. Mama. What are you setting in that steel trap, mind of yours? What is it? Well, it seems there is a daughter, Clint. Daughter? What daughter? The daughter of my father's sister. Charlotte, she is called. She's about to be introduced into society, all very formal and proper. But not so proper if there pops up an old scandal in the family. Now, hold on, honey. You're not trying to try a blackmail, are you? Oh, Clint, how can you say such a thing? Because if you are, I'll chuck you out so fast. Oh, no, no, Clint, you wouldn't do that. Oh, Clint. I am so happy. Say that again. I am so happy, Clint. Clint, Clint. Why don't you talk America? I am so happy, Clint. I thought I'd love to hear you laugh, except all the time it's me. You're laughing at it, isn't it? No, Clint, no. Even when you kiss me, you laugh at me. What am I mixed up with you for? When you talk angry like that, I must laugh. Rope tied and branded. Soon I'll be wearing ruffles on my pants. Oh, I'd just adore you when you are angry. Go put your bonnet on. We're going for a drive. Yes, my master, my lord, my sovereign. Cupid on. We miss you. Look up my team. I'm taking her for a drive. We boss pronto. So no more gun. I learned to talk like real cowboy, huh? You talk like nothing I ever heard. Now get. Clint, where will we drive to? Anywhere. Esplanade Street, yes. Again? What's on Esplanade Street? Oh, just some people I know live there. By the name of Julianne. How's it again, that man and girl? Never mind, Charlotte. Go inside and practice your piano. But who could they be, mama? Driving by here every day. Your mother told you to practice the piano? Yes, grommet. But I wish I knew who they were. It's so deliberate. The other night she was with him in a gambling house on Royal Street. A woman in a gambling house. Cheap and vulgar like her mother before her. We can't step foot out of our house for fear of meeting her face to face. People staring, people talking. I will not have you on your knees to her. That's exactly what she wants. What about tonight? The opera. We will go to the opera as we had planned. She will be there. I know she will be there. We are going to the opera. You, Charlotte, all of us. I'd like to go out for breakfast. Oh, you are too early. Well, sit down. What's the matter? The opera too much for you last night? It sure was for me. Oh, the opera. I drove them out of the opera house, didn't I? In front of all their friends. Oh, this town must be rocking today. You don't seem very happy about it. No. I was too easy with them. How's that? Now I go after those duels lends with bare hands. Cupidon! You're coming, Miss Clio. Cupidon, spread the word all over this town that I am turning this place into a gambling house. The duels lends gambling house. Do you understand? Yes, Miss Clio, yes. I ought to break every bone in your body and no account French cat. You can't talk to me like that. Why are you a cowboy from Texas and probably run out as Angelique said? But not for black men. Oh, for something worse than you kill somebody. Maybe I did, but it wasn't this dirty behind-the-back stuff. It was me or them. They! Trying to teach me how to talk. I aim to make a gentleman out of me. Oh, no, no. You are perfect, perfect. All women want to make their men over. Oh, except you are not my man. You belong to that little woman in Texas. Now don't go poking fun at Texas women. They could teach you a thing or two. Who could? Any of them. I take my ma. She come all the way from Virginia in a good wagon. How uncomfortable. Shut up. She and my pa pioneered the land they lived on. They built it up with their own hands, crops and cattle, till they lost it. Lost it? How Clint? Railroad men. High-binding crooks. They stole Pa's land from him like he was a hick at the circus. Ah, poor Clint. Well, you must make them pay for doing that. What in Sam Hill do you think I'm after doing? There. There you see, Sherry. We are two of a kind. You heard your mother and father talking off the wrong that was done to them. I heard my mother talking the same way. Your mother? Yes. She never heard of fly, Clint. Well, excuse me, honey, but if shooting a man and killing him ain't hurting him. It was an accident. If they really thought she killed him, why did the due lens keep sending money to her? Now they hated my mother. And I am going to get back at them for what they did to her. And they can't stop me, and you can't stop me. Look, let's quit this horsing around. I'm going north. Then go. Like I said before, you'd like it there. No. No, I must finish here. And I must have money. I haven't got any money either, but I know how to turn a trick. Fero, roulette, poker. Ah, poker. When there are fools with millions, do you think I'm here to pick up dollar bills? All right, stay here. Anyway, when you think of it, it is downright comical. You and me. Yes. Very comical. So long, Frenchie. It's too bad. I kind of think you'd like Saratoga. In a moment, we'll return with Saratoga Trunk. Meanwhile, here's our Hollywood reporter, Libby Collins. What's new, Libby? Sure, and I'll be giving you a tip, Mr. Keely. My wild Irish rose, the sweetest flower that grows. Well, that tune's not exactly new, Libby, but of course you mean Warner Brothers' picture, named for the song. Yes, the new musical in which Dennis Morgan plays the lead, and Andrea King is the fabulous Lillian Russell. Dennis Morgan's fine tenor voice is made for those lovely melodies. And when it comes to costumes, Mr. Keely, well, I could have swooned at one dinner dress Andrea King wears in my wild Irish rose, an off-the-shoulder gown entirely covered with glittering black sequins. Oh, it's breathtaking. Andrea King's classic beauty makes her a stunning Lillian Russell. She has lovely coloring as well. She's blonde with delicate, fair skin. The kind of skin just meant to go with those stately, low-cut gowns. I got a question, Mr. Kennedy? Sure I have, Libby. What beauty care does this lovely star use? To be sure her delicate skin looks just right for the Technicolor camera. Why, the same care, nine out of ten stars use so faithfully. Beauty facials with Locke's toilet soap, of course. Libby, it's interesting to know that skin specialists made tests that prove how well these facials work. In three out of four cases, complexions became lovelier in just a short time. Andrea King says, it's amazing the way these Locke soap facials leave skin smoother, softer. She told me about the search the studio made for girls to play the eight Irish calleens in her new picture. Over a thousand pretty girls were interviewed. You can guess what kind of complexions the lucky ones had to have. Was there ever a director who didn't insist on fresh, lovely skin for camera close-ups? So it's easy to see why fragrant white Locke's toilet soap is as popular with the ambitious starlets as it is with important stars like Andrea King. Yes, and with women everywhere who want their skin to be beautifully cared for. Remember that in actually three out of four cases, complexions became lovelier with daily Locke soap care. Here's your producer, William Keely. Act two of Saratoga Trunks starring Ida Lapino as Cleo and Zachary Scott as Clint. In the week that's gone by since Clint Maroon left New Orleans, Cleo has seized every opportunity to bring scandal and gossip to the name of Doolaine. Everybody's talking about her. Absolutely shameless. Why a mother with an actress, remember? They tried to have the marriage annulled, but some... Don't hushed up. Ship the woman off to France. This one, imagine. She's going to open a gambling house on Rampart Street. Now in Rampart Street, Cleo has a visitor. The Doolaine attorney. And as you know, mademoiselle, you are causing my client the Doolaine family a great deal of pain. Your client caused my mother much greater pain. Indeed. May I rebuy? No, you may not, monsieur. I did not ask to see you. I was living here quietly in my mother's house. Quietly? Disturbing no one. That your lens can't frighten me as they did to my mother. So go back and tell them that. I have with me $5,000. It is that or nothing. $5,000 for what? For you. Providing you leave New Orleans and cease to call yourself Doolaine. And if I refuse? I can make it very uncomfortable for you here. Not half as uncomfortable as I can make it for your client. Shall we say $15,000? Ridiculous. It's impossible. Then let us save each other's time and settle for $10,000. I... I think that could be arranged. Of course. I too have demands. You have demands? No. The money will be paid to me as if for the sale of this house. Agreed. In fact, very clever. Also, my mother's body is to be returned to New Orleans and buried in the family cemetery. And it will say on her tomb, Rita Doolaine, beloved wife of Nicolas Doolaine. But, my dear child. Well, monsieur? Very well. Tell me, what are you going to do? I mean, well, $10,000 can't last forever. I am going to marry a very rich and powerful man as soon as I meet him. You... you are very beautiful. Yes. Isn't it lucky? What time is it? Two o'clock. One more hour and we are at this place, the Saratoga. Are you going to meet us there? At Texas? No. But he wrote to you. What did he say? Oh, he called me a thief. Said that he missed me and that Saratoga is full of millionaires. Good. One especially. Both of them you fancied. A mama's boy in just my style, he said. Baby, we are really through with New Orleans? Yes. That is a good deed, but you have done for your mama. Oh, mama, oh, yes. Now we will see what we can do for little Teo. I just saw your name down stairs on the register. Oh, Clint, is that all you have to say to me? The hotel manager sure is impressed. The countess Deschanfre. Well? His late husband, the count, once stopped here. Honey, how can you keep telling those lies? Oh, it was not all a lie, Clint. I do wish to be known simply as Madame Deschanfre. Now tell me how you did it. Did what? How you met Bartholomew Van Steed the minute you stepped off the train. How in Sam Hill you got him to squire you here to the hotel? So simple, Clint. In New York, I discovered that dear Mrs. Van Steed, his mama, was safely in Bar Harbor. So I sent Bartholomew a telegram to meet me at the station. And he came? Well, I did sign the telegram, Mama. Holy cat. Of course his mama wasn't there, but we were. Orange League, Cupidone, and I. Suffolone, so lost. And being a gentleman. He offered to drive us to the hotel. Why did you come here, Cleo? They throw you out of New Orleans? You know why I came. A rich husband, like Van Steed. Well, he might do very nicely. You ain't ever going to be satisfied, are you? Satisfied with what? Little good jewelry, four or five gowns, money enough to last me through the summer? Oh, no. No, I need more than that. Oh, Clint, I'm so tired. I will lie down here and go to sleep, and you will talk to me. I will, huh? No. No, I am too hungry to sleep. In front of the hotel, a man was selling peaches. I am hungry for a peach. Orange League. All right, I get peaches. And champagne, champagne too. Oh, yes, Clint. Fresh peaches, bubbling in a glass of champagne the way Mama used to drink it. You're not hungry, honey. You're just loco. Don't be angry with me, Clint. Talk to me. Talk to me. Don't you think you've had just about enough of this stuff, honey? Try some, Clint. Just a sip, it's heavenly. No. Then tell me about the men here at the hotel. These rich, respectable men who sit in the rocking chairs on the piazza. Well, if it's Van Steed, who's on your mind, he's gonna be too busy to bother with you, honey. They're out to get it. Who? Why? Well, Van Steed owns a railroad right up here near Saratoga's, what they call a trunk line. Only about 100 miles long. Years ago, his mama gave it to him to play with. His first little railroad. Now, it's turned up worth millions. Why millions? Why? A little railroad? Go to sleep, Miss Cleo. How can I sleep when there are such things like this that I must know? Clint, tell me why millions? Because it's the link to those new coal mines in Pennsylvania. And a fella named Raymond Sewell wants the little railroad. So he's hired a gang to tear up tracks and cut down trestles. Folks won't ride the railroads anymore. It just ain't safe. Sewell figures he'll ruin the line and then buy it from Van Steed for next to nothing. And who is Mr. Sewell? Likely, you were too busy making goo-goo eyes when you come in to notice him. But he sits on the piazza with the rest of them. He's big poison. And rich, huh? Uh, rub my foot, Sherry, please. Sewell's crowd is hooked up with that same bunch who went through Texas. Oh, Clint, you're hurting my toe. I'm sorry, honey. It's just when I think of that pack of varmins, I itch to get hold of a gun. Oh, poor little buff. Follow me, Van Steed. No one to save him from Mr. Sewell. Oh, I don't know. He's got some friends here. Railroads. What do I care about railroads? What am I doing here? Who are you? I don't know who you are. Hey, Angelique, I reckon the Countess has got herself tight. Don't, baby, don't. No, go away! Everybody, go away, go away, go away! Stop snorting. First you're happy, then you're tired, and now you're sad, or something. I got big box of flowers. Who from? Who? For you, for Mr. Van Steed. Ah, you see, Clint, the man I shall marry her. I don't give a hoot who you marry. Oh, he will be expecting me downstairs. No, let him wait. Let them all wait and wonder. I am so tired, so tired. When she like this, ain't nobody who can do anything, Mr. Clint. She sleep perhaps one day, perhaps two. But when she wake up, Zuma, look out. Chili, come here. What time is it? What day is it? What has happened? Nothing happened. You've been asleep for two days. Ah, I feel wonderful, and I have a plan. Where is Cupidon, poor little man? Cupidon! I'll be, ma'am. How you are? Tell me, Cupidon, what have you found out? Who are the important people here? Well, there's a big fat woman. Who? Bellop. Don't make ugly noises. That's her name, Mrs. Bellop. She ask me all about you. I pretend to speak only French. I call her an old goat. And what do you think? She speak French, too. Ah. So long gone. Well, get ready, get ready. We are going to visit the famous Saratoga Springs. Ogilique, my red-heeled shoes. Red heels ain't for widows. But I feel like red heels. Oh, what a lovely day. What a rich, respectable lovely day. Wait here, Aunt Piazza, Miss Cleo. I get carried. We are walking to the springs. Walking? It is part of my plan. Oh, is she come? Who? With the hotel manager, that Mrs. Bellop. Good morning, Mrs. Deschampere. Ah, good morning. I am Mrs. Sophie Bellop. I was just telling our hotel manager that I had the great pleasure of knowing your late lamented husband. Huh? Is that possible? You see, Mr. Bean, I told you you were wrong to be suspicious of this lady. Me? My dear Mrs. Bellop. Really? Oh, isn't that Mr. Sewell, but of course it must be Mr. Raymond Sewell. I must speak to him. Oh, Mrs. Deschampere, no one ever speaks to Mrs. Sewell. Mrs. Deschampere. Good morning, Mr. Sewell. So pleasant to see you. Who are you? I used to hear my dear husband speak of you. I am Madame Deschampere. I don't know any Deschampere. You will recall him no doubt as the Count Deschampere, you know. Oh, well then, perhaps it was this, this Mr. Maroun I have heard speak of you. Maroun? Don't know him either. The Texan, the one who says he's going to ruin you. Well, good day, Mr. Sewell. Such a lovely chat. Come on, Julie, Cupidon. That's quite a woman, Mr. Bean. She makes her entrance on the arm of Bartholomew Van Stee. She disappears for two days while the hotel buzzes and wonders. When she reappears, her first act is to be seen talking to the almighty Mr. Sewell. She's genius, Mr. Bean. She can get away with it. Nice to see you again. Mr. Van Stee, good morning. I've been waiting to see you for two days. Surely you've not been ill. No, no, just weary. You look radiant. Thank you. It is the magic of these waters, I'm sure. Oh, you must alarm me to drive you back to the hotel. Oh, no, no. I shall walk, Mr. Van Steeters. We do it at the European viewers. Splendid idea. Providing that I may walk with you. Oh, you remember that stupid telegram I told you about at the station? From your mother, why yes. Her secretary apparently made a mistake. However, she is coming here on Friday. Ah, I'm nice, Mr. Van Stee. I shall look forward to... Why, there is Mr. Maroon, isn't it? I... I believe that is his name. Oh, dear, he's the reason I was so weary. He kept me awake all that first night. His room seemed to be across the hall. Well, if Maroon's been annoying you are. Oh, no, just talk, talk, talk, Ray Rhodes. I thought I should go mad. But what could they say about Ray Rhodes to keep a charming woman awake? Oh, dear me, I don't know, I'm sure. Good morning, Mrs. Chantray, ma'am. Mr. Maroon. Now, see here, Maroon, what's this about you talking Ray Rhodes so loud that this lady can't sleep? Ma'am, you sure have been circulating this morning. Mr. Sewell just sent for me at the hotel, claimed I'm threatening to ruin him. Sewell? You? Oh, I do hope I haven't said anything I shouldn't. Oh, ma'am, just to know you've had my name on your lips gives me pleasure. Don't be angry with him, Mr. Van Stee. I distinctly heard him say you were far more clever than Mr. Sewell. Thank you, ma'am. And when I was talking to Mr. Sewell on the piazza this morning, I thought his voice sounded like the one who was disputing that night with Mr. Maroon. You're dead. Mr. Maroon was telling him he had some kind of plan that could win this railroad war. What else did I say, ma'am? Well, that you were going to offer this plan to Mr. Van Stee and ruin Mr. Sewell. Oh, was it the other way around? Oh, dear, I do detest strong-minded women who interfere in men's affairs. Hmm, possibly it could run my railroad better than I do. Now, gentlemen, please, this is no place to discuss business. Why don't we? Oh, why, Mr. Maroon? Ma'am. I just remembered I promised to have breakfast with you this morning, didn't I? Well, goodbye, Mr. Van Stee, and I do thank you for the lovely pink roses you sent. Could we die together this evening? Dear Mr. Van Stee, that would be enchanting. What in Sam Hill have you been doing? Sherry, you are not angry with me. I'll hand off my own. These ain't steers I'm driving. How dare you talk to me like that? It's time someone did. I have only been trying to help you. Help me? And if you call me ma'am once, I shall scream. Now, look, I'll try to explain. You should be proud of me. I'm only thinking of your future. You interrupt me again, and I'll hit you right on the nose. I've got some plans of my own, and I don't need you to come bustin' in. Ah, I see. I am a woman, and I have no right to think. You've got no right to lie. The dog-gondist mess of lies I ever heard. Do you want to keep this up? Yes, better and better all the time. I don't really care what you do, Frenchie, as long as you let me alone. I can be nagged by a woman and fooled and coaxed. But I can't be run by a woman, see? I wear my own pants, understand? Sherry, you know what? I think even when I marry someone else, I shall always love you best. And do you know what? I wouldn't be in his shoes for a million dollars. I am hoping he will have much more than a million. You will see, Clint. You will see. We pause now for station identification. This is CBS, the Columbia Broadcasting System. You act three of Saratoga Trunk. Distance never discourages a Hollywood talent scout. It was in London that our guest tonight, charming red-haired lawyers Maxwell, was discovered by Warner Brothers. They tell me, lawyers, that your chief interest is serious drama. That's so, Mr. Keely. And that's why I considered myself lucky to be invited to the studio showing of the Treasure of Sierra Madre. An intensely dramatic picture. One of the most exciting I've seen in many moons. And what a cast. With Humphrey Bogart and Water Houston as the stars. As the title suggests, the Treasure of Sierra Madre is a story of the hunt for gold and what it does to men. The entire picture was filmed on location in the high mountains of Mexico. A rugged setting for a violent action-packed drama. But it didn't discourage Lauren Bacall. Mrs. Humphrey Bogart. That's right. From going down to be with her famous husband. She told me all about it herself. Such glamour and charm must have brightened the scene for everyone. Well, rather, Mr. Keely. Even the natives joined in the welcome. It was the Bogart's second anniversary and they were serenaded by a band of Mexican minstrels. Well, even in that rugged country, romance received its due. Dust, hot sun and wind. So Lauren Bacall had to be extra careful to protect her beauty. She told me that down there she appreciated her daily luxe soap care more than ever. You'll be interested in that, Mr. Kennedy. Yes, Lauren Bacall is an enthusiastic luxe girl, all right. She wouldn't be without her luxe soap care a single day. No smart girl would, Mr. Kennedy. I found out long ago that luxe soap facials rarely work. Actual tests by skin specialists show the effectiveness of daily luxe soap facials. In three out of four cases, three out of four, mind you, complexions improved in a short time. Thank you, Ms. Lois Maxwell, for reminding women everywhere that luxe soap care really makes skin softer, smoother. Why not try daily facials with this fragrant white soap? Remember, it's Hollywood's own complexion care. Back now to our producer, William Keely. Act three of Saratoga Trunks starring Ida Lupino as Cleo and Zachary Scott as Clint. A few days now, Saratoga's buzzed with a new topic of conversation. Bartholomew Van Steed's odd and pursuit of the lovely Madame de Chantfray. Again tonight, he's dining with her. While upstairs in the hotel, a poker game is in progress. You're quite a card player, Mr. Maroon. You always this lucky? Always. You told me Van Steed was coming in to sit in on this game. Isn't our money as good as Van Steed's? Looks like we owe you close to four thousand dollars. Well, you can hang on to your cash if you'd rather. What do you mean? I mean I'll settle for a fistful of stock in that Saratoga trunk line of yours. Looks like it won't be worth much know-how and Sue'll get through with you and Van Steed. Then why would you settle for it? Because if I had some stock, I wouldn't let anybody take that railroad away from me. You don't know what this fight involves, Maroon. No Sewells wrecking your railroad. I know you've got to keep it running to lose your franchise. I'd battle them bloody, I'd run them off the range. Lordy, lordy, I think maybe you would. I'd get me a bunch of boys together. There's a lot of them down in Texas that don't like Sewell's outfit anymore, and they do rattlesnake. Maybe we'd better let Maroon in. Give them a few shares of stock just to take care of us. I set a fistful of stock, gentlemen. It'd be worth it if you could do this. I'd go the whole hog to put my brand on Sewell's bunch. I got a score on my own to settle. You win this fight, Maroon, and I'll take you with me right up the line. Then hang out a sign on Wall Street, gentlemen. You just got yourself a new partner. Barfee, Mr. Champere. Thank you, Mr. Van Steed. Something's troubling you. Oh, please. Won't you tell me? But, uh, I have no right to burden you. But I must know. Well, do you know what it means, Mr. Van Steed, to be really lonely? You? Cleo. Oh, you called me Cleo. How dear. How good a friend you are. Am I? Your friendship is the most beautiful thing that has ever happened to me. Cleo. Cleo, my dear. Come in, Mr. Clint. Good morning. Oh, so it is you, Clint. Where have you been? Why haven't I seen you? Business. I'm playing railroad, Countess. Getting along fine, too. Too bad your plans ain't working out so well. Oh, aren't they? I sure hate to tell you this. But Bartholomew's ma has arrived. The queen of Saratoga, Mama Van Steed. Oh? Yes, ma'am. The lioness has come to Defender Cub. When? This morning. The other tabby's are paying court right now on the Piazza. I wonder how your pretty skin's gonna look all torn to ribbons. Well, why don't you wait around and see? We'll be down on that Piazza in 15 minutes. Mother, I'm Mrs. Deschanfre. Deschanfre, fiddlestick. She's an adventurer. It's written all over her. Uh, good morning. Oh, I'm Mr. Van Steed. Mother, may I present Mrs. Deschanfre? How do you do? I hear you call yourself a Countess. Oh, but no. I call myself Madam Deschanfre. Very clever. So you've been to Saratoga before, eh? Oh, no, no. I'm Madam, my late husband. Strange, but the hotel manager can't find his signature anywhere on the register. Madam, when a diplomat is on affairs of state, it is sometimes wise to travel incognito. Mr. Deschanfre, I'm quite sure that mother doesn't mean... I'm quite sure that mother does mean... Nonsense, Clarissa. You don't mean a thing. Oh, Mrs. Bella. I thought I said I'd see you later, Sophie. You did, but I always say it doesn't pay to pry into woman's background. Now, take you. Take me, yes. You call yourself a lady, but that doesn't mean you are one. Now, I... I advise you to stay out of this, Sophie. Then shall we go, Mrs. Deschanfre? Shall we have a little chat, you and I? That will be charming. Enchanted to have met you, Mrs. Van Steed. You are all that your dear son led me to expect. Lovely suite of rooms, Mrs. Deschanfre. Quite expensive, isn't it? Just what is it you want of me, Mrs. Bellop? Money. But I have no money. But you will have... How? By listening to me. You are in trouble. Clarissa Van Steed, she intends running you out of Saratoga and don't underestimate her. She will, unless... Unless? Look here, my girl. I know that you are no more the Countess of Chuchu than I'm Queen Victoria. I've watched you, though. And I'll say that you've been wonderful. Bold and dramatic and believable. But from now on, you're going to need me. I'm the one person old lady Van Steed is scared of. Oh, I look like a wash woman, but I've got family and influence. And all she's got is money. And you have no money. No. I've lived on nothing for years. No luxury. How? I pick out a hotel and I live there. And the one I select suddenly becomes very popular, where I go, the others follow. Naturally, the management's are grateful. I do as I please, and I'm not afraid of anybody. Just what do you know about me, Mrs. Bellop? Everything. I have connections in New Orleans. Your real name is Cleo DeLane, and you'd like to change it to Mrs. Bartholomew Van Steed. With my help, I think you can. And for this help, how much? $10,000 on the day you marry Van Steed. I don't want to be grasping. How do you know I can't do this alone? Cry it and see. Come in. Well, you two plotting something, you look guilty as all get-out. Clint, Mrs. Bellop has just offered to be my, uh, chaperone. A little late, I'd say. Not too late, Mr. Maroon. Oh, good luck then. I've got a bag to pack. Clint! Clint, wait! Clint! Well? Where are you going? Albany, honey. Business. Now, you don't want to be seen talking to me in the car, do you? Albany? Well, maybe I could go to Albany, too. Just when you got Van Steed all roped and tied? Poor little Bartholomew, I'd sure feel cheap being married just for my money. Well, you need never fear of that. You, you win $100 at poke and you think you are rich. That sweet little woman in Texas is just such ambitions, I'm sure. The one who made that ravishing white tie for you, green, forget-me-nots. Yeah. Sure is funny how a woman likes to put a mark on a man with a needle. I look to wake up someday and find a big sea branded on my britches. Shut up. Oh, Clint, don't leave me, Clint. Don't go, please. Sorry, honey, a hundred men from Texas are waiting for me in Albany. But you'll be back soon. I want you to take me to the ball on Saturday. You ain't going with Bartholomew? Well, yes, I was. Well, you better stick with him. So long, Frenchie. I heard every word and I won't pretend it was accidental. Why doesn't he understand? It isn't just the money. I want security or respectability. I won't be treated like my mother. I won't. No need, my girl, if you do as I say. No. No, I will go on alone. Thank you anyway, Mrs. Bellock. Well, do what you want then. But I'm still going to stand behind you. Why? Because I like you and I don't like Clarissa Van Steed. Albany, what is he going to do in Albany? I can tell you one thing. He won't be playing poker. You ain't rounding up cattle today. You're rounding up a railroad. We're going to take a little ride on this here train. We've got a lot of stations to stop at. And at each station are some of Sue's men. So each time we stop a few of you boys are going to get off this train and take that station away from them. That's all there is to it. All right, I guess we can hightail out of here. One more stop, boys, and we've taken over a railroad. Trying to whistle us down. Sue's got wise, Clint. He needs to head us off. We're not stopping, Al. If they ram us in that tunnel... Can you get us through before they reach it? How do I know? It's too great a rift. Are you scared? Smile. Slam on those brakes. Come, faster, my girl. Why aren't you here when I need you? Oh, I wish I had never come to this place. I hate it. I wish we had stayed in Paris. Not even Clint cares anymore. It just leaves me alone. Poor baby. Just like your mama alone. I am not my mama. I am Cleo. Let him go if he wants to. Yes. I think we have seen the last of that Texas. How dare you say that? He will be here tonight for the ball. I do not think so. Everyone in the hotel is talking. There is some big dangerous fight. What fight? They start at this Albany place. They fight at each station along the way like a war. Oh, blood. I see blood. Be still. I knew this Texas bring us bad luck. You fix into Mary a millionaire and all the time you craze in your head from a cowboy. But he leaves you, don't he? Get out! Get out! What's going on in here? That great call. I could hear you down the hall, screeching like a couple of fish wives. Listen, my child. I did not send for you. Then you should have. Old Lady Van Steed knows exactly who you are. She's going to expose you at the ball tonight. Then I shan't go to the ball. You've got to go. Clint comes back. I'll go. You're an ungrateful brat. You're on the threshold of success if you don't weaken. I know a man who's head over heels in love when I see one. Who? What man? Good heavens, Van Steed, of course. He's on his way to see you now. You'll still have to stand up to Clarissa, but I'll be behind you. Just deny everything. It's a trick I learned from my first husband. So, I am going to be like Momo, am I? Yes. Well, I'll marry and be rich. Everything, just as I planned. Yes, baby. I look beautiful, don't I? As beautiful as my Momo was. One moment. How are you, Angelique? Shaking all over. I am not shaking. I am Cleo Doulin, and I am very calm. My Bart, good evening. I came to fetch you to the ball, Cleo. How sweet of you. And how brave. You're me and my mother. How is your dear mother? Suppose we go down and find out. I should love to, but I am waiting for Mr. Maroon. Maroon's away? Yes, I know. There has been a fight, hasn't there? Yes. Why? Are there no laws in this country, no police? Don't worry. You're pretty head over it. And just what are you doing about it? You yourself, I mean. I'm playing for it. Yes, a coward. Afraid to fight for your own railroad. Afraid of your mother. Afraid of everything. Get out of my sight. You're delightful, Cleo. I like a woman with a spirit. Cleo, will you marry me? What? I'm asking you to be my wife. Why? You're surprised, aren't you? You say I'm afraid of my mother. No, she's useful to me. Mother, she was the woman away and I let her. But when there's something or someone I really want, I get it. You, you do the same thing yourself, don't you? Yes, I do. I scheme and trick to get you. I know that. I lied to you. I'm not a contest. My name is Cleo D'Elen. I know all about it. My mother told me and I told her to mind her own business. Well, she's in the ballroom now. Suppose we go down and see which one of us will back out. You or Rye? Very well. Suppose we do go down. Eat now, Bart. Bart, just a minute. Excuse me. Oh, good evening, Reynolds. You've heard the news, I suppose. We've licked Sue. You've got the railroad back. Yes, it's wonderful, isn't it? That must have been some battle at the tunnel. What battle? How do you know what happened? He sure knocked him sprawling. Didn't think he could do it, but by George he did. Who, who, who did what? Clunk Maron. Clint. Too bad about him, wasn't he? What are you talking about? What happened to him? People are looking. I'll tell you later. Do you want me to strike you? What happened to Clint? They've been hurt. Oh, but you know how he is. He can take care of himself. No, you are lying. Clint's dead. I can see it in your face. He fought for you in a dirty miserable railroad. And all the time you were... What has happened? What is going on over there? Mr. Vanstein. It's him. Maron. He's here. Clint? Look at him. Bleeding like a stuck pig. Clint! Let me through. Let me through. My, my. Mrs. Deschanfray male. Oh, Clint. You look right, right pretty. I reckon I'm a scythe. I want to see the cowboy. You stay where you are, Cupidon. Where is he? In her room. Doctor put him in there. Still unconscious? Yes. Unconscious. Plumb is graceful to us, Maron. Oh, Clint. Clint. You are going to be all right. The doctor said so. Honey. Oh, yes, my darling. Ain't never going to go away again. No, darling. Never, never, never. I was a fool. I'd never to have left Texas, honey. What? Leaving you that away. Sweetest little woman in Texas. Oh, Clint. Always so, so sweet and gentle. Let, let me wear the pants. But Clint, it's Cleo. I am Cleo. Anyhow, I kept you tight. Don't know what I'd do without that tie. I'll make your tie, Clint. Dozens of ties. Green. Forget me. Yes, Sherry. Yes. Honey, I got myself mixed up with a foreign lady. And plum ashamed. Oh, no. Please don't say that. Please, Clint. French gal. New Orleans. Oh, forgive me, honey. But I told him, Clint. I told Bart. I said I hated him. I got myself rich, too. Ain't that awful? I said I wanted to marry only you. Rich and respectable. That's me. Oh, don't punish me anymore. If you leave me, Clint, wherever you go, I will follow. I'll find you. I'll, I'll let you wear the pants. Honey, that's all I wanted to know. Come to the end of the line on Saratoga Trunk. And here are tonight's stars, Ida Lapino and Zachary Scott making a return trip to the footlights for a curtain call. Ida, I understand you've started a new fad in Hollywood. Bill, if you mean bowling, that's right. I operate a bowling alley in the picture I'm about to start, so I practice bowling every night to learn the ropes. Making much progress, Ida? Oh, I'm afraid not, Zach. It seems sort of silly to me just rolling a ball down an alley. But don't you get a thrill when you see those pins go down? Oh, that's what they're for, to knock down. I'm afraid you've got some brushing up to do on bowling, Ida. Is all this for your next Warner Brothers film escape me never? No, that's already finished, Bill, to be released this month. At which time moviegoers everywhere will have a chance to admire that very enviable luxe complexion? Well, Bill, I've always been very thankful for luxe toilet soap. It's my favorite beauty care. And that's praise from one of our favorite beauties. Zachary, I understand you play your next role for Warner Brothers picture whiplash in a wheelchair. Well, that's right, Bill. While Ida practices bowling, all I had to practice was sitting down. Trade with you any day, Zach. Tell us, Bill, what's on for next week? Next Monday night, I hope our audience is prepared to believe in ghosts because we're bringing them 20th century foxes hit The Ghost and Mrs. Muir starring two of Hollywood's finest and most talented players, Charles Boyer and Madeleine Carroll. Madeleine making her first appearance on this stage since her outstanding service in the war. Great combination for a highly entertaining story, Bill. Yes, The Ghost and Mrs. Muir presents a woman torn between an earthbound love and the spell of a highly believable romantic ghost, a play as refreshing as it is unusual. Well, we wouldn't miss it, Bill. Good night. Good night and a happy holiday to both of you. This week, Thanksgiving comes throughout America with abundant blessings, not the least of which is peace, however troubled. But for people in Europe, there is little cause for Thanksgiving. Many are hungry for the food to give them strength to work. Children are starving. As we give thanks for our favors past, let's not forget the future, ours and theirs. Let's share in every way we can the food that will help them to rebuild a vital, strong democracy in Europe that will help us to preserve the peace. Lever Brothers Company, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Charles Boyer and Madeleine Carroll in The Ghost and Mrs. Muir. This is William Keely saying good night to you from Hollywood. Here's a record of achievement American housewives can be proud of. More than 600 million pounds of fat have been saved and turned in since the beginning of the fat salvage program. But the world supply of fats and oils is still critically short, so keep on saving. Your used kitchen fats are needed just as much as ever. Dealers now pay a much higher price for every pound you turn in. So remember, when you take used fats to your butcher, you help yourself, you help your country too. Save and turn in promptly every drop you can. Heard in tonight's cast were J. Novello as Cupidon, Noreen Gamil as Angelique, Ben Wright as Van Steed, and Margaret McDonald, Herbert Butterfield, Janet Scott, Regina Wallace, Bill Johnstone, Margaret Muse, Leo Cleary, Norman Field, Tim Graham, Ralph Sedan, K. Christopher, Eddie Marr, and Stanley Farrar. Our music was directed by Louis Silvers. This program is rebroadcast to our men and women overseas through the worldwide facilities of the Armed Forces Radio Service. Our Lux Radio Theatre production of Saratoga Trunk has come to you with the good wishes of the makers of Lux Toilets soap, Hollywood's own beauty soap, the complexion care used regularly by 9 out of 10 lovely screen stars. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear The Ghost and Mrs. Muir with Charles Boyer and Madeleine Carroll. Pepsidon 1 by 3 to 1. Yes, by an overwhelming average of 3 to 1, families throughout America who compared toothpaste they were using at home preferred new pepsidant with erium over any other brand they tried. They said new pepsidant toothpaste tastes better, makes breath cleaner, makes teeth brighter. Yes, with families who made comparison tests, Pepsidon 1 by 3 to 1. Be sure to listen next Monday night to the Lux Radio Theatre presentation of The Ghost and Mrs. Muir with Charles Boyer and Madeleine Carroll. Stay tuned for my friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.