 Lux presents Hollywood radio theater brings you Barbara Stanwyck, Joseph Cotton and Chester Morris in The Great Man's Lady. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood ladies and gentlemen. One day while I was lunching in the studio restaurant I noticed a woman, a very very old woman seated at another table. I thought I knew most of the players in town but she was so striking an appearance I asked my casting director to find out who she was and something about her. I found out very quickly. The little old lady was 109 years old and her name was Barbara Stanwyck. I hadn't even recognized one of my favorite stars. That just goes to show you what a convincing performance Barbara gave in the Paramount picture The Great Man's Lady. She plays the same part tonight. The woman called Hannah Sempler from the age of 17 to the age of 109. And with Barbara we present two leading men, the brand new star Joseph Cotton and Chester Morris who's just made a direct hit in the Pine Thomas production, Ariel Gunner. In the untold story of almost every great man is a great woman. The Great Man's Lady is the drummer of one of these, a strange chapter of love and adventure and sacrifice out of the lives of two great people. Think of all the changes that a woman 109 years old might have seen from the first railroad train to the miracles of the present. Electricity, automobiles, radio, airplanes, and important everyday things like Lux Flakes, which have made life easier and more pleasant for many millions of women. The 109 years ago, that 1834, Andrew Jackson was president, travel was by stage or sailing vessel, men wore beaver hats, the ladies wore crinoline gowns, and the washing pity that poor housewife was usually done by boiling the clothes over an open fire in the backyard. The women of that day would certainly have regarded Lux Flakes as a new form of magic. And it's still magic, but not new to most of you. Now the curtain rises on the first act of The Great Man's Lady, starring Barbara Stanwyck as Hannah, Joseph Cotton as Ethan Hoyt, and Chester Morris as Steely. Behind the deeds of every great man, you will always find a woman hidden in the shadow, working with him, striving for him, urging him on. No man is ever really great without a woman at his side. These are the words of Hannah Hoyt, age 109 years, wife of the long departed Ethan Hoyt, the great man for whom a great Western metropolis was named. On this spring day, in the year 1941, Hoyt City celebrates the memory of its founder. In the park speeches are made, the band plays, and the people sing. The Great Man's Lady is not attending the celebration. She's retired behind the drawn blinds of her old house. Here she's lived in peace for the last half century. Now the quiet is broken by the clamor of the press, reporters from all over the country who invade her power. Come on, come on. We want to see Mrs. Hannah Hoyt or Hannah Steffler or whatever she calls herself. She ain't seeing nobody. Tell her the president's here. I don't call her. Well, tell her again. Go on. Here she is. Get affected, Jerry. Older, Mrs. Hoyt. Thank you. Good afternoon, gentlemen. To what do I owe this peculiar honor? One more picture, please. Look this way, Mrs. Hoyt. My name is Hannah Steffler. Why are you in trouble here? Well, I suppose you know what day this is. Yes. It's Ethan Hoyt's day. The whole city is celebrating. They're unveiling a statue of Senator Hoyt at four this afternoon. Yes. Will you be there, Mrs. Hoyt? Miss Simpler. Sorry, do you expect to be there, Miss Simpler? No. Why not? You were his wife, or were you? Wait a minute, Miss Simpler. I'd like to apologize for all of us, for our rudeness in breaking in like this. You don't forget our rudeness. It's the public who's broken in. The public in whose eyes Ethan Hoyt has grown to the size of a national hero. The public, sir. You are the public. Miss Simpler, we come here seeking the answer to a great human enigma. A matter of history. Were you married to Ethan Hoyt? And if not, why did he die in your home? Was his real wife there? If you and he had any children, where are they? You see, Miss Simpler, if your claims are true, it would make him a bigot. We ask you to prove these claims in the public input. The public? You weren't the public. The public is made up of millions of private homes like mine. In our homes, we draw inspiration from the memory of our great men, like Senator Hoyt. You want to destroy that memory. You'll seek nothing but scandal, but you will find none here. I bid you good day. She can't prove a thing because her story is just a pack of lies. She's an old windbag trying to crash the limelight. Oh, stop it! You ought to be ashamed of yourself. Can't you see she's helpless and all alone? She's a very old lady. Yes, it's true. I am old. Very old. But I've made no claims, I've told no lies. Whatever I know is a matter of my own private history. That is all. Okay, Miss Simpler, let's go, Jerry. Miss Simpler, you came with the rest of them? What are you waiting for? Because, because I... Yes, I know. You've got a public too? Not yet, but I will have. I'm a biographer. Oh, what? I'm writing the life of Senator Ethan Hoyt. Oh, nice job. You like your work? I think he was one of the most... One of the most wonderful... Yes, so do I guess I ought to know about that. Oh, then you have to help me. I've got to know what part you played. Were you married to him? Did you have a child? Or I've got to know all sorts of things. That's why I had to see you. Oh, look away, girl. There's nothing much to see. Just a hundred or so years of memories. They ought to have been buried years ago. I can't really say that. I'd like to live to be 200 years old. And you and I both be old ladies. We could compare, no. You come back in a hundred years, and I'll talk to you. Then you won't help me? Any good reason why I should? No. Yep. I'm sorry. I'll go now. Yeah, girl. Oh, wait a minute. Oh, are you crying? One of the meanest things about growing old is... you forget how important everything seems to young people. Yeah, come over here and sit down. I'm all right, Miss Semper. Sit down, I said. You know, girl, you need more comption and spirit. Yeah. Now, where'd you say you learned about Ethan Hoyt in books? Oh, prove you. You'll never learn a man out of books nor a woman, either. Men were different in those days. Men like Ethan. There was a band playing in his heart and the devil in his eyes. And I... I was a very young lady in a stuffy Philadelphia house in the year 1848. I met Ethan before, once or twice. But the time I remember best was the night he came galloping up to my father's house. I saw him from the upstairs window, galloping back from the west. I felt right good. Good evening, Miss Semper. Hello. Hello back. So I see. Well, come down and welcome me home. That's what you've been waiting for, isn't it? I haven't been waiting for you, Mr. Hoyt. I've just been looking at the moon. There isn't any. Oh, good night, Mr. Hoyt. Cousin Bettina, did you see him? Well, I must say, Hannah. What's the matter? Making a public spectacle of yourself. Oh, don't be stuffy, Bettina. Did you see how he smiled? A gentleman would never have dared. Gentlemen, you mean like my Mr. Cadwallader. I dare say he's never smiled in his whole life. Hannah! I almost died laughing when he proposed to me. Miss Semper, I have the great honor to address myself to your favor. Your father and I are thoroughly aggrieved. Hannah, that's not very ladylike. What's not? Making fun of the man you betrosed to marry. Oh, rats, he's really betrosed to my father. Hannah! Well, they made the agreement not high. Parents, no better. How do I look, Bettina? You know, I think he likes me. Who? He's in Hoyt, of course. Hannah. Well, he smiled, didn't he? He always smiles. Every time I see him, he smiles. That's because he's a ne'er-do-well. Uh-huh? Mama says he lives with the Indians and smells like a buffalo. All prove it. Well, he makes his clothes some dead animals. That isn't buffaloes. It's all the same. I think buffaloes must smell lovely, like the fresh air in the sun. Good night, Bettina. Have a good sleep. Where are you going? Downstairs. But you can't. He's down there. That's why I'm going. Hannah, sit down. Downstairs. Well, don't go in the library. Why not? Because there's having a big private consablation in there. But, Delilah, I need a book. Are you going to need two books when your father catch you eavesdropping? They ain't going to be in your hands, neither. Oh, dear. Now, don't be going. There he is, Delilah. Oh, isn't he? Oh, my God, come away. Gentlemen, I wish I had the power to make you see it with my own eyes. Two great rivers of the West coming together like an arrow, like a sign from the almighty gentlemen pointing out the natural sights of a great new city. And a public building, gentlemen, all grouped around a great square filled with fountains and trees. And behind the city, a hill. On the hill, home. Home, gentlemen, filled with light and air. And the country itself, the West, certainly, I had the power to describe it. A virgin land is lovely as an unexpected smile. As beautiful as... as that young lady in the doorway. Good evening, ma'am. Hannah. Good evening. What are you doing down here? Oh, I'm sorry, Father. I thought you might like some branding. Good evening, Mr. Samplo. Mr. Cadwalader. Mr. Hoyt, this is my daughter, Hannah. Miss Hannah and I have met there. Oh, when? Well, the last time I was here. Oh. My daughter has been told to Mr. Cadwalader. Oh. Oh, I see. Well, your health, Miss Hannah. I'm sure you'll be very happy. Oh, thank you. You may leave, Hannah. Yes, Father. You were saying, Mr. Hoyt? Oh, the truth of the matter is, Mr. Samplo, I need your help, money and supplies. I came to you because, well... Because no other business firm would carry your risk. Because you knew my father, Mr. Samplo. Yes, and have respect for his judgment. You're the man of great vision, sir. Exactly. Enough vision to say no to a venture like this. Exactly. You mean that... I mean no. But there is talk of a railroad. Don't you, I don't mean realize what you're doing. Talk of expanding the country. The country is large enough as it is. Large enough, I agree. Yes. Well, you listen to me, Mr. Samplo. You too, Mr. Cadwalader. This country is going to be bigger, a whale of a lot bigger. There's 2,000 miles of America out beyond the Mississippi. Land and riches beyond belief. But it's not going to belong to men like you. Men who won't take a risk. It's going to belong to men who aren't afraid. Men with luck in one hand and risk in the other. Oh, you're so right. You're so absolutely right. Yeah. I told you to... Excuse me, gentlemen. But father, I... Come upstairs at once, miss. Well, what? What was that he picked up on the way out? I believe it was a switch, sir. A switch? Do you really think he's... Huh? I do indeed. You really believe in that sort of thing? He's a very headstrong young girl, Mr. Hoyt. Oh. Now, I suppose after you are married, you really intend to... Oh, yes. Help maintain the home. Oh, I see. Of course, that's where I come from, a woman is. You have women out west. Oh, yes, son. Yes, but mostly Indian squads, I presume. Mostly. Only the Indians have that. I've heard otherwise. Well, don't let me influence you. Exactly. I suppose that you... I spend most of my time with cattle. But the women, I suppose... We rope them. What? Rope them, Mr. Cadwallada, and brand them with hot irons and hang them on forked sticks over a hot fire. You're joking, women. Cattle, Mr. Cadwallada. Oh, I thought we were talking about women. Women. Why have we had women like you have back here? We treat them like queens. Sorry, gentlemen. Mr. Hoyt, I'd ask you to remain for a couple of minutes. I understand. Now, just one thing more. About the matter of risk. I don't want you to go away with the wrong impression. We take risks every day. All right, this very year it's a fair risk as we'll make only 10% profit instead of 12%. All right, gentlemen. I think you've both lost something. My odds are all or nothing. Good night. He didn't leave Philadelphia right away. I caught a glimpse of him what was brushed in his buckskin, galloping about town on his great black horse. And then one night, there was a momentous time. I was lying in bed when I heard a noise at the window. What do you mean by... Go away. In the morning. For goodness' sake, will you please... I mean, I'm going for good. Oh. Come down. I want to say good-bye to you. I can't. You'll wake everyone up for the... Come down. I'll wake the dead. Are you crazy? I believe you are. Coming down. Of course not. I can't. Come up here. No, no, wait. Oh, I'd like a dress. I'll come down. Funny. He's done thought he was talking me into something that night. There I've been setting my cap for him. And he didn't even know it. Poor he's never had a chance. Night tonight? Yes. But it'd be pretty here. Moonlight and everything. Yes. They say a full moon makes people do strange things. Yeah, I guess so. Like it's not me here at all, not really. No, I... I think we'd better go. Do you feel strange too? Mm-hmm. You're afraid of something. Mm-hmm. Of what? I don't know. Yes, I do. You shouldn't be here, Hannah. Well, of all things. Did I ask for time? No, no, no. I mean... Come on. You know what I mean. I can. I might be. You know I'm in love with you. Oh, no. Believe me, Hannah. Maybe. Got to. I won't have a chance to say it again. Do you love me? Maybe. I think you do, Hannah. Oh, you've been here. You know something? You don't smell at all like a buffalo. Don't I? No. Why? You're crying. Well, I've got a handkerchief. Here, let me have it. Now, look up here. What are you crying about? I don't know. Because I'm leaving? I don't know. Hannah. Hannah, may I keep your handkerchief? I'd like to take it with me. Something with you. Oh, you think? Take me with you, too. Take me. And we joined the wagon train on the west bank of the Ohio. We were married out in the middle of the prairie land with the wagon train passing by. And the storm was gathering overhead. For the good Lord, strike the tender. What man would join? I can't find the place. Just hit the high spot, Boston. The rain's almost here. Yeah, I'm here. It's coming. Maybe I can do it without the boat. Go ahead. Oh, hand. I do. And do you have a taste of this land to be your lawful wedded husband? Join them, whatever. Yeah, whoa, boy. I've got to take care of the horses. Well, we haven't much money. Would a plane one be all right with you? Sure, sure. I got to wait and sit here. What's Ethan's last name? Ethan Hoyt, H-O-Y-T. H-O-Y-T? Yes. Hannah Sampler, S-E-N-T-L-E-R. Sampler? Then Barbara Stanwyck, Joseph Cotton, and Chester Morris in the second act of The Great Man's Lady. Now it's intermission time, so let's go along with our reporter, Libby Collins, as she talks to Mary Sue, a wartime bride. Your dress is a dream, Mary Sue. Thank you. It's cotton. I chose it especially so I can wear it summer evening. It'll pack beautifully, too. Talk about packing. Let me show you my trunk. My goodness, what are all these things? My home, if you please. Everything I need to dress up one room. Let's see. Colored table linens? Aren't they pretty? And here are curtains. Even a couch cover and a pillow cover. And a string rug. And all these other things, see? Why? You can have a home anywhere. Well, that's what I want, with Bill and me on the move all the time. And I can always use everything thick and thin, too, because all these things are luxible. That's right, Mary Sue. Lux makes living out of a trunk or a suitcase a lot easier. You don't have to take so much with you when you can freshen things so easily. And your things will stay bright and new-looking longer when you stick to gentle, new-improved lux for their care. It's the mildest, gentlest lux ever made. Super safe, not only for pretty dresses like Mary Sue's, but for your colored linens and curtains. All your household washables. Lux things last longer. Yes? Lux things last longer. And lux lasts longer, too. Gives you richer suds, thrifty suds that do more work than ever. Get new-improved lux flakes tomorrow. It comes in the same blue box you know so well. But now, it's better than ever. New-improved lux flakes. Now, our producer, Mr. DeMille. Act two of The Great Man's Lady, starring Barbara Sandrick as Hannah, Joseph Cotton as Ethan Hoyt, and Chester Morris as Steely. From the pinnacle of more than a century of life, Hannah Hoyt looked backward to the year 1848, to the time when she and Ethan rolled westward in a covered wagon to pound a great city on the barren prairie land. Most of the wagons were going through the gallows, wood, and gems of gold. But we left them at Fort Scott and turned off on the trail for Hoyt City. Whoa, whoa, whoa, there. Ethan, are we going to stop here? Looks like a good place to camp for the night. Can't we go on? There's a river bed just ahead of here. I want to risk a flash flood during the night. No, no, I mean all the way on to Hoyt City. It's only six more miles. Well, look, Hannah, there's something I've got to tell you. Won't it wait? No. I mean you take the morning. Things look brighter. What thing? Well, Hoyt City. Oh, don't worry about that. The way I feel right now, Hoyt City will look like Philadelphia almost. Well, that's what I mean. You mean it wrong? Well, not exactly. Oh, I don't expect it to. But just imagine a real bed to sleep in, people, lights, hot water, and clean clothes. I know, Hannah. A home on the hill overlooking the city. A public square filled with fountains and trees. What kind of trees, Ethan? Oh, no, don't tell me. I like surprises. Oh, well, that's fine. I got my surprise all right. Hoyt City in 1848. One tree, an ankle deep in mud, and a series of ramshackle wooden buildings. That's all. Oh, yes. There were four looms. Well, here we are, Hannah. This is it. Yes, Ethan. Oh, I'm sorry, Hannah. I wanted to tell you before. I know how it must have sounded like I'm just a plain liar. No. You were just seeing it the way it's going to be, that's all. A great city can grow here, Ethan. You really think so? We'll build it. You and I. Sure we will. People will help us. That's how I meant it. But it can really be like a city glittering in the sun with towers like silver and gold. And people, Ethan. Thousands of people building something all new and shiny. Hoyt City. Hoyt, your city is nothing but a jumping off point for the Goldfields. You ought to see that. You've been here a whole year now. Where's the building that was going to start? Where's all the people? Mr. Frisbee, if the railroad came here, we'd... My dear Mr. Hoyt, railroads cost money. So far you haven't been able to raise a penny. You mean you won't put it up either? Is that it? Well, now I can say that. I've come all the way from the east to look this thing over. I don't enjoy wasting my time, Mr. Hoyt. All right. What do you want? I want Hoyt City. A fair share of it. Say, three quarters of the land. A cat. It's mine. Sit down, Mr. Hoyt. You're in no position to argue. Now, what's that? Indians? A rabbit. Again for dinner. Oh. Oh, uh... Now look here, Hoyt. I brought all the paper. You just put your signature here and you'll get your arrow. My wife won't listen to it. Your wife? What's she got to do with it? She owns that. Then get her to see it our way. It's to her own advantage. You see, Hoyt, I happen to know her father. Pine man. Pine Philadelphia home. What's she becoming out here? A crack shot, among other things. And she deserves better. Give her back what she has. A real home. Clothes. You don't want her to turn into one of these scary women, do you? Evening. Oh, uh, Hannah. This is Mr. Frisbee, uh, my wife. Oh, uh, good evening. Howdy, Mr. Frisbee. I've got to clean these here right about the evening. Oh. Hannah, Mr. Frisbee wants you to sign this paper. Let the rabbit wait. This is important. Nothing ain't important as it is, either. Hannah, stop this foolishness. It's just a matter of your signature, Mrs. Hoyt. The land transfer, Hannah. You mean you want me to sign it, Ethan? Yes. But I forgot how to write. Mrs. Hoyt. I'm a prairie woman, Mr. Frisbee. Is this here the paper? That's right. It's the... Mrs. Hoyt, you're carrying up the agreement while you... Now get out. Get out of here. Get out of here. Mrs. Hoyt. Go on. You miserable little sticky... You rabbit. Close that saddle. Oh, I don't think your Mrs. Frisbee will bother us for a while anyway. I won't fill the railroad either. Ethan, you mean you really wanted me to sign it? Not a matter of what you wanted. It's a matter of fact. Hoyt, silly as a failure. I can't believe it, Ethan. Look at it, Hannah. I can't believe that you can change like this. Give up so easily. Not me. Here, I'll show you. Look at your hands. A year ago they didn't look like that. But I don't mind. I wanted to fill them with diamonds and gold. You will. Ethan, I had a dream. So did I. No, I mean a dream about gold. Gold? Oh, maybe it sounds silly, but I really did. A misty sort of dream about a mountain of gold. A black mountain with a sunny peak like a beckoning finger in the sky. It seemed to be California. You mean you want to go? Tomorrow. We'll come back, Ethan. With our pocket-boving gold flowers for your hair. Welcome back to Hoyt City to finish what we've begun. We had hundreds of dollars to our name that we needed a thousand. Ethan went down into town to see how much he could raise. He got as far as the second saloon. And then he ran into Steely Edward. Steely has ran a month ago. Right over here, friends. Try your luck with Steely Edward. You can't lose without trying. It's all in the cards. Three card money. The game's crooked. The cards are fixed. You can't win. Step right up. I take no bets from paupers, widows, orphans, or cripples. Go ahead, Ethan. Take a chance. Who's Ethan? Well, Ethan, want to lose your money? I've got a hundred dollars on the ace. I am the ace, friend. Now watch closely. Here it is. Now here. Here. And now where? Here. No, friend. Here. Oh. I told you you can't win, friend. You're beaten before you stop. I'll try it again. For what's sake? My horse. Your horse? Very foolish. I am the ace, friend. Now watch closely. Here it is. Now here. Now here. And now where? Here. It's called soup. There. It's here. Now suppose we try it once again. I've got a work horse. A work horse. Well, here we go again. Now watch the ace and watch his horse. Thanks, fella, for about everything he had, Dealey. Did you go up and collect those horses? Yep. Got the rest of the stuff, too. I'll check it off against the list. Two horses. Two horses. Two cows. That's right. Chickens. Animal voice. I wasn't counting on you, madam, but I assure you, after I get the animal to set it down for the night. I didn't come here to talk nonsense, Miss Edward. You'd better be careful. You know, that gun might go off. Yes, it might. You're a very frightening young lady. I want everything you took from my husband. I want it all back. Well, naturally. But that's contrary to the sport. Sport? You call it sport to cheat a man to take advantage when he... Oh, no, no, no. He was only slightly, madam. Besides, he enjoyed losing. You know, that's what Monty is for. To give enjoyment to the working man. I want everything he lost. Would you really shoot? Try, ma'am. No, sir. No, madam, you're welcome to the livestock. But as for the money, I don't see your view for it. I want that, too. We need it. So do I. I'll tell you that. I won't give you the money back, but I'll pay you for it. Against what? Against, uh... Nothing to offer. Nothing. Oh, don't be so modest. You know, a pretty woman always has something to offer. Let's, uh...let's say a kiss, shall we? If you think you... Otherwise, you'll have to shoot me. Very unprofitable. Well... All right. But I'll shuffle the cards. Certainly, your deal, madam. I've gotten everything back. Of course, dearly, let me win. And then Ethan and I went to California. For eight wonderful, terrible years, we wandered up and down the Pacific coast. Wonderful times when Ethan and I were together. Terrible times when he was away. And every time he came home, there was Tilly at least. He stayed long after me for eight years. I...I can't say I mind as much for something wonderful about Tilly. As far as it went, I love Ethan too much. Come on, Hannah, get your hat. I bought two tickets for the concert tonight. I can't go, Tilly, but thanks. Oh, thanks. You know, that's what you always say. By this time, you ought to know what I mean. I don't know. All I know is... Tilly, do me a favor. Anything. Go down to the Pharaoh house and leave me alone. I thought you said you didn't like gambling. Well, I don't call it working for a living. I suppose Ethan never gambled in his life. That's got nothing to do with it. That's just the point. Great she is. He hasn't had anything to do with anything but himself. Except when he comes home for a bath and it changes clothes, that's all. I'm sorry, Tilly, but you deserve that. Yeah. Yeah, I guess I did. Anyway, those eight years are over. Things will be different now with Ethan and me. I'm going to have a child. A baby, huh? Well, that's fine, Hannah. That's great. I guess you won't be going anyplace for a while. No. Well, I'll run along. Good night, Hannah. Good night, Tilly. Oh, is that you, Hoyt? Yeah. So you're back, huh? Well, welcome home. Thanks. I figured you'd be glad to see me. Did you have luck this time? No, did you? I'm not so sure I get that. Suppose I explained it, or maybe you'd better explain how it is I happen to run into every time I come home. You'd better get inside. Hannah's waiting. Come here. Now, you take your hands off, friends. We're going to settle this thing right now. That's all right with me. But I think I ought to tell you. I never carry a gun. Lucky for you. Get out of here and stay out. Have some more coffee, Ethan. Oh, it's wonderful to have you back. I've got so much to tell you. Ethan, I'm... Oh, Hannah, we'll keep. Oh, not the first. Then save us the morning, William. Don't. Got a spare bed for the miner down on his luck, Mrs. Hoyt. Yes, of course. Good. Your bed's all ready. I've just got to turn down the covers. Oh. Was there anything doing this trip, Ethan? No, no, no. Same old story. A little gold, but you can't get it out of that blue stuff. Dickie has a pitch. Blue stuff. Some people claim it's silver, but they're crazy. Just get them away. Lie down, darling. I'll take off your blue stuff. Well, watch out. It's all over them. Blue clay. Oh, that's messy, isn't it? Yeah. Strange country up here. Virginia City. A black hill called the Sun Mountain. Like a finger beckoning from the sky. My husband, it was on his boot. I thought I'd take a chance and have it assayed right away. That was no chance. This stuff is silver. Silver? It's literally solid. It'll run $5,000 for the tons. Would you? I've got to see him right away. Right over there at the bar. Oh, thanks. Stealy. Stealy. My Hannah. Where is she? I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. Your Hannah. Well, that's your service, madam. Stealy, listen, we're rich. Well, good. Who? Ethan. Even in me, he found silver Stealy. Tons of it. Tons of silver. I've got to get him out of town now tonight. The word's going around. They'll mar them to find out about it. Can you lend me some money? For him? For me to buy the mines. I'll pay at that. Oh please, Stealy. Every cent I'll scrub, I'll crook. I'll pay it all back. And you're going to stay here? Yes. And he'll let you stay? Oh, he doesn't know about the baby. I can't tell him. He wouldn't go now to be new. Go, not if he knew. You, you wouldn't go see me. No. Oh, don't you see, it's a chance. It's what he's been looking for, rubbing and digging his way through the mountains for eight years. He's got to go steely, alone. If some woman ever felt like that about me, if her name was Hannah, how much do you want? Oh, steely, steely, thank you. Ethan, wake up. Ethan, listen. What is it? What's the matter? Quick, the whole town's on its way here. You've got to get out. Silver, that blue stuff on your booth. Silver. Solid silver. Here, put them on quick. They'll be here any minute. Go out the back way. Here, take this. What is it? Money to buy the mine. Money to buy? Where'd you get it? Oh, Harry, Ethan, don't stop to argue. Where did you get it? Steely Edward. That's what I thought. You're coming with me, Hannah. No. Why not? I can't. Why not? I can't tell you, Ethan. You can't tell me. Well, maybe I can get. Look at me. You can't tell me. No. Then I know. Oh, Ethan, please. Well? You can't go like this, thinking what you're doing. What else am I to think? What else? Ethan, they're here. You have to go. All right. Tell Edward he'll have his money inside a week. Oh, no, no. You can't come back in a week. You'll have to stay. I'll send the money. I'm not coming back myself at all. Goodbye, Hannah. Ethan. Goodbye, Ethan. Good luck. For now, for station identification, this is the Columbia Broadcasting System. Before Mr. DeMille presents Act 3 of The Great Man's Lady starring Barbara Sandwich, Joseph Cotton, and Chester Morris, here's another round of our conservation quiz, questions on how to help clothes last longer by caring for them correctly. Here's our first contestant, Sally, Mrs. William Johnson of North Hollywood. And our first question, Mrs. Johnson, is should a girdle be left once a week, several times a week, or once every two or three weeks? Several times. Several times a week is best if you want to get the best kind of wear from it. If soil and perspiration are left in the fabric, they tend to weaken its elastic quality. Luxing takes away soil and perspiration very gently. Helps girdles last and keep their fit longer. And Mrs. Johnson, you'll find this box of new improved luck flakes will last a long, long time too. It's very thrifty. Well, that leads right into our second question, Mr. Kennedy. And Mrs. John Sutherland of Los Angeles will try to answer this, Sally. Now listen carefully, Mrs. Sutherland. If two tablespoons full of luck will wash the days under things in stockings, just two tablespoons full, how long will a large box of luck flakes last? 14 days or 28 days or almost two months? If you're not sure, take a guess. 28 days? Oh, no. One big box of new improved luck will do stockings and undies every single day for almost two months. That's practically all the rest of the summer. Don't forget that your slips and other undies will wear better, look new longer, when you wash them the gentle luck way. Follow the directions right here on the box, Mrs. Sutherland, and you won't make any slips in washing. You'll save two ways. Luck things last longer and luck lasts longer too. It comes in the same familiar box, but it's better than ever before. New improved luck flakes. Now Mr. DeMille returns to the microphone. You're invited to meet our stars in person after the play, but now the curtain rises on the third act of the great man's lady, starring Barbara Sandwick, Joseph Cotton, and Chester Morris. Hannah Hoyt has paused in her story. Dreaming of the past, her eyes close as if in sleep. The girl reporter waits for a moment, then gently touches the old lady's hand. Mrs. Hoyt, I'm not asleep tonight. Mrs. Hoyt, the baby, was it ever born? Oh yes, it is indeed. Young Aidan was born in the summer of 1815. It was just two, the year of the sacramental flood. The flood, during that? Well, the people started to visit the town one night in December. I'd just been a snacking when Steely Edward came to the house. Steely! Get out of the rain. Oh, you're a god, Sam Steely. I had no idea it was this bad. Take the baby, help us down to the boat. The boat? We're going to San Francisco. That's where you're going, isn't it? Yes, yes, but... Oh, but come on, you always said you wanted to take me on a trip. If you wait any longer, it'll be too late. It's been too late ever since I met you the first time, Hannah. What do you mean? You're not going to San Francisco. You're going to Virginia City, where he is. Oh, no, no, Steely, I can't. Why not? I've never even heard from him. Now, look, Hannah, you love him. That's all it matters. All your life you've gone back to. Come on, swallow your pride, do it once more. You see, young Ethan's never heard from him, either. Have you taken for me on the stage to begin this journey? All night he travels through that door, the horses boundary and mud to the knee, and then he's towards dawn, and we reach the bridge. Yes, sir! We'll never get across this bridge. Just put under water right now. Let's drive and swim. All Ethan has to do, their mother's here. But if you don't, it's all right, do you think? We're going to see Daddy, in case you're going to see your daddy. Stop! Stop! The river! You're never going to get us back! Get off the bridge! Get off the bridge! Get off the bridge! Come on, come on! He's 83 years old. He died that morning in his life. There was no use in going on until the finished his life. Ethan had heard about the child, and he thought I was dead too. A year later, I found out that he couldn't have married again. But I know now what your man from his head has come back in a hundred years. A hundred years of greatness and heartbreak, of sorrow. I went to San Francisco then to work in a steely Edward's place, the Crystal Palace. I was still there in 1868 when a gentleman flying at one of the tables asked to see me. The gentleman was my father. Steely's office. I'm so glad to see you, father. I thought of you. Stop the camera. I came here with a business proposition nothing more. Oh, what? Everyone thinks you're dead. So did I until today. I want you to remain dead legally. I don't know what you mean, father. You still call yourself Hannah Hart. Yes, I'm married, do we? But he's married to J.B. Dawson's daughter back in White City. Here's a prime reputation. A fine home, a son. A son? Hannah, I want you to change your name and go away, far away somewhere. I'll make it worth your while. It means everything to me, everything. If you don't do it for me, do it for Ethan. He's in trouble enough now on the least breakfast. I will ruin him. Dawson and I need him in Congress. He's running against a hothead from White City, a dreamer who thinks that building White City is more important than building a railroad. My great Scott of Ethan's not elected. I hate to think what it would mean for all of us. Please go. Please go, father. For the last time, please go. Very well, Hannah. The house wins, gentlemen. The house always wins. Place your bets, please. Steely, I want to speak to you. What's the matter? I'm going back to White City. No more bets, gentlemen. Is it Ethan? Yes, he's in trouble. He needs me. Double, gentlemen. The game is against you. Better luck next time. Better luck yourself, Steely Edward. Yeah. Thanks. Goodbye, Hannah. Goodbye. You know where I found Ethan? In our little cabin. The house he had built for me. He had come back to our home to be alone and sing. Hannah. Hannah, is that you? Yes, Ethan. This afternoon, I thought I saw you in the crowd when I was speaking. Yes, I didn't die. I was bringing you your son. My son? Yes, Ethan. Forgive me, Hannah. I failed you. I've always failed you. No, you've gone forward the way you were supposed to go. That's what I wanted for you. I'm like a blind man now, Hannah. Man in the dark. No, you'll see again. You'll see what you yourself used to see better than any man on earth. A fine, bright world. We started to build it once. It's not as simple as that. I've changed. I came back here alone and tried to build what we dreamed together, you and I. There's no good, Hannah. The heart was going out of me. I took the easy way, just like I've always done. Except when you've been around to keep me straight. And now you're in trouble. I'm in just as deep as the rest of them, corrupting judges and legislators to get what we want. Money is the great power, Hannah. And my money is tied up with the railroad. If I fight the politicians now, I'll be fighting myself. But that's right. That's what you must do. You've got to help me, Hannah. I can't do it alone. You're not alone. You have a family. Yes. As you too, Hannah. No, I'm only... No, you're not. I've divorced you. Where? Before I came here. Or not because I don't love you. I always will. But because our marriage was the only weapon they could use against you. I won't let you do this, Hannah. You've got to. And you've got to work for all the things we dream together. Speak for the truth and fight for it. Speak for all the people to hear. Help them to build something fine and free. A country that... that your little boy... that all our children will be proud to inherit and live in. If only we were beginning all over. Spring never comes again, Ethan. Ethan went on from there. Went on into greatness and glory. Fused his greatness like a beacon to give men hope. Men in buildings, cities and a nation. Do you mind if I say something? No, no. Speak ahead, girl. I think that statue in the park is the wrong person. It ought to be you. Oh, nonsense, girl. Behind the deeds of every great man he will always find a woman hidden in the shadows. Working with him, driving for him, urging him on her. No man is ever really great without a woman at his side, but the woman is only a helping hand. What Ethan did, he did alone. I never saw him again until he came back home in 1906. He stood in the doorway one new spring morning. His hero, Silverie, in the sunlight. He was holding out his hand. Smiling at me. So sad. I've come back, Hannah. I've come home to die. The people heard he was there in my house. They came to pay him homage. You did just fine, Ethan. Fine. You gave me the strength and the courage. But you did it alone, Ethan. All alone. No, no, no, Hannah. You were with me every step of the way. I wanted you to be proud of me. I am proud of you, Ethan. Prouder than a cat for this. I've got no kitten. Hannah. Yes, Ethan. Yes, Ethan. On the 20th of March, 1848, Ethan Hoyt and Hannah Simplest were united in the holy bond. I'm not going to write his life, Ethan Hoyt. I know you wouldn't ever run along, girl. You've got a hundred years of your own to live. Yes, you can take it. Goodbye. Goodbye, girl. On the 20th of March, 1848, Ethan Hoyt and Hannah Simplest were united for every reason. No one can change. We'll be back for a curtain call in just a moment. Tonight in North Africa, in the South Pacific, the Aleutians, all over the globe, Americans are fighting. If by doing one small thing here at home, you could send them more ammunition, more medical supplies, would you do it? Are you doing it? The thing I mean isn't exciting. It isn't glamorous, but it is important. It's collecting waste fats and greases from your kitchen and turning them in for salvage. Every spoonful of waste fat you can spare is needed. It contains glycerin, one of the things used in making war materials. One tablespoon full of waste fat saved a day adds up to a pound a month. Enough to fire four anti-aircraft shells at an enemy bomber. Well, here's what we do at our house. First, of course, we use what fats we can for frying and so on. Then, when we're through with them, we strain them into a clean, tin can. Any kind of a fruit or vegetable or soup can. Then we take them to the butcher and he turns them in to be made into gunpowder and other things our army needs. The cans you turn in will be salvaged as well as the fat, so don't use glass or paper containers that break or leak. Remember, every spoonful of waste fat you turn in is important. Save every bit. Turn it in promptly. Your butcher will pay you cash for it. And within 21 days, the fat you turn in will be helping to provide both ammunition and medical supplies for our men on the fighting front. Now, here's Mr. DeMille with our stars. Three good troopers through back to our microphone now. As curtain call time comes for Barbara Stanwyck, Joseph Cotton and Chester Morris. How does it feel to play the part of a woman 109 years old, Barbara? Wonderful, Joe. Just think I could be Settleby DeMille's grandmother. Well, what beautiful eyes you have, Grandma. The better to see that TV is flashing. I'm just sunburned. See, Barbara, when the tip of my head gets sunburned, it's rather obvious. Things like that could break up a whole play, Mr. DeMille. I remember a story my father once told me about an actor who was playing a very tragic scene on the stage about 50 years ago. The audience was weeping copiously, including a small boy with long golden curls who watched the play from the wing. But in addition to crying, the boy was eating taffy, and the tears in the taffy were running down his face together. And just as the star said goodbye forever to his leading lady, he saw the tears in the taffy, and he couldn't stand it. He giggled right in the leading lady's face. Who is the actor, Chester? It was my father, William Morris. And the great artist, too. I wonder whatever happened to the kid with the long curls. I don't know, Joe, I think he went into pictures or something. His name was Cecil DeMille. And he had long curls. Are you kidding? Time, time has changed. You know, Barbara, a lovely lady who was actually in that scene is here in our theater audience tonight. Chester's mother, Mrs. William Morris. Oh, I wonder if she recognizes you, CB. Maybe I'd better change the subject. What's next week's play? One of the biggest comedy hits, Broadway and Hollywood, has been in years, Barbara. It's My Sister Eileen. And our stars will be Rosalind Russell, Brianna Hearn, and Janet Platt. My Sister Eileen is the story of two girls from the Middle West and their adventures in the wilds of New York. The play ran for two years on Broadway. Next Monday night, we'll have the same three stars you saw in the Columbia picture. Rosalind Russell, Brianna Hearn, and Janet Platt. Sounds like standing remotely, Mrs. DeMille. Good night. Good night. Good night. I hope you're all ready to be 109. Ladies and gentlemen, the Lux Radio Theater has again been named as Radio's best dramatic program in movie radio guides, annual poll of listeners. To you, our audience, who gave us this honor, and to the editors of Movie Radio Guide, we send our thanks and a promise. A promise that the Lux Radio Theater will continue on the same standards that won this distinction. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night. And the Lux Radio Theater presents Rosalind Russell, Brianna Hearn, and Janet Blair in My Sister Eileen. The success will be developed saying good night to you from Hollywood. Barbara Sandwich next picture is the Universal Production for All We Know. Joseph Cotton appeared tonight by arrangement with David O. Selznick, and will soon be seen in the Universal Picture, Hers to Whole. The Great Man's Lady has been presented tonight through the courtesy of Paramount Pictures, whose current production is Dixie with Bing Crosby, Dorothy Lamour, and Marjorie Reynolds. Buried in tonight's play were Faye McKenzie, Norman Fields, Catherine Wiley, Roland Drew, Ruby Dandridge, Charles Calvert, Ernestine Wade, Leo Cleary, Fred Mackay, Charles Seal, Robert McKenzie, and Leon Ladoo. Our music was directed by Louis Silver. And this is your announcer, John M. Kennedy, reminding you to tune in next Monday night to hear Rosalind Russell, Brian Ahern, and Janet Blair in My Sister Eileen. Folks, if you're not taking vitamins, summer's a good time to start. And here's your chance to start absolutely free. Just send your name and address to this station for your free sample of BIMS. BIMS are the amazing vitamin mineral tablets that give you all the essential vitamins and all the minerals commonly lacking. Remember, for your free sample, send your name and address to this station. Ask for your free BIMS. Offer good in USA only. This is the Columbia Broadcasting System.