 Lux presents Hollywood. The Lux Radio Theatre brings you Warner Baxter and John Bennett in stand-in. Ladies and gentlemen, your producer, Mr. Settle B. DeMille. Greetings from Hollywood, ladies and gentlemen. And perhaps I should add apologies to Hollywood for the gentle kidding we're about to give our hometown tonight. We're going to take you inside Hollywood, into the sound stages, offices and dressing rooms, for a rollicking story behind the camera that matches all the thrills, comedy and romance that usually go in front of the camera. And our chief exhibits are two stars who are equally at home in both places, Warner Baxter and John Bennett. It all comes under the heading of the play stand-in. And for those who are not familiar with that curious word, a stand-in is one of the little people of Hollywood. Somebody who merely stands in for the star while the cameraman is getting his focus and who never appears on the screen at all. But tonight, a star stands in for the stand-in with John Bennett playing the part and with Warner Baxter, a rather bewildered banker to whom she teaches a few tricks of the trade. The master hand of Clarence Buddington Kelland wrote the original story and Walter Wanger made it doubly famous with the motion picture from which our play is adapted. So all signs point to the kind of evening that brings the kind of comment we like to get. Comments such as this letter that came to my office the other day. It reads, this is the first time I've written to the producer of a radio program, but this letter to you is long overdue. First, because I've enjoyed the plays in the Lux Radio Theatre for five years. At its high time, I thank you for the inspiration and enjoyment that they've brought me. The second reason for this letter is Lux Toilet soap. And I know it's high time I thank somebody for that. I bought it first because I thought your theatre deserved my support. But ever since that first cake, your product has been standing on its own merits and there's no doubt about the value of those merits, so keep up the good work. That letter sounds like a challenge to this theatre and we're going to accept it because Lux Toilet soap has never backed down from a challenge yet. Now it's curtain time and here's the first act of stand-in, starring Warner Baxter at Atterbury Dodd and Joan Bennett as Miss Lester Plum. The firm of Penny Packer and Sons Bankers has been in business for 150 years and its chief executives look as though they were there when it started. That is all except Mr. Atterbury Dodd. Young Mr. Dodd, MA, PhD and a string of other degrees is the executive vice-president of the venerable firm with a mind that runs only to cold logic and figures. Young Mr. Dodd is a mathematical genius. In his expensively furnished office, Mr. Dodd paces the thick rug talking to himself. A genius is permitted this liberty. Gentlemen, students, I am honored at your invitation to address my alma mater. In the past, however, I have encountered difficulty in persuading my listeners that the science of mathematics is not one of mere figures and geometrical designs. It's three o'clock, Mr. Dodd. It's one minute past three or late. But a science more important to life and meat and drink. A science... Mr. Dodd, these figures here... I'm rehearsing my speech. A science without which there could be no art, music, poetry. Mr. Dodd, this balances... Now, in addition, the total should be $1,296,921. The flight of the birds... But we got this total on the adding machine. Have the adding machine fixed. The leap of the salmon, the rhythm that dance all of mathematics. Good afternoon, Atterbury. Good afternoon, Junior. Atterbury, you know that server you made on our colossal motion picture company? I recommend that we hold on to our investment in colossal studios. Our grandpa and all of us wish to thank you for that survey. But we're going to sell it. What's that? We've decided to accept Mr. Nassau's offer. Oh, you have, have you? Is your grandfather still in the boardroom? Yes, they're all in the boardroom. All right, I'd like to see them, please. If they insist on this move, I shall have to resign. Pat! Pat, everybody! I'll see you, Atterbury. You can't resign. Colossal studios have been losing money steadily. Yes, since April 7th, 1935, the day we bought the studio. After that minute, the business had prospered. But don't you see? I see a scubborn disregard for my conclusions. Mr. Fenefactor. But I see more than that, I see 30,202 stockholders who are not getting the protection to which they're entitled. Then how would you go about helping them? I'd go to Hollywood and I'd examine the company records. I'd discover the error and I'd correct it. That sounds very simple, Atterbury. But we're dealing here with a human factor. My method is to ignore human factors. Atterbury, do you see many movies? I find them a trifle silly. But you realize those are real people acting out those things you see on the screen? Now look, some fellow writes a story than another fellow directs it. A lot of different temperaments. That's how they make pictures, Atterbury. I looked into it. I confess I've not concerned myself with the details of manufacture, but two and two make four, Mr. Fenefactor. Whether they be fish, apples or human beings. Ah, you're a pink-headed young man, Atterbury. You mistake confidence for stubbornness, Mr. Fenefactor. Confidence based on mathematics, a science which has never failed and never will. I'll stake my future on it. You'll stake your future? Well, we're staking five million dollars. I beg your pardon, Mr. Fenefactor, but you're staking nothing of a sort. You're selling a ten million dollar property for five million because it offers problems, giving away five million dollars of your stockholders' money. Atterbury, how dare you speak to a grandpa like that? I'd speak to great-grandpa the same way. Mr. Fenefactor, gentlemen, has it occurred to you to wonder why, in your opinion, colossal studios are worth nothing when they appear to be worth five million dollars to a certain gentleman in Hollywood? A certain Mr. Ivor Nassau seems willing to purchase the studio. Why? Why? Why? Why? Why? All right, Atterbury, you go to Hollywood. It's your judgment against mine. But if you fail, don't come back. It's your judgment against mathematics, Mr. Fenefactor. I'll go to Hollywood. Hello, Mr. Ivor Nassau's office. Colossal pictures of it. The colossal is colossal. Good morning. I'm sorry, Mr. Nassau's in conference. I can't help who you are. He's in conference with Mr. Kozlowski, Mr. Cherry, and Mr. Potts, and he can't be disturbed. Mr. Kozlowski, Mr. Cherry, and Potts. Well, so are you, wise guys. No wonder. Mr. Reno, listen, Kozlowski. I'm late. Go on, Potts. Go on, go on. So, Mr. Atterbury, daughter's manifestation by the Publicity Director of Colossal Studios Incorporated. It's my job. Get it? And what's the first thing I do? I break his glasses so he can't read the books. And then I put him on a merry-go-round during the days, and Mr. Cherry here takes care of his nights. That is, unless the old grave-mayor ate what she used to be. Potts, you should play gone with the wind. But for good, you should be gone. Yeah, well, save them cracks for your pictures. So, you see, Mr. Nassau, by the time we pour him back on the train, he's so goofy he don't know what goes. Just a minute, Potts. Who do you think you're dealing with? Dodd is the most brilliant financial brain wall street he's developed in the past 10 years, and you might remember this. We're trying to put over a pretty fast deal, and Dodd doesn't smoke or drink, and he doesn't play around with girls. Take care of that, can't you, Thelma? Oh, setup makes me sick. Oh, Thelma, you're as bad an actress off as you are on. You know this is a great deal for both of us. I get mine the day Colossal closes, and you get yours. A five-year contract with a studio that absorbs Colossal. Not bad for a star who's been on the downgrade for two years. She will do as I should say, so I'm her director. Oh, shut up! I got a mind of my own! Quiet, quiet! What is it? Mr. Nassau and Mr. Quintain is here. Quintain? All right, send him in. Now listen, everybody, and concentrate hard. Quintain knows the picture business better than any of us. We fooled him so far because this isn't the picture business, it's hijacking. But if he finds out what we're doing, he'll run us right out of Hollywood and into a penitentiary. I'll save it. Oh, come in, Quintain. Glad to see you. You're a liar. What's on your mind? I want to see you, Kuzlovsky. Well, you see me. I just wanted to remind you that you've got a picture to finish. What are you doing here? I cannot shoot till I have an Andy. Don't give me that. First it's writers, dozens of them. Then the set stone suit you. Then the camera man. Sherry, you shoot five weeks with a guy who's been photographing you since 1898. And just because he can't squirt the elixir of youth out of his lens, you've got to get a new boy. I know you've stalled a million bucks extra load onto this picture. Naturally, New York's got a yen to see what's the matter and get this straight. I'm not taking the slap for it. You're the producer, aren't you? You keep your mouth shut. I'm just telling you, Sherry, and you, Kuzlovsky, go to work. Get this picture finished. I don't care whether you have an ending or not. Get it in the can by next week. Who does he think he is? I'm Kuzlovsky. Tell it to him, not to me. You've got to keep him away from this dod guy, understand? Why don't you do your own dirty work? Sherry, my sweet. My sweet. My fault. Listen, listen, I ain't got no time to listen to arguments. Dodge Crankett's in there 20 minutes. Do I put him on the merry-go-round, or don't I? All right, try it. Try anything but keep him away from the books. Don't worry, boss. Mr. Adderberry Dod is in the satchel right now. I'm in the station now. Mr. Nassau, this guy is a screwball. Look, I attempt to find him, despite he looks like another taker. I start to ladle him along, but the reporters crash in. Before Dod can open his kisser, I say, look, Mr. Dod, leave me to inform these mugs how you're going to revolutionize the industry. Well, what happens? He just looks at me and he says, do you know? Well, sir, before I can busy the Internet gap, he's on his way to the hotel in the studio car and me over a barrel with my socks down. Why, you dumb little... Here. Okay, boss, he's in the satchel right now. Driver, driver, must we travel at this speed? This is Hollywood, Mr. Dod. I realize that, but I should like to go a little slower, please. Okay, okay. How do you like our climate, Mr. Dod? A little early to inform an opinion, I believe. Where are you taking me? The rich Hollywood. Driver, you have to stop like that. Traffic light, Mr. Dod. Nevertheless, I still think... Mickey, Mickey, give me a lift. Mickey, you're a lifesaver. Drop me home before the body collapses. It's me. Don't you see I'm writing somebody? Hello, Mr. Good morning. You mind you're going my way? Look, Mr. Dod, you don't have to stand for this. Drive on, please. Okay. Thanks. You don't know how grateful I am. My feet are killing. Mind if I take off my shoes? Well, I don't... Thanks. Boy, what a relief. Say, who are you coming or going? Arriving. Are you an actress? No, I'm a stand-in. Fulfill my sherry. Got a match? No. No, I don't smoke. May I ask what a stand-in is and who is Miss Sherry? You mean you don't know? I'd go without pie for a week if Thelma could hear that. Say, you do know what a star is. Vaguely. How you must get around. Well, Thelma Sherry is a star, and like all stars, she's a pretty fragile cut of steak. She mustn't be fatigued a month. Hence the stand-in. That's me. Well, I'm sorry, but I haven't the faintest... faintest idea of what you're talking about. Look, you couldn't expect a star to endure the heat of the lights while they set the cameras and microphones, could you? So they dig up a gal to stand in for the star while all this torture goes on. Yes? Then when everything's set, the star, cool and immaculate, puts her little feet in the chalk marks. The stand-in, worn and wilted, fades out of picture and business goes on as usual. Say, sunny boy, how are you any way to rate this car? My name is Dodd, out of Berry Dodd. Mind's less to plumb. How are you? You in the picture business? Well, I'm a sort of a stand-in for my bank. I'm taking charge of colossal studio, a temporellic. Mister, with your encyclopedic knowledge of the picture business, you ought to be terrific. This certainly rounds out my existence. Life can hold but one more moment for me. Indeed? Yeah, when they make Shirley Temple president of a bank. So you're the new boss of colossal. Tell me, are you a doer or a donter? Uh, I beg your pardon? Well, all you big shots are one or the other. Look, I'll explain. The donters are the guys who go Hollywood. They have fun, but they don't do anything. It's the doers who wreck the work. They barge in and fire everybody who's any good. My dear young woman, I'm a businessman. Any experience in picture business? All businesses are fundamentally the same. Naturally, there are some aspects peculiar to each, but, well, it's my plan to find out about these things. Oh, a finder-outer. Now we're getting someplace. And orderly mind, Miss Plumb doesn't attempt to arrive at a total without a complete list of the items involved. Yeah, only most of the finder-outters get their list of items from the ball or uppers. Hey, Mickey, here's the old homestead. Let me off. That's the domicile, eight bucks a week, and all the breakfast you can eat if you're not hungry. Thanks for the lift, you're a lamb, sunny boy, but don't let them lead you to the slaughter. Good day, Miss Plumb. So long. Hey! Hey, wait! Have you got my shoes? Sweet, Mr. Dodd, as you see, there are two bedrooms, one in orchid and the other in pale fudge, and the bathroom's got a dramatic jungle red. How much does all this bad taste cost? A hundred dollars a day. What? Oh, you needn't worry, it's charged to colossal studios. Yeah, I see, I must make a note of that. Ha, ha, ha! Hiya, Dodsy, hiya! Where'd you don't look a day, old-o! Hey, get a load of the space you got here. You couldn't have grabbed more of you with a clunk, might a victim. Some hideaway for a party, eh, you doggy? Hey, look, I got an old plan. Boy, are we gonna do a job on the town tonight. First, we attack the Boogie Woogie town. Mr. Potts, Mr. Potts, Mr. Potts, I appreciate your hospitality and kind interest in my entertainment, but I'm here on business. Ah, what's the odds? What's the odds? I don't want to get your order. We have books filled up, don't you? I have never kept an autographed book. So what? So what? We could just look at the site. It's all charged to colossal anyway. Oh, that's the picture business, Mr. Dodd. Oh, Mr. Dodd. Oh, you are Mr. Dodd, aren't you? Yes, yes, I am. How did you get in here, lady? I've read about you coming to run colossal, Mr. Dodd, and I made up my mind I was going to bring my little girl to see you. This is Mr. Dodd, Elvira. Hello. I love you. Don't play your little child. Listen, ladies, please, please, I don't want... No, no, we don't want to buy a car. All right, now I tell you... Listen, I don't... Please, please... Well, I mean, Miss Plum lives here, doesn't she? Yes. Well, I have her shoes. I'd like to return them. Her shoes? Yes, her shoes. See, Miss Plum was riding in the car with me, and she left her shoes. Yes. Good morning, my name. Oh, hello, Mr. Dodd. Good evening, you forgot your shoes. Oh, thanks. I'm also sorry. Well, I'd better bring them for you. Yes. Oh, this is Mr. Louvainy, Mr. Dodd. How do you do? How do you do? How do you do? Hey, look, look, look. What is it? Is there anything wrong here? That man is... Oh, don't mind him. He's trying to get a job in horror pictures. Oh, oh, I see. I was worried for a minute. I was nice of you to bring the shoes, but I could have stopped by your hotel. No, you wouldn't have found me there. Miss Plum must tell me there must be someplace where a man can live without being tricked and tormented by people who want to do his thinking for him. Not when you're a big shot. That's picture business. Oh, I suppose not. Hello, Mr. Coward. How are you, Tom, eh? I didn't take the job. Gee, let's get with the tough stuff. Look, I'll show you. Blake and me are supposed to be dueling at the top of the power steps. No, wait. Wait a second. I'll go up to the top of the steps. Now, here. Here was the stunt. He would do it, see? Like this. Yeah? And then Blake gives it to me like this. Ah! And then I was supposed to pour all the way down the steps like this. Oh, did you see what he did? Did you? Uh-uh. Are you hurt? Uh-uh. Hey, you see, Lester? They wanted me to do that for $7.50. I don't blame you, Tom. It's worth $15, both of its worth a cent. But he just did it for nothing. Hey, I got my pride. Besides, that's a picture business. Oh, well, maybe I'll get something else. Well, I think I'd better run along. Good night, Miss Plum. Wait. Don't go. Say, uh, Mrs. Mack has a vacancy here if he'd like it. Oh, here? I don't mind sharing a bathroom with a trained seal. You're joshing me. All right. I'm joshing you. But this is the last place in the world people expect to find you. And if you really want to find out about the business, this is the place. Most of the folks here are ex-stars and has-been. They're down and out. The only difference between them and the people on top is that the others have jobs now. All right. I'll sample my bags on about that trained seal. Well, I'm sure it couldn't be half as obnoxious as a certain Mr. Potts. Come on upstairs, and I'll show you the place. It's really not a bad room and you're right next to me, too. Oh, I'm sure it'll be fine. You're sure the hams won't get you down. The failures and has-beens. Well, they don't seem to have gotten you down, Miss Plum. Me? Oh, I head the list of who's through in Hollywood. Come here. I'll show you my room. Yours will be just like it. We'll be neighbors. Any objections? Oh, no. I see any reason why it should affect the situation. Yes, you're right. It wouldn't. How's the room? Well, it's very nice. Very nice indeed. Well, this is his picture here, Miss Plum. Is that you? Sure it is. Doesn't it look like you? No. That's fame for you. I was getting $4,000 a week when that picture was made. $4,000 a week? Sure. I was the Shirley Temple of my day. But, Miss Plum, may I ask your present remuneration? That means wages, 40 a week when working. But that's entirely wrong, Miss Plum. You're telling me. Oh, I mean the ratio of 4,040. An inventory today would show all the assets you had as a child. Your mind is mature, above average, if I may be forgiven. You may. But you're physically stronger. Why, potentially, if you were worth 4,000, then you should be worth 8,000 now. It's simple mathematics. There must be something to explain it. I'll say there is. A guy named John Public. Yes, but the public did like you. Look, you like chocolate. Well, yes, of course. All right. Maybe John Public likes vanilla, and they like their child stars to be children. Oh, I'm not squawking because old age got me. I've got my social security number. Say, you'll be needing a secretary, won't you? Secretary? Oh, yes. Yes, of course, but demands... Oh, I've got the answer to that one. Look, my night school diploma. Read this in gas. Maximum cum laude. That's Greek for with highest honors. Well, I've always had a male secretary. Oh, I'll try to keep my voice and my emotions in a low register. Well, I'll be glad to give you a trial. I hope you're not fooling, Mr. Lester. Come in, Mrs. Mag. Lester, you know the rules of the house. No men in your room at any hour. That's all right. I was just going to call you. Mr. Dodd, considering staying here. Oh. Well, Mr. Dodd, the rent's 12 a week. I don't allow cooking in the room, drinking on the premises, and I expect my guests to be ladies and gentlemen at all times. And one thing more. No pets of any kind. Down silver nose, down bawling. But what, uh... What is this thing? That, Mr. Dodd, is the seal. Oh. You see, Mr. Dodd, Silver Nose is an exception. He's the only trained seal in movies. Gets more fan mail than Clark Gable. You won't mind him. No. Now, I'm sure I won't. As a matter of fact, he may be able to teach me something about the picture business. After a brief intermission, Mr. DeMille and our stars, Warner Baxter and Joan Bennett, will bring us Act Two of Stand-In. Meanwhile, there's our Hollywood fashion reporter, Libby Collins. Hey, Libby, you look excited. What goes on? Mr. Roick, I've had a really thrilling afternoon. Just as I think I'm quite used to grammar, I get a close-up of another famous Hollywood star, and there I am, all bedazzled again. Well, Libby, who is it that's bedazzling you this time? Loretta Young, Mr. Roick. Oh, well, of course. I was at the photographer's studio where she was posing for some color still. I went to get some fashion hint. You know, Loretta Young is always beautifully bound. She was wearing such an explicit evening dress for the color picture. Won't you describe it for the ladies in the audience, Libby? Well, I'll try. It was what I'd call a moonlight shade, a lovely pale turquoise blue. The bodice was silk jersey, closely draped. The skirt, yards and yards of soft chiffon, the same shade of blue. There were long tight sleeves, a deep square neckline, and no trimming at all unless you count the four-strand pearl necklace she was wearing, fastened with a huge clasp of ribbons. Hmm, sounds pretty gorgeous. Let me even do a mere man. And how that dress set off Loretta Young's explicit coloring, Mr. Loretta. Light brown hair, big blue eyes, and, honestly, if you ever saw a lovely complexion, there was one. Well, Libby, Loretta Young is famous for her beautiful complexion. And you know that makes us feel pretty proud because she's used lux toilets over the years. Well, Mr. Loretta, I had it brought home to me again how very, very important, lovely stimulus to a woman. Gorgeous clothes are fun to wear, but they just don't mean a thing if your skin isn't smooth and soft and fresh-looking. Hollywood stars know that all right, Libby. That's why they're so careful to use a complexion soap they can depend on. And that's why nine out of ten of them use lux toilets. It's certainly a beauty care that works, Mr. Loretta. Loretta Young says so. She says she uses lux toilet soap every day. Lux toilet soap's active lather removes dust, dirt, and stale cosmetics thoroughly and leaves your skin feeling smooth and soft, looking beautifully fresh. Now, there's a tip for women everywhere who want a beauty soap that's a real aid in keeping their skin smooth and lovely. Get three cakes of this fine white beauty soap tomorrow. You will be delighted with the gentle, protecting care that lux toilet soap gives your skin. Now, our producer, Mr. DeMille. Act two of us. Stand in, starring Warner Baxter at Atterbury Dodd and Joan Bennett as Lester Plum. The team of Nassau Sherry, Koslowski, and Pot is planning the financial ruin of Colossal Studios by slowing down production on its new picture, Sin and Satan. The babe in Hollywood, Mr. Atterbury Dodd, is of course unaware of their little scheme. In the administration building, he talks to Peter Quintain, one of the few honest executives of Colossal Incorporated. Good afternoon, Mr. Dodd. Mr. Quintain, before we discuss business, let me say that I'll consider it an importance if you ask me to crowd-drink or go to parties. May I ask what grounds this? Your Mr. Potts is under the impression that I'm given to riotous living. Now, I don't want you to make the same mistake. I'm neither a charlatan nor a libertine. I'm here for one purpose. You may count on my complete cooperation, Mr. Dodd. I expect that. No doubt you'll want to start work on the books immediately? No, no. Today I'll inspect the factory. Factory? Yes, I should like to equip myself with a complete knowledge of the intricacies of picture-making. Then I can approach the books more intelligently tomorrow. Mr. Dodd? I've been in this business 20 years and there are several intricacies that I haven't figured out yet. Look out that window there. That's the hospital over there. That's the commissary, the fire, police departments, sound stages, laboratories, recording rooms. We employ about 3,000 people here. It's not so simple. If you'll just come along, I'll show you a few of the instruments. I'd be delighted. That's a sound stage just ahead. They're shooting sin and Satan again. You say there are 3,000 people working here, huh? At least that. Most interesting. 3,000 units, just to manufacture motion pictures, units, carpenters, electricians, artisans of all kinds, I suppose, the various cards in the machine. They're not units, Mr. Dodd. They're people, human beings. Mr. Quintain, for purposes of bookkeeping, I prefer to regard them as units. Well, if you pedal this joint to Nassau, your units will be on the dole. Your logic escapes me. Every time an independent studio becomes competition to the combine, I suppose the heel is called in to put him out of business. Very interesting. He'll buy this joint under the guise of a merger, like he did Excelsior and National. In 15 minutes, it'll be a ghost town. Let's step inside here. We can watch them shooting. All the trifle confusing to me. It gets worse the better you know it. Octane, cut the wind! Mr. Dodd, this is Mr. Sherry. Thelma, this is Mr. Dodd. Oh, so you're Mr. Dodd. I've been wanting to meet you for such a long time. How do you do? And this is Mr. Koslowski, our director. Mr. Koslowski, this is Mr. Dodd. Indeed it is a pleasure. Thank you. You don't look anything like I expected you would. All lined up, ready to go. Excuse me, ma'am. I'm so glad you're different, Mr. Dodd, because I've arranged a little party Monday night in your honor. I just know you love it. I'm afraid I shat. I don't like parties. I don't know what to say to people, and I sit in corners in which I might go home. Really? I know. Of course. You're in a position to do as you please, while I give anything just to be able to give up all this adulation, limelight, and be just a woman. You could retire, couldn't you? Oh, no, no, it isn't that easy, you see. I'm a slave, really, to the millions who depend on me to bring cheer into their drab lives. I can't betray their trust. Oh, dear, do forgive me for burdening you with my woes, but the moment you stepped in here, I seemed to feel some chemistry which drew me to you. No, scarcely chemistry, Miss Sherry. Chemistry is an exact science. A refreshing sense of humor. You shouldn't be an executive. And you have such fine chiseled features. You should be in pictures. I think I should insist on having you for my leading man. Frankly, I sometimes find it difficult to differentiate between sincerity and facetiousness, but if you're not joking, my duties here would prevent such a project, even if I could permit myself to be exhibited in films. Oh, set him. We'll talk about it further. Stranger things than that have happened in Hollywood. Why, I was a cigarette girl in a nightclub in Dallas. Would you believe that? Yes, why not? Oh, Mr. Dodd, you're cute. Wait, wait, hold the camera. Stupid fools, I ask you, what is this? What is this? Mr. Dodd, you see with your own eyes what is up against the creator. Is this flower Adelweiss? I am not a botanist, but it looks like Adelweiss. Uh-huh, it looks like Adelweiss, but it's not Adelweiss. It's not even a flower, it's paper, it's cardboard. I want genuine Adelweiss. Yeah, but chief, we'd have to send a switcher in. Then send us, Switzerland. I will not show the imitations. Oh, Mr. Quentin, what'll I do? This, I think, is something for the head of the company to decide. Mr. Dodd? Well, in as much as a blizzard is raging in the scene, will anyone see the flowers? Mr. Dodd, ten years ago when I made my great classic from the cradle to the grave, I used a real cradle and a real grave. And now they ask me to use paper flowers. I shall go mad. Turn on the wind, I'm going mad. Paper flowers, the grave goes lopsky. Turn the cameras. Cameras, cameras, give me life. Give me action, give me emotion. Paper flowers work as lopsky. I am going mad. I am going mad. Seen enough, Mr. Dodd? Why, quiet, get me out of here. You're a writer, you ought to know something about this. Sin and Satan, story cost. Two hundred and eighty thousand dollars. Mr. Curfis, can you tell me why one story should be rewritten so many times? Well, I'll tell you. Komslowski said we didn't have enough hope in it. Or enough, uh... Well, enough slack. What kind of a word is that? I don't know, it's Komslowski. I see. Well, nevertheless, I foresee a considerable difficulty in convincing my bank that a scarcity of oomph and a lack of slack warrant such a waste of money. Well, that's the picture business. That's the picture business. That's the picture business! Hasn't anybody any answer for stupidity besides that? I'm sorry, Mr. Dodd, but that's the only answer. You can't go in there. I'm practically in now. Hello, sunny boy, you remember me? Oh, Miss Blum, yes. Never mind, never mind. What is it, Miss Blum? You mentioned a job. Well, here I am. Uh, Mr. Curb, if you'll give me leave now. Oh, I get it. So long, Mr. Dodd. And shut the door, please. Listen, sunny boy, I can scream so you can hear it through more closed doors than that. Miss Blum, I'm not interested in your screaming ability. If you're to work with me as my secretary... Do you think I'm in? If you're to work with me, we must have an understanding. I must have someone who can't be corrupted and who will be faithful to me. Okay, sunny boy. Most men want a girl who'll be faithful but who corrupts easily. Miss Blum. As employer and employee, I feel that there should be a certain formality in our relationship. You mean in business hours I'm to call you Mr. Dodd? If you will, Miss Blum. Okay, Mr. Dodd. We might as well start in right away. Take a telegram, please. And I warn you, accuracy and speed will be the vital factors affecting your permanent employment. In fact, our son, 154 Wall Street, New York City, gentlemen, I'm delaying report regarding financial structure colossal. Until spatial production, quote, seen in Satan, unquote, can be viewed and judged as to potential value stop. Miss Blum. Yes? You're not paying any attention. Here, would you mind changing places with me? Not at all. Thank you. Now, let's assume that you are dictating and that I am the secretary. You will notice that I am not humming, nor am I fixing my hair, nor adjusting my stockings. I'm doing this. I'm taking notes. Now, please take the pad again and we'll start from the beginning. Why not pick it up where we left off? Miss Blum, this is no time for levity. Isn't this what you said? Penny Packman, son, 154 Wall Street, New York City, gentlemen, I'm delaying report regarding financial structure colossal until spatial production, quote, seen in Satan, unquote, can be viewed and judged as to potential value stop. I'm not going to take your little feet of memory. Well, you forget I was a kid's star. I could memorize before I could button my shoes. You want our youth shorthand, but you'll have to slow down. Miss Blum, I think we're going to get along. Sure we are, sonny boy. Let's go. My dear Mr. Dodd, this little note is to remind you that you have been in Hollywood over a week and never once did you call me. Shame on you, dear Mr. Dodd. Please come and take me to Mr. Koslovsky's dinner party Wednesday. I'll save every dance for you. Yours is ever, Thelma Sherry. Marie, deliver this letter to that pinhead Dodd. One more thing, Miss Blum. I'm going to dictate another report in New York. Will you take it, please? No, I won't. Miss Blum, what's come over you? Come on, grab your hat. I'm going to get you a hunk of something fresh air. You've got the jitters. Oh, there's nothing wrong with my nerves, Miss Blum. Sonny boy, you forget I work beside you all day. Well, as a matter of fact, I am disturbed by my position the savings of 30,000 investors in the integrity of my bank and my whole career, they're all hanging on the success or failure of sin and Satan. Now, do you wonder? Plenty. I also wonder if you have any normal instincts. Look, would you mind terribly if we talked about me for a moment? No, of course not. Anything about my hair? Your hair, Miss Blum? Look, it's very soft, see? That wave is natural. Miss Blum, yes. The color is rich, beautiful and completely feminine. The implication escapes me. Okay, that's one strike. Wait a minute. Look at my eyes. Notice anything? Well, that doesn't seem to be anything that matter with them as far as I can tell. Why? If I can rely on the voice of the mob, my eyes are of unusual depth and color, and they are also large and wide apart. Well, that's no doubt true now that I think of it. Oh, right. Two strikes. But you've got to toss me one more. Mr. Dodd, I... I scarcely know how to approach this. I mean, haven't you ever noticed anything about me at all? Well, yes. Your mind intrigues me. Three strikes, I'm out. Of course. I must admit that I've studied your personal appearance, too. May I ask, did your studies reveal some faint traces of beauty? My dear Miss Plum, this is a business day. All right, so it's a business day. But that's no reason why you should stick around and worry yourself sick. Let's go out and have some fun. Miss Plum, I... Look, you might fire me for this, but I'm going to say it anyhow. The trouble with you is that you've got figures in your blood instead of red corpuscles. You're a scratched entry in the human race, you're... Miss Plum, Miss Plum, please. I can prove it. Did you ever hit a man? Never. Ever been in love with a woman? Oh, no, never. Ever get drunk and been thrown out on your ear? Naturally not. Ever do anything wicked or want to do anything wicked? I hope not. Haven't you ever had any fun at all? Oh, I... I've had no time for fun. Then you're going to have it tonight. Don't be such an old stick. Oh, I'm sorry, but I... I just couldn't help it. It's for your own good. Miss Plum, you've... you've shown me a picture of myself. It's not... not pleasant to see. Oh, I seem to have let an odd existence. I... I seem to have been left a long way behind. You'd better start catching up. Yes, yes, I agree. Well, just how do you propose to go about it? Oh, I've been afraid to let myself go, but... but from now on, I shall give life the opportunity to turn me into the sort of a person I might have been. Miss Plum, do you dance? Of course. Would you mind showing me how? Don't you know how? No, I'm afraid not. Wait a minute. I'll turn on the radio. It won't take long to learn. No, I'm certain I can master it. It's just a matter of putting your mind to it. Well, sort of. There we are. Come on, put your arms up. Wait, wait, wait, please. What's the matter? Miss Plum, now, if you'll just do it by yourself first. You know, just a few steps. You mean like this? Yeah, that's it, that's it. Stop! What's wrong? Stand right where you are. Now, on the third beat of the music, your foot was there. And on the fourth beat here, now, we'll call them three and four. Now, oh, hand me that ruler, will you? Ruler, now listen. Now, now, please, please. Yes, sir? Yes, just as I thought. About 18 inches between steps. Cut it out. You can't learn to dance by mathematics. Mathematics is rhythm. All rhythm is based on mathematics. Well, I'll try it now. Let's go. Don't make it 19 inches or we'll trip. Oh, no, no, I'm a fair judge of distance. No, no. Just relax. Let yourself go more. That's it. Fine. You're doing fine. One, two, three, four. How's that? Sonny boy, I wouldn't have believed it if I'd seen it with my own eyes. Where are we going tonight? We? Well, I'm going with Miss Sherry. What? Well, I'm taking to Mr. Koslovsky's house. So, she's the one you're going to let yourself go with? No, no, I wouldn't say that. Well, go on. Go with her. Dance with her. I hope you fall flat on your face. Miss Flama. She's a strange girl, very strange. Sweet to have a glimpse. A glimpse? A glimpse of what? Why, the kind of glimpse a girl like me gets when her orbit crosses the orbit of a man like you for one brief moment. Oh, yeah. Do you have a dream, Mr. Dodd? Occasionally, yes. If I eat something that disagrees with me. One, two, three. Must you count? Oh, oh, excuse me. Oh, I'm so sorry. Yes, not at all. Not at all. Tell me, Miss Sherry, while we've been dancing, well, there's something I've wanted to ask you. Yes. Where did Mr. Koslovsky get those drapes? Drapes? I don't know why. Oh, I'm just interested. Well, it's a very strange thing to ask. Well, I might also ask about the rug in the library. A very nice rug, that. Yeah. How do you do, Mr. Nassau? Well, how do you like Hollywood, Dodd? Well, I've been so busy, I haven't had time yet. That's the trouble, you big fellows, on how to relax. You try to repair on a day the accumulated damages of bad management. I'll take colossal, for instance. Yes, that's what I'm trying to prevent. Huh? Oh, that's pretty good, Dodd. And since you mention it, I do know things about that situation that you don't. Yes, precisely. For instance, you know why colossal is worth five million to you while a pennypacker's consider it worthless to the stockholders. You make it sound like a conspiracy against the stockholders. The thought is yours, not mine. Well, listen, Dodd, you've got a lot to learn. Ha, ha. But you're all right. Yes, sir, you're gonna be all right. Well, hello there, Doddsy. So we meet again, eh? What do you think of old Koslovsky's party, huh? How do you do? How do you do, Mr. Koslovsky? Well, and he's the old director himself. How do you do, Mr. Koslovsky? Greetings, greetings, Mr. Dodd. How do you do, Mr. Koslovsky? I get you a drink, huh? Oh, no, wait a minute. Oh, no, wait a minute. No, no, thank you. I don't drink. Mr. Koslovsky, I've been wanting to ask you, how is the picture coming along? Picture? Oh, the picture. That doesn't answer my question, sir. I should like to know other... Oh, Mr. Gay, that reminds me, I got a great idea for a sequel. A sequel to Sin and Satan? That's right. It came to me in a flash. Gentlemen, gentlemen, before we do a sequel... Now, here's the setup. We've got a picture called Sin and Satan, ain't we? But there ain't no Satan in it. But the sequel, ha-ha, he's in it. Mr. Parton. Ah, what do you think, sir Gay? Like, Dirty's Inferno. Puts, there you got something. Now, let me visualize, huh? I see fire. Yeah, yeah, that's it. I see girls, beautiful girls, running over hot brimstones. I see dragons snorting flame. Green dragons, red flames. We'll give it to them in technicolor. And it ain't sensible because Dirty's Inferno is a classic. Dodd's the old socks, what do you think? Well, I think I should still like to know how Sin and Satan is getting along. Oh, yes, Sin and Satan. Oh, it's coming along, Great Mr. Dodd. We're having a press preview next week, ain't we, sir Gay? Well, I don't know yet. I may reshoot that last half. The last half? The mood is wrong. It needs, um, a schlock. Well, I'm afraid I don't agree. Huh? Oh, you don't know what I mean. Nobody does. That's just it. But shooting the last half of the picture is a little too expensive. And while we're on the subject of expense, Mr. Koslovsky, I... I wish you'd return some of the furniture and to the property department. What's that? Yes, they, uh, they might need it. Now, those drapes still have a colossal studio's tag on them. I've noticed several vases in an oil painting and a rug. You think I steal this thing? No, certainly not. I'm Koslovsky. I kill for less than theirs. Koslovsky, don't hold him, sir. I kill him. Oh, you crazy fool! Oh, forgive him, Mr. Dodd. He didn't know what he was doing. Oh, you poor eye. Never mind, never mind. Consider the incident closed. Excuse me, I'll have to leave now. Oh, come on, please, please, don't go. For my sake. Doddsy, you can't go. The party's in your rather. So you're back, are you? What do you want? Oh, your eye. What happened? Uh, I fell. I know. After somebody punched you. Let's see it. Boy, you look terrible. Who hit you? Koslovsky. Did you slug him back? No, I didn't. What are you? A man or a mouse? A man who can't control himself can't hope to control others. I, I don't know how to fight. Don't be ridiculous. You could have done this. Look, just get him around the neck like this. Miss Plum, please, please, what are you doing? Then just toss him over your head like this. My goodness, why, why you're, you're wonderful, Miss Plum. Nothing wonderful about it at all. It's just plain jiu-jitsu, a trick of leverage. Leverage? The principle of Archimedes, the great math, Greek mathematician, yes. All I know is it comes in handy when some ham who's driving you home doesn't want to drive you home. Oh, would, would you mind teaching me, me how you did that? I taught you to dance and look what happened. By the way, how did you make out with the alley cat? Are you referring to Miss Cherie? I said alley cat. Miss Plum, I must insist that you grant Miss Cherie the respect to which she is... The respect to which she's entitled, so that's how it is, protecting her against me, and now you want me to teach you jiu-jitsu. Yes, if you don't mind. It's a pleasure. Watch! Oh, it's very good. It's very good indeed, Miss Plum. Oh, oh, you heard I... I didn't mean to hurt you. No, I feel fine. Now, oh, let me, let me do it to you now. Let's see. First I... Oh, yes, I put my arms around your neck and I hold you and I put my feet behind you and then I pull you close to me. That's right. Closer. Closer. As close as you can. Now what? Don't you know? Oh, of course. I apply leverage! Oh! I've mastered it! This is the Columbia Broadcasting System. In just a moment, Mr. DeMille and our stars, Warner Baxter and Joan Bennett, will bring us Act 3 of Stand-In. Now, a day with Mrs. N.A. Wife. Time to get up. Six breakfasts for Junior, for Mary, for Dad. Put away the comics, Junior, and eat your cereal. Mary, your slip shows. Oh, Dad, you'll miss your train. Now it's time to wash the dishes. Run the vacuum. And you'll be home for lunch in no time, so into the kitchen. There he is now. Have each of vegetables, please. Goodbye, dear. Don't be late. Well, look at Ella Brown, another new half. Good afternoon, Mr. Dobbs. Are these melons right? Yes. Please send my order right away. We're having guests for dinner. Get the meat in on time. Uh, fix the flowers, and... Junior, please don't leave your toys in here! A pretty strenuous day. But now Mrs. N.A. Wife shows how smart she really is. She draws a nice, warm, lux-toilet soap bath and relaxes in it completely, happily. She knows that this fine white soap with its delightful fragrance will make her bath a joy. She covers herself all over with lux-soap's creamy, soothing lather. She knows its active lather does a thorough job of cleansing. Makes her sure of skin that's sweet. Delicately perfumed, too, with a fragrance that cleanses. It won't be long now before she'll be ready in a fresh frock, a gay ribbon in her hair to hear a proud husband say... Hello, sweetheart. How nice you look. How sweet you are. Now, Mr. DeMille returns to the microphone. The curtain rises on the third act of stand-in. It's the night of the preview. Koslowski, after making his peace with Atterbury Dodd, consented to show sin and Satan out of town. And the audience was invited to express its opinion on cards. These cards are now in Atterbury Dodd's office. You have just seen a preview of sin and Satan, a colossal picture. Your criticism is appreciated. Boy, they certainly took that seriously. Read that last card, Miss Pump. A pleasure. Question. Did you like the story? Answer. What story? Question. What part of the picture did you enjoy most? Answer. The end. Question. What actor or actress did you enjoy most? Answer. The gorilla. The gorilla. You know, I can't figure how that gorilla got mixed up in that picture. There aren't any gorillas in the Swiss Alps. Oh, a little thing like that wouldn't bother Koslowski. Anyway, the gorilla's in and there are 215 cars that say they like him better than your girlfriend. Miss Plum, the person to whom you refer as my girlfriend is merely a business associate. Yeah, and the way they hissed you're a business associate, I thought the theater was filled with cobras. Where's Quintain? Hello, hello. Get me Quintain, please. It's been a horrible experience, horrible. Don't take it so hard, Sonny Boy. Hello, Miss Plum. This is the end of colossal studios. What? You're going to sell to Nassau? Yes, there's no alternative. Ahabin, do you know what you're saying? Miss Plum, your sympathetic attitude proves to me that you're not only a loyal employee, but if I may take the liberty of a close personal friend. You know, the prospect of humbling myself before the Penny Packers doesn't make me exactly happy. You egotistical adding machine. What do I care how you humble yourself? I was thinking of the people who go out on their ear to the studio, Pop Jones in the commissary, the cops on the gate, little Miss Coley in the wardrobe, prop men, electricians, carpenters, 3,000 people you call units. Units that happen to have families, homes and kids and rents to pay and doctor bills. Miss Plum, you're hysterical. Sure I am, because I'm one of those, those units. No, why you're not a unit, Miss Plum, you're different. I'm not different, and from now on I'm not even a loyal employee and a close personal friend. Miss Plum, are you leaving me? No, I'm a dope, but I can't leave you now. Thank you, Miss Plum. You want to see me? Yes, come in, Mr. Quintain. You were at the preview. I was there. Tell me, what do you think of the picture? In front of this girl, I'm too polite. Don't mind me, I'm going out for a hamburger. You mean there's no hope? Sure, just cut Felma Sherry down to a whisper and build up the gorilla's part. He swells. Mr. Quintain, I'm serious. So am I, why not? An anthropoid ape is a motion picture style. Well, it's very unusual. No, I don't know. He'd certainly be an improvement over Sherry. Say, Mr. Quintain, I'm convinced that Miss Sherry and Mr. Koslowski were in on this deal to ruin colossal. A change in the picture would serve both of them right. Yeah, but there's one catch. Sherry's contract says she can okay the cutting. Then I shall deprive her of that power. Throw away your dream book. Mr. Quintain, there's a clause in all star players' contract. Quote, if the artist commits any act that will prejudice the public against the motion picture industry by doing anything which will bring her into public hatred, contempt, scorn or ridicule, the contract is then breached, unquote. So what? So I shall involve Miss Sherry in a scandal. You think you can do it? She'll let you? Yes, I'm sure of it, Miss Sherry. She's always making advances. That's no lie. What's the plot? Well, I'll take her on around with the nightclubs. We'll dance till dawn. And drink. Oh, certainly. Champagne. I'll play her with champagne until the inevitable happens. You mean till she trips on her nose? Yes, that's right. I get it. She falls on a dance floor. You sit down alongside of her and I have the newspaper standing by to snap the picture. You realize this makes you a libertine and a charlatan? Oh, I'm fully aware of that, but I'm willing to make that sacrifice. That's the boy. Hello. Get me the Tribune quick. Get disorderly. Whoa! Tell Miss Sherry, we are selling colossal studios through Ivar Nassau. Come in, Miss Plum. I see they bailed you out. I suppose you know about the notice they tacked up on the bulletin board this morning. Colossal's been sold. Miss Plum, I've just been dismissed. Stop. You're breaking my heart. Four years with Penny Packer and Son. Look at this, Mr. Dodd. A closing check. I've been dismissed, too, in case you're interested, along with 3,000 others. And I'm supposed to break out in a rash because you lost your job. You sold out your stockholders and fouled your employees. Everything I did was for the good of the company. Listen, Dodd. There's a mob coming across the lot. You'd better get out. Mob? Electricians, carpenters, everybody. They're blaming it on you. Hostolomoff, get out, Dodd. Beat it. Well, I only did what I thought was right. I tried to tell them that. Oh, what a bust. And to think I had that picture almost cut. Two more days of retakes, and I'd have made a star out of that gorilla. Mr. Quintain, assuming that you had those 48 hours, what else would you need? Nothing except those guys out in the yard there. We got the gorilla on the lot. If the gates were locked, and Mr. Nassau was not allowed to take over the studio. Nassau's on the lot, too. Yes, but there are also 3,000 men on this lot whom he's put out of work. And who will resent his presence here if they only knew the truth? If we can keep Nassau locked up and... You're talking about 20 years in the jug, brother. It's unlawful possession. Do you want those people out there to lose their jobs? Hey, whatever happened to that Atterbury Dodd who used to call those mugs units and cogs in a machine? I confess to a certain modification of viewpoint. And a 20-year rap doesn't matter? All it matters now is what is true or false. All right, brother. I'll split that 20 years with you. Suppose you know what's happened? Yes, I found out this morning. Too bad, Mr. Dodd, that pity. The jackals are gathering. You put up a great battle, Dodd. Well, I did the best I could under the circumstances. Now, I admire you, Dodd. No hard feelings. You have a lot of virtues I like. Yes. You're a brilliant man, Dodd. What difference can it make to you which side you're on as long as you win? I'll give you a job at $75,000 a year right now. You will, huh? Sure. It's more than Penny Packer paid you. Yes, a lot more. Atterbury, get out of here. That crowd will tear to pieces. No, let them come in. I want to talk to them. Talk to them. You can't reason with me. Yes, I'm going to talk to them. Quintain, you wait here. Don't let those two out of the room. Face. Hey, I'll meet the crowd outside. Atterbury! I want to talk to them! I want to talk to them! I want to talk to them! Gentlemen! Gentlemen! Fellow workers! Fellow workers! Man, listen to me. I've got to talk to you. Stop, stop. You must listen to me. All right, man. Let them talk. Let them talk. Make it short and make it good. Gentlemen, I was discharged this morning, too. I wait you regard me as your employer, the big boss, but I'm not. You're bosses of the stockholders. There's a street car conductor in Denver. A bricklayer in Chicago, a soldier's widow in Memphis. 30,000 of them. They are the stockholders. Their savings built this plant and now a small group of financiers headed by Ivor Nassau are trying to close it. The stockholders can't afford to see this studio close any more than you can. There's no trouble here that a good picture won't cure. Why, Mr. Quintain tells me that we have a... a smash-a-roo in Sin and Satan. Now, look, we can expose Nassau. Save the studio and our jobs. So I'm asking you for 48 hours' work. I haven't any money for salaries, but I pledge that... Pledge what? I pledge my word that I'll convince the stockholders that you're entitled to an interest in the business you've saved. Yeah, but can we hold on? Nassau'll get the law on us. He will, yes, but we're over 3,000. We won't let the law in. Listen, men, Mr. Quintain needs carpenters, electricians, the guerrillas, all of you for 48 hours. What do you say? What do you say, juices? How about a grip? We'll show them a real fight. And now, I want you to meet Mr. Nassau and Mr. Koslowski. Mr. Quintain, bring them out, please. And, God, what is this? Mr. Nassau, a few minutes ago, you offered me a position. That offer was a bribe. A bribe? For what? To prevent my dissolving a sale and to avoid an investigation at which I must charge you with conspiracy. Why, I'll break you in half. If you please, Mr. Nassau. If there's any breaking, I shall do it. But you... take your hands off me. Watch, Mr. Nassau. Archimedes' law of leverage, sometimes known as ju- Oh! Gentlemen, I give you Ivor Nassau. God, let me go. I'm Koslowski. Mr. Koslowski, meet Mr. Archimedes. Gentlemen, I give you Mr. Koslowski, too. Sonny boy, you were magnificent. Thank you. Take a telegram, Miss Plum. Yes, sir. This will advise you that for failure to deliver to buyer, you still own this business. Stop. Have checked all items carefully in a... Miss Plum. Yes? Miss Plum, if you please. Will you marry me, Miss Plum? What? No builder? Miss Plum, that's picture business. The curtain falls on the saga of Annabarie Dodd and Lester Plum. And it's only simple justice that we bring Warner Baxter and Joan Bennett back for a curtain call. Well, my first visit to the Lux Radio Theater has been a very pleasant experience to me, but you always were a top-notch host. He's the only man I know, Warner, who can be both boss and host and make you like it. You don't mind if I blush to you, Joan? Go right ahead, Mr. DeMille. I'd enjoy it. Oh, pardon the pun, but after stand-in, you both stand in 100% with us. That was quite a different part you played tonight, Warner, from the last one you played for me. Yes, yes. Not an Indian insight tonight, anywhere. What was it you played for Mr. DeMille before, Warner? Well, I spent several jolting weeks on horseback for him, making the score man. Oh, really? You know, my mother was in the original Broadway production of that play with William Favisham and Theodore Roberts. I remember it very well, Joan. It was long before you were born, and perhaps I should explain that it was not the silent score man in 1913 that Warner played for me, but the one that talked just a few years ago. Well, in any event, playing a banker is easier on the anatomy. Say, by the way, what's on here next week, CB? Before you tell us that, Mr. DeMille, I want to say just a word about something that's good this week, next week, or any week, and that's luck so. I suppose most of the women in this audience know that already, but the few who don't are really missing something when they don't use luck soap. It's been my regular complexion care for years. And we hope for many years to come, Joan. A very pleasant prospect for luck soap, too. But to get back to Warner's question about next week... Yes, what is the play, Mr. DeMille? It's the unusual drama, Dust Be My Destiny. Who's in the cast, CB? We're going to have John Garfield and Claire Trevor. And we think it has great possibilities for the theatre of the air. You'll hear John Garfield in his original screen role as a young man with a very common complaint. He thinks fate is against him. And you'll hear Claire Trevor as the girl who convinces him it isn't. So next Monday night with Dust Be My Destiny, we have the makings of another exciting evening. Well, I think the audience will all be present and accounted for with a play like that, CB. Good night. Good night, Mr. DeMille. Good night. Good night. We'll keep the footright planning till you two come back. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents John Garfield and Claire Trevor in Dust Be My Destiny. This is Cecil B. DeMille saying good night to you from Hollywood. Warner Baxter is currently seen on the screen in the Columbia picture Adam Had Four Sons, produced by Robert Sherwood. Joan Bennett is now working in the 20th Century Fox picture Man Hunt. The screenplay of the Walter Wanger picture stand-in was written by Jean Town and Graham Baker. Mr. Wanger is now preparing sundown for early production. Included in tonight's play were Hans Conrad as Kroslovsky, Dorothy Knox as Cherie, Charles Seal as Quintain, Edward Maher as Potts, Lee Millar as Mr. Pennybacker, Barbara Jean Wong as Elvira, and Eleanor Stewart, Alan Wood, Earl King, Gloria Gordon, Ralph Sadan, Stanley Ferrar, Edwin Maxx and Noreen Gamill. Our music is directed by Louis Silvers and your announcer has been Melville Roy. This is the Columbia Broadcasting System.