 Hollywood, California, Monday, December 21st. The Lux Radio Theater presents Joan Blondell and Dick Powell in the radio version of Warner Brothers' picture, Gold Diggers. It presents Hollywood, our stars, Joan Blondell and Dick Powell. Our guests, Mr. Jack Warner, production head of Warner Brothers Studios and Ted Atmore, Gold Prospector. Our producer, Cecil B. DeMille, our conductor, Louis Silvers. To you who crowd our theater tonight and to you millions of listeners the nation over, the makers of Lux Flakes bid you all a hearty welcome. Lux Flakes have taught hundreds of thousands of women the secret of dressing smartly with economy. These gentle, effective flakes keep silks, woolens, rayons, fine cottons and linens looking like new so much longer. But now on with the show. Our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. It has long been a question in the theater whether an actor's highest art is the product of great technique or deeper motion. Joan Blondell and Dick Powell recently revealed which school they prefer. After completing the sixth picture in which they have been co-starred, they took their screen-romancing seriously and decided to play opposite each other for the rest of their lives. Tonight our Christmas gift to you is the presentation of these two stars and their first performance together since becoming Mr. and Mrs. Richard Ewing Powell. Joan, daughter of Eddie Blondell of Audeville fame, has been acting since the age of four months. But in spite of a theatrical heritage she has fought harder for success than most Hollywood stars. She's been a sales girl, a librarian, and once when stranded and penniless in China washed dishes to earn enough money to rejoin her theatrical troupe. Dick Powell, along with Dizzy Deen, Hillbilly Songs, Bob Burns, and Razorback Hugs is one of Arkansas's most famous products. His success as a singer in a church choir led him to quit his job with a telephone company and go on the stage with his own orchestra. Discovered like Joan by Warner Brothers, Dick is a headliner, not only in screen musical comedy but also in radio. We hear him tonight as Brad Roberts and Joan Blondell as Carol King. Tonight's production combines the story of the Gold Diggers of 1933 and the music of the Gold Diggers of 1937. Backstage in the Lux Radio Theater the callboy is shouting curtain time, lights dim, the musicians pick up their instruments and our play is on. The radio version of Warner Brothers picture Gold Diggers starring Joan Blondell and Dick Powell. The scene is the top floor room of a theatrical boarding house two blocks west of Broadway. It's 10 o'clock in the morning and the three charming occupants of the room, Polly, Trixie, and Carol have just turned over for a short cat nap. Trixie, rousing herself with an effort, sits up in bed and yawns loudly. What time is it, Polly? What difference does it make? You awake, Carol, or is hunger taking its toll? Mm-hmm. And the sun's high enough to fry an egg? If we had an egg. I was just lying here thinking I can distinctly remember the time when that alarm clock there used to ring. Those were the good old days when we had to get up for an early rehearsal. And we had a quick breakfast downstairs. Yeah, many of the times I wish I had taken those donuts more seriously. But what do you say we get up? Might as well make the rounds, you know? I want you to look at Polly. Hey, what do you think you're doing? We're doing exercises. I've got to keep in trim. What for? There's only two things to keep in trim for. Shows, and there are no shows. Men, and there are no... You said there are no men. Haven't you heard Trixie Polly? I think she's in love with that songwriter across the way. Well, if that's love, uh... Hey, hey, wait a minute. We can't make the rounds today. Why not? We can't go out to get work in these clothes. There ain't a manager in town who'd look at us with both eyes. Trixie's right. We do look kind of seedy. In between us, we've hardly got one good outfit. I've got an idea. On an empty stomach, what a woman. If there's just one good outfit between us, why don't we match for it? And the winner goes the rounds today. Hey, I think the little girl's got something there. Now, there's a flaw in it. What kind of a flaw? Well, you've got to throw up a coin to match. We haven't got the coin. Then we'll pick Trixie's. Which one do you take, Trixie? Oh, just plain old yellow. I'll take a red towel. I'll take a check, and now come on, get over the window. Okay, this sure brings out the... Oh, there it is. It's a red towel. I win! Polly gets the rags and me all born clothes. Oh, you look grand, Polly. Who are you going to say? My dear, dear old friend, Barney Hopkins. Barney Hopkins? He ain't no big shot manager. Well, he's going to be. Hey, don't you read the paper? Hurry and get out, Polly. Gee, with those trappings in my line, I could make Barney think. Say, I know Barney. With these trappings in my line, I'll knock him dead. It drives me nuts with his piano. The best comedian on Broadway will proceed to make beds. Hey, Trixie, is Polly really in love with that songwriter across the way? Yeah, you know Polly. One day it's Barney Hopkins. The next day it's a songwriter. Tomorrow she'll be making eyes at the mailman. If she thinks he's good for a three-cent stamp. Say, you don't go for that good for nothing, too, do you? Me? Of course not. I hate men in show business and especially songwriters. What difference does it make if Polly's taken a shine to this one? It doesn't. It's the falling in love part of it that makes me blue sometimes. Polly can find romance any place. She finds it with a songwriter she's known for two weeks. And me? I can't seem to find my ideal of a man. I want a man who'd be willing to settle down and have chickens. Take that songwriter over there. He hasn't a cent to his name. I thought for the future only a lot of silly songs. A man can't give a woman unhappiness with just songs, you know. Hey, you, if you wait a minute, I'll run down and phone that statement to the papers. I think you've got something there. All right, if you're gonna give me, let's make the bed. Ah, now, Carol, don't be sore. Listen, I was like you. I thought the right man would never come along. And then one day he did. He was in love at first sight. That was wonderful, Carol. What happened to him? Well, the crash came. He lost all his money. Polly, you're back. Hey, hurry up. Get things straight and around here. What for? Barney Hopkins, he's putting on a show. He has to start in two weeks and I brought him here. Come after all. Hello, girl. Hello, Mr. Hopkins. Howdy, Barney. Come on in. Throw yourself in the chair. Hey. It's good to see you, Mr. Hopkins. How's business? Well... Oh, darling, Barney's going to do a show. And I said we would all be so interested. Oh, when are you going to start, Mr. Hopkins? Oh, I don't know. Hey, you don't sound very enthusiastic about it. What's the matter? Is the show good? Honey, you said it's good. Well, it's the biggest thing I ever had. I've diagnosed this baby from every ankle. And I don't see how it can run less than six months or gross less than a half a million. Gosh. Uh-uh. That's not a show. That's a government project. What's the show about, Mr. Hopkins? Well, it's a most colossal idea in years. Now, it's about hard times in a road company. You get it? My idea is to have a... Hey, who's that playing? Oh, just another songwriter. You'll get used to his pounding in a minute. Oh, it's Brad Roberts, Barney. Hey, you stop calling Brad's music pounding. Hey, I've never heard that number before. What is it? Oh, it's his own. He composed his music. Shut the window, Carol. Oh, no, wait a minute. Wait a minute. Now, that's not bad. Say, tell her... What did you say his name was? Brad Roberts. You tell him, Polly. Brad Roberts. Well, tell him to come over anyway. Will I? How do you like that? What for? He's got a great feel to it. He's got something. Polly thinks so, at least for the moment. What's he done? Well, he hasn't had a chance to do anything yet, but he has genius, Barney. I can't see the idea of talking about a genius when we are hard-working girls to think about. Well, well, what is it, Polly? Oh, you've got company. I'm sorry. That's all right, Brad. This is Mr. Barney Hopkins. Brad Roberts. How do you do, Mr. Hopkins? I heard you playing across the way there. What was that number? Well, that was just a little something I whipped up. You came to me in a dream about three o'clock this morning. Did I hear somebody mention nightmare? One just came into the room. Well, let's hear it again, will you? You mean right now? Of course. Now, when do you think he wants to hear it last week? Go ahead and play it. We won't listen. All right, all right, beautiful. Hey, Polly, who's Barney Hopkins? He's a big producer. See, this is a swell chance. He'll do your best. Sure thing. Why are we caught this evening caught in the net of stars? Why are we trapped this evening trapped in beams of silver bars? What can this mad enchantment be? Say, I can use you, Roberts. I need some good numbers like that. And I can use a singer, too. You mean you could use my songs, me, sing, in a show? That's what I mean. Well, uh, what do I have to get the songs? Well, I mean, what does the show start? The rehearsals. Well... That's the first intelligent crack you've made, Beethoven. How about the starting date, Barney? Yeah, not to mention that very distasteful detail of money. Well, there's one little detail that I ain't ironed out yet, but when that's attended to, rehearsals will begin immediately. Do you mean to say that you've been stringing us along all this time that you have no money to put your show into rehearsal? Not a nickel, oh, but I'll get it. You'll get it, yes. You've been getting it for the past five years, Barney. You like all the rest of the men in show business. You haven't announced a backbone. I thought I hated all men in show business. Now I'm positive. Hey, hey, hey, wait a minute, you two. Before this gets into a free-for-all. Oh, uh, Mr. Hopkins. Yeah? How much money do you need to put this show of yours into rehearsal? Oh, maybe 50,000. Oh, now, Brad, you know there isn't that much money in the world. Well, we'll make it 25. Barney? Well, if I chiseled, I could do it for 15 grand. Well, if it's all right with you, I'll advance to 15,000. But you, you, you... Money right now? 15,000 dollars? Certainly, certainly. Only there's one stipulation. Oh, I know it. It's too good to be true. Well, what is it? Mr. Hopkins, I'll advance you the 15,000 on condition that Polly Parker is featured in the show. Polly Parker? Oh, come on. Here I've been making faces at the guy for the past three weeks. I'll put her name up in the lights. Anything you say. Just give me that check. All right, all right. Got a pen? He can write a check for 15 Gs, but he don't own a pen. Either I'm nuts or... Yeah, maybe I am. Here's the pen. Thanks. Barney? Barney Hopkins. Hopkins with a capital H. Capital H. Hopkins, 15,000 dollars. Eats, gods. How many O's are there in a thousand? 15. There you are, Mr. Hopkins. Mr. Romach, you never know what this means to me. Well, I'll spread your name all over Broadway from coast to coast. No, no, no. Never mind that. I want to be kept out of this as much as possible. I'd rather no one knew who put up the advance. Anywhere you want. Well, what about cashing it? I can't believe this yet. Oh, but it's too tricky, didn't it? Well, come on with me. I'll go over to the bank right now. We'll see if it's good or not. Oh, come on, come on. Are you coming, Cal? No, I'll stay here and finish making the beds. Come on, Sanny Claus. We may need you for identification. No, no, no, Tixie. I think I'll go back to my room. I'm going to finish that tune I had a dream about last night. Oh, but let's hope you didn't dream this check for 15,000 dollars. That was funny, wasn't it? What's funny about it? Oh, I mean the way they took that check I gave them. Do you know what you've done? Well, I think I do. Well, you don't know the half of it. You've made those two poor kids think they've got a job. And all they've got is a phony check written by a phony songwriter. Hey, are you kidding me? Not half as much as you tried to kid the girls. And even Barney, hard as he is, fell for it. Oh, I see. But you being the brains of the outfit. I saw through you the minute I heard you pounding that piano. Now get out of here. Get out of here before I lose my temper. I'll get out of here before I lose my temper. Now, listen here, beautiful. If it weren't for Polly being your friend, I'd have made another condition in this show to keep you out of it. You won't have a show to keep me out of. Oh, won't I? And if you do, I won't be in it. You're telling me. Oh, I hate men in show business. Especially songwriters. We will continue with the radio version of one of others' picture, Roald Diggers with Dick Powell and Joan Blondell. While we're waiting, let's take a ride on the Sunset Boulevard Bus. Mrs. Warren and Mrs. Hill are sitting together. They're arms full of packages. They seem to be all done in by their Christmas shopping. As the bus comes to a stop, you can overhear what they are saying. I simply dread going home. I left early this morning and just stacked the dishes in the sink. What a welcome home that is. Oh, come cheer up. I'll pop over and help you do them up. You know, housework's not so bad at all. Only dish washing's ruining my hands. Maybe Santa could do something about that. Oh, easily. Well, last year he brought me a dozen dish towels. You've seen those lovely embroidered ones. And what I found even more important, a nice big box of luxe plates. I've been using luxe for my dishes ever since. So that's why your hands look so nice all the time. Yes. Oh, luxe is simply grand for your hands, and it makes your dishes shine so. Wish I could afford it. Silly, of course you can. A little bit of luxe goes so far it's a real economy. Why, a big box does all my dishes for, uh, oh, more than a month. It's true. Rich, creamy luxe suds in the dish pan make a beauty treatment for your hands that cost less than one cent a day. These gentle flakes will help you start the new year with smooth, soft hands. For gentle luxe flakes have none of the harmful alkali kitchen soaps often have. Won't leave hands red and rough. Start your dish pan beauty treatment now. Use luxe for all your dishes. And now, Mr. DeMille. We continue with the radio version of Warner Brothers' picture, Gold Diggers, including Dick Powell as Brad Roberts and Joan Blundell as Carol King. Barney's show is a smash hit, hailed by the critics as the season's surprise. They're unanimous in their praise of Polly Parker, Brad Roberts, and Carol King, who joined the company in spite of her heated argument with the songwriter. Brad, as it turned out, really had the money to back the show. But there's trouble ahead, as his wealthy brother, J. Lawrence Bradford, knocks on Carol's dressing room door. Are you by any chance, Miss Carol King? I am. I'm J. Lawrence Bradford. Well, oh, I see, come in. Thank you. Thank you. Apparently, you're familiar with the name of Bradford. You're Mr. Robert's brother, aren't you? How did you know? All those things get around. I'm afraid I haven't got much time, Mr. Bradford. I'm on in a couple of minutes, you know. I'll be as brief as possible. Well? Miss King, I suppose you know that my brother, Robert, or Brad Roberts, as you know him, is engaged to Polly Parker. Yes, I know that. So does the birnells in the company. Why is it supposed to be a secret? Miss King, that marriage must not go through for his sake as well as hers. Now, what is this, the old, old story of the boy marrying beneath his position in life? It amounts to that, yes. I see. Have you met Polly? No, I haven't. Well, she's a grand girl. What she sees in your brother is beyond me. But they say love is like that. Miss Carol, I didn't come here to bandit. I have a very definite purpose in paying this call. Yes. I have nothing against this Miss Polly personally. Judging her from across the footlight, she seems to be a very charming girl. At the same time, however, I think you must realize that she's hardly a suitable match for my brother, who is, after all, a Bradford. If you want an argument on that, I'll give it to you. Let's eliminate all arguments if possible. My mind is set. All right, then. What is your set mind got to do with me? Just this. I watched you on the stage tonight. You are very pretty. Thank you. My brother is a very young man. Naturally, he's still, shall we say, quite susceptible. His attitude toward this girl Polly proves that, I think. Go on. The Bradford estate is very anxious to avoid this marriage. So anxious, in fact, there would be worth quite a sum of money if he should find attentions attracted elsewhere. To some other girl, huh? Precisely. Are you by any chance trying to bribe me into double-crossing Polly? Is that what you're driving at? That, of course, is putting it very bluntly. Well, let me tell you this, Mr. Bradford, and very, very bluntly. I don't give two hoots on Broadway for that brother of yours, and if you think I'm going to double-cross Polly for him, or for you either, you better get your thinker examined. But you'll be doing it for Polly's sake as well. She can never be happy married to him. That's for her to find out, not for you to decide. If Polly wants to marry him, that's her business, not mine and not yours. You mean you won't do it. What do you think? You are making a big mistake, Miss Cairn. I don't know what it is about you, Bradford. I had to tell your brother where to get off at once. Now it's your turn. Get out of here before I lose the temper. Very well. Thank you. You are not welcome. Curtain going up, Miss Cairn. All right, let it go up. Oh, yeah? What do you want? Where's Polly? Do you know? She's up on a stage with Brad. Say, listen, Carol, about that number. I'll be a rain check on her, Barney. I've got to see her Polly right away. I've got headlines for her. Well, see me later, will you? All right, everybody on stage. Come on, come on. We've got a show going on upstairs. I knew it was coming the minute he walked into the dressing room, but I gave him plenty of rope and he hung beautifully. Brad, if this brother of yours will fill a stunt like that, there's no telling what he'll do. Well, whatever he tries, he won't get away with. I'm tired of him running my life. I intend to do what I please. No, but wait, Brad. You know what you can do with money. He might close the show, get an injunction against it. Anything. What we need is time. Time for you to get your 15,000 back and the only way we can stall your brother is to make him believe Carol is really trying to get you away from him. Hey, wait a minute. I already refused that proposition once today. And I wouldn't accept it, so where are we? Now, wait a minute. You two forget your hateful minute. This is a show. If your brother thinks Carol has agreed to his proposition, he'll let us alone for a while, give it a chance to work. In the meantime, I've got to pretend I'm crazy about Brad. Is that it? That's the idea. Thanks. I wouldn't try to take him away from you even if I wanted to, and I don't. Well, you don't hear me straining to do it, do you? Brad, be quiet. Now, look, tonight you and Carol have supper together after the show. I don't eat at night. Neither do I. And besides, I told J. Lawrence Bradford to go jump in the lake. Well, you can send him a note and tell him you've changed your mind. Oh, Carol, you've got to do it. Hey, Carol, you're on a mission. Yes, Carol, why don't you do it for me? Oh, well, I'll think it over, but it's going to be an awful pain in the neck. It'll be two pains in the neck. Come on, Paul. Let's line up. Go on, Carol, get out there. Well, you do it. All right, I will do it. Now, listen, I'm not enjoying this any more than you are. You know, you could at least go through the motions of being alive. I think I allowed my friendship for Polly to go a little too far. I should have kept my mouth shut. Well, I wish you had. I hope this is going to be a great evening, I can tell. According to Polly, my dear, this is only the beginning. It's going on and on and on. That's what I'm afraid of. Say, how long will it take to get that $15,000 out of the show? I don't know. I don't know. I wish I had it right now. So do I. How do we go this time? We've hit most of the clubs. One solid week of that is enough. Let's go someplace where we can just sit. But then we'll have to talk. Well, it has its constellations. If we can find something to talk about. Well, we can talk about the earth. Midnight movies, rides in the park. What's on tomorrow? Tomorrow, Sunday. Or don't we ever get a day off? Well, that's up to you. We might as well do the job right. Don't you think so? Yes, uh-huh. You know, I was thinking, how about a picnic? Well, well, I haven't seen ants in the sugar since I was a kid. A loaf of bread, a jug of wine, and thee. Ah, but it isn't wine. And it isn't thee either. It's thou, if you want to quote correctly. Well, well, where did you get so smart? Oh, I read a book once. All the way through? From cover to cover. Oh, my. You have a good time. Yes. Are you? Mm-hmm. Yes, I'm afraid I am. You know, Carol, I had you all wrong. Did you? Mm-hmm, all right. I think I thought you were just a... Gold digger. Well, maybe, but not the kind that steals pennies. I thought you were out for a big game. Oh, anyone can make a mistake, Brad. I guess I made one, too. About me? Uh-huh. I thought you were... No, no, no. Not a gold digger. No. Now, really, you've been small about all this, Carol. And if Polly had to pick someone for this job, I'm darn glad it was you. Are you? Mm-hmm. Uh, yes, but I'm only... Well, what's the matter, Carol? I haven't said anything wrong, have I? No, no, of course not, I... Oh, Carol, I... Let's go home, shall we, Brad? It's getting late. Come in. Where do you think I am now? Nice performance tonight, baby. Oh, I guess it was all right. You guess it was all... Well, what's the matter now? Nothing. Why? I don't know. You got that two-bit look on you. Anything wrong? Why, that's crazy. Of course, there's nothing wrong. Let's just say that. Oh, it's just the old observer in me, I guess. But I've been noticing you for the last couple of days. I, uh, thought maybe that you... Well, you thought wrong. Oh, you can't hang me for thinking. I'm sorry, Trixie. Hand me my dress, will you? Oh, yes. Going out again tonight? Yes. With Brad? Yes. Nice guy, Brad, when you get to know him. Polly's a lucky kid. I, um... I said Polly's a lucky kid. I heard you! Yeah, I guess you did. By the way, how long does this idea of hers go on? It stops tonight. Has Brad made his 15,000 bucks? I don't know and I don't care. Then why is it gonna stop? Because I want it to. Because I'm sick of paradein' around like a cheap little gold digger. Sick of makin' eyes of a man I'll never marry. Let Polly marry him. Let him lose his 15,000. Let the show close. I don't care what happens. I'm through playin' a would-be sweetheart to a man I can fool you. A man you don't care for? Yes! So you're just walkin' out. I'm walkin' out. Ah, you're a sweet kid, Carol. But you ain't foolin' Trixie a bit. You know that, don't you? I don't know what you're talkin' about. Better change that line of yours about hatin' men in the show business. I do business. Yeah, except songwriters. Well, I'll see you at the hotel, Carol. This is a hand-of-the-tie with your money. Yeah, sure. No, no, no. The light one. Yeah, that's it. Pretty gay tonight, aren't you? Every night, Barney, every night. Oh, Pollyanna Brad. They call me in the better circle. Steppin' out again? Mm-hmm. Speaking of the weather. With Carol? Boom, boom, boom. Certainly, certainly. That's the idea, isn't it? We're takin' in the floor show at the Queen High Club. Wanna come along? Maybe. You and Carol seem to be hittin' it off pretty swell. Oh, we're makin' the best of the game. All right, I'm speaking of the weather. Hey, Brad, I'd like to speak to you about somethin'. Now, if I put my foot in it, tell me to shut up. But I got a pretty good reason for askin'. Sure, sure. Still it, Barney? Well, it's about Polly. The... What about Polly? Well, that's what I'm askin' you. Are you gonna marry her? Well, you haven't heard her call it off, have you? Oh, no, no, no. Of course not. But then it's still on. Okay, I just wanted to make sure that's all. When's it gonna be, Brad? Oh, I don't know. I don't know. Pretty soon, I guess. We haven't talked it over yet. Well, I'm sorry if I butted in. It's all right, Barney. That's all right. See you later. Yeah, I guess so. I'll bring Polly. You know, we've been sort of, well, you know, goin' around a little while. You was playin' the game. Fine, Barney. That's wonderful. That's what I call real cooperation. Now, you just keep that up. And I'll see both of you tonight, huh? Okay. Tables right over this way, sir. Thank you very much. What a dance, Carol. I'd rather not bread if you don't mind. It's all right with me. Be tired? A little. Want to go home? No, Brad. I... No, no, no. What's wrong? How's the show doin'? Well, you oughta know, Carol. I mean, financially. Oh, all right, I guess. Barney hasn't said very much about the money ankle. I don't suppose it'll be much longer. Now, you mean you think it's time that we... we stop playing the game and call it quits? What do you think? Uh, have you seen Polly lately? Just around the theater. Barney's been sort of looking out for her. Oh, Carol. There's something I've been wanting to say to you. Oh, there, Brian. How are you? Oh, uh... Oh, hello, Duggan. Hello, hello. How's the business, huh? Ah, Carol. See, how about a little number for the crowd? Oh, I'd like to, Duggan, but I just got through with the show and I'm all tired. Oh, come on. You know you can't come in here without doin' a song. Come on, help her fill out. Business is getting terrible. Well, all right, all right, Duggan. Say, have the boys got the show numbers, huh? Well, come on over and we'll see. Are you an excuse, Miss King? Uh, I'll be back in a minute, Carol. Hello, Carol! Oh, hello, Barney. And Polly. Brad said you'd be here, so we thought we'd drop in. I'm glad you did. Sit down. Where's Brad, Carol? Speaking to the Augustor leader. He's gonna do a number for Duggan. I want to talk to him. I got a little surprise. What is it? Well, I went over the books again tonight and Brad can have that 15,000 of his any time he wants it. How's that, my fine feathered friend? Well, that's wonderful, Barney. Well, that makes everything all right, then, doesn't it? What do you mean, Carol? For you and Brad, I mean, you won't need me any longer, will you? Oh, Carol! Little Carol can step out now. She's free again. Free. And, baby, you can bet your life she's gonna go high, wide and handsome. Oh, Carol, wait a minute. I'm in a hurry. Give my Brad my congratulations. Will you tell him how I'd like to say it? Where are you going? I don't know. Well, for the love of... I got a great treat for you. One of my best friends is here tonight as my guest. Hey, and don't forget to knock off that cover charge, will you, Logan? Okay, Ralph. You all know him. He's the singing sensation of Barney Hopkins' All-Star Review. I've asked him to do a little number for an old buddy, and here he is. Brad Roberts. Thank you. Thank you. I have never envied folks with money. Millionaires don't get along so well. I have you, but haven't any money. Until the combination would be swell. Oh, baby, what I got money brings Just a little bit of looker buys a lot of things And I could take you to places you'd like It's the root of all evil I'm striking up evil How are you, Polly? All right. Where's Carol? Don't tell me she walked out during my song. She left, Brad. Left? You mean she went home? Yes. That's what he means. Well, but what's the matter? What's happened? Well, I don't know. I told her I had that 15,000 a year, and she blew out like a light. She acted awful funny. Oh. You know, you can have that check for 15 grand anytime, Brad. Just say the word. Yeah. Yeah. Thanks, Barney. You say she left? Yeah, that's right, Brad. Here, take my hanky. I kind of thought hearing good news like getting $15,000 would make you cry. Station identification. This is the Columbia Broadcasting System. Play shortly. We've been listening to a story concerning one type of gold digger, the wide-eyed blonde variety. But another type of gold digger is also here tonight. Ted Atmore, a member of that fast-disappearing breed of men that died in the world of prospectors known as sourdough. I met Ted many years ago, high up in the Tehachapi Mountains at the edge of the Mojave Desert, in the same cabin which he left to come down here tonight. Times and customs have changed since he began prospecting 50 years ago, but not Ted Atmore. He's still looking for gold, still with the pick and shovels such as his father used in the Gold Rush of 1849. And he's here to tell us something about prospecting. Ladies and gentlemen, Mr. Ted Atmore. Thank you, Mr. D. Mill. I've done a lot of crazy things in my life. But I never thought I'd find myself in a mess like this. I know as much about talking about... I know as much about talking on the radio as Loppeard Mill. Let you know volumes about gold, Ted. Talk about that and you'll be all right. Well, there's millions of dollars in gold up there in my part of the country. Finding is one thing, and getting it out at low cost is another. But it's there. Why have you always remained in the same section of the country? You might have better luck going further. I've stayed there because somewhere within eight or 10 miles of... my cabin is one of the richest mines in California. It's called the Lost French Mine. It was found shortly after the Mexican War. The Frenchman who discovered it got lost up there in the mountains, found the gold, and finally came out with several samples. When he got back to look for it, the Frenchman was thrown from his horse and killed before he died. He left a description of the mine, men having looked for it ever since. Nobody found it. But it's there, Mr. DeMille, just as sure as I'm here. How many claims do you own today? About a half a dozen, Mr. DeMille, scattered through the mountains. And I'll tell you what I'll do. The next claim I'll find, I'll name it Lux. On account of being here tonight. And I hope there'll be as many flakes of gold in it as there are flakes of soap in a box of Lux. And don't think I don't know about Lux. After 50 years of washing my own clothes, I can tell plenty of women a thing or two. No doubt you can. Ted, you spent your life looking for gold. Doesn't it ever get discouraging? What have I got to be discouraged about? I'll keep on looking till I find it. And if I never do, then I'll know it just wasn't meant for me to be rich. I have learned to take things in my stride. Luck and bad, good luck and bad luck. I've got my cabin there in the mountains. I've got plenty of cured deer meat. And I've got my health. I only hope everybody is well off as I am this Christmas. I was glad to come down here and I'll be glad to get back. Good night. Back to the radio version of Warner Brothers picture Gold Diggers starring Dick Powell and Joan Blondel. After walking out of the nightclub, Carol also walked out of Barney's show. She joined another company to avoid meeting Brad. Two weeks have passed. In Brad's hotel room, Barney is trying to find out what has happened to his star stinger. Brad, I'm worried. What about? You've got a hit show, haven't you? Yeah, I had a hit show and it'll... Then do what? Well, until you started acting like a zombie and threw it in the ash can. What do you mean I threw it in the ash can? Oh, now let's quit cutting ourselves, Brad. You know, there's something wrong with you. You've been walking around in your sleep 24 hours a day and you're singing like a frog in a thunderstorm. Now, this has been going on for two weeks, two solid weeks. We're beginning to fill it in the box office. Well, so what? So we can't stand it much longer without losing money. Well, then let it lose the money. I don't care. All you ever think about is box office, applause, standing them in the aisle. I'm sick of the whole business. You're just like Polly. All she could think of was my $15,000 in the job. Well, I got the $15,000, she's got a job. You ought to be happy and so should she. Yeah, I wish I'd put that much fire in your performance on the stage. Oh, shut up. It ain't bad enough that you're in a fog. I'm still struggling along without a decent speciality. Well, look, Barney, if you're talking about Carol, I don't want to hear anything about her. She quit, walked out. Get someone to take her place. Oh, sure, sure. Specialities like Carol's grows on trees. I've been scouting for someone ever since she walked out two weeks ago. I wish I knew what made her quit. Maybe I could fix it. Hey, wait a minute. What for? Nothing. I just thought of something. It's about time. Oh, yeah, ain't it? Hello, Trixie? Yeah. Well, this is Barney, Barney Hopkins. Well, what of it? Never mind the wise cracks. Is Carol there? Yeah, you want to speak to her? Not now. Just hold her there. Tell her I'm coming right over. Listen, Barney, if it's about coming back with a show, don't waste your time or taxi fare. I've been after her for the last two weeks, and she's stubborn as a mule. Just tell her to wait there for me. That's all. Goodbye. Hmm. Barney's the kind of guy that takes winters after the race. Who are you talking to, Trixie? Anyone important? No, just Barney. Oh, what do you want? Oh, nothing. Same old thing. He wants me back in the show. Yep. Well, he's wasting his time. Did you tell him that? Yep. But it didn't register this time. What do you mean? He's coming over here in a few minutes. I won't see him. Oh, no, Carol, don't act that way. You want to go back. We've been over that 20 times. Then this will make 21. Carol, I can't fall for that gag of yours about quitting the show because you've got a better chance in this new show you're rehearsing. Well, I have. Yeah, sure. You're going to let you carry the American flag in the Girls of All Nations number. I tell you, Carol, that outfit is headed to the warehouse right now. Well, what of it? That's my business. If I want to work in it, I'll take my chances with the rest. All right. But I know why you quit on us. It's on account of Brad Roberts. You're crazy. Sure. That's what they said about Columbus. The only difference is America discovered me. Oh, listen, kid, I told you once before you weren't kidding me. You love Brad. You told me once you couldn't find your ideal of a man. Why don't you come up front and confess it to the congregation that you have found him? You'll feel a lot better. All right, Trixie. I will. Yes. Yes, I do love him. That's why I'm afraid. Well, what are you afraid of? Ain't it beautiful? No, it's horrible. Why? Well, what'll it get me? Do you think it's been easy for me working with him, being with him, loving him, and knowing every minute that he's going to marry Polly? I thought I'd play a trick on Brad, not a stuffed shirt brother, but the trick was played on me. And I won't do it again. I don't care what you or Barney or anyone says. Trixie, you understand, don't you? You can see why I prefer working in a show I know will close to working alongside Brad. I don't blame anyone, Trixie, only myself. I thought I couldn't find romance. Well, I did. And when I did, I didn't know what to do with it. Oh, kid, I understand. And I won't ever mention it again. Hey, there's Barney. Want me to get rid of him for you? No, never mind. I'll see you. All right, Uncle Tom. I as a common hold everything. Say, we got a bell that sounds a lot better than that ham you use for a hand. Come on in, Barney. Hiya, Trixie. Hello, Carol. Hello, Barney. Carol, I'm coming to you as man to woman. A pal, a pal. Buddy to buddy. Carol, I need your help. Now, I know you ain't going to turn down an old friend. Barney, I'm not going back. Oh, now, wait a minute, Carol. I'm sorry, Barney. I've made up my mind. I won't go back. I can't go back. Not even for a couple of days? Not even for a couple of minutes. All right. Well, then will you do one thing for me? Come in and take a look at the show tonight. Just look at it and tell that dopey understudy you're yours where she's missing fire. Will you do that, Carol, please? For old time's sake. I think you could do that for Barney. Well, all right, I'll do it. But it's only for tonight, Barney. Well, that's all the time I need. What do you mean by that remark? Well, I'll see you backstage before the show. Come on, Polly. Stay, are you sure everything's all right, Barney? Oh, of course. I'm sure. Hurry up. Oh, but Barney, if you've made a mistake... Listen, Barney, Hopkins never makes a mistake. Polly, you ought to know that. Oh, I hope you're right. Here we are now. Here we are. Come on, get set. Now, get set. Come in. Hiya, Brad, my friend. Oh, hello. Hello, Barney. Hello, Polly. Hello, Brad. Anything on your mind, Barney? Well, yes and no, Brad. Well, I think Polly wants to tell you something. Oh, no, no. No, I don't want to tell him anything. Well, you do, Barney. You're the one that wants to talk. No, no, no, Polly. Now, we had it all settled. You do the talking. Hey, hey, hey, what is this? What's the matter with you two? Well, nothing's a matter. You see, we'll... We'll come right down to the point of things, Brad. It's about getting married. Now, listen, Barney, I told you... Oh, no. Oh, can a star have any privacy? Who is it? Oh, oh. Hello, Trixie. What do you want? Well, if that's your idea of hospitality, I'll leave. Only I got Carol here. Carol? I thought so. Hey, Carol. Carol? Oh, oh, there you are. Hello, Carol. Gee, it's well-seeing you again. I had a tough enough time getting her here. Come on in and shut the door. Oh, boy, it's well-seeing you again. You, um, you said that before. I came here to help Barney. Oh, oh. I see. I thought maybe that you... Oh, no, no. I didn't do anything. No, no, no. You know how it is, Brad. The show, you know. The show's the thing. I've always said that. But I'm glad Carol's here for another reason. What's the other reason? Barney, you told me that... No, no, no. Don't get excited. You're here just in time to war for Polly. Your congratulations. Congratulations. What for? Well, she's gonna be married. That's what for. Oh, Barney, please. Hold on there, Barney. This time, you're buttoning in too much. Oh, take it easy. Take it easy. Well, congratulations, Polly. Oh, thanks, Carol. And you, too, Brad. Well, well, thanks. Barney, I told you... Oh, wait a minute. Keep your shirt on. You haven't got any congratulations coming. Um, no one that gets them. Polly's gonna marry me, Barney Hopkins.