 Lux presents Hollywood. The Lux Radio Theatre brings you Carol Lombard and James Stewart in The Moon's Our Home. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. I seem to remember telling a certain young lady a few years ago that she'd never get anywhere in pictures. I believe I said she didn't take herself seriously enough. Well, I've long since eaten those words about Carol Lombard. And tonight we bow low and welcome her to the Lux Radio Theatre on the arm of James Stewart, her co-star in the captivating comedy The Moon's Our Home. Paramount gave it to the screen and we give it to you now as our prescription for raising your spirits at least 100%. It's a madcap love story of two famous and rather temperamental people. One a screen star, the other a combination author and explorer. I know you'll approve our casting of Carol Lombard and James Stewart for these parts. And we have a great respect for you who are out there beyond the footlights. A great respect for your choice of plays and players and your constructive criticism of this theatre. And another thing we respect is your good opinion of Lux Flakes. What pleases me is that so many of you are self-appointed members of our research staff because each week a large number of you tell us about some new use that you've discovered for our product. I'm sure you've all learned that you can depend on Lux Flakes, all except perhaps a very few who haven't tried it yet. And I hope those few will learn in the very near future, say the first thing tomorrow morning. But the first thing on this schedule now is to raise the curtain on act one of The Moon's Our Home, starring James Stewart as Anthony Ambutton and Carol Lombard as Cherry Chester. On the lot at Paragon Studios stands the dressing room bungalow of Miss Cherry Chester, star of Paragon Pictures. In the bungalow stands Miss Chester herself. She has a wild look in her eye and a vase in each hand. The lovely voice that has thrilled audiences throughout the world can now be heard all over the studio lap. You miss me, dear. You must be over-trained. Oh, boysy darling, I'm a beast. My own darling nurse who's taken care of me since I was a child, I might have hurt you. There was a good chance of it. Oh, boysy, if I ever did, oh, I'd blow my brains out. I know, and I'd have to tidy up afterwards. Now sit down. We must discuss this calmly and sanely. Your grandmother demands that you come to New York at once. Blast, my grandmother. I'm sick of having Lucy Van Steeden run my life. Why doesn't she leave me alone? Because she's fond of you and her somewhat specialized way, and it worries her when you get mixed up with a lot of Egyptians. Oh, boysy, Prince Ali's only one Egyptian, a very small one at that. Lucy ought to stop reading the gossip column. They're too old for her. Listen to me. You know, you've got to go to New York, Cherry. I am not going to New York, and don't call me that foolish name. Well, Sarah Brown then. Don't call me that either. I don't look like a Sarah. That's what you were christened. I was there when it happened. And Cherry or Sarah, you'll go to New York. Your grandmother gets her way. She always does. Well, this would be a nice change for her because baby's not going. For once in my life, I'm going to do what I want to do. She asked very little of you. Only my right eye. Oh, dear, sometimes I wish I had a nice, restful job as a night nurse and a psychopathic ward. Oh, no, I'm awful, boysy. But I'll be an angel from now on. I promise an absolute angel. That's my good girl. Now run in and change your clothes. Head of Manning for a movie universe is coming to interview you. I won't be interviewed. I won't do it. I won't. I won't rub that lamp, my absolute angel. Oh, boysy, you're wonderful. Put the lamp down. All right, darling. That's all I get. I'll go put on something that makes you look sweet and friendly. But I want to be aloof. I want to be mysterious. Don't try that. You're not Swedish. I'll go get dressed and stop acting like an actress. But I am an actress, boysy. First an actress, then a woman. My art comes before anything else. Save that for the interview, Sarah Brown. This is me you're talking to, not your press agent. Chester, Miss Manning. How do you do, Miss Chester? How do you do, Miss Manning? I'm so sorry that I kept you waiting. But the moments fly by on silvery wings when one is lost in told stories. Oh, you're interested in literature, Miss Chester? Interested? Oh, there's nothing I like better than to hide away by myself with a book. A good book. Oh, well, you may write that down. Thank you. But, frankly, Miss Chester, I'd like to do an article closer to the hearts of our readers like a love and marriage. Yes, that would be quite original. Love and marriage. Let me see. Marriage should be like a ski jump, sudden, swift, reckless, starting on the heights, leaping into the void, never knowing the end, never caring, reckless, defiant, accelerating. I see what you mean. Oh, in love. There's only one way I could fall in love. Not as Cherry Chester the actress, but as a plain, ordinary girl. I could only fall in love with a man I didn't know and who didn't know me. There should be nothing but a stew, the man and the woman. No past, perhaps no future, just the magnificent present. Oh, my. That's it. That's what I want. Oh, they're going to eat this up, Miss Chester. Oh, Miss. What is it, Hilda? I'm afraid it's another telegram from your grandmother. I thought I told you to take those telegrams and... Oh, thank you, Hilda, for bringing it to me. Just put it down. Yes, Miss. Well, I mustn't take any more of your time. Thank you so much. I know our readers will adore every word you've said. Goodbye, Miss Manning. Thank you. Well, if I recall your last interview, you were all prathletic. You hopped over a couple of fences to prove it. Romance was out, and you were wedded to the open air. That was the last interview, but you know, Boise, there's something or what I just said to that woman. Well, if there is, it's certainly escaped me. Read your telegram. All that about falling in love with a man you don't know and who doesn't know you, oh, that's Romance. But not for you, darling. If I know you, he'll have to be... Boise, what's the matter? This telegram is Hilda! Hilda, quick! Boise, call the railroad station and get a reservation to New York. Look, what the... Hilda, go home, pack everything, everything. We're leaving for New York. Boise, don't stand there. If you were painted on the wall, do something. Do you mind explaining what this is all about? You'll find I understand English like a native. It's Granny. It's my own darling grandmother. She's ill. Maybe she's dying. Oh, I've got to get to her right away. Hilda, hurry! It's Granny! Lucy Van Steeden. Hot or cold, she gets her way. That's all I know of your books I'd like to, but really, I haven't time. Conductor, we should have left five months ago. We're holding this train. Sorry, Miss Chester. We're waiting for a guy named Anthony Ambiton. Hey, Anthony Ambiton here! Anthony Ambiton! Anthony Ambiton! Please, go into everybody. Who is this Anthony Ambiton? He's a writer. Movies. Books. My wife reads herself to sleep with him. Oh, one of those writers. Yeah. Women of the Tarrad countries by Anthony Ambiton. Below the Equator by Anthony Ambiton. Igloo Knights by the author of Mele Day by Day. Just between you and me, he gives me a pain. Just between you and me, he gives me a bigger one. Hello, dear. I've just bought a book for you to read. A Stride the Himalayas by Anthony Ambiton. Oh, you too. Oh, please, please. Now, I can't. I've got to get on the train. Porter, where's my car? Right this way, Mr. Ambiton. Oh, excuse me. Not now, please. Now, I missed my train. In here, sir. Quick, will you get me out of this? Please, Mr. Ambiton. Your compartment. This way, sir. Boy, headhunters in the jungle, autograph hunters in Los Angeles, savages everywhere. I've climbed Mount Everest. I've swum the helispond. I've crossed the Andes on alum. I never went through anything like that. Right in here, sir. Oh, sanctuary. Yes, sir. It's nice to have you with us, Mr. Ambiton. I'm going to kind of explore myself. I've got as far as Honolulu one time. Oh, yeah, dad. Well, good for you. Well, we'll swap travel logs in the morning. Until then, I don't want to see a single soul. You understand? I'll have dinner in here. Yes. That time I was telling you about in Honolulu. Yeah, yeah, yeah. Well, goodbye. And here, buy yourself a ukulele. Yes. Oh, we got another celebrity on board, Mr. Ambiton, Ms. Cherry Chester. Cherry Chester? Well, nobody's named Cherry Chester. Well, she says... Well, what is Cherry Chester? Some kind of new soft drink or something? Well, sir, she's a moving picture star. Oh, well, I never go to pictures. Those marshmallow-faced movie stars make me sick. Yes, sir. Now, give me the simple primitive woman, the woman of long silences, consuming in love, enduring in marriage. Yes, sir. Me too. Cherry Chester. Huh. Mr. Ambiton, he sounds like a hero in a costume picture. Let's see that book here. And Mr. Ambiton, The Great Venture. I'll bet he's lost out his hot water bottle. And Mr. Ambiton, he makes me sick. Hello, Hallbrook. Nice of you to meet me. How are things in the publishing world? Just marking time till the next Ambiton bestseller. Where's your luggage? Oh, the porter took it. I'm waiting for that crowd to clear off the platform. I sort of wanted to sneak into New York quiet. And just for a change. Oh, but Anthony, that crowd isn't here. Yeah, don't tell me about crowds. And that way, all the way across the corner. You know, it's a funny thing, isn't it? If I were still Samuel Smith, heir to the Smith plumbing supply, they wouldn't even notice me. But now that I'm Anthony Ambiton, the boy explorer. Well, just look out there. Look at that. Anthony, I'm afraid your devoted publisher is your only crowd. Well, no, but the headhunters. Look, they're out in full force. Yes, but you see, Cherry Chester came in on this train, too. Who? Oh. Oh, that movie marksman. Well, she probably lives on this sort of thing. I load women like that. Give me the simple, primitive woman, the woman of long silence. Well, I'm only a publisher, but I'll see what I can do. Oh, yeah. Well, much goes on. They aren't here to see me. Come on. The boys should get me out of here. I've got to get home to Granny. Granny, why aren't you in bed? Let me look at you. You're thinner. Well, will you change that? You look fairly healthy, though. Yes, but you're the one that's ill, I believe. I? I never had a sick day in my life. Lucy. Lucy. Lucy. You, you, you old folk, facial you. Lucy, you're magnificent. I thought you were dying that telegram. It was a dirty trick, but anything's fair when you want to see your granddaughter as much as I do. Oh, darling. Now, what's all this I hear about you in that Egyptian prince as he calls himself? Well, he's got a certain right to call himself one. He is a prince. Don't quibble. What about it? Oh, the papers make so much of every little thing all he wants to do is marry me. Marry you. I never heard of such a thing. Oh, Grandma, are you modern? You know what I mean. Answer me, Sarah Brown. Are you going to marry that, that camel? No, dear. Not for a while, anyway. A million years ago. Well, that's better. Now, there's just one thing more. No Cherry Chester of Hollywood is going to stay in this house. Look at you, all powdered and painted. Your ancestors must be spinning in their graves. Knock upstairs and wash your face. And when you come down to dinner, I want to see my granddaughter. Plain Sarah Brown. Simply done hair, simple dress, everything simple. Simple? Lucy, I'll be positively idiotic. What's for dinner besides food? Oh, just a few old friends of the family. Wee, paper caps and confetti. Don't be absurd, dear. And I believe Horace is dropping in, too. Horace, you mean cousin Horace? Your third cousin Horace. Oh, I think I'm beginning to understand. So that's your little plan, is it, Lucy? Horace, then, Steedon is a monument of respectability. Those grants, too, but who wants to marry it? I said nothing of marriage. Not yet, you mean. You've been throwing Horace Van Steedon at my head since he was ten and I was three. And I won't marry him, I won't, I won't. Put down that vase. Where did you ever learn such manners? In Hollywood. Well, you're not in Hollywood now. Put it down. Hello there. Oh, come in, Horace. We were just talking about you. Oh, were you? Hello, Sarah. Hello, Horace. Nice to see you again. Very nice indeed. Hi, thank you, Horace. Thank you very much, Sarah. I've just been telling Sarah that I hope you two will be seeing a good deal of each other for the next few weeks. Oh, I think that should be very enjoyable, very. Oh, do you? Do you, Sarah? I'm going out for a drive. I shall go mad if I don't. And if Horace proposes once more, I'll carry him in peace as I swear it. I've never seen you so upset. Oh, I see. I'm so tired of being Hollywood's cherry chester and I'm fed up with being grandmother Sarah Brown. Oh, to be alone on the mountain top, along the snow, the sunshine, the stars, but people don't know me where I could live and do as I pleased without interference. That place doesn't exist, dear. Go on, have your ride. You'll feel better. Wait a minute. What's that thing up in the street? The carriage, dear. The carriage? Oh, yes, I'd forgotten. Good afternoon, Miss Sarah. Why, good afternoon, Higgins. I see that grandmother still disapproves of motor cars. Yes, Miss. It's the odor of gasoline. No, this seems like old time. Already, Miss? One moment, while I adjust my hoop skirt and raise my telephone. Okay, Higgins, let's rip. Whee! There's the Ambritain in person, book department. He's all the crafting books. Come on, Harry, this is our chance. Marvelous. Well, Mr. Ambritain, I can just see you stalking through the jungle. Anya? Ah, thanks very much. Ah, who's next? Mr. Ambritain, will you please write something personal in my book? My husband's so jealous. Yes, well, I... Oh. Look, Holbrook. What's the matter, Anthony? That perfume, we can smell it. Well, what's the matter with it? I don't know, everywhere I go, on boats, on trains, in airplanes, women wear that perfume. Why? Well, it's very popular. It's Cherry Blossom, named after Cherry Chester. Cherry Chester? Well, look, I can't stand it. Come on. Anthony! Get me out of here. I'm sick. All right, all right. Take it easy. We'll go out and get some air. Come on. How do you feel now, Anthony? Well, I'm better. Thanks. That fresh air always does the trick. That stuff gets me every time. I was marooned on a plague-ridden African village once for six months that had the same odor. Ever since, the smell of musk knocks me out. Well, don't look now, but here comes the thundering herd. Oh, no, listen. I can't face that crowd again. I'm leaving. All right, run. I'll hold them off as long as I can. All right, so long. Call me at the office. Do you mind if I get in here with you? Thanks very much. Keep going, driver. Just sit here. Will you please sort of... Let me hide behind you. Thanks very much. Hello. What's new? Nothing much. Don't move, please. I'm lost. See, what do you think you're doing jumping in there? It's all right. He can pay no attention to it. Very goodness. Oh, well, you were very kind. Boy, that was an arrow escape. Would you mind dropping me off further on a bit here? I should hand you over, please. What did you steal? Steal? Oh, no, no. You think I'm a shoplifter? No, you're wrong. I haven't stolen anything. No, you should give it back. No, really, really. I have it. I swear. Look, it's a very simple thing to explain. All you have to do is know who I am. Is that all? Well... Well, take a good look at me. I'm looking at you. Now what? I mean, you don't know who I am? Of course I don't. But I'm sure the police do. No, but they don't. Oh, fortunate. Well, I can say I'll have to explain it. Please don't. Let's change the subject. I'm sure it must be very embarrassing for you. Oh, all right. Do you like New York? Not much, do you? No, it's a terrible place. I'm going to get out of it, too. Somewhere where nobody knows me, where I can be alone. No. It's funny you should say that. That's exactly how I feel. You? Ready on the level? On the level. Well, why are you looking at me like that? You know, you know, you could be quite lovely. Do you really think so? Yeah. And a curious start away. Well, are you sure you haven't seen me before? You don't know who I am? Well, no. Is there any reason why I should? No. No, of course not. Say, tell me, is this your carriage? Well, it belongs to my people. They don't understand me. They're trying to marry me to a man I love. In this day and age? Well, that's impossible. Well, he has a great deal of money. Money? And they'd sell you. Well, those are dark age medieval ideas. Well, you don't know my family, if I could only get away. Look, look, I must see you again. Talk to you. You can't. Well, who's going to stop us? Well, I don't know, but... Coachman, coachman, what's the matter? Keep going. Oh, traffic light at a time like this. Now, listen, I must see you again. Free, untroubled by people or conventions. Just yourself. Well, I don't know. I don't want to know your name or where you live. I won't tell you mine. Oh, listen. Look there after me again. Look. Who? That crowd, they'll tear me to pieces. Well, get out and run. Run. I'll have to, but I'm going to see you again. Now, this is a dream, but we can make it more than just a dream if you'll come. Come where? Well, take this card now. I'll be waiting to see you. I'll come soon. Goodbye. Well, goodbye. Mr. and Mrs. Abner Simpson, moon socket, New Hampshire, winter sports, reasonable race, home cooking. Higgins, can you imagine? What, miss? A shoplifter with an address. Holy lovely. Isn't life glo- Haven't been, uh, drinking, have you? Voice your these flowers for me. For you, from Prince Ali. Ali, oh, how sweet it is for me to send him a wire. You needn't bother. He's here in New York and he's called 16 times this afternoon. Only 16? He's slipping. And we're sailing for Buenos Aires tonight at 12. Sailing tonight? Lucy's idea. Yes. Conceived shortly after the flowers arrive. She's meddling again. I won't stand bonus here. Now please don't break anything. Buenos Aires. And why not? Must be quite lovely at this time of year. What? Give me that phone book. Yes, yes. The Irish and voyage would do Lucy a world of good. Uh, Horace is going too. Oh, dear Horace, how thoughtful, how very thoughtful of him. Sarah, do you feel all right? I feel perfectly swell. Go and tell my doting grandparent that I'm delighted with her plans. All right, but I wish you'd tell me what you had to drink. Nectar. Hmm? Ambrosia. Get out, boysy. Mr. and Mrs. Agnes Simpson. Winter sports, reasonable rates. Oh, hello, hello, Grand Central. Can you tell me what time the next train leaves for New Hampshire? Oh, a very special place. Moonsucket. M-O-O-N-S. In just a moment, Mr. DeMille and our stars, Carol Lombard and James Stewart, will return for act two of the Moons Are Home. And now, a last time announcement. Listen carefully. For tonight is our last offer of the Lux Flakes Gone With the Wind brooch. No wonder women are thrilled with it for its exquisite and expensive-looking jewelry piece and such a bargain. Let me tell you about it. It has the rich, authentic look of the heirloom jewelry of the Old South, for the original was worn in Gone With the Wind. It is even lovelier than the Scarlet of Hera brooch we offered last fall, and entirely different in design. It is round and big, almost two inches in diameter, with a safety catch on the clasp. In the center is a big turquoise-colored stone surrounded by a circle of five exquisite-simulated pearls. It has an antique-style gold finish, and the edge is daintily scalloped, while it's so good-looking that you'll want to wear it right around the clock with party dresses, suits, and street dresses, too. Now, of course, you want to own one of these exquisite jewelry pieces. Well, it's not too late, but you must let us have your order at once. Tonight is the last time we will make this offer. Now, here's what you do. Buy a big box of new, quick luxe planks. They come in the same familiar box and cost you no more. Tear off the opening tab at the top corner of the luxe box. Mail this tab with 15 cents in coin. No stamps, please. To luxe box one, New York City. Luxe box one, New York City. Be sure to include your name and address. With your brooch, we'll send an illustrated order blank showing how you can get a bracelet, ring, pendant, and ear rings to match your brooch, all at wonderful bargain prices. Now, remember, send the opening tab from a large box of luxe planks, 15 cents in coin, and your name and address to luxe box one, New York City. This offer is good only in the United States. Now, our producer, Mr. DeMille, act two of the moons are home, starring James Stewart as Anthony Amburton and Carol Lombard as Cherry Chester. Mission-wide search for moving stars. Cherry Chester, Mr. DeMille. Like the snows of yesterday, Cherry Chester has vanished into the snows of the present. For the snow is six feet deep in Moonsocket, New Hampshire. In an old-fashioned sleigh, she jingles merrily toward the Simpson home. Her eyes sparkling with adventure. The driver of the sleigh, Mr. Simpson, is a fund of information. That's the old Redfern farm over there. Nellie's having her fourth baby. Big house, though, plenty of room. How? I'm glad to hear that. Say, we've got another city boarder out to the place. Oh, have you? Yeah, queer sort of cuss, too. Mighty queer. Well, uh, is the queer cuss is here young man? Well, I wouldn't be saying he was young and I wouldn't be saying he was old. But judging by appearances, I'd say he was around 30. That's fine. On the other hand, appearances can be deceiving. Now, uh, take you, miss. I didn't quite catch the name. Brown. Brown. His name is Smith. Well, what's so funny? Not much. For me for a few days. You didn't write for accommodations? No, no, I didn't, but a friend of mine told me about your place and I needed a rest, so I just came. I guess we can put you up. Oh, thank you. Where's this grip go? Upstairs, silly. That's my husband. Yes, we've already met. Oh, it's lovely here. Oh, peaceful. Oh, tell me, is there a young man named Mr. Smith saying it? Smith? Why didn't you say so? Say what? That you were Mr. Smith's cousin. He was expecting. He was expecting? Yes. He said you'd come. He didn't tell me your name. Oh, Brown. Sarah Brown. You are his cousin, aren't you? Ma, yes, that is distantly. You, uh, you see, we haven't seen each other for years. I ran into him the other day. I see. Well, he's our tobogganon. You can probably find him at the top of the hill. I shouldn't have come. He's too sure of himself. Hello, you. Oh, hello, Mr. Well, I got here last night. What took you so long? Now, just a minute. Well, never mind. I'm glad you came anyway. Are you? I'm not so sure. And by the way, cousin Smith, how are the rest of the family? Oh. I splendid. Of course, a little argy fell in the cistern last week. No. Oh, yes, yes. Very sad. Well, there's so many at home they'll never miss him. Yes. Well, how'd you like to take a ride in my tobogganon? Oh, is it safe? Oh, sure. Okay. Sit down. Wait. Is your name really Smith? Oh, yes, yes. But it isn't the name by which most people know me. I don't want to tell you my other name. Sort of spoil thing. And what makes you think there's anything to spoil? Well, you'll make me think so. Oh, I do, huh? Yes. Sit down. Where? Well, back seat. That's where women belong. Now, put your arms around me. I will not. All right. If you think you can hang on, let's go. Now, watch yourself now. I told you, better put your arms around me. All right. There. That's much better. Think you're smart, don't you? Are you frightened? Of course not. You like it? Oh, I love it. Now get steeper down here. Don't let go now. Just a little bit. Oh, you'll never be frightened with me. We'll travel rougher roads and turn narrower corners. Will we? Say, you're pretty sure of yourself, aren't you? Oh, you're lovely. Yeah, I told you on the carriage that she could be, you know. Oh, I hate you. Good. Good. Good. There's nothing more helpful to romance than a little hate. Is your name really Brown? Yes, it is. But it's not the name by which most people know me. I shan't tell you my other name. It would spoil things. Do you see that moon up there? That's where we belong, you and I. Alone on the moon where nobody could ever bother us. Yeah, that's our home up there. Do you always go without a hat? Huh? Why? Well, I've heard at Sunstroke there's probably a moonstroke too. Oh, yeah. Well, probably. Well, going without a hat's good for the hair. Yeah, I had a friend of mine on my father's side who always went without a hat. He was bald. Yeah, he probably didn't have any hair to start with. You know, you should never comb yours. Why? Well, I sort of like it that way. I think you're crazy. Well, I am completely. Well, it certainly is a glorious night, isn't it? Glorious? And what's more, there's nothing phony about it. No camouflage. All this could be paradise for the right sort of people. Tell me more about your idea of paradise. The thing, not being hedged in by a lot of crazy conventions is for me, I just discard them. You sound like a heathen. Oh, no, nothing like that. It's just that I don't burden myself with a lot of illusions as to right and wrong. I don't believe in marriage. Well, what's the matter with marriage? Well, everything in first place is unimportant. Well, your father and mother didn't think so. Or did they? Uh, uh, uh, no, it's old fashioned. I'll date it. It would only take one woman No, no, marriage is the monkey wrench women throw into the machinery of love. Now without it, there'd be no past to bother you. No future to worry about. Nothing but the present. Interesting, but strangely familiar. I must have read it somewhere. Oh, read it where? I don't remember. Say, say, aren't we going too fast? Yes, as a matter of fact, we are. Hey, hey, easy, Nellie. Whoa, Nellie. Well, what do you think I'm doing? All over willful, headstrong. Well, I can't stop her. You got any ideas? Well, you might tie flattery. Flattery, that's not my idea. Nice, Nellie. Sweet, Nellie. Whoa, whoa, hang on tight. Stop, Nellie. Lovely, Nellie. Oh, look out. That was nice driving, mister. What happens now? Uh, well, several will both walk home with a couple of girls. What's the matter? Let me take it up to her. Careful, don't burn your hand. I won't. Thanks very much. Sara, are you awake? Who's there? What's me? Let me in. Let you in. Get away from that door. What are you talking about? Listen. Get away, do you hear me? Maybe you don't believe in a lot of crazy conventions, but I do. Now, get away from that door before I scream. Ah! Good morning. Oh, so you're going to bring that up again? Achilles! Oh, God bless you. You still think I'm a shoplifter? Oh, what's the use? Exactly, what's the use? I don't blame you. I blame myself. You did what any ordinary man would do. I followed you here like a naive schoolgirl. I wanted to find out what kind of a man you were. Well, I found out. Are you trying to tell me that you think that... I'm not trying to tell you anything. So you're putting me in a tough spot, huh? Well, just get this straight now. If you've got any funny ideas about my interests and you just forget them, your type of woman bored me. Give me the simple, primitive woman, the woman of long silences. You're not even good-looking. You've got freckles. Your face is covered with them. You've got red hair, and I hate red hair. You've got green eyes, cat eyes, and you're stubborn and bad-tempered. And what's more, you're ungrateful. I'll answer your move. You could have taken my king. Oh, I didn't see it. You're very strange tonight. What's the matter? Thinking? What about? Things, many things. Shoes and ships and thin wax, cabbages and kings. And why the sea is boiling hot and what are things you have waiting for? Yeah. Yeah, you're different tonight. Warm and human. Somehow or all woman. I doubtful confidence. But well meant. Oh, it's in heaven again. But I'm leaving tomorrow. Oh, leaving? No, you can't. Why not? Well, I have plans and strangely enough I'll concern you. For instance? Well, for instance, I'm going to teach you to ski tomorrow. You'll have to find another pupil. Well, no, no, wait. What makes you so determined? Something I'd almost forgotten. Oh, oh, listen. That man you told me about in the carriage that day. Is he the reason? Maybe. Oh, well, that's why I feel better. Now that's all settled. You aren't going to marry him. You're going to marry me. Well, is that a proposal or a threat? No, it's just a statement. And it's quite impossible. Why? Why? Well, one thing I don't believe in marriage. You don't? Well, now, who's been putting those half-baked ideas into your head? Marriage may not be perfect, but it's the only solution for the average woman. I am not an average woman. What makes you think so? Would you have fallen in love with an average woman? No, I wouldn't. But would you have fallen in love with an average man? Well, what makes you think I have? Well, no. No, of course not. Well, there you are. The only thing left for us to do is get married. I don't even know your name. Sam Smith. Sam Smith, oh, that's awesome. Well, what about Sarah Brown? I have a violent temper. Well, I have had complaints about mine, too. We'll fight every day. And we'll make up every night. I'll leave you ten times a year. I'll always find you. I'll always find you, Sarah Brown. Oh, darling. I want to perform a marriage between two people of expressly desire to be married. Oh, Sam. I have your license. Wait, folks. I can't marry you. There ain't no license. And the new Hampshire takes five days to get one. I have it right here. How's that? The license. I have one. Have what? The license. Here it is. See? Right here. Where did you get that license? Five days ago. You were that sure of me? Well, of course. And you have been since the beginning, haven't you? Well, certainly. After all that, do you still expect me to marry you? I do. Well, I wasn't taking any chances. Do you still think I was presumptuous? Do I? Sir, do you really mean it? I most certainly do. You made a fool out of me long enough our marriage to go. Wait a minute. Wait a minute. Wait a minute. Just a minute. What'd you say, mister? Man and wife. It's over, folks. Three dollars, please. After a short intermission, Mr. DeMille will return with our stars, Carol Lombard and James Stewart, for Act Three of the Moon's Our Home. Meantime, here's a new kind of quiz. A sort of, uh, that reminds me test. Now, I've asked one of our Luxe Radio Theatre audience, Mrs. Tyler Johnson of North Hollywood, to come to the microphone. I'm going to mention four words, and she's going to answer right off the bat just what these words remind her of. Are you ready, Mrs. Johnson? Yes, Mr. Ruick. Kitchen. Um, cooking. Dinner. Dishes. Dishpan. Dishpan. Why, red hands? Good. Last word, gentle. That's easy. When you're thinking of hands in the dishpan, Luxe Flakes, of course. You're a mind reader, Mrs. Johnson. That's just what I hoped I'd remind you of, that Luxe in the dishpan is gentle to hands. You know, every woman dredged that red, rough, ungroomed appearance of the hands that we call dishpan hands. And that's why more and more women are turning to new quick Luxe for dishes. Because with Luxe, their hands stay soft and smooth. Now, we've proved scientifically the great difference between Luxe and harsh soaps in our famous one-hand tests. Hundreds of women took part in these tests, and here is what they did. They dipped one hand in Luxe soap, the other in suds from another leading soap, under conditions similar to home dishwashing. The Luxe hands stayed so much softer, smoother, and prettier that the women themselves were amazed. For example, take Mrs. Bruce Wilkinson, one of the many women who made the tests. She says, My left hand was smooth, soft, and lovely after being in new quick Luxe. My right hand in another soap was so unattractively red in course that I was really ashamed for anyone to see it. After this, I'll never use anything but Luxe Flakes for dishes. You'll feel proud of your hands if you use new quick Luxe for dishes. They'll stay so nice. These gentle suds are fast and thrifty, too. So why not get that generous big box tomorrow and use Luxe Flakes for dishwashing all the time? We pause now for station identification. This is the Columbia Broadcasting System. The curtain rises on the third act of the moons hour home. The romance of Cherry Chester, born Sarah Brown, and Anthony Ambutton, born Samuel Smith has been one long series of arguments, but now all arguments are over and done with. Safe in the bridal suite of the Moonsocket Hotel, they face each other as Mr. and Mrs. Sam Smith. Hello, darling. Hello, darling. Any regrets? Not yet. Are you happy? I think so. I am very happy. I'm so glad. Except for one thing, Sarah. There's something I must tell you. Oh, let it keep until tomorrow. Please. You see, I have something to tell you, too. Well, tell me now. Well, even if I wanted to, I couldn't now. You're really not a shoplifter, are you? Well, would it matter very much if I were? Oh, not tonight. Perhaps tomorrow. Perhaps not at all, either. Kiss me now. Oh, Sam. Sam. Sam, what is it? Holy smokes, that perfume again. You've got that perfume on your neck. Well, what's the matter with that? I'm getting sick. Well, it's a cherry blossom. I know it is. Now, open the windows. Will you open them quick? For heaven's sakes, are you crazy? It's named after Cherry Chestnut. I know, I know. Why don't you do something? Don't stand there like a petrified force. Open the window. Can't you see I'm sick? Well, do you expect me to freeze to death just because you've got a complex or something? I should have told you, but that perfume, I never thought, you know, all this time you've never used it, Sarah. Watch this. Change your clothes. Take a bath or something. Oh, I understand now. You've got memories, haven't you? That perfume brings them back. Yes, but... Oh, you admit it. No. Don't deny it. I can see it in your face. I'm sick. That's what you see in my face. Oh, on a wedding night, and you're thinking of someone else. I hate you. Sorry, sorry. I'm going to pass out. Go on, pass out. Throw it all over the place. Oh, Sarah, wait. You can't fool me. Oh, please. Don't leave me here. Oh. Oh. Oh, good morning, Mr. Smith. Did you sleep well yourself? I don't remember. Where's my wife? Your wife? Why, she's gone, sir. Gone? Gone where? Well, where in New York? She didn't say. I didn't think it was my place to ask her. When's the next train out of here? Next train? Oh, why, there isn't any. What? No, sir. There was a snow slide early this morning. The tracks blocked. All right. We'll charter me a plane. I'm sorry, sir. We haven't any airport. Well, get me something. Get me a dog sled or anything. I've got to get to New York. Oh, bro. I didn't expect you back for weeks yet. Have a nice trip. Had a rotten trip. Oh. Have a... How did you like the Simpsons? Didn't like anybody. Well, uh, how was the weather? The weather was foul. What's the matter, Anthony? Upset, stomach? Now, listen, Hopebook, you've got to help me. Where can I find a girl in this town? A girl? Why, uh... Oh, my wife has a very nice friend. Oh, no, no. I don't mean I want to meet a woman. I mean, I've met one. The woman, but she's disappeared, vanished, gone. Oh, well, if you know her name, why don't you try the telephone book? Well, there are 116 Sarah Browns in the telephone book. All ages, colors, nationalities. I've talked to every one of them. I've searched the city directory. I've been to the Bureau of Missing Persons. I've done everything. Well, uh, what does she look like? What does she look like? What does she look like? She's the sweetest, most wonderful, most beautiful girl in the world, Hopebook. Well, now, we've got to find her, Hopebook. If you ever expect me to write another line, you've got to help me find Sarah Brown. Well, I'll certainly try, but if you've done everything... What's that yelling about? Huh? Oh, nothing very important. They found Cherry Chester. She's come back. Cherry Chester? She's the one I've got to blame for this whole thing, you know. A woman I've never seen has wrecked my whole life. Here's what Warner Wilson says in Broadway Lowdown. Although Miss Chester refuses to explain how queer abouts for the past few days, your correspondent has it on good authority that there is a certain guide in the main woods could shed some light on... Boise, stop it. I don't want to know about it. That's as you like. The other paper says you're in the sanitarium with the DPs. Well, I feel like I was. Boise, Boise, why did the papers want to hurt me? Why are people so unkind? I've done nothing, at least, nothing that concerns them. You're a public figure, and as such, your life is not your own. Oh, I've made an awful fizzle of things, haven't I? Things that I always do. I just wanted to get away to be myself. I didn't expect to get myself in a jam. And what a jam I'm in, you'll never know. I haven't bothered you with any questions. No, won't either. Thank you, darling. Boise, Boise, do you believe in fables? Fables? I used to. Well, fables always have a happy ending, don't they? Always, darling. Good morning, Sarah. I want to speak to you. I thought you would, Granny. Boise, you may leave. Yes, ma'am. Sarah, everything is arranged. I've already talked to Horace, and the newspaper men are waiting. Waiting for what? For the announcement of your engagement to Horace. Engagement? But, but, Granny... My dear, my dear, I've gone into the situation quite thoroughly. The immediate announcement of your engagement to Horace is the only step we can take to silence this scandalous gossip. But, Granny, it's impossible. Why, Granny, suppose I were to tell you that I was already married? I'd say it was your way of evading an issue. But I am. Huh? Who, too? Why, too? Sam Smith, that's... All right, all right. Who is he? Where does he come from? What does he do? Well, I don't... Granny's got to believe him. I'll believe you. Produce him. Where is he? I don't know. That is, I'm not exactly sure where he is. I'm trying to find him. Sarah Brown, if you must lie, do it more convincingly. Now, come on. Come on, let's see. The report doesn't get this thing over with. Granny, please, don't please. Are you coming with me, or shall I see them alone? All right, but when I marry Horace and they come and arrest me for bigging me, don't say I didn't warn you. Hello, Holbrook. Holbrook, this is Anthony. Find out anything? Oh, well, if I can't look, I don't nobody can. Look, Holbrook, I've got to get out of this town. I can't stand it. Get me a passage on the first ramp of sailing. Where? I don't anywhere. Call me back, William, at the club. Have them page me in the lobby. Oh, excuse me. Hello, Horace. Hi, Sam. I mean Anthony. Stupid of me. I never can remember your pen name. Oh, that's all right, Horace. How have you been? Oh, fine, fine, fine, fine. Well, aren't you going to congratulate me? Congratulate you? What for? Don't tell me you haven't heard, but the newspapers have been full of it. Well, I haven't read a paper in weeks. Well, I'm going to be married. Married? Oh, well, that's great. What's the matter with you? Are you sick? No, no, no. Just dying. You look awful. I've got it. But you need a little relaxation. You're coming to my New Year's party tomorrow night. No, thanks. I don't think I can make it. Oh, I won't take no for an answer. You've got to meet my fiance. You'll be crazy about her. And she may like you. Of course you're coming. Where's the old college spirit? A little conviviality is just what you need. Well, Horace, maybe you're right. That's exactly what I need. A seat on the merry-go-round. Of course I knew it. Meet me at the club continental at 10 o'clock. What was that trick you ordered, sir? A Stambul slide car. I think that's got me. You mean to say you've never heard of a Stambul slide car? No, sir. I don't know what kind of a place it is. Where's everybody been for the last 10 years? Well, I come from Milwaukee, myself. Well, never mind. Just make me something strong. Make mine double, I need it. Sarah? Sam, I couldn't believe my eyes. Sarah Brown? Sarah Smith. I'm the lady you married, remember? But you look different. Darling, why didn't you try to find me? Well, I did. Did you want to be found? Oh, what do you think? Well, I think the world's quite sane and we're completely mad. Now, come on, let's get out of here. Well, there's a terrace outside. Come on, quick. Who would have run away from you? I tried to tell you. I was too sick. Anyway, you wouldn't listen. I thought it was the memory of some woman you couldn't forget. On this earth, there's only one woman. It is you. Darling, I've missed you so. I was going to drink myself into my grave. You couldn't, sweetie. You'd have gotten sick. Yeah, yeah. Tell me, though, you've changed. What's it all about? Your clothes and everything. Where are my freckles? What's happened to Sarah Brown? Sammy, there's something we've got to talk over. Something important. Well, of course, darling, anytime you want. Where is she, Horace? Where did she go? I don't know. She went to the bar, then I lost her. Well, find her. I wonder if Anthony's around. I did want Sheri and Anthony to meet. Chester, so what? I married Sammy Smith and I found out that I've also accepted Anthony and so what? Sweetheart, we're big on us. And I love you desperately. Oh, Anthony. I mean, Sam. We did have fun, didn't we? Loads. And we'll have lots more. And this is an ain career of yours. Without that to worry you. I think how happy we'll be. Explore every hidden byway will do crazy, ridiculous things. We'll live on the moon. But Sammy, I'm not retiring from the screen. Oh yes, of course you are. That's all set up. Well, are you giving up writing and exploring? Oh no, no, certainly not. Oh, I see. The woman's place is in the home, hallelujah. That's quite true. Oh, no, it's not. Well, if she certainly has no place on a movie screen, making faces for a living, you don't call that acting, do you? Well, I hope you don't cherish any illusions as to your ability as a writer. Oh, so you've read my books. I tried when I couldn't finish it. I don't believe it. Which one? The one where you slide down the six pyramids. There are nine pyramids. Six. Nine. So I'm not only a bad actress but a liar. Well, I never realized how utterly disagreeable you can be. I never realized you were so righteous and smug. I just merely said that you were a disagreeable, worthless little brat. You're a confated, ill-tempered, impossible-based, and I detest. All right, now you listen to me. Take your hands off me. I'll show you. Oh, just let me get my shoe off and I'll show you. All right, just stand up here. Go on, stand up. Have you ever been hit on the head with a high heel? Oh, and I won't. That's what you think. Come on, give me that slipper. Take it. Now, come on, give me that, will you? Let me go, you big ape. Come on, stop kicking here. Stop, look out. Look out. All right, now give me that slipper. Hello there, Sarah. Dear, I've been looking all over for you. Oh, Horace. Is something wrong here? No, no, nothing at all. Sarah, this is Anthony Ambert and my old friend, Anthony, my fiancee. Chom. Just a minute. Did you say fiancee? Yes, of course. Oh, I see. Well, I really owe you an apology, Ms. Chester. You're not only a great actress, but a cheat. For a divorce, I suggest Reno. Help me up, Horace. Sarah, this is awful. What did he mean about a divorce? Nothing. Nothing important. Well, where's my shoe? I think he had it in his hand. Shall I go after him? No, let him go. Horace, you're sane, quiet, and soothing, aren't you? Well, I'm conservative, yes. Yes, and that's what I want from now on. It's 12 o'clock, Sarah. Well, happy new year, Horace. Happy new year. 12 o'clock, and Cinderella's lost her slipper. Whatever she happens to be calling herself today. She's not here. She isn't? Well, I'll look for her myself. Get out of this house. Get out of her house. I don't think you're frightening me. I've heard all about you, you anti-Diluvian tyrant. Woo! You don't impress me. I don't see anything so terrifying about you. But what do you want? What do I want? Do you see this slipper? I want the foot that goes in it. Do you see this marriage certificate? It's a claim check on a girl. A girl about 5 feet 2, red hair, green eyes, face covered with freckles. She's willful, spoiled, has a terrible disposition. My granddaughter. My wife. Your wife? Oh, so you're Sam Smith. Yeah, yeah. Don't hold that against me. You're very masterful, aren't you? That's just what Sarah needs. Look, I don't know what she needs, but I need Sarah. Now, where is she? Thanks to your bad temper and, well, my stupidity, your wife is catching the 11 o'clock train for Reno, where in due time, she expects to marry Horace van Steeden. Well, wait a minute. I've got to stop her. How? Well, I don't know. Wait, wait. I have some influence in this town. Boy, see? Get me the police department. I'm hurrying Horace. There, stop. Hello, Sam. Oh, I thought you'd sneak out of town, eh? Here he is, officer. Come along, you. Hello, wait. What have I done? Oh, no, none of that. Come on, Benny. Benny? Boston Benny. We know you escaped from Altoona a year ago. Oh, that's ridiculous. I've never been in Altoona. What'd you say? Altoona. In Altoona in my life. Have I, Sarah? What's the use? They've got you dead to right this time, Benny. Sarah? Come along, dear. Well, wait. This is horrible, mister. You can't. Oh, Sarah. Oh, Sammy. Darling, let's talk things over. Oh, yes. Yeah. So ends act three of the moon's our home. In just a moment, Mr. DeMille and our stars will be back for their curtain call. And now, let me remind you that this is our very last offer of the Lux Flakes Gone with the Wind broach, the one designed from the exquisite pin worn in the movie Gone with the Wind. You'd better send your order in immediately, or it may be too late for you to own one of these stunning jewelry pieces. And they really are stunning. So many of my friends have remarked about mine, especially about how rich and expensive looking it is. But the thing I like best is how lovely it looks on many different outfits, from a tailored suit to an evening dress. I think my Gone with the Wind broach is one of the nicest presents I ever gave myself. And it certainly is the biggest bargain. Sally is right. This broach does make a beautiful present for yourself or to give to your friends. And yet it costs so little. It's entirely different from the Scarlet O'Hara broach we offered last fall, even lovelier. It's round and big, almost two inches in diameter, with an antique style gold finish and a lovely cluster of simulated turquoise and pearls in the center, the kind of jewelry piece that every woman loves. Because it's not only beautiful in itself, it's fashion right. Now here's how to get this wonderful bargain. Listen carefully, please, because this is the last time we are making this offer. First, buy a big box of Lux Flakes. You'll need this to take care of all nice washables, stockings, underthings, sweaters, and dresses. Next, tear off the opening tab at the top corner of the Lux box and mail it with your name and address and 15 cents in coin, no stamps please, to Lux Box One, New York City. Lux Box One, New York City. With your broach, you'll get an illustrated order blank for matching jewelry pieces. Ring, pendant, bracelet, and earrings. All amazing bargains, but don't delay. Now remember, send the opening tab from a big box of Lux Flakes, 15 cents in coin, and your name and address to Lux Box One, New York City. This offer is good only in the United States. Now here's Mr. DeMille with our stars. Once more, these spotlight turns to Carol Lombard and Jimmy Stewart as they come back to this microphone. Thank you, Mr. DeMille. You know the thing I like about this Lux Radio Theater is the way everything runs so perfectly. They never miss anywhere. So you're not going to play the accordion now, are you, Jimmy? Oh, no, I didn't bring it tonight. I should have been applause there. Now, this is no place for my accordion. Why, even the boys and girls that collect autographs at the door won't take just anything. For instance, there was that girl who stopped me on the way in tonight. You surely didn't disappoint her, Jimmy. Oh, no, I signed, and then I asked her what she was going to do with it, and she said, well, if I can get Carol Lombard when the show's over, I know where I can trade both of you for Clark Gable. I'll have to speak to her. She can't make a bad bargain like that. Oh, now, be polite, Carol. I might have to take back my autograph. But seriously, Mr. DeMille, I have enjoyed very much coming back to Lux Radio Theater. In the past few months, I think you've really taken on a new assignment here. All entertainment is a premium now, and anything that lifts us out of the everyday routine for an hour, so is what we need at a time like this. America must be strong, and we must keep it free by making it stronger still. While we're all working toward that end, to the limit of our strength, we need the emotional outlet that a theater like this provides. Let me show you a little of our mail sometime, Carol, and you'll understand why we think of this as a national theater. Oh, what's going on in it next week, Mr. DeMille? Plenty of action, Jimmy. Our play is Johnny Apollo, and our stars are Dorothy Lamour, Edward Arnold, and Burgess Meredith. Johnny Apollo is the story of a father and son who lost faith in each other, and of a girl named Lucky, who brought them together again. Next Monday night, you'll hear Edward Arnold as the father, Burgess Meredith as the son, and Dorothy Lamour as the girl named Lucky. The 20th Century Fox picture made a hit on the screen, and I have a distinct premonition that will do the same for us. Well, that's a great story, Mr. DeMille, and you have a swell catch. Good night. Good night. Good night. A stage door map has welcome on it for you two any time. Good night. Our sponsors, the makers of Lux Plakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Dorothy Lamour, Edward Arnold, and Burgess Meredith in Johnny Apollo. This is Cecil B. DeMille saying good night to you from Hollywood. This week, the nation is celebrating Boy Scout Week, the 31st anniversary of the Boy Scout Movement in America. Today, a million and a half scouts are training for democracy as active members of this great organization. Ladies and gentlemen, we invite you to join the Lux Radio Theatre in saluting the Boy Scouts of America. James Stewart appeared tonight through the courtesy of Metro Golden Mayor and is currently seen in this studio's production, Come Live With Me. Carol Lombard's current screen hit is Mr. and Mrs. Smith, the RKO production which was directed by Alfred Hitchcock. Heard in tonight's play were Clara Blantic as Lucy, Verna Felton as Boise, Hans Conrad as Horace, Lou Merrill as Holbrook, Charles Seal as Justice of the Peace, Ralph Sadan as Abner, Stanley Farrar as Coachman, Gloria Blondel as Hilda, James Heagles as Hotel Clerk, Jack Carr as Porter, Celeste Brush as Miss Manning, and Noreen Gamill as Mrs. Simpson. The brooch offered you by the makers of Lux Flakes was designed from one worn and gone with the wind, the Selznick international picture produced by David O. Selznick and released by Metro Golden Mayor. Our music is directed by Louis Silvers and your announcer has been Melville Ruick. This is the Columbia Broadcasting System.