 Lux presents Hollywood radio theater brings you Irene Dunne, Ray Milland and Otto Krueger in To Marry With Love. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Names make news, and the Lux Radio Theater makes good news tonight that the names of Irene Dunne, Ray Milland and Otto Krueger, three of Hollywood's most accomplished artists, who are also three of Hollywood's most congenial people. Irene Dunne and Ray Milland have achieved equal success in both comedy and drama on the screen. But we decided that this week you might prefer to hear them in a drama, since most of their recent pictures have been of the lighter kind. And as a reward for Ray's fighting a sea monster for me and reap the wild wind, I think he deserves a costar like Irene Dunne. So we selected a memorable love story for our play. It's called To Marry With Love. It was written by Richard Sherman, and you may remember it either as one of the most popular stories that the Saturday Evening Post ever printed, or as a hit 20th Century Fox picture. It's the story of a young couple in the years before and after the still famous stock market crash of 1929. The drama of a romance that soared higher and crashed even lower than the stock. Motion pictures have changed considerably since those days of the roaring 20s. Pictures have learned to talk and to paint great symphonies of color on the screen. But one thing hasn't changed a bit. The audience that sees pictures still demands that the ladies of the screen be beautiful. And that brings luck-perfect folks to the front. I wonder if you have any idea how much a star's face is magnified on a screen close-up. It may be 15 times as large as in real life or even more. You can get a rough idea of what this means from the standpoint of complexion beauty by looking in a magnifying mirror. Seeing both your good and bad points magnified will explain in the simplest terms why luck's toilet soap is so important to Hollywood and to you too. And now the curtain rises on the story that's addressed to Mary with love. Starring Ray Merland as Jock, Irene Dern as Mary, and Otto Kruger as Bill. Jock and Mary Lawrence are a man of his wife. And this is their story. The story of a marriage would ordinarily begin with the wedding march, orange blossoms and a gay scramble for the bride's bouquet. But this one begins at the other end of the line. The tragic end when a marriage falters and dies in the commonplace surroundings of a lawyer's office. Yes, Mr. Hall. Brown, I want you to send some flowers. Two dozen roses. Red ones. Two Mrs. Jock Wallace. Yes, sir. And the card? Oh, I see you. I'll write for yourself. To Mary. Yes? Yes. Well, send her in. Oh, Mary, this is an unexpected pleasure. Unexpected? I told you last night I was calling this afternoon. Oh, did you? I have to slip my mind. Well, I've been rather rushed. Well, here, sit down. Thanks. Now, what's on your mind? Everything okay at the store? Oh, the store's booming. In fact, a chain is buying us out. They want to make me general manager. Good. You've certainly worked hard enough for it. Want me to draw up the contract? No, no, that's not why I'm here, Bill. But this is about Jock and me. I left him this morning. You left him? He doesn't know it yet. We'll find out until he gets my note. You were with us at the beginning, Bill, so you might as well be with us at the end. I want a divorce, and I want you to get it for me. Is it another man? No, there couldn't be any other man. Except maybe you, and you're not the type to play second fiddle. Well, Mary, I don't quite get this. I mean, leaving Jock now, just when he's getting back in his feet... I'd say that Jock as long as he needed me, Bill. Now everything is settled. He has his job, and I have mine. With nothing left in common. Nothing left in common. Nothing now, or in the future. I want you to make out a complaint, or a brief, or whatever it is you call it, and say it's incompatibility, or mutual fatigue, or just say that we both say it. Excuse me, ma'am. Yes, Miss Brown? Mr. Wallace is here to see you. Jock? Have him wait a moment. Well, now look, Bill, I can't talk to him. I just can't. Wait here. In the next room. All right. Have Mr. Wallace come in. Come in, Jock. Sit down. Bill, I gotta talk to you. Mary is gone. She's left me. Here, here, Jock. Have a cigarette. Bill, look, I... Take it easy, take it easy. I can't find her. It was just a note. She left me a note. I know, Jock. Mary was here. Here? Where'd she go? Where is she? Look, Bill, you've got to help me. Mary will listen to you. Tell her that I... Tell her she's all I have, all I want. Tell her anything I... Yeah. Mary has retained me as her counsel. As her counsel? Yeah. Oh, I see. I don't know if I can explain it, Bill. It's not only that I'm in love with Mary, but don't just see her. She's so much in common. Huh? She's so much in common. I can't believe she... So much in common. Jock, I think we'd better settle this thing now. I'll get Mary. She's in the next room. Here? Now hold on, Jock. Relax. Has it gone, Bill? Stop. Mary, what does all this mean? What have I done? It's no use. Look, zoom your favor, will you? Tell me what this is all about. I haven't anything to say. But you're getting a divorce. Yes, I am. Bill, when will you want to see me again? Just a moment, Mary. Come on, sit down, please. There are certain legal formalities to be settled. Now let's go over the case. The defendant has been married to the plaintiff for 15 years. In evidence of mental cruelty, incompatibility, in the cold light of the law, those are facts which an attorney must carefully consider. But in this case, the mind of the attorney is clouded by, shall we say, certain memories. I remember the night you two got married. We had a party at the old Waldorf Astoria, right where this building is standing now. Jimmy Walker was mayor. He was presiding at a banquet in the grand ballroom. Every once in a while, some politician or his girl would wander into our wedding party. You and Jack, you were in a world of your own. Well, how about a kiss for the bridegroom? Gladly, darling. No, how about a kiss for the bride? Hey, hey, just a minute. This is embarrassing for the best man. Do you worry about me? I can take care of myself. Now, I get a little surprised, do you folks? I reach under my coat and breast-throw pre-war champagne. Audience, no, pre-war stuff. Bill, you're a pal. Listen, my children, and you shall hear the midnight pop of Paul's, Roger, vintage 1914. To the bride and groom. Well, here's mud in your eye. I go for the simple toast. You know what, Bill? We're naming the first one after you because I love you and Jack loves you. In fact, we both think you're the cats for John. Thanks. Hey, Bill, you're coming to the boat with us, aren't you? I, uh, I don't think so. I've got a date. Well, take good care of her. No, never mind. You take good care of yourself and marry. Oh, Bill, you want to get married. You ever think of that? Not me, mister. I know when I'm well off. Well, this is it. So long. Bill, aren't you going to kiss the bride? You can't get away with that. You better do it, Bill. It's your last chance. Huh? All right. Here goes. Well, Bill, not bad. You must get a lot of practice. Well, that's the bachelor life for you. Well, well, Lamore, as I live and breathe. Forgive my barging in, but that wouldn't be champagne. You've got there, would it? Bullseye, sister. You have some? Sure will. I'm a stranger around here myself. Just a refugee from some victorious Democrat. Congratulations. You deserve a drink. Well, here's to the bride. Personally, I've never been a bride. They tell me it's quite an experience. Hey, don't forget, Mary, we've got a boat to catch. Come along, Bill. Good luck to you, Miss... A pleasure. 1-9-8-9. Fran. Kitty, Fran. Hey, look here, my girl. He's the groom. He's out of circulation. I'm not. The name is Hallam. Footloose. Fancy free and card tricks to both. Well, bye, Bill. We'll write to you. Bye, Miss Fran. Goodbye. Good-bye, Bill. Goodbye. Goodbye, Miss Fran. What does he do? He's an architect. Say, I'm pretty nice, too. You know, once you get to know me. Have another drink? All right. How long have you been in love with him? What? Oh, no, it's darling. Come clean. Hey, look, you seem a bit confused. She just got married to Jack Wallace. You know, the handsome one, the one who just left. Yeah, I know. What of it? Well, it just so happens that he's my best friend. Oh, I get it. How to the end? Say, how'd you like to go out and get plastered? It's a date. After a gay honeymoon abroad, the plaintiff and the defendant came home to settle down. Just a couple madly in love. A world and a string. I'll never forget the time we trekked out to Chicago for the second Dempsey Tony fight. Kitty Brant came along, too. I guess that was your first quarrel that night. Dempsey and Tony had nothing on you. Freezing out here. Don't be a hog. Just give me some of that lap room. Say, whose idea was this, anyway? All the way to Chicago just to catch pneumonia. Yeah, come and have a little fun, don't we? Yeah, fun. Say, you know, Mary, I wouldn't mind owning this piece of land. Is there any piece of land you wouldn't like, Joan? That's all I hear from you lately. You said it. There'll be two. Listen, Kitty, never marry an architect with delusions of grandeur. Go ahead, John. Tell us some more. I'm interested. Kitty, I'll let you in on a little secret. I'm going to make a million dollars. There it goes again. Yeah, and how, if you don't mind my asking. Well, not designing buildings with somebody else. You can bet your boots on that. Say, what's become of those fancy ideals you used to have? What was it again? Instituting a renaissance of architecture in America? Aw, wake up, Bill. Architects don't make any money. And when they do, it takes them a lifetime. But promoters? Ah-ha! That's the horse of another color. All the promoter does is pyramid, and the shackles come ruling it. Yeah, just pyramid. Yeah, pyramid. You see, I buy a property, and six months later, it's worth double its original cost. I tell you, we're both dead. Ladies and gentlemen, the main event. Anything's going to be a major pastime with you. Hey, you know what I heard the other day? Remember the old Waldorf? Hmm, we were married there. Well, listen, Mary, this is strictly inside dope. We're going to tear it down. Tear it down? What do you call tear it down? The Waldorf's history. Like Washington and Lincoln. Well, they're putting up the world's tallest office building right on the same site. The Empire State Building. Winfield says the combine is forming now, and that I may be able to get a piece of it. How do you like that for a break? Oh, I don't know, Jock. I'd be scared. Scared of what? Don't be silly. You stick with me. You'll be wearing a diamond bigger than that one. Jock, I don't want a bigger diamond. What I want is... What do you want, Mary? Well, I want a little fun out of life while we're still young enough to enjoy it. Jock, you've changed lately. You never seem to have a good time anymore. You stop having the people at the house and you hardly ever take me out. What about going all the way to Chicago to watch two guys knock themselves silly? Mary, we're married now, and it's about time we got accustomed to some of the things that marriage implies. Meaning what exactly? Well, two's company. Those three would be a lot better as far as I'm concerned. Well, we can be serious later. But right now we ought to start planning our trips to Maine. We're not going to Maine. What? Well, running off on vacations is all right for single men. But I'm trying to build a future for it, and that takes time and work. We'll just have to postpone Maine. Oh, postpone it. The Millers are counting on it. You can postpone somebody else's house party. I'm going. Alone if necessary. Exactly what are you? A prom trot or a married woman? Oh, darling, later on, perhaps, later, later, later. That's all out of here later. We'll be having a heck of a time over at 90, I'll bet. Look, if you're so dead-settled in Maine, why not ask Bill to go with you? He's got a vacation coming up. I'm glad to know that. Okay, I'll take Bill along. In your present mood, you wouldn't be any fun anymore. Well, great. I'm glad that's settled. That's for the days of the door, Fred. Yes, ma'am. Bill, I'm excited. That's silly, isn't it? Some women leave their husbands for months, and after a mere ten days, I'm all quiver. Where's my key? Oh, here it is. I was trying to tell you that... Come on, come on. He's on the phone. Oh, so all right. I'm calling you now. I said I wouldn't I am. Hello, darling. Well, for the love... Surprise! Hang up, hang up, darling. I'll talk to you later. Yeah. Yeah, okay. Hiya, Mary. Oh, yeah. I was a disagreeable selfish little fool to run off and leave you. But I was punished all right. I had a rotten time every second I was away. Who are you talking to, dear? Huh? Did you miss me? Did you pine for me? No. You don't look as if you did. You're disgustingly healthy. You see, I've been too busy to do a great deal of pining, but I've thought of you plenty, and I'm glad you're back. Well, don't kill yourself with joy, old man. Incidentally, dear, I certainly enjoyed all those letters you didn't write, particularly the long chatty ones. Dear Mary, I'm fine. I wish you were here. How are you? Great correspondence. Well, I'm sorry, darling, but I was very busy. What? You're flushing. This is the high ball. Will you, darling? Well, I go and hang my things up. Sure. I discovered a new boot, and I could hear the bell. Remarkable chatty. Each palm. Oh, darling. That's what you're trying to do. Yeah. The Millers send loads of love, and I have a number of amazingly uninterested news items. Little charmers. Remember her? They did you a little trick? She finally succeeded in getting herself engaged. Mm-hmm. They're going to save the most enormous and... expensive... Enormous and expensive what, Mary? Yeah, expensive what? What's the matter with you? What is it? Nothing. Only someone left her compass in my bedroom. Huh? Yes. Someone by the name of Kitty Brandt. Or isn't that what K.B. stands for? Oh, no wonder you didn't cry and sigh. You didn't have to. Well, that compass doesn't mean a thing, Mary. I swear it doesn't. I'm afraid it does to me. Oh, no! Oh, listen, Mary, please. Mary, lock in the door at a time like this doesn't do any good. Please, darling, you're being silly. Mary, you've got to give me a chance to explain. Put down that bag. You can't leave me. You can't go. All right, all right. Let go of me, sir. Get out of my way. Why don't you let me explain? It's not necessary that you explain. These things happen all the time. You read about them in books and see them in a theater. But to me, they happen only once. Now, let go of me. Let go. Do you hear me? Listen, Mary. Kitty came up here one evening. She helped me on the Waldorf deal. Listen, she brought the guy here with her. And the three of us had a couple of drinks and we talked. And that's all. Why do you lie to me, John? I'm not lying. That compact doesn't mean a thing. Up in Maina. I couldn't sleep for thinking about you. All night, I just lie there and look at the clock go round. I'd be wondering what you were doing. Fair you were. Oh, you've got to trust me. Believe in me. You brought her here to this apartment, didn't you? To the same apartment that we planned and furnished together. How could you do that? But it was nothing like that. I swear. Let me go. John, let me go. You're here, Maya. That's the only truth there is. No, no. Mary, Mary. Can't you believe what your heart tells you? Oh, John. I'll never leave you again. Don't ever let me go with you. Darling, I couldn't. I love you too much. Oh, John. John. Mary. Yes? I've got to tell you. Yes? I... I was lying to you. I know it. It was forgotten. At least we hoped it was. For the next six months, you were both high in the clouds. Jack's business was booming. Everything was working out fine for both of you. Well, I've never seen Mary so happy. Think of it, Bill. You've never seen Jack's office before, have you? You're classy, John. Hey, Bill. Yeah, madam, don't tell me this is where your husband works. It looks more like the Roxy Theater. Oh, Bill, come here. It's the marble of Jack's feet cloth. Isn't it terrific? Yeah, it looks pretty expensive. Are you sure you're not getting in over your head, Jack? No, no. I just mortgaged my shirt and a couple of other items, but I'm all set now. How about a little drink, huh? Jack Wallace, I think I knew you when. First today. One for you, Bill. Yeah, that's yours, Mary. No, none for me. Huh? Since when did the Reformation set in? Well, it may interest you to know Mary no longer drinks. Yes, and she doesn't smoke either. As a matter of fact, she's not very much fun anymore. You may as well tell him, darling. No, you probably wouldn't understand, dear. I doubt if he's old enough. Bill. Hmm? We're going to have a baby. A baby? Well, how's that for news? What? What? Fine. That's great. It's exactly what you needed. Remember what we said about naming the first one after you? Still goes? Yeah. Well, if it's a girl, I guess you'll have to give me a rain check. Don't worry, it'll be a boy. Mary always gets her way. Bill, did you ever hear of anything so ridiculous in your life? The thought of Jack and me flying pasta and mom. You sure you're comfortable, dear? I'm fine, darling. Here, lean your head on my shoulder. Jack, I'm frightened. I guess that's still even. Thousands of women are going through the same thing every minute, all over the world. Chinese women, Arabians, Eskimos, how best they aren't scared. Oh, that's ridiculous. Of course they are. Jack, promise me something. Anything, darling? Promise me, you'll tell me if it's a girl or a boy, or if it's homely, or if it's beautiful. As it's bound to be. I want you to tell me. It's not a doctor, because I love you so very much. Mercy Hospital. Dr. Green, yes, ma'am. He meant, Mr. Wallace. Who meant? President Cooley. It says here, I do not choose to run. Now, what do you suppose that means? I can't say. Right now, I've got other things in my mind. My wife and my baby, for example. What time is it? 9.15, Mr. Wallace. Can't you give me some word? We'll let you know as soon as possible, Mr. Wallace. But I've got to know I can't stand this waiting any longer. You may come in now, Mr. Wallace. How do you feel? Look, don't worry, John. Thousands of fathers are gone through this. Sure. Sure, I'll be okay. Mary. Tell me. You were going to tell me yourself. The boy. Yes, it was a boy. Oh, you lad. You wanted a boy. Yes, darling. What's the matter, John? What's the matter? Is he beautiful? Are you disappointed in him? Darling, please. What's wrong? Where is he? Why don't they bring him to me? John, what's happened? Mary, you've got to be calm. Everything's all right. Dead, isn't he? Yes, dear. I'm never even sorry. I never even held him in my arms. In just a moment, Mr. DeMille will present Irene Dunn, Ray Melland, and Otto Krueger in act two of To Mary with Love. Here's our star reporter, Libby Collins. Looking a bit starry-eyed, too, if you don't mind my saying so, Libby. Perhaps it's because I just met someone very beautiful. Veronica Lake. Gosh, Libby, what luck. I was over at the photographer's studio where she was posing for a color photograph. And what a stunning dress she was wearing for it. Well, won't you describe it to us, Libby? Well, it was chalk-like crepe with long tight sleeves and the only trimming was on the shoulders. Embroidery and green and gold thread and pearls. Very simple and just right for Veronica. She's tiny, you know. Only weighs about 90 pounds. She made me think of a Dresden doll with her blue eyes and fair skin. That lovely luck-soap complexion of hers must have registered OK for the color camera, Libby. Well, rather. Veronica's proud of being a luck girl. She told me she'd take a luck-soap beauty facial every single day. Did she tell you how she does it, Libby? Yes, and here's what she said. She pat the active lather lightly in, rinses with warm water, and then with cool. She pat her skin dry with a soft towel. She says, when you lose luck-soap, the lather is so creamy and soft. It feels as though you were smoothing Beauty Inn. Well, Libby, screen stars, lovely women all over the country say that this daily facial gives their skin real beauty care. That's because luck-soap, active lather, removes stale cosmetics. Every trace of dust and dirt does it gently, too, so that skin feels exquisitely smooth and soft afterward. It's such a quick easy care. I wish every woman would try it. Yes, here's a tip every woman can pose it to herself to take. Get three cakes of satin, smooth luck-toilet soap, the real beauty soap screen stars use tomorrow. Then take a beauty facial every day for 30 days. See if this gentle protecting care doesn't make a real difference in your skin. Remember, 30 days regularly. Then look at your skin and see. And before I say good night, here's something else I want to tell you about Veronica Lake. In a recent victory bond tour, she sold $7 million worth of war bonds. Well, Libby, we're not surprised. We find that lux girls are always pretty sure to be winners. We pause now for station identification. This is the Columbia Broadcasting System. Love to marry with love. Darling Irene Dunn is married. Ramelander's jock. And Otto Kruger has Bill. In the lawyer's office, Bill Hallam carries on with the legal preliminaries in the case of Wallace versus Wallace. As Bill goes over the case, a cavalcade of memories passes in review for Mary and Jock. After the baby died, you should have been closer than ever. What was it that separated you? Shock? Well, maybe at first. Jock turned to making money as a release. And Mary, well, Mary tried practically everything. Travel, new people, new clothes, parties, anything that might help her forget. Don't tell me this is the quiet lunch you've mentioned in your note. Yeah, they just dropped in. Took the place over. You're looking grand, Bill. How do you like my apartment? I think it's very nice. You really like it. I don't much. I'm going to have it all done over. In chromium. That ought to make it uncomfortable. Seems a little difficult for me to visualize Jock in a chromium setting. Oh, it won't make any difference to Jock. He hasn't been home in three days. What a coincidence, is that after I go back to town? Well, congratulations. I didn't know the great man would think anybody anymore. Tell me, how is he? Has he grown a beard or something? Oh, look, what is all this? You mean with me and Jock? Darling, you've been away too long. You're out of touch with things. Listen, but everything is just... Everything is simply wonderful, except Jock and I never see each other. Mary dear, I don't want to be a wet blanket, but don't you think your playmates are getting a little rough? Oh, Connie? This is Bill Hallam. Bill, this is Connie Poppins. Hello. Behold, he's sober and he's civil. You sure you're at the right party, mister? He is, and don't try to frighten him away. Darling, if you're interested, I'll introduce you to some of my gifts. Well, just... I suppose you just point them out to me for the present. They all seem quite busy. Oh, right, as you say. That's Freddie Duchamp over there. That is a marquee. No. And a louse, if you ask me. Quiet. And that woman, by the table. Look faster, she'll be under it. That's Freddie's wife. What a heart-delightful couple. They were childhood sweetheart. Yeah, I think it's all very picturesque. A charming group of chisellers, aren't they? Hey! Hey, somebody! Hey, what's the phone number here? You ought to know, brother. Didn't you just call London? No, no, I was Paris. You have a nice bar here, Mary. It's pretty slick. Oh, draws the bar, flies from near and far. What's your order, Bill? Oh, Scotch and soda, I brought. Connie, you'll have a drink, won't you? Uh-uh. I have to be getting back to the store. I'm a businesswoman. Telephone for you, Miss Potter. I've plugged it in at the end of the bar. Thank you. What'll they think of an egg? This telephone follows you around like a bloodhound. Connie has a candy shop over on Madison Avenue. In fact, I'm a kind of silent partner. Yeah, I know. You'll give her $1 and she gives you back $2. Right. Bill is incredible. But no, she really is a good egg. Different from the rest of these vultures. Well, I'm running. Goodbye, Mr. Hallam. Wish you could stay, Connie. Some other people are dropping in later. That's what I'm afraid of. Bye, dear. Have a nice trip. Goodbye. Nice to have met you. So long, Connie. A trip? I thought you'd just gotten back from Bermuda. I did. The Freddie Duchamp has a villa on the Riviera. A whole crowd is going over for months. Have you been planning it for long? No. It's just one of those spur of the moment things, you know. I'm afraid I don't know. You will learn, darling. You only live once, you know. You call this living? Come now, Bill. Don't be stuffy. These people are phonies, Mary, and you know it. Maybe, but they take my mind off things that keep me company. After all, I've got to have company. Yeah? Well, you've got plenty of that now. So, but tight. Excuse me. Wait a minute, Bill. You arrived. Yes, ma'am. Don't you love it? So, it's Freddie Duchamp now. What's become of Mary's solo play? Oh, she bounced him ages ago. Well, six weeks, honey. I hear Mary's going to the Riviera with Freddie. The whole crowd's going. But it is Freddie's villa. She wouldn't dare. It's your talk. Having a nice time, Bill, darling. Have you met Charlie here? No, and I don't care to. Mary, I want to talk to you. Come on. What is this? Bill, let me go. You're hurting my arm. I'll see you here, old fellow. Those caveman tactics are really quite out of place. I suggest that you... See you here, old fellow, yourself. They're coming with me in here. Would you mind explaining these ridiculous heroics? Who is this Freddie Duchamp? He's a friend of mine. Did you drag me in here merely to our... Who's this other man you've been going around with? What other man? This polo player. Who is he? What is he beside the polo player? I'll have to go now. My friends are waiting. Your friends? Do you know what those people out there are saying about you? They're my guests, Bill. I won't have you talking about them. Listen, Mary. What's happened between you and Jock? Nothing. What could possibly happen between two people who never see each other? Does he know what's going on? I'm not interested in what he knows. And surely it's none of your business. Yeah, well, I'll make it my business. I'm sure you haven't enough sense to care for your own reputation. Reputation? Darling, you're old hat. Nobody has one of those anymore. You certainly won't have one if you go to the Riviera with this Duchamp. Well, I haven't told him for sure. I'm going. But now... Oh, you haven't? Well, I'm going to call Jack right now and I'm going to tell him you can't go and why you can't go. Oh, the scout master to the rescue, huh? All right, call him up. See what he says. Dig before 999, please. Still, don't you understand? Jock doesn't care what I do. He has more important things to think about. His precious beach club and the market. Those are the things nearest Jock's heart. Listen, operator, you're sure you're ringing Dig before 999. Well, it's a switchboard. It must answer. See? Told you. Never can get to him. You're a sapville. You're trying to save us and neither one of us wants to be saved. Well, there must be someone there. Oh, go on. Stand there all night. Oh, yeah. Look. Look, you see these? These are my tickets. I'm sailing tonight. And Jock won't even know about it till he comes home. If he ever does come home. Jock. Oh. Hello. Well, well. The master probably dropped in to get his toothbrush or something. Okay, gala hat. Here's your chance. Go ahead and tell him. No, no, no. I'll tell him myself. Jock, my dear. I realize this will merely bore you, but this... Jock, what's the matter? It couldn't have happened. It couldn't, not overnight. What's the matter? What couldn't happen? I'm wiped out. Get me a drink, Mary. I need a drink. Oh, Bill. He drank it. You'll ever forget October 29, 1929, when the bottom fell out of everything. That was the end of the palmy days. Jock lost his shirt. Docks and bonds, bank account, the beach club development too. But still, it was the crash that brought you two together again. You moved into a tiny cottage out on Long Island. I remember one night, Connie and I came out to visit. This is the last time I'll ask you, please come and work in the store. It'll do your pride good. Connie, I can't do it. Jock doesn't want me to. And my pride isn't as important as his right now. If he had any self-respect, you think he'd keep on drinking the way he does. Personally, I don't see how you put up with it. All right, come and get it. Oh, I still do. I get caught like a lot of other guys. But what of it? This is still fundamentally sound. Yes, and you're still fundamentally adult. I won't allow my wife to work. Woman's place is in the home. Now listen, Connie. I know your views, and you know mine. Mr. In times like these, you have to face back. One member of this household ought to have a job, and since Mary won't... Mary's not going to work, and that's that. I, uh, I think you're wrong, Judge. Today, a salary's a salary, no matter where it comes from. Oh, stop moaning. Everything's gonna be all right. You heard the president say, prosperity is just around the corner. He said that last year, too. And a year before. Listen, I did it once, and I'll do it again. You realize at one time, I cleaned up $20,000 in a single week? Jock, that's yesterday's news. Come on, Connie. Help me get the roast out of here. I'm on my way. Holy Moses, Bill. What the devil's the matter with this country? I can't even get work in the profession I was trained for. To throw my starlet rid and help Bill won't even take me in as a draftman. Jock, you know darn well, I'm willing to carry you as long as you wish. And I'm gonna tell you this for your own good. Take any kind of a job. There must be something you can do. Sure. I could be a clerk at $20 a week. Where's that bottle? I need a drink. That's exactly what you don't need. You're a pretty sight. Just look at yourself. You're all dry up, are you? Your eyes are all bloodshot. Look at your hands the way they tremble. Say, what's the idea? The truth. How long are you gonna keep this up? Bill, I don't want to hear any more of you. Now leave me alone. You're gonna hear a lot more and like it. You're quits and you're licked. You've got a yellow streak and yard wide. I'll give you a piece of advice. Shut up. All right, I will. I've kept you going for months. Now if Mary goes to work for Connie, I suppose you live off her. Somebody ought to tell you what they call a man or let his wife support him. I told you to keep your mouth shut. That's a short word and not a very pretty one. Okay, Mr. U.S. Ford, here's where you get it. Sorry, Bill. All right, John. I guess I had it coming. Where do you want... Why do you want these packages? Under the trees. Take off your things. Where's Doc, Mary? Yeah, doesn't he know it's Christmas? Don't you know Dr. Workingman now? That's right. I saw him in town the other day and he told me he's working in Blumfell's basement. Blumfell's basement? That's right. Doc's got a job. Well, if it's almost eight o'clock, he ought to be here by now. But he'll be along in a minute. He'd have to work overtime tonight. You know, last-minute rush, Christmas-y. I hope he gets here pretty soon. I'm stuck. Same here. Yeah, like I was saying, Mr. Wallace, they can have their repeal, the idea. Turning this nice refined place into a regular saloon. And another thing. This here new liquor ain't no better than the old speakeasy stuff. Yeah, yeah. Hi, stranger. Remember me? Well, if it isn't Kitty, Kitty Brandt. Oh. Sit down, old pal. Merry Christmas. How are you? Terrific. And you? Never better. You by yourself? Well, no. I kind of had a date, but, you know, I... Hey, Joe. Scotch for the lady. Give me one, too, with devil, huh? No matter. You sound like you lost your last friend. Well, I lost my job tonight. Oh, I'm sorry, Joe. That's okay. Wasn't much of a job anyway. Well, I'd lost some style now. How come you aren't home filling stockings and playing Santa? Thanks to me last I heard there was a rumor of tiny feet heading your way. Well, they detoured. Oh. Take your drinks for a while. Thanks. Well, happy days. Oh, happy days. Now, do this as well. Sing you again, Doc. Yeah. I can't. Let's go to Sylvia. The music's better. No, no, no. I gotta be getting home. It's Christmas, didn't you know? Peace on Earth. Good will to men. Oh, come on. We'll go for just one drink. What do you say, John? Just a roll-time drink? All right. One drink. Roll-time drink. staring at the clock won't do any good, Bill. I've tried it. The night before Christmas and all through the house. Oh, don't worry now. He'll be here before long. There it is. Well, Merry Christmas, Bill. Merry Christmas, Mary. Aren't you going home? I'm staying till he comes. All right, but I warn you, he won't be a very pretty sight when he gets here. Funny. All evening I'd been hoping John could come home and now I dread it. You dread it? I've been through it all so often. Bill, what happened when people reached the point where they just can't go home? Well, just do go on somehow if again. But I can't. Not any longer. We're both trying, but we can't seem to make it. We're going under Bill and I don't know what to do. Hey, Mary, do you think I haven't seen him? I've watched your eyes. I've listened to you saying things you wanted to believe and you couldn't. You need someone to take care of you, Mary. I've always wanted to do that. But, of course, it sounds kind of silly to get, because you know it. I do love you, Mary, very much. You've always known that, haven't you? Of course I have, Bill. I'm far more of you than anyone else on Earth. But, well, it isn't the same thing I feel towards John. Here he is. I'll get him. John Wallace living? Yes. Well, there's been an accident. What? An accident. Oh, Bill. My cab crashed into the one he was in. I took him to the hospital and I thought maybe his wife would want to see him. Well, how badly has he hurt? Well, he isn't. No, no. No, he ain't dead. He wasn't when I left him anyway, but he's pretty bad. All right. I've got to go to him. I've got to go to him. You must get well, dear. You're going to get well. Mary. You'll have to leave now. You must go. Oh, Bill. He's got to live. He'll live. He's got everything to live for. Would you like to see the young lady now? Young lady? Yes. The young lady who was with Mr. Wallace in the accident. Miss Brandt. Miss Kitty Brandt. After a brief intermission, Ray Milan, Irene Dunn and Otto Kruger will return in Act 3 to marry with love. Do you ever feel like this at the end of a busy day? Well then, listen in on this luxe girl who knows just what to do. Fill up the tubs, unwrap a nice new cake of luxe toilet soap, and now for my beauty bath. You see, this clever luxe girl knows that in a few minutes she's pretty sure to feel like this. A few minutes relaxation in this fragrant, luxurious bath is certainly a wonderful beauty pickup. There's something about it that makes lovely ladies feel like new. If you ask why they depend on their daily luxe soap beauty bath, here's what they'd say. Luxe soap's creamy lather just floats away every trace of the day's dirt and grime. Even in hard water, it gives a rich, abundant lather. I wouldn't dream of going out on a date until I've had my luxe soap beauty bath. Then I'm sure of daintiness. I'm sure my skin is fresh and sweet, delicately perfumed too. Yes, I love the luxury of my daily beauty bath. Luxe soap leaves skin feeling satin smooth, fresh as a flower. You can be sure that though luxe toilet soap costs so little, it's as fine a soap as money can buy. It's true economy to use because it's hard milled. A single cake lasts and lasts. Famous screen stars use their complexion soap, luxe toilet soap, for a daily beauty bath. They say they love the way it protects daintiness, leaves skin sweet. And the luxe soap perfume is one fastidious women enjoy. It's such a delicate flower like fragrance. Get three cakes of this luxurious soap tomorrow. Make your daily bath a real beauty bath with luxe toilet soap. Now, our producer, Mr. DeMille. After the curtain falls, we'll hear firsthand from our stars about Hollywood's new kind of nightlife. Now, here's the third act of To Mary with Love. Starring Ray Merland as jock, Irene Dunn as Mary, and Otto Kruger as Bill. The early 30s were a tragic era for many a young American couple. And jock and Mary were no exception. Hard hit by the Depression, most of their castles came tumbling down. Back in the lawyer's office, jock and Mary listen as Bill Hallam comes to the final chapter in this story of a marriage. Well, jock, now it can be told. The night of the accident I finally broke down. I told Mary that I loved her. I asked her to leave you and marry me. She decided to stick it out till you were on your feet again. Mary never mentioned the name of Kitty Brant. She took a job in Connie Potter's candy shop so that you could have the best of care. There, have my patience. Mary, well, I didn't expect to see you this early. You shouldn't play hooky like this. Your business would go to blazes. Nonsense. How are you feeling, darling? Oh, great. I've got a surprise for you. I've got one for you too. You have? Okay, yours first. Uh-uh, yours. All right. Put the other way a second. Now. Oh, don't be careful. You shouldn't try to stand up. I don't have to be careful. I don't need the cane anymore. Here, this is what I think of it. How do you like that? You're wonderful. Firm as a rock. Now, now my surprise. If you'd better sit down, even a normal man might be swept off his feet by this one. Here. It's in this letter. I opened it by mistake. Read the last paragraph. That's the important one. And so we hope that you can see your way clear to Mary. They want me back. Yes. They want me to manage the beach club again. Darling, this means I can start all over again. I'll have another chance. Mary, the doctor has to let me get out of here tomorrow, today. No, no, no. Don't worry. I went down to see them. They're not nearly ready to open yet. With news like this, I'll be well in no time. In the opening night, we'll throw a real party. The people who are stuck by us when we needed them, Bill and Connie and... Oh, Mary, you've been wonderful. How will I ever be able to make it up to you? I know what you've gone through, what you're still going through. What's wrong, honey? Oh, nothing, Jack. You... Jack. There's nothing that you'd like to tell me, is there? Tell you about what? About... about us. About you and me. Nothing except that I'm ashamed of what I've been. But everything is fine now. Together we can lick the world permanently this time. Is... is that all? And that I love you, of course. Just wait till I get that beach club open again. I'll be able to take care of myself after that. Yes. After that, you'll... you'll be able to take care of yourself. Thank you. Ladies and gentlemen, reopening the club has been merely part of my job. I've been making plans for its expansion. I see an even bigger, more elaborate place than this. Now, some of you know I started this project subject, of course, to our distinguished board. You should be feeling pretty happy tonight, Mary. I suppose I should, shouldn't I, Bill? Well, aren't you? Bill, had Jack told you about the job he'd been offered? What job? With the firm of architects he used to be with. When did this come up? A few days ago. They've got a contract for the construction of a model community in the Tennessee Valley. It's part of a new housing program, I believe, and they want him to go down there and take the whole thing home. Tennessee Valley? Sort of primitive down there, isn't it? Well, I suppose so, but maybe going a little primitive wouldn't be such a bad idea. Well, would you like to live in a construction camp, Mary? Well, I don't mind. I think there's something kind of vitalizing, inspiring about the whole idea. Uh-huh, the great outdoors and all its drastic glory. Well, it's easy to joke about it, isn't it? But somehow, I don't know. I guess it's over in there. The huge jock, you think they were ushering in the millennium tonight instead of trying to put a turkey on its feet. Hiya, Bill. Hello, Connie. Well, here he comes, John W. Wallace, Mr. Personal Magnetism in the Flesh. Hiya, Connie. How'd you like my speech, Mary? Like Patrick Henry, darling. Good. Here you've been offered a job, Jack. Yeah, yeah, some job, too. Turning it down? Of course. You know what the board just told me, Bill? If everything goes well, there's no reason why I shouldn't be getting a cut in the province pretty soon. That'll be in addition to my salary, too. Fine, Jack. It's just one more step on the road back, from managership to partial ownership and then majority control, and that's it. Oh, we're close to the air with the train. Oh, OK, Connie, just wait and see. Mary will be back in a penthouse before you know it. Remember that mink coat you had to sell? Well, we'll replace it with ermine this time. Oh, excuse me a moment, will you? I have to see Winfield. Oh, when? When? Bill. Hmm? Uh, are you going to be very busy tomorrow? Never too busy for you, Mary. I'd like to have a talk with you. All right. How about lunch? Is the plaza all right? No, no, this isn't social. I'll come to your office. That about sums up the case of Wallace versus Wallace. There isn't much more to say. Jack, you're headed for the top again. And Mary feels her job is done. She's afraid of the future, Jack. Last night at the beach club, she saw everything beginning all over again. The success formula, the get rich quick mania. And now look back over your life together. Can you blame her for wanting something different? Ah, yes, up to you now, Mary. Shall I draw up the brief and file for a divorce? Or shall I... shall I make up another kind of brief? A brief made up of the day-to-day things that you and Jack have done together. The words you've spoken. The streets you've walked. The songs you've sung. And the tears you've shed. The brief made up of the rooms you've lived in. The things your hands have touched. A coat. A table. The loving cup of Paul Roger 1914. Paul Roger 1914. That was a long time ago. That was a day to be remembered, Mary. Your wedding day. Think hard, Mary. I... I don't want to think. Too late, darling. It's not too late. We can't lose each other now. We've been through too much together. The things that Bill talked about. They're over, Jack. They're dead and buried. Don't you see, darling? They're not, Mary. You still love me, you do. Yes, yes, I still love you. Then that's all that matters. You can't leave me, Mary. I won't let you. It'll be different, I promise. But it won't be easy. It won't be the Waldorf. It'll be just a construction camp in the Tennessee Valley. Oh. I'm going to take that job. Oh, Jack. It'll be calico for you. And tin whispers for you. Will you do it, Mary? Oh, Jack, I... I've always wanted to go south for the winter. Jack, hold me. Hold me tight. Don't ever let me go. Mary. Hey, remember me? I'm still here. Remember you. Oh, Bill. I don't know how to thank you, Bill. I see. Well, you better get out of here. Go on, both of you. Go on, go on. You're not giving us the gate. I certainly am taking up my whole afternoon with this sentimental nonsense. I'm a busy man. Well, it's plain to see, Mr. Hallam. You have no soul. Come on, Jack. Goodbye, Bill. Good luck. Do you have the card ready, Mr. Hallam? Huh? The card? What card? The card you want to spend with Mrs. Walsh's anniversary roses. Roses. But... Oh, oh, oh, yeah. Just a moment, I'll... I'll finish writing it. To Mary. To Mary. With love. With love. And that applause is labeled to our stars with thanks. Now a curtain call for Irene Dunn, Ray Merland and Otto Kruger. Thank you, Mr. DeMille. Taking her curtain call here is always a thrill. A couple of soldiers were telling me the other day, Irene, that you were one of the prettiest sites of the Hollywood canteen these autumn nights. Well, he certainly makes a hit in an apron standing behind that snack bar, handing out ham sandwiches, see, Bing? You evidently seem this yourself, Ray. No, no. Fred McMurray told me. And Fred, I understand, is one of the most accomplished bus boys at the canteen. They say George Murphy is a good fielding average on those dishes, too. It sounds like a floor show. Who works with you on the snack bar, Irene? Anybody we know? Oh, yes. Teddy Lamar is there the same night I am. Then there's Loretta Young and Marlena Dietrich. They're regulars and Betty Davis, of course. She was one of the moving spirits in organizing the canteen. Well, I couldn't tell you all the names, Mr. DeMille, because there are literally hundreds from both pictures and radio. Say that must be a big job, feeding and entertaining several thousand soldiers and sailors a night. Oh, I bet there's always room for another dishwasher. Let's go round some nights, see, Bing. I might surprise you, Ray. I'm pretty good at it. I know the audience wants to hear about next Monday night's play now, Mr. DeMille, but before you tell us, I'd just like to say that luck soap is still my favorite complexion care. I use it all the time and have the years. Well, that proves luck soap travels in the best of company. Now for next week's play. It's the Warner Brothers hit, The Gay Sisters. And our stars will be Barbara Stanwyck and Robert Younger. You'll hear Barbara Stanwyck repeat her fine performance in this story of a lawsuit for $500 million. Bob is Barbara's antagonist. And the secret behind this dispute makes The Gay Sisters one of the strangest dramas we've ever produced. I believe it was a successful novel, too, before the picture was made, TV. That should be a fine radio play. Good night. Good night. Good night. Good night. Our sponsors, the makers of Luck's Toilet Soap, joined me in inviting you to be with us again next Monday night. When the Luck's Radio Theatre presents Robert Young and Barbara Stanwyck starring in The Gay Sisters. Mrs. Cecil B. DeMille saying good night to you from Hollywood. Now here's Sally coming to the microphone. And she's going to tell us what's wrong with this picture. The scene is a spotless kitchen in an average American home. Mary and her mother are just starting to wash the dishes when Mary says... My those french-fried potatoes were good tonight, mother. Oh, well, what do you want me to do with the grease? Is it any good? Throw it away, Mary. I can't use it again. Those potatoes were good. Uh-uh-uh. Don't throw that grease away. That's ammunition. Everybody knows what's wrong with that picture, Mr. Kennedy. We must save all used frying fats, meat grittings, and bacon grease to make glycerin. That's right, Sally. But everybody isn't doing it. Or more fats would be turned in than we're getting now. Most high explosives need glycerin for their manufacture. Used kitchen fats make glycerin. So save every drop in a clean, wide-top can and take them to your meat dealer right away. I'll pay you for them. And one of these will have your name on it. Irene Dunn will soon start filming the 20th Century Fox Lubitsch musical, The Lady in Irmin. Ray Milland is currently appearing with Ginger Rogers in the Paramount picture, The Major and the Minor. Heard in tonight's play were D. Benadirth as Connie, Dorothy Lovett as Kitty, and Fred Mackay, Eddie Marr, Dwayne Thompson, Engelton, Howard McNeer, Jane Beers, Bruce Payne, and Arthur Q. Bryan. Our Lux Radio Theatre production of To Marry with Love, starring Irene Dunn, Ray Milland, and Otto Kruger, has come to you with the good wishes of the makers of Lux Toilet Coat, the beauty care that nine out of ten Hollywood stars use to help keep their complexions beautiful, clear, and smooth. Flawless as every woman wants her skin to be. Our music was directed by Louis Silvers, and this is your announcer, John M. Kennedy, reminding you to tune in next Monday night to hear Barbara Stanwyck and Robert Young in The Gay Sisters. For pep, sparkle, and abundant energy, thousands of vitamin-starved people have turned to VIMS. VIMS cost only a few pennies a day, and they match the six vitamin formula doctors endorse. They also give you three minerals. So get that VIMS feeling today. VI for vitamins, double MS for minerals, VIMS. This is the Columbia Broadcasting System.