 From Hollywood, California, the Lux Radio Theater presents Mary and Davies and Brian Ahearn in Peg-O-My-Heart. Present Hollywood. This is your program, ladies and gentlemen, made possible by your regular purchases of our products. It comes to you with the good wishes of our sponsors, who tonight bring you Mary and Davies, Brian Ahearn, Benita Hume, J. Ferrell McDonald, Eileen Pringle, Gerald Oliver Smith, and Edgar Norton in Peg-O-My-Heart. Our guests are Earl Johnson, famous trainer of motion picture dogs, and Marjorie Williams, director of the Hollywood Studio Club. Conducting our orchestra is Louis Silvers. And now, here's our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Mary and Davies has given Hollywood two things for which the town may be thankful. A good fellowship, which has inspired so much loyalty, and a great white landmark on the ocean front. Her home at Santa Monica Beach. A quiet little gathering there may mean from 30 to 1,000 guests. And they include princes, giants of business, statesmen, and the nation's leading social lights, all being quite themselves under the spell of their charming and unassuming hostess. I've seen prominent ambassadors play ping-pong in the cellar, and a world-renowned scientist romping with Marianne's four doxons. She's forbidden me to mention that she's active in a number of charities, so just pretend I didn't mention it. Aside from that, she grows hundreds of flowers and engages in the business affairs of cosmopolitan studios. Tonight, she plays a role in which she always excels. Hague in Pegor My Heart. Opposite her is that very resolute young man, Brian Ahern. For years, Brian struggled against becoming a star. It all began when, at the age of three, his mother practically thrust him on the stage. Brian showed his displeasure by howling throughout the entire performance. Still a rebel, he was enrolled in a London dramatic school at 10. His fellow students included an upperclassman, whom he recalls as a brash youngster with large ears and an assertive ambition. Once when Brian sent his autograph book to Reginald Owen, he found upon his return that the boy with the big ears had included his own signature. The uninvited autograph read, Noel Coward. Currently starred in The Great Garrick, you hear Brian on this stage as Sir Gerald Markham. Vanita Hume comes to us as Ethel, J. Farrell McDonald as Patrick Seamus O'Connell, Eileen Pringle as Mrs. Chichester, Gerald Oliver Smith as Alaric, and Edgar Norton of the original stage cast as Jarvis. In the Lux Radio Theatre production, Pegor My Heart, starring Marion Davies and Brian Ahern. A fishing village off the west coast of Ireland. A narrow cobble street runs the length of the waterfront for a score of tiny fishing boats lobbed merrily at anchor. One of these bears the painted legend, Pegor My Heart. And its slippery deck, Patrick Seamus O'Connell, empties the day's catch in the basket. His daughter Peg, in boys' clothing, lends a willing hand, tossing the baskets into a donkey cart. Shurn the cart as far as possible, Father. I'll hold one more, I'm thinking. Here you be. Oh, Shurn, there was a grand catch we had today, wasn't it, Father? I've seen more fishes in me lifetime. Go along with you now and be takin' them up to the icing station and then go home and get supper. Sure, Father. Now where's Michael? Come with me, lad. Here, boy. Oh, so there you are. Up on the cart with you now. One up you go and mine. Don't step on the fish. Goodbye, Father. Is it long, you'll be? No longer than it takes and it's to dry. Your supper be waitin' then. Get up, sweetheart, get up. Sweetheart, darlin'. Boy, boy, I say boy. Whoa! Me you're talkin' to, mister? Yes, I'm, uh... Oh, who is it then that you're callin' boy? Oh, I'm so sorry. I thought, uh, oh, excuse me. Sure, there's no harm done. You like it with me past the cast and the steak? Yes, I imagine so. And what can I be doin' for you? Well, I've just come from London. Patrick Seamus O'Connell. Oh, you know. Well, that'll be him down there on the deck of the Peggy Meards. Oh, thank you. Oh, no trouble at all, lad. Get up, sweetheart. Get on with you. It is that. Were you lookin' for someone? Are you Mr. O'Connell? I am. Patrick Seamus is the name. Ah, then you're the one I want. Uh, you married Heather Kingsnorth, didn't you? I did, but she's been gone these 14 years. Yes, I know. My name is Gerald Markham. I'm the executor of the Kingsnorth estate. I suppose you knew that your wife's father was dead. I did not. When did they hang him? I'm happy to say that Mr. Kingsnorth died in his bed, like an honest English gentleman, and of a very common ailment, old age. You'll be pleased to learn that his granddaughter, your daughter Margaret, inherits his entire estate. What's that? Squire Kingsnorth has left your daughter two million pounds. Two million pounds? Holy saints. Of course there are certain conditions. Oh, of course there would be. What conditions? Well, first, Mr. Connell will have to spend three years with the Chichester family. Who? Mrs. Chichester is a distant relation of the Kingsnorths. And she'll stay with them? For three years. Hmm. It'll be the way of making a lady, but I suppose... Well, let's call it education. Hmm. Hmm. Well, it will do, Patrick, no harm. There's maybe one or two things I couldn't teach her myself. But mind you, I'll not live with Mr. Chichester. No, no, no, of course not. As a matter of fact, the second condition states that you are not to be with your daughter. Oh, does it? Not to be with Peg for three years? More than that, Mr. O'Connell, the separation is to be complete and permanent. Permanent? That forever ain't it? Yes. I have a paper here that you ought to sign. You can keep your paper, Mr. Markham, and your conditions with it. And you can take yourself off this boat as fast as your legs can carry you. Go on. Oh, well, please. These aren't my conditions, Mr. O'Connell. I'm only acting as, well, as a messenger, you might say. And it's sorry news you're bringing too. I'll have none of it. I can understand your attitude. But do you think that you're being quite fair to your daughter? I do that. She's happy here, and I'm happy too. I don't... Glory be to ring in the bell again. What does it mean? Has something happened? I... David. David Cork. Hi, Patrick. Who was it, David? Patsybys. Jenny focused his vote for the Sheila. She went down off the reef. All hands lost. All hands lost. Glory be. And himself leaving behind a wintering child. It's a sad day for them, I'm thinking. It might have been you, Mr. O'Connell. What's that? What's that you're saying? I say it might have been you. What would happen to your daughter? I... I... You're right, Mr. Markham. Well? I... I never... I never gave it a thought before. You'll come to the house tonight, Mr. Markham? We'll... We'll talk it over, then. Of course. Thank you. Thank you, sir. Sit down there, Father. Father! Eh? Your supper beer's called as a clam. I'm sorry, Peg. I... I was thinking... Is there something on your mind, Father? You've been acting mighty strange, you have. Oh, it is nothing much. I... I was only thinking that it's mighty little pleasure you have in this life, Geralt. Me? What do you mean? Well... Living this kind of a life with an old man. You must be getting tired of me. Tired of you. What talk have you? I'd not change you for a million pounds. Ah... But would you change me for two million pounds? I would not. Not for all the money in the world. Oh, Peg, darling, you... Sure it's a great mistake to be making two, holding on to an old man like me, when you might be hobnobbing with all the lords and ladies of London. Father, are you daft? What talk is this? Peg. Peg, dear. There's something I... Now, who's that? The latch is off. Could you be coming in? Oh, good evening. Oh, come in. Come in, Sir Geralt. Oh, thank you. Sir Geralt? Oh, say, it's preservative. And be talking to him this day like he was my own equal. This is my daughter, Peg, Sir Geralt. Oh, how do you do, Peggy? Pleased to meet you, Your Honor. I mean... Your Highness, I'm... I don't know what I mean. What's good with you, girl? Well, it's a great honor to meet a Sir... Sir Geralt, sir. Not really. There are baronettes all over in England. Thicker than plums in a pudding. Whenever I had a plum pudding, Your Highness. That's true enough. But you will now, Peggy. Sit down, Sir Geralt. Thank you. Father. Father, what is it? You're an heiress, Peggy. What? An heiress. Squire King's not that died he has. When he left you all the money you want. And everything that goes with it. Two million pounds, to be exact. Two million pounds? Ah, think of that now. And it's all yours to spend as you want. Ah, then I'll be getting you the red plannels that they wind in against your cart the next winter. And I'll buy a brass color for Michael with his name written on it. And address me myself. Ah, maybe two dresses. And some new boots to go fishing in. You'll not be going fishing. It's in England you'll be living. England is it? And when do we go? You may get it. You must be getting about your packing, Peggy. It's with the morning train you're leaving. Oh, glory be. Then yourself it best be packing too. Never mind about me. I'm not going, would you? Not going? Then I'm not going either. I mean, I'm not going, would you? Just now. Why not? Well, you see, there's this and that to be attended to. Well, when will you come? It will not be so long. But when? Well, soon. All right. But you'll be coming or I'll be coming back and that's flat. One now and a 10-year packing. Well, will you be staying, Your Honor? Just for a moment. I'll see you the first thing in the morning. Good night, then. And thank you, Your Honor. You're not being fair to her, Mr O'Connell. Do you think she'd go if she thought she'd never be seen me? It's the only way. What are you going to do? I'll write her I've been delayed. And then what? I'll write her again. And after that? Oh, I'll write. I'll write her I'm dead. That is, I'll have somebody write her I'm dead. That's hardly a solution. It's worse than telling her now. But even if she would go, which she wouldn't, could break both our hearts, the pattern. It's breaking yours now. Well, I'm much older and I'm used to it. And here's your bundle and here's your grip. Are you ready now? Already, Father. The cat's waiting, Peg. The general. And here's Michael. He'll be taking him too. Get up on the cat, Michael. Oh, Father. Well, well, girl. Father, I... I can't say goodbye. We'll not be mentioned then. And we'll not be crying either, will we, Peg? No, I'll not be crying. Sharon, what's there to cry about? Nothing, nothing. It's a very happy, happy occasion. Me called it a little worse this morning. So was mine. It come on me all of a sudden. Already, Mr O'Connell? Come in. Oh, Father, call me that name again so I'll feel warm till you come for me. Call me your name for me. Peg. Peg me a heart. Oh, Father. Now go out. Go on. Drive on. Drive on. Quick, sir, Sharon. Goodbye, Mr O'Connell. Goodbye, Father. Goodbye, Peg. Goodbye. Goodbye. Goodbye, Father. All right, Peg, this is it. You mean this is the house that I'm to stay in? Of course. Come on. Oh, glory be. Sure it is large enough for a regiment, horses and all. Oh, you'll get used to it. Here we are. Oh, saints above. Look at the knuckle. Sure they might be careful if the knuckles ending the north here on it. Oh, dear. Are you tired, Peg? Give it a bit. Let's start now for somewhere else, Your Honor. Timbuktu, for instance. Oh, you're not nervous, are you? No, not a bit. That's why I can't understand why my knees is knocking. Oh, good morning, Jarvis. Oh, good morning, Sir Gerald. Come right in, Peg. Thank you. A nasty day, sir. Hmm, storm coming on, I think. Yes, sir. You'll find the family in the drawing rooms. Thanks. This way, Peg. Hello. Hello. Oh, Sir Gerald. Hello, Jerry. Come right in, Peg. This is your aunt, Mrs. Chichester. I'm pleased to meet you, ma'am. I'm sure. How do you do? And this is Miss Ethel Chichester and Mr. Alaric Chichester. How do you do? How do you do? Hello. What did you say your name was, young lady? I didn't say it, but it's Peg. And this is my dog, Michael. Say hello to the lady, Michael. Stop it, stop it, Jarvis. Jarvis. Call him off, you hear? Call him off. Down, Michael, down. Bye. I'm sure he was only trying to be friends, ma'am. You called, madam. Yes, I did. Take that dog away. Oh, no, ma'am. That's Michael. You can't take Michael away from me. He was given to me by my father. Take it away and never let it inside the house again. Well, if you don't want Michael inside the house, you don't want me inside the house. Peg, please, let's not have an argument. I'm not having an argument. I'm making a statement. I don't know the use of the dog. They want to take me dog away from me. Well, you must try to do whatever your aunt asks you. Now, let him go, Peg. You can see him whenever you want to. Well, he's going to be in the house. Oh, of course he is. All right, then. Take him, Jarvis. Yes, madam. You'll be very nice to him, won't you? Yes, miss. And give him a mutton bone. He loves mutton bones. Certainly, miss. Goodbye, Michael. I'm sure he'll be well taken care of, Peg. Well, it better be. That's all I have to say. Come here to me. Yes, ma'am. And don't call me ma'am. No, ma'am. Aunt, I mean. Aunt. Not aunt. Yes, ma'am. Sit down, please. All right. Thank you. I said, sit. Not sprawl. Look at your cousin, Ethel. Me cousin, Ethel? Oh, her. Is she me cousin? Yes, I hope you have no objection. Oh, not the list. Now, Margaret, what I would like to... Margaret. My name ain't Margaret. My name is Peg. There's only a corruption. We shall call you Margaret. All right. But don't forget if I tell you anything. But don't forget if I forget the answer. Don't blame me, will you? Me father always calls me Peg. We have very little interest in what your father called you. You will kindly leave him out of the conversation. And that's all I will leave him out of... No temper if you please. You are here to learn how to conduct yourself. May go to your room now, Margaret. Travis will show you the way. Margaret. Oh, it's me, I mean. Now, there you are, aunt. You see, when you didn't say Peg, I... You have to go to your room, please. Very well, ma'am. Thank you, ma'am. Well, a nice package you've delivered, Sir Gerald. Oh, she's not so bad. She's really very sweet. You'll have to be patient with her for a while, that's all. Patient, who? It's going to take more than patience to make anything of her. I say, Ethel, don't be so hard. After all you know, we are being paid for it. Am I right, Jerry? Quite right, Alaric. I, um, I imagine you might be able to use the additional income. Use it? Oh-ho-ho. Well, I think that's very good. That's really amusing, especially since we have no other income. Alaric, don't be vulgar. Well, it's too humiliating. We're paid for keeping someone in the house. Well, of course she's not to know that. She's a guest here, and she has to be treated as well. Hey, was that Tamba? Hey, see, Mrs. Chichester. Well, Jarvis? Is the young lady just staying, Mrs. Chichester? Of course she is. Well, I unpacked her things, ma'am, but she's packed them again, and she's on her way out. What? Where is she? Which way did she go? It's the back way. I think we've got to stop her. I'll get her. Wait here. No, I knew we'd lose all the money. Hey! Hey, where are you? Oh, shut it out! Shut it out! It's only a summer storm. Oh, sure, in summer or winter, they shrivel me up. Oh! Stop it now. Get a grip on yourself. I can't. When I hear the great crashes of thunder, I remember I'll be sinned. Now, sit down. Go on, sit down. There now. It's all over. Oh, thank heaven for that. Where were you just going? I was going out. I was out of this house and back to my father's. Oh, but you can't do that, Peg. Oh, yes, I can. I'm not wanted here. That is, it's easy. Oh, but you are wanted, Peg. I-I happened to know. And who is it wants me? Not all Mrs. Chichester. And not my cousins either. Them with their sour faces. I'm not used to sour faces, I'm not. Well, then, I want you to stay. Will you do it for me, Peg? You? Oh, your honor. You've been very kind to me, you have, and that's the truth. But they're not going to make a lady out of me if I can help it. You can't make a silk purse out of a sow's ear. That's what my father says. And that's what I am. A sow's ear. I don't agree with you, Peg. I don't care whether you do not. I'm a sow's ear, I am. So if you insist. Thank you. But you're going to stay? Well, seen as it's you who's asking me, your honor. It is. And you mustn't call me your honor. My name is Jerry. Jerry? Do you want me to call you Jerry? Well, I know. We're friends, aren't we? Oh, yes, but we're not as good friends as all that. Well, we will be soon. You're very sure? I'll stake my life on it. What do you know? Then you don't value it much. Oh, yes I do. Perhaps more than I ever did before. Margaret? Margaret? Oh, Glory be it herself. I see. Yes, she is, ma'am. Margaret, where were you going? Sure, and I was going out. I was, but it changed me mind now because only Jerry here asked me to. Margaret. Jerry? Oh, I see. And why shouldn't I call him Jerry? He's my friend, isn't he? You have just heard act one of plague of my heart. In just a few moments we will continue with act two of our play starring Marion Davies and Brianna Hearn. But now it's intermission time in the Lux Radio Theatre. While we're waiting for act two, we want you to go with us to an attractive home in Westwood. There we meet an important Hollywood lady, one of our few women executives. She's settling down for a visit with her sister, just arrived from the East for a month's stay. Now Lou, tell me all about it. How does it feel to be a married woman? Oh, just wonderful, sis. Harry's an angel. You'll love her. Will I? Oh, yes. He's the most perfect husband. Hmm. Praise is your biscuit. Men's broken chairs. Tends the furnace, I suppose. Sissy wash dishes, too. Oh, certainly not. I'm the chief cook and dishwasher in our house. Well, your hands don't show it. I'll say that. Of course they don't, sis. I'm very particular about the way I wash dishes. I never use anything but Lux Flakes. I've heard so much about Lux around the studio. But I don't know much about dish washing. Is it so wonderful for that, too? It is wonderful, sis. Though I've been washing dishes for months, and my hands haven't once felt the tiniest bit rough a chat. They say Lux hasn't any of the harmful alkali that some salks have. That's why it doesn't dry your skin. Your hands really are nice, Lou. Nice enough to kiss. And tell me, honest now, doesn't Harry... Yes, he does, silly. And I hope he'll always want to. And now, let's go back to our play. Mr. DeMille sets the scene for us. We continue with Pegger My Heart, starring Marion Davies and Brianna Hearn with Benita Hume. One month has passed since Pegg first came to the Chichester home, a month of training and studies that's been all work and no play. In the living room, we find Ethel and Christopher Brent, a friend of the family. Brent has been a frequent visitor, and Pegg has come to know him and to dislike him intensely. He's just been shown in by Jarvis, and coming quickly across the room takes Ethel's hand. How are you, darling? Oh, I'm all right. Glad to see me. Why not? Where is everybody? Mother's lying down and Eric's around someplace. And your little Irish cousin? Oh, my little Irish cousin. You seem very interested in her. Child amuses me. Are you sure that's all? Oh, Ethel, please. I refuse to be drawn into an argument about anything so ridiculous. I'm sorry, Chris. It's just nerves. Things have been rather trying this past month. Yes, for me too. Ethel, I'm at the crossroads. What do you mean? It's the end between me and my wife. We quarreled again last night about you. Oh, how interesting. She's heard some talk about her. She put the worst construction on it naturally. And what do you intend doing? Separate, of course. She won't give me a divorce. But I'm leaving for France tonight. Hello? Yes, unless someone goes with me. Oh, naturally. Ethel, if my wife does set me free, will you marry me? I don't know, Chris. I want you, Ethel. I need you. Until you go tired of me as you're tired of your wife? I'll never go tired of you. I love you, Ethel. You know that, don't you? Don't, Chris. Why not? No, don't. Please. Darling, I... Hello? Oh, don't mind me. I was told to come down here and study. And was it absolutely necessary to choose this room? Well, it was good if any other, I guess. But I would be in your way. I'll just sit off in the corner and you'll let me even know I'm there. Chris, I... Oh, it's quite all right. I was just about to leave anyway. Oh, were you? Well, I hope you're not leaving on my account. But, uh, goodbye, Mr. Brent. Goodbye. Who is it? May I come in? Oh, what do you want? Oh, just to say goodnight. It's a nice room you have, Ethel. Well, I'd feel terrible if you didn't meet with your approval. Why are you looking at me like that? Well, aren't you my model? Oh, goodnight, please. Oh, Ethel, please, don't be angry with me. I didn't mean it, Ethel. Ethel, won't you make friends with me? We have nothing in common. Well, that doesn't prevent us from being distant to each other. I'll meet you three quarters of the way. If you'll only show one generous feeling toward me. You would if you knew what was in my mind. You're a strange creature. You've got us mixed up. I'm not the strange one. What? Oh, I watch and listen. And listen to you. You turn your face to the world as much as you say. Aren't they the years ago and sweet tempered, calm young lady? And you're not quite that, are you? Well, what am I? Of course. You've got the breed and then the beautiful manners. But you have a temper. And it's a beautiful temper. It's a shame for you not to let it out in the daylight so that everybody can see it. But you can't, can you? Because it's not good for them. And with all your fine advantages, you're not very happy, are you? Are you? No. Neither am I in this house. Yes, I'd like very much to ask you something. Well, what is it? Do you know anything about love? What? Have you ever been in love? No, I haven't. Have you ever thought about it? Um, what do you think about it? Very little. Oh, you're wrong. It's the most wonderful thing in the world. To love a good man who loves you, a man who makes you hot and cold, burning like fire one minute, and freezing like ice the next, who makes your heart leap with happiness when he comes near you, and it puts sorrow when he goes away from you. Oh, it's mighty disturbing. Well, how do you know all this? I, uh, I read about it in a book. Oh, I see. Don't you like men, Ethel? Not much, but you like Mr. Brent, don't you? Certainly I do. He's a very old friend of the family. He has a wife. Well, what about it? Oh, nothing, Ethel, but tell me this. Is it customary for English husbands to go around kissing other women? I suppose you're referring to what you saw downstairs today. Well, in a way, uh, yes. Will you kindly have the decency to keep your observations to yourself? Oh, sure, I'm clear, Ethel. Don't be angry with me. I only wanted to tell you something. I don't care to hear it and I'll go away. And just for a change, try minding your own business. I miss Peggy the drawing room, sir. Oh, thank you. Jerry! Is it you? Hello, Peggy. Hello. Sit down, Jerry. Well, I can't stay. I just dropped in to ask you something. Yes? Well, there's a dance tonight at the country club. Would you like to go? Would I like? Oh, indeed I would. Good. We'll have to ask your aunt, of course. Ah, would we? Oh, but she'll never let me, Jerry. Oh. She won't, I know. I don't let her take any chances. Let's go to the dance tonight and I'll ask her tomorrow morning. But that's not fair. I know, but it's a dance. And if you think that I'm going to let it get by me, you're very much mistaken. When the lights are all out and they're all asleep, I'll creep down the stairs and meet you at the foot of the path. And if it goes against your tentative conscience to take me, I'll take you. That's how we'll settle that. Ah, but there may not be any occasion to do any such thing, your aunt. Maybe delighted. Delighted? Sure. She doesn't know the meaning of the word. Well, why shouldn't she let you go? After all, I'm an old friend of the family. And, well, we are good friends, too. I guess we are, Jerry. Did you ever hear what Tom Moore wrote about friendship? No. Would you like to hear what Tom Moore wrote about friendship? I'd love to. All right. There's a tune that goes with it, but I won't sing the words. Why not? Well, it wouldn't be fair to Tom Moore. It's about a girl, that is, who built a shrine and she thought that the best thing in the world to put in it was an image of friendship. You see, she was like you. She thought that there was nothing in the world as nice as friendship. Yes. Yes. And this is what happened to her. She flew to a sculptor who sat down before her. A friendship the fairest his art could invent. But so cold and dull, that this youthful adored her. Said Plainly, that was not the friendship she meant. Oh, never has she cried. Could I think of enshrining an image whose looks are so joyless and dim? But you're a little cupid. Miss Rose is reclining. We'll make, if you please, sir, a friendship of him. So the bargain was struck with a little god-laden. She joyfully flew to her shrine in the grove. Farewell, said the sculptor. You're not the first maiden who came but for friendship and took away love. Now, where in the world did you learn that? Tom, my father taught me that. Tom Moore's my father's prayer book. Okay, but for friendship and took away love. Well, that's happened to a lot of men, I think. To a lot of women, I think. Has it ever happened to you, Peg? To me, well, no. Maybe it would sometime if I was different. But, oh, I'm just an Irish no-buddy. Oh, don't say that. Oh, I'm sure there's a little something good in me. But the bad little something always eats the good little something out, so it does. Well, you'll have to put a rain on the bed something then. So I will. But would you mind very much if it had just one more spurt before I killed it altogether? What do you mean? I want to go to the dance. It's the last bad thing I'll ask you to let me do. I behave like a saint from heaven after that. Well, I still think you should ask your aunt. All right, I will then. But yes or no, I'm going to that dance. Mom! Are you happy, Peg? Happy? Sure, the whole world's going around with this one wall. And I'm going around with it too. I'm dizzy, I am. Shall we sit down? Ah, no, it'll be over so soon. And I'll be creeping back like a thief in the night. You shouldn't have come here, really. Don't I know it? It isn't that far. It's such fun. Here we are. Oh, yes, here we are. It sure has been a glorious night, Jerry. I'm glad, Peg. All the while, I'm supposed to have been asleep upstairs. I've been stealing the time. I'm a thief, I am. Well, you're a lovely thief. The sweetest. What? You'd better go in. I know that. But what are you going to say to me? I don't think it might be better to say in daylight. But why in the daylight? For the beautiful bright moon so high in the heaven. I'll go on now. Someone may hear us. Ah, I suppose you do know best, but that's a magnificent moon. Well, good night, Jerry. Good night, Peg. Jerry. What is it? I heard something. There's someone over there by the tree. Do you see him? Yes. It looks like Bradley. Bradley? Who's he? Christopher Brent Shover. Well, of course it is. That's Brent's car at the end of the drive. Now, what's he doing here at this hour? Sure, and I think I have a very good idea. Good night, Jerry. Peg, wait. I can't. I can't. I've got to go in. Good night, Jerry. Good night, Peg. Who's there? Is that you, Ethel? What are you doing down here in the dark? I could ask the same of you. What are you doing with your hat and coat on at this time of the night? And a traveling case with your tool. Do it your own, please. Will you go on away? Keep your voice down. Mr. Brent's car is out there. Will you go on away with Brent? Will you answer me, Ethel? Yes, I am. We're taking the boat to France. Oh, no, you're not. You're not going out of this house tonight if I have to whack everyone in it. Well, wait then. They can't stop me. Nothing can stop me now. And what do you suppose you'd be going to? Awaken and sleep in purgatory fuel. Get out of my way. He has a wife, Ethel. He hates her. And I hate this. He did my fault. She won't give you a divorce. And is that what he told you? And did you believe it? It's him that won't get the divorce. He wants her money. And he wants you. And he can't have both without lying to you. You're mad. It's the truth, I'm telling you. You've got to believe me, Ethel. You leave me alone. No, you're not getting in the car tonight. And I'm the one who'll see to it. Come back here. Come back. Bradley. Bradley. Good evening, Miss Ethel. It's not Miss Ethel. Where's Mr. Brent? Well, he's at the boy's head tavern, Miss. But I... Is he waiting for her? Well, Miss, I... Then you can take me to him. But Miss Ethel is... No, Miss Ethel ain't coming. Now get in there and drive. Go on before I blacken your two sneaky eyes. Yes, Miss. Who is it? Is it you, Ethel? Ethel, why don't you... Oh. You can close the door, please. What are you doing here? I came to see you, Mr. Brent. That's obvious. There must be some other explanation. Won't you sit down? Oh, no. I can tell you what I think of you standing on me on two feet. Really now? And I think you're not to interrupt me. It'll take me a long time. It will think enough bad words enough to describe the likes of you. Yes. Oh, come in, Ethel. We have a visitor. I thought she'd be here. You may go now, please. And leave you to go gallivanting off with this polar snake. Oh, no. I came here to tell them what I think of him. And I'm staying here till I've finished. You stay out of my business. Oh, what's it, a snake, I called you, Mr. Brent? Well, you're worse than a snake and a whole foot lower. A decent girl wouldn't lower herself to step in you. But you fooled Miss Ethel here, and now you're going to tell her the truth. You hear what I said? Get out. Let her alone, Ethel. She's very amusing. The whole situation is amusing. Great. Quiet. Amusing, is it? Well, then why don't you answer the door? We're found here. Don't let them hear you. Ethel, get into the other room. What? Come on, I can take care of this. What are you going to do? Come on, now, please, come on. Come in, sis. You mad? Is this him, Mrs? Yes. Good evening, Chris. Oh, how do you do, Clare? Oh, Clare, is it? Yes. Clare Brent. I'm Mr. Brent's wife. I don't believe I know the two gentlemen, Clare. Oh, excuse me. Mr. Doyle and Mr. Flint. Detective. They didn't come to pay a social call. Well, have you gentlemen seen all you wish? I think it'll do. It'll stand in any divorce court. Thank you. Clare, you can't do this. What's your name, young lady? Don't answer them. And why not? I'm not ashamed of it. My name's Pegal Connell. Thank you. Is that all, gentlemen? That's all. Good night, Chris. Well, that's that. I suppose you know what you've done, Mr. Connell. Yes, Mr. Brent. I've shown you up for what you are. Ethel, you can come out now. Peg. Oh, Peg. Well, there now it's all right. Everything's all right. But it isn't not for you. It isn't. Don't you understand? The newspapers, they'll name you as a correspondent. They'll think that you were the one who was... Oh, let them think what they want. There's only two people in this whole wide world I care I hang about. One is my father. Oh, he'll know it's a lie. And the other one, he'll believe whatever is in his heart to believe. Oh, now I think we best be getting home. As for station identification, this is the Columbia Broadcasting System. Down comes the curtain on act two of our play, starring Marion Davies and Brian Ahern. One of the characters in our play is a four-footed gentleman named Michael. And for the next moment or two, while going into act three of Pegor My Heart, we'll hear about Michael's Hollywood relations, the dogs of motion pictures. I don't know what a dog's vision of paradise may be, but Hollywood comes pretty close to being a canine heaven. The home of practically every star has two or three tailwaggers. Many of our celebrities raise prized dogs as a hobby. Charlie Ruggles raises them as a business. And here you'll find catering shops, dude ranches, haberdashery stores, and expert medicals, all dedicated to a happy, healthy fido. Our guest, Earl Johnson, has trained motion picture dogs for many years, including Flush, whom you saw in the Barris of Wimple Street. His most famous star is the German Shepherd Lightning, hero of such films as Wings in the Dark, The Case of the Howling Dog and White Fang. And now, Mr. Johnson, just what does it take to be a clock gable and dogdom? Same two qualities, Mr. DeMille. The human stars must have intelligence and personality. Lots of dogs could be taught to do everything that lightning does, but his success is due chiefly to the personality exhibits and doing his tricks. In the days of silent pictures, when a dog was playing a scene, all the trainer had to do was speak commands. This, of course, can't be done in talking pictures. How then do you convey to a dog what you want him to do? Well, before a scene is shot, the dog is rehearsed, just like any other member of the cast. But naturally, when the scene is being played, the dog can't understand the dialogue, so he must get his direction from the trainer. The trainer stands near the camera and tells the dog exactly what to do through certain simple movements of his hands. But does lightning know when he's acting and when he isn't? Yes. He'll attack a man and rip his clothing to shreds and perform with all the viciousness of a wolf. As soon as the scene is finished, he'll run up to the same man, wag his tail and lick his hands like a puppy, and he'll never let his teeth so much as scratch the skin of the man's attack. All that, of course, being the result of careful training. A dog's career in motion pictures is much the same as a man's. If he's to get an important part, he must pass a screen test. I tested 11 dogs before I found Lantloper, the canned terrier who performs in the Buccaneer. He even walked the plank for me. Yes, famous dogs like that have their own dressing rooms, their own doubles and stand-ins, and receive hundreds of fan letters. Lightning's stand-in is his own son, Lightning Jr., who's learning the picture business in that manner. And if a dog has a feature-partner film, he's hired Lightning, and the other important player, through the casting office. If he's an extra, so to speak, he's hired through the property department. What can you tell us about Lightning's rival for screen popularity? The wirehead terrier, Mr. Aster, who appears with William Powell and Myrna Loy in the thin-man pictures. Mr. Aster is owned by Henry East. The dog's real name is Skippy, and you'll see him again in the new film, The Awful Truth, this time under the name of Mr. Smith. Skippy is undoubtedly one of the smartest dogs I've ever seen in films. In his fondest possession, though he's received many more valuable gifts from the stars with whom he's worked, there's a little rubber mouse named Oslo. Mr. East gives Oslo the Skippy to chew on whenever he's shot a particularly good scene. I confess I'm having a little difficulty with Josephine de Mille, our St. Bernard. Josephine doesn't always want to sit down when she's asked to. Well, here's a good way to tease Josephine, or any other dog to sit down on command. Put your dog in a leash at your left side. Hold the leash taut in your right hand, with the other hand stroke the dog's back. Move your hand down his back to a spot where the hindquarters connect with the spine. At this point, there's a reflex nerve. When your hand passes over it, press down a little with your finger and thumb. The dog will automatically sit down. While you're doing this, just tell the dog to sit. As he does it, give him a pat on the head. Try it again a few seconds later. Keep repeating the process until the dog learns to associate the word with the action. The most complicated trick is based on this same simple association. Keep command short so as not to confuse him and remember the secrets of obedience at patience and kindness. A good idea. Josephine's one drawback is that she usually bites the hand the pats her. Well, I know. I'll have to send lightning over to teach her some manners. Of course, everything lightning does is not exactly a trick. Lightning has a lot of plain common sense. And just to prove that, I brought him along tonight. Lightning, say hello to Mr. DeMille and all the listeners. That's fine. Now, there's just one more thing, Lightning. A long time ago, when I used to give you a bath with just any kind of ordinary soap, what'd you do whenever I got your tub ready? Well, you don't need to have such a sour face about it. I know you didn't like it, but now that I wash you in Lux Flakes, tell the people how much you enjoy a bath. Fine. That's exactly the right answer. No wonder your coat has never shrunk. Okay, Lightning, and thank you all. Thank you and like them both. Once again, Marion Davies, Brianna Hearn and Benita Hume in Pegger My Heart. It's early the following morning and Pegger's already announced her intention of returning to Ireland. Her aunt, knowing nothing of the events of last night, realizes that if Peg leaves, the Chichester family will lose the money they receive for her training. In a desperate attempt to keep Peg in the house, she's persuaded Alaric to make a proposal of marriage to her. Alaric, the family martyr, knocks nervously at Peg's door. Oh, I see Margaret. Come in. Hello. What is it, Alaric? He might just stuff that. I'm afraid that dog still doesn't like me. Oh, he's all right. He's smart, too. I say, Margaret, you're not really going to leave us, are you? I am that. And if you'll excuse me, I think I'll go on with me packing. I see why. Why? Have you seen them on in papers, Alaric? No. Can I get them for you? Oh, no, Alaric, I know what's in them. I say, Peg, there's something I want to tell you. As you know, I've grown really awfully fond of you. He nearly chalked you, didn't it? And when did you find that out? That you were fond of me? Just now, when the thought struck me that perhaps you really meant to leave us. The idea bruises me. What does it now? It positively bruises. Ah, you'll get over that. No, I don't think I shall. Do you know why? I'm going to do something I've never done before in my life. Something useful? What? Certainly not. I'm going to ask a very charming young lady to marry me. What do you think of that now? And who do you think it is? I don't know. Guess. I couldn't guess who'd marry you, Alaric. Ah, it's you. Me? And it's all right? It's the most wonderful thing I've ever heard in my life. What? Oh, yes, of course, good. Fine, splendid. Of course, there are one or two little things to settle first. Only one or two? Just little things. In the first place, I must insist on a little obedience. And no Michael. Oh, I couldn't have Michael? No, no. I'm very firm about that. Very firm about it, yes. What could you offer me in this place? What could I offer you in the place of myself, of course? Thanks. I'll keep me, dog. Oh, come on. I say you don't really mean that. You don't actually mean that you're refusing me. Could I make it into planar? I'm refusing you, Alaric. Really? Really. Positively. Positively. Oh, I say thanks very much. Goodbye, old girl. What? And thanks again. I can't tell you how much I appreciate it. Hello? Alaric. Alaric, come here. Oh, later, later. I asked her, and she refused me. Absolutely and positively refused me. I hope you realize how lucky you are. Oh, Mother, please. No, I do. I do. But I say you were the one who put me up to it. Look at this. In the paper. Mrs. Christopher Brent is due for divorce. Name is Margaret Hill-Carloire. Co-respondent. I say they can't meet Peg. No, yes, they can. She was with him last night. Everybody's talking about her, even the servants in the kitchen. It's too bad they can't mind their own business. Ethel, are you preparing to defend her? You who... What is a Jarvis? Mrs. Gerald, Madam. Good morning. You may go, Jarvis. Yes, Madam. Good morning. Good morning, Alaric. Good morning, Alaric. Good morning. I saw a cab at the door. Someone coming or leaving? Someone's leaving, and I, for one, should be very glad to see a girl. I assume you're talking about Peg. You know very well we are. Have you seen the morning paper? I have. Well? Oh, don't believe it, of course. You suppose they'd print a thing like this if it weren't true? Well, that's what I'm here to find out. When Peg tells me it's true, I'll believe it. Until then, I prefer to think the papers have made a mistake. Now, where is she? In her room, packing. Oh, she mustn't leave England, of course. She'd lose her inheritance. Well, I'm not going to have her here. There's a mistake ever to let her come to this house. Yes, I'm beginning to think so myself. Oh, I see. I suppose you're going to blame us for what happened last night. I don't know that anything did happen. I'm speaking of other things. You were supposed to make a home for her here, and you were well paid for it. Well, have you done it? Have you done anything? Have you done anything except make life miserable for her? How could I make a home for a girl like her? You might have tried. If you had, you wouldn't be going away now. Oh, Peg. Good morning, Jerry. I just came in, Aunt, to say goodbye. Well... Wait a moment. Sit down, Peg. It's late. I'm thinking. I'm catching the boat for a home. Well, you can stay a moment. Sit down, Peg. Um, there's a story in the paper this morning about you and Christopher Brent. I thought there would be. I want you to deny it. Do you hear me, Peg? I heard you. Well, you do deny it, don't you? I... I only wish I could. Oh, Peg, you know Ethel. There's nothing I've got to say. Nothing. Peg, listen. I don't believe this story. I can't believe it. I know it can't be true. All I want is for you to tell me so. That's all, Peg. I'm not asking for an explanation. I'm not asking for anything except your own word. Well... I've got nothing to say, Jerry. Oh, Peg. Nothing. I'm sorry, Jerry. Well, all of my cab is waiting, and, well, I... I guess that's all. Goodbye, Jerry. Well, Jerry, I hope you're satisfied. No. Get her back. Call her back. She likes you. What's the matter with you? There's nothing to do with it. You hear nothing, Peg. Catch her. Catch her there. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. Ethel. lying about Christmas. Oh Jerry I was hoping that you know the truth but you're not angry with me. I couldn't be angry with you. I love you Pig. Jerry did you hear what you said? I think so. Did you mean what you said? I'm sure of it. Oh Jerry hold me I think I feel another storm coming on. We close the pages of tonight's play but bring Mary and Davies and Brian Ahern back to you a little later. Where does a young girl live who's come to Hollywood and is trying to make a name in pictures. Some live in little boarding houses, little inexpensive boarding houses but our most famous residence for such girls a landmark of the film capital for 21 years is the Hollywood studio club. Maintained by the national YWCA it's under direct supervision of a group of Hollywood women. Scores of our most prominent stars contribute to its upkeep and it's sponsored by the motion picture produces association. Mrs. Arthur S. Heinemann assistant state superintendent of schools is chairman of the studio club and Mrs. DeMille I'm happy to say is vice chairman of its directing committee which includes Mrs. James Gleason and Lois Wilson while Louise Dresser and Mary Pickford are on the advisory committee but the person to describe what the club is and does is Miss Marjorie Williams its director for 16 years. Mrs. DeMille tells me Miss Williams the club is always filled to capacity which means that about 100 girls call it home of these who at the moment are making a bid for fame. Well there's Virginia Walker for example a young actress whose portrait occupies an entire page in this month's Esquire. Ida Valmer and Catherine Aldridge who appear in The Vogue of 1938 are still with us and so is Evelyn Keyes the young southern girl discovered by Mr. DeMille. Also with us are the secretaries of Eddie Cantor and Myrna Loy and writers, singers, dancers, script girls, extras, radio actresses and film cutters. Work in the picture business you know is seldom steady there never was a time when all our girls had jobs but as a rule more than half are working at the same time and who pays the rent when there's no pay envelope coming in. Well if a girl has exhausted her savings we do our best to help until she gets a job. Remember the girls who come to Hollywood are determined to make good yet there are hundreds of girls to every job but still they come. We have them from China, Austria, France and England. Many of them are from colleges many from excellent homes some with little or no education some with only the prize of a beauty contest and the good wishes of their friends some arrived by Pullman coach a few have hitchhiked and one girl came as a stowaway by way of the Panama Canal. In 21 years 3,000 girls have lived at the club how many of them have attained national fame? Only about 20 or 30 Mr. DeMille which proves how tremendous are the odds against a newcomer the one career in which there has been distinct success is married about half of the 3,000 married and that after all is as big and splendid a career as Dardham. The wives of Louis Stone, Marion Cooper and Jesse Lasky Jr. all have lived at the club but getting back to the rent problem they'll take all kinds of jobs Mr. DeMille just to hang on we have girls singing in nightclubs one selling insurance many have turned typist or business secretary some model clothes and one girl rides an elephant in a circus still waiting for that chance in pictures. I believe several of the girls have acted in the Luxe radio theater haven't they? Yes they have this program has many links with the Hollywood studio club. Luxe is their favorite radio program and there's no question but that Luxe flakes are their favorite wardrobe care. I don't have to tell you that many girls have moderate incomes or how important it is to dress smartly to work in pictures. Since many girls do at least part of their washing at the club we know what kind of soap they use so it should interest you Mr. DeMille as it has interested me to know that Luxe flakes are by far the most popular. In fact there's really no comparison it's so economical and does its job so well. We're glad to know that Ms. Williams how can you tell us how a girls residence club in Hollywood differs from such a club in any other town. It differs to the extent that Hollywood and motion pictures differ from any other place and profession every girl here is decidedly an individual yet Hollywood gives them all a oneness of purpose that is a great uniting force when a girl has had a bad break when her job hasn't materialized when her part in the picture gets no further than the floor of the cutting room she finds a brave sympathy and understanding from her companions from them she acquires courage and learns that she can still smile and to me that makes Hollywood a far greater place than merely the home of motion pictures. I hope that what I've said tonight will not encourage any girl to come to Hollywood after 16 years here there's no better advice I could give than simply this unless you are prepared financially and otherwise to come to Hollywood as a years experiment hang on to your own job whatever it is and wait until Hollywood sends for you. Thank you Mr. DeMille. Thank you Ms. Williams. One of the traditions of the Luxe radio theater is observed at this time when you meet our stars out of character a tradition that's never more pleasant than when the stars happen to be Marion Davies and Brian Ahern. It seems few things interest our listeners more Marion the news of the current activities of a star what's she doing and what does she plan to do so what can you reveal to us about yourself. Only this Mr. DeMille that I'm looking forward to doing the pictures soon I've been reading several manuscripts to find the right one recently Walter wanger kindly offered me his next color picture and this month I was very much flattered to receive an invitation from Mr. George Bernard Shaw to come to London and do the picture pig million I greatly admire George Bernard Shaw and I'd love to do pig million but Warner Brothers have the first claim on my services moreover I used to like the idea of making two or three pictures a year but now I think that you Mr. DeMille have the right idea just to make one good picture a year and it's been awfully delightful returning to the Luxe radio theater and I want to thank everyone here on the stage for the marvelous help in making this a grand evening thank you very much thank you a word now from our air-minded leading man Brian Ahern a few days ago the newspapers had Brian and a plane accident at Palm Springs it was my plane all right Mr. DeMille I wasn't in it and are you going to tell us that you weren't in your plane last month when it made that false lancing and in Pennsylvania no Madden I'm afraid I was very much in it I thought it might be fun to fly to New York from Hollywood all alone in my open plane but I had no radio and no landing lights all I came a moment when I miscalculated the change of time and found that my horror that the sun had set behind me when I had counted on another hour of light I ran into a thick ground list and spent a very few bad 10 minutes wondering just what to do and through the trees I managed to spot a dark patch it turned out to be a pasture and I set the plane down with a few bumps well quite a few people collected and when I asked where I was they told me I wasn't very far from Gradyville well I'd never heard of Gradyville but I knew I was only about 20 miles in Philadelphia so I inquired the way there the name seemed to stump them all for a while until finally one bright minded individual said he guessed that Philadelphia must be somewhere to other side of Gradyville and with such specific directions I found it next morning and was safely in New York airport an hour later were you flying to New York to settle the tails for another stage play this winter at the time yes Mr. DeMille but I'm working on the hell roads picture merrily we live at the moment and it seems to look as I might not make it but I'm learning the art of blind flying and that's almost exciting enough to compensate for no play this year till next time then thanks and good night good night Mr. DeMille good night Mr. DeMille good night Mr. Herman thank you Miss Davies and Mr. Herman ladies and gentlemen this is your announcer Melville Ruiz there's another outstanding show awaiting you next Monday night and Mr. DeMille tells you about it in just a moment assisting our stars tonight where Edward broadly as David Eric Snowden as Christopher Brent Doris Lloyd as Mrs. Brent Michael Fitz Morris his port officer Wallace Roberts his Flint Lou Merrill as Bradley Frank Nelson as a guard and Ingward Tillich and Doris Lou Ray as Irish women Louis Silvers appeared through courtesy of 20th Century Fox Studios where he was in charge of music for the new film Second honeymoon and Mr. McDonald through courtesy of Columbia Studios now just before Mr. DeMille returns we want to remind you that this is the time to help the 1937 drive to fight tuberculosis help make the world safer purchase your supply of anti tuberculosis Christmas seals now use them on all your Christmas mail show that you're helping fight the dread disease too buy seals for Christmas and you buy help for the new year and now Mr. DeMille around our microphone next Monday night will be grouped several of Hollywood's most popular performers playing a drama that triumphed on Broadway and became one of Samuel Goldman's most successful motion pictures it was applauded the world over under the title of these three a powerful and original drama with a splendid romantic feeling it stars Barbara Stanwyck, Errol Flynn, Mary Aster, Constance Collier, Alma Kruger and Marsha May Jones our sponsors the makers of Lux Flakes join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Barbara Stanwyck, Errol Flynn and Mary Aster and an all-star cast in these three this is Cecil B. DeMille saying good night to you from Hollywood broadcasting systems