 Luxe presents Hollywood. The Brothers Company, the makers of Luxe Plates, bring you the Luxe Radio Theatre, starring Joseph Cotton and Anne Baxter in Portrait of Jenny. Ladies and gentlemen, your producer, Mr. William Keeler. Greetings from Hollywood, ladies and gentlemen. Once in every few years, a motion picture comes along which gives audiences a special feeling of adventure with a story that's off the beaten track. Tonight's play is a fine example because it's David O. Selznick's stirring production of Portrait of Jenny, one of the current hits of the screen and one which ranks very high on your request list. You'll hear Joseph Cotton in his original role giving one of those fine senses of performances for which he's noted both on the screen and in the Luxe Radio Theatre. Co-starling with Mr. Cotton is the brilliant young actress Anne Baxter in the title role of Jenny. Over the years, we've come to expect a fine job from stars like these just as you expect a high standard of performance from Luxe Plates. Certain names always stand for quality and Luxe Plates is one of those names. Now act one of Portrait of Jenny, starring Joseph Cotton as Evan and Anne Baxter as Jenny. In the Metropolitan Museum of Art in New York City is a painting entitled Portrait of Jenny. Out of that painting comes our story, the truth of which lies not in the telling, but in your heart. This much we know that there was a girl named Jenny who sat for the portrait. For the rest, science tells us that nothing ever dies but only changes and that the past and the future are together at our side forever. It was during the Depression, the winter of 1934. There's a type of suffering for the artist which is worse than anything a winter of poverty can do. It's more like the winter of the mind, a dreadful feeling of the world and difference. Sir, what can I do for you? Well, you can buy one of my paintings perhaps. Well, of course we buy very little times being what they are. They're landscapes mostly. Landscapes. Too bad. They come in every day by the dozen. No, I'm afraid. Miss Spinney, you startled me. Another artist, Miss Spinney. Yes, yes, this is Miss Spinney, my partner. How do you do? What's your name? Adams. Evan Adams. Well, what are you so defensive about? I'm not. Then don't be in such a hurry to put away your paintings. Landscapes, Miss Spinney. Oh, nothing that'll interest you. Well, probably right, but I'd like to see what interests you. Well, you painted nice both. Thank you. Have a read, Robert Browning. Long time ago. You remember his poem about Andrea del Sato, the perfect painter? Proportion, anatomy, color. Oh, he had everything and nothing. He painted a perfect hand while Raphael drew a formless claw. But Raphael loved his work. Poor Andrea del Sato. I think I got your point. There isn't a drop of love in any of these paintings. Oh, really, Miss Spinney? I'm an old maid, Mr. Matthews, and nobody knows more about love than an old maid. What's the matter with you, Adams? You'll have to learn to care deeply for something. What do you mean by that, Adams? Anyway, we'll take the boat. $12.50, Mr. Adams, if there's any argument, there's no say. There's no argument. Pay in, Mr. Matthews. Yes, here. Have you changed for a dollar? I haven't got a dime. He'll owe us 50 cents, Mr. Matthews. Oh, I don't think you really want the painting. If I hadn't wanted it, I wouldn't have taken it. Your eyes... Well... You have beautiful eyes. I'm afraid that picture isn't worth more than a couple of dollars. No. But Adams is. We're supposed to be in business for profit. I bought this for myself. Yes, Miss Spinney. Of course. Money in my pocket. I started walking to a central park filled with a sudden awareness of something extraordinary. The city sounds were muted and far away like something in a dream. I sat down on a bench, and then I noticed a little package there, something wrapped up in newspaper. Oh, I didn't know. Isn't anyone here with you? No. Why should there be? Getting off. But I don't have to go home yet. Anyway, you're with me. I'm Jenny. Jenny? Jenny what? Jenny Appleton. My mother and father are actors. They're working down at Hammerstein's, Victoria. They do juggling on a rope. Hammerstein? Yeah. Why? See, it was two and down years ago when I was a boy. Oh, you must be thinking of some other place. Because I was there yesterday. Well, not really. I remember. Now let me see your picture. How do you know their pictures? Oh, I just know. What's this one here? The church near the sea. Those are awfully little windows with such a big church. They have to be little. There's so much wind on Cape Cod. I don't like it. It scares me. The wind? No. The black water. There should be a lighthouse out there by the ocean. How do you know? I don't exactly remember. Someday I'll show it to you out there on the rock. It's called lands and life. But you just said you didn't remember. I don't. I just know. I wish I liked your picture, but I don't. That's what everybody says. That's why I can't sell them. Don't you sell anything you pay? Oh, an illustration once in a while for a story on advertisement, but not very often. Cecily Brown's house is full of pictures. Who's Cecily Brown? She's my best friend. I go to school every day now, but only in the morning. What did you learn? Well, yesterday we learned about the Kaiser. He's the king of Germany. Well, he was a long time ago. Oh, you're wrong. Cecily's father is in Germany now. And he sees him all the time. I see. Well, I'm afraid I have to go now. I'll walk with you if you don't mind. I know a song. Want to hear it? Yes, I'd love that too. Where are I come from? Who taught you that? Nobody. It's just a song. You know the game I like to play there? It's a wishing game. I'll tell you what I wish more. Well? I wish that you could wait for me to grow up so that we could always be together. You won't, I guess. Well, I can't talk to you anymore. Goodbye. Wait a minute. That parcel on the bench, you forgot it. Oh, dear. Stay here. I'll get it for you. Oh. It was still on the bench, but when I returned with it, Jenny was gone. I had dinner and went back to my room, but I couldn't get her out of my mind. Half amused. I started to sketch her from memory. A pencil sketch of a little girl in pencil. Morning, Gus. Had your breakfast? Yes, sir. Not again, Gus. Besides, I'm wealthy. I sold a picture yesterday. Are you kidding? I've got $12.50 for it. Well, in that case, I might even start the meeting. You know, Gus, I don't get you at all. Why should you care about you? You want to know why? Because I got a lot of respect for a guy that's doing what he's got to do, even if maybe it's killing him. You want to paint pictures. It's all you're going right ahead and doing it no matter why. I like that, Mike. Hey, how about having breakfast at Moore's? I just remembered. Moore said should I happen to see you to send you in. Me? Why? Well, how do I know? I guess he wants to see you. Give me a job, Gus Moore. Give me a job. A job here? Well, I've got all my meals for nothing. All I have to do is paint a mural on that wall there over the bar. Oh, that's not bad. All your meals, huh? Yesterday I sold a painting. Now I'm commissioned to do a mural. What's happened to me? Maybe your luck's changing, huh? Well, come on, eat your breakfast. Hey, what's that on the floor? Oh, must have dropped out of my coat pocket. It's a scarf, ain't it? It belongs to a little girl I met in the park. Hmm, pretty big scarf for a little girl. She left it on a bench wrapped up in this newspaper. Funny kid, Gus said her parents were acrobats at Hammerstein. Hammerstein? What, that was torn down years ago. She said she was there yesterday. Some imagination them kids got. Hey, this newspaper, what about it? Well, look at it today. 1910. 1910? Where did you get an old paper like that? I told you, the little girl, the scarf was wrapped up in it. Well, Gus, look at this, this ad. Huh? Hammerstein's Victoria, now appearing Eva Tangway, the American comedian. Well, will Rogers, expert laureate thrower, how do you like that? No, no, no, no, down, down further, look. Huh? Oh, the Appletons, novelty high wire act. Well, what about it? Well, it's just what she said. She said her name was Jenny Appleton, Charles. Now that I think of it, she wasn't dressed the way kids are now at all. It closed her hat. They were old fashioned. Hey, Adam! Yes, Mr. Moore? Hurry up, will you? I want you should have my ideas for that muriel. Oh, yes, Mr. Moore. I'll be right there. Well, let me see it. Well, the little girl I found at the park, Mr. Matthews. Well, now, well, it's very good. Isn't it misspinning? Oh, yeah, very good. You have a feeling for a face, Mr. Adams. Every type of portrait. Oh, not very. Oh, but you should, you should. As for the sketch, I'll give you $25 for it. Well, Adam, you can stop feeling sorry for yourself. Sorry, I'm getting three meals a day for painting a mural and now $25 for a sketch. Here's your money. Oh, take this before I change my mind. And where are you going now? Oh, nowhere, anywhere. Where I come from, nobody knows. And where I'm going, everything goes. What's that? What's the song that little girl sang in the park? Well, if you don't know whether you're coming or going, perhaps you'd like a cup of tea. Thank you, I would. We'll be at my office, Mr. Matthews. You have a wonderful view of the park, misspinning. What's going on over there? A lot of bikes skaters today. You know, I haven't skated since I was a kid in Maine. We all down east tonight. The fine little town, rivers, lakes, mountains. My father ran the general store until he died. My mother died a couple of years later. And what happened to you? Oh, worked my way through three years of college and then I... Fascinating, isn't it? Yeah. I think it's interesting. I want to ask you, right, misspinning? I... I don't feel sorry for myself the way you said. I'm facing a very practical problem. An artist facing a practical problem? Oh, that's not the kind you think. I... I don't mind being hungry. I don't even care about having to dodge the landlady most of the time. Well, I know that every artist who ever amounted to anything went through a lot more than I have, but they knew they had something. You can take a lot of beatings when you know that. But you're not sure. You don't think you're a good artist? Why should I believe that all the thousands of artists fighting for recognition that I'm one who has something worth putting on canvas? Oh, relax, Adam. It irritates me when you go on like this. You know, something about your appeal, fillman. I can't imagine what. I think you're like the bow I wanted when I was young. When I was doubting myself. No, not you, too. Look what it brought me. Just a frustrated old maid lecturing a frustrated young painter. Miss Benny, what should I do? That pencil sketch shows what you can do. All you need is a little inspiration. Any inspiration. That little girl in the park. Well, I guess that does it. Now, how about you and me taking a twirl out there on the ice? Oh, go along with you. I left Miss Benny with a feeling of exhilaration I hadn't known in years. And just as if I could afford such luxuries, I rented a pair of ice skates. It was a fine, clear day. Everyone around me seemed young, full of laughter. Jenny, what's up? Hello. Isn't it fun? Oh, I love ice skating. I can't believe it, you. You've grown so much smaller. Oh, well, maybe you didn't see me so good before. No, I'm not sure you've grown. Of course I have. I'm hurting you. Don't you remember our wish? Sure I do. You called me Mr. Adams. How did you know my name? The paintings you showed me. Your name was Onman. Even Adams. Oh, yeah, yes, of course. Oh, by the way, I have something of yours. What a pretty scar. You said it was yours. Did I? I'll tell you what. Why don't you keep it for me till I grow up? And then I'll have one more reason to blow up fast. All right, I will. I owe you a favor anyway. You do? I drew a sketch of you and sold it. Oh, I'm glad. The man who bought it and told me how to paint portraits. Well, who would you paint, Mr. Adams? I don't know. I haven't decided yet. Maybe. Will you let it be me? Who else? Oh, you're not joking. You mean it. Of course. I'm going to have my picture painted. Won't Emily be mad? Emily. Emily's my best friend. I told you you were going to paint my picture. She said I was crazy. Emily, I thought you said Thessaly was your best friend. Thessaly? Thessaly Brown? Oh, she moved away three years ago. I thought I told you. No, no, you didn't. Oh, it's funny. Don't matter. How would you like some hot chocolate? Oh, I love hot chocolate, Mr. Adams. Let's have some. We can get it right over there. This is wonderful chocolate, Mr. Adams. Thank you. Jenny, tell me, where do you live? I'd like to come and see you. Well, I don't think there's any place you can come and see me yet. Why? Oh, it's just the way it is. When will you start my portrait? Well, whenever your parents will let you sit for me. Where are they now? At Hammer signs again. They've got wonderful new tricks way up on the high wire. Sometimes it scares me to watch them. Of course, that's silly. That's why they're so famous they scare everybody. I'd like to see them. Why don't you take me to Hammer signs? Oh, do let's go. I can get us in free. Could you go to the matinee on Saturday? I think so. Where will we meet? Well, let me here in the park at that bench where we met before. I'll be there at two o'clock. At least I'll try. Well, I really must go now. Must you. Goodbye, Mr. Adams. Goodbye, Jenny. Looking for someone, Adam? Oh, Miss Finney. I just thought I'd take a little walk. Well? Well? Who were you staring at? Oh, that little girl I told you about. See? She's crossing the road, there by the tree. I know now that Finney didn't see Jenny. She looked at me as though I were a patient who needed watching. On Saturday came, I went again to the park and waited for Jenny, I sat there alone, apparently she'd forgotten. Suddenly I decided to find out for myself what I could about Jenny's parents. I found their names in old programs at the public library. Then by sheerest accident, someone told me about an old wardrobe woman. I worked in wardrobe at Hammerstein's for many, many years. Then you'll remember some of the old acts. I'm trying to find someone who knew the Appletons. They were acrobats, I think, high trapeze. Oh, I knew them all, Mr. Adams. All of those wonderful people. And I have them right here in my scrapbook. Of course I remember the Appletons. And here's their picture, Mary and Frank Appletons. Who's this little girl with them? Why, that's their daughter, that's Jenny. Their daughter? She must have been about 10 or 11 then. Well, isn't it possible that this child is their granddaughter? Oh, no, no. I knew Jenny when this picture was taken. Who is this little girl? Big eyes and sad. I used to give her rock candy. Would you know where she is now, Mrs. Morgan? No. No, I lost track of her after her parents were killed. That was many years ago. Killed? The wire broke. Jenny was in the theater when it happened. You're sure you don't remember what happened to her? Well, it seems there was some talk about her aunt wanting to put her in a convent. Jenny wasn't a Catholic, but her aunt said a convent was the best place for a girl to be. Thank you very much, Mrs. Morgan. Well, don't thank me, Mr. Adams. Isn't it important I have a chance to share my memories? Well, I hope you'll find Jenny. She was a dear little girl. I hope so, too. I knew now that a child named Jenny Appleton was not just a creature of my imagination. Such a child had existed, but beyond that I couldn't think. The park that night was strangely empty. Nothing seemed real, not even the towers of the city or the myriad lights. And then as I came nearer to the bench, Jenny's bench. Jenny! Jenny, what's the matter? Father and mother... Something's happened. They've had an accident. I knew it would happen. I was always scared it would happen. And the night... Tonight I know how you feel. I know how much it hurts. But it isn't hurting them. I will never hurt them again. Please, try to think of it that way. But they're dead. We all die sometimes. I love them. They love me. You mustn't be too unhappy. They wouldn't want you to be with them. Would they? They told me once. They said if anything happened to them, they mustn't be unhappy because they were doing what they wanted to do. And if they... If anything happened, it would happen to them both at the same time. The way they wanted to. You see? I shouldn't cry, should I? I guess I'm only crying for myself. Because they're gone. And because I'm lonely. No, Jenny. Don't, don't. Maybe I won't always be lonely. I don't know why, but I don't think I'll be lonely very long. I'm hurrying. I'm hurrying fast now. My aunt is sending me to a convent. Do you want to go? Oh, yes, yes. After that I'll be grown up. Don't you understand? No, Jenny. No, I don't understand. Each time I see you, you've changed. You're older. You talk about things that happened long ago. Did they? Sometimes I kind of think that too. But maybe that's because I have to find something. Find something? But what? I'm not sure. But I think I'll know someday. I think I'll know when I find it. And I think you'll know too. I hope so. You'll wait for me, won't you? You'll give me a little more time. All right, Jenny. Oh, it's nice that you hear them. Listen to the stars coming out. There aren't any stars, Jenny. Not that I can see. It's, it's too cloudy. And, Jenny. And once again, as sudden as they're coming, Jenny was gone. In a moment. Lily, I'm still trying to decide whether it's the moving story or the magnificent acting that makes the 20th Century Fox production of Pinky such a great picture. Well, I think Darryl Afzanik deserves credit for the combination. When a lovely light-skinned negro girl tries to run away from herself, it makes an important human story. Gene Crane gives a very sympathetic performance. The part of Miss M, a domineering warm-hearted aristocrat, seems meant for Ethel Barrymore. Isn't her vitality wonderful after 50 years in the theater? William Lundigan, who plays the young Boston doctor in Pinky says, she inspired everyone on the set. Gene Crane's acting has matured remarkably. Well, she's growing up. Gene has two darling babies, you know, and takes personal care of them. Even the 6 a.m. feeding? Oh, yes, indeed. Even at that early hour, I'm sure Gene looks charming. You know, she has a wardrobe of smartly simple negligee in pastel colors that luxe like a charm. In fact, Gene insists on luxe-flakes care for all her slips in 90s as well as her negligee. Hollywood stars are smart about such things. They know that luxe-flakes care really does keep washable silks, rayons, and nylons new-looking far longer. And luxing is so easy. These tiny diamonds of luxe make rich suds in a flash. Whisk away every trace of perspiration and soil. Yet slips in 90s stay color-fresh and new-looking. Tests prove that. Wrong washing methods are hard on pretty undies. But luxe-flakes care keep colors lovely three times as long. That's one reason this fine product of Lever Brothers is so popular with women everywhere. Now, here's our producer, Mr. William Keely. Act two of Portrait of Jenny, starring Joseph Cotton as Evan and Anne Baxter as Jenny. Jenny was gone. And the mystery which surrounded her, the way she had come and the way she had disappeared, left me helpless and brooding. I was seized by memories so urgent that they were more real to me than my own identity. Everywhere I saw her. Everywhere I heard her. As the winter went by, I worked at whatever jobs I could find and between times I struggled with the mural in Moore's saloon. But mostly I was content to do nothing for I knew that I was worthless until and unless Jenny returned. But I needed to tell someone and who was there to tell, but Miss Finney at the art gallery. So at last you're ready to talk about it. All right, Adam, you're an artist who's lost his art, is that it? Something like that, I suppose, just Finney, maybe that's all I'm good for, but that much I know I can do. The portrait of Jenny? Yes, it's the only thing I've ever been sure of in my life. But you can't do it without her? Of course not. Suppose you never see her again. No, I can't even think of that. Maybe you never did see her, not really. Well, you think I created her. That's what you think, isn't it? That I imagined her because I needed her for her. For an inspiration? Why not? Maybe you saw her, maybe you didn't. But that's the difference. By the time you're my age, you'll learn to believe in lots of things you can't see. But if I were you, I'd stop moping. And do what? Stretch a new canvas. Get your brushes ready. You ask what I think, and I think that... I think that Jenny's coming back. That week I finished the mural for more. It covered the wall, the colors were bright, and Moore was delighted. But what's eating you, Mac? It's a great painting you've got. I all like it, don't they Gus? Maybe that's all that matters. Moore's that proud of you? You think he's painted it himself? The worst thing I've ever done, I'm ashamed of myself. Ah, you're drunk. I wish I were. Then come on, free beer. You'll never have a better chance. Gus, tell Moore I'm glad he's pleased. I'm going home. Oh, Mac! No, no, Mac, it's early yet. Mac, come on. Jenny, it can't be you. I tried to get here sooner, Evan, but I couldn't. You're beautiful, Jenny. And you've grown so. Well, of course I have. I'm hurrying. Well, I'm in my first year of college at the convent. I've been looking at you. Oh, Evan, I've thought of you so much. Could fill an eternity. What did you think? About how wonderful it all is. Now I've searched and searched. I'll be together always. I'm almost sure. Do you know what Emily wants to know? When you're going to marry me, don't laugh at me, Evan. I know I'm not old enough yet, but I will be soon. Evan, what's that? Let's guess. A lantern, isn't it, in the lighthouse? How do you know? Have you ever been there? I don't know. I think. It's an old, deserted lighthouse up on Cape Cod. I painted it long ago. Makes me unhappy. Oh, then I'll put it away. Jenny, remember the portrait we planned? Your portrait? Then you haven't forgotten. Let's start it now, please. Jenny, sit over here. You don't mind. Mind? Oh, Evan, the girls will be so jealous. Can I tell them? Am I sitting right? I'll turn your head the other way. No, no, no, no. Leave your hair alone. It's fine. Just the way I want it. Yes, Evan. Some of my friends at the convent are taking a day on Sunday. Now, don't move. Could you come and see the ceremony with me? I'd love to, Jenny, only please. Sit still. I'm sorry, Evan. Evan, promise you won't forget me. Now, fix your eyes on something, Jenny. Hold your hand. That's fine. That's fine, Jenny. It was morning before I knew it. Jenny left to go back to the convent. And I let her go with hardly a word as I kept working intently on the portrait. But that Sunday, I went to New Jersey to the convent she'd told me about. Evan, Evan, what's wrong? Oh, nothing's wrong now, Jenny, but I was... I was afraid you might not be here. Well, I told you I'd be here. This way, Evan, we'll have to hurry if we want to see the ceremony. The ones with the candles are the ones who are taking the bail. I see. Our teachers are in the back of them. And that's my favorite, the one nearest the altar at Sister Mary of Mercy. I'm so glad you're waiting for me, Evan. It makes me feel a little closer to the truth of things. As if pretty soon I would understand. Sun's going down. In the same lovely sky, just as it did yesterday and will tomorrow. What is tomorrow, Jenny? Doesn't matter. It's always. This was tomorrow, wasn't it? Where I come from, nobody knows. Where I'm going, everything goes. I've heard that somewhere. Of course you have. You sang it to me that first day in the park. Did I? I've forgotten. The wind blows, the sea flows. God knows. I think he knows, Evan. This is where the master works. Well, Adams, where is it? Where's the portrait? Sit over here, spinning. It's not much of a place, Mr. Matthews. Here is a chair. We're not here to admire your studio, you know. Now the portrait, remember, it isn't finished yet. Oh, don't be coy. Let's see it. Well, here it is. Oh. Well now, well... What do you think? That you found what you were looking for. You like it? Adams, it's... it's always a dream in my business that someday you'll come across, shall we say, a great painting. This is, I feel now, a sort of fulfillment of my... of... He means he likes it. I'm glad, but it isn't finished. It really isn't. Hey, get easy, Adams. Yes. Yes, it's a great painting. On the portrait, only to walk in the park, to linger at that bench, knowing I was caught by an enchantment beyond time and change, knowing at last that love is endless and today is little happiness, only a part of it. A few such days went by and then late one night in the park, Jenny was there waiting for me. Hold me, Evan. Hold me. Hold me tight. Jenny. Jenny, I've looked for you here so often. Oh, I had to see you tonight. I'm leaving the convent, Evan. I've graduated. Jenny, then we can be together. Together always. Evan, my aunt is ill. She wants me to go away with her for the summer. Well, when do you have to go? Tomorrow. I couldn't go without saying goodbye. Goodbye. We'll only be for a few months. Anyway, we have until the morning. Oh, I'll be lost without you. No, no, don't say that. We can't both of us be lost. Evan, you're unhappy. You're going away with your aunt for the summer. Wherever it is, no matter how far away, it's a place that can be reached. That kind of distance I know about, you can measure it in miles and hours. But now I feel there's another kind of distance, Jenny. Evan, what is it? What I mean? A distance of yesterday and tomorrow and it frightens me because there's no way to bridge it. Oh, but there is. At this moment, I know there is. Oh, I want it to be forever. It will be, Evan. It will be. Jenny, I'm not going to think of the summer or of the future at all. I'll leave that to you. Why we met, how it came about. I don't know. I know we were meant for each other. Oh, Evan, I wish you'd finish my portrait. Your portrait? Yes. We'll finish it now. I'll tell you if it dies. Evan, do you think people can know what lies ahead? I mean, what's going to happen to them? You know how you feel sad about things sometimes, about things that have never happened. Perhaps they're the things that are going to happen to us. Perhaps we know it to admit it to ourselves. Oh, I guess that's silly. I guess it's just my funny mind. I won't talk anymore, Evan. I'm just going to sit here and let you work. Are you all right? Hello, Evan. Oh, hello. You fell asleep. Well... Poor darling, you must be worn out. I'm sorry. Jenny, look. It's finished. Evan, is it really me? It's you. What do you think of Jenny? I think it's a fine painting. Say it. I think it'll make you famous. I think someday it'll hang in a museum and people will come from all over the world to see it. If they do, it won't be my work. They'll come to see it'll be you. Oh, Evan, I want always just to sit and watch you paint. Now that I've found a perfect model, I'll paint her again and again. Oh, no, no, I didn't mean that. I mean I want you to paint these pictures of yours, of the sea and land and light. Each time I see them, my heart seems to stop. Land and light. I suppose it is a full-lorn sort of place. Well, don't let's talk about it anymore. Tell me about Paris. Did you study there? A while. Oh, Evan, I wish we could be there together. It'd be such fun. We'll do it, Jenny. I'll take you to the Luxembourg, to the fair at Fontainebleau, to Saint-Clew. Oh, I feel as though we were there already. We've been spending our whole lives together. Jenny, what is it? What is it that makes a man and a woman know that all the other men and women in the world, they belong to each other? Is it just chance they're being alive in the world at the same time? You think it's possible that there might be others in other times whom we might have loved and who might have loved us? Oh, no. No other. Among all the people who live from world then to world then, there's just one you must love. One you must seek till you find it. You, Evan, you are my darling. Jenny. I must go, Evan. No, Jenny, no, no, please. I don't want to. We'll meet again when the summer's over. Are you sure, Jenny? I don't quite know where. The wind blows, the sea flows. However, I want to be sure. Tell me you're sure. I'll get my thing. Who, Evan, what a lovely scarf. It's yours, Jenny. A present for me. I've been saving it for a long time ever since we first met in the park. They're going to wear it because if you... Jenny! Empty and without sound. Only the beat of rain striking against the window. As the weeks went by, the sun in the afternoon slanted lore over the city and sometimes at dusk, a wedge of wild duck waved southward against the Manhattan sky. Summer had turned into fall and Jenny did not return. I felt a dreadful loneliness. Where was she? The thing I'd like to ask, Adam, before you tell me to mind my own business. All right, Spinny, what is it? I've asked it before. What if she never comes back? Oh, she's got to. Things happen to people, but the others still must go on living. Is there any part of it, have you, Spinny? It doesn't matter whether anyone believes or not because I know. You once told me she was going to a convent. Not there anymore. She graduated. But isn't it possible that the sisters would know where she is? Maybe they kept in touch with her. Yes, there was one who was her favorite. Well, then why don't you write to her or see her? Yes. Yes, of course. And when am I going to see her? The Jenny of a portrait, I mean. Portrait, you'll see it, Spinny, one of these days. Want to see me about Mr. Adams? There was a girl, sister, who graduated from here. I thought possibly you might have some information as to where she is. Her name is Jenny Appleton. Jenny Appleton. You remember her? You were a favorite teacher? Yes. Yes, I remember Jenny very well. Have you heard from her? Where is she? Mr. Adams, Jenny... Jenny died. When? Musical. I'm afraid I've shocked you. Well, no, we... we obviously aren't... aren't speaking of the same person. Did you know her family? No, I only know they were killed in an accident. They were trapeze performers? Yes. Then I'm afraid it must be the same Jenny Appleton. Her aunt brought her here shortly after the parents' death. She stayed with us until she graduated. Then her aunt came and took her to New England. It was that autumn. It was that autumn that the terrible tidal wave hit the New England coast. Ten years ago, October 5th, I remember it well. Tidal wave? I learned later that Jenny was in the habit of sailing out every day to a little cove near an abandoned lighthouse. Land and light? It was during one of those trips that the tidal wave struck. That was the last anyone ever saw. Land and light? That's where I'll find her. But Jenny is dead, Mr. Adams. You must accept that fact. Hard as it may be. I won't accept it. Don't tell me she's dead. I held her in my arms three months ago, not ten years ago. I love her and I want her back. What vision you've had, I can't say. But don't doubt the ways of Providence. You must have faith. We know so little, Mr. Adams. So very little. I didn't mean to be abrupt. I'm most grateful, sister. When did you say that wave struck the coast? October 5th. The days. October 3rd. That leaves me two days. Mr. Adams, that October 5th was many years ago. Are you so sure? You say we know so little. You say Jenny's parents were killed. I found her sobbing on a park bench the night it happened. You say she was a student here. I visited her here. You say she went to New England with her aunt. I was with her just before she left. Then how can you say it all happened many years ago? Yes. We know so little. And yet now I know a little more. Now I know the pattern of Jenny's life. But I also know that I am... I am part of it. She herself said that strands of our lives were woven together and nothing could break them. This I have faith in. You, sister. Thank you for your kindness. You... You're going to lands in? Yes. I'm going to Jenny. Station identification. This is CBS, the Columbia Broadcasting System. Brief intermission. We will continue with act three of portrait of Jenny. Tonight we have as our guest a color photographer's delight. Lovely Donna Martel. I understand Donna, you're taking a well-earned vacation after your first leading role for Universal International. A busman's holiday, Mr. Keely. Watching other pictures being filmed. Anne Blythe and Robert Cummings had such fun playing in free-for-all. They used up regularly to watch them. An unusual story of boy meets girl. You know Percy Kilbride's handling of broad comedy makes good entertainment, too. I love the scene in free-for-all in which Bob gets covered with oil. When he goes into Anne's shower to get it off, he has to dive through some nylon stockings hanging over the tub to drive. Well, I'm sure many husbands has experienced that. Wherever there are nylons, he will find luck's flake. That's right, Mr. Kennedy. I always keep a box of them in my bathroom. It's a very easy way to make nylons last longer. These tiny diamonds of lux bubble up into suds so fast, it takes almost no time to lux a pair of nylons. Strain tests showed that rubbing stockings with cake soap or using strong soaps made runs come sooner. Identical nylons that were washed with gentle lux flakes lasted twice as long. You can see why over 90% of the makers of stockings have remained lux flakes. I've noticed that colors stay true also when I use lux flake. That's important for a carefully planned ensemble. It's no wonder smart American girls, stars and secretaries alike stick to lux for nylons. Thank you for coming tonight, Donna Martel. Here's Mr. William Keely, our producer. The curtain rises on the third act, the portrait of Jenny, starting Joseph Cotton as Evan and Anne Baxter as Jenny. Good morning. I went to the art gallery of Mattis and Spinney. I brought along my portrait. I'm impressed, Adams. Tremendously impressed. Of course we can sell it for you. Not for sale, Mr. Mattis, not yet. I brought the portrait here hoping you'd store it for me until I come back. Come back? Well, yes. Yes, I'll put it in the vault immediately. Where are you going, Adams? I think I know where Jenny is going to be and I've got to be there waiting for her. A little place on Cape Cod called Land's End. You seem to be in a great hurry to get there. If you let me show that portrait, Mr. Adams, I think I can promise you a lot of commission. In that case, perhaps you'll advance me $100. Give him the $100, Mr. Mattis. Yes, of course. What's the matter, Adams? Something wrong? Just give him the money. Thank you. As you say, Miss Spinney. Thank you both for everything. Have a good rest, my boy. And paint me a little church while you're there. A little white church with a big steeple. And don't get yourself drowned in the sea. What makes you say that? Oh, men do such foolish things. And I'm afraid of the ocean. You're tough. You wouldn't get you. Tough ones drown too, you know. Now get out of here before you miss your train. On the night of October 4th, I reached the village of Land's End facing the Atlantic Ocean. It was a quiet night, heavy with mist and fog. There was a light on in the hardware store. I guess my niece can put you up all right. You'll find her place on the side of the grade school. Thanks. I'll stop by later. Any warning of the storm yet? No storm around here, young fella. There's the barometer. Fair weather, that's what he says. How far in advance were the barometer show for storm work coming up? Far enough. Didn't show far enough when we had that hurricane back in the 20s. I heard about that hurricane. It happened just about this time of year, didn't it? I gotta come to think of what it did. October the 5th. I'd like to get out to Land's End light. Do you know where I could rent a boat? Land's End light. That light ain't been used for years, mister. Can't think why anybody'd want to go out there. Never mind my reasons. Do you know someone with a boat? You better go and see E. Gellis. I've heard that we rent out sometimes. Well, I'll find him. Oh, it's hard finding. He's always sitting in the same place. I guess you go down to the jetty, mister. You'll find him. It might be nice of you to rent me your boat, Mr. Gellis. Don't know what good it'll do here. How'd you figure to get her out in all this fog? I need a breath of wind, either. There'll be wind tomorrow. Plenty of it. Maybe. Never been too sure about them things. Not since that hurricane we had back in the 20s. What about the wave? I heard something about a great wave. Great wave. Yeah, there was a wave, all right. Sometimes you think you never really saw it, that just bred about it like something in the scriptures. It rose up out of the sea like a mountain, coming toward the land like the day judgment. You didn't happen to know a girl, a visitor, who was caught by the wave. Her name was Jenny Appleton. Ah, you should ask that. Why, I used to rent her a boat. I shall never forget her till the day I die. You knew her, Mr. Adams? Yes, I knew her. Pretty little thing, won't she? Big, sad eyes she had. Big, sad eyes and something about her that seemed to come from far away. What happened exactly? Where was she when the wave struck? Well, she reached lands in point that much is certain because I found the Balmer boat tied to the wall there. Well, anyway, what was left of it was... If she had made the lighthouse, she might have been saved. Isn't that so? Yeah, but she didn't make it. It's a pretty tough climb up them rocks to the light, especially for a female, all that wind and sea. I suppose it would be, alone. Well, you come by in the morning, Mr. Adams. The boat will be ready for you. The air was still and heavy when I left the jetty early the next morning, but once offshore, the fog lifted quickly. Overhead, the clouds were gathered large and low and ugly. And then the wind came sweeping up off the water and I had all I could do to hold my course. A few miles out on a tiny point of land, I could see the old lighthouse and the white water beating against the rocks. Storm broke suddenly, under lightning in the angry lashing of the Black Sea. I sailed straight for the light for the towering rocks that rose out of the surf. To the shore, somehow I climbed over the rocks to the shelter of the lighthouse. Maybe if I reached the top of the lighthouse, I would see her. It seemed a wheel to turn in its course and sweep out toward the sea. And in the clearing light, I saw the boat and his boat driving toward the beach. I rushed from the lighthouse remembering what E. Gellis had told me. She reached land's end point that much is certain, because I found the bottom of the boat tied to the wall there. Sure, she saw me. She was running to me now across the rocky beach. Ever since so long ago. Jenny. Let me look at you. I was so afraid I wouldn't find you. I'll never let you go again. Never. Hurry, darling. Give me your hand. We can't stay here. It's all right, Evan. Jenny, the wave, the tidal wave, it's coming. It's all right, Evan. Whatever happens at you, I want, Jenny, not just dreams of you. Please, please believe me. The wave will strike again soon, but we can have a whole lifetime together. We have all eternity together, Evan. Can't you see? We were lonely and unloved. Time made an error, but you waited for me and we found each other. And now we must lose everything. No, no, Evan. Now we're just beginning. There is no life, my darling, until you've loved and been loved. And then there is no death. You are coming with me, Jenny. We can, we can reach the lighthouse. Evan, no. Go without me, please. How can I? There's nothing in life, nothing at all without you. You must live on, Evan. The wave, Jenny. Here it comes. Goodbye, my darling. Jenny! Now, Miss Penise, that is, he'll be all right. Still in bed, of course. You've got company, young fella. Hello, Adam. What are you doing here? Well, frankly, I was worried about you and it seems I had reason to be. You can thank Mr. Cobb you're alive. It's a mighty lucky thing he told me, Kelly, is where he was able to stand for her. It ain't likely we'd ever have been able to find him at all. Mr. Cobb, tell me. Did you find anyone else? You what? Nobody else turned fool enough to keep a boat out in that row. But, but her boat, she had a boat. Don't greatly know what you're talking about, young fella. Quirt no other boat. Well, I best get into the store. You saw Jenny again, didn't you, Adam? Oh, it was awful, Penny. I tried to hold on to her, but the wave... It is. At least you saw her again. You believe, Penny. I'm glad. Yes. You do, don't you? You believe it. That's all that matters. Penny, let's go off. Where'd you get it? This? It was near you when they found you out there on the beach. Yes, Penny. I saw Jenny again. You mean this was her? Jenny. It's all right, Penny. I haven't lost her. Everything's all right now. Miss Penny, they bought it. I sold Adam's painting, at the Metropolitan Museum of Art. Did you hear me? The Metropolitan Museum. Yes, I'm pleased beyond words, Mr. Matthews, but I'm not surprised, not really. Adam's is still on Cape Cod. I'll send him a telegram. Yes, I think you might. It's remarkable when you stop and think, isn't it, Miss Penny? Ladies and gentlemen, we come to the celebrated painting by Evan Adam, acquired by the museum a few years ago. There was nothing distinguished in any of Adam's earlier work, but all of his later period is now recognized as being greatly inspired, commencing with this haunting and almost legendary portrait of Jenny. Portrait of Jenny? Oh, isn't she beautiful? I wonder if she was real, Miss Penny. I don't know. Oh, she must have been. What does it matter? She was real to him, and she couldn't look so alive. How very wise you are. These tiny diamonds of lux really speed up dishwashing. They burst into suds instantly. Thick, rich suds that last and last. Lux Flakes are thrifty, too, because they go further. Ounce per ounce, Lux Flakes wash up to twice as many dishes as any of ten other leading soaps. Yes, Lux Flakes do more dishes and do them faster. And mild Lux Flakes leave hands smooth, lovely, in spite of dishwashing three times a day. Here's Mr. Keely with our stars. Returning to the footlights now are the stars who brought the portrait of Jenny to life. Joseph Cotton and Anne Baxter. It seems that each time you're a guest here, you've just returned from Europe. Where was it this time? Italy, Bill, a lovely country, but the best part of traveling is always the trip home. And we're certainly glad to have you back. Incidentally, I remember the last time you worked with Anne, you played her father. Yes, I was thinking how much younger Daddy is looking. And hasn't that actor, star husband of yours, John Hody Ackman abroad making a picture too? Yes, John just returned, and I gave him quite a surprise. I started to remodel the house while he was gone. Well, they'll do it every time. I thought I'd make a few simple changes, but you know, it got so complicated we had to move to an apartment till it's finished. Well, be sure to leave room in the cupboard for Lux Flakes. I certainly will. I couldn't get along without Lux Flakes wherever I live. Now, won't you tell us about next Monday's play? First, let me tell you about our stars. We'll have one of our popular favorites, Dan Heflin. And co-starring with him, a bright new star who has just made a spectacular hit on the screen, Miss Janet Lee. The play is a real spine-tinger. The Metro Golden Mayor hit High Wall. This is a story of a man accused of murder who tracks down the real killer and clears himself. A thrilling drama of suspense. I know we'll all enjoy that, Bill. Good night. Good night, and thank you both. Our brother's company, the makers of Lux Flakes, joined me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Dan Heflin and Janet Lee in High Wall. This is William Keely saying good night to you from Hollywood. Joseph Cotton will soon be seen in the Carol Reed production, the third man co-starring with Valley and Orson Wells. Anne Baxter appeared through the courtesy of 20th Century Fox, producers of Prince of Fox's starring Tyrone O'odley as Miss Spinney, Bill Johnstone as Matthews, Eddie Maher as Gus, and Norma Jean Nielsen, Tudor Owen, Janet Scott, Gwen Delano, Herbert Butterfield, Donald Randolph, Charlotte Lawrence, Luke Krugman, and Jane Webb. Our play was adapted by S.H. Barnett, and our music was directed by Louis Silvers. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear High Wall starring Van Heflin and Janet Lee. Who's the prettiest Lux girl born in 1934? She may be from your hometown. Lux Radio Theatre's 15th Anniversary Contest for Lux Girls is in full swing now. Cast your vote today. See the pictures of your six local candidates and get voting instructions slip at your grocers. Choose your favorite, write her name, on a Lux Toilet soap wrapper, and send it to this station. Vote as many times as you wish, but each vote must be written on a Lux Toilet soap wrapper. The name of the lucky winner from your area will be announced on the Lux Radio Theatre on November 21. The picture of the winner from each local area will be sent to Hollywood. Then, June Haver and Mark Stevens, stars of the 20th Century Fox Technicolor production, Oh, You Beautiful Doll, will select the national winner. Hurry, vote for your favorite 15-year-old Lux girl today. Be sure to listen next Monday night to the Lux Radio Theatre presentation of High Wall starring Van Heflin and Janet Lee. Stay tuned for my friend Irma, which follows over these same stations. This is CBS, the Columbia Broadcasting System.