 Lux presents Hollywood. The Lux Radio Theatre brings you Rita Hayworth and Orson Welles in Break of Hearts. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood ladies and gentlemen. This is our 11th season on the air and I like to think of the Lux Radio Theatre as essentially a family institution reaching as it does into millions of American homes and bringing our armies overseas closer to their own firesides. Tonight in keeping with this family tradition, we are bringing together for the first time on the air one of Hollywood's best-known married couples, Rita Hayworth and Orson Welles in a play that is appropriately about marriage. It's the RKO screen hit Break of Hearts. But before the curtain goes up, I want to remind you that for our 10th anniversary celebration on October 16th, we are looking forward to having you help us select the plays and stars that you'd like most to hear. Send them on a postcard addressed to me at Post Office Box 9, Hollywood 28, California. We've received your suggestions by the hundreds from many parts of the world and I'm happy to say with a kind word for Lux Toilets. So typical is this story of two soldiers and a native chief. The soldiers were invited to his desert home for a banquet, kind you dream about. The main course was barbecued lamb, served on enormous trays and eaten without benefit of knife and fork. After the banquet was over, a retainer came to wash the hands of each guest with a bowl of water and Lux Toilet soap. One of the soldiers adds in a letter to his mother, right away I thought of you and pop on a Monday evening listening to the Lux Radio Theater. Boy, that warms the cockles of my heart. And now, the lights are down and the curtain rises on the first act of Break of Hearts, starring Rita Hayworth as Anne and Orson Welles as France. One of New York's finest music teachers is an old man named Alex Bjorkman. Some of his pupils are glad to pay $50 for 30 minutes of his time. Others rarely get a bill and never see a clock. Among them, a girl named Anne Thurston. Well, come in, come in. Tell me the truth. Were you really staying at the studio tonight or did you just say you were? Because if you just said you were, I'm going right. You can't sell pianos at Simons and be here both at the same time. So no more apologies. Besides, I'm expecting someone much more important, a great conductor. Not Roberta. Roberta. Yes, he's back in town. Yes, I know. He's conducting Friday night. But don't worry. I'm not expecting him for an hour. Now, what's new? Well, I've done it. Anne, the concerto? Let me see it. Here. Anne, any good? Well, I'm scared to death to say so, but I think maybe it is. Come inside. Play it for me. What if it is good? What if you really like it? I'll tell you what if you'll quit that job and get some sense. I can't quit my job. I've got to live. And I know just what you're going to say. Only alone, Anne, only till you can pay it back. Do I play the piano or do we start arguing again? All right, Miss Independent, sit down. Play. Let me hear. Good. Go on. Go on. Pay no attention. I'm not the end. Please, you'd better see. All right. I'll be right back. Who is it? Oh, Franz. Alex. Franz. It's good to see you. And for once, I'm not late. Oh, someone inside. A girl. She has a concerto. I'd like you to listen. Well, I'd be glad to some other time, though, Alex. Please, Alex, I just stopped by for a minute. I left someone in the car. Let her wait. Well, I wanted to ask you about the concert version of Tristan and his older. Tristan? Yes. Is there any reason why the garden passages could not follow the prelude? Franz, Wagner still is a little smarter than you. Let Tristan alone. Well, let's get to the piano. I'll show you what I mean. Oh, please, excuse me. I'll run along, Mr. Bjorkman. I'll call you tomorrow. Anne, no, no. No, wait. Oh, it's all right. I'll go out this door. Anne! Anne! Oh, it's the matter with her. There's nothing the matter with her. The matter is with you. Oh, I'm sorry. Who was she? Her name is Anne Perston. It wouldn't have hurt you to listen. It would have meant a lot to her. When she calls, tell her I apologize. She's just beginning the climb, Franz. And you should remember, if anyone, the steps are not covered with carpet. You're a tremendous success, but you're changing. Be careful. Please be careful. I'll be careful. And I said I was sorry, but I don't have the time to listen to amateurs. Amateurs? And what about my Tristan arrangement? Who's talking like an amateur now? Well, I seem to be getting myself in deeper and deeper. Oh, this is stupid. You and I quarreling. Come in. I'll play it for you. That girl, give me her address. I'll make you happy and send her a dozen roses. Wait a minute. Perston, you said our name is Anne Perston. You know her? Because I know her. It was seven or eight years ago. I met her at the academy. She's changed, so she was such a child. And now she's lovely. I know it. The address. What's her address? I know that, too. And what about Tristan? Forget it. I'll go find her first and apologize in person. For waiting, Anne, I had to get a taxi for a friend. She didn't mind? I don't think about it. Anne, you must believe me. I didn't know it was you just now at Yorkman's. I haven't seen you for so long. Did Yorkman send you down to say all this? Anne. Oh, I'm sorry. Now I'm being rude. Well, being rude is part of my nature, not yours. Look, look, I know you have much time, and it's good to know that you remember me, and I want you to know that... Well, you want me to know what? That I've thought about you often since the academy. Well, thank you, Anne. I want to say congratulations. It's such an inadequate word. You're a great success, France. I've thought about you, Anne. I don't believe it. Oh, but I have. I'm being completely honest. Not so much as a person, but as an association with all that was so good in those days when I really worked. It seems so far away, Anne. It is far away. May I talk to you? May I take you home? My cousin's around the corner. France, I... I'm embarrassed. Embarrassed? Why on earth? Oh, I've been rather stupid. There's a husband waiting. Oh, no. A friend. No. I'm embarrassed because I'm poor. Oh, darling. Well, I'm not dressed for you, France, and I couldn't be even if I expected to meet you. I live down in the village, and not because it's artistic, but because it's cheap. My apartment's shabby, my furniture's falling apart, and... or I'm shamed. You haven't changed. I do remember. So intense, so self-conscious. Well, I have a reason to be, haven't I? But I don't intend to apologize for myself again. I didn't ask you to talk to me to take me home or to do anything. If you still want to, and you get bored stiff, well, it's your own fault. That's what I like about you, Anne. What? You have such a gift for making one feel at ease. Come on. Go on. What are you stopping for? Because that's all there is. It's not finished. It's beautiful, Anne. Or do you think I'm just being nice? I don't know. It's your first important composition, isn't it? How did you know? Well, because it's about yourself. Perhaps. Sad and confused and lonely. Washington Square, wintertime evening. Street lights and snowflakes and quiet. I tried to write about the same things once. You composed? It's what I wanted to do, but I just haven't got it. So I tried to speak through other people's music. It's nowhere near as satisfactory, but far more profitable. Tell me you've never submitted this. Oh, yes. Doom, why not to me? But I did to you. You sent it back. Oh, did I say something nice? That it was charming and lovely and lacking in importance. Oh, now I'm embarrassed. No, it was completely unimportant. But the concerto, when you finish it, promise you'll let me see it. Friends, I'm tired. I have to be up at six in the morning and I... I see. I've been reasonably polite and I bear myself. I believe you're frightened of me, Anne. I want you to go. Why? Because eight years ago I was head over heels in love with you. And I don't believe I ever quite recovered. You do nothing but overwhelm me. You are the strangest girl in. Sometime if you're not too busy, maybe we can talk again. You know, at the moment I'm suffering from shock. Seeing you tonight, I wasn't prepared for it. Good night, friends. Good night, Anne. Good morning, please, the Roberte concert. Sorry, not a thing left was sold out. No, well, I've done my duty. Me, I hate music. My wife hates music too, but that Roberte, she's... Who's next, please? I just want a single seat. There's nothing left. Sorry. Thanks. Excuse me, aren't you Miss Thurston from Simon's? Yes. I thought I recognized you. You got that Steinway for the boss a few weeks back. See, I wish I could help you. Tell you what, though, you go backstage. Roberte's rehearsing now. I'll phone back and tell him I'll let you in. Well... Well, thanks. The Roberte scene is there to ease an awful mood. Really? I won't even breathe. What's the matter with you tonight? You refuse to read music. I get absolutely no attention. You want shragger. That's a bassoon. You have to blow into it. Maestro, I do blow. Then blow harder. Maestro, I am perhaps the hardest-blowing bassoonist in the universe. Well, that's fine. That's fine. Only do some of your blowing into your instrument, huh? All right. Once again from Metal G. Who is in the audience? Who made that noise? Very well. I'll have the house light turned on. Do you mind to know why I'm not permitted to rest in peace? It's all right. I'm leaving. Stay where you are. I'm terribly sorry. Oh, who is it? Me, Anne. Anne? Well, how did you happen to hear? Well, I came to buy a ticket, and I sort of sneaked in, I guess. I sat way in back and then I moved up here in front, and, well, squeaky seat. Why didn't you ask for me? I'm delighted to see you. The rehearsal's not going very well, is it? No, not very well. What's the matter with it? Come on, now tell me. Well, I haven't heard at all. It's just that you all seem so far away, and then you try to get nearer by playing faster. And when that doesn't work, you get angry and make bad jokes. Well, wait till you hear it tomorrow. Wish I could. There were no tickets left. Then we'll do it for you now. Sit right here. Hey, boys, boys, listen. There's someone here who knows music. Tomorrow there'll be a couple of thousands who don't. Save the mistakes for them. We play as it should be played. The last movement. From the beginning. This is a terrible confession, Franz. This is the first time I've come to supper in a man's apartment alone. Oh, that's inexcusable. I hope you like Pompano. My favorite dish, and Albert's a wonderful cook. Good evening, sir. This is Miss Thurston, Albert. Do not forget her. That would be very difficult, Miss Thurston. You see, Albert has perception too. Come inside in. So many photographs, Franz. Tell me this one. Is she really as beautiful as this? It's hard to remember. I rather think she thought so. It's too bad they couldn't photograph her temper. And the girl on the mantle. What about her? Oh, lovely. But wise. That is a combination of virtue I cannot cope with. There have been many women, haven't there, Franz? Good. Still, you never fell in love and got married. I never married. I've loved many of them, I think. Desperately, too, while it lasted. But it never really lasted? Well, I hoped it would. But don't you know, beautiful things don't last. Each time you say to yourself, this love is forever. This love is going to last. And then you turn to something new, something fresh. Why am I telling you this? Because I asked. You have an annoying talent for making me tell the truth. And all these conquests, they've left you unchanged, unmoved? How can I tell? After a while, the laughter, the promises, the tragic farewells, they get all mixed up. And all you are sure of is that nothing was really very important, except at the moment. So I've learned to enjoy, I've learned to forget. Recipe for a happy man. Happy? You don't believe that, do you? And I want to see you often, again and again. And I don't think it's going to be possible. Why? I'm leaving Friday for a concert tour in Canada. You'll be back. Oh, yes, but I've told you the kind of man I am. I don't want to make you unhappy. I don't think you would. I couldn't be unhappy now. Would you have a cocktail, sir? Well, no, I'll be. All right, hurry this supper along. Miss Thurston wants to leave soon. Do I? Yes, and yes, I think you do. A person called from Miss Anne Thurston from Montréal, Canada. This is Miss Thurston. Hello. Anne. Yes. Something's happened to me. I'm in love. Right. It's you, Anne. I just thought you'd be interested to know about it. I'll, uh, I'll call you later. Goodbye, darling. Just two weeks more, Anne. I'll be back in two weeks. Where are you now? Ottawa. Did you really mean it? What you said in your letter? I've always loved you, Anne. Come back. Never thought it was possible, Anne. Me to be this happy. Oh, you're married, darling. You're married, see? There's a ring to prove. Anne, you know I love you, don't you? This isn't a moment, darling. This is forever. Forever, please. Mr. DeMille and our stars Rita Hayworth and Orson Welles will bring us act two of Break of Hearts. And now, a great movie studio. A famous star. Let's have that scene once more, Miss Labor. This is the last take for today. All right now. Lights. Camera. Action. And a little while later. Cut. That was it, Miss Labor. Thank you very much. We'll shoot again tomorrow. Everyone that said it ate, sharp. Good night, everyone. A long day before the camera. And tomorrow will mean many more hours of hard work for lovely Dorothy Lamour. There's not much time for rest or relaxation while a star is making a picture. Yet, always, she has to look fresh and radiant. That's why screen stars must have a complexion care that works. Here's what Dorothy tells you about her beauty soap. I wouldn't dream of neglecting my luck soap active lateral facial. It's such a quick, easy care. Leaves my skin so soft. And this is how Dorothy takes her luck soap beauty facial. First, I cover my face generously with a creamy luck soap lather, work it in thoroughly. I rinse with warm water, splash with cold, then pat my face dry with a soft towel. These facials leave my skin feeling beautifully smooth and fresh. And when you see her new picture, Rainbow Island, we're pretty sure you'll agree Dorothy Lamour's lovely luxe complexion is a winner. There's a reason why 9 out of 10 famous screen stars use gentle white luck toilet soap. It's a real beauty soap. In recent tests of luck soap facials, actually 3 out of 4 complexions improved in a short time. Women everywhere find regular luck soap care, really makes skin softer, lovelier. Why not get some fine white luck toilet soap and start your active lather facials tomorrow. See if you're not delighted with the results. If your dealer is temporarily out of stock, he's sure to have more luck toilet soap soon. Hollywood beauty soap is worth waiting for. And now, Mr. DeMille returns to the microphone. Act 2 of Break of Hearts, starring Rita Hayworth as Anne and Orson Welles as Frantz Roberto. Following their whirlwind wedding, Frantz and Anne have slipped out of the tumult of Manhattan into an enchanted land of escape. For 5 weeks now, they've been at Alex Bjorkman's Mountain Lodge near Lake Louise. And darling, what's that you're playing? Market Chateau. You've changed it quite a bit, haven't you? You changed it, Frantz. You married me. It's you, darling. You're in all of it now. Well, I'm impressed. Deeply impressed. And they brought me a telegram from the village just now. It looks as though I have to go back to work. It was from Troll Bridge. He's booked several concerts. If we leave tomorrow, we can be in New York Monday. We'll have a party. Oh, Monday night. I'll wire Johnny. Who's Johnny? I keep forgetting, darling. You don't know my friends, do you? Where Johnny is very rich, he knows all the best champagne. He comes to every concert and he reads detective magazines. You're glad to go back, aren't you, Frantz? Well, it's my work, dear. It's what I am. Oh, I know. Forgive me. I'm jealous. I've had you all to myself, and I hate to give you up. I have a small heart, and, darling, there's room in it only for one. That's all for today, boys. Thank you, excellent rehearsal. Johnny, come on, wake up. I mean, how about a drink? What time is it? Just five. Then why not come along to the dressing room? Somewhere I've got a tie in a coat. Hurry up. I've got a date. One of your old friends. Oh, Dee Dee. Connie Hughes. Connie? Well, will she be having a drink, too? I wouldn't be at all surprised if she's waiting for us right now. Fine. Look, Johnny, while I'm in the dressing room, call Max, or do some flowers for her. No roses or something. You know what she likes. Wait a minute. You haven't been getting any sudden ideas, have you? Like what? I'm sorry. I won't be home for dinner, darling. I have to work. Why are you crazy, Johnny? I'm in love. Now, get in there and put on your tires. Not really. Stop adding the eyelashes, Connie. He said he'd stop in for one drink. Hello, Connie. Hello, maestro. You're looking very well, Connie. You're looking very well, Connie. Oh, that's not for me, maestro. I knew you. And now you don't know me. I have changed. Married, stayed, and sober. Changed, huh? Franz, why didn't you call me? Why haven't I met your wife? What's she like? No, no, don't you tell me. Johnny, what's she like really? Well, since he's probably the only significant words I speak all evening, listen. Anne is wonderful. She's beautiful. Like other beautiful women are not. Yes, sir. Here's to her. Well, but if she's all of that, Franz, why don't we ever see her? Well, she's a little lost, Connie. Give her time. She'll venture out. And would you care to venture out? I mean now. Johnny and me, we're going to need it. Sorry, Franz is going home for dinner. Oh, but it's hours before dinner time. Come along, Franz. Dee Dee would never forgive you. If Dee Dee wants to see him, let her buy a ticket to a concert. Take it easy, Johnny. Don't you see what Connie's trying to do? She's turning on her charm, her own particular variety. Aren't you, Connie? Maestro, you're a louse, but you're right, of course. I'm daring her to go. And I'd like to see what happens. And so would you. And so I think I'll see Dee Dee and then go home. Oh, certainly. You approve, Johnny? No, sure. Uh, can I come in? What do you think? I think you should throw me out. I haven't been very attentive. There's something of an understatement. And I'm thoroughly ashamed. You know, I haven't seen you and Franz for over a month. Oh, where have you been? What's wrong? Oh, I've been around busy, I guess. Where's Franz? Has he home yet? Franz? Oh, didn't he reach you? You mean I've come to the wrong house? Me and my big appetite? Oh, Johnny, I'm terribly sorry. Franz called an hour ago. He said he won't be through to late. He left word that you're a partner. Oh, it's my fault. I didn't go home. Well, I guess maybe I'd better run along. Johnny, I'm worried about you. That's good, but why? Well, you and Franz used to be such close friends. Now you never come to see us. What is it? Is it something I've done? You. Well, then what is it, Johnny? Wait, maybe I know a girl. Johnny, that's it. You're in love. Ritten all over me, eh? Well, what's the matter with you? Go after her. Maybe I don't know how. Well, then I'll teach you. Now I'm the girl. You ask me to dinner and I'll be coy and say that I did have an engagement, but I'll break it for you. That simple, huh? Well, maybe not that simple. But you can take me out to dinner. Well, fine, but, uh... But what, Franz? Oh, that's easy. Afterwards, we'll pick him up at rehearsal. Look, look, I'll tell Albert we're leaving and I'll be just a minute. I'll call up Ricoz and get a table. Ricoz? Oh, no, wait a minute. I'd be reasonable. It's too expensive. Oh, no, we've got to celebrate. Franz always promised to take me to Ricoz. Yeah. Hello, Ricoz. This is Mr. Lawrence. Look, is Mr. Roberti there? You sure? Or does he have a reservation for later? Okay, well, look. Do you have a table for two and about 20? No, skip it, Ricoz. I've changed my mind. Thanks. Anne? Yes. You'll have to forget Ricoz. No tables. Uh, do you took no for an answer? It's enough to make a woman lose confidence in you, Johnny. Watch me. Anne, the man just said there weren't any tables. Well, you just spoke to the wrong man. Listen, I... Hello. Hello. This is Mrs. Franz Roberti. I'd like a table for two, please. Oh, about 20 minutes, I guess. That's right. Thank you. There. You see? Yeah, I see. It's that magic Roberti name. Sure. Look, you don't suppose that... Why? I don't know anything. Come on, let's go. Golly, they do pack them in here, don't they? Hmm? Johnny, you are in love. Or something. Sorry. I was looking to see if I knew anyone. What did you say? Nothing important. Now, where's the man with our table? Rico will be right here. He's coming now. Johnny. Now what? I forgot to call Mr. Bjorkman. My concierge, oh, it's all ready for orchestration. A surprise for Franz. Bjorkman's looking it over and I promised to phone tonight. Johnny, you don't mind. I'll be only a minute. Take your time. Let's point right over there. That's a funny little room. Thanks. I've got a little item here that should interest you. Oh, uh, excuse me. Oh, be through in a second, honey. Well, I just happened to pick up a newspaper. And what do you suppose it says in Harper's column? Now listen. Which of our popular socialites is frequently being conducted about by the ablest conductor in town? Can it be that she's trying to acquire an interest in... dash, dash music? Hmm? Oh, sure. I can just see the headlines. Franz Roberty socks columnist over crack at Dee Dee Lenick Smith. Huh? It re-goes. Who is? Uh, no one yet, but he'll be here any minute. Well, don't be cross, darling. It's Franz. Well, Dee Dee, you've got some nerve talking to me like that. Well, really. Johnny. Johnny. You all set? Johnny, take me home, please. What's wrong? Did Yorkman... No, I didn't phone. It's just that... Oh, please, I want to get out of here. Sure. Oh, hello, Franz. Uh, look who's here. Johnny, what is this? I turned my bank and my wife is out with another man. But I'm not doing so well. We just got here and so he wants to go home now. And what's wrong? Nothing. I just don't like it here. Well, then let's go somewhere else. You can't very well do that, can you, Franz? Well, otherwise we'll... We broke early. Well, it's all right. You'll find her inside at the telephone. I'm... I'm sorry, Franz. Terribly sorry. May I come in, Anne? Yes. Anne, please don't go. Please don't leave me. There's nothing to stay for, Franz. We're finished. Albert, would you mind taking these bags downstairs? Yes, of course. At least wait till tomorrow, Anne. Believe me, it was nothing, nothing. You lied to me. You were afraid to let me know. Oh, but darling... I'm sorry, too, Franz. But I'll get over it and so will you. You're not going, Anne. You're my wife. That's not enough for me. Why did you marry me, Franz? Because I love you. You shouldn't have attempted to tie yourself down. You were right. Beautiful things don't last. Those things were different then. You know they were different. Yes. I wasn't your wife then. You didn't have to lie to me. Well, I'm not your wife anymore. You can be honest again. You're Franz Roberte again. Goodbye. I won't let you go in. Let me. Goodbye, Franz. Oh, for station identification. This is CBS, the Columbia Broadcasting System. In a few moments, Mr. DeMille and our stars Rita Hayworth and Orson Welles will bring us Act 3 of Break of Hearts. Why, it's our young friend Sally. Greetings, Sally. What's on your mind tonight? An item in the news, Mr. Kennedy. A survey. Well, surveys seem to be the fashion right now. Political? No, something much nearer home. A survey about bathing, bathroom bathing. Oh, that old question of shower versus bathtub? No, this time the question was much more controversial. The people who made the survey wanted to find out whether it's men or women who spend the longest time in the bath. But why bother to make a survey on that question, Sally? I could answer it. Any man could. And the answer wouldn't be which you think at all, Mr. Kennedy. You mean women don't take twice as long to take a bath? No. The survey didn't find any evidence that women lingered a bit longer in their baths than men. The average for both sexes was less than 15 minutes. Men do prefer showers, but they don't duck out any quicker than women. You know, there could be a reason for all this, Sally. There must be so many lux toilet soap bathers now that everyone likes to linger in their bath. And here's something to prove it, Mr. Kennedy. The survey found that almost 70% of the women questioned expected more than just cleanliness from their daily bath. They wanted a sense of well-being and relaxation. Well, we know the answer to that. And so does everyone else who's made lux toilet soap their daily bath soap, Sally. Why, the rich abundant lather of lux soap makes any bath a real luxury. I'm sure everyone who's tried it would agree. You know, Mr. Kennedy, it was the screen stars who discovered that their complexion soap, lux toilet soap, makes a perfectly delightful bath soap, too. Well, then here's a Hollywood tip for everyone. Just unwrap a set and smooth cake of lux toilet soap and see if it doesn't make your bath truly refreshing and relaxing. You'll find that even in hard water, lux soap lather is creamy and rich and smooth. Lux toilet soap is hard mill, too. It's thrifty and can be used to the last thin sliver. Why not let the whole family enjoy the pleasant luxury of using fine lux toilet soap for their daily baths. And now, Mr. DeMille returns to the microphone. After the play, you're invited to join us backstage for a brief chat with our stars. Here's Act 3 of Break of Heart, starring Rita Hayworth as Anne and Orson Wells as Franz Roberte. A half year has gone by since Anne left her husband. And every effort to find her has failed. Only Johnny Lawrence continues the search. But Anne has no wish to be found. She's gone to Chicago, changed her name and found work at a second-rate music publisher. But neither time nor new surroundings can drive Franz from her mind. Hey, Biggie, this here ain't a bad tune. Thanks for the tip. You want to hear about the piano? Oh, sure. Hey, with a trick arrangement, I'll murder him. Who says you need a trick arrangement? Okay, okay. Hey, where's the piano player I had last week? She's terrific. Macaulay? Yeah. She's out to lunch. She'll be heartbroken. Jerry? Yeah. Room 5 for Baker. Until that day, I was asking for her. Yes, sir. Oh, how do you do? I just came from New York. I've been trying to find a girl. I think maybe she's working here. I don't know anything about her. My investigator thinks he traced her here. I said I don't know anything about her. Of course, I can go to the police. Okay. What's her name? Roberte. Mrs. Franz Roberte. No kidding. You know her? Sure. She's out in the park riding a tandem bicycle with Beethoven. Now, what would Mrs. Roberte be doing here? I don't know. I'm sorry to bother you. Bye. I thought you went out for lunch. I'm not hungry. I thought I'd get those files in shape. Look here, Macaulay. It's none of my business, but you're riding for an awful fall. I'm all right, Baker. Yes, you are. You're ready to fall apart. You look awful. Thanks. Well, I've tried talking to you nice and the nicer I talk, the more you're bald. All right. I'll be tough. Now, snap out of it. You'll be no good to us or yourself. Okay. Vicky, I'd like to make a long-distance phone call. Oh? You're right, Vicky. I've got to snap out of it. And, well, there's someone I'd like to talk to. Use the boss's office. It's long distance. Remember me some time and I'll take it out of your pay. Now, beat it. You give me the willies. Mr. Roberte's apartment, please. Yes. Thank you. Frank? Oh, oh, Mr. Roberte, please. Will he be back soon? Brazil? Oh, I see. Thank you. I was in last week. Oh, sure. Did you find Mrs. Roberte? Well, I looked in the park, like you said, found Beethoven all right. What do you suppose he told me? He said to come right back here. Has he got any new numbers? Look, does the name of Anne Thurston mean anything to you? First, it's Roberte. Now, it's Thurston. Same girl. Uh-uh. A girl about so tall and she's got sort of red hair. And her eyes, they crinkle up when she laughs. Only she doesn't laugh very much. And she's sort of quiet and scared and doesn't bother much about other people. And she always... Oh, you can stop there. Walk down the hall to Room 7 and take it easy. She's our swell kid. Yeah. I thought it's over a long time. Hello, Anne. Johnny. Fine thing. Johnny, I... Oh, why did you come here? Would you like me to leave? Oh, no, no. Anne, you shouldn't have done this. You know that, don't you? How's it been? Awful, Johnny. Just awful. I don't think I can take it much longer. You're not going to. We're catching the first train back to New York. It's no good, Johnny. France is gone. I wanted to talk to him. I wanted to come back. I phoned him last week. He's on a tour in South America. I know. Yorkman went with him. Straightened him out, maybe. But France won't be there forever, Anne. I think it'll be kind of nice if you were around when he returns. That may not be for months. It better be months. Well, you look, it's going to take that long for me to fatten you up again. Here, here's a handkerchief. Now blow your nose and then we'll both blow up. How's it, Alex? As always, France. Great. Let the hotel... Here, a few ladders. Thanks. Beatles, invitations, nothing. Still no word from Anne? No. It isn't right, France. You should ask her to take you back. I did ask her. When? The night she left me. I don't understand you, France. You love her, but you won't even try to find her. What if she's in need? There was plenty in her bank account when she left me. But the bank says she didn't touch it. France, let me go home. Let me try to find her. Let me explain to her. Explain what? That no one else means anything to me but her? That she knows. That life is not some girlish dream, that too. I tried to explain to her, but she refuses to face realities. France, she's an artist. All right, very well. I am an artist, too. And I have pride. I want her, but only if she wants to come back. You don't understand, do you? Anne lives in some little world, all her own. She's not like us. I know that. And I also know that when it becomes too lonely in that little world, she will know how to reach me. I'm not so difficult to find. She's a very great person, Alex. I love her. Come in. Senor, a cable car. Your cell, sir. Thank you. What is it, France? From Han? No, no. No. At least we're going back, Alex. It's from Trowbridge, some special concerts. He's canceled Mexico City. Then cheer up, old friend. We'll be home before Christmas. Mr. Roberti, well, we missed you. A very gay nitrico. He was giving the big party at the bar. Eh, what? Inside there. On your occasion. You're joking, Mr. Roberti. Mr. Lawrence and Mrs. Roberti. Mrs. Roberti? Yes. We've seen a great deal of Mrs. Roberti. I never knew anyone who seemed to have such a good time. So many parties. I see. Let me tell you here, eh? No, no. No, don't bother. I'll go right in. It's a matter, Nico. Are you puzzled? I don't quite understand, Mr. Roberti. Neither do I. You see, I just got into town a little while ago. She wasn't home. I didn't know where to reach her. Oh, of course, of course. So I took a chance that she might be here. She'd be delighted to see you, sir. Hey, you're drinking water. I take a glass of water every night. Gives me such a superior feeling. You ought to try it sometime. Well, there's no more champagne. Maybe I will. And when are you going to wake up? Who do you think you're kidding? Sometimes I could slap you, Johnny. Whose idea was this? Who brought me back to New York? My need was, quote, a little fun out of life. Unquote or something similarly original. Who said that? I know, I know. Another one of my great ideas. It was a wonderful idea. Oh, Johnny, come on and dance. Oh, about me, Anne. I've just been to Brazil for my sabers. France? Anne, so good to see you. Hello, Johnny. I heard that we're coming back, France. I sort of figured it would let me know. Well, I... Johnny, run along. I don't want to talk. I'm sure you do. I'll be around. Well, you look marvelous, France. Come on, reunion at Brico's. Oh, Harry, two champagne cocktails. Right away, Mrs. Roberto. Well, sit down. Well, I confess, I'm a little odd. Oh, I've improved greatly, France. You'll be proud of me. And you suppose we could get out of here. You're right. I do want to talk to you. I thought you were very fond of Brico's. I am. Well... What do I want to say? I have whatever I can in the hope that you'll forgive me. Oh. So wonderful seeing you again, Anne. I was angry when you went away. You know, I stayed in the department for two old weeks waiting for you to call. And when you didn't, I got angrier. You were never used to being kept waiting, were you? Darling, you must come back to me. You don't know me any more, France. I've changed. And I've studied hard at it. I'm like you now. What does that mean? That I've learned all the lessons you taught me. I taught you nothing like this. What difference does it make? Oh, let's not talk about it. What are your plans? The same as always. A concert, then another one. Yes, I saw it in the paper. You're conducting tomorrow night. Will you come? I don't know. I had hopes of introducing your concert or a Yorkman has orchestrated it. You'll do now such thing. But why not? Well, I don't think you understand. Anyway, it's not important. I see. Well, may I call you sometime? Of course, call me. I'm at the Stuart. I'm spending your money, France. Do you mind? I'll let you know when I do. Good night, Anne. Good night, France. Hello, Mr. Bjorkman. Anne, I want to see you. Oh, of course. I was going to phone you. How was Brazil? There is no time for chatter now, Anne. I want to see you now at once. Can you come? Right away. It's France, Anne. He was to conduct this afternoon. What happened? That perhaps you can tell me. All I know is he came an hour late. Went out on the stage and collapsed drunk. I'll be right over. Get out of here, Throbridge! Get out! All of you, get out! You drunken fool. You'll never conduct again. I promise you. You've ruined yourself, but you'll not have another chance to ruin me. Get out! This is my dressing room. I'm Roberte. Roberte! Maestro, please, if you would lie down, you're ill. Ill? I'm drunk. Now get back to your places, all of you. I said I'll conduct and I'm going to conduct. Maestro, they've gone. All the audience, they've gone. Come in, come in. Everybody, come in. France. Oh, France. Anne. How nice of you to come. Who's Bjorkman? He brought you didn't he? Didn't he? Yes, he's speaking to Throbridge. I forbid it. You hear? I forbid it! France, could I see you alone? Come on outside, everyone. Outside, outside. It's good you're here. You'll be all right, my dear Mrs. Roberte. Oh, your dear Mrs. Roberte. You're still, huh? Stay. Stay, gentlemen. There are some of you, perhaps, who don't know my wife. You. And you. Don't hang back. Come on, don't be afraid. France. Oh, forgive me. It's my presence that makes it awkward. Very well, I'm going. Make yourselves at home, gentlemen. Is that you, Alex? I've been here all night waiting for you. Oh, you shouldn't have worried. I've been working. Getting my head clear, though I don't know what for. Well, I have some coffee. Then you go to bed. When you wake up, we'll see Trowbridge. After what happened at the Lyceum? What kind of talk is that? There were ten years before what happened at the Lyceum. No, thanks, Alex. But I'm finished. With conducting, with music. All I had, all I wanted. I threw away. I have nothing. It's gone. It's dead. That is not true. And we'll come back. I talked to her before she saw you in the dressing room. She loves you, Franz. Oh, yes. Yes, she'll come back. In about six weeks, just now. On my way up, the desk clerk gave me a note. It was from Anne. She's on the train now. On her way to Orino. The recognition of testimony presented on behalf of the plaintiff discord hereby decrees that the marriage contract between Anne First and Roberte and Franz Roberte is dissolved. And the obligations of both parties terminate if divorce granted. Oh, how long before we're in Grand Central? Well, at last. Stop a moment ago. That was Harman. It should be in about an hour. Oh, thank you. It seemed like fifty seconds, because look who's here. Johnny. Where, Honour? I'm not at Harman. I thought you might like company. You have the darndest habit of pulling surprises. How are you? You look swell. Feels well. I've got something I want you to look at. I figured you might be smart to get your old cable before the contract starts building. But what is it? Plans for a new house. Like it? Our new house. Yeah. Which, very pretty. Green, isn't it? No, no, that's the tennis court. The house is just over here in this sheet. And while you're in an approving mood here, take your pick. Johnny, you're not proposing. Well, I was heading at it. Didn't know your size and ring, so I figured one of these should be right. Johnny. Oh, now, no goo and no sloppy stuff. Don't worry. We'll get married tomorrow and Thursday we'll be in Florida. Incidentally, did I mention I'm very glad to see you? Johnny, you're serious. Of course I'm serious. You're my girl again. The girl I met long ago. You, uh, you hadn't considered marrying anyone else in, huh? Well, as a matter of fact, I hadn't even considered marrying you. I've been in love with you for a long time, and I'll sure try to make you happy. With you around, I've sort of a hunch I might amount to something. Johnny, I... Oh, do you mind if I think it over till tomorrow? That's okay by me, but that contractor's gonna be awful. Lawrence is fine, but for you, I just don't know. Well, I thought you'd be pleased. I came straight to you that there's no one else I can talk to or want to talk to. And it isn't just me, Mr. Bjorkman. It's going to make Johnny happy. He is not a musician. Well, neither am I. I found that out, too. I worked while I was away. Really worked. If I had been a musician, out of all that mess, something would have come. Perhaps you weren't born to be a musician, but to love one. How is he? And? I'm an old man, foolish, too, but because I love you both, I wanted to see you go on together. From what you've told me about Lawrence, I guess that's impossible, but will you at least see friends? No. Why? What good would it do? We've nothing to say except to hurt each other still more. He needs help, and he needed badly. Where is he? I'll see him. Thank you, friend. Thank you. Yes, he's here, Mrs. Roberte. I'm very sorry for you. Very sorry. No, why did you let him do this, Rico? Why? He's France Roberte, a great man. If we're not here, we'll be some other place. They threw him out the hotel. He run away from Mr. Bjorkman, for Mr. Lawrence. There's no one to look after him. So I keep him upstairs. There's a room there, a piano, and some whiskey. Take me to him, please. Been like this all today. His head on the table won't talk to me. Mr. Roberte. Mr. Roberte. You see? Please call if you need me. France. France, I didn't know. Oh, my darling, what's happened to you? What have I done to you? What have you done to me? Oh, none of that matters. Your friends are Roberte. Rico was right. A great man. France, do you hear me? Do you hear me? I must make you hear me. Listen to me. Oh, my darling, please. I haven't words to tell you what I want to say. I tried once to tell you in music. In music. I'm here, darling. I'll never leave you again. Don't look at me. Don't look at me. It's all right, France. We're going home. We're going home. How is he, Anne? Oh, he's going to be fine, Johnny. We're leaving in a couple of days. Alex Bjorkman's taking out to the lords. What about that house, Anne? The one with the green tennis court? It's really belonging, you know. Johnny, he needs me. Well, I only meant if you don't mind. I'd like you both to have the house as a wedding present. Oh, Johnny. Hello, Lawrence. Me, I come in. Sure. Well, I guess I gotta run along now. Take good care of him, Mr. Bjorkman. I will. I've seen Trowbridge and here's the best tonic in the world, this contract. In two months at Philharmonic Hall, Friends Roberti conducting the world premiere of a new piano concerto by Mrs. Friends Roberti. Give me your hand, darling. We'll go together. For 28 times and always with the most pleasant results, we've starred married couples in the Lux Radio Theatre. And tonight's fine performance by Rita Hayworth and Orson Wells have this happy family tradition. It comes at a nice time for us, CB. Orson and I have just celebrated our first anniversary last Thursday. Well, congratulations from all of us. Rita, Rita, how has Orson been as a married man? Confidentially, a little difficult? Oh, no. He goes his way and I go with him. A wife of tact as well as charm. Orson, I understand that you're looking for a picture to produce. Well, it might be a picture. It might be a radio show. Oh, you're thinking of something new for radio? Well, not something new. It's one of the better hour shows. I've been going on for 10 years now. Oh, dramatic? Yes. Oh, yes. You mean you have your eye on producing the Lux Radio Theatre? Well, after all, you've been in the saddle quite a while, CB. Maybe what's needed is a little change. Well, Orson, do you think you could stand a change at your age? Well, I'm not worried about you, CB. I hope you put something by for a rainy day. Well, I've got my rubbers and an umbrella. But, Orson, I wonder if you have the head for this work. Not only the head, I've got the hair, too. There's more than just producing on the Lux Radio Theatre. You have to be something of a salesman, too. A salesman, eh? You think, for me, it would be no soap? Well, I think Redak could do a better job of selling Lux Toilet soap with just that lovely complexion. Thank you, CB. I do believe in Lux Toilet soap. For me, it's been a wonderful beauty age. Okay, okay. I'll hold back on this plan of mine and see how you make out next Monday night, CB. Well, I think we'll do very well next Monday night where our play is the RKO mystery thriller, Suspicion. And our stars will be William Powell and Olivia de Havilland. It's a drama of two people in love whose life together is haunted by a strange and sinister threat, a menace that brings to the story more than an evening share of excitement and suspense. Well, we'll certainly have the radio on in our home. Unless, of course, you'd like to have me here. No, no, no. Thank you. We can't have Christmas every week. Good night. Good night. Well, good ends well. Our sponsors, the makers of Lux Toilet soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents William Powell and Olivia de Havilland in Suspicion. This is Cecil B. DeMille saying good night to you from Hollywood. October 16th, the Lux Radio Theatre celebrates its 10th anniversary on the air. We'd like you to share in this celebration by helping us select the play and stars you would like most to hear. Suppose you send your suggestions on a postcard addressed to CB de Mille, Post Office Box 9, Hollywood 28, California. Or use the ballot which your Lux Toilet soap dealer will be glad to give you. Today, with victory in sight, help give America a stable piece by keeping prices down now. You can do it by avoiding needless expenditures, by paying no more than ceiling prices, and by helping to keep wage levels and price levels stable. Break of Hearts was presented through the courtesy of RKO, producers of Step Lively. Ms. Hayworth is soon to be seen in the Columbia Technicolor musical Tonight and Every Night. Paired in tonight's play were Griff Barnett as Bjorkman, Tom Collins as Johnny, Paula Winslow as Connie, and J. Novello, Charles Seal, Arthur Q. Bryan, Paul McVeigh, Linda King, Eddie Marr, and Jack Negley. This program is broadcast to our Fighting Forces overseas, through cooperation with the Armed Forces Radio Service. Our music was directed by Louis Silvers. And this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Suspicion with William Powell and Olivia DeHavilland. Don't you kindly tell me why very simple now I'm cooking with Sprite. Cakes, pies, fried foods, everything tastes better made with new Sprite shortening. Yes, them to be a better cook. We've got cooking with Sprite. This is CBS, the Columbia Broadcasting System.