 From Hollywood, California, the Lux Radio Theater presents Barbara Stanwyck, Errol Flynn, Mary Aster, and an all-star cast in these three. Lux presents Hollywood. This program tonight is your program, made possible, ladies and gentlemen, by your purchases of Lux toilets over. You will hear Errol Flynn, Barbara Stanwyck, Mary Aster, Constance Collier, Alma Cougar, Marsha May Jones, and Helen Perish. And acting Samuel Goldwyn's great screenplay, these three. While our special guests are those young writers, the three Abbey children, and their mother. The Lux Radio Theater officer is conducted by Lois Silvers, and your host and producer is Hollywood's pioneer director. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. A wedding in the film capital is often front-page news, but there was one the other day which completely escaped the headlines, and properly so, for you never heard of the bride or the groom, and perhaps you never will. The groom, in fact, is a stable boy, and the scene of the ceremony was the bunkhouse where he and the hired hands live. But I doubt if Hollywood ever witnessed a happier wedding, because one of our most distinguished stars supplied the wedding feast, and she herself attended, danced with everyone, made them all forget that she's the groom's boss, and that her name is Barbara Stanwyck. That's the true character of the girl who returns to our stage tonight, starring for us as Martha Dobie in these three. Errol Flynn, the Dublin-born globetrotter who came to Hollywood after a daring career in the South Seas, plays Dr. Joseph Carden. Errol these days is twanging the longbow on the Warner Brothers lot, where he starred in The Adventures of Robin Hood. Mary Aster, whom you've seen this year in Dodgeworth, prisoner of vendor, and hurricane, makes her debut tonight in the Lux Radio Theater, where you hear her as Karen Wright. From the cast of the film are Alma Kruger as Mrs. Tulford, and Marsha May Jones as Rosalie. Helen Parrish plays the part of Mary Tulford, and I'm delighted to announce the presence of Constance Collier, veteran of the stage and films whom we welcome in the role of Aunt Lily. Time won't allow me to say all I'd like to about these seven important personalities, so we let them speak for themselves, as the Lux Radio Theater presents these three, starring Errol Flynn, Barbara Stanwyck, and Mary Aster. Graduation Day at a women's college in New England. In the fading light of a May afternoon, students stroll aimlessly about the campus, many of them for the last time. On the edge of the college grounds, two girls in the robes of graduating students sit quietly beneath a tree, listening to the distant song. They've been silent for some time, but last one of them speaks. What train are you taking, Karen? I don't know. I don't know what time my train goes or where it's going to. Funny. I always thought graduation would be a happy day. It isn't. What was it the dean said? Only see. Oh, starting a new life may sometimes be a lonely business. What are you going to do, Marsha? Oh, I don't know. Cheap somewhere, I guess. If I can get a job, I'd hate to tag along with Aunt Lily and she's the only relation I've got. That's just one more than I have. Do you think I could teach? Maybe we could find some place to gather. Too well educated young women. Also neat and clean, wish position. Marsha. What? Marsha, I've got a farm about all I have got. My grandmother left it to me. I haven't seen it in years, but I used to spend my summers there when I was a little girl. We could go there. We could work there. Teaching the farm? No, no. There's no one there anymore. It hasn't been for years. Marsha, you know we might start a school, something of our own. It'd be fun. We'd be good at it too. Yes, but it isn't practical, Karen. We can't just sit here. We've got to do something. Yes, but... We can get a train tonight. Oh, Marsha, take a chance with me and come. A chance. It is a chance, but it might be worth it. Of course it is. Now look, I'll tell you what we'll do. Bring our girls. Oh, but is this the old right place? Are you sure? This is it. Two dollars, please. I have it, Karen. Here, driver. Thanks, lady. Oh, Marsha. Just look at it. It's a shack. Well, it's a large shack. It's ready to fall down. Oh, Marsha. It doesn't matter, Karen. It matters a great deal. I remember it as it was when I was a kid. Very dangerous, Marsha, remembering things that way. You know, maybe it wouldn't cost too much to fix it up. No, not much. I should guess about two million would do it. What's that? Somebody hammering. It's over this way. Come on. There, up on the roof. Up on the... Marsha, do you see what I see? Well, I don't know what you see, but it looks to me like a man. What's he doing up there anyway? Say you. Hey, you up there on the roof. Hello. Would you mind coming down here, please? Not at all. Look out below. How are you? We're all right, thank you. We were a little worried about you. Oh, I'm all right. I was up there getting it some honey under the roof, but I didn't get stung once. That isn't what we were worrying about. You see, this is a house, and while it isn't the best I've ever seen, it belongs to me, and I'd rather not have its roof knocked off. Oh, no. I really wasn't done doing any harm. I'm very fond of this old place, and I come over here whenever I have a day off from the hospital. Oh, the hospital. I see. You been there a while? Oh, in a way. I'm a doctor. Will you have some honey? No, thank you. It's yours, you know. Very good, too. Better take it. We won't be needing it. We're not staying here. Oh, I'm sorry. Why aren't you staying here? This is a lovely old house. It's old, all right. Are you afraid of work? No, we're not afraid of work. Then there you are. You know, my place wasn't nearly as nice as this, and it needed much more fixing, too. It doesn't cost much. Much less than you think, and it's fun doing it. It's so much fun that I'd like to start all over again. Well, anything you could do, we could undoubtedly do. Sure. That's just what I said. We wouldn't start, Karen. We'd have free honey. And free help. I'm a good carpenter, a good house painter, a good climber. Why are we talking to this man this way as if we'd known him all our lives? Well, that sometimes happens. Now, the first thing I'd do is to knock down this old fence. Here, stop that. You're knocking the whole thing down. Oh, think nothing of that. And when the ground's more clear, we can start working on the inside, see? And, uh, there you are. Hey, Karen, is this picture hanging straight? It's beautiful, Joe. Joe Carden and his little hammer. How could we ever have done without you? Oh, you couldn't. Hold that step ladder, will you, mother? There we are, all fixed up. Now all you need is a couple of students. Oh, we have one, you know. What? Mary Tilford. She's old Mrs. Tilford's granddaughter. Say, that's all right. Mrs. Tilford's the works around these parts. How'd you come to get the kid? Well, I think she's been thrown out of the last three schools. She's a little bratty, but she ought to bring in business. Martha! Uh-oh. Martha, darling, how are you? Aunt Lily. Martha, I'm so glad to see you. Where do you want these grips, lady? Oh, just to them down anyplace. Anyplace. No, wait. Take them upstairs, please. All right. Martha, how well you look. Almost pretty. Thank you, Aunt Lily. And Karen, pretty as never. How are you, Mrs. Morton? Aunt Lily, I thought you were still in a play. I was, but the theater isn't what it used to be. Now, who's this young gentleman? Your assistant. Oh, yes, ma'am. This is Dr. Carden, a friend of ours. Oh, I'm so sorry. Glad to meet you. Aunt Lily, is this a visit? You see, we're not very well equipped here now. We've been having a hard time. Oh, I know, dear, and I know all about the school, too. That's why I'm here. I've come to put my shoulder to the wheel with you. I knew you'd need an ill-fusion teacher and a general stupor visor. That's why I came. But Aunt Lily, this is Karen's house. But I came here to help you both. And until you're started, I shall take only the smallest fee for my services. It's all right, Martha. Now I'll go upstairs and unpack, and then I'll come right down and help you arrange the furniture. I shall have to rest for an hour or two. Martha, will you come and show me to my room? In a moment. How do you deal? Well, the duchess? The duchess. Yes, the duchess. Gosh, I better stop her before she takes one of our rooms. Mrs. Morta is an actress. Oh, I gathered that. I suppose we'll just have to put up with her. Well, not all the time. What about dinner tonight, Karen? Well, I guess I could manage it, but... Well, I'll pick you up about six thirty. See you later. Oh, and give my love to the duchess. Well, I was right. For what? She picked your room. Where's Joe? He'll be back later. For dinner? Well, no. He asked me last week about having dinner in town. Oh. You don't mind, do you? I've been feeling a little guilty about leaving you alone at night. Don't be silly, Karen. You have all the fun you can. It won't be so easy when the term begins, and Joe... Well, he's a grandfather. He is, isn't he? Yes. And, of course, I won't be alone. What? Don't tell me you've forgotten that, Lily. Oh. Will you translate that, please, Rosalie? Yes, ma'am. I, um... But pious, uneas, when the last rite pays... I mean, we're paid. Very good. Mary, will you take the next few lines? Mary? Mary Tilford. Oh, yes, ma'am. Closely, they skirt the shores of Cersei's land with a rich daughter-the-son Hell's way. That's a lovely translation, Mary. It was just as lovely when Professor Hobson of Harvard published it about 10 years ago. That will do, Mary. All right, girls. It's a fine day for your hockey game. Run along now. Gee, Miss Dobie certainly caught you that time. You shut up, Rosalie. I didn't say... Never mind. Maybe someday other people will be caught doing other things. What? Maybe someday Miss Dobie'll find out who stole Helen Burton's bracelet. I don't know what you mean. Oh, yes, you do. I think I'll borrow your sweater this afternoon, Rosalie. Well, all right. Come on. Well, ma'am, everything going all right? Oh, the Tilford kid's been cutting up again. Nothing very serious. She's a fixin' that child. If she were mine... But she isn't, Aunt Lily. Where's Karen? She went out. Where? Oh, Aunt Lily, please. She went out with Joe. She went to the fair with him. What difference does it make? Oh, very well. Joe, this is marvelous. I love merry-go-round. How did you know? I like them too, but five times rounds of mouth. Let's get off this thing. What? I want to tell you something. Can't hear you. Listen, Karen. Listen, darling. What? I want to tell you something. Get off this thing. The brass spring. I'll get it the next time around. Listen, William. This is important. Grand. I'm glad you think so. What was it you were saying before? I couldn't hear you. Oh, never mind. What's the matter with you? You're an awful grouch. Well, this is what's the matter with me. I'm in love with you. I've been trying to tell you for an hour, and now I'm tired of seeing I can't tell you. Oh, Joe. I can't ever tell you. I won't be able to. There aren't words enough to tell you where, but I love you. I love you with all my heart, Karen. And I love you, Joe, with all my heart. Karen, where are you? Joe, be quiet. Oh, hello, Martha. Karen upstairs there? No. Come on up and help me paint a table. Sure. In here, Joe. Oh, is this your room, Martha? Nice. Sit down. Karen forgot something, and she had to go back into town. How's the hospital? Oh, just the same. No money, bad lab, everybody growling at everybody else. It's quiet here. Is it late? No, they have passed in. But the girls are in bed, and Aunt Lily has worn out from doing nothing. Oh, hand me that paintbrush, will you? Yeah. Karen tells me her aunt was showing the girls how to play King Lear the other day. You know, that's going to come in handy later on in their life. Oh, wait until she does Porsche standing on a chair. So Henry taught her to do it that way. Said it was the test of a great actress. You must have had a fine childhood, Martha. Oh, I did. I did indeed. I lived with Aunt Lily from the time I was five. I went to 16 schools all together, and every time the stock company would move, I'd move with it. But school wasn't the worst part. It was after school, and never anything, but hotel bedrooms to go home to, and then in the evening, I'd have to do my homework sitting on a dirty box backstage and jump up to help Aunt Lily change from one blousy costume to an even blousy one. I used to be so alone and so sorry that I couldn't have what other kids had. You know, I think that's really why I wanted to teach. Being young is awfully hard, and when I grew up, I sort of wanted to make it easier for other kids. Hey, I'm running out of paint. Do you want a glass of milk? Joe, I said, are you asleep, Joe? Joe? Do you always wake up so violently? Oh, I'm sorry. What was that I knocked at? Oh, just the milk. I thought you'd like a glass before you left. Oh, well, thanks, Martha. Oh, how long have I been asleep? An hour or so. Maybe a little more. Martha, what was that flesh I had? Oh! It was me, Mrs. Martha. I was wrestling with myself. Aren't you rather late, Mrs. Dr. Carr? Oh, no. As a matter of fact, I've been here for four days. I was hiding in Yorkshire. Good night, Martha. Oh, don't go. Karen will be home any minute. Oh, no, ma'am. I've got to get home now. And warn Karen that when we're married, she'll have to stay at home and watch me knock over milk glasses. Good night. Good night. I hope I'm not hurrying you away. No, no. Not any more than usual. Joe's so in love with Karen, isn't he? I do think I'll have the wedding in the spring. We could stage it so well in the garden. Of course, when they're married, we'd be rather hard on you. But Karen says she intends to go right on with the school. There's never been any question of that. And it really won't be so lonely for you because you'll be seeing her all the time. And you'll be seeing Joe, too. Perhaps you'll be seeing more of him than you usually like that, won't you? Oh, that's enough, Aunt Lily. Good night, darling. God. No. We've just heard Act One of these three. In just a few moments, we will continue with Act Two of our play starring Barbara Sandwick, Errol Flynn, and Mary Astor. But now it's intermission time in the Lux Radio Theater. While we are waiting for Act Two, we want you to go with us to Beverly Hills. There we meet a lovely young div and her co-ed sister. Mary, darling, may I borrow one of your dresses? I'm going out with a senior at Stanford and I don't want to look too utterly childish. So, baby sister's growing up, is she? Well, let's go and see what's in the closet. Oh, let's see now. Oh, this black one's a little too sophisticated. Now, what are you doing at my dressing table? Just putting on some fresh makeup. It's pretty late, you know, and I've got to start getting ready. I don't care how late it is. Don't ever let me catch you putting on makeup without first using Lux Toilet soap. But my face isn't dirty. You may not think so, but if you want a guard against cosmetic skin... Oh, Heavens, yes. It would be horrible to have those little blamishes and enlarged pores. You're right, dear. Cosmetic skin is horrid. That's why you ought to use Lux Toilet soap always before you put on fresh makeup. And that will keep my skin really lovely. Oh, please don't be flippant, dear. You know it's true. It's the active lather in Lux Toilet soap that removes dust and dirt and stale cosmetics thoroughly, prevents pores from getting choked. Well, even if you are my own sister, I must say it's obvious you'll practice what you preach because your skin is swell. Never mind my skin. Just look at the screen stars. Nine out of ten of them use Lux Toilet soap. And with that good advice, we return now to Mr. DeMille and our play. Our curtain goes up on the second act of these three, starring Errol Flynn, Barbara Stanwick, and Mary Astor. Several weeks have passed. For Karen and Joe, happy in the thought of their approaching marriage, time has slipped by almost unnoticed. For Martha, watching their happiness with hopeless yearning. The weeks have seemed like years. In the library of the farmhouse, Mrs. Morta is conducting her class in the locution. A girl in pigtails recites in sing-song rhythm. The quality of mercy is not strained. It falls as the gentle rain from heaven. Upon the place beneath, it is twice blessed. Good morning, girls. Good morning, guys. Everything all right, Mrs. Morta? Yes. Our tea flowers are beautiful. Mary Tilford just gave them to me. Aren't they lovely? Yes. Where did you get the flowers, Mary? She picked them just for me. The first wild flowers of the season. But not the very first. Where did you get them, Mary? Near Conway's cornfield. Are you sure? Yes, Mary. It wasn't necessary to go so far, Mary. It was a bunch exactly like that in the garbage can this morning. Oh, what a nasty thing to do, Mary. All right, children. Mary, will you come outside with me, please? Here's a merry-go-round, please. Mary. What? Mary, why do you do these things? Why do you lie to us so often? I'm not lying. If you have to do things, come and tell us about it. We'll try to understand. We'll try to help you. But this kind of lying is so bad for everybody. I got the flowers near Conway's cornfield. All right, Mary. You have to be punished. No horseback riding, no hockey. Don't leave the school grounds for any reason. But you said I could go to the ballfaces, said. I'm sorry. You can't go. I'll tell my grandmother. I'll tell her how I get treated here and how you punish me for everything. I'll tell her. Mary, go upstairs. I don't feel well. I've got a pain. I've had it all morning. It hurts here. It's a bad pain. I've never had it before. My heart, it's my heart. It's coming or something. I can't breathe. I can't. Mary, Mary, get up off the floor. Mary, Mary. Raise your head up, just a little. What do you think, Joe? Can't tell much yet. Hand me my stethoscope. Oh, this is terrible. Perhaps if we put our feet up and our head down. Or is it just the opposite? Oh, and Lily, Dr. Cardin knows. Well, that's what I did in the theater once when Delia Graham fainted. And did this Delia survive? Oh, yes, I saved her. Then perhaps you'd like to take charge here. Oh, that's how you feel. I think she's annoyed. Oh, I'll take care of her. Aunt Lily. That's a nice thing. That man in there practically turned me out of the room. Oh, Aunt Lily, be quiet. Then you don't get your arm being snubbed and humiliated. I work my fingers to the bone here. Don't tell yourself that too often, Aunt Lily. You'll come to believe it. To the bone, to the very bone. Aunt Lily, you've wanted to go to London for a long time. You can go now. I can spare the money and... Oh, you want to get rid of me. Turning me out isn't my... Oh, how can anybody deal with you? You've been talking about going for years, and now when you can go, you don't raise your voice too. I declined to be shipped off to England. Next year I'm going back to the theater. No, I'd like you to go stiller. The truth is the school isn't quite the place for you. The truth is I ought to have known enough to stay out of your way when he was here. When who was here? You don't think you could fool me, my dear? I wasn't born yesterday. I know what I know. And I know what you feel about him. You don't want them to be married. And I know why. Be still. I know what's going on here. You are never very clever at hiding things, Martha. You're in love with me. Be still, Aunt Lily, be still. Please, love. Come, close people's eyes. The way you rush over to him on the splice is piteous. And that night, when he was coming out of your room late, I saw... Aunt Lily, there's been no trouble in this house, and I won't let you do your usual job of starting any. I want you to leave as quickly as... There's someone at the whole door. Wait a minute. Rosalie, Helen. What were you doing outside this door? We just came down to see how Mary was, Miss Toby. Yes, Miss Toby, that's all. Did you deliberately listen? Eve's dropped me something nice young ladies just don't do. All your girls never used to do things like this. I'm afraid we'll have to separate you. Mary, Chilford and Rosalie. Going up to your rooms now, Miss Wright will speak to you later. Yes, Miss Toby. Wait. Oh, Aunt Lily, it's very bad having your children here the things you say. There's money in the bank for you. I'd like you to leave as soon as it's convenient. Do you think I'd take your money? I'd rather scrub floors first. I'll be out of here before it's done. Look, excuse me. Excuse me, Jersey. Is that Jess, coming up again? Oh, yes, she's particularly good today. What about Mary? Absolutely nothing. I could have managed a more convincing faint when I was six years old. We've reached the end of our rope with her. I don't know what we're going to do. Martha, what's wrong? Aren't you taking this kid too seriously? Yes, I'm taking everything to it seriously, everything. Are your things ready to move, Rosalie? Yes, Miss Wright, almost. Mary? I'm getting them as fast as I can. I'm off to style, Miss Wright. I am too, Rosalie. But I think it would be better if you and Mary are separated. And it's all because I had a pain. You're always mean to me. I get blamed and punished and picked on for everything that happens around here. You're on with your moving, Rosalie. Rosalie, what were you and Helen doing outside the door down there? We heard Miss Dobie and Mrs. Mordor having an awful fight. A fight? What were they fighting about? Well, Miss Dobie wants Mordor to go to England. And Mordor got sore at that and said she knew why they wanted to get rid of her. Go on. Why doesn't Dobie want to get rid of Mordor? Because Miss Dobie is in love with Dr. Carden. Oh, so that's it. And Mordor knows about it. And then she said an awful lot of funny things about them. And all about how one night Dr. Carden was up in Miss Dobie's room. Later something. Did she say that? Yes, why? I'm going home. Home? You can't do that. Can't I? You just wait and see. And you're coming with me. You got any money? No. Don't lie. You've got $2.45 in your drawer. Get it. Well, I know I won't. Then I'll get it myself. Get away from me. Where did you get this bracelet? It's mine. It is not. It's Helen Burton. Now will you give me the money? I can give you part of it as a home. Get it and get your hat and coat. We're going to my grandmother's. Mary, look at me. Do you mean you left school without permission? I couldn't help it, Grandma. I couldn't help it. I got Rosalie to come with me and I ran away. I had to. That was a very bad thing to do. Now you're going right back, both of you. No, Grandma, don't do that. Please don't do that. Grandma, please. They'll kill me. Mary. I can't go back. I can't. They'll kill me, Grandma. They will. They will. Mary, stop it. What makes you say such awful things? It's true, isn't it? I fainted today. Fainted? Yes, I did. My heart. I had a pain in my heart and Dr. Carton said I didn't have any pain. I'm scared, Grandma. I'm scared. They've got something against me and they punished me for everything. Today they even said I couldn't go to the boat races. Oh. But it wasn't that. It's things. Funny things. What nonsense are you talking? They've got secrets, Grandma. Funny secrets. All about Miss Dobie and Dr. Carton. And Mrs. Mortar told Miss Dobie that she knew what was going on. What? She knew what was going on and she always had known what was going on. Stop using that silly phrase, Mary. But that's what she kept using, Grandma. Miss Dobie said she'd have to get out of the house. And that's why we have to remove our room, I bet, because they're fighting and we'll hear things too. But we did that awful night. What awful night? Well, Dr. Carton was in Miss Dobie's room late and it's often times when things happen to one. Oh, I can't say them out loud, Grandma. I've got to whisper. Oh, nonsense. Why must you whisper? Because I just got to because it's bad. It's late at night and Miss Dobie's room is right next to ours. Oh. Mary, do you know what you're saying? Are you telling me the truth? Honest, honest. And then later on. Oh. Mary, Dr., where were you so long? I keep quiet. I was talking to my grandmother. Well, what's going to happen? Aren't we going back to school tonight? Maybe I'm never going back. Maybe none of us will. Well, I want to go back. Why shouldn't we go back? Oh, you'll find out. Ah, you're always pretending you know everything. Anyway, I don't want anything to do with your silly secrets. No. Suppose I told you that maybe you're in on the silly secret. Suppose I told you that I may have said you told me about it. Why, Mary Tilford. I didn't tell you anything. I'm going right into your grandmother and tell her I didn't tell you anything, whatever it is. You're just trying to get me into trouble. Wait a minute. I'll go in with you. I've got something to tell her, too. About Helen Burton's bracelet. What about it? Just that you stole it from her, that's all. Shut up. I didn't do any such thing. I borrowed it and I was going to put it back and I forgot it. I never meant to keep it. Oh, nobody will ever believe that. I guess I ought to go and tell Grandma anyway. And she can call the police. No. And you'll spend the rest of your life in one of those solitary prisons and you'll get older and older. And when you're very old, I'll let you off. Maybe with a sign on your back saying you're a thief, there's no place to go and you'll beg on the street. No, no, I'm not calling. You won't tell, say you won't tell, please. Maybe if you'll take the oath. Say, from now on, I, Rosalie Wells, am the vassal of Mary Tilford and will do and say whatever she tells me under the solemn oath of a night. I won't say that. I won't. That's the worst oath there is. No, Mary, please. Don't steal her. Will you swear it? But then you can tell me to do it. You'll have to do it. Say it quicker. I'll say it. I'll say it. From now on, I, Rosalie Wells, am the vassal of Mary Tilford and will do and say whatever she tells me under the solemn oath of a night. Good afternoon. How is it, please? Miss Wright, Miss Dobie, and Dr. Cardin. We'd like to see Mrs. Tilford, please. I'm sorry, but Mrs. Tilford... We want to see her. Who is it, Agatha, if it's anything? Oh. Good afternoon, Mrs. Tilford. Good afternoon. You may go, Agatha. Yes, madam. We want to see you, please. You know what it's about. We've lost 10 students since yesterday evening. The rest are leaving today. You know why, I assume? We heard why. For Mrs. Burton's chauffeur when he came to take Helen home. I don't think you should have come here. I was coming to see you tomorrow to explain my position in all this and to ask you to explain yours. I'm sorry. This has to happen, but... I think we'd better understand each other. There is nothing for us to explain, and I very much dislike your sympathy. So you don't think we should have come? Then what were we expected to do, Mrs. Tilford? Lie down and grin until you'd finish kicking us around with these lies? No amount of words that we can throw at each other, Dr. Carton, can do any of us any good now. Do any of us any good? Listen, Mrs. Tilford, you're not playing with paper dolls. We're human beings. It's our lives you're fooling with, our lives, that serious business for us. Can you understand that? I understand that. And I understand a lot more. You've been playing with a lot of children's lives, and that's why I stopped you. I think I know how you must feel, Ms. Wright. You don't know anything about how I feel. You can't know how any of us feel. You get lost trying to fight a lie, very lost. I did what I had to do. I had to tell those mothers. Whatever we're done in your school may possibly be your own business. Sorry becomes a great deal more than that when children are involved. But it's not true. Not a word of it is true. I'm sorry that I can't believe that. But you can believe this. We happen to be people who worked hard for what we've got. That school meant things to us. It meant self-respect and bread and butter and honest work. And now it's gone. There must be something we can do to you. Something that will make you feel the way we do tonight. I don't think we'll let you whisper this lie. You've made it, and you'll come out with it in a courtroom. Tomorrow, Mrs. Tilford, you will have a slander suit on your hand. That will be very unwise. It was wrong of you to brazen it out here tonight. It would be criminally foolish for you to brazen it out in public. It's already quite public, Mrs. Tilford. Yesterday we had our lives decently to ourselves. Now we've nothing left but the dirt you've made of us. Or the dirt you've made for yourself. Clean your house, Miss Wright, and in time, count yourself very lucky. You have understood nothing. Nothing. These are my friends. When we clean house, the three of us will clean it together. Mrs. Tilford, perhaps we should clean your house for you. Where's Mary, Mrs. Tilford? Under no circumstances. I would not allow that. So that's where you really got it. We couldn't believe it. She's a bad girl, your Mary. She always has been. She's hated us for a long time. I won't have any more of this. You've been in my house long enough. Get out. To wicked, very young and the wicked, very old. Let's go home. Wait. Mrs. Tilford, when three people come to you with their lives spread on a table for you to cut to pieces, then the only honest thing to do is to give them one last chance to come out alive. We'd like that last chance. If you're honest, you'll give it to us. Very well. Will you come this way, please? Thank you. She's in the library. Oh, Mary. Yes, Grandma? Come here, dear. Dr. Carden wants to ask you a few questions. Hello, Mary. Well? Sit down, Mary. I want to tell you something first. Everybody lies all the time. Sometimes they have to. Sometimes they don't. I've lied for a lot of different reasons myself. But there was never a time when if I hadn't had a second chance, I wouldn't have taken back the lie and told the truth. You're a lucky girl, Mary, because we're giving you that second chance. Were you telling your grandmother the exact truth about us? Why, yes, Dr. Carden. Remember, you're not going to be punished. You didn't make a mistake, did you? No, Dr. Carden. There you are. We're not finished, Mrs. Tilford. Why don't you like Miss Wright and Miss Dobie, Mary? Oh, I do like them. They just don't like me. They don't like me. They just don't like me. They're always punishing me for everything. Just tell your grandmother why you were punished yesterday. Just because Roselyne Everton heard things and you took it out on me. That's not the reason you were punished. Heard what things, Mary? Mrs. Morta was telling Miss Dobie that she knew what was going on and that she knew what Miss Dobie felt about you. And things that happened. Mrs. Tilford, my aunt is a stupid woman. What she said was unpleasant. It was said to annoy me. It meant no more than that. What do you think Mrs. Morta meant by all that, Mary? I don't know, but funny things did happen. She said things about the times when you'd come at night and we'd listen. I'd get practically... Be still. No, no. You don't want her to be still now. What did you hear? What did you see? I don't know. There was just things. What things? I don't know, but I saw plenty of things we all did. One night, Dr. Carden was up in Miss Dobie's room late and I was... Why did you think it was wrong for me to be in Miss Dobie's room? Because it was at night and I was leaning down by the keyhole and I saw things and I got scared. And then you left and... Ask her again how she could see it. I was leaning down by the keyhole and I... There is no keyhole on my door. What? There is no keyhole on my door. It wasn't her! And how did you know anybody was in Miss Wright's room? I told you, I told you because we heard you, I heard you! My room is on the first floor at the other end of the house. It is impossible to hear anything from there. Mary, what is this? I want the truth now. All the truth, whatever it is. We're finished here, Mrs. Tilford. We've cleaned your house. You can go home now. No, please. Mary. Oh, stop that crying. I want the truth. All right. What is the truth? It was Rosalie who saw them. I just said it was me so I wouldn't have to tattle on Rosalie. You asked Rosalie, you just asked her. She's here, she told me all about it. Ask her, Mrs. Tilford. Very well. Rosalie! Rosalie! Mrs. Tilford, you deserve whatever you get. I... I don't know. Did you call me Mrs. Tilford? Yes, Rosalie. Rosalie. Mary tells me that there's been a lot of talk in the school about... about Miss Dobie and Dr. Carden. Is that true? I... I don't know what you mean. What was the talk about? Don't be frightened, Rosalie. I don't know what Mrs. Tilford means, Miss, right? Rosalie, Mary has told her grandmother that certain things at school have been puzzling you girls. You particularly? History puzzles me. I guess I'm not very good at history, and Helen... No, no, that's not what she meant. She says that you saw certain... certain things between Miss Dobie and Dr. Carden that weren't... that weren't right. Oh no! I didn't! I didn't! I never said such a thing! I never saw any such thing! Oh yes, you did too. You told me what you saw. You're just trying to get out of it. I remember when you said it. I remember it because it was... was the day Helen Burton's bracelet... I never did! I never did! It was the day Helen Burton's bracelet was stolen and nobody knew who did it. And Helen said that if her mother found out, she'd have the thief put in jail. Oh no! There's nothing to say about Rosalie. You must help her by telling the truth. Yes, the truth. Well, Rosalie... Grandma, there's something I've got to tell you. It's about Helen Burton's bracelet. Yes! Yes! I did this! I saw Mary was married, I was right! We pause for station identification. This is the Columbia Broadcasting System. Barbara Stanwick, Errol Flynn, and Mary Astor returned to us shortly in the third act of our play. Since a child figures so conspicuously in these three, I thought it appropriate to invite here three youngsters who last year startled the literary world by writing the bestseller Around the World in 11 Years. They are Patience Richard and Johnny Abbott. And knowing them, I can assure you, they are nothing like the Mary Tilford of these three. Their mother is here with them on our stage. Their father, James Abbott, is the noted newspaper photographer who liked to have his children near him during his assignments in Europe. A few months ago, the Abbott children came to Hollywood to gather material for another book. They called this one of all places. Published in October, it already has reached a sale of 20,000 copies and contains some of the shrewdest observations on Hollywood I've ever encountered. Patience is 13, Richard is 11, and Johnny, I'd say you're about 10, aren't you? Hi, Johnny, I'm 10 years old, and Mama here is 38. And I, Cecil, don't believe Mama wants you broadcasting her age. Hi, Johnny likes Mr. DeMell because he has a nice bald head like Papa's. I, Richard, think Papa's head is balder and bumpier. And I think we should change the subject. Richard, the phrase is, I, patience, I, Johnny, and I, Richard, have become so well known that it might be a good idea for you to explain how you happened to refer to yourself in that manner. Well, when we were children living in Paris, Mama would be downstairs a lot of the time and we would be upstairs playing. Mama would say, which one of you is making all that noise up there? And I would say, it is I, patience. Look at that, it's it was I. So we got in the habit of saying, I, patience, I, Richard, or I, Johnny. Very sensible. Now tell us about your new home in Colorado. Don't you miss tall buildings and exciting things that happen in the city? I, Richard, like tall mountains, better than tall buildings. And there is nothing more exciting than building a new home out of logs, which we are doing now on our ranch. I, Johnny, would just as soon keep on taking a bath in a tin tub in front of the fire like we have to do in our present house. Our present house is not very high class. I, patience, think one of the nicest things about taking a bath is the luxe tall soap we use. I, Richard, think you are trying to make an impression with Mr. DeMille. But it's so, Mr. DeMille, as Mama can tell you. That's quite true, Mr. DeMille. The children have liked luxe soap for a long time. Even while we were living abroad, we could get luxe toilet soap almost any time and any place. When we were in Hollywood this summer, we visited the homes of any number of stars and was really quite amazing to see how popular luxe toilet soap is with picture stars. I, Johnny, like Hollywood very much. The stars let us swim in their swimming pools and didn't mind if we stayed till 10 o'clock. Who are some of the stars who entertain you? I, patience, remember Bing Crosby especially. He's like a nice farmer. His eyes are blue and very beautiful. They may call him a crooner, but as far as we're concerned, Bing Crosby is a fine man. Carrie Grant is a wonderful man with black eyes and fine teeth that are not false. I, patience, think Hollywood is one of the most beautiful places in the world. A night it is like the Arabian nights full of jewels. And as you can forgive anything, if there is anything to forgive, when you see a city that is such a sight as that at night and figure that it would not look that way if there was anything wrong with it. And I, Richard, think we have talked long enough and would rather sit down and hear the play, so let's beat it. You had any manners. You say thank you first to Mr. DeMail. Thank you, Mr. DeMail. Thanks, Mr. DeMail. You're very welcome. Barbara Stanwyck, Errol Flynn, Mary Aster, and an all-star cast resumed our play, These Three. More weeks have gone by. Weeks which have dragged interminably through at trial for slander, ending in a judgment against the two girls. At the deserted prom house, Karen stands near the window, looking out at the bleak countryside. Martha comes from the hall and throws her coat on a chair. It's getting cold. Thought you were going out for a walk. I thought so, too. I think so every day, but I... I can't stand being stared at anymore. I know. It's raining again. I used to like it here when it rained. When this house and this room were full of girls and our life was full, all kinds of weather seemed good then. You'll be getting married soon. Things will be all right then. Yes. Karen, there mustn't be anything wrong between you and Joe. Never. Nothing's wrong. Nothing. Woo-hoo, girls! Huh? Oh, Aunt Lily, she's come back. That's nice. Here I am, here I am. Hello, Martha. Karen, darling, how are you? What about these bags, lady? Upstairs, please. All right. Thank you. The Duchess returned at long last. We're delighted to see you. And I'm so glad to see you both and so glad to see the dear old place again. Red for weather. How's everything? Everything's fine. We're splendid, thank you. That's good. Where have you been? Around and around. I've had a mostly interesting time. Why didn't you answer our telegrams? Things have changed in the theater drastically, I must say. Why didn't you answer our telegrams? Oh, Martha, there's your temperament. Don't bother about my temper, answer me. Well, I was moving around a great deal. Was that why you refused to come back and testify for us? Oh, that's not the way to look at a judge's refusal. Listen, Aunt Lily, we've been trying for months to defend ourselves in a courtroom against the lies of a child called Mary Tilford. Oh, what a dreadful girl that is. A great part of the Tilford case was based on remarks made by Lily Morta, actress, against her niece. That's me. And a greater part of the case rested on the telling fact that Mrs. Morta would not appear in court to deny or explain those remarks. As you probably read in the papers, we lost the case. This couldn't have done any good for all of us to be in mixed roughness and pleasantness. And now that I'm here, I'm going to stand shoulder to shoulder with you. I'm going to help. There's a train at six o'clock. Get on it. Martha! You've come back to pick the bone's dry. Well, there aren't even bones anymore. When you're wished to apologize, I should be temporarily in my room. Please see that it is only temporary. Joe, please sit down. You've been pacing the floor ever since you got here. Sorry, yeah. I've got something on my mind. I'd like to get rid of it. Yes? Well? Karen, we're going away. You and I, we're going to Vienna. You mean you're leaving the hospital? Why? Well, I think it'll be better. I've cabled Dr. Fisher. He says I can have my old place back. It'll be nice seeing Vienna again. You don't want to go to Vienna? No, I don't. But we can't stay here. We've got to start all over again. With all this behind us. Yes, what you've done, you've done. What I've done? Karen, what do you mean what I've done? I didn't mean anything, Joe. Karen, what's the matter with us? Everything we say to each other seems to mean something else. Look at me. Your face is the way it was that last day in court, ashamed. And sad of being ashamed. What is it, darling? I don't know. I just don't know whether people can start again. Are you telling me that you believe what that child said? That Martha and I were... No, Joe, I don't. Oh, I don't know anymore. Karen, Martha and I have never even thought of each other. Do you believe that? People don't believe just because other people ask them to believe. It's that I'd never know, really know. Well, that child certainly did a fine job on the three of us, didn't you? If we could only take back these months, take them back and forget them, but we can't. Joe, go to Vienna. Go alone. I can't go with you now. Karen, darling. No, words aren't any good. They won't help us anymore. Karen, I'll always love you. If ever you can believe in me again, I'll be there for you. Goodbye, Karen. Goodbye. I love you. Well, dinner's almost ready. Oh, where's Joe? Gone. Gone where? Outway to Vienna. Vienna? Oh, Karen, what's the matter? What's happened? I told him that I believed you. Oh, no. No, you couldn't have. You couldn't have thought that. Didn't he tell you it wasn't true? Yes, he told me. You don't believe him? I don't know what I believe anymore. Oh, things can't be like this, Karen. It isn't true. You can't think that... Oh, no, it's beyond that now. Don't talk about it anymore. You've thought that all these months, and yet you... You stood by it. Oh, Karen, you've been a good friend. Karen, that woman said, clean our house. Well, then let's finish cleaning it. It makes no difference now. We might as well pull all the pieces down. I do love Joe. I have loved him. He never knew about it, and he... He never even thought about it. I think I... I think I've loved him since the first day we came here. There it is, Karen. That's all of it. I'm sorry. I'm sorry for the three of us. And can't you believe me now? Strange. He asked me the same thing. I see. Martha? Martha, I'm ready to leave now. You hear, Martha? Yes, yes. Wait a few minutes. I'll be leaving with you. The whole thing was most unscent. You're well out of it, if you ask me. Martha, I tell you when I read what those children said about you. Oh, I don't want to talk about it, Aunt Lily, now or ever. I know, but you'll be thinking about it. I know. I knew that girl from the first. She never took me in. I saw through her at once, this TV moved those flowers and pulling the other girl. Why, she had that little Rosalie right under her thumb. Well, Lily, let's not go into this anymore. She made that child do dread talking. I never thought about it at the time. Did you know I'd thought for months that she made Rosalie's teal hell in Burton's bracelet? What? Well, it was the day they left to go to Mrs. Tilted, of course I didn't know they were leaving. I heard them in their room. They were talking about the bracelets in our big conductor. Yes, ma'am. What's the next stop? Glenvale. I'm getting off. I want to see Rosalie, and I want to see Mary Tilted. I want to see them together. This is a rather unusual request, Ms. Tilted. Yes, but the girls are here, Mrs. Tilted. You sent for Rosalie? Yes. Oh, come in, Rosalie. Ms. Tilted. Good afternoon, Rosalie. Come in, Mary. What does she want? Rosalie, I want to speak to you. Do you mean, Ms. Tilted? Yes, Rosalie. I want to ask you about Helen Burton's bracelet. Oh, please, please, Ms. Tilted. I didn't mean it. I didn't mean to take it. Then you did take it. Yes, but I meant to give it back. I did, honestly. All right, all right. No one's going to punish you. But now, tell me one thing more. Those stories about me and Dr. Cardin, they weren't true, were they? No, ma'am. And why did you say they were? She made me. Mary made me. She knew I love bracelets. She was going to tell. She said I'd go to prison. She made me do it. I didn't want to. She made me. Grandma, don't believe her. I don't believe her words. She says she's just trying to get out of it. She's making it all up. She lies all the time. Everybody knows she does. Grandma, don't believe her. You heard what she said that day. You heard her say, mother. Be quiet. All my life, the mistakes I've made have been honorable ones. You made me make the first that was dishonorable. Go upstairs to your room, ma'am. And, Roebley, you wait inside, please. Well, Mr. Obey, there's no use pretending that I know any way to take back what I've done. But whatever little there is to do, a public apology, the damage you've paid in full... A public apology and money. Do you think that fixes everything? That's very neat, Mrs. Tilden. If we were puppets on a string whose heart could be put together again, but... Well, that's not the way things ever happen. Oh, but let me try to help you. Let me do what little I can. Help me? No. But I'd like you to take the message to Karen. Tell her everything that's happened today, and then... Then tell her to go to Joe, wherever he is. Tell her I fed them. Tell her I wanted to go. She said, tell Karen to go to Joe, wherever he is. Tell her when that happens, I'll be all right. She said you'd know what she meant, Ms. Rant. Yes, I know what she meant. I know so well. You've got to be honest with me. You, you'll excuse me, won't you, Mrs. Tilden? I've got to pack. I'm leaving tonight for Vienna. The music swells, the audience applause. The curtain slowly falls, bringing our play to its happy conclusion. Checking up on the current doings of our principles, I learned that this first week of December finds Mary Astor just finishing a new film at MGM. Barbara Stanwick is casting a proud eye on the race horses at the San Fernando Valley Ranch, preparing for the Santa Anita Track opening. While Ero Flynn, as I mentioned before, is swinging the quarter-staff and wearing Lincoln green at Robin Hood, I hope Erolet, your picture, is as big a hit as when Douglas Fairbanks played the role just 15 years ago. Well, thanks, Mr. DeMille, I hope so too. I remember the old version distinctly. I was at school in Ireland at the time and sneaked out of classes and spent my lunch money for a ticket. By the way, what else were you people in Hollywood turning out those days? Well, many of our listeners will recall Orphans of the Storm with the Gish Sisters, produced by D.W. Griffith. I tried to rival it with Fool's Paradise and Manslaughter. My big stars were Dorothy Dawson, Conrad Nagel, Thomas Meehan, and Littress Joy. Sound pictures were four years away and Rudolf Valentino was silently elevating the blood pressure of the feminine world. Barbara Stanwick in her very early teens was already dancing in a New York chorus and Mary Astor, for Mary, what does 1922 mean to you? Well, for one thing, it brings back the hours I spent in my father's room playing with a contraption he'd just built. It consisted of a wire coil, a pair of earphones, a piece of crystal, and a couple of inches of wire known as a cat's whisker. I think dad called it a radio. It was the year that The Sheik was no kind of a book for any respectable girl to read. And did we eat it up? And the whole country was humming a tune called April Showers, written by the musical director of this program, Lou Silver. Yes, and girls began bobbing their hair and some of them got fired from their jobs for doing it. Not long afterwards, Lux Toilets Hope came along and I hear it made the same fine impression on the Hollywood stars of the 20s as it does today. To me, it's the finest complexion care in the world and I think Barbara will back me up. Of course I will, Mary, because I use Lux Toilets Hope every day in the year and I think that's the best recommendation I could give. Thank you, Mr. DeMille, for another grand evening and to all our listeners, good night. And may I add just one word of gratitude to the members of our cast, Alma Kruger, Constance Collier, Marsha May-Jones, Helen Parrish, and all the others who helped us so splendidly. And let me thank you for the marrow. We look forward to having you, Mary, and Barbara with us again during the new year. Good night, good night. Good night, good night. Another Gala program awaits you next Monday night in the Lux Radio Theatre. And Mr. DeMille will return shortly to tell you about it. This is your announcer, ladies and gentlemen, Melville Ruy. Tonight's cast include Dorothy Gray as Helen, Helen the Grant as Agatha, Lou Merrill as Taxi Driver, and Frank Nelson as conductor. Barbara Stanwick is currently seen in the RKO film Breakfast for Two. Marsha May-Jones and Helen Parrish are making mad about music at the new Universal Studios. And now here's your producer, Mr. DeMille. It's a play of melodrama, romance, and strange dark happenings that awaits you in the Lux Radio Theatre next Monday night. A play that carries you from the fogbound streets of London to the bleak and misty moors of Scotland. It's titled The 39 Steps. Filmed by Gormont British, it's one of the most successful modern mystery stories ever brought to the screen. As the polished adventurer, caught in the web of violence and intrigue, we star Robert Montgomery. And at the other end of the romantic seesaw, one of the cleverest of our rising young stars, Miss Ida Lupino. Our sponsors, the makers of Lux Toilets Hope, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Robert Montgomery and Ida Lupino in The 39 Steps. This is Cecil B. DeMille saying goodnight to you from Hollywood. This is the Columbia Broadcasting System.