 From Hollywood, California, the Lux Radio Theater presents Bing Crosby and Joan Blondel in She Loves Me Not with Nan Gray. Present Hollywood. These programs, ladies and gentlemen, are made possible through your purchases of our products and are the means our sponsors take of showing you their appreciation. Tonight finds us headlining Bing Crosby, Joan Blondel, Nan Gray, Barbara Week, Sterling Holloway, and William Frawley in that great stage and screen success She Loves Me Not. These guests, Molly Merrick, noted author and movie reporter, and Miss Yuna McClelland of the University of Southern California. Our music is directed by Louis Silvers. We turn our program over now to the producer of the Lux Radio Theater, your host, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Back in 1925, at just about this time of year, a foot saw a young man trampled into Los Angeles with assets consisting of a drum, a voice with a husk in it, a knack of phrasing songs that was entirely new, and $15 in cash. He'd driven from Spokane, Washington, but his automobile had expired several miles back on the edge of the San Fernando Valley. His name was Harry, but he was heard first at the Coconut Grove in Los Angeles under his nickname Bing. Later, he toured with Paul Whiteman's orchestra. Then radio catapulted him into national fame and Hollywood. Bing Crosby today is one of the biggest box office attractions in motion pictures. His voice and personality lure millions to their loudspeakers weekly. His phonograph records are bestsellers the world over. Few names and sports are more respected than Bing's. He owns a large table of race horses, plays championship golf, and is actively concerned in football and prize fighting. In spite of these multiple interests, you're very likely on a Sunday morning to find the screens number one crooner singing in a choir of a small church near Hollywood. Recipient of countless honors, his latest is the degree of Doctor of Philosophy in Music, bestowed a few weeks ago by Gonzaga College, where Bing once studied law. Tonight he becomes a college student once again as he re-enacts the role of Paul Lawton, which he played on the screen for paramount in Howard Lindsey's rich comedy, She Loves Me Not. Start with Bing is the ever delightful Joan Blondel as Curly Flag. Daughter of a Vorderville comedian, Joan has been on the stage in all parts of the world since childhood. Few stars in Hollywood have worked so hard for success or deserve it more. Discovered on Broadway by Warner Brothers, her talent in both comedy and drama has been established in a score of hit films. And we look forward to seeing Joan next in The Perfect Specimen. From the new Universal Studios comes Nan Gray, a discovery whom Hollywood has been watching very closely since her splendid performance in Three Smart Girls. Nan's next film is called More Than Love, and tonight she's heard as Midge Mercer. Barbara Weeks plays Frances, Sterling Holloway is Buzz Jones, and William Crawley of Paramount Studio is Gus McNeill. Now for the brighter side of higher education. The Lux Radio Theatre presents She Loves Me Not, starring Bing Crosby, Joan Blondel with Nan Gray. It's Monday night in the Hilarity Club in Philadelphia. On the dance floor, Curly Flag, a vivacious little blonde, is in the middle of her first number. In the dimly lighted corner of the club, the gangster sits alone over a cup of coffee. Another gangster threads his way through the tables and stands behind him. Suddenly, there's a shot. 106 is called Old English or Anglo-Saxon. Come in. Hello. Hey, hey, wait, you can't. You can't come in here, women aren't allowed in the dormitories. Well, there ain't no signs up that I can say that you're one of these college students. Yes, but I won't be if you're... I've been watching you through the winter, and when I saw you eating that piece of cake... Oh, is that what you wanted, a piece of cake? Well, here, that's the same. You want a glass of water? Uh-huh, yes. You feel better now? Oh, I was awful hungry. What's the matter, you broke? Uh-huh. You don't mean you're actually starving? Well, I don't suppose you really starve for about a week or ten days, do you? Oh, well, yeah, we'll go on down to a restaurant and get you fed right. I can't. Why not? The police are after me. Police? Yeah. Well, what is it? It's a murder case. A murder? Yeah, but I couldn't do it. They want me for a material witness. You mean you actually saw somebody get murdered? Yeah, but I didn't know who the guy had done it. I only saw the back of his head. You see, I was doing my number at the time. Number? Yeah, at the Helerity Club where I wake. I didn't even take time to change. Well, look at this. You didn't do it. Hey, I knew a girl once that got mixed up in the moida, perfectly innocent, you understand? And they held her in jail for four months. I ain't going to send no jail for four months. I'll tell you those. Gee. Can they really do that to you? Sure, if you can't put up no bond. That's a darn shame. See, look, my allowance doesn't come until next week, but I can let you have it. Ah, that's no use. This is a big time moida. They'll be watching from here everywhere. It's no good taking your money and walking right into a cop's arms, you know? No. Well, there must be something we can do. Hey, you boys get a pretty good break here. It's nice. Can I have a cigarette? Oh, sure. Thanks. I looked in your window a long time before I got my nose buck. You look like somebody that might help a girl. Hey, that sounds like somebody doing taps. Listen. Well, that's, uh, up there, that's Buzz Jones. He's got the room over this. He's a swell tap dancer. Yeah? I think I'll go up and talk to Buzz a minute. You stay here, huh? Oh, well, well, you'll be back, won't you? Oh, sure, sure. We'll think of some way to help you out of this. Hey, Buzz, Buzz. How are you, Paul? Cut that out, will you? Now, listen, what do you think I got downstairs in my room? I'm on the wagon to last the commencement. No. No kidding, Buzz. It's a girl, a chorus girl, right out of a nightclub. Yeah? Just lift up my type right over there, will you? You'll find a queen of sheba. Don't listen, Buzz. This is on the level. You mean you've got a girl in your room? A female girl? That's what I've been trying to tell you. A nightclub chorus girl, boy. Oh, I know only two weeks before you graduate. Listen, Paul, it's not worth it. You better chase her out of here, so Dawn's thought. Well, I can't. She's wanted by the police. She's mixed up in a murder. Look, will you just quietly get on out of here? I got to study. No, Buzz, honest, it's true. She's down there. She didn't do the murder. She just saw it done, and the police wanted for a witness. See, they can keep her in jail for six months or a year until the case comes to trial, if it ever does. She's in trouble, Buzz, and we've got to help her. You get in the dauntest messes. How do you do it? Well, you're in on this one, too, now. I, uh, I declared you in. Oh, just foul, huh? You know how it's going to look if we get caught? Yes, but, well, if one man were caught hiding a girl in the dormitory, it might look bad. Very bad, but two men, ooh. No, two men makes it fine. Well, look, come on downstairs, will you? Come on, I want you to meet her. Well, that'll be just ducky. Hey, it's a good thing the other fellas in this entry are out tonight, huh? Yes, indeed, but we're taking plenty of risks as it is. Well, go on, go ahead in. Oh, hello. This is, uh, Buzz Jones. Pleased to meet you. My name's Curly Flag. Miss Flag, I salute you. Buzz and I are going to take care of you. Oh, yes? Well, now, look, we'll just hide her here until the whole thing blows over, huh? We can dress her up in boys' clothes. Hey, wait a minute. Buzz, you're a genius. We'll have to cut her hair, of course. Of course. Oh, yeah. Oh, did you ever cut anybody's hair? No, but, uh, I used to mow the front lawn when I was a sprout. That's the same thing. Come on. I got some nail scissors here someplace. Wait a minute. I'm not so crazy about this. Now, my dear young woman, I must ask you please not to interrupt. How would you rather we trimmed your hair or turned you over to the cops? Well, do you think I ought to pull? Sure. OK. Get the scissors. Right here. It'll grow out again in jail, I suppose. You're not going to jail. You ready, Buzz? Sure. Ready, Curly? I guess so. All set? Go. Neck, neck, shine, manicure, neck, neck. Listen, take it easy. Hold still. Will you? How can I cut you hair if you're going to jump around? How about a nice shampoo? You might form a look, you know. We bolted it in a minute. Oh, look out, will you? Now, that was your fault. What'd you do? Well, I just went a little deeper than I figured. Oh. How's it look, Buzz? Well, it looks kind of chewed, but could be worse. Well, let me see. Where's the mirror? Right over there. Oh, yeah. Hey, I make a pretty good-looking boy's fat, don't I? This boom-bar, this boom-bar, yeah! Curly! Hey, shut up. You know, if they catch you, Paul, you're going to graduate awful sudden. Yeah, I know. Where's she going to sleep? Well, look, I tell you, I'll run up to New York tonight and tackle the old man about a job for her. So she can stay in my room, huh? Who is your old man, Buzz? He's president of Super Sound Pictures. Why? You mean you're going to get me in the movies? Oh, boy, oh, boy, oh, boy. Yeah, yeah, shh, pike down, will you? Look, I'll, uh, I think I'll write some friends about some more work for her, huh? You know, I might even wire my dad in Detroit. Oh, yeah. Yeah, yeah, but I wouldn't wire Francis if I were you. She might not like it so much. Why not? Who's Francis? His fiance. Oh, he's got one of those, huh? Yeah, now look, come on, Curly. Upstairs to my room. We'll get you those boys' clothes and lock you in for the night. Well, well, it's a long pull. Good night, now remember, if you need anything, just tap on the floor. I'll hear you. Oh, tap on the floor, huh? Sure. Well, see you later, my old college chump. Hey, hey, what's the matter? What's, what's the matter up here? Stop that. Oh, why didn't you let me finish it? I was doing a dance for you. You're doing a dance? Yeah, I just routine to swell comedy dance. I wanted to show it to you. Well, well, this is no time to be showing me a dance. Now, why don't you go to bed? Gee, you must be dead. No, I'm feeling great. You boys have been so good to me, especially you. Gee, you're a swell kid. Thanks, but I've got to go. But I've got a nine o'clock lecture. I think I better get some sleep. Oh, don't walk out on me. Let's have a cigarette together, huh? No, I can't. Sure you can. Now sit down over there. I get scared up here all alone. I get awful scared. Well, it sort of scares me, too. Oh, you poor darling. I'm not kidding. This is serious. You know, we're trying to help him, but we're taking awful chances to do it. I know it. You've got to be careful. You've got to help us all you can. Sure I will. There's nothing I wouldn't do for you. Give us a kiss, Polly Wally. Wow, say listen. Good. Get off my lap. Back of potatoes? Who do you think you're tossing around? Fresh. Now you listen to me, Curly Flag, and get this through your head. I got no more and no more of that kind of interest in you than I have in the congressional record. No more than I'd have in a horse if I saw a man beating him and made him stop. That wouldn't mean I wanted to have a schmoozling party with the horse, would it? Oh, you mean... Don't you ever do anything like that to me again. Oh, you get out of here. You get out, you see. Don't ever come back. Good night. Good night, you rotten barber. Dad, I figured you might be able to help her out. Poor Latin's got her hidden in my room. We've got to keep it quiet, of course. Of course, of course. Then you'll help her, Dad. Certainly I will. Now, if you'll just step outside a minute, buzz, I am pretty busy. Okay, now, but don't forget. Keep it quiet. Come on, buzz. Hello? Give me the publicity department quick. Hello, publicity? This you, Gus? Well, listen, Gus, Super Sound Pictures has a new star. Yeah. Her name is Curly Flag. Don't ask me what she looks like. I don't know. But it's the biggest publicity story of the year. This. Yes, Francis? What is it, Francis? It's Paul. He's involved with a nightclub girl and murderers. Paul Lawton? There's a picture in the paper. I'm going to break our engagement. Oh, my dear, don't do anything hasty. Hasty? I'm going down to Pranel this minute. Take a telegram, Miss Higley. Yes, Mr. Lawton. The dean, Pranel University. My nephew, Paul Lawton, senior class, wires me he has met, quote, deserving chorus girl, unquote, most unfortunate to expose him to dangerous associates, suggest you investigate and advise me of situation. Charles and Lawton. That's all. Oh, wait a moment. Take another one. Paul Lawton, 54 Anderson Hall, Pranel. Astounded and uneasy, contents your wire. Stop. Insist you drop a fare immediately. Stop. There is no such thing as a deserving chorus girl. Good morning. Good morning. I'm Paul Lawton. I'd like to see Dean Mercer please. Is he home? He should be here any minute. Won't you come in? Thanks. Who is it, Martha? A young man to see your father, Miss Mercer. He didn't come in. Would you go in, please? Oh, how do you do? How do you do? I'm Dean Mercer's daughter, Midge Mercer. His daughter? Yes. Well, I'm Paul Lawton, senior class. Won't you sit down? Thank you. I didn't know Dean Mercer had a daughter. Well, I've only been home from Paris a little while. I've been living over there studying. Music? Yes. Oh, you must be the Paul Lawton that wrote the music for the last triangle show. That's right. I've been running over some of it. It's delightful. Thank you. As long as you're here, you can start on this one. All right. Don't spare the voice, Mr. Lawton. Sing it. Well, you ask for it. Yes. Through the day, I'm nervous. I'm restless. I'm fidgety. Waiting for the day to hurry, hurry by. I kind of like the evening. Give me a crimson sky when the sun is low. I'm riding high. I'm coming because my daily work is through. And I know that night is coming. And the night will find the arm in arm with you. I'm whistling. Looking at that lovely moon. When the stars above are glistening. I'm just as tickled as a baby with a toy balloon. La, la, la, la, la, I'm singing. Happy as a boy can be. Because I see you right there waiting. Underneath that usual three, four, two. Now, if you wonder why I'm humming. And if you wonder why I'm whistling. If you wonder why I'm singing. Well, I'm singing and I'm humming. And I'm whistling all the day. That's lovely. Thanks. Well. Oh, you're not through yet. Sit down. See, I'm really here on some serious business. What have you been doing? Doing? Well, when a student calls on father, he's generally been up to mischief. Well, you're more or less right. What have you done? Well, it's... Oh, come on. Confession's good with the soul. Well, as a matter of fact, it's rather foolish and complicated. You wouldn't care for it. You have a story to tell, father. Don't you think you might better rehearse it on me? Come, come, Lawton. What have you to say for yourself? Well, I have a sneaking idea. Your father got a telegram about me. Oh, one just came. There it is in the table. Yes. Can you divine what it says? Something probably about explaining how it happens that a respectable university allows me to get myself involved with chorus girls. I'm fascinated that you're involved with chorus girls. No, that's why it's all so silly. I'm not. Oh, I'm so sorry. How do you mean? Well, wouldn't you like to be? No. Now that I've met you, I... I got trouble enough. Well spoken, sir. But if there isn't any chorus girl, why should... But there is. Why? Her name is Curly Flag. Well? Well, huh, Buzz Jones. He's...Buzz is about the best friend I got in college, I guess. We met this girl and she was hungry and had no place to sleep. Yes. She said she'd been a chorus girl in a nightclub in Philadelphia. There had been some trouble, so she ran away. And, well, we took her name and her address. Her address? Yes. So we could let her know what turned up. Oh, she didn't have any place to sleep, but she had an address. It's a care of the rips, I suppose. Yeah. Well, she knew where she'd get a room. It's a fine story, but I wouldn't try it on Father. Will you answer one question truthfully? Is she the girl the police are looking for in connection with that nightclub shooting business in Philadelphia? What? Yes or no? Well, where did you get such an idea? You used a right name, Curly Flag, and it's been in all the papers. It's all right, really. I'll never tell a soul. Now, if you'll tell me the truth, we'll see what can be done to help you. Where is she now? In Buzz Jones' room. What? We...we cut her hair. You did what? We cut her hair with the nail scissors, and we filed her away. She's dressed up like a boy. Oh, I must see it. Oh, no. Oh, yes. I'll see here, Mr. Lawton. I'll get you out of your trouble, but under certain conditions, I must meet Curly Flag. No. Can't be done. If you'll promise to let me see that haircut, I'll open this telegram. If it's the one you're expecting, I'll tear it up. Father will never see it. You'll do that? If I can meet Curly Flag. When is everyone likely to be out of the dormitory? Well, nearly everybody goes to dinner within the whole... a few minutes after six, I think. Say, ten past six then? Yeah. I'll be there at six ten. What's the address? Fifty-four Amish, and but what about that telegram? Here it is, and here it goes. Hey, that's really swellier. You know, for a while this morning, I thought I was going to get into some trouble. Uh, Midge. Look out. In here, Father. Oh, hello, Midge dear. Oh, uh, Lawton, isn't it? Yes, sir. How do you do, sir? Mr. Lawton wrote this music. You know the triangle show, so he came over to play it for me. Oh, yes, very creditable. Uh, please go on. Sing that last one again, Mr. Lawton. Oh, uh, yes. I'm humming When my daily work is through Very nice. Oh, uh, Midge. Yes, Father? Midge, is there a telegram here for me? Why? No, Father. Are you sure? Oh, yes. Yes, I'm quite sure. Well, that's strange. The telegraph office called me and said they delivered one here. Oh, well, you know how those things happen. Well, it's not so important, really. You see, they read it to me over the phone. Oh. In a few moments, we'll go on with Act 2. Well, she loves me not, starring Bing Cosby, Joan Blondell, and Nan Gray. Meantime, let's look in at the Brown Derby, that famous Hollywood restaurant. We're sure to find it filled with movie people, perhaps several of the beautiful women whose names are known to film-goers the world over. But tonight, we're interested in the conversation of two little waitresses. One of them has just come to Hollywood. Naturally, she's impressed. Gee, I can't believe it. Me being so close to Clark Gable, I could reach out and touch him. And, oh, I nearly dropped my tray. Isn't that Claudette Colbert over there? It sure is. Stunning, isn't she? I'll say. What a complexion. What wouldn't I give to know how she keeps it so gorgeous? You mean to say you don't know? Oh, you are a greenie. Oh, well, anyway, knowing won't do me any good. Look at the money they have to spend. Yeah? Well, let me tell you something. Nine out of ten of these swell-looking screen stars use Lux's toilet soap, because it has active lathers that God's against cosmetic skin. Cosmetic skin? Sure. Cosmetic skins are the little blemishes and enlarged pores that develop when you let your pores get choked with dust and stale cosmetics, when you don't remove them thoroughly. Do you use Lux's toilet soap? I sure do. Whenever I put on fresh makeup and every night before I go to bed, gee, I'm learning things. I'll buy some Lux's toilet soap on my way home tonight. I can see you're the kind that learns fast. You'll get along. Once again, Mr. DeMille. We continue She Loves Me Not, starring Bing Crosby and Joan Blundell with Nan Gray, Barbara Weeks, Sterling Holloway, and William Frawley. The same evening, a few minutes before six, in Buzz Joan's room, Curly Flag stands in front of the mirror admiring her boy's costume, which consists of rather baggy trousers and an old windbreaker. Gus McNeil, publicity director for Super Sound Pictures, knocks quietly at the door. Curly turns quickly, putting on her very heaviest male voice. Who is it? Hiya. Hello. Buzz Jones is out of town. Aren't his cousins? Well, I'll be a ring-tailed baboon. All right. Go ahead and be at someplace else. Hey, that's a good performance. You know, I've seen DeMes play little boys before, but let's see you walk. Let's see you walk. Just turn around and walk out. Now listen, Curly. I don't know what you're talking about or who you are, but you better get out of here before I call my cousin. Oh, I'm so sorry. Now listen, my name is McNeil. Gus McNeil. Here's my card. Now read it and take it all back. Oh. Oh, you're from Super Sound Pictures? Well, if you see it on my card, it must be so. How do I know you're really from Super Sound? Oh, now look, Curly, we're wasting time. May we, uh, speak freely? I guess so. Well, very well. To begin with, how would you like to be featured in your first picture? Wow. Be quiet. When I want an answer, I'll ask for it. Now to continue, Mr. J. Thorval Jones has an impression that Super Sound may be able to use you and he's delegated me to decide. There are several things to be settled. Your age, your figure, your salary, and you may have to go to a hospital for a few days to get your voice cut out of your nose and graft it into your throat. I listen. You listen. I'll do all the talking. If Super Sound gives you a contract, they'll post any necessary bonds with the police for your appearance. Your legal troubles will be finished. Would you like that? All right. Now I have a cameraman downstairs. We're going to take a bunch of photographs. Tomorrow we'll do a newsreel. You're to work under my absolute orders, understand? But look at... You look at... Now here's the gag. We've got a college picture on the fire now, but it's terrible. Lee at Rissy Vaughn is starred, but we're going to fire her and you'll take her place. Wow. Quiet, quiet. I'm going downstairs and help Andy get the camera ready. I'm going over to the hotel and see if Joe Arco from the United Press has got in yet. Baby, we're going to plaster your name on the front page of every newspaper from here to Seattle and back. Mr. McNeil. Midge. Is this Mr. Morton's room? Oh, come on in, Midge. Hello, Paul. I've been expecting you. I hope no one saw me coming. There's not much danger of that at this hour. Nice room we've got here, except for those Steins. Those Steins? Well, I'll positively break them all the first thing in the morning. What did your father say after I left? Nothing, which usually means trouble. Well, he asked me to go to his office tomorrow morning. What am I going to tell him? We'll decide that after I see Curly. Where is our heroine? Upstairs. She'll wait. What for? Oh, I don't know. I thought we might talk a little. All right, let's talk. Yes, let's talk. Well, I'm not so good at talking. Oh, is this the piano the maestro uses when he writes his operas? That's it. I've been here all afternoon, cut two lectures and a lab session, just to write something extra special for this occasion. How interesting. I've had poems written to me, but never songs. Is this it? Mm-hmm. For me? For you. Listen. I could sing your praises with eloquent praises, describe you and bribe you with wonderful speeches. I could sing your praises with grand repartee, but darling, I desire to confess my love, express my love this way. I know the words that I use are simple and not very smart, but what I say, I say to you, straight from the shoulder, right from the heart, others may sing the spring, to them making love is an art, but when I sing, I sing from the shoulder, right from the heart, who cares if others may laugh if as a lover... It's a lot better than talking. Are you going to devote your life to music? Oh, no. Surgery. And you? Well, surgeons come in handy at times. May I keep this? Well, you're the one it was written for. Midge. Please don't. Midge, listen, I'm... Midge. Stop it. Please. Why? Why did you do that? Why? I suppose I should have expected something like this. Coming here, you were no more than polite. Oh, no. Now, please, I... Oh, I'm always getting into idiotic situations. I quite understand how you got the impression that this would be my idea of a perfect way to pass the time. Oh, no. I didn't think anything of the kind. I didn't mean to kiss you. Then why did you? Well, because I'm in love with you. Well, I'm not in love with you. At least... At least what, Midge? I... I'm not sure what. Oh, Midge, I... Well, good evening. Francis, well... Come in, Mother. Francis, dear. I thought I'd find the lady friend in this room. How nice. Well, what are you doing here? Surprised, aren't you? And as for you, you cheap, chorus girl. Francis, you... Who is this girl, anyway? Well, we... We're engaged to be married. We were engaged to be married. My dear. My dear. Oh, that's all very well, Mother. But if you think I'm going to walk into my fiance's room and find him with this woman and say nothing about it... I'm afraid this is all a little over my head. I suppose it means something, but I don't know what. Paul might have explained it to me, but he didn't. Thank you all for a most entertaining performance. Now you've fixed it. That was Miss Mercer, the dean's daughter. What? Oh, the dean's daughter. In the first place, I don't believe it. In the second place, what was she doing in your room? Whoever she was. Now you keep quiet. I'd like to know who asked you to come into my room sneaking in trying to catch me at something. Children, children, really. Why are we going to have this out? Yes, you bet we are. Francis, dear, I won't allow it. I can't. Where's your dear, sweet, deserving chorus girl then? Or are you afraid I defend her too? Well, you offend me. I'll tell you that. Oh, I do. Yes, you do. Children, children. I'm not a complete fool. Yes, you are. You'd wait till I get a chance to explain. I'll wait for nothing. Come, Mother. I'll listen. No, I hate you. And I wouldn't marry if you had twice as much money. Hello there, buddy. Who are you? This is both Jones' room and he's out of town. Oh, that's all right, fella. I ain't looking for no-boy Jones. I got a date with a dame in the city college somewhere. You can't hang around in here. Feed it. I ain't going to hurt nobody. Kids, take it easy. Take it easy. I just want to catch me breath. Well, cut your breath, old son. Now look ahead, giant. If you don't get out of here, I'll serve for some of the boys down there. Come here. Let's take a good look at you. Hey, yeah. You go to school here, kid? No. I just come down to visit my cousin. Oh, you're just here on a visit, huh? Yeah. Going back home tomorrow. Yeah. Back to the highlarity. Huh? Hello, Carly. Oh, what do you mean? The boys down at the highlarity asked me to look you up to your shit. Give my regards to Carly Flegg. I'm not Carly Flegg. I'm not Carly Flegg. Oh, so you ain't Carly Flegg. No, no, I'm not. You know why I'm here, Carly. The bull's just looking for you as a witness. You might tell them what you've seen that night. I didn't see anything. I tell you, I didn't. Yeah. But supposing the bulls went to work on you with a rubber hose. Oh, I didn't see anything. I tell you. We ain't taking no chances. You and me is going for a ride. Oh, you keep away from me. And ain't no use, Carly. Let's get going. Oh, no. Shut up. Shut up. Here, I'll put you in the bush. No, no. What's the matter? What's the matter? Oh, Paul. Paul. Hey, what are you doing here? I'll get away from her. Get away yourself. Look out. He's got a gun. Oh, boy. I'm scared. Who? Who is he? He's a gangster from the Hilarity Club. He wants to take me away from here so the cops couldn't get at me. You mean he came here to take me? Yeah. To rub me out. Gee, you saved my life. Good lord. I bet he's got his whole gang with him. What do you mean? Yeah, yeah. You see? There. Now what did I tell you? He's coming in. Well, suck him. Suck him hard. Hey, what's all the rump is about? Ow. What's your hit him for? Shut that door. Who's he? That's Mr. McNiel, the best friend I got. Well, how did I know that? He's going to get me in the movies. You just went and ruined my whole career. Now look here, Curly. I'll bet he's dead. Oh, dear. Shh. Maybe that's one of them. Now grab that vase on the table and stand behind the door. When I open the door, let him have it. All right. I got it. Walton, what's the meaning of all this? Oh. Oh. Will you look at what you've done? Dear, I blew not like a light. Who is it? That was only Mercer, the dean of the college. Well, that makes us even. We pause for station identification. This is the Columbia Broadcasting System. While waiting for Act 3, if she loves me not, starring Bing Crosby, Joan Blondell and Nan Gray, we'll have an interlude with a real student from a real college. Many people have the idea that a modern college consists of a football field surrounded by pretty girls and a few classrooms. But while the University of Southern California has its share of gridiron heroes and dazzling co-eds, it's also one of the finest schools on the West Coast. And I believe the only university in the world offering a complete course in cinematography. Cinematography is a college word, meaning the art of making motion pictures. To tell us what Hollywood in a classroom is like, I've chosen one of the students at random. She's turned out to be Miss Yuna McClelland. And if beauty is a requirement in cinematography, I'd say Miss McClelland must be on the honor roll. That's all very nice, Mr. DeMille. But it may lead some people to believe that all we're interested in is in becoming stars. Actually, we haven't any illusions about becoming garbos or gables. We simply realize that motion pictures are one of the greatest forces in modern life. And we think it's a good idea to know something about them. By this, I mean a knowledge of such things as makeup, writing, producing, directing, and photography. These are some of the subjects we study. And while our work can't be compared with what you do in a real studio, we can and do start from scratch and turn out pretty good motion pictures. With the university only a few miles from Hollywood, our studios ought to be of some help to you. They certainly are. Without their help, our course couldn't be nearly as interesting or successful. They aid in many ways. They let us use their studios and laboratories for experiments. Then they've been very generous in lending us stage settings and costumes. And every year when our Varsity Club puts on its stage show, they help us out in coaching. Famous actors and personalities like Adri and the designer lectured to us from time to time. And here's something else I've learned from our contacts with the studios that practically every movie star uses luxe toilet soap and has used it for years. I've heard them tell about it right on this program. Of course I'm not a movie star and I don't ever expect to be one, but you may still be interested in my opinion. I use luxe toilet soap regularly and I'm sincerely enthusiastic about it as a beauty care and a lot of my friends use it too. Now let me see, how else have the studios helped us? Oh yes, one of the greatest things they've done for us is to use students as extras. They've aided many boys and girls to pay their way through school. USC students may be seen in several current pictures. Among them Wells Fargo, Navy Blue and Gold and life begins in college. And the university helps Hollywood. Your campus and buildings have come in very handily for some of our new college pictures like Yank at Oxford and Holdham Navy. Tell me, do these students still regard it as an event to have a movie company photographing on the campus? Of course it always gives us a big thrill even if the stars remain very professional as they always do. After a visit from Robert Taylor the school might just as well close down as far as the girls are concerned. It takes us quite a while before we're able to do much concentrating again. Among USC alumni who've made splendid connections with studios I can think of Lawrence Tibbet, Buster Crabb, John Wayne and Cotton Warburton. But I can't think of any girl graduates who found jobs. Well, after all I guess the girls are more interested in finding a husband with a job. They're finding a job for themselves. Thank you. Thank you, Miss McClellan. Our Bing Crosby, Joan Blundell, Nan Gray and our All-Star cast in She Loves Me Not. Playing the good Samaritan to the lone little chorus girl has turned out an expensive gesture. To date it has netted our hero one broken engagement, one blasted romance and a splitting heading. In his room Paul walks the floor nervously biting his nails. Curly enters in the very highest spirits. Mr. I missed what? You should have stayed upstairs. You came to and we took pictures. Of course the dean wasn't conscious yet, but just wait till he sees them. Yes. Just wait. Then I posed with the gangster boy. Come on upstairs. I'll let him take one of you. No. Oh, come on, poorly, poorly. Well, you listen to me a minute. Thanks to you I've just written a letter resigning from college and thanks to you I've just sucked a man on a jar who's the father of the only girl I... Well, the only... Well, forget it. Now listen. They're gonna star me in the movies. Listen, will you get out of here? All right, but listen, you'll be sorry when you see my picture in the paper. I'll be sorry if I ever see your picture any place. Goodbye. How do you feel, father? Oh, terrible. Drink your coffee, dear. Didn't you tell them who you were as soon as you became conscious? No, not immediately. But why not? Well, I couldn't believe I was conscious. When finally I did break loose they kept snapping their cameras at me and that picture of me kissing the chorus girl is fake. You don't need to tell me that, father. Father, must both of those boys be dropped? Are you preparing to defend them? Your friend, Mr. Lawton, for instance? I have no defense for Mr. Lawton. Not now. Not any longer. Oh, Miss Mercer. Yes, Martha? There's someone on the phone for you. Oh, I... I'll take it in the office. Excuse me, father. Don't be long, Midge. Hello? Hello? Goodbye, Midge. What? This is Paul. I said goodbye. That's the toughest part, so I want to get it over first. Oh, goodbye? Good luck. Well, wait, wait. Don't hang over. Goodbye's are over. Well, we... couldn't we talk our way back? There's no... nothing to talk about. You think I was trying to play two girls at once, huh? I counted three one day. That is, if I was included in your calculations. Well, if I told you that I've never been in love with any girl in the world except you, would you believe me, Midge? Would you? No, I wouldn't. Maybe your fiancé will believe it, but I don't. Well, I... I didn't think you would, but it's true anyhow. I'm... I'm leaving Pernell today for good. Hello? What? You started by saying goodbye. Well, I... I suppose hello is the end. Well, wait. Don't... don't hang up. Please don't. Are you crying? No, I'm not. Midge. Yes? I'd like to have you listen to something. If you would, it's... it's another song for you. Can you hold the phone, Midge? Oh, no, it isn't the spring It's love in blue My heart was a desert You planted a seed And this is the flower This hour of sweet hope Is it all a dream? The joy supreme That came to us in the gloom You know it isn't a dream It's love in desert And you planted a seed And this is the flower This hour of sweet hope Is it all a dream? The joy supreme That came to us in the gloom It isn't a dream Hello, Midge. You here? Well, that's... that's how I feel, Midge. That's... that's really what I think of you, darling. You're... you're... you're listening aren't you, Midge? Hello? Hello, Midge, are you there? Midge? What number are you calling, please? Oh... Supercell Newsreel brings you Senator Gray, who comments on the situation raging at Pernel University. Senator Gray. I am not a graduate of Pernel University. My university was out of hard knocks. But if the newspapers of this great country reported correctly the recent events at Pernel, I feel very strongly that a grave injustice is being visited upon the students involved. The girl of the hour, Curly Flag, tells her story. It was a dreadful experience for a girl like me. I was dancing at the Hilarity Club in Philadelphia. I love dancing so much that where I dance, don't matter. I'm above my surroundings. The Pernel boys who took me in and chatted me were just wonderful to me. Just wonderful. I'll never forget them. Never. They'll always be just my boys. Buzz Jones, one of the boys who was dropped. We students who were dropped by Pernel University have no complaint to make against the college authorities. And if the faculty still feels that we no longer deserve to be graduated from Pernel, then all I can say is that rather on the football field or in life, Pernel men can take it. Can I help you with your trunk, Buzz? Oh, it's just about finishes. I got the books back. You know they're ready? We can make the 9-10, huh? Yeah. Well, goodbye, Pernel. Oh, cheer up. Ten years from now we'll laugh at being busted out and everything. Paul, did you ever think if we hadn't come to Pernel, you and I couldn't have gotten acquainted? Well, that would have been a swell break for you, boy. What's that? I don't know. They ought to have these windows cleaned. They're cheering for somebody. Let me see, Buzz. Hey, look who it is. They're back. Who? Curly flag and that press agent of your father. Oh, haven't they caused enough trouble around here? Oh, Buzz. Oh, you, Mr. Lawton, I'm glad to find you together. Ms. Flag has come all the way from New York to thank you boys. Come in, Ms. Flag. My boy! Oh, give it, William. Shut that door. Oh, boy, boy! Don't feel so bad about being canned out of college. Sure, sure. Let's be friends. Let's all be friends. Now, I've got a camera set up outside, and I want to get a picture of you two boys and Ms. Flag together. Forget it, McNeil. It can't be done. We're already suspended now, and all we need is one more flashlight with her, and we're going to get hanged. Look, I think that you and Ms. Flag had better go back to New York. Not before we get a picture. Well, you're not going to get one. Now, what do you know about that? Any bets? I'll bet you a poke in the nose if you try. These boys are just too young to appreciate what it means. Come in. Lawton? Jones? It's the dean. Get out. Yes, sir? Dean Mercer? The faculty meeting has just been adjourned. Yes, sir? The deliberate propaganda and official pressure brought to bear on the faculty in favor of you boys have had nothing whatever to do with their decision to reinstate you. You mean we're in? Yes, you're in. Oh, boy, oh, boy, oh, boy. Give us a kiss, will you, Deanie? No, now, take her out of here, will you, McNeil? Come on, Kurt, we've got some pictures to shoot yet. I want to get one of you jumping out the second-story window. Well, it's a long, fellas, and don't forget, even though I'm a star, I'll always think of you as my boys. Get out. Well, she's gone. Yes. Lawton, yes, sir? I think there's someone waiting outside for you. She is? Yeah, yeah. Oh, say, thanks, Dean. I'll see you later, Buzz. Three for Lawton! Lawton! Lawton! Wait a minute. Thanks, fellas, thanks very much. Really, excuse me a minute, won't you? I'm looking for... oh, meds, let's get out of this. I got to speak to you. Oh, Paul, and do you forgive me for hanging up on you? Oh, sure. Would you forgive me if I kissed you? I'm in trouble to ask me the last time. So why bother now? Oh, honey. Oh, Midge, hey, listen. Go away, Buzz. Hey, listen, they just took a picture of Curly jumping out of the window. Does it matter? Well, it does to your father. She landed on his head. On his head? Oh, gee. What's the matter with you two? Go away, Buzz. Go away. My heart was a desert You planted a seed And this is the flower This hour of sweet Is it all a dream The joy is so free That came to us in the gloom We say goodbye to old Purnell But we'll have Bing and Joan back For our valedictory speech Before we say goodbye to you Next to getting into the movies Would like nothing better than to be newspaper reporters. I can't blame them. Women reporters such as Molly Merrick Lead lives of color, drama, and excitement. Miss Merrick has been a feature writer At home and abroad for the San Francisco Examiner. Has doctored screen stories And written both novels and plays. Which is best known for the syndicated column, Hollywood in Person, Which she created some years ago. Just ten years ago, Mr. DeMille, to be exact, It makes my visit here The opening theme of an anniversary celebration. Well, then let's talk about the Hollywood of ten years ago. About the days when actors weren't forced To hide behind dark glasses Because crowds then were content just to stand And look at the days. Well, they want to come away with a tangible Souvenir of the encounter. Anything from an autograph to the suit of clothes The actor may be wearing. Perhaps in 1927 the players sought attention With almost as much intensity as they avoid it now. How true. Tom Nix was one of the big stars In his career, he Drived on Hollywood Boulevard in a snow-white car. It was a post-it and scarlet leather. He had his name on the doors and a huge set of Steershorns on the radiator cap. And baby Mary Osbourne, the Shirley Temple of 1927, had a pale blue limousine That no one could miss. With a large blue ribbon bow on the wheel. Today baby Marie is still a young girl. She's making her comeback at RKO. In the last winter when I was in New York I caught sight of a pair of stocking Miss Ankles at one of the fashionable hotels. It was a bitter cold day so naturally I was interested In seeing who had such hardy hood. It was Meeta Naldi, the great vamp Of silent films. She was the first actress to dare appear without stockings. She wore the first backless sundress. What were some of our present stars Doing in 1927? Well, a quiet little red-haired girl Was playing oriental types most successfully. That was Myrna Loy. Even then she had ideas of her own As to her proper type. And finally she fought her way to high comedy roles In Stardom. Bill Powell was a heavy villain a decade ago. And Francesca Garl, the leading lady Of Mr. DeMille's latest film, The Buccaneer Was entering the Hungarian State Stage Academy From which she was later dropped. For lack of talent, of all things. But eventually she amazed everyone By becoming the favorite actress of most Europeans. Gary Cooper was then A tall, rangy chap who played cowboy parts. Very small parts by the way. He didn't care about a contract He said he expected to make as much As a hundred dollars a week someday As a newspaper cartoonist. In 1927 the first picture with dialogue The jazz singer sent the whole colony Into a frenzy. Douglas Fairbank Sr. fearlessly prophesied That talking pictures would be a failure. And if producers insisted on making them Would eventually ruin the industry. Norma Shearer was less emphatic But thought they would be a dismal flop. She little dreams she would one day Play Noel Coward's sophisticated characters Or do Romeo and Juliet with Leslie Howard. They were named then unknown in the Motion picture profession. Since I've shown this evening how Hollywood Prophets have come to grief with their prophecy I think it's only fair that I should Lead with my chin and say that pictures In the near future will be entirely in color. In all honesty I must admit that I thought producer Walter wanger was a Little touched in the head when he told Me that five years ago. I can very safely make another prophecy. I'm not leading with my chin at all This time. The stars of ten years from now as it is today. And as it has been during the decade I have spent among them. Year by year new stars take their places In the Hollywood firmament. We no longer write about Phyllis Haver Or Billy Dove. Or Sue Carroll. Or Mary Philbin. We write now of Claudette Colbert And Simon Simon. And a score of others who are unknown To movies a decade ago. But the men who began picture making Producers never retire from their work Because they fully understand the limitless Future of this industry. I can think of nobody who exemplifies this statement More truly than our producer on this program Seth will beat a mill. I thank you. We will now let Bing Crosby Have a voice in the proceedings Accompanied by Joan Glendale. What would you like for an obligato Bing? Oh something about soap. I'm forever blowing bubbles. How about it Joan? I think that Lux's toilet soap is the finest soap in the world. For keeping complexions Lovely and healthy and smooth. And in case there's any doubt in your mind Let me tell you right now Mr. DeMille That I use Lux's soap every single day at home And at the studio. Speaking of reports Mr. C Where'd you get that first name of yours That sounds like one to me. Well I'll tell you back in the knee britches days When I was a wee little taek A mere broth of a lad as we say in Spokane I used to taught her around the streets With a gun on each hip. My favorite after school pastime Was a game known as cops and rompers And I didn't care which side I was on When a cop or robber came in view I would haul out my trusty six shooters Made of wood and loudly exclaim Bing, Bing. As my luckless victim fell clutching his side I would shout Bing, Bing And I'd let him have it again Then as his friends came to his rescue shooting As they came I would shout Mr. Crosby, now tell me another story No, so help me, that's the truth Ask Mr. DeMille. Aren't you making your next picture Another cops and robbers story? Yeah, that's right, it's from the old Henry yarn The badge of policeman or room So here am I playing cops and robbers again After all these years Good night Mr. DeMille. Thank you, you got it Mr. DeMille. Good night Joe. Our plans for your entertainment next Monday night Are announced presently by Mr. DeMille We dedicated our program tonight to the American Red Cross For by the Red Cross we mean you The people of America who are the sinew And heart of this magnificent organization It was you, the volunteer workers and givers Who went to the aid of a million sufferers When winter floods devastated the Ohio river basin You nursed, closed and rebuilt And provided for widows and orphans There will be future disasters whose effects You must forestall Victims of 1938 may be any of us Guarantee them help now Join the Red Cross through your local chapter What is being called? Answer with your name Give your support Mr. Cosby appeared through courtesy of The Craft Music Hall and Louis Silver's 20th Century Fox Studios where he's in charge Of music for the new Shirley Temple film Heidi. Mr. Folly's new picture Is Blossoms on Broadway. I return you now to Mr. DeMille A few weeks ago we presented A play based on one of the First great dramas of Edna Ferber Simmeron. A week from Tonight we present our radio Adaptation of one of her most recent triumphs Come and get it An exciting story of the colorful Timberlands of a man Who carved an empire and of a girl He could never forget Our play is the occasion for bringing you One of the greatest casts ever assembled On the stage of the Lux Radio Theatre It's headed by the same superb actor You saw in the film Edward Arnold And sharing stellar honors Anne Shirley, Walter Brennan Lou Ayres, Mary Nash And Madey Christians Our sponsors, the makers of Lux Toilet's Hope join me in inviting you To be with us again next Monday night When the Lux Radio Theatre presents Edward Arnold in Come and Get It With Anne Shirley, Walter Brennan Lou Ayres, Mary Nash, and Madey Christians. This is Cecil B. DeMille Saying good night to you From Hollywood The announcer has been melancholy This is the Columbia Broadcasting System