 Lux presents Hollywood. The Lux Radio Theatre brings you William Powell and Rita Hayworth in The Lady Has Planned. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. In motion pictures and radio, there's no substitute for Bill Powell. But teaming Bill and Rita Hayworth should make an excellent substitute for Dynamite. For years we've been measuring feminine popularity by mere box office returns and fan mail. Then along came global war and the pin-up girls. And there's hardly a lady now alive who's been pinned up on more barracks' walls than Rita Hayworth. We borrowed Bill Powell from the cast of the Metro-Goldwyn-Mayer picture, The Heavenly Body, and Rita Hayworth from the Columbia picture, Cover Girl. And tonight they co-star in the Paramount Thriller, The Lady Has Planned. The scene of the play is Lisbon, city of mystery and intrigue, where there's a secret agent on every corner, and the plans for a secret weapon are tattooed on a lady's back. War requires many different kinds of plans, and one kind embraces the subject of logistics. That's a $10 word for the military problem of supply. Housewives call it marketing, but it still takes a good deal of ingenuity, and one ingenious answer to that problem is Lux Flakes. Families must be supplied with food and clothing. Neither of these can be wasted in wartime. And when it comes to preserving washable clothes, Lux is the logical solution to your problem in logistics. It's like the superior equipment that arrives in the nick of time to turn the tide of battle. You never can depend on Lux, but you can always depend on Lux Flakes. Now let's investigate why The Lady Has Planned, starring Rita Hayworth as Sidney Royce and William Powell as Ken Harper. Hello Scousy, this is Baker. Listen, I've got those plans. Yeah, we've got a guy making a copy of them right now. Where? You're going to be surprised. It's October of 1941. Long after the musty loft buildings of the warehouse district have been locked for the night, and the cats have come to prowl, a solitary light burns in a draftsman's office. The old draftsman working at his drawing board crumbles as he figures with triangle and pen. For this is no ordinary assignment. He is copying plans for a proofread, copying them with invisible ink on the back and shoulders of a beautiful woman. Careful, will you? I'm sorry, ma'am. I'm not used to this sort of thing. I shouldn't bother you at your age. Have you got much more to do? No, ma'am. Hello Baker. What take us along? Oh, Rembrandt here likes his work. Take a look at it, will you? It feels like he's been playing tic-tac-toe. Very good. Well, it's finished. Yeah, very good. Is it dry? Yes, sir. Wipe it off with this stuff. Here. Is this fun? Oh, yes. Yes, sir. You sure that invisible ink is waterproof, Baker? I've tested it. Hand me those plans. Yes, sir. You have any idea what these plans are? I don't know. It seems to be a torpedo. Smart fellow, ma'am. Very bright. You guess $100, Baker. Will you take care of them? $100, huh? Yes, sir, but I don't... That's all right. You've done a fine job. I think you're entitled to a bonus. Just so you won't remember too much. All right, Margo. So far, so good. Now, here's your ticket to Lisbon on tomorrow's clipper. I take the space assigned to Miss Sydney Royce. Is that right? That's right. And here's your passport issued in her name. Say, uh, just what to keep Sydney Royce from going over herself? That's Joe Scalzi's job. He calls for Miss Royce tomorrow in a limousine, just before plane time. He tells her he's from Pan-American Airways, but on the way to the airport, he gets lost with her. It's very simple. She never even gets to the airport. Right. Now, look, when you get to Lisbon, go to the hotel by car. Your trunk should be there now. By the time you arrive, the Nazi and British agents will be informed that a Miss Royce who's stopping there has some very important plans drawn on her back. And they're for sale to the highest bidder. That's the idea. Once again now, just to refresh your memory. Is Sydney Royce what's her line? Miss Royce is from the United Broadcasting Company, going over to a sister man named Kenneth Harper. He's in Lisbon now. Yes, foreign correspondence. On the air from Lisbon every week. Good. Say, uh, has he ever seen the Royce girl? No. He won't know anything about her. Until you get there. Good luck, Margot. Good luck. See you in Lisbon. See you in Lisbon. The situation here in Lisbon on this morning of October 14th, 1941, is just as confused and uncertain as ever. And well-informed sources are as completely uninformed as always. This is Kenneth Harper, returning you to the United Broadcasting Studios in New York. We can do it all now. You're listening to Kenneth Harper, our correspondent from... Oh, Sydney? That was your new boss. Mm, but not for long, I'm afraid, Mr. Weston. How many reporters have you sent over there? Well, you'll be the fifth, Sydney. And he bounced the others back, like ping-pong balls. Well, admit Ken's a little difficult. That's why we decided to send you. Perhaps he needs a woman's touch. Got everything packed, Sydney? I hope so. Oh, by the way, does Harper know that you're sending a female this time? Oh, no. He probably wouldn't like it. Look, Mr. Weston, I need this job pretty badly. But I don't want to make this trip just to see how the Statue of Liberty looks on the other side. Oh, come now, Sydney. Harper must have a client. All you've got to do is find it. Well, it'll be like Stanley looking for Livingston, but I'm afraid I'll have to take a crack at it. Good girl. Hello? Yes, this is Ms. Roy speaking. Oh, but I just... Well, isn't he a little early? Well, wait a minute. What's the matter? Well, I guess I'm on my way. The Pan-American limousine is waiting to take me to the airport. But I've got a taxi downstairs. I wanted to talk to you on the way out. You know, it's... it's funny. I told him this morning I wouldn't need the limousine. Someone did forget it. Hello? Oh, never mind the limousine. I'm taking a taxi. Hello, Baker? Who is it? This is Margo. Listen, the whole thing's gone wrong. What happened? Why aren't you on that clipper? Listen, she never got in that limousine. She took a cab. She's on her way now. Well, stop her. Stop her. Don't be a fool, Baker. How can I stop her now? She'll be at the airport in 10 minutes. But look, those agents in Lisbon they'll contact the real Sydney Roy. What if they do? She doesn't know anything. Won't make any difference to us. Maybe, but I have a feeling it's going to make plenty of difference to her. Coming into Lisbon, fasten your safety belts, please. We're landing. Landing. Fasten your safety belts, please. Oh, good morning. What can I do for you, Mr. Harper? I just want to know if Sydney Roy's has arrived yet. Yes, this morning on the clipper, Mr. Harper. In suite, uh, suite number three. A suite? Uh, you mean room number three, don't you? Oh, no, sir. I don't know. I don't know. I don't know. I don't know. I don't know. A suite, don't you? Oh, no, sir. A suite. I was given special instructions. Okay. Come on, Frank. Ha! Suite number three. What goes, Ken? I don't know. This Royce guy must be the boss's nephew. No mere reporter could afford to live in a suite at this chandelier. If I were Royce, I wouldn't send my laundry out. You'd probably ship him back as fast as the others. Yeah, faster. I want a man who knows the newspaper game. That's some college kid. Pressure off the assembly line. Come on up and meet him. Oh, thanks. I'll come in tomorrow and see him off. All right. See you at the office. Uh, yes. What is this? Oh, I, uh... Excuse me. I'm looking for Sydney Royce. Is this his suite? Yes. This is Sydney Royce's suite. Uh-oh. Well, will you tell him Kenneth Harper is here? Oh, oh, come in. Thanks. I was just going to call you, Mr. Harper. Will you? I, uh... I didn't know Royce was bringing his secretary along. Oh, I'm not his secretary. I'm him. I beg your pardon? I'm Royce. Sydney Royce? Yes. You know, Mr. Weston said you'd be surprised. Oh, he did, eh? Well, sharp one up for Mr. Weston. Mr. Harper, this suite is lovely, but, uh, isn't it rather expensive? I wouldn't know, is it? Well, you should know. You're paying for it. Yeah. And where did you get that piece of news? Well, aren't you? And not unless I suddenly lost my mind. Well, but I don't understand of this apartment and all those clothes. Clothes? What clothes? Well, these trunks they're full of gowns and furs. Are they yours? Well, the bellhop said so, but I didn't bring them. Well, I thought, well, I thought perhaps you might have... Look, I don't know what you heard about me, Miss Royce, but, uh, I don't go in for this sort of thing. Oh, then it must be Mr. Weston. Weston. Well, you never can tell. You never know what are you? Now, just a moment. What are you insinuating? All I know is something's balled up here. I wanted someone to run around and dig up news. I wanted a leg man. But I'm your leg man. I mean, a leg with pants on it. I had a lot of newspaper experience, Mr. Harper. And besides, Mr. Weston said this job could use a woman's touch. Mr. Weston, uh, well, maybe it's worth trying. But you're not very happy about it. Frankly, I'm not. Oh, by the way, there were two messages for me when I arrived. Here they are Ronnie, Dean, and Baron von Kempf. Well, the boys are flucking around already, huh? What do you mean by that? Well, I know Ronnie Dean. Oh, really? What does he do? Well, when he's working hours, he's connected with the British Embassy. And the Baron von Kempf? The Baron is a Nazi hotshot. A bad taste in leaders, but an excellent eye for ladies. But why did they both leave messages for me? Miss Royce, I wouldn't even guess. Unless you dare me to. Mr. Harper, I'm here on a job. I wish you'd understand that. And you said yourself it might be worth a try. All right. You can't do any worse than the others. See these gentlemen, show me with them. They might let fall a couple of news items. If they do, you can reach me the office. Oh, yeah. But wait a minute. I don't even know what they look like. How do I get to meet them? Just open your door and watch out if you don't get trampled in the rush. Miss Sydney Royce, I believe? Yes. I am Baron von Kempf of the German staff. You have some business with me, have you not? Oh, yes, I, I guess so. Won't you come in there? Thank you. I have been waiting for you, Miss Royce. Oh, really? Well, uh, sit down there. I, uh, really didn't expect to start to work so soon. Do you want anyone to come in? What? Now, answer the door. Oh, I'm sorry, but it might be important. Yes? Oh, uh, hello. I'm Ronald Dean of the British Embassy. May I come in? Oh, well, it's nice if you call, Mr. Dean, but I, uh, well, I'm busy at the moment. Well, I'll wait, but I, I hope it won't be for nothing. You will give me a chance to talk to you. Why, of course. Thanks. How did that British learn you were coming here? The same way you did, I guess. Well, shall we get down to business, Miss Royce? Business? Oh, oh yes, certainly. Very well. Now, when you please come to the light, Royline, and, uh, just unhook the back of your dress, please. Of course you know that. What did you say? I said, would you mind unhooking the back part of your dress, please? Well, I certainly would. Please, Royline, I understand your hesitancy, but you must understand that my time is limited. Now, see here. Baron, I know Baron, you can't talk to me like that. I hope you are not going to be difficult, Miss Royce. Certainly you know why I am here. I've got a pretty good idea. Get out. Now listen, you have more ideas. Will you get out, or shall I call the manager, and have you put out? Very well. But you are playing a dangerous game, young lady. Ah, leaving Baron? Oh, Miss Royce, I'm still waiting. Miss Royce, you had better think carefully before you deal with this British. Get out. Go on. So long, Baron. Well, who does he think he is trying to get personal with me? Oh, so that's what happened. Stupid of him, I'd say, under the circumstances. Did you ever hear of such gall in your life? I only let him in because it's my job. Precisely. Well, don't you let him scare you, and if you need any protection... I don't need any protection from that old... Well, you look quite capable, I must say. Well, Royce, shall we dispense with the preliminaries? By all means. Splendid. Now, suppose you just zip open the back of your dress. Why you? Well, after all, you don't want me in the bag. Now, now, just... Get out! No, but really, I mean... Get out, I say! No, I'm sure if we sat down and talked it over car... There's nothing to talk over! Get out! All right, I see your plan. You think you can get a better offer from the Japanese. Oh! I'm glad you came back, Mr. Harper. I want to have a little talk with you. I saw the performance from down the hall. Well, I suppose you got the low down on the entire foreign situation. How did those two international wolves become diplomats? Did you get any news? My mother was right. All men are snakes. I was insulted. Oh, that's not news. Mr. Harper, I don't like your attitude. Me? You're seeing them again? I'm not. Oh, let's not be impulsive. If they're interested in you, we're in a good spot. All you have to do is telephone those two Romeo's and clear your balcony for action. Not on your life. I wouldn't go near those two again without a convoy. Mr. Royce, I thought you came here to be a newspaper woman. That's what I thought. Well, no newspaper woman would let a little thing like a couple of passes stand in the way of a story. All you have to do is get them alone one at a time. Get them talking. They don't talk. They're men of action. Look, Miss Royce, I'll tell you what I'll do. If you can finagle an important story out of them, I'll see that you get all the credit. I'll give you a byline. I'll even put you on the air. You'll be a fine and correspondent, writing columns, making lecture tours, traveling like Mrs. Roosevelt. Well... In other words, just to get a good story, you're willing to toss me to the wolves. Is that it? Well, that's putting it rather bluntly. Well, I'm putting this bluntly, too. Get out of here. Miss Royce... Get out! Ah, no, no, no. Let's not get into it. Get out! Get out! Get out! You know what you need here is a revolving door. This is Mr. Kenneth Harper. Well, this is Ronnie Dean. Mr. Harper, I'd like to see you this afternoon at the United States Embassy. Yes, I'll be in John Miles' office. It's very important, Mr. Harper. Thanks. This girl is a spy. Well, frankly, can't we know nothing about her here at the Embassy? It was the British intelligence who first got word of the plan. Judging by Baron von Kemp's actions, our report was correct. Well, she certainly doesn't look like the type to me who's going for spying, certainly not for murder. There's no such thing as types for murder. You could be the murderer yourself, Ken. Oh, nice of you to say so. But this Royce girl, by the way, she isn't the Royce girl, is she? Certainly not. She's only here to sell those plans to the highest bidder. All right, what do you want me to do, gentlemen? Well, being a woman, we thought Miss Royce might be susceptible to a little romance. Oh, that's our gentleman. No love making to a murderer's for me. When I kiss a girl, I close my eyes, and I always like to be able to open them up again. Well, there's no reason to get as far as the mushy stage, old boy. All we want you to do is to get the plans off her bank. And how do I do that, playing leapfrog? Mr. Harper, you're a newspaper man, a foreign correspondent. Have you stopped to think there'd be quite a feather in your cap if you'd recover these plans? Yeah, it might be a pretty good story if that. A story? Why? All right, gentlemen, hand me the phone, please. What are you going to do? Tonight, I woo the bare boy here. Mr. Dean, stick around. What do you want? I may need medical attention. Hello? Miss Sydney Royce, please. Take her to dinner. That might stop the bowl rolling. Yeah. Hello? Miss Royce? This is Ken Harper. And don't hang up. Miss Royce, you were quite right this afternoon, and I'd like to apologize. Yes. Well, am I forgiven? Oh, well, that's fine. Ask her for dinner. Yeah, by the way, would you have dinner with me tonight? Good. What? Oh, what should you wear? Well... Anything with a low back. Anything with a low back? I tell you, suppose we put on a swank tonight, huh? Let's make it strictly formal. Fine. Goodbye, Miss Royce. Well, gentlemen, I'm off to the wards. Be careful, Ken. Watch yourself. Don't worry, Captain. I'll withhold my fire till I see the white of her shoulders. Mill presents act two of the Lady Has Plans, starring Rita Hayworth and William Powell, in just a moment. But now, let's look in on young Mr. and Mrs. Bill Howard. Mrs. Howard seems to be doing some heavy thinking and doing it out loud. 16 and 8 makes 24, from 48 leaves, 24 times 3. Oh, Pete's sake, honey, are you doing Junior's arithmetic? Oh, no. Silly, it's my point. Well, you have some points. There aren't many left, though. Well, you still have your old teeth and your hair's kind of pretty, and I always did like your hand. Oh, idiot, it's ration boys I'm doing. Ah, you're too pretty to be so rational. Now, Bill, stop it. How can I figure with you holding my hand? Excuse me a moment, Mrs. Howard. Oh, yes, Mr. Kennedy? Well, Mrs. Howard, that hand-holding scene, tell me, do women like to be sentimental, like men to be sentimental that way? Oh, they certainly do, Mr. Kennedy. Wives like their husbands to feel romantic about them and think their hands are too little and soft to be any real use at all, even though they work harder than any two men. Well, in that case... I'll say it for you, Mr. Kennedy. It's you men who make many of us use luxe flakes, so our hands stay nice in spite of housework and dishwashing. Just to please us men? Well, mostly. But you'd use luxe flakes for dishes, too, if you'd ever dried a strong soap and felt how it dried out your skin. Yes, I know. That has been proved in actual tests, hundreds of them. With new improved luxe, hands stayed soft and white, while after strong soaps, they looked very red and rough. Changing to luxe flakes actually got rid of dishpan redness. Women can prove that same thing in their own dishwashing. Right. You'll find the new improved luxe in that familiar blue box right now, and it's the mildest, gentlest luxe ever made. The very kindest to hands. It's thrifty, too, because new improved luxe actually gives richer, longer-lasting sud. Why not change to luxe for your dishwashing tomorrow? Now, our producer, Mr. DeMille. Act two of the Lady Has Plans, starring William Powell as Ken and Rita Hayworth as Sydney. Convinced that Sydney Royce has the plans printed on her back, Ken Harper has invited her to dinner. The lovely lady is wearing her most revealing evening gown, but for some reason, the plans don't seem to show. What are you looking at, Mr. Harper? Hmm? Oh, uh, I, uh, I was just admiring your gown. Uh, but why the back of it? Yes, yes, lovely. Oh, thank you. Oh, what a wonderful place. How will I ever be able to go back to drugstore dinners after this, Mr. Harper? Well, what I always say is it doesn't matter where you die, it's the company you're with. Really? Is that what you say, Mr. Harper? Always. Well, does it get you anywhere? Never. Well, I don't believe that, Mr. Harper. Hey, look, can't we drop this Mr. of Miss Routine? Well, you said it was to be strictly formal, Mr. Harper. I didn't want to be missed it all night. All right, we'll drop it. Good. Hello, Harper. Hmm, hello, Royce. Now, we're really getting chummy. You know, you're a strange person. I can't quite figure you out. Well, frankly, you're a little peculiar yourself. Yes, my friends tell me that. Well, it's true. You know, this afternoon, you were just a frozen-face correspondent with a one-track mind. Now all of a sudden, I discover that you can smile. Oh, that's nothing. There are times when I could even manage a light snicker. Ha, ha, ha. You see, this afternoon was business, but the light... I know. You're a man of mood. You have different sides to your nature. Uh, yes. And what side are you getting ready to show me now? Well, around you. Soft lights, champagne, a beautiful companion. Uh, stop me if you heard this one, Miss Royce, but you are very beautiful. Say, what is it about Lisbon that makes men so impetuous? Maybe it's you. Well, it never happens to me in New York. But over here, the minute I'm alone with a man, he insults me. Have I insulted you? Not yet. But, uh, there's a familiar light in your eye. I wish you'd put it out. All right, click. It's out. But it might go on again at any minute. Oh, please can. I've had a tough enough time with all these foreign entanglements. I'm in no mood now to fight off the home guard. Your pardon, sir. A gentleman at the bar wishes to speak to you in a moment. Oh, thank you. Would you excuse me? Oh, go right ahead. Probably. Oh, don't worry about me. Papa, over here. Yeah. What do you want, Dean? Well, I was just anxious to find out how you're doing, oh boy. Well... Well, so far I'm a flop. What about the plans? If she's winning a set of plans, she'll be drawn on with invisible ink. Invisible ink? Of course. Did you expect her to be in braille? How much time do you think you'll need to win her over? Well, the technique seems to have changed a bit since I went to college. I say from now on. From now on, my boy hours may count. This calls for drastic action tonight, immediately. What do you expect me to do? Knock her down and drag her out? Well, that's an idea. No, it's undignified. I've got it. You can carry her to my room. Oh, well, that's simple enough. I just put a half melsen on her and hoist her upstairs. No, no. I've got a plan. You see the... the bartender's a pal of mine. You mean you want me to slipper a Mickey Finn? No, no. Not a Mickey Finn. Just a little something to get her drunk very quickly. That's all. Oh, no, that's out. I couldn't have that on my conscience. Well, then, suppose I come over to the table and order the drinks myself, and then you can blame the whole thing on me. Well, I... I don't like it, but... Good boy. Oh, uh, Michael, come here. Uh, yes, Mr. Dean. Another drink, senor? No, not now. Look, Michael, I'm going over to Mr. Harper's table. I'll order three Napoleon brandies. Now, one of them, Michael, the one you'll serve the lady. Well, I'd like a little, um... a little gunpowder in it. Gunpowder? Oh, wait a minute, Dean. Oh, it's just an expression, old boy. Michael knows what I mean, don't you, Michael? Yes, I believe so, Mr. Dean. Splendid, and, uh, not too strong, Michael. No. Just enough to knock a flower to face. Listen, Dean, this is bad business. Come on, come on. It's inhuman. Good evening, Michael. Good evening, Baron Von Kemp. Wasn't that Mr. Dean who just left? Yes, Baron. Well, what did he want? There's something strange is going on, Baron. I am to put knockout drops in the lady's brandy. I see. He will have to change that order, Michael. The gentleman will have the knockout drops. Yes, Baron. And the lady? For the lady? Just plain brandy. Very good, Baron. You should forgive me, Miss Royce. I was very un-gentlemanly yesterday. I haven't forgiven you yet, Mr. Dean. Oh, come on. I said to you, Mr. Dean couldn't help it. After all, he wasn't entirely responsible. Were you running? Well, I know, certainly not. What do you mean? Well, it happened in the last war. You know, shell shock. There's not right running. Yes, but I'd rather not talk about it. I just wanted to explain. You see, Sidney, his mind goes blank. Yes? Well, there was something on it when he called on me. Free Napoleon brandy. Ah, yes, just put them down, waiter. Who ordered these? I did. You won't refuse to have a drink with me, Miss Royce. Oh, I guess not. Fine. Well, here's looking at you. Here's how. Ah, excellent brandy, isn't it? Yes, very good. Yes, isn't it? Say, what's the matter with you? What are you looking at? Nothing, nothing at all. How do you feel, Sidney? I feel fine. Why shouldn't I? Oh, no reason. Well, here's looking at you. Here's how. Ah, wonderful. Excellent, excellent. Don't you agree, Miss Royce? It seems to me we've been all over that. So we have. So we have. Now, look. Look, what's going on here? Is my nose crooked or something? What's that? Well, the way you're staring at me, it makes me feel uncomfortable. Why should we stare at you? Well, I don't know, but stop it. Well, you're feeling all right, aren't you? I told you yes. A toast. I propose a toast. Miss Royce, I drink to a lovely lady. May your visit in Lisbon be as happy as... Oh, Ronnie. Oh, what's the matter with him? That's the funniest thing I ever... Hey, where? Would you come here, please? Well, pick him up. Pick him up. Just be calm, Miss Royce. There's nothing to worry about. He's fainted, that's all. It's happened before and it'll probably happen. It'll probably... Again? Oh, the earthquake over yet? Who are you? I'm Harper. Who are you? Oh, I'm Dean. How do you do? How do you do? Say, how do I know you, Harper? Can you identify yourself? I got a small black stash. Yes? Have I got big pink eyes? Uh-huh. That's me. Okay. Pick up the receiver, oh boy. Hello? Yes. Talk quietly, please. Well, this is Sydney Royce. I just called to tell you I'm quitting. Okay. What? I'm quitting. I'm going back to New York. No, no, no. Wait, wait, wait. You... Goodbye, Mr. Harper. Hello, hello, wait. Hello. Hello. Dean, please. Open the door. Well? Oh, hello. What do you want? We just want to ask you a few questions. Yes. Something went a little wrong last night. You wouldn't have any idea what it was, I suppose. Well, it seems that you two guzzled a whole symbol full of brandy. Now, if you don't mind, I'll ask you a few questions. Close the door, Ronnie. Right. Now, just a minute. Lock it. Right. Say, what are you two leading up to now? Unlock that door. It's time we dropped this sham, Miss Royce. Sham? What are you talking about? Let me out of here. No, you don't. Ronnie, see if she's packing a gun somewhere. It's all right. No gun, oh boy. Well, are you crazy? Why would I be carrying a gun? Why does anybody carry a gun for protection? Or maybe for murder? Murder? Ronnie, got your camera ready? All set, oh boy. Wait a minute. What's that camera for? We're going to take some snapshots, Miss Royce. A few informal portraits of your back. Listen, if you dare to lay a finger, get away from me. Hold her arms, Ronnie. No, stop it. Listen, I don't know what this is all about. It's about the plans, Miss Royce. What plans? The plans that someone drew on your back with invisible ink. When? You see that little bottle, Miss Royce? This is what is known as a reagent. A few drops, and the plans become clear. Then we photograph them. Afterwards, we apply a spray from this atomizer here, and the plans are erased. For good. You see, we know our technique. I gather from all this that you think I'm some sort of a spy. You gather correctly. Well, this certainly explains a lot of things. Yes, and the photographs will explain even more. Get away from me. I'm warning you. Miss Royce, are you going to be troubled? I certainly am. I'm an American citizen, and I have my right. What American citizen are you? Well, suppose we drop around to the United States Embassy just to make certain. I'm sure you'd enjoy that, Miss Royce. I certainly would. Let's go. You? Oh, you mean you're willing to go? I'm not only willing, I insist on it. And right now. Well, Mr. Harper, I hope you're satisfied. Look, I said I was sorry, didn't I? I apologize in front of the whole Embassy. You said I was a murderer. Well, a man can make a little mistake. A little of a mistake? It was only natural. This other girl was supposed to come over under your name. She's a killer. She's already committed one murder just to get the plan. Oh, oh, I'm sorry. I had no idea it was a serious assault there. Well, did you get into this mix-up just to get an exclusive story? Say, any newspaper man in the world would give his right arm to break this yarn. Yeah, I suppose so. Oh, wait a minute. A driver, do you know where I can find a chemist? Chemist? I was buying one. Thank you. What's on your mind? Mr. Harper, how are you on mechanical drawing? I don't know, why? Because we're going to get some invisible ink and you're going to draw some plans on my back. Oh, nice work. You can draw it. I warn you, you're doing this against my advice. No, I'm not asking your advice. You think they don't know what this drawing is? Well, it turns out to be something. I haven't invented it. What I've copied on your shoulder blades is a combination harvesting machine and barbershop clipper. Very fragile. Not only cuts the hair, but ties it in little bundles. So, what about that little atomizer that takes it off? I'm taking care of that. I wouldn't want you to go through life with a load like this on your back. Ah, there we are. Fini, think I ought to sign it? I wouldn't bother. Well, this ought to hold the Baron for a while. We hope. I suppose in the meantime you think the matches are going to break down and tell all. Well, there's a chance I may learn to spy his real name. Now, is that important or isn't it? Yes, I suppose so, but look at the chance you're taking. Why, any newspaper woman would give her right arm for a chance like this. All right, all right. Your own neck is sticking out. A rather lovely neck, too. Why, Mr. Harper? Look, I wish you wouldn't do it, said me. I'd hate to have anything happen to you. Because you're irresponsible? Well, let's say it's because I feel lonely. Why, I think you mean that. But we hardly know each other, we're practically strangers. Is that the way you feel? No. Neither do I. Look, Ken, let's not talk about it. Let's talk about it later, shall we? It's a date. All right. Well, here I go. I imagine a baron will want a photograph of his harvesting machine, so I may be a little wild. If I'm not back in a couple of hours, well, you might look into it. Sidney, are you sure it's worth it? You thought it was. So long, Ken. Hello. Oh, hello, Frank. I'm at the studio. Didn't you know you had a broadcast tonight? I'm making all right. Is your stuff written yet? I've got to go over it with you for timing. Look, I can't get away now. I'm working on something big. Well, what are you going to get over here? Give me about two hours. Well, I'm glad you finally decided to do business with us, Miss Royce. I'm sure it'll prove more profitable in the long run. If I hadn't thought so, Baron, I wouldn't have come here. Ha, ha, ha. So long gone, Ken. Yes, Miss Schlinger? We have developed a negative baron. Where is the first print? Ah, let me see. That is perfect. Every figure, every line. But what is it? Well, I will let our engineers figure it out. Oh, yes, Baron. Get your best engineer. You are a very clever young lady, Miss Royce. How would you like to do another job for us? Well, oh, I'd be very happy to, Baron. And, uh, you don't need to call me Miss Royce any longer. Oh, yes, Miss Lennox. Margo Lennox, is it not? Ah, yes, Margo Lennox. Ha, ha, we have a vey of finding things out. Uh, what about this new assignment, Baron? Listen carefully. Tomorrow you will take the clipper to Trinidad. There you will wait for Mr. Arthur Anderson, who will arrive on the SS Southern Queen. Yes. Mr. Anderson will give you some very important photographs. You will deliver them to the manager of the Lotus Hotel in Tokyo. The necessary passport and papers will be ready for you in an hour. I'll be back for them. Good. Just a minute. Yes? He just arrived from New York. Baker, there, send him in. Yes, sir, Baron. There. Sit down a moment, Miss Lennox. Your friend, Mr. Baker, is here. The Baker? Paul Baker from New York. Oh. Oh, that, Mr. Baker. Ha, ha, tell me, was it his idea to draw the plans on your back, yeah? Well, yes and no. Look there, and I'll run along. I'll look Paul up later. No, no, no, please. Well, you see, I... Yeah, Baker. Good evening, Baron. Good evening, Mr. Baker. Ha, ha, I don't think the lady needs an introduction, does she? Well, I don't... Well, Paul, Paul's in here. Well, this is a surprise. Really? Oh, you're looking simply marvelous. Did you have a wonderful trip? How did you come? My clipper? Yes, but I don't... Oh, tell me, how is Mrs. Baker? Oh, she's fine. And all the little bakers? There aren't any little bakers. Oh, I'm so glad to hear this. Well, I've got to run along now. You know, lots of things to do. Goodbye, Paul. Goodbye, then. Who was that? Who was it? Sidney Royce. And it's Margo Lennox, I mean. That was not Margo Lennox. I just arrived on the clipper with Margo Lennox. What? That girl is a real Sidney Royce. Hello. Hello? Listen, a girl is just leaving the office. Stop her. Bring her back. I don't care if you have to kill her. Don't let her leave the building. We pause now for station identification. This is the Columbia Broadcasting System. After a brief intermission, Mr. DeMille returns with Rita Hayworth and William Powell for the third act of The Lady Has Planned. But now, we want to tell you about that wonderful flower seed bargain the makers of Lux Flakes and Lux Toilet Soap are offering. If you hurry, you can get six big packets of flower seeds for what you'd ordinarily pay for just one. Six packets for only $0.10 and either a Lux Flakes opening tab or a Lux Toilet Soap wrapper. Their flower garden favorites packed especially for us by one of America's largest and best known seed companies. And to make them even more of a bargain, they've all been treated with plant hormones to make them bloom earlier and give you bigger flowers. Think how they'll dress up that victory garden of yours. And some of them will go in window boxes too so you can have fresh flowers even in a city apartment. You'll find planting directions and suggestions for garden arrangements on the back of each packet. Here's the list of what you get. Six different kinds. Shirley Poppies. Single and double ones with wonderful long stems. Then there's Candy Tough and Heavenly Blue Morning Glories and Giant African Marigolds. And zinnias. Prize-winning ones, the kind they call Daniel Flowers. And tall, stately cosmos in white and shades of pink and crimson and purple. You get all these six different kinds of seeds for just $0.10. But you must send in at once. Here's what you do. Take the opening tab from any side box of Lux Flakes or the wrapper from a cake of Lux Florida soap. Mail it with $0.10 in coin, no stamps please, to Lux Flower Garden, Box One, New York City. Lux Flower Garden, Box One, New York City. Be sure to enclose your own name and address of course. Your dealer has a handy order blank that you can use and please allow at least two to three weeks for the seeds to reach you. Remember, for each set of six seed packets you order, send $0.10 in coin and either an opening tab from Lux Flakes or a Lux Toilet Soap wrapper to Lux Flower Garden, Box One, New York City. This offer expires May 31st and is good only in the United States. Now, Mr. DeMille returns to the microphone. After the play, you will meet our stars. And you'll also hear from another big star who's a special guest here tonight. Now the curtain rises on the third act that the lady has planned, starring William Powell and Rita Hayworth. Two hours are up and Sidney Royce is still not returned. In his hotel room, Ken Harper paces the floor nervously. There's a knock on the door. As he opens it, he sees a very beautiful girl. She is Margo Lennox. Well, hello. Oh, I'm sorry. I'm looking for Miss Royce. Well, won't you come in? Thank you. She isn't in right now, although I expect her back very shortly. She's out on an assignment. Assignment? Oh, yes, for the broadcasting company. And are you with the UBC? Yes, I'm Kenneth Harper. And you? Oh, just a friend of Miss Royce. Oh, friend from New York? Yes. By the way, how's she been getting along? Well, she really hasn't had a chance to get started yet, although I expect her to be of great help. Tell me, Miss, what did you say your name was? Oh, I'm so glad Sidney's getting along so well. Yeah, yeah, so am I. Of course, her wooden leg is a bit of a handicap. Wooden leg? Yes. Yes, I thought all Sidney's friends knew about her wooden leg. Oh, oh, yes, yes, of course. She, uh, she hides it rather well, don't you think? Yes. Well, um, well, I'll run along. Oh, wait a minute there, there's no rush. Let's sit down and have a little chat. Oh, thank you. What shall we talk about? Well, uh, let's make it personal. Let's talk about you and those plans you've got on your back. You're a very bright man, Mr. Harper. Thank you. My friends all tell me I... Hmm. Pardon me, but your revolver is showing. Well, how careless of me. Just stand right where you are, Mr. Harper, or I might even be careless enough to care you. Now, uh, what were you going to say? Well, I, uh, I'm just going to say I admired your taste in clothes. Everything is just perfect, except of course that run in your stocking. Oh, and now I'm supposed to look down so you can grab me. That's a very old gag, Mr. Harper. Well, you can't blame a fellow for trying. As a matter of fact, I wasn't going to grab you at all. No? No. I'm just going to turn a little like this, and then... You see? Hello? Hello. Ronnie Dean, please. Room 406. One moment, please. Ronnie, this is Ken Harper. Listen. There's a girl here in my room. Oh, yes. Well, why tell me, oh boy? Because she's the one with the plans on her back. No. I'm going to tie her up and leave in a few minutes. I'll be at Baron Von Kemp's place in the Hotel Linsa. If I'm not back in time for the broadcast, drop over to police. Yeah, I'm rather busy this evening, Mr. Harper. Just what did you want? I want Miss Sydney Royce. She is not here. Oh, well, I guess this kills the biggest story I ever had. Well, I've got to do it. Take a look at this passport, Baron. It's made out in the name of Sydney Royce. But that's not her picture. Take a photograph. It's Margo Lennox. Where'd you get it, Mr. Harper? It walked into my parlor with a lady hanging onto it. The lady couldn't come with me. She's tied up at the moment. Now look, I know what you fellas are after. You know what I'm after. Why don't we exchange prisoners under certain conditions? You mean the plans on Miss Lennox's back? Yes. All right. I'll let you see the lady personally. But first, I'd like to talk to Miss Royce, just to make sure she's still able to talk. He will take you to her. But remember, no tricks, or she may meet with an accident. What is she? At present, she is downstairs in the cellar, in a room we have prepared for emergencies of this nature. This way, please. The stairs are across the lobby. This hotel does a booming business, doesn't it? Excellent. Can I take a second? That's just my life, too. Here's in there. It looks like it's set up. Yeah. What goes for us, Germans? I believe so. Very unusual season. A tourist, isn't it? This is my own cinema garden, Peter. Why am I? It seems to be tourists behind every part of farm. Can't a few Germans take a vacation without you jumping at conclusions? Sure, but what puzzles me is, how do they avoid the draught back home? This way, Mr. Harper. Efinity to tears. Yeah, hell to home. You all right, Sydney? Yeah, I'm fine. Nobody has touched the hair of her head. Not yet, but there's been a lot of loose talk about it. Well, if you're satisfied, Mr. Harper, we'll arrange about the exchange. Exchange of what? Sydney Royces. They're swapping you for a later model. What? You mean you have the other Sydney Royces? In the flesh. Give it those plans on her back. Well, you're not going to let them have them, are you? Well, I don't think they'd want her without the plans. Oh, but don't you see? They must be terribly important, or they'd never make the exchange. You don't think I'm going to leave you here, do you? Well, yes, why not? Very stout fellow, but no sale. You're getting out of here while you're all together. I'm not. Those plans may endanger thousands of lives. I won't go. You'll go, honey, if I have to carry you. Up-see, Daisy. By all. By all, one can't. Bill? Miss Lennox is here. Miss Lennox. Uh-oh. He knocked me out and tied me up in his room. How did you get away? He made a phone call. I got at the switchboard, listened in. Baker, those plans. Prepare for photographing. Oh, Baron, look. I can save you a little trouble. Those plans have been removed. Removed? Yes. I used the atomizer. If I flip painless, wasn't it, Miss Lennox? Be quiet. You will test your statement, Mr. Harper. Meanwhile, you will bathe here with Miss Royce. Lock them in. They don't build cellars like this nowadays. No. Uh, Ken. Yeah? It, uh, looks pretty bad, doesn't it? Oh, we'll get out of here. I'll write my congressman. Oh, Ken, don't joke. I'm scared. Are you really? Yeah. That makes two of us. Uh, Ken, did you really remove those plans? Uh-huh. But I put something else in their place. And something tells me that Baron's not going to like it. You drew something else? What? V for victory. Oh, Ken. Time to seem very humorous. Right now, I'm not so sure. Uh, Ken, no matter what happens to us, I, uh, I want you to know something. Wait a minute. Is that a rope over there? Ken, I'm trying to tell you that I... Look, Doc, not now. I've got an idea. Where's that guard? Is he still in the corridor? Yeah. What are you going to do? Sidney, I'm going to hang myself. Oh, Ken! It'll be all right. I'd only be swinging for a minute. Look, I'll loop the rope over the rock to see. Then loop it around my throat. Now, as soon as I start swinging, you scream. When the guard comes in to cut me down, I'll land on his neck. Oh, Ken, I don't like the cut. I've got to get out of here. I've got a broadcast in ten minutes. All right. I can stand on the cut here and kind of step off gently. Yeah, but, uh, suppose the guard doesn't come in time. Well, if he doesn't come in time, I'll just... Say, don't think of things like that. All right. Here I go. Are you ready with that scream? Oh, I can't. Well, for heaven's sake, don't get laryngitis on me, not now. Okay, go ahead. Yeah, here I go. One, two. I hope this works. One, two. Now! What is the matter here? Kill for this, you fool! Get out of the way! I've got the knife. It'll be down in a minute. Oh, no! Why you, you! Ken, get him! Oh, are you all right? No, I never put standoffs over, Carlos. Well, which way do we go? The lobby's up those stairs. If we have where we could... Watch it. Someone coming. Get in that room over there. That was close. Uh, what happens now? Wait a minute. Ken, look at all the stuff in this room. Hey, what's this? Must be a printing press. There's a camera. Now look at this. Portuguese passports. Hundreds of them. Forgeries. Looks like the South American tourist season is opening. Oh, if I can want to get out of here, what a story I could break on this. Oh, you'll never make that broadcast, Ken. I know it. Unless... Wait a minute. I've got an idea. Oh, Ken, no more hanging. I can't stand it. Me neither. Listen. If I could just get to a phone, I could call the studio. And they could step up my voice and put it right on the air. From the telephone? That's it. There's a public phone booth in the lobby. Oh, but can you make it? I'm going to try. And what do I do? Walk in front of it with a pick-up sign to keep them out? Look, if this thing works, you'll be safe wherever you are. In about five minutes, they're going to be too busy to be looking for you. Oh, you're not going to leave me alone. I'm going with you. Oh, look, my sweet. A couple of hours ago, I stopped a woman right on the chimp. Would you like to have a little of the same treatment? I'll be back in ten minutes. I'm having this one. What's my cue? Take a word. Okay, but how will I hear it? You'll hear it. I told you I'm in a phone booth in the lobby of the Hotel Lienza. Did you call Ronnie Dean? Yes, he's on his way over there. Stand by, Ken. About 45 seconds. Okay. But in the neighborhood... Hello. Yeah, I got lonesome. You got lonesome. You could have ruined everything. But, Ken, I was thinking, you know, if the Baron happened to tune this in, he'd be there with 40 gunmen. We'll have to risk it. All right. But just to play safe, I went back and took that gun off the guard. Here. No, you keep it. I've got my hands full of telephone. Here we go, Ken. Ready. That's news roundup with Kenneth Harper reporting from Lisbon. Hello, America. This is Kenneth Harper in Lisbon. I'm broadcasting tonight from a telephone booth in the Hotel Lienza. In this hotel, my assistant, Sidney Royce, and I, have uncovered a nest of Nazi agents. Just a few minutes ago, we saw several hundred forged passports for German tourists to visit South America this summer. Tell them about Anderson. I can also report that at this very moment, a Mr. Arthur Anderson is on his way to Trinidad aboard the steamship Southern Queen. Among Mr. Anderson's effects, if the captain looks closely enough, will be found some very important photographs. It is of the utmost importance that they be turned over to the British authorities in Trinidad at once. Ken, there's the Baron. Incidentally, this hotel, this hotel, the Lienza, is packed with German tourists. The lobby this evening is jammed with all of that phone. Put your hands up, Baron. Well, well, guess who just got into the studio? None other than that famous authority on modern espionage, Baron von Kemp. Won't you say something to our radio audience, Baron? Say something or do I have to jab this gun through your ribs? Oh, oh. Thank you, Baron. That sums it up very nice. And now I see that my time is about up. Oh, Ken, there's Ronny Dean. Ladies and gentlemen, the excitement in the background is occasioned by the arrival of the special police. Presenting a blow-by-blow description of the freighters, I can now report that several Nazi tourists have just kissed the lobby floor. Oh, this is beautiful, beautiful. Ronny, over here. The Baron's here. Let me out! Let me out! That's back here. You sort off. I'll blow your sky high. Ladies and gentlemen, that was the cultured voice of Miss Sidney Royce. Ken, Sidney. Oh, here, Ronny. Take the Baron. Nice work, Ogle. Nice work, Ken. Get him out of here. Officer, the Baron won camp. Come on, Baron. And close the door. Oh, Ken, you're marvelous. Listen, you. I've got a little unfinished business to talk over. Yes, darling? Well, it's poor you evening if I told you that you were the most beautiful, the most gorgeous, the most... Oh, darling, I think you're wonderful, too. Ken, you're still on the air. Ladies and gentlemen, the opinions expressed on this program are not necessarily those of the United Broadcasting Company. At this time every week, you'll usually hear a message about our product. This week, our sponsor has turned over the time to a very good friend of ours who is coming on stage now, Mr. Cary Grant. Good evening, friends. I'd like to tell you a story about a young man who lived with his father and mother on a farm along the Mississippi, just south of Memphis on the Arkansas side. As a boy, he wasn't much on European history. He didn't know much about science, but he didn't know the exact hour the morning glory curled up to sleep out the sun, and he could call more horses by their first names than he could people. When he was small, he got pleasure on hot days just digging his toes into the Mississippi mud in cool spots, shaded by willow trees. And when he became older, he got pleasure from knowing that his mother and father could take it easier because he was a good boy to have on the farm. Yeah. And then there came a day when that European history, he knew so little about, changed things along that Mississippi as it had changed things from New York Harbor to the Golden Gate. And there came another day when this boy was tripping the tail guns of a flying fortress and shooting at zeros on the wing as he had shot crows on the wing, east of Pine Bluff. And came one moment when a cannon shell hit the bomb bay of his plane. And that was all. Yeah. That was all except if for a human bond that linked this boy with all he held dear, he paid with his own life. If he could give that much for his bond, how much will you and I give for the kind of bond that links our nature and together? How much will you loan, not give, to our second war loan for $13 billion to give us strength to crush the forces that took this boy from that farm along the Mississippi? Thank you, CB. And good night. Terry Grant has shown us one way. We can all reply to the warlords of Japan who have murdered American prisoners. Now we again present the stars of tonight's play, Bill Powell and Rita Hayworth. Thank you, subtle. And as a fellow bond salesman, I've entered the opinion that Terry Grant is tops. You may. And I saw a picture the other day, Bill, that's going to help us all sell a lot more bonds. It's called Desert Victory. I've heard of it, Mr. DeMille. It's a true camera report of the advance of the British 8th Army across North Africa. And it shows how American-made equipment, like the General Sherman tanks, helped win a great victory. Everybody's talking about that picture, subtle. It was produced by Lieutenant Colonel David McDonald, who used to be my assistant director. And when Mr. Churchill saw the film, he sent Colonel McDonald by bomber to America to show the picture at the White House. Mrs. Roosevelt reports in her column that the President was deeply impressed with it. And I'm sure that everyone else will be, too. I'm very anxious to see it, Mr. DeMille. Oh, incidentally, Bill, I heard you selling bonds on the radio last Thursday, and I thought you were terrific, too. Funny. That's the very word two soldiers used about you today, Rita. They said you'd been to their camp with a show. How do you get time to make pictures of all the camp shows you do, Rita? Well, I'm just rehearsing for a picture now, Bill. Almost a vacation. Well, if you can call dancing four hours a day a vacation. Well, it certainly wouldn't be for me. I suppose you spend your... I suppose you spend your evenings at the Hollywood canteen dancing some more. At the canteen, yes, but not dancing. I'm a sandwich and coffee girl there. No wonder they had to ration coffee. What's on the bill for next week, Cecil? The United States Navy. Because our play is, the Navy comes through. And our stars will be Pat O'Brien, Joan Bennett and George Murphy. Pat O'Brien and George Murphy are in the gun crew of a cargo ship, and Joan Bennett plays a Navy nurse, had a wolf pack of Nazi submarines, and stand by for three acts of thrills next Monday night. I want to hear it, Mr. Mill. Good night. Good night. Good night. Good night. Join me in inviting you to be with us again next Monday night when the Lex Radio Theatre presents Joan Bennett, George Murphy and Pat O'Brien in The Navy Comes Through. This is Cecil B. DeMell saying good night to you from Hollywood. With the courtesy of Paramount Pictures, he's current production is China, starring Loretta Young, Alan Ladd and William Bendix. Our music was directed by Louis Silberts. And this is your announcer, John N. Kennedy, reminding you to tune in next Monday night to hear George Murphy, Pat O'Brien and Joan Bennett in The Navy Comes Through. Mothers, what kind of vitamins do you give your family in these days of food rationing? Make sure you get enough. Get VIMS. VIMS are scientifically designed to help make meals complete. They give you all the vitamins government experts say are essential, balanced in the formula doctors endorse. In addition, VIMS give you all the minerals commonly lacking. Get VIMS at your drugits. Get VIMS for vitamins. Double MS for minerals. VIMS. This is the Columbia Broadcasting System.