 From Hollywood, the Hollywood Radio Theatre. Listen, Hollywood, ladies and gentlemen. When I first met Jane Wyman several years ago, I was impressed with her beauty. Her talents as a pert angineau and, of course, her sense of humor. I thought she undoubtedly would win some sort of an award with this delightful combination. But I didn't predict that it would be the coveted Academy Award and that Jane would receive it for her performance in a highly dramatic role. Tonight we present Jane Wyman in a characterization for which she received another Academy Award nomination. RKO's moving drama, The Blue Veil. Now the curtain rises on The Blue Veil, starring Jane Wyman. But he didn't stand a chance of getting away and then he stopped and began firing at us. That was his big mistake. The sound of the shot stampeded the cattle and by the time they were driven off our suspect had been trampled to death. You home, Lieutenant? Oh, Inspector Donnelly suggested it. You should have been home a long ago. It's too bad you lost that man. Yeah, I've been waiting for you to say that. But at least we know who he was. His name was Gus Hatter, where he lived, fingerprints, driver's license. Donnelly's got men planted at the hotel and on his telephone. If anyone tries to get through, they'll take him. I suppose that's the best way to look at it now. Try not to think about the other kidnappers. The ones who are waiting for that mandate. In the meantime, we'll look for something else. Mrs. Mason, and I hope, I hope that as you get accustomed to the house and to the little fellow here that you'll be happy and glad you came to us. Well, thank you, Mr. Begley. But you realize that I'm just filling in until you can find someone. Oh? Well, I didn't know. But you will stay until I do get someone. Oh, yes, of course I will. May I tell you something, Mrs. Mason? For ten years, my wife and I prayed to have the joy of a child. And when she died to give him life, the joy became a great sorrow. I am only now getting able to speak of it. I try to hide it as much as possible, but I do feel that... Mr. Begley, I think your son needs some rest now, don't you? What? Oh, oh, yes, ma'am. Resty shall have. When it comes to Fred K. Begley Jr., I'm your obedient servant that you'll beckon call. This way, Mrs. Mason, let me show you to your room. As the weeks went by, Mr. Begley discovered that finding someone to replace Louise was anything but easy. It became their custom on Sunday mornings for Louise and her employer to take the baby to the park. Give up, Louise. I've interviewed five nurses this week. Oh, you'll find someone, Mr. Begley. You've spoiled us, you know. You've not only been so good to little Freddie, but the way you've brightened up that gloomy old house. Thank you. Louise, how is it that a girl like you, young and attractive, is doing... well, this sort of work? I like it. Well, I must say that's a perfect reason. But then I suppose I'd like any kind of work that has a lot of Freddie in it. He's such a sweet baby. Louise, that man back there on the bench, you spoke to him before? Oh, yes, that was Frank Hutchinson. He owns the toy shop. I stop by there quite often. But you call him Frank and me Mr. Begley. Well, I'll call you Frank, too. My name as you well know is Frederick and has been for some time. Louise, let's sit here for a while. There's something I would like to say. Yes, Mr. Begley. I, uh... I've had lots of time to think since Margaret died. I know I'm not a young man, but I do have some standing in the community. I own the fourth largest corset house in the East, and I have the goodwill of my employees. And while I hope I don't seem big-headed, or anything like that... Oh, no. You have so much to be proud of. Well, what I'm getting at is that I... I find myself increasingly lost without a woman, close to me, a wife, Louise. And I was wondering whether, since you two are... Oh, Freddie, darling. Well, it's all right, it's all right. It's a nice doggy. He was just playing with you. Oh, now, now, you mustn't cry, dear. Just frightened, huh? I think he's more tired than frightened. We'd better start for home. Home? Oh, yes, yes, yes, of course. That's a good boy. There, now, you see? The doggy wants to walk with us. Oh, well, we had a fine time in the park, didn't we? Uh... Yes, didn't we? May I come in, Louise? I've brought some ice cream. What a nice surprise. Yes, come in. Look at my son, he's asleep. Shh. Yes. My, this is a treat. Louise, did you hear what I said to you in the park this morning? No. What? Nothing, I said. Well, you were telling me about your situation. I was proposing to you, Louise. I mean, well, I know you love Freddie just as much as I do, and since we're both, well, what I'm saying is, will you be my wife? It's kind and good of you to ask me. Maybe you don't find it such a bright prospect, but on the other hand, it's nothing to dismiss lightly. Is it? Oh, no, it isn't. No. And I understand what you mean by loneliness. It's frightening, but one mustn't act hastily because of loneliness, Mr. Bagley. Answer is no. Don't put it that way, please. I like you very much, but I feel that my place is with little Fred. Big Fred can fend for himself. He always has, and he's done very well. It, uh, it was good of you to listen to me. I want you to know I'm proud of having been asked. Thank you. Thank you, Louise. Good night. Some months later, Mr. Bagley married his secretary at the factory, a good and devoted woman. Little Freddie had a mother again. And to Louise came the bitter realization that she'd have to leave him. But whenever she felt in special need of cheering up, she could depend upon the man in the toy store, Frank Hutchinson. Look at this train. Just look at it. The workmanship. Well... It's too good for children. They don't deserve it. Now, what have you got against children this time? Uh, they act like a privileged class just because they're little. When they're infants, they're nothing but an elementary canal with noises attached. Then the older they get, the more they resemble adults, and you know what that leads to. Is there no one you like, young or old? No, don't start fishing for compliments. I have a criticism to make of you, too. Now what have I done? I'll tell you. As soon as I get rid of this monster... He's just a little boy, and I'll be nice to him. All right, all right. And of yourself. Pretending to that little boy that you didn't know what he wanted. Any fool would know he wanted a kaleidoscope. Then why wouldn't you let him buy one? Because all he could call it was a thing. Let him learn words. Nobody knows how to speak anymore. No language. Everything's a thing. You were going to tell me what's wrong with me. Oh, I was, indeed. Why do you want to go out and look after other people's kids? The first thing you'll know, that silly nurse's blue veil of yours will be a permanent fixture, a way of life. A habit. A bad habit, Frank. I'm warning you, Lulu, mind what I say now. And I love you dearly, but you haven't been right about anything as long as I've known you. Mr. Hutchinson. Well? The thing I wanted, it's a kaleidoscope. A what? You know a kaleidoscope. Hmm. Spell it. Yes, Louise had taken another position. This time with the wealthy family in Connecticut, the Palfreys. They had two boys, Harrison and Robbie. The Palfreys had a tutor for Harrison, an energetic young man named Gerald Keen. So it was the younger boy, Robbie, who was Louise's special care. Oh, it's just thunder and lightning, Robbie. Don't be afraid. It woke me up. It scared me. Well, you know what that old thunder does. He's here to wake up people who are sleeping so he can tell them to get up and close their windows or they'll be rained on. Why is it so loud? Well, sometimes it's loud because it wants to make little boys brave enough to jump out of bed and turn on the light. I think... Well, good. Let me see how brave you are. There. Why, that's wonderful. Now turn the light off and show me that you're not afraid of the storm in the dark either. Now? Now. There. Robbie, I'm so proud of you. Now back to bed and go to sleep. I'm sure Harrison's been asleep for hours. Aren't you going to tell me a story? Again? But I have to fall asleep again. Oh, well. All right. Now where did I leave off? They were in danger. And it sure looked bad. Oh, yes. The enchanted prince was pitching. All the bases were loaded when along came a five-eyed giant swinging five bats at the same time. Why did... Oh, I don't know. He was that kind of a batter. He went up to the plate and the umpire said, Excuse me, sir, but aren't you using more bats than the rule allows? And the five-eyed giant said, Well, excuse me, sir. But I was always under the impression that a batter could use as many bats as he cared to. Now this puzzled me. I thought I heard someone down there. Shh, we just came home. Harrison and I, we've been seeing a cowboy movie. You and Harrison? Well, where is he? I told him to sneak up the back stairs. Oh, how education has changed. I never thought a cowboy movie would find a place on a tutor's course of study. Come on in the kitchen. I'm hungry. How is the movie? Oh, it's good. It's very good. Mind if I take off this wet coat? You better take off those wet shoes, too. You can put your feet in the oven. Oh, the nicest extras come with this job. Do you like this job? Well, it'll do. It'll something better comes along. And something may, too. Oh? I've got applications all over the place. Instructor in Mexico, something rather with standard in China, faculty job at the American School in Beirut, Syria. Mexico, China, Syria. Adventure, Lulu, adventure. New horizons. Hey, where are you going? Oh, this milk I've been warming is for Harrison, not for you. Oh, wait a minute. I'm going to fix some eggs. Well, thanks. I'll eat them in the morning. Good night, Mr. King. They saw considerable of each other in those next few weeks. Louise and Jerry King, the tutor. And then one afternoon in the garden, he brought her some exciting news. It's a cablegram, Lulu, from Syria. Well, something better did come along, didn't it? Congratulations, Jerry. Only now I'm not so sure that I want the job. I'll miss you, Lulu. They don't leave you much time, do they? No. And by the way, you're going to a party with me tomorrow night. Oh, you're way ahead of me. Just a few friends giving me a send-off. Say yes, Lulu. Well, I'm not sure that I could get off. I've already fixed it with Mrs. Palfrey. Oh, you're too efficient for me. Yeah, we'll have dinner in New Haven, go on to the party and be back here in time for me to catch the 140 for Washington. I have to meet some of the trustees down there. How about it, Lulu? Well, I don't know. I don't know that I'd fit in with your professor friends. Oh, utter absolute horrible nonsense. Lulu! Lulu! Oh, it's Robbie. Excuse me. Wait a minute. Is it a deal? Lulu! Uh, yes, it's a deal. The party was a wonderful success, for Louise especially. Jerry's friends all liked her very much. And then, while they were driving back to the Palfrey estate. Friends, Jerry, why they didn't scare me a bit? And thank you for such a nice evening. Oh, gosh, how fast can things happen? One minute I'm tutoring a rich man's son and the next minute, Syria. A whole new life ahead of me. Oh, you're so lucky. I envy you so. Hey, I just got a great idea. You're going to Syria with me. Oh, Jerry. No, no, no, I'm serious. Oh, but that's a mad idea. Well, what of it? Haven't you ever done anything mad in your life? Now, look, we can stop at the house, you pack your things, and we'll still be able to catch the train. We'll sail on Wednesday and be married by the ship's captain on Thursday. What are you saying? What about Robbie? Robbie? Well, he's a Palfrey, isn't he? Oh, he still needs me, Jerry. So do I. Oh, come on, Lulu, the minute you're slipping by. But aren't you being a little impulsive? Oh, sure. But I'm asking you to be impulsive with me. And we haven't much time. Shall I drive faster, slow? Well, not too fast, Jerry. Mr. Keane, I wanted to say goodbye again. Thank you, Mrs. Palfrey. You've been very kind. I'm glad you heard me. I was just about to leave an out for you. Oh? I'm not leaving alone. Louise is coming with me. Louise? When did she decide to do that? Tonight, Mrs. Palfrey. Just like that. And you're going to be married? Yes, on board the ship. Well, I hate to dampen your enthusiasm, but I must say I'm a little bit startled. You're angry with us? No, but you haven't known each other very long. And marriage is a big contract, you know. We know that, Mrs. Palfrey. But because some quick marriages fail, it's no reason to condemn all of them, is it? We're very fond of Louise. We'd be sorry to see her hurt, that's all. And you, too. But I shouldn't have spoken. I hope both of you will be very happy. Thank you, Mrs. Palfrey. I just came in to kiss you, Robbie. Now go back to sleep. Where have you been? I was out. Oh, you're going out again? No, it is. I'm going out again. Why? I'm going away for a little while, Robbie. No, Lulu, no. Robbie, darling, you've got to let me go or I'll be late. I won't let you go. Don't go, Lulu. You're happy? Almost. Oh, it's Robbie, Jerry. I just couldn't tell him the truth. But somehow he knew I'd never be back. Oh, he'll get over it. After all, you had to leave him someday. Well, it's done now. And I'm very happy to be here. Oh, you don't know how glad I am to hear you say that. You know, you've had me worried. But why? I didn't think you seemed sure. What do you mean, Jerry? Well, I had the feeling that I took advantage of you. I mean, and using the pressure of time to rush you into this. Oh, but I liked being rushed. Yes, but would you have accepted if I'd asked you yesterday when I showed you the cable? You're trying to say something. What? No, I just want to be sure. Well, aren't you sure? Oh, come here, darling. That's my answer, sweetheart. Are you convinced now? You're going to love the trip, Lulu. You're going to love the country and the people and all the things we're going to see. You don't have to convince me, Jerry. I'm not trying to convince you. It's just that I want so much for our marriage to be a success. You aren't very confident, are you? Well, of course I am. But you're the last person in the world I'd want to hurt, Louise. I hoped you'd have something else to say to me. I am a little hesitant now. But you've got me all wrong. I just thought it was being fair to you to mention the dangers. The point is we're going to succeed in spite of them. In spite of them? You haven't lost your nerve, have you? Oh, no. You see, I had a feeling it was wrong to rush into this like a couple of kids, and then when I saw Robbie... You don't mean that he makes any difference now. Well, I had no right to hurt him, and I did. Jerry, if this thing is right, I'm getting married. It doesn't have to be this minute, does it? I'll go back. Go back. And we'll wait a while. We can write to each other and then in a couple of months after you're established and you still feel... Then I'll follow you. Well, if you really think that we... And by that time, then Robbie will understand and I won't be running away at his expense. Well, I guess that is more sensible. But I hate to be sensible. I know. I know. They changed trains in New York. Jerry went on to Washington, and Louise went back to Connecticut. Early in the morning, Robbie stirred in his sleep. His eyes half opened. He saw a familiar figure sitting at the window of his room. We will continue with Act II of the Hollywood Radio Theater. Make a friend, and you make an ally. There's a thought for you to keep in mind as many another American has. Today, one of our outstanding ambassadors of goodwill is Nelson Rockefeller, grandson of John D. With his brothers, Nelson has invested $3 million in a business partnership with South American nationals. The official title of this venture is the International Basic Economy Corporation, what South Americans call it, Alplan Rockefeller. With American equipment and techniques, among other things, Nelson Rockefeller has built a profit-showing fishery in Venezuela, a reconversion plant to turn powdered milk imported from the United States back into fluid milk, a food warehousing and distribution concern, a series of model and self-supporting farms, and a 300-acre hog farm. Throughout South America, the Rockefeller plan has set up thriving businesses, enthusiastically supported by the people and the governments of the two nations. Part of the plan's profits go back into other projects for food production and distribution, where little or no production has been done before. Part will help finance the American International Association, a nonprofit organization set up to study scientific nutrition, sanitation, hygiene, and child welfare. In 10 years, when the International Basic Economy Corporation is fully established, its stock will be sold to citizens of the countries in which it now operates. As Nelson Rockefeller put it, the people of South America don't want Santa Claus gifts. They want to be partners, and with us do the job of helping themselves. Mr. Rockefeller knows only too well that by helping others, you help your country. Now our producer, Mr. Irving Cummings. Act two of the Blue Veil starring Jane Wyman as Louise Mason. Jerry Keen went to Syria. Louise never saw him again, nor did they ever write to each other. When Robbie was a few years older, Louise left the Palfrey home and went to work for Annie Rollins. Annie was in musical comedy, not so young anymore, but still a star. She had a daughter, Stephanie. How do I look? You look very lovely, dear. Well, all I have to do is finish the hem, and that's it. I wish mother were here. She should have phoned by now. Well, darling. Lulu, this confirmation dress, it's like a wedding gown, isn't it? I mean with the veil and everything. Yes, it is a little. When you were married, did you wear a beautiful wedding gown? Was it exciting? No, it was a pale blue chiffon dress. I mean being married. Were you madly in love? Lulu, what's it like to be in love? Oh, Stephanie, my goodness, I don't even know that I'd remember. Oh, yes, you do. Was it long ago? How many times were you in love? Once and a half. How did you feel? What's it like? Well, it's mostly a glad feeling, like when school's out for summer vacation. Is it really? Of course it isn't any one thing, Stephanie. Sometimes it can be very exciting, like when bells are ringing and whistles are blowing on New Year's Eve. And sometimes it... Well, I wonder who that is. I'll get it, dear. Good evening, Mr. Ashworth. Hello, Louise. For heaven's sake, what have we here? Hello, Uncle Bill. Well, are you modeling for a wedding cake? She's being confirmed tomorrow. Oh, good. It'll never hurt you, Stephanie. I've been confirmed for years. I confirmed Bachelor, which your mother is entirely to blame. Where is our Annie? Oh, I don't know, Mr. Ashworth. She was supposed to be home early. Take the dress off, darling, and it's way past your bedtime. Good night, Uncle Bill. Good night, Annie, and good luck tomorrow. Thank you. Good night, Lulu. Good night, dear. What's going to happen to Annie? Oh, I really don't know, Mr. Ashworth. Well, why won't she quit? She's had a great career. She's had everything an actress could possibly... Well, look who's here. Oh, hello, darling. Oh, there's no business like show business. Hi, Louise. Good evening, Mrs. Rollins. Things have been happening. Well, tell me. Well, here I am worrying about the show closing, when who do I bump into but Peter Allen. He's written a new show, and he wants me to audition for Tad Joplin. Joplin, that old wart. Don't tell me you're going to get it. Hello, Mama. Stephanie, darling. Oh, but what are you doing out of bed? I want to see you. I was worried about you. Oh, I know, honey. And I'm awfully sorry, but I got tied up. I was just coming in to see you. Will you sit up close tomorrow at my confirmation? Of course I will. What time do you go on, sweetie? 11 o'clock. Well, I have an audition at nine, but I'll be there in loads of time. You hope? Oh, don't pay any attention to him. Now go to bed, sweetheart. I want you to be bright and pretty in the morning. Good night, Mama. Thanks for coming home. Good night, baby. Joplin, now. Annie, be sensible. Give up this rat race. Well, believe me, I was ready to, until I met Peter Allen. Oh, darling, come over to the piano. Let me show you some of the stuff. Annie didn't make it to church the following morning. It wasn't her fault. Joplin, the producer, enjoyed keeping people waiting. So it was Louise who took Stephanie to church. Louise who met Stephanie's friends. And then later on at home. And I tried, Steffie. I tried to get away. Oh, baby, are you mad at me? No, Mama. It's all right. Louise was there. How was the audition? Oh, it's a big day for a Steffie. I got the job. I'm going on the road again. But today we'll celebrate. We'll do anything at all that you'd like to do. Can Louise come? Well, sure. If you want her to, where is she? In the kitchen, fixing lunch. All right. Now you get into a pretty dress and then we'll... Well, you make the plans, huh? I'll think of something real special. And thank you, Mama. Louise. Oh, hello, Mrs. Rowland. Lunch will be ready soon. How was the ceremony? Very beautiful. And so was Stephanie. Well, I got the job. Oh, that's fine. Three weeks' rehearsal. Boston, two weeks, then New Haven, then New York. Mrs. Rowland, I... I'd like to leave if you could find someone to replace me. Louise. Well, I've been meaning to say something about it for some time, but I find it so difficult... Don't you like it here? Don't you like Stephanie? Well, I'd rather not go into that. But I insist that you tell me. I've been on the verge of leaving before, Mrs. Rowland, but each time, well, you get another show and I'd postpone doing anything about it. And each time, it would get worse. I just don't understand. I thought you were happy with this here. I thought you loved us. Oh, I do. And believe me, it's because I do that I have to leave. Well, that just doesn't make any sense. Mrs. Rowland, I know you don't mean to, but you see so little of Stephanie. She's been turning to me more and more, and now she's turned completely. That's silly. No one could take the place of a mother in a child's life. This morning at church, the children, some of the parents, well, they wanted to meet Stephanie's mother. Stephanie introduced me. She told them that I was her mother. But it was just a gesture, Louise. No, no, it's more than that. Unless I leave, Mrs. Rowland, you may lose your daughter and that would be the worst mistake you ever made. It's good of you to tell me. Excuse me, I'm going to phone Mr. Joplin. I'm turning down that job. You want to come with us? Well, perhaps it would be better if I stayed here, Stephanie. What's wrong? Something must be wrong. What is it? Mama! Mama! Stephanie, I'm leaving, dear. Did you two have a quarrel or something? Oh, no, darling, not that. I have a new job. I just didn't want to tell you about it until after you were confirmed. That's right, Angel. Well, you're just going for a short time, aren't you? No. Why? Why are you leaving? Well, you see, you're getting to be such a big girl now and I should be taking care of smaller children. Oh, no, darling, you mustn't think that. Who are you going to take care of? There's a little girl. I don't want you to go! Don't be selfish, sweetheart. You've had Lulu to yourself for a long, long time. I don't want you to go! I really don't know what to do, Stephanie. The people called me last week. They said it was pitiful how this little girl needed someone and I told them that it was up to you whether I would leave or not. I thought that maybe you'd let me go. But if you want me to stay, then I'll stay. You don't love me. Isn't that the truth? Oh, no, no, darling. It's far from that. But the why? Do you remember what the bishop said this morning? He said that you're an adult now. You're like mother and me. You're responsible. And if that's true, then aren't we all responsible for people who need help more than we do? Well, I do. She doesn't have a mother like you do, darling. We're both going to miss Lulu very, very much, Debbie. Now come inside, darling. I have something else to tell you. I'm not going to work anymore. I'm not even good at it. Stephanie. Oh, Stephanie. So, just as little Freddie Begley had gone out of Louise's life as Robbie Palfrey had, now Stephanie, too, was only a memory. Except that part of Louise's heart remained with each child. Her next two charges were both boys. There was Dennis Rice and then Tony, Tony Williams. Louise had been with the Williams family only a few months when the war broke out in Europe. And Tony's father, being English, was called back to London. And then some weeks later... Louise! Louise! Why, you've been crying, Mrs. Williams. What's wrong? Louise had been with the Williams family only a few months when the war broke out in Europe. And Tony's father, being English, was called back to London. And then some weeks later... Glad you're back, Louise. Why, you've been crying, Mrs. Williams. What's wrong? I've had bad news. My husband, he's been wounded. Oh, is it serious? I don't know. All I know is that I've got to go to him. I wanted to go with him in the first place, remember? Oh, Louise, I've been thinking. Oh, I know, it's a wild notion. Well, what is it? I've just been... Well, I was wondering if you'd take care of Tony for me while I went over. As soon as you, Louise, all right, I'll be back. Well, I... Please, please say yes. You're the only person I'd trust with Tony. Please say yes, Louise. Well, you're not to worry, anyway. We'll work something out, Mrs. Williams. Just please don't worry. So Tony's mother went to England. For a while there was a letter every week in a check every month. But then the letters and the checks became less and less frequent. Through the years, Louise had one friend who'd never changed. The man in the toy shop, Frank Hutchinson. Yes, I hate to admit it, Louise, but that's quite a boy you got there. Quite a boy. Three years old already. Well, what about it? What about what? I want to know why Tony's mother isn't back. First, it was because she'd enlisted in the ambulance corps. Then came word that her husband had been killed. That was two years ago, Louise. Two years. Well, you read the last letter I got. She's remarried. That's just what I'm seeing. If she's married again, why can't she come back now? Well, they're having such a hard time of it. And after all, she's doing her part and I'm doing mine. She'll be back as soon as they get on their feet. Little Miss Sacrifice. Oh, now, Frank, stop it. I'm enjoying it. It's the first time in my life I've had a child all to myself. And I like the feeling as long as it lasts. They'll be back one of these days. They're taking advantage of your shameful advantage. How can you say that? You don't mention they've stopped sending you money. Who said so? Oh, you can't fool me, Louise. Moving into that tiny flat, skimping on yourself right and left. Look at that dress. Well, I've always dressed conservatively. You just never noticed it before, that's all. Well, do you intend to wait on your customer or not? All right, all right. I know how to run my business. Do you want a cookie, Tony? You do. All right, darling. Here's another cookie. But Tony's mother didn't come back and the years rolled by. Tony was 10 years old now and quite a baseball player. Every Sunday afternoon, Louise would go to the park and watch him play. How'd you like that, Mom? That's three hits out of four. Or are we giving him a shellacking? Well, this is your last inning, Tony, and Frank's too. You're some umpire, Frank, calling those first-tooth pitches strikes. Anything wrong with your eyes? Just my hope here, stigmatism and a tendency to blindness. Now, get out in the field. Yes, sir. So, it's my last inning, is it? You know what I promise, Dr. Berenberg? Just look at you and at your age. You know, for all the bossing around you do, we might as well be married. What a proposal. What an acceptance. Who said I accepted? Now, you listen to me, Lulu. At our stage of life, we're no longer Siegfried and Brunhilde. Just very old friends. But nobody can make soft-boiled eggs the way you do. And I'd be happy to marry you for just that. Furthermore, you can't go unsupporting that boy just by doing needlework. He'll be taken in washing next. And I choose to think you perform me. I think we'd better continue this conversation after dinner. I wouldn't want you hit by a fly ball. Well, I suppose after 30-odd years, I can wait till this evening for a simple answer. Come on, Frank, I'm fired. And this is your last inning, or we boycott you, didn't it? Just be there on time for a change. Six o'clock. And I don't mean six-thirty. When Louise got home, there was an envelope under the door, a cablegram from England. Tony's mother and her husband were coming back. Boy, oh boy, what a game, huh, ma? Hey, did you see me drop that fly ball? I can't figure it out. Tony, we're not going to Frank's tonight. You mean we're staying home? No. We're going away, darling. We're going to pack some of our things, and we're going away. Moment will continue with Act 3 of the Blue Veil. For station identification. Curtin rises on the Blue Veil, starring Jane Wyman as Louise Mason. And so they disappear at Louise and Tony. The boy's mother started to search for them, which was why one afternoon a detective came by to see Frank Hutchinson. I'm here to see you about Louise Mason. Oh, where is she? That's what I want to know from you. I'm from the police. I have no idea where she is. What do you want to know for? Because Louise Mason may be charged with kidnapping. How silly can you get? That boy's mother abandoned him long since. Louise Mason has devoted eight years to that child. You've seen them together often? Of course I have. You related to Mr. Mason? Oh, just friends. For how long? Years and years. You've been no more than friends, huh? Get out of here. Go on, get out of here. You're a disgrace to your badge. All right, all right. Don't get excited. Mr. Hutchinson, is anything wrong? I'm afraid I've upset the old boy. Didn't mean to. Throw him out. I won't have him in my shop. Mr. Hutchinson. Mrs. Mason, that my office had quite a time trying to find you. You, uh, you know who I am. Yes. You're the district attorney. Now, you admit having received a cable from Mr. and Mrs. Hall, huh? Yes. That's when I decided to leave. Where is my boy? What have you done with him? He's all right. You'll see him soon. Now, you didn't mean to kidnap him, did you? You were excited, perhaps not in your right mind when you ran away with the boy. I was never so calm. I've never done anything so deliberate. Mrs. Mason, believe me, I'm trying to help you. And now, to begin with, Tony is not your son. He's Mrs. Hall's son. She has no right to claim him. Yeah, Burgess, bring in the boy with you. He's happy and content as my son. They've had a life of their own. They can have children. What do they want with mine? His mother's very angry about your disappearance. For a month, she didn't know whether Tony was alive or dead. For five years, she didn't know. And she didn't care. Tony, darling, they wouldn't let me see you. Oh, I know, sweetheart, I know. But why are we here? We have to answer some questions, dear, but nobody's going to hurt us now. Now, you come and sit down by me. How much does he know? Nothing. Don't you think you were wrong to let him lose all memory of his parents? Do you have to in his presence? I'm sorry, I really am. But it has to be done. All right, Burgess, tell the Halls to come in. Tony, you know, you have a real mother. Louise took care of you when your mother went away. But now she's back and she wants to have you with her and your new father. I want to stay with Lulu. Yes, I know Tony, but after a while, you... Tony, oh, Tony, Tony. Go and kiss your mother, Tony. And this is your new father. How are you, son? You have no right to call him son. And neither do you. Louise. A son is a person you live with, not a piece of baggage that you check. Look, Mrs. Mason, there's a little matter of kidnapping, and I'm not... Officer, take the boy in the other room. It's all right, Tony. You can come back in a little while. Mr. Hall, do you intend to take the boy to Chicago with you? Yes, naturally. Are you going to take Louise Mason with you, too? Certainly not. We were very grateful to her, but when she... Never mind that. Oh, why not? Mr. Hall, I'm not at all clear just who's to be prosecuted. I'm not sure that this isn't a case of child desertion and abandonment. Oh, please, there was no idea of abandonment. When I went to England, I joined a service. I was in uniform. I know all about that. Now tell me, how much do you figure you owe Mrs. Mason for the care and education of the boy? Well, I... I sent her about $1,400. In eight years. And that comes to about 50 cents a day for salary, food, board, clothing, doctor bills, and love. I take it you trusted Mrs. Mason to make up the difference. How much did you spend, Louise? Oh, I don't know. I... I don't know anymore. Well, Mr. Hall, how much are you going to give her? Well, I've made out a check. Here. I thought this might be fair. I don't want anything. Are you going to let them take Tony away from me? As much as I regret to say it, the law doesn't allow that he be left with you. She's never been a mother to him. Giving birth to a child doesn't make a mother. What about the thousand and million things she doesn't know that she'll never know about him? Louise, please. What does she know about all the things that frighten him? How to comfort him when he wakes up in the night crying? And the little things about him? What if he'd never he'd been neglected? And suppose there hadn't been a savings to see him through? Suppose no one worried about his measles and whooping cough and pneumonia? And what does she know about getting on her knees and praying to God to take her life instead of his? What if there had been no love in all this time? No love, do you know what that means? Yes, I... I think I do. The Burgess, bring the boy back, please. Mr. Hall, you still want to press the charges? Well, I... I don't know. My lawyer side... I advise you not to. I further advise you to get out of here right away. Now, there's the boy. Take him and go. Come along, son. Everything's going to be all right. Mrs. Mason. No, I'm so sorry. I'm very sorry. Have you any relatives? Any old friends? I did have one. I telephoned him yesterday. But the young lady said he had died. It was quite sudden. The district attorney had slipped the Hall's check into Louise's purse. For a while anyway, she'd be able to get along. But Louise couldn't live without children. The employment agency told her she was too old now for a nursing job. Parents wanted younger women. So she took the only other job she could get and still be near children. She went to work for a private school. Hello, little boy. Did you forget something? Now, don't be afraid. I'm... I'm just the cleaning woman. Was it your book? Or your cap? Maybe it was your lunchbox. My glasses. They weren't a case. Your glasses? Oh, well, we must find those. I don't see so well myself. I'm going to have to get glasses one of these days. Here they are. I found them. Oh, well, that's fine. That's fine. Now, what's your name? Jackie. Jackie? My goodness. Jackie, you come over here where I can see you. That's better. I have to go now. You can talk to me just for a second. How old are you? Six. Going on seven. Six. Going on seven. Well, now, when is your birthday? You know when a little boy has a birthday. He's... Louise didn't do anything about getting glasses until one day when she was crossing a busy street and a car almost hit her. The traffic cop told her about the clinic at the city hospital. There's nothing radically wrong with your eyes. It's just a condition caused by a deficiency in your diet. Everything in diets these days. I'm prescribing some pills and some eye drops, and you'll feel better if you wear tinted glasses for a while. Now, what's your name, please? Louise Mason. Now, just take these prescriptions down to the dispensary. Oh, about the glasses, tell them to talk to me. To Dr. Palfrey. Dr. Palfrey? That's right, Mrs. Mason. You're not Robert Palfrey? Well, yes, I am. Did you have an older brother named Harrison? Yes, I did. He was killed in the war. Did you know him? So, your little Robbie, little Robbie who was afraid of lightning. Why? Why, you're a Lulu. Lulu? I can't believe it. Oh, my goodness, what are you doing now, Lulu? Well, I... I just can't get over it. All those days all come back to me now. Oh, I have many pictures of you when you were a little boy. I carried them around with me all the time. You do? Yes, I have a little album of all my children. May I, may I see it? Oh, yes. Now, that one was taken the day we went on the picnic with Harrison and Mr. King. Mr. King? Yes, of course. Oh, this is wonderful. Louise, could I borrow these pictures? I'd like to show them to my wife. Why, certainly. But you mustn't lose them. Oh, no, no, of course not. And I don't want to lose track of you, either. I'll tell you what, why don't you have dinner with us some night soon? Oh, I'd like that. Well, let's see now. How about next Tuesday? Oh, fine. And about these prescriptions. I'm taking you down to the dispensary myself. Well, that's very nice of you, Robbie. Thank you. So on Tuesday night, Dr. Palfrey called for Louise and brought her home. Here she is, Mary. This is Lulu. Oh, I'm so glad to meet you, Mrs. Mason. I feel I've known you for years. You're very kind, Mrs. Palfrey. Robbie and I were so worried. We thought you might have forgotten about tonight. Oh, my eyes are weak, I suppose. But my memory's fine. Oh, my, this is a very handsome house. Not as elegant as the old place, Lulu, but it's ours. And you have a very beautiful wife. You should be proud of yourself. He doesn't have time for that, Lulu. I have to be proud for him. Well, now if you'll just open the door, dear. Oh, so many people, Robbie. I didn't know you were having company. Don't you recognize anyone? Recognize? Lulu. Stephanie. Oh, my dear Stephanie. Did you think I could ever forget you? Oh, my goodness. And this young man, this is your husband? No, Louise. I'm Freddie, Fred Begley Jr. Little Freddie, what a big boy you are. I can't get over it. And Dennis, you're Dennis. Lulu. Little Dennis who hated girls. I want you to meet my wife. This is Marjorie. How do you do? She's very pretty. Dennis. Robbie. You did this. From all the names in the album. Are you surprised? Oh, my, yes. There's someone on the phone who wants to speak to you, Lulu. It's long distance. For me. Oh, yes. We had quite a time arranging for this. But go on. Go on, talk to him. Hello. Yes. Yes. I can't speak. Where are you, Tony? Oh, oh, that's nice. That's very nice. It's so nice to hear your sweet voice. You are? During your Easter vacation. Oh, yes. Oh, yes, I am. I'm very happy. Yes. Goodbye, Tony. All of you. All my dear, dear children. And two more, Lulu. But I don't remember these two. Well, these belong to the house, Lulu. This is Andy. And this is Judy. They're yours now. Hello, Andy. Hello. Hello, Judy. Jane Wyman will return. Here's a story that has sort of a special tug at the heart when you hear it. An American soldier with a camera spotted a cute little Japanese boy playing outside the family home in northern Japan. He asked him to pose, and the boy did. The soldier went his way. One month later, tragedy struck at the household. The little seven-year-old boy was dead of influenza. His father, realizing that there was not even a recent snapshot to remember his son by, remembered the passing service of his son. And he asked the United States Army for a copy of the picture. Ordinarily, that would seem like a pretty hopeless task to find among all the Army's picture-taking soldiers the one guy who'd taken that picture. But one man set out to do just that. PFC Stephen Tool of the 19th Infantry Public Information Office. He wrote letters. He broadcast over the radio searched Army records. Eventually, halfway around the world, he traced Sergeant Leroy McElvane in a little camp in a little Kansas town. Yes, the sergeant had been in Japan during that time. Yes, his hobby was photography. Yes, he had pictures of little Japanese boys, some 4,500 of them. Pains takingly, he searched through them, and he found the right one, the one that could make a grieving family just a little bit happier. This is a story that that community in northern Japan will not soon forget. Such acts by you and your friends today are shaping our world of tomorrow. Now, here's Mr. Cummings and Jane Wyman. Jenny, you were simply magnificent. We all want to congratulate you. Congratulations are also in order on your recent marriage to musical director Freddie Garger. We want to wish you both every happiness. Well, that's very nice of you, Irving, and we both thank you. I am amazed at your versatility. No wonder you were invited to place your footprints in the famous Concrete Blocks in the forecourt of the Chinese theater. They don't look like much alongside of Jimmy Durante's famous nose. Hal Jolson's hands and knee prints. Well, that's only because you have very small feet. I love to sing their praises. And we love to hear you. Speaking of singing, Jenny, reminds me that Warner Brothers just completed their technical production of The Jazz Singer. Yes, and Danny Thomas and Peggy Lee are just wonderful as the stars. And now, Jenny, I want to tell our audience about another great picture we have for them next week. We're looking to film, and the stars undoubtedly gave two of the most hazardous performances of their careers. Because the picture was filmed in deepest Africa on the thrilling search for King Solomon's Minds. And as the stars of this metro goldware screen triumph, will be the original romantic team of Deborah Carr and Stuart Graham. It was certainly a breathtaking picture, Irving. And good night. This is Irving Cummings saying good night to you from Hollywood. Here in our cast tonight were Dan Riss as the narrator. William Conrad as Peggy. Bill Johnstone as Frank. Gloria Blondell as Annie. Lamont Johnson as Keen. Herb Butterfield as the district attorney. Yvonne Petey as Helen. Tom Brown as Dr. Palfrey. And Norma Varden, Stanley Ferrar, Barley Names, Peter Voltrian, Mickey Little, Eddie Marr, Charlotte Lawrence, Martin Dean, Harry Shearer, Leon Ladoe, Marvin Bryan, Harvey Grant, William Ladoe was adapted by SH Barnett and our music was directed by Rudy Schrager. Presentation of the United States Armed Forces Radio Service.