 Lux presents Hollywood. The Lux Radio Theatre brings you Loretta Young, Jeffrey Lin and Brian Donlevy in Jezebel. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. The test of gold is fire, and the test of a strong man or woman is not peace and success, but danger and disaster. It's true today and it was true a hundred years ago when a vain and selfish girl suffered her trial by fire and came out a heroine. Tonight we tell the story of that girl in Jezebel. Broadway applauded at first so lustily that Warner Brothers transferred the play to the screen, and tonight it completes the cycle of the theatre with our radio production. Jezebel is a drama that stirs every human fiber that can thrill to a story of great sacrifice and great love. A drama that requires a really fine actress in the central role, and that part goes to Loretta Young as our own private Academy Award for the magnificent performances she's given us in the past. Jezebel takes us back to a glamorous scene, the south before the war between the states, a land of gallant, quick-tempered men and lovely, impetuous women who lived by the high code of a day now beyond recall, lived excitingly, dramatically and dangerously. That was the day of Julie Marsden, who will be played for us by Loretta Young, the time of Preston Dillard and Buck Cantrell, played by Jeffrey Lynn and Brian Dunlevy. Those days were filled with adventure and beauty, but let's be downhearted because these days are too. As a matter of fact, there are more beautiful women in this country now than ever before. And, of course, that helps to make Lux Toilet Soap a bestseller. Wherever you see beautiful women, and that's everywhere on this continent that I've been, Broadway, Main Street, or Hollywood Boulevard, you'll find Lux Toilet Soap a favorite. But come back with us now to the gayety and color of the years when the South was a world in itself, and one of its loveliest cities was New Orleans. The curtain rises on the first act of Jezebel, starring Loretta Young as Julie Marsden, Brian Dunlevy as Buck Cantrell, and Jeffrey Lynn as Preston Dillard. New Orleans, 1850. The city is gay with bunting and confetti, ringing with laughter and music, for this is the Mardi Gras season, the eve of the Proteus Ball. Mardi Gras! Through the dense crowds, leisurely move top-hatted gallants and ladies in swaying crinolines, well-roomed horsemen hold their spirited mounts in check. Traffic is almost at a standstill. From a side street comes an open carriage. As it turns the corner, one of the young blades in the back seat leans forward. Here, boy, here. Stop right over there at the hotel. Why here, Buck? Well, might as well get us a drink here. Sure you'll have plenty to drink at the party. I know, but trouble with party liquor is they always mess it up with cherries and such. You wait right here, driver. How are you, gentlemen? How are you, Buck? How are you, Buck? How are you, General Bogartis? Mr. Delortric, here's somebody who really knows horses. Buck, step over here and decide a bet. Sorry, but I got no time, sir. Ted and I just stopped by for a minute. Take no time at all, Buck. You heard him, sir. Buck's got no time. Gentlemen, Buck Cantrell has no time. Five to four, he doesn't know what month this is. I'll do better. Even money doesn't know the day of the month. Well, Delortric, I know what time of day it is. Must be getting on to three o'clock. If it was any later, you'd be a lot drunker. Isn't it admirable that Mr. Cantrell can joke when he's just lost the lady of his heart? Better not, Renee. It's true, gentlemen. Mr. Cantrell has just lost his lady. I wouldn't go on, Delortric. You see, gentlemen, Mr. Cantrell is in a bad humor. Press Dillard has won his lady from him. Press Dillard has won Miss Julie Mars. Why, you... Easy, Ted. Let me handle this. Delortric, I thought I'd just heard you mention the lady's name. I must have misunderstood you, huh? And if I did mention the lady's name? Just that in a bar room, a lady's name is something that gentlemen don't mention. Are you trying to teach me manners, my friend? No, no, no. Wouldn't think of trying. I just, some way, don't like your hat or your ears or anything between them. Is that plain enough, Mr. Delortric? Ample, sir. Mr. Duret will be my second. And I'll act for Mr. Cantrell, sir. Now, Ted, now, Ted, you're kind of young for this sort of thing. Listen, Buck, it's my quarrel more than yours. It's my brother that's going to marry Julie. What do you say, Buck? Well, I feel that bad about it. Go ahead, Ted. Thanks. Gentlemen, I have the honor to be acting for Mr. Cantrell. Will sunrise at the Oaks be satisfactory? Perfectly, sir. Ted, what you want to make it so confounded early for? Couldn't you make it 10 o'clock? We don't have to sneak up on him in the dark. Oh, well, you're a servant, gentlemen. Come on, youngster, time we got along to the party. I don't see Julie, Buck. Where do you suppose she is? Is there ever any telling where Miss Julie is? There's her aunt. Good afternoon, Miss Bell. Good afternoon, Ted. I hope we ain't late, Miss Bell. Late? Julie isn't here herself yet. At her own party, in her own house. Really, I don't know what to do with the girl. Don't believe she was ever on time for anything in her life. Ah, well, time ain't so important, Miss Bell. You know, the longer I live, it seems like the more there is of it. Well, there she is. Why, she's in her riding clothes. Julie. I'm terribly sorry, Billete. I had trouble with the coat. Julie, a riding habit. No time to change, Aunt Bell. I think you look lovely, dear. Well, thank you, Miss Kendrick. How are you, Ted? Buck. Miss Julie. How are you, Julie? Julie, everybody's been talking about you. It's disgrace. But I said I was sorry. You know, when a coat gets high-headed, it's teaching Miss Manners right now a ruin of him. Yes, that's so important, isn't it? Yes. Julie, dear. Molly. Oh, Julie, I've been wanting to tell you, and I haven't had a chance. I think it all sounds so thrilling, Julie. Mary and Press Dylan are going to live way up north. That hasn't been decided yet. Oh, Julie, I wish you and Press all the happiness. The best of health and the most of prosperity. Molly, you said the very same thing the last time, Press, and I won't get it. Well, where is Press? I haven't seen him yet. Oh, he'll be here. He was held up at the bank. Something important, he said. Thanks for the gentleman, Miss Judy. Oh, thank you, Uncle Cato. Buck. Thank you. To the very good health of the future, Mrs. Dillard. Aren't you going to wish me happiness, too? What's the use? You won't get it. Mary and the trader going up north. Press is a banker, not a trader. I'll thank you to remember that, Buck. I keep forgetting there's a difference. But just the same, you're not going to like it at the north, Miss Julie. I'll tell you that's a fact. I'll be happy anywhere Press is. My dear, isn't Preston ever going to arrive? Oh, I am sorry, Miss Kendricks. He'll be here later. Preston found it important to meet with the directors of his bank. But it's your party, Julie. I think he knows that. Oh, what a shame. But I suppose a shoemaker must stick to his last. Bankers, too, Miss Kendrick. Excuse me. Aunt Belle, has Press sent any word? Yes, that it can't come, is all. It can't come. Uncle Cato, order a carriage, please. Yes, Miss Dillard. Julie, what for? If Press can't leave his bank to come to me, then I shall have to go to the bank. Julie! I don't know what you're thinking of leaving your guests like that. Coming down here to sit in front of a bank in an open carriage. Now, Dumplin, don't fret, so you'll frighten the horse. And send in a servant in to tell him you're here. Send in a servant to a gentleman. And please don't worry about Press. My goodness, I've been training him for years. Miss Julie, ma'am. Did you tell him to hurry, Uncle Cato? Yes, Miss Julie. I tell him. But he ain't coming out. That is not just precisely. He isn't what? That is, he said, Oh, Miss Julie, you please to go along. Because it's important. He can't see you till later. It's a conference. Mr. Press said that? Yes, him. That's his very words. He said you understand. I understand. Perfectly. I'll just go and tell him so. Julie, Julie, come back. As I said before, gentlemen, the South is doomed to economic extinction, unless it is willing to compete with the enterprise and energy of the Northern States. Now, the way I... Press! What? My Julie. May I speak to you? I'm sorry, gentlemen. I'll be back directly. Julie, what in the world? Press, are you coming or aren't you? Now, Julie, please try to understand. I only understand that you're promised. I told you I couldn't get to the party. Oh, the party, that's over. But you're promised to go to the dressmakers to see my new dress fitted. Your appointment wasn't today. Well, I made it today. It was the only time she had. And you're promised, Press. Julie, please, we're having a conference. This is important. I suppose it isn't important that I've spent a month having my ball dress made for tomorrow night. In fact, I don't suppose it's important what I wear to the Proteus Ball. Oh, now, honey. It's only you that's so important. You and your board are directors. I suppose they couldn't possibly get on without you. Now, Julie, you've got sense. Thank you, Press. Right now, I'm having the fight of my life in there. A grand fight. I've got to get back. Just you run along. And later tonight... Don't trouble. I'm sure you'll be too exhausted from your great struggle. Julie, you must realize... I realize only too well. Good day, Mr. Dillard. I'm sorry I troubled you. She bought General Bogardus a red dress. And I do believe she did it just to spite Press. Julie can't be serious, Miss Bell. She knows right well. No unmarried girl wears a red dress at the Proteus Ball. Don't she know what a fuss everyone will make? That seems to be what she wants. But she couldn't do that to Press. She knows the position he has to maintain in this town. What if some man should make... Well, comment on that dress. In Press's hearing. General Bogardus, you simply must talk to her. Make her realize what she's doing. Be firm. You're her guardian. And you're her aunt, Miss Bell. There ain't much I can do after 20 years of your spoiling. There's risk right in here with the folks, Mr. Press. He's Press now. Tell Miss Julie I'm here, Uncle Kato. Evening, Aunt Bell. Oh, Press, I'm so glad you've come. I thought, well, that is... Julie said you'd called again. Aunt Bell, it's high time we all stopped hanging on every word Julie says. When most times, the only half means them. I agree with you, Press. Miss Bell, I'm going to speak right out. That girl is higher-headed and willful. And I'm mighty glad Press has come to realize it. I appreciate your interest, General. But I believe I can handle this. Miss Press. Here's Uncle Kato. Miss Julie, she said, would you most politely excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Excuse her? Julie, open this door! Our prayers. Bangin' on a lady's bedroom door. I'm scandalized at you. Well, did you come up here just to stand there? I came up here to... Yes? Julie, how long must we go on like this? Like what, Chris? Fussing, fighting, like a couple of children. Why, do you treat me like a child then? Because you behave like one. A spoiled one. You used to say you like me like that once. You never wanted me to grow up. Remember? Julie. Julie, darling. Look at me. When I came in, I was going to beat you. Well, you press. Now, would you like to see my new dress? That's what I wanted to do all day. Well, let me go then. But the Proteus Ball? Yes. Isn't it lovely? Julie, it's red. Gorgeously red. But you can't wear red to the Proteus Ball. Why not? You never saw an unmarried girl in anything but white. You know that? It's the custom. It has a certain significance. Are you afraid I'll be taken for one of those girls from Gallatin Street? Julie. Oh, I'm sorry, press. I forgot. I'm a child. I'm not supposed to know about anything like Gallatin Street. I'm supposed just to simper around in white. You're supposed to know that you have a position to maintain? Oh, you mean it might be bad for the bank. Is that it? Will you please hold another director's meeting and let him decide just exactly what I can wear? Julie, for heaven's sake, be reasonable. Were you reasonable this afternoon? Oh, so that's it. You're just nursing a spite. Well, I'm not going to let you. You've made your point now. But once you're going to do as I say, I'm calling for you tomorrow night at 10 and you're going to be properly dressed for the ball in white. Emma, press. Well, of course, if you say so. Don't be absurd. Your own good sense will say so. And if it doesn't? Then, my sweet, you and I will sit at home with our embroidery. Good night. 10 tomorrow in white. Good night, press. 10 tomorrow. Zeddy. Zeddy! Yes, Miss Julie. Zeddy, come here. I want you to take a message for me. And don't tell the others, do you hear? Sure, Miss Julie. I want you to go to Mr. Buck Cantrell's house on Sharder Street. Ask him if he'll kindly come to the house here tomorrow night at 10. Evening, Miss Julie. Your message said 10 o'clock and here is Stan. Buck, I just heard. Is it true you killed him? Killed who, Miss Julie? You know what I mean. Mr. Deloctric. What was the quarrel about, Buck? Sure, Miss Julie. I don't rightly follow you. I saw Mr. Deloctric this afternoon. Got his arm bandaged, that's all. Oh, I see. I think, Miss Julie, you all dressed up for a hog killing. That's the reddest red I ever did see. I hoped you'd like it. Makes a man feel kind of all overish. Well, Buck. Look here, Miss Julie. What you want anyhow? I want you to take me to the Proteus Ball. Miss Julie. Well? You do me a great honor. Thank you, Buck. Then we better hurry. Just a minute. You had a set to with Press. I'd rather not discuss it. I guess we better have. Because Press ain't gonna like it. Afraid, Buck, that Press will call you out? Oh, he'd do that naturally. Couldn't blame him much. Where do I stand carrying his lady to the ball? If I ask you to, isn't that enough? Not this time. I think too much of you to help you do something, I know you're gonna regret. I know exactly what I'm doing. Most likely you do, Miss Julie, but you're wrong. That dress could cause no end to trouble. Folks would keenly resent your coming to the ball and that. Then let them. They're just petty and they're reminded. No, ma'am. It's just that they got rules, and they go by them. Same as you and I. Oh. And you prefer to go by your rules? I always have, Miss Julie. I reckon you'll find Press does too. Then I'm sorry I troubled you, Mr. Cantrell. Good night. Good night, Miss Julie. I'm sorry I... Julie, where were you? Press has been waiting. Hazy, I'm sorry. Good evening, Press. Good evening. Well, shall we go? Not until you are properly dressed. Properly dressed? Why must everyone be so proper? Why don't you admit that you're afraid, Press? Afraid someone might insult me and you might be forced to defend me. Isn't that it, Press? The carriage is waiting for us. My arm, Miss Julie. Press, wait. Julie, think what you're doing. Good night, Aunt Dale. We'll be late if we don't hurt. You're wrapped, Miss Julie. We can leave it here. Thank you. Private is warm in here, isn't he? I think we'll find it even warmer inside. Master, just look at her. A red dress. Horrible shock. Oh, she shouldn't have if she dances. I shall ask the ladies to leave the floor. Good evening. Good evening, gentlemen. Good evening. You all have the privilege of Miss Marsden's acquaintance, I think. Gentlemen, how are you, Mr. Knight? Very well, thank you. If you'll excuse me, I have to meet my partner. Oh, oh, certainly. Evening, Buck. Evening, Miss Julie. You're a servant, huh? What's the matter, Mr. Cantrell? You haven't a partner. You have to meet, too. Oh, no. No, I came alone. A pleasant evening, isn't it? Yeah, a mighty pleasant. Nice and cool. Do you find it cool in here? I don't find it particularly cool. Do you, Julie? Well, I know I don't. I don't find it particularly cool, Mr. Cantrell. Miss Julie doesn't find it so. Perhaps it's something in the atmosphere that's peculiar to you. I reckon it is. Now, to speak of it, it's just about right. It seems so to me. Do you think so, Julie? Yes. Yes, Press. Will you excuse us, Buck? You're serving, Miss Julie. Thank you. You, sir. Press, I think we better leave. Take me home, please. Why, my dear, we haven't danced yet. Shall we? I don't want to dance, Press. I'd rather go. Oh, but we must. Come, Julie. Press, did you hear me? I don't want to. Dance, Julie. Press, stop. Let me go. Oh, no, Julie. Well, even the floor. Let them. You don't care what they think, do you? I won't dance alone, Press. Please, Press. Take me out of here, please. Why did they stop the music? Oh, Press. Play. Press, don't. Go on. Play. Do you hear? Play. Press, no, let me go. Let go. Dance. I don't. If you don't, let me go. Dance. We came here to dance. Goodbye, Julie. Is that all you've got to say to me, Press? There's nothing more to say. Even if I was wrong? You couldn't be wrong. You're Julie Marsden. Emma, they got down on my knees. It would be interesting, but utterly useless. Hmph. Evidently, you've made up your mind. No, Julie. You've made up my mind. Well, then, goodbye, Press. At least you'll shake hands. Of course I will. Julie, you... Well? There was something I forgot to tell you, Miss Julie. I'm going north in the morning. I'll be going sometime. Goodbye. Don't let him. Go after him, Julie. Me? After him? Yes, Julie, quickly. Oh, Julie, you're fooling. Not so big a fool. He'll come back. Not this time. He won't believe me. Oh, yes, he will. You wait and see. He'll come back. Tonight, I think. And if he does, say I've retired. And tell him I'm sleeping late in the morning. Not to come around until afternoon tomorrow. Julie. Tell him that... In just a moment, Mr. DeMille and Loretta Young, Jeffrey Lin, and Brian Donlevy will return in act two of Jezebel. And now here's our Hollywood news reporter, Libby Collins. Well, what's the news this week, Libby? Or should I say whose news? Well, if you say whose news, then I can say Drew's news. Well, you win that one, Libby. I suppose you mean Ellen Drew. Of course. Paramount's mighty proud of its young star, Ellen Drew. Well, they should be. She's a fine little actress and a beautiful one. But we're proud of Ellen too, Libby, because you know she's a luxe girl. She always uses luxe toilets up for that million-dollar complexion of hers. Yes. But do you know her story, Mr. Ruick? How she happened to get into pictures? No. I suppose you tell us, Libby. Well, she was a sales girl in a small department store at Inglewood, Illinois at $10 a week. The store manager entered her picture in a beauty contest. She won and came to Hollywood. But she found beauty contest winners are about as numerous as palm trees out here. So she got a job as a waitress in a luncheonette. One day an agent came in for a soda. Saw Ellen and forgot the soda. He arranged for a screen test and a contract with Paramount followed. Her first big chance came when she played the feminine lead in Sing You Sinners with Bing Crosby. I remember Ellen in that picture. But hasn't she just made a new one called June and December or something like that? Well, you're close, Mr. Ruick. Her new picture is Christmas in July with Dick Powell. Oh, of course. And here's something else you'll want to know. Ellen told me that winter and summer, every day in the year, she gives her skin a luxe, soap-active lather facial. She says these facials are a wonderful aid in keeping her skin soft and smooth. Just right for camera close-ups. Thank you, Libby. I'm sure that women everywhere will be interested in that piece of beauty news. And now here's the way to take a Hollywood active lather facial. A facial with active lather that removes every trace of dust, dirt, and stale cosmetics. Smooth the rich, luxe, soap lather gently into your skin. Rinse with warm water, a dash of cool, and then pat lightly to dry. See how smooth your skin feels. How fresh it looks. Try these active lather facials for 30 days. They're quick, they're easy, and they really work. Remember, 9 out of 10 screen stars use gentle, white, luxe toilet soap. Now, our producer, Mr. DeMille. Act 2 of Jezebel, starring Loretta Young as Julie Marsden, Jeffrey Lynn as Preston Dillard, and Brian Dunlevy as Buck Cantrell. Almost a year has passed since Preston Julie said goodbye. The Mardi Gras Festival is only a few weeks off, but this time there's no gaiety in New Orleans. Only death and the muffled cries of the dying. For the foul breath of plague blows hot along the streets. Up from the dank marshlands creeps the dread plague of yellow fever. To the Marsden home comes an old friend, Dr. Stone to warn Aunt Belle of the danger. It's only a matter of a few weeks, I'd say, but you ought to leave the city. Go on up to the plantation, give yourselves a breathing spell. Is there really cause for alarm, Dr. Stone? I'm afraid there is. Mo deaths every day, Miss Belle. The city ain't going to be very pleasant until this blows over. Well, I'll speak to Julie again. She's been set against leaving, but I'll try to persuade her. Julie don't look as well as I've seen her. Looks a little pale. It's all right. It's all I can do to get her to step from this house. Won't go outside except to ride that crazy thoroughbred of hers. And then I'm in fear and trembling she'll break her neck. Won't go any place where there's company and won't have company in. The young Mr. Cantrell and the others, she hasn't received in months. If stop calling, only leave cars. What does she do all day long? Tends the house like no house has ever been tended. She's so particular, even article is half an inch out of place. Or if one speck of dust is on anything, she notices. It makes me uneasy. You might be interested in a piece of news I got today. Preston Dillard's coming back. Preston? Arriving Friday on the packet. What brings him? This yellow fever business. We two stand together on what ought to be done about it. So now it's busted loose, he's coming back. It's high time. Miss Julie might be interested too. Yes. You know, doctor, I expect I know Julie like nobody ever will. Maybe I'll love her most when she's a meanest. Because I know that's when she's loving most. Morning, Dr. Stone. Oh, morning, Miss Julie. I was just talking about you running up to the plantation for a few weeks. Again? Miss Julie, you don't seem to understand. Dr. Stone, I'll let you know about it as soon as I can. Do, Miss Bell, do. Morning, Miss Julie. Bye, Doctor. You know, I do believe Dr. Stone takes pleasure in fighting them people. Particularly women. You don't remember the last outbreak of fever? You were too little. It was dreadful, Julie. I'm not afraid. I guess it's pretty serious. Preston Dillard's coming home on account of it. Preston? He's coming home? Yes. Did you know it? Certainly I knew it. I knew it all along. He had to come to me. He couldn't help himself. He wouldn't know how to fight as hard as I have to keep from going to him. We'll be married, Aunt Bell. I'm going to beg his forgiveness. I was vicious and mean and selfish. I'm going to tell him how I hated myself for being like I was even then. I'll humble myself before him. All that ever stood between us will be gone when he takes me in his arms. There, there, child. Perhaps we better go to the plantation now that Preston's coming. Of course. That's the right place for our meeting. We'd best start packing, too. Uncle Kato, Daddy. Oh, Aunt Bell, we'll give a party. We'll invite everybody. A party to celebrate. Buck Cantrell, how are you, Buck? How are you, Ted? Your brother Press here. Not yet. Doc Stone saw him in the city. Says he's bringing something rare and precious from up north. What could it be, I wonder? Oh, a stem wind and watch, maybe. Maybe that's it. A stem winder. You look lovely, dear. But you'll wear that dress out, Bixen and Flusson. Everything's got to be right. Just right. I guess everything is. And you, most of anything, honey. Oh, Aunt Bell. Excited? Just feel my heart jumping. It's coming, Kate. Who is it? Mr. Press. Eat, Mr. Press. He'd just get now. Aunt Bell is here. Go downstairs and take him to the drawing room. I must see him alone. Yes, dear. Alone, Aunt Bell. What are you staring at? Are you remembering the time you wanted me to wear white? Are you prepared? Well, until now, I never have. What's the matter? Can't it cut your tongue? Julie. Oh, is that that plain enough? Oh, Press, what fools we were. Press, Press, please. That's over, Julie. Yes, of course it is. But darling, I can't believe it's you here. I've dreamed it's so long. A lifetime. No, even longer than that. Julie, listen. No, don't say it, not yet. I'll put on this white press for you. To help me tell you how humbly I ask you to forgive me. See, Press, I'm kneeling to you. Julie, don't. I want to press. I want to make you forgive me and love me as I love you. Get up, Julie, please. Get up. Press, I only want you to know... Come in, Amy. Julie, this is Amy, my wife. Your wife? And you are, may I say, cousin Julie? Your press's wife. Press, you're fun and... Hardly. Married? Such short notice. My congratulations, Press. You from the North, Miss Dillard? Yes, New York. From New York? Yes, I've never been south before. But I know I'm going to love it. You have such charming customs down here. You may find our customs, as you call them, quite different, Miss Dillard, from your countries. However, I'm happy to welcome you. Thank you. I did want to meet you. Press has told me so much about you. Everything, I suppose. Are you very surprised that we southerners are impulsive, aren't we? I wouldn't be very much surprised at anything Press did. Will you excuse me now? Julie, Julie, wait. I tried to find you to tell you... Married. He's married. Julie, child, I'm so sorry. For heaven's sake, don't be gentle with me now. You think I want to be whipped over? I've got the thing into plan. You can't fight marriage, Julie. Marriage. To that little washed-out Yankee. Press is mindy here. He's always been mine. If I can't have him, then... How are you, Miss Julie? Well... Well, Buck. Buck Cantrell. Why didn't someone tell me that you'd come? I'm most pointedly delighted. Most pointedly delighted, Miss Julie. Thank you. And just for that, I'm going to make you sit next to me at dinner. You honor me, Miss Julie. Oh, my goodness, Buck. You don't know how glad I am to see you. Ladies and gentlemen, and I'll say it again. I can't believe that the intelligent men at the north are plotting to destroy our sovereign rights. You sound right calm now, General Bogartis. But what they tell me, you were raring to go when you joined up with Andy Jackson. I was a lot younger then, Cantrell. And a lot foolisher. What Buck's been saying doesn't sound foolish to me. Most of it makes sense. And I'll take the rest of it on feet. Why, Miss Julie, that is a compliment. It's the first time you ever said that I talked sense. Well, you don't much. But it's refreshing to see a man who knows his own mind. Don't you think so, Press? It's difficult to know your mind sometimes. That's hardly an answer, is it? I'm sorry to seem dull. It's coming back to this house. All my childhood summers, there's so much to remember. Remembering a forward-looking young banker? I thought you were concerned with the future, not the past. Even a banker has memories. Then he ought to kill them. Or life at them. I did that myself. Well, being a banker, Press, you ought to see that the future of the South lies right here in New Orleans. Does it? Well, the way I look at it, Cotton is king. Folks are bound to ship Cotton downriver. So how can New Orleans keep from being the greatest city in America? You know, if I had the cash to spare from racing, I'd put it right into New Orleans' barns. They're down now, you know, counter the fever. Is that so, Buck? I don't like to disagree. But there's more than fever, the matter. Well, being at the North seems to have changed your point of view, Press. Broadened it, maybe. You aren't telling us, Press, you don't believe in New Orleans anymore? I've tried to study conditions. Conditions? Buck, you never studied conditions, did you? I'm not much on studying, Miss Julie. I've seen Boston. It's bigger. Chicago, pretty near as big and come up in the past ten years. There are plenty of others. It troubles me about the South. We're dreaming, and the dream is fading. Why? I hate to say this, but in a war of commerce, the North must win. Win? That's a mighty curious thing for a Southerner to say. It strikes me that way, too. But maybe Press has learned why. Up North. If you must have it, it'll be the victory of machines over men. I don't know as I like that, Billard. You're not expected to like it, and you're going to like it less when it happens. Why, you talk like a please. Yes, yes. Let's have no quarrel. Now, the ladies will be in the drawing room. You gentlemen can find us there. Press, yes, Ted? Buck seems dead set to pick a quarrel with you. That's nothing new for Buck and Julie. She's set herself to fasten a buck like a Gallatin street girl. Why? Don't worry. The less you crack your teeth, the longer you'll have me under your... Press, I saw you come out here. I wanted to talk to you. Yes, Julie. Why did you do it? Why did you marry her? Because I loved her. Oh, no, you're not a fool, Press. You've had my love. And lost it. It wasn't that memory more real than anything she had to give you. Don't look that way, Press. Just tell me. You must. Please don't, Julie. Shall I cry for you? Nobody but you ever made me cry, and that was only twice. And both times you gave me what I wanted. You remember? Yes. How much do you remember? Everything you ever said or did. Oh, Press. But it's passed now, Julie. Done. Finished. Heart have come to you. I wanted to so terribly. It was because I wanted to so much that I couldn't. You understand that, don't you, Press? I didn't understand. I only knew what you did. I didn't understand myself. But I do now. And you do. You do. That's why you came back, Press. You had to come back to the country you know. You belong here. Nothing can change that. Just listen. Can you hear them? The night noises. See the moon among the cypresses. Can you taste the night on your tongue? You can't get away from these things. Press there in your blood. You don't know what it is, but it's part of you. It's the Morkenbird and the Magnolias. It's the blue haze on a spring morning. When the air is so soft, it presses on you like a kiss. And it's the river rolling down and down, rolling forever. It's the country you were born to, the country you know and trust. Please, Julie. Oh, it isn't tame and easy like the North. It's quick and dangerous, but you trust it. Remember how the fever miss-smells in the bottoms? Rank and rotten, because it's part of your press. Just as I'm part of you, and I'll never let you go. Julie, don't. Never kiss me, Press, and hold me just once like a... Press, you're afraid of me. No. Then you're afraid of yourself. Yes, that's it. You're afraid of yourself because it's pulling you. It's got your press. You're part of it. You can't get away from it. This is your country, Press. Amy doesn't understand it. She'd think there'd be snakes here. Yes, she'd be right. You talk about trust. Amy has put her life and her happiness in my hands. And they're going to be safe there. How can she understand it? Julie! It's all right. I was just going in. Well, I hope I... Miss Julie, I thought I'd lost you. Why? What's the matter, Miss Julie? You, uh, you ache somewhere? It's nothing, Buck. It is. Look here. You out here a mighty long time with Press, Dillard. Please, Buck. Press is... Press has been punishing the brandy and... I see. Did he lose his capacity to drink like a gentleman at the north, too? Buck. What does he think a lady's house is, a riverboat bar? What did he do? Forget it, please. Please, Buck, this is a secret between us. Why, why, why, sure, Miss Julie. I'll forget anything you want me to forget. Please, I wouldn't want some silly thing I said to be the cause of... I know, I know, Miss Julie, and you can depend on it. You ain't going to be the cause of anything. You can depend on me, Miss Julie. Buck, what was that? Oh, well, that's just the fever cannon from New Orleans. You can hear it when the wind's right. You can hear it right clean out here, folks. There it goes again. Wind shifter to the south. What is it, Ted? It's the fever cannon, Amy, down in Orleans. Fever cannon? That's right. At night, they set tar bells blazing on every street corner. And the Washington artillery fire cannon to fight the plague. But what good does that do? Why, everybody knows that it starts the air currents that carry the fever away. They might better drain up the swamps and clean up the city. Well, maybe they do that in the Yankee land, press. They do? And there are quite a lot of other customs at the north. It'll be a copy. And there are a lot of things up there that won't stand copying, too. I'll remind you, Buck, that my wife is a northerner and a stranger here. You talk like you're the same. Now, see here, Buck. Ted, please. I'm sorry, Buck, but this subject is an unwelcome one. Julie is mistress of the house. You agree with me, I'm sure. Why, Belle, I wouldn't think of forbidden any subject to my guest. Julie. They're gentlemen here for you, sir. For me? Who is it? Mr. Dillard. Dr. Stone sent me. Mr. LeCourt, the bank is down bad with the fever. The doctor said you better come right down. Of course. Uncle Cato, tell my boy to get the carriage. Yes, sir. Mr. Dillard, Mr. LeCourt is very bad. He wants to talk some bank business to you before. Well, before it gets too late. Was I you, I'd ride. Be quicker. You can have my horse, sir. Very well. Amy. Press, I ought to go with you. Now, honey, this won't take long. I'll send a carriage for you later. And, Belle, you'll take care of her until I can send. Surely, press. I hope you'll all forgive me. We understand perfectly, my boy. Press. Now, darling, please don't fret about me. I'll try not to. You look after Amy, won't you, Ted? Of course, press. You need an aversk. Goodbye, Amy. Goodbye. Goodbye, all. Goodbye. I do hope everything will be all right. It always is. Of course, it's a pity press had to leave now. But I suppose his bank comes first. Well, press is devoted to the bank. Yes. Rather unfortunately so. You don't find that admirable, Miss Marston. Oh, admirable, I suppose. It just seems to me there are other things more interesting. I imagine Buck finds itself. Why, Miss Julie, I never go into a bank if I can help it. It seems like they're mostly studying how they can get something away from somebody. I wouldn't say that, Buck. I beg your pardon, Ted. Now, Ted, all Mr. Cantrell meant to say is that most folks down here prefer other pursuits. Like Planton and... You need not apologize for Mr. Cantrell. I'm sure he is capable of defending his own insinuation. Why, Mistress Dillard, ma'am, I surely didn't mean to offend. I was just talking... Of course, Amy, Buck didn't realize what he was saying. Why, he doesn't even realize how Julie's using it. Now, Ted. Ted, please. Ted, son, how do you mean that? I don't get the sense of it, but it don't sound polite. You know right well what I mean. Julie's been egging you on. First against Press and now his wife. Ted, be quiet. I meant what I said. Then let's just figure I didn't hear it, Ted. And, boy, I'd keep Miss Julie's name out of your conversation. You're full enough to defend what you don't even understand. I don't see anybody that needs any defense, Ted. And if I did, I'd make out to defend them, I suppose, yes. Let's put it this way, then, Mr. Cantrell. All evening I thought you coarse and loud and not a gentleman. That's better. Very well, Mr. Dillard, sir. Mr. Allen will act for me. And we'll be happy to do you the honor. You young jackass. They let the house an hour ago before sunrise. Don't be hush, dear. There's nothing can be done about it now. Oh, and, Belle, if anything happens to Ted, Press couldn't bear it. Oh, why can't we stop them? Why? We women can start them in calling often enough where can't ever stop them. She could. Julie could. No, Amy, she couldn't. Are you savages? Good morning. What brought you out so early, Aunt Belle? It's a grand morning. I couldn't resist it. Where are the gentlemen? You know very well where they are and what they are doing. Yes. A silly custom. But part of what we Southerners call our chivalry. Do you know sometimes I envy them to face what they hate? To kill or be killed to settle something. We can't do that. We women. It doesn't mean anything else. To you? Why should it? Listen, someone's come back. It's Ted. Ted! Oh, Ted! What happened? Buck's dead. I never saw a man like before. He knew what you'd done. He told me so before he died. Oh, Julie, you're a... Come, Amy. Come in with me. We'll believe them now. Buck is dead. Well, say it. Say what you're thinking, Aunt Belle. What is it? I'm thinking of a woman called Jezebel. Who did evil in the sight of God. After a brief intermission, Mr. DeMille and our stars Loretta Young, Brian Donlevy and Jeffrey Lynn will bring you Act 3 of Jezebel. And now Sally here tells me that she has another helpie for us. A helpie, you know, is Sally's own way of saying helpful hints. Thanks for explaining that, Mr. Ruick. But I think maybe tonight's helpie really should be called a thrifty. A thrifty, eh? How's that, Sally? Well, last week you said lux toilet soap was very economical to use as a bath soap, too. You said it can be used down to the last thin little sliver. So I did, Sally. That's because lux toilet soap is hard milled, you know. Well, I've been thinking about that last thin little sliver. And I've began to wonder if all of our women listeners know this thrifty little trick. While your new cake of lux toilet soap is moist, just take that little sliver and press it firmly onto the fresh cake. That way you use up every last bit and there's never any waste at all. Well, thank you, Sally. That's a good thrifty. And I'm sure that it's going to be appreciated by the millions of women who depend on a daily lux soap bath to protect that important feminine charm called daintiness. You see, lux soap has active lather that does a gentle, thorough job, leaves skin really fresh, sweet, perfumed with a delicate, flower-like fragrance that screen stars and fastidious women everywhere find delightful. You'll find that while lux toilet soap makes your daily bath a real luxury, it costs so very little, it's thrifty. Especially if you buy it the economical three-cakes-at-a-time way. Start tomorrow. Use gentle, fragrant lux toilet soap for your beauty bath. You'll love it. We pause now for station identification. This is the Columbia Broadcasting System. Curtain rises on the third act of Jezebel. With the death of Buck Cantrell, the guests at the plantation prepare to leave. But from New Orleans comes word that holds them prisoner. No one can pass through the fever line. In the city, the dull boom of cannon punctuates the sultry night as a long procession of wagons rattles through the deserted street. Sick wagons carrying fever-ridden patients to Lazarad Island. There they go, press. Today's crop of sick folks for Lazarad Island. So New Orleans has come to that, Dr. Stone, sending its sick away to die. It was the same in the epidemic of 1830, press. Folks who do might not hear anything let them get scared enough. It's murder. You know nobody ever comes back alive from that place. What are we trying to do? Save folks or kill them? Opinions differ, press. Maybe if we get rid of the fever patients, the rest of us will have a chance. This is Yellow Jack, son. We do what we can, that's all. Come on in the hotel. We'd better get us a drink. Yes, sir. What will it be, gentlemen? I'd like a double. Single for me? Look, yes, sir, I need that kind of unusual for you. Are you telling me what I can... I'm sorry, Dr. Stone. I don't know why I said that. Don't you feel right, boy? Why, kind of edgy, maybe. It's been a tough day. Well, I got chilled walking up. Chilled? Press, you ought to be eased and down. With Lecour gone, we're looking to you I saw myself late before yesterday. I saw him in all paths. Buck Cantrell? He's dead, I tell you. Ted, tell us the one who killed him. I don't believe it. Just a minute. I believe I heard you make a private matter that concerns my family, the subject of a bet. Mother, sorry, I didn't know. It's not a thing to bet on. I reckon you're right, sir. I don't want to hear any more of it. What is it? I'm... I'm dizzy. Press. He's got the other guy. What are you saying? It's the truth, Miss Julie. Dr. Stone sent me from Norland. Mr. Press, he got the fever bad. Fever? He took him to your house, Miss Julie, because the hotel folks won't take him in. They're going to send him off to that leper place. The lazarette? The cant? Open the trouble, Miss Julie. I can't let nobody through the fever line. How come they let you through? They never, Miss Julie. I just kind of ooze through. But how? When a white gentleman stopped me just out of town, I leave the horse with some folks on my nose. And I go walking. I kind of squinch through the cane by the bio. You swam that bio? No, Miss Julie. I scared of the gator. I just kind of find me a double-end pier over. It ain't like I was stealing, Miss Julie. I'm not fixing to take it back. You are. You're taking it back right now. And I'm going with you. It's too risky, Miss Julie. And yellow jack cutting folks down like straw back in Norland. That's why I gotta be there. Dear, here we are going. Oh, thank heaven. How is he? As well as can be expected. He's up in your room, Miss Julie. I want to see him. I had to bring him here. No hotel would take him, of course. He'd take him to that island. You've got to stop him. He'd die. No, my dear. I'm doing what I can. Come here. Press. You. What are you doing here? I came to help you. Keep away. Don't touch me. Please, please. It's Julie. Julie. Julie. In a white dress, Julie. Out of his head, Miss Julie. What can we do for him, Doctor? But you oughtn't to be here. Yellow jacks, mighty catch him, Miss Julie. Catch him, isn't it? We need more ice, Doctor. I'll go down and sing some up. We'll keep him here. They can't take him away from us. We'll make him well again. Julie, I must tell you, it was my duty. Press is a fever patient. I had to report him. You reported him? You'd send press out to die? You could. I put press on his first horse. I caught his daddy out of his saddle when he died at Buena Vista at the head of his men. If there was anything else to do for press. Don't touch me. I'd have done it, Miss Julie. The compress is along. The ice, Doctor. I'll see to it. Lazer at Ireland. To die alone. Oh, no, Press. No, I swear it. Not alone. The river. Part of you. In the blood. Never walk white. Never walk white. Julie. Darling, don't. In the blood. Never get away from it. Never. How is he? Amy. Amy, you shouldn't be here. Press is sick, and I'm his wife. Well, did you speak to Dr. Stone? They're coming to take him away. I know it's what Press would have wanted. And I'm going with him. You? You can't. I'm going. It's my right. Of course it's your right, Amy. You're his wife. But are you fit to go? Loving him isn't enough. If you gave him all your strength, would it be enough? I'll make him live or die with him. Amy, do you know the Creole word for fever powder, for food and water? How to talk to a sullen overworked slave and make him fear you and help you. Press's life and yours will hang on words that you can't say, and you'll both surely die. And it must be that way. But it isn't a question of proving your love by laying down your life for Press. It's nothing so easy, Amy. Have you the knowledge and the strength to fight for his life and your own as you'll have to fight? Amy is no longer you or I. What do you mean? I mean that I'll make him well. I'll make him live, Amy. I will. Whenever you'll do, I'll do more. Because I know how to fight better than you do. Amy, if you knew the horrors of that place it's not a hospital. It's a desolate island haunted by death. They'll put Press in an open sled with hundreds of others. You must be there with him day and night, watching every breath he draws. He must bathe and give him his drugs and you'll have to fight for his food and his water. You must keep him living, Amy. You must keep the living away from him as well as the dead. Be thereby and with your body between him and death. I'm not afraid. No, you're not afraid, Amy. It's the woman I ever saw. I believe you even have the courage to save him. If I give me the right to go in your place you're not afraid to die. But I ask a greater sacrifice and press his name, his life and for yourself for the chance to give proof that I can be brave and strong and unselfish. Oh, help me, Amy. Give me the right to make myself clean again like you were clean. You love him even more than I believed as in your power. Then let me prove myself worthy of that love, Amy. Julie, tell me. Tell me something which only you can tell me. Does Press still love you? He himself might know, but you would. Tell me. Oh, please. Please, you've got to let me go. Help me. Amy, what is a matter who Press loves? It's his life that matters. We both know Press loves his wife. Is that true? I've done too much against him, Amy. You were gentle and brave as I never knew how to be. Had there been any love in his heart left for me, I'd have taken him from you. I tried and I failed because he loves only you. Sick wagon. You ready? Amy! I'm grateful to you for telling me what I had to know. I believe you've earned whatever right was mine. God protect you and Press. Go with him. Don't leave me, Julie. I won't leave you, Press. The wagons move on. The cannon are silenced. As the curtain falls on Jezebel. And we all join in applauding the artists who brought us this play tonight. Loretta Young, Brian Dunlevy and Jeffrey Linn. The next time a performance is fine as Loretta Young comes along, Mr. DeMille, don't put me in the cast. I'd rather be in the audience, so I won't miss any of it. You've got an idea there, Jeffrey, and you can save a seat for me. You too can be in the audience if you like, but I want to be right up here producing the play. My goodness, I seem to be surrounded by three true southern gentlemen. And I'm very grateful to you. There's one thing, Loretta, we want to speak to you about. We think you had a perfect right to go off to Mexico and New York on your honeymoon, but it's time now that you started another picture. Well, as a matter of fact, Mr. DeMille, I'm going to work very soon in Mr. Frank Lloyd's production, Lady from Cheyenne. Oh, that sounds exciting, Loretta. Yes, and good luck on it. Thank you both. I know everyone is anxious to hear Mr. DeMille's announcement of next week's play, but before that, there's something I'd like to say to the ladies in the audience. Green light, Loretta, go ahead. Well, this is especially for those women who have never tried luck soap. I've used it myself for a good many years, but I know that a few days' use will convince anyone that luck soap really is a fine complexion soap. That rings the bell, Loretta. Luck soap is its own best salesman. Well, Mr. DeMille, what about next Monday night's play? Next week, Brian? Yeah. Here's one special climax to the 1940 football season. The first complete radio production of the current Warner Brothers hit Knut Rockney All-American. And our star will be the same one you saw in the picture, Pat O'Brien, in his great performance as Knut Rockney. Besides Pat O'Brien, you'll hear Ronald Regan and Donald Crisp, also of the picture cast, and Fay Rae. This is more than the story of winning football teams. It's the thrilling true-life drama of a man who taught his players a code of conduct that will live long after gridiron tramps are forgotten. A man who left his mark on America. And next Monday night, you can all have seats on the 50-yard line when we present Knut Rockney All-American. The cheers will be spontaneous for that show, Mr. DeMille, and we'll be right on that 50-yard line. Good night. Good night. Our sponsor, the makers of Lux Toilet Soap, joined me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Pat O'Brien, Ronald Regan, Donald Crisp, and Fay Rae in Knut Rockney All-American. This is Cecil B. DeMille saying good night to you from Hollywood. Third in tonight's play were Verna Felton as Aunt Belle, Eugene Francis as Ted, Lorraine Tuttle as Amy, Griff Barnett as Dr. Stone, Merle Ross as General Bogardus, Lou Merle as DeLotric, Jack Carr as Uncle Cato, Claire Videra as Mrs. Gendrick, Anne Tobin as Molly, Ralph Sedan and Byron Shores. Brian Donlevy is currently working in I Wanted Wings at Paramount. Jeffrey Lin appeared through the courtesy of Warner Brothers and will soon be seen on the screen in their production of Four Mothers. And your announcer has been Melville Royck. This is the Columbia God Casting System.