 Lux presents Hollywood. The Lux Radio Theatre brings you For Whom the Bell Tolls, starring Gary Cooper, Ingrid Bergman, Akim Tamirov, Gail Sondergaard, and Mikhail Razumny. Ladies and gentlemen, your guest producer, Mr. Otto Kruger. Good evening, ladies and gentlemen. If you've ever been to our California theaters, you have a good idea of what the central mountainous areas of Spain are like. A high spectacular land remote and inaccessible. And here in the volcanic years of 1937 to 1939, when Spain was torn by civil war, guerrilla fighting found its perfect setting. And in tonight's Lux Radio Theatre play, these mountains become, too, the setting for one of the great love stories of our time. For Whom the Bell Tolls. This is based on the best-selling book by Ernest Hemingway. It is presented through the courtesy of Paramount Pictures, producers of Here Come the Waves. And our stars from the original cast are Ingrid Bergman, playing what readers' digest calls the greatest part ever offered a woman on the American screen. And Gary Cooper, producer and star of his own new international picture, along came Jones. Also, Akim Tamirov, Mikhail Razumny in their original screen roles, and Gail Sondergaard. So far, this Paramount Picture has played only special engagements in key cities. It will be released for general distribution in just four days. Meanwhile, we're happy to bring it to your home in return for your loyalty and your appreciation of Lux Flakes. I hardly need to add that through your use of Lux Flakes, you not only make possible these Monday night productions, but you help yourself in that all-important task of taking care of the nice things you wear and helping them to look better and last longer. So you see, you get two blessings in one package. Now, here's the first act for whom the bell tolls, starring Gary Cooper as Robert Jordan, Ingrid Bergman as Maria, Akim Tamirov as Pablo, Gail Sondergaard as Pila, and Mikhail Razumny as Raphael. Any man's death diminishes me because I am involved in mankind, and therefore never send to know for whom the bell tolls, it tolls for thee. Spain, 1937, a nation gasping under the savages of merciless civil war. During the historic siege of Madrid, an American named Robert Jordan slipped into the ravaged city. Jordan, it is good to see you. Thank you, General Goltz. You did well with their munitions train. Well, it blew up, General, if that's what you mean. Yes, and next is a bridge. Here is a map, and here, Jordan, high up in the mountains of Segovia is your bridge. It is all important that it be blown. We are taking the offensive, Jordan, at last. When? Dawn, four days from now. When we attack, the enemy will call up reinforcements, troops, artillery, tanks, and everything will have to cross that bridge. Above all else, it must be destroyed at the state of our. Now, how will I know the exact time? The squatter of our bombers will fly over the mountains. That will be your signal. What about a guide? Got anybody? An old man named Donsalmo, he knows the people to help you. Guerrillas, a handful, they hide out in the Paulisten caves. Now, how soon can you leave? Any time. I'd like a drink and a haircut. Good. Get the drink first. You need it more. Wait, I go with you. Get behind this rock, Roberto. Yes. Now, look down there, you see. Yeah, I see. The bridge. And the sawmill, the guards live there. Eight men in a corporal. Roberto. Yeah? That soldier on the bridge, he's a boy from my village. You couldn't kill him, Donsalmo? Yes, considering the necessity for destroying the bridge. But if I leave, I will never do harm to anyone again that it will be forgiven. I hope for that too, old man. Well, now where to? Hire up. There is a cave on the edge of the mountain. I have friends. Who leads there, Donsalmo? Pablo is a leader. Pablo does not like foreigners. Roberto, come here. See? Here is Pablo. Pablo is the boss here, Roberto. Foreigner? Yes, I am also a friend. I'm here at the command of the Republic. In these mountains, I command. What's that? You're packed. Dynamite? I can use dynamite. How much you bring me? None. It's mine. What for? A bridge. A bridge that is my business. In this country, foreigner, it is my business. You have a good horse there, Pablo? You... You know horses? Where'd you get him? Civil guard. I killed him without harming the horse. You've killed many civil guards? Twenty, thirty. Yes, but every day there are more. For the war, I had no horses. Not even one. Now I own five. We're safe here now, my people and my horses. And that's why you will not dynamite the bridge. We're tired, Pablo. We're hungry. You will not dynamite the bridge. It's all right, Roberto. We can go to the cave. You have enough to eat, Roberto? Oh, plenty. Yes. Here we eat like generals. Pay no attention to Raphael. He's a gypsy. Where are the other men, gypsy? We come and go. Some of us are sentries. Pablo insists on sentries. You're finished? Thanks. Wait a minute. How are you called? Maria. His name is Roberto. He's a dynamite. You hear along, Maria? You see my hair? When I first came, it was still shorter. I'd been here three months. I was on a train. They were taking me south. Pablo blew up the train at Arevalo. I was a prisoner on the train. When it blew up, I escaped. They found me. They and Pilar. She was hiding in the rocks. No hair at all. She cried all the time. And was she ugly? You blow trains? A few in Extremadura. You, uh, you belong to Pablo now? Pablo? No, I do not belong to Pablo. This is a very strange woman, Roberto. She wants no one. No one? No one. Not you either. I have no time for women. No? You will meet another woman soon. Really a woman. No, he means Pilar. Something barbarous. A hundred times braver than Pablo. But something barbarous. What are you saying now, you unmentionable gypsy? I was just telling the comrade what a gentle woman you are, Pilar. The comrade has dynamite. Get out. It's a woman. You, Maria, leave us alone, cropped-headed one. You don't frighten me, Pilar. Or are you English? Not English, American. I call you English. What was that gypsy saying? Uh, that you are much woman. And I'd say he's right. And what were you saying to the girl? The girl? Uh, nothing. Nothing? I see how she is from watching you. I see how she is from watching you. I see how she is from watching you. I'm listening, bless. She's young, and she's had a bad time. The worst time a woman can have. You understand? Sure. When do you leave here? In three days, if I'm still alive. I do not like that kind of talk. Why are you here? The bridge? Yes. We should blow all the bridges and get out. Nothing to do here but watch Pablo get drunk. I'm glad you are coming, Inglis. Pablo does not want me to blow the bridge. When it is dark, the men will be back. We will talk then, Inglis. Maybe you will blow the bridge after all. What do you do with the pencil and paper, Aberto? I'm drawing a sketch of the bridge. Yes, it is a bridge itself made on the paper. How to explore the bridge, Robert? I don't go for the bridge. Well, then we'll do it alone. The old man and I. Do what you want, but do it away from my mountains. Not where we'll be hunted, down and killed. You could escape easily with horses. I have five horses and eight people. You and the old man make ten. Until you had horses, you are one of us. Now you are rich with horses and a coward. You're an old man making trouble with your mouth. I'm an old man not afraid to fight for the republic. I'm an old man without horses. You will blow on our bridge here. Wait a minute. Pilar? I am for the bridge and the republic. What's that woman? I am for the bridge and against you, nothing more. Primitivo? I am also for the bridge. Fernando? To me the bridge means nothing. I'm for you, Pilar. Andres? Equally so. Me too, Pilar. I'm for you. The bridge will be blown, Pablo. And after that... I hear you. You think there will be an afterwards? It means nothing to you to be haunted like a beast. Don't try to frighten us, coward. Coward? Does cowardly to know what is foolish? And when I kept you all alive through the war? How I believed in you once. One year of war and you turned coward and drunkard. Woman, you have no right to speak in that way. Not before my people or the foreigner. Here I command. You heard them. No one commands here but me. I should shoot you and the foreigner both. Try it and see what happens. You are like one of the others now. Like them you take your orders from me. All right. All right, command then. And if you want, the foreigner can command too. Maybe I am lazy and drink too much. Maybe you think I'm a coward although you know better. But I'm not stupid. And now if you're a woman as well as a commander, show us all something to eat. Maria, serve us the supper. Where do you go, Roberto? Outside. I'm tired. I've got blankets. I'll sleep in the open. Why not in here? Well, I like it better in the open. In the open. He likes it better in the open. Do not worry about your dynamite. I will watch English. Roberto. Oh, it's you. You sleep with your gun, that's good. You must be careful, Pablo. He's still in the cave? He left a few minutes ago. He tries to hide his sadness in a wine. When Pablo does that, there's danger. I can take care of myself. I'm thinking of the bridge. I'm thinking about you, Roberto. Why, Maria? I don't know. Look, look at the stars. They're low. They're so low they're caught in your hair. My hair. I can feel the stars in your hair. Roberto. See? I must your hair. All day I wanted you to do that. To feel your fingers through my ugly hair. So, back to the cave, Maria. Yes. Good night, Roberto. We thought it best to wait you English. There is something you should know. Know what? The gypsy. He has just come back. What are you trying to tell me? Wake up. When Pablo left, the gypsy followed him. I move like a now, Roberto. I see everything. Tell him. Roberto, you have to kill Pablo. Now, before he kills you. He won't kill me. Still, you must kill him. Why? You don't know Pablo. What if he takes the horses and goes off? What if you breathe them? Ah, when we have no horses to escape with. You saw him take the horses? No, but he hides them deeper in the forest. And he talks to them. Pablo talks to his horses. He tells his horses to pay no attention to you. And to you, Pilar. Go to bed, gypsy. You don't understand. They'll be shot up. Pilar, you know Pablo best. What'll he do? I do not know. Have you observed how he watches the girl? It lies on him like a sickness. Until now, she has not looked at the man. But she looks at you. And Pablo sees it. And the sickness grows worse. That's another reason I want to blow this bridge and get out. And we need more horses. How can we get them? El Sordo. Maybe El Sordo will help us. El Sordo? These mountains are not all Pablo's. Good man. As good as Pablo is bad. We'll talk about you and the English. About you. Who else? Pay no attention to the English. It's difficult, but very loyal. But I left here before I took my god and I went for my horses. Yeah, but my mind has changed. I have returned to say I'm glad you have come. You're welcome here. Wait a minute. Listen. Plains. Plains. Plains. Plains. Plains. Whose are they? Whose planes? German planes. Italian. And they see my horses? They're not looking for horses. I could beat in their faces. I could beat in their mortar. The moon is too bright. They'll see the horses. Have you ever seen planes like this before? No, never. Never so close as this. Get in a cave. We'll talk in the morning. Get inside all of you. I'm afraid. What do you think? Yes? Well, we'll need more horses and soon. El Sordo will get them for you tomorrow when you go to him. Will you take me with you? Hi. Maria. Yes. Understand me. I'm in this war to the finish. A man doing what I'm doing can have nothing else in his life. Whatever happens to you will happen to me. You will take me. Yes. Yes. In the morning. Good night. Maria. Good night. True that. Our stars will return with act two of the Hume de Balthaus in a moment. Now, here's Libby. With a question, Mr. Kennedy. Who would you say could do a better job of washing women? Men or women? Well, Libby, that's putting me on the spot. But women have more experience in washing things. Then when a man, a serviceman at that, beats a girl at this job, it's new. I'll say. When did that happen? Well, I know a girl who had a lovely wool sweater. Since it was white, she had to wash it almost every time she wore it. And it shrank and shrank. Hmm. Not a luxe girl, evidently. No, but she has a boyfriend. Who is smarter than she is? Well, he's in the army and he washes his wool shirt. And he wrote her a letter. Yes? He said, I'm not only enjoying the luxe radio theater, but luxe as well. We get it at the post exchange, and I wash my good woolen shirts with luxe. They come out fresh and clean and fit fine. And so? And so his girlfriend took a hint. After all, sweat is a precious these days, and the luxe way keeps him soft as new. Keeps him fitting nicely, too. You will find easy directions on the luxe box. Remember to stick the luxe flakes for all washable woolens, so they'll stay like new longer. Now, Mr. Kruger returns to the microphone. Act two. For whom the bell tolls, starring Ingrid Bergman as Maria, Gary Cooper as Robert Jordan, Akim Tamirov as Pablo, Gale Sondegard as Pilar, and Mikhail Razumni as Raphael. Over the sharp rim of the Zagovia Mountains, a morning sun cuts through the frosty air. Raphael, the gypsy and unsellable old man have already left to watch the bridge in the road. And now, Robert Jordan is also ready to leave the cave with Maria and Pilar for their meeting with El Sordo. Suddenly, up the rocky path, a man emerges through the mist. Oh, Roberto! Did you see the airplanes last night? Of course. Weren't you here? Oh, Fernando. You did not miss me in the dark. I've been to the ganka. I go every now and then to see my wife and children. Pilar, come here and listen. What did you see on the road last night? A few trucks as usual, a few of their guns as usual. Sit down, Fernando, breakfast. Did you pick up any news in town? I'm nothing. Oh, yes. There is talk that the republic is preparing an attack. That what? They talk of an offensive, perhaps Navasarada. Have you heard of it? They talk of this in town. It's supposed to be a secret. Only rumors. An offensive of some proportions. Rumors? How can they let such a thing get out? What else? I'm nothing. They say we would blow up the bridges. If this is a joke... There is always such talk, Roberto. Always rumors. We'll be back later, Fernando. All right, Pilar. Maria. I'm ready. You, man of rumors, guard the explosives. With my life, Pilar. And then come yourselves, only rumors. But must we talk business so soon? I have good whiskey, English. We would talk now, El Sordo. If you wish. What is the reason for the bridge? An attack? Yes, and we must have more horses. If Pilar's people are to get out alive. Yes, it is a necessity. When do you blow the bridge? It will be easy to do it tonight. The English has to wait till the signal comes. Do it in daylight, and we may all be killed. Not if we have enough horses. Horses again. I will get them for you. Oh, where? I will go down tonight. I will find soldiers. And you will have their horses. Good. Look at this guy. Not good if he snows. Horses make tracks. The soldiers will follow. Snow? This is the month of May. It is too late for snow. Perhaps. If there is no snow, I will pay you a visit. And if there is snow, then I will do what is best. The moment will provide the answer. Pilar, what is it? You're tired. We'll rest a while. Oh, shut up. It is not much further to the cave. Sit down. All right. I am tired. And I'm jealous. How foolish. Jealous? Of Maria's 19 years. But you won't always be 19, little one. Take the English away from you. Even with my years and my ugly face. You're not ugly. And I love you. And I love you much, child. But do you know what it is to be ugly all your life and to feel in the heart that you are beautiful? You are beautiful. Ha, ha. You have little hair, Maria, but you are a gift to any man. And you, English, you are a prize for any woman. I would have made a good man. But I'm all woman and all ugly. Still, many men have loved me. Is that not strange? Where are you going? I have a surprise. Close your eyes. And you, too, English. What surprise, I wonder. All horses would be a good surprise. Oh, don't worry. El Sardone's men will get them. I think Pilar is bored with us. Pilar! Let her go, Roberto. What are you worried about? You. Why? Because I'm so happy? I told you last night that I belong to nothing and to no one but the bridge. Last night I wanted to tell you about myself. You said whatever happens to me but why did you say that? Where are your people? Your mother and father. My father and mother, I saw them killed. I'll tell you how it was. No, no worry. My father was the mayor of our town. When the fascists came, they took all the Republicans and lined them up against the wall. My father cried out very loud, Long live the Republic! And then they shot him. But my mother had no politics. She only loved my father, but she couldn't say that. She just looked at him there at her feet and she said, Long live my husband, who was the mayor of this town. She said it very loud, like a shriek. And then they shot and she fell and I tried to go to her, but they had tied me with the rest of the girls. Oh, I wanted to be shot too when I was going to shout Long Live the Republic and my mother and my father. But then, there was no more shooting. They started us up this hill to the city square across from the city while there was a barbershop. They took us there. No, no Maria, no. I want to tell you, but I can't. Maria. Are you angry about something? No, no, of course not. Oh, I'm glad. I won't cry anymore. Oh, Roberto, I... I don't know how to kiss or I would kiss you. Where do the noses go? Always I wondered where the noses would go. They're not in the way, are they? I always thought they would be in the way. Maria. Oh, did I do it wrong? No, no. You did well with El Sordo? We did all right. What about the road, Anselmo? All day there was very little business on the road. Here, I've marked it all down on the paper. Only ten trucks? And you Gypsy, the bridge? They changed the guard that noon then again at six. Still the same, eight men in the corporal. Where is Pablo? Pablo has been gone all day. Maria, stir it up the fire. Stir it up yourself. I have the dry Roberto's jacket. He fell in the brook. He fell in the brook. First you care for him as for a child. No, as for a man who is cold and wet. A man who has come home to his house. Listen, I've been wet before. English, come here. What is it? Come outside. Look. Look at the sky. It's darkened. Snow. Snow. How do you like it, Pilar? Pablo, get out of my sight. It's very beautiful. The snow. How do you like it, woman? How do you like to command when it's snow? Shut up, drunkard. I know. I know why you went to El Sordo. But the horses make tracks on the snow. English? There will be no offensive now. No, no bridge blown. No soldiers hunting us in the mountains. No, only the snow. And love making in the forest. What's your mouth? Everyone's so quiet. Everyone's so strange. What are you all thinking about? I do not think, Maria. I warm myself with wine. Your shoes, Roberto. Here, they are dry now. You think I was a child the way you... Maria. Here, Maria. Dry my shoes. Stand up, Pablo. Stand up. Are you drunk or just pretending to be drunk? Roberto. Don Roberto. Wait, wait English, wait. There is something I have wanted to ask. Why have you come so far to fight for our republic? Yes, why? Answer him, Don Roberto. A man fights for what he believes in, Fernando. Yes, but in his own country. Well, it isn't just Spain who's fighting here. There's a bigger issue here as I see it. An issue that affects all of us. And because I see it as I do, I'm here to do the best job I can. Were you always a republican and your father? Oh, sure. He voted the republican ticket all his life. And they did not shoot him for it? No, they don't shoot you for being a republican in America. Roberto was a professor. He told me this afternoon. An instructor. I taught Spanish. The professor? He has no beard. No, he's a false professor. No beard. A false professor. He does have a beard. Does he? You should know, girl. I've had enough of it. You hear Pablo enough? He's only drunk, English. Drunk? Yes. He tried to provoke me, English, huh? Is that it? Provoke me into fighting. Is that how he'd get rid of me? I say you were a coward and not drunk. I don't provoke. See? I sit in my chair and eat his insults. Yes. Yes. And I'll still be alive when you're all dead. Can I spit on you? I don't provoke. I don't provoke. My mouth bleeds, Augustine. Red. Red like the wine in my cup. I drink to the senor, a commander. And to all the fools. To provoke. Get out! Yes. Yes, I get out. I'll go to my horses. They have more sense than men. Now tell them. Tell them about the bridge professor and how to escape afterwards. No. Beautiful. You should have killed him, Roberto. What'll he do now? You'll throw a grenade in here. That's his style. Give me your pistol, English. I'll shoot him when he comes back. Wait. Wait. Do not forget he knows the way of our retreat. We should point out to Pablo how his condo... Shut up! We'll kill him when he returns. No, not in cold blood. Cold? You ingleses are all cold. But I am not cold. I burn. Burn! Pablo was once a leader. Without mercy, yes, but also without fear. We live today because of Pablo. But he's changed. And we must do what must be done. Pablo, I'll kill you! I'll kill you with my hands! Listen, I stopped and I'm not drunk no more. You were listening to us. You're afraid of being killed. When I left you, I was alone. I felt lonely. You do not know what it means to be alone. Now hear me, all of you. I have done wicked things in my time. I have killed innocent men. Yes, and it's God's truth that I would restore them. I would restore them all to life. It's God's truth I'm with you now. And it's God's truth that I'm not a coward. Fools! Unatics! You believe him! I'm back with my people and I think over Sordo. You'll be across the lines by now, stealing horses for us. I'm making tracks, Pablo, to bring the soldiers upon us. The bridge must be blown. Nothing else is important. Roberto! Maria, get down. I brought you coffee. See, I've got a bird in it. Quiet, quiet. I must have been dreaming. Down there, behind the tree. Yes. I saw him. I saw a soldier on a horse. But I've seen nothing. I swear I saw him. I couldn't be... Roberto! Yes, there he is. I was right. Get back to the cave. Tell Pablo. Pablo? Yes, tell him to bring his rifle. Hurry now. Well, English? The soldier is dead. Rafael, move him into the brush. At once, English. I killed a soldier without harming the horse. Now look, look, what a beauty. What a single beauty. He's a horse. Augustine, yes. Get the machine gun out of the cave and you and Selmo. I'll take the horse to the corral. No, he's made tracks in here and he's got to make them out again. They're bound to be other soldiers. Go on, now make tracks out of here. Oh, you have much heading left, yeah. We may have to run for it. Fernando takes the dynamite and Andres, go to Pablo's horses. If you hear firing, bring them down to the pass. The women will go with you. No, Roberto. You will go with Andres. If there's a fight, we'll need him to help you and to hold the horses. Where do you take the machine gun? To the big rocks at the top of the canyon. I go with you, Roberto. There may be a fight. I can help. I can hold the legs of the gun. Go back. Please, I want to be with you. They're coming. Roberto, look down in the valley. Yeah, cavalry, the whole troop. What are they shooting at? Who? Hand me the glasses, the binoculars. Pablo. They shoot at Pablo. That's true. No, five men, riding hard up the mountain. They're sordos. They're sordos. Oh, he's drawing them away from us. Then we stay where we are. What are you saying? The sordos will need us. Can't you see that they are done for? If we show ourselves, we're done for too. Then what happens to the bridge? Are our comrades down there? Are you afraid to fight for our comrades? The English is not afraid. What use is courage without intelligence? El Sordo has both. He will understand why we do not expose ourselves. He had found better cover on this side of the canyon. He knows that, English. El Sordo knows. What do we do, Roberto? It will be a long day. But we'll wait it out here at the cave. I'm back, English. The soldiers never even saw me. It's been dark for an hour. Where have you been? When the shooting stopped, I went. I went to where El Sordo was. Dead? Dead. All five of them. Dead. They had taken their heads. No heads. The cavalry rode back to the valley. We can see them from here. Where's they? Wine. Wine. Where's wine? It's the old man. I'm Selmo. It's not that, English. I have been by the bridge. I have seen them. See what? Guns, trucks, even tanks. More soldiers than I could count. Everything is moving towards the front. So, it is come. Come? What is come? The enemy has found out that our troops attack at dawn. We were going to surprise them. Now they will surprise us. Who knows the way through their lines? Two, never Serralla. I have been through before twice. English, do not disturb. Even without their sword, we have enough men to blow the bridge. Yes, I have confidence in you, English. Quiet. The English is writing. It is dispatched for general Gauss. Tell him the news is leaked out. The enemy is prepared. Maybe the general knows it, but if he doesn't, he must be told in time. I'll get through. Good luck. We pray for you, Augustine. English. What? When you came here, you told me the bridge goes at dawn after the third night. That is tomorrow morning. If Augustine doesn't get through, or if he does, then they still decide to attack, we'll see our bombers at dawn. Our bombers. Then everything must be in readiness, whatever they decide. Everything. I will see that it is so. I'll guard the horses tonight. Now, get what sleep you can. All of you. And watch my thing, Pilar. I brought your blankets here, Roberto. If you must watch horses, you should be warm. Put a blanket around you. It's cold. Will there be fighting tomorrow? I don't know. Are you afraid? Only for you. Pilar said I'm to stay with you. That you will take me to the republic. You and Pilar will each have a horse. You'll be safe with her. But I go with you, not Pilar. I came here on foot with the old man, and I'll go the same way. Maybe Augustine will get through. Maybe there will be no fighting, Roberto. How much time have we left? A lifetime, Maria. I mean till daylight. Oh, five hours. Pilar told me that time is not important. Maybe she's right. Three days and three nights. And yet, they are everything. Longer than the months in prison, longer than the years I've lived. She told me something else before I left the cave. She said we must live all our life in the time that remains. Why did she say that? Because we would all die tomorrow. And that you know it as well as she does, and you give it no importance. Pilar is crazy. She had a reason. She said I must tell you everything that happened to me when they shot my mother and father. I don't want to hear it. I must be told. They pulled my hair and cut it off with a razor. They put the braids in my mouth to gag me. In the mirror, in the barbershop, I could see the men laughing. And then they took me out. I stumbled over the dead barber. They had shot him because he belonged to a union. Then they dragged me up the stairs of the city hall to my father's office. Don't talk about it. Don't think about it anymore. I was going to tell you on the way back that I never saw those, but I was glad when you were back. Then I was happy. I felt as if it had never happened. But tonight Pilar said you must know everything. And now you won't love me. Tomorrow you'll take me through the lines and then I'll never see you again. No, no, Roberto. We can't change things. But it's true. It's true that I never kissed any man until I kissed you. No one, no one ever touched you, Maria. No one. You believe that. You believe that. I know that. And you can love me. I can love you more. I'll never leave you, never. What's the matter, honey? Penny, for your thoughts. Of course Bob isn't going to spoil the party by telling Betty her hands look red and rough, especially when he thinks maybe it's his own fault. Maybe Betty has to work too hard. Hands and soap and water jobs all day at home. But Betty could easily avoid embarrassing her husband by one simple change. If she would change from strong soap to lux flakes for dishes and other cleaning jobs, sooner hands would look smooth and clean. Many, many actual tests have proved this. And then... A penny for your thoughts, honey. I was just thinking. You have the prettiest little hands in the world. A guy's a fellow's proud to have a wife like you. Best of all, it costs less than a penny a day to change ugly dishpan hands to lux hands. Change to lux for your dishes tomorrow. Now, Mr. Kruger returns to the microphone. After the play, we'll ask our staff to take a look at your dishes. After the play, we'll ask our stars to tell us a little about their experience in the filming of this picture. But now here's the third actor for whom the bell tolls, starring Gary Cooper as Robert Jordan, Ingrid Bergman as Maria, Akeem Tamiroff as Pablo, Gail Sundegard as Pilar, and Mikhail Razumni as Raphael. Night wears on. It chilly stillness hangs over the cave on the mountaintop. Nearby where the horses are tethered, Robert Jordan stares through the blackness, on the bridge, on the girl named Maria who sleeps in the cave, and on the man Augustine who has written for General Golds with the news that could stop a futile battle. But in Navaterrada, Augustine learns that generals are hard to find. What do you mean by waking me up? I'm Captain Gomez, and this man, he has a dispatch from General Golds. No one believes me. For heaven's sake, get me to the general. This lunatic is either a bandit or a spy. Put him under guard. He bears an important message, Major, and I intend to get him through. And get out of here. I know of no General Golds. Hidey, Lieutenant Golds. Why didn't you get there sooner? What bridge are you talking about? Questions. Questions every inch of the way. Never in my life have I seen such stupidity. For two hours we've been trying to see you, sir. I swear by the saint and my dead mother, dig me to General Golds at once or I'll kill you! Here's your pass. General Golds is three miles down the road. You'll reach him in time. You bring this to me at once. Stupidity, General. Ignorance, stupidity. Crazy suspicions. You and the wireless. What about Abelge? Abelge is calling through, sir. I'm done. It took off. Ten minutes ago. Exactly on schedule, sir. They're gone. It's too late, Gomez. We're done for. Too bad. Too bad. It could have been a great victory. Yes, a great victory. Yes? You do not sleep? I'm thinking of Augustine if he got through. It's four o'clock. The moon is so bright it could be morning already. Why did you leave the cave? I had a dream. A good dream? That I was in your house. In America, the one you told me about while you were a little boy. Your mother was there. She smiled at me. Your child who looked exactly like my Roberto. And when I asked her whose son it was, she said, why, it's yours, Maria. That's why I had to tell you my dream. You can't wait to take you to America, can you? That too is like a dream, Roberto. No, wait till this war is over. You'll always take me with you. Unless you run away. I'll never go away from you. I would try to take care of you well. It means that when morning comes I would take your sleeping bag and hang it in the sun. Your socks should be washed and dried. I would see that you had two pair. What else? This. Your gun. I would learn how to fire it. Then if you were wounded, we won't be captured. I could shoot you before I kill myself. Do you have many ideas like that? Not many, but it's a good one in this war. But I rather have you shoot me, though. Promise me if there's ever any need, you will shoot me. Sure, I promise. Thank you. I know it's not easy to do. But there are other things I can do for you. Besides shooting me? Yes. I can roll cigarettes for you without spilling the tobacco. And if you're sick, I'll take care of you and read to you. Well, suppose I'm not sick. Then I'll give up smoking and have only one pair of socks and hang up my sleeping bag myself. What then? Then I'll just sit by and watch you and love you as I do now. Now, Maria, everything is now. There never is anything else but now. Not for anyone. If they only realize it, some people have many years, some only three days. But everything is in proportion. You can live a great life and not miss a thing if you pay no attention to yesterday and tomorrow, like we are doing. It's beautiful here. Will we ever come back? Someday, Maria. Do you think Augustine got through? Who knows? Are you afraid? I love you, Roberto. As I love my mother and father. I love what I love most in the world and I love you more. Always remember. I'll remember. Maria, it's time. To get ready for the bridge? Yes. We'll go to the cave. There's much to be done. There has been no signal, no airplanes. Maybe Augustine got through. We have to be ready just in case. Hey, Gilles. Hey, Gilles. I do not sleep this night. I'm a leader. I care for my people. I have been through the mountains and I'm a man. Who's man? They are the men of my friend Elias. Each with a horse, English. Three horses and three men? Where is the game? Well, maybe one gets killed and he won't need his horse, understand? English and I, we understand each other. Nobody understands you. Neither God nor your mother nor yourself either. Take the men of Elias with you. Yeah. Also the gypsy. You will take this side of the bridge, the road master's hut. Cover the bridge until I blow it. Good. Let's get them over. Bombers. Yes. Pilar, you will do the same at the sawmill post. Be careful not to alarm the sentries unless you hear the planes. Take the others with you. Primitivo, Fernando and Address. An old man. The old man here comes to the bridge with me. And what of Maria? What of me, Roberto? Well, you will stay with the horses. Don't be afraid if you hear shooting. We can tie the horses. I can go with you. It's more important that they be watched. And now retreat when all is finished. Then the bridge is blown. Come back through the gorge as fast as you can. Now get the horses and men of Elias. It's time to go. Maria. Maria. Salud. Maria. Salud, Roberto. Take much care. Come back quickly. Hey, what sort of a kiss is that? If you cry, they'll think I hurt you. I'm not crying. I hear the planes, English. I know. I heard them. Augustine, they did not get through. All right, if he did. Well, someday we may know what happened. Watch for yourself, Pilar. And for her. I care for you very much, English. Remember that. And don't worry. Everything will go well at the bridge. Sure. Everything's fine. Now let's go. The rest of that dynamite, Anselmo. Be careful of the girders, Roberto. What about the others? Can you see? Pilar on the other. They keep the soldiers busy. They're killing Roberto. I'll be through here in five minutes. Roberto, for all the letting of blood, will there be a penance? We fight to make peace, Anselmo. It's necessary to kill so others may live. When peace comes, all men must do penance. Or we'll never have a true and human places for living again. Are the wires clear? Yes, Roberto. We'll stretch them out along the bridge now. Hurry. The detonator, yes. Roberto, look. The enemy, they're coming. Thanks. A whole column of tanks. They're coming toward the bridge. Run with the wires. Hook them to the deck of air and blow it. No, Roberto, no. By the time you reach the deck, they'll probably finish here. If I pull the bridge, I blow you too, no. Do what I tell you. No, I cannot, Roberto. They have reached the other side. Get to the deck of air and hook the wires down. Yes, Roberto, yes. And Selmo, is it ready? Yes. They're on the bridge, Roberto. Sir, run to the horses. I'll follow. Yes, Roberto. Fernando. Dead. The old man also. Where's Pablo? We saw him coming up the gorge. He'll be here tonight. Captain, hold on. What was that shooting? Let's, let's look. Plenty of horses now. The shooting? What was it? A quiet woman. Rafael. He's dead. Where's Fernando? The old man. And where are the men of Elias? Where? Why don't you say you just shot them? I look after my own people. The men of Elias were strangers. I provide horses for my own people. We have horses to spare. How would I know? We would have three dead. Shut up! No. I need to retreat. Retreat to where? First down the gorge. They'll be waiting for us down there. We'll stay on this side of the river. They're on the other side. They've got tanks. Tanks can forward the river. I know the way. Take their lead and I'll follow. We cross it and go into the forest. There are the tanks coming. They've seen us. The tank cannot follow us in the forest. Cannon. They've got cannon. There is time to cross between shots. One by one. Pilar, Maria, you first. No, I'll wait for you, Roberto. Wait then. Pilar! On face! All right, Maria. All right, Roberto. Wait for the next shot. Then go hard before they can fire again. You will follow? I'll follow. I'm ready. Go. You fainted, Roberto. The tank? There is no more tank. Pablo did it. A grenade. There are others. Coming down the rolling list. Cavalry. Cavalry. My leg is broken. Yes, Roberto. Can you ride? Yes. Tear it off from one of the packs. I'll help her. You stay here. Well, hold on, Les. Bring me the machine gun. You'll make it all right if I hold them back. No. No, we will carry you. Don't argue. I couldn't stay on a horse. You can make it only if I stay here. Now, I want to talk to Maria alone. When I say, take her, take her, and make her go. Yes, English. Hook fast, English. They're coming to the gorge. I get the machine gun. Roberto. Listen, Maria, and don't say anything. The canvas, which I... No, Maria, we won't be going to America this time. Roberto. But I always go with you, wherever you go, understand? No, no. You leave with the others, Maria. As long as there is one of us, there's both of us, always. No, no, I stay with you. I stay with you. One of us must do this thing alone for the other. You understand? Because, because I love you. It's easier if I stay. It's worse for me to go. It's, as we said in the night, our time is now. And it will never end. And you'll go because you're good to me. You're going well and fast and far. And we both go with you. I promise you that. Now, stand up. You're all there will ever be left of me now. I can't. I can't. There's, there's no goodbye, Maria. No. Because we're not apart. And once you leave, Maria, you will not turn around, be strong, and take care of our life. Maria. No! Help her. Let me see what helped her. You will obey, Maria. No, no! What can I do? The gun is loaded. Yeah. And a few extra clips if you can manage. Look after the cropped head. Always. Go now. Adios, Inglés. Hurry! I'll eat that meat. Hurry! Safe. Show me safe now. Yes. Straight ahead, little captain. This way. This way. A little closer. A little closer. That's it. Now. Jordan, now. Because I am involved in mankind. And therefore, never send to know for whom the bell tolls. It tolls for thee. Certain tolls in just a moment. Ladies, what do you say when you get a run in your stocking? Something like this? Oh, nuts. Another run. My stockings don't last any time. Or maybe. Oh, gosh, a run. I'll never get this brand again. Yes, most women blame runs on the stockings. But they should blame themselves. If they were honest, they'd say... Oops. A run. That's what I get for rubbing these stockings with a cake of soap. Or... Well, it serves me right. Another run. Never should have used that strong soap on stockings. That's more like it. Strong soaps or rubbing with cake soap weaken elasticity so threads break easily instead of stretching under strain. Runs pop sooner. Gentle lux care saves stocking elasticity. Cuts down runs. Strain tests show stockings washed with lux fakes last twice as long. Remember, no strong soap, no rubbing. Just lukewarm lux suds. Dry rayons at least 24 hours. Gentle lux care will help you get twice the wear from every pair. Now, back to Mr. Kruger and our stars. Now as they come to the footlights for their curtain calls, we extend our thanks to Ingrid Bergman, Gary Cooper, Akim Tamirov, Gale Sundegard, and Mikhail Razumni. And I don't mind telling you that your names are quite a mouthful. Well, you've got four different nationalities represented, Mr. Kruger. That's right. Sweden, America, Denmark, and Russia. Yes, and very ably represented, too. You know, you ought to form an alumni association for whom the bell tolls. I mean, you lived together for so long to make that picture. Six months. Two miles high in the Sierra. The ruggedest picture I ever made. You must have plenty of vivid memories of that experience. Well, the thing I recall most clearly was Razumni riding a mule each morning to location. What was wrong with me riding a mule? I kept thinking it ought to be the other way around. By the way, was that your own beard you wore in the picture, Akim? Oh, it would have been because the high wind would blow it off. I imagine it was terribly cold up in those mountains. Yes, and hot, too. I remember Tamirov wearing a homemade Arabs hood to keep his face from being burned. I was a Russian playing a Spanish part in an Arab costume in America. Well, I certainly wish we had time for more of your experiences, but I want to be sure to tell our audience about next week's show because we're serving up a rather special treat called Sunday Dinner for a Soldier, that brand-new hit from 20th Century Fox. Congratulations, Otto, and who's in your cast? Our stars for next Monday night are Anne Baxter, John Horiak, and Charles Winninger, bringing you the heartwarming story of a soldier on leave and a lovable family who take him to their hearts only to find that this hospitality has changed the course of all their lives. Well, we'll certainly save Monday night for Sunday dinner for a soldier. Good night. Good night. Good night. Good night to you. Good night and many thanks to all of you. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Anne Baxter, John Horiak, and Charles Winninger in Sunday dinner for a soldier. Housewives, you can help to save American lives and speed the day of victory and peace by saving those waste fats and greases needed for vital war materials. Save every drop from your kitchen. Take them to your butcher in a clean can and he'll give you two red ration tokens plus four cents for every pound. Otto Kruger will shortly be seen in the RKO picture, Murder My Sweep. Ingrid Bergman appeared through the courtesy of Selsnik and will soon be seen in the Selsnik International production Spellbound. Akim Tamiroff is currently appearing in Universal's Technicolor picture, can't help singing. Mikhail Razumni will next be seen in the Paramount picture, practically yours. Gail Sondegard appeared through the courtesy of Universal Pictures, producers of The Suspect. Third in tonight's play were Tito Ronaldo, Charles Seal, Eddie Marr, Norman Field, Howard McNear, Jay Novello, Ed Emerson, Paul Theodore, and Joe Gramby. Our music was directed by Louis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. And this is your announcer, John N. Kennedy, reminding you to tune in again next Monday night to hear Sunday dinner for a soldier with Anne Baxter, John Hodiak, and Charles Winninger. For Luscious Pies, delicious cakes. Spry shortening, my shortening. For everything, she fries or bakes. My shortening, spry shortening. Let new, easy mix spry and spry's amazing shortcut recipes help you serve more delicious meals with far less work. For lighter, better-tasting cakes, tender flaky pastry, crispy, digestible fried foods, get SPRY. They show to listen in next Monday night to the Lux Radio Theatre presentation of Sunday Dinner for a Soldier with Anne Baxter, John Hodiak, and Charles Winninger. This is CBS, The Columbia Broadcasting System.