 Lever Brothers Company, the makers of Lux Toilet Soap, bring you the Lux Radio Theatre, starring Joseph Cotton and Ida Lupino in The Seventh Veil. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Living as we do in an age of science, it's fair to ask how far science can go in unraveling the mysteries of the human mind and probing the often troubled secrets of the heart. We have an answer in tonight's compelling drama from J. Arthur Rank's production of The Seventh Veil, a story of tempestuous love in the shadow of a strange neurosis, and our stars are two of Hollywood's finest, the ever-popular Joseph Cotton and that lovely dramatic actress Ida Lupino. Our play unfolds in London, where you may be surprised to know there are many fans of the Lux Radio Theatre who have heard it broadcast to our men and women overseas by short waves, and many fans of Lux Soap, too. One of our American listeners forwarded us a letter from a relative in England thanking her for presents she sent. I was particularly grateful, says the letter, for the Lux Soap you included. Soap is still scarce here, and to have my favorite Lux is really luxury. Well, while Lux Soap is not a luxury in this country, I know that the women in our audience agree with the sentiments expressed by our friend in England. On to our play and act one of The Seventh Veil, starring Joseph Cotton as Nicholas Brant and Ida Lupino as Francesca Cunningham. Kendall Sanitarium, London. In his office, Dr. Kendall is discussing a patient with an eminent psychiatrist, Dr. Albert Larson. Well, Dr. Larson, now that you've seen Miss Cunningham, you said she was admitted here following an automobile accident. Yes, her injuries were not serious as you undoubtedly observed. Yesterday evening, she got out of bed, slipped away from here and attempted suicide by jumping off a bridge. Why? I wish I knew. Miss Cunningham hasn't spoken in days. It's as if she couldn't hear, but we know she can hear. That's only one of several indications that she needs you rather than a medical doctor. Miss Cunningham will talk, Dr. Kendall. I've given her an injection to produce a mild narcosis, enough to induce a light slumber. I... I'd hope we could avoid that. Oh, the drug is harmless, but it will make her talk. Of course. Still, if you'll forgive me, it did. It saved us a little of prying. Definitely, it is prying. Dr. Kendall, a surgeon doesn't operate without first removing the patient's clothes, nor do we with the mind. The mind is like Salo made at the beginning of her dance. She conceals herself beneath seven veils. People, too, have veils. Veils of reserve, shyness, fear, shame. Some, they can be persuaded to cast off, but the seventh veil. She yields the innermost secrets of the mind. Very rarely is that voluntarily removed. That's why I say narcosis. With it, we can really be of help. Oh, I think our patient is ready for us, Doctor. The drug seems to have taken effect. Yes, but she can hear me perfectly. This is Dr. Larson, Miss Cunningham. I'm so happy you've been able to... to sleep. How wonderful it is to relax, to rest. You do hear me, don't you? Not your head, Miss Cunningham, then I'll know for sure. Thank you. Now, you can do whatever you please. What would you like to do? Would you like to go back to school? You were happy when you were little girl, weren't you? Wouldn't you like to be happy again? Back to school? Back to school? Tell me about school. You are 14 years of age now. How old are you? I'm... I'm 14. What's going on at school today? Tell me, Francesca. We've been fishing for minnows before, Chapel. Susan and I... Fishing for minnows? Yes, that's great fun. But we... we're going to be late for Chapel. And I must get back to school. Oh, Harry, Francesca. Oh, please, Susan, we'll be terribly late. Oh, what if we are? Oh, we'll get is a black mark. But I've been late once this week already. Miss Lawson sure to send me to Miss Duncan. Oh, tell her you were sick or something. Oh, she'll never believe me. I said that on Tuesday. Oh, poo! Then tell her you lost your way. I hadn't wanted to fish for minnows. Susan could persuade me to do anything. I'd always get caught and get punished. In Miss Duncan's office, we're okay in Harlem Wall. Well, don't stand there, Cunningham. Hand me the cane. Yes, Miss Duncan. Hold out your hands. Oh, please, Miss Duncan. I know I must be punished, but not my hands. Please. Today's the music scholarship for piano. And if you... Oh, please. But I so badly hadn't a chance. And I set my heart on that scholarship. Music. Music was the only thing I really cared for. Even then. But next time you're sad for it, you passed easily. No. I never sat for it again. Let you and my father died. I went to live with my uncle, Nicholas Brandt. Wasn't really my uncle. He's my father's second cousin. He was rich. The only relative I had in the world. He was slightly lame. He walked with a cane. Well, let's have a look at you. Francesco, you're my cousin, aren't you? Yes, Uncle Nicholas. You'll call me uncle. I'm not your uncle. You must call me anything. Call me Nicholas. Look at me when I'm speaking. Yes, sir. Now listen to me carefully. This is my home. It's a bachelor's establishment. You know what that means? It means that you're not married. It also means that when I came here, I promised myself no woman would ever enter it. So far, none ever has. You're the first. What do you see? The time to do my best. Not to intrude upon your privacy. Parker. Yes, sir. Take her upstairs. You know where to put it. Yes, sir. This way, Miss, please. Whose portrait is that on the wall? Mr. Brandt's mother. Oh, is she dead? I don't believe so. What happened to her? I can't tell you, Miss. Then I shall ask him. I wouldn't if I were you. Why not, Parker? Because if you must know, she left his father, ran off with another man. There was a divorce, and Mr. Brandt had to give evidence. He was only 12 years old at the time. Yes, Miss. You will find my master is a strange, dark man, but not unkind. No, he... Those first few months were the loneliest I ever spent. The whole house seemed to resent my presence. Nicholas. Nicholas would limp about leaning on his cane, looking right through me as though I weren't there. Well, sometimes it's simple. This letter, Francesca, it's from that school you attended, from Miss Duncan. Oh. Do you know what she has to say about you? Perhaps you open this letter yourself. Oh, no. No, I... No, I didn't. Then let me tell you. She says your intelligence is above average. Do you agree? I... I don't know. She goes into some length about your shyness. Are you shy of me? A little. Why? I won't eat you? I know, but... What? Nothing. Francesca has an extraordinary talent for music. She plays the piano extremely well. Has an appreciation of music for beyond a few years. Why haven't you told me? I didn't think it would interest you. Indeed. Well, there's a piano. Sit down. Play something. I can't. Why not? Please don't ask me to. I can't. Play something. I can't. I won't. Oh, very well. I'll play for you. I wanted to see much to play. Suddenly, I... I seemed to lose my fear of him. And I... I sat down beside him. Started to play. As I played, I... I thought I saw Nicholas smile. Then he walked from the room and I could hear the tap of his cane, even above the music. Jessica, that's enough. It's time you had some proper training. I've arranged for you to start at the Royal College of Knives. Oh! Oh, Nicholas! You'll report at 10 o'clock tomorrow morning. I've arranged for you... Oh! What do you think you're doing? Francesca, what made him so angry? It's so great fun. I put my arms around him. Dr. Larson, why am I telling you this? Because you feel better having said it. Yes. Oh, yes. You went to the college the next morning? But even before I left the house, Nicholas had gone. Parker said it was a business trip. Be away for months. And then I... I was too busy at college to worry about him. And I... I met Peter. Who is Peter? Where did you meet him? At a little Italian cafe where most of us went for lunch. I just finished eating when I... I felt someone's staring at me. You know, you're working much too hard. But I... I like work. Well, I like ravioli, but I don't eat it all the time. Now, come on, put away that book. I'll pay your bill and we'll go for a walk. Oh, no. No, thank you. Come on, come on. Peter was like that. He... he was an American working his way through college by paying with a dance band at night. The next evening he took me to the nightclub. I sat at a table and whenever he could get away, he'd come over to me. You know, Francesca, there's practically nothing wrong with you. Well, thank you. Oh, you're a bit of a prick, but of course that's just the way you've been brought up. And you're extremely rude. I suppose that's the way you've been brought up. I was dragged up. I know it. I... I think I better go, Peter. I... I can get a cab. You always run away? Well, it's late and I have some very important things to do. Now, how often do you take evening off and go to the movies? Never. I don't like them. Oh, but you're sure they take you out of yourself? Now, for instance, a movie about a poor struggling musician. That's me. He meets a rich girl, Snooty, at you. You know what happens? No, what? Well, she's cold, unattainable, but underneath it all, she's really falling for it. You see? No. No. Oh, well, that's because you'll never go to the movies. Now, you know what happens next? No. Well, he just leans forward and kisses her. Why did you do that? You know what she does? She walks right out of the place, leaving him looking like a dummy. Well, that's exactly what I... All of that's only in the movies. Now, in real life, it's different. He just leans forward and kisses you like... like this. Do you know what you do? I can only do. Good night. So, Peter, again, Francesca? Oh, yes. Yes, I kept away from him for a week. Then in same little Italian cafe. This happens in the movies, too. Peter. After the rich girl walks out on the poor musician, they're both awfully unhappy. After a few days, they both take to haunting the spot where they first met. Oh, why? Well, because by now they're getting pretty hungry. Hey, Mariani, you're ravioli. But, Peter, I'm not hungry. The raviolis are for me. Don't you realize I've been so miserable I haven't eaten for days? Oh, I wish I could be angry with you, Peter. I wish I could. Francesca, you can smile. Oh, and it's a beautiful... We saw a great deal of each other. He took me to so many wonderful places. I... I forgot about Nicholas. He was still away. I... I wasn't prepared for his sudden return home. Oh, Nicholas. Why should you be surprised to see me? Well, I... I just didn't know you were back. Marcus says you dined out this evening. Yes. Yes, I did. Perhaps if you stayed home more often, you'd have better color. You look pale. Been working too hard? No, I don't think so. Well, aren't you going to play for me? Yes, of course, if you'd like. Who asked me to play? I asked you to play. If you can't think of anything better, play a chromatic scale. Only spare me that shopgirl trash. Yes, Nicholas. Yes, again? No. No, I went to the movie. It was very interesting, Peter. All about a girl who knew that a boy loved her, but hadn't the courage to ask to marry him. So... So she decided that... Are you listening? Oh, yeah, sure. I'm listening. Well, she decided she'd have to ask him herself. And did she? No. At the last minute, her courage failed her. Peter? Hmm? My courage hasn't failed me. Peter, I want you to marry me. You married him, Francesca? That night, Dr. Larson. As I waited for Nicholas to come home, I told myself there's nothing to be frightened of. He can't do anything. And then I heard the click of a latch. Tapping of his cane. Nicholas, I... I must talk to you. Can't wait till morning? But it's very important. Well? Well, I... I don't know how to start. Nicholas, I'm engaged to be married. Oh. Well, good night, Francesca. Did you hear what I said? Perfectly. Now, if you'll excuse me, I'll look at my mail. But don't you understand, Nicholas? I found a man I love, and I'm going to marry him. Go to bed. Wait. Pack your bags. We're leaving for Paris in the morning. But I can't go. I won't. What can I do in Paris? Carry on with your studies. I don't care whether I ever play again or not. Do you hear me, Nicholas? I won't ever play again. Oh, why can't you be nice to me? Why must you always treat me as I were a child? Of course you are. I'm not. I'm grown up. I know what I want, and you're just trying to take it away from me. Don't you understand? I'm in love. How old are you? I won't go. I tell you I won't. I won't. I... Tell you at 21, I'm your legal guardian. Do you understand what that means? No. It means that you can't marry without my consent. You can't leave this house without my consent. If you do, I can have you brought back by the police now. Now stop crying. My duty to see that you behave properly and don't make a fool of yourself. Is that clear? Is that clear? Then go upstairs. In just a moment, our stars will return in act two of the seventh veil. Meanwhile, here's our Hollywood reporter, Libby Collins. There are times, Mr. Keely, when it seems quite restful to be a reporter instead of a screen star. What do you mean, Libby? Recently, I watched Paulette Goddard making her new Paramount picture on Concord. She plays a part of an English convict who was sold as a slave in the American colonies. And my, what she goes through... She does indeed. There's a picture crammed with action in true Cecil B. DeMille style. That scene where the Indians attack Fort Pitt is one of the greatest fight spectacles ever filmed. And Paulette is the heroine is right in the thick of it. It was all worthwhile though. Because in spite of everything, she gets her man. Yes. And because he's none other than Hanson Gary Cooper. Which reminds me, there are some thrilling love scenes in Unconquered. With such a dashing hero and such a beautiful heroine, how good of the other one. Yes, because Paulette in Technicolor is really ravishing to see. John Kennedy should have some thoughts about that. Indeed, I have. Who could resist those brilliant blue eyes and that gorgeous coloring? Well, you mean that lovely Luxe complexion, of course. Why, everyone knows that Paulette is famous for her beautiful complexion. She's been a Luxe girl for years. I know she has. There's always a supply of Luxe toilet soap in her dressing room at home and in the studio. Active lather facials are a daily care she depends on. Won't you tell the ladies in our audience how Paulette Goddard takes her Luxe soap beauty facials? Well, here's what she does. Just smooth the creamy, fragrant lather well into her skin. Rinse it with warm, then cold water and pat with a soft towel to dry. Give skin fresh new loveliness, she said. Recent tests by skin specialists prove that. In three out of four cases, complexions improved in a short time. And screen stars recommend Luxe toilet soap for a delightful beauty bath, too. Try it. You'll enjoy the refreshing lather, the delicate fragrance it leaves on your skin. Here's Mr. Keely at the microphone. We continue with the seventh veil starring Joseph Cotton as Nicholas Brandt and Ida Lapino as Francesca. Francesca Cunningham attempted to take her own life. Now under the influence of a drug, she continues to bear the secrets of her much troubled mind. So Nicholas took you to Paris. Yes, they're stuck. Seven years before I saw Peter again. Seven years of music. Paris, Vienna, Rome, seven years of Nicholas, planning my life, turning me into his dream of a concert pianist. Wherever we went, they're always alone. When I long for some sort of a pleasure. Of course, you can't play tennis with the brew in your hand. It was always reminding me. My hand. You're not careful enough, Francesca. Just remember your hands are your only real asset. My hand. Never risk calming them. Take care of your hands. My hands. Take care of your hand. At last, Nicholas decided I was ready for my first comfort. It was in Venice. He'd bought me the gown I was to wear. I had a maid for me. And now he was teaching me how to bow. No, no, no, Francesca. Spread your skirt. Let the knee drop right down there. Now try it again for, and for heaven's sake, smile. Yes, Nicholas. Turn around. Let me, Anna. Yes, sir. Look at the way that hem is hanging. Fix it. I'll be waiting if, how dare you burst into this dressing room. Oh, nonsense. I don't know who you are, but I haven't been open to Miss Cunningham. Francesca. Hi, Susan. Susan brought my dear. How clever of you to remember me after all these years. I mean, it's not Brooks anymore. It's Krabata Witch. Horrid name, isn't it, darling? I'm married. Oh, Susan. Mr. Nicholas Bryant. Mrs. Krabata Witch. Francesca and I were at school together, you know. 20 minutes, Miss Cunningham is giving a concert. Darling, imagine you were concert pianist. I saw your name on the billboard, and I said to my husband, he's my second. I said, well, I was at school with that girl, and I told him that screamingly funny story about how you failed to get the scholarship, remember? We were out catching frogs or butterflies or something and came back late for chapel. Of course, it was all my fault, but Duncan insisted on caning your hands most frightfully, imagine. You failing to play the piano well enough. Say something I shouldn't. Oh, well, I mustn't interrupt. Goodbye, darling. Estonishing luck. Don't... Reminded me of that day in school. My hands, clumsy they were. I wondered how I could possibly get to my final number. As swelling as I played. She's crying. Look. Tears. Tears on her face. She must be in. It's her final number, will forego the outcome. There was nothing wrong with my hand. I wrote in from Paris. The letters came back. Mark had gone away. I didn't mind. I knew that one day I'd be back in London again, and I'd find Peter waiting for me. A few months later, I was giving a concert in Copenhagen. During the intermission, Nicholas opens the door for my dressing room. He always came in about now. I think, like, did you tell you at dinner, Francesca, that her cable's come from London. They want you next month. The alphabet hall, do you want to go? Why ask me, Nicholas? You usually settle these things yourself. If I do, it's only to spare you the trouble. You know you can do exactly as you please. Can I, Nicholas? I can refuse this offer then. If you wish, let me. No. No, I think I should like to go. I'll let them know you have settled. That same night, after the concert, when Nicholas came for me, he knocked at my door. It was the first time I ever remember seeing one. It was a magnificent performance, Francesca. Now, if you're ready, we could have some supper at the Viking. If you like it. We could go to the rotunda if you'd prefer. No. The Viking will be fine. Francesca, you told me before I never consulted you on anything. It doesn't matter. If I haven't done so, it's only because I've wanted your life to be as smooth and easy as possible. And I'll let you finish. I've devoted years to converting a very ordinary girl in pigtails into a first-class artist. I've given up everything to help your career, and yet I make no demands on you at all. You're completely free to come and go as you please. Yes, Nicholas. That's understood then. Good. Now, I've invited the Baron Van Oldman to dine with us. He'll meet us at the Viking. Oh, yes. Tomorrow after luncheon, he'll be able to reception the Bergenasters. I've told him you'll play one selection and no encore. Yes, Nicholas. We leave for London on Saturday. Come along, Francesca. We shouldn't keep the Baron. London. London again. Peter. Peter. Oh, stupid of me thinking that he'd be there. Wasn't even listed in the phone book. I thought maybe he'd still be playing that orchestra. Now I went from nightclub to nightclub. People seem to know his name, but where he was, they couldn't say. It was late when I got into a taxi to go home, and suddenly the cab stopped for a traffic signal. I looked out of the window, and there in front of a cafe was his picture. Here for a limited engagement. Peter Fulton and his orchestra. You found him then? You saw Peter that night? Yes. I don't want to talk about it. Well, you can tell me. No. I don't want to talk about it. Will you tell me about Max then? Max. Yes. Max was laden. Yes. Yes, he was still in London. Nicholas and I, I was standing outside the door. In my opinion, you're the finest painter in London. I'd like you to paint a portrait of my ward. I'm flattered, Mr. Brandt, but I don't paint portraits anymore. Besides, I've never met your ward. That can be remedied. No, but no portrait. It would interfere with my serious work. I'm greatly disappointed. I had my heart set on it. Good evening. Oh, Francesca. This is Max for laden, my ward, Miss Cunningham. How do you do? How do you do? I have thought and heard you play, Miss Cunningham. See, I have all your records. How kind of you. I was just suggesting that Mr. laden do your portrait, Francesca. Oh, but I, I don't care to have my portrait painted. Thank you for that. Why not? Well, it would interfere with my serious work. But Max for laden did paint your portrait. I'm sure I saw it reproduced in some magazine. Oh, yes. Yes, finally after Max insisted I let him sketch me while I practiced. His interest in me was very satisfying. Soon I discovered I'd become quite fond of it. So long as it didn't interfere with your work. But you'd much prefer if I sat for you properly, wouldn't you? Naturally. My head and arms all arranged in a striking pose. Yes. And a strict order is not to move a muscle unless you say so. Yes. Would you still like me to do that, Max? I would love you to do that. Well, then I will. Max, give the house day after day. Good afternoon. I, I'd like to pose for hours. Well, I think you can rest now, Francesca. No, thank you, Max. Would you like some tea? No, no tea. You'd much rather get back to your piano. Doubt if I'll ever be able to play again. My neck so stiff I couldn't see the keyboard. It's a lovely neck, Francesca. Everything about you is lovely. Oh, I thought I was the ugly duckling in your gallery of beauty. No, you're not. You're... Well. Must you really know? Of course. You're the most beautiful woman I've ever painted. Not because you're beautiful, but because I'm in love with you. You shouldn't have said that, Max. It's the most natural thing in the world to say. I hate love. I hate being in love. I don't want it to happen to me again. You might as well be dead. Then I'd rather be dead than go through it again. I thought I'd put a high wall of music around me that I was safe, secure. And now you come along and knock it all down. I hate you for doing that. On the contrary, you love me. Maybe I do. I don't know. In any event, you won't have to pose any more. The portrait's finished. Finished? Oh, Max, let me see. Oh, I'll call to think of Nicholas having it. Why? It seems to look right through me. I don't want to think of Nicholas being able to do that. You're frightened of him, aren't you? I know you'll think it's absurd, Max, but Nicholas had some extraordinary power over me. Then why do you stay with him? I don't know. I don't let you talk about it. What are you going to do now? Take a holiday? Italy, I suppose. I have an old tumbledown villa there. It's on a bay. Very quiet. Very restful. Sounds lovely. Will you paint? Francesca, must we keep on pretending? Come with me. I'm in love with you and you love me. I'm asking you to marry me. I'd be a poor wife, Max. I don't believe it. Let me risk that. I'd like to marry you, Max. Very much. So for the second time, Francesca, you went to Nicholas to tell him you were going to be married. How can you even think of such a thing? I won't listen to another word. I don't care if you listen or not, Nicholas. I don't care what you say or do. Francesca. It's no use. Grateful to you for some of the things you've done for me. I'll never forgive you for the others. I'm going away with Max next week. Now, please don't try to stop me or make me change my mind. Is that clear? Quite. I've nothing more to say. I've given you everything I have. My love, my life hasn't been a happy one. You are the one beautiful thing that has come into it. Please, please listen, Francesca. Francesca, please stop playing. You're a great artist. You're my life's work, and now you want to throw it all away. Listen to me. You'll do as I say, and I demand you give this man up. Francesca, this happened once before, remember? You didn't love that boy, and you don't love Layton, and I'll tell you why. You belong to me. We must always be together. Promise. Promise you'll stay with me always. Promise me, Francesca, the way you want it very well. But if you won't play for me, you'll never play for anyone else ever again. Max had just driven up. I got in his car, and we drove for what seemed to be always through the night. But one fart kept stabbing through my mind. I'm free of Nicholas. I'm free at last. Nothing can touch me again. Nothing. And then, and suddenly in the road, there was a man on a bicycle. They were going too fast. All Max could do was swing over in his bed, Dr. Larson. I looked at my hands. They were bandaged. I couldn't move. I couldn't move my hands. I knew then I would never play again. Francesca, you're all right. You're going to be all right. Why didn't you kill me properly, Max? It was an accident, darling. Of course. I'd rather be dead. Well, Dr. Kendall says you'll be up in a day or two. Look at my hands. They've been burned, but only slightly. I don't believe you. Francesca will ask the nurses. Ask the doctor. I don't believe them either. They just want me to be quiet. But I know. I know I shall never be able to use my hands again. No, don't touch me. Don't touch me. I wish I would dare. I wish I would dare. In a moment, we'll return with Act 3 of the 7th Vale. The leading lady makes grade in Hollywood. That might headline the story of our young guest tonight, Ms. Patricia Alphen. Starlet at Universal International. Wasn't it that senior class play that put the movie B in your bonnet fat? Well, Mr. Keely, it inspired me to come to Hollywood and look for a job. I got one of his male girl out of the studio. Rather a humble beginning. Yes, but it was my good luck the second day there to deliver a letter to Walter Wanger. He arranged a screen test and that got in my contract. Well, that was luck. And now you're really seeing how movies are made. Yes, indeed. And I've spent hours in the projection room watching new films. What are the most exciting I've seen, Mr. Keely, is the upturned glass. Oh, yes, that's Universal International's next Sydney box release. But James Mason is starring co-producer. He plays the famous surgeon who destroys his career by committing a desperate murder. An unhappy hero but a fascinating one in the true Mason style. Pamela Kellano, who is Mrs. Mason in real life, and Rosamund John gives splendid performances also. It's Rosamund John who plays the romantic lead in the upturned glass. Yes, and she's so lovely to look at. Mr. Kennedy, you just ought to see that luxe complexion of hers in the close-up. Well, a luxe complexion spells glamour wherever you see it, including, may I say, that of Ms. Patricia Alphen. You're very kind, Mr. Kennedy. I do use luxe toilet soap faithfully. Screen stars are certainly right when they say it's a complexion care that works. It has to be the right care for million-dollar complexions when nine out of ten screen stars depend on it. I know that any girl who tries luxe soap facial for a while will be just as pleased as I am about what they can do for the skin. In other words, they'll know why luxe toilet soap is Hollywood's own complexion soap. Thank you, Ms. Patricia Alphen, for that wise beauty counsel. I hope the ladies in our audience who want softer, smoother skin will follow your advice and get some fragrant white luxe toilet soap tomorrow. We return you now to William Keely. Here are Joseph Cotton and Ida Lapineau for Act 3 of the 7th Vale, co-starred as Nicholas Brandt and Francesca Cunningham. A few minutes later, Dr. Larsen, the psychiatrist, has left Francesca sleeping quietly. Apparently, he's learned all that he can from her. Now, in Dr. Kendall's office, the accident that brought her here in the first place, Dr. Kendall, the one in which her hands were burned. This happened a week ago? Yes. Somehow she got the idea she could never play the piano again. That accounts for her attempted suicide yesterday. This max laden, where is he now? At the moment, I can't see. But is here almost constantly? Well, there's nothing more I can do today. I'll be back in the morning. There'll be no injection tomorrow, Dr. Kendall. No narcosis. Oh, uh, you have a solarium here? Well, yes, Doctor. This may seem strange, but I'd like a piano brought in the solarium, a good piano, and a phonograph. See, Dr. Kendall, I have hopes that tomorrow morning, Ms. Cunningham will play again. Don't mean to be mysterious. Now, here is the history of Francesca Cunningham. As a child, the caning at school resulting in her failure at the music examination and the fear that her hands might be injured. The recent attempt by Nicholas Brand to smash her hands, again with a cane. Finally, the car crash, the shock of waking up in a hospital with a hand bandage. All these things have built up a barrier? Yes. Which led her to attempt suicide and will continue to prevent her full recovery. And you intend to break down this barrier now? I have hopes. I've put her under hypnosis. Now, with a phonograph, with the help of music, which we know she loves, I'm going to suggest to her a way to break through this barrier. I can make her play the piano. I shall wake her up while she's actually playing. Then she will know there is nothing really wrong with her hands. I have brought some records here by this Cunningham made a few years ago. I propose to play one of them in a few moments. Francesca, can you hear that music? It's beautiful, isn't it? She's hypnotized. Yes. She'll do exactly as I wish. Francesca, would you like to play this music yourself? The piano here. I can't play. Yes, of course you can if you want to. Do you? Now, get her from that chair. Give me your arm. We'll walk over to the piano here. That's fine, Francesca. Yes. Now sit down. Put your hands on the keys. Your hands want to play. Try, Francesca. Try. They're not injured. There is nothing wrong with your hands. You are playing. There is nothing wrong with your hands. She's opening her eyes, Doctor. She's... Doctor Kendall tells me you've removed Ms. Cunningham from the sanitarium. Yes, she's here in my home and I assure you under adequate care. I feel it's my duty to go on treating her. I know what you did to her at the sanitarium this morning. I insisted that Doctor Kendall tell me. Even you must agree that she suffered enough. She'll go on suffering till she's cured. Cured? With drugs? Hypnotism? Your kind of treatment is likely to unhinge her mind altogether. Does Nicholas Brandt know what's happened to Ms. Cunningham? No, he does not. There's been nothing in the newspapers. As far as he knows, she and I are in Italy. How is she now? Very well, thank you. This is all wrong. I can help Ms. Cunningham. Who would you object if I saw Mr. Brandt if I asked his permission? Not at all. Legally, he's no longer her guardian. If he thinks he is, you might tell him that Francesca and I are to be married next week. She's agreed to marry you. I think you can assume that she will agree. Mr. Layton, that poor girl is in no condition to make up her mind on anything at the moment. I warn you, what you're doing is very dangerous. Good night, Dr. Larson. Good night, Mr. Layton. I didn't come here to advise your Francesca's condition or her whereabouts. It's quite possible she'd rather you didn't know. I came to ask a favor. I have a phonograph record here. It's a piece of music which is assumed some importance in this case. If you'd listen to it, perhaps you could tell me if it has any sentimental association, any connection with someone she knew. That's a phonograph. Glad if you want to. Thank you. Don't expect me to know anything about Miss Cunningham's private affairs, Dr. Larson. Well, it's always possible. But now I know why. Now I know what you mean. Get out! Cunningham, he just forced his way in. Give me or not is of no consequence. I'm not stupid enough to expect forgiveness from anyone except myself. I'd never forgive myself if I allowed you to go on like this. You know there's nothing to matter with you, don't you? You can be cured quite easily. You can play again if you want to. I don't know. I don't think so. Larson can cure you if you give him a chance. Layton doesn't want him to. He knows it would mean he'd lose you. No, I'll never play again. If you don't, it's your own fault. My fault? No use brooding over the past. It's your future you should be thinking about. I have no future. Larson can give it back to you. He tried and he failed. Larson failed to work a miracle so he's not to be given another chance. That it? Yes. Won't you let him try again? No. For me? No. Oh, Francesca, you are the most obstinate woman I've ever known. You remember the first time I asked you to play for me? You were stubborn as a mule even then. I was frightened. Am I such a frightening person? Yes. No. You're not frightened now. You're smiling. It's funny. It really is. It's so different when you're being kind. When you're like this, Nicholas, I think I'd do anything for you. All you've got to do is make up your mind. Larson will do the rest. But I can't, Nicholas. I've tried. Look at me. I tell you this, nothing to be frightened of ever again. Nothing to be frightened of. You really want to play, don't you? Oh, yes, I do, Nicholas. Then you will see Larson. Yes. Yes, I'll see Larson. I'll phone from right away. The phone's just down the hall, Mr. Brandt. Lay down. I just returned. I overheard. All right. I'll phone Larson myself. Of course, I'll come, Mr. Layton. I'll be there late this afternoon. You can't come now? No, I have some checking up to do. See Miss Cunningham at her own home. And, Mr. Fulton, Francesca Cunningham. She's in great trouble. This time Miss Cunningham saw you. She hadn't seen you in years. By chance she found you. Why? Nothing. Nothing at all. Something must have happened. Mary, if that's what you mean. How did she take that bit of news? She just walked out on me. She's like that, you know. Had she ever met your wife? No, not that I know of. We were divorced two years ago. Oh, I'm sorry. Mr. Fulton has a tune. She seems to have associated with you, a waltz. Believe it was played in some Italian café. Yes, sure. I even had my band recorded a few years ago. I had some wild hope at the time that Francesca would hear it and, well, it might help to bring her back to London. Do you have a copy of the record? I can get one. Would you bring it to this address, Mr. Fulton? Nicholas Brand's address, isn't it? Yes. Can you be there at five o'clock? Why? Yes, of course. But why? Mr. Brand will be there. Also, Mr. Layton. I won't take you long. I'll be there then. Brand, who is he? Who's that man upstairs with Francesca? You think Larson might have told me? His name is Peter Fulton. What's he got to do with Francesca? He's a man she once wanted to marry. Why crack your knuckles, Mr. Layton? It won't help. What's that music? A tune that seems to have some meaning. Whiskey, Mr. Layton. Please. Parker. Whiskey for Mr. Layton, please. Here he comes. Well, Mr. Fulton? Well, what? Did anything happen? That's what I'm trying to figure out myself. Well, is she all right? What did Larson say? Well, I guess it all adds up to something, but Larson's a way ahead of me. Oh, what's the good of turning the clock back anyway? It's never did anyone any good. I wouldn't be too sure of that. Have a drink. Thanks. Make that two whiskeys, Parker. That music. That's Francesca, isn't it? What record is it? It's not a record. It's Francesca. She's always had a piano up there in her room. She plays dutifully, doesn't she, gentlemen? Dr. Larson. Yes, yes. May I go up now, Doctor? It would be a pity to interrupt her. Doesn't she want me with her? Perhaps. What do you mean, perhaps? I mean, I think I can promise you a complete cure. Thank heaven. But you'll have to prepare yourselves for a new Francesca. A new and very different person. In what way? You see, the past is over now. It's quite over. Her mind is clear. The clouds have been swept away. She's no longer afraid. Whether you'll be entirely satisfied with the change in her, I don't know. It might be wise not to expect too much. Are you trying to tell me... I'm trying to tell you. She will want to be with one of you three men. One she loves. One she's been happiest with. The one she cannot do without. Or the one she trusts. And who is that? It would hardly be fair for me to say. She's stopped playing. Yeah. Look, she's coming down the stairs. Since you two gentlemen are leaving now, perhaps one of you will give me a lift to hold. Two superb performances from Joseph Cotton and Ida Lapino. And in answer to it, we bring them back to the footlice for a curtain call. Ida, you certainly lived up to the traditions of one of the oldest families in the theater, the Lapinos. Well, thank you, Bill. And I think Ignaz Hilberg should have a vote of thanks for his wonderful piano contributions to our show tonight. I agree there, Ida. Incidentally, Bill, you didn't mention that the seventh veil won the Academy Award is the best original screenplay of the year. So it did. And speaking of screenplays, I wonder how many people in our audience know that you two are authors as well as actors. I understand you spent the summer over a typewriter, Ida. Well, that's right, Bill. I finished two screenplays, one of which is under optional studio. Which would you rather do, Ida? Act or write. Well, I think I like both equally well. Well, for the sake of theatergoers, I hope you'll never give up acting. Joe, you've written screenplays, too, haven't you? Yes, that was my first contact with Hollywood, Bill. And before that? Well, before that, I used to write for radio. You're mad at yours? No, no. After theater interviews, the kind of thing where the producer says, now we bring our stars back for a curtain call and talks about their private lives. Well, that sounds rather familiar. Did you have them say a kind word for luck soap? Well, if I'd been on the show, I'd have insisted on it. I've used luck soap for years for my complexion and always will. And that lovely complexion is ample proof. What sort of writing are you doing now, Joe? Well, I've been working on a play for several years, which still isn't finished. Well, sort of all work and no play. Now, well, I've still got some filling in to do. How much filling in? Well, so far, I've just got the title completed and the ax numbered. I see what you mean. We won't count on it then for luck. What are you doing next on Luck's Bill? Next Monday night, we bring our listeners one of the screen's greatest epics of the sea, starring in his original screen role, Alan Lamb. It's Paramount's version of Richard Henry Dana's famous novel, Two Years Before the Mass. Alan was great in that picture, Bill. Yes, and so was Howard De Silva, whom we also have. Co-starred with MacDonald Carey and Wanda Henricks in an action-packed tale of violence and mutiny on the high seas. Well, Bill, that play should fill the house. We'll be listening. Good night. Good night, and all our thanks for Luck's Point of Code. Join me in inviting you to be with us again next Monday evening when the Luck's Radio Theater presents Alan Lamb, Howard De Silva, MacDonald Carey and Wanda Henricks in Two Years Before the Mass. This is William Keely saying good night to you from Hollywood. To appeal to housewives everywhere, keep on saving and turning in your used kitchen pets. Thanks to patriotic American women, over 600 million pounds of used pets have been added to the United States supply of industrial fats and oils since 1942. But all over the world, the supply is still critically short. Your government asks you to keep on with the magnificent job you have been doing so that not a pound of the essential fats and oils needed to make household necessities will be wasted. Remember, your butcher will pay you for every pound. So save and turn in your used kitchen pets. Joseph Cotton appeared by arrangement with David O. Selznick, producer of Intermezzo, starring Ingrid Bergman and Leslie Howard. Ida Lupino is currently starring in the Warner Brothers picture Deep Valley. Paired in our cast tonight were Joseph Kearns as Dr. Larson, Gail Gordon as Max, Jack Edwards Jr. as Peter, Bill Johnstone as Kendall, Francis Robinson as Susan, and Norman Field, Janet Scott and June Whitley. Our music was directed by Louis Silver. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear two years before the mass with Alan Ladd, Howard De Silva, McDonald, Kerry and Wanda Hendricks. Lighter, better tasting cakes, try Sprite, the pure bland, all vegetable shortening with the special cake making secret. Hear them say, boy, what a cook. Oralists in next Monday night to the Lux Radio Theatre presentation of two years before the mass with Alan Ladd, Howard De Silva, Donald Kerry and Wanda Hendricks. Stay tuned for My Friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.