 Hollywood, California, Monday, June 15th. Radio theater from its new home on Hollywood Boulevard, Hollywood, California, brings you Al Jolson and Ruby Keeler in Berlesque. Lux presents Hollywood. Tonight you will meet such great personalities as Al Jolson, Ruby Keeler, Cecil B. DeMille, Daniel Broman, George Barnes, and many others. Among the many distinguished guests in our brilliant audience tonight, I see from here one of Paramount's directors, Mr. Chester Franklin and his wife. Mr. Franklin is the director of Sequoia, the picture now in production. And also, Catherine DeMille, Lloyd Pantages, Francis Langford, Eileen Pringle, and Gloria Swanson. Welcome, all of you. This entertainment is presented by the makers of Lux toilet soap, the beauty soap used by nine out of ten screen stars, and by attractive women everywhere. As producer of the Lux Radio Theater tonight, and each Monday from now on, we welcome back Hollywood's famous pioneer director, a man who has made 62 of America's great motion pictures, and has started more great stars on their careers than any other producer in Hollywood. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Less than a decade ago, the movies were voiceless. Stars as celebrated as Wallace Reed, Rudolph Valentino, Theta Bara, Lillian Gish, and Francis X Bushman had millions of admirers who knew them only as silent shadows. We spoke of our business as the silver screen, but its silence was golden for many an actor and director. Then a man came along who had been built on Broadway as the greatest entertainer in the world. With his first film, The Jazz Singer, he not only made pictures talk, he made them sing, and he made me make museum pieces of my faithful old silent cameras that had ground out so many successful feet of film. Then he made another picture called The Singing Fool, and then he fell in love. She was a charming little Irish girl. In three months, they were married. Their marriage is one of which Hollywood is most proud. They have each scored separately in the theater, on the screen, and over radio, but we present them tonight for their first appearance together on the air. In lights above the entrance of the Lux Radio Theater is a glittering legend, and excited crowds along Hollywood Boulevard tonight read the words Al Jolson and Ruby Keeler in Berlesque. And now for the first act of Berlesque, in which you'll hear Al Jolson as Skid Brown and Ruby Keeler as Bonnie Smith. We're backstage at a Berlesque show, playing a small town in the Middle West. It's a few minutes after the opening, and Lefty Moore, the stage manager, is standing in the wings, hurrying the chorus girls onto the stage. Come on, on stage, come on, come on, the orchestra's almost over. Get a move on, you'll be in. Now, now, the race horses got braised. I gotta come with you. You don't worry me, no, I'm the nerve of that guy. All right, Joe, kill the house lights. Okay, flash the orchestra. A-B-R-U. What do you want, Bonnie? Has Skid come in yet? No, no, not a sign up. I've been in all of his hangouts, but I can't find him. Did you try the pool rooms? I just sent Jimmy. A nice spot Skid's put me in. The show started and my Jeep comic ain't here. I gotta kill that bird. Oh, he'll turn up, Lefty. I've been working with Skid for almost four years now, and I never know him to miss a cue. No, I know, but it's coming so close to him. There's been this turn in my hair gray. You know, you want to do something about that guy, Bonnie? What? Well, it ain't none of my business, but why don't you marry him and have it over with him? What are you stalling them for? He'd settle down if he was married to you. You think so? Why, sure, sure, Skid's nuts about you. He'd do anything you tell him. Oh, I don't know. We're supposed to be engaged, but he don't listen to me much now. How do I know he'll be any different later? Well, if it ain't the wonderin' boy himself. Hi, Lefty. Hiya, Bonnie. So, uh, you decided to come, huh? Sure. Never keep the public waitin'. That's my motto. Well, now that's nice of you. Go on, get in your clothes. Will you? You're on in five minutes. Okay, Lefty. Well, Bonnie, I the kid. All right, I guess. Nice time to be showin' up. What's the matter? He ain't soared me, I guess. Would it do any good? I had a baby. Come on, you'll be late. You gotta change your clothes. Well, you know me, Skid the fireman's child. I can dress slidein' down a pole. Where have you been? Who, me? I've been playin' pool. I suppose you couldn't make a shot thinkin' of me eatin' all alone. I told you after the matting I wasn't hungry, didn't I? Just thirsty, huh? No, and I wasn't thirsty, neither. I just went out to get a little air. Oh, some nice pool room air. Oh, cut it out, will ya, Bonnie? Did you have anything to eat? Yeah, I had a couple of hot dogs. Well, that's fine, that is. How do you expect to be funny on hot dogs? I'm gonna send Jimmy out at intermission for some soup. But I don't want no soup. You'll eat it and like it. All right, all right, I'll eat it and like it. Get well you're gettin' to your makeup. I'm in leftist. See ya later, Bonnie. Okay. Cut a lookin' door. That day Marko was lookin' for him just before she went on. Again? Yeah. Why don't you take a poke? Ah, she's not worth it. What she wanna see Skid about? To say goodbye, I guess. Goodbye? Is she gone someplace? Looks like don't tell me he ain't hurt. Heard what? Marko's leavin' the show tonight goin' with a Manhattan folly. Oh, Broadway, huh? Yeah, I could kill her. Well, there's one consolation for me. She won't be around Skid anymore. All right, girls, all right, now make your change. Hurry up, will you please? Come on. Look at her comin' off the stage, puttin' on the dog already. Hello, Miss Marko. Hello, Miss Marko. Do you hear my number? No, I was spared that. Oh, you're not jealous, are you, Maisie? Why, you slink-eyed pony-eyed. I wouldn't hit her. I just wanna hear a yelp. Hey, what's goin' on here? Nothin', Bozo. Maisie's startin' to scrap again? Of course not, Bozo. It's just a friendly argument. Sounded like the Battle of the Mars. Where's Skid, Bonnie? Did he get in yet? Uh-huh, he's downstairs puttin' on the putty nose. Yeah, that's a break. I was afraid I was gonna have to play his part, too. Say, Bonnie, your cattle king is out front again. Oh, is it? Yeah, he's a boy he is. This is the sixth time he's been in to see the show. He's fell hard for you, Bonnie. I'll have to see him sometime. He's the only following I ever had. When Marko here was singin' he, he was the only one I ever had. He was the only one I ever had. When Marko here was singin' he, hey, where did she go? Oh. Marko, she was standing here a second ago. Yeah, until she heard where Skid was. She's probably downstairs by now gurgling her font farewell. I've just puttin' on my makeup. Good. How's the house, Marko? Well, a little cool. Oh, they'll warm up. Way like it up there and take a few falls from him. I don't know why it is, but the audience always likes to see a guy fall flat on his pants. Bonnie ain't it? Yeah. Oh, Skid. What? You comin' to see me off tonight? Say that's right. You're leaving, ain't ya? Well... Gosh, I don't know, Marko. I'd like to go down to see you off, but I gotta date with Bonnie after the show. No, Bonnie. Skid, why don't you get wise to yourself? What do you mean? That kid's no good for you. Well, you've been teamed up with her for four years, and where has it gotcha? No place. Well, she's holding you back and you don't know it. Holding him back? Oh, say, don't you believe it, Marko. Bonnie's okay. Why, anything I am, I owe to her. And listen, when she says the word, we're gonna get hitched. Oh, yes? Well, it's your funeral, Skid. Ah, now, you're all wrong, Marko. Bonnie's the best thing that ever happened to me. Holy mackerel, that's me, excuse, hello, Marko. Try to see after the show. Hurry up, Skid. Come on, hurry up. Will you? You're on. Okay, baby, I'm panicking. Why would I fall like that? I guess that guy ought to kill himself taking those falls. Hello, Grandma. Yeah, I thought maybe you'd want to take care of it. Hand it over, Maisie. I'll get it to him later. Hmm. Wonder who's broke now. Maybe somebody's cashed in or an accident. No, nothing's wrong. Telegrams for Skid are only touches. But that one's heavy. It feels important. They're always important to the guy that sends them. The last one would be coming down in a minute. A couple more like that and he'll come down through the ceiling. Well, say, did you hear about Marko? Something else? Yeah. She ain't singing her last number tonight. Get in the earlier train. Why? Don't ask me. Say, I'd better scram. I'm due for the baby number. Hi, Maisie. Kill me. I'm on the move. Sure. Skid, come in here a second. Well, honey, did you hear me panic him? Did you hear those laughs? Yeah, and I heard the falls, too. Listen, I tell it. What are you limping for? Who, me? I ain't limping. You heard yourself, didn't you? No. You did. Oh, Skid, when are you going to cut it out? What? What are you doing with the falls? They're in my routine, ain't they? That doesn't mean you have to break your back, does it? Oh, Bonnie, you got to make up your mind of one thing. I'm a hope comic. Don't waste no time trying to clean me up because I'd feel fluff. Say, when I was a baby, the first thing I reached for was a custard pie. What's the use of kiddin' all your life? Ain't you never going to be serious? Don't you want to get ahead in this game? What do you mean, get ahead? We're workin' all the time, ain't we? I ain't hangin' around Broadway makin' touches, am I? What do you mean get ahead? I'm talkin' about you gettin' where you belong. Broadway. Boy, have I had your talent. Why, there ain't nothing could stop you if you decided to step out. Say, how do you know I'd be so good? I could be a big flop, too, in a real show. There's the tipper. You're scared. You're yellow. Say, how many times are you going to pull that one out of me? How many times are you going to make me? Oh, Bonnie's riding me, because I ain't got no ambition. Yeah, and I'll leave it to you, Lefty. Ain't he a slap for sticking in burlesque? Shouldn't he be framing new stuff that'll get him somewhere? Yeah. Shouldn't I be George White and have my own show and sit in a box office? I can't get steamed up over his Broadway stuff. You're a hit on Broadway, so what? What does it get you? It gets you a lot of jack to begin with. But Bonnie's right, Skid. It's time you were stepping out. For instance? Well, for instance, Earl Carroll had a scout out for St. Paul to see you last week. Earl Carroll? Well, yeah, sure. He came back after the show and asked me all about you, Skid. Hey, didn't you hear from him? I ain't heard a tumble. Well, I guess you ain't. Oh, you'd have told me. But you'll hear from him, and when you do, grab it, kid. Wait a minute. What's the matter? The telegram. What telegram? It came for you. Here, open it, open it. All right, take it easy. It's probably just another touch that'll set me back about 50 bucks. I remember one time... Well, what is it? Holy mackerel, listen. Have a chance to place you when Manhattan Follies open next week. Stop. Is there any way you can get out of your present engagement? Stop. Can get you $500 a week or maybe more? Stop. Leave salary to me. Stop. Great chance. No comedy and short present. You'd have to be here by Sunday for rehearsal. Max Levy. Max Levy, the big agent? Well, I'll be. Well, there you are. Somebody's kidding me, I guess. Somebody's kidding me, you mean? That's right. Say they didn't mention Bunny, Lefty. What's the idea? I guess I can answer that. I know all the answers. What's the matter, honey? Don't you dare call me, honey. Say, what are you bawling me out for? Get out. Will you, Lefty? Huh? I want to speak to this guy alone. Okay. Say, what's the idea of all this temperamental stuff, Barn? If the telegram ain't a fake, it's a chance you've been raven about, ain't it? Your chance, all right? Your chance to be in the same show with that little hypocrite you were nuts about when I was in the hospital in Des Moines. Who? Who? You know, Don Wellho. Oh, you mean Marco? Yes, Marco, Marco, Marco. That's who I mean. Why are you crazy? Why, this tele... What's this telegram got to do with Marco? And so you didn't know. What show is Marco joining? Why, she... Hey, that's right. It's the same show, ain't it? That's a coincidence. Yes, more than that. It's a conspiracy. What do you mean by that crack? I mean, the whole thing's a frame up between you and Marco. The two of you beating it together and neither one of you had the nerve to come clean. Oh, this telegram wasn't a surprise to me. You're crazy, do you think that? Yeah, pleasant surprise. Holy mackerel, will you take a tumbley yourself? It's a joke for you to be so jealous of that kid. Jealous? Of what? A bum comedian who ain't gonna laugh above his hips? Say, if you were to fall for a girl that meant anything, I'd wish you luck. But that empty-headed little brat, I ain't jealous, I'm insulted. Well, you can stop blowing off steam and cool off, because why? Because I ain't going. Who said you wasn't going? I said it and I settled it. Oh, it does. Since when does what you say settle things? Well, let's settle this one. Oh, come on, Bonnie, let's forget it, will you? We'll stick together, kid, and as soon as you say the word, we'll take a walk over to the licensed bureau. What do you say? That's us, I guess. Especially, Bonnie. I know. Well? Skit, I'm sorry for what I said. I didn't mean it. Sure. Kiss me, Skit. Oh, honey, gee, will I? Hold me tight. Tight, Skit. It'll be a long time before we see each other again. Well, I ain't going, Bonnie. Oh, yes, you are. This is your big chance, Skit, and you're not gonna pass it up to me or anyone else. What's Bonnie? Will you do the best you can, Pete? Come on, Skit. Okay. Well, it's about time. Come on, come on, will you get out there and do yourself? I'll be seeing you out there. Watch the left. I'll get on the entrance. Yeah? Get some of the Pax Skit's bags. He's leaving right after the show. Okay. I'll take care of it. Go on, get out there, Bonnie. Okay. Well, well, look who's here. Little Lucy Twinkle Does. How are you, Miss Twinkle Does? I beg your pardon. What for? What did you do? Oh, you think you're smart, don't you? Smart. When I was a little boy in school, I took the first prize. You did? Yeah. The teacher told me to take it and made me put it back. Oh, boy. Dad's digging up the old ones. Oh. Did you ever hear about the man who liked Oxtail too? Oxtail? Ha! That's going too far back. I hear you're going to a party tonight. Yeah, I'm going to a party tonight. Would you like to come along? There'll be a million left. So we have a good time? I will. We're going to play kissing games. I don't like kissing. Why? It breeds germs. Come on, lady. Let's get sick. Have you played kissing games before? Sure. The last part I was through, we played a game called player play. How do you play it? Well, they blindfold the boy and it reaches out for the girls. The first one he catches either has to give him a kiss or a handkerchief. How did you make it? Oh, does it kill you? I came home with a tablecloth. Professor passed the gravy. Yesterday I heard a lover sigh. Goodbye. On me or mine. Seven times he got aboard his train. And seven times he hurried back to kiss his love again and whisper toot toot toot. Goodbye. Toot toot toot. Don't cry. The little choo choo train that takes me away from you. No words can tell how sad it makes me kiss me tootie and then do it over again. Watch for the mail. I'll never fail. And if you don't get a letter then you'll know I'm in jail. Don't cry, Tootie. Don't cry. Goodbye, Tootie. Goodbye. Swing it, baby. It could have been out front tonight. Keep, Bonnie, you were swell. Never mind that now. Well, Lefty? It's all fixed. Skid, you're fired. Huh? Can. What for? You're going to New York. I got two guys packing your bags and I just phoned for reservations. But wait a minute. I told Bonnie that I wasn't... Don't forget what you told me. I'm running this partnership. You're leaving for New York and you're leaving tonight. Won't you? Sure. Every day, Bonnie. I'll be awful alone without you. Gee, I'll be an awful sap without you, kid. We ain't never been apart before. As soon as the season's over, I'll come right on. Maybe I'll be a flop and I can come back soon. You can't come back. You're fired. I didn't think of that. That ain't so good. Forget it. It's sink or swim now. I don't like the way you said sink. Well, how do you like the way I say swim? Well, I guess that's me. Gee, I don't know how to say goodbye, baby. I ain't never said goodbye to you. Just...just kiss me, kid. Oh, gosh, honey. Oh, miss you, kid. I love you, kid. Oh, gosh, oh, miss you. I'm lost already without you, Bonnie. So long, darling. I'll wire it and I'll write it. Every day, kid. Every day. Goodbye, Bonnie. As we pause in the Lux Radio Theatre's presentation of Balesque, starring Al Jolson and Ruby Keeler, I'm going to ask you to listen to a very interesting conversation. In this brief interval, we want you to meet one of Hollywood's youngest and most charming stars, Kora Sue Collins. Here she is now. Miss Kora Sue Collins, in person. Kora Sue, just how long have you been in Hollywood? I don't believe I know many movie people who are eight. What do you do with your time? Well, I've got my dow, the deal. I have to take care of her. Then there's Rusty. She's my dog. He's an Irish settler. And I train parachutes. Then I go horseback riding every day. But I do all that unlink when I'm not making a picture. Yes, I suppose you're too busy then. You think you'll keep on making pictures? Oh, yes. I want to be a grown-up star someday. Well, I think when you are, you're going to be a very pretty one. Thank you. I hope so. I'm taking care of my skin just like grown-up stars do with locked toilet soap. I've used ever since I came to Hollywood just like my friends and Joan Crawford and Joan Blondeau. That's the only kind of soap we have at our house. Motherlicent, and so does sister. Sister won't even take a bath without it. And either will fatigue you. That's very nice, Kora Sue. Thank you. And you're right in saying that Hollywood stars must have lovely complexions. They can't risk dullness, tiny blemishes, enlarging pores. In other words, cosmetic skin. These Hollywood stars, like most girls, use rouge and powder. But they avoid dangerous pore choking by using lux toilet soap. The soap whose active lather goes deep into the pores removes every trace of dust, dirt, stale cosmetics. Before you put on fresh makeup during the day, and always before you go to bed at night, use lux toilet soap. Buy several cakes tomorrow. We return now to Burlesque. The story of Skid Brown played by Al Jolson and Bonnie Smith played by Ruby Keeler. Several months have passed since Skid left to join the Manhattan Follies. Bonnie is still on tour with the Burlesque Company. In her room in a small town hotel, she lies huddled on the bed reading the morning paper. Her friend Maisie enters. Morning, dearie. You're up kind early, ain't you? Yeah, a little. What's the idea? I couldn't sleep. Oh. Any word from Skidja? Not a line. Gee, I'd like to brain that guy. How long is it now since he wrote to you? Well, I don't know. About six weeks, I guess. Just a big Broadway man. Boy, success must have hit him right between the eyes. No, Maisie, Skid ain't the kind who gets a swelled head. It's something else this time, the thing I was afraid of. Markle? Yeah. I've been kind of following him in the Broadway gossip columns. Here, get a load of this. Let's see. Oh, yeah. Skid Brown who wows them each night at the Manhattan Follies is a wow to Sylvia Markle of the same show. They may be seen together every p.m. during the hot spots along the main stem. Well, that's that. Yeah. What are you going to do about it? Nothing. Nothing? What do you mean? You're still in love with the guy, ain't you? Sure. I guess I'll always be in love with him. But if Skid don't want me, well, I ain't the Kling and Vine tag. Oh, but listen, Bonnie. Excuse me, will you? Uh-huh. Hello? Pretty good. When? Well, all right, Harvey. Pick me up about 1130. Bye. Who was that? Remember the fellow we used to kid about the one we called the Catteling King? Yeah, sure. He used to sit in the front row every night. Well, that was him, Harvey Howell. He's a swelled guy, mazy and a real guy. He wants to marry me. Has he got any dough? I guess so. He owns a couple of ranches. A couple of ranches? Sure. He's taking me out after the show tonight. I promised him I'd give him my answer then. Want to dance money? Thanks, Harvey. But do you mind if I don't? I'm a little tired tonight. That's all right. Couldn't hear time to be leaving anyway. Yeah. Bonnie, did you think over what I asked you about? Getting married? I've been thinking about it, sure. Well? Harvey, I don't know how to say this, but you mind waiting a little longer? Take all the time you want, Bonnie. I'm not in any rush. It ain't that I'm trying to stall or anything, but the show's moving back east, Harvey, and I want to see Skid just once more. Okay, Bonnie. You understand, don't you? Sure, I understand. Well, thanks, Harvey. You're a grand guy. Hello, box office, Manhattan Follies. I'm sorry, we're all sold out for tonight. Eight weeks in advance. Okay. Hello there, Mr. Kent. Oh, hello, Skid. What are you doing? Counting up the shackles? Yeah. They tell me you want to see me, Mr. Kent. I do. Sit down, won't you, Skid? What's on your mind? You, Skid. Skid, I'm going to tell you something straight from the shoulder. Yeah. I've been managing Broadway shows for a long time, so you can take it from me and know what I'm talking about. Skid, you got to cut out your drinking. Oh, me? Don't give me that. You went on that stage last night, so lived up you couldn't even see. Those falls you were taking were on the level. They got laughs, didn't they? Sure they did, but that isn't the point. Skid, you've got this whole business right in your lap. You can sing, you can dance, you can make them laugh. You're a big hit, but take it from an old-timer, Skid. Drink them and show business, don't mix. That's all. What, Mr. Kent? Hello, Marco. Didn't end to see Kent? Yeah. What'd he say? Nothing much. Hmm, so you won't talk, huh? All right. What are you doing after the show tonight? I don't know. I kind of feel I did a little sleep for a change. Oh, come on with us. We're getting up a party to go to the hotspot. Oh, count me out, Marco. I want to stay home and write a couple of letters. Oh, I see. Who, too? Well, Bonnie, for one. I ain't written to her for such a long time. Honestly, I wouldn't blame her if she was sore as a boy like me. Listen, are you still thinking of that, kid? Why not? I thought that was over long ago. I know. Well, it ought to be. What are you going to do after she's married? Still write mash notes to her? After she... What are you talking about? She's going to be married to some rancher guy. Who said so? I got it from one of the girls in the troupe. She wrote me all about it. Married? Oh, there must be some mistake or something. There's no mistake. It's all set. Holy jeez. Why didn't she tell me? Why didn't she let me know? Ah, brace up, skid. The world hasn't come to an end. Why, you're Skid Brown, a big guy on Broadway. Why worry over a cheap little burlesque? Shut up, Marco. What? I said shut up. Well... Well, that's the way the wind blows, mister. Yeah, that's the way the wind blows. Now get out of here. Let me alone. I want to think. Hotel Carlton. Go ahead. Hotel Carlton. I'll see if he's in. Hotel Carlton. 707. Did you get that number? Oh, thank you. Hello? Hello, Wintergarden? I'd like to speak to Skid Brown, please. Yes, I'll hold the wire. Is he there, Bonnie? They're gonna look. I hope they don't find him. I can't understand why you're here. Hello? Skid? This is Bonnie. Yeah, Bonnie. Where am I? Why, New York, of course. Got in yesterday. Yes? I caught the show last night, Skid. You, um... You were all right. I'm at the Carlton. You want to come over after the show tonight? All right. I'll see you then. Bye. He's coming, huh? Yeah. What's Harvey gonna say? Bobby knows about it. He's coming, too. Hmm. It's gonna be a nice party. I can see that. Huh? Let's be Skid now. Want me to answer? I'll take it. Hey. Hiya, Bonnie. Hello, Skid. Step right in, boys. I meet Bonnie Smith, the greatest little trooper in the business. Hello, Bonnie. Well, I see. I didn't expect to see you. I've been traveling around with this guy and he's gotten me all tired of. Oh, getting old, Lefty. Getting old. Hello, Skid. Amazing. I live and breathe. He's like old times. Wait a minute. Where's Jerry? There I am. Girls, I want you to meet the greatest little song right in the world, Jerry Evans. Hiya, girls. Get over there at that piano, Jerry, and show him what's what. Oh, he's right there. Don't play it, friend. Where's a nice, comfortable chair? I want to go to sleep. Try this one, Lefty. Go to sleep. Say it. That's no way to start a party. Oh, no. Are you letting me alone? Softie, huh? Well, Bonnie, let's take a look at you. Gosh, you're looking grand. I'm all right. Well, that's well. I... I hear you're getting married, Bonnie. Yeah. Who told you? Oh, those things get around. I just want to tell you how glad I am. It's great. Simply great. Well, what's the matter? Nothing. Why do you look at me so funny first? I ain't said nothing wrong, have I? No, of course not. Well, what's the long draw about? Ain't a new guy treating you right? Sure, he's great. But what business is it of yours? What business is it of mine? Say, I suppose what happened to you is none of my business. I suppose I'm going to forget you're the only girl in the world I ever gave a hoot about. You have me and how many others. I got tired of being a mob scene. Are you still with that Marco Dame or is she called Turkey? Oh, lay off, Bonnie. I came here when you asked me to. I'm tickled at to see you. I tried to tell you the works, and what do you do? You start riding me. I suppose you couldn't come alone. What was your afraid I'd do to you? You don't have me shake these guys with you. They've been with me ever since last night. Yeah. I suppose you're the king of the nightclubs now. Yeah, that's me. I'm giving all the little girlies a great big hand. You better go home early and get some sleep. You look rotten. Ah, forget it, Bonnie. We only live once. Say, listen, Bonnie. When are you going to marry this millionaire you were? You didn't tell me. Sometime in the fall, I guess. Well, what are you going to do till then? Going out to live in the ranch with him and his sister. You mean you're chucking show business? Yep. The old partnership's broken up, huh? Going to leave me to struggle on alone. The rate you're going, dear, you won't have to struggle alone. The nightlife will land you right out in the alley with the rest of the husband. Is that so? Yeah, that's so. Well, if I do get to gait her out of the show, they always need comics, dear, in as long as I can make them laugh, I'll be all right. Hey, Bonnie, you ain't told me whether I'm good or rotten in the show. The jury was in long before I got here, kid. Gosh, this is funny. You were telling me for years what a riot I'd be if I got a chance. You pushed me into my chance, and I clicked. And all the time I'm wishing that you were here to see me get away with it. You finally get here and see me, and we don't even talk about it. I don't know. I'm wondering if planning for things so long don't take all the kick out of me. I suppose nothing can be as good as well as good as you think it's going to be. No, I suppose not. Jerry, Jerry, play something lively. For sure. Hot dog, come on, Bonnie. Hey, it's you and me, huh? Hello, Harvey. Come on in. Thanks. Oh, I didn't know you were having a party, Bonnie. Come on and join us. This is Jerry Evans. How do you do? How are you? And let the more you remember him. Well, sure. Sure. How are you, Mr. Howell? Oh, sure. Sure glad to see you again. And I know you've heard of Skid Brown. Oh, yes. How are you? I certainly enjoyed your show last night. I don't know when I laughed so much. Thanks, thanks. But I wasn't so good last night. Well, that's what Bonnie said. But you seem good to me. It's awful hard to please Bonnie. You know that gag about my severest credit. Yeah, I've heard that one. Say, I hope I didn't stop your music. Won't you go on, Mr. Evans? For sure. What would you like? Well, I don't know any of the new songs. My favorites are all old, like in the gloom. Bonnie sang that for me once. Come on, sing it, Bonnie. Yeah, Bonnie, sing it, sure. It's so nice and gay. Say, what do we celebrate anyway? A wedding or a funeral? Shouldn't we be toastin' a bride and singin' gay ditties with the gloom? Skid! Hey, mister, I wouldn't have spoken about that if you hadn't. In a way of speaking, I'm your successor, but I don't want to dwell on my good fortune, except to assure you that it will be my aim to make life happy for Bonnie. And I'm sure you'll be glad to know that. Sure, I'm glad to know it. Why wouldn't I be glad to know that Bonnie's gonna get along all right without me? But what I'm saying is, why can't we be gay about it? Why can't we have the wedding march played with pepper and ginger? And why can't I be given a bride away? Stop it, Skid! Why, why'll I stop it? Who's got a better right to be given a bride away? It shows us no hard feelings. Why do people get sore and crab when they lose out? Why don't they join the festivities? Come on, Jerry. Play the wedding march and play it fast. It's a dance and wedding, folks. Watch my smoke. Watch my smoke. Here comes the bride. Here comes the bride. We pause for station identification. This is the Columbia Broadcasting System. This is Cecil B. DeMille speaking to you from Hollywood. Al Jolson as Skid and Ruby Keeler as Bonnie return in just a moment for the conclusion of the Lux Radio Theatre production, The Lask. In the meantime, I'm going to have you meet one of Hollywood's most famous camera men. Most people think of a camera man as a fellow who puts his cap on backwards and grinds away at the crank of a camera. As a matter of fact, the first camera man never touches the camera. He's an artist who paints with lights and shadows, giving the screen depth and third dimension. The only cranks on a set today are the directors. The camera man who will speak to you is Mr. George Barnes of Warner Brothers Studio. He has photographed both of tonight's stars many times. Mr. Barnes. That's very gracious of you, CB, but folks, we don't really think directors are cranks. We think of them as fellow sufferers. You see, a camera man and his director are practically the only people who have to work every day if our picture is shooting. No actor appears in every scene. Mechanical crews can be changed, but the poor old camera man, he just goes on and on until he drops, or the director does. As Mr. DeMille says, a camera man's first job is lighting. Four ways than one, he has to show the stars in the best possible light. And right along that line is a point that comes right home here to the Luxe Radio Theater. A camera man has to make a girl look absolutely perfect. He has to take care of shadows, unusual contours, and other things that can't be helped. So believe me, we have no time for faults that can be helped, like a bad complexion. That's something the girls must take care of for themselves. And the way nine out of ten Hollywood stars do that is by using your Luxe toilet soap. It's the official soap at Mr. Deluxe Studio Paramount, and another great studios in Hollywood. And if you want to see how it works at Warner's, Mr. DeMille, well, just take a look at Ruby Keeler. Okay, George, that's a fine fade-out. The lights go up for the third act of burlesque, starring Al Jolson as Skid and Ruby Keeler as Bunny. Three weeks have passed, and we're in the office of Mr. Kent, the manager of the Manhattan Follies. Skid showing the signs of dissipation and looking very tired. He's coming in the door. Hello, Mr. Kent. Oh, hello. Hello, Skid. Sit down. What is this, Mr. Kent? Another temperance lecture? No, not this time, boy. I gave you your last lecture about three weeks ago. Well, what do you want to see me for? I'm writing you a check, Skid. A check? I ain't supposed to be paid today. And no, you're getting a check anyway. Your last one with this outfit. What? You heard me, Skid. You mean I'm Kent? That's right. I warned you, boy. I told you what was coming, you wouldn't listen to me. I'm sorry. Well, there's your check. Kent, huh? All right, so what? I can get another job like that. You wouldn't be so sure, Skid, and I'll tell you this. You'll never find one hanging around in the hotspots. Lay off, will you? I know what I'm doing. You didn't the other night when we picked you up singing the wedding march at the top of your lungs? Cut it out! Cut it out, you hear? Okay, Skid. It's none of my business. Just thought I might hand you a little advice. That's all. All right. I'm sorry, Mr. Kent. I guess I ain't myself these days. I don't know what's in the matter with me lately. I'm just a little shot pieces, I guess. But I'll catch on again, though. And when I do, I'll be back to see you, Mr. Kent. So long, Skid, and lots of luck. Come on, swing it. Where do you swing it? This is the rehearsal, not a funeral gift. Where do you give? Now, come on! Hey, lovey, listen, will you? Oh, what do you want? What do you want, Bozo? Don't you see I'm rehearsing the number? I know, but this is important. Skid is here. He wants to see you. Skid, where is he? Out at the same store. Gee, he looks terrible, Lefty. Like he ain't nothing in a week. I guess I'd better see him. All right, all right, girls. That'll be all for a while. I'll be back in a couple of moments, Skid. Okay. Skid. Oh, Lefty. Gee, Lefty, how are you? What's... what's happened to you, Skid? Where you been? Oh, just knocking around. After I got canned, I kind of hit the chutes. Oh, boy, you sure look it. Any prospects of a job? No, I've been looking around for a month, but I guess they don't want me, Lefty. Then I heard you was putting on a new show, and, well, I... I come around to see you about it. You... you want a job with me? Yeah, that's right. In burlesque? What do you say, Lefty? You got a spot for me? Oh, gee. I don't know, Skid. Oh, please, Lefty, give us a break, will ya? I needed bed, honestly, all for bed. What about the liquor? Liquor, say that. That's all over with, Lefty. That's finished. Yeah, well, it seems to me I've heard that before. It's on the level this time. Well, okay, Skid. I'll give you a chance. Thanks, Lefty. Now, listen, we open in a week. Do you think you can get on your feet on that time? Sure. All right, then. All right. Now, listen to me. Remember it. You gotta be here forever to rehearsal, and you gotta be here on time. Don't worry, Lefty. I'll be a new guy. Wait, you'll see. Rosa, did you find him? Yeah, I got him. Where was he? The usual spot. Holy smokes. How was he? Oh, bad. Three days before we opened, and he pulls this one on me. No, it's gonna be tough, Lefty. There's only one way out, and I gotta take it. Watch the dope. Now, look, I'll tell you what you do. I need to tell her Skid needs it, but tell her she's gotta get here right away. Okay, Lefty. Telegram, Lefty. Telegram, Lefty. Telegram, Lefty. Telegram, Lefty. Telegram, Lefty. Telegram, Lefty. Telegram, Lefty. Sit down, Bonnie. Sit down. Did I say it was great to see you? Yeah. Well, it's more than that. What's it all about? Skid. Of course, I knew it was Skid. What's happened? Haven't you heard anything about him since she was here last? Nothing. I read that he was out of the follies, but that didn't surprise me. He was heading for that when I saw him. Yeah, yeah. That afternoon, he danced out of your room. He danced himself right out of show business. He went on a grand bust, and he played since. Oh, I gave him a job, but he's been handing me an awful ride. Here I am. I'm opening tomorrow night, and up to now, he ain't rehearsed half of this stuff. Honest, Bonnie, I-I don't know which way to turn. I know what's in your mind, Lefty, and what you want me to do. So I'm going to save you the trouble of asking me. Huh? I'll do what I can. Oh, gee. Gee, you're a nace. How long will you stay? Till you get your show right, and Skid gets right in there. Oh, thanks, Bonnie. Thanks a lot. Say, I-I don't know what I do without you. There he is now. Huh? Oh, gosh, look at him. Hello, Lefty. Skid. Where is the rehearsal, Lefty? Am I early? Yeah. Yeah, for tomorrow, you are. I-I was only... Oh, Skid. Huh? Who is that? Am I seeing things? Do you see her, Lefty? Sure. Sure I see her. Don't kid me. I've been seeing things lately. How are you, Skid? It's-it's really you. Oh, gee, Bonnie. Oh, don't, Skid. I'm all right. How are you, kid? Let me have a look at you. You're looking great. But you've been crying. No, I haven't. Oh, you can't fool me. I've seen you cry too often. But what are you doing in this dump? Come on. Why is Mr. Lefty, Mr. Lefty the fox? To get his rotten soul meat caught out of the grave. Well, I wasn't exactly the grace, Skid. Well, don't waste a minute around here, honey. I'll open all right. Nobody's got to worry about me. You know me. Skid, the fireman's child. I'm always there. Sure you are. But you've got to take care of yourself, Skid. You've got to start taping off now. Okay, Bonnie. You're the only one I ever knew that had any sense. Oh, you're not ashamed of me, Bonnie. I- No, Skid. I've been an awful sap, but don't ride me, will you? Bonnie, don't ride me. I won't ride you, Skid. That's right, Skid. I've listened to so many lectures, honestly. I carry my own slides. Don't you think you better get some sleep, Skid? Nah. Sleep. I don't bother about sleep. Oh, gee, Bonnie, it's great to see you. I told you I'd be an awful sap without you. You never was a sap, Skid. You've got more brains than all the comics put together. You make mistakes, but who don't? Well, after all, Skid, fun's fun. Luffy's opening his first show tomorrow night. Without you, he'll be sunk. He's been too good a friend of ours for you to throw him. Gee, Bonnie, I don't think I could ever make it. Sure you can make it. I'm all shy, honey. Oh, honey, you can come out of it. You think I can? I know it. You wouldn't kid me, would you, lady? I would if I couldn't, Mr. I would if I could. Hey, where's your cattle rustler? You remember he got sore at me that day, didn't he? I know. Sure he did, for singing. Here comes your bride, remember? Yeah. Bonnie, gee, loosen this tie. I'll take care of them. Do you think? Bonnie, do you think I'd better postpone the opening? Let's try not to, Luffy. I'd hate to see you mop your first opening, and it wouldn't look so good for Skid either. Poor Skid. Oh, no, that's all right, Bonnie. There, there, that's all right. I'm all right, Luffy. Give me some water, will you? No, don't you think we'd better get him over to the hotel? No, let him stay here a while. Okay, I'll do back in a second. All right. Skid, look at me. You'll be all right, honey. Nothing can stop you. You'll be all right. You'll knock him dead. You ain't started yet. You'll be all right. You got a- How is he, Bonnie? All right. He died his way up from the dressing room. Well, he's on next. Do you, do you think he can do it? I hope so. Well, he almost painted in his last routine. How are you, Luffy? Oh, hi, Skid. You all set, baby? Sure. What, he's gonna be my song? Yeah. Cut the opening routine, Skid. No falls tonight. Go right into your number. Cut the fall, girl. Okay, Bonnie. You're the boss. You all right, Skid? All right, Skid, folks, thanks. For a minute, I thought I was back in Manhattan Follies. Luffy's swaying out there. He's gonna fall. No, no. He's okay, Bonnie. Well, I'm glad to be here. And right now, I'm gonna sing a little number for you. One, I like a lot. A little music, eh, Professor? Make it easy, Skid? I'll make it. Well, brag, people boast And consistently drink a toast To a place that a lot of them place At the top of the list. Are they wrong? Are they right? Is there a reason for their delight? I must live in doubt Till the day that is it true What they say about disease That the sun really shines All the time Magnolia's blossom That everybody's done You folks keep eating possums Till they can eat no more Is it true? What they say about swanning Is a dream by that stream So sublime Do they laugh? Do they laugh? Like they sing every song Is it true? That's where I, by that stream Do you think you can go on? Being all right? I can, Bonnie. If you stick my name. You're a skid. I'll stick. For good? For good. Oh gee, Bonnie. What about your cattle rancher? Oh, it's all right. I explained it to him, skid. You see, when I left, I... Well, I had an idea I was coming here to stay. Oh, Bonnie. I'm crazy about you. I can't get along without you, sweetheart. You won't even have to try. From now on, it's you and me together. For better or for worse? Yeah. Better for me and worse for you. Ah, there you go. Always clowning. Roland Ruby will be back in just a moment. We are honored tonight by the presence of Daniel Froman. DF, as we call him, produced the first play that my father, Henry C. DeMille, and David Bellasco ever wrote. It was called The Wife. When the play opened, it was a failure. Nobody came. Naturally, Mr. Froman decided to close it. My father and Bellasco had spent a year writing this play. All their savings were gone. They were desperate. So they went up to Mr. Froman's office. One took him by the throat. The other took a heavy octagonal ruler from his desk and shook it in his face, saying they'd kill him if he took the play off. So Mr. Froman kept the play running. He says they changed it to suit him. But in any case, it ran five years. It's a woman that the theatrical world knows and respects this pioneer of the theater. We revere him as an artist, philanthropist, and gentleman. The 85-year-old dean of the American stage, Daniel Froman. I tell you, you are very kind. Now I'm saying what I've felt ever since I was five years old. That was when I used to chase you out of the box office for annoying the treasurer. Now it hardly seems possible that you're old enough to have a radio program of your own. Now I am just starting in radio, D.F. Do you remember when I was just starting as a young actor at one of your companies? Yes, I remember paying you a fabulous salary of $40 a week. That included my wife's salary, too. But I was willing to work for any salary. For the man who started the baramos, Ethel, as I remember, was the first to join you, then Lionel, wasn't it? Yes. And then the two of them in their little brother Jack, Barrymore, to design our bill posters. But why don't you get him to design one for that big show you're producing on July 1st? The Actors Fund Benefit. D.F., it's been a privilege to have you here tonight. It's nice to be here, Cecil, and be part of your great enterprise for no theater. In history has reached so many people as your luxe radio theater. From your father and mother, you have inherited the highest traditions of the stage. And I know you are true to this trust. Thank you. My grand old gentleman, I have just written an article for a national magazine on the 10 greatest fools in history. Perhaps I should have made it 11 and included the singing fool, the character that Al Jolson made the most famous fool of all. For that picture, the singing fool broke every box office record of its day. And here they come, the singing fool and his dancing wife. Ladies and gentlemen, the Jolson's. Al and Ruby, you have enjoyed wealth, fame and success, all the things most people dream about. Ah, but that's nothing, Mr. Mill, compared to the thrill I got when little Al Jr. spoke his first word. And what do you think was the first word he ever said? He said daddy. Uh-huh, no Al. He said mama. Did he? Well, didn't he? If you say so, I guess he did. But oh, that kid, good solid arms and back. Here's the ofusky, what a baby. Honestly, Mr. Mill, I don't like exaggeration. But you've never seen ten such wiggly little toes. Takes after his mother, doesn't he? Those twinkling toes of rubies. Well, but one way it takes after his daddy, great big strong knees, a born mammy singer. His toes from his mother and his knees from his father, his good looks, I suppose, from Lux. Yes, sir, just like his mama. She's a Lux lady, aren't you, Ruby? Of course I am. As a matter of fact, Lux soap is what makes all of Jolson so handsome. We've had countless requests for two things. A song by Al and a dance by Ruby. Unfortunately, we haven't time for both. So which shall it be? Oh, that's very easy, Mr. Mill. I'll decide that. We're going to have a dance by Ruby. Ah, just a minute, Al. I've decided. You're going to sing. Well, how are we going to compromise? Al will sing. Well, that's how it is. I guess you can see now, folks, why they call me Al Keeler. Pretty girl, like a melody that haunts you night. And a day like the strength of a haunting refrain. She'll start a part, a marathon, and run around your brain. You can't escape. She's in your memory by morning. A pretty girl is just like a pretty girl. A pretty girl is like a melody that haunts you night. And a day like the strength of a haunting refrain. She's in your memory by morning. Ladies and gentlemen, this is your announcer, Melville Rue. Mr. Mill returns in a moment to tell you about next week's play. The makers of Lux Toilets Hope wish to express their appreciation to our capable cast and to the great studios who have cooperated with us in presenting this broadcast. Our cast tonight included Wally Mayer, Victor Rodman, Eddie Cain, Rita LaRoy, Ines Seabury, Frank Nelson, and Lou Merrill. Al Jolson and Ruby Keeler appeared through the courtesy of Warner Brothers, as did George Barnes. Our producer, Cecil B. DeMille, comes to us from Paramount. Lewis Silvers, our musical director, represents 20th Century Fox. And Mr. Daniel Froman is in Hollywood as producer of the Actors Fund Benefit. And now, here is your producer, Mr. Cecil B. DeMille. Next week, our play is The Dark Angel. A vital romance played against a background of war. A dramatic triumph on the Broadway stage and twice successful on the screen. This unforgettable drama will be presented on the air by the same stars who thrilled us in its most recent movie version. Merle Oberon and Herbert Marshall. Our sponsors, as well as Miss Oberon, Mr. Marshall and I, cordially invite you to be our guests in the Lux Radio Theatre next Monday night. This is Cecil B. DeMille saying good night to you from Hollywood. This is the Columbia Broadcasting System.