 by tape recording. Lux presents Hollywood. Here's the Lux toilet soap. Bring you the Lux Radio Theater. The night we have privileged to bring you Movie Time USA. Honoring the motion picture industry on its 50th anniversary by presenting scenes from the newest in fine motion pictures. And as our stars, Mario Alden and Blythe Leslie Caron, Claudette Colbert, Gary Cooper, Wendell Corey, Bing Crosby, Dan Daly, John Derrick, Joanne Drew, Gene Kelly, Vera Ralston, Donna Reed, Robert Ryan, Boris Tucker, John Wayne, and Jane Wyman. Ladies and gentlemen, your producer, Mr. William P. Greetings from Hollywood, ladies and gentlemen. Fifty years ago in downtown Los Angeles, Talley's motion picture theater was open. Not an opening night such as we have today, there were no stars and very little audience. But this new entertainment caught on and spread like wildfire. As with all American Enterprise, competition became keen. Producers were constantly trying to make better pictures. Writers to create better stories. And as a result, the motion picture took its place among the most important industries of America. Yes, motion pictures have played a major role in our lives in these past 50 years. They brought us the history and ways of all nations. We followed the events of the day and the entire industry contributed to our gigantic war efforts. So the Lux Radio Theater is proud tonight to salute the motion picture industry and bring you 17 of its biggest stars in scenes from eight of the pictures that you'll soon be seeing at your theater. It is long been the policy of the Lux Radio Theater to bring you the very best in entertainment. Just as for many years, we brought you the very best in complexion care, Lux Toilet Soap. As we are devoted and loyal to Hollywood's best, so nine out of ten Hollywood actresses are devoted to Lux Toilet Soap as their favorite beauty care. Writers and producers are ever searching for story material that's timely. Thus did the modern biography come into its own. Because we enjoy knowing the true life stories of the people we read about in our newspapers. The next month, the headlines will caption World Series. So let's play ball with a 20th century Fox production, Pride of St. Louis. The story of Jerome Herman Dean, better known to his millions of fans as Dizzy Dean, starring Dan Daley as Dizzy and Joanne Drew as Pat. It's a bright moonlit night and a young man is paying a visit to the Nash residence in Houston, Texas. Quite in keeping with his character, the visit is strictly unorthodox. For the time is 2 a.m. and the determined Mr. Dean is struggling to get a ladder under a second-story window. Jerome, what do you think you're doing? You've got any idea how hard it is to get the land of a ladder in Houston? One fella started to call the police. You stay right where you are. You must be crazy. I am about you. You know that, didn't you Pat? And you asked me what did I think I was doing, didn't you? Well, I come here to get you to a lope with me. A lope? I wouldn't be in no such hurry only that fellow bishop. He's got me a little worried. You ain't in love with him. I know that. Do you? Yeah, because I talked it over with my brother, Paul. Me and Paul decided. But if you keep on seeing bishop and not seeing me and especially if the cardinal's sinned for me, well, that means I gotta live in St. Louis and he'd be right here in Houston. Well, that's mostly all me and Paul talk about, all evening. I love her, Paul, I said. And I'd like for her to marry me. Where'd they marry me? You stay on that ladder. You come in each closer, I'll... I was just getting closer to make sure you're hearing me. Of course, to tell the truth, I don't have to get no closer, but I've been the runner-up in the hog-calling contest in Lucas, Arkansas the last three years. Don't you dare raise your voice. Then why don't you answer a person's question? Will you marry me? Tonight? Tonight. No. Tomorrow morning? No. Tomorrow afternoon? I never make dates that far ahead. How can a girl be sure? Look, Pat, I aim to be polite and friendly because I love you, but I'm gonna get me an answer. Will you marry me tomorrow afternoon? Why? I really don't know. Look, Pat... Tomorrow afternoon. I always thought I'd have a big church wedding with bridal attendance and... Well, you never know, do you? We talked to Mr. Monroe in the clubhouse, me and Paul did. Mr. Monroe? I hope he approved whoever Mr. Monroe is. Well, he's a manager. Manager of the ball club. He said if they didn't have the full player limit right now, he'd take a chance. Said he thought he'd get Paul a trial with St. Joe's Missouri. But we told him what we thought about trying out with St. Joe's Missouri, me and Paul. It's the St. Louis Cardinals or nothing for the both of us. Well, if I didn't figure Houston was the same as a Cardinal... Busy. Huh? Is that all you've got on your mind? Before we meet again to get married, how good a picture your brother, Paul, is? Now, you know better than that. Do I? Yeah, I know what you want me to say about how much I love you, how terrible I love you. Well, I do love you. Just that much and just that terrible. And you know if I... I already asked Mrs. Berger at my boarding house could I have a double room instead of single? You didn't. Sure did. When Paul says a thing is going to happen, it happens. Ain't this just the most wonderful day ever was? Darling, we're supposed to be on our way to East Houston to be married. This is almost the opposite direction you're taking. Busy. That's the ballpark down there. That's right, honey. I got to stop by for a minute. Oh? It's a surprise for you. Oh. It won't only take a couple of minutes to drive in an hour. Hey, look at that crowd down there. Them bleachers are going to be loaded today. Anything you've got to pick up, we could stop by the business office and... Now, what I got on my mind... What have you got on your mind? Oh, yes, Missy. Hello, Miss Bench. Everything is all set is. The Daily's have sent extra men. I made it sound so important, even the wire service. What's he talking about? Well, you see, Pat, I was having breakfast this morning with Larry here. He's press agent for the Houston Ball Club. And while I was busting with my news, I was that happy. I guess I must have said something to Larry. Well, can't you read between the lines? No. Well, it was Larry's idea for me and you to get married. I wasn't that nice of Larry. I mean at the home plate. Where? At the home plate with the ball game going on. Oh, it's never happened before in the history of baseball. And certainly not with a picture what shut out them white socks with one lucky hit that shouldn't even have got. Dizzy Dean. Well, there's nothing in this whole world that could persuade me to start our life together with such a dizzy far. Well, I'm sorry. I guess I am dizzy. But if you'll forgive me, just this one. Well, it looks like you'll have to get yourself a substitute quick, doesn't it, Larry? Maybe the first baseman could do a striptease, Anne. Or you could persuade Mr. Monroe to roll a peanut around the bases with his nose. Yeah, I'm ashamed of you, Larry. Thinking you could get away with anything as dizzy as having a girl start her married life. Why, these things a fellow just don't do, Larry. Huh? What do you, your son? Hello, Larry. We're going to get married where Pat wants to get married. Thank you, darling. Yeah. Sure do hate to disappoint all them fans. One of the most popular forms of entertainment is the mystery story. In motion picture form, it immediately captured the imagination of audiences everywhere and has kept them on the edge of their seats ever since. Tonight we bring you the very best in mystery drama as presented by Universal International Studios in their story of suspense, Thunder on the Hill, starring Claudette Colbert as Sister Mary and Anne Blythe as Valerie Carnes. His intro, the countryside near the North Sea. For two days now an angry flood has engulfed the lowlands and the villagers have fled to the only place of safety. The convent and hospital are our Lady of Reeds. Among the new arrivals are a woman and a girl. They said we could have this room to ourselves. Better take off your coat, it's soaked. Can't you let me alone for a second? I only want you to be comfortable, but we'll probably be leaving soon. May I come in? I brought you some soup. Oh, thank you, sister. I was told there were three of you. Sergeant Melling's talking to the sister-in-charge. You mean Reverend Mother. I hope you like onion soup. I don't want any. Well, please have some. It will warm you. I'm not cold. Then let me take your coat. Maybe you don't care about getting ill, but we do. Why should you? Our wards are overcrowded. Oh, don't worry. I shall take up your precious space. Sister, there's nothing you can do for her. Here, sir. Let me have a cigarette. But I suppose smoking isn't permitted. Usually not, but under the circumstances. What circumstances? You know. I said what circumstances? Well, practically the entire village is up here, so we can't be too strict about regulation. You're not fooling me. You know who I am. You're only being kind to me because it's your duty. Humble yourself to the sinner if you'll do his conscience. It's the trick that never fails. Well, with me it does. You see, I've no conscience left. And I have no tricks left, except to ask you once more to take off your coat. Oh, all right. Now are you satisfied? I don't want you to be a failure on my account. Now, your shoes. Let me take off those wet shoes. Get away from me. Let me alone. I don't want you to touch me. Get ready, Pierce. The irreverent lady's been good enough to lend us their ambulance. We ought to be in knowledge within the hour. I'm afraid that's not possible. Why not, ma'am? The dyke has been abandoned. They expect it to collapse at any moment. But we must be in knowledge before tomorrow. She's got to be there. It will be two or three days, I'm afraid. Two or three days? I couldn't stand it. Miss Carnes, please. Miss Carnes? Valerie Carnes, of course. That's right. Valerie Carnes, the murderer. Valerie Carnes was on her way to Norwich Prison to be hanged in the morning. Please. Please, can I take her to my room? Can you see the notices hanging post on because of Ryan? Please. Come with me. Stay with me, Pierce. Yes, sir. And don't leave her alone, not for a second. It's the following night in Sister Mary's room. Valerie Carnes, the condemned murderer, quietly fingers the keys of the piano. Is that Debussy? When did you come in? Just a few moments ago, when Miss Pierce left. Please, go on. No, it's not Debussy. It's Carnes. You're a composer. Jason, Carnes. Jason. Your brother? Yes. The one I killed. You don't like it, do you? Oh, but I do. No, you don't. But you're wrong. You're all wrong. Jason's music has great merit and will not be forgotten. That's the only thing I still believe in. Valerie, you didn't kill your brother. I'm sure you didn't. How very kind of you. That makes two of us. Even if you have done it out of some false sense of mercy, his death would be on your conscience and you wouldn't find peace. You had it while you played. But I've told you I have no conscience. I'll never believe that. I should have played Jason Sonata for the jury. Perhaps they'd have acquitted me. I have the deepest conviction that... Don't talk about divine inspiration. I wasn't going to. Then tell me, why do you think I'm not guilty? Tell me. Perhaps because I know how it feels to be guilty. All right. Suppose you believe in my innocence. What can you do about it? I can pray for you. Words. Just words. If you really want me to believe you do something, help me to live through these last few days. I will. Bring me the one human being who really cares about me. Bring you someone? His name is Sidney Kingham. Is he here? No, in Norwich. Only eight short miles away. Oh, but you know it's impossible to get to Norwich. You're a nun. A holy woman. Why don't you perform a miracle? Oh. This great flood. It's God's will. It must be His will to surround our house with water to let no one in and let no one out. If I could help her or if I could own her, I will get to Norwich tonight. Now we'd like to call back to the center of our stage, Claudette Colbert and Anne Blythe. Claudette and Anne, I can't think of two stars more representative of the motion picture industry. Two of our finest actresses and most beautiful women. Well, my. Well, thank you very much, Bill. Both Anne and I feel very honored that our picture was chosen for this tremendous broadcast, and I'm sure all the other players feel the same way. Yes, why, not only do we love making pictures, but we enjoy seeing them, too. I think it's wonderful that the players and the audience could attend the preview of these fine pictures at the same time. Yes, and imagine attending eight premieres combined into one. Well, I've attended many premieres in person, but this is the first time I've given a performance at one. That's right, Claudette, well, it's my first time, too. Well, you know, every time I've seen you two on an opening night, I've said now, there are two lovely ladies, and I'm proud to say two, uh, Luxe lovely ladies. Bill, any actress would be very foolish to neglect her appearance, and we all know that Luxe-Tarlet soap is a fine complexion care. I highly recommend it. I'm devoted to Luxe-Tarlet's so facial, too. It's my favorite beauty care. Thank you, Claudette and Anne, and I look forward to your next appearance on the Luxe Radio Theater. Thank you, Bill. We continue with Movie Time USA. World War II brought us pictures of modern warfare. We were able to follow our men who were serving their country through their training onto the battlefield, and as we conquered the enemy, these same battlefields became the names of motion pictures and would ever be a memorial to the brave deeds of our heroes. Here is our tribute to just one of the many branches of our armed services, the KU picture, Flying Leatherneck, starring John Wayne as Dan Kirby, and Robert Ryan as Griffin. Here's 1942. The Japanese had conquered the island chain of Guadalcanal, and we'd started the long-climbed back, despite the heartbreaking lack of men and material. Armouries faced more than the enemy. Their planes batted and spent flew with scarcely enough gasoline to bring them back. There were no replacements of equipment, not enough food, not enough doctors, not enough medical supplies. And side by side with the enemy came malaria and dysentery. It's late at night, and warm nerves and tropical heat make sleep impossible. Two of the officers are talking, the flight surgeon and Major Dan Kirby, the squadron commander. Well, you say you've got work to do, Dan, and I'd better drop by sick bay. No, before I go, I think there's a problem building up for you, Major Griffin. What about him, Doc? He's got the jump. I'm having a squadron. I don't know what the outer edge of his endurance is, but I've got to use him. You know how to be getting 80 bucks an hour for this? For what? I'm turning into a psychiatrist. I think I'll grow a little black beer. If you've got something to say, now's the time. Griffin's identifying you as the villain, Dan. It's your fault this whole air operation hasn't enough men or equipment. Look, after this is over, Griffin, I'll go out and get knee-walking drunk and forget it. Meantime, knock it off, Dr. Freud. I'll have missions to figure out. You got a minute, Major Kirby? Hello, Griff. Since when am I Major Kirby? Since you hung up this schedule, it's all lost up. Is it? You got the older guys flying this tough ground strike and the replacements are flying cover for a bomber mission. That's a milk run. Let's switch it. No, send the replacements on a milk run. The older guys have had some ground strike experience. They've also had it tougher than the law allows. I didn't make the rules. I only lived by them. Maybe I did make one mistake though. You ought to go with the bomber group. We'll give them a commander who understands combat and it'll give you a little command experience. But I haven't any records on these new guys. I don't know which of them has had the most ground support training. Let's leave it the way it is. I'll fly the ground strike with you. Sure, you'll fly the ground strike with us. You'll be with the decisions I make, but you're too soft to make them yourself. You just can't bring yourself to point your finger to the guy and say, go get killed. You've got to tear your guts out worrying about his flight record or because something back in the States has given him the brush off or whether he knows if his baby's been born yet. You've got enough troubles of your own for one man. Stop trying to pack everybody else's around. Schedule admission. Roger, I got a belly pull of you and I'm not buying the bill of goods you're selling. In my book it's easy to be a turtle to put a shell between yourself and the rest of humanity. Maybe I'm not making my point clear. 400 years ago a poet said it better than I ever could. No man is an island. When the funeral bell rings, it isn't just for the dead guy. It's a little bit for all of us. Each man suffering belongs to everyone. Or else why are we shooting off these guns? And I don't know what your reaction is going to be, but here's what I hope it is. I hope you say let's take off those insignia and step out on the phone dock and get it settled. You're one of the general headquarters right away, sir. Now the pilots think they're going to be relieved. Is that true? Definitely not. You've got your orders, Griff. Get going. Days later, the missions are over. And once again, Dan Kirby and Griff are face to face. I suppose you heard Griff. I've been relieved. I'm going stateside. I guess you've got another job for me. I'm sure the rest of the squadron will be relieved in the next couple of days. I guess the guys won't squawk about that, huh? What do you think? It's my considered opinion they'll welcome being relieved. I want to speak some plain English. Go right ahead. I recommended that you not take over the squadron. Do you want to know why? There's no regulation that says you owe me an explanation. Well, in a way, I feel like it's my own failure. You know, it's the commander's duty to train the man... Train the man under him for fitness to command. This is all unnecessary, Major. I know the Marine manual as well as anyone. Even as well as you. And section nine of the manual, the duties of leadership and command. Uh, well, so long, Griff. Maybe we'll meet up again sometime. I sure hope so. Without insignias. So long, Major. In an American in Paris, we see what music and the ballet have lost the picture. Inspired by the score of two of our most famous composers, George and Ira Gershwin, this technicolor musical is an example of what tremendous scope the motion picture has to bring you romance set to melody. Highlighted by a gorgeous modern ballet. A musical extravaganza, representative of the very best Hollywood can create, is this MTM production starring Jean Kelly as Jerry and Leslie Caron as Lisa. This is Paris. And I'm an American who lives here. My name is Jerry Mulligan. I'm an ex-GI. In 1945, when the Army told me to find my own job, I stayed on. And I'll tell you why. I'm a painter. All my life, that's all I've ever wanted to do. And for a painter, the mecca of the world for study, for inspiration and for living, is here on this star called Paris. Oh, if you've ever been here, you'd know just how I feel. Brother, if you can't paint in Paris, you better give up and marry the boss' daughter. I live on the left bank. In the past couple of years, I've gotten to know practically everyone in my neighborhood. And a nicer bunch you'll never meet. Back home, everyone said I didn't have any talent. They might be saying the same thing over here, but it sounds better in French. Oh, I have a lot of good friends in Paris. I have a lot of very good friends. But of all the people here, there's no one believe me like Lisa. Oh, it was easy to fall in love with Lisa. But meeting her and getting to know her, that was something else again. Anyway, she finally broke down and gave me a date. And guess what we did? We went walking. Ah, this is wonderful. Just walking with you, Lisa. You see, I wasn't sure you'd come at all. I thought maybe you'd just said yes to get rid of me. Not that it would have. You have been here before along the river? Well, I come here all the time. I have a big thing for this spot. One of these days I'm going to paint it. You're a painter? You don't look like a painter. There are those here, lady, who will tell you I don't paint like one either. But that doesn't bother me. Discouragement stimulates me. You ought to know that. Oh, yes, I do. But mark me well. The Picasso will be remembered as the forerunner of Mulligan. This tree will be famous because it was painted by Mulligan. And when will this golden age of art be? When will this golden age of art be? Well, it's hard to say. Very hard to say. You see, civilization has a natural resistance against improving itself. It may take quite a while. Say, would you like to talk with us? Oh, I could meet the whole thing. Go ahead. The night's young. Let's live dangerously. Tell me some more about America, I mean. About America? Well, let's see. In America, Saturday night's the big night. No work, no school, when you get home, no money. And Sunday. Is Sunday night in America? Well, in America, everybody catches cold on Sunday. Did you? Well, sometimes. Well, Glita, what about you? Aren't you sick and tired of the life and times of Mulligan? No, I'd rather listen to you. I don't like to talk about myself. Oh, Lisa, you're going to have to get over that. Why? Well, with a binding like you've got, everybody is going to want to know what's in the book. What does that mean? Well, let me see. Primarily, it means you're a very pretty girl. I am? Yes, you are. How do you know? I heard it on the radio. You're making fun with me. Doesn't everybody tell you that? I haven't been out with many people. And they're always friends. Honey, believe me, I'm no enemy. Lisa, I don't know whether you're a girl of mystery or just a still water that doesn't run deep, but there's one thing I can tell you. If I'd have been around sooner, you'd know by now that you're a very pretty girl. And I am not making fun with you. All of us here to stay Not for a whatever and in time together How about lunch? I'll tell you. Saturday morning, I'm at the Occulte Bazaar. I'm finished at noon. Will you see me there? Saturday? Yes, I will. Movie time USA. But now here's our Hollywood reporter, Libby Collins, with a beauty tip for you. A tip from the glamorous stars you hear on our program tonight. Yes, John. It's a beauty tip that I'm proud to pass along. And it's as simple as this. All our lovely stars tonight are luxe girls. Indeed they are. And when you see close-ups of these beauties on the screen, you know just what we mean by... A luxe-lovely complexion. As Glamrs Jane Wyman says, it's easy to keep skin luxe-lovely. My daily luxe-oak facials are such simple care, but they really worth wonders. You couldn't pay a higher compliment to luxe-oak care Nine out of ten screen stars recommend luxe-toilet soap. Yes indeed. It's Hollywood's favorite beauty soap. A favorite with lovely women all over the country. Luxe gives skin the gentle protecting care it needs. The creamy, active lather ensures gentle cleansing that's really thorough. Every woman who wants a softer, smoother complexion should try this daily facial. Just cream that rich luxe lather well into the skin. Then rinse with warm water and follow with stimulating cold splashes. Use a soft towel to pat your face dry. Right away you'll see that this simple luxe care brings quick new beauty. There you have Hollywood's complexion care. Tomorrow get fragrant white luxe-toilet soap. Discover that it's easy to be luxe-lovely. You'll know why nine out of ten screen stars use luxe-toilet soap. This program is transcribed. We pause now for station identification. This is the CBS Radio Network. We continue with Movie Time USA. Here's your producer, Mr. William Keely. Americans are sports-minded people. We love all games and the people who play them. Through the motion picture our children have been taught fair play and been thrilled by those last-minute scores made by their heroes. We love a champion, but more than that we love the underdog. Someone who has the fortitude to play for the sake of the game and not for the winning. We now present one of the finest examples of dramatic action in Columbia Pictures Saturday's Hero starring John Derrick as Steve Novak and Donna Reed as Melissa. In this case, a dark, unsmiling boy named Steve Novak. But Steve's leaving the university and there's a stuff to make before he goes to the airport. Come in, Steve. I'm so sorry. How do you feel? I'll be okay. The doctors say I'll never play football again. Well, I meant about your father. How did you know? They just told me. You're going home? This afternoon. For good. Nothing here was any good, was it? What are you trying to say? Nothing really. You think it's all wrong? What? You and I? I think it's very nice between us. But you're afraid I won't stay that way. Why do you say that? Because your uncle won't let us stay that way. Melissa, there've been lots of boys, haven't there? Lots of schoolgirl crushes, if that's what you mean. And not one of them ever mattered? Of course. They all did. At the time. Until your uncle turned them into something cheap and foolish. Something to be ashamed of. You don't understand. It isn't as though he's mean or small. He's been very good to me, Steve. You know how rich he is, but I'm really the only thing he has in the world. And when the thing comes along that you really want... Then he'll understand. He'll have to understand. Steve, I want to marry you. I want to go with you. I guess I'd make a rotten wife, but I... I never told you about my home, did I, Melissa? A middle town. An old house where we live. When it rains, the walls are always damp. You run your finger along the wall, it leaves a wet mark. My old man. I used to go to the park with him on Sunday. We'd eat rye bread and onion sandwiches. He'd slice the bread with a pocket knife he brought from the old country. He had big hands. Blew and read on a fingernail. I was ashamed because they always looked dirty. They were stained from the dye shop. He couldn't wash them off. Steve. He liked to sing when he had a little wine. Holy song. Without the wine he hardly ever spoke. The wine was because he was lonely. All inside himself. Now he's dead. No, don't. Don't. Why not? I never want to tell you about my home before. I can now and it's good. You still want to go with me? Yes. Go ahead and pack. I'll wait here until you... I just got the report from the hospital, no bank? Tough. Jewelry is tough. Oh, you better get ready, Melissa. We're leaving for Norfolk. I'm not going to, you see. You don't have much time. Get your bags ready for the show. I'm going home with Steve. We're getting married. We won't have time for dinner. We'll leave on the road. I'm not going. I told you to pack your bags. She doesn't have to take your orders. We've been all through this before. Haven't we, Melissa? All through your whims. Whatever you wanted, I always gave it to you. Sure. Sure, now she's scared to death of you. Oh, you poor fool. What did she do? Kiss you? I've seen a wagon load like you come and go. Melissa, look at me. He says you're afraid of me. Is that true? It's no use, DC. Did I ever do anything to hurt you? You don't really want this boy. He has nothing. You can't live that way. We'll live. Just leave us alone. Leave you alone. You come near her again and I'll make you sorry you were ever born. Stop it. Stop it. Steve, go home, darling. Your brother's waiting for you. Go home, Steve. I'll follow tomorrow. Melissa. I'll come. Steve, you believe me, don't you? Yes. I believe you, Melissa. Papa's dead. You never had time for him, did you? Two years of college. What did he ever ask you except for right of months in a while? You never had time. You were too busy. Football, big football hero. You want a drink? No, Joey. Nothing. Are you hungry? No. Steve, you're all right, kid. Joey, I quit school. It's true, huh? Everything? They hurt you? My shoulder. The doctors say... That's not what I mean. Sure. Sure, I took a beating. Joey, I want you to help me. I want to get a job. Maybe you can get me one at the shop. Can you do that? Is that what two years of college was for? No. I need a job while I finish school. I'm going to finish. I can do it in night school around here. Or New York. I'm good for nothing and the family's enough. Okay. Sure, I'll help you. An educated man. My kid brother's an educated man. Hey, Steve, that girl, uh, Eddie told me about a girl. It's all off, huh? I must have been crazy. Thinking that she... Yeah. Yeah, it's all off. I'm sorry I yelled at you, kid. I don't know what... Hello? Who? Just a minute. It's for you, Steve. Western Union. Telegram. Will you read it, please? Steve, darling, am on my way. Taking first class. I'm from Norfolk in the morning. Meet me. Newark Airport tomorrow. All my love. In World War II, Hollywood made many training films which were invaluable in teaching all branches of the armed forces. Hollywood then discovered that audiences were also interested in knowing just how our men learned to use unfamiliar weapons and fly new planes that gave almost unbelievable performances. Here's the unforgettable story of the B-29. In the Republic picture, Wild Blue Yonder starring Wendell Corey as Cal, Vera Ralston as Helen, and Forrest Tucker as Tom West. It was in the spring of 1943 that I first met that sleek, powerful, and dangerous lady, the B-29. My crew and I were back from the Mediterranean. 15 missions with the 15th Air Force. We figured we knew all of what we know about bombing. We'd been flying the B-24s. The biggest and best as far as we were concerned. Until we reported to Smoky Hill Air Base in Kansas. Hello, Cal. Good to see you. Hi, Tom. Do I look surprised? Well, I am. So your operations officer. And a major at that. Congratulations. Thanks. Only, uh, how come the desk job? You always said I'd make a good school teacher, so here I am instructing my proper station in life. Have a chair. And what's the lowdown on these 29s? They're great, Cal, but you'll have your hands full learning how to fly them. Two wings and four fans? They fly, don't they? This 29 is a big, complicated airplane. Compared to it, 24 is a kite. You flew a 24, you ought to know. Oh, uh, sorry, Professor. Just slipped out. My crew and I studied the 29 for three months at the Boeing plant. We're supposed to be the lead crew. Here's a manual. Study it, Cal. We begin classes tomorrow. That's what I like about the Air Corps. They figure you're never too old to learn. Well, I hope my crew can read. Uh, tell me, uh, how's the lady's situation around this place? There's only one lady for you at Smoky Hill. A lady called B-29. There were ladies at Smoky Hill, plenty of them. But there was only one Helen Landers, Lieutenant Helen Landers of the nurses' corps. The first time I saw her, she was in the opposite club. With him, down west. Sorry, I'm late, Helen. Tough day. All those new crews coming through. Wonderful to relax with you. Very pretty speech, and I believe it. Mind if I sit down? Oh, uh, my name's Cal the Lieutenant. Cal to my friend. This is a dangerous man, Helen. A Casanova. You have that word in your native language? Casanova? Oh, yes, it's international. Uh, German or Czech, Lieutenant? What is it? My accent? Neither, Captain Calvert. Before Hitler, I was via means. I've been American ever since. All right. And now, um, off of the seats. Hey, Tom, what's the lady's name? All right, Helen, Helen Landers. Thanks for the introduction, cousin. Don't mention it, cousin. Are you two related? Strange as it may seem. We have aunts and uncles in common. And that's about all we have in common. Oh, I know. Well, well, well. So it is the same Tom West. And have an engine trouble lately, Captain? Oh, pardon me. You're a major now. Knock it off, Ted Beaton. Hi, Lieutenant Landers. Did the major here tell you about Ploesti? I said knock it off. This wrong-way guy goofs off overseas and ends up on the gravy train, stateside. He's a phony, see? Strictly a phony. Shut your drunken yab crunch off. And from now on, keep it shut. Okay, okay. What do you gotta get so tough about? Tom, weren't you going to see that movie? Thanks, Helen. It's a long time, you see. Yeah, sure. What's the line with Helen? Come along, Helen. You haven't said a word since we left the club. I'm sorry, Tom. You're wondering about what that drunk said. I want to tell you. Tom, please. Why not? You'll find out sooner or later. It doesn't matter. On the bombing mission to the Ploesti oil fields, the big one, I turned back. I claimed I had serious engine trouble. And you didn't? No. Well, I'm sure it wasn't as simple as that. You're right, it wasn't. Believe me, Helen, if I'd have been alone, I'd have gone through with it. But I like that crew. We've been together from the start. It was to be our last mission. On the 24th, we lost two crew members torn up by flak. Halfway to the target on our 25th. I suddenly didn't want to take that crew to Ploesti. I know what they'd be in for. I wanted them to go on living. Does that make any sense? Of course. You don't sound very sure. Look, the men in your crew respect your decisions. Well, so do I. I really was having a little engine trouble. I might or might not have made it to the target. I guess I took the easy way. Thanks for telling me, Tom. But you didn't have to. Yes, I did. I wanted to for a long time. I was afraid someone else would tell you first. There mustn't be any doubt between us, Helen. No, come on, Tom. Let's get to the movie. I saw a lot of photos in the weeks it followed. And after that, in China, India, I then came my transfer to the South Pacific, Tinian Island. So from now on, cowl there'll be no more bombing from those high altitudes. The strikes aren't hitting the way they should. Starting today, it's 12,000 feet in daylight and 6,000 at night. You're crazy, Tom. We'd get murdered with that altitude. The signage we're clabbering them now. Sure. But the aerial reconnaissance photos tell the real story. If you looked at them the way I've been doing, you'd know. You have to be scientific about it. Scientific? A paddle-foot flying a desk telling me to look at photos. Is that scientific? I've been seeing the real thing. Do I have to look at pictures? Cowl, you know you can't see much at 20,000 feet bombing through an undercast. But the strike photos show the bombs are spreading out too far. That's all. There's not enough precision. It's easy to talk about precision from where you sit. You want us to come in on the deck and get the daylight knocked out of us? Aren't we bleeding enough? Aren't enough crews getting shot down? You want to like Ploesti? So we're back to Ploesti again, huh? You've got your orders, cowl. Your orders, Major Wiz. And if you'd like them in writing, I can arrange that too. Thanks for everything, cousin. I hope you and Helen will be real happy. Oh, just a minute, cowl. Well? I got news for you. I'm flying with you. In a moment, we'll continue with Movie Time USA. But meanwhile, I want to take time to have a chat with Joanne Drew and Donna Reed. We'll be delighted, Bill. First, may I thank you both for appearing tonight and for your fine performances. We thank you. And I know I also speak for Donna when I say we were happy to contribute our part in this tribute to the motion picture industry. We're proud to be associated with these fine pictures. You know, Joanne, there's an old saying in Hollywood that if you want to be in pictures, you have to go ease. Well, that's not true in my case, Bill. I came west to California all the way from West Virginia. And how about you, Donna? Surely you went to New York and made your debut on the stage there? And that's not quite true in my case, Bill. You see, I'm an Iowa girl. Although I did go to college in Los Angeles and went into pictures from there. I certainly make getting into pictures sound easy. It just sounds that way. As you know, Bill, it takes a great deal of hard work. And would you say that a luxe complexion helps? Yes, indeed. As you know, camera close-ups are very exacting, Bill. I don't take any chances. I always use luxe toilet soap for my complexion care. Luxe soap facials certainly are a dependable beauty care. I've been devoted to them long before I began making pictures. Yes, a good complexion is very important, particularly for screen actresses. Now let's continue with Movie Time USA. We're listening. Naturally, no tribute to motion pictures would be complete without the adventure story. Frontiersmen, Indians, explorers. With the most wonderful setting for any picture. The great outdoors. The history of our nation has provided many a scenario filled with true adventures and created our greatest heroes from the brave men who helped to settle this country. Here's our next scene. United States Pictures production for Warner Brothers, Distant Drum, starring Gary Cooper as Quincy Wyatt and Mary Alden as Judy. The year is 1840, the territory of Florida. A young naval lieutenant has begun a strange and mysterious mission inland to a rendezvous with an army officer known to him only as Captain Quincy Wyatt. The journey was through a jungle. Beautiful, weird, deadly. And finally, where the stream widened into a lagoon nestling between sky and water was an island. And on it, the headquarters of Captain Wyatt. He was waiting for me. Howdy, Lieutenant. Any trouble getting here? No, sir. As far as I know, I came unobserved. How long do you reckon it'll take to move your boat overland to Lake Okeechobee? Well, before I answer, may I say you have my sympathy, sir? How's that? Well, my craft is only big enough to carry 40 men. Oh, that's all right, because that's all the men I got left. 40 men to go clear across Florida and take a fortress? That's suicide. Maybe you're right, but somebody's got to try and nip off the Seminole supply of guns. And as long as that fort's there, the Indians are just going to keep on a-getting them. But an attack in small force must fail, I've seen that fort. It's absolutely impossible to take it by less than a brigade. I'm sorry, you think it's a hopeless lieutenant, because I'm the fellow that thought it up. And about those 40 men of mine, in a swamp, they're equal to a brigade. Well, we'll be ready to leave in an hour. Three days later, Captain Wyatt had accomplished the impossible. But the destruction of the fort had aroused another enemy, the Seminole Indians. Wyatt, now, has fallen the terrible task of leading his 40 soldiers and the prisoners they have freed, so the treacherous Everglades to safety. Among the prisoners is a girl. Well, Captain, we're going to get out of here alive or not. Now, that's something the men that you're like to know. I'd like to know myself. We're safe here till morning. Seminole's don't relish the dark. Any more questions, Miss Beckett? Some, maybe. And if I was you, I'd ask him now, come morning. I may not be around to answer. I was just figuring. Figuring what? You. And how much cloth it would take to make you a pair of those tight-dose kins, which is real fitted like. A pair of lacquered boots, and a swallowtail coat, and a fancy shirt with a six-string tie. You look mighty grand, walking down Dracon Street in Savannah. I might look all right walking down that street you're talking about, but I look like a darn fool here. You ever been to Savannah? Nope, and I don't figure to go. It's a nice way to live. Sitting tall, absence coolers at a sidewalk cafe, attending garden parties with the gentle folk. Don't it make you red and talking like quality? We crack a gal like you. Crack a gal? Well, it takes a cracker to dull a cracker. What part of Georgia are you from? Okefenokee, my folks, lived on pine nuts and squirrel meat, same as yours. I should have known. But how did you smart me out like that? The way you walked down home, we used to tie up a gal's leg when she was 16, so you'd get a first pair of shoes on her. That's how it was with you, wasn't it? I still got the marks of that rope on my shin bone. You didn't pick up that highfalutin' talk in the cracker country. Where you been warned her? Oh, Charleston, Havana, wherever the gold coins roll. Well, there ain't any around here. What are you doing in this territory? I was bounder than you all in for Savannah when my boat was pirated by those renegades you blew up. What happened to the other passengers? Perhaps the renegade lady didn't find them as interesting as he did me. How'd you get along with him? You found me in a dungeon, didn't you? He put me in there to think it over. Did you? The rats were getting bigger every day. You arrived just in time. Where are you heading from here? Back to Savannah. Well, is that what's most important to you? As important, for instance, as putting my arms around you? Let me alone. Stay away from me. You sure fancy that Savannah quality, don't you? I don't fancy them. I hate them. So that's the bear under your hide. You're planning to get even with the whole town. Not the whole town, just one man. So he the one that tied your leg up? I tied up my own leg. He's the one that put the shoes on me. Fancy shoes? That wasn't the way it started. But that's the way it worked out. You had no objections? I was too young to have much objection about anything. My father had some. But he was a cracker. And rich folks know how to handle crackers. I found him down on the levee one morning. They said he'd been run over by a wagon. But I never saw wagon wheels that would leave lash marks on a man. You got a way of writing that? I do. I've put a lot of years in this and now I'm ready. When I get back there, they'll find out quality's not the only ones who can swing a black snake whip. So when you were looking at me, measuring me for that suit, how did I fit in? Was it in your mind that I was going to help you swing that whip? Maybe. But if that's the score you want to settle, you'll have to do it by yourself. Then that's the way I will do it. That's why I'll get out of this swamp no matter how. Nothing is going to stop me. Not the Seminole's or the snakes or the quicksand. Not even you. You're real sure of that, aren't you? You're still so sure? Well, you're gonna kiss me again. Maybe I wouldn't be. But you're not going to kiss me again. So it still goes. Nothing's going to stop me, Quincy. Not even you. And now we come to a picture that has a bit of everything. Comedy, drama, romance, and music. Yes, in these 50 years, many things have changed, but not people. They still like to laugh a great deal, cry a little. But most of all, they like to see boy meets girl, boy loses girl, boy gets girl. And if it's set to music, well, that's just perfect. And we have a perfect example in Paramount Pictures. Here comes the groom starring Bing Crosby as Pete and Jane Wyman as Emmadel Jones. Who went to Europe and Emmadel Jones, who waited for him to come home. Waited for three longs. You see, every time I told Emmadel I'd be coming home to marry her, well, something had come up and it'd be a little delay. A little delay? Get him. Three years of delay. Well, I've had enough. I'm getting married and not to Pete Garvey. He's Wilbur Stanley, who's very rich, very good-looking, and very much in love with me. See, I even brought her a ready-made family. I adopted him in Paris. Two of the swellest kids you ever saw. They're wonderful kids. But I'm going to marry Wilbur Stanley. I'm going to marry Wilbur Stanley. OK, but I've got to give my children a home. You've got to help me find one, yeah? Well, all right, I will. So it happens that among Mr. Stanley's many enterprises is a very active real estate department. I'll take you down to the office right now. I'll find a house for those poor little children if it takes all night. Well, all right. You sure it's OK, Emmie? I mean, you know, walking into the office like this? Oh, don't be silly. Now sit down. I'll see what sort of a house I can find. Emmie, Emmie, I've changed. Honest I have. I know you don't realize it, but I have. Honest, gee, where's when you wandered around homeless for years and you finally come back to the girl that you loved and you don't? If I'd known you were coming, I would have brought my violin. Oh, you're a hard woman, Emmadel Jones. That I am. A hard, hard woman. Come over here by the window. Well, I want to show you something. Look down there. Gloucester. Are you crazy? You can't see Gloucester from here? I can, Emmie. We were going to spend our honeymoon in Gloucester. I can see a boy and a girl. Don't be sort of a boy, but the girl's all fire and water. A lovely, lovely will of the wisp. You got the boy right, finally. Gloucester. The Indian summer and the rocks lashed by the green white waves. Look, he's clever. Little M doing cartwheels on the beach was delightful, I'm sure. But Big M already searching in the mirror for her first wrinkles. Big M wants security. Now, can you still see Gloucester? Well, it's getting a little murky. But I'll always see Gloucester. I am, honestly. Well, I want a home. I want you. I need you, Emmie. Look, let's get back to business and find a house for those poor little kids. Poor little, what do you mean poor little kids? They got me, haven't they? They am. Hey, look here. What about this house? Well, where'd you find that? It was right here in one of your files. Got a photograph and everything. Well, it seems available. I want $80 for the first month rent and I'll mail you the lease. Okay. All square and even, Pete. All square and even him. Lot of luck now, you and Wilbur. Thanks, Pete. I'll see you sometime. Well, shall we go? Haven't you forgotten something? Have I? Well, don't we always leave him singing? Oh, yeah. Yeah, we always leave him singing. Very coloratera. Oh, he is. A little out of my register. Register. You know I have a limited range. Yeah, you kill at 50 inches. Well, hang on then, Amy girl. Now, don't get lost around the curves, huh? I brought my scooter. In the rock. Cool, cool, cool of the evening. Tell them I'd be there. In the cool, cool, cool of the evening. Better, better save a chance. When the parties get the glow on. Sing and fill the air. In the shank of the night. When the dunes are right. Well, you can tell them I'll be there. Perfect you sang once. A boiler ham grease. Once a bowl of base stew. Clean the kitchen. Jake wants a weeny-pake steak and a layer of cake. He'll get it from the egg too. For a cheap beer. Left town. And if it's our recipe. This is what we'll reply. Cool of the evening. If you want a couple of dead heads. To fracture the. Polly or cheese. Everyone can relax. Let's have a jubilee. When said the prairie ham. Rockers. In the cool, cool, cool. In the cool, cool, cool of the evening. Like a twinkle. Slick them on my hair. Now if a chance. I'll look a bit peaky. Remember, sailor. Libby Collins with that big question. With that big $60,000 question, John. I mean, who is the lovely Lux Girl? The lovely Hollywood star with her eyes mashed out. Her photograph is on Lux Girl contest posters in grocery stores all over the country. Identify her and you may share in the $60,000 worth of prizes in the Big Lux Girl Contest. And what prizes? The first prize is $5,000 cash plus a Ford Victoria Sedan. And 10 more prizes. Each a Ford Victoria Sedan. 200 prizes. A 14 carat gold diamond boulevard watches. Plus $10,000 in additional cash prizes. And all you do is identify the star, put her name in this jingle, and write a last line for it. And here's the jingle. June is her name. The last is da-da-da. Her lovely skins beyond comparison. Her beauty soaps the one for me. Da-dee, da-dee, da-dee, da-dee. Get a contest entry blank from your grocer. It's easy to write a winning line about Lux Toilet soap. Lux soap facials leave skin soft or smoother, really lovelier. It's Lux active leather that does the trick. It's so rich and creamy. Nine out of ten screen stars say it's easy to be Lux lovely. Send in as many entries to the Lux contest as you wish. And to each entry, attach two Lux soap wrappers, either regular or bath size. Get started on your entry now. The contest closes October 15th. You may share in that wonderful $60,000 worth of prizes. And now, Mr. William Keely, our producer. Ladies and gentlemen, next week we will present four wonderful stars. And our play will be the 20th Century Fox Academy Award winner as best picture of 1950, all about Eve. As our stars from the original cast, we will present Betty Davis and Baxter and Gary Merrill. In the famous role of the critic, we are pleased to present Reginald Gardner. This is William Keely saying good night to you from Hollywood. Until you buy tape recording, it's adapted by S.H. Barnett. Our music was directed by Ruby Schrager.