 From Hollywood, California, the Lux Radio Theatre presents Barbara Stanwyck and Melvin Douglas in Dark Victory. Lux presents Hollywood. Our play for tonight, Dark Victory, an inspiring play of a surgeon and a girl. Fate tried to separate them. Love brought them together forever. We want you to know how sincerely we appreciate your enthusiasm for this program and our products. Your purchases of Lux toilets open Lux Flakes, which enable us to bring you these productions. Tell us in the best way possible that you like the Lux Radio Theatre. Headline tonight are Barbara Stanwyck and Melvin Douglas in Dark Victory by George Brewer Jr. and Bertram Block. Our guest is Miss Nina Roberts, hairstylist of Hollywood Stars, and Louis Silvers conducts our orchestra. Our producer, Mr. Cecil B. DeMille, is unable to be with us tonight. As guest producer, we're happy to welcome back through courtesy of B.P. Schulberg, one of the screens outstanding celebrities. You've heard him before on this program in both this capacity and as a dramatic star, a great actor, a genial host, a splendid gentleman. We're proud to present Mr. Edward Arnold. Thank you, Melville Roig, and good evening everyone. I consider it one of the greatest compliments I ever extended me when last January I was invited to the Lux Radio Theatre to take the place temporarily of Cecil B. DeMille. I feel still more flattered and grateful to have been given that honor again, though I sincerely regret the occasion of Mr. DeMille's absence. But illness overtakes even the best troopers now and then, and while I know my regret is one you all share, you'll be happy to learn that his illness is not serious and that DeMille will be back with us next week or the week after, producing the Lux Radio Theatre as here to forth. I'm particularly happy working with two such charming and important people as Barbara Stanric and Melville Douglas. Ms. Stanric may not know it, but she's assumed a major importance in the Arnold household, being the idol of my 13-year-old daughter Jane. The love of my daughter's life happens to be horses, and ever since Ms. Stanric acquired a ranch in the San Fernando Valley and began raising fine horses, Jane's invariable greeting when I come home is, when are we going to get a ranch like Barbara Stanric's Hello Pop? When it comes to off-screen activities, I have a little more in common with Melvin Douglas. We're both pretty fond of good music, both have wives who are singers, and at present Melvin and I are hard at work in a drive for the Symphony Society of Southern California. Ms. Stanric comes to us from 20th Century Fox Studios, where her new picture is called Always Goodbye. Tonight we hear her as Judith Trahearn. Mr. Douglas, who plays Dr. Frederick Steele, is a Columbia Studios and Metro-Goldburn-Mayor star, and is now at work with Louise Reiner in The Toy Wife. Our curtain goes up. The Lux Radio Theatre presents another outstanding Broadway play, Dark Victory, starring Barbara Stanric and Melvin Douglas. A country cottage on the north shore of Long Island. It's two o'clock in the morning. In the darkened living room, a telephone jangles wildly. From the hall comes Dr. Frederick Steele, a robe thrown hastily over his pajamas. He switches on the lamp over the desk and lifts the receiver. Hello? Yes. This is Dr. Steele speaking. Oh? But I'm a brain man. Well, I haven't been taking any calls down here. I'm on a vacation. Have you tried Dr. Parsons? Oh, I see. I thought he'd be back by now. Of course, I'll come if you think it's important. What's the name, please? What's the matter with her? She had it long? All right, I'll be there as soon as I can. Get the Dr. Ellis. No, Mr. Heron, not Dr. Parsons. There's another one coming, Dr. Steele. Steele, who is he? Judith, what kind of a hostess are you? Come and join the party. Oh, Leslie, please, Martha's sick. Oh, she'll be all right. Well, I'm worried about her. Leslie, see if you can keep them quiet in there. Will you, if for heaven's sake, turn off that radio? I beg pardon, Mr. Heron. Dr. Steele is here. Thank you, Harvey. See what you can do, Leslie. Dr. Steele. Good evening. I'm glad you could come, Dr. Thanks. I've been wondering if I came at the right place. Oh, you mustn't let the noise confuse you. I'll try not to. Where's the patient, please? It's Mrs. Blaine. My maid will show you to her room. This way, Doctor. Thank you. I'll be up in a few minutes. What, is he just like that? Then I don't know what happened. I feel a little better now, though. But I'd feel terrible if I thought I couldn't ride tomorrow. We're having a hunt, you know. Really? Riding to Hounds. Oh, you think I'll be all right, don't you? Yes, I think you'll be all right. Excuse me. But aren't you going to prescribe something? I'll take care of it. Good night. Well, Doctor? Did I leave my hat in here? Are you going already? How is she? Oh, she'll be all right with proper nourishment and advice as followed to the tea. I dare say she'll be able to ride to the Hounds tomorrow. I see. And what is your advice, Doctor? Don't give her any more to drink. Thank you. I'm sorry to have bothered you, Doctor, but I didn't know. It's all right. She's like a lot of women of your class. Stomachache cases. Does your right eye always twitch like that? Only when I'm flirting with someone. Good night, Doctor. Good night. Lots of luck tomorrow. I hope you catch the fox. Come on, Stardust. Come on. Don't you answer me, please? What is it, Doctor? Did you take the medicine I prescribed? Yes. Did it do you any good? Yes, I told you it did. Why do you keep after me all the time? Because I'm not satisfied with your condition. Well, I am. I'm all right, I tell you. I had a bad fall. It didn't kill me. I'll get over it. You had that fall almost four months ago. You should be over it now. Well, I might be if you'd stopped feeding me pills for a few days. Look at me. I saw you into this world, my dear. I only want to keep you in it, in hell. I'm sorry, Dr. Parsons. Now, what about those headaches? Do you still have them? At times. When did you have the last one? I don't know. Yesterday, I think. They're nothing. I've had them before. Before? Before you had the fall? Yes. Judith, I want you to do a favor for me, will you? Well, what is it? Now, please don't refuse me. I want you to go into New York with me. I want you to see a man there. A doctor I have great faith in. Oh, Dr. Parsons. Now, please, Judith. I just want to satisfy myself that everything is all right. Now, would you do it for me? Very well, doctor. Good. I'll go and call him now. I won't be long. Hello? I want to put a call through to New York, please. Yes. Dr. Frederick Steele. Hey, Parsons, I can't do it. I told you on the phone I couldn't do it. But you've got to help me. It's important, Steele. I don't care who she is. I can't see her. I quit New York practice, closed my office yesterday. I'm leaving in about 20 minutes. Why don't you get Findlay? Findlay's in Europe. All right. Then get Park. I don't want Park or any of the rest of them. I know better than I am. I want you. Can't be done. I'm leaving for Vermont. Very well. It's going to be a little embarrassing for you. Embarrassing why? Because she's out there in your waiting room. I brought her with me. I see. Now, Steele, you're always crying out about the sad lot of humanity. Well, there's humanity waiting for you in that room. You can't turn your back on it. All right, Parsons, you win. I'll see your patient. Good. But I'm still leaving here in 20 minutes. Come in, Judith. Judith, this is Dr. Steele. Dr. Steele? How do you do, Doctor? Oh. Miss, uh... Mr. Hearn, isn't it? Yes. Do you know each other? Slightly, yes. Well, that simplifies matters considerably. I'll wait outside, Doctor. Sit down, Mr. Hearn. Thank you. I had no idea you were this, Dr. Steele. I had no idea you were that, Mr. Hearn. Does it make any difference? Not to me. Fine. I know something of your case, Mr. Hearn. I understand you had a fault. Yes. I also understand you don't like to talk about your health. I don't? Why? It bores me, that's all. Most people love it. Is that light from the window too strong for you? No. But your right eye seems to... It's, uh... just the same little failing, Doctor. Oh. How old are you, Mr. Hearn? I'm 27 years old and only child and orphaned since I was 20. I weigh 115 pounds. I've had mumps, measles, and a whooping cough all at the proper ages. Shall I go on? Please. I'm interested in horses. I take plenty of exercise. I smoke to excess, but seldom drink. I'm said to have a sense of humor. Your headaches must interfere with that. I see you have my case history. They're pretty bad, aren't they, those headaches? I can stand them. Mostly on the right side? Yes. How'd you happen to fall from your horse? We were riding for the gate. I misjudged the distance and missed it. My horse didn't clear the fence. How far to the right of the gate were you? They tell me it was about 15. How did you know it was to the right? I guessed it. Clever review, doctor. About 15 feet. I suppose you think I got what I deserved. How do you mean? Oh, that night you came to the house, you had a great contempt for the pastimes of the idle rich. Oh, I was a bit cranky that evening. You must make allowances for the hour. But you have a contempt for them? They don't appeal to me, that's all. Well, it's the only thing I know. What does appeal to you? Just your practice, I suppose. No, no, that at least of all. What are you doing pretty well? Too well. It comes a little too easily. There's feeding sugar pills to a Park Avenue clientele. Oh, I know. Stomachache cases. Yes, you can call it that. It sounds awful. It is. Then why do you do it? Because like you, Mr. Hearn, I'm caught in the swim. Oh, doctor. What a relief to find out you're no better than I am. But I'm leaving my practice. Clearing out. Retiring? No, no, just the contrary. I'm going back into medicine. That's a little deep. Well, I'm going to a remote village in northern Vermont to be a country doctor. Oh, yes, I remember now. But why? And why Vermont? I was born there. Oh, oh, it's just sentiment then. If you like. All the same, I think I envy you. It must be swell to believe in what you're doing. Don't you? No, not the way you do. Oh, I'm not complaining. Take it all in all. They dealt me a very good hand. I'm young. I have no particular responsibilities. I won't cultivate them either. I'm freer without them. I'll probably marry someday. No hurry about that. And when I do, I'll build a house on a ridge. I know with a glorious view, I'll have my horses and with luck I'll have all about 40 years of it. I think that's a pretty good setup. Do you? That light isn't your eyes, is it? I wish you wouldn't keep harping on that. There's nothing to matter with my eyes. But you're squinting. I'm not squinting. I'll pull down the shade. That's better. Suit yourself at your office. What did you do yesterday, Mr. Hearn? What? Yesterday, what'd you do? Why, I, uh, I went to the theater in the afternoon. I played bridge in the evening. But yesterday was Tuesday. There were no matinees. You're sure it wasn't the other way around? Oh, yes, I guess it was. What was the play? I can't remember the title. It wasn't very good. Too bad. How'd you come out at bridge? Let me think. I, uh... Quickly. Well, I can't remember. You lost, didn't you? Yes, I lost. How much? How can I remember? I played bridge every day. You've been losing a lot lately, haven't you? Yes. Playing badly? I suppose so. We're getting what cards are out and what's been bid. Why do you ask me all these silly questions? I told Dr. Parsons I tried to make a diagnosis. Then... Then all this talk... You've been examining me, haven't you? Watching everything I say, every move I make. Yes. Do you mind? I guess it's all right. Thank you. Well, what have you discovered? I don't know. I'd like you to put yourself in my hands for a few hours to make a complete test. Would you do that? With you? Oh, I'm going to surprise myself. I'll do it. I thought you'd never finish. It took a little time, Doctor. You've missed your train, of course. Train? Well, how is she? Did you find anything? She has everything to live for, hasn't she? Money, position, everything. What's the matter? Don't stand there looking at me like that. What is it? Glamour. Brain tumour. Good God. Where? Temporal and parietal lobes. She has a right visual effect. Is it... Can we operate? Yes. Will you do it? Yes. Probably won't help much. She'll be an invalid? No, there'll be a recurrence in about ten months. A short period of blindness. That'll be the signal. The signal? For the end. She'll die within ten months. Starring Barbara Stanwick and Melvin Douglas. In a few moments, our stars will return in act two. During our brief intermission, we are going to give you an opportunity to determine your movie IQ. That is, to find out how well you really know your movie stars. A young lady is going to read some sentences, which don't seem to have much significance. But, hidden in each is the name of a famous screen star. Just the last name. See if you can spot it. Listen carefully. And remember, it's only the last name you're to watch for. Let's go. First sentence. She's a blonde. Elle is not her first initial. I'll repeat that. She's a blonde. Elle is not her first initial. Did you get it? That's Joan Blondell. She's a blonde. Elle is not her first initial. Oh, Mary, maybe you'd better read that just a little bit more slowly. I can see some people in the audience straining to think. Surely, Mr. Rowey. Sentence two. A ton of coal barely lasts us through the winter. Now, I'll say that again. A ton of coal barely lasts us through the winter. That was easy. Claudette Colbert. A ton of coal barely lasts us through the winter. Sentence three. On payday, vistas of joy confront us. Here it is again. On payday, vistas of joy confront us. Now, that's not quite so easy. Davis. Betty Davis. On payday, vistas of joy confront us. We named three of the loveliest, most charming women in Hollywood. Joan Blondell, Claudette Colbert, and Betty Davis. They each represent a different type of beauty. But about complexion care, they all agree and use lux toilet soap regularly. And they give you another tip. We use lux toilet soap as a bath soap, too, they say. They find this soap with active lather a sure way to protect the daintiness that is so essential to feminine charm. Its active lather removes perspiration, every trace of dust and dirt, leaves the skin really fresh, perfumed with the delicate fragrance you'll love. And now, Edward Arnold. We continue with Dark Victory, starring Barbara Stanwyck and Melvin Douglas. With a strange willingness, which she herself did not understand, Judith placed herself in Steele's hands and underwent the difficult operation. But she still doesn't know that her cure is only temporary. That certain death is waiting for her before a year is gone, in her hospital room she's propped up at a wheelchair by the window, gazing up at Steele who stands in front of her. And I'm going home in a week, you promise? I promise. Oh, I'm glad. It'll be grand to be home again. There's so much I want to do. You'll have to go easy for me. Oh, I will. What about riding? Well, not for a while. But soon? I hope so. You'll come to see me, won't you? Of course you will. You're going to come often. I'm surprised you want me. Oh, I've forgiven you, Doctor. Everything you said. I'm feeling very noble just now. Are you? Mm-hmm. I guess everyone feels that way after flirting with death. Was I brave, Doctor? You were very brave. You'll always be, I think. Thank you. I like to believe I was anyhow. I'd like you to feel I was worth the trouble. Trouble? Dr. Parsons told me you were planning to leave the morning I came to you. Oh, that was nothing. All right. I just want you to know that I appreciate it. That I'm grateful to you. You know, it's funny, I... I never had faith in anyone before. Not real faith like I have in you. What have you done to me, Doctor, besides affecting your cure? Hmm? What are you thinking about? I'm thinking you'd better go back to bed. You've got a lot of resting to do before you leave here. I'll drop in again in the morning. Goodbye. Goodbye, Doctor. Down, Michael. Yes, Miss? How are you, Martha? Stunned! Is this really you? Yes. Alice told me you were out riding. I thought she'd been drinking. Did you just get here? Ten minutes ago. Oh, you must be the first. Come inside. I've got a lot to tell you. Who else is coming? Oh, it's a big weekend. Harker, Les Clark, the Tards, Mabel, Jerry Levitt for you, and Dr. Parsons. To lend a medical flavor. Go ahead, Martha. Anyone else? Well, I, uh... I mentioned Fred Steele, didn't I? You very pointedly did not. Well, he's coming, of course. Hmm. I've rather bit of memories of Dr. Steele. He's very rude. Oh, he's not really. He's marvelous when you get to know him. You seem to know him quite well. I'm trying to. You've been pretty hard hit, haven't you? I'm in love with him. And he? That's always the first question one asks. I don't know. He's so hard to see into. Oh, he's conscious of me. I affect him pleasantly. He may be in love with me. But if he is, he doesn't show it. Why couldn't the Spaniards or the French have landed on Plymouth Rock instead of the Puritans? He enjoys being with me. I know that. And he's opened my eyes to a new world. He's the first thoroughly fine person I've ever come close to. Hmm. What's the matter? English is your common tongue. What else have you in common? Oh, don't joke about this, ma'am. I'm not joking. If I married him, I could teach him. Well, my pet, get him if you can in my blessing. Only, remember the man who went hunting with a butterfly net and routed out a panther? A panther. Yes, that would be just the thing for my farm. Farm? You have no farm. Oh, but I might have one of these days in Vermont, darling. Oh, I didn't expect you until dinner time. I thought I'd come early if you didn't mind. Oh, I'm glad you did. The crowd gets here. Sit down. I'd like that. I may not see you again for quite a while. Why, Fred? Oh, you mean you're going to Vermont? I'm leaving tomorrow. So soon? It has to be some time. Of course. How have you been, Judith? Oh, oh, fine. Let's have a look at you. No headache? None. Been sleeping well? Beautifully. Appetite good? You see? I know all the answers. Good. Now stand with both feet together. Close your eyes. How's the balance? Perfect. I find nothing wrong. There isn't. I rode today. Oh. How did it go? How did it go? I wish I had a gift for words, Fred. For the first few minutes, I was tense. I couldn't forget that day when I crashed into the fence. I saw the whole thing happen again. And then my horse responded. I put him to a hedge. We cleared it beautifully. The fields lay clear and green before us. I was free. And what was better, I was myself again. Oh, Fred, how can I ever thank you? Well, don't let's talk of thanks. I owe you so much. I've been repaid a thousand times. For anything I've done. And I never want you to feel under any debt to me. I think that's the nicest thing anyone has ever said to me. Are you so generous to all your patients, Dr. Steer? Oh, Judith. You know what I mean. Oh, perhaps I do. Perhaps I don't. How much of what you say do you ever mean? I mean that I care so much that I'll be ready to come to you halfway across the earth. Whenever you call me. Is that better? You sound so serious. Well, it was a serious speech. It had such... such finality to it. Fred, what's disturbing you? Nothing. Yes, there is. Why do you choose just those words whenever you call me? I was trying to fit the role you picked for me. Well, you're not telling me the truth, but that's your privilege. I'll get it from you sometime. Perhaps later in the summer if I should see you. Why? You see, a real estate friend of mine told me last night that I ought to have a place in the mountains. And where do you think he suggested I buy a place? For once. No, really? Uh-huh. Maybe I'll buy it. And then I can come up once in a while and stand guard, mother, to the babies you bring. Well, I'll have to arrange for them to be born between your horse shows. You think it's all nonsense, don't you? My interest in showing horses. But I love it, and I... I do it well. That's something, isn't it? Oh, I know. But what of the more serious side of life, my child? Oh, don't worry. That's coming to when I'm married. Married? Mm-hmm. Are you thinking seriously of getting married? Why not? Is it unnatural? Look at me. Is it so hard to think of me in love? What's the matter? Nothing. Fred, what's happened? Nothing has happened. What are you hiding from me? Judith, why should I hide anything from you? Oh, don't evade. You're trying to protect me from what? I tell you, there's nothing. That strange solemn note that comes into your voice whenever we talk about me in my future. I've noticed it before. You're imagining things. Oh, don't lie not to me. What's frightening you so? Judith, you're frightening yourself. This terrible thing in my brain is coming back. It is, isn't it? And this time it's going to... I'll die, won't I? Judith. I'm going to die. That's it, isn't it, Fred? Oh, God, Judith. Please. Just give me a minute. Light a cigarette for me, will you? I'll... I'll have those headaches again and that... that awful confusion. No, you're not going to suffer again. That's all behind you now. How will it come? Quietly. God's last small mercy. I'll have no warning. No chance to be ready. There may be a moment near the end when you won't be able to see quite as usual. You mean I'll go blind first? Just for a moment. Then you'll be perfectly all right again for a few hours. Fred, how long have I? A year, eight months, six? Possibly more, Judith. I'd rather you didn't touch me just now, do you mind? I think I'd like to be alone, Fred. Why? I won't do anything reckless. I'd rather... I want to be alone, Fred. Mr. Hearn, about... Mr. Hearn can't see you now, Harvey. Well, it's about dinner. There'll be no dinner tonight. Tell the guest that... No, no, don't tell him anything, Harvey. I'll see you in a few minutes. Judith, you can't do this. You're in no condition to... Oh, please, Fred, it can't make any difference one way or the other, and I... I want to do it this way. Mr. Gay, aren't they? What are you doing out here still? What are the young people? I'm doing the same thing you're doing, Parsons. Watching her. Yes. Strange, isn't it? That girl in there, so full of life, so entitled to live, and a contemptible, meaningless organism puts a period to it. There's rather a bitter commentary on advanced medicine. She'd be the first to tell you that. She's found out. What? She knows she's going to die. How did she find out? I told her this afternoon. You told her? Or how could you? We weren't going to that. She caught me off guard. She was thanking me for saving her, talking so hopefully of her future. How did you take it? You know how she'd take it. Magnificently. But she's a lonely girl. She'll be lonelier now. She has courage. Thank God for that. She has friends, many of them. Friends? Those chattering fools in there, do you think they can help her? One word for me, and they'd run from the house like rats. Steel, you wouldn't... No, no, I won't tell them. Where are you going? To be entertained, Dr. Parsons. Oh, come in, Dr. Steel. You're just about to hear the pun. Stop it. You'll be sent home. Without her supper? Because of one little story? One of your little stories? Yes. You're not sophisticated at all. Actually, you're a woman who's destined to be a mother, and who have loads of children. There'll be Oscar and Judith and Peter, and there'll be Fred. Why don't you shut up? Fred. It's all right, Martha. It isn't all right. Judith isn't well. I am. I'm all right, I tell you. Will everyone please get out? No, no one is getting out. Judith, I want to speak to you. I'll be right back, everyone. That was rotten of you, Fred. It was the only intelligent thing I've done today. I'm not going to stand by while you put yourself through an ordeal like that. What do you want me to do? Sit upstairs by myself and think how in six months... you'll face people who expect you to be gay and happy. I would have carried it off tonight if you hadn't interfered. And then what? Then? There is something. Something more important than you think. You can find peace. Oh. He takes away my life and offers me peace. He left me too much for peace. Six long months. Oh, God, how long they seem. Now give yourself a chance, Judith. Don't try to adjust yourself to this thing all in a minute. You can't do it. You're only going to make it hard of yourself if you try. Judith, trust me. I'm your friend. Too much, my friend. Oh, much, much too much. Oh, I'm talking in riddles. I dislike people who evade. But suppose I don't like myself, what of it? It'll be that much easier six months from now. Must be horrible to die loving oneself. I'm shocking you. Disappointing you then. Why do you stand there and say nothing? Your eyes searching me. Your mind, that beautiful scientific mind judging me. What do you think of this exhibition? What do you think now of your calm, brave Judith who went into the operating room without a tremor? What I've always thought of you. I only want you to have the same faith in yourself that I have in you. Oh, you've never had faith in me. You thought there were too many bad spots. You dislike my world. You despise it. Well, thank heaven for that world now. At least my friends will help me cram my days and nights to overflowing. You mustn't tell them, Judith. Don't ever do that. Oh, I don't want sympathy. I want action. I want a move to live. The night shall be filled with music. I'll put on a good show, believe me, and I'll be satisfied with that for my epitaph. No, you won't be. You're too vital a person to be satisfied with that. There's the truth, and you've got to face it. The truth is I'm going to die in six months. There is no other truth. You must die. The tragic difference is that... that you know when. And we don't. But the important thing is the same for all of us. To live our lives completely. The doctor taught. Because I know that you want so much more than your friends can possibly give you. Because I want you to find some measure of fulfillment. Fulfillment? Heaven, I've been dreaming of fulfillment. Hoping and praying. Fulfillment. Oh, you fool, you poor fool. Can't you see? Don't you know? I'm in love with you. Oh, I shouldn't have done that. It was unfair of me. Oh, it doesn't matter, Fred. It would have been much worse if you'd love me too. I know you don't think there's a place in your heart for love, and now I can never teach you. Never. Never, never. That's a terrible word, isn't it? I'm taking you away with me. Yes? Why? Because you need my help. Still my friend. Oh, go away and leave me alone. I can't rise to your height. I only wanted you to hold my hand. You can't even do that. You're no good to me. You're no good to me at all. Sit down, Judith. No, I'm not in your office now. You can't do that to me. Oh, don't you see? You'll only stop me living the few hours left to me. My friends can lift me out of this, but you... you mean defeat, futility and death. Always and always that, and I won't have it. I won't let you spoil what's left. Judith. I want you to go away. I want you to go and stay away. I don't want to see you again. Help. We pause for station identification. This is the Columbia Broadcasting System. With the second act of dark victory completed and with the third act to come in a few moments, we go from the serious mood of our play into a light of vein. We devote this brief intermission to a meeting with another backstage Hollywood personality who helps make motion pictures what they are. She is Nina Roberts, chief hairstylist of the United Artists Studios. Ms. Roberts has been partying the hair of glamorous stars for 12 years, starting with Mary Pickford and Norma Talmadge. At the moment, she's working on the Walter Wanger production, Al Giers. And the efforts of our 20 assistants are seen in such recent films as the Adventures of Marco Polo, Stella Dallas, Standing and the Goldman Follies. In the latter film, Ms. Roberts achieved the distinction of giving master Charles McCarthy his first shampoo, Finger Waving Marcel. And I've been picking splinters out of my fingers ever since, Mr. Arnold. Didn't Charlie feel like a sissy getting his head down? Indeed not. He was a little scared that his scalp might warp. But apart from that, he didn't open his mouth. Well, probably because Edgar Burger wasn't around. But why, Ms. Roberts, was it necessary to operate on master McCarthy's curls for the movies? Because the picture was done in Technicolor, Mr. Arnold, which demands much more attention to detail than black and white films. And here's the fact that might be particularly appropriate. A star in a Technicolor picture uses special Technicolor makeup. Before this makeup is put on, and when it is taken off, you will find that the stars make generous use of Luxe toilet soap. They prefer it because its active lather makes it such a fine complexion soap. A soap that removes stale cosmetics thoroughly. We're glad to hear you say that, Ms. Roberts. A fact like that should be interesting to the women in our audience who also use Luxe soap. Now about hair. It seems to have come directly from the history books. The modern girl apparently wants to look more like a page boy. Right, you are. But the page boy, Bob, is now at its peak, which means another style will soon replace it, the pompadour. You'll first see it in modified form with the hair swept up the back of the head and curls on top in the form of papillettes or ringlets. Hair will be worn sleek and tight to the head so it will really look Bob, and women will once again reveal the fact that they have ears. This is in our audience, Ms. Roberts. Would you make an attempt to distribute a little specific advice? You name them and I'll try. Let's begin with a general classification of brunettes. Good. Dark hair usually looks best when it's sleek and well groomed because dark hair around the face usually shows a definite hairline. Blonde hair doesn't show a definite hairline and therefore usually looks better curled. Very good. Now what about the girl with a round face? She should wear her hair drawn smoothly from the forehead and a soft knot in the back. In the evening a high dress will subdue the roundness of the face. Now the girl whose nose is a trifle larger than she'd like it to be. She should avoid both the high hair dress and a lot of waves on the top. She should keep a flat hairline, the head and fullness at the sides in the form of curls or waves. And for those who wear glasses? My suggestion is never wear the hair pulled away from the face. A softly waved hair dress with some fluffiness around the temples is most becoming. Did you know that lux toilet soap makes the head grandest shampoo? And we use it at the studio all the time. But getting back to girls with glasses they should choose hats with widely flaring blims, never off the face hats or turbans. You'll find all these types on the screen so watch the pictures not only to see specific examples but also to learn what's new in style. Thank you. Thank you Ms. Roberts. Barbara Stanric and Melvin Douglas The Dark Victory. It's late October. Four months have passed and Judith is living desperately cramming a lifetime into a few short weeks but she finds no satisfaction in her mad existence. No relief from the gnawing thought that her days are numbered. She's in a car now on her way home from a late party. You can go faster than this can't you? Maybe I can but I'm not going to try. What are you doing? We're stopping. You might not care how sentimental about mine. Don't you think we ought to turn for home Judith? It's almost dawn. Well? You ought to get some sleep. Sleep? Oh. What's the matter with you? What are you doing to yourself? You can't go on this way much longer. No, I can't. Then why don't you stop? Everybody's talking about you. Not you, Les. Oh, not me, no. But I don't like to see you throwing yourself around. Not yourself but me. Would you like that, Les? Judith. What is this? You can kiss me if you want. Judith. I never knew you could be like this. Oh, it's no good, Les. Let me go. Let me go, please. Oh, you were right. I can't go on this way. I can't die like this. Die? What are you talking about? I'm going to die in two months, Leslie. What? It's as certain as the night is passing now. You're practically holding a dead woman in your arms. Does that frighten you? It is rather repulsive, isn't it? Judith. That's why I've been living as I have so cheapedly, so stupidly. But it's over now. I'm leaving tomorrow. Where, Judith? All the way away from all this, as far as I can get. The stars are so bright, aren't they? It's been a grand autumn with all the colors the old year put on a fine show near the inn. That's what I have to do. I have to learn how to die. I'll go home now, Leslie. You're late tonight, Dr. Steele. Yes, I had to stay at the Fraser's house longer than I expected. It's after nine o'clock. I know. I saw the train pull out as I came by the station. You're tired, aren't you? I hadn't thought about it. Maybe I am. Well, I don't like your looking, Sir Tired. Oh, don't worry about me, Jenny. And don't fuss. Remember, I'm not in the second grade any longer. Oh, I'm sorry, Sir. Oh, so am I, Jenny. Don't pay any attention to me. I'm all right. Oh, I thought coming back here would well it make everything different. It hasn't. You're not contented here, are you? No, nothing is ever complete, Jenny. There's no such thing as perfection I've learned at. You didn't used to think so. But I've learned. You see, I came very close to it once, Jenny. Almost to the thing itself. I held it in my hand. But there was a little flaw. And because I couldn't compromise, I lost it. I don't know what you mean. Good night, Jenny. Good night. Who is it? Who's there? Cole, come in. I came to you, Fred. I came to you after all. Oh, Judith, darling. Here, sit down. Are you all right? Yes. Let me give me your coat. How'd you get here? I walked. You walked from the station? There wasn't any taxi. Fred, I've got to speak to you. No, no, not tonight. Let it wait until tomorrow. No, I've got to tell you now. I've come a long way. You'd better hear me. All right, go on. I've done what I said I would, Fred. Yes. Everything was no good. It didn't work, Fred. I was afraid it wouldn't. I should have brought you with me. I failed you, Judith. No, I failed myself. But last night I reached the end, so I've come. I won't demand much. Your strength can help me face myself. Oh, darling, I'll give you so much more than that. I don't want more. I wouldn't know what to do with it. Now. I love you, Judith. Fred. I want you to marry me, Judith. You do. You really do. Oh, that's very precious. I'm lonely too. I do. I need your companionship and your love to make me whole again. Oh, darling, be careful. We mustn't make it harder for ourselves. No, you're still afraid that I'm just your friend. No, no, I'm not. You do love me, and I'm grateful. But it's too late. A shadow's fallen on my earth. It mustn't fall on yours. But, darling, it's been falling since time began. Even as we speak, the earth is shouldering eastward. Come here, darling. Between now and now, there's been birth and the passing of life. Sunset and dawn, weariness and answering sleep and your shadow's mine and your victory over it. That's mine too. I must never interfere with your being a doctor. You're kind of a doctor. You must promise me that. It must be part of our bargain together. Oh, I want to help you. I must give you something of me that will live on in your work after I've gone. When I've done that, I shall have done everything. I understand. We have a deficit for the month of $43.17. That's splendid, Mrs. Steele. As I recall, it was over 100 last month. At this rate, we'll soon be living within our income. No, don't tell the doctor. He won't even mail out his bill. Oh, Jenny, who did collect the bills before I came? The patients collected. And still doing it, some of them. His John Hunter, with a bill of $8, rendered four months ago. My dear, if John Hunter ever paid a bill, the entire country would rock on its foundation. I know, and he's such a kind man. He looks just like a horse. I'll take it. Hello? Yes? Montreal? Well, Dr. Steele isn't here. Is it person to person? I see. Well, he ought to be home soon. All right. An emergency call. I don't like that. Oh, Jenny, they wouldn't call him to Montreal, would they? It's possible. You mustn't fret every time he goes out of the house. I know. I grudge every minute he's away every second. Well, then you shouldn't have married a doctor. Oh, please don't say that. I didn't mean it, ma'am. Jenny. What was he like when he was a little boy? Who? Dr. Steele. Was he a nice little boy? He was not. He was nasty. All little boys are nasty. Oh, he wasn't. Very well, then, just as you wish. Oh, dear, I wish it wouldn't cloud up like this. What? I don't like it getting overcast so suddenly. It means a storm. A storm? But the sun's out. What's bright out today? Jenny. What is it? What is it, Mrs. Steele? Nothing. I'm just dizzy. Well, sit down here. Yeah, sit down here. There. Is it all right? Yes. Yes, it's all right now, Jenny. Oh, you frightened me, ma'am. Oh, it was nothing. And Jenny? Yes. You mustn't tell the doctor. You mustn't. Do you hear? Oh, but you hear, Jenny. Yes, ma'am. Yes, ma'am. Hello, Montreal. Hello. I'm waiting for a call from Montreal. All right. Hello, Platt. Steele speaking. Do you want me? Oh. Is the skull fractured? Or what are the chances? Oh, no. No one very sick at the moment, but anything might happen. No, no. Not from what you say. No chance unless you operate. Yes, it is. Very delicate. Yes, I've had good results, but I... Oh, you must, Fred. You've got to go. Wait a minute. But, darling, it means at least three days. But you must. You can save a life up there, Fred. Tell him you'll go. Hello. How about the trains? Yes, I can make that one. All right. Goodbye. There's a train at six in the morning. But I... I don't like this, Judith. It's all right, Fred. Believe me. Almost time, darling. Decent of you to sit up with me. I'll have to leave in a few minutes. Yes. I don't see why Platt can't get someone else up there. There are plenty of doctors in Montreal. But none like you, darling. I was going over your books last night. What did you find? Certain debts owing my husband that cannot be paid. Not one that you haven't repaid a thousand times. Have I really been a good wife? You've been a wonderful wife. Oh, I've loved it so every minute. How can I make you understand? Fred, look out there. Out of the window. Somehow it's been like that and quiet. It's deep winter. Deep winter. And behold, snow was upon the earth in silence. And all things had been fulfilled that were to be. And there was no emptiness under heaven. Judith, dear. If anything should happen. Oh, my God, Judith. Darling. I walked to the mill dam yesterday. Oh, we must go soon. Yes. There's no one there ever green. Is there? Fred, I found out at last. Why? What it means to live up here. Why you wanted to come back. Don't leave here, Fred. You must go on living here. Always. You'd better go now, darling. I'm not going, Judith. I'll call Platt and tell him. No, darling, come here. No, I thought I could, but I can't. No, words, that's all. I didn't know what they meant. I didn't know what I was to lose. It's my life now. Mine, this little time in all my life. And then... Now, I can't stand it. There's a limit to what a man can bear. We have just one minute together. Look at me. I was never to fail you or keep you from your best. We've had our love. And we're complete. Nothing can hurt us now for what we've had can never be destroyed. That's our victory. Our victory over the dark. And it is a victory. Because we're not afraid. And you'll never, never look back. Never. Hold me close, darling. I'll hold you this way forever. Forever is now. Isn't it? Yes. Goodbye, darling. Good luck. He left this piece of paper with me. It has the address where he's going to be. He said in case you needed him. Give it to me, Jenny. Yes, ma'am. Mrs. Steele, you're tearing it. I'm not going to need him, Jenny. Because someone else needs him more. Who needs him more? Someone who's going to live. Only the curtain falls and our play Dark Victory is ended. And now let me observe one of the happiest customs of the Lux Radio Theatre by bringing back for a curtain called Barbara Stanrick and Melvin Douglas as themselves. There are two things in particular, Eddie, for which I want to thank the Lux So People. Dark Victory is certainly one of them. It's such a grand play to me because it presents a down-to-earth problem that might confront any of us. But more than that, it proves that a kind of happiness can be found apart from the usual boy-gets-girl variety. It also shows that when you're faced with a situation which you're helpless to change, that you can be happy through honesty, that you can be happy through honest acceptance of facts and by making the best of circumstances. That's an admirable philosophy, Barbara. I'd like to add just a little of what you've said a word about doctors. You should be able to do that, Melvin. You came pretty near to becoming one yourself. Well, the nearest I came, Eddie, to was to serve for a while in the Army Medical Corps. There are times, as Dark Victory's pointed out, when surgeons and doctors are quite helpless to aid materially certain conditions. But they're constantly seeking. And little by little, they're constantly finding. For all we know in some obscure laboratory, a doctor at this very moment may be making a tremendous discovery. Believe me, it's rather heartening to realize that in these troubled times, there are men who forget color and race and creed in a battle for all humanity. But Barbara, you said there were two things for which you were grateful. Yes. I want to go on record once again for the product behind this program. I'm sure if all our listeners could come to Hollywood and see how popular Luxe soap is in all the big studios, they'd realize how much we depend upon it as it keeps our complexions exactly right for the camera. I always use Luxe soap at home, too, for the very excellent reason that, to me, is the finest complexion care in the world. Coming from you, Barbara, we're especially glad to hear that. And now, Eddie, what about giving us another one of your recipes? I understand that poem of yours on how to make Zour Bratton was quite a sensation. Oh, I can do other things besides cook. Really? I've been doing a bit of vocalizing, you know, singing. I know you're just begging to be asked. Go ahead. What are you going to sing? I wouldn't exactly be singing. It's a sort of recitive, you know? Well, it was written by Franklin P. Adams and set to music by my friend Richard Hagerman. He's the noted musician composer of Carpensaki and former conductor of the Metropolitan. It's called Rich Man, and Mr. Hagerman was brave enough to come here tonight to play it for me. Are you ready, my soul? The rich man has his motor car. His country and his town estate. He smokes 50 cents a gas. And jeers at fate. He fripples through the live long days. He knows not poverty, a pinch. His lot seems light. His heart seems gay. He has a sin. Yet though my lamp burns low and dim, though I must slay for livelihood, think you that I will change with him. Poet musician, Eddie, you're wonderful. Good night. Actor, poet, mu... Oh, well, what are you? Good night, Eddie. The play you will hear next Monday night is the drama of a hunted girl. Our radio adaptation of that highly successful film, Mary Burns, Fugitive. Filled with excitement and romance, the story of a small town girl who thinks she's in love with a man who later turns out to be a ruthless gangster. Our real love and sanctuary finally come to Mary Burns provides an hour of great radio entertainment, especially when our stars will be three such superb and popular performers as Miriam Hopkins, Henry Fonda, Mary Aster and Lloyd Nolan. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to be with us again next Monday night. When the Lux Radio Theatre presents Mary Aster and Lloyd Nolan in Mary Burns, Fugitive. This is Edward Arnold wishing you all good night. And in the Columbia film, there's always a woman. Mr. Arnold begins work shortly on the Columbia film You Can't Take It With You. The screenplay Dark Victory is owned by Selznick International Studios, producers of the recent Technicolor picture The Adventures of Tom Sawyer. Louis Silvers is from 20th Century Fox Studios, where he directed music for Shirley Temple's new picture Rebecca of Sunnybrook 5. Your announcer has been Melville Roy. This is the Columbia Broadcasting System.