 Lux presents Hollywood. Lever Brothers Company, the makers of Lux Toilet Soap, bring you the Lux Radio Theatre, starring Maureen O'Hara and John Hodiac in The Foxes of Harrow. Ladies and gentlemen, your producer, Mr. William Keeling. Greetings from Hollywood, ladies and gentlemen. Just a few days ago, Maureen O'Hara was in London, but her answer to our invitation to co-star with John Hodiac in The Foxes of Harrow was prompt and practical. She flew across the Atlantic to New York, stepped from one plane to another, and across the United States to Hollywood. The 20th Century Fox screen hit, which brings these two stars to our stage, is a drama of high adventure. An old New Orleans is the setting where the notorious Stephen Fox gambles for his greatest steak, the most beautiful girl of her day. New Orleans women were famous then for their loveliness, and nearer, when a product like Lux Toilet Soap would have been a fantastic luxury. Now this gay city of the Mardi Gras is more fascinating than ever, and the women are even lovelier, because this is the day of beautiful Lux complexion. The curtain rises on the Foxes of Harrow, starring John Hodiac as Stephen Fox, and Maureen O'Hara as Odley. The Mississippi River, 1827. A passenger boat bound for New Orleans has stopped in midstream, and a gang plank dropped to an adjoining sandbar. At the rail, a man stands watching the proceedings with particular interest. Oh, good afternoon. Why are we stopping here? We're going off at that sandbar. But how horrible, when the tide rises, he'll be drowned. Undoubtedly, but they say it's better than starving to death. But why? What has he done? He cheated at cards. Oh, one sympathy is always wasted, isn't it? Mr. Fox, you may go ashore. Thank you, Captain. You? Unfortunately, yes. Goodbye, mademoiselle. Some six hours later, in the Black of Night, Mr. Stephen Fox, cheater at cards, has visitors on the sandbar. Again, look what's on the sandbar. A fancy chant, is it, with water up to his middle. Hold up your lantern and get me off of here. Wait a minute. What a stench. A pig boat, a boat full of pigs. There's always room for one more to be fine watered, eh? A pig boat and a captain with a face that'll drive half the devils out of Hades. Likely you don't know who you're speaking to, Mr. Michael, himself. Champion Scrooge of the whole river. As one scrounger to another, will you take me aboard? First, I got to know what you're doing on a sandbar in the middle of the river. Oh, yes. Well, I was thrown by a horse. Thrown by a... Coverboard land! Shallow, East Delta, shallow! Just like I promised, Mr. Fox, the docks of New Orleans by dawn. New Orleans. Not much to look at, Mr. Farrell. The wickedest town on the whole river. And we're heading for the wickedest part, you and me, the swamp. What might the other part be? Oh, the other part is where the cleals and the ridge conducts hang out. I only goes there to do business. For pleasure, Mr. Fox, I take the swamp. Then this is where we part, because your business is my pleasure, Mr. Farrell. You're aiming highly, Bucco, for a man without a penny. That's right, isn't it? You stole what I had in my pockets. But I have a reputation to maintain. I'm a thief and a scrounger. But come with me, and I'll fill you so full of whiskey you won't mind your poverty. What I need is a bath, Mr. Farrell, and a bed. Then the devil with you. I'm a child of sin and chock for the fight. Shut up, finish what up! Yes? Where are you? Here, Monsieur, behind the barrels. Are your friends gone? They're gone. Thank heaven. But obviously, Monsieur, you are a gentleman. Oh, obviously. What happened to your trousers? Your humor isn't very poor taste. I was set upon and robbed even my trousers. And such a chilly morning. You're going to abandon me without trousers? Not necessarily. You want a pair of pants, I want a bath and a bed. Oh, you can have the whole house, the plantation. Keep quiet. Down the alley there, see? And he's alone. But he's too big. His trousers will never fit me. You can hardly expect coincidence to come along in the right size. Now, quietly, my friend. I'll have your trousers in two minutes. A bed and now a fine breakfast. Andre, I'm afraid I got the better of our bargain. Surely you don't live alone in this palace? Oh, no. Oh, my father, poor man. He wants me to work. But I won't, and that displeases him. What do you do? Usually I sleep all day and prowl all night. Ladies, gambling. The best place for gambling is Masperos. I shall take you there tonight. And the best pawnbroker? Pawnbroker. I need money. You will bring me all I require. Oh, such a pearl, Monsieur. Yes. But those men on the flat boat, if they took your money... I had it hidden between my toes. But where did you acquire such a pearl? It was my mother's in Ireland. It must have great value. Yes, but it's never to be sold. I've lain in gutters with my belly caved in, holding this pearl in my fist when it could have bought me half the food in the world. Then why pawn it now? Because something tells me that now is the time. And tonight at Masperos... I forgot, tonight's the charity ball. I won't be able to take you after all. Charity ball? In costume. A D'Arceau no Plantation. The two daughters are giving it. Two of the finest flowers in Louisiana. Pretty? Excquisite, Monsieur. The younger one is auror. Very sweet and very gentle. And the other? Audelet. Proud and beautiful. Andre, I think I'll go with you to the ball. It's impossible. A very private affair. One must have an invitation. In that case, I'll have to meet you there. In costume, you said. First the pawn broke her, Andre, and then to a tailor. 12 o'clock and everyone unmasked! Curious, Monsieur. Your voice. I've heard it, I know, but... Well, take off your mask. If you wish. Well? You. The man on the boat, the cheat. And you dared to ask me for a dance. At least I wasn't drowned. Oh, but that makes you unhappy. I regretted exceedingly, mademoiselle d'Arceau. If I didn't know you to be such a scoundrel, I'd almost take you for a gentleman. The difference is often exaggerated. You know, it's rather odd. I address the cards for this affair myself. It's for charity. Then please be charitable. And I don't remember your name amongst the cards. No. But then you're very skillful with cards, aren't you? Remarkably so. With a little shuffling, I can always make the nave show up close to the queen. One word from me, Monsieur, and every man in this house... Then say the word. You know, it's extraordinary. You're even more beautiful than I thought. But older. And why unmarried? Surely it's not for lack of suitors. You're very entertaining, aren't you? What a pity you must leave us so soon. Then I'll stay. Oh, no, you won't. I assume you're here to pursue your profession. There's bound to be gambling later. My father is an inveterate player. I have a duty towards him, however, and towards my guests. Surely you will spare me a scene. If you'll spare me another dance. You're in no position to make conditions, Monsieur Fox. You don't rally scenes, do you? But I'm used to them now, whether it be the scene or the dance. I prefer the scene. Follow me, Monsieur. Father, this man... She wants to tell you, Monsieur, that I'm an interloper here. So? But it's true, I am. I saw your daughter, admired her, and broke all etiquette to see her again. And permit me to add, Monsieur, in all sincerity, that only a superb man and a superb father could have produced such a superb daughter. Ah, Monsieur. Quelle fille exquise. Dime de son père. Merci, Monsieur. Vous êtes Parisien? I've lived in Paris, yes. Ah, la ville de ma jeunesse, comme je l'adore. Then we have something in common beside your daughter, la Parisienne. Quelle chiamme, quelle grâce. The women, the lights, the bois, the women. Vous me effectez, Monsieur. And you make me very proud, Monsieur. Father, you're not going to let this man twist you around like... My dear child, it is a crime that he admires you or that he admires me for having produced you. Come, he's young, impetuous. Mademoiselle, please, you were young once yourself. You... Oh, you... Who are you, Monsieur? Stephen Fox, sir. I'm a gambler. Good night. A gambler. I'll see you again. Well, perhaps at, uh, Masperos. Excellent. Or better yet, the auction house. Auction house? Ah, you are a stranger here. At the auction house, Monsieur. We trade in everything, stocks and bonds, slaves and cattle, and the best food in the world. And between the bidding, one relaxes at the gaming tables. And all the sights in New Orleans, you will find the auction house the most fabulous. Then tomorrow, Monsieur, at the auction house. The old man was right, Andre. This is the most fabulous sight in town. Well, where is he? This, Monsieur Dassenel. Probably at the auction block. Shall I look for him? Uh, wait a minute. Who's that? At that table in the corner. The luckiest gambler in New Orleans. Otto Ludenbach is a planter. You know him? He is to my great sorrow. He's one-thousands from me. Well, look, apparently he's cleaned another victim. What happened, Sonnage? What do you think happened? You've played with him. Ha, ha, ha. These Creos. How they hate to lose their money. A, uh, planter, you say? Thousands of acres of our richest riverlands. Some will tell you he acquired them by starving his family, as well as his slaves. Well, I'll have my pearl back from the pawnbroker sooner than I thought. Be careful, Stephen. The man's a scoundrel and a cheat. That's the trouble with you fine Creos. Even with cards you have no industry. May I take a hand? Sit down. But I better warn you, today I cannot be beaten. Somehow I feel the same way. Stranger, huh? Kentucky? No, not Kentucky. To me, all Americans are from Kentucky, and all bad. What do you want to play? Twenty-one? Twenty-one is fine. Deal the cards, sir. Deal the cards. Stephen, do you realize what time it is? Stop now while you've got all his money. Shut up. We play. We don't quit yet. Your cards, Ludenbach? Fourteen. Too bad, Mr. Ludenbach. I have twenty. Want to stop? You can't quit now. Waiter! A new deck! New cards! You're either a mind reader or a thief. Which I have not yet decided. When you do, I shall have to decide whether to let you live or to kill you. I have no more cash. Here. Here are bonds. We play for the bonds. The cards! Where are the cards? Looks like I win again, Ludenbach. Thank heaven. Now at last we can all go to our beds. You, Fox, I will write a note for my plantation against all your winnings. Haven't you lost enough? That's none of your business. I'll save and to quit. Go home, Ludenbach. If you still want to play, I'll meet you here tomorrow night. One more round. One single hand, and then I'm done with you. Win or lose. Just as you wish. Waiter! A pen and paper for the gentleman. No. No, I won't let you have it. You can't have my lands. You insisted on that last round, Ludenbach. Just blame it on yourself. Shut up, Dacino. You're all against me. Always you have been against me, the lot of you. You gambled and lost. You lazy, fine-drinking creoles. Jealous of me. My lands and my slaves. That's why you take sides with this dirty Irish crook. So I gambled and lost, Dacino. What about you? Next you'll be giving him that girl of yours to be his woman. I'll kill you. I'll kill you. Maysia, please, not here. You cannot fight a duel here. I'm sorry, but it's here and now. I see you have a pistol, Mr. Ludenbach. Andre, if you can find one for me. No, it's impossible. Most unorthodox. It's irregular in every way. Unbefitting the conduct of gentlemen. But we're not gentlemen. Just two gamblers shooting it out. Here is a pistol, Stephen. The procedure, Andre, what's customary? You will each take five paces and stop. Wait for my count. Turn when I say one. Aim when I say two. Fire when I say three. Are you ready? I am ready. Walk five paces, monsieur. One, two. Stephen! I'm all right. Now it's my turn, Ludenbach. I understand. Deliberately aimed and killed Mr. Ludenbach. But, orderly, Andre said that German fired before the count. Before Andre had counted three. How dare he fight over me? Who gave him permission to link his name publicly with mine? I thought I explained what happened, my dear. Oh, what's the matter with everyone? Allowing a stranger to come here and put us all into such turmoil. And you, Father, you have all people. The next thing you know, you'll be inviting him here to the house. But I already have. Several times. He won't come. You couldn't. You couldn't possibly. Father's getting old. His mind must be failing him. Oh, if only I could think. If only I... Why, yes. Yes, of course. Orderly, what are you going to do? You'll find out. And so will Mr. Stephen Fox. I'll show that gentleman exactly what I think of his impudence. Mrs. Ludenbach, just gather up your children together and come with me. You'll stay at our home tonight, and tomorrow our lawyers will advise you what can be done about those ridiculous claims made by Mr. Fox. I'm sure we can force him to return not only the plantation, but... Fine line, you have it wrong. He is my friend, Herr Fox, my good friend. What? He shoot Otto, ja, but sooner or later it must happen. Otto was not a good man, Freiline. He beat me, even the children, and always he fights with everybody. So I cannot be sorry. But you must get help. Herr Fox gives me money, Freiline, and he says he pays me for the plantation as soon as he can. Oh, I... I see. Then, good day, Mrs. Ludenbach. Good day, Freiline. Oh, beautiful, elderly, when you're angry. Let me pass, you murderer. Oh, really? You deliberately kill Mr. Ludenbach. If I did it was for you. Let me pass. In time. I want to ask a question. If you were a gentleman, I'd be... Everyone seems so worried about that. But if I were you, I... Who was that? And that coach? Oh, the clotiers. The whole family, and they saw me with you. Poor, elderly. This is the second time I've compromised you. Once more, and your father will probably force me to marry you. Marry me? Marry me? Face up to it, elderly. All your pretty notions are going astray. You've little left to use against me, except that I'm no gentleman. Let go of me. And you're wrong there, too. Because I'm from as fine a flock of sheep as ever grazed in Ireland. But I had the luck to be the odd one that carried me out into a good world full of living. It will carry me wherever I want it to, even to you. And I say you're nothing and that you belong to nothing. No roots, no destination, except a quick bullet or a hangman's noose. No. No value to anyone are you, least of all, to a woman. You wanted to ask me a question. You've already answered it. May I leave now? Yes, of course. But only for a while. That was hell. In a few moments, we'll bring you the second act of the Foxes of Harrow. And now, here's our Hollywood reporter, Libby Collins. Who's in the news tonight, Libby? That wonderful Betty Grable, Mr. Keely. Have you seen her in When My Baby Smiles at Me, 20th Century Fox's new picture? Libby, I never miss a Betty Grable picture. Oh, it's delightful to see the team of Betty Grable and Dan Daly in action again. In addition to her dance numbers, Betty has a serious dramatic role in When My Baby Smiles at Me. Yes, as the wife of an irresponsible but lovable hoofa, she gives a heartwarming performance. You know, those dancing scenes are so smooth, you'd never suspect the days of rehearsing that went into them. Betty wears gorgeous costumes in the picture. But the one she was most devoted to, the audience won't see. You have me curious, Libby. Why not? Well, it was what she called her rehearsal uniform. Just a simple blouse and shorts. The wardrobe department kept four or five sets always ready for her. That I can understand. Rehearsals were strenuous. Yes. But Betty told me she developed a regular routine keeping herself fresh for the next round of practice. I'll give you one guess, John Kennedy. Oh, that's easy, Libby. I'll bet she had a supply of the new bath size Lux Toilet soap in her dressing room. You're right. Betty has always been a Lux girl, you know. She loves that big new bath cake. A quick shower and lots of the creamy Lux soap lather makes her feel like new, she said. That big new bath size cake was specially created to make a Lux soap bath more luxurious than ever. She is luxurious. The fragrance that leaves on your skin makes you feel good all over. Sweet and fresh, too. Everybody likes that generous satin smooth bath cake, Libby. Perhaps some of our listeners haven't tried the new bath size Lux Toilet soap. So why not get some tomorrow? The whole family will enjoy this new large size cake of Hollywood's own beauty soap. We return you now to William Keely. Act two of the Foxes of Harrow starring Marina Harrow as Odale and John Hodiak as Stephen Fox. A few weeks have passed and at his recently acquired plantation, Stephen Fox has a visitor, Andre Leblanc. Andre, welcome Andre, welcome to Harrow. To what? To Harrow, Harrow Plantation. It's a name they'll remember around here. Oh, I passed your overseer driving in with another load of slaves. And who is that monster with him? That monster is Mike Farrell. I told you about him. Remember, champion scrounger of the Mississippi River. Indeed. And I must say, Stephen, your own appearance is hardly more inviting than his. You didn't come here to compliment my appearance. No. No, to bring you the latest news from the city and an invitation. What's the news? They all say you're mad. Very old news, indeed. That you actually work in the fields side by side with your slaves. Nothing more interesting? Yes. Everyone's talking about your cornering all the cotton in New Orleans. How do you do it, my friend? I told you I'm a gambler. You know why Mike Farrell's here? Cook stoves. What? Stoves, stoves to cook with. 500 of them from St. Louis. The latest model, very fashionable. Now, if anyone wants a hot supper, he'll have to pay my price. You are mad. Am I? Those stoves got me alone from the bank and with the money I'm buying sugar. Now, what's this about an invitation? Invitation. Oh, oh, yes. The Dioceno sisters are leaving tomorrow for Paris. Not to live? No, no, just to visit. They're inviting us to join them for the last evening in town. How is she, Odeli? Still beautiful and proud and still unwed. I'm not going, Andre. Not going. But this is your last chance to see her for a whole year, perhaps. A whole year. Good. It will take me a year to do what I have to do and at the end of it will be the other way around. Odeli Dioceno will come here. She'll see the richest plantation in the country and a home as great and fine as any on the river. A harrow plantation, Andre. Built by Stephen Fox for the Woman Heel Marry. New Orleans, April 4th, 1828. Among the ships arriving this week from Europe is the Golden Fleece out of La Havre. The passengers include Mamzellerore and Odeli Dioceno returning home after a year. April the 21st, 1828. Mr. Stephen Fox, having completed the rebuilding of the old Ludenbach plantation, now known as Harrow, has invited more than a hundred guests to celebrate the event on Wednesday night. Rebuilt at a fabulous cost. Decision is final, Odeli. You will not attend his party. Of course I won't. Odeli, listen to me. When you went to Paris a year ago, you were running away. When are you going to stop running? You're afraid of this man, admit it. Does it matter so much to you, Father, what I think of him? Yes, because I worry about you. You are filled with a hate and a love and you don't know which is which. How do you know all this, Father? I'm your father and I know my daughter. And this man, there's a flame in this quaintock, as you call him, a burning desire that'll plague you until you give him yes or no. And there can be no more running away. Do as you please, my darling. Rory and I are leaving for Harrow in an hour. Well, you did it, Stephen. The most influential families in New Orleans here at Bayou Army. Yes, from the Governor on down. But I don't deceive myself. I have as much fondness for them as they have for me. This isn't for them, André. It's for Odellie. But Odellie refused to come. Monsieur, I beg your pardon, but it is becoming embarrassing. May I not tell George to announce dinner? We'll wait a little longer. A little longer. Very well, Monsieur. Stephen, I'm afraid you must accept that she's not coming. No? Look in the doorway. Visconde Henri-Louis d'Arsenault. Les deux voiselles. Odellie et Aurora d'Arsenault. Do me a favor, André. Tell George he can announce dinner. This place I can believe now. Thank you, Monsieur Fox, for showing me around. Odellie, a year ago, we stood on almost the same spot. Do you remember what you said to me? Yes. Do you still believe it? I don't know what to believe. Look at me. You're trembling. Are you cold? No. Afraid them. Now why? There's nothing to be afraid of. Nothing here but love for you. Odellie, why do you fight me so? I've asked myself that question many times. You're not quite like any other man I've ever met. You must know that. You're strong in many ways attractive, but you make me feel uneasy, unsure. Perhaps it's the great violence I find in you, the way you look at me as if I were a slave, as if you own me. Stephen, who are you? I'm Stephen Fox. Once there was another house called Harrow, and another woman, my mother whom I never knew. But this I do know. I've always dreamed of building a new Harrow, and with the thought of you, the dream became a need, an obsession. I couldn't have built Harrow without you, Odellie. And until you live here, it will have no life. And love. What if I cannot bring you love? Would you want me that way? I want you any way I can get you. We, we better go back to the house. Speak to my father, Stephen. It will please him to announce that we're going to be married. Stephen, those men down there, who could they be? I'm not sure, darling. I'll go out on the balcony and get rid of them. Up on the balcony, boys. The bridegroom. Mike! Mike Farrow! Not so much noise. This is my wedding night. And we made a record run down the river just to see the bride. Bring out Mr. Stephen. All right, boys. I'll try. Odellie, I'm sorry, darling. They mean well just their way of showing their regard. Send them away, Stephen, now. They'll go. Come out on the balcony just for a minute. Exhibit myself in front of that pack of animals? No. Ring for the overseers. Turn them off the place. I can't do that, Odellie. Mike Farrow's my friend. All right, darling. I'll go down and talk to him. They'll leave. There you are, Mike, my wine cellar. But where is she? That's the bride. She sent her regrets. Now drink your fill, but no more shooting. And where do you think you're going? Grab him, boys, and knock at the door. Wait a minute! Good a fine night, Stephen. It's a shank of the evening. You and me are having a drink. Of course. One drink. Gentlemen, I'll give you the face of the old baboon that picked me off the sandbar. And now, if you'll open that door. And what kind of manners would I have not to be answering your lovely toast? Fill him up, boys. Fill the bridegroom. And then to the bride. And then to the county of Ireland from Antrim du Expo. Open the door. Go back to your friend. I know I've been ours, but I couldn't help it, Odellie. They wouldn't let me go. Open the door. Not until you turn that gravel off the place. Open the door, or I'll break it down. Do you hear me? I'll break it down! Forgive me, Stephen. I finished breakfast some time ago. Odellie, about last night. You asked me once why I was afraid of you. Now I know. For a moment I was deceived by your gentleness. But I know now that wasn't the real Stephen Fox. You showed me that man last night, and I want no part of him. This necklace I wanted to give it to you last night. Please take it now. I suppose this sets everything right. Yes, Stephen. I'll take it and I'll wear it. Thank you. I'll wear your jewels, and I'll preside at your table. Will there be anything else? Odellie! No. Nothing else. The door to your room will be repaired with an extra heavy bolt. I'll see you at dinner, Odellie. Yes, Stephen. Of course. Monsieur D'Arseneau, greetings, Father-in-law. May I bring out some cards? Later, Stephen, later, not now. You refusing to gamble? Stephen, there's no need to pretend with me. You're drinking and gambling every night now for nearly a year. Has Odellie been complaining to you? Odellie said nothing. Stephen, I know my daughter's stubborn, but she's a woman, and that should make a difference. Perhaps we Creoles pamper our women too much, but the reward when fulfilled more than compensates us. My reward is slightly overdue. Stephen, don't let this foolish pride stand in the way of your love. You need that love, both of you. Without it, neither of you will ever find happiness. And that's all, Stephen. I've finished my sermon. Thank you. Now, when are you coming to Harrow? You haven't been there in weeks. I was at Harrow tonight. Odellie wasn't in the house. No. I finally found her at the edge of the cane fields. The blacks were holding a voodoo ceremony. Voodoo? I've forbidden it a dozen times. What was she doing there? They were making voodoo for her, Stephen. And the child she's going to have. Child? Good night, Stephen. Waiter. Wait, Mr. Hughes. My glass is empty. No. No, never mind. I'm leaving. Stop it! Stop this nonsense! What are those fires? How many times have I told you this witchcraft has forbidden you fools? What if that cane should catch fire? It's my fault, Stephen. We make voodoo, Master. Powerful voodoo for your man-child to come. Odellie? Yes? What are you doing here in this damp night air? I'll take you home. No, don't touch me. Odellie, come back! Odellie! Little fool running away like that. Let me alone, let me alone. What if you fell? Can't you think of the harm you might have done yourself in the child? Do you think I want your child? I'm all right, Stephen. Don't worry, I'm all right. Thank heaven they found you. A child, Stephen, any minute now. My grandchild. And Odellie? How is it with her? Dr. Tobone says her condition is excellent. But she won't give them any help in there. I should have been here. But Odellie said nothing. I didn't know it would be this soon. Things are no better than between you. We live like two strangers. I haven't seen her in two days. The child will bring you together. If not together, at least he will bring peace between us. Master, Doctor wants you now, Master, now. You have a son, Missy. Congratulations. Thank you. Doctor, the baby, is he all right? Of course he's all right, Madame. A fine boy. Odellie, a son. I have a son. His little hands look they're perfect, aren't they? Doctor, Doctor, what's wrong? There is a slight twist to the right foot. It's nothing. His foot will be all right. But he, he may have a slight limp. He'll have no limp. We'll correct this mistake of nature. We'll make him perfect. I won't allow him to be less than perfect. My son. Our son, Stephen. Never forget that. Our son. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a few moments, we'll bring you Act 3 of the Foxes of Harrow. Our guest tonight, Miss Helen Westcott, is a young actress whose career is off to a fine start with a Fox Studio contract. What do you think of life in pictures, Helen? Exciting and challenging, Mr. Keely. And if I ever had any illusions about it being easy, I know better now. That's a lesson every famous star in Hollywood has learned. Well, I can't imagine anything tougher than being on location for the new Fox picture, Yellow Sky. Ah, yes. The story of a band of outlaws in the western Badlands. The whole company moved to Death Valley. They worked in a scorching desert where the temperature hits 130 degrees. Sandstorms and scorpions were everyday affairs. No wonder Anne Baxter found it rugged going. I hear that Gregory Peck and Richard Widmark grew beards for their roles as tough fighting men. No false beards allowed. The director of Yellow Sky insisted on realism. And Anne Baxter wore the same costume throughout, a shirt and blue jeans. And carried a man-sized rifle in the crook of her lovely arm. Yes, isn't she lovely? In spite of her unglamourous attire, she looked thoroughly feminine. Wouldn't you say so, Mr. Kennedy? Oh, you bet I would, Helen. Anne's luck's complexion has something to do with that. Nothing makes a girl more appealing, it seems to me, than fresh, radiant skin. Yes, and I know how much Anne Baxter depends on luck soap care. She took plenty of luck's toilet soap with her on location. And daily beauty facials keep her skin just right for the camera, she told me. Well, you know, nine out of ten screen stars recommend this gentle complexion care. Well, it really works, that's why. Your skin is softer and smoother after luck soap facial. Thanks, Miss Helen Westcott. Regular care with this fragrant beauty soap does wonders for the skin. In recent tests, skin specialists found that actually three out of four complexions became lovelier in a short time. Here's a practical tip for women everywhere. Why not get some of Hollywood's own complexion soap tomorrow? Here's our producer, Mr. William Keely. The curtain rises on the third act of the Foxes of Harrow, starring John Hodiak as Stephen Fox and Marina Hara as Odley. They named the boy Etienne, the little boy who'd always walk with a limp, adored by his mother, worshiped by his father. When Etienne was three years old... Come, darling, the children are all downstairs for your party. Now, come, I'll carry you. Let him walk. But down the stairs... Let him walk. He must learn to use his foot. Yes, Stephen. See, Papa? See how I walk? Better, Papa. It's better. There's a fine boy. There's a good, strong boy. Careful, darling. Oh, please be careful. And the husband and wife remain strangers to each other, held together only by Etienne, and the years went by. Good night, Etienne. Good night, little man. Good night, grandfather. Sleep well, son. Odley, turn out the light, please. Turn it out. Of course. No man's afraid of the dark, is he, Etienne? No, Papa. Oh, Stephen, he's still a baby. A small light, please. Very well. A small light, then. Good night, little man. I heard you bought the bell-fond place, Stephen. Oh, yes, yes. I meant to tell you. The bell-fond place, but why? Someday it will make a fine wedding present for Etienne. Wedding present? Well, why not? The years go quickly. Steamboats, warehouses, plantations. What an empire you're building, Stephen. Yes, I've been lucky. And he'll have it all, Etienne. A prince coming into a kingdom. By the way, Odley, you told Kaleen that her little boy is to be Etienne's companion and servant from now on. I'm glad. You should see him, Father. Little Inch, black as ink and good as gold. They'll grow up together. I'll see that little Inch is educated. Etienne must have someone he can trust. Stephen, I appreciate the plans you're making for Etienne's future, but... His future's my future. I want him to have everything I never had. A home, love, something behind him. The first of a new line, the foxes of Harrow. His, uh... His foot's not much better, is it, bullet fellow? It doesn't matter what if he limps a little. At worst, it means he won't dance. Then he'll watch, and they'll all dance for him. Yes, Stephen, of course. If you'll excuse me, I'm going into town. Come in, mistress. Come in, Zerlene. There's something I must find out. My husband. Where does he go night after night? What does he do in town? Miss Peros, mistress? The auction house, perhaps? No. My father said he hasn't seen him there in two weeks. Then I do not know, mistress. I know nothing. But you do know. All of you know everything that concerns the master and me. Please, it's better you not know. Tell me. No, no. Callaine beat me if I tell you. And I'll have you beaten if you don't. Now tell me. No. Better yet, take me there. Take you there. Tell Achille I want a carriage. Now at once. There, mistress, across the courtyard. That place. What place is it? Cafe. With much music and dancing and good times. I knew you were lying. He'd never go to a place like that. Here, give me the reins. Mistress, look. That barouche turning the corner. You still think I lie? Who's that with him? What's her name? Desiree. Where does she live? Answer me, where does she live? Down by the ramparts. Number 15. Mistress, no go there. No. No. I won't go there. What, mistress, do now, huh? There's nothing I can do. Nothing. Boy, careful now. We'll jump at the hedge. Let me all about it later. Now run upstairs. You two little inch. Yes, ma'am. Callaine, hot water and a tub. ATN and little inch. Me too. You don't think I have to take a bath at night. You. Pairs to me. We's wet enough as it is. And after the bath, you're going straight to bed. Nonsense. The boy's sitting at the table with us. Oh, not tonight, Stephen. He's feverish and exhausted. Callaine, tell the kitchen to make hot drinks. Come inside, Stephen. I want to talk to you. You smuggle the boy out of this house before dawn. Where did you go? Into town. In the morning, fog and now through the rain and for what? So he could see with his own eyes the cotton that's rotting on our docks. The insane gambling at Masperos and Tobacco and Sugar Futures. I want the boy to understand from beginning to end the disaster this country's headed for. It's time you understood that he's just a boy. Your motherly concern touches me, elderly, but I shall continue to mold my son's life as I see fit. He's my son, too. So you often remind me. Oh, Stephen, what are you trying to do to him? I'm trying to fit him to take his place in this uneasy world. Don't you know what's going on? Northern financiers gambling in cotton, banks, business houses, even private citizens issuing their own currency can lead to only one end, a panic. The problems of the North will never concern ATN. He's a creole, not a canetuck. ATN's an American. We can't go on this way. I agree. It's bad for the boy, this bickering over him constantly like docks over a bone. I have a bargain to make, Stephen. When ATN reaches manhood, you may take charge. But until then, let me have him. And watch him grow into a fop and a weakling. Do you think I'm a fool? Oh, I think I was. To have ever imagined we could reach an agreement peaceably. But peaceably or not, I'm taking him to Paris on the next boat. You're taking him nowhere, and we'll settle this thing between us once and for all. In my mind, it's always been settled. I'll never give him to you, never. I can fight for him where I couldn't fight for myself. You underestimate yourself. You fought me to a standstill since the day we were married. The only wound was to your vanity. And that was soon healed. It wasn't love you wanted, it was fawning and flattery. And when you couldn't get it here, you got to the only place you could in town on Rampart Street. Then you know. Yes, I know. And the humiliation that comes with the knowing. That's a new pose for you, elderly, the poor, betrayed wife. Go on and laugh. You always have it every decency. Poor, betrayed and jealous. Jealous? Of that creature? She's twice the woman you ever were, my dear. It's all part of a plan, isn't it, Stephen? You'd kill a man to get the land to build a house. You built the house to get a woman. You need a woman to beget a son. A son who was to be your perfect revenge upon all the world. But something went wrong, didn't it, Stephen? Your son wasn't perfect, isn't that so? But that didn't stop you. You never cared and considered that he's only a child. Helpless and crippled. I've forbidden that word in this house. I like it if I forbid even the truth. If you ever use that word again. Done! It's over! It's dead! And so is my son, do you hear? In the plains, October 6, 1836. Advices from New York report the disastrous failure of the great banking house of Joseph and Company. 18 business houses have failed in the last 24 hours. A total to date of 190. Our own city has suffered no less in this great financial panic. Failure and collapse of personal and business fortunes are announced almost hourly at the auction house. Where the leading partnership is of pure intelligence. The auction house announces that Briggs and Company have suspended operations. Briggs and Company. Briggs and Company, Monsieur. What next? Like a nightmare. Yet Stephen foresaw it all months ago. How are his affairs? Who knows? Since the little boy died, we... Monsieur, look. He's coming now, Stephen. With a woman. But no women ever are seen here. Let alone a woman of that... He shows his scorn of us, Andre. Just leave him alone. Monsieur, it is impossible. We cannot serve you here. I said I wanted a table, Henri. And then we'll take luncheon, the lady and I. I... I cannot. Please. The tables are all occupied. The private room, perhaps... We will sit here, Henri, in the big room. Oui, Monsieur. Gentlemen. I may depend upon your chivalry to a lady, I'm sure. Come, Monsieur. We will sit at some other place. Take the table, Mr. Fox. Sit down, Desiree. Stephen, please, I beg you, not here. But the gentlemen insist. We must understand, my dear, that Creole gentlemen always pamper their women. The rewards, I'm told, when fulfilled more than justify their efforts. Gentlemen! Gentlemen! Word has just arrived by courier that the Bank of the United States of Philadelphia has just closed its doors. I've brought you here to witness this human comedy, Desiree. No one's as calm as a Creole gentleman when he's calm, but observe them now scurrying about helpless, pathetic, bent on only one thing, how to preserve their decadent highs. Following banks of New Orleans have suspended payments. Carlton, mechanics and traders. Bank of New Orleans. The union. The union. Kill yourselves! Yes, why not? That's one way out. Look how they run with the pack. Selling. Selling. If one sells, they all sell. This isn't the time to sell, you fools. This is the time to buy. I've been buying all week and I'm buying now. What have you got to sell? I'll buy it with my gold and at my prices. I'm buying! This way, Odilly. Nobody wants you to forget it, Jen. But this brooding, this melancholy. Oh, I know, Father. I know and I try, but... Father, the panic. Things have gone bad for you. No worse than for all of us. Have you seen him, Stephen? Not in three days. He bombarded the market, buying when everybody else sold, trying to stem the tide of the panic. He helped a little. Saved a few of his friends, perhaps. But in the doing, he lost his own fortune. Is there anything left? Only this plantation. Only Harrow. And that probably will have to go too. Is there something I should do? Yes. Come home with the Rory and me. Wait here. I'll be down in a minute. His room. ATN's room. All that's left of him. A room. An empty room. Who's there? ATN. Oh, God, let it be ATN. Still afraid of the dark. It's you, little inch. I miss him so much. Oh, little inch, I miss him too. His laugh. The sound of him coming down the hall. The way he used to follow me. Me? Oh, don't cry anymore, little inch. Please don't cry. Little inch, from now on, I want you to attend me personally. I want you to fetch my footstool and the cushion from my back. And I want you to go everywhere with me. The way ATN used to do. Will you do that, little inch? And help me to be less lonely. Yes, Missy. Want a glass of water, Missy? Ah-ha-ha. But that's not all. Ah-ha-ha. That's exactly what I do want, little inch. Oh, thank you. You're going to stay here. For a while, Father, I must. Now tell me about Harrow. Can it be saved? I don't know. Currency is worthless. Only gold and real property have any value. My jewels, will they help? I suppose so, but not enough. Well, then there's only one thing left to do. Strip Harrow. I'll get the overseers and some men. And then? I'm going to find Stephen. Wherever he is. May I come in, please? I'm Madame Fox. Come in, Madame. Thank you. I've been told that my husband is here. That he's ill. That is true. Somebody had to take care of him. You will find him in there, Madame. Yeah, because you want to save Harrow. Well, it's not worth saving. Oh, Stephen, please. I know how you feel about me, but don't throw Harrow away. Why not? I built it for you. You were the symbol of my success. Everything I ever wanted. And I don't want it anymore. Harrow can burn to the ground for all of me. Let it. And good riddance. And what about the little boy who's buried at Harrow? He'll always be between us, Stephen. You and I were responsible for his existence and for his death. Try as we will. We'll never escape that fact. Oh, Stephen, I was wrong from the beginning. I took everything you offered, and now I want to give you something in return. I want to give you another child, Stephen. And if I can do that, ATN will not have lived and died for nothing. It's too late, Otterly. It's too late. House Missy got a storm for sure. Yes, a storm. Did you see the master in town, Missy? I saw him, little English. That drum. Yes, Missy. Who's that? I skipped the house, madame. The furnishings and jewels, they won't bring enough. I've had to pledge the cane crop. But now I can't get the blasted ideas to cut it. Tell her, Achille. Tell her. They say white man is finished, mistress. They say he lose money. He lose land. He kill himself. That's nonsense. Where do your workers? Where are they? Some in Cainfield, mistress. Boodoo meeting. The rest, they hiding in fields. Tom, you get into town and pledge the crop. I'll get things started here. Achille, call the slaves together. They obey nobody but master. They'll obey me. But you can't do anything. No more master, no more slave. The drums say master's dead. That isn't true. He's alive. I just saw him. If master alive, he'd be here. Master dead. I told you to get the slaves together. The cane must be cut before the rain rots it. Too late, mistress. No cane, nothing. Everybody die. Then stand there where you are and die, you fool. I'm going into the fields. And that cane will be cut if I have to beat them half to death to do it. When I got back here, I found him in the fields cutting cane with the slaves. She's with him now, near the swamps. Cutting cane with the slaves. Will you be staying, sir? Yes, I'll be staying. Then let the slaves see you, sir. Then we'll save the cane for sure. Tom, this is Pearl. Go back to town. Get what you can for it. Sell it if you have to. And give me your knife. I haven't forgotten how to cut sugar cane. The cane's in the wagon, Missy. Oh, rain won't get our sugar cane. Look at the wagons, Missy. Far as you can see. The master's back, little inch, isn't he? You don't see him? No, not yet. Where is he? When they load the last wagon, I think I see him walking by the Cypress Grove, by the Burrian ground. You and I should come with you, Missy. No, little inch. I'll go alone. Sacred to the memory of ATM. Beloved son of Stephen and elderly Fox. Such a little grave, Stephen. But at least the ground he lies in will always be his. And we'll be here, elderly, near to him. Oh, Stephen. Always, elderly. Always. Your applause places the seal of approval on tonight's play and brings Marina O'Hara and John Hodey after the footlights for a curtain call. Bill, I think it's rather interesting that one of the famous Fox family is in Hollywood now working in pictures. Another Stephen Fox? No, 20th Century Fox. Oh, John. I'll cover up for you by asking Marine how it feels to be in a London fog on Wednesday and rehearsing for the Lutz Radio Theatre in Hollywood two days later. Well, actually, it was rather a leisurely trip, Bill. I left London Wednesday morning by train because the fog was too thick for the planes. And we went by train to Bournemouth and we flew from there that afternoon and had breakfast in New York Thursday morning. Then I sat around the airport for a couple of hours, took the next plane to Hollywood and arrived here Thursday night. A leisurely trip, huh? Maureen, how far would you go in two days if you really hurried? Well, John, you never can tell. But I wouldn't be in so much of a hurry that I'd forget to pack a few cakes of luck soap. And with that complexion, it couldn't be otherwise. I've used luck soap for a long time, Bill. It's my favorite beauty care. What about next week's play, Bill? We plan to have a play direct from the current screen, the Universal International Picture, the Saxon Charm. And we've invited three stars to join our cast, Robert Montgomery, John Payne, and Gail Patrick. This is a story of Broadway and of a fabulous play producer whose private life is in itself an exciting drama. I'll be listening, Bill. Good night. Good night and thank you both. Leave our brother's company, and the actors of Luck's Toilet Soap, join me in inviting you to be with us again next Monday evening when the Luck's Radio Theater plans to present Robert Montgomery, John Payne, and Gail Patrick in the Saxon Charm. This is William Keely saying good night to you from Hollywood. John Hodiac appeared by arrangement with Metro Golden Mayor, producers of the Technicolor picture, the three musketeers starring Lana Turner and Jean Kelly. Moreno Hara appeared by arrangement with 20th Century Fox, producers of the Snake Pit, starring Olivia DeHavilland and Mark Stevens. Heard in our cast tonight were Jack Edwards as Andre, and Herbert Butterfield as D'Arsino. Our music was directed by Lois Silvers. And this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Robert Montgomery, John Payne, and Gail Patrick. Fly on Sprye, S-B-R-Y, for lighter, finer, richer tasting cakes, Sprye tops any other type shortening. Sprye's amazing cake improver takes guesswork and hard work out of cake making. Try Sprye's one-bowl method for glorious cakes. For all you bake and fry, rely on Sprye, S-B-R-Y. Be sure to listen next Monday night to the Lux Radio Theatre, starring Robert Montgomery, John Payne, and Gail Patrick. Stay tuned for my friend Irma which follows over these same stations. This is CBS, the Columbia Broadcasting System.