 Hollywood, California, Monday, June 22nd. The radio theater presents Merleau-Baronne and Herbert Marshall in The Dark Angel. Lux presents Hollywood. Tonight, you will meet Merleau-Baronne, Herbert Marshall, Rod LaRocque, Cecil B. DeMille, Leroy Prince, James Montgomery Flagg, and many others. And gathered here to witness this event is a tremendous audience of Hollywood notables. Seated across the footlights, I see Lois Wilson, Brian Hearn, Mae McEvoy, Matt Moore, Alan Baxter, Leo Carrillo. Welcome, all of you, to the Lux Radio Theater. This entertainment is brought to you by the makers of Lux Toilet soap, the beauty care used by nine out of ten Hollywood stars. The pure white soap that can mean a lovelier complexion for you. As producer of the Lux Radio Theater, we present one of the world's foremost motion picture producers, a man so closely identified with Hollywood that the history of the motion picture industry might well be the story of his own life. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. The lights of a thousand cities are the footlights of our stage tonight. The play of the evening will be heard from Beverly Hills to Boston, from Miami to Montreal. By shortwave, we are even linked with Tasmania, that island in the South Pacific that gave us the lovely star of tonight's production. Her name is Estelle Merle O'Brien Thompson, but she is known to us all as Merle Oberon. We have listeners also in Hawaii, where once before I directed the man who stars in tonight's production, Herbert Marshall. We were making a picture on the slopes of Moana Kea and the Coa Forest. I had the stage of fight between Mr. Marshall and Bart, as we call him, and William Gargan. Bart was supposed to win, and Gargan was prepared to take a blow and be knocked down. We filmed the scene several times. Each time, Bart played the scene magnificently, up to the final blow. Then something went wrong. I finally asked him why he wasn't giving me what I wanted. And that delightful gentleman who served with the London Scottish Regiment during the war, who saw action on many fronts and figured gallantly in the Battle of Arras, said very simply, Mr. DeMille, I just can't bring myself to hit a man full in the face. Now it is cutting time. Deluxe Radio Theatre brings you The Dark Angel with Merle Oberon and Herbert Marshall. The Dark Angel is the story of Kitty Vane, played by Merle Oberon and Alan Trent, a young English officer with whom she is in love, played by Herbert Marshall. August 1915, the first year of the World War, and all Europe is trembling under the impact of the loud guns. Excitement is the keynote of the day. And in a little cottage in the country, Kitty Vane, a charming young English girl, is hurrying off to meet two old friends who are coming home on leave. We hear her running down the stairs. I think, Granny, good morning, darling. You're early. A little. Going to have breakfast? I don't think so, Granny. I'll have something at the Shannon's with Alan and Gerald. Very well, dear. You're excited, aren't you? Terribly. It's a big day. The biggest ever, Granny. Alan Trent and Gerald Shannon. It seems like yesterday they were just babies. And here they are coming back to us after a whole year of war. Yes. You know, Granny, at first seeing them, the soldiers was fun. And I suppose I never really thought they'd be going away. But when they did, oh, Granny, I'm so glad they're coming home again. I'm afraid it won't be for very long. No. I suppose not. But even a few days are better than nothing. And Alan promised me they'd stay just as long as they possibly could. In these days, we have to make the best of everything. It's been a long year for you, hasn't it, darling? It wouldn't have been so bad if, oh, Granny, if only I knew. If I were only sure. Oh, Valen? Yes. Aren't you sure? How can I be? When one love is so hard and for so long, one can never really be sure. And it used to be so easy, Granny, when we were children, I'd just ask him to marry me. But now it's growing up, Granny. That's what it is. Things aren't so simple anymore. I can't just say, Alan, please marry me. Quick. Why not? That's the best way to do it. Saves a lot of time. I bet that's just what you'd do. Of course. Kitty, come here. I want to talk to you. Yes, Granny. Kitty, you may not be sure of Alan. I don't know how he feels about you. But I do know how Gerald feels about you. Gerald? He's in love with you, Kitty. Granny. Yes, my dear. I've seen it. And I know it. But it's silly. You shouldn't say things like that, Granny. I'm an old woman, my dear. I can say what I please. But Gerald, I've never thought about Gerald, except as Alan's cousin. Why, I've known Gerald ever since we were babies. And Alan, too, my dear. Yes, but, well, that's different. Somehow, I can't explain it, but it is different. Is it? Of course it is. Heavens, look at the time I must fly. I've got to meet Mrs. Shannon at the station. Goodbye, Granny, dear. Goodbye, child. Don't drive too fast. I won't. And give my love to Alan and Gerald. I will, Granny. Goodbye. Bye. Call number three, 20 minutes late. Two, three, 20 minutes late. I'll be here soon. Tommy will be here soon. We supposed to leave him over here. I'll give him a big cheer when the train comes in. I hope he's well. I hope he's well. Well, Kitty, I just spoke to the station master. The train's 20 minutes late, 20 entire minutes. We're half to 11 months waiting. That really isn't so long. And just think they'll be home with us for 10 whole days. Well, I'm almost afraid to meet them. Do you think they'll be the same, look the same? Oh, I think we'll recognize them. Oh, look, look, why doesn't it stop? Aunt Sheila, what if it doesn't stop you, silly child? It's stopping now. Where are they? Should we stand here or do you think they'll? Oh, they'll find this kitty be patient, darling. Oh, look, look, there they are. There they are. Aunt Sheila. Oh, my God. Oh, Mother God, Sheila. It's so good to see you. Yes, really back. Oh, look at Kitty, Gerald. She's getting prettier every day. Yes, our kitty is standing right before us. I think Aunt Sheila is getting prettier, too. Oh, stop, Alan. How long we've got the car? It's this way. Hope you got something to eat, Aunt Sheila. I'm as hungry as a bear. Luncheon's waiting for you. Good. What is there we can have dinner and top that off with a bit of supper? Wonderful idea, Alan. Are you two going to spend the whole 10 days eating? We decided that months ago. Eating, sleeping, bathing, eating, sleeping, bathing. I said, Gerald, maybe we can think of some way to eat while we're sleeping. You know, we haven't given this thing enough fun. Very, darling. No, I'm tired of seeing you eat. I'm going home. Oh, wait a minute. I'll come with you. Maybe there's something new to eat at your house. There isn't. Goodbye. No, no, wait. Look, Kitty, if you don't wait, I'll jump down. Get back in that window, idiot. Will you wait? No. All right, here I come. Alan, don't! Alan! Alan, why did you do that? Alan, darling, darling, get up. You're not hurt, are you? Alan, Alan, why don't you speak? Aunt Sheila was talking up to speak with my mouth full. You like some cake? Yeah. Stupid clown. Now I will go. No, don't. Don't go, Kitty. See, I did scratch my hand. No, no, slow up there. Scratches like this cause lockdown or something. Serves you right. Kitty, you're changed. You're positively bloodthirsty. And you, you haven't changed. You're still a child. You don't feel. Huh? What don't I feel? You, you don't feel anything. Don't I? How do you know what I feel? Do you know about the months I've been away? The agony I've been in because of you? You know how frightened I was of coming home, and finding that you changed. That you didn't feel the things I wanted you to feel. Oh, look here, I, I can't say it all. Maybe I can't see any part of it. I'm scared. Kitty, Kitty, I have so much love for you. Boy, it's like something you saved up for a lifetime and didn't know about. And then it all comes at once. I love you so, Kitty. Oh, Alan. Alan, I wanted to hear you say that so much. But I'm sure you knew. I wasn't sure. And you see, I've always been around. I know. When I first looked through the bars of my crib, there you were. Telling me what to do. I was not. When I saw my first tree, you were in it, peering down. My first bird, my first squirrel, my first, my first bath, you were always there. That's what makes me afraid. You, you may be just used to me. You may need some other girl. Oh, no, shh, you sweet idiot. Don't ever say that. There'll be no one else ever. If you ever weren't there, I'd stop living. I'd stop breathing. I'd stop wanting to breathe. Alan. Don't ever go away, Kitty. Never, Alan. Oh, my darling. Come on. We'll tell Aunt Sheila. And Gerald, too. Wait, what are we going to tell them? But we're going to be married. But when? Day after tomorrow? No, tomorrow. Boy, you shameless crazy. Come on, we'll run. Wait, Alan. Come on, come on. You're going too far. I'm going to tell them. Well, for us. Aunt Sheila. Aunt Sheila, where are you? Hello. What's all the excitement? Oh, Gerald. Big news. Can you, can you get it, Gerald? I think I can. So it's fully happened after all these years. Congratulations. Oh, thank you, Gerald. All my love, Kitty, for you both. This is the way it should be. I'm happy about it. Did you call me, Alan? Come here, mother. Is anything wrong? Oh, no, it's right. These two have got themselves engaged. Getting married tomorrow. Married? Oh, that's splendid, Kitty dear. I'm very happy. I know you'll be happy. Both of you. We'd all of us be together, always now. Do you mind if I run? I can't wait to tell Granny. I think you should come with me, Alan. I fully intend to. We'll be back. Come on, Kitty. You love her, too, don't you? Yes, mother. Oh, darling. It's all right, mother. This is the way it should be. Gerald, I almost forgot. This message came for you a while ago from the War Office. Why do I hope? War Office. Oh, let me see it there. What is it, Gerald? Gerald? We've got to go back. We're leaving England tomorrow morning. Oh, Gerald, no. Must be a big drive-on. All leaves are canceled. Poor children. They would be married tomorrow. Yes. I'll have to tell them. You mean you can't marry us, Father Charles? I'm afraid I can't, Alan. But you've known us ever since we were children. There must be some way. The notices for all weddings must be posted first, Kitty. Oh, you know that, my dear. Two hours ago, it might have been possible. It's too late now. Oh, Father. Oh, I'm sorry, Kitty. I know how you feel. We'll try to see that Alan will be back soon and you'll be married here. We'll arrange it all beforehand. It won't be long. Who knows how long it'll be? Oh, my boy. I'm sorry, Father. Thank you anyhow. You've been very patient with us. God bless you. And bring you back to this church for the marriage you want. Goodbye, my children. Hello, Kitty. Nobody will marry us. After all these years, we're at two hours too late. Two hours, Kitty, that would have changed our lives. No, Alan. They're not going to change our lives. Kitty. I marry you, Alan, Trent, in front of a church. And I marry you, Kitty Vane, for always, until the day I die. Kitty, you're not eating. I can't. You shouldn't have come down here, Danny. We should have said goodbye at the church. I wanted to be with you, Alan, right to the last. Is there anything I can do for you, sir? No, no, no, thank you. Well, I hope the dinner was good. Yeah, quite well. That's right. I always like to see a soldier each before he's off. I suppose you're one of them as he's leaving on the boat tonight, sir. Yes. Well, over the top with the best of luck, say I. What's that? Oh, the guns. You can hear them when the wind is this way. I always tell my husband that those guns make it like living right in the water, so to speak. I always say. Yes, I know. Yes, of course. I wonder, would you mind making some more coffee? Coffee? Not at all, sir. Bet you'd ride away, I will. Kitty, Danny. Oh, Alan, those guns, they frighten me, Alan. And the men we pass coming down, thousands and thousands and thousands of them. And in a little while, you'll be gone. Gone with the rest of them. You'll, you'll. Well, listen to me. They're going. I'm going. There's nothing to be done about that. There isn't much time left. And we must face the truth. And the truth is that in the few hours we have left, we must live a whole life together. We must play a game. And we must know it's a game. And if it's a silly game, it's the best we can do. The game is this. We must pretend that there is nothing tense and desperate about these few hours. And at the only time I'll have to leave you. For the rest of our lives is to bias both a loaf of bread and a bottle of milk. No, Alan. Do you think you could pretend that, darling? I'll try. What time do you really have to leave, Alan? Very soon, dear, 5.30. But until then, remember, we are together for the rest of our lives. It's time now, darling. So, so soon? Yes, I've got to leave. Very well, Alan. Look at me, Kitty. You do something for me? Whatever you wish. Then sit here, just where you are. Close your eyes, darling. Now, don't open them till I've gone. I love you. I'll always love you. Goodbye, darling. Goodbye, my love. Phew, pretty bad going out there tonight. Sounds like it. How's that trench coming along? Oh, slow but sure. Sir, I'm here to ask you, gentlemen. Do you mind signing this card for me? It's an application for leave. Leave at this time? I'm afraid I can't do it, Alan. Look here, gentlemen, you said that last week. I want to go home. I want to see Kitty. I know you do, but I need you here, old man. You could get along without me for five or six days, couldn't you? Wouldn't lose the war? No, wouldn't win it either. I'd like to let you go, Alan. Well, you put it if you wanted to. Alan. Sorry. I'm sorry. It's nerves. Forget it, will you? Captain Shannon. Yes, sir, in here. Good evening. Good evening, sir. How are you, Trent? All right, sir. Oh, PPOT. Thanks. Shannon, we've reported enemy activity on the northern sector. We've got to find out what it's all about. Yes, sir. To a night's a good night. There's no moon. A raid. Yes. I want a dozen men. Can you take a party out? I can find six or eights there. And we're rather depleted. I know. I know. How about Trent here? Trent? Well, I don't know, sir. I'll need him for some other reason. I want volunteers only. I'll go, sir. Glad to. That's the spirit for it. Now then, take a look at this man. Here's the sector. I should warn you that they'll be expecting you. And they'll make those hot viewers that possibly can. Now, I was here. Yes. Ready, Alan? Ready. How much time? 30 seconds. Sorry, I got you into this all night. That's right. Look out. Who? Colonel said they were expecting us, didn't he? Oh, I won't take long. Over them back in three minutes, if all goes well. What is it now? 10 seconds. Good luck, Alan. Good luck, Gerald. All set? Any time you want. Four, three, two, one. Over we go. Come on. Stay down, young everyone. Stay down on them. Kitty, what's the matter? Branny, did you hear something? Only the wind, darling? Why? I thought I heard a scream, a long scream. Oh, Branny. You've been dreaming, child. Yes. Yes. I thought I saw Alan, Alan with a black cloud hanging in the middle of him, like a dark angel. Come down to all. There, there. Go back to bed, my darling. You'll be all right in the morning. Well, Captain Shannon, everything went off all right, didn't it? Yes, sir. Did you bring back a prisoner? Yes, sir. Good. What about the men? Lose any? Shannon, I asked who lost any men. Yes, sir. We lost poor men, poor. One of them was Alan Trink. You are hearing Merle O'Brien and Herbert Marshall in the Luxe Radio Theater presentation of The Dark Angel, coming to you direct from Hollywood. We continue with the play in just a few moments. But now let's take a side glance at the screen capital. It's lunchtime in the Brown Derby. And as usual, this famous restaurant is being patronized by lots and lots of stars and lots of visitors hoping to see them. Let's listen to a chat between Elsie, a girl who lives in Hollywood, and a visitor from out of town. Oh, look, Elsie. That must be who it is, Norma Shearer. Do you see her here, O'Moffin? Oh, yes. Lovely, isn't she? Oh, she's a real beauty. Lovelier than I thought she'd be even. Boy, but she knows how to dress. And what skin? Nice skin is something a movie star does test to have, Alice. There's Joan Blondell over there. The girl in brown. Oh, yes. Well, her skin is certainly not out too. It just has to be. No one here can afford to have cosmetic skin. Why, if they had in large pores or little blemishes, it would just be too bad. I've read about how they use lux toilet soap to remove cosmetics. Yes, and I know that's what they do. Remember Jane Bang? Yes. Her family's here now, and her brother works in one of the big studios. And he says lux toilet soap is always in the star's dressing room. Wise women all over the country are protecting their skin the way Hollywood's lovely stars do. Before they put on fresh makeup during the day, always before they go to bed at night, they use lux toilet soap. This simple, regular care protects the skin, keeps it clear, smooth, good to look at. And once again, Cecil B. DeMille. The Dark Angel with Merle Oberonner's Kitty Vane and Herbert Marshall as Alan Trent continues. Many months have passed since the night Alan disappeared into the darkness of the battlefield. Gerald on leave again has gone directly to Kitty. We find them sitting under a tree in Kitty's garden. It's wonderful to see you again, Gerald. It seems ages since you were home. It means it's been ages. You're looking well. Oh, I'm fit enough. What about you, Kitty? I? You look tired. Oh, no. No. I'm very well. Oh, Gerald. Kitty darling, don't cry. Please. I'm so sorry. What a bad home coming for you. I wanted it to be different. Happy for you. No. It couldn't have been without Alan. Gerald, when Alan died, it was the night of the 17th, wasn't it? Yes. What? What time was it? I don't know, dear. There was an explosion, and I never saw him again. I think it must have been shortly after. Shortly after, led me long. I know. He had wired me. He was expecting leave, and then. He wanted leave, Kitty. He wanted to come home to you. And he couldn't get leave? I, I wouldn't give it to him. What? I wouldn't give it to him. I could have, but I didn't. I refused, Kitty. I killed Alan. Gerald, what are you saying? It's my fault. If I'd done what he wanted me to, he'd be alive today. It's my fault, Kitty. I killed Alan. No, Gerald. It was because I loved him so, because he loved me so. It was too beautiful to last, Gerald. That's why Alan died. Our love was too beautiful, too happy. Yes, doctor? Bring Roger Crane in, please. Yes, sir. Roger Crane? Yes? Dr. Barton would like to see you. Of course. Give me your hand. I'll lead you in. Thank you. There you are. Roger Crane, Dr. Barton. Come in, Crane. Thanks. This way, Crane. There's a chair right in front of you. OK, let me help you. Oh, it's all right, I can find it, doctor. I'm learning to feel my way around quite well now. Fine, fine. Nature takes care of a man, doesn't she, doctor? If she takes away his eyes, she gives him a good sense of direction. Compensation, we call it. You notice the difference between night and day yet? No, not yet. Well, that'll come. Is that all I can ever hope for, doctor? You notice the difference between night and day? Will I never see anything again? No, Crane. I'm sorry. Crane, I want to talk with you, not as the head of a rehabilitation hospital, but as man to man. Today, you leave us. I'm assigning an orderly to you. Mills, a pleasant fellow, you take your home. I'm not going home, doctor. I have no home. And your real name is not Roger Crane, is it? It's as good a name as any other. Yes, I suppose so. Well, Crane, I have a few things here that belong to you. Some money, a very disreptable looking pipe. Thank you. And a photograph. Photograph? Yes. I've kept these things for a reason. Now look here, my boy. You came to us from a German prison hospital. Your card read that all means of identifying you had been destroyed. I could have gone into that further, but I didn't. I know that. I'm grateful. Now, this picture. I see there are three people in it. One of them is you. There's an inscription. Do Alan and Gerald take care of each other? Kitty. Now, Crane, those three people are not strangers to one another. Who are the other two? Why aren't you going home? Fear of being pitied, I suppose, being nuisance. I know what it means. I once saw blind men in a hospital, stumbling, helpless. Now I'm one of them. Is that your only reason? Reason enough, Dr. Button. I don't know. What are you going to do? I don't know. Take a cottage somewhere in the country where I can be alone. And I've always wanted to write. I think now might be a good time to start, don't you? That's going to be your life. Away from your home, your friends, away from everything that made life sweet. Yes. It's a lonesome existence you've picked for yourself, Crane. I know it. But that's the way it's got to be. I can't go back. Never. Interesting. What are you reading, Rene? The book review section. There's an article here about a young fellow who writes children's stories. They say he's blind. Blind? He has to dictate all his books. Poor fellow. I dare say he's happy, though. Courage. That's what does it. Courage, Kitty. Yes. It's too bad we're not all like him. We could be if we tried. I've tried, Granny. Yes, my child. But not hard enough. You are living in the shadow of a death, Kitty. A deep, dark shadow. You must come out into the sun again. Oh, Granny, what's the use? I'll never forget, Adam. Never. I don't ask you to forget, Kitty. I ask you to remember. But make your memories present. Happy memories, not sad ones. I'll try, Granny. Miss Kitty? Yes, Martha. Mr. Gerald at the door, Miss Kitty. He asked if he might see you. Well, dear? Ask him to wait, Martha. I'll be right there. Yes, Miss Kitty. I'm glad you're going to see him. He's been very unhappy about you lately. Has he? He's still in love with you, darling. Excuse me, Granny. Of course, dear. Run along. Hello, Gerald. Kitty, how are you? All right. It's been a long time since you were here, Gerald. I know. I didn't want to come. Why not? You've been keeping to yourself so much lately. I thought perhaps you'd like to be alone as much as possible. Thank you, Gerald. Shall we sit down out here? How is your mother? Oh, she's very well. She's been worried about you, though. Tell her I'm coming to see her soon, will you? I wish you would, Kitty. The house hasn't been the same without you, really. I was there a lot, wasn't I? We want you there again. I know what it's been for you these last two years. It's been agony for me just thinking about you. I'd like to try to make you happy again. Will you let me try, Kitty? Oh, Gerald, you're very sweet to me. Mills? Yes, Mr. Kline? Read that last paragraph back to me, will you? Certainly, sir. The boys, tired of fishing, were splashing about in the sea, having left Jennifer on board to watch the lines. They'd swum a little distance away from the side when a puff of wind stirred the sails. The boat gave a quiver, and Jennifer jumped to her feet. Suddenly she realized to her aura that the boat was moving. In terror, she ran to the side and shouted, Peter, Peter, we're drifting out to sea. That's pretty exciting, sir. Excuse me, I ask you to say, but what's going to happen to her? I'm not sure yet. We'll call it at the end of Chapter 6, Mills. Very good, sir. End of Chapter 6. That'll be all for this afternoon. By the way, Mills, any word from Dr. Barton? Yes, he's coming down the eight o'clock train, sir. Oh, well, have some hot tea ready, Mills, and a good fire if you can stir one up. Yes, I'll have a fine fire, sir. It'll be great guns for the time he gets here. Another cup of tea, Dr. Barton? No thanks. It's a nice place you have here, Crane. I like it. Very comfortable. How's the new book coming along? We made a start. That's fine. You certainly made a success of it. It's been amazingly easy. I just stretch out all day here in the study or back there in the garden, and dictate to Mills. Sometimes I laugh at myself. Imagine me writing adventure stories for boys. I had a piece about you a few weeks ago in the book section of the Times. I wondered why you refused to let anyone print your photograph. I don't think my picture would interest any one, Dr. No? Crane, during the war, you were in the artist's rifles, weren't you? Yes, why? Do you ever come across a chap called Shannon? Gerald Shannon? Yes. We were in the same company. Is that so? Crane, do you remember a photograph of yours I gave back to you when you left the hospital? A photograph of three people? I remember. I think I saw two of those people again. Oh, they are pictures, I mean. Where? In the Sunday Times. I brought it along with me. The caption says they are Gerald Shannon and Kitty Vane. Is that right? Yes, that's right. What's it say about them? It says they're going to be married. Married? Oh, they're on the big land. We used to be quite good friends. They've been very close to each other, all their lives. I was hoping this would happen. When is the wedding? June 3rd. They're giving an engagement dance tonight at his home. That's fine, isn't it? I'm glad. Kitty, Kitty, where are you? Yes, Gerald. Darling, what are you doing out here all by yourself? Just thinking. Happy, darling? Don't you know I am? What were you thinking about? Oh, everything. You and me, our marriage. And Alan? Gerald. It's all right, darling. I understand. I couldn't help but think of him tonight. But they weren't sad thoughts, Gerald. I was just thinking that if Alan could see us, if in some way he knew that I was going to marry you, I think he'd be happy to. My darling. I say, Crayon. Crayon? What? Oh, yes, doctor? You've been sitting there for over an hour without saying a word. Anything wrong on that? No, nothing's wrong. Wasn't that talk about the picture, was it? I thought so. I'm sorry. I guess I've gone off the deep end again. That's all right, doctor. Oh, it's my own fault. It's been my own fault right from the beginning. I ought to put 1,000 miles between her and me, but I didn't. I stayed here while I might be near her. You're a word of her. I had it coming to me, and now I've got it. I've lied to myself, doctor. I pretended that I've made a life, but I was happy. Now I've found myself out, the work of all these years thrown away. It's tough luck, old man. Sorry I let go. I ought to be down while ashamed of myself. I think I'll take a stroll in the garden and cool off. Can I take you out? No, I can find my way. I'm used to it now. Doctor, that picture on the paper, is she just as pretty as she always was? Yes, she's very pretty. And that is a good picture. I wish I could see it. Hello, operator. I want to speak to Mr. Gerald Shannon. No, I don't know his number, but it's near Southwell. Yes, Shannon, Gerald Shannon. I had a telephone call from a doctor, Barton. Barton? I don't remember. Gerald, what's the matter? You look as if you'd seen a ghost. Is, is anything wrong? Ah, I don't know. What do you mean? Gerald, that telephone call, what was it about? Can't you tell me, Gerald? I've, I've got to tell you. It was about Alan. Alan's alive. Gerald, what are you saying? He can't be alive. He is. I'm going to take you to him now. Oh, Gerald, Gerald. The cause for station identification. This is the Columbia Broadcasting System. This is Cecil B. DeMille speaking to you from Hollywood. Our play continues in just a moment. Standing beside me is a man who has been dancing in and out of trouble all his life. Soldier of fortune, war ace, member of the French foreign legion, political prisoner in Cuba, ammunition smuggler in Mexico, his, his adventures would provide material for a hundred Hollywood thrillers. Yet today, of all things, he is a dance director at Paramount Studio, but his courage never deserts him. He flew to Yuma yesterday and was married. The man who fears nothing, Leroy Prince. You're wrong, CB. There are two things I am scared of. One is this microphone and the other is DeMille. I don't know why. I've trusted you with some of my other star jobs, including me help make fox hunting scenes. I sure remember that. Every time you got through shooting a scene of the dogs chasing a fox, you made me chase the dogs back home. I'm a dance director, not a dog catcher. And I'm telling you right now, I'm not going to chase any Indians for you in your next picture. The Plainsman, let Gary Cooper do that. I'm doing bigger things now. Bigger than a DeMille production? You must be starting another revolution. Are you? Well, I might be. And picking the 100 most beautiful girls in Hollywood. For Paramount's new picture, the big broadcast of 1937. Dancing into trouble again, huh? You said it. Because Hollywood is just jam full of girls with trim figures and nice complexions. I mentioned nice complexions not only because this happens to be the luxe radiator, but because good complexions are really important. And of course, luxe toilet soap is, but almost all of these girls with nice complexions used. As a matter of fact, I use it myself. But I guess that's beside the point. But I can tell you why the girls use it. There are so many good dancers that if you want to get anywhere, you've got to stand out from the crowd. Nothing does that for a girl better than the really beautiful skin. That's why more and more of these kids are using luxe toilet soap. Because the nice looking girls are the ones that get the breaks. They use their heads as well as luxe. Like Brother Eddie. Yes, and he still has a headache from it. You see, ladies and gentlemen, Mr. DeMille wanted a novelty act for this picture, Madam Satan. I knew my brother could provide it. Eddie Stunt consisted of leaping over a piano, landing gracefully on his head. Rolling up to his feet, we set the scene. Eddie ran, sailed through the air, heard the piano, and made a perfect landing on his head. Just as we guaranteed. How do you like it, I asked Mr. DeMille? It's all right, said Mr. DeMille, looking steadily at Eddie. Why doesn't he get up? He certainly used his head to get into pictures. So long, maestro. So long, Georgia. We come to the last act of the Dark Angel, starring Merle Oberana's Kitty Vane and Herbert Marshall as Alan Trent. It is one hour later, Dr. Barton and Alan stand facing each other across the table in Alan's cottage. The doctor has just told Alan of his telephone call to Gerald. Why do you do it, Barton? Why? I had to, old man. I knew it was right and that it had to be done. Shannon ought to be here soon. I expect you'll want to speak to him alone. Yes, of course. Well, I'll clear up. Did you tell him that I was blind? No. Only that you were here. Is he coming alone? He didn't say. I don't know what this will do to your feeling for me. I hope not too much. Good night, old man. Gerald coming here. Mills, Mills. Come here, Mills, fill this in me. Is this room just as it usually is? Why, yes, Mr. Colonel. I must be absolutely certain. Have a good look. Is anything out of its usual place? Any furniture changed about? No, sir, nothing at all, sir. Good. My pipe's here in the tray, yes, that's right. Matches, cigarettes on the table. Yes, sir. And flowers in the bowl. Right, sir? Right. What kind? What color? A yellow, sir, tea roses. Tea roses, I must remember that. Anything else, Mr. Crane? No, thanks, no. Oh, wait. There was a copy of the times that Dr. Barton left. Yes, sir, by the lamp, sir. Thanks. Bring in some drinks soon, will you? I'm expecting a visitor. Very good, sir. Let me know as soon as he comes. But remember this. Say nothing about my eyes. Do you understand? Nothing. I don't want him to know that I'm blind. That's why I want everything in its place, so he won't notice it. Yes, sir. I won't mention a thing, sir. Not a thing. That's all news. How's the news? Very, sir. They? Yes, sir, like in a gentleman, sir. A lady? Young? Yes, small, dark, and pretty pretty, sir. Very pretty. Shall I show them in, sir? Yes. Very well, sir. Mr. Crane's in the city, sir. Thank you. Alan. Kitty, how are you? Oh, Alan. Alan, old man. General, it's so good to see you. And Kitty. It's really, really you. I always knew, sometime, somewhere. So we should meet again? Yes, I think I always knew it, too, the three of us. I'm so happy to see you both. So go on, Kitty. General, old man, sit down. You have a drink, won't you? Alan, what? The cigarettes, right there on the table, General. Alan, what's the matter? What do you mean? You, you act so clearly. You treat us like, like strangers. Oh, Kitty. But you must have so much to tell us. Yes, Alan. Well, it's a long story. But I want to hear about you. How's Anchilla? How's everything? I'll keep you here for days telling me. You'll get your cigarette, Gerald. Not just here, huh? Thanks. I have some. Where have you been, Alan? Where? Well, I've been here. I've become a writer. Remember when we were kids? I was going to be a Shakespeare. Well, I'm not a Shakespeare. I write books for children. I like doing it. I guess I've done fairly well. I use the name Roger Crane. But, Alan, why didn't you let us know? Mind if I, uh, you mind if I have a pipe? I'll show you around the garden later. I'm terribly proud of my roses. Just look at these yellow ones in the bowl. Pretty aren't they? Um, tea roses. Alan, what's happened to us? Yes, why are you holding us off, Alan? I saw the notice of your engagement in the newspaper. Nice picture, too. And I loved you both. I hope you'll be very, very happy. So that's it. That's why you sit there torturing. It's torturing Kitty. For years, you've let us believe you're dead. And now we come here after all this time. And you talk of roses. Good lord, man. You wanted to look at Kitty's face to know what you're doing to her. Don't jettle. Go outside, Jill. I want to speak with Alan alone. No, no, wait. I'll be out in the garden. Alan, tell me now. There's been a little to tell, really. You suffer, darling. Something's hurt you. Won't you tell me? Why didn't you come home, Alan? It's hard to tell you, Kitty. But I've got to. The war did something to me. I've changed. Changed? Yes, after all, the war doesn't leave you quite well. It found you, has it? I spent months in a German hospital, months in a prison camp. When I came out, I wanted to be alone for a little while. To build a new life away from old friends and old memories. So I came here. I always meant to come back someday. But I like it here when I just didn't come back. You stopped loving me. Is that it, Alan? I love you, Kitty. I love you then, but in a different way, I suppose. I didn't have the courage to tell you. I see. I understand. Forgive me. I've been tormenting you. This means we won't see each other again. It would be better if we didn't, Kitty. Very well. But before that happens, I want to tell you that I loved you then. I love you now. I love you with all my heart. I've never loved anyone else. I never will again. Goodbye, Alan. Oh, Gerald. Did he tell you anything? No. Just that he's changed. Gerald. What's happened to him? What's happened to him? Don't, Kitty. Don't, please. Take me home. Take me home. No. You've got to stay here. No. Yes, dear. You see, I just spoke to the doctor, the one who called me. No. Go back to Alan, Kitty. He needs you. You love him, don't you? Go back inside and stand in front of him. Don't tell him you're there. Don't make a sound. Just watch him. Watch him? Go now, darling. Gerald. Go now, darling. Yes, Gerald. What's that, Middles? Middles, come here. I was just about to call him. I've been thinking very hard of going away, leaving the country. I have reasons, unfortunately. And I'll have to let you go. I'm sorry, Middles, but. Middles, are you there? Who is it? Who's standing there? Alan. Oh, Alan, my darling. My darling, my darling. Why didn't you tell me? Why didn't you tell me you couldn't see me? Well, you don't. I hear now, darling. Right here in front of you. Put your arms around me. Hold me. Hold me tight. Stop, think what it means. It means life again. I've been dead. Oh, dearest, it was cruel of you. How could you know me so little? Can you listen to me? No, I won't. I won't. You told me once never to go away. I never shall. You may as well face it. You'll never be alone again, darling, wherever you are. I'll be with you, always. Oh, kitty. I never could escape from you, could I? Never. You were always popping up? Always. Thank God you popped up this time. So ends the story of the Dark Angel. And at just a moment, you will hear further from our artists, Merle Oberon and Herbert Marshall. Speaking of artists in a more specific sense, I doubt if there is any painter in the United States better known than our guest tonight. With Charles Dana Gibson and Howard Chandler Christie, he made the beauty of the American girl famous the world over. He's also a motion picture pioneer. Ladies and gentlemen, Mr. James Montgomery Flagg. Yes, you may not have noticed it, Mr. DeMille, but I was making two realers when you were making your first great spectacle films. I produced and supervised 26 satirical comedies. They were billed as comedies because they claimed no one would know what a satire was. They thought it was a gentle, goat's legs and horns. I even acted in some of them. I hope your acting was better than my painting. Well, DW Griffith offered me $30 a week to play villains. He's never withdrawn the offer. I made one called Perfectly Fiendish Flamagan. The takeoff on my pal, William S. Hart, I played Mr. Fiendish Flamagan, The Scourge of the Prairies. But this time I came out here from the United States to make a series of 12 portrait drawings of leading stars for photo play covers. I've already drawn your star tonight, Mr. Mel Oberon. I had seen her in several pictures but never had the slightest desire to make a portrait of her. It seemed to be a false glamor about her features. But as soon as I met her, I found Mr. Oberon beautiful. The same charming, unaffected real person she portrayed tonight in The Dark Angel. In regard to my drawing these stars, they were invariably charming and gracious. And I fully realized the terrific claims made on their time, their unreal life under the glare of the world bloodshot eye. My astonishment was great that they should still be unaffected and simple in their manner. My hat, if I wore one, is off to them and to your luxe theater goodnight. Before Mr. DeMille comes back with Miss Oberon and Mr. Marshall, I'd like to mention the names of some of those beautiful stars Mr. Flag came here to draw. You know them all. Ginger Rogers, Carol Lombard, Joan Crawford, Gene Arthur, Betty Davis, Claudette Colbert, Gene Hollow. It's a list of the screen's most famous beauties. We're proud to say that every one of those stars I mentioned uses luxe toilet soap. That goes for tonight's lovely star too. Next time you see Merle Oberon on the screen, notice her flawless complexion. Remember it's luxe toilet soap that keeps it smooth. And here's Mr. DeMille. And now we present Merle Oberon and Herbert Marshall as themselves. As Mr. Flag has said, Miss Oberon is the same sincere, delightful person that she portrayed in The Dark Angel. And Herbert Marshall, who played the soldier, did in real life serve with distinction in the war. In fact, the very name Herbert means bright warrior. Merle Oberon, Herbert Marshall. Now just a minute, Mr. DeMille, you have me a little mixed up. Before the play I was a man who hated to fight. During the play I did, and now you say my name proves I love it and I don't. Names are deceiving. Cecil means dim-sighted. Yeah, yet out of 3,000 people at a Roman banquet, I can detect the one extra girl on the back of the set who's chewing gum. And Merle means nightingale, but I never sing in my pictures. I'm told you sing and speak in many languages, French, Spanish, Russian, even Hindustani. That's from years, that's from living years in India, Mr. DeMille. It was there that I first saw the picture, The Dark Angel. It was a silent version with Ronald Coleman and Vilma Banki. And I longed to be an actress and do it myself. Would you realize your dream magnificently both on the screen and tonight in the Lux Radio Theater? It's your best performance so far. What's your next? It's called, for the time being at least, in Love and War. What's yours, Bart? All fair? Now, next we guys start in Portrait of the Rebel with Catherine Hepburn. Who's the rebel? You or Catherine? Oh, it's Catherine. But I was a rebel once. My family wanted me to be an accountant. I wanted to be an actor. That's one rebellion I approve of. Oh, thank you so much. Good night. Good night, Bart. Good night. Thank you, Ms. O'Bron and Mr. Marshall. Ladies and gentlemen, this is your announcer, Melville Rueck. Before Mr. DeMille returns to tell you of next week's play, may I say that our cast tonight included Rod LaRocque as Gerald, Edward Cooper, Lillian Kemble Cooper, Crawford Kent, Juana Libbel, Gwen Manring, Lionel Paith, Edward Reimers, Charles Romano, and Zefi Tilbury. Ms. Myrtle O'Bron appeared to the courtesy of Mr. Samuel Golden. Herbert Marshall comes to us from RKO. Louis Silver's our musical director from 20th Century Fox. And from Paramount, our director, Cecil B. DeMille. And here is Mr. DeMille to speak to you. Next week, the LaRocque Radio Theater stars Jeanette MacDonald, lovely MGM star in Irene. A large and colorful cast will join Ms. MacDonald in singing the exquisite music of Irene. And the girl in the Alice blue gown will live again this time on the air. On behalf of our sponsors, the makers of LaRocque's Toilet Soap, I invite you to join us next Monday night in welcoming Jeanette MacDonald to the LaRocque's Radio Theater. This is Cecil B. DeMille saying good night to you from Hollywood. Heard on tonight's program was a pretty girl is like a melody from the Music Box Review. This is the Columbia Broadcasting System.