 Lux presents Hollywood. Lever Brothers Company, the makers of Lux Flakes, bring you the Lux Radio Theatre, starring Ingrid Bergman and Robert Montgomery in The Seventh Veil. Ladies and gentlemen, your producer, Mr. William Keeling. Greetings from Hollywood, ladies and gentlemen. Tonight is a very rare occasion. The marquee of the Lux Radio Theatre proudly blazes out the names of two great stars, Ingrid Bergman and Robert Montgomery, and a play that's ideally suited to these world-renowned artists. It's The Seventh Veil, the story of a great musician and the man who loves and dominates her. Our play is adapted from J. Arthur Rank's motion picture, which was released here by Universal International Studios, and won an Academy Award for the Best Original Screenplay of the Year. Names like Ingrid Bergman and Robert Montgomery would mean standing room only in any theatre in the world. But Lux Flakes makes it possible for you to enjoy their genius in the comfort of your own home. Everyone in our radio audience has the best seat in the house, and that familiar Lux Box is your ticket to this distinguished dramatic event. Here's the curtain for it now, The Seventh Veil, starring Robert Montgomery as Nicholas and Ingrid Bergman as Francesca. The Kendall Sanitarium London. In his office, Dr. Kendall is discussing a patient with an eminent psychiatrist, Dr. Albert Larson. Well Dr. Larson, now you've seen Miss Cunningham. You said she was admitted here following an automobile accident. Yes, her injuries were not serious, as you undoubtedly observed. But yesterday evening she got out of bed, slipped away from here, and attempted suicide by jumping off a bridge. Why? I wish I knew. Miss Cunningham hasn't spoken in days. It is as if she couldn't hear, but we know she can hear. That's only one of several indications that she needs you, rather than a medical doctor. Miss Cunningham will talk, Dr. Kendall. I've given her an injection to produce a mild narcosis, enough to induce a light slumber. I'd, I'd hope we could avoid that. The drug is perfectly harmless, but it will make her talk. Of course. Still, if you'll forgive me, it, it saves us a little of prying. Definitely it is prying. Dr. Kendall, a surgeon doesn't operate without first removing the patient's clothes, nor do we with the mind. The mind is like Salome at the beginning of her dance. She conceals herself beneath seven veils. Dr. Kendall too have veils. Veils of reserve, shyness, fear, shame. Some they can be persuaded to cast off, but the seventh veil that shields the innermost secrets of the mind very rarely is that voluntarily removed. That is why I say narcosis. With it, we can really be of help. I think our patient is ready for us now. The drug seems to have taken effect. Yes, but she can hear me perfectly. This is Dr. Larsen, Miss Cunningham. I'm so happy you've been able to go to sleep. How wonderful it is to relax, to rest. You do hear me, don't you? Not your head, Miss Cunningham, then I'll know for sure. Thank you. Now you can do whatever you please. What would you like to do? Would you like to go back to school? You are happy when you were a little girl, weren't you? Wouldn't you like to be happy again? Back to school? Back to school? School? Tell me about school. You are 14 years of age now. How old are you? I'm 14. And what's going on at school today? Tell me, Francesca. We've been fishing for minnows before Chappell. Susan and I. Fishing for minnows. Yes, that's great fun. Oh, but we're going to be late for Chappell. And I must get back to school. I must. Oh, what's your hurry, Francesca? Please, Susan. We'll be terribly late. What if we are or we'll get as a black mar? Oh, but I've been late once before this week already. Miss Lawson should have sent me to Miss Duncan. Oh, tell her you were sick or something. Oh, she'll never believe me. I said I don't choose that. Oh, Puthan, tell her you lost your way. I hadn't wanted to fish for minnows, but Susan could persuade me to do anything. And I'd always get caught and get punished in Miss Duncan's office or will or cane hung on the wall. Well, don't stand there cunning him. Hand me the cane. Yes, Miss Duncan. Hold out your hands. Oh, please, Miss Duncan. I know I must be punished, but not in my hands, please. Today's the music scholarship for piano, and if you... Oh, oh! The afternoon, my hands were still swollen and raw. I played so badly I hadn't the chance and I'd set my heart on that scholarship. Music was the only thing I really cared for, even then. But next time you sat for it, you passed easily. I never sat for it again. That year my father died and I went to live with my uncle, Nicholas Brandt. He wasn't really my uncle. I believe he was my father's second cousin. He was rich and the only relative I had in the world. He was slightly lame. He walked with a cane. Well, let's have a look at you. Francesca, isn't it? Yes, Uncle Nicholas. Don't call me Uncle. I'm not your uncle. If you must call me anything, call me Nicholas. And look at me when I'm speaking. Yes, sir. Now listen to me carefully. This is my home. It's a bachelor's establishment. Do you know what that means? It means that you're not married. Yes, it also means that when I came here I promised myself no woman would ever enter it. So far, none ever has. You're the first. I see. What do you say? That I'm to do my best not to intrude upon your privacy. Yeah. Parker. Yes, sir. Take her upstairs. You know where to put her. Yes, sir. This way, miss, please. Parker, who's portrait is that on the wall? Mr. Brandt's mother. Oh, is she there? I don't believe so. Then what happened to her? I can't tell you, miss. Then I shall ask him. I wouldn't if I were you. Why not? Because if you must know she left his father, ran off with another man. No. Oh, I don't believe. There was a divorce and Mr. Brandt had to give evidence. He was only 12 years old at the time. How dreadful. Yes, miss. You will find my master is a strange, dark man, but not unkind. No, in his way, not unkind. Those first few months for the loneliest I ever spent. The whole house seemed to resent my presence. Nicholas would limp about leaning on his cane and looking right through me as if I weren't there. Rare occasions he'd send for me. That's a letter, Francesca. It's from the school you attended from a miss Duncan. Oh, oh, you know what she has to say about you? Perhaps you open the letter yourself. Oh, no, no, no, I didn't. Well, then let me tell you, she says your intelligence is above average. You agree? I don't know. She goes into some length about your shyness. Are you shy of me, Francesca? A little. Why? I won't eat you. I know, but I, I, but what? Nothing. No. Francesca has an extraordinary talent for music. She plays the piano extremely well and has an appreciation of music far beyond her years. Why haven't you told me that? I didn't think it would interest you. Indeed. Well, there's the piano. Sit down. Play something. Oh, I can't. Why not? Oh, please don't ask me. Do I can't? Play something. No, I can't. I won't. Very well. I'll play for you. I wanted so much to play. Suddenly, I seemed to lose my fear of him. I sat beside him. I started to play. I played. I thought I saw Nicola smile. Then he walked from the room and I could hear the tap of his cane even above the music. Nicola's made me practice five and six hours a day. He was always beside me now, listening to everything I did. He hammered at me. He was a slave driver, but a wonderful teacher. He knew instinctively how to get the best out of me and he knew more of the spirit of music than anyone I'd ever met. For two years, he taught me. One night after dinner. All right, all right, all right. That's enough. Yes, yes, Nicola's. The time you had some proper training. I've arranged for you to start at the Royal College of Music. Oh, Nicola's. You'll report at 10 o'clock tomorrow morning. I've arranged... Oh, dear, Nicola's. What do you think you're doing? Don't ever do that again. What had you done, Francesca? What made him so angry? In my gratitude, I... I'd put my arms around him. Larsen, why am I telling you this? Because you feel better having said it. Yes, yes. You went to college the next morning. But even before I left the house, Nicola had gone. Parkett said it was a business trip. He would be away for months. I was far too busy at college to worry about Nicola's. I met Peter. Who was Peter? Where did you meet him? At a little Italian café where most of us went for lunch. I had just finished eating when I felt someone staring at me. You know, you're working much too hard. I like work. I like ravioli, but I don't eat it all the time. Now, come on, put that book away and we'll go for a walk. Oh, no, no, thank you. Oh, come on. Come on. It was like that. He was an American working his way through college by playing with a dance band at night. The next evening, he took me to the night club. I sat at the table whenever he could get away. He would come over to me. You know, Francesca, there's practically nothing wrong with you. Thank you. You're a bit of a prick, but that's just the way you've been brought up. Oh, you're extremely rude. I suppose that's the way you've been brought up. I was dragged up. I know it. I think I better go, Peter. I can get a cab. You always run away. Well, it's late and I have some important things to do. Now, how often do you take the evening off and go to the movies? Oh, never. I don't like films. Oh, but you should. They take you out of yourself. For instance, a movie about a poor, struggling musician. That's me. He meets a rich girl. Snooty, that's you. You know what happens? What? She's cold, unattainable. But underneath it all, she's really falling for him, see? No. No? Oh, well, that's because you never go to the movies. You know what happens next? No. He just leans forward and kisses her. Why did you do that? You know what she does? She walks right out of the place, leaving him looking like a dummy. Well, that's exactly what happens. But that's only in the movies. In real life, it's different. He just leans forward and kisses you like, like this. Oh. Do you know what you do? I certainly do. Good night. But you saw Peter again, Francesca? Yes. Of course. I avoided him for a week. And then in the same little Italian café. You know, this happens in the movies, too. The Peter? After the rich girl walks out and the poor musician, they're both awfully unhappy. And after a few days, they both take to haunting the spot where they first met. Why? Because by now they're getting pretty hungry. Mariani! Hey, two raviolis! Oh, but I am not hungry. Raviolis are for me. Don't you realize I've been so miserable I haven't eaten for days? I wish I could be angry with you. I wish I could. You can smile. What? It's a beautiful smile, Francesca. We saw a great deal of each other. He took me to so many wonderful places I forgot about Nicholas. He was still away. I was quite unprepared for his sudden return home. Good evening, Francesca. Oh, Nicholas. Why should you be surprised to see me? I just didn't know you were back. Parker says you dined out this evening. Yes, yes, I did. You look pale. Perhaps if you stayed at home more often, you'd have better color. Have you been working too hard? No, I don't think so. Well, aren't you going to play for me? Yes, of course. If you'd like. I asked you to play. If you can't think of anything better, play a chromatic scale. Only spare me that trash. Yes, yes, Nicholas. Want me to meet you here in the park, Francesca? What's the matter? Oh, nothing. Peter, do you know why I broke our date yesterday? Uncle Nicholas again? No. No, I went to the movies. Who with? I myself. Oh. It was very interesting, Peter. He was all about a girl who knew that a boy loved her, but had the courage to ask her to marry him. So she decided... Are you listening? I... Well, sure I'm listening. Well, she decided she would have to ask him herself. And did she? No. At the last minute, her courage failed her. Peter, my courage hasn't failed me. I want you to marry me. Francesca? Well... Well, what do you know? Well, Francesca, what happened? That night, Dr. Larsen, as I waited for Nicholas to come home, I told myself there's nothing to be frightened of. He cannot do anything. And then I heard the click of the latch and the tapping of his cane. Still up, Francesca? Isn't it rather late? Nicholas, I must talk to you. Can't wait till morning, hmm? It's important. Well? I... Oh, I don't know how to start. Nicholas, I'm engaged to be married. Oh? Well? Good night, Francesca. Did you hear what I said? Perfectly. And now, if you'll excuse me, I'll look at my mail. Oh, but you don't understand. I've found a man I love, and I'm going to marry him. Go to bed. Wait. Pack your bags. We're leaving for Paris in the morning. Please, please, please. Carry on with your studies. I don't care whether it's nice to me or must you always treat me as if I were a child? Because you are. I am not alone. How old are you? I said, how old are you? 17. And until you're 21, I'm your legal guardian. Do you understand what that means? No. It means that you can't marry without my consent. You can't leave this house without my consent. If you do, I can have you brought back by the police. Now stop crying. My duty to see that you behave yourself properly and don't make a fool of yourself. Is that clear? Is that clear? Yes, yes. And get upstairs. Cars will return with act two of the seventh veil in a moment. Libby, maybe you could settle a private bet. I say Betty Grable wears stockings in her new picture when my baby smiles at me and a friend of mine says, no, it's a slick makeup job. Well, you collect, John. Betty had a dozen super sheer nylons, especially made for the picture. They were so fragile, they looked just like a puff of mist. Betty's legs certainly look trim in those dancing scenes with Dan Dayling. Aren't those two a swell team? Oh, one of my favorites. Dan is wonderful as a charming, lovable, undependable hoofer. And Betty gets a chance at real drama, too, in this picture. And what costume she wears in when my baby smiles at me. Aren't they fabulous? Yes. Yet even expensive washables, like those dreamy nylons, were cared for the same easy way girls everywhere care for nice things. With gentle luck flakes. Those new tiny diamonds of luck are perfect for stockings, aren't they? They suds up fast and make wonderfully thick suds, richer suds that get stockings clean in a jiffy. And they're so mild and gentle, they're safe for the most delicate nylons. But what girls really love is the way these tiny diamonds make nylons last longer. Strain tests have actually proved they do. Stockings washed with luck flakes lasted twice as long as those washed with a strong soap or rubbed with a cake soap. So take a tip from Hollywood. Give your Christmas nylons luck flakes care. If you want to get the wear of an extra pair from every pair under the Christmas tree. Back now to our producer, William Keely. Act two of the seventh veil starring Ingrid Bergman as Francesca and Robert Montgomery as Nicholas. 24 hours ago, Francesca Cunningham attempted to take her own life. Now under the influence of a drug, she continues to bear the secrets of her much troubled mind. So Nicholas took you to Paris? Yes, Dr. Lars. It was seven years before I saw Peter again. Seven years of music. Paris, Vienna, Rome. Seven years of Nicholas planning my life, turning me into his dream of a concert pianist. Wherever we went, we were always alone. When I longed for some sort of diversion. Of course you can't play tennis, it would ruin your hand. He was always reminding me my hands. You're not careful enough Francesca. Just remember your hands are your only real asset. My hands. Never risk harming your hands. Take care of them. My precious hands. Take care of your hands. Your hands. Your hands. At last Nicholas decided I was ready for my first concert. It was in Venice. Nicholas had bought me the gown I was to wear. He had hired the maid who hovered over me. And now he was teaching me how to bow. No, no, no, no, no, no. Spread your skirt Francesca. Let the knee drop right down. Now try it again and for heaven's sake smile. Yes, yes, Nicholas. And remember that first you bow to the conductor, then to the audience. You have a handkerchief. Yes, Nicholas. Too much to hope that you'll be calm, but you'll ruin your chances if you rush. Take your time and when you're quite ready, nod to the conductor. Yes. Turn around now. Let that gown. Anna. Yes, sir. Look at the way that hem is hanging. Fix it at once. Yes, Mr. Brandt. I, uh, I ordered some flowers for you, Francesca. You may like to wear them. A small soft corsage of yellow roses. You may think that roses are... How dare you barge in this dressing room? Oh nonsense. I don't know who you are, but I happen to be an old friend of Miss Cunningham. Francesca. Susan. Susan, my dear. How clever of you to remember me after all these years. And it's not Brooks anymore. It's Krobotowich. Horrid name, isn't it, darling? I'm married. Susan. Oh, excuse me, Mr. Nicholas Brandt. Mrs. Krobotowich. Francesca and I are at school together now. Yes, in 20 minutes, Miss Cunningham is giving a concert with you. Darling, imagine you were concert pianist. I saw your name on the billboard, and I said to my husband, he's my second. I said why I was at school with that girl. And I told him that screamingly funny story about how you failed to get the scholarship, remember? We were out catching frogs or butterflies or something, you came back late for chapel. Of course it was all my fault, but Duncan insisted on caning your hands most rightfully. Imagine you failing to play the piano well enough. Oh, well. What's the matter, Francesca? Something wrong? No. No, it's nothing, Nicholas. Did I say something I shouldn't? Oh, well, I mustn't interrupt. Goodbye, darling, astonishing luck. Don't forget the concert that night terrified me. Seeing Susan again, reminded again of that day in school and my hands, how raw and clumsy they were. I wondered how I could possibly get through my final number. My hands. I could almost see my fingers swelling as I played, and Nicholas staring at me from the wings. What's the matter with her? That look on her face, I, perhaps, perhaps she's a little nervous, Mr. Brown. That's ridiculous. She's been playing beautifully. She's crying. Look, tears, tears on her face. She must be ill. It's her final number. We'll forego the encore, but she must finish. She must be a success. Oh, Francesca, but you had better bow again. Go back on stage. No, I can't, I can't. Miss, Miss Clayton. Oh, Mr. Brown. Mr. Brown, she's fated. The concert was a success, Dr. Larsen. As for my behavior, I, I can't account for it. There was nothing wrong with my hands, and I had played well. That's their meme. All this time, you never saw Peter. No, I managed to write to him. I came from Paris, but the letters came back, marked gone away. Somehow I didn't mind. I knew that one day I'd be back in London again, and that I'd find Peter waiting for me. A few months later, I was giving a concert in Copenhagen. During the mission, Nicholas opened the door of my dressing room. He always came in without knocking. I neglected to tell you at dinner, Francesca, that the cables come from London. They want you next month, Albert Hall. Do you want to go? Why ask me, Nicholas? You usually settle these things yourself. If I do, it's only to spare you the trouble. You know you can do exactly as you please. Can I, Nicholas? Can I refuse this offer, then? If you wish, certainly. No, I, I think I should like to go. Then I'll let them know you've accepted. That same night, after the concert when Nicholas came for me, we knocked at my door. Oh, it was the first time I ever remember his doings, though. It was a magnificent performance, Francesca. Magnificent. Now, if you're ready, we, we could have some supper at the Viking. If you like, Nicholas. We could go to the rotunda if you prefer. No. No, the Viking will be fine. Francesca, you told me before I, I never consulted you on anything. Oh, it doesn't matter. Yes, it does, it does. If I haven't done so, it's only because I've wanted your life to be as smooth and as easy as possible. But, Nicholas, I... Let me finish, please. I've devoted years to converting a very ordinary girl in pigtails into a first-class artist. I've given up everything to help your career, and yet I make no demands on you at all. Yes, Nicholas. You're completely free to come and go, as you please. Yes, Nicholas. That's understood then. Good. Now, I've, I've invited the Baron Von Ullmann to dine with us. He'll meet us at the Viking. Oh, tomorrow after lunch, and there'll be a little reception at the Burger Masters. I've told them you will play one selection and no on-cause. Yes, Nicholas. We'll leave for London on Saturday. Come along, Francesca. We shouldn't keep the dine waiting. London again. Peter. Peter. How stupid of me, thinking with such assurance that he would be there. He wasn't even listed in the phone book. Maybe he would, we would still be playing with that, that orchestra. I went from nightclub to nightclub. What else could I do? People seem to know his name, but where he was, they couldn't say. It was very late when I got into a taxi cab to go home. Then, suddenly, the cab stopped for a traffic signal. I looked out the window and there, in front of a café was his picture. Here, for a limited engagement, Peter Fulton and his orchestra. You found him then? You saw Peter that night? Yes. I found him, Dr Larsen. I don't want to talk about it. You can tell me. I don't want to talk about it. I don't want to talk about it. Will you tell me about Max then? Max? Yes, Max was Layton. Max. We were still in London. Nicholas and I. I was standing outside the door of his study, listening. You didn't know I listened at keyholes, did you, Dr Larsen? That's what Nicholas did for me. Let me come to the point, Mr Layton. In my opinion, you're the finest painter in London. I'd like you to paint a portrait of my ward. I'm flattered, Mr Brandt, but I don't paint portraits anymore. Besides, I've never met your ward. Oh, that can be remedied. She's not unattractive. I'm sure she's lovely, but no portrait. It would interfere with my serious work. I'm greatly disappointed. I had my heart set on it. Good evening. Oh, Francesca. This is Max Will Layton, my ward, Miss Cunningham. How do you do? How do you do? I've often heard you play, Miss Cunningham. You see, I have all your records. How kind of you. I was just suggesting that Mr Layton do your portrait, Francesca. Oh, but I don't care to have my portrait painted. I beg your pardon. Why not? It would interfere with my serious work, Mr Layton. Good night. But Max Will Layton did paint your portrait. I'm sure I saw it reproduced in some magazine. Yes, you did, Dr Larsen. At the start, I was rather coy about the whole idea. Finally, after Max persisted, I consented to let him sketch me while I practiced. His interest in me was very satisfying. So when I discovered I'd become quite fond of him. What was our bargain? That I could come here and sketch you so long as it didn't interfere with your work. But you would much prefer if I sat for you properly, wouldn't you? Naturally. With my hands and arms and head all arranged in a striking form. Yes. Are the strict orders not to move a muscle unless you say so? Yes. Would you still like me to do that, Max? I would love you to do that. Well then, I will. Max came to the house day after day. One afternoon after I had posed for hours, he said. Well, I think you can rest now, Francesca. Thank you. Would you like some tea? No, no tea. You'd much rather get back to your piano. I doubt if I'll ever be able to play again. My neck is so stiff I couldn't see the keyboard. It's a lovely neck, Francesca. Everything about you is lovely. Oh. I thought I was the ugly duckling in your gallery of beauties. No, you're not. You're... Where? But you really know. Of course. You're the most beautiful woman I've ever painted. Not because you're beautiful, but because I'm in love with you. Oh, you shouldn't have said that. That's the most natural thing in the world to say. No, no. I hate love. I hate being in love. I never want it to happen to me again. You might as well be dead then. I'd rather be dead than go through what I've been through all over again. I thought I'd put a fine high wall of music around me that I was safe and secure, and now you come along and knock it all down. I hate you for doing that. On the contrary, you love me. Maybe I do. I don't know. In any event, you won't have to pose anymore. The portrait's finished. Finished? Oh, let me... It's very good, Max. I hate to think of Nicholas having it. Why? Because it looks right through me. And I don't want to think of Nicholas being able to do that. You're frightened of him, aren't you? I will say it's absurd, but Nicholas has some extraordinary power over me. Then why do you stay with him? I don't know. Let's not talk about it. What are you going to do now? Take a holiday, Italy, I suppose. Got an old tumble down villa there, down a bay. Very quiet, very restful. That sounds lovely. Will you paint? Francesca, must we keep on pretending? Come with me. I'm in love with you and you love me. I'm asking you to marry me. I'd be a poor wife, Max. I don't believe it. Let me risk that. I'd like to marry you. Very much. For the second time, Francesca, you went to Nicholas? You told him you were going to be married? Yes, Dr. Larsen. But how can you think of such a thing? I won't listen to another word. I don't care if you listen or not, Nicholas. I don't care what you say or what you do. Francesca. It's no use. I'm grateful to you for some of the things you've done for me, yes, but I'll never forgive you for some of the others. Anyway, I'm going away with Max next week. Please don't try to stop me or make me change my mind. Is that clear? Quite. I have nothing more to say. Francesca, I haven't deserved this up. I've given you everything I have. My love and sympathy. My life hasn't been a happy one. You are the one beautiful thing that has come into me. Please listen, Francesca. Please stop playing. You're my life's work, and now you want to throw it all away. Listen to me. You'll do as I say. And I demand you give this man up, Francesca. This happened once before, remember? You didn't love that boy and you don't love Leighton, and I'll tell you why. You belong to me. We must always be together. Promise you'll stay with me always. Promise me. I'm leaving this house tonight. Very well, if that's the way you want it. Very well. But if you won't play for me, you'll never play for anyone else ever again. Well, I've had beaten my hands with his cane. Over and over, he struck them. And finally I found the strength to rush out of the house. Max had just driven up. I got in his car. We drove for what seemed to be ours through the cold, starless night. One thought alone kept stabbing through my mind. I'm free of Nicholas. I'm free at last. Nothing can touch me again. Nothing. And then, suddenly in the road, there was a man on a bicycle. We were going too fast. All Max could do was swing over into the ditch. I woke up in this room, in this bed, Dr. Lars. I looked at my hands. They were bandaged. And I couldn't move them. I couldn't move my hands. I knew then I would never play again. All right, you're going to be all right. Why didn't you kill me properly, Max? It was an accident, darling. But I'd rather be dead. I'd rather be dead. Dr. Kendall says you'll be up in a day or two. Look at my hands. They've been burned, but only slightly. I don't believe you. Francesca, well, ask the nurses. Ask the doctor. I don't believe them either. They just want me to be quiet. But I know. I know I shall never be able to use my hands again. Francesca. No, don't touch me. Don't touch me. I wish I were dead. I wish I were dead. We pause now for station identification. This is CBS, the Columbia Broadcasting System. Before we continue with act three of the seventh veil, I want to introduce a special guest, attractive honey blonde, June Fulton, who has just arrived from South Africa, where she won a screen test. What have you been doing since you arrived, June? Well, first of all, I found a place for the lion cub I brought with me. Since then, I've been spending a bit of time in the projection room at Universal International. And what have you seen that you like? Well, I loved You Gotta Stay Happy. June Fontaine and Jimmy Stewart are so wonderful in comedy. Joan's own company, Rampart Productions, produced the picture you know. Yes, I'm amazed that so many American actresses are equally clever in business. I'm sure you toured the studio from end to end. Oh, yes. And the first thing I asked to see was June's original wardrobe for You Gotta Stay Happy. A wardrobe that must have impressed you? It certainly did. Particularly a blue satin lounging ribbon matching pajamas that I had a daughter have. But I never dreamed they were practical until the wardrobe mistress told me that they'd actually been luxed. Joan Kennedy here can tell you many stories like that. We have luxe flakes in South Africa, you know. Ah, but wait till you try these new tiny diamonds of luxe, June. They're so much faster. Dissolve the instant water touches them. And so much richer, the suds last and last. They do more for you, too. Remove kinds of soil which other suds can't. Leave things cleaner and fresher. I must say the colors in Joan's pajamas still look lovely. Naturally. Because luxe things stay color fresh longer. Hollywood studios won't risk strong soaps. They often fade colors. But the same colors stay lovely three times as long with gentle luxe flakes care. Actual tests prove that. Then I needn't feel extravagant if I buy a lovely thing. Not a bit, if you luxe them. That way you can have three times as many pretty undies without spending any more. Thank you for coming tonight, June Fulton. Now, here's our producer, Mr. Keely. The curtain rises for the third act of the seventh veil starring Robert Montgomery as Nicholas and Ingrid Bergman as Francesca. It's a few minutes later. Dr. Larsen, the psychiatrist, has left Francesca sleeping quietly. Apparently he's learned all that he can from her. Now in Dr. Kindle's office. The accident that brought her here in the first place, Dr. Kindle, the one in which her hands were burned. This happened a week ago? Yes. Somehow she got the idea she could never play the piano again. That accounts for her attempt at suicide yesterday. This, uh, this Max Layton. Where is he now? At the moment, I can't say. But he's here almost constantly. Well, there's nothing more I can do today. I'll be back in the morning. There'll be no injection tomorrow, Dr. Kindle. No narcosis. Uh, you have a solarium here? Why, why yes, Doctor. This may seem strange, but I'd like a piano brought in the solarium, a good piano, and a phonograph. You see, Dr. Kindle, I have hopes that tomorrow morning, Miss Cunningham will play again. Where we're ready for you, Dr. Larsen, Miss Cunningham's in the solarium, and the piano, and the phonograph. I don't mean to be mysterious, Kindle. Now, here is the case history of Francesca Cunningham. As a child, the caning at school resulting in her failure at the music examination, and the fear that her hands might be injured. The recent attempt by Nicholas Brandt to smash her hands, again, with a cane. Finally, the car crash. The shock of waking up in a hospital with her hands bandaged. All these things have built up a barrier. Yes, which led her to attempt suicide and will continue to prevent her full recovery. And you intend to break down this barrier now. I have hopes. I would put her under hypnosis. Now, with the phonograph, with the help of music, which we know she loves, I am going to suggest to her a way to break through this barrier. If I can make her play the piano, I shall wake her up while she is actually playing. Then she will know there is nothing really wrong with her hands. I brought some records here made by Miss Cunningham a few years ago. I propose to play one of them in a few moments. Francesca, can you hear that music? It's beautiful, isn't it? She's hypnotized? Yes, she'll do exactly as I wish. Francesca, would you like to play this music yourself? There's a piano here. Play? I can't play. Of course you can if you want to. Do you? Yes. Good. Now get up from that chair. Give me your arm. We'll walk over to the piano here. That's fine, Francesca. Now sit down. Put your hands on the keys. Your hands want to play. Try, Francesca. Try. My George, please. Under hypnosis. Now to Rouse to bring her out of it. Francesca, you are playing now of your own free will. Your hands are not injured. There is nothing wrong with your hands. You are playing. There is nothing wrong with your hands. You're helping her eyes, Doctor. Why have you come here, Dr. Larson? Mr. Ladin, because Dr. Kendall tells me you've removed Miss Cunningham from the sanitarium. Yes, she's here in my home and I assure you under adequate care. I feel it is my duty to go on treating her, Mr. Ladin. I know what you did to her at the sanitarium this morning. I insisted that Dr. Kendall tell me. Even you must agree that she's suffered enough. She will continue suffering until she has cured. Cured? With drugs? Hypnotism? Your kind of treatment is likely to unhinge your mind altogether. Does Nicholas Brandt know what's happened to Miss Cunningham? No, he does not. There's been nothing in the newspapers. As far as he knows, she and I are in Italy. How is she now? Very well, thank you. Mr. Ladin, please, this is all wrong. I can help Miss Cunningham. Would you object if I saw Mr. Brandt if I asked his permission? Not at all. Legally, he's no longer her guardian. If he thinks he is, you might tell him that Francesca and I are to be married next week. I assume she's agreed to marry you? I think you can assume that she will agree. Mr. Ladin, that poor girl is in no condition to make up her mind on anything at the moment. I warn you, what you are doing is very dangerous. Good night, Dr. Larsen. Good night, Mr. Ladin. Ladin, I came directly here, Mr. Brandt. What you have told me is a great shock. I thought Francesca was in Italy. I didn't come here to advise you of Francesca's condition or her whereabouts. It's quite possible she'd rather you didn't know. I came to ask a favor. What is it? I have a phonograph record here. It's a piece of music which has assumed some importance in this case. If you'd listened to it, perhaps you could tell me if it has any sentimental association, any connection with someone she knew. There's a phonograph played if you want it. Thank you. Don't expect me to know anything about Miss Cunningham's private affairs, Dr. Larsen. It's always possible. You dropped your cane, Mr. Brandt. Get out! You have helped me after all. I've been aware of the power you had over Miss Cunningham, but now I know why. I know what she means to you. Get out! I don't care if you are her nurse. I demand to see Miss Cunningham. I'm Nicholas Brandt. I'm her gardener. If Mr. Ladin were at home, sir, I could... Where is Mr. Ladin? He'll be back shortly, and if you get away... I'm going in that room. I'm terribly sorry, Miss Cunningham. He just forced his way in. It's all right. Yes, Miss Cunningham. Whether you forgive me or not is of no consequence. I'm not stupid enough to expect forgiveness from anyone except myself, and I'd never forgive myself if I allowed you with Guhan like this. You know there's nothing wrong with you, don't you? You can be cured quite easily. You can play again if you want to. No. I don't know. I don't think so. Larsen can cure you if you give him a chance. Ladin doesn't want him to. He knows it would mean he'd lose you. I'll never play again. If you don't, it's your own fault. My fault? It's no use brooding over the past. It's your future you should be thinking of. I have no future. Larsen can give it back to you. He tried, and he failed. Larsen failed to work a miracle, so he's not to be given another chance, as that is. Yes. Won't you let him try again? No. For me? No. You're the most absent-at-woman I've ever known. Do you remember the first time I asked you to play for me? You were stubborn as a mule even then. I was frightened. Am I such a frightening person? Yes. You're not frightened now. You're smiling. Yes, it's funny. It really is. It's so, so different when you're being kind. When you're like this, Nicholas, I'd do anything for you. All you've got to do is to make up your mind. Larsen will do the rest. I can't, Nicholas. I have tried. Look at me. Yes. I tell you there's nothing to be frightened of ever again. Nothing to be frightened of ever again. You really want to play, don't you? Yes, yes. I do, Nicholas. Then you will see Larsen. Yes, I'll see Larsen. I'll phone for him right away. The phone's just down the hall, Mr. Brand. Clayton. I just returned. I overheard. It's all right. I'll phone Larsen myself. You can't come now. No, I have to. That's ridiculous. You can't drive for there any time. Glad to meet you, Dr. Larsen. But frankly, I can't imagine what you'd want to see me about. How about a patient of mine, Mr. Fulton? Francesca Cunningham. Francesca? She's in great trouble. I see. The last time Miss Cunningham saw you, she hadn't seen you in years. By chance, she found you. What happened that night, Mr. Fulton? I'm nothing. Nothing at all. Something must have happened. Oh, I told her I was married, if that's what you mean. How did she take that bit of news? She just walked out on me. She is like that, you know. Had she ever met your wife? Not that I know of. We were divorced two years ago. I'm sorry. Mr. Fulton, there is a tune she seems to have associated with you, a waltz. I believe it was played in some Italian café. Yes, I even had my band recorded a few years ago. I had some wild hope at the time that Francesca would hear it. It might help bring her back to London. You have a copy of the recording? I can get one. Would you bring it to this address, Mr. Fulton? That's Nicholas Brandt's address, isn't it? Yes. Can you be there at five o'clock? But, well, yes, yes, of course. Mr. Brandt will be there also at Mr. Layden. I won't detain you long. I'll be there, Doctor. Mr. Brandt, who is he? Who is that man upstairs with Francesca? You think Larson might have told me? His name is Peter Fulton. What's he got to do with Francesca? He's a man she once wanted to marry. Why crack your knuckles, Mr. Layden? It won't help you. What's that music? It's a tune that seems to have some meaning. Whiskey, Mr. Layden? Please. Parker Whiskey for Mr. Layden, please. Yes, sir. But wait. Here he comes. Well, Mr. Fulton? Well, what? Did anything happen? But I'm trying to figure out myself. Is she all right? What did Larson say? Well, I guess it all adds up to something. Larson's way ahead of me. What's the good of turning back to clock anyway? I'd never did anyone any good. I wouldn't be too sure of that. Have a drink? Thanks. I got two whiskeys, Parker. Listen, Francesca, isn't it? Yes. What record is it? Another record. Francesca playing. She always had a piano up in her room. She plays beautifully, doesn't she, gentlemen? Dr. Larson. Good night, Francesca. May I go up now, Doctor? It would be a pity to interrupt her. Doesn't she want me with her? Perhaps. What do you mean, perhaps? I mean, I think I can promise you a complete cure. Thank heaven. But you'll have to prepare yourselves for a new Francesca. A new and very different person. In what way? You see, the past is over for her now. Quite over. Her mind is clear and the clouds have been swept away. She is no longer afraid. Whether you will be entirely satisfied with the change in her, I don't know. It might be wise not to expect too much. Are you trying to tell me... I'm trying to tell you she will want to be with one of you three men. The one she loves, the one she has been happiest with, or the one she cannot do without. The one she trusts. And who is that? It would hardly be fair of me to say. She's star-playing. Yes, she's coming down the stairs. She... Nicholas! Mr. Layden, since you two gentlemen are leaving now, perhaps one of you will give Dr. Lawson a lift home. Stars will return for their curtain calls in a moment. You know Libby, I like this California climate, but I do miss a white Christmas. I get a big kick out of seeing fir trees in the woods with fresh snow on their branches. Well, if that's all you want, you can have a white Christmas tree right in your own living room. It's easy. Move in a ton of ice to keep the snow from melting. No, you make the snow with luxe flakes. Just take a large box of luxe flakes, add gradually about two cups of lukewarm water, and beat with an egg beater until it's the consistency of a thick whipped cream. Then spread this mixture with your fingers over the branches of the tree. Let the snow dry before you add your lights and other decorations. Say, how about that's pretty when the tree lights are on? Oh, it is. Once you need put very little else on the tree. A thrifty idea. And this special kind of snow won't melt. Lasts as long as the tree. Well, wouldn't that be a good idea for mantle decorations or table centerpieces too? Well, it certainly would look festive and original. Ask your dealer for easy to follow directions for luxe Christmas snow. Even the children can do it. Try this Christmas snow on your tree this year. It'll be the talk of the neighborhood. We return you now to William Keely. This is an evening that will be long remembered in the luxe radio theater. And returning to the footlights now are our stars, Ingrid Bergman and Robert Montgomery. Ingrid, since your last appearance on this stage, one of the most eagerly awaited pictures of our time has reached the screen. And we'd like to add our congratulations to all the others on your magnificent performance in Joan of Arc. Thank you very much, Bill. You look so beautiful in armor, Ingrid, that it may start a new style. I'm afraid it's a little heavy for every word they word about. But it's always been the ambition of my life to play Joan of Arc, and it was a tremendous thrill to have it come true. But a bigger thrill for the people who see the picture. Bob, we're delighted to welcome you back to Hollywood after a summer among the rustic charms of your farm in the east. Just the time of year I hated to leave too, Bill. It snowed the day after I left. I know what you mean. But New York won't mind if this means another picture like June Bride. You and Betty Davis made a great comedy team. What about the next week's play, Bill? Is that a comedy? It's a comedy, all right, Bob. But more than that, it's one of the finest Christmas stories ever told. In fact, by now it's a classic. The stars are Marino Hara, John Payne, and Edmund Gwynne. And the play is that prize holiday package, Miracle on 34th Street. This is a story for everyone, but particularly for all the children in America because Miracle on 34th Street is the story of a gentleman who'll be here in person, Santa Claus. With Santa Claus as the star, you're sure to have a wonderful play, Bill. Good night. Good night, Bill. Good night, and thank you both. Leave our brothers company, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening. When the Lux Radio Theatre presents Marino Hara, John Payne, and Edmund Gwynne in Miracle on 34th Street. This is William Keely saying good night to you from Hollywood. The concert pianist heard in the seventh play was Ignaz Hilsberg. Heard in our cast tonight were Bill Johnstone as Dr. Larson, Carlton Young as Max, and George Neese as Peter. 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 Marino Hara, John Payne, and Edmund Gwynne in Miracle on 34th Street.