 From Hollywood, California, the Lux Radio Theatre presents Betty Davis and Joel McCrae in Forsaking All Others. Lux presents Hollywood. We're always glad, ladies and gentlemen, to hear how you like our program. We enjoy your letters, and when you tell us of your purchases of Lux toilets offers an indication of your appreciation, we're delighted. It is your enthusiasm for our products that makes this program possible. Starred tonight are Betty Davis, Joel McCrae, Anderson Lawler, and Leona Miracle. Miss Kathleen Codlin of Paramount Studios is also here to tell us about fan magazines and the stars. Lewis Silvers conducts our orchestra, and opening our program is your host and producer. Ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Her mother called her Ruth Elizabeth. Her childhood companions called her clothes hanger. And the world calls her bet, but should call her Betty Davis. One of the most engaging and talented dramatic actresses in pictures, she has large blue eyes, blonde hair, and weighs 105 pounds. She likes to net, and has been a wizard in the kitchen, ever since she won first prize for her coconut cookies in a contest sponsored by the New York Public Schools. Given her first opportunity on the stage, she almost ruined her chances by catching measles. But Hollywood sent for her in haste, and dropped her in haste. Then when she was actually leaving for New York, recalled her and gave her another chance. For Warner Brothers, she made one of the oddest screen tests on record. She had to show the studio how she could handle a fervent kissing scene, but they wouldn't furnish a man for demonstration purposes. So she kissed the air with such sincerity that it won her the part. She's played a southern girl before on both stage and screen, but she learned the accent all over again this time with the Louisiana flavor for her new film, Jezebel, in which for the first time in pictures she sings. To her a good part is more important than a sympathetic one. Tonight we present this distinguished young actress in another fine role. That of Mary Clay in Forsaking All Others. The stage and screen hit by Edward Robert and Frank Cavett. Co-starred with Miss Davis is Joel McCrae, whose latest hit is the current Paramount picture, Wells Fargo. In the film, Joel rides the male. In real life, he rides the range. Joel's home is far out in the San Fernando Valley. A thousand-acre trek, where with his wife, Francis D., he spends his time between pictures raising cattle and horses. Joel is no pseudo cowboy. Drive by his ranch and you'll see him in dusty overalls, rounding up the doggies with as much precision as the sombreroed horsemen who call him boss. Joel lays aside his shafts and spurs, however, and comes to us tonight in the role of Jefferson Tingle. Anderson Lawler, who created the part on Broadway, is Dylan Todd, and Leona Maracle plays Constance Barnes. Now for the play. The Lux Radio Theatre presents Betty Davis and Joel McCrae in Forsaking All Others. Park Avenue in New York City. A taxi cab darts in and out of the afternoon traffic. Clicked hubcaps with a parked limousine and swerves to a screeching stop in front of a red light. Jeff Tingle in the back seat of the taxi cab leans forward and taps politely on the window. Our driver. Yeah? You know, I didn't think you were going to make that. I didn't need her for a minute. Pretty good brakes on each of your cabs, though. They always work, I suppose. Oh, sure. Yeah, you know it, we saw you. Oh, no, no, I wouldn't care for myself. But there's a lady back here who's going to be married tomorrow. If it's all the same to you, she'd like to be married without splints. I get it. Congratulations. Thank you. Very neatly put, Mr. Tingle. I thought so myself. I'm sure the driver thinks that you are married. No. Of course he does. Maybe I'd better tell him. Do you think he could stand it? I don't know. Probably better than I can. Jeff, you haven't the secret sorrow, have you? Tell me about it. Well, I'm the old-fashioned type, I guess, but I don't believe in the groom's best friend going shopping with a bride-to-be. You know, I've always felt that the best man shouldn't even see the bride until they meet at the altar. Is that all? I thought you were going to confess you've been hiding a secret love for me. Oh, no, I couldn't do that. Have a secret love for me. That's a leading question I refuse to answer. I'm disappointed. Think how dramatic it would be. Mary, I have been silent long enough, but now on the eve of your wedding to Dylan Todd, I must tell you, I love you. And I hope you'll be very, very happy. Oh, Jeff Tingle, why didn't you speak sooner? I couldn't, I had laryngitis. You're happy, aren't you, Mary? Very. Good girl. Well, this is it. You're coming up, aren't you? Well, I thought I might get back to the office. Oh, come on, everybody will be there. I invited the whole crowd. All right, go ahead. I'll see you upstairs. I'll leave the door open for you. What's the tariff, Chief? It's $20. Lady Shoe looks happy, don't she? Uh-huh. Great stuff this marriage business. I got two kids myself. Oh, is that so? Yeah. You sure got a nice girl. Well, that's nice of you to say so. Lonesome Tingle, they call me. Always the best man, but never a groom. What you got, huh? You can keep the change. What else did I show you? Hello, is this? Oh, hello, Miss Cramer. This is Mr. Tingle. Everything all right down at the office? Ah, it's fine. Say, did anybody I know buy or sell anything today? Oh, well, thanks, Miss Cramer. I don't know what I'd do without you. Jeff, Jeff! Just a minute, Paula. Did you take care of the flowers? All right, Miss Cramer. Goodbye. What's the matter, Paula? What about the flowers for the church? It's all attended to. You worry too much. Well, I can't help it. No one else around here seems to bother about a thing. I was a friend of Mary's mother. I'm just trying to do my duty to her as if she were my own little girl. Who, Mary's mother? Why not? Oh, some people, Jeff Tingle, make a wedding very difficult to manage. Well, personally, I like the way Mary's managing her wedding. I think I'll let her manage mine. Jeff, Jeff, look at this. Hello, Dottie. In the newspaper, look. It's Constance Barnes. What? What about it? What's the matter, Dottie? Constance Barnes. She's back from Europe. Listen. Also included in the first cabin list were the so-and-so's, the empty pool, and Miss Constance Barnes. She docked this morning. Well, the woman has a right to come and go. You needn't get so excited about Constance Barnes. Mary might. Mary knows all about her. Who is she? Nobody take my word for her. She's somebody take my word for her. Well, hardly a person who consider at this particular time. Everybody knows that little story is ended. Ended happily with no hard feelings. No, I think we needn't say anything to Mary about it. Say what, Paula? Oh. Oh, well, nothing, Mary. No, nothing. She'll probably find out anyway. Dottie, Winters, I'll ring your neck. How'd I find her? What's she talking about, Jeff? Connie Barnes is back. Got in today. It's in the paper. My right. The dark lady in Dylan Todd's life. I don't think it's so funny. No, Paula, you poor dear. I'm very proud of her. Oh, you're not fooling me, Mary. You don't like her. You can't. I don't know her. But she is a definite proof of Dill's importance. If Dill had to be led around by his distinguished nose for a while, I'm glad the lady was as elegant as she is. Now, you make Dill toe the line. And no more nonsense about admiring women who steal other women's husbands. I hope you men see what weak, miserable creatures you are. Yeah, I'm beginning to. How about you, Jeff? Oh, I always knew. Miss Mary, these flowers just arrived for you. Two boxes at once. Hmm. Thank you, Denton. Yes, Miss Mary. Open one, will you, Chef? Sure. Look, Jeff. Orchids. Orchids. Orchid and weeds just to cover up a lady's collarbone. What's in the other one, Chef? I don't know. Here. What do you call them? Oh. Oh, they're cornflowers. How sweet of Dill's, remember? Chef, you and I are intruding on a sacred moment. Cornflowers must have a special meaning for them. Oh, they're my favorite. Do you mind if I'm a little sentimental? He did remember, you know. Mm-hmm. Wear one for me. Here, Chef. Oh, thank you. You're welcome. And one for you, Mr. Tingle. There's wither on me in an instant. I know. Just one brief blinding flame. That's it. Oh, Dill. Hold the bridegroom. Hello, Mary. Dill, you finally got here. Miss me? Terribly. Hello, Jeff. How are you? Hi. Say, Chef, aren't you hungry? Not me. It's all right, Jeff. They have swell food in the pantry. Come on, let's get some. I just said I wasn't hungry. Then haven't you any tact? Come on. Uh-oh. I get it. Oh, don't, don't bother, Chef. We're leaving ourselves. Come on, Dill. I want to speak to you. See you later, Jeff. Uh-huh. Alone at last. I love you, Dill. Swell. I wish it were this time tomorrow. Darling, if you'd rather, we'll get married by a policeman tonight. Oh, no. We'll do it right and proper. Excited, darling? A little. What? A lot. You know the first time I ever kissed you was in this room. Wasn't it? Was it? Well, good Lord, I thought it was. Maybe it wasn't. I don't remember either. But I love you for trying to remember. I do remember. Everywhere I look, I seem to see a married, doing something or other. And sort of like spots in front of your eyes. Uh-huh. Mary, age 15. Making everything about Latin. Very clear. Well, I couldn't do it now. Mary is Juliet. Age 17. 16? Paula made me be Juliet. I think I would have been much better as Queen Elizabeth. Still, I'd rather like Juliet, especially in this allarium, sneaking a cigarette. Oh, Dill, thanks for the flowers. They got here all right? Mm-hmm. Especially the corn flowers. I didn't send any corn flowers. I wouldn't admit it either, if I were you. Admit what? Jeff will hound you your dying day, sending your bride corn flowers. I thought I sent orchids. I give up. Hello. Connie. How are you, Dill? Dolly said I'd find you in here. I thought you were in Paris, Connie. Yes, I was a week ago. Oh, yes. Well, I can't keep you in the dark any longer, Miss Bond. I'm Mary Clay. I knew you were the minute I looked at you. I must apologize for breaking in like this. Oh, no, we're delighted. It's open house. Besides, I feel Dill owes many of his friends an apology. You know, for marrying a strange woman they know nothing about. Won't you take off your things? Oh, I can only stay a minute. I've still wanted to meet you, Miss Clay, but it seems as though you travel as much as I do. Well, I've come and gone. I returned last night for my wedding. Yes, I heard about it in Paris. You're a clever girl, Miss Clay, for putting Dill through his paces. He always said he hated big weddings. The experience will do him good. Oh, it's just me, Dill. I'm only two bridesmaids and Paul and my maid of honor. Well, can I do anything to help? Yes, come and see it tomorrow. Well, will you excuse me a minute? Certainly. Well, Dill, here we are. When did you get back, Connie? This morning. Perfectly heavenly crossing. I think we broke a record or something. Staying a while? Oh, perhaps. I haven't made any real plans. I just decided all of a sudden to sail, so I sailed. How are you, Dill? You shouldn't have come here, Connie. You know that. I came because I wanted to see you. To get, shall I say, one last glimpse. And I thought there might be a bad chance that you would like to see me. Well, I don't want to see you. Why, Dill, you're cruel. Stop it. It doesn't matter to you. Nothing has ever mattered to you. You did, Dill. You never meant it. Any of it. Not even Sorento? Not even Sorento. Dill? Yes? I did mean it at Sorento. And in Switzerland, too. Remember that divine little village in the Alps? I really think you'd better go. Just as you say. Dill? Yes? Are you in love? Butterly? Happy? For the first time in my life. Honeymoony? Of course. A continent? No, London. Oh, Dill, but why London? It's so cold and so great. I like London. Mary likes London. Well, I guess it's London. But if you should happen to get over to Italy... We won't. You just encased London's theme a little too gray and too cold. And you wanted to see what sunshine was like. And you suddenly found yourself in Italy. Would you do something for me? What? Would you look across that beautiful bay... and up at the smoke plumes of Asuvius and think of me? Of you? Of us? Just once? But we are not going to Sorento. Well, that's that. Goodbye, Dill. No hard feelings and bow boys. Goodbye, Connie. Must you go so soon, Miss Barnes? Oh, I'm sorry. I really can't stay. And you must have at least a dozen things to do. At least. But they can wait. Oh, no. I've really got to run. Goodbye. Goodbye. Oh, Dill, why don't you drop Miss Barnes off? Oh, no. I wouldn't think of it. I'll be all right. Goodbye, Dill. Well, that was a little unexpected. Do you mind? Of course I don't, darling. Why should I? Oh, Mary. Oh, I'm sorry. Come on in, Jeff. I just wanted to tell you that everybody's gone. I'm on my way now. Oh, don't go. Let's sit around and talk. The three of us. No, I can't, Mary. I don't know about you, but I've got a big day ahead of me tomorrow. Well, see you in church, Miss Plain. See you in church, Mr. Tingle. Wouldn't you just know it rained for a wedding? Oh, stop crying, Paula. Rain's lucky for me. The side door driver. Yes, ma'am. Oh, look at the crowd going in the church. Oh, for me. Oh, Paula, in all my life, I've never had such a fuss made over me. I love it. What's up, driver? Calm down, darling. Take your cue from Mary. Hello, Jeff. Oh, you're here. What's the matter? Wasn't I supposed to come today? How's deal feeling? Well, I don't know. What? The best man's after the... Just don't get excited. I'll be right back. What's wrong with him? Well, why do we start? What was the woman singing for? They ought to be playing the wedding march. A sweetest story ever told. Paula, did you tell that to Pram to sing the sweetest story ever told? No, dear. For neither did I, and I loved it. Who the heck? May I sit down? No. Quick, everybody. Am I all right? Do I look all right? Here we go. I'm weak. My knees are buckling out. You let me down, Mary. Stop it. Stop. Goodbye, everybody. Wait. Mary, don't go out there yet. What's up, you crazy? Mary, I... Who told him to start that thing? Tell him to stop. Stop the music. Oh, Jeff. Is it deal? Is he sick? No, he's... He's married. Did you say... married, Jeff? Yes, Mary. Married to whom? Connie Barnes. Connie! Steady, Mary. It's all right. I'm not going to faint. Tell me. It's true, Mary. Deal wired my house. The boy just brought it. I had the woman sing to store for time. The sweetest story ever told. Mary. It said he was sorry, didn't it? Oh, yes. Oh, you poor darling. Oh, yes. I'm sure he's sorry. So am I. It's one of those things you'd like to see happen to somebody else. Like a fat lady on a banana peeling. Oh, Mary, I'm so sorry for you. Well, we're leaving at once. Tell the paper vet. Tell them that Mary Clay decided at the last minute she... she didn't wish to marry him. Jeff, put these lilies in water for me. I might want to get married again sometime. Will someone get Jeff a pitcher or a bucket? There's plenty of water outdoors. Let's go, Mary. They're sending the crowd away. Let's get ahead of it. Wait. The benediction. Hold open the door so I can hear. No, please. Oh, then I'll hold it open myself. And the ceremony will be indefinitely postponed. Miss Mary Clay will not be married to Mr. Dylan Todd today. Sounds funny, doesn't it? We thought that rain was lucky for me. Luck's radio theater plays for Saking All Others with Betty Davis and Joel McRae. We go on to act, too, in a moment. Meanwhile, during our intermission, we have a new game we'd like you to play with us. It's called Last Word Up. Here's how it's played. We've asked a young lady to read a piece to you. The game is that you pick out the last word and then you play the last word, and then you play the last word. I'll read a piece to you. The game is that you pick out the last word in every sentence she reads, like this. I am very anxious to stay beautiful. The last word in that sentence was beautiful. Remember, pick out the last word in every sentence, place them together in the order in which they appear, and you'll find they themselves make a complete sentence. See what that sentence is. Ready? Let's go. Sentence one. You will notice the most popular girls are always dainty. Sentence two. Daintiness, the most appealing charm of all, should be on the beauty program of all girls. Sentence three. It's a charm they all can have, and one they can keep through the years. In fact, always. Sentence four. It's romance women really want, and the girls who are dainty usually win. Sentence five. But remember, the girl who neglects this charm loses out. And that's all. Now let's see if we have the right last words up. My little pad reads, dainty girls always win out. Famous screen stars will tell you that's the truth. For instance, here's what the lovely Loretta Young says. No smart girl neglects daintyness. Unless a girl has it, no other charm counts. Use luck's toilet soap as a beauty bath. Its active lather leaves skin really fresh and sweet, delicately fragrant too. It's the best way I know to ensure daintyness. You'll love it. And thousands of girls everywhere have found from experience that what Loretta Young says is true. It pays to be exquisitely dainty with gentle, fragrant, luck's toilet soap. Now our producer, Mr. DeMille. We continue with Forsaking All Others, starring Betty Davis and Joel McCray. It's the following afternoon, trying bravely to hide her real feelings. Mary is entertaining again at her home, passing the whole affair off as a joke on herself. But there's desperation in her bravery and bitterness in her laughter. Jeff Tingle has just arrived at the house. Still wearing his coat, he stands at the telephone, speaking to his secretary. Hello, Miss Cramer, Mr. Tingle. Is everything all right down there? Ah, it's fine. Now, just between you and me, is there any use of my coming down to the office today or tomorrow? I didn't think so either. Goodbye. Oh, Dent. Yes, sir? Uh, when that gentleman arrives, you'll know. I'll show him to the library. Yes, sir. Shall I take your coat, sir? Miss Clay is in the city. Come and join the party. We're celebrating my sudden release from matrimony. You're looking very lovely, Mary. Thank you. The frock is for my trucelle. I had fumigated. Sit down. I called you late last night. Why didn't you answer? Because I wanted to unpack my trunks and get settled. Oh, then I was tired, so I went to bed after writing a few checks for the monthly bills, and I read myself to sleep on a book that Dill and I received as a wedding present. Being very careful about finger marks, of course, since back it goes. Finally, I put the book down and went to sleep. Did you have a good sleep? Best in years. Must have been a good book. It was rather nice. I'm going to buy it someday. I'd like to speak to you, Mary. May I? Of course. We can go in the library. My ambassador's a goodwill in there, Jeff. They all came to see what a jilted lady looks like. You're putting on a good show. Thanks. Well, they're married all right. How romantic. Justice of the peace, 11 o'clock yesterday morning. Oh, don't spare a thing, Jefferson. What did the bride wear? I don't know, but knowing Connie Barnes, I'd say something clinging and trailing. Yes, I imagine so. Oh, Jeff, why did he do it? I don't know. I've been trying to figure it out. I have to all night, all morning. You're doing swell, Mary. Jeff, Jeff, do you hate being told to move on? If you're in some place that you think it's all right for you to be, and somebody comes up very roughly and tells you to move on, that's how I feel. Ordered to take my little picnic basket in hand and get out of somebody's private property. I want to go away. I want to go away and hide. But I'm not going to. I'm going to stay and have a big time as if nothing had happened. Jeff, never again as long as I live will I laugh when the gentleman kicks the lady comedian. What is it, Dent? Mr. Tingl, Ms. Mary. The gentleman. Oh, all right, Dent, thank you. Yes, sir. What was that all about? Mary, Bill's here. What? You've got to see him. Who says so? I do. What does he want? I'll let him tell you. I only spoke to him on the phone, but I promised I'd fix it so you'd see him. Your whole life may depend on this. How can it possibly? Please, Mary, for me. I'll send him in. Yes, thanks. Mary? Yes, I'm still Mary. It's hard to explain what I did, but... Why do you try? I'll make you think I want an explanation. I must. I must make some attempt to... Justify what you did. No. That isn't possible. Well, perhaps you want to be forgiven. All right, I forgive you. So what? Jeff said you'd see me. Allow me to talk. Well, you're talking. Go on. Mary, you've always been a reasonable person. Have I? You've always been fair and... And generous. That's a good word, too. Please, these aren't just words. Believe me, I know. I appreciate what I've done. I played you the meanest trick. I know all that. I only want to tell you it was my loss, too. Too? Who else has lost? Have I? Oh, I was humiliated, embarrassed, naturally. But think what I escaped. I almost married you. Oh, that's something to be grateful for. You know, like missing a train that was wrecked. You don't mean that. Don't I? You can't, no matter what I've done. I know. And you may laugh at me for saying so. But I love you. I've never stopped loving you. Love? All right, maybe you do love me. What's that got to do with it? Perhaps I love you, too. Yes, I think I do. I think I am in love with you. That doesn't mean I want to be. If I stay in a dark room and do as the doctor says and take plenty of nourishment, I'll get over it. Mary, listen to me. I haven't slept. All night long, I walk the streets. I don't want... Oh, I know this is a rotten thing to say. But I need you. It's you I want, not Connie. Oh, dear, dear. You'll be loyal with anyone. What do you mean? Well, you're married to her, aren't you? Now I think you'd better go. All right? All right, Mary. Doesn't want, Connie. What a fine time to think of that. Keeping me waiting at a church all day and... I know. Here, have a cigarette. Why don't you ask me what happened? I don't have to. I saw Dill's face on the way out. Listen, I could almost tolerate myself again. I've said things that I didn't know I could. Horrible, mean things. And it felt so good. And you know, you're going to take me out to dinner tonight, Jefferson. I want a good dinner and I want to dance. Dinner? Mm-hmm. With you and in chef and paula and anyone else would like to come. I see. I'm Papa. I'll wear my new white evening dress. Who are you trying to make jealous? Oh, Jefferson, now girls don't do that sort of thing anymore. But you can send me flowers if you like. Heaps and heaps of them. No, no, nothing doing. I sent them already. Jefferson Tingle, you never sent me flowers in all your born days. No? Well, it so happens that the day before yesterday I sent you some corn flowers. But you've probably forgotten. Well, I'll see you tonight. Why, Jefferson Tingle? I tried to get her to come. I said Mary wants you to come, Paula. But she said she was just too upset. There, what do you think of that, Jeff? I'm just at the altar, and Paula is so upset she can't come. I am nervous, Mary. What do you say we have something to eat? I'm hungry. Don't be common, Mr. Tingle. What about a steak all around? What else do they have? Steak? I'll have a steak, please, Mr. Tingle. Very good, Miss Clay. Anything else you'd like? Yes, a smile, Mr. Tingle. A smile? How's this? Gruesome, gruesome. Well, I'm sorry, but that's the best I can do. So what's the matter with you, Jeff? We're supposed to be on a party. Yes, whoopee! We ought to have noise makers. Mary, you're beautiful tonight. Thank you, sir. You ask me, Mr. Dillon Todd as a doe? Who asked you? Don't you think he was a doe? I try never to think about anything. Well, that's nice. That's loyally. Stop it! Stop it! I won't have you men quarreling over color at the dance hall, girl. She isn't good enough. Well, I'll have my steak rare. What about you, Mary? That guy is hopeless, Mary. That's all he's hoping for. Good evening. Good evening, Miss Barn. Oh, good evening, Alvin. We haven't seen you for a long time, Miss Barn. No, I've been away. Is Mr. Todd here tonight? No, I haven't seen him, but would you wait? Yes. Give me a table, please. A quiet one, Alvin. Right this way, Miss Barn. Chef, you're marvelous. I'm glad you brought him, Jeff. Just papa, that's all. Look. What's the matter, Mary? My hysterical is that really Connie Barnes coming through that door. It's Connie, all right. Connie Barnes. She's heading right for it. Oh, let's get out of here. I don't want to see her. We can go upstairs. Come on. No. No, I won't. I haven't done a thing to be ashamed of. Sit tight, Mary. Mary, if I were you, I wouldn't go looking for trouble. My Connie, how do you do? Oh, good evening. Well, hello, Connie. Hello, Connie. Hello, I was looking for... I told Dill I'd meet him here. We've just ordered. Won't you join us? Why, we'd love to have you. Wouldn't we, Jeff? What? Oh, yes, delighted. We're celebrating. Paula couldn't come, so you can have Chef Connie. Well, thank you. That's very sweet. Sit down, won't you? Sit down, Chef. Sit down, Jeff. You're not going to stand up all evening, are you? We'll clear the ring when we hear the gong. Oh, shut up. Sit down. Well, if you think it's safe. Have a seat near the door, Chef. Thanks. I know what you all must be thinking. Yeah? You're good. Jeff, please. Miss Clay, I'm glad we had this chance meeting. I feel there's some sort of explanation, do you? Explanation? Yes, it was really unfortunate. I mean that our marriage would have to be at such a time. Yes, it was a bit, uh, inopportune-o. I'm so sorry. I really blamed Dill. He knew how it was with us. And just forgot for a time. Yes. And you are attractive, Mary. May I call you Mary? I can imagine Dill found you hard to resist. Hard, but not impossible. But it's not Dill I'm concerned about. No. After all, you're the one who- Who lost? Well, it amounts to just that, doesn't it? Really? You're not flattering me, Mrs. Todd. That's it, Chef. Outside the ropes. Let's go. Can't we look at this thing impersonally? Of course. I'll be Exhibit A. I like your saying that. To carry out the idea, I'll be Exhibit B. And Dill, Exhibit C. It's the new world's fairship. I'll tell you the popcorn concession. Oh, Jeff, I-I know you grew up with Dill. You were taking your marriage as a matter of course. Just-just one of those things. A love match. I don't doubt your sincerity, Mary. But I should have married Dill a year ago. Oh, what's a year more or less? When I heard he was going to marry you, I had to see Dill again. To know once and for all if he was important to me. Any woman would have done the same. But not so successfully. Do I detect a note of sarcasm? Oh, not a bit. Oh, you have my best wishes. And so has the bridegroom. Thank you. I-I wish you'd say that to Dill yourself. Heaven knows I want you to be friends with Dill. I know you can be. I think you're good for certain things in his disposition. Dill is accustomed to going to you. He needs you. Well, he said he needed me. Yes? Yes, he said he needed me this afternoon. This afternoon? Dill saw you this afternoon? Yes, for the very thing you said because he needed me. Well, you two had a lot to talk about it. Dill went to you. Oh, I think he stopped by the church first to see if she was still waiting. I see. It's not pleasant to be left waiting. You should know, Mrs. Todd. Really, should I? When did you see Dill last? Well, what do you mean? Shortly after the wedding, wasn't it? Nearly two days. It's a long time for a bride of two hours. How do you know that? Dill told me. You've seen? You know where he is? Where is he? In my house. Where is that? I've moved. Answer me. Jeff, what have you planned, all of you? What have you planned? It's not pleasant to be kept waiting. Are you insinuating that I... Oh, Connie, Jeff, please, now, don't quarrel for my sake. Fighting in a restaurant is vulgar. What have you and Dylan planned? Nothing. Good. Because Dill and I understand each other. Well, this will all blow over. I know all about your childhood sweetheart. But now he's mine. He's nobody's. He belongs to himself like any decent human being. I think I can speak for Dill in that matter. I resent that. I resent it for Dill. You might ask him how much he resented what I said night before last. Oh, you can't hurt me, Connie. Tell me what you said. Or shall I tell you? She'll make you such a good wife. That's what you said. A sweet girl. Go on, marry her, Dill. Forget me and better not think of the things that might have been. That's what you said, Connie. Well, probably not as plain as that. But with the same meaning. Hail and farewell, you said. No, don't kiss me, Dill. Remember Mary, poor dear Mary. And you swept him in with your tenderness. Oh, how beautifully you'd do it. And once again the world was lost for love. And it always will be. You'd better learn that. Rose or pink at your wedding, Connie, which did you wear? Or blue or green or black or white? Whatever I wore, it suited the occasion. A grown-up occasion and not for little girls. Good night, Miss Clay. And good night to you, Mrs. Todd. Well, you won. Yes. Yes, I won. But for some reason it tastes a little bitter. Shall we dance, Mr. Tingle? Delighted, Miss Clay. Excuse us, will you, Chef? Have a good time, children. Chef, tell me. Is it true what you said before she hasn't seen Dill? Not since. He told you? He left my house when he left you. Then at least he meant what he said to me. He's been miserable, Mary. Oh, Hezzy, are you going to tell me? Nothing. He deserves it. Oh, let's stop, shall we? I don't feel like dancing. Come on back to the table. I'm sorry, Jeff. I guess I'm just old. Mary. Dill, what are you doing here? Mary, I couldn't stay away. I've got to speak to you. Did you tell him to come here, Jeff? Well, I told him you'd be here. Why? Well, he asked me and I told him that's all. He's right outside. No, Chef. Stay where you are. You too, Jeff. He can talk as much as he likes. Well... Thanks. I won't take long. And I'll try not to embarrass anybody. It's just that I've got to say this. Yes? It started a year ago. With Connie? Yes, in Europe. I saw her for months. Then, as suddenly as she came into my life, she went out of it. I felt disloyal to you even then. You see, I've never thought of anyone but you since I was a kid. But something happened to me. I was fascinated, I guess. When I left for home, I promised her that... Honest. Mary tried to understand me. I was insanely in love with her. It didn't last. When I saw you again, my love for her seemed... Well, it was unreal. That's all. That's all. Is that the story you wanted to tell? Wait a minute, Jeff. She called me last the night before our wedding. She was a little hysterical. She said she had to see me right away. I said I couldn't see her that I wouldn't. Then I got to worrying. I thought I'd better go. Finally, I took her for a long drive up the Hudson. We talked and talked until morning. Just at dawn, we stopped and watched the sun come up from the palisades. She told me she loved me over and over again. She was crying a little. I was confused and bewildered. And having her so near, well, I lost my head. I'm not asking you to forgive me, Mary. But I had to tell you the truth. Well, your truth comes a little late, doesn't it? Jeff. You lost your head, huh? Getting married is a pretty deliberate action. Jeff, this is my affair. Take it easy, Jeff. We did get married. Then for the first time, I realized what I'd done. We left the justice of the peace office. And it seemed to me like I was just coming out of a dream. I left her. You left her? Then? Yes, in the car. I took the train. I was crazy, Mary. You left her? Then? Mary, you do, believe me. Don't you? Say you do. Please. I can't spend another night like last night. You can't. What about her? Never mind about me. Never mind. There's a limit. Yes, and there's a limit to what I can stand. He's sorry, isn't he? You heard him say that. Yes, I know it. Well, that's enough. I don't care what he's done. I love him. Do you hear? And he loves me. I do, Mary. Believe me. What if he did let me down? I'm sorry, Mary. Oh, I'm sorry too. I love you, Dill. I love you. Oh, Mary. Well, that's that. Jeff, may I have the honor of this dance? We pause for station identification. This is the Columbia Broadcasting System. We have finished the second act of forsaking all others. And now before going into act three, we observe our custom of bringing you one of the backstage personalities of motion pictures. Among other things, Hollywood is noted for providing more strange occupations than any other town in the world. On our payroll are cobweb spinners, echo testers, fly chasers, professional screamers, and telephone cordon twisters. We meet one of these odd jobbers now. Her name is Kathleen Coglan. And we call her our Fan Magazine Contact. Kathleen gets paid for digging up unusual facts and ideas about the stars to be used in various screen magazines. In other words, Mr. DeMille, my job is to find new angles on paramount personalities, new slants that are new. From the women's point of view? Oh, no, from the man's point of view too. Almost half our fan mail comes from men. That's why the Fan Magazine's print so many success stories. That's the type the men like to read. And then there are those which appeal to both men and women, stories with what we call a problem slant. For example, the personal handicaps which many stars have had to overcome. Meaning home, Miss Coglan. Meaning Fred McMurray. To see Fred today on the set of Coconut Grove, you would never suspect that he used to be so shy he'd go into a panic every time he had to meet people. He cured himself by centering his attention on other people and so developed his present easy manner. How he did it furnishes an interesting story. Still, I presume that today, as since the dawn of time, the type of story that interests a woman is a love story. Correct. But she's interested in the love stories of the stars for much more than a curiosity angle. You see, that woman has a Robert Taylor or a Clark Gable or a Tyrone Power of her own. Someone she wants to fascinate and keep enchanted. And so we found that a reader's main interest in the love story of an actress is to learn the means by which that actress succeeded in her Hollywood romance. Hollywood, you see, has become a school teaching a widely diversified list of subjects and with all the world as its pupils. It's become a sort of national proving grounds and that's why I think the sponsors of this program are to be congratulated on their product. The fact that Lux Toilet soap is so popular with the stars can be taken by every girl as adequate proof that it must be about the finest complexion care obtainable. I've seen Lux soap in the dressing rooms and homes of any number of stars, actresses who could afford to spend almost any amount of money. Thanks for telling us that, Kathleen. But your job is to get good ideas for fan magazines. The 14 of them that appear every month have a combined circulation of 10 million. Each one prints about 10 articles, which means that out of somewhere must arise 140 ideas every 30 days. Where do they come from? Well, take that recent article called the story of Claudette Colbert's second honeymoon, which appeared in Photoplay magazine while Claudette was making Bluebeard's eighth wife. In reality, that story outlines her plans for a trip she's now on in Europe. That in itself wouldn't make what we'd call hot copy, but it suddenly became warm when Miss Colbert dropped a stray remark that she hadn't had a honeymoon because she'd been so busy making pictures. Then and there we had the basis for an article that would interest thousands, again because it could be applied to themselves. All brides, of course, don't have to hurry back home to make motion pictures. But all of them in their hearts want the romance of a honeymoon, even if it's only a two-week vacation. That's why such a story is so successful. But do our leading stars welcome interviews of that nature? Every star will give a good interview if the conditions are right. Conditions are right for Fred McMurray when he comes into my office, drops down in my chair, and props his feet up on the desk. Carol Lombard is highly conversational in a noisy atmosphere and talks most on the set between scenes. Irene Dunn prefers to wait until her picture is finished and then will entertain graciously at home for the interviewer. Gary Cooper is most uncomfortable when an interview has been planned for him. He's much more helpful if you can arrange to just bump into him. In fact, Gary gave the finest interview of his career, basking in the sun on a pile of old lumber. There's a little tip for the next time Gary appears in the Lux Radio Theater. Thanks, Mr. DeMille, for interviewing an interviewer. Thanks for the starlight cappling. Betty Davis and Joel McRae return to us in Forsaking All Others. One month has passed and Dylan Todd is in Mexico to free himself from Connie. Jeff, always the good friend, has gone along to keep him company and stands by the window of their hotel room, looking across the little town. Well, tomorrow's the day. Hey, Jeff. I said, tomorrow's the day. Oh, yeah, that's right. Are you sure? That lawyer said positively, final papers and everything. Lord, I'll be glad to get out of here. Why? It's not such a bad place. What are you talking about? You've been beefing about it for a month. Now we're going home, you suddenly take a liking to it. Just the same, we're catching that train tomorrow afternoon. Well, I'll tell you what, dear, would you mind very much if you went alone? I think I'd like to stay on here for a while. What for? Just for a few weeks, I think I'd like it. You're crazy. Why, if you stay, you won't even make the wedding. Mary would kill you. No, I'll make it all right. You'd better. You're still best man, you know. No, I don't know. I thought maybe you'd pick ship. What's the matter? Don't you want to be best man? Well, if it's all the same to you, dear, I think everything ought to be, uh, well, different. You mind? No, no, of course not. I guess I know what you mean. It will be different, too. Sure it will. Well, I think I'll shoot an airmail to Mary. Shall I give her your love? Oh, yes, do that, will you? Hello, Dent. Mr. Tingle, welcome back, sir. Thanks. Am I expected? Oh, yes, sir. I heard Mr. Todd say you'd probably be here today. Jeff! Hello, Mary. Jeff, you've finally got here. I was ready to kill you. Do you know I'm getting married tomorrow? Same place, same piano, same crowd, same wedding. Same, Jeff. It's good to be back. Come on, I want to speak to you. Now tell me all about yourself. There's nothing much to tell. How was Mexico? How are you? Feeble. Let me look at you. Jeff, you're thinner. No, I got too much sleep down there. Well, you didn't dare sleep before you reported here. No, I tried to, but I couldn't, so I leapt out of bed and fixed myself up cute and rushed right over. Oh, you did. Well, you can go right back home again. Oh, I... I got your wretched little postcard. Did I send you a postcard? Just too sweet for words. Where is it? Oh, yes, yes, here it is. A whole month away in one postcard. At least I had the sense not to write to you. Oh, I read your letters to Dill. It's good the judge didn't know he was getting letters from a giddy young girl. Is that my postcard you're tearing up? The pretty picture of the lake? That's what I think of your pretty picture. Well, at least you waited until I got here. Just for the stamp? Oh, well, I've got something to tear up, too. What's that? Your last letter to Dill. He gave it to me for my stamp collection. Too bad I hadn't read it yet. Jefferson, tingle out to slap your insufferable face. No, you better not. I've been down in a country where slapping the face means business. Say, where's Dill? Oh, he's around. They're both trying not to look self-conscious, so we steer clear of each other in front of company. Oh, it's good to see you, Jeff. It makes me feel good. Dr. Tingle at your service? How are you, really? Feeble, Mars tingle, feeble. I don't believe it. What'd you do while I was away? Well, I caught up with my classical reading. I went shopping and didn't buy anything. Shep and I tore up the town. We became famous far and wide. That pale, interesting woman and that very young-looking boy. Is he the best man? Yes. Too bad I won't be here. What? Well, don't yell. I've got to eat. I've got a job, and the boss suggests I work out of the bit now and then. He's sending me out of town tonight. We'll delay the wedding. I'm flattered, but you won't. Oh, but I won't seem married unless you're there. Oh, I'm a jinx. If I stay away, everything will go all right. Will it? I wonder. What's the matter? Are you good at diagnosis, Dr. Tingle? Very. What are your symptoms? A sort of unsatisfactory few weeks I've had. I've straightened out every dresser drawer and every closet in this house. I don't suppose that means anything to you, does it? Well, certainly you're a neat woman. Go on. You probably counted the linen, too. Oh, a lot of the good old stuff Mother had was milled, Jude. I was so mad I cried. And then one rainy day up in the attic. You'd be mortified to know that I did spend such an afternoon. I sat in the middle of my ancestral trunks and bought. What over? Just told you. Over the fact that life was far from satisfactory. Didn't you feel better afterward? No. Well, what's the sticker, Mary? Whether or not I should marry Dill. What? Well, have you said anything to Dill? You know what is the to say until I've made up my mind one way or another? Well, you have much time less than 24 hours. Make up your mind either you are or you aren't. You ought to know. Yes, Papa. Say, are you one of these women who worry themselves into a fever trying to decide between pink and green? Haven't you got enough strength, the character, to know what it is you want and ask for it for a loud, clear voice? A loud, clear voice. That's easy to say. Because you know what to ask for and I don't. That's the difference, Jefferson. Your life seems very simple to me. Well, that's because I'm a very complex person. I see more than floats on the surface. I've practiced holding my breath for three minutes and walking around on the bottom with my eyes open. And you can do it, too. I've always considered you a person who knew the passwords. I've watched you out of the corner of my eye. You're shocked by the right things, stupidity and glitter and cheap sophistication. Of this marriage business as you all mixed up. One of your little pet illusions cracked up about a month ago and it's got you down. Well, you've got to patch it up again. You've got to keep your pet illusions and you've got to make them shatter proof. Wait till I get my copybook and I'll write all this down. No, no. Either you know it or you don't. You don't get it by writing it down and you don't get it out of books either. Then how is a poor girl to get it? Listen, you know what I'm talking about. And if you didn't, you wouldn't be trying to joke about it. You'd be cussing me out because you'd think I was saying you weren't sophisticated. And in this day and age to say that to a person is to insult him to his non-existent soul. Well, I know the truly wise is simple. But it doesn't necessarily follow that the simple are truly wise. You're not being simple now. You've got to make up your mind. Do you want Dill or don't you? I told you I don't know. Mary, what is this? You're not trying to get even with Dill. I thought you knew me better than that. Oh, I do. You're above that. Thanks. But I wouldn't and I found out that I didn't love him. The best way to get even would be to marry him, wouldn't it? No, but you wouldn't do that. Of course I wouldn't. Mary, I... I don't know what this is all about. No, but do I? I told you I didn't. Well, have you spoken to anyone else? Oh, I couldn't. Still, I... I can speak about it to you. It's funny, isn't it? Well, we... we're old friends. Oh, that must be it. Well... Well? What's your problem, Mary? That's a big one. You have much time to decide. The minister's coming in a few minutes to make the final arrangement. Well, whatever you do decide, it'll be right. I know that. Thank you, Jeff. Goodbye, Mary. Hi. Where to now? Go around the park again. Okay. Well, I made four trips around. Go on. Go on. You're getting paid for it. I got all day and all weekend and not in a hurry. Okay, Lonesome. What? Remember me? I remember you. Oh, you do, eh? Yeah. Lonesome Dingle. All the time a best man. I picked you up on Park Avenue once, remember? Oh, yes. Lonesome Dingle. That killed me. I thought you were screwed. I wouldn't be a bit surprised. Turn around. Huh? Go back to the house where you picked me up and stepped on it. What I thought you said about... Go on. Go on. Okay. Hi, Mr. Dingle. Oh, where's Miss Mary, then? She's in the library. Thanks. Mary. Well, glad to see you back, Mr. Dingle. We've got your old room ready for you. Oh, well, thanks. The conductor said 30 minutes for lunch, so I thought I'd get off and talk to the pretty waitress. That's nice. Sit down. Listen, Mary, I've been thinking, and I want to ask you something. Well, if you want to laugh at me when it's all over, I'll laugh with you, because maybe it's hilarious only. I don't think so now. Go on. When I left here before, I realized I'd turned tail and run for the most important thing I'd ever had to make up my mind about. Is it made up now? Yes, it is. The taxi driver did it. He called me Lonesome Dingle. And that's what I am. And you know why? Because I never took my own advice. I never yelled out for what I wanted in a loud, clear voice. Well, I'm doing it now. Listen, Mary, if you do change your mind about Dill, if you aren't going to marry him, sometime after a decent interval, only I hope the interval won't be too long and too decent, would it ever occur to you to marry me? Yes, Jefferson, it would. Of course it would. Why not? Jefferson Dingle, that charming old fellow, wouldn't it be amusing to think of being married to him at some time or other? All right, Mary, let me know. My office will give you my address any time in the next three weeks. So you didn't mean it? Did you? Yes. I did mean it. So did I. Mary. Jeff. What's happened? I don't know. Have I always loved you? I must have. Oh, we've got to find Dill and tell him. He's still here. We'll tell him together. Wait. Let me have a look at you. That Dingle chap fell into a pretty good thing. So did that clay girl. Mary. Mary, where in heaven's name have you been? Here, dear, why? Well, you might have let me know. Your friend Paula's been on my trail all day, bawling me out for I don't know what. What is this mysterious thing known as my duty to you? Just what have you suffered that I don't know about? Don't you think I've had a little private suffering of my own? Well, I didn't sick Paula onto you, Dill. You know how she loves to manage destinies. I thought you knew it was best to seem devoutly grateful and then go your own little way. You haven't any duty to me, and I've forgotten that I've ever had a single pay. Well, all right, Mary. You mustn't mind my getting all steamed up. Sorry to let you in for all this, Jeff, but after all you were in from the start and you have a right to be in at the finish. Please excuse me, Mary. And you must try to excuse me. Dill, I... I don't know how to put it, except that I'm not going to marry you tomorrow. What? Oh, well, that's all right, Mary. If you want to wait a little while, I understand. No, Dill, I mean I'm not going to marry you at all. Why not? Why not, Mary? Dill, Mary's going to marry me. You and... All right, children. It's not a joke. Not one of Jeff's ideas? It's both our ideas. I don't believe it. I'll never believe it. You're kidding. Wait a minute. Cut it out, Jeff. Do you mean it, Mary? Yes, Dill. Then I am a complete fool. Congratulations on making me one. Dill, I'm sorry. Oh, don't say that. You can't be sorry. Not if you're marrying that fine chap, that true friend, Jefferson Tingo. What I can understand, Jeff, is why you went all the way to Mexico to get me free. Wait a minute. Wait a minute, Dill. This has happened to Jeff and me in the last half hour. We haven't had time to tell you. Yes, but you were going to tell me how considerate. Perhaps you can tell me something I can tell my friends. Oh, Dill, don't say such things. We've always had so much fun together. Dill, that's it. We were getting married on the strength of the past. So I'm just a friend. Is that it? Just a friend that stuck his hand in the buzzhole for you to find out if it was sharp. So you want to marry Jeff Tingle instead of me. Is that it? That's it, too. All right. But promise me this. Don't ever talk about me. And give me time to get out of town. There goes Dill and Todd. I'm sorry. You know, Jeff, he didn't think of me at all. I'm glad of that. Why? Because then I won't have to set up nights worrying about him. I think he took it nobly. Don't you think I took it kind of nobly when he let me down? As far as I'm concerned, I think you take everything nobly. Jeff, you're not going to start complimenting me at this late date. Well, Miss Clay, my position is slightly altered. As a bridegroom, I hardly know what to say. Darling. Miss Mary, Reverend Duncan is calling. About plans for tomorrow? Oh, the minister. Jeff, kiss me. Ah, good afternoon, Miss Clay. Oh, um, ah, good afternoon, Reverend Duncan. And this is Mr. Dill and Todd. Well, um, well, not exactly. What? I mean, there's been a slight substitution. Mr. Tingle for Mr. Todd. We take leave of our play for taking all others. And to vote the next two or three moments to a meeting with our stars, Betty Davis and Joel McCray. A couple of weeks ago, Miss Davis, the Hollywood columnist Jimmy Starr reported on this microphone that you've just moved into your new home. Good work, CB, but don't stop there. Don't whisper, Joel. Speak up if there's anything on your mind. Oh, no, no, not a thing. Well, you know, Joel hears in the cattle business. And, uh, after all, Betty, what is home without a cow? Now, Mr. Dill, what would I want with a cow? I'm sure I don't know, Betty. I'm only trying to help Joel out. He said that if you... Well, uh, Betty, a cow, will you see a cow is... Well, anyway, they're swell. They're quiet and restful, and they have big, brown eyes. And I'm sure if you saw the wonder... Joel, I don't wish to buy a cow. Oh, you... you don't wish to buy a cow? No. Oh. Well, how about a horse? No. Well, can I at least sell you a load of hay? It's very good hay, Betty. You two aren't partners by any chance. No, not exactly. You see, I own a herd of deer. But I don't want any deer either. No, but they eat so much hay that Joel said he'd give me all I need if I, uh, helped him sell you a cow. Oh. I see. Just a couple of boys in the Moo-Woo Movie business. Maybe we'd better change the subject, Mr. DeMille. No, wait a minute, Joel. Since you and I have formed a sort of mutual admiration society for our friend Willie Weiler, why don't you send a cow to him as a token of your steam? Excuse me, Betty, but Mr. Weiler has interrupted his picture directing and is now in Sun Valley, Idaho. Yes, far, far away from Hollywood with nothing to do but ski and ice skate into Boggan. Poor, poor man. That's why I think a cow might be just the thing to keep his spirits up. Tell me, Betty, is it true that after directing you Mr. Weiler had to go away for a rest? Oh, don't be silly, Joel. I'm the one who had to have the rest. You worked with Willie, you should know. Uh, my secret agents inform me, Betty, that the real reason you work night and day was to enable your co-star, Henry Fonda, to dash to New York and be there at the time he, uh, he became a papa. That's quite true. And in appreciation of our efforts, Henry promised to name the baby Jezebel. But he double crossed us and named her Jane Seymour Fonda instead. I don't know, I suppose that's better. Jane's really kind of nicer than Jeze. By the way, didn't Henry play in forsaking all others on Broadway? That's right, Joel. He was hardly more than an extra then. And now five short years later, he's right up among our leading, leading men. But getting back to you, now just what is all this about your ranch? Well, the best way to find out is to come up and have a look for yourself. A real ranchman? Corrals and round-ups and wooden barf tips too, I suppose? Well, not quite that authentic, Betty. I'll own up to one small swimming pool. Speaking of bathtub... And goodness knows you're the one to speak of bathtubs, Mr. DeMille. Well, anyway, I was about to remark that the first bathtub in this country almost caused a minor revolution. Its presence in the home of a Cincinnati gentleman in the 1840s brought forth a storm of protest from politicians, newspapers, and the medical profession. It was denounced as an epicurean innovation designed to corrupt the Democratic simplicity of the Republic. Not long after, the Philadelphia Common Council went into a turmoil over a proposed ordinance prohibiting bathing between November 1st and March 15th. It failed to become a law by only two votes. That's lucky for you, sir. This is the 20th century. Lux soap would have found it rather rough sledding back there in the unscrubbed 40s. And lucky for us too. I'm very happy to say that Lux soap is the soap in our new home. Thank you, Betty. And thank you, sir, for inviting me here to play for Saking All Others. Many of you will remember the stage production with Mr. Tallulah Bankhead. His performance is one I know I shall never forget. Now, good night. Good night, CB. Good night, Betty. So long, cowboy. And now I have some wonderful news for you. Next week, we bring you the great W.C. Fields. The old guard that never surrenders beneath the magnificent flaming canopy that is his nose. There beats the heart of a Don Quixote. He's the ghost of the old family album. Come back to shake the world with laughter. He's the last stand of old-fashioned chivalry and wisteria drape sentiment. His speech gushes with 18-carat invective and 18th century elegance. He's the minstrel boy in top hat and velvet collar, slightly frayed. He's that glorious charlatan W.C. Fields. We dispatch an invitation to Mr. Fields to be with us next Monday night. By carrier pigeon, Mr. Fields has sent his acceptance and will re-enact his great screen success, Poppy, assisted by Anne Shirley, Skeets Gallagher and John Payne. Our sponsors, the makers of Lux Toilet soap, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents W.C. Fields in Poppy with Anne Shirley, Skeets Gallagher and John Payne. This is Cecil B. DeMille saying good night to you from Hollywood. More on the play appears to finish with Samuel Logan and the whistilvers through 20th Century Fox Studios where he directed music for the new film Sally, Irene and Mary. Heard during tonight's program was sweet someone from love and hisses. Your announcer has been Melville Roy. This is the Columbia Broadcasting System.