 Hollywood, California, Monday, May 17th. The Lux Radio Theater presents Betty Davis and Fred McMurray in another language with John Beale and Mae Robson. Lux presents Hollywood. This program comes to you through the makers of Lux Flakes as a means of showing their appreciation of your pronounced preference for these remarkable soap flakes. Our stars tonight are Betty Davis, Fred McMurray, John Beale, Mae Robson, Margaret Hamilton and Hal K. Dawson, our guests, Mrs. James Roosevelt, mother of our president, and Ms. Janet Henley, one of Hollywood's foremost wardrobe authorities, our producer Cecil B. DeMille, our conductor Louis Silvers, all of whom join me in saying welcome to the Lux Radio Theater. Before going ahead with our play, another language, I want to tell you about a little club in Paterson, New Jersey. Ms. Laura Brock, the secretary, writes, We are a group of girls who meet every Monday night. Wanting a name for our club, we have taken the liberty of calling ourselves the Lux Time Girls. One of our bylaws reads as follows. Any member getting a run in her stocking during the course of any meeting must pay a fine of ten cents. Our treasury hasn't been increased by a single dime so far because all the girls are Lux-wise. And as a matter of fact, we very seldom get runs at all anymore. They know that Lux cuts down runs because it saves the elasticity. The letter continues. We thank you for the splendid entertainment of the Lux Radio Theater and we wish you continued success. And we thank you, Ms. Brock, for your letter. We hope all of your club members are listening in tonight to hear Betty Davis, Fred McMurray and John Beale in another language. And now our producer, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Some years ago, Mrs. Rose Franken, her housewife and mother of three children, surprised her friends by writing a play. Several people promised to produce it, but when nothing happened, Mrs. Franken became so provoked, she wrote another. It fooled everyone. Her language ran 344 performances and was promptly sold to pictures. Betty Davis, who commands the stage tonight in the role of Stella Hallam, earned her first money waiting on tables in school. Facing the camera for her screen test in New York, she fainted but passed, only to spend many weary months in Hollywood playing fill-in parts in screen tests for other hopefuls. As far as I know, her record of making love to 36 men in one day before the camera is still unchallenged. While Betty was eating lunch one day, Pandra W. S. Berman passed by, stared at her for a few moments, and informed her she would play opposite Leslie Howard in Of Human Bondage. Start from then on, she won the Academy Award for Dangerous and his next scene in the Warner Brothers film, That Certain Woman. Fred McMurray's Paramount Pictures, his two previous performances in the Lux Radio Theatre, and his many other air appearances, find us greeting him as an old friend. He's heard tonight as Vicky Hallam and will be on the screen shortly in Exclusive. John Beale, who created the role on Broadway and in Pictures, is again Jerry Hallam. John took to the footlights right after graduating from the University of Pennsylvania, dropping his original aim of becoming an illustrator. He's just completed Borda Cafe for RKO, and I'm especially pleased to welcome one of my oldest friends of stage and screen, that distinguished character actress Miss May Robeson in the role of Mother Hallam. The parts of Grace and Water will be filled by Margaret Hamilton and Hal K. Dawson, who played them so skilfully in the theater and film. Certain time, ladies and gentlemen, our stars make their entrance and the Lux Radio Theatre presentation of another language, starring Betty Davis, Fred McMurray, John Beale, and May Robeson is on the air. Our scene is a tiny studio apartment in downtown New York, the unpretentious but charmingly furnished home of Vicky and Stella Hallam. It's early Monday morning, and we find Vicky at the telephone. He seems to be having a little difficulty making himself understood. Now listen, is this the Senate Art Institute or isn't it? All right. Now, what? I don't care if you're only the cleaner. I don't care if you're the president. All I want to know is Mrs. Hallam's still there. Mrs. Victor Hallam. Yeah, she's one of the students in the art class. Well, there must be somebody there. Well, we're gonna take a look, will ya? It's important. I said run up and take a look. Hello, Vicky. Oh, never mind. How are you, darling? I'm all right. Do you know what time it is? Yes, oh, I'm terribly sorry. It's nearly eight o'clock. I've been trying to get you on the phone. I know it's awful of me, but I couldn't stop before. I was right in the middle of the new piece. But it's done now. It's in the cast. And, oh, Vicky, I think it's going to be all right. That's good. You must be starved. I'll get you something right away. Well, wait a minute. Maybe you don't remember what night this is. Why? It's Monday. Yeah. And we were supposed to be at my mother's at 7 o'clock sharp. Oh, Vicky. Oh, Vicky, darling. That's all right. It's not the first time you've forgotten it. Are you angry with me, Vicky? Well, I'm not exactly happy. I'm sorry. I know how sacred these Monday night family meetings are. They're not sacred. But I think we could make a little effort to get there once in a while. Walter manages it, and so does Paul. And their wives are there every time. Yes. Has it ever occurred to you, Vicky, that maybe your brother's wives are a little more welcome than I am? What do you mean by that? I don't know. But sometimes I feel I can't help it. I feel they resent me. Oh, don't be ridiculous. Why should my family resent you? I don't know. But I think they do, Vicky, all except Papa. He's a deer. And the rest of them are a lot of pollukers, I suppose. I didn't say that. Well, that's what you meant. I didn't. I didn't mean that at all. I like them, Vicky. I only wish I could make them like me. That's all. Well, maybe you don't try. Maybe if we went up there a little more often, you'd get to know them better. It's not their fault, Stella. I know that. It's just that they don't understand you all this art school stuff. Oh, but you understand it. You do, don't you, Vicky? Sure, I do. Then give me a kiss, darling, and tell me that you're not mad anymore because I'm late. But why did you have to pick the night of all nights to hold things up, Stella? I couldn't help it, darling. Honestly, I couldn't. This bust of you was the first thing I've done that I thought was really good. And I feel like shouting. Probably it's because the subject was so grand. Crazy. Don't spoil it, Vicky. Kiss me and make it perfect. Now hurry up and get ready. I'll only be a minute. Oh, Walter and Grace are going to stop by for us. Are they? Yeah, I told them you'd be late, so they're taking their time. When Walter comes, make sure you don't smoke one of his cigars. Huh? If I remember the last one you smoked, flew up. Oh, oh, Walter's all right. Of course he is. Blow up, will you, Walter? My feet are killing me. Which apartment is it, Grace? 12. Boy, what a joint. What did Vicky ever want to live down in this part of town for, anyway? Stella, you mean? She's got him wound around her little finger. Ring the bell. All right. Guess she thinks living down here makes her R here something. Hello, Walter. Hello, Grace. Vicky, boy, how's the kid? Fine, thank you. Well, step right in, Gracey. Make ourselves to home. That's right, Walter. Well, Grace has been a long time. How are you? All right. Oh, Grace is dying. She says her feet are killing her. Hoof and mouth disease. That's what she's got. Guess we'll have to shoot her, hey? Ah-ha. Where's the little woman, Vicky, putting on the war pain? She'll be ready in a minute. Give her the gun, boy. Give her the gun. You know what I do to Gracey when she keeps me waiting? I give her the icy clutch. No, Walter, you stop it. You know you sneak up behind them, Vicky, and get them by the nape of the neck, like this. Shhh! Oh! Oh! Oh! Oh! OK, cool. The icy clutch, Vicky, get it? Hello, Grace. Hello, sir. How are you, still, old girl? How's the kid? Fine, Walter, how are you? Well, I'm like the weather. Everybody complains about me, but nobody does anything. Oh, shut up. Say, we'd better get going. Mom will be waiting for her. I'm ready. I'll run down and heal a cat. Oh, don't be foolish, Vicky. Oh, we've got to, Grace. We're late already, and it's my fault. I'll turn out the light. No sooner said than done. Oh, Walter, not all of them. I can't see my hands before my face. Ooh, boogie, boogie, boogie, boogie. Stop it now, Walter. The icy clutch. Oh! Oh! Ha, ha, ha, ha, ha, ha. Stop it, Walter. Hello, Mama. Hello, Vicky. Hello, dear. Come in, come in. Well, Mama, how's my best girl? Oh, I'm fine, my boy. You know, I was afraid you were not coming. Oh, how do you do, Stella? Well, this is a surprise. Hello, Mother. I'm awfully glad to see you. How are you? You're doing well, thanks. Oh, these flowers for me? Oh, thank you. Thank you very much. But you shouldn't, you know. Boo! Oh! Ha, ha, ha, ha, ha, ha. Walter, Walter, my boy, I knew I could count on you. How are the children, Grace? Johnny's got a sniffle. Everybody here tonight, Grandma? My sons never forget Monday nights. Listen, what's the matter with your son's wife? I always say my son's wives are very good to me or so. All except Stella. You know, I'm afraid we are not quite tight-toned enough for Stella. Oh, Mother, you know that isn't true. You don't understand. I understand perfectly, my dear. Well, come in, come in. Don't stand here in the hall. They're all inside waiting. Hello, everybody. Hello, Etha. Well, hello, you're a stranger. I know, I'm really ashamed. I feel as if we ought to be introduced. Oh, Etha, it isn't as bad as all that. Stella, my child, I knew you'd come. Hello, Father. Hello, Stella. Paul, how are you, Paul? Say, I'm those chrysanthemums' beauties. Those are beauty, Stella. Aren't the beauties everybody? They must have cost something all right. Yes, they're very lovely. It's too bad we haven't anything to put them in. Gee, you blew yourself. Our times didn't seem to hit you, Vicky. They are wonderful, beautiful. Yes, but, Stella, you know, you shouldn't let your husband spend so much money for nothing. How's your new maid, Grace? How is she? She ate three eggs for breakfast this morning. That's how is she. That's nerve. Do you know it? I'll say it's nerve. Oh, I wouldn't keep it. I'm not. Hi, that old kid. Oh, whoa! Stop that, Walter, Helen. Grace, that husband of yours is too fresh entirely. Well, you know, Walter has to have his little joke. Walter, did you see the new brooch Paul gave, Etha? No, no, let's see it. Say, not bad, not bad. I like that center diamond, Etha. It's a marquee. Never met him. My acquaintance begins and ends with a chip. Oh, whoa, whoa, where's Jerry? Everybody's here now, but Jerry. He said he'd drop in later if he could. Well, that's, that's right. Right, you know, you, you, you are not, you're not firm enough. You're not firm enough with your son, Etha. You know, Monday night's off to, or to begin to mean something to him. Now, now, Jerry's quite old enough. That's true, Mama. Etha, you ought to talk to him. You know, I don't think I've seen Jerry since... You know how long? I'll tell you, not since your wedding. That shows how often you visit our stellar. But that's not possible. You wouldn't know him now, Stella. Yes, he's a grown-up man all of a sudden. Well, I can't believe it myself. He reminds me a lot of the way Vicki used to look. Oh, there's a strong resemblance between all the boys. I said to Grandma the other day, I said Vicki's getting to be the image of Paul now that he's putting on weight. Who's putting on weight? You. Oh, you're crazy. Oh, Vicki, you big, fat thing. You know, you gained 11 pounds in the last year. Vicki gained 11 pounds? Boy, that's wonderful. You don't seem to think it's so wonderful, Stella. What? Stella, you're not happy that your husband's putting on flesh? I want him to stay young and handsome. Oh, not since. People should eat plenty. Never mind how they look. That's right, Mama. You tell Etha, Stella. She's positively starving me. Oh, Vicki, Mother actually believes it. No, she's pretty good to me. My wife is. Now, I guess you're pretty good to her. All my boys are good husbands. Good, but not romantic. Well, we've got to be romantic, huh? Yeah. Well, sit down, Stella. Sit down. Don't, don't act like company. Oh, I'm not. Really, I'm not. You don't even take your hat off. That's not very nice, you know. She knows it's becoming. Why, it's so light. I didn't even know it was on. Well, take it off. We all saw it. Oh, here's Jerry now. Come on in, Jerry. The door's open. Fine time to be coming. Hello, everybody. Hello, Jerry. Hello, Grandma. You've been forgetting your old grandmother. Oh, no, I haven't, Grandma, but you know how it is. Hello, Jerry. Oh. Jerry, this is Aunt Stella for goodness sakes. You remember Aunt Stella? Say, how'd you do? Where's your tongue? Oh, he does remind me of the way Vicki used to be. Sure, I remember Aunt Stella. How do Aunt Stella? Aunt Stella, that makes me feel so old. Well, if I don't call you Aunt, I can't kiss you. And besides, you're not a bit like an aunt. I mean, well, you're not a bit older. Hey, go on, go on, Jerry. He even put his foot in it the way Vicki used to. His ways are a lot like Vicki's, but I don't notice the resemblance so much. That means Vicki was never so good looking. Oh, yes, he was. Here, you're a businessman now, Jerry. Yeah, Dad. Decided last week he couldn't get along without me. Oh, so we're not going to have an architect in the family, huh? It doesn't look like it. Jerry, did you really want to study architecture? I was crazy, too. I guess I still want to, about more than anything else in the world. Well, come on in, everyone. There's lots to eat. That's the best news I've had since breakfast. Come on, Vicki. We'll show that pretty little wife of yours how a boy should be fed. Now, let me at it. Shoo! What's that you're playing, Aunt Stella? The music. It's swell. Oh, listen to them in there. I bet they'll sit over that table till 12 o'clock. They're enjoying themselves, Jerry. You know, Aunt Stella, you don't seem to belong to these Monday evenings. Aren't they awful? You have to sit around all night and jaw over things that aren't important and eat a lot of things you don't want. I hate to come here. I know how you feel, Jerry. Do you? Is it true you're an artist, too, Aunt Stella? I mean, do you paint and sculpt? I used to before I would narrate. I'm beginning again. Well, good for you. You know, when I was a kid, well, when I was about 18, I mean, I used to love to design buildings and theaters and things like that. Oh, but that's wonderful, Jerry. Dad couldn't see it, though. Nobody could. They seemed to think that anything that has to do with drawing isn't business. I wanted to go abroad and really study. My first dad said he'd think it over, and then the family, I don't know, sort of got him out of the idea. Well, that's too bad, Jerry. Well, what are you too hobnobbing about? The two artists. You think they were long lost friends? Well, I only hope Stella's not putting ideas in his head. What do you mean? Can anybody even sit together? Yeah, both of them. You're talking to your mother. I'm sorry. I didn't mean anything. No, no, of course you didn't. Jerry's a good boy. Come on, Stella, get hot. How about a little swinger? Let's hear you go to town. Walter, I'm afraid I'm not up to it. Why don't you? Sure, shovel over. I'll show you how to tickle the ivory. That he does it all by ear. Never took a lesson in my life. Well, Stella, I'd like to see you sometime when we could talk by ourselves. I mean, I would like to talk to you about paintings and things. There's nobody much around here I can talk to. Why, of course, Jerry, any time. Listen, wait a minute. Vicky! Vicky, dear! Yeah? Vicky, why couldn't everyone come down to our place next Monday evening? Oh, that's an idea. Hey, how about it, everybody? I'll come over to our place next Monday. Oh, no, no, no, no, no, no. That's too big a trip for an old lady like me. Perhaps if you lived a little nearer. Oh, come on, Mama. Just this one's won't tire you. It's a swell idea. Then you will come, all of you. I'm willing, if the rest are. OK, by me? Fine, then it's settled. Our place next Monday. No, no, no. You know, I'm an old lady. It's much better for you young people to come to me. Oh, no, Mama, dear. I'll blow you to a taxi. Yeah, how about a bicycle, Mama? Ah! Well, sir, I meant to talk to you alone, not with a whole gang around. Why, then, any time, Jerry. Just drop in and have dinner with Mama. Thank you. Oh, gosh. I'm dying for sleep. We ought to be going, Walter. Me too. I can't keep my eyes open. I ought to wash my hair. Come on, Steele. Get your duds on. Here's your coat. Catch. Let me help you on with it, Aunt Steele. Thank you, Jerry. Here, let me help, too. I hope you got your desk out of there. That's a cool trick you want to watch out for what you're doing here. Jerry! Jerry! I've been scutting into you. Talking to your Uncle Walter that way. Apologize to your Uncle this instant. Go on, Jerry. Say, excuse me, Uncle Walter. You were very fresh, really. I apologize, Uncle Walter. Oh, don't mention him, my boy. I know your business troubles make you irritable. Jerry, don't mind them. You will come to see me, won't you? Steele, are you ready? Steele? Yes, Vicki. I'm ready. Before going on with our play, let's stop at the home of one of our friends. 14-year-old Margie is out in the kitchen with her mother. They are doing the dishes together. Margie is drying them. Mother, how many years have you been washing dishes? Oh, a long time. It'll be 16 years this month since we started keeping house. Wee, you don't look it. Thank you, darling. What makes you say that? My mother, your hands were so pretty and white. Not at all dish-tannied, Lucky. Well, they probably would be if I hadn't been washing my dishes and luxe ever since I was married. And before, too. Really? I used to help grandmother when I was a girl, just as you're helping me now. Only I usually washed and grand-dried. She always kept a package of luxe on that shelf between the windows in her kitchen, remember? And we never used anything else for dishes. Actually, I have tried other soaps a few times, but they always hurt my hands, so I went right back to luxe. And good old luxe seems to get the dishes clean faster. If anybody ever asks you, you can tell them your mother thinks luxe is just about perfect. Once again, Mr. DeMille. Back now to another language. Starring Betty Davis, Fred McMurray, John Beale, and Mae Rogson. One week has passed. Since their meeting at Mother Hallam's, Stella has been seeing Jerry occasionally, trying to bolster up his spirits. It's Monday morning, and Vicky is sitting at the breakfast table as Stella comes from the living room. Who's that on the form? It's Jerry. What, again? Yes, he sounded a little upset about something. He wants me to have tea within this afternoon at the Admiral Hotel. Said he wanted to talk to me. No, tend to want to beef about something. Oh, but they're all so against him. We're the only ones who can help him. We can't close him off, Vicky. I'm not going to close him off, exactly, but I'm certainly going to mind my own business. And you do the same. Paul wants him over at the factory, and that's all there is to it. But Paul has enough money to let the boy at least try to find himself. And waste the best years of his life trying. But it wouldn't be waste. Putting him in business now when there's so much in him that wants to come out. That's waste. You should have seen his face at the art exhibition. It was like a new world to him. A kid like that, and a kid that age oughtn't be hanging around art galleries. It's a lot of bunk, if you ask me. Vicky, when you talk like that, I could just shake you. It's so awfully typical of you. Typical of what? Well, of the kind of mentality that ridicules what it doesn't understand. Oh, so I've got that kind of mentality, eh? I never thought you had. But you do now, is that it? I don't know what to think of you anymore, Vicky. Oh, you don't? Sometimes, if I close my eyes, I think it's Paul or Walter. Now, look here, Stella. I've warned you often enough to leave your opinion of my family out of our conversation. But it isn't the family, it's you. If you're so blind, you can't see that Jerry ought to get away to find himself, then... Well, then something in you that's always been very dear and precious to me has died without my knowing it. Well, you're certainly taking the kid's troubles to heart. Because he's so much the way you used to be, Vicky. Maybe that's why I'm so fond of him. Well, I'm glad you like somebody in my family. I could like them all if they'd only let me. Ah, that's a layer. No, it isn't. I've never fooled myself about the way they feel toward me. They resent me terribly. Well, if they do, it's because you're high-hat them. Try to make yourself somebody miles above them. That isn't true, and you'll know it. If I were someone miles above them, I could understand their hatred. But I'm not. I just want more out of life than waking up in the morning and going to bed at night. Oh, I want a great deal more than that, Vicky. And I want a great deal more of marriage than the mere routine of a man and woman living together. Because that doesn't have to happen. It shouldn't happen. Especially when two people began by loving each other the way we did. Well, that's a funny thing to say. What's the matter with me? Nothing, Vicky. You used to think I was pretty good. You used to even love me a little. I still do. More than anything else in the world. Like fun you do. You know what's the matter with you, don't you? You're just plain garden variety romantic. Oh, you can't name it with a word, Vicky. You want a honeymoon to last forever. But good Lord Sully, you can't expect that. It's bound to wear off, and something a lot better comes in this place. What comes in its place, Vicky? Well, you know as well as I do. I know this, Vicky. Nothing can ever take the place of tenderness and respect and chivalry. You just stand still without them. Well, you keep going down and down and down. Oh, that's bunk, so honestly, bunk. I'm gonna call you romantic Susie. Come on, kiss me, romantic Susie. Oh, Vicky, be serious. We need to talk, you and I, but leave me, we do. Nonsense, I understand you a great deal better than you think I do. But you don't know what it means to be lonely. What have you got to be lonely about? Afraid I don't love you anymore? Come here, you little fool. No, Vicky, please. Oh, still, I do love you. Vicky, every night I pray this prayer. Dear God bless Vicky, whom I love. And all my dear in-laws. Hey. Like it? It's lovely, Jerry. You know, your uncle Vicky and I used to come here some time to dance. Oh, that seems a long time ago now. It was such fun. Stella. What's that there playing? I love it, don't you? Stella, please don't keep putting me off. Well, what is it, Jerry? Oh, I feel like a fool now. You didn't act this way on Saturday. Well, I remember that we went to the exhibition. Was that all? Oh, yes. Well, I remember more than that. I remember every word you said and the way you looked when you said it. Jerry, this is dreadful. No. You know, you sound like a detective. No, I'm not fooling you. Being with you that day made everything different and wonderful. But all it meant to you was going to an exhibition, I guess. Oh, no, it didn't. It meant more than that, Jerry. Because you see, I enjoyed seeing the pictures with you. It was nice being with someone for a change. It was awfully nice. Oh, well, I see. Sure. I'm just crazy, I guess. Forget it, will you, Stella? I was just sort of crazy when I called you and asked you to come here, that's all. We'd better have our tea. Waiter, waiter. Yes, sir? Tea for the lady. Yes, sir. Anything else? Stella? Just the tea, I think. I have to hurry home for dinner. And for you, the same, sir? No, brandy. Yes, Jerry. Oh, I'm just a fool, that's all. Go on, laugh at me. I don't blame you. But Saturday, when we were going around together, I was walking on clouds all the time. And you were happy, too. I could see it in your face. Because you were with me and away from Vicki. Jerry. I can see the way he treats you. As if you were a piece of furniture. Something that's in the house when you go to work and you're sure it'll be there when you get back. Jerry, don't be silly. Uncle Vicki and I love each other very dearly. We, uh, well, we're not romantic anymore. Romance doesn't mean anything. We're as often. Something much better comes to take its place. I don't believe that. And you don't believe it either. It's just that he doesn't know how to make you happy. I am happy. And then Saturday was all a dream. I mean, then I guess I only imagined it. No, no, you didn't imagine it, Jerry. It was wonderful. I did love it. You know, it was just as if I were under a spell. As if time had gone back seven years. But it wasn't you I was happy with, Jerry. It was Uncle Vicki. Don't you see? Well, then there isn't any place for me at all. No, Jerry. Jerry, listen to me. You're not in love with me the way you think. Stella. Oh, no, you're not. I'm just taking the place of the girl you love someday. Now you're, well, you're lonely, I guess. You're dazzled by the experience of talking to someone who understands the things you want to say. Well, that'd make me suffer the way I'm suffering now. I think so. Well, that'd make you suffer the way you're suffering. Jerry, stop it. I won't stop. I know what you're doing. You're treating me like a child because you're afraid. You're afraid of yourself, and you're afraid of me. Jerry. Oh, Stella, there's nothing wrong about it, Stella. We didn't ask it to come. It just happened, like something natural and beautiful. Jerry, Jerry don't. You must. Jerry. Right over here. Here's your Uncle Vicki. Vicki, you told him we were going to be here? Of course, why not? He's going to take me home. Waiter. Jerry. Waiter, take the check out of this and keep the check. Oh, Jerry, you mustn't run off like this. Hello there. Hey, Jerry. What's the matter with him? Hey, Jerry. Let him go, Vicki. He's just upset, that's all. What's eating him now? I don't know. Oh, Vicki, you wouldn't understand. We went out in an awful hurry. What's at this time? Vicki. Vicki, I wish you'd do something for me. What? Speak to Paul. I ask him to let Jerry go abroad, for my sake. Nothing doing. That's none of our business. All right. Now, let's get going. Shall we, if we're going to entertain the family tonight? Now, now, Vicki. Hurry. I'll go and let them in. I'll be out in a minute. Oh, Jerry, it's you. Yeah, it's me. Come in, Jerry. I want to apologize for acting the way I did this afternoon, Stella. Oh, but you didn't. I guess I just sort of lost my head there. I went back to the office, and I wasn't even going to come up here tonight. Then I got to thinking about it and realized what a sapper was. Oh, but I understood it, Jerry. You mustn't feel badly about it. Well, I do. Oh, gee, this room's beautiful at night, with the candles and everything. I've never seen it like this before. Where's Uncle Vicki? In the bedroom, changing his clothes. I brought you something. You did? Oh, here. Oh, Jerry, how nice. Shall I open it now? Sure, sure, if you want to. Oh, it's soft. Go ahead, see what it is. Oh, the little toy dog. Do you remember it? Of course I remember it. We were walking across 57th Street after the exhibition. It was in a shop window. And you were like a little kid the way you stopped and laughed at it. I've always had a weakness for toys, still. And you said, oh, Jerry, look at that puppy. Isn't it adorable? And I knew right then and there I'd have to buy it and surprise you with it. But you shouldn't have done it, Jerry. Well, don't you like it? I love it. It's one of the sweetest things that ever happened to me. You're surprising me this way. But it won't do. You see? It just won't do. Oh, you're crying. Not a thing. Why should I cry over a funny little dog? I don't know. Neither do I. Do you really mean you won't keep it? Stella, you're not angry. Jerry, no, dear. Only I don't want you to spend your money on me. It must have been expected. That's not the reason you're just making that up. Well, then I'm your aunt. Little boy's oughtn't to buy things for their aunt. It ought to be the other way around, if anything. Well, here we are. Oh, hello, Jerry. Thought you were the family. Say, what was the idea of that disappearing act you pulled this afternoon? I had to get back to the office. You're a busy man these days, aren't you, Jerry? Hey, where'd the dog come from? Gosh, they certainly can make stuff these days. I bought... Jerry bought it for his girl. He opened it for me to see, Vicki. Oh, so there's a girl in this, too. Well, women like this kind of nonsense. Say, didn't I buy you something like that when we were first married, Stella? Yes, I think you did, Vicki. Yeah, it was some kind of a stuffed animal, a pig or a rabbit. It was a kitten with a blue ribbon around its neck. Well, that's right. I threw away five bucks on it without batting an eyelash. You didn't throw it away, Vicki, because I still have the kitten on a top shelf in a box. You still have it? Gosh, women are nuts, all right. Hey, careful, Jerry, you better go easy. What's her name? There isn't any girl the way you mean. Don't tease him, Vicki, please. Oh, it's all right, old man. You're not the first one to fall, you know. Now, how old is she? Let him alone, Vicki, it's unkind. Say, Jerry, you're in soft with your ass salad. Do you know it? Oh, there they are. Come on, Jerry, cheer up. You'll only upset Grandma carrying around a face like that. Hello, Vicki. Hello, Vicki. I got to get out of here. I can't stand this. Jerry, please don't. Hello, everybody. I'm so glad you're here. Come in. It's wonderful to have you here at last, Mother. Oh, thank you. Say, Mama, where's Paul? Yes, where are Paul and Nessa? Well, they'll be here later. Didn't Jerry tell you? Don't you know what happened? No, did Jerry tell you, Stella? I forgot. That's not a very nice thing to forget, Jerry. Edda's sister got a appendicitis. They rushed her to the hospital. Really? Yeah, they operated right away. For him's sake, Jerry, how on earth do you happen to forget to tell Aunt Stella? Yeah, how come you forgot? Paul lay off the kid. He couldn't help it. He's in love. Oh, that's it. Well, nonsense. He's much too young for that. It's puppy love. That's what it is. Got any dog biscuits, Stella? Oh, shut up, will you? Jerry, don't. All right, everybody. Give me your coat, will you? Come on, folks. The evening's young. The joy reigns unconfined. I'm so full of food, I can't move. Nice work there, Stella. Those sandwiches were swell, not big, but swell. Thanks, Walter. Oh, I do like that record, Vicki. It is a nice photograph, isn't it? Come on, Grace. Let's dance. We'll show them a thing or two. Oh, Walter, I'm rotten at the new dance, isn't you know it? Well, I'm just keeping time and follow me. What a boy. Nice work, Walter. Walter, I can't. Let me stop, Walter. I'm busy. How's this, folks? Look at Walter. Walter's good. That ought to take you down around the hips, Grace. Come, come, Vicki. Why aren't you dancing? Oh, come along, now dance with your wife. Yes, Vicki and Stella. Oh, I'm no good. Go on, Vicki, dance. Well, come on, Stella. I'd love to, Vicki. Ah, now that's right, that's right. Give out with that stuff, Vicki. Yeah, if I don't give out myself. Well, who's leading, Stella, you or me? You, darling. Oh, let's stop. I guess we're just rotten. Well, you used to dance good together, you two. When did you ever see us dance? You danced at your wedding. And you held her tight, all right. Come along, Jerry. Now, what's the matter with you? You must dance. Go along, go along, dance with one of your aunts. Oh, do I not? Oh, come on. Show us some new steps, Jerry. This is getting to be a real party. That's right. Forget your troubles, Jerry, old man. And tread the light. Fantastic. Hey, that's a good idea. Here, you can have my wife as a partner. Yeah. Jerry and Stella. Ah, now we're going to see something. Yes, the two youngsters ought to be able to give a good performance. Please, no. Go on, Stella. Don't be silly. Oh, come along, Jerry. Ask the lady, please. No, no, I'm, I'm tired. Oh, dear, Stella's always tired. Oh, dear sports. So why do you have to spoil up fun all the time? Vicki's right. Go on, Jerry. Just make her dance. All right, Stella. All right, Jerry. There, there. See how beautifully they do it. Say, that Jerry's quite a snake. And a boy, kid. Look how they do it, so smooth. Why can't you and me do it like that, Walter? You think they dance together all their lives? Well, looks like they win the dance contest, all right. Well, what do you say, folks? Hey! Hey, break. Hey, you win. Come on, break, break. You hear me, Jerry? Break. I'm sorry. They ought to get a loving cup. No, no, no, not a loving cup. I know the bust. The plaster bust over there on the table. Here, here, give it to me. Really? Sure, because it's hollow, just like Vicki's head. Mr. Jerry Hallam and Mrs. Victor Hallam, on behalf of the management and in recognition of your swell-elegant exhibition of terpsichorean art. Permit me to... You fools, you fools. All of you. Come back, Jerry. He broke the statue. This is the second time he's done that to me. Well, he can't get away with it. I'll get him back. Oh, no, no, Vicki. No, please, let him go. I don't mind his breaking the bust. It was just practice work. I don't care, really. You don't care, but I do. Just because he's got a grudge in the world, he can't go around smashing things up in my house. Oh, but Vicki, he didn't know what he was doing. He's terribly unhappy. There's no excuse for this. He's just a sore pub because he can't get his own way. What's eating him? Oh, you know, he's dissatisfied over the factories. Carrying on for that, imagine. He ought to be wallowed. I should say he should. Oh, you are fools. You blind idiot. I thought so. Teller has been encouraging him for our cheese worth. And if I have, is it any worse than what you've done? What are you saying? One minute, Vicki. I would really like to hear what it is that we have done. If you really want to know, I'll tell you. You're all so sure of yourself. You're trying to mold Jerry's life to fit your own, and it's wrong. I know what I'm talking about, because you've done the same thing to Vicki and me, and you must have. You've got to let the three of us alone. You've got to let Vicki and me keep our marriage the way it started out. It's the only thing that'll save us. Stop. I did. Stop, please. I've heard enough. Vicki, I think your wife's lost her mind. Oh. Grace, Grace, get some water for mom. She's going to faint again. Vicki, Vicki, you know what I'm driving at. You know I'm right. Make them see it. Shut up, Patrick. Make some excuse for your action, Stella. No. I'm going. I'm going. I'm going home. No, no, Vicki. Vicki, don't stop me. I can't. I can't stay after such insults. I'm going home. We're all going home. Come on, Grace. You can come out now. Stella. Don't use that tone to me, Vicki. Oh, so that's going to be your line. Why, you ought to be glad I even give you the chance to explain. There's nothing to explain. I needed you. But you didn't love me enough to know about it. Love you enough? When it comes to love, I wouldn't talk. The only single thing I've asked of you in our married life is to be decent to my folks. And what do you do? The first time they've all been to my home in over two years, you insult them so they have to leave. I wish it hadn't happened that way this evening. Maybe it's just as well for all of us to know just where we're at. Yes, and I'll tell you where you're at. Tonight was the turning point between you and me if anyone should happen to ask you. And I'll leave you to think that over. Where are you going? If you want to know, I'm going up to the folks. Vicki, if you go up there now, we'll never get back to where we were. You've got the card before the horse, Stella. It's up to you to make the first move to get back to where we were. My slate's clean. I've been as good a husband as any man could be to a woman. Have you, Vicki? Well, haven't I? I ask you, haven't I given you everything you ever wanted? Now, who's that? Oh, hello, Jerry. Of course, I'm Stella. I got to speak to Aunt Stella. Look here, kid, it's a pretty rotten thing you did losing your temper. Oh, no, that's why I came back. You've got to learn to control yourself. When it comes right down to it, though, I blame your Aunt Stella more than I blame you. You don't know what you're saying. She didn't have anything to do with it. Oh, Jerry, Jerry, keep quiet. Go away, please. I don't want you here. You stay exactly where you are, Jerry. And listen, Stella, if my nephew has a decency to come back here and say he's sorry, you at least have the decency to hear him out. I've said as much insult to the members of my family as I'm going to stand. But Jerry and I have nothing more to say to each other. He has nothing to do with what's happened between us. Is she one I who need to talk? No, no, we don't. I told you I've had my say. I'm through until you come to your senses. James, oh, Vic, you can't do this to Aunt Stella. It's all right, Jerry. Your aunt and I understand each other perfectly. Good night. I'm going to get him back. He's crazy. No, no, Jerry. Let him go. You go, too. I want to be alone. But you oughtn't to be alone now, the way they all walk out on you. And it's their fault, too. Don't worry about it, Jerry. Just go home. But, gee, Stella, I can't leave you like this. I just want to do anything for you. I don't care what it is. I want to do something to take that look out of your eyes. Then go home, Jerry. Go home and forget everything you've seen and heard tonight. I only wish I could forget it, too. But you can't forget it. And I can't either. I love you, Stella. Jerry, don't. Please don't. You see, I'm too tired to scold you the way I ought to. The station identification. This is the Columbia Broadcasting System. K.M. at Los Angeles, the life of Hollywood. Betty Davis, Fred McMurray, John Beale, and May Robeson continue another language in just a moment. As you listen to the Lux Radio Theater tonight, doubtless you're struck by the attitude of one particular character. I speak of Mother Hallam. Through her own words and through the influence she exerts on her children, you probably resent her type of motherhood. Fortunately, most mothers speak another language, the language of great and understanding hearts. Such a mother talks to us tonight. She's sitting at this moment in the study of her home on East 65th Street in New York City. On the desk nearby is a photograph of her son, Franklin Delano Roosevelt. Ladies and gentlemen, speaking to us from New York, the mother of the president of the United States, Mrs. James Roosevelt. Thank you, Mr. DeMille, for your invitation to take part in a program from your splendid Lux Radio Theater. It's a pleasure also to hear Ms. Davis, whom I remember as a charming young lady when I met her in Washington. I think tonight that you're doing something even more important than entertainment. For through Mother Hallam, you're showing it seems to me many other mothers, but not to me. And why? Early the second act of the play, there was one line that has stayed with me. Stella was speaking, and she said, let the boy at least try to find himself. That phrase might well be the watchword of every mother and father, too. A selfish, over-possessive mother so often means unhappy children. Unhappy because they are not free. Of course, I don't mean that a child should not be guided, but the child's own identity should never be smothered under that guidance. A boy or a girl may be your child, but at the same time, he is an individual. And perhaps first on the list of his training should be teaching that child to find himself. I get so impatient when mothers will say, oh, my boy, never could do that. And when I hear it, I always want to say, you mean, you never let him do it. I remember in my own experience, it was hard for me always to see that, especially when my son wanted to climb tall trees or go hunting or other such hazardous expeditions. But my husband would always say to me, teach him how to do it right. And then let him go ahead. And when your child grows up, that's another time, when a mother must recognize her child as an individual in his own right. No matter how much you want your boy to be a lawyer, if he wants to be a painter, let him do it. If you don't, he would be unhappy as a lawyer and probably a very poor one. But with a sympathetic understanding, he may become a great artist. A final word to mothers now, remember your child's father may have some very good ideas and his influence and cooperation are very important. You all know what happens when you say no and your child answers, but daddy says I may. Help your son develop a character of his own. Let him find himself. You'll be a very happy mother when you can point to your child's achievements and say he did it all himself. Thank you Mrs. Roosevelt for honoring us with your presence. It's inspiring to hear from you and I know mothers throughout America will cherish your words. We're back in Hollywood now where Betty Davis, Fred McMurray, John Beale and Mae Robeson are ready to continue another language. The following morning with Vicky at his mother's house, Stella has had a chance to think things out for herself and she's come to a decision. Vicky has called saying Mrs. Hallam has been taken ill and Stella has gone to her mother-in-law's home. She's come, almost to come, as Vicky greets her at the door. Hello Stella, come in. Guess I ought to say thanks for coming over. Why? I'm doing this for myself Vicky. Oh I kind of thought you were doing it for me. No, I didn't want to hurt mother and it'll make her feel any better for me to say so. It would be stupid to stay away. That's talking. May I go up to her now? Walter and Grace are with her. Do you know you haven't said good morning to me yet? Haven't I? Look here Stella, are you still mad or what? Why should I be mad? You act a certain way because you're you. I act a certain way because I'm me. And that's all there is to it. All right, let's forget it. You did wrong last night but you can't do any more than say you're sorry. I did wrong maybe by leaving you alone and I'm sorry. It was what you needed though young lady. Come on now, wasn't it? No Vicky it wasn't. Did you get the woozies being by yourself? I couldn't sleep a wink. I wasn't by myself very long. Jerry didn't leave until almost three. Oh Jerry, what do you do, talk your ear off? You should have pitched him out, you're too soft with him. I wasn't soft with him Vicky. Did you talk some sense into him? I hope so. Good, now let's kiss and make up. I wish it were as simple as that but it isn't. There's no use in our kissing and making up. We'll only be the same thing over again. What do you want me to do, bring a pound of candy and a bunch of roses home tonight? I won't be there Vicky. Well, what do you think you're going? I don't know yet. Listen, are you after a separation or something? Nothing quite as spectacular as that. At least not yet. I just want to be alone for a little while to think things through. Think things through too Vicky. It's high time. Well listen Stel, this is a lot of hysterical nonsense. You're not going. I don't know what you're going to do about it Vicky. I'm going to do this about it. Here I am all ready to take you in my arms and I can't find you. That's the way I sort of feel. And it's the loneliest feeling in the world, isn't it Vicky? Paul. Hello Grace. Sorry I didn't interrupt the love thing but Grandma knows you're here. I'll go up then. Tell her I'll be up to say goodbye Stel. Everything hunky-dory? Huh? I said everything hunky-dory between the lovebirds. Oh sure, yeah sure. Who's that coming down the area away? Oh it looks like Edda. Paul too, my lord. Grandma bats in eyelash and whole gang comes trooping in. I'll go. Hello. Is Jerry here? Is he here Vicky? Is he here? No, what's the matter? He didn't come home all night. Didn't come home? Well that's funny. We come over to find out if you'd up your place with the others. No he didn't. Oh Paul, I know something's happened to him. Oh nonsense, he probably went off in a bat somewhere. Oh no, no, not Jerry. Oh God, don't let anything happen to him. He's all I've got. Come on now Edda, control yourself. I can't, he's in some hospital somewhere. Oh listen Edda, you would have heard in case of accident. No that's easy to say, but I'd be half out of my mind if I was Edda, especially the mood he was in last night. Lord knows what he's up to. What mood? Oh the kid was upset. The family sort of got his goat I guess. Well I know it was that. I know he's not happy down there in that business. I've said it all along. Not that the boy can't adjust himself. He'll have to learn to. He's in love, that's what I might explain a lot. That's right. We were teasing him about it. Edda, do you know anything about this? Not a word. Vicky how do you know about it? He told Stella. Did he tell you who the girl is? No, but Stella's funny that way. She wouldn't if the kid asked her not to. Well I'm going to get to the bottom of this if I have to. Wait a minute, here's the kid's biggest life. See him? He's coming down the area away step. Oh thank God. He'll give an accounting of himself all right. Now Paul, please don't lose your temper with him. You don't know what's happened. Oh Jerry, where have you been? How could you frighten me like this? I'll attend to this. Well young man, suppose you explain yourself. Since when do you take the staying out all night? I'm not a child, leave me alone. I came over here to tell you I was home. If you're gonna start haunting me I'll leave. Now I'm asking you where you spent the night and I want the truth. Do you understand? Walking, most of it. Most of it. And where'd you spend the rest of it? What's it to you? Oh look here Jerry, come out with it. You don't need to be ashamed. Leave me alone. There's a woman in this isn't there? What do you mean? Who is she? Oh leave me alone, why can't you? Oh Jerry, don't act this way. If you're in love with a girl that's all right. Papa's not angry, is that part of it? Yes, I'm in love. Jerry, well I think that's fine Jerry, congratulations. Yeah, it's swell. Come on boy, who is she? I can't tell you. Is she someone you'd be ashamed to let your mother meet? No she isn't. She's the most wonderful person in the world. Then why can't you bring her around? That's what I want to know. And I'll know it before I'm through with you. Well she's... She's married. Oh Jerry. Married? Oh, so that's it. Where did you pick her up? In heaven that's why. Yes, we know all about that. One more question, and I want the truth out of you or I'll... Paul, let him alone, can't you? Let him alone when he's mixed up with some cramp. You use a word about her not to kill you. I'll call her by her right name and that'll be all. Paul, they are in Paul, will you, I tell you? Let me manage this, Vicki, will you? Well, this is no place for a scene with mama sick of stairs. What's the matter with you? Yeah, here comes Stella now. I bet anything grandma wants to know what you're doing. Stella. Jerry. Jerry, why do you look that way? What's the matter? I'll tell you what's the matter. He's running around with a married woman, that's what's the matter. For all I know she's trying to frame something on him. Paul, she's not framing anything on him. How much of this do you know? Everything. Come on out with this, Stella, tell us what you know. No, no Stella, don't, they wouldn't understand, don't tell. I don't know whether you know it or not, but he didn't come home all night, this young fool. I didn't know it. What time do you leave your house? I can tell you that. 3 o'clock. Who told you, Uncle Vicki? Stella. What else does she tell you? What else it was, it doesn't help me, Jerry. Nothing. All right, let's stop beating around the bush. I want to know where you went after you left Stella's. Who's the girl? How long have you been carrying on with her? Come on, Stella, let's get out of here. Stay where you are, Jerry, there's no reason to run away. I don't want to run away. I'd like to tell him. I'm proud of loving you, Stella. You get that all of you? I'm proud of loving her. Watch this, Stella. Why you? Stop it, I've heard enough. Vicki, you poor deluded fool. No wonder you've heard enough. So this is the sort of stuff she does behind your back. Who says it's behind my back? What do you take me for? Don't you suppose I've known it all along? Didn't you hear me say I knew he'd been down at her apartment until 3 o'clock? Does that look like Stella was doing anything behind my back? Well, what are you made of? Blood or water? Common sense. What was the use of making a fuss about it? I knew the kid would get over it and Stella'd handle him. How could anybody take it seriously? A tempest and a teapot. When did this begin with him? I guess it began that night at the folks last week. We got home and Stella said, I think I made a hit with your nephew. We left ourselves sick over it. Oh, Vicki. Stella, you lost. Jerry, no. What did you think we'd do, kid? Sit down and bust out crying over it? You lost. Jerry, no, no, of course I didn't. The lucky thing for you, we did take it as a joke. Why, the idea, big boy, like you, make me such a spectacle of yourself. You go right over and say, I apologize, Aunt Stella. I apologize, Aunt Stella. No, Jerry, don't believe it. Come back. Let him go. But you can't let him go that way. He believed it. Well, Vicki, you don't know what you're doing to him. Now, listen, just calm down. I'm his father, and I'll take the responsibility. That boy loves me. And if it's the last decent thing I do, I won't let you destroy something that's been beautiful to both of us. To both of you, eh? Pretty late to talk that way, Stella. Have you been making fun of him all along? I haven't been making fun of him. Vicki lied when he told you that. He didn't know anything about Jerry and me until now. I thought there was something funny. Vicki's been lying to save your face. I'd rather think that, Paul, than anything else in the world. But it isn't so. Vicki lied to save the family. Or you made a gesture for me, Vicki, I admit it. But it wasn't good enough. Fear, that's all it was. You were afraid for them to know that I was the tramp they were talking about. So you made a joke of it and hid behind it like a coward. And you didn't care what they did to Jerry as long as you were safe. That's a good story. She's telling the truth. Don't you know it when you hear it? She's right. I didn't have the guts to face the truth before the family, because for seven years you've been waiting to say, I told you so. Now go ahead and say it. And you're going to let her get away with it? No, I'm not going to let her get away with it because I don't have to. Stella, when you came in here this morning, you said you wanted to go away. Well, you listen to what I have to say first, and then if you want to go, I won't keep you. I'm not even going to ask you if there's anything between you and Jerry. I'm going to tell you, there isn't. Do you understand that? There isn't. I know there isn't, because I know it. Oh, Vicki, do you really? Children, children, excitement again. Mama shouldn't be up. Oh, excitement. I couldn't rest. I'm sorry, mother. Oh, where did Jerry go? Jerry. Yes, he was down here. I heard him. Why couldn't he come up to see his old grandmother after last night? What is the matter with him? Victor, I asked you something. What is wrong with Jerry now? There's nothing wrong with him, mom. Poor kid needs a break, that's all. Maybe I can help him get it. Maybe he ought to be an architect if he wants to. And if I can help him, I will. Thank you, Vicki. You're siding with Jerry against your whole family? Yes, I am. And if it isn't too late, with Stella. And now, if you'll excuse us, Stella and I were going home. Are you ready, Stella? I'm ready. And Vicki Dowling, it isn't too late. A little later, Betty Davis, Fred McQuarrie, and John Beale report back to the microphone. But now, some facts about clothes and the care of clothes from Janet Henley. Miss Henley, after 10 years as head of women's wardrobe at Columbia Studios, knows clothes from A for apron to Z for zipper. She had charge of this department for recent hits like Lost Horizon and When You're in Love. And is now concerned with the next pictures to be made by Irene Dunn and Grace Moore. Ladies and gentlemen, one of Hollywood's foremost dress authorities, Miss Janet Henley. First, Miss Henley, congratulations on your excellent work in Lost Horizon. Thanks. It was one of my most interesting assignments. Interesting because it features so many unusual costumes. Take, for example, those affairs worn by the native women. In the back from the waist to the ankle was a very heavy piece of cloth covered with shells, corings, and semi-precious stones, representing prayer. Each woman had 108 braids of hair which reached to the waist and were tied to the top of this piece of cloth. We're keeping with the styles of Tibet. But I imagine you're having fun to think about too, Mr. DeMille, in customing your new picture. The buccaneer. Well, there'll be lots of variety, Miss Henley. But the story takes place during the War of 1812. That means costumes for frontiersmen and the beautiful Creole ladies of New Orleans, for Frenchmen and Spaniards, for sailors and pirates, and for the armies of England and the United States. I expect to keep my stars, Frederick March and Francesca Garl, so busy that I'm having wax figures made on which their costumes will be fitted without calling them from the set. Every star, ladies and gentlemen, has a wardrobe assistant whose duty it is to keep her costumes in perfect condition. This means that every night all washable garments are laundered and made ready for the next day before the camera. We use luxe flakes entirely, simply because nothing else does the job so well and so economically. We found that clothes last so much longer when we take care of them in luxe. We have pieces of lingerie, for example, that have been used in pictures for as long as seven years and still look just as fresh and new as ever. I recommend luxe most hardly to all women who want to look their best and particularly if they have to watch their budget. Well, let's take a girl who doesn't earn a great deal of money, say about $25 a week. What kind of a wardrobe would you recommend for her? Well, any girl with a small income should buy conservative clothes that will look well on almost any occasion. I'd suggest that you have one good suit with a separate skirt to go with it and two or three blouses for variety. Also, one simple black and white dress that will do for dinner and theater as well as the office. In select days such a dress, get one that can be worn without a color or with different colors or costume jewelry. This also for the variety. I'd get one navy and white outfit, one dinner dress and two or three simple prints. When you think of the coats and shoes and hats to go with them, this is about all a girl could afford on $25 a week. But it's all she needs. Take care of everything washable in luxe flake and iron your clothes carefully and you'll find you'll be as well dressed as most women are who have a great deal more to spend. I hope I've been of a little help. Thank you. Thank you. That was Miss Janet Henley, ladies and gentlemen. And here's Fred McMurray. And for a very good purpose, Mr. DeMille. On behalf of Betty Davis, John Beale and myself, I want to say how fortunate we've been to have appeared tonight with such a splendid cast. There's May Robeson who played Mother Hallam. Miss Robeson's been acting for more than 50 years and I wish I knew just a little what she's forgotten about characterization. Thanks also to Margaret Hamilton and Hal K. Dawson who played Grace and Walter and to all the others, Edward Keane as Paul Hallam, Myra Marsh as Etta Hallam and Sam Flint as Mr. Hallam. On behalf of the cast, Fred, thank you. And now, John Beale. I'm sure the audience would rather hear from Betty Davis than from me. So I'll be very brief. I'll pick up where Fred left off, Mr. DeMille and speak not as an actor but as one of your regular fans. I think the Lux Radio Theater is the most worthwhile hour on the air. And I say that because I mean it. All right, Betty, where are you? Right behind you, John. Mr. DeMille, I do want to say how impressed I was by Mrs. Roosevelt's talk from New York. It makes me very proud to have appeared on the same program with a woman of such keen understanding and sincerity. As for the part I played tonight, it's one I've wanted to do for a long time. I saw Dorothy Stigney do it on the stage and Helen Hayes on the screen. Each was such distinction. I tried to make Stella live as believably as they did. Thank you, Mr. DeMille, and good night to you all. Let's play your phone again, Betty. Thank you, Betty Davis, Fred McMurray, and John Beale. This is your announcer, ladies and gentlemen, Melville Rueck. Next week, stars and play will be made known in just a moment by Mr. DeMille. Ms. Davis, currently seen in Kid Gallowhead, appeared through courtesy of Warner Brothers. Mr. McMurray and Mr. DeMille, Paramount. John Beale, RKO. May Robeson, Metro-Goldwyn-Mayer, and Louis Silver's 20th Century Fox, where he supervised music for the new film, Cafe Metropole. And now, back to our producer. Next Monday night, we take you to the far boundaries of civilization for Northern Africa, salvaged land of scorching sand, home of perilous adventure and daring romance, and inferno patrolled by a handful of glorious troops flying the colors of the French foreign legion. Of all tales born of this background, none has attained the perennial popularity of under two flags. First favored in novel form, it ran for generations as a play and was three times a motion picture. We bring it to you next Monday night, starring Herbert Marshall as Corporal Victor, Olivia de Havilland as Lady Venetia, Lupe Vallez as Cigarette, and Lionel Atwell as Major Doyle. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night, when the Lux Radio Theater presents Under Two Flags with Herbert Marshall, Olivia de Havilland, Lupe Vallez, and Lionel Atwell. This is Cecil B. DeMille saying goodnight to you from Hollywood. This is the Columbia Broadcasting Center.