 Hollywood, California, Monday, June 14th. The Lux Radio Theatre presents Anne Harding and James Stewart in Madamex. Present Hollywood. Madamex comes to you through courtesy of the makers of Lux Flakes, the most popular fine fabric soap in the world. It is your regular use of Lux that makes the Lux Radio Theatre possible, and we want you to know that we appreciate your patronage. Our stars tonight are Anne Harding, James Stewart of Metro Golden Mayor Studios, and Conway Terrell. Our guests, the former First Lady of the Tennis Courts, Mrs. Helen Wills Moody, and from New York in Madamex and her son from Real Life. Produced each week by Cecil B. DeMille with Lewis Silver's conducting, this program comes to you direct from the Lux Radio Theatre on Hollywood Boulevard, where we bid a hearty welcome to your wall. Before we hear Anne Harding, James Stewart, and Conway Terrell in Madamex, may I remind you that summer is practically here with its cool, comfortable cottons, its wash suits and dresses and sport things. These clothes can look so fresh, so crisp and immaculate that it makes you cooler just to see them, and I don't have to tell you how comfortable they feel. There's no reason why your summer things should ever lose their cool, crisp new look. Lux is especially made to protect them. These delicate flakes are free from the harmful alkali too often found in many ordinary souls. Any color, any material that's safe in clear water alone is safe in gentle lux. Make a note to order lux tomorrow. You'll find the large-sized box most convenient. And now, the Lux Radio Theatre presents its eminent producer, that outstanding pioneer of motion pictures, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Anne Harding became an actress because she wanted to write. Employed by an insurance company in New York, she spent her spare time reading novels and plays for famous players last year, of which I was director general. Helping our studio in its search for picture ideas, when she decided to study stage technique, she visited the Provincetown players. They offered her the lead in their next production. Anne came five offers from Broadway, along with an automatum from her father, the late general George Gatley, commanding her to give up the stage or her home. Anne chose the stage, and eight years passed before the general admitted that an actress in the family, especially an actress like Anne, was no discredit to the Gatleys. Several months ago, Anne went abroad, made a picture in England, and triumphed on the stage in Canada. She returned last month to Hollywood with her husband, the distinguished conductor, Winner Janssen. Tonight in Madamex, she plays the title role. With the same speed that he displayed on the track while attending Princeton University, Lanky James Stewart has vaulted into picture popularity. At Princeton, he studied architecture, when he could tear himself away from playing the accordion. One summer he worked as an assistant to a magician, but there is no truth to the rumor that he became a lady killer by sawing a woman in half. In college, he went into summer stock, was stage manager for Jane Cowell, and soon after was acting on Broadway. Metro Golden Mayor brought Jimmy to Hollywood, and he's heard tonight as Raymond. In the role of Alan Cartwright, we present Conway Turr, an outstanding personality on the stage and screened for more than 20 years. Out of the limelight for a while, Mr. Turr made a remarkable comeback on the stage in Dinner at Eight, and is currently seen in Romeo and Juliet. Now for our play. Our stars make their entrance as the curtain rises, and the Lux Radio Theatre presents Anne Harding and James Stewart in Madamex with Conway Turr. The year is 1918, it's late at night, and in the richly furnished library of his home in New York City, Alan Cartwright paces the floor anxiously, waiting for news of his four-year-old son, who tosses feverishly on a sick bed upstairs. When the door to the library opens, Cartwright crushes out a cigarette with nervous fingers and turns quickly to greet the doctor. How is he? Is he going to change? He's much better, Alan. You mean? But he'll... He'll live. The crisis is over. His temperature has started to drop already. Oh, thank God. He'll be romping all over the house in a few days. Youngsters come back fast. All he needs is rest and quiet. If anything happens to Raymond, he's all I have left. Nothing's going to happen to him. Now pull yourself together, Alan. I've left a prescription with the nurse, and something for you, too. For me? I don't need anything. I'm as fed as a fiddle. Your nerves are raw, Alan. You've been working too hard, and now, with this, you need to rest yourself, man. Rest? How can I rest? I have a law practice to attend to. Your law practice doesn't demand that you kill yourself, does it? Take things easy. You've done nothing but work all your life. It's the only thing you know. That's the only thing worth knowing. And one thing more, Alan. I don't like to mention this, but I'm your physician and your friend. Well, Jacqueline has been gone for two years now. She's not coming back. You've got to begin to accept that fact. You think that's what's got me down? Well, I... Well, it hasn't. I've no intention of ever allowing her to come back. She's been calling here all day. Jacqueline? She heard Raymond was sick, wanted to see him. You're going to let her, of course. No. But Alan, she's his mother. She left him and she left me. Life wasn't gay enough for her here. I was very well in. But I make her own life. Make it or wreck it. She's young, Alan. Much younger than you. Has it ever occurred to you that perhaps you were to blame too? For what? You were so absorbed in your work, you had so little time for her. It wasn't gaiety, Jacqueline wanted. It was companionship, love, she... She left Raymond, her own baby. There's nothing more to be said about it. Sorry, Alan. When are you coming to see Raymond again? I'll drop in later on my way from the hospital. Good night, old man. Good evening, ma'am. Good evening, Vessie. Is Mr. Cartwright in? Why... Yes, ma'am. That is, I'm not sure, ma'am. How is Raymond? I'm sorry, Mrs. Cartwright, but... But Mr. Cartwright said... Could he leave orders that I was not to be admitted, Vessie? Is that the problem? Yes, ma'am. I'm sorry. Is that about the back again, Vessie? Let him in. Don't give him... Oh. Good evening, Alan. May I go, Vessie? Close the door. Yes, ma'am. Well? I've come to see Raymond. How is he, Alan? I told you not to come here. Oh, please. How is Raymond? Is he any better? The danger is over. Oh. Well, may I see him, please? No. All I want to do is open the door and look at him. He mustn't be disturbed. I won't disturb him. I'm sorry. But I'm his mother, Alan. I have a right to see him. You forfeited that right when you left him two years ago. I'm sorry, Jacqueline. I didn't leave him, Alan. I left you. I had to. It was a mistake. I admitted a great mistake. But I only meant it to be for a little while. Just...just time enough to think things over. Why didn't you answer my letters, Alan? I sent you money. Why didn't you answer my letters? I was busy. You were always busy, weren't you, Alan? That was always the trouble. I reached out for you again and again. I could never find you. You knew what you wanted, Jacqueline. Now you've got it. You left Raymond and you left me. And there's no returning. It's too late for that. You want a divorce, Alan? No. No? But you... Oh, I see. It isn't a good thing for a man to be divorced if he wants to be a judge. You'd sacrifice your whole life for that, and mine too, wouldn't you? It's my career, not yours. I'm sorry, but you'll have to leave now. I've come here to beg your forgiveness to ask you for one glimpse of my own baby. Too much excitement, Alan. I won't excite Raymond. I love him. But you won't let me near him. Clients, courts, the judges' robes. That's what your life is and all it will ever be. You don't know what love means. Get out! Opinions, decisions. Human beings aren't found in leather and failed with your law books. They live, they make mistakes. They forgive and love and keep on living. Oh, please, Alan, let me see him. Let me see my baby. No, Jacqueline. You say I'm hard. Well, perhaps I am. But it's for his good too. I don't trust you. You've made me too unhappy. You've ruined my life. You're not going to have a chance to ruin his. I should hate you for this, Alan, but I can't. I can't feel anything at all for you. Except pity. You don't know what you're doing. You don't know what it means. But someday you will. And you'll never forgive yourself, Alan. Never. Now light the candles on the cake, Betty. Hurry up. We'll surprise him. Ten candles. Ten years old today. It seems only yesterday he was abating. Better from Raymond, Alan? Yes, and listen to this. When my sophomore year's over, I'm planning to switch to pre-law. Pre-law, Perry, what do you think of that? I privilege this day to award them their diplomas. May they practice their profession in uprightness and in honor. Will the men step forward, please? Albert Ainsworth? John Butler? Howard Bridges? Raymond Cartwright? James Carvell? On Butler, Howard Bridges, Raymond Cartwright. There you are, Dad. My name on the newspaper. I see it, son. You can just about see it, yeah? Pretty small print, isn't it? Well, it'll be larger someday. Not as large as yours, I'll bet. Did you see that story on the record this morning? Alan Cartwright sworn into the state supreme court. I got a real kick out of that. Yes, so did I. You've been working for it long enough. All my life, son. Now it's here. You must feel pretty good. Yes, I suppose I do. Well, I don't see you throwing any hats into the air or anything. You know, if I ever just get one case, I'll be a success, you know? Well, success isn't everything, son. You'll find that out as you get older. There's more to life, oh, much more. There's such as what? A home, friendship, family. A clear conscience. But you have those, Dad? Well, I have. Most of them. You've been my family, Raymond. Well, I guess I haven't been much help. It might have been different if mother had lived. What was she like, Dad? She thought we were never to mention your mother's name. Oh, I know, I promised, but why not? It was such a long time ago, and everyone likes to know something about his mother. What she looked like, where she came from, what she did and said. You've never even told me her name. She, uh, she died when you were four. You were ill at the time. Where is she buried? Where is mother buried? Oh, a long way from here, Raymond. I'll take you there someday. What was her name, Dad? Jacqueline. Jacqueline. A beautiful name. She must have been beautiful. Albert Amesworth, John Butler, Howard Bridges, Raymond Cartwright. Raymond Cartwright. Who is it? Come on, open up. Just a minute. Oh, come in, Johnny. Are you getting kind of exclusive, ain't you, Jackie? Locking your door now, huh? I'll be right to privacy in my own dressing room. Sure, but not when the customers are waiting for a number. Come on. I'll be ready in a minute. What have you been doing? Reading the newspapers. Why? New York papers, huh? What do you read them for all the time? The news is three days late. That's my business, isn't it? Sure. And maybe the San Francisco sheets don't carry the stuff you're interested in, huh? What are you talking about? Now, don't give me that, Jackie. I know you too well. Who is this guy, Cartwright? If you'll get out of here, I'll get ready for my number. Come on, come on. Who is he? I've got a whole drawer full of clippings on him. How do you know that? Don't be foolish. I looked. You're frank enough. Why not? Alan Cartwright, a prominent attorney and son of Raymond, vacation at Palm Beach. Alan Cartwright, appointed to Supreme Court. Who is he, Jackie? Come on, loosen up. Now, what are you trying to do? Shake him down? Get out. A Supreme Court judge, huh? He's a hot number. He got something on him. Did you hear what I said? Get out of here. Get out. Now, you see, you get yourself all worked up. You'll be pulling one of those fancy yours in a minute. You want a drink? No. Oh, I was just thinking. If you have got something on this bird, you ought to come again. You know, for old time's sake. I may be pretty low right now. I may have stepped down pretty far to be working in a place like this and for a man like you. But I haven't reached your level yet. Now, get out. All right. That's the way you feel about it. See you outside, Jackie. Come on, buddy. What do you want, boss? Come on out. Send a wire for me. Joe Harper in New York. Tell him I went some dope on a guy by the name of Alan Cartwright. Supreme Court judge. Okay. And look, I want to know especially about his wife, see? Who she was and where she is now. Tell him to get everything he can. I'll meet him in New York a week in Saturday. Okay. Joe, yep. Yeah, I got the stuff you left here. Oh, I swear. Just what I wanted. And oh, no, I can't see you now, Joe. Come around to the hotel tomorrow. So long. Who is it? Hello, Tony. Well, if it isn't Jackie. How are you, Jackie? All right. I didn't expect to see you here. Well, they told me you'd gone to New York. So I followed you. Yeah? What for? Just to make sure you didn't try anything that might get you into trouble. Thanks. Well, I don't need any advice from you, see? I got everything I need, Jackie, and it's a swell story. Is it? You see, I know who you are and who your husband is, and your son, too. And what are you planning to do with that information? I'm going to do with it. Well, you didn't have the nerve to do. I'm going to use it. To blackmail him. Oh, no. I'm just going to tell him where his wife is and what she is. Oh, no, you're not. And who's going to stop me? I am. You're not going to ruin my son's career, Tony. I'm not the type to stand by and see you wreck his life. Yeah? What do you think you're going to do about it? It's very simple. Huh? Put that gun down. You don't scare me. I'm not trying to scare you. You know where you land, don't you? That doesn't worry me. I can't last much longer anyway, so I've got nothing to lose. You have. Sure. Sure, about $10,000. I'll let you bluff me out of it, but you can't see, because I'm going to see him right now tonight. I'm not bluffing. I mean it. Stay away from my husband. Get out of my way. I'm warning you. Stay away from my husband. I'll show you what I think of you and your warnings. Don't open that door. Well, why don't you shoot? Stay away from that door, I tell you. So long, bluffers. What's the matter with you? You're in my room. What's up? I heard it. God, that woman. I've got the police. Who may are you? Get your hands off me. I didn't. I'm not trying to escape. I killed him. Let's stop a minute in a bright and shining little kitchen near Glendale. Brother Bob is staying overnight with Walter and Sally. Walter has just gone out to put the car up. Sally is about to do the dishes, while Bob leans against the cupboard in the door. Oh, Lux Flakes. So you use Lux for dishes, too? Indeed I do. No dishpan hands for me. Yeah, that's what Kay says, too. And she ought to know. Remember how she complained last winter about dishwashing making her hands sore? You bet I do. Just about the time you came on here for a visit. Honestly, I didn't believe a girl's hands could look so rough and red. All split around the nails, too. And all because she was using a harsh soap for dishes. Trying to save money, she said. Well, I got her to change to Lux. Honestly, it was almost unbelievable how much better her hands looked in just the short time I was there. She says she finds Lux isn't at all expensive. She sure is proud of her hands now. But I didn't know she had you to thank for it. Not me? It's the makers of Lux she should thank. Lux hasn't any harmful alcohol, you know. It gets the dishes clean in no time at all. Look, I'm practically through already, thanks to... To me, as inspiration. But most of all, to Lux. Once again, Mr. DeMille. Anne Harding, James Stewart and Conway Tull continue in Madam X. Arrested for the murder of Tony Phillips, Jacqueline is taken to police headquarters. In an office of the homicide bureau, she sits in the glare of a blinding electric lamp. Two detectives are cross-questioning her. Captain Keen leans close and wraps his hand sharply on the table. Come on, come on, come on. You admit that you killed a man by the name of Tony Phillips? You admit you went to the hotel Trent for the purpose of shooting him dead? Now who was it? What was it to you? He was nothing to me. And why did you kill it? I won't tell you. You must have had a reason. What was it? I won't tell you. All right, sister. But you're making it a lot tougher for yourself. You know that, don't you? You know what'll happen to you, don't you? Yes. Yes, I know what will happen to me. And why don't you come clean? Come on, give us the dope. We're only trying to help you. I have nothing to say. You're waiting for your lawyer, is that it? I have no lawyer. But you're going to have one. No. No use, chief. Let her send her back till we get a chance to work on this thing. Wait a minute, wait a minute, Murphy. I'm going to give you one more chance, sister. I won't ask you who the man was. I won't ask you why you shot him. All I want to know is one thing. Who are you? What's your name? Where do you come from? Come on, come on. What's your name? What's that, can't you? What's your name? Who are you? Who are you? All right, Murphy. And her back. Flynn. Yes, sir? Take her back to herself. This way, sister. Well, that was a nice waste of time. I don't see what you're so worried about, chief. It's an open and shut case. She walked into a hotel room and drilled a guy. She admits it, even. Yeah, yeah, sure she admits it. But how do you know what she'll admit when she gets on the stand? That's what counts, Murphy. What she says in front of twelve good men and true. You say the same thing. She didn't even want a lawyer. Well, the court will take care of that for her. Yeah. I'll appoint someone to represent her. Some kid, probably. He can't even find his way to the witness chair. She sure is a sucker for not talking. In interest of justice, it is the duty of this court to see that the accused is ably represented by counsel. To that end, and to assure the accused of a just trial in accordance with the laws of this state, the court hereby appoints as counsel for the defendant, Raymond Cortrack. Hello, dad. Well, come in, Raymond. Well, I've got it. What? My first big case. Look me over. Good boy. The first one's always the hardest, you know. Yeah, and don't I know it? Of course, there's not much glory attached to this one. It's one of those assignments. Oh, well, well, it's a start, Raymond. Well, that's where I look at it. Criminal case, that's close. Yeah, she's charged with murder. Oh, woman, eh? Mm-hmm. Any evidence? Well, that's the whole trouble, you know. It's all evidence. She'd miss everything. She won't talk about it. Won't even give her name. Oh, yes. I think I read something about it in the papers this morning. What is it, the reporters are calling her? Yeah, trust them to give her the name. They're calling her Madam X. That's it. Well, if I had you a nice one for your first case, how are you handling it? Well, I haven't decided that yet. Well, you have to get it to talk. Any luck so far? No, I haven't even seen her. She wasn't in the court when I got the assignment. I'm seeing her at the tombs at four o'clock. I, you know, I don't know what I can do for her if she won't give me anything to go on. And, well, if she admits everything now, it's sort of hopeless, I guess. Well, you can't tell. You can admit the murder and still get an acquittal, you know. Temporary insanity. Self-defense. Extenuating circumstances. Oh, it's been done before. Yeah, I know, but isn't that sort of drawing a little fire? Oh, not a bit. You see, justice is a funny thing. There's a district attorney on one side, a counsel for the defense on the other. Your job is to present your client's case in its most favorable light. Just as it's the DA's job to convict her if possible. If you can dig up any fact that might conceivably influence a jury to vote not guilty, it's your right and your duty to use those things. A human life depends on it. Depends on you. Yes, I know. It's a big responsibility, isn't it? Yes. Anything I could do to help? Oh, no, no, thanks, I'd rather have it myself. Oh, of course, we'll go to it. And the best of luck. Thanks, Dad. You're a better man than the whole homicide squad. How long has she been in here? Ten days. You ought to come to trial pretty soon. No use in delaying on these open and shut cases. Have you questioned her since you brought her in? Every day. She won't talk. She won't even eat. She just sits there and stares at you. It's enough to give a man the creep. She still won't give her name, huh? No. She says her name is William. Laura Williams. She admits it's a phony. It's only for the records. Here we are. You've got a visitor, sister. Go ahead, son. All right, son. I'd like to see her alone, of course. Sure. I'll be at the end of the car of it. Just yell when you want me. How do you do? What do you want with me? If you've been sent here to question me, you're wasting your time. I've nothing to say. I've told him I... No, no, I'm not an officer. I'm your attorney. I told him I didn't want an attorney. No, but you have to have someone to plead your case. You see, that's the law. I was appointed by the judge. Well... Well, if I'm to represent you, I've got to know something about you. Who you are, where you came from. You'll tell me that, won't you? My name is Laura Williams. Oh, but that's not your real name. They asked me my name for the records. I told them my name was Laura Williams. That's all I have to say. But I... That's all I have to say. You're not being very fair. You're not being fair to yourself or to me either. You? Yes, I... You see, this is my first case. Oh. That doesn't sound very encouraging, does it? But I think I can help you. That is, if you're just giving me the chance. Now, I did want to make a showing on this. So if you don't want to do it for yourself, perhaps you'd be willing to help me. You're very young, aren't you? Oh, I'm 24. 24. I had a son. He'd be 24 now, too. And he's just... Then he's alive. I didn't say that. I'm sorry. I know it hurts to be reminded when you've lost someone near to you. Have you ever lost anyone? Yes, I... My mother. Oh. She died some time ago. Oh. But we were speaking of your son. Now, he's still alive. I'd rather not talk about it. Has he anything to do with the man that was shot? No. Oh, let me alone. Please just let me alone. But I've got to defend you. I don't want to be defended. I killed that man. I walked into his room at the hotel trend and I shot him. Is there anything more to be said? I'm perfectly willing to pay for what I did. But don't you see, there may be no reason why you should pay. That's all I'm trying to find out, just what the motive was. You see, you might have had a good reason to kill him. I did. Did he threaten you in any way? No. It wasn't self-defense then. No. Did he threaten anyone near to you? No. Your son perhaps? No. Why do you keep bringing up my son? Well, that's the only thing I know about you. That you have or had a son. I'm just groping in the dark. That's all I'm trying to help you. You can't blame me for that. It's just my job. I'm sorry. I'm sorry, too, that this had to be your first case. But you mustn't take it too much to heart. Everything's against you. Nobody expects you to win. Hello, hotel trend. What name, please? Just a moment, please. Hello, room service. Hold on a minute. Hello, hotel trend. Yes, ma'am. What name, please? One moment, please. Excuse me. What do you want? The manager said I could speak to you for a minute. Yeah. Take my calls. Okay. Well... Uh, my name is Raymond Cartwright. Are you the girl that was on the switchboard the night the man was shot in 518? Yeah, why? Oh, I want you to think hard and try to remember. Did he receive any calls that night? Yeah, he got a call about 80 o'clock. You're sure? Sure, it was a man called. I remember because it was just a couple of minutes before the fellow was shot. You didn't tell the police? Well, I didn't think it was important, was it? No, that's all right. That's all right. Now, look. When that man called, did he mention his name? Now, come on. Think hard. Now, come on. Yeah. He said his name was... Oh, wait a minute now. Harper. Harper. That's what it was. Joe Harper. You're sure of that? Yeah, we always ask what name. And I remember because my boyfriend's name is Harper. That's fine. That's fine. Thanks. You keep this quiet, will you? Oh, sure. Hello? Yes? What do you find? Well, now, keep looking. Will you try this city directory? Try anything you can think of. Now, we've got to locate this Joe Harper before we go on trial. All right. All right. Thanks. Oh. Hey, look, son. Nothing yet. I could just get this man Harper. I might learn something. I've got two men working on it right now. What about the woman? Have you asked her? She doesn't know him. She does. She's not saying. I can't get her to talk about this case. She's just not interested. They brought her the notice of the trial. She didn't even read it. She doesn't even know my name and I'm defending. When do you go to trial? Thursday morning. Doesn't leave you much time, does it? I tried to postpone it, couldn't get it. You know, Dad, it's funny. This thing's got me. Well, that's natural. Your first criminal case? No, no, that's not the reason. There's just something about that woman. Something I can't explain. You think she's innocent? No. No, but I have a feeling somehow that what she did, she had a good reason for doing it. She was protecting someone I'm sure of it. Well, silence seems a pretty good indication of that. I'd use that point in the summing up if I were you. No, I'm going to. I don't know what good it'll do, but the only thing I've got to go on so far. She's never given you anything else? No, except that first day about her son. She talks to me now, though. What about? Oh, about everything except herself. She sort of rambles on as if I weren't there, but every once in a while I catch a glimpse of something in her life. Something dark and sordid, something that's been gnawing at her for years. And she's been through hell that woman. It's in her eyes. But then there's something beautiful there too. Something I've got to save if I can. I think you will, son. If you feel like that, I don't think there's anything that can stop you. I'm going to see her once more, just before the trial. I'm going to ask her if she'll go on the stand. You think there's a chance? Well, I don't know. I can only try. I think I'll be there to watch you, son. You know, I've got a feeling that I'm going to be very proud of you. Whether you win or lose makes no difference. Remember that, my boy. I'll be ready for us in just a few minutes, son. We're just waiting for the judge. You feel all right? I'm all right. I just wish it were over, that's all. Before we go out there, I'm going to ask one favor of you. Please don't refuse me. What is it? Well, I want you to take the stand. Testify for yourself. No, I can't do that. You won't have to tell them anything. I just, I just want that jury to hear you speak. I'm sorry. I don't like to refuse you, but I can't do that. I'm sorry too. I've tried to help you. I don't feel badly about it. There's nothing more you can do for me. I appreciate what you've already done. You've been very kind. You know, you've never even asked my name. They don't matter very much. But you are that counts. And you've been kind. Thank you. You don't know what it's meant to have someone to talk to, someone who understands things you do. I'd have gone mad just waiting there. Tell me, haven't you any friends at all? Oh, I did have. What? I think I had everything that a woman could ask for. But I made one mistake. I threw it all away. And it's so easy to keep on making mistakes once you've started. There's no turning back then. You just go on, step by step, always a little lower. Till at last there's nothing left but memories and bitterness and ache in your heart for what you might have been. They say time heals everything. I don't believe that. I've never been able to forget, I've never wanted to. That's why I'm glad it's over now. I'll find peace where I'm going. Peace and rest. And I need them so. Come in, please. Almost ready. All right, thank you. I'll be right outside here when you want me, Mr. Cartwright. Cartwright? Is that your name? Yes, I'm Raymond Cartwright. Oh, God. What is it? Well, why do you stare at me like that? You're going to defend me? Yes, yes, of course. And that's why I want you to go on the stand just to tell them. You don't know what you're saying. You don't know what it means. What's the matter? Here, give me your hand. Now, get a hold of yourself, please. I'll be all right. Now. This is the Columbia Broadcasting System. K and X Los Angeles, The Voice of Hollywood. John Harding, James Stewart, and Conway Toll return shortly in Madamex. Tonight's play concerns one type of court. Now we hear from a young woman who's made history on another kind. Seven times Wimbledon tennis champion, seven times United States champion, and four times champion of France, an unequal record. Helen Wills Moody as one of the greatest of all women athletes. I introduce her tonight with the hope that you settle a question in the mind of everyone who follows this sport of king and commoner. Mrs. Moody, have you given up tournament tennis for good? Or is there a chance you'll return? I should like to go on one more tour which would include Wimbledon and Forest Hills. It's difficult, however, to leave home for such a long time as is required for the summer tournaments. But there is something irresistible about tennis, and I find myself playing regularly at home in San Francisco four or five times a week. In a few days the matches will begin at Wimbledon. That must be rather a hard call for you to resist. Indeed it is, but after all, it isn't Wimbledon or championships that make tennis such a grand game. It's the finest sport in the world because it's everybody's game, a sport for all ages. When I was in Stockholm I played with King Gustav of Sweden, who's still on the courts in the late 70s. Here in Hollywood you'll find many of the stars playing remarkably well, not only for exercise but because they know tennis develops toys. Among them are stars like Earl Flynn, Clark Gable, Gilbert Rowland, Warner Baxter, Greta Garbo, Ronald Coleman, and Merle O'Bron. I understand that now you're devoting a lot of time to designing clothes and painting. How does an artist brush feel in a hand accustomed to a tennis racket? The field are not so far removed as you may think, Mr. DeMille. The action of a tennis game, the sweep of the strokes, the graceful lines, the rhythm of motion are qualities that lend themselves very readily to an etching or a pencil sketch. Look at a good painting and then at a good game of tennis and you'll find a kindred artistry. As for clothes, my interest in designing was stimulated when I once found myself with a match on my hands but no outfit. I was in a large city and yet couldn't find a store that had sensible sport clothes. Most of my designs have been for active sportwear but I have also done some bathing suits and suite dresses. Since I've been doing this designing work, my attention has been called to the problem of keeping up the attractiveness of sportwear and I know that the answer has been found in the use of luxe flakes. Sportwear lasts longer, looks better and stays fresher when cared for with a splendid product responsible for this program. It's obvious, Mrs. Moody, that you believe in having a variety of interests. Yes, I believe if you have one main interest and a variety of lesser interests, it makes for greater happiness in proof of which I've also tried my hand at writing and I've just completed a book. I've called it 15 to 30 because it deals not only with tennis but with the experiences I've had and what I hope I've learned during those years. All my thanks, Mr. DeMille, for asking me to appear in the Luxe Radio Theatre. I'm sure you'll be a champion among authors too. And now, back to the story of Madamex, starring Anne Harding and James Stewart with Conway Tove. The knowledge that our own son is to defend her seals Jacqueline's lips even tighter than before. We're in the courtroom where the trial is almost ready to begin. In the enclosure near the judges bench, Alan Cartwright sits at a long table. Beside him is his old friend, Dr. Chesney, who's come to hear Raymond plead his first case. Has Raymond any kind of a chance at all, Alan? Well, not on the facts alone, Ferry, but you make a good showing. He's convinced in some manner that the crime was justifiable. He's got his heart in it. That's always a help. He's a little young to be swaying juries on sentiment alone. Well, we'll see. The court will please rise. The Court of General Sessions is now in order. The Honorable Gerald M. Darrett presiding. Please read it, please. The case of the people versus Laurel Williams. There she is. She just came in with Raymond. He looks worried. I hope he... Ah, Perry! What is it? That woman. Look at her. Who is she, Perry? It does look like... But she can't be a cause. She is. It's Jacqueline. Jacqueline here is caught on trial for murder. Sit down, Alan. I've got to speak to her. You can't do that, not now. Besides, you're not even certain that it is Jacqueline. Not certain. Oh, God. Don't you think I know her face? Haven't I seen it every time I've closed my eyes for the last twenty years? Oh, that you can't do anything. It's too late, man. It's in Raymond's hand now. Her son. Her old son. And he doesn't know. There's nothing to be done now, Alan. Nothing. You sit down right over here. Thank you. Feel better now? Yes. Is the state ready? Ready, Your Honor. The defendant ready? Ready, Your Honor. Proceed with the case, please. The state versus Laura Williams. The defendant is charged with the willful murder of one Tony Phillip on the night of May 4th, 1937. Gentlemen of the jury, are the facts that the state will bring forward. By the defendant's own admission, she committed an act of murder. But the law of this state is such that we cannot force her to testify against herself. Therefore, the state will present its witnesses as rapidly as possible. Witnesses who are at the scene of the crime only a few seconds after its commission. The first witness, a woman who had the adjoining room. I was alone in my room and I heard a shot. I ran out into the hall. I didn't hear the shot, but when I got out there, there were about four or five people standing around the door of room 518. They were banging on it. I ran up to the door and tried to find out. There she was standing over him with a gun in her hand. The gun was still smoking. She said, I killed him. I'm not trying to escape. I killed him. That's all she'd say. And then I went downstairs to find an offer. As presented by the state, the counsel for the defense has shown no flaw in any of the testimony he's heard, nor has he offered to produce any witnesses to refute this testimony. Your honor, gentlemen of the jury, the state rests. No, please, please. We can't let her just go with that. You've got to speak. You've got to tell me. No, don't say any more. Don't try to defend me. Let them send the jury out now. It can't make any difference, Raymond. Why do you call me Raymond? I don't know. You did it once before, too. I'm sorry. No, please. Please, but you say it as if it had some meaning to you. Do I? We'll counsel for the defense. Present his case, please. No, don't say any more. Please, I've got to. Your honor, gentlemen of the jury, you have just heard the state's case, and you have heard no denials by the defendant. The defense has no witnesses to present, and I am frank to admit that the defendant, in spite of my counsel, has repeatedly refused to take a stand on her own behalf. Now, this would seem to indicate that she has reason to be afraid, but we must look deeper than that. Now, this woman, gentlemen, whom you see before you, has admitted her guilt openly. She has nothing to lose by testifying. On the contrary, she has only to gain by it. But still she refuses. Now, there must be some reason for this. And from my conversations with her, before this trial opened, I am firmly convinced that she is keeping silent for one purpose and for one purpose only. To protect and shield someone near to her. Someone she loves. Yes, gentlemen, there is a mystery surrounding this woman. The newspapers have called Madam X. Who is she? Where does she come from? Whom is she shielding? Whom is she protecting? Is it a husband, a daughter, son? She told me she had a son. At my age. And she refused to speak any more of him. But he lives. Now, perhaps he faced some great danger. I don't know what, but she knew and she killed to protect him from it. Now, you will say that this is supposition. Well, it is, gentlemen. It is supposition. But our law states that where there is a reasonable doubt of guilt, the defendant must be deemed innocent. Well, there is doubt here. Not as to actual fact, but as to motive. And the courts of our state have recognized time after time, case after case, that there is such a thing as justifiable homicide. Let me through here. Let me through. Your honor, I'd like to speak to the counsel for defense, please. Counsel for defense is coming up his case. This is no time. Your honor, if the court so pleases, this man is in my employ. Now, if he wants to speak to me now, I assure you it has direct bearing upon the case. Very well. Go ahead. All right, what is it? Joe Harper. I found him. What is he here now? Sure. I served him with subpoenas. All right, all right. Now get him up here quickly. Your honor, your honor, I, I ask the court to pardon for this interruption. I also ask the court for permission to introduce a witness for the defense. This is my text. The counsel has already become his subject. A human life is at stake here. Objection over who? Your honor, I ask the court to call Joseph Harper. Joseph Harper to the stand. Please, my man. Gentlemen of the jury, I have never seen this witness. Now, his testimony may act to the advantage of the defendant. It may act to her disadvantage. But regardless of that, I believe he knows something about this case. What's your name? Joseph Harper. Where do you live, please? 618 West 74th St. Now, I want you to look at the defendant. Have you ever seen her before? No. You don't know who she is? No. Now tell me this. Did you ever know a man by the name of Tony Phillips? Did you? Yeah. Did you call him on the telephone at the Hotel Trent on the night of May the 4th? I guess so. No, no, did you, or did you ask the question? Yes. Why did you call him? Well, he asked me to. When was that? A week before. He sent me a telegram from New York. No, no, no, San Francisco. He wanted me to do him a favor. What was that favor? Well, he asked me to get some information for him. What about it? Did I have to answer that? What about? Well, it was about a person that he was private. No, no, don't answer. Don't answer, do you hear? No, don't let him tell. Take him off the stand. Don't question him anymore. I'll do anything. You won't. I'll do anything. But please, please don't let him speak for my sake. Please. Through what you said, I was protecting someone. It was my son. The man I killed was going to blackmail him and my husband because of me. He was going to wreck my son's life and my husband's career because of what I was, what I am now. That's why I couldn't speak. That's why I can never speak. In God's name, please don't ask me to tell. Don't ask me to give up my life for nothing. I'm not afraid to die if I know that he'll be safe. He's my son. My son whom I've never known and who's never known me. You can take my life if it's worth this thing anyway, but please, please let him have his. She's fainted here. Get her doctor quickly. How is she, Perry? Has she come around yet? Not quite. She's in pretty bad shape, Alan. Where's Raymond? He asked him to wait at the corridor. Did you tell him about Jacqueline? Yeah. It wasn't easy, Perry. How did he take it? He wanted to come in to see her. I made him wait for the jury to come back. He'll get an acquittal. It's almost sure. I wonder how much good it will do, Alan. What do you mean? She's coming, too. Jacqueline. Jacqueline, do you hear me? Alan. Yes, darling? I saw you in the corridor. I was so afraid you'd tell me. I wanted to, Jacqueline. No, no. Better. Better this way. Much better. I know everything you've done has been for me and Raymond. I can't tell you. Don't cry. You told me once that I'd never forgive myself for what I did. I never have, Jacqueline. I tried to find you. Oh, so many times. But I'll make it all up to you. I swear I will. I'll make you happy again, Jacqueline. I'm happy now. So very happy. Come here, Raymond. Raymond. Does he know? Yes, I know, Mother. Raymond. It's all over, Mother. The jury has come in and they've acquitted you. We can go home now. Home. I only wish I could. But you can. You're going to. Give me your hand, Raymond. All these years I've been so proud of you. And all these years you've thought of me as a green mother who died long ago when she was young and pretty. Please, try to go on thinking that. How am I thinking? But I've found you, Mother. I can't lose you again so quickly. That isn't in our hands, Raymond. I don't know what you mean. Now you mustn't be sad. You mustn't think too much about me. Because I'm not sad. I'm happy, Raymond. Happier than I've ever been in all my life. Mother. Mother. Dr. Chesney, what is it? We found her. Too late, my boy. James Stewart stepped on their tragic roles and speak to us as themselves in just a moment. From a different part of the country we now present another madamex and her son whose name also is Raymond. They will tell their own story. This time the actual story of a mother and son lost to each other for 18 years. Today they're reunited, but up until now have refused all requests to tell their amazing story to the world. This evening they consented to come to the Lux Radio Theatre and tell it in person. It's my pleasure to introduce to you the young gentleman and his mother who present their proof of the adage that truth is often stranger than fiction. Ladies and gentlemen, Mr. Raymond Mere and his mother who speak to you from New York. Thank you, Mr. DeMille. For the last 18 years I have believed my mother dead. Every time I asked my father about her the only answer I could get was that she had died when I was three years old. My father had remarried in the meantime and two years ago he died. A year and a half ago I got a job watching at the Paramount here in New York where I am now assistant chief washer. Two months ago on my day off I was in the neighborhood trying to stop in at the theater and there I was handed a message. It was sent by my stepmother and all it said was your mother is in town and wants to speak to you. I have read stories like that and I have seen such things happen in the movies. Madam makes his one, I remember but I never thought it would happen to me. But you had known, haven't you mother that someday it would happen? Yes, Raymond. I just knew that you were alive and I couldn't find you. I could hope I might someday. Do you know why my father would never let you see me? He had his ideas of how to bring you up and I had mine. We couldn't agree. We separated and he traveled a great deal and once he took you with him I never saw you again. But Raymond, you tell the story. I'd rather just listen to you. All right. My mother tried every means to find me for 18 years but she never could. Finally, two months ago she did discover a clue to where I had been working. She went to that firm in New York and as it turned out the woman she interviewed there was my stepmother. Neither knew who the other was. My mother asked for me and my stepmother not knowing her was very cautious at first. They took a liking to each other and finally my mother revealed her identity. The whole story came out then and convinced of the truth of it my stepmother sent that message to me at the Paramount. I went to her office immediately and she told me to go to a certain address where my mother was staying with friends. I went and when I walked into the room and saw mother I thought I must be looking into a mirror. We looked so much alike. Raymond, I never even asked you how did you feel when you first saw me? I don't really know. I was so stunned that I don't know whether I felt anything, really. I can't even remember what I said and I'm not sure. I know what you said, do you? No, I just remember. All of a sudden I couldn't see you. I guess I was crying. Very soon after my mother and I were reunited we began checking over places we had been where we might have met. We discovered that one month before she found me she had been in New York and some friends insisted that she go to the movies with them. They went to the Paramount and as my mother still says it was very dark inside. Maybe you are the young man who took me to my seat. And now, mother, I think it's time we said goodbye. From Hollywood we send our thanks to Mr. Meir and his mother and the hope that their new found happiness will be with them always. Before Mr. DeMille brings Anne Harding and James Stewart back to the microphone may I remind you that the Lux Radio Theater is the city of the makers of Lux Flakes. The familiar blue box has a friendly place in most of the homes you know. These gentle flakes are made especially to safeguard fine silks and woolens. You'll find them kind to everything that is safe in clear water alone. Again our producer, Mr. DeMille. Back to our microphone come Anne Harding and James Stewart giving us among other things a chance to learn from Ms. Harding her impressions of the stage and screen in England. I'm afraid I'm hardly the right person to start English pictures, Mr. DeMille. I did make a picture in England but an American produced it an American directed it and the cameraman was an American. Well then how about the English stage, Ms. Harding? Ah well now it isn't safe to start me on that subject. Playing on the English stage was a marvelous experience. Isn't it rather strange that George Bernard Shaw's play Candida wasn't given a major production in London for 37 years? In fact, not until you went over to star in it. Well, I could hardly believe it when they told me then. It was pretty exciting to find that it was such a success. What have you been doing, Mr. Stewart? When I left Hollywood a year ago everyone was talking about that amazing young actor who lived with Henry Fonda, owned 30 cats and played the accordion. We know Henry Fonda married but what happened to the cats and the accordion? I don't know. Whatever attracted the cats in the first place I don't know, they just seemed to come around. They haven't caught up with me yet. Every night I play the accordion to sort of discourage them. Are the neighbors in sympathy? Well, I just asked them which they'd prefer an accordion or a troop of 30 yawling cats. I guess it's a case of the lesser of two evils. What do they say to that? Well, sir, I hardly ever get a civil answer. But Mr. DeMille, I meant to ask you about this. In case you need an accordion player for the buccaneer, you remember the Storsen name. Thanks, Jimmy. But after all, even the pirate can endure just so much. Goodbye, Jimmy. You're a very remarkable fellow. Thank you, Miss Harding and Mr. Stewart. This is your announcer, ladies and gentlemen, Melville Rui. Next week, stars and play will be told shortly by Mr. DeMille. James Stewart appeared through courtesy of Metro-Golden Mayor Studios, Mr. DeMille Paramount and Louis Silver's 20th Century Fox, where he was in charge of music for the new picture, This Is My Affair. Our play was based on John Raphael's adaptation of the original by Alexandre Bisson. And here is Mr. DeMille. To the other popular booth, Tarkington, we're indebted for the story which comes to us next Monday night. A story whose suspense and delightful romance have ranked it as a classic of its kind, ever since Richard Mansfield brought it to the stage many years ago. Its title, Monsieur Bocair. It's been announced that filling the title role will be one of the greatest artists of our time, Mr. Leslie Howard. And starring with him, Alissa Landy. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Leslie Howard and Alissa Landy in Monsieur Bocair. This is Cecil B. DeMille saying good night to you from Hollywood, Rob Casting Systems. KNX, the Columbia Station, Los Angles.