 Lux presents Hollywood. The Lux Radio Theatre brings you Loretta Young and Charles Boyer in Algiers with J. Carol Nash and Gene Lockhart. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. A few weeks ago an electric thrill swept the world. When radio programs were interrupted by the news that American troops had landed at Algiers. And tonight we bring you one of the most exciting personal dramas that this exotic city ever spawned. The motion picture success, Algiers. You'll hear Charles Boyer in his famous role of Pepe Lamoco and the lovely Loretta Young is our co-star. J. Carol Nash and Gene Lockhart had a strong supporting cast. Algiers is a love story. Pepe Lamoco is a mysterious figure moving swiftly through the colorful native quarter called the Casbah. Here's what Charles Collingwood said when he broadcast from Algiers right after the American occupation. The Casbah is another city. A city within a city full of little houses and twisting narrow streets that run steeply uphill. By day it is crowded and picturesque. By night it is silent and mysterious. I got lost up there last night. There was no soul to be seen. Only the green eyes of cats gleaming in the night. And the feeling that behind the closed doors and shuttered windows there were eyes watching you pass. Mr. Collingwood talked to two American soldiers. One of them said, I've never seen anything like this except in pictures. The other one said, I've never seen anything like this, period. Of course, some people get that same reaction right here at home the first time they see Lux Flakes perform. It looks like magic that could happen only in a motion picture. You can't see the scientists who've been working in their laboratories for many years to make our product what it is today. They probably do more laundry in the course of their scientific research than the average housewife does. But it is not magic that makes Lux Flakes a success. If an ancient magician paid us a visit, he wouldn't believe his eyes when he saw the results. But I'm sure that the magician's wife would immediately become one of our best Lux customers. Now the curtain for Algiers, starring Loretta Young as Gabby and Charles Boyer as Pepe Lamocco with J. Carol Nash as Inspector Slamaine and Jean Lacarte as Regis. The Casbah, a city within a city full of little houses and twisting narrow streets that run steeply up the hills. I must have read those words somewhere or perhaps I've heard them. I'm not sure though, but they will not leave my mind. I picture Algiers as I knew it years ago. And the Casbah, the city within the city. And the man who lived there, Pepe Lamocco. My name is Gabrielle. The time I speak of was before the war when I went to Algiers with my fiancee and some friends. My fiancee was an influential person in French politics. And he combined as he always did, business with pleasure. I remember one morning we went to the office of the commissioning of police. It was there that I heard the name of Pepe Lamocco for the first time. You didn't hear any excuses Inspector Slamaine. I want Pepe Lamocco. He is a criminal whose exploits have made him notorious throughout Europe. And for two years he's been living here in Algiers within a stone throw of our headquarters. As you say, Commissioner, that is true. Commissioner, you seem to be rather busy. Perhaps my fiancee and I better leave. We'll come back later. Oh, please, Andre, just when it's getting interesting. There's no need to go, Andre. I'll be through when Inspector Slamaine in just a moment. Very well. But surely as an outsider, Commissioner, I can't see what all the excitement is about. If there's a criminal here and you know it, why not arrest him? Monsieur, you have only just arrived in Algiers. You do not know the Casbah. Casbah? What's that? Some kind of nut? Oh yes, but a very hard nut to crack. You see, Pepe Lamocco lives in the Casbah. Then why not go in and take him out of it? You cannot arrest a king in his own palace, mademoiselle. As a matter of fact, I see him every day. You see him? But of course. Then why has there been no effort to make an arrest? To arrest him in the Casbah would be simple, Monsieur. To get him out would be impossible. And so our Inspector Slamaine does nothing. I flatter myself that I do a great deal in my humble way, Commissioner. I learn about Pepe. I know his habits. I study his weaknesses. When one cannot use guns, one must work with brains. I prefer guns. Inspector, we are going into the Casbah tonight. I will need 12 men fully armed and ready for work. And you might prepare a special cell for Pepe Lamocco. Well, as you wish, Commissioner. Andre, I'd like to see this cell. What is it? The Casbah? Yes, the Casbah. I think that can be arranged, mademoiselle. I'll provide a guide for you any time you wish. But not for tonight. Is that right, Commissioner? Tonight, mademoiselle, I advise that you stay as far away as possible. In spite of the Commissioner's warning, I went to the Casbah. The Casbah I found was the native quarter. On the map, it's just a few lines. But the reality is something stranger than anything you could have dreamed. It's only a step from the modern city to the Casbah. But when you take that step, you enter another world. A melting pot for all the sins of the earth. A jungle of houses, a maze of narrow passages and winding alleys. Rotten with vermin and decay in the filth of the centuries. No one knows what mysteries are hidden behind those walls. And no one knows what crimes and hopes are buried in those secret courtyards. Forty thousand inhabitants from all over the world live here. Everywhere there are terraces all connected together, so that those who are accepted can move to any part of the Casbah without using the streets. It is like a fortress rising from the sea, colorful and dangerous. And in that place, Pepi Lomoco was at home and safe as long as he stayed there. The police are coming! Police! Police! The question these men, find out where he is. You there, where is Pepi Lomoco? I'm at Mabapu, Mabapu. Now what does he say, Inspector? He says he does not know him. Sergeant, I see Regis over there, bring him to me. Who is this Regis? Oh, a very old friend of ours, an informer. No, no, listen, we go out. I do not know anything, I have not done anything. Let me go. Come here, my friend. Where is Pepi Lomoco? Pepi, I do not know, Inspector. By the sword and the great prophet I have not set eyes on him in two weeks. For two weeks I have not seen his face. Where is he, Regis? Eh, where is Pepi Lomoco? At Grandville. No, Inspector, I do not know anything. I have not seen Pepi. Let him go, Sergeant. Yes, let me go. Let me alone. I do not know anything. And what did he say? He said that Pepi is at Grandpairs. Grandpairs? Who, he? A receiver of stolen goods. And you know where his place is? Oh yes, I know it. Then all of your men to surround him at once? As you say, Commissioner. A remarkable specimen. You know, you and I have the same feeling for beauty, Pepi. Yes, yes, this pearl belongs on a very special kind of gear. Like a pink shell, with a little curl of gold hair. A special kind of gold. I can just see it. Pepi, let's get down to business. We want to sell our stuff, not talk about it. Ah, be quiet, Carlos. He's trying to cheat us, Pepi. All his talk is so he can get a better price. So he can make fools of us. Yes, it's so easy to make it full of me. Why don't you try it sometime? Now, Grandpairs has dealt with us for two years. We must have confidence in each other. That's the way to get along. Eh, Grandpairs? That's the truth, Pepi. You know, this was once my take. I began life in a jewelry store. And when you left, you took the store with you. Yes, it became a habit. Eh, you know, I dream about setting down sometime away from the Caspar in a great city where people understand these things of beauty. I'd make a collection of jewels like this, not just for myself, but for people to see. In glass cases, with Max here in a uniform to take care of them. Okay. And me, Pepi? Ah, you, Piero, you, my young friend, you would have a uniform like a journal and be in charge of everything. Oh, I'd like that. If you were there, too, I ought to stick with you, Pepi. Ha, ha, ha, Piero. I have good hopes for you someday. The signal! Get that stuff off the table. Leave it alone, Carlos. Who is it? It's Ines. Quick! Oh, Ines, open the door. Come in, Ines. Pepi, the police. They're coming. Piero, look out the window. How do you know it's the police? I saw them. They're coming across the terrace, down in the street, everywhere, the surrounding the house. That's funny. How did they know I was here? Here they come, Pepi. You give me that gun! When will you learn to obey orders? Oh, Pepi, I only talk to them. Ah, there, see? That was too close. Don't take so many chances, Piero. I don't want a bullet to come between us. The way that one almost... Pepi, they're at the door downstairs. But you go, Pepi. Across the roof. All right, Ines, you come with me. I want to speak to you. The rest of you out the back way. I'll meet you later. This way, Ines. Ines, did you... did you tell anyone where I was? No one, Pepi. You're sure? Try to remember. Oh, why don't you believe me, Pepi? All I wanted to please you, I couldn't lie to you. Don't you? What about all that time you kept telling me that you didn't like me? Oh, but this is serious. Oh, I see. So, love is not serious. Pepi, it's serious, if someone told the police. I didn't talk to anyone. I stayed at home until Regis came. Who came? Regis. Oh, Regis. My old and trusted friend. As soon as he told me, I ran to you. What did Regis tell you? About the police. He wanted me to warn you. Oh, well, that was nice of him, wasn't it? Well, that's what I thought. And never mind. Here. Hold out your hand. Hold out your hand. I have something very beautiful. See? A ring. Oh, Pepi. No, no, no. Don't grab. It's unlucky. You want to give it to me, Pepi? No, it's for some fat old woman. Oh, let me have it, Pepi. Sometime I'll get fat. But you would lose it before that. Oh, no. I'll keep it for a charm. Then you must keep your fingers crossed. All right. So, see? There. This ring will mean that I am always yours, Pepi. With my fingers crossed. Oh, Pepi. They've seen you. There he is. Keep down, Agnes. Pepi, run. They'll catch you. No, no, don't worry. You get back to Grand Pairs. They'll leave there now. I'll be at the house tonight. Oh, Pepi. Be careful. That is useless to sir. Keep firing. Mademoiselle, get off the streets. Well, I'm afraid I don't know which way to go. Here, in this doorway quickly. Thank you, Inspector. And not at all. But I might suggest that the Casbah is not a safe place to visit in the evening. Well, I wasn't alone, Inspector. I came with friend. We were separated when your men began shoots. Good evening. Make yourself comfortable, please. Something to drink? No, thank you. Ah, good evening, Asha. We'll wait here for just a moment if you don't mind. Sit down, Mademoiselle. The excitement will be over soon. You know how the police are. They like to keep everything in an uproar. A very profound observation, Asha. Oh, then you weren't successful tonight, Inspector. Ah, they will never be successful. They will never catch, Pepi. We are too stupid. Asha, be kind. We have only been trying for two years. Two years? How long is that? Oh, you must be very clever. That is not his head that saves him. It's his heart. A man with such a good heart could get around anyone. Sounds intriguing, Miss. Pepi Lomoco. That is a matter of taste, Mademoiselle. Shall we leave now? Must we? Good evening, Asha. Pepi, don't come in here. Why? Oh, well. Well, inspectors remain. How are you, Pepi? Pepi. Oh, so busy. Pepi Lomoco. We were just talking about you, Mademoiselle. Good evening, Mademoiselle. Good evening. Ah, your arm. It's hurt. You're bleeding. Ah, it's nothing. A free bite. One of the inspector's bullets scratched me. Well, this is a very pleasant surprise, Mademoiselle. I often see the inspector, but never in such charming company. Are you looking at the lady? Well, Pepi? No, I'm looking at the lady, Inspector. You've never been to the Caspar before, Mademoiselle. No. Now, I'm just passing through Algiers. It's a thing. But you will come again. There is something about the Caspar. Madame, once you've been here, you can't stay away. Really? Perhaps you're right. Well, Inspector, your friends did a little better than usual tonight. At least they found me. That's pretty good for them. Can we say a step in the right direction? Excuse us, Madame, if we talk sharp. Ah, cigarette? Yes, please. I thought I was a gambler. Poor old man. He has no luck. They won't even let him sleep in peace. Sometimes I feel sorry for them. They'll never get me by these techniques, do you mean? Oh yes, I know, and I'll start to point it out to them. Ah, for once we agree, Inspector, and I... In the end, Pepe, I am the one who will catch you. Really? You'll hear him, Mademoiselle. He's funny, my friends remain. He looks normal, doesn't he? But he has delusions of grandeur. He thinks he can arrest me. That is exactly what I am going to do. Sure, sure. Well, I'm afraid I have to go. Business, you know. Good night, Mademoiselle. Good night. Good night, Pepe. Ah, it is a shame, isn't it? What is? A waste of talent and unusual intelligence. One hates to see him buried so young. Bared? Well, as good as buried and very soon. What makes you so sure, Inspector? I have marked the date of his arrest on the wall of my room. High. Where it leaves black in the rays of the setting sun. Well, Inspector, I have sent for Regis here. He has a very clever plan. Regis? Has a plan? And what is it, Regis? Well, Inspector, we have all learned that there is only one way to arrest Pepe, and that is to get him out of the Caspar. And that is very intelligent of you, Regis. Thank you. Shall we send him an engraved invitation? Pepe is too clever to fall into a trap. But some of his friends are not so clever. Get to the point! Well, suppose Piero comes down into the town, huh? Pepe will be worried by his absence, and he will come down into town to find Piero. Ah, but you've overlooked one little point. How do you get Piero to come to town? Ah, that's my plan. A magnificent plan. You see, Piero has a mother in town, very old. If he should be sick and send a letter to Piero, why, what could he do but leave the Caspar and come down here into town? He's a bad boy, Piero, but a good son. Now, when he comes, we keep his arrest a secret, and soon Pepe comes down to look for him, and when Pepe comes out of the Caspar, we have him. Huh? Hey, are we agreed? Agreed. But how do we know we can trust you not to make a better bargain with Pepe? Commissioner, I am an informer. Not a hypocrite. Morning, sir. Good morning, Pepe. Oh, hello, Pepe. Better watch out, Pepe. Women will be the death of you yet. Well, it's a happy death, Inspector. Good morning, coming my way. Oh, with pleasure. Well, did you get the lady home safely last night? Why not? Nothing unpleasant, huh? Oh, yes, we had rather one unpleasant experience. Yes? With you. Oh, she didn't think so. What makes you so sure? What did she say? Oh, you know, women, they talk about nothing I hardly listen. Was there anything special about her? Oh, yes, yes. Pearls, the color I like, handcuffs I can appreciate, platinum and diamonds, and sitting by that perfume in her heels. What about the eyes? Well, they all have eyes, but all that silk and jingles, you don't see much of that in the Casper. Ah, but you do where she comes from. She asks quite a few questions about you. Oh, she did? What did you tell her? What could I tell her? Why, you think she might be afraid of my past? No, but she might be a little appalled at your future. I told her you might get off with 20 years with a good lawyer. Oh, no, no, you wouldn't want me to get 20 years. You're too fond of me. What's her name? Oh, you are thinking of her. Now, how could I be thinking about her when I don't even know her name? Her name is Gabrielle. She's stopping with friends at the Hotel Madeline. You can visit her there, Pepe, anytime. Oh, I see. Thank you, Inspector. I'll wait for her to come back to the Casper. Let's get Gabby. Andre just phoned. He's waiting on the terrace. Andre just phoned. If I'm out of his sights for five minutes, he phoned. Well, don't you like having him so attentive? Oh, I love it. I've just been sitting here thinking that I'm the happiest girl in the world. Well, you should be. Marrying a man who adores you and can give you everything in the world you've ever dreamed about. My trouble. I'm such a fool. I go dreaming about the wrong thing. Oh, that's a terrible mistake. Marie. Marie, remember. Marie. Marie, remember in the Bantan Bargain Basement, you and I behind the counter. Hancaches, gloves. Oh, yes. And don't you forget it. No. No, I won't. After all, you don't marry for fun. I didn't. Come on, Gabby. Inspector Slamain is there, too. Inspector Slamain. Well, didn't you tell me you invited him? Oh, yes, I'd forgot. Come on, Marie. Sit down, dear. Good morning, Andre. Good morning, Inspector. Good morning, mademoiselle. As you see, I could not wait to take advantage of your invitation last night. I'm glad. Yes, we're all glad. Inspector, will you tell my fiancé where I was last night during the shooting? You were with me, mademoiselle. There, you see, Andre? I never doubted you, Gabby. And whom did we meet, Inspector? We met Happy Lemoco. Happy Lemoco? Nice friends you have. In business, one cannot choose, monsieur. Inspector, have you seen him since? Yes, mademoiselle. This morning, very early. Oh. Did he, uh... Did he say anything about me? Well, in a way, yes. Oh, oh, oh, I know. My pearls. Did he admire them? A kind of sir can admire pearls without neglecting the wearer. You're very kind. Inspector, when can you take us to the Cosby again? Oh, any time you say, mademoiselle. Gabby, I should think you'd had enough of that place. Would tonight be convenient? At your service, mademoiselle. Thank you. Gabby! Yes, what is it? Oh, I've been looking for you. What are you doing up here on the roof? Oh, nothing. What are you looking at like that? I'm looking out across the harbour. What's there, Gabby? What do you see? Whom? You can't see your home from here. There is no harm in trying. Gabby, what are you looking at? Oh, down there in the bale, that ship. Doesn't it make you seasick to look at boats? Doesn't it give you a headache to ask so many questions? No. Have you got a headache? Oh, no, no. I'm thinking. Oh, that's sure to give you a headache. Oh, Ines, I'll get mad if you go on like this. I want you to get mad. Shout at me and hurt me. But don't treat me as if I'm not here. Oh, Pepé, you were dreaming about something with your eyes wide open. Oh, Pepé, I wish you would dream about me. Oh, look, Ines, you've always lived in the Casbah. For you there is nothing outside. The Casbah is big enough. Not for me. It's like being in a grave. Hey, Pepé. Can't stand much more of it. You belong here. You don't understand the way I feel. I've stood it for two years. Time comes when you can't stand it anymore. Morning, noon, and night. Same things, the same people. I'm fed up with that enough. I just want to get away. Do you know when you're going away? Never. You'll see. You can't do it. I am the Casbah. I'll keep you. Try to get away and you'll find out. Well, it's funny for the police to come in and try to arrest you. You're in prison already. You're in the Casbah with a wall around you. And I'm glad. There's no world outside, not for you. Ever. Be quiet, be quiet. Oh, Pepé. Oh, Pepé, I love you. I love you. There's something about the Casbah once you've been there. You can't stay away. I went back with Inspector Slamain that night. Andre wouldn't come. There were just the two of us. At the time, I didn't know what it was that was drawing me back until I met Pepé again. He knew why I'd come. So, you wanted to take another look at this strange, wild animal. Strange, but not so wild. How do you like my cage? I don't know yet. You like algeas? I never like traveling. It makes me homesick. Does it? Yes. If I can't see the same old streets when I open my eyes in the morning, I, well, I want to go right back to sleep again. So do I. Yet I've been in the Casbah for two years. You were homesick, too? Yes. Very. Pepé. Excuse me. Where's Carlos? Pepé. The arrow has gone to the town. What for? I don't know. It was something about a letter from his mother. Regis went with him. Regis. Well, let me know as soon as I get back. Sure. Hey, that girl, your weather's all right. I'll tell her you said so. Take a look at those rocks she's wearing. If it was me, I'd get them first and do the fancy stuff afterwards. All right, shut up and get out of here. Okay, okay. I'm sorry, mademoiselle. You were talking about me, wasn't it? Yes, you was worried about you. Why? Well, all that stuff you have on. Oh, that's very nice of him. But you're not worried yourself? No. Not while I'm with you. What should I be? That bracelet is really something. Yes, isn't it? It hardly weighs anything at all here. Here, feel it. Oh, at least 20,000 francs, eh? Add a zero. No, I mean what I would get for it. Yeah, you better put it on again. You put it on. Eh? Please. All right. There. Want to dance? I'd love to. Double year, isn't it? Yes. They call me Gabby. Married? No. We do? No. Why not? Who are you with? My fiancee. Oh, what is he like? Jealous? Very jealous. What are you laughing at? Nothing. Too bad. What's too bad? Too bad, I don't know you better. Why? Why? I don't know you better. Why? I don't know you better. Why? Why? Well, because I would slap your face. You see, when people laugh around me, I like to know why. Well, I wasn't laughing at you. I was thinking of André's face, if he could see me now. Dancing with Pepe Lamoco. Come with me. Where? The outside on the terrace. The inspector's remain. He may be looking for me out. Well, you said you were not worried. Come outside. All right. Is that the harbor down there? Here's the harbor. All the ships that leave Algiers. The ships that go home. Where is your home? Any place in the world except the Caspar. I know what you mean. Any place where there are lights. Yes, lights and music. And lovely women laughing. Walking on the boulevard. In the spring. The smell of the first flowers in the city park. Yes, the theaters, the cafes, the subway. When you ever leave here, would you rather be happy here? Perhaps. It all depends. All right. I must go now. No, not yet. Yes, I must. It's late. I'll come back again some other time. When? Tomorrow. Well, how can I be sure? I'll never break a promise. Now, let me go. Why should I? Because I asked you to. Well, say, say please. You're very rude. Am I? Tomorrow. I'll be expecting you. Here. I'll go and let a young return in a moment for act two of Al Geer. And now, I hope you're feeling strong because I've asked Sally to read you some instructions for washing stockings published in 1872. Shake together half a pint of gin, two ounces of soft soap, and two ounces of honey. Wet a sponge and rub the fabric with the foregoing mixtures. Then, wash through two waters in which you have put ox gall to brighten colors and prevent running. Oh, goodness, Mr. Kennedy. Do you mean people really did things like that to their stockings? Guess they did, Sally. Back in 1872. There weren't any luxe flakes then, you know. Well, even today, some people treat their stockings pretty badly when they wash them. Rub them with cake soap or use strong alkaline soap. And then they wonder why they wear out so quickly. The reason is that those things weaken stocking elasticity. Then, when you put any kind of strain on your stockings, the threads are apt to break into runs instead of stretching. Just the way an old, dried-out rubber band breaks when you pull it. You guard that important quality of elasticity when you luxe stockings. Or, luxe flakes are very gentle. They do a quick and thorough cleansing job, but do it very safely without weakening elasticity. Stockings last longer. Fit better, too, when you luxe them after every wearing. Get the thrifty big box of luxe flakes first thing tomorrow and give your stockings this gentle care that experts advise. Over 90% of the makers of stockings, makers of rayon, nylon, silk, cotton and wool advise luxe flakes. We pause now for station identification. Act two of Algiers, starring Charles Boyer as Pepe Lamocco and Loretta Young as Gabby, with Jean Lockhart as Regis and J. Carol Nash as Inspector Slamaine. We stood there for what seemed like hours. Pepe Lamocco and I on that terrace above the Casbah. I couldn't see him in the dark, but I heard his quick breath and felt the hard strength of his hand upon my arm. I remember your promise. I will. I told him. I'll come again tomorrow. Who is that? Oh, baby. Baby, quick. What do you want? Oh, it's the arrow. He's come back from the town. He's been shot. What are you saying, Peel? They tried to arrest him. He's been shot. Where is he? Take me to him. Take me to him. Peel, what happened? Where is he? Who? Regis. He sent me there. Where is he? Carlos. Carlos, help me here. Take him to Asia. Lean on me, Peel. They got me, Pepe. The police. I wouldn't listen to you. Linus, go with Peel. I'm going to find Regis. The back stair, Linus. Mademoiselle. Yes, yes, Inspector. All right. I have been waiting. Are you alone? Yes. But Pepe is growing quite impolite. Has something happened? Well, there was a man who... There was some business he had to attend to. Will you take me back, please, Inspector? No, Pepe. Let me go, Pepe. Let me go. Let me go, please. Now, sit down. You were fond of Peel, weren't you, Regis? Oh, I was. I am fond of him. Where is he now? I tell you, I do not know. Please, Pepe, let me go. No, no. You don't want to leave before he gets back. You want to know why he's been detained, don't you? I don't know anything about Peel, Pepe. You know me. You know I'm all right. Tell me you do. I... Last night, I was the one who came to warn you. Yes, you were the one. We have Peel here. Peel. Peel. Bring him in. Put your arm around me, Peel. Where is he? No. No. No, Peel. Don't shoot me. I'm your friend. Don't shoot me. Peel. No. Carlos. Put my arm steady. No. Now. The arrow. No. No, please. No, don't. Don't, don't, please. Don't, don't, don't. You sent me down there. And now. Now. You pay. You... Kill. Kill. You killed him, Regis. No. Or I'll finish what he started. No. No, don't. Don't kill me. No. Where, Inspector? From the cemetery, Pepe. It is finished. I follow the custom of your people, a handful of earth on the body, and flowers to make him feel at home in such a strange place. It is hard not to be able to go down to say goodbye to your friend on his last journey. He always did. There is no sense to it. That wasn't even there. Pepe, I know how you feel. You're a prisoner in the Casbah. But a day will come when you'll go out of the Casbah in spite of them all. I'll get out whenever I wish. When you go, you'll go quietly. The way Piero went it first. All right, all right. Tell me. How is she? She? You know. Gabby. I am afraid you won't see her again. The last visit was a little too much for her. She got a bad impression of the Casbah. It is a pity. Please sit down. All day long you've walked back and forth, back and forth. Please, Pepe. Sure, come on, Pepe. Sit down. Pepe, my son. Why are you staring at me? I'm sick of looking at you. Get out of here. Get out! I know what it is. You're thinking of that girl, but she's never coming back. She told me last night, and today I went to the terrace. She wasn't there. She'll never be there. Never coming back. I told you to get those jewels. Get them right in the palm of your hand. Stop it, stop it. Your friends have no tact, my dear Pepe. I know how it pains you to live among this capital. They can't keep me here. I'm free. Free to go. I'm sick of it, all of you. I'm sick of listening to you, and I'm sick of looking at you. I'd get out when I feel like it. And none of you can stop me. Pepe, listen to me. Don't go near the town. I don't need your advice. None of you. I'm free to do as I please. Please, do you hear that? You're walking into a trap. You know better. They can't touch me. I'm going down. When I please, I said, and when I please is now. Get out of my way. Oh Pepe, come back. Pepe. He's leaving the campfire. He's leaving the campfire. Pepe, Lomoku is going out. Oh Pepe, come back. He's going out. Pepe's going out. Pepe. Out of my way, all of you. I'm going out. Do you hear? I'm going out. Oh Pepe, Pepe, wait. Don't go. She's here, Pepe. I saw her. She's waiting for you. What? You told me she wouldn't come again. I lied to you, Pepe. I lied to you. Forgive me. Where is she? But I'm looking at you. I can't speak when I do that. When you met me tonight, you were very strange. Do you think I wasn't coming back? Well, I was afraid you weren't. You're beautiful. That's easy to say, isn't it? But what I'm telling you is different, see? For me, for me you're more than that. For two years I've been lost. Like walking in my sleep. Suddenly I wake up that you. You know what you are to me? You're all the world outside. You're all those lights and music you were speaking of. With you I escaped, see? Do you know what you remind me of? A subway. Close your eyes. Can you hear it? That's my heartbeat. Does it feel like a subway train? Oh, much so. Look, you're all silk and you jingle when you walk. And with all that you make me think of the subway, isn't that funny? Tell me, what did you do before? Before what? Well, before the jewels. I wanted them. What will you do now? I will marry Andre. I'll have more jewels and more and more until I sparkle like the sky up here. And I'll jingle so loud that you'll still hear me in the Kazver no matter where I'm at. Is that what you want? What will you do, Gabby? No, what I'll do. I'll come to the Kazver tomorrow morning. And the day after. And the day after that. But suppose you don't come? Suppose I don't. Can't you ever get away from here? No, I'm caught. I keep baying a hole, dark sparking, hunters around. No way out of it. Do you like that? I'm here for you. I don't like it. And it's not like it. Now, Gabby, listen. If you don't come back, I might do anything. I might go down to your hotel to get you. Oh, no, don't. Don't, Pepe. You know what would happen if you did. And you know what would happen to me. Stay here, Pepe. Never leave the Kazver. Do you hear me? Tomorrow, then. I never break a promise. Commissioner John, here. This is Inspector Seaman. I think we have a way to bring Pepe Lomoko from the Kazver commissioner. Yes. I believe I can guarantee it. I always told Pepe that women would be the death of him. And what was it you wanted to see me about? Monsieur, it is about your fiancée. My fiancée? My mission is rather a delicate one, but necessary. I merely wish to suggest that your fiancée is a little too fond. She is the local color of the Kazver. What is all this? The Kazver is hardly the place for a woman alone. She attracts too much attention. Monsieur, she must not return to the Kazver. I understand. Will you wait here, please? I'll speak to her. Gabby, I've got to speak to you. Oh, are you going out? Looks that way. Where are you going? For a walk. But where? In the park. What park? Will you please give me a sensible answer? Then ask me a sensible question. Where could I go? I don't know anyone in Algiers. I just walk straight ahead. And where does that take you? I find that out when I get there. Not today, you won't, because you're not going. Oh, yes I am, André. Your hotel bores me. Goodbye. Wait. I know where you're going, Gabby. Do you? Well? You're going to the Kazver. Well? You go there every day. Do I? To meet Pepe Lemoko. Oh, so you've been spying on me, André, haven't you? You're going to be my wife, Gabby. Well, you don't make it a very present prospect. I won't permit you to behave like this. You won't permit me. André, I'm very glad you said that. Very glad indeed. What do you mean? Now, look here. I'm going to be honest with you. André, why do you think I'm marrying you? Look at yourself. And then look at me. I'd never lied to you. I told you I didn't love you when you asked me. And you thought it was all right then. Well, until we are married, I'll do as I please. Fair enough, isn't it? I forbid you to go. Do you understand that? Yes, I think so. I'll be back this evening. Gabby, if you go now, there'll be no use in your coming back. All right. Goodbye, André. Gabby, don't do it. Come back, Gabby. Don't do it. Please, Gabby. No. Do not do it, Matt Boyle. Inspector. What did you say? I also asked you not to go to the Casbah. Why? Why did you ask me? Your fiancé was only trying to spare you. He did not want to tell you the truth. You see, an attempt was made to capture Pepe Lamoco this afternoon. In a sense, it was successful. You mean he was taken? Pepe Lamoco was captured? Not alive, Matt Boyle. Pepe Lamoco was killed. After a decent admission, we'll hear Act Three of Algiers, starring Loretta Young and Charles Boyle. Now, have you been hoping for a real old-fashioned white Christmas this year? Well, here's a way you can make your own. Make beautiful, real-looking snow for your tree and other Christmas decorations with luxe flakes. You can bring the beauty of the snow-covered woods right into your home for the whole holiday season with this lovely long-lasting luxe snow. It's easy and so inexpensive to make, and especially appropriate this year when wartime needs have cut down the supply of ornaments. Here's how you make it. Empty a large box of luxe flakes into a big bowl or dishpan. Gradually add to it two cups of warm water and beat it with an egg beater till it looks like thick whipped cream. Then take handfuls of the whipped-up snow and spread it with your fingers along the branches of your tree. A way to add color to your tree is to tie the ends of the branches with little ribbon bows in rainbow colors. The white-luck snow sets off the colors of the ribbons or used just by itself, it's refreshingly simple and lovely. Try it on the wreaths in your windows, too, and on pine branches laid on a mantle or table or standing in a low base as a centerpiece. The snow-covered branches will be doubly lovely. You can put them where they'll be reflected in the mirror. Remember, to make luxe snow, use two cups of warm water to one large box of luxe flakes. Beat with an egg beater till you get a mixture like thick whipped cream that you can spread with your fingers along the branches. Ask for printed directions from your dealer when you buy your supply of luxe flakes. Now our producer, Mr. DeMille. Loretta Young and I have discovered a secret about Charles Boyer. We'll tell you about it after the play. Now the curtain rises on the third act of Algiers starring Loretta Young and Charles Boyer with J. Carol Nash and Jean Lockhart. Pepe was not dead, but I didn't know it then. I didn't know it until perhaps a year later when I received a letter from Inspector Semayne. In it, he told me of his plan to bring Pepe out of the Casper. He told me how Pepe waited for me at our meeting place on the terrace. Waited in vain, hour after hour. And then heart-sick and weary and bitter returned to his room in the Casper to pace the floor until morning. Hello, Pepe. What's the matter? Yesterday you were singing. Why don't you sing now? Dear self, I'm going into the town. The town? What for? I'm like you. I'm bored. What are you doing? Would you do me a favor? Sure, what? I want you to deliver a letter for me. Wait, I'll write it now. Okay, I get the idea. Maybe I don't look like Cupid, but I'll manage. Where's she staying? What hotel? The Madeline. You want a delivered person? Maybe I can't get to see her. Well, go to the servant's sentence. Give someone a good tip and tell them you've got to have an answer. Don't worry, I'll get it. I'll be back in two hours. Well, Pepe waited here from me. I waited too, but for what I didn't know. From the hotel window I stood looking toward the Casper high on the hill. The city within the city. Which now hails Pepe Lamoco forever. Hello? Yes, this is André Chirot. Oh, yes. What boat is that? The Ville d'Angère at six this evening. Yes, make the reservations, please. Well, Gabby, are you sailing with me? If you want me to, yes. You know I want you to. Even after what I told you yesterday. You were excited, Gabby. You didn't know what you were saying. Oh, but I did. I'd never thought so clearly in all my life, André. I'd never been so sure of what I wanted. And now it's gone. Gabby, I won't pretend you haven't hurt me. I'm sorry, I didn't mean to hurt you, André. I still don't understand. This man, this Pepe Lamoco, what could he have meant to you? I could never make you understand that. Because I don't understand it myself. I only know that when I was with him, I never wanted to leave. And when I was away from him, I just didn't live until I saw him again. Gabby. I was going to meet him this morning. He'd hold out his hand to me and smile. And we'd climb up to the terrace above the Carlsberg and look out across the harbor. And then I'd be happy with him. That's all I know. I'd be happy with him. Oh, here. Is Carlos with you? No, it's Lobby, Pepe. He's just come from the town. Pepe, I've got to speak to you. What do you want? Pepe, the police have taken Carlos. What? They arrested him in the town. How do you know? I saw him there, Pepe. Yes? How much did you sell him for? Would I be here if I'd sold him? Go on. What did you have to do with it? I was at the police station when they brought Carlos in. He gave me a letter the one you had given him. He told me to take it to the hotel. So you went to the hotel with the letter? I did it for you, Pepe. Well, did you get it? What? The answer. Oh, she wanted to write to you, but she couldn't. She's been closely watched. But she expects you this morning. You can go down without any risk. Go to the service entrance in the back of the hotel. You're not going down, Pepe. You can't. Go on, Larby. Well, that's all, Pepe. She's waiting for you. Well, I'll have to leave. No, wait. Wait. You said Gabby could not write because she was watched. Yes, Pepe. But in a little while she'll be able to see me. At the back of the hotel, yes. That's funny. Well, he's going to be away. Oh, I see. I see. But why couldn't she write to me? Because he was there then. Then how could she talk to you? Because you don't know. Pepe. Now something else. Do you think Carlos is full enough to give you my letter? But you wrote a letter. Do you think me so stupid as to believe he would give it to you? Pepe, I give you my word. Gabby couldn't write, but she could talk to you. Yes. Well, the woman who is so closely watched. It's funny the way she can do things. Now I've left enough. Do you hear me? I'm full of things. Pepe, on the head of my father. Carlos was arrested. That's true. I told you, Pepe. You read my letter. That's true. But I told you. After that, it fits. But after that, nothing fits. Now tell me what happened. Pepe. But let me go, please. Tell me what happened. Can I bite your neck to refresh your memory? No, Pepe. Tell me. Are you here? Tell me the truth. Tell you, Pepe. I'll tell you everything. Well? It's the main plan at all. The man? Well, then she never got my letter. No. He told me to come to you. Go on. He thinks you'll come down. And then? The hotel is surrounded. They're waiting for you. Did you see the girl? No. Why didn't she come up here? He told her you'd been killed. That's what she thinks. She thinks you're dead. She's leaving tonight. I'll reveal Darjeer. Slamain planned the whole thing. So they are expecting me, are they? Well, they will not be disappointed. Oh, you can't do it, Pepe. You can't leave me. I won't let you. You'll be killed. I won't be killed. And if I am, blame it on the customer. It's for her. You're throwing away your life. Look, Pepe, come back. Nothing. His letter inspectors Slamain told me how Pepe left the Casper. He's going out. Pushing his way through the narrow-cooking street. Down the steps toward the town. Toward the bone. Oh, Slamain. Humbling. His eyes hot and feverish. Only I have known. Only I could have cried out. Go back, Pepe. Go back to the Casper where you were saved. I will come to you. Pepe, go back! Hello, hello. This is Inspector Slamain. I have just had word that Pepe Lomoco is leaving the Casper. Inus told me. Withdraw the guard from the hotel. He is not going there. Inus says he's heading toward the docks. The Villalger. Surround the boat. Take every man you've got. Don't let him get off that deal. Hurry, will you? Give me that ticket. Here you are, sir. One passage from the Villalger. You can just make it. Thanks. Put up your hands, Pepe. Ah, you see, Pepe, we meet at the appointed time. Put the handcuffs on him. No, no. No, Slamain. Not yet, please. She may see me. Not here, Slamain. As you wish. I cannot refuse an old friend. Let me wait here until the boat leaves. It's not too much to ask. I can't get away. Very well, Pepe. I know I can trust you. Pepe. Pepe, I did it. You might have got away, but I told them. Pepe, don't hate me. No. Don't cry, Inesh. I was crazy. Because I love you so. I love you, Pepe. Well, you only did what your heart told you. So did I. The boat was prepared to leave. I stood at the rail, still looking toward the Casbah. The dirt and decay of the place were forgotten. It seemed to shine white and clean in the sun. Andre was at my side. I couldn't trust myself to speak to him. We're about ready to leave, I imagine. Gabby, do you hear me? I'll make you forget, Gabby. I'll make you forget everything. He still didn't understand. I didn't want to forget. The boat began to move. Below me on the dock, Pepe was looking for me along the rail. And I didn't know it. Until I received the letter from Simeon. A strange, halting letter of a man who was ashamed. Pepe stared up his head, searching every face of the past, hoping that our eyes would meet for just that split moment when he could tell me that he lived and loved me. But I didn't... It is leaving, Pepe. Shall we go? No, not yet, please. There, there, I see her. She's at the rear. Gabby, Gabby, Gabby! She cannot hear you, my friend. Gabby, Gabby, Gabby! Wait! Gabby! I am there! Don't shoot! Don't shoot! She cannot get away! Don't shoot! Gabby, come back, come back! Gabby, it's Pepe! Gabby, Gabby, hear me! Gabby! Pepe, look out! Gabby! Gabby, why are you not to shoot? He was not trying to get away! Pepe, Pepe, look at me. Is it bad? You're learning, you're learning to shoot. Much better. Oh, Pepe. I am sorry, Pepe. He thought you were going to escape. Escape? And so I have, my friend, Gabby. It was over soon. The boat turned and swung into the current, and Pepe lay there on the pier. Oh, Pepe Lamoco had lost the car sign. Before our stars return for a curtain call, here's our fashion reporter, Libby Collins, who tells me she wants to talk about something without her fashion. It's an attitude some of us used to have, Mr. Kennedy. Remember that little phrase, well, I guess I'm just naturally hard on clothes. Women used to say that a while ago, but I doubt if you'd find anybody admitting it today. Fabrics are precious now, and it's a real duty to be easy on our clothes, to make them laugh. After all, you know, getting good wear isn't just a matter of luck. But it can be a matter of luck, Libby. It certainly can. When you stick to luck, you steer clear of things that really are hard on clothes. Strong soap and cake soap rubbing. Things that make pretty washables wear out before their time. There's no harmful alkali. No cake soap rubbing with gentle luxe care. So your dresses and blouses and sweaters will last longer when you luxe them. It's care experts advise. More makers of nice washables advise luxe flakes than advise all other soaps put together. Now, here's Mr. DeMille with our stars. Our personal formula for the right kind of evening in the theater is a play like Algiers and two stars like Loretta Young and Charles Boyer. Loretta, you know that Charles has now become a producer, too. Of course. The whole town's talking about it. It's quite a scandal. Have I done something wrong? Charles, they say you have only one telephone. That's all. That's pretty drastic, Charles. I don't know whether the other producers will approve. How many secretaries do you have? None. Push button? None. This is a revolution. Well, the picture hasn't got a chance on you. Oh, no, it'll just be a sensation, that's all. I thoroughly agree with your ideas of simplifying the business, Charles. The main things are still the story, the actors, and getting the camera in the right place at the right time. You're not giving up acting yourself, though, I hope. No, no. As a matter of fact, I'm working for myself now in this picture. Up to now, Charles, you've committed the cardinal sin for a producer. You haven't once mentioned the name of your picture. Oh, it's called Flesh and Fantasy. Well, you'll be sure and invite me to the opening, won't you, Charles? I will. And what is your play next, Mr. Camille? One of the most unusual stories filmed in Hollywood this year, Loretta. It's the 20th century Fox screenplay, The Pied Piper. And our stars will be Frank Morgan, Roddy McDowell, Anne Baxter, and Ralph Morgan. The Pied Piper was a best-selling novel before the picture was made. It's an adventure drama. The story of an elderly gentleman and a group of children in their attempt to escape from the war area of France for the safety of England. But there's inspiration as well as adventure in this play. And that's why we've picked it as our Christmas presentation. Well, I know your audience is going to like it, Mr. Camille. Good night, and thank you. Good night. Good night. We'll see you again sometime. 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 Frank Morgan and The Pied Piper with Roddy McDowell, Anne Baxter, and Ralph Morgan. This is Cecil B. DeMille saying good night to you from Hollywood. It's Christmas seal time again. Remember that every Christmas seal you buy helps to stamp out tuberculosis. So buy all you can. Jean Lockhart appeared for the courtesy of Warner Brothers Studios. Heard in tonight's play were Isabel Joule as Inez, Charles Seal as Jean Vie, Norman Field as Andre, and Jeff Corey, Griff Barnett, Fred Mackay, Noreen Gamil, Kelly Flint, Don Peters, and Crayon Denton. Our music was directed by Louis Silvers. Our Lux Radio Theatre production of Algiers starring Charles Boyer and Loretta Young has come to you with the good wishes of the makers of Lux Flakes. This is your announcer, John M. Kennedy, reminding you to tune in next Monday night to hear Frank Morgan, Roddy McDowell, Anne Baxter, and Ralph Morgan in The Pied Piper. Here's a gift to add to your Christmas list. Give VIMS the new vitamin mineral tablet. VIMS give you all six essential vitamins and three minerals. Get VIMS in the gay new Christmas wrapper ready for mailing at your druggist. VI for vitamins, double MS for minerals. VIMS. This is the Columbia Broadcasting System.